Ahead of the Curve
Franco Stevens, Melissa Etheridge, Jewelle Gomez, Lea DeLaria
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Told with humour, intelligence and an abundance of personality…
Mainstream success means more than financial reward for the people employed at fringe lesbian magazine Curve (formerly Deneuve): it means progress.
Curve magazine’s thirty-year history of championing lesbian voices is articulately explored in first time director Jen Rainin’s contemplative documentary, Ahead of the Curve.
The film follows the contribution made by founder and former Editor-in-chief Frances “Franco” Stevens. Her ambition is to advance lesbian representation in media, stemming from her frustration towards the suppression – if not erasure – of queer voices.
The film documents Stevens’ hardscrabble efforts to launch a publication – compounded by HIV/AIDs affected, Clinton-era “don’t ask, don’t tell’ America – intercut with interviews from colleagues (well-known participants including Melissa Etheridge and Lea DeLaria) and present-day efforts in understanding how the publication fits within wider queer media. These complexities are expressed as the side-effects of an overabundance of online queer content, a decaying magazine landscape, and Trumpian politics.
Where Ahead of the Curve finds its stride is in its comprehensive dissection of current lesbian identity. We learn through the eyes of the extremely personable Stevens who, despite being a pioneer in the advancement of lesbian visibility (her grounding based in the liberal attitudes of ‘90s San Fran), reflects on what female representation looks like within contemporary LGBTQ society.
This level of self-reflection allows Ahead of the Curve to comment on the present issues faced by queer identity: the terminology and use of language, particularly the divisiveness of the term lesbian. The film recognises the distinction (and overlap) between communities based on sexuality and gender. Their forever evolving definitions are revealing of a greater need for broader education on queer culture.
That said, the communities themselves are not without their destructive tendencies. The point made in the film is that by having these discussions, it hammers home the need for ongoing dialogue, and the importance in having safe spaces/outlets for communities to not only embrace their culture, but to preserve it.
Told with humour, intelligence and an abundance of personality, Ahead of the Curve posits that the spectrum of lesbian identity is greater than the product of its struggles. It is a stark reminder of the importance of visibility (particularly for women who remain under-represented at the best of times) in the fight for equality.