A queer year at the movies: Top LGBTQ films of 2024
It was another queer year at the movies, and not just because 2024 was bookended by out gay filmmaker Luca Guadagnino’s sexy tennis love triangle, “Challengers,” and his sexy adaptation of William S. Burrough’s “Queer.” There were plenty of films that portrayed LGBTQ life. There were gaslight thrillers, such as Todd Verow’s cruisy gay flick, … Read More
It was another queer year at the movies, and not just because 2024 was bookended by out gay filmmaker Luca Guadagnino’s sexy tennis love triangle, “Challengers,” and his sexy adaptation of William S. Burrough’s “Queer.”
There were plenty of films that portrayed LGBTQ life. There were gaslight thrillers, such as Todd Verow’s cruisy gay flick, “You Can’t Stay Here,” back in January, and the recently released lesbian horror film, “You are Not Me.” And there were some fabulous documentaries, including “A House Is Not a Disco,” Brian J. Smith’s affectionate look at the Fire Island Pines, and the inspiring “Unfightable,” about Alana McLaughlin, the second openly trans MMA fighter.
Here is a rundown of the most notable LGBTQ films that screened in New York in 2024.
Best Queer Film: “In the Summers.” This knockout feature debut by the queer writer/director Alessandra Lacorazza is set entirely in Las Cruces, New Mexico, as two sisters visit their father, Vincente (René Pérez Joglar, aka Residente) four times over an approximately 10-year period. The beauty and brilliance of Lacorazza’s storytelling is that what is unspoken is as important and as revealing as what is said. Changes happen off screen between episodes, which engage the viewer, who gets to fill in the blanks. This is a remarkable — and remarkably accomplished — film that deserves to be seen.
Best International Film: "Red Island." Inspired by out gay director Robin Campillo’s own life, this mesmerizing drama unfolds largely around a military base in Madagascar, from 1970 to 1972. Campillo chronicles the lives and experiences of various individuals, shooting much of the film through the eyes of Thomas (Charlie Vauselle), a sensitive (read: gay), 8-year-old boy. Campillo’s strength as a filmmaker is to wholly immerse viewers in this world, and he does this with a film as rich and as visually textured as the lives of the characters presented.
Runner up: “Housekeeping for Beginners.” Out gay filmmaker Goran Stolevski’s warm and engaging “hangout” film, set in Macedonia, has Dita (Anamaria Marinca), a lesbian, forming a makeshift family by marrying the gay Toni (Vladimir Tintor) in order to care for and raise her late lover’s children. Stolevski’s film deals with serious issues involving queer people and ethnic minorities in Eastern Europe, but he films it all with a light touch that immerses viewers in the lives of the characters.
Best Breakout Performance: Ruaridh Mollica in “Sebastian.” As Max, a writer who performs sex work as research for a novel he hopes to publish, Mollica delivers a high-wire performance — sexy and confident one minute, and full of anxiety the next. “Sebastian” may not add anything new to the sex worker narrative, but the film remains captivating because Mollica exudes charisma, and makes viewers care about Max even when he is at his worst.
[caption id="attachment_52311" align="aligncenter" width="700"]
Ruaridh Mollica in "Sebastian."Kino Lorber[/caption]
Best Debut Feature: “How to Have Sex” by out writer/director Molly Manning Walker. This film, about a trio of teens (one queer) on a holiday weekend to lose their virginity, was riveting, disturbing, and unforgettable as it immersed viewers into a very uncomfortable world. One might have thought it was a documentary. Mia McKenna-Bruce gave the year’s most indelible performance.
Best Documentary: “The World According to Allee Willis” is a fabulous tribute to the late songwriter who penned Earth, Wind & Fire’s biggest hit, “September,” and cowrote the theme song to “Friends,” among other achievements. Willis was also an artist, designer, and internet content creator (long before influencers were famous). Alexis Spraic’s nimble film showcases Willis’ incredible creativity and success, but also her struggles with being a lesbian.
Runner Up: “Luther: Never Too Much.” A valentine to the late singer, songwriter, and producer extraordinaire, Luther Vandross, told through anecdotes, archival clips, and concert footage, “Luther” does address some of the singer’s troubles, including his ongoing struggles with his weight, his fear about the stigma of coming out, and a car accident in 1986 where his passenger was killed. Although the film is hagiographic, Luther’s lush voice and music still generate goosebumps.
Best Animated Film: “Memoir of a Snail.” Out gay writer/director Adam Elliot’s poignant stop-motion animated film has Grace Pudel (voiced by Sarah Snook) recounting her life to Sylvia (David Williams) after her eccentric friend Pinky (Jackie Weaver) dies. Elliot’s film delivers some salient messages about freeing ourselves from the cages we create, and how to move forward in life even when the chips are down. The imagery is fabulous, and Elliot spikes his affecting film with some dark humor. This is a gem.
[caption id="attachment_53516" align="aligncenter" width="700"]
“Memoir of a Snail," directed by Adam Elliot, opened in October at IFC Center.IFC Films[/caption]
Best Character Study, Male: “High Tide” is a bittersweet drama written and directed by Marco Calvani has Lourenço (Marco Pigossi, Calvani’s real-life husband), an undocumented Brazilian living in Provincetown during the late summer. Lourenço is depressed as he has recently been dumped by his lover, and has a month left on his visa. He feels that “his life is happening without him.” Pigossi delivers a very affecting, ingratiating performance as a man struