But the summer dress of the title comes along to save the day.
Whereas Ozon’s later queer films were tinged with darker themes (Water Drops on Burning Rocks, Time to Leave), Une robe d’été is a magnum of fun champagne, where all are good at heart and everyone gets laid. These communities offer a sense of belonging and validation to those who may have felt isolated or misunderstood in their offline lives.
Yet its gleeful offensiveness is catchy, and the energetic performances are top notch, particularly from Blanc, who won the best actor award at Cannes.
Une robe d’été (1996)
Director: François Ozon
Before his acclaimed features (8 Women, Potiche, In the House), François Ozon was a celebrated short filmmaker whose distinctive work was the toast of film festivals worldwide.
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Alas, pioneering films such as Club de femmes (1936) and Olivia (1950) aren’t easily available in the UK, but hopefully a list will appear in the future.
Un chant d’amour (1950)
Director: Jean Genet
French writer Jean Genet is one of the key figures of gay culture, whose novels (including Querelle of Brest), plays and essays have been championed by gay and straight readers alike.
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The camera’s lingering gaze over the handsome male actors, the theme of leaving a normal reality to transgress into a world beyond society’s norms, and, most famously, the leather-clad bikers who accompany death on her reaping missions, mark this out as a key queer work.
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Les Demoiselles de Rochefort (1967)
Director: Jacques Demy
File this one under ‘queer aesthetic’.
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It goes even further than her previous essays on female sexuality (the graphic Romance, the controversial À ma soeur!) to create a real one-of-a-kind viewing experience.
Le Clan (2004)
Director: Gaël Morel
This little-discussed film deserves far more attention.
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After she claims the life of his wife, he must brave the underworld to ensure her return. But has this homofriendly attitude translated to its cinema?
We’ve kept the list to films that are easily available to watch in the UK, but honourable mention should go to The Ostrich Has Two Eggs (1957), a dated farce that at least has a sympathetic gay son, albeit one who never appears on screen, and Les Amitiés particulières (1964), set in a boys’ boarding school.
Only the final third is explicitly gay, but homoerotic tensions simmer throughout.
Most reviews focus on the showy performance of the frequently naked Nicolas Cazalé as the rebel without much of a cause in the first chapter, but the emotional heart lies in the final third, as Morel explores the complexities of the vulnerable gay youth who must choose between fraternal loyalty and a chance at romantic happiness.
