A first taste of I'm Not There. The beautifully awkward homoerotic electricity between Ginsberg and Blanchett-as-Dylan (called Jude in the film) is rapturous and rare and somehow theatrical. Shakespearean, even. It's like Rosalind and Orlando in the Forest of Arden. "Where dwell you, pretty youth?" you almost expect Ginsberg to ask. Cate's character is supposed to be a man in the film's narrative, and obviously Rosalind was only dragging it up, but that makes the gender bluff all the more confusing and layered and exciting. Todd Haynes is still the only demi-mainstream director to translate queer theory to film in a way that doesn't compromise either the art or the politics. If his movies were books, he'd be Annamarie Jagose by now.