Reflecting on 'The United States vs. Billie Holiday'
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.

Constructed in the tone of a tragicomedy, the film, through the realistic situations it presents, excludes parody of any kind and leaves room for lyricism and humor. It also brings before the audience a story that will appear to us as something indifferent to the society in which it takes place, indifferent to the political and social, depending exclusively on the state of the individual himself. The double ecstasy has found a novel form of expression, the only undeniable fact. It was realized when Ion Iliescu was still "posing" as president of the country.
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.
Hustlers was meant to be a film about female empowerment. And it was, to a certain extent. I expected and wanted this to be a kickass and complex film of sexy women who use their confidence, skills, and wits towards a brilliant plan to get revenge on the Wall Street guys who wronged them.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
On March 31st, International Trans Day of Visibility, following some COVID related delays, the trailer was finally dropped, and although Taylour Paige and Riley Keough look to impress as lead characters Zola and Stefani, a brief cameo from a queer icon was what convinced me I have to see this movie.
Deborah (Jean Smart) and Ava (Hannah Einbinder) are a delight to watch evolve, sometimes devolve, then evolve again.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.