Set in a gruelling military environment in the early 1980’s, Oliver Hermanus’ film is his most brutal to date, unflinchingly depicting a toxic, masculine regime that serves only to indoctrinate the nation’s youth into a repugnant racist, homophobic ideology.
For his fourth feature, Mexican director Hari Sama has crafted an unusual coming of age story set within the punk underworld of the 80’s. On its own, this isn’t particularly unique – the power of rock music has helped many teenagers discover their own identities in the movies, and the conservative catholic backdrop of This is Not Berlin doesn’t twist this formula in ways you wouldn’t expect.
Drive Me Home is a great feature length argument as to why road trip narratives shouldn’t often be so concentrated within the States. It doesn’t have the same glamour, but it does have exactly what you want from a story within this genre: a richly drawn character study told within a warm, familiar template.
Huckleberry has a crush on his lifelong friend Jolene, even though she’s deep in a relationship with Clint, a drug addicted, violent man far beneath her. Taking matters into his own hands, he irreparably changes the dynamics of his friendship group as he confuses seeking justice with winning the heart of a girl he has long admired.
Outside of documentaries, the Syrian refugee crisis is yet to become a major subject in arthouse cinema, but its impact is beginning to be keenly felt by LGBT filmmakers. People arriving from a country with a hostile attitude towards gay people can find themselves struggling to fit in when arriving in a more welcoming environment, feeling displaced from the community in which they belong due to having to hide who they are for so long.
Fans of the unrelenting absurdism of Tim Robinson’s Netflix series I Think You Should Leave will be delighted to hear that an offbeat counterpart is currently making its way around the LGBTQ festival circuit. Cubby, the directorial debut of writer and star Mark Blane, is a distinctively queer spin on a comedic archetype largely reserved for straight protagonists: the man-baby who shirks adult responsibility at every opportunity, never ceasing to view the world through naive eyes.
The film follows Tina, an undocumented Mexican immigrant who has spent the vast majority of her life in the United States. Living with her grandmother, Tina is hoping to raise the money for the next step in her transition, while dealing with a long term boyfriend who appears embarrassed to be seen with her in public. Elsewhere, the film tackles important themes such as violence against trans women, and the normalised prejudice against the community.
The Shiny Shrimps (Les crevettes pailletées) has been a box office hit in France, and has provoked debate on the issue of homophobia in sport. “It was a huge debate in France. I did the cover of L’Equipe, which is the main sports magazine in France. They did something brave by publishing a cover showing me and my teammate kissing each other, and some of the readers of the magazine responded negatively, saying they’d never buy the magazine anymore.”