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We look back through film history at 10 of the greatest movies about lesbians.
It’s tricky to pinpoint the moment when the movie world could proclaim the first openly lesbian film. Identifying early cinematic representations of lesbianism was like collecting crumbs off the top table. Sapphic sisters were used to watching whole films just to see a character (usually portrayed as victim, killer, neurotic or prostitute) shoot a covert look that audiences could interpret as queer – for instance, the apparent lesbian subtext between Vienna (Joan Crawford) and Emma (Mercedes McCambridge) in Nicholas Ray’s Johnny Guitar (1954).
In the UK , 1967 was a milestone, the year that homosexuality was decriminalised (even if there was no mention of lesbianism in the new legislation). In the USA , the 1969 Stonewall riots were a turning point that led to the beginning of the modern gay and lesbian liberation movement. From those moments on, lesbians have been slowly coming out on celluloid, albeit often controlled by the gaze of male directors.
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In tracking the key films of lesbian cinema, we’ve restricted our list to films available on DVD or for streaming in the UK . This sadly means we’ve had to leave out many favourites: Mädchen in Uniform (1931), Club de femmes (1936), Personal Best (1982), Virgin Machine (1988), and great films by Ulrike Ottinger and Chantal Akerman. Which begs the question, why are there not more lesbian films available to watch on DVD /VoD? After all, Walter Benjamin did say that the lesbian is the heroine of modernism…
Childie: Not all women are raving bloody lesbians, you know.
George: That is a misfortune I am perfectly well aware of!
The Killing of Sister George is one of the greatest and most grotesque of all lesbian crossover films. Life B.G. (before George) held little hope for cinema-loving lesbians. Pre-decriminalisation dramas included 1967’s The Fox, which has the basic premise that all a lesbian needs is a man, and 1963’s The World Ten Times Over, which is possibly the first British lesbian film but was heavily censored before its release.
All hail Beryl Reid, magnetic in her portrayal of George, a loud, aggressive, cigar-chomping dyke who loses her job and her young lover. It has the mother of all lesbian love triangles: butch girl-chasing George; the predatory, sophisticated middle-class dyke (Coral Brown), and Childie, the coquettish neurotic femme (Susannah York). Rated X for its explicit sex scene, the film tanked at the box office but remains an era-defining cult classic. Significantly, some scenes were shot in an actual London lesbian bar, The Gateways Club, giving audiences a rare on-screen glimpse of London lesbian culture.
Born in Los Angeles but a New Yorker by choice, Barbara Hammer is a whole genre unto herself. Her pioneering 1974 short film Dyketactics, a 4-minute, hippie wonder consisting of frolicking naked women in the countryside, broke new ground for its exploration of lesbian identity, desire and aesthetic. Abdellatif Kechiche, director of last year’s sexually sensationalist Blue Is the Warmest Colour, might have done better if he had taken a leaf out of Hammer’s book. Hammer calls the film her ‘lesbian commercial’.
She went on to become one of the brightest and most significant lesbian avant-garde filmmaking voices of the past 40 years, whose work includes over 80 film and video works covering lesbian love and sex, women’s spirituality, radical feminist politics, the figure of the goddess, and lesbian/queer film history. Without Hammer, there would be no Born in Flames (1983), no Desert Hearts (1985), no Go Fish (1994).
At time of writing, Ukraine is going through a 21st-century revolution and if the geopolitical land grab ends in victory for Russia, with its anti-gay laws, then the future for Ukraine’s LGBT community will be uncertain.
Another Way is set in another eastern European country dealing with its own revolution: Hungary immediately after the failed 1956 uprising against communism. The film details a courageous and intelligent love story between 2 pro-democracy journalists. The topic was a double taboo because it was the first Hungarian film to deal with homosexuality as well as a controversial look back at the consequences of the revolution. Director Károly Makk sensitively juxtaposes this tender but doomed love affair with the high hopes and bitter suppression of the Budapest Spring. It’s clear that Makk was not especially interested in homosexual rights in 1950s Hungary; nevertheless his portrayal of lesbianism is neither exploitative nor melodramatic.
