{"id":662,"date":"2026-05-25T18:05:24","date_gmt":"2026-05-25T18:05:24","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=662"},"modified":"2026-05-25T18:05:24","modified_gmt":"2026-05-25T18:05:24","slug":"ira-sachs-on-the-man-i-love-queer-cinema-in-the-age-of-trump-and-casting-straight-actors-in-gay-roles-i-dont-ask-people-who-theyve-slept-with","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=662","title":{"rendered":"Ira Sachs on \u2018The Man I Love,\u2019 Queer Cinema in the Age of Trump and Casting Straight Actors in Gay Roles: \u2018I Don\u2019t Ask People Who They\u2019ve Slept With\u2019"},"content":{"rendered":"
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\n\tFor four decades, Ira Sachs has chronicled queer life in New York, shining a light on the artists and iconoclasts whose work gives the city such a vibrant, transgressive edge. <\/p>\n

Read more How to Watch the 2026 American Music Awards Live Online<\/a><\/p>\n

\n\t\u201cThe Man I Love,\u201d which Sachs describes as one of his most personal films, adds to the canon. Set in the 1980s at the height of the AIDS crisis, it follows Jimmy George, a downtown performer who is dying of the virus but desperate to take on one final role. The 60-year-old Sachs drew on his own experiences starting out in theater and film at that time to shape the story.<\/p>\n

\n\t\u201cI moved to New York in 1988, and the city was both dark and also full of life,\u201d Sachs says. \u201cPeople knew they could be next; death was all around them. But it led to this explosion of creativity. And this film is about what it means to live a creative life and what it means to work, which is what most of my films are about.\u201d<\/p>\n

\n\t\u201cThe Man I Love\u201d premiered at this year\u2019s Cannes Film Festival, where Sachs\u2019 direction, as well as the central performance of Rami Malek as Jimmy earned some of the strongest reviews of their careers. Sachs spoke with Variety <\/em>during the production of \u201cThe Man I Love,\u201d as well as on the eve of its premiere. <\/p>\n

\n\t\tWhen it was announced, \u201cThe Man I Love\u201d was described as a musical fantasy. Is that how you describe the finished film?\t<\/h5>\n

\n\tThat\u2019s not the movie I made. <\/p>\n

\n\t\tWas that the movie you set out to make?\t<\/h5>\n

\n\tThere was one fantasy scene that didn\u2019t make it in the film. Ultimately it became a drama with a lot of music in it. One of the producers I worked with said they\u2019d never seen a film transformed throughout the process of making it the way this is. That doesn\u2019t make any sense to me, because all my films feel like that \u2014 they\u2019re all in process until they\u2019re completed, and so they sort of define themselves. The first short that I made, \u201cLady,\u201d was abstract, and someone asked me when I started, \u201cWhat do you want it to be?\u201d And I said, \u201cI only know what it is when I see it complete. It reveals itself.\u201d<\/p>\n

\n\t\t Is \u201cThe Man I Love\u201d drawn from your own life?\t<\/h5>\n

\n\tWhen I started the film, I thought I was making a biography, but I ended up making an autobiography. It\u2019s very personal.<\/p>\n

\n\t\tWho is your surrogate? Rami\u2019s character Jimmy George or the men who orbit him: Dennis (Tom Sturridge) or Vincent (Luther Ford)?\t<\/h5>\n

\n\tWell, I\u2019m still alive, so I\u2019m not Jimmy. I could say Vincent. To an extent, the film is about survival. It\u2019s also about memory. It comes from a place that is very much out of my experience, having known people and been connected to people and have been in love with people who had a terrible illness. I had a boyfriend who had AIDS, and I lived in a time in which AIDS was not just present, but it created an intense atmosphere of both dread and possibility in New York. I made a film that\u2019s a testament to creativity as a form of survival. Art and art-making are so vital to life and to breathing. In that way, I connect very much to Jimmy.<\/p>\n

\n\t\tIn what ways were \u201980s New York a time of possibility? I look at the death toll from AIDS and it seems like a scary, almost apocalyptic time to be a gay man.\t<\/h5>\n

