Why ‘Queer’ and ‘I Saw the TV Glow’ Are the Kind of LGBTQ+ Movies That Deserve Awards Attention
After “Emilia Pérez” led the Oscar nominations with an impressive 13 nominations, it’s clear the film is being celebrated as a landmark moment for queer — and specifically trans — storytelling in cinema.
Against the backdrop of a politically charged presidential election that saw Donald Trump re-elected, reigniting fears for trans and nonbinary individuals, the overwhelming recognition of “Emilia Pérez” feels like a defiant cultural statement. However, it’s disappointing that Academy voters made little room for other LGBTQ+ films in its 23 categories. Complex and daring projects such as Jane Schoenbrun’s psychological thriller “I Saw the TV Glow” and Luca Guadagnino’s romantic drama “Queer” were wholly overlooked.
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Daniel Craig, widely predicted to secure a best actor nomination for his role in “Queer,” was absent from the list of nominees. In the film, Craig portrays an American living in 1950s Mexico City who falls in love with a U.S. sailor. The British actor, best known for his iconic run as the spy James Bond, had been recognized by the Golden Globes, Critics Choice Awards, and Screen Actors Guild Awards for his performance. Despite this acclaim, both Craig and “Queer” were snubbed by the Academy. After seeing the film at the Toronto International Film Festival, I suspected its hypnotic and enigmatic third act might prove challenging for Oscar voters. Even so, the lack of acknowledgment for the film’s outstanding performances and stunning craftsmanship underscores a troubling pattern: voters’ reluctance to embrace complex queer narratives that defy traditional structures or resist easy answers.
Guadagnino is no stranger to the Oscars. His 2017 coming-of-age romance “Call Me by Your Name” earned four nominations, including best picture, and came with a win for James Ivory’s adapted screenplay. In “Queer,” Guadagnino and screenwriter Justin Kuritzkes took significant creative risks to honor the spirit of William S. Burroughs’ unfinished novel. While the film begins as a seemingly familiar love story reminiscent of “Call Me by Your Name,” it evolves into a mesmerizing, unsettling exploration of isolation and the disconnection queer individuals have historically felt from their own bodies. It boldly examines how older generations of queer men were denied the chance to love — either others or themselves — fully. In an industry that often overlooks the experiences of older LGBTQ+ individuals, “Queer” stands out as a unique contribution to the canon.
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Jane Schoenbrun’s “I Saw the TV Glow” faced its own uphill battle for recognition. The low-budget indie resonated profoundly with trans and nonbinary audiences, as evidenced by its popularity on platforms like TikTok, where fans have shared how the story helped them better understand and embrace their identities. The film even picked up some notable precursors, such as nominations at the Gotham and Independent Spirit Awards.
As a queer person myself, I found Schoenbrun’s sophomore feature profoundly affecting. It captures the experience of feeling seen through media and the internet while grappling with the pressure to conform to societal expectations. For many, including myself, films like this can be life-changing. The fact that “I Saw the TV Glow” failed to secure a single nom points to the Academy and the industry’s inability to connect with younger LGBTQ+ audiences and the stories that speak to them.
The film’s ending is undeniably devastating. However, it also offers a glimmer of hope, exploring the possibility of self-acceptance and the freedom of embracing one’s true self. Its most poignant line, “there is still time,” scrawled in chalk, serves as a potent reminder to trans viewers: no matter where you are in life, it’s never too late to make changes for your happiness. This message feels especially urgent at a time when the future for trans individuals feels increasingly precarious.
While “Queer” and “I Saw the TV Glow” may not have garnered Oscar nominations this year, I see hope that the industry will one day embrace bold, experimental queer storytelling. In the meantime, these films will continue to live on in their own right, finding devoted audiences and cementing the reputations of directors like Guadagnino and Schoenbrun as fearless storytellers worth following.
The Oscars will take place on March 2.
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