Who’s the lucky girl? I am! Today is Sept. 25, which just so happens to be my wedding day. My wife and I have watched more than 400 films together over our two-year relationship. Hence, to honor the occasion, here listed are some of our favorite romances:

Get Your Man (1927, Dorothy Arzner)

Our tour de cinema began with a queer icon’s partially lost silent rom-com starring Clara Bow and Buddy Rogers. It’s a bubbly, enrapturing little song that warms the heart while poking fun at the patriarchy — a noble goal, handily achieved.

A Lesson in Love (1954, Ingmar Bergman)

My wife and I love the films of Bergman, known mostly for his dour treatises on pain and grief. But this sardonic romantic drama about an aging couple on the rocks is downright hilarious. Also, there’s an explicitly trans child, which rules.

Some Like It Hot (1959, Billy Wilder)

Curtis and Monroe are fine and all in this classic crime comedy, but it’s Jack Lemon’s Daphne that turns a good film great. Her experience of gender euphoria is mined for laughs but never derision, and she gets the man of her dreams!

What’s Up, Doc? (1972, Peter Bogdonavich)

Paired with the rapid-fire Barbra Streisand is Ryan O’Neal’s Howard Bannister, a lovely example of autistic folk in films being witty, sexy and desirable. Did I mention that it’s a riot? Because it’s the funniest film ever made.

Bram Stoker’s Dracula (1992, Francis Ford Coppola)

Sumptuously produced, filmed and scored, the retelling of this originally vincian tale now reveals a trans lesbian subtext between Mina Harker and the Count (or…Countess?). Can’t see it? Try tracking down an edit of the film titled “Bram Stoker’s Silent Knight.”

Before Sunrise / Before Sunset (1995/2004, Richard Linklater)

The tale of Jesse and Celine is that of an epic, ongoing conversation. Borrowing from Celine, “if there’s any kind of magic in this world, it must be in the attempt of understanding someone, sharing something.” These films, indeed, are magic.

Portrait of a Lady on Fire (2019, Celine Sciamma)

Sciamma paints, with vivid color and sound, the sapphic ecstasy only found in the depths of vulnerability and trust in this, the best romance of the millennium. To truly see, to be truly seen — one can never be the same afterward.

And with that, I’m off to legally consecrate my “Paterson”-esque union (2016, Jim Jarmusch). See y’all next week.