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Reflecting on Queer Cinema's Golden Age: The Gay '9. In a decade that began with a Bush in office and closed not long after Matthew Shepard's death, it's still shocking how many high- quality queer films the 1. From big- budget fare like The Birdcage, In & Out, and The Crying Game to small films that shook the establishment like Boys Don't Cry, Go Fish, and The Doom Generation, the stories of LGBT life were relatively easy to find in big- city art houses and small- town video stores (just make sure no one saw you with that copy of To Wong Foo or Billy's Hollywood Screen Kiss).

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Filmmakers like Pedro Almod. Metrograph, the New York independent film house, is honoring the New Queer Cinema movement of the '9. Gia, Trick, Nowhere, Ma Vie en Rose, and The Adventures of Priscilla, Queen of the Desert. Here are the films — all part of the Metrograph series — that left a mark on us. The Crying Game (directed by Neil Jordan, 1.

This story of a rogue IRA operative trying to put his past behind him had enough action to stand on its own as a standard political thriller like Patriot Games or The Russia House. But writer- director Neil Jordan wasn't content with the usual fare — he crafted a potboiler firmly centered by a very human relationship and, in effect, made the stakes that much higher. Spoiler alert: That the central love story was between a cisgender straight man and a transgender woman only added to the complexities of the film. While some complained that Dil's trans identity was a . Portrayed with subtlety and grace by now- retired gay actor Jaye Davidson, Dil was a tragic figure but not a comical one, a revolutionary idea in 1. The idea that men would risk their lives for a trans woman — and not abuse or mock her — was a twist in and of itself, and her happy ending was even more surprising. Jordan and Davidson planted Dil in reality as well; the daily traumas of living as a trans woman in early- '9.

London could be measured in the lounge singer's muted voice, tired eyes, and, at times, resigned attitude. In the end, Jordan refused to let Dil be passive — as the film drew to a close, she became a force to be reckoned with, and her actions propelled the film to its shocking climax. Nearly 2. 5 years after its release, The Crying Game is no longer remembered for its . When we walked into the art- house theater — one of those odd ones where you sat at tables and waiters brought you food — I knew Dil's . I had never seen a trans character in my life and didn't even understand what the IRA was fighting for.

But the love story between Fergus and Dil resonated; I wondered what it felt like to have a man risk his life for you. I identified with Dil, not necessarily as a trans woman, but as someone with a secret. Dil was at the mercy of a male- dominated world — maybe they'll love you, maybe they'll kill you — and I felt a similar vulnerability, which I still carry. As my head was swimming outside the theater, my father, God love him, had little to say: . Wai- Tung (Winston Chao) and Simon (Mitchell Lichtenstein) are a happy couple in Manhattan, and the only major annoyance in their lives is that Wai- Tung’s parents, who live in Taiwan, would love to see him marry a woman and give them grandchildren.

No, they don’t have a clue that he’s gay. To placate them and do a friend a favor, Wai- Tung decides to enter into a marriage of convenience with Wei- Wei (May Chin), an impoverished immigrant artist who rents an apartment from him. Wai- Tung’s parents will be off his back, Wei- Wei can get a green card, and everyone will be satisfied — or so the principals think.

When Wai- Tung’s parents arrive from Taiwan, they insist on throwing the titular banquet, matters get complicated, and secrets are revealed. The film is a delight that evokes laughter and the occasional tear. For many moviegoers, it was an introduction to director Ang Lee, who also cowrote the screenplay; it was only his second feature- length film. The fact that Lee is straight doesn’t interfere with his handling of the subject matter, and he would go on to show his directorial expertise in films as varied as Sense and Sensibility, Life of Pi, The Ice Storm, and of course, one of the best gay- themed movies ever, Brokeback Mountain. I saw The Wedding Banquet in the fall of 1. Michigan Theater, a vintage movie palace in the college town of Ann Arbor, one of my favorite cities.

I was visiting my best friend, Kevin, who was in graduate school at the University of Michigan. We had many, many great times in A Squared, as it’s known, and we keep meaning to get back there. I don’t recall exactly, but I’m pretty sure that after the movie we went for drinks at the Flame, a fun and friendly dive that was then Ann Arbor’s only gay bar. Sorry to say the Flame went out permanently a few years later.

