Drag is not — or at least need not be — political, let alone radical in its politics. But when such artistry is targeted by politicians and policies that aim to make it disappear from public view altogether (whether in the name of country or church or children or any combination thereof), drag artists are left with little recourse than to make their own bodies and bodies of work stand for something. In Agniia Galdanova’s fabulous, if sobering, documentary “Queendom,” audiences are called to witness the begrudging radicalization of Jenna Marvin. The young queer nonbinary drag artist would rather be designing and showcasing her work with little worry. Yet
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