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    15 Small But Significant Movie Moments From Old Films That Were Honestly Waaaayyyyy Ahead Of Their Time

    From Dirty Dancing to Klute to She's Gotta Have It, these movies tackled some pretty big topics.

    We asked the BuzzFeed Community to tell us which movie moments were way ahead of their time. Here are the noteworthy results.

    Warning: Some submissions include topics of police brutality, verbal abuse and harassment, and racial discrimination.

    Note: Not all submissions are from Community users.

    1. In Cabaret (1972), when Sally Bowles decided to get an abortion because she knew she wouldn't be a good parent, showing a perfectly normal and common feeling women deal with but are always shamed for.

    Sally telling Brian why she decided to have an abortion: "How soon would it be before I started dashing out and disgracing myself at some nearest pub?"

    2. In Guess Who's Coming to Dinner (1967), when Matt gave his memorable speech to John and Joanna about the importance of their relationship, vocalizing just how ridiculous and damaging various generations can be when it comes to interracial love.

    Matt to John and Joanna: "You can ignore those people, or even feel sorry for their bigotry and stupid fears, but when necessary, you'll just have to cling to each other and say, 'Screw all those people'"

    3. In Some Like It Hot (1959), when Jerry revealed to Osgood that he was actually a man and he nonchalantly responded, "Nobody's perfect," showing acceptance toward queer love with a quick and witty line rather than something hateful.

    Jerry to Osgood: "You don't understand, Osgood! I'm a man" Osgood: "Well, nobody's perfect"

    4. In Do the Right Thing (1989), when everyone in the neighborhood told Mookie that Radio Raheem was murdered by white police officers, a dialogue that spoke to the injustice of police brutality against Black US citizens.

    Everyone in the neighborhood: "It's as plain as day: They didn't have to kill the boy"

    5. In The Rocky Horror Picture Show (1975), when Dr. Frank-N-Furter performed iconic songs while wearing outfits traditionally worn by women, shedding a light on sexual fluidity and expression that queer men weren't afraid to show in the 1970s.

    Dr. Frank-N-Furter singing, "Give yourself over to absolute pleasure β€” swim the warm waters of sins of the flesh"

    6. In The Devil and Miss Jones (1941), when Thomas stormed into Mr. Alice's office and criticized his toxic working conditions after going undercover as a shoe clerk, advocating for the importance of labor unions and workers rights.

    Thomas to Mr. Alice: "Is this the way you discharge your responsibility? Can't you understand that dealing with people the way you do is the reason for this civil war around here?"

    7. In Klute (1971), when Bree started seeing a psychiatrist to deal with her traumas as a sex worker, humanizing what female sex workers experienced rather than romanticizing their profession under a toxic male gaze.

    Bree confiding in her psychiatrist that she enjoys making love with Klute, and how that feeling is new to her: "I wish that I could let things happen and enjoy it, you know? For what it is and while it lasts and relax about it"

    8. In Dirty Dancing (1987), when Penny had an abortion and wound up getting terribly hurt because of an unqualified doctor, showing the physical damage women faced when they had the procedure in the 1960s.

    Billy telling Johnny: "I could hear her screaming in the hallway, and I swear to god, Johnny, I tried to get in β€” I tried"

    9. The entire premise of Mississippi Masala (1991), but mostly the beach scene where Demetrius told Mina that love should always be explored and celebrated, tackling the unfair burden parents put on their children in interracial relationships.

    Demetrius to Mina: "Racism β€” or, as they say nowadays, tradition β€” gets passed down like recipes. Now, the trick is, you gotta know what to eat and what to leave on your plate. Otherwise, you'll be mad forever"

    10. In Girl Stroke Boy (1971), when Laurie brought home his Black trans girlfriend, Jo, to meet his family, showing one of the first LGBTQ relationships in film where the trans woman wasn't the butt of the joke.

    Laurie and Jo meeting Laurie's father; Laurie and Jo holding hands in bed together; Laurie and Jo laughing together at their reflection in the mirror

    11. In Pressure Point (1962), when Bobby Darin's character (a Nazi-sympathizing patient) got Sidney Poitier's character (a psychiatrist) fired because he was Black, addressing the toxicity of white privilege in the US and how damaging it can be against nonwhite citizens.

    Sidney Poitier in "Pressure Point," telling Bobby Darin's racist, antisemitic character: "You're gonna lose mister, because there is something in this country, something so big, so strong, but you don't even know"

    12. At the end of She's Gotta Have It (1986), when Nola Darling ended her relationships with Jamie, Greer, and Mars because she wanted to remain in control of her mind and body. She crawled into her 'loving bed' by herself, letting women know that it's totally okay to put yourself first and feel zero shame for being in polyamorous relationships.

    Nola to the camera: "[Jamie] wanted a wife, that mythic old-fashioned girl next door β€” but it's more than that. It's about control β€” my body, my mind. Who is gonna own it: them or me?"

    13. In Morocco (1930), when Marlene Dietrich's character, Mademoiselle Amy Jolly, kissed a female audience member during one of her performances, becoming one of the first lesbian kisses in a major motion picture in the US.

    Marlene Dietrich's character in "Morocco" kissing a woman at a table

    14. In For Keeps (1988), when Darcy didn't want to hold her newborn baby after giving birth and spent her days watching TV in bed, tackling postpartum depression during a time when women were deeply afraid to discuss it openly.

    Darcy typing into her typewriter: "I felt like when she was being ripped out from inside of me, everything I loved about being young was being ripped out at the same time"

    15. And in Coming Home (1978), when Bob returned home after fighting in the Vietnam War and was ready to shoot his wife, Sally, for having an affair with Luke (another Vietnam War veteran). This showed the deep and horrific PTSD veterans experienced, which was a big deal in 1978 because up until that point in film, war was very much glamorized.

    Luke to Bob: "I'm not the enemy β€” maybe the enemy is the war β€” but you don't wanna kill anybody here. You have enough ghosts to carry around." Bob to Luke: "Oh, man. My hand β€” I was shaking. I'm sorry...I'm fucked"

    Note: Some submissions have been edited for length and/or clarity.