Oh la la! C’est Paris, c’est magnifique! Well it would have been magic if you happened to be a boho creative woman living on the city’s Left Bank in the early decades of the 20th century. Greta Schiller’s absorbing investigative documentary could have been called Paris Was a Lesbian for the amount of Sapphos living, working and loving together. Writers Collette, Djuna Barnes, Gertrude Stein, Alice B. Toklas, poets H.D. and Natalie Clifford Barney, booksellers Sylvia Beach and Adrienne Monnier… the list goes on and on.
Schiller (Before Stonewall, 1984), together with her long-term collaborator Andrea Weiss, rewrites (her)story with unseen home movies and new research to create a magical film about this most original of women’s artistic communities. Weiss’ British queer film history documentary A Bit of Scarlet (1997) is also worth a look and can be watched on the BFI Player.
Director: Lana and Lilly Wachowski
No lesbian film list is complete without the Wachowski siblings’ dazzling sexy noir/crime caper/slapstick comedy Bound. It was their pre-Matrix breakout film, a titillating Playboy hybrid thriller mashed up into a lesbian feminist love story. The Wachowskis don’t just play with the male gaze, they flip it sunny side up and get feminist writer Susie Bright in as their lesbian ‘sexpert’.
The story concerns a mobster’s girlfriend falling in love with the ex-con dyke next door. Jennifer Tilly and Gina Gershon positively sizzle as couple on the run, Violet and Corky, giving audiences plenty of girl-on-girl action. Taking inspiration from Billy Wilder and their love of comics, Bound completed a 90s trilogy of (in critic B. Ruby Rich’s phrase) ‘Lethal Lesbians’ films (beginning with Thelma & Louise, 1991, and Basic Instinct, 1992) – a cinematic expression of lesbian feminist desire.
US indie writer/director/educator Cheryl Dunye burst onto the New Queer Cinema scene in 1996 with The Watermelon Woman, an audacious, self-styled ‘Dunyementary’. However, it’s her rarely screened follow-up film, Stranger Inside, which really impresses. Made for HBO and produced by R.E. M.’s Michael Stipe, it’s set within the US women’s prison system and tells the story of an incarcerated young African-American woman who goes in search of her biological mother.
Based on 4 years of research into the lives of women inside, the drama is a powerful study of prison life in the 21st century. Far away from the piss and vinegar of Scrubbers (1982) and Prisoner Cell Block H (1979-86), Dunye’s film makes a potent case for how race and class have created a new caste system behind bars.
In 2002, when Lisa Gornick’s debut feature premiered at the BFI London Lesbian & Gay Film Festival (now BFI Flare), it was a significant moment because the film was the first British lesbian feature in 10 years. As such, the film and director attracted considerable attention both at home and abroad. Gornick wrote, directed and starred in this breezy, urbane comedy, which she described as “a thesis on love and its labels”.
The life and loves of 30-something Marina are explored as she searches for answers to the big questions in her life. Made 2 years before the internationally successful TV series The L Word (2004-09), Do I Love You? deftly captures the zeitgeist with its investigation of lesbian identity and sexual mores in the 21st century. It’s like a lesbian Annie Hall (1977) or Frances Ha (2012), with Gornick (who recently starred in The Owls) cornering the market as the thinking woman’s favourite dyke.
Lesbian cinema finally hits the big ‘O’ time with Lisa Cholodenko’s (High Art, 1998) family-friendly comedy The Kids Are All Right ratcheting up four Oscar nominations in 2011, including best picture. Annette Bening and Julianne Moore tear up the straights-can’t-play-gay rulebook as long-term married couple Nic and Jules, who hit midlife parenting and partnership problems.
The mainstream press went nuts, joyful that they had a homosexual film they could write about without unsettling their more conservative readers – though Cholodenko suffered a backlash from some queer corners for her inclusion of hetero sex (with beefcake Mark Ruffalo), and for her film’s apparent advocacy of traditional family values.
