The Coen brothers’ filmography is tragically straight. Acclaimed for their stylistic breadth and wit, their films are rich and willing to play with gender roles in ways that welcome queer readings — the screwball hijinks of The Hudsucker Proxy and the winking choreography behind Channing Tatum’s dance numbers in Hail, Caesar! are among the many playful flourishes where the space between quirk and intent are as wide as the viewer wants it to be.