Tangerine gay

During the twentieth century, this changed to red ties and cravats, and red eventually became a symbol of the AIDS awareness movement. The film was shot on a modified iPhone 5S with an anamorphic adaptor, which allows every frame to capture the expanse of the LA landscape.

The blues in Moonlight and Blue Is the Warmest Colour also evoke the unity Baker envisioned, as both films are bildungsromans exploring the reconciliation of inner conflicts. [4] Tangerine premiered at the US director Sean Baker’s Tangerine is a film that’s queer in both storyline and filmmaking approach.

Do I Sound Gay? follows a documentarian as he delves into his voice and the stereotypes associated with it, while Tangerine delivers a cinematic portrait of transgender sex workers in Los Angeles. Many queer movies use colour to show intensity of emotion and freedom of self-expression.

In many respects it is not as visually pleasing as these other films; at times lurid, harsh, even discordant. It is probably no coincidence that Dinah is also one of the very few characters in the film who is not queer. This relationship between colour and artificiality is something Sean Baker was well aware of.

Queerness has long been associated with colour: in the late s, homosexual men wore green carnations in order to subtlely identify each other Oscar Wilde famously wore one. Colour, here, represents many things: danger, intense emotions, and a vitality that can easily transform into violence.

Tangerine stands out, though, for the way in which colour shows both beauty and brutality. The film was shot with three iPhone 5S smartphones. The two do eventually become friends, but that does not make re-watching their exchange any less uncomfortable. Sin-Dee may be zesty in her energy and enthusiasm, but her behaviour takes a bittersweet turn when she does finally find Dinah.

It takes place over 24 hours in Los Angeles on Christmas Eve — making this one of the more unusual festive movies. As the characters walk from donut joints to Laundromats to taco restaurants to taxi ranks to brothels to buses, we experience this sprawling urban metropolis in all its artificiality.

Dinah is the outsider of the film, both socially and visually: she is the only character who is not aesthetically or thematically associated with colour. Sin-Dee finds her in a brothel so dimly lit it is almost monochromatic; all white walls, grey sheets and dark spaces.

Everything about Dinah is ashen: she is so pale she almost seems anaemic, she has very fair blonde hair, she wears white pyjama shorts, and wears no make-up except for some smudged eyeliner. The grain is particularly important because it creates a world both glowing and gaudy, bright but garish, rich but also cheap.

She is not a sadist like Stanley, but she does have the same salt-of-the-earth assertiveness. The second half is then dominated by cyans, mapping her transition to a more experienced, reconciled state, once again reinforcing the connection between blue and harmony. Nonetheless, it reflects a reality rarely seen on screen, in all its multi-coloured, multidimensional, multi-gendered glory.

Featuring trans actors and shot on an iPhone 5S, it teases with ideas of authenticity and. Tangerine is a American comedy-drama film directed by Sean Baker, written by Baker and Chris Bergoch, and starring Kitana Kiki Rodriguez, Mya Taylor, and James Ransone. All the other characters are surrounded by bright hues: Chester wears a garishly bright blue hoodie; Razmik lives in an apartment with mustard-coloured walls; Alexandra dons a bright red dress and lipstick when she sings.

There is no doubt that Dinah has her own struggles — there is a particularly poignant moment at the end of the film when she is told by her madame that she has been replaced — but her heterosexuality sets her apart from the others. Dinah is colourless.

Set on Christmas Eve, the story follows a transgender sex worker who discovers her boyfriend and pimp has been cheating on her. In both its vérité storytelling and the collaborative process behind it, Tangerine serves as touchstone for how Hollywood can better approach telling real, honest trans stories.

She drags her — literally — to find Chester, and in the process Dinah is beaten, bruised, insulted, slapped, and forced to walk around with only one shoe on. The scene does not end well; one of the poker players, Stanley Kowalski, flies into a drunken rage and beats his pregnant wife Stella, whilst her sister Blanche watches on helplessly.

The film focuses on Alike, a 17 year old African-American whose conservative family background means that she struggles to accept herself as a lesbian. Log in to check out faster. Firstly, it creates a sense of drug-tinged hyper-reality; everything is so raw, vivid and intense that it is almost dream-like.

When filmmakers first started to hand paint colour onto film stock in the early s, they did so in order to create a distancing effect, rather than to make scenes more lifelike. Frankly, you need to watch every sun-soaked, grimy minute to really understand why Tangerine is — in my estimation — the current high-water mark for trans cinema.

The abundance of colour in the film has a two-fold effect. Kristina Murkett explores the psychology of the film through her own colour reading. Moonlight and Blue Is The Warmest Colour both utilise blue as a way of expressing both masculine and feminine attributes in their protagonists.