The French term for tomboy is ‘garçon manqué’, which translates literally as ‘failed boy’. “I don’t need to comment, you can see how bad it is”, said writer/director Céline Sciamma (Water Lilies, 2007) on the phrase, preferring to give this honest little film about gender confusion an English title.
Laure/Mikael is 10 years old, her/his family has moved to a new town and we follow her/his adventures over one summer as s/he negotiates the early complexities of selfhood: playing a game of football, finding s/he is attracting the attention of local girls and facing the ultimate test of wearing a bathing suit. In France, the film was received as a family film and went on to be shown in primary and secondary schools as part of classes about cinema.
The second British lesbian film to be included on the list, Break My Fall is the story of the painful end of a one-time loving relationship. A previous BAFTA nominee for best short with 1999’s Travelling Light, writer/director Kanchi Wichmann made this feature debut shooting on 16mm on the streets of east London. (Campbell X’s East End-set Stud Life, made a few years later, is also worth a peek)
Influenced by the formalism of early Chantal Akerman films such Je tu il elle (1975), it boasts music from local bands (Wet Dog, Peggy Sue) and the kind of realistic characterisation of people and city that can be found in Bette Gordon’s cinema (eg Variety, 1983). Released in 2012, Break My Fall (together with Weekend and others) was identified as part of a new wave of queer cinema, charting queer experience in all its complexities.
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Originally published: 11 March 2014
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Movies
Best Modern Horror Movies
By Don Kaye
Movies
Universal Monsters Cinematic Universe Explained!
By Jim Knipfel
From the mesmerizing Countess Maja to the captivating Carmilla Karnstein, lesbian vampires embody immortal sin.
Vampire lesbians, is there any creature more seductive, hypnotic or seductively sinful? Jesus Christ himself had to come back in the 2001 film Jesus Christ Vampire Hunter to protect Canadian lesbians from the most provocative of predators.
Saphic sanguinarians started staking their claim in Joseph Sheridan le Fanu’s novella Carmilla (1872). From Gloria Holden’s magnetic eyes in Dracula’s Daughter (1936) through Ingrid Pitt’s sultry invitation in The Vampire Lovers (1970) to the revivalist Lesbian Vampire Killers , the irresistible sirens have held an almost fetishistic fascination over moviegoers.
Charles Busch lightly spoofed them in the downtown stage play Vampire Lesbians of Sodom . Jesús Franco exploited them in the 1971 West German-Spanish horror film Vampyros Lesbos, starring Soledad Miranda as the Countess Nadine Carody.
Here are ten reasons why horror fans of all sexual appetites would offer their throats to these ferocious femme fatales.
This is the direct sequel to Universal’s classic Dracula and follows up immediately where its predecessor left off. We see a dodgy Lugosi lookalike in a coffin and Van Helsing being arrested for his murder. The focus in this production is on Dracula’s eponymous daughter, Hungarian Countess Maja Zaleska, played by stunningly melancholic Gloria Holden. How it came about that she could claim that title above all other vampire girls he sired is left unanswered, but she gets to repeat the classic “I don’t drink. Wine.”
Though she is ultimately after psychiatrist Dr Jeffrey Garth (Otto Kruger), she also approaches two possible female victims. That lesbian angle, not unsurprising for the time this was filmed in, is only ever so subtle, but clear enough to warrant an inclusion in this list. Dracula’s Daughter may be the first Lesbian Vampire on film, but she is also more importantly the first Neurotic Vampire as she seeks a psychological cure for what she considers a compulsive obsession for human blood.
If Dracula’s Daughter was the first cinematic lesbian vampire, Blood and Roses deserves the accolade for being the first truly sexual vampire movie. This is also the first time that Sheridan Le Fanu’s novel Carmilla was transferred to the silver screen, though in a modernised adaptation. From then on the name Carmilla Karnstein (or any of its variations such Mircalla or Marcilla) should soon become synonymous with female vampires in the same way that Dracula is still the prototype for all male blood suckers.
