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The film provides the beginnings of such representation-and the self-aware assertion that this representation is itself an instrument of political change. Many of the subjects in “Word Is Out” discuss the lack of media representations of people like themselves, which contributed to their sense of isolation. It is simultaneously a presentation to the world at large about the lives of gay people and an affirmation, to gay people themselves, that there is a community out there with which they can identify.
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The movie itself is one such public action. people will have the same freedoms as straight people-and the public action that’s needed to fight for those changes.
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The subjects discuss these experiences and the breakthrough moments that led them to accept their sexuality, and, in the third part of their film, they imagine a society in which L.G.B.T.Q. Distilled from approximately two hundred interviews, it features twenty-six people, from college age to elderly, and from a variety of backgrounds and places, whose divergent lives converge around their common experiences of persecution and alienation as a result of being gay. It is a movie of a mighty complexity built from the simple premise of people talking about their lives. “Word Is Out” is widely considered to be the first feature film about gay people by gay people. One such crucial film, and a profoundly moving one, “Word Is Out,” from 1977, is now available to stream on Vimeo on Demand. This often lends them a distinctive artistic and even ethical urgency. The early generation of interview films (as in the extraordinary collection in the “Tell Me” series, on the Criterion Channel) have a built-in element of physical drama, of confrontation with the material, because they were shot on film. In France, Jean Rouch and Edgar Morin’s “ Chronicle of a Summer”-the primordial interview film-used it to turn talk into the heart of the action. In the United States, Robert Drew’s “ Primary” used such equipment to change the documentary filmmaker from an observer into an immersed participant in the onscreen action. It’s also a young subgenre it was born in 1960, when lightweight professional-quality synch-sound equipment had just been devised. Many documentaries denature interviews into sound bites, whereas ones featuring interviews centrally are like opéras vérité: their directors don’t merely record people speaking but set the spoken text to images as a composer does a libretto to music. It’s a subgenre unto itself, and a crucial one.
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With social distancing getting in the way of social life, I’ve found a particular pleasure in documentaries in which people talk at length.