In an essay for BuzzFeed, Allison Wilmore argues that the issue is that most «Oscar movies» aren't made with
queer audiences in mind: They use «characters as symbols rather than as people unto themselves, and mediating stories through the more «relatable» perspectives of outsiders and allies.»
Mark and Kameron's exchange
in our last round about the lack of explicit gay sex scenes
in Call Me by Your Name, and what that «omission» (or, as Mark more precisely identifies it, deliberate aesthetic choice) has meant to different segments of the film's
queer audience, brought to
mind BPM, a brainy but also wrenchingly heartfelt film whose story
in part revolves around those very questions: how much to show, to whom, and for what purpose.