Maestro

Bernstein is bisexual, and his gay friends and colleagues are a constant in his orbit. The issues in his marriage come from his infidelity, not from the gender of his partners. While the movie doesn't include much reflection on society's treatment of the queer community during Bernstein's lifetime, one scene reflects a lack of acceptance that affects him. Bernstein and his wife were Jewish (they're played by non-Jewish actors Carey Mulligan and Bradley Cooper; Cooper also wrote and directed the film), and the bigotry faced by Jews in the 1940s and '50s is mentioned in conversation. The film has drawn some controversy over the prosthetic nose Cooper donned to play Bernstein, but Bernstein's family didn't object. Most characters are White, but Bernstein's students in the 1980s -- including a young aspiring Black queer male conductor -- are more diverse. Felicia suffers from depression and, later, cancer. She's also portrayed as a supporting character to her husband, rather than the star of her own life.

References to murder attempts and fantasies. Bernstein is physically affectionate, even with people he's just met, touching their faces and hair and grabbing their hands in a way that most people today would likely consider out of bounds.

Post-sex moments in which characters are implied to be naked under the covers. Bernstein is physically affectionate. He tells a baby, "I slept with both your parents!"

Language includes "s--t," "what the hell," and "f--k."

Bernstein and wife Montealegre are chain-smokers, and nearly every scene shows him with a cigarette hanging out of his mouth. Extended scene of Bernstein and other musicians snorting cocaine. As the years go by, it starts to become rare to see Bernstein without a glass of alcohol.