Toronto’s InsideOut Film Festival, a showcase for current LGBT cinema, featured several great queer coming-of-agers from around the world: Handsome Devil, A Date for Mad Mary, In Between, and God’s Own Country.
Gender and Sexuality
Explore depictions of masculinity, femininity, and sexual identity.
The perils of writing while female
We called his film sexist. He tried to destroy our credibility. This is a story of sexism in the film journalism industry.
A tyrant and control freak: the patriarch in Davies’ Distant Voices, Still Lives prefigures the father figures in his later films
In Terence Davies’ films, fathers tend to control the domestic sphere: the abusive patriarch in Distant Voices, Still Lives, based on Davies’ own father, prefigures those of Davies’ later literary adaptations. Editor’s note: This is the fifth feature in our Special Issue on Terence Davies’ A Quiet Passion, which can be read in full here.
Review: A Quiet Passion charts Emily Dickinson’s subtle rebellion
In A Quiet Passion, Terence Davies’ new biopic, Emily Dickinson, the famously reclusive poet, comes to life as an understated renegade, who deserts gendered orthodoxies to pursue her art. This is the first article in our Special Issue on A Quiet Passion.
Review: Close-Knit marks an important milestone for Japanese LGBTQ cinema
Naoko Ogigami’s Close-Knit is a charming, if disappointingly conservative, family drama about a girl who finds herself being raised by a transgender woman.
Julia Ducournau’s Raw is a new kind of female body horror
Mary Angela Rowe’s review of Raw. Cannibalism is definitely a lady problem in Julia Ducournau’s Raw, but the film isn’t about the horror of female sexuality so much as the twisted results of shoving young women into a pressure cooker of experiences and expectations.