This master’s thesis conducts an intersectional analysis of three different movies, namely Fight Club (1999), Boys Don’t Cry (1999), and Moonlight (2016). Raewyn Connell’s concept of hegemonic masculinity will be the framework on which the intersectional analysis will be performed, prompting an analysis on how different identity markers affect the standing of a given masculine subject situated in any of the three movies’ hegemonic masculinities. A special focus on a number of identity markers such as social class, race, and sexuality will change depending on the movie that is being analysed. This master’s thesis finds that Fight Club puts a special focus on social class and ability, with an added opaque marker of race. Boys Don’t Cry also puts a special focus on social class, but this time combined with the identity markers of gender, and to a lesser extent sexuality. Moonlight also has social class as a deciding marker, but sexuality and race are more at the fore in this text. The three texts portray wildly different results to the protagonists’ resistance to their respective hegemonic masculinities. With Fight Club showcasing an overthrowing of the former hegemonic masculinity, Moonlight featuring a total rejection of hegemonic masculinity, and Boys Don’t Cry showing a hegemonic masculinity that is successful in its subordination and ultimate erasure of the resisting masculinity. What all three texts have in common, however, are hegemonic masculinities that devalue femininity and those masculinities that are in close proximity to it. The most damning identity markers in that regard are non-heteronormative sexualities and gender expressions. Another commonality is the devaluement of different facets of black masculinity, as is evident in Fight Club’s co-opting of black masculinity in a bid to centre white masculinity, Boys Don’t Cry’s complete erasure of a black male character, and Moonlight’s devaluing of black effeminate, masculinity.