Timé Zoppé, speaking in an interview, expressed a desire for queer-gaze cinema to expand into unexpected subjects, stating he would love to see a film about architecture made by a queer person where that identity is not the central theme.
The Bottom Line
- Timé Zoppé highlighted the lack of contemporary queer representation directed by women and trans filmmakers.
- He pointed to historical cinematic references including underground 1970s musicals and works by directors like Gregg Araki and John Waters.
- The critique follows recent debates around independent queer cinema visibility and representation issues, notably surrounding the 2026 release of Jim Queen.
The Cinematic Roots of a Queer Imagination
In the interview, Zoppé reflected on his early exposure to queer aesthetics through cinema. Growing up in a family centered around Spanish culture and the films of Pedro Almodóvar, he absorbed foundational performances by actors like Rossy de Palma, Carmen Maura, and Victoria Abril.
His tastes later gravitated toward suggestion and subversion within mainstream and independent spaces. He cited Roger Kumble’s 1999 teen drama Sexe Intentions and Gus Van Sant’s 2003 Elephant as early examples of how cinema used unspoken tension and fractured taboos to signal queer desire.
By adolescence, access to independent and arthouse hubs in Toulouse allowed Zoppé to engage with radical, saturated, and pop-infused works. He frequented screenings of films by Bruce LaBruce, John Waters, and Gregg Araki, shaping an aesthetic preference for camp, outrance, and high-energy musical counter-narratives like Brian De Palma’s 1974 cult classic Phantom of the Paradise and Jim Sharman’s 1975 feature The Rocky Horror Picture Show.
From Cabaret Stages to Independent Film Realities
That affinity for camp and theatrical excess eventually led Zoppé to Paris’s historic cabaret scene, specifically Madame Arthur. Operating since 1946 as a pioneering venue for trans and travesty performance, the space reinforced his view that shedding gender taboos opens up infinite artistic exploration.
However, Zoppé contrasted that creative freedom with the current economic and structural realities facing independent filmmaking. He pointed to the difficulties of visibility for diverse stories, noting that major queer releases frequently remain dominated by cisgender, white male creators. He specifically referenced the debates surrounding Nicolas Athané and Marco Nguyen’s 2026 feature Jim Queen, which faced criticism from viewers over representation gaps and tropes.
The Demand for Expanded Perspectives
As an adult and partner to a trans woman, Zoppé noted a persistent void in contemporary screen narratives. Pointing to Xavier Dolan’s 2012 drama Laurence Anyways as a rare example of complex trans storytelling on screen, he emphasized that audiences are still waiting for a broader wave of narratives helmed by women and trans creators.
Rather than confining queer storytelling strictly to coming-out narratives or trauma plots, Zoppé advocated for a pervasive queer gaze applied across every genre and subject. Referencing the multidisciplinary lens found in the archives of Waters and Araki, he argued for artistic curiosity directed at external structures, reiterating his wish for a feature film centered on architecture approached entirely through a distinct queer perspective.
| Film / Reference | Director | Release Year | Context in Zoppé’s Upbringing |
|---|---|---|---|
| Phantom of the Paradise | Brian De Palma | 1974 | Late-adolescent musical touchstone |
| The Rocky Horror Picture Show | Jim Sharman | 1975 | Underground classic shared among peers |
| Sexe Intentions | Roger Kumble | 1999 | Exploration of suggestion and subtext |
| Elephant | Gus Van Sant | 2003 | Subversion of youth taboos |