\n\tIt was, but also there was so much creativity. I arrived in the city as a youthful person, so everything lay in front of me. Our intention was to make a film that was testament to the fact that one lives until the very end. One doesn\u2019t die actively, one lives actively, and so what is life? When I first described this film to someone, I was probably in my early 50s, and I said it\u2019s about what do you do with the time left. This is a compressed, dramatic version of that intellectual exercise, as well as a specific one, because it shows the horrors of the AIDS epidemic. But there was such an artistic flourishing that came out of the East Village in the \u201970s and \u201980s. I\u2019m still running on the fumes of that time. I\u2019m so grateful to have been part of it.<\/p>\n

\n\t\tDo people think enough about that era? It feels like some parts of the gay community have kind of memory-holed it, because there\u2019s Prep now and AIDS in this country isn\u2019t as much of a public health crisis.\t<\/h5>\n

\n\tHistorical amnesia is prevalent and not specific to gay people. It\u2019s like that line about war \u2014 the winners are the ones you remember. The ones you hear about with AIDS are often the ones who lived. A lot of people disappeared who I knew that time in an intimate way. There are fewer and fewer of us left who can tell that story.<\/p>\n

\n\t\tOne of my favorite parts of the film is when Jimmy goes back to his hometown for his parents\u2019 anniversary party. He looks so uncomfortable in his suit \u2014 like a fish out of water. It\u2019s so striking because he basically struts through New York City. \t<\/h5>\n

\n\tThere\u2019s often this great divide between the person you become and the person you were; the family you create for yourself and the one you come from. Sometimes if you\u2019re in a room full of people in New York City, your contemporaries, and you imagined everyone\u2019s grandmother on their left side, and you imagine all those grandmothers around the table, what an odd assortment of people would be there. None of them would have any connection to each other. When I think of my own friends, we all were transformed by our arrival to New York. It molded us.<\/p>\n

\n\t\tWhat made you think of Rami Malek to play Jimmy?\t<\/h5>\n

\n\tFrom \u2018Mr. Robot.\u201d In that series, he had this very natural, easy kind of acting in which I couldn\u2019t see the beginnings and ends of his sentences, and I was curious about it. He\u2019s also such a unique presence. Rami is a star, and he has something magnetic that allows him to hold a movie together.<\/p>\n

Read more Queen Latifah on Hosting the American Music Awards, Releasing New Music This Year and Being a Taylor Swift Fan: \u2018She Makes Really Great, Catchy Songs That We Love\u2019<\/a><\/p>\n

\n\t\tJimmy performs several musical numbers. What was it like to shoot those?\t<\/h5>\n

\n\tI\u2019ve made movies with quite a bit of music, but I\u2019ve never met a movie where the protagonist actually performs on that scale. What I like about the musical scenes is they become scenes of dialogue. They become conversations between Rami and the other actors, and between Jimmy and his boyfriend and his lover and his mother and his sister and his nephew. They became forms of language.<\/p>\n

\n\t\tRami Malek and Tom Sturridge are straight, but they are playing gay roles. Do you have any issue with straight actors playing gay parts?\t<\/h5>\n

\n\tI don\u2019t ask people who they\u2019ve slept with, and what I have found out is you never know.<\/p>\n

\n\t\t\u201cThe Man I Love\u201d is your second time having a film in Cannes. What does that mean to you?\t<\/h5>\n

\n\tI\u2019m an American who has watched and digested and considered primarily European cinema as my precursors and my mentors and my educators. I\u2019ve been very engaged with the language of European cinema and its connection to naturalism. American cinema has traditionally been rooted in theatrical transformation. I think my approach to finding the truth of something is more through discovering its essence than engaging in transformation.<\/p>\n

\n\t\tDo you read reviews of your work?\t<\/h5>\n

\n\tI do read reviews, but I read them less intently as I get older.<\/p>\n

\n\t\tWhen you do read them, do you fixate more on the positive ones or the negative ones?\t<\/h5>\n

\n\tThe positive reviews have the potential to affect you more deeply. The negative reviews get under your skin and make you want to fight back. John Kander of Kander & Ebb is a cousin. He was opening a show, and I sent him an email saying \u201cbreak a leg.\u201d He\u2019s 35 years older than I am, which means he sits in a position of mentorship, and he said \u201cthe terror never leaves you.\u201d I found it very comforting that the man who wrote \u201cCabaret\u201d and \u201cChicago\u201d and all these great works still gets scared, because I still get scared when I\u2019m starting something new.<\/p>\n

\n\t\tYou make very personal, indie films that defy easy categorization. Is it hard for you to get the money to produce them?\t<\/h5>\n

\n\tI\u2019m a hustler. I take money seriously. I don\u2019t belittle money. I don\u2019t expect a lot of money, but I work closely with my producers who understand what I need, and then they give me the range in which that will be possible. I would never go below that range, but I would never spend above it either. I had to understand that Hollywood offered me next to nothing. I had to work in a different system. In 2012, I worked briefly on some studio things, but I quickly understood that it was not for me, and I was not for them.<\/p>\n

\n\t\tWhat wasn\u2019t for you about Hollywood?\t<\/h5>\n

\n\tA lot of people operated in extraordinary ways under the studio system, so it\u2019s not that great work can\u2019t be produced in it. But if I\u2019m going to do something, it can\u2019t be in a corporate system. Also, major studios don\u2019t make the kinds of movies that I make \u2014 non-genre driven, domestic dramas that are about queer people. They literally don\u2019t make those stories. And my work is inherently political.<\/p>\n

\n\t\tWhat were the studio films that you worked on?\t<\/h5>\n

\n\tI worked on a biographical film about Montgomery Clift for HBO, and I worked on an adaptation of a book called \u201cChristodora\u201d for Paramount.<\/p>\n

\n\t\tWas it a valuable experience? \t<\/h5>\n

\n\tNo. The only thing I learned from it was what I didn\u2019t want to do. <\/p>\n

\n\t\tIn what ways is your work political? \t<\/h5>\n

\n\tI am a gay man, and I primarily make movies about gay men. Every time I make a movie, I\u2019m overturning the idea of what is interesting to people because the dominant culture says our lives are not interesting. That\u2019s something I refuse to accept.<\/p>\n

\n\t\tAt the Americana Film Festival last year, you warned that \u201cdarknessis falling on cultural expression\u201d because of the re-election of Donald Trump. Why?\t<\/h5>\n

\n\tWe don\u2019t have freedom of speech anymore. I\u2019m despondent. It would be hard to look at this country and not feel shocked. Everything we held to be unchangeable and precious is disappearing. Cinema under repressive regimes adapts in ways that can be fascinating. Look at Spain during Franco or Iran under the mullahs. They kept making great art, but they did so by leaning into metaphor. That\u2019s something queer cinema has often tried to do. But because of the times we\u2019re living in, it seems like a good opportunity re-engage with the artists I remember from the East Village, who were always brave risk takers. No matter what, their work always felt deeply personal and very, very free.<\/p>\n

Read more \u2018Mono 222,\u2019 \u2018Dreaming of Lions\u2019 and \u2018I Got Bombed at Harvey\u2019s\u2019 Top Mammoth Lakes Film Festival Awards \u2013 Film News in Brief<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Ira Sachs on’The Man I Love,’ why queer cinema is political and casting straight actors like Rami Malek in gay roles.<\/p>\n","protected":false},"author":1,"featured_media":373,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,399,691],"class_list":["post-662","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-cannes-film-festival","tag-ira-sachs","tag-rami-malek-2"],"yoast_head":"\nIra Sachs on \u2018The Man I Love,\u2019 Queer Cinema in the Age of Trump and Casting Straight Actors in Gay Roles: \u2018I Don\u2019t Ask People Who They\u2019ve Slept With\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=662\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ira Sachs on \u2018The Man I Love,\u2019 Queer Cinema in the Age of Trump and Casting Straight Actors in Gay Roles: \u2018I Don\u2019t Ask People Who They\u2019ve Slept With\u2019 - 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