In 1992, film scholar B. Ruby Rich coined the term “new queer cinema” to describe a recent trend in indie filmmaking. Filmmakers under this movement were interested in depicting queer characters that rejected heteronormative standards. As mainstream queer cinema attempted to advocate for equality through stories that adhered to social norms, new queer cinema created a much more subversive space for independent filmmakers to explore their identities on screen. Ahead of the 25th anniversary of Rich’s original article, I think it’s well worth it to look back at some of the most influential films from the movement.
Born in Flames
Lizzie Borden’s Born in Flames is a recent discovery for me, and it’s one of the earliest films of new queer cinema. Set 10 years after a revolution has turned the U.S. into a socialist democracy, the film focuses on the groups that have been forgotten within a so-called utopia. Two different feminist groups, each with their own independent radio station, advocate for women’s rights while the government insists that the feminist fight is actually counterproductive to total equality. Despite its alternate reality setting, Born in Flames feels like it’s set in the real world, partly due to its use of actual news footage. The film responds directly to the political situation of the ’80s by framing the story within an FBI investigation into both feminist groups. When one activist, Adelaide Norris, is arrested, both groups unite into a Women’s Army. The film offers a grounded look at community activism, featuring members of the army spreading the word through local radio stations and forming strikes to combat inequality in the workplace. Borden’s openly lesbian characters are labeled terrorists, but they continue to make impactful change. 40 years after its release, Born in Flames still feels incredibly timely, and it offers a real example of how solidarity and collective action can make political change possible, even in a “utopian” society.
Edward II
Edward II was my introduction to new queer cinema and one of my all-time favorite filmmakers, Derek Jarman. Set during the reign of Edward II in the 14th century, Jarman combines modern elements, including a barebones set, with historical costuming. Based on Christopher Marlowe’s play of the same name, the film depicts the king’s relationship with Piers Gaveston, while Queen Isabella (portrayed by the incredible Tilda Swinton) plots to take the throne. The film juxtaposes violence against Edward and Gaveston with a fight between police and the 1990s gay rights group OutRage!, weaving modern political threads into a historical drama. Derek Jarman is one of my favorite filmmakers, and his ability to comment on contemporary issues through stories set centuries before our time makes his films totally unique. Jarman passed away three years after the release of Edward II from AIDS-related illness, but his body of work leaves behind an incredible legacy.
The Living End
One of the first films from another of my favorite directors, Gregg Araki, The Living End broke down barriers in queer representation. It follows two HIV-positive men, film critic Jon and drifter Luke, who happen to cross paths. Knowing that their illness is effectively a death sentence, the two decide to do whatever they want, now unafraid of the consequences. A far cry from films that portrayed their gay characters in a positive light to avoid backlash, The Living End sees its characters stealing, murdering and being unapologetically themselves. Araki fought back against popular rhetoric of the time that portrayed people with HIV as helpless victims, allowing his characters the freedom and agency to choose how to live their lives. I highly recommend all of Araki’s films, especially his popular Teenage Apocalypse trilogy, in which he wields on-screen violence as a tool with which his characters find unexpected agency.
While it’s been almost 25 years since new queer cinema was cemented as a movement, each of these films, which all responded specifically to the complicated political climate of the ’80s, has a lot to offer us in 2026. These films, amidst the AIDS crisis and the Reagan administration, utilized independent filmmaking to create a voice for the queer community that felt authentic and empowering. As we learn how to navigate a tumultuous political climate of our own, these films offer a framework that I find incredibly useful.
‘Are You Still Watching?’ is a column spotlighting what the Cornell community has been streaming. It runs every Wednesday.
Nicholas York is a member of the Class of 2027 in the College of Arts and Sciences. He is a columnist for the Arts & Culture department and can be reached at nyork@cornellsun.com.
