Ira Sachs, who emerged from the New Queer Cinema movement of the '90s, has become one of the most accomplished & revered directors of his generation, crafting achingly intimate stories about love, friendship, and desire.
In a media landscape that continues to sensationalise trans existence, director Mark Lyken deploys a slice-of-life visual approach. It is as if we are not merely watching Opal and Lana, but are hanging out with them as friends.
Faces of Death follows a pathologist trying to understand what happens when we die, subjecting himself and the viewer to a series of 'snuff' films depicting violent deaths.
Giambrone describes the initial pitch as akin to Superbad, but quickly realized the film had a much stranger engine under the hood, blending buddy comedy with altered reality.
Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.
Saad (Mehdi Meskar) is a young Moroccan exile in Quebec who will do anything to save Reza (Aron Archer), his Iranian refugee lover who faces being sent back to his home country. In a desperate move, Saad sets out to seduce a high-ranking spokesperson (played by Alexandre Landry) from the ministry of immigration in a risky gambit that sets off a fateful chain of events.
For as much as gays love their horror, and as many examples there are of the genre finding its haunting power through queer metaphor (from the scary subtleties of Psycho to the screamingly obvious A Nightmare on Elm Street 2: Freddy's Revenge), there are relatively few mainstream horror films that actually tackle LGBTQ+ themes head-on. However, after a rapturous reception at the Sundance Film Festival, Australian supernatural fright flick Leviticus was quickly picked up for theatrical release by Neon and might just be the " queer horror masterpiece " we've been waiting for.
Artist and filmmaker Viv Li was born and raised in Beijing, but has lived abroad for 15 years-a fact that has inspired several of her films, in which she navigates identity politics and belonging. An alumna of the Sundance Institute and Berlinale Talents, her latest film 'Two Mountains Weighing Down My Chest' is having its world premiere at the 2026 Berlinale, featured in the Panorama Dokumente section.
A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days
In all the dystopian visions of the future that the movies have trotted out over the last few decades, the one that sticks the most, surprisingly, is WALL-E. That's not just because of the chastening sight of an over-polluted Earth or those sedentary humans glued to their screens. It's because those quite plausible possibilities mean something different in a kids movie. It's their future, after all.
The Sundance Film Festival concludes its 2026 edition this weekend, marking its final year in its iconic home of Park City, Utah, before moving on to its new host city in Boulder, Colorado next year. As we continue to look back at the hefty legacy of queer films that premiered there over the years, this week we'll revisit a landmark lesbian drama that put a beloved '80s icon back in the spotlight, and kickstarted the career of one of the most representative filmmakers of the New Queer Cinema wave.
