Why 2018 was a major step forward for queer women in film... and wasn't it about time?
In LGBT cinema’s current boom, there is no shortage of stories portraying gay men living and loving openly. Between the evocative, Eighties-themed love story of Call Me By Your Name and the tender romance at the heart of God’s Own Country, there was no shortage of male love on the silver screen. But when you’re a queer woman, finding films that showcase female desire without a tragic backstory are incredibly hard to come by.
2018, however, was the year that broke the mold when it came to the inclusion and representation of queer women. Unlike the predictable plots and cautious portrayals of gay characters in the past, there’s been no shortage of richly nuanced queer love stories that reflect the real world we live in today. From forbidden love and biographical thrillers to musically-driven dramas, lesbian and bisexual women have finally arrived in film, and they’re not going anywhere soon.
The beginning of the year brought us indie hits that explored female desire on their own terms. Director Desiree Akhavan answered the call for a coming-of-age film about young queer female sexuality with The Miseducation of Cameron Post, an adaption of Emily M. Danforth’s 2012 novel, which follows the story of a teenage Cameron (Chloe Grace Moretz), who gets packed off to a gay conversion camp to receive therapy for her homosexual impulses. Meanwhile Becks, a moving drama about a smalltime musician who moves back in with her mother in St. Louis after a devastating breakup, gave us intimacy, compassion and a refreshing focus on self-love.

Everyone loves a period romance, and Vita & Virginia, a historical drama exploring the defining relationship between literary powerhouse Virginia Woolf (Elizabeth Debicki) and her lover, the writer and socialite Vita Sackville West (Gemma Arterton), gave us the queer biopic we’d all been waiting for. Making use of the pair’s passionate letters to one another, we caught a glimpse of what might have been between the iconic duo, as well as find out how their relationship inspired the creation of Orlando.
Of course, it was Sebastián Lelio’s Disobedience that set the queer community abuzz this year. Starring Rachel Weisz and Rachel McAdams as childhood friends and former lovers from the Orthodox Jewish community in North London, the film tells a story of a transgressive lesbian romance that cannot be contained by social, religious and cultural norms. Best of all, the ending isn’t plagued by tragic tropes, but is open to interpretation, breaking free from the familiar character arc that usually befalls the sapphically-inclined woman.
Incidentally, Rachel Weisz has a second show-stealing performance in The Favourite, which centres around the dysfunctional relationship between Lady Sarah (played by Weisz) and her long-lost cousin and new maid Abigail (Emma Stone), who squabble for the attentions of Queen Anne (Olivia Colman).
There’s still a long way to go, of course, before queer women get the cinematic attention they deserve. Female-oriented stories of queer love are still few and far between, as women remain disproportionately represented on the big screen. In 2016, the advocacy group GLAAD found that only 18% of 2016’s top films included LGBTQ characters, of which 83% were cis gay men. Last year, representation plummeted, with a pitiful 12.8% of mainstream films featuring LGBTQ characters.
Still, the new year is looking bright when it comes to queer love. Keira Knightley is starring in Colette, a lush literary drama of France’s most prolific woman writer. Directed by Wash Westmoreland, the biopic opens the window on Colette’s relationships with women, in particular her affair with Matilde de Morny, the gender nonconforming artist with whom she rejected the suffocating gender norms of their day.
From young women on the road to self-realisation, to fully-fledged stories of adult desire, the diverse roster of queer female films on offer this year shows that cinema may finally be changing for the better. After all, everyone deserves to see themselves reflected on screen – in hope, heartbreak, and happiness.












































