Still, representations of LGBT people in film are on the rise. I’d argue that Moonlight – a three-act showpiece about a black man struggling with his sexual identity – was the only high-profile LGBT film that anyone heard of or saw this year (not counting the flagrant bromosexuality we enjoyed in Richard Linklater’s ode to short shorts, Everybody Wants Some!!) ![]() We weathered a dry spell this year at the cinema. The LGBT community clung on to TV boons like Transparent and Eyewitness and tirelessly quoted RuPaul’s Drag Race: All Stars 2 until their lipstick wore off. Factor those in, and this represents a “bonanza year” for black film, to use the AAFCA cofounder’s words, after the crustless Wonderbread 2015 brought us. There were also major box office returns for Ride Along 2 and Boo! A Madea Halloween. ![]() The African American Film Critics Association has proclaimed 2016 to be the “best year for black cinema”, thanks to late-year releases like Hidden Figures, Loving, Moonlight and Fences.
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