Fire Island (2022) - IMDb

Not a Review of Kim Joel Booster's Fire Island

 

I am pagan. Therefore, I support the right to discriminate

As pagans, we understand the importance—not just the importance, but the value and, in fact, the cultural necessity—of any given self-selected group's right to exclude non-members while associating freely within itself: with the necessary proviso, of course, that such a right cannot be universal, but always (by necessity) time- and place-bound.

If this is so, then Kim Joel Booster's Fire Island may well be the most pagan movie of the summer.

 

Can't stand feel-good movies. Don't like rom-coms, especially gay ones. No big fan of Jane Austen, whom I really can't help but suspect would, if she weren't a woman, be read today only by English Lit grad students.

Here's what I really liked about this summer's gay feel-good rom-com, the newest iteration of the Pride and Prejudice franchise, though: with the exception of one nightmarish flashback scene, there are no straight people in the film. None.

A group of gay friends go to Gay Island for one last dizzying swirl of what passes for gay male “culture”, in all its shallow, abs-obsessed dysfunctionality.

Gods: how incredibly refreshing.

One lesbian. (Margaret Cho's character, though, is anything but token.) No straight characters. No (current media darlings that they are) trans characters. Not even any bisexuals. Just men for men telling our own story, for a change, with lots of gratuitous nudity, sex, and good-looking guys.

The Horned One be praised.

Not that I have nothing against trans folk, straight folk, or lesbians, mind you. Those stories, too, I value. It's just that everyone deserves a chance to talk about themselves every now and then. Enough about you: let's (finally) talk about me for a change, OK?

 

Apart from one throwaway line about “Judeo-Christian pathology”—and it does seem to me fair to blame the Abraham religions and their wretched scriptures for world homophobia, utterly fair—there's no overt religion in Fire Island at all.

But, at its heart, this is a movie all about tribe, and you really can't grok paganism—you can't even begin to grok paganism—until you get tribe.

So when—as it must—the opening strains of Donna Summer's “Last Dance” cue up in the final scene, you might as well just get up and surrender to the inevitable.

Every good pagan story, after all, must—of necessity—end in dance.