“Call it Homo Pomo: there are traces in [New queer cinema movies] of appropriation and pastiche, irony, as well as a reworking of history with social constructionism very much in mind. Definately breaking with older humanist approaches and the films and tapes that accompanied identity politics, these works are irrelevant, energetic, alternately minimalist and excessive. Above all, they’re full of pleasure.” (Rich 1992)

Mark Adnum argues, that the “that the films of “New Queer Cinema” were generally misread. I will read two films from the period not as defiant and coherent queer responses against the visceral and cultural traumas of the AIDS crisis, but as passive pieces of shrapnel from the epidemic, HIV-positive cinema.” [ link ]