Dear cinema, can you stop with the “diabolical goudous”?

Dear contemporary cinema,

For what ? Why make all lesbians “diabolical gurus” ? In “The Origin of Evil”, by Sébastien Marnier, released in October, Laure Calamy portrays a goofy invert who usurps the identity of her conquests between two fights worthy of a boxing match (the lesbian with the broken nose has apparently become a figure of popular culture). The same venal, manipulative and devastating madness in the main character of the Netflix film “I Care a Lot”, where Rosamund Pike has old helpless people placed under guardianship to pluck them. While the already cult “Tàr”, by Todd Field, offers nearly three hours in the skin of Cate Blanchett – who is not her first interpretation of a lesbian with a wobbly psychological structure – as Lydia Tàr, conductor narcissist, married to a violinist, caught in the middle of the #Metoo whirlwind.

Are we to understand that if lesbians are not from