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Adam

Adam movie review
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“Asian-American characters have the right to be whoever the hell they want to be.They don’t have to ‘represent their people.’” These are the words famously yelled byRoger Ebertat the 2002 Sundance Film Festival, in response to an audience member’s complaint that Justin’s Lin’s “Better Luck Tomorrow,” chronicling the illegal behavior of teenagers, was “empty and amoral” for Asian-American audiences.Ebert was offended to see a film featuring minorities both in front of and behind the camera being held to a higher moral standard than any picture made by and about straight white men.

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I confess to feeling similar outrage when observing the recent attempts made to boycott films for illuminating facets of the transgender experience that fall outside the boundaries of what allegedly progressive commentators deem acceptable.The “cancel culture” currently torpedoing the reputation and IMDb rating ofRhys Ernst’s “Adam” is tantamount to the silencing of trans voices in media.Diversity must be expanded in all forms, not only in regards to who’s telling the stories that end up on screen, but in the stories they are allowed to tackle.As Jeanette, the mother of trans activist Jazz Jennings, once told me, “If my daughter wants to act, I hope she’s considered for all roles, not only those that are trans.”

“Adam” was formed by the collaboration between Ernst, a transgender filmmaker helming his feature directorial debut, and lesbian writerAriel Schrag, adapting her own graphic novel of the same name for her first movie screenplay.The titular protagonist of their film is a cisgender male played splendidly by owl-eyedNicholas Alexander, who resemblesWill Poulter’s kid brother.Feeling lost at sea amongst the hyper-masculine peers at his high school, he yearns to spend the summer with his older sister, Casey (Margaret Qualley), in New York City.Schrag sets her tale in 2006, a year etched in squirmy hand-drawn animation during the opening shot, reminding us of how little familiarity the majority of Americans had with trans narratives just over a decade ago.

It’s the year thatFelicity Huffmanreceived her Oscar nomination for “Transamerica,” a film that—like “Transparent,” the series Ernst produced—cast a cis actor as the trans lead, a move that would be flatly rejected by the LGBTQIA community today.Adam has no qualms with his sister’s queer orientation, which they laughingly conceal from their homophobic mother (Ana Gasteyer), yet he’s baffled upon arriving in Bushwick to see Casey dating a trans man (Maxton Miles Baeza).With her brother suddenly preoccupied with her boyfriend’s nether regions, Casey affirms, “Trans menarereal men!Having a penis has nothing to do with it.”

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CinematographerShawn Petersfinds inventive ways of conveying Adam’s mounting unease, and the film cuts between him and Casey’s roommate, June (Chloë Levine), seated on opposite ends of a couch from which they’re eager to escape.We don’t get a full view of Casey making out with her boyfriend until editorJoe Murphycuts to a wide shot, forcing us—and Adam—to acknowledge what he’s strained to keep out of sight.Everything shifts once Adam attends a party, and finds himself instantly attracted to a youthful redhead, Gillian (non-binary actorBobbi Salvör Menuez).His shyness and vulnerability are so unmistakably genuine that Gillian takes a liking to him, even as he fibs about “accidentally” spilling a drink on her in a humiliating attempt at a forced meet-cute.

When Adam discovers that she has mistaken him for a trans man, he chooses not to correct her, initially claiming to be a 20-year-old enrolled at Berkeley.The deeper he falls for Gillian, the more committed he becomes to researching what it means to be transgender, watching endless videos online detailing personal experiences with surgeries and hormone therapy.Adam eventually loses his virginity to Gillian in a sequence that carries echoes of Swedish filmmaker Anette Sidor’s extraordinary short film, “Fuck You,” where a girl’s favoring of a strap-on subverts her boyfriend’s understanding of female pleasure.Though he’s wearing a strap-on over his own concealed genitalia, Adam climaxes all the same, and is left exhilarated by the intimacy he’s shared with Gillian, opening himself up to a form of sex that would’ve caused the bros back home to erupt in gay panic.

他们难忘的写照后Morgan Saylor在的嬉皮式的室友Elizabeth Wood的镀锌“White Girl” Menuez再次命令按屏幕每一次亮相,颇似一个年轻Julianne Moore不只是在外观上,但在细微之处不言而喻的是在他们的脸上登记层。我们感觉到已经落在阿娇的肩膀,之后她和她的女朋友打去参加舞会的夫妇在他们心胸狭窄俄克拉何马州城镇,造成了广泛宣传法律战期望的重量。当亚当即兴如何M.夜Shyamalan的名字往往相形见绌他的电影的标题,阿娇巧妙地比作是如何术语“同性恋”定义她的身份时,已经取代了所有其他人。

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而不是按照白痴情节的节拍,施拉格知道阿娇是足够聪明的连接点以及前亚当是准备承认。因之迷恋自己场景的附加层一起,为阿娇来到条款与生活在幻想如何,亚当是反式使她避免了萌芽意识到她可能是双性恋。在电影中我最喜欢的场景发生在一个叫做消失室空间,其中透过薄雾云亚当和阿娇漂移通过色彩鲜艳的照明。有许多隐喻水平这样的环境中,既表达合作伙伴已经利用来欺骗自己,以及它们之间的相互迷恋如何是标签绑定,只有原始的感觉刺激的烟幕。

影片也明智地避免了落入ROM-COM公式,其中我们的英雄的他是否还是没有得到姑娘的成功铰链。虽然改编她的小说,丰富施拉格涉及与凯西的邻居,阮经天(反式演员亚当的友谊与日俱增的插曲Leo Sheng),这是最终的场面形成薄膜的心脏。对于绝大多数的图片,亚当是不知道伊桑是transmasculine,观看他们作为榜样谁可以赋予乐于助人,性别积极的意见。恩斯特和施拉格有一个重要的日子调侃在Ethan的工作场所,宝贵纽约艺术之家,电影论坛,其中预电影琐事奖励那些熟悉晦涩的传说像贡纳尔·布乔恩斯特兰。

诚信是从亚当与阿娇的关系缺乏的关键因素,而当他终于来清洁,以探,盛精美扮演的时刻。他们最初的愤怒消散亚当开始阐述他的误导工作的革命性影响,让阮经天,以平息他们的朋友的神经与接受的礼物。两人的决赛中,完美地投交换突出了亚当的困惑方向感,而塑造人愿意相互提供清晰免费的判决或屈尊之间通信的治愈力。同样是移动凯西的顿悟之后的朱莉娅·塞雷诺的“自大”的一种谴责耻辱,提供她的勇气,不再停留在衣柜里热情的朗读。Qualley不羁的繁荣已经让她的同龄人里最令人兴奋的天才之一,但她是每一个位在安静的时刻逮捕在口罩下降,我们看到了痛苦躺在下面。

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一边看我没有笑了一大堆“亚当”,但我从未低于完全啮合,并且通过结束时,我感到已经看到了感激。在an excellent defense of the film最近发表在在diewire,transmasculine作家裘德干解释了它的启示感觉“是个男孩顺的脑子里面谁积极desired是反式“。 Having grown up emulating the cisgender identities that have dominated screens both large and small, Ernst has flipped the narrative by having a cis character emulate “trans-ness,” causing him to learn things about himself that would’ve otherwise been left hidden and repressed.恩斯特不觉得在道义上有义务仅描绘的行为在屏幕上,他赞同,也不应该任何导演,对于这个问题。这样的限制是本领域的对立面。

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