At this midpoint on the calendar, 2024 is turning out to be one of the best years for docs of interest to LGBTQ audiences. Titles such as “Queen of the Deuce,” “The World According to Allee Willis,” “Linda Perry: Let It Die Here,” and even the Cyndi Lauper doc “Let The Canary Sing,” are all required viewing. Possibly best of all (so far), is director and co-writer Sam Shahid’s “Hidden Master: The Legacy of George Platt Lynes” (Greenwich Entertainment).

“Chestnut” (Utopia), possibly named for the street in Philadelphia’s ritzy Rittenhouse Square neighborhood, is the feature-length debut by writer/director Jac Cron. Like a queer version of mumblecore – call it mumblequeer – “Chestnut” is about the last days recent college grad Annie (Natalia Dyer of “Stranger Things” fame) spends in Philly before leaving for L.A. and her first post-grad job.

In the same way that Swedish filmmaker Tomas Alfredson’s 2003 movie adaptation of John Ajvide Lindqvist novel “Let The Right One In,” wasn’t your average vampire movie, Thea Hvistendahl’s “Handling the Undead” (Neon), also based on a Lindqvist book, isn’t your run-of-the-mill zombie flick.

Corey Sherman’s feature-length directorial debut, “Big Boys” (Dark Star Pictures), is like Jane Schoenbrun’s “I Saw the TV Glow” in that it is a raw and visceral depiction of being a teenaged outsider. The difference is that there is no pretension here, and the subject matter is handled with a grace and sensitivity noticeably absent in Schoenbrun’s work.