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Thirty years later, Vincent Gagliostro still wants to provoke

After Louie confronts a generational shift on AIDS activism and gay identity

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After Louie explores the contradictions of modern gay life and history through Sam, a man desperate to understand how he and his community got to where they are today.

Filmmaker Vincent Gagliostro is a relative newcomer when it comes to making movies. He is, however, no stranger to activism nor the many questions about identity he deftly grapples with in his film After Louie.

After building a career as one of the most sought-after art directors in the New York fashion world of the seventies and eighties, he became enraged (like so many other gay men and their allies) at the indifference with which his city and country were meeting the AIDS crisis – so he put his impressive skill set to work for ACT UP, creating for them a host of now-iconic graphics as well as actively organizing and participating in demonstrations. He was, in New York, Art Director of Los Angeles Blade Publisher and Editor Troy Masters’ QW Magazine, the nation’s first glossy LGBT news magazine.

Subsequently, his career in commercial art continued to expand and evolve, and after moving to Paris in 2005 (with his partner, Richard Nahem) he experienced a sort of artistic rebirth which has yielded several installations at Galerie NEC and the blossoming of an interest in filmmaking.

The memories of his experiences on the front lines of protests have never left him, though, and now, three decades later, they lie at the heart of his latest movie project: “After Louie,” which premiered earlier this year at London’s BFI Flame Film Festival with three sold-out screenings.

Directed and co-written by Gagliostro, “After Louie” tells the story of a fifty-something former AIDS activist, Sam, who is struggling to make a film which expresses his still-potent feelings of outrage to a world that no longer seems to care.

Vincent Gagliostro’s first film, “After Louie,” will make it’s Hollywood debut at OutFest this July. (Photo courtesy Vincent Gagliostro)

“After Louie” confronts the lingering pain left by the AIDS epidemic among its survivors. Why this subject, and why now?

Two self-imposed questions sparked the making of my film. What happened to us/me? And, how does one generation connect to the next? There is a tense generational tension in the gay male community today.

A divide, so to speak, between two generations of gay men coming to this so-called “post AIDS” society from opposite ends who just aren’t getting each other—those of us who lived through the eye of the storm of the 1980s and early 90s and those who entered into a sexual life with HIV no longer a death sentence..

The film the character of “Sam” is making, at first glance, situates the AIDS crisis in the past; he is paying homage to those whom he has lost (specifically one of his activist comrades in arms, William Wilson); but- and a BIG BUT- is he looking for closure or looking to reactivate the activism of the past into the future? He is struggling with the past, mourning, and closure, but not-as his friends suggest he do– trying to get over it, to move on. Move on to what? That’s where we meet Sam. It’s like he says to his gallerist, “Rhona” as she looks for new paintings, he is “trying to get back to doing something important again.” Jean-Luc Godard once remarked, “It is not a matter of making political films, but rather making films politically.” This freed the telling of the narrative for me.

At one point in the process of writing I found myself, along with much of my immediate community, reeling from the death of our friend Spencer Cox, it hit us all like a brick. Peter Staley put it so eloquently in his eulogy, titled, Grief is a Sword— “While many of us, through luck or circumstance, have landed on our feet, all of us in some way have unprocessed grief, or guilt, or an overwhelming sense of abandonment from a community that turned its back on us, and increasingly stigmatized us, all in an attempt to pretend that AIDS wasn’t its problem anymore. That is Spencer’s call to action, and we should take it on.”

It was time to start talking to each other again, time to tell the truth. And for myself, the only way to do this was to keep it personal. Many of my friends thought I was making a documentary. That seemed limiting. Selective memory seemed a more potent way to get at the truth.

The central character, Sam, has a biographical background that parallels your own in many ways. How much of what we see in the film is autobiographical?

I have to laugh a bit here. Talk about a generation gap- sitting with my co-writer Anthony Johnston, he commented on how so much of this film is “so meta”, I excused myself to the toilet, to look up what that meant on my phone. When I returned I enthusiastically agreed.

Well, Sam’s visit with his gallerist, Rhona, is lifted from my visit with my gallerist. Surprisingly it turned out to be one of the hardest scenes to write. Who knows?

Sam’s circle of friends Jeffrey, Maggie, William are very much spooled from mine. I was always telling Anthony, wait till you meet the real “Jeffrey.”

