There is nearly no actual filmed sex up until the final moments of Go Fish. All of this works nearly seamlessly and builds perfectly in a romantic sense. Brodie) burgeoning relationship, which functions much like a Greek chorus, the screenplay (written by Troche and Turner) guides gently towards a dinner party that will hopefully force the two together. In between beautifully framed shots of four women’s heads, discussing Max and Ely’s (V.S. Their gentle ribbing of the romantically hopeless Max also feels true to their lived characters and never mean-spirited. Their interactions are passionate, funny, and genuine even without their connection to Max. Wendy McMillan) is Max’s roommate, but also in a relationship with Evy (Migdalia Melendez). They are never merely people in support of our leads.
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Alongside this, the numerous side characters are actively rooting for this, all while carrying on full lives and relationships. If one were to substitute genders and the way she describes this mystery person, it is not different than your standard heterosexual desire. The film opens with Max opining about how she will meet her dream girl, her soulmate. Sad? Definitely.īut the normalizing of lesbian love is arguably more important. These radical moments absolutely stand out even nearly 30 years later. Here, we are not only given differences in presentation but there is not a single woman who is uniformly attractive to all of the other women. Even in movies like Bound, the women are usually culturally acceptable versions of pretty. Think about how little we see this in mainstream (or even independent) film. Troche (who would also go on to be a repeat director of a similarly seminal queer television show in The L Word ), fills the screen with lesbian women of all shapes, sizes, backgrounds, and styles.
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The radical part of the movie is also startlingly simple.
Go Fish does a wonderful job of normalizing lesbian sexuality and somehow making it still feel radical. The film, among other small plots, focuses on Max’s quest for a girlfriend.
We follow Max (Guinevere Turner), who has gone nearly a year without having sex. But Go Fish has essentially a simple plot. In that way, and in the black and white filming, it is reminiscent of Spike Lee’s She’s Gotta Have It. I do not say this as purely an insult, one can see the talent, even with financial and performance limitations. Go Fish, directed by Rose Troche, is very clearly a first film. As a prime example, a film leaving The Criterion Channel this month, is 1994’s Go Fish, a seminal queer, but specifically lesbian, film that gives us exactly this reaction. This is mostly negative because it feels like we should have gotten past all of this puritanical nonsense. Sometimes, we see things made decades ago, and they still feel amazing. One is one of quaintness, as in, “Wow, can you believe this used to be shocking!” For reference, any film in which “the bad guy” wins, which used to be outlawed by The Hays Code. But when we watch an older film, it is a bit of a different experience. This could be about representation, sexuality, even nonlinear timelines. When we watch a new movie and see something we rarely see, it feels revolutionary.
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