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High Art (1998)
When Syd, a young editor at an influential art magazine, becomes involved with her neighbor, a drug-addicted lesbian photographer, both seek to exploit each other for their respective careers while slowly falling in love with each other.
When Syd, a young editor at an influential art magazine, becomes involved with her neighbor, a drug-addicted lesbian photographer, both seek to exploit each other for their respective careers while slowly falling in love with each other.
The film's central narrative explicitly promotes progressive ideology by centering a queer romance, critiquing the commercial art world, and validating counter-cultural, bohemian lifestyles.
The movie features a predominantly white main cast without explicit race or gender swaps of traditionally white roles. However, its narrative is explicitly centered on lesbian relationships, exploring themes of identity and unconventional lives within the art world, which provides a strong and explicit focus on DEI themes.
High Art provides an affirming portrayal of lesbian characters and relationships. The central romance is depicted with dignity, complexity, and emotional depth, validating the worth of their queer identities and love. While addressing themes of addiction and tragedy, these are external forces, and the narrative consistently respects the characters' experiences.
The film "High Art" features Greta, a transsexual woman, as a supporting character. Her portrayal is dignified and complex, integrated naturally into the narrative without her identity being a source of mockery or central conflict. The film treats Greta with respect, affirming the worth of her character within the story's bohemian setting.
The movie does not contain any action or adventure elements.
High Art is an original film with characters created specifically for this production. There is no prior source material, historical record, or previous installment from which a character's gender could have been established and subsequently swapped.
High Art is an original film from 1998, not an adaptation of pre-existing material or a biopic. Its characters were created for this specific production, thus lacking any prior canonical or historical racial establishment to be altered.
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