Jenna and Kate are a couple in quiet crisis; after almost two years together, their initial spark has faded, to be replaced by light bickering and passive aggressiveness. In the hope of brightening up their sex lives, Kate arranges a threesome with the effortlessly sexy, ridiculously cool Mia – but the cracks in this fraught relationship only deepen as Jenna discovers that the situation is not entirely as it first seems.
Emilia is a fun-loving, free-spirited experimental actress, with the ideal non-committal lifestyle to go with her non-committal personality; she gets invited to cool parties with drama students, has drunken sex with her sort-of girlfriend Mariana, and has a laugh with a trusted group of pals in her spare time. The only problem? Emilia is 35, and while everyone else has grown up and found stability, she’s been stuck in the same rut for the past two decades. Second Star on the Right, explores Emilia’s reluctance to let go of her arguably childish ways, and gently mulls over the true meaning of maturity.
There is a moment in Chanya Button’s long-awaited Vita & Virginia where all the adornments of the period drama fall away to peer within the timeless image of sexual discovery – as one Virginia Woolf, admits to her almost-lover Vita Sackville-West that she “cannot” give her what she longs for. Her body tense, her tone one of desperate confession, this insight into one of the greatest minds of the 20th century feels almost sacred.
The Sympathy Card is a beautiful example of the normalcy of queerness. In this independent lesbian rom-com, no drama is found in the identities of the characters, rather, we are afforded the same dilemmas as our heterosexual counterparts, gently reshaping the typical romcom format into a film that is effortlessly relatable to lesbian and bisexual women alike.