Examining the Popularity of Lesbian Period Dramas: A Peek Beyond Carol

Spoilers

Since Carol received six nominations at the 88th Academy Awards, there has been a noticeable increase in the number of lesbian period dramas on screen. The list below is an illustration of the growing popularity of this genre thereafter: The Handmaiden (2016), Colette (2018), The Favourite (2018), Lizzie (2018), Tell It to the Bees (2018), Vita & Virginia (2018), Wild Nights with Emily (2018), Elisa y Marcela (2019), Portrait of a Lady on Fire (2019), Summerland (2020), Ammonite (2020), The World to Come (2020), and Benedetta (2021)…


The trend has confused audience. A common question is - why in recent years does the genre start to gain steam, especially after long obscurity? The rise in number has led to the exposure of problems, as evidenced in criticisms against the clichés in such films.

In 2021, Saturday Night Live (SNL) put out a sketch titled "Lesbian Period Drama." This sketch stars Carey Mulligan, Heidi Gardner, and lesbian comedian Kate McKinnon, parodying the trailer for the film Ammonite and billing itself as a new movie by the creators of Portrait of a Lady on Fire and The Favourite. It includes all the classic elements and scenes from those films: two women living in a conservative environment in 19th century England, subtle romantic tension, intense gazes and moments of silence, a two-hour runtime with minimal dialogue, tasteful sex scenes, and straight actors playing lesbians. The sketch humorously showcases the common elements of lesbian period dramas, prompting us to consider the shared challenges faced by these works and the reasons behind their recent popularity in the midst of our laughter.

If you've viewed any of the lesbian period dramas mentioned above, the SNL sketch may strike a chord with you. As someone who has seen each and every one of these films as a queer moviegoer, I'd like to sum up what I've observed: most of the stories are set in a time when women had to wear corsets and petticoats, featuring mainly beautiful white women as the leading characters. The pacing of the tales tends to be slow, and the scenes of confession, kissing, or lovemaking between the main characters are exceptionally romantic. Worth noting, almost every lesbian period drama ends in tragedy. Almost every one, with very few exceptions.

In a way, the abundance of lesbian period dramas and their comparable styles and narratives can be seen as interconnected factors. Creators have turned their attention to the past, trying to reshape history by telling stories of suppressed and erased lives of lesbians. These works also aim to give voice to queer people living in the present day. However, one thorny issue remains: while adopting contemporary narratives, these works do not tell contemporary stories. This mismatch limits their authenticity and complexity, making them more of an aesthetic breakthrough for contemporary audiences, especially queer viewers, rather than a bold attempt to claim political discourse. Although there are exceptions, a few instances are not enough.

Some lesbian period dramas use voiceover to present characters' written documents, such as diaries and letters, in order to give female characters a voice in the film. For instance, HBO's hit series Gentleman Jack is even adapted from the diaries of its prototype character, Anne Lister. While viewed as conservative and outdated by some critics, this form of expression is in line with the aesthetic and political demands of lesbian period dramas.

In The World to Come, the diary of the protagonist Abigail (Katherine Waterston) is used throughout the film to allow the audience to hear her thoughts directly. The film also emphasizes Abigail's questioning of why women's lives have never been accurately recorded in her diary. This expression no longer addresses the oppression and silencing faced solely by lesbians, but rather speaks to the difficulties haunting all women. Making past women visible and heard as well as making all women heard is the goal and innovation that lesbian period dramas and other queer feminist films are working towards together.

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The World to Come

However, we also see compromises and concessions in many lesbian period dramas. If a film hopes to win the favor of major studios and achieve commercial success, it must satisfy not only the Queer community but also mainstream viewers. As a result, the stories that lesbian period dramas choose to tell undermine their resistance and presence to some extent.

Queer theorist Sara Ahmed has explored how, in the 1950s, queer fiction or film could not be published unless it featured an unhappy ending. This was due to the fear that these works might risk promoting homosexuality as "good" or "desirable." In recent years, most lesbian period dramas have ended tragically. However, this cannot be simply explained as the "Bury Your Gays" trope (a trope in which LGBT characters are often killed off). When many audiences today witness the pain and struggles experienced by queer women in the past, they not only feel strong empathy but also a sense that "queer women today no longer have to face these difficulties." This potential feeling, to some extent, masks the complexity of the problems and realities faced by contemporary queer women.

Within the historical context of lesbian period dramas, it can seem like love between women is doomed from the start. After all, they face a double discrimination based on both gender and sexual orientation that can be hard to resist. However, real life is not always so bleak. In the movie Elisa y Marcela, which is based on a true story, we see how Elisa and Marcela became the first same-sex couple to legally marry in Spain in 1901 since the Roman Imperial era. They had to fight hard for their love, but they eventually succeeded. The film not only portrays their romantic relationship but also their brave struggle. It also shows how society can become more accepting and tolerant of the queer community over time. Although reality can be complex and difficult, it is thanks to the efforts of every queer person and supporter that we have come this far today.

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Elisa y Marcela

Finally, it has to be pointed out that lesbian period dramas often depict female characters in a limited way: portrayed as beautiful, white women ensconced in corsets and dresses. Additionally, these roles are frequently played by heterosexual actors. This casting choice perpetuates the film industry's stereotypical understanding of female images and symbols and the sex scenes often reinforces the exploitation of women. Unfortunately, our society is still a patriarchal one prone to objectifying women on the big screen. Even lesbian films are not immune to this prevalence. In this case, the top priority must be the awakening and transformation of female creators, female narrators, and all women.

It is important for creators to continue pushing the boundaries and exploring new stories and perspectives. Greater representation of lesbian films in theaters, including period pieces and contemporary films, is needed to showcase the lives of queer women in all their diversity. The protagonists can be of any skin color or ethnicity, and the stories can take place in any time or space. We need more films like Everything Everywhere All at Once (2022), Happiest Season (2020), The Half of It (2020), Ek Ladki Ko Dekha Toh Aisa Laga (2019), and The Perfection (2018) to break the mold and tell new and authentic stories. With more voices and perspectives, we can continue to expand the boundaries of representation and visibility for the queer community, and work towards a future where all voices are heard and celebrated.

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