Slapping Passages with an NC-17 rating is some Hays Code behavior by the MPA. Ceilidhann walks us through a brief history of how Codes, ratings, and corporate-driven hypocrisy have always been used to stifle queer film:
, directed by Ira Sachs, tells the story of an affair between a tempestuous filmmaker and a teacher , despite the former being married to a male artist . Sachs and the film’s distributor MUBI condemned the MPA’s decision., MUBI said that the “NC-17 rating suggests the film’s depiction of sex is explicit or gratuitous, which it is not, and that mainstream audiences will be offended by this portrayal, which we believe is also false.” MUBI will release the film unrated.
The American movie world quickly fell into line. Queerphobia is baked into the roots of Hollywood, but it’s important to note the distinction between the restrictive model of the mainstream American corporate interests and the art form of cinema itself. Remember, one of the Of course, queerness was never absent from film, and you only have to look outside of America to see radical and empathetic narratives that place our very existence front and center. Basil Deardon’sbravely named homosexuality and sympathetically portrayed the pain of living under bigoted laws at a time when it was still illegal in Britain . The Japanese art filmput trans women front and center in 1969, its release happening half a world away from the Stonewall riots.
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