I really didn’t enjoy this film. It felt like a drama camp improv piece with funding. Having spoken to a queer friend afterward though, they have given me lots of links to articles on how it is a trans metaphor and groundbreaking in a lot of ways.
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Like Crossing, Toll looks at queerness through the eyes of the non-queer family members who alienate and marginalise them.
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Juliana Rojas likes to blend contemporary Brazilian social critique with the surreal and supernatural, as evidenced by her queer werewolf musical (Good Manners (2018)).
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I am in love with Peaches! I don’t know how I have missed out on this phenomenal woman.
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Levan Akin (And Then We Danced (2019)) gives us an engaging story of familial regret and redemption with a glimpse into lives on the margins between country, family and gender.
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Only the first feature of Marcelo Martinessi, this is an assured exploration of a difficult and contemporary topic.
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I was a bit trepidatious about seeing Almodóvar’s latest (in 2019 – it’s taken me a while to post this!).
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With conductor, Marin Alsop‘s anti-women criticism running around my head and the film’s esoteric trailer looking a tad film school, my expectations were low.
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What a gem this Iranian three-handed drama is! Ali Jaberansari is a writer/director to watch.
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