 The scene you mentioned, with Rhona, actually sparked my next question. Sam is also making a movie about AIDS, and is met with resistance from those around him. Does this reflect your own experience in making the movie, and did such feedback have an influence over the ultimate direction it took?

To some extent, yes. When one sets out to tell a story around/about a friend with mutual friends, in this case, my friend William Wilson and his short story, “After Louie,” ownership issues surface. I was scolded by a very close mutual friend for “using” William. This had a big influence on the direction I ultimately took. There is an explosion that occurs over Chinese take out at the apartment of Jeffrey and his husband Mateo, along with Maggie and her husband Mark. Jeffrey, egged on by Mateo finally tells Sam how he feels about his “using Sam”. This leads to an emotional indictment of Sam, his white-male privilege, and a questioning of what good his art does.

“Who needs another AIDS movie?” Braeden [a much-younger man with whom Sam becomes involved] asks later on in the film.

So, yes, the resistance I was met with handed me a big hand mirror to reflect in. I hope I have done so responsibly and truthfully.

The film explores the “gay generation gap” you mentioned earlier as a sort of secondary theme. Did you make a conscious effort to bring a younger perspective to the issues you were portraying?

This prompted my desire to find a co-writer half my age, which I found in the crazy genius of Anthony Johnston.

What began to happen as Anthony and I wrote together is that I was able to create a distance between myself and “my story” and the film really took it’s shape through the story of Anthony and myself, a generation apart, navigating THAT terrain.

What do you hope the film will accomplish, in terms of its effect on LGBTQI culture?

Accomplish? Inspire perhaps. Even better, provoke. I have had many conversations with young kids, who often express what they think they have missed. It’s not what they’ve missed, it’s what I fear they will never experience the benefits of — the great gay sexual revolution, the wit and spirit of gay life back then that I often reply.

Without asking you to define the film’s “message,” what do you want the audience to take away from “After Louie?”

Actually what I would like them to take away is to be like the generation before that could not be put down, to get that one cannot be put down. I think today kids are looking for some kind of protection, and the bad news is that nothing will protect: not marriage equality, not LGBTQ organizations, certainly, especially today NOT Trump and his swamp government. We forget too often that our sexuality can topple governments. Jeez, I sound like “Sam”, quelle surprise!

I am a dreamer, always was and always will be. I hope as one leaves the film, those of my generation are inspired to dream again, and that the next generation is inspired to simply dream.

“After Louie” stars Alan Cumming and Zachary Booth, as well as co-writer Anthony Johnston, Justin Vivian Bond, Patrick Breen, Sarita Choudhury, Wilson Cruz, David Drake, Everett Quinton, and the legendary Joey Arias. It will be screened at numerous international film festivals throughout 2017.

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For better and for worse, Oscar makes history again

The biggest queer moment of the night was Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress

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Jessica Chastain accepts the Oscar for Lead Actress (Screenshot/ABC)

HOLLYWOOD – By the time you read this, the biggest moment from this year’s Oscars will already be old news – but before we can move on to a discussion of what the wins and losses reveal about the state of LGBTQ+ representation, inclusion, and acceptance in the Hollywood film industry, we have to talk about it anyway.

When Will Smith stepped up onto that stage at the Dolby Theatre to physically assault Chris Rock – a professional comedian, doing the job he was hired to do in good faith that he would be safe from bodily harm while doing it – for making an admittedly cheap and not-very-funny joke, it was a moment of instant Oscar history that overshadowed everything else about the evening.

There’s been enough discussion about the incident that we don’t need to take up space for it here – tempting as it may be – other than to assert a firm belief that violence is never a good way to express one’s disapproval of a joke, especially during a live broadcast that is being seen by literally millions of people.

Smith, whether or not he deserved his win for Best Actor, succeeded only in making sure his achievement – which could have been a triumphant and historic moment for Black representation in Hollywood, not to mention an honorable cap for his own long and inspiring career – will be forever marred, and the palpably insincere non-apology that replaced what could otherwise have been his acceptance speech was only a textbook example of putting out fire with gasoline.

Yet that polarizing display also allows us a springboard into the much-more-important subject of queer visibility in the movies, thanks to another Smith-centered controversy (and there have been so many, really) from the early days of his career that sheds a lot of light on the homophobic attitudes of an industry almost as famous as playing to both sides of the fence as it is for the art it produces. 

