Lisa Cholodenko is one of the more radical visionaries working in American indie cinema today. So it's a shame her voice is often drowned out in a world in which loud-and-proud LGBT films and characters are aplenty, but nuanced, flesh-and-blood protagonists that just so happen to be gay or bisexual are few and far between. From “High Art” to “Laurel Canyon” to her latest “The Kids Are All Right,” Cholodenko has proven herself more like a documentary filmmaker, painstakingly trying to present people on screen as they really are—complicated and messy, forever defying labels and bouncing out of boxes—as opposed to how we wish them to be or how they present themselves. Which, of course, is a damn hard sell.
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