"Why not see this movie twice? Even if you don’t like it, it’s worth revisiting. Films like this don’t come along that often, or perhaps ever. Granted, I suspect that it’s far more exciting for filmmakers than for general audiences, just because Cuaron did with this movie what we all wish we could do: he took his time. It’s easy to make comparisons to Proust, except that the film isn’t really Proustian; it isn’t fluid enough, it doesn’t resemble the memories it’s based on but the real events that begat them. It’s closer to Knausgard in that regard, but let me dispense with literary comparisons because this is a movie with a capital M: it’s been declaring itself so very loudly all fall, and I’m happy to join the chorus."

"On Christmas of 1994, I was fifteen and had just come out to my family. I was also an aspiring writer who adored Virginia Woolf. I put Chloe Plus Olivia on my Christmas list, not expecting anyone to actually seek out an anthology of lesbian literature and buy it for me. But my dad did: he made a special trip to the University Bookstore in Seattle; he wrapped it and put it under the tree for me. I devoured the book, took it to college with me years later, then moved into my first apartment with it when I was twenty. It’s long gone now (lost in another move), but I still remember it fondly as a formative literary text, and as a sign that my dad loved and supported me without hesitation."