"BOUND is one of those movies that works you up, wrings you out and leaves you gasping. It's pure cinema, spread over several genres. It's a caper movie, a gangster movie, a sex movie and a slapstick comedy."
"Some caper movies build suspense, while others tweak the genre with tongue lancing cheek. But this lesbian caper pic often pulls off both feats in the same scene, even simultaneously."
"BOUND is a fascinating hybrid - Playboy Channel thriller meets feminist lesbian love story. Without pandering, it attempts to get just about everybody off."
-SAN FRANCISCO EXAMINER
A stellar debut by directors Lana and Lilly Wachowski, BOUND queers film noir in a way that made waves upon its mid-nineties premiere. After a wave of sexy thrillers in this period, BOUND stands out in its subversion of both masculinity and femininity through the duo of Violet (Jennifer Tilly) and Corky (Gina Gershon). Corky, an ex-con, gets a job as a handyman and catches the eye of Violet, while she fixes a leak in Violet's boyfriend's apartment. An erotic connection between the women develop and they plot a heist and escape to live happily ever after. With BOUND, the Wachowskis update the common tropes of film noir and craft a thrilling queer crime classic.
Live performance by Ded Cooter and Opulence. Introduction TBD.
SEX. VIOLENCE. WHATEVER. is the new series from Flaming Classics and it explores a sliver of 90s American queer cinema. The series zeros in on the nexus of a unique moment in which the New Queer Cinema, as identified by B. Ruby Rich, is coalescing while simultaneously affecting Hollywood Cinema with a new level of prestige and exposure. Moving beyond camp and queer themes, these films are united by a more radicalized queerness in which characters reject heteronormative and patriarchal culture through sexuality, violence, and whatever means necessary. These films revolve around characters who have been restrained and repressed; they are filled with angst, rage, and revolution. The films, during their original release, were mired in debates over positive and negative forms of representation and we are excited to revisit these queer classics with new eyes and evaluate them outside of the binary of good and bad.