As any proclaimed auteur, Pedro Almodóvar works in tropes. His most recent film, The Skin I Live In (2011), employs many of the director's favorites: disenfranchised motherhood, male-female dynamics, their social consequences, and the desire for an unattainable perfection of beauty. This contemporary take on Georges Franju's Eyes Without a Face (1960) a self-reported favorite of Almodóvar's–by way of Cronenberg body-horror slickness and the director's own preoccupations encapsulates so much of what makes his work integral. And its depiction of the transgender body highlights the running theme through his work of dismantling the gender binary to arrive at deeper truths. Throughout his career, Almodóvar has used non-traditional gender behaviors and transgender characters in supporting and featured roles to develop a body of genderqueer cinema that is perhaps the most potent we have available to us.

The second part of Jon Bastion's narrative biography of Cole Porter through his many subversive lyrics.

I have seen Meet Me in St. Louis (Vincente Minnelli, 1944) many times but a recent viewing was the first time I cried while watching it.  I wonder why it has taken so long.  I have always enjoyed it visually, nostalgically, and as a transcendent vehicle for film’s greatest musical performer, Judy Garland.  But when dateless Esther Smith (Judy Garland) is so low at a Christmas party, ballroom dancing with her grandfather (Harry Davenport) and then disappearing behind the Christmas tree, I got weepy at anticipation for the moment at which a beaming Garland reappears continuing the dance in the unexpected arms of her beloved “boy next door” John Truitt (Tom Drake).

Celebrated playwright and television writer, Mart Crowley survives to tell his artistic struggle leading up to the making of his best known work, The Boys in the Band, produced for the stage by Richard Barr (Who's Afraid of Virginia Woolf) and directed by Robert Moore. The opening nights of the groundbreaking 1967 play at the Playwrights Unit was attended by Jackie Kennedy, Barbara Walters, and Marlena Dietrich and other major public figures drawn by the brave new Off-Broadway production about how a group of gay men react to an uninvited guest at a birthday party. It is credited with being the first play to show gay men "as they are," which ironically become dated a few years after the Stonewall riots. Director Crayton Robey's behind the scenes story, Making the Boys, (now on DVD from First Run Features) is a continuation of the 1970 film and stage-play featuring exclusive interviews with the talent who brought the play and film to the screen.

Back in 1988, Julianne Moore won an Emmy for her roles as identical twins in the daytime CBS soap "As the World Turns" for the category of Outstanding Ingénue in A Drama Series. Six years later, she appeared bottomless in Robert Altman’s Short Cuts (1993) proving to the world that, in fact, her carpet matches her crimson curtains. Those two roles may be worlds apart. Yet, they not only show Moore’s range but also her foremost asset as an artist: she has a mean streak for taking risks. Other actresses are more beloved or more successful, but no other film performer has been willing to court failure as often as Moore, or be as much a hero to gay audiences and directors alike.

CHICAGO – I came of age in a nice Catholic household in the 1970s, the oldest of five kids. My mother and father were first generation college graduates in their respective families; they were moral, kind and respectful. There was tolerance in the household, with no prejudice and no expression of prejudice. But my two brothers and I could call each other out with the one word that got away from all that tolerance. We could say “faggot” with no retribution.

In June 1969, transgender and gay activists took to New York’s streets to protest unfair treatment and targeted harassment by police. In that same year, John Waters released his first film, Mondo Trasho, and, echoing the note struck by Stonewall, developed a compelling and much-needed new voice in independent film. Existing, as much of his early work did, before queer became an accepted, self-identifying term, it makes sense that his films might be categorized as gay cinema, but I would argue that a great deal of Waters’ work is distinctly queer cinema.