Abby McEnany’s autobiographical Showtime series is a wry, funny, deeply queer breath of fresh air. We must be […]
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Showtime’s sequel to the iconic LGBTQ+ series feels refreshing, if frustratingly centrist at times.
The Bette Midler/Lily Tomlin mistaken-identity comedy played a curiously strong role in one writer’s journey to queerness and leftism.
Despite the ridiculous concept and uneven tone, Apple TV+’s new comedy is a compelling watch.
Seahorse, The First Rainbow Coalition, and debut feature The Vast of Night highlight our last day of CIFF capsule reviews.
Our penultimate CIFF dispatch breaks down Rian Johnson’s star-studded caper Knives Out, the Georgian queer drama And Then We Danced…, and more.
The precursor to “Dracula” gets a sumptuous if not entirely faithful film adaptation.
At CIFF, we take a look at religious drama Maternal, episodic romantic dramedy Babyteeth, German potboiler Lara, and historical queer horror Carmilla.
Today’s CIFF dispatch includes family drama The Truth, death-row issue film Clemency, Guatemalan queer drama Tremors, and the gonzo Twentieth Century.
Flavio Alves’ story of a trans immigrant in New York City may be rough around the edges, but it serves as important advocacy.
The director of the trans-centric drama sits down to talk about indie filmmaking, the struggles of trans POC, and more.
Gay swim teams, trans immigrants, and a conflicted horror movie star highlight this year’s slate at Reeling, Chicago’s premier LGBTQ+ film festival.
In a year of TV series reaching their much-vaunted conclusions, Orange Is the New Black went out with a seventh season filled with drum-banging polemic.
Michael Barnett’s doc is an inspiring, eye-opening look at the complicated, often painful world of transgender high school athletes.
The FX series returns for a second season as bright and entertaining as ever. Now with more Billy Porter!
The Wachowskis’ 1996 directorial debut feels like a formative text for the filmmakers, a slinky crime caper that’s also unabashedly queer.
Suranne Jones captivates as historical feminist and lesbian Anne Lister in a messy, but insightful HBO miniseries that overcomes its own stylistic crutches.
