As college students, we are all short on time. I often find myself hovering, about to start a movie, only to convince myself that I have other things to do instead — a thesis to write, friends to see, laundry to do. But when I do carve out the time to watch a film, I almost always come away with something new, something that expands my view on things and makes sacrificing those two extra hours in the library more than worth it.
If you’re overwhelmed like me but still want to fit a film into your daily routine, this list is for you. The following films are all 90 minutes or less, promising a brief but worthwhile viewing experience.
“Paris is Burning” (1990)
“Paris Is Burning” is a groundbreaking documentary that offers a vibrant portrayal of the African American and Latinx drag-ball scene in Harlem during the 1980s. Filmed over seven years, it provides a close-up view of this dynamic subculture, focusing on the competitive yet supportive environment of rival fashion ‘houses’ within the drag-ball scene. Director Jennie Livingston explores the intense competitions for trophies and the role of house mothers who provide crucial support in a world marked by homophobia, transphobia, racism, AIDS and poverty.
Featuring legendary figures such as voguers, drag queens and trans women like Willi Ninja, Pepper LaBeija, Dorian Corey and Venus Xtravaganza, “Paris Is Burning” celebrates the art of voguing, the power of creative expression and the importance of community. The film is a time capsule for a rich, distinctive moment in New York City’s cultural history.
“Tomboy” (2018)
Céline Sciamma’s second feature, “Tomboy,” is an intimate and moving exploration of childhood gender nonconformity. The film follows the story of ten-year-old Laure (Zoé Héran) who relocates to the suburbs and decides to present as a boy named Mikael when interacting with the local children. Mikael catches the attention of the group’s leader, Lisa (Jeanne Disson), who is taken with the new arrival. The film unfolds as Laure/Mikael learns to code-switch between their life at home with family and their interactions with neighborhood friends, including an innocent, childish romance with Lisa.
“Tomboy” reminds me of the unself-conscious, non-judgmental ease with which bonds are formed as children. Mikael’s initial nerves keep them on the edge of the group, but as soon as they realize that the other boys think nothing of their presence, they find themself easily assimilated into the pack of kids. As we grow older, particularly during our teenage years, friendships become far more contentious; guards go up, walls are built and identity is often sacrificed for the sake of fitting in. The ease with which Mikael finds themself accepted by their new friends enables them to feel more confident in their gender expression, casting off their shirt during a game of football and any sense of doubt in their place in the world with it.
“From the vibrant drag-ball scene of 1980s Harlem in “Paris is Burning” to the pulsating rhythms of reggae in “Lover’s Rock,” these films are testaments to the idea that sometimes, less is more.”
“Lover’s Rock” (2020)
Filled with the intoxicating sounds of reggae, dub and Lovers Rock, the second film in Steve McQueen’s “Small Axe” series unfolds over the course of one night into dawn in early-1980s West London, as a young woman (Amarah-Jae St. Aubyn) sneaks out to attend a house party. As rhythms pulse from a homemade sound system, romance sparks on the dance floor, and the house, for a moment, provides a sanctuary from the outside world. Aided by the sensual cinematography of Shabier Kirchner, McQueen shows us an exhilarating moment of Black joy amidst the backdrop of a society historically bent on stifling it.
“Beau Travail” (1990)
In her visually arresting adaptation of Herman Melville’s “Billy Budd, Sailor,” French director Claire Denis solidifies her position as one of the greatest living directors and possibly my favorite of all time. Against the backdrop of Djibouti’s deep blue waters and sun-drenched desert landscapes, the film follows a French Foreign Legion sergeant (Denis Lavant) whose infatuation with a striking young recruit (Grégoire Colin) unfolds over the course of their training.
Denis, alongside cinematographer Agnès Godard, weaves together themes of military and masculine codes of honor, the lingering impact of colonialism, destructive jealousy and repressed desire. These are brought to life through stunning and hypnotic imagery, culminating in one of the most remarkable and unforgettable endings in contemporary cinema.
“Stop Making Sense” (1984)
Rounding out this list is another documentary — Jonathan Demme’s “Stop Making Sense.” In this concert film at the Hollywood Pantages Theatre in 1983, Demme skillfully captures the dynamic energy and artistry of the band Talking Heads. The film begins with the band’s frontman, David Byrne, appearing solo on an empty stage with just an acoustic guitar. As the performance unfolds, he is gradually joined by bassist Tina Weymouth, drummer Chris Frantz, keyboardist Jerry Harrison and a group of backup singers. Together, they deliver renditions of the band’s popular hits, culminating in a memorable performance featuring Byrne donning an oversized suit. Whether or not you are a Talking Heads fan, it is hard not to find joy in this film. Byrne’s performance alone is a full movie in itself.
From the vibrant drag-ball scene of 1980s Harlem in “Paris is Burning” to the pulsating rhythms of reggae in “Lover’s Rock,” these films are testaments to the idea that sometimes, less is more.
Hannah Eliot SC ’24 is from San Francisco, California. She likes to surf and is always looking for more films to watch.
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