LGBTQ+
Rocketman is big screen entertainment done right, an inventive rock-opera that brims with energy and color.
Tragic endings have long been the trend in queer cinema; Queerly Ever After is a column that covers films that give queer characters the happily ever after they deserve.
Crisis Hotline is upsetting, but it vividly portrays how we can’t always control the outcome. Andrew Stover reviews.
Alex Lines spoke with director Stevie Cruz-Martin’s whose film Pulse is the latest Western Australian film to launch its filmmakers onto an international platform.
Tribeca 2019’s documentaries were a roller coaster ride of emotions. Stephanie Archer reviews The Leftover Women, After Parkland and more.
Lee Jutton reflects on two documentaries she was able to see at Tribeca Film Festival, called Changing the Game and A Taste of Sky.
Tell It to the Bees is a pretty dreary period piece, and one that doesn’t sit well in the current landscape of queer cinema.
Booksmart isn’t just a hilarious high school movie; it serves as a necessary reminder to rethink our initial judgments of people and actually try to get to know them instead.
There’s a refreshing nature in Wild Nights With Emily to how Madeleine Olnek gives Dickinson a certain dignity while embracing her truths that were buried in her work.
An absolutely incredible film, The Garden Left behind deserves every single accolade it draws in and every bit of praise it receives.
Becky Kukla looks at three films playing at this year’s BFI Flare: JT Leroy, Two in the Bush, and No Box For Me, An Intersex Story.
Becky Kukla looks at three films playing at this year’s BFI Flare; Tell it to the Blues, Water Makes Us Wet and Tucked.
Be it a gripping thriller or a moving and thought-provoking social commentary, when it comes to documentaries the Glasgow Film Festival has you covered.
Christophe Honoré’s Sorry Angel is a deceptively complex character study, portraying a tragic relationship without succumbing to miserablism.
We spoke to actor Cory Michael Smith about his debut lead role in 1985, which played at the Melbourne Queer Film Festival.