sexuality
Big Mouth Season 3 continues in the show’s tradition of blunt honesty with a dash of humor, while not being without flaws.
Boys takes a well-worn story of self-acceptance and turns it into a beautiful piece of internal struggle.
Just as Mallo does in the film’s final moments, Almodóvar reaches into the past to find new ways to create, to evolve, and eventually, find glory from pain.
Je T’Aime Moi Non Plus is another fitting example of what made Serge Gainsbourg such a unique and, yes, controversial talent.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
Kristy Strouse spoke with star, writer and director Camille Hollett-French about the creation of her three Her Story short films, her background and the inspirations that drive her.
Ambitious in scope and scale, all while taking the time to flesh out all of its characters and immerse the viewer in moments of striking intimacy, Euphoria leaves no stone unturned.
Molly Hewitt spoke exclusively to Film Inquiry about Holy Trinity, alternative sexuality, lifestyles and spirituality, and life in dystopia.
LGBTQ+ fans want good stories about queer people, not the cop-out nonsense of Pitch Perfect 3 or wishy-washy garbage like Pitch Perfect and Pitch Perfect 2.
Whilst some of the standard-bearers for this era invite us to far-flung worlds, FX’s Pose takes us just 30 years into the past to discover New York’s ballroom scene.
Much as Pitch Perfect treated Cynthia as someone to laugh at, Pitch Perfect 2 uses Chloe’s bisexual leanings to distance her from the audience.
Pitch Perfect will only be remembered as the series to have blackjacked its fanbase into thinking it’s queer-friendly.
Despite the demand for more portrayals of lesbian intimacy and the potential to do so tastefully, the topic is still treated with little care.
The Raft is a rare documentary which aims to offer closure to its subjects, making it a rewarding watch. Hayden Cornmell reviews.
The 5th season of Black Mirror is satisfying, but never reaches Charlie Brooker’s best work. Bree Duwin reviews.