Back in 1993, riding his success as a hip-hop artist-turned actor and springboarding from his “Fresh Prince of Bel-Air” fame into a movie career, Smith appeared in the film adaptation of John Guare’s critically-acclaimed play “Six Degrees of Separation,” playing a young con artist who preys on a wealthy Manhattan couple (played by Donald Sutherland and Stockard Channing), convincing them to give them money and even move into their home before they eventually discover the truth after coming home to find him in bed with a male hustler.

Unsurprisingly (it was 1993, after all), some of the play’s homosexual content was “softened” for the film version, but Smith was still called upon to perform in a scene depicting a kiss between himself and co-star Anthony Michael Hall. After initially agreeing, he abruptly changed his mind (due to advice from friend-and-mentor Denzel Washington, who warned him that kissing a man onscreen could negatively impact his future career) and refused to do the kiss, necessitating the use of camera trickery to accomplish the scene.

Decades later, Smith expressed regret at the choice, saying it was “immature” and that he should have gone ahead with the kiss – but the story nevertheless provides some insight about the pressure placed on actors in Hollywood to appear heterosexual for their audiences, no matter what.

Despite advancements, that pressure continues today – and Smith, whose unorthodox and publicly rocky marriage already has put him under an arguably unfair microscope, has also been alleged (most notoriously by trans actress Alexis Arquette, who made controversial comments about the couple shortly before her death in 2016) to be participating in a sham marriage in an effort to conceal both his own and his wife’s queer sexuality, may well have been feeling it when he was moved to assert his masculinity at the Academy Awards.

True or not, such rumors still have the potential for ruining careers in Hollywood; and while it may be a facile oversimplification to assume that homophobia was behind Smith’s ill-advised breach of decorum, it’s nevertheless a topic that goes straight to the heart of why the Academy, even in 2022, has such an abysmal track record for rewarding – or even including – openly queer actors on Oscar night.

Granted, things have improved, at least in terms of allowing queerness to be on display at the ceremony. On Sunday night, out Best Actress nominee Kristen Stewart attended with her fiancée, Dylan Miller, with the couple sharing a public kiss on the red carpet as they arrived for the festivities; the trio of female hosts – which included out woman of color Wanda Sikes alongside fellow comedians Amy Schumer and Regina Hall – called out Florida’s “Don’t Say Gay” bill with a defiant joke during their opening presentation.

Jessica Chastain – who won Best Actress for playing unlikely LGBTQ ally and AIDS advocate Tammy Faye Baker in “The Eyes of Tammy Faye” – made an emotional speech decrying anti-LGBTQ legislation and advocating for all people to be “accepted for who we are, accepted for who we love, and to live a life without the fear of violence or terror.”

Numerous participants in the evening, whether male or female, queer or straight, took the opportunity to push gender boundaries with their couture for the evening (thanks for that, Timothée Chalamet). Elliot Page, joining Jennifer Garner and JK Simmons for a “Juno” reunion, became the first trans man to be a presenter at the Academy Awards. Finally, two beloved queer icons shared the stage for the evening’s finale, as Lady Gaga was joined by wheelchair-bound Liza Minnelli, frail but full of obvious joy at being there, to present the award for Best Picture.

The biggest queer moment of the night, of course, was also one of the first: Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress. Accepting the award (for which she was considered by far the front-runner), De Bose proudly highlighted her queerness alongside her other intersecting identities, saying “You see an openly queer woman of color, an Afro-Latina, who found her strength and life through art. And that is, I think, what we’re here to celebrate.”

The evening’s other queer nominees did not fare so well. “Flee,” the Danish documentary about a gay Afghan refugee’s escape from his homeland as a teen, made history by scoring triple nominations as Best Documentary Feature, Best International Feature, and Best Animated Feature, but it went home empty-handed. Stewart – the only other openly queer acting nominee – lost to Chastain for Best Actress, and the divisive but queer-themed “Power of the Dog” lost its bid for Best Picture to “CODA,” as well as all of its multiple acting nominations – though its director, Jane Campion, already the first woman to be nominated twice for the Best Director Prize, became the third woman to actually win it.

