| Summary: | Since the 1980s, American film musicals have been increasingly concerned with subjectivities that escape heteronormative categorizations, asserting their gender through a performance that gestures to a major fluidity between gender positions. Rent (Chris Columbus, 2005), adapted from the 1996 cult stage musical by Jonathan Larson, is a paradigmatic example of how this representation of gender is interdependent with the remapping of the chronotopes of the genre to reflect this fluidity. The focus of the film on a group of HIV-positive queer friends in New York in 1989-1990, affected by the loss of loved ones because of the AIDS epidemic and by the on-going gentrification of the Lower East Side, is key to the queering of classical chronotopes. The analysis of some of the musical numbers of the film will show how a linear, historical and essentially heteronormative temporality is substituted by queer alternatives: time is constructed both as an intensified present in response to the AIDS outbreak, and as a sedimentation of different temporalities in connection to non-heteronormative kin relationships. This configuration of time contributes to the shaping of space as a subcultural place where the community is central, conceived as a utopian capitalist solution to the social problems represented in the musical, from the AIDS epidemic in the stage version, closely connected to the local context of the gentrification of the ethnically and socially diverse Alphabet City, to the more universalist solution to the post-9/11 trauma in 2005. The film could be then used as a springboard to critically reflect on the commodification of queer (sub)culture through a process that has brought Rent into the mainstream, in connection to the socio-cultural context of its production and reception.
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