Directed by Roger Vadim, who always had to marry his leading ladies, Blood and Roses stars his then-wife Annette Vadim as Carmilla. Drenched in absolutely stunning, beautiful colors and imagery, and with a delightful musical score, this is a feast for the eyes and also features some haunting black and white dream sequences with splashes of red a la The Tingler .
Unusual for a film of this vintage, this production also displays some short scenes of nudity. Although Carmilla does go for the ladies, her ultimate aim is to take over the body of Mel Ferrer’s character’s fiancée (Elsa Martinelli), so though there are clearly lesbian elements in this film, this isn’t such a clear cut victory for the sisterhood.
French Director Jean Rollin practically made an entire career out of the Lesbian Vampire sub-genre. With titles such as Rape of the Vampire (1969), The Naked Vampire (1970), The Shiver of the Vampires (1971), or Lips of Blood (1975) he managed to transform a one-track obsession into a lucrative cinematic career.
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With his sense for mixing eroticism with art-house, his productions are stunning to look at; but at the same time, his fixation on foregoing conventional narrative structures and focusing often entirely on silent, dialogue-free surreal imagery and slow, languid dreamlike sequences can also make his films exercises in boredom. For every dedicated Jean Rollin fan we will also have a dozen others who consider his oeuvre to be the cinematic equivalent of a sleeping pill – if you can sleep through that many nude women.
Some would argue the case that a Top 10 of best lesbian vampire movies could easily be filled entirely with Jess Franco films and others would say that the terms “best” and “Franco” are mutually exclusive. Still, at least one of the Spanish director’s productions warrants a place in this list, and none more so than Vampyros Lesbos .
One other possible contender could be his Female Vampire (1973), but with a title like this, how could I not include Vampyros Lesbos ? And whereas the Female Vampire stars Lina Romay, this entry features Franco’s stunningly beautiful, but ultimately tragic muse Soledad Miranda, who passed away far too young in a car accident not too long after the film was finished.
She plays the otherwordly figure who lures Ewa Strömberg’s character away from her mundane existence in a series of ever more surreal (bit of a trend here) sequences. Looks like I am quite comfortably in touch with my inner female, but am I the only one who feels that Franco is a better costume designer than film maker? Some of the fetishistic clothes on display alone warrant at least a cursory viewing.
Remember this is not a Top 10 of the Most Intelligent Movies Of All Time and, yes, that final song is embarrassing, but when you immerse yourself in a movie marathon with scores of films featuring beautifully shot – but often slow moving – dream scenes, then every once in a while you need a stupid but entertaining Hammer production to keep you awake. And realistically: When you think of Lust for a Vampire , is the first thing that comes to your mind the song or the image of a blood-drenched Yutte Stensgaard arising from her tomb? ‘Nuff said.
From the first scene of Vampyres it becomes very obvious that our two leading ladies, played by charismatic and gorgeous Marianne Morris and Anulka (who both, very surprisingly, never made much afterwards), like each other. A lot. They regularly waylay primarily male drivers to tempt and quickly dispose of them by sucking them dry. Rather than sport the usual fangs they do so by cutting their arms open with a knife. The wound on which they feast has a suspiciously vaginal look to it.
Filmed in the English countryside by Spanish director José Ramón Larraz, this is a very tittilating film that rightly became a cult production over the years. Ultimately all is not as it seems and, as quite often the case with those types of movies, you better be prepared to make up your own mind as to what you saw.
The Blood Spattered Bride is one unique gem of a movie, visually stunning, narratively surprising and truly erotic. Alexandra Bastedo (from TV’s The Champions ) stars in this Spanish production by Vicente Aranda as yet another Karnstein lady who appears in bridal gown in front of newly wed Susan (Maribel Martin) and encourages her to top off her forever-nameless but utterly sadistic husband (Simon Andreu).
This can easily be read as a feminist pamphlet, yet sympathies with the characters gradually change; though the husband is portrayed as utterly despicable right from the start, we also end up feeling for him towards the end, when he becomes a deeply flawed character chased by mysterious forces beyond his control.
This film is quite often Lynchian in its assortment of scratching-your-head-what-on-Earth-is-going-on-moments, yet – as with David Lynch – Aranda manages to
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