Colette is confident in her sexuality.

So often in film, mainstream or otherwise, it seems there's some wanton awakening involved when a woman gets romantic with another woman: She's curious but scared. She's never been with a woman before. She's seduced against her own instinct, or doesn't know if she'll even like it. This is not to dismiss earnest, well-told stories of self-discovery and coming out, but it certainly is refreshing to see Colette vocally and unapologetically own her sexuality from the start.

The film embraces ​lesbianism without question or alarm. 

Colette likes women; she pursues them. Her female partners have substance, and aren't introduced from the shadows. Yes, there is backlash from the public at an onstage lesbian kiss, but the backlash is framed as more unacceptable than the smooch. Moreover, said smooch was based on an actual legendary event.

Lying and cheating are scandalous; queerness and polyamory are not.

An open marriage? Lesbian romance? Women in men's clothes? While I find these themes are often used to create tension in film, "Colette" takes them in stride. Instead, tension arises over Willy's dishonesty, illustrating that transparency and communication in relationships are more important than gender and structure.

It showcases LGBTQ characters as members of society like anyone else at the turn of the 20th century.

In addition to Colette, there's the great Georges Wague (Dickie Beau), whose flamboyant work reads queer, all sexuality aside. American socialite Georgie Raoul-Duval (Eleanor Tomlinson), a love interest to Colette and Willy alike, represents another female who is confident in her sexuality. Then there's Missy, also Colette's love interest, who's worthy of a separate bullet point (and film) altogether.

It doesn't stop at the LGB.

Artist and noble Mathilde "Missy" de Morny (Denise Gough), wears men's clothing with confidence and answers to male pronouns, potentially representing one version of what it looks like to be a transgender man of the era. Best of all, Missy's gender expression is not regarded as out of the ordinary in the film.

It's based on a true story.

Artistic license aside, this stuff was real, kids. We've always been here; we've always been queer -- since the 1890s (or shall we say, "Gay Nineties?") and long before.

Its screenplay was written from the heart.

A recent article in "The Advocate" tells the heartrending story behind the making of "Colette:" Co-written by Westmoreland and his late husband Richard Glatzer, the film was their "dream project," and its realization was Glatzer's dying wish. Westmoreland finalized the screenplay with Rebecca Lenkiewicz, a pioneer in her own right who had adored Colette since childhood.

Most of all, "Colette" is worth seeing, no matter who you are.

"Colette" stars A-list actors and is a mainstream film that uniquely weaves LGBTQ themes into its storyline with ease and charm. Popular audiences will enjoy it for its broad appeal, maybe even gaining some enlightenment about gender and sexuality along the way. Moviegoers such as myself, who were drawn to its queer content, will not be disappointed either.