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davidtrump

Carol, Weekend & Happy Together - The 30 Best LGBTQ+ Films of All Time

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1. Carol (2015)

Director  Todd Haynes

(28 votes)

 

Carol (2015)

 

Literally the lesbian film everyone has been waiting for. Translated to the screen, Carol is everything I loved about the book and then a million times more. It is spectacular, breathtaking cinema. I fell in love with it at first sight.

Emma Smart

Beautiful, moving, with fine performances from Rooney Mara and Cate Blanchett. Clearly, but sadly not surprisingly, under-recognised through the awards season, indicating there’s a still a way to go for LGBTQ+ films in the mainstream.

Rhidian Davis

For those who feel Todd Haynes is our greatest director it was either going to be this or Far from Heaven, but this just has the edge on the strength of its screenplay (beautifully adapting a book I’ve loved deeply for 20 years) and its entirely perfect final shot.

Briony Hanson

What I love about Carol is the way we’re held outside the central relationship. How audacious. How challenging. We are left to our own voyeurism, the seduction of the image. Genius.

Sarah Wood

Perfect book. Perfect film. Todd Haynes. Todd Haynes. Todd Haynes.

Tricia Tuttle

2. Weekend (2011)

Director  Andrew Haigh

(26 votes)

 

Weekend (2011)

 

(26 votes)

Real people. Real situations. No gay ‘issues’. A wonderful antidote to the clichés of LGBTQ+ cinema. This is the very best kind of relationship drama – gay or otherwise.

Robin Baker

Something miraculous: a touching brief encounter between men which manages to avoid imposing straight models and respects the specificity of gay ordinariness.

Richard Dyer

3. Happy Together (1997)

Director  Wong Kar-wai

(25 votes)

 

Happy Together (1997)

 

I’d seen a lot of amazing LGBTQ+ films before I saw Happy Together, but none that had made being gay look so cool. The last shot, set to a deliriously happy cover version of the title song, is unforgettable.

Alex Davidson

This film is not simply a crystallisation of excellent directing, cinematography, and acting, but also a testimony of the political effect of Hong Kong during the time of its handover from Great Britain to China, mapped onto the painful codependent relationship between the two characters.

Victor Fan

bfi.org.uk

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