Queer on Cinema

Queer on Cinema Writing about everything cinematic from my heart, for your mind and soul!

Some films leave us with unforgettable stories, with images that quietly stay with us for the rest of our lives.This fra...
19/07/2026

Some films leave us with unforgettable stories, with images that quietly stay with us for the rest of our lives.

This frame from Jurassic Park has always been one of those images for me.

It's this moment. A paleontologist who has spent a lifetime digging up and imagining dinosaurs suddenly finds himself standing before the impossible. There is no dialogue that could improve upon what Sam Neill conveys here. His face alone carries disbelief, humility, joy, and the childlike wonder of seeing a dream made flesh.

That, to me, is one of cinema's greatest gifts. It reminds us that wonder is not something we outgrow.

Spielberg's direction, John Williams' unforgettable score, and groundbreaking visual effects all come together to create one of the most iconic sequences in film history. Yet none of it would resonate as deeply without Sam Neill's extraordinary restraint. He doesn't ask us to marvel at the dinosaurs; he simply shows us what genuine awe looks like. Through Alan Grant, we become children again.

I've loved this image for years, and after Sam's death I felt compelled to paint it. Not because I wanted to recreate a film still, but because I wanted to spend more time with the feeling it evoked in me when I witnessed it for the first time at Jyoti Cinema when my Dad took me and siblings out. To see a Brachiosaurus on 35 mm was everything for a three year old me.

That's what great films do. They don't end when the credits roll. They linger. They shape our imagination, and quietly become a part of us.

This painting is my small tribute to Sam Neill, whose performance reminded us that curiosity is perhaps our greatest human instinct, and that even as adults, we should never lose our capacity to stand before the impossible with our eyes wide open.

Some actors give us memorable performances.

The rare ones teach us how to look at the world.

Goodbye Oldman, you will be sorely missed!

[Sam Neill, Jurassic Park, Alan Grant, Steven Spielberg, John Williams, Cinematic Wonder, Film Still, Acrylic Painting, Cinema Inspired Art, Cinephilia, Visual Storytelling, Movie Tribute, Q***r On Cinema, Childhood]

***rOnCinema

27/05/2026

It’s been a while since I watched Main Actor Nahin Hoon, but I still haven’t been able to stop thinking about it.

It is one of those films that leaves a lasting impression on you.

It shattered me and healed me at the same time.

I don’t remember the last time I watched a Hindi film that moved me this deeply.

The film feels like a soothing balm, carrying an emotional depth and tenderness that is rarely seen in today’s cinema.

It is the literal definition of picking up the broken pieces of your heart, nurturing them, and teaching them how to love/trust again.

Hats off to for such a heartfelt, deeply moving performance. She brings so much warmth, vulnerability, and honesty to the role that it stays with you long after the film ends.

And kudos to ._siddiqui Sir for yet another wonderfully restrained and sincere performance.

Thank you so much for crafting a film with such immense empathy, sensitivity, and emotional wisdom.



(Please excuse my visible autism)

Keywords:

[Main Actor Nahin Hoon, Hindi Cinema, Indian Independent Cinema, Q***r On Cinema, Film Analysis, Film Review, Therapeutic Cinema, Emotional Storytelling, Humanistic Cinema, Performance Analysis, Chitrangada Satarupa, Nawazuddin Siddiqui, Aditya Kripalani, Art And Sacrifice, Cinema And Healing, Character Study, Vulnerable Performances, Contemporary Indian Cinema, Cinephile Community, Meaningful Cinema]

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***rOnCinema

17/04/2026

*This clip is used under fair use for the purpose of critique and analysis.*

I am watching The Hunchback of Notre Dame for the first time. And this film is totally goated. The scale at which this was made, the cast, the animation; is absolutely astounding.

The film is beautifully tender. And watching Quasimodo singing 'Out There' is especially heartbreaking. You can actually feel the pain and longing he feels to be amidst people in his voice.

This song however is not just about wanting to step outside, it is about the ache of wanting to exist in a world that has already decided you don’t belong. And if you look at it through a q***r lens, this longing feels deeply familiar.

“Out There” sets up the conflict between desire and control, between Quasimodo’s yearning for the world and Frollo’s insistence on shame and concealment.

Read q***rly, this becomes a story about being taught to fear yourself, to internalize the gaze of others, that watches, judges, restricts and otherizes you. The outside world is not just a place, it is a possibility denied.

The desire to be seen, to be held in public, to take up space without fear is what every q***r kid dreams of. And what is framed as difference here, echoes the quiet isolation many of us Neuro-q***r kids grow up carrying within us, our disabilities preventing us from being amongst people/public.

To yearn so deeply for a world that has only ever looked away from you… and still choose to love it, that takes immense courage. Thus, Quasimodo singing this song isn’t just a wish, it’s an act of quiet defiance, of hope blooming where it was never meant or allowed to.

***All rights to the original material belong to its respective copyright holders, including The Walt Disney Company.***

Keywords:

[Q***r Longing, Hidden Desire, Belonging And Shame, Surveillance And Control, Q***r Subtext, Animated Cinema, Emotional Isolation, Desire For Freedom, Cinematic Otherness, Repression And Expression, Q***r Gaze, Film Analysis, Character Study, Visual Storytelling, Inner Versus Outer World, Marginalized Bodies, Public Visibility, Narrative Through Song]

***rOnCinema ***rReading #

22/02/2026

I never was a SRK fan and I never will be one but Dil Se is iconic AF and has been on my watchlist since forever. Tonight is a Dil Se kind of movie night!

Keywords

[Dil Se As Political Romance, Love And Terror, Obsession And Desire, Nation And Alienation, Cinema Of Longing, Revolutionary Womanhood, Unstable Masculinity, Q***r on Cinema, Radical Hindi Cinema, Borderland Emotions, Melancholic Love, Desire Against Power, Poetics Of Conflict, Sonic Politics, Bodies And Borders, Cinema Of Excess, Romantic Fatalism, Unresolved Endings, Love As Resistance, Affective Cinema]


***rWaysOfSeeing

09/02/2026

Eva Green was only 25 years old when she played Princess Sibylla in Ridley Scott's 2005 historical epic Kingdom of Heaven.

Sibylla was the eldest daughter of King Amalric I and sister to the "l***r king" Baldwin IV. She inherited the throne of Jerusalem in 1186, before it was surrendered to Salauddin.

Historically, she is described as being devoted to her husband but modern Historians have reasonable doubt to claim that she was her own woman. 

Green's Sibylla is a complex, conflicted royal caught between political intrigue of the Crusades. While her role was chopped up in the theatrical cut, the Director's Cut - Roadshow Version restores her scenes, giving the audience the full-view of her arc as a lover, mother and her distress over her brother's leprosy and her son's unfortunate fate.

In the film she is depicted wearing a mix of French and Levantine clothing. It is highly plausible that a Crusader noblewoman in the 1180s would have adopted so called Eastern fashions and customs, such as applying henna or wearing Levantine apparel.

I could personally watch 3 hours of just Eva Green eating, drinking and licking her fingers.

Keywords:

[Eva Green, Kingdom Of Heaven, Princess Sibylla, Ridley Scott Epic, Director’s Cut Roadshow, Crusades, Jerusalem, Baldwin The L***r King, Saladin, Medieval Political Intrigue, Complex Female Protagonist, Motherhood And Power, Grief And Devotion, Levantine Fashion, Historical Plausibility, Women Of The Crusades, Restored Character Arc, Visual Storytelling, Q***r Gaze Cinema, Film History Appreciation]

***roncinema

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