Some Nights I Feel Like Walking doesn’t buy into the glittery tropes of recent queer cinema — instead diving into the harsh realities of gay life.
Some Nights I Feel Like Walking Refreshingly Tackles the Realities of Urban Queer Life
Jared Abbott
Editor-at-large Jared loves movies and lives with Kiki in Berlin.
There, There. A Tender Depiction of Care.
With a documentary-like aesthetic and profound use of the mundane, Heather Young’s sophomore film There, There reasserts her singular voice.
The Party’s Over. But Prejudice Never Ends.
The Party’s Over casts prejudice as farce in this sharply-written tale of a wealthy Spanish lady reacting to a Senegalese immigrant in her midst. From TIFF.
Maldoror Brings Fincher Energy to a Horrific Moment in Belgian History
With hints of Zodiac and Seven, Fabrice du Welz’s new thriller Maldoror — charting the real-life murders of Belgian serial killer Marc Dutroux — aims for that nasty, slow burn.
Familia Provides a Nuanced Portrayal of Cyclical Bonehead Violence
Fascist bonehead study Familia refreshingly avoids clichéd redemption arcs in favour of a more nuanced take on the cyclical nature of toxic masculinity.
The Imhumane Perils of a Quiet Life
The dehumanisation of seeking asylum is piercingly explored in Alexandros Avranas’ horror-but-not-horror Quiet Life. Live from Venice Film Festival!
Mond Offers a Nuanced Cross-Cultural Tale of Female Solidarity
A washed-up Austrian MMA fighter finds herself immersed in a strange Jordanian family in Kurdwin Ayub’s Mond, her much-anticipated follow-up to Sonne.
Plastic Guns. A Perfect Shitpost.
Jean-Christophe Meurisse’s Plastic Guns doubles down on the provocations of Bloody Oranges in an off-kilter, hilarious and deeply nasty farce.
Baby Works His Way Out of a Corner
Marcelo Caetano’s Baby might combine reliable and clichéd tropes, but Caetano’s sex work study succeeds thanks to its keen observation of queer communities.
Block Pass. A Tyred Vintage.
Antoine Chevrollier’s Block Pass captures its working-class milieu well but suffers due to its tired secondhand framing of queer suffering.