Have you ever watched a movie where you could see every plot point coming, but it didn’t matter because the performances by the lead actors were so compelling that you stuck with it? Such is the case with director and co-writer Kyle Hausmann-Stokes’ “My Dead Friend Zoe” (Universal).
If you are a fan of the popular queer Netflix series “Heartstopper,” then you will probably also adore “Bonus Track” (Sunrise Films). Co-written by actor Josh O’Connor (“Challengers,” “God’s Own Country,” and the forthcoming gay movie “The History of Sound”), “Bonus Track” is the feature-length debut from director Julia Jackman.
Nominated for 13 Academy Awards, and already the recipient of prizes from multiple outlets including the Golden Globes and the Cannes Film Festival, “Emilia Pérez” (Netflix) is as inventive as it is scandal-plagued and controversial.
With only two full-length documentaries to his name, Sandi DuBowski may not be the most prolific filmmaker in history. However, the movies he’s created, including his latest, “Sabbath Queen” (Rocco Films) leave a lasting emotional impression.
With her 2024 movie “The Substance,” filmmaker Coralie Fargeat took body horror to new and terrifying (some may say nauseating) heights.
For much of his career, gay filmmaker Pedro Almodóvar has written original screenplays for the movies he’s directed.
Nominated for a Golden Globe for Best Motion Picture – Drama, director and co-writer Tim Fehlbaum’s “September 5” (Paramount) is a dramatization of the tragedy that unfolded at the 1972 Olympics in Munich.
Music bio pics, such as “Rocket Man” and “Bohemian Rhapsody,” about Elton John and Freddy Mercury, respectively, continue to be popular among moviegoers. Even though Robbie Williams, the subject of “Better Man” (Paramount), may not have achieved the same level of fame as John or Mercury (stateside, at least), his story still got the cinematic treatment.
Movies about the abuse suffered by teens in correctional institutions are nothing new. Ireland’s repulsive Magdalene Laundries alone has been the subject of at least three dramatizations, as well as a documentary.
If you’re looking for an alternative to all the feel-good movie entertainment this holiday season, and you want something that will make you want to take a long Silkwood shower after watching it, I suggest “Babygirl” (A24). A depressing blend of sexual compulsion, infidelity, inappropriate workplace behavior, abuse of power, degradation, and heterosexual horror. The best thing that can be said about “Babygirl” is that the queer character far outshines her straight counterparts.
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