This film isn’t a straight-forward artist portrait. It’s a portrait of Gibson and their partner, fellow poet Megan Falley, as they navigate Gibson’s incurable cancer diagnosis. It’s a tender look at two queer people in love and a celebration of the desire to live.
It’s technically true that I cannot think of another feature film about a cis gay man grappling with his feelings about dating a trans man for the first time. So why does Mathias Broe’s Sauna feel so dated and predictable?
There’s a propulsive energy to the film that makes it a blast to watch even as the characters face hardships.
If someone watching this film had never met a queer person, they’d assume “dancing in slow motion” was what we were all about.
There are many bad movies made by cis writers and directors about trans women. But you’ve never seen a bad movie about a trans woman like Jacques Audiard’s Emilia Pérez.
There are limits and boundaries that vanish outside the paradigm of heterosexual expectations.
Jennifer Love Hewitt’s latest Lifetime Christmas movie has a lesbian best friend who wears shoes on the bed.
If Pain and Glory was a reckoning with self and Parallel Mothers a reckoning with Spain, The Room Next Door is a reckoning with the entire world.
The greatest terror is not meeting a partner’s parents, but through your partner meeting your own parents anew.
This isn’t just a film about queer characters with a queer form — it’s also a film with very specifically queer motivations and conflicts.
Sabrina Carpenter gives the gays everything they want this Christmas.
The Dutch comedy attempts to destroy the typical holiday movie formula but self-destructs in the process.
While the plot is primarily focused on abortion access, the film is also an essential portrait of another overly politicized issue: trans teens in sports.
The queer reveal is presented as a twist, and while I’m sure it surprised straight viewers, sleuthy queers will probably pick up on it.
Whether you’re a longtime fan of Annie Baker’s plays, or meeting her work for the first time, Janet Planet is a rapturous cinematic experience.
Although the film carries its head high for nearly the entire runtime, it might just undersell itself in the last moments. Absence of judgment does not necessarily give way to a mature reading of the character’s inner life and emotional drives.
The investigation that most needs to occur is an internal investigation done by all of us about how we think about celebrity and parasocial relationships.
This may be a sizzling hot take, but Chris Sanders’ The Wild Robot is a queer film.
The real horror is straight people.
Queerness exists in Coppola’s world but only as a marker for debauchery.