But it made many happy memories for me and my dearest friend, and so did The Wedding Banquet. Lily Tomlin narrates the film, which juxtaposes scenes from dozens of movies with talking head interviews featuring queer luminaries and Hollywood trailblazers. Whoopi Goldberg, Tom Hanks, Quentin Crisp, Susan Sarandon, Tony Curtis, and lesbian sexpert Susie Bright weigh in on their experiences with LGBT images back when viewers had to mostly read between the lines.

But the film is worth the price of admission alone for Gore Vidal’s delicious spilling of the tea on the making of Ben- Hur and how he and actor Stephen Boyd pulled the wool over ultraconservative Charlton Heston’s eyes. As a lesbian who came out and of age in the ’8. I wasn’t accustomed to seeing overt representation in movies or on television. By the time the ’8. I was an expert on naming films with queer characters — at least in that decade. Maurice, Another Country, The Hunger, Entre Nous, Personal Best .

Surely, the early ’9. LGBT images on screen, and The Celluloid Closet became an endlessly fascinating, entertaining guide to a secret world I hadn’t realized existed.

I was living in New Jersey, waitressing at a seafood restaurant just 4. New York City when The Celluloid Closet was released. I had just started dating another waitress there.

One mid- week day after our lunch shift she drove us in her beat- up sports car (a Z- 2. Sociological Aspects Of Dating more. Greenwich Village. The date was wildly romantic in its way, and while that relationship didn’t last for long, I would remain forever transfixed by the world that The Celluloid Closet opened up to me. It was the first I’d learned of Hollywood’s restrictive Hays Code, censorship that made it nearly impossible to depict overt homosexuality on screen. In the decades since that wild ride into the Village to watch — gasp — a queer film, The Celluloid Closet would become a touchstone for me as a film theory student and as a writer for LGBT publications. Gilchrist. The Birdcage (directed by Mike Nichols, 1.

The Birdcage is one of the most beloved family comedies of the ’9. The film is about a gay cabaret owner and his drag queen companion — and it’s not a tragedy, which is unusual when put up against many of its queer cinema predecessors. The film by Mike Nichols (The Graduate, Working Girl, Who's Afraid of Virginia Woolf) proved to be a turning point for society's evolving views on homosexuality. Sandwiched between the zenith of the AIDS crisis and Ellen and Will & Grace, the film set the stage for big changes. The film was an acclaimed box- office hit and made a star of out actor Nathan Lane. But it did so much more for the perceptions of gay men and the idea of LGBT people raising children.

The Birdcage could have easily been a niche film, but what it had to say was so universal; it demonstrated that a straight family and a queer one could have the same family values and love for their children. I grew up in a family that was really big on micro- aggressions. As I approached my late teenage years, I was coming to terms with my sexuality.

My gay was seeping out. So out of fear I found myself watching a lot of queer films and reading queer literature in secret. I remember watching this film, my family coming into the living room, and debating whether I should keep it on or not. I was going to change the channel, but then my dad began talking about how he loves Nathan Lane. Then my mom chimed in, and not only had she seen The Birdcage, it's one of her favorite films.

My whole family stayed to watch the film, and not one negative thing was said about the LGBT characters. It's true what they say — film can bring all types of people together. Gary Gray, 1. 99. The character of Cleo in Set It Off was so unapologetically black, so unapologetically queer, and truly progressive for the time. To this it day it is one of film's most fleshed- out representations of a butch lesbian. Queen Latifah’s character is strong, loyal. Takashi Bufford’s screenplay created breathing room for Cleo to exist authentically in a group of friends who were all straight except for her, instead of a male- dominated space where black lesbians are constantly placed, so that they may sit comfortably among the stereotypes of black men and masculinity.

This Los Angeles- set heist flick came out just four years after racially motivated riots tore through swaths of the city. The character of Cleo was a symbol of those poor neighborhoods affected; she was going to live out and proud and do things her way or die trying. Queen- Fuckin- Latifah in Set It Off — what more needs to be said! I saw her on my TV screen and I was like, I want to be like that, heck, I was already pretty much that: Taller, stronger with a slight attitude and always rocking cornrows. How Do You Feel And Recover From Divorce. Sure, I was only 7 or 8, but I knew the moment I saw Queen Latifah smoking with that beautiful girl dancing over her, that she was going to be my idol. I didn’t see the full film until many years later, but seeing the character of Cleo being gay before I even knew what that word meant was all it took. Whoopi Goldberg from Sister Act had been dethroned as my idol, and I finally knew there was an alternative to being a girly- girl.