The inclusion of this scene in the collection demonstrates the coexistence of fear and courage that often accompanies the navigation of queerness, especially when approaching queer spaces. Noel, in this moment, hasn’t dressed up in the same feminine way as the rest of his friends, but Ren crafts a space where Noel can still engage with the experience in his own comfort zone, subtly encouraging him to embrace his cuteness while remaining true to himself. This interaction highlights Noel’s inner conflict: as he looks into the mirror, he sees a “creature of the night,” a birdlike, crow-like figure. Relating to the stigma of nightlife being something shame worthy. His discomfort with his appearance reflects a broader tension in queer identity, where the fear of not meeting societal standards of gender or beauty often battles with the desire to express one’s true self. The compact mirror, traditionally a tool of self-reflection, becomes a symbol of exposure and self reflection which Noel struggles with. Meanwhile, Ren’s gentle act of holding his chin and applying makeup, which may seem simple, represents a deeper intimacy and care. This small act of vulnerability contrasts with the looming fear Noel feels about potential violence from external forces, such as the threat of police brutality. This moment depicts the ways in which Queer people can craft spaces for one another. Ren creates a safe space for Noel to explore gender expression without the harsh judgment of the outside world, reinforcing how queer solidarity can provide the courage to move forward in the face of fear. Noel’s refusal to let his fear “paralyze” him further emphasizes the resilience embedded in the queer experience—courage isn’t the absence of fear, but the ability to continue despite it. Even with the threat of bodily harm through “meeting the baton” of homophobic cops, Noel is encouraged by Ren’s kindness.
2 thoughts on “It’s giving face”
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I too loved this scene. It was quite heartwarming, and I like your use of “safe space” in this context. Often when we think about that term we think physical space where people can feel free from harm. Yet, in this context we are talking about a personal space (that where Ren is, Noel can feel safe to express his identity), yet the entire time they are in an alley – a metaphorical gap between the world and the queer space they are about to head into. Additionally, I think this would be a good scene to analyze in addition to the end, where Noel starts understanding the rules of the world he is about to enter. It would be interesting to see how the alley also acts as a slow turn over point and each step they get closer to the queer space, the more they are brought into that world.
This is a great analysis! Your title reminded me of Renata’s dialogue in the alleyway. After getting into drag herself, Renata tells Noel he has to “get some paint on [his] face” (39). The repetition of the word “face” intrigues me. When applying makeup, we say we’re “putting on our face.” When we expose our true feelings, we call it a “face crack.” When we avoid humiliation, we try to “save face.” Heterosexuals don’t want gay people to shove their queerness “in their face,” but I’d argue they need to “face the music.” Why are we so preoccupied with our faces? As you point out, allowing someone to touch your face is an intimate gesture. Why? What are we hiding? Would you argue that drag serves as a sort of mask for Noel? If so, what do you think he is hiding in particular? I would love it if you expanded upon this idea of masking and faces in your upcoming essay. I bet you could talk about it until you’re blue in the face.