Of course, the Oscar, like any other award, should be bestowed upon the most deserving nominee regardless of sexuality, gender, or any other “identity” status, and it seems unreasonable to expect all the queer nominees to win – though some might feel a little reparative favoritism wouldn’t necessarily be a bad thing when it comes to balancing the scales. Even so, nobody has a chance to win if they’re not even nominated, and that’s where Oscar has repeatedly and persistently fallen short.

According to a recent report from Professor Russell Robinson, Faculty Director of Berkeley Law’s Center on Race, Sexuality & Culture, analysis of more than half a century of Academy Award acting nominations reveals that out of 68 nominations (and 14 wins) for performers playing LGBTQ roles, only two nominees – neither of whom went on to win – were LGBTQ-identified in real life.

While actors like Tom Hanks (“Philadelphia”), Sean Penn (“Milk”), Penélope Cruz (“Parallel Mothers” and “Vicky Cristina Barcelona”), and the late William Hurt (“Kiss of the Spider Woman”) garnered career-boosting acclaim along with their Oscars for playing queer characters, there are no equivalent success stories for queer actors playing straight roles – indeed, only eight openly queer performers have gotten a nomination for ANY role, queer or otherwise, in the entire history of the Oscars, and no transgender performers have ever received one at all.

While one might believe statistics like this are at least beginning to change, bear in mind that both of Benedict Cumberbatch’s two Oscar nods so far were for playing gay men, including this year’s “Power of the Dog” (the first was for playing real-life queer hero Alan Turing in “The Imitation Game”).

The topic of whether straight actors playing queer characters is appropriate at all is of course a hotly-debated one, with reasonable arguments – and queer voices in support of them – on both sides. We won’t attempt an in-depth examination of that issue here, but what is obvious even without the above statistics is that the Academy – or rather, looking at it from a wider scope, Hollywood itself – has a deeply-ingrained prejudice against queerness, regardless of how loudly it proclaims itself to be an ally.

Yes, progress has undeniably been achieved, especially within the last few years; the strong showing of films like “Moonlight,” “Call Me By Your Name,” “Bohemian Rhapsody,” and other LGBTQ-oriented titles on recent Oscar nights has gone neither unnoticed nor unappreciated.

Yet the Academy – as well as the industry it represents – has a pattern of responding to criticism over its inclusiveness in half-measures. It takes more than a hashtag to end sexual harassment of women in the workplace, no matter how many times it’s flashed on the screen during an awards show, and it takes more than a token nomination every few years to give an underrepresented population a fair place at the table, too.

This year’s ceremony was not without its missteps. The choice to bump awards from the broadcast for time while simultaneously devoting minutes to a James Bond tribute or a performance of a song (“We Don’t Talk About Bruno” from Disney’s “Encanto”) that wasn’t even nominated; accompanying the annual “In Memoriam” tribute to the year’s dearly departed with a choreographed dance and vocal performance; the insensitivity of rushing some winners (like “Drive My Car” director Ryusuke Hamaguchi, accepting when his film won for Best International Feature) to finish their speeches while letting others continue uninterrupted; these and other ill-considered decisions had already blemished the show before “the slap heard ‘round the world” ever happened.

Nevertheless, this Oscar show felt more authentic than many in recent memory. There was a raw, unpredictable quality to it, perhaps rooted in the Academy’s controversial choice to relegate several “lesser” awards to a pre-show presentation, that manifested itself in the uncomfortable response of the audience to the often sharp humor of hostesses Sikes, Schuman, and Hall – who mercilessly skewered Hollywood’s say-one-thing-do-another approach to sexism, racism, homophobia and more throughout the show, often with visible apprehension over how their jokes might land.

Nervousness notwithstanding, their presence and their comedic calling-out of industry hypocrisy, along with the willingness of the celebrities in the house to laugh about it, was an element that lifted the proceedings enough to make them not only bearable, but sometimes even enjoyable.

That doesn’t mean the Academy can rest on its laurels. While it’s become common for their awards show – and all the others, for that matter – to serve as a kind of celebrity roast, where jokes are made and laughed at about the industry’s hot-button issue of the day, the persistent problems in Hollywood can’t be corrected just by allowing its workers to blow off steam by making fun of them once a year.

The film industry thinks that by going along with self-mocking humor about its own misogyny, racism, and homophobia, it gets a pass to continue ignoring the growing demand from the public to eliminate those same toxic ingredients from its standard recipe.

Perhaps the Smith incident, based as it seems to have been in a show of masculine dominance, will prompt some soul-searching within the entertainment community over its own rampant hypocrisy. Let’s hope so, because if the Academy Awards are ever to be truly inclusive in their representation of every segment of our society, no matter who they are or who they love, that’s something that has to happen first in the movies their prizes are meant to honor.

We’ve come a long way, to be sure, but we’re not there yet.

******************

Jessica Chastain Accepts the Oscar for Lead Actress:

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First openly queer woman of color, Ariana DeBose wins an Oscar

It was DeBose’s first academy award nomination and Oscar. The awards ceremony was held at the Dolby Theatre in Hollywood

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Ariana DeBose in 'West Side Story' courtesy of Amblin Entertainment & 20th Century Studios

HOLLYWOOD – North Carolina native Ariana DeBose, who identifies as a Black-biracial queer Afro-Latina, won the Oscar for Best Supporting Actress Sunday for her portrayal of Anita in Steven Spielberg’s film adaptation of West Side Story.

The film was based on the 1957 Tony award-winning Broadway musical production directed and choreographed by Jerome Robbins with music by Leonard Bernstein, lyrics by Stephen Sondheim, and a book by Arthur Laurents.

DeBose in the category for Best Supporting Actress has previously won a Screen Actors Guild Award, a Golden Globe and a BAFTA. She was awarded the Oscar over her fellow nominees in the category including Aunjanue Ellis for King Richard, Kirsten Dunst for The Power of The Dog, Jessie Buckley for The Lost Daughter, and Dame Judi Dench for Belfast.

“Imagine this little girl in the back seat of a white Ford Focus. When you look into her eyes, you see an openly queer woman of color, an Afro Latina, who found her strength in life through art. And that’s what I believe we’re here to celebrate,” DeBose said in her acceptance speech.

“So to anybody who’s ever questioned your identity ever, ever, ever or you find yourself living in the gray spaces, I promise you this: There is indeed a place for us,” she added.

It was DeBose’s first academy award nomination and Oscar. The awards ceremony was held at the Dolby Theatre in Hollywood and were hosted by Out lesbian comedian Wanda Sykes, actors Regina Hall and Amy Schumer.

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The Associated Press: Oscars Special, editor’s picks

For the first time in two years, the Academy Awards are rolling out the red carpet at Hollywood’s’ Dolby Theatre

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Los Angeles Blade graphic

NEW YORK – As the entertainment, motion picture and film communities gather in Los Angeles for the 94th annual Oscars ceremony at the Dolby Theater in Hollywood Sunday evening, the editors of the Associated Press have curated the news agency’s top six stories prior to this evening’s gala.

Oscars set for return to normal, except all the changes

LOS ANGELES (AP) — For the first time in two years, the Academy Awards are rolling out the red carpet at Los Angeles’ Dolby Theatre for what the film academy hopes will be a…Read More

The Oscars are tonight. Here’s how to watch or stream live

The 94th Academy Awards are right around the corner with just enough time to squeeze in watches of some of the 10 best picture nominees before the lights go down in the Dolby…Read More

Oscar Predictions: Will ‘Power of the Dog’ reign supreme?

Ahead of the 94th Academy Awards, Associated Press Film Writers Lindsey Bahr and Jake Coyle share their predictions for a ceremony with much still up in the…Read More

List of nominees for the 94th Academy Awards

LOS ANGELES (AP) — Nominees for the 94th Academy Awards, which were announced Tuesday via a livestream. Winners will be announced on March 27 in Los Angeles. Best actor:…Read More

Oscars to celebrate ‘Godfather,’ ‘Bond’ anniversaries

LOS ANGELES (AP) — James Bond didn’t get an Oscar nomination this year, but that doesn’t mean that he won’t be part of the ceremony. It’s the 60th anniversary of the first…Read More

Oscars celebrate May, Jackson, Ullmann and Glover

LOS ANGELES (AP) — Elaine May was the last to arrive and the first to leave at the Governors Awards on Friday in Los Angeles. Her fellow honorees, Samuel L. Jackson, Liv…Read More

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