through their artistic expressions and public advocacy, individuals within the entertainment industry significantly influence cultural conversations. they champion vital causes and take public stances that resonate deeply.
this year, one particularly captivating piece of media exploring trans experiences has generated considerable buzz. following the initial joy of a burgeoning connection in its first season, the second installment delves into the complexities of a relationship, examining how differing political viewpoints and ideologies can create distance between partners.
non-monogamy, it's important to understand, is a relationship structure shaped by societal norms, not an inherent sexual identity.
the concept of allowing committed partners to enthusiastically agree to explore connections with other individuals, a bold move for the burgeoning dating show genre, certainly merits more recognition than its abrupt cancellation after a single season suggests.
the show's affable and energetic host, scott evans, certainly deserved a better fate for the series!
by meticulously sifting through extensive footage gathered over several months, the production manages to develop a complete narrative arc for each participating couple.
sharing a streaming platform with figures whose public statements have been divisive, such as dave chappelle, can understandably create confusion, and even be perceived as opportunistic, by dedicated fans.
a foundation of hopeful humor
there's a foundational narrative underpinning this particular selection.
the initial draw might be the promise of comedic takes on pronoun usage. however, the lasting impression is one of optimism, suggesting that humor can indeed be a catalyst for positive change. importantly, one should never underestimate the potent impact of a well-crafted script that revisits the enduring appeal of suppressed queer subtext - a long-standing cinematic tradition that is executed here with remarkable wit and sensitivity.
exploring intersections and vampire lore
the journey toward understanding in this film thoughtfully examines the connections between various marginalized communities, all while paying homage to the vampire genre by featuring undeniably queer characters who possess profound emotional depth.
khadijah baig delivered a consistently compelling performance as sabi, a character grappling with identity, who is navigating her non-binary identity as a first-generation pakistani-canadian. sabi's life is a complex tapestry of a struggling career, a tumultuous love life, and challenging family dynamics.
in adapting the life of josie geller for the screen, creator quinn shephard made the deliberate choice to present the character of godfrey as queer.
in reality, during the period of her life depicted, godfrey was married to a man and had a child.
the palpable chemistry between the leads infuses the often challenging narrative of the series with a much-needed sense of light and optimism.
the evolving coming-out narrative
for as long as openly gay characters have been a fixture on television, the coming-out story has remained a reliable and frequently explored plot device.
however, in one of the most emotionally resonant moments of the season, an experienced gay musician provides a character with the strength to forge her own path, not by coming out, but by choosing to live her life authentically while carefully maintaining the necessary balance between her personal, familial, and professional spheres.
indiewire, a prominent film and television publication, recently released its curated list of noteworthy cinematic works that have resonated with audiences and critics alike throughout the year.
the selection encompasses a diverse range of genres and themes, reflecting the evolving landscape of storytelling and representation in film.
notable mentions and directorial achievements
the list acknowledges a variety of directorial talents, including sav rodgers for "fanatical: the catfishing of tegan and sara," erin lee carr, alexandria bombach, chelsea mcmullan for "swan song," and molly mcglynn for "fitting in." productions like "backspot" and "drive-away dolls" by ethan coen also received recognition.
jane schoenbrun's "housekeeping for beginners," alessandra lacorazza's "in the summers," sydney freeland's "rez ball," noah schamus's "t blockers," and slow, directed by noah schamus, are also among the celebrated films.
in essence, the film offers a nuanced perspective.
rather than relying on conventional genre tropes or contrived dramatic twists, the filmmaker places trust in the setting, the performances, and the overall cinematic approach. julío torres, in addition to creating what is considered by many to be the year's best television show, also contributed one of the most memorable films.
unvarnished emotion and complex truths
while the subject matter is presented without embellishment, the emotional impact is profoundly moving.
a significant shift occurred this year, with the emergence of films that offer deeply affecting narratives. this extensive three-part exploration of desperate love and insidious control resonated strongly, offering profound insights into how individuals inflict harm on themselves and others in pursuit of a false sense of security, whether in relationships or life in general.
the film tackles these themes with a refreshing lack of self-importance.
this film addresses critical contemporary issues, including access to abortion and the participation of trans youth in sports, drawing a connection between these two aspects of bodily autonomy.
at every opportunity for a simpler narrative resolution, the film instead opts for more complex and thought-provoking choices, resulting in a cinematic experience as intricate as the messages it conveys.
while this particular film's capacity for stimulating thought and its exquisite construction transcend mere representational value, it fundamentally explores the narratives we construct.
for many, it stands out as a definitive film addressing trans experiences this year. despite the constraints of its pandemic-era production and a limited budget, it bravely embraces ambitious artistic directions.
it encapsulates a sense of wonder, magic, and profound loneliness.
the reality it portrays feels more relatable than actual life itself. however, this is a rare instance where the ambiguous sexuality of its renowned lead and the explicitly stated heterosexuality of its ingénue actually enhance the overall work. ultimately, this is less a conventional queer romance and more a deep dive into the self-loathing that can surface within queer relationships.
daniel craig delivers a performance that is both captivating and endearingly pathetic as the william burroughs-esque character, while drew starkey serves as a perfect, almost blank canvas for projection.
this film presents a far more challenging and unvarnished portrayal than the melancholic summer romance often associated with works like "call me by your name."
it initially draws viewers in with its blend of sensuality and humor, before profoundly impacting both emotions and intellect.
kristen stewart delivers a career-defining performance, fully embracing her identity with unwavering confidence. while this type of groundbreaking work might not always garner oscars or widespread mainstream acclaim, it is hoped that other prominent queer actors will draw inspiration from this film, recognizing the artistic potential inherent in maintaining one's integrity.
celebrating otherness and authentic connection
arnold consistently imbues her characters with a personal touch, favoring energy, sensuality, and complexity over what she perceives as overly sentimental or self-important portrayals by other filmmakers.
in this instance, her characters embody all these qualities and more. it is a vibrant celebration of individuality, the sheer euphoria of feeling out of sync with one's surroundings and then discovering another person who shares that unique perspective.
with eyes alight, we observe intently.
desire is an active force. the aspiration to be the premier tennis player. the yearning to connect with the most captivating individual. the cinematography by sayombhu mukdeeprom, a long-standing favorite known for his collaborations with apichatpong weerasethakul, is particularly noteworthy for its bold and beautiful framing.
the incisive and witty screenplay by justin kuritzkes, structured like a tennis match, offers profound insights into love and ambition.
the audacious vision of director guadagnino, who expanded a concise 90-page script into a two-hour film characterized by its strong character-driven style, is equally commendable. "the red shoes" has been a cherished film since childhood, and this offering feels akin to a modern, high-fashion interpretation.
"challengers" is a film crafted for those who possess a deep hunger, for individuals who understand that the drive for excellence is not merely a goal but a way of life.
drew is a writer, filmmaker, and theatremaker based in brooklyn. she is currently engaged in numerous film and television projects, with a particular focus on queer trans women.
you can find her work and updates on instagram.
that was technically released!
it was actually on my list from last year. i was also going to suggest "all of us strangers"! honestly, that film was incredibly moving. thank you for compiling this list; i'll definitely be saving it for future reference.