Qu(e)eries: Why Don’t LGBT Movies Make Money At The Box Office Anymore?
Qu(e)eries: Why Don’t LGBT Movies Make Money At The Box Office Anymore?
Qu(e)eries: Why Don’t LGBT Movies Make Money At The Box Office Anymore?
Michael Haneke’s ‘Amour’ Dominates César Awards; ‘Argo’ Wins Best Foreign Film
Cesar Nominations Announced, ‘Camille Redouble’ Leads with 13, ‘Amour’ Gets 10, ‘Argo’ Nabs Foreign-Language Nod
In Theaters: It Will Be ‘Easy Money’ For ‘Ice Age’ And ‘Red Lights,’ But ‘Farewell, My Queen’ For ‘Trishna’
Diane Kruger On Being Marie Antoinette in ‘Farewell, My Queen,’ a Cannes Juror and Her Upcoming Role in ‘The Host’
Weekend Preview: ‘Trishna,’ ‘Farewell My Queen,’ ‘Alps’ & ‘The Imposter’ Join ‘Ice Age’ At the Box Office
Out This Week: 12 Reviews of New Indie Releases
Criticwire Picks: ‘The Imposter’ Sneaks to the Top
Review: ‘Farewell, My Queen’ Introduces Lesbianism Into The Marie Antoinette Story To No Great Effect
SFIFF 55 Update: From Jonathan Lethem to ‘Oslo, August 21st,’ ‘Queen of Versailles,’ ‘The Sheik and I’
San Francisco To Open With ‘Farewell, My Queen’
Watch: French NSFW Trailer & 2 Clips From ‘Farewell, My Queen’ Starring Diane Kruger & Lea Seydoux