Claire Oakley’s feature debut blurs the line between supernatural dread and human drama to make for a quiet […]
The director of the queer folk-dance drama talks about homophobia in Georgia and the long, protest-filled road to getting the movie released.
A new exhibition at the Art Institute of Chicago highlights the transgressive days of dial-up camp.
Levan Akin’s grounded, richly textured Georgian love story brims with dance and forbidden romance.
Abby McEnany’s autobiographical Showtime series is a wry, funny, deeply queer breath of fresh air.
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.
Our penultimate CIFF dispatch breaks down Rian Johnson’s star-studded caper Knives Out, the Georgian queer drama And Then We Danced…, and more.
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.
Two masters of the absurd get new Criterion releases – one (The Circus) Chaplin’s last great silent, the other (Polyester) uproarious John Waters vulgarity.
Gay swim teams, trans immigrants, and a conflicted horror movie star highlight this year’s slate at Reeling, Chicago’s premier LGBTQ+ film festival.
Hulu’s patriarchal sci-fi dystopia can’t quite bring itself to explore what happens outside the cis experience.
The Wachowskis took their high-concept empathy to TV with a gloriously ambitious Netflix show that was gone far too soon.
Abel Ferrara eulogizes fellow scandalizer Pier Paolo Pasolini in a suitably grimy tone poem featuring Willem Dafoe.
The Matrix Revolutions, the Wachowskis’ final film in the trilogy, is just as flawed as Reloaded, but carries heaps of visual and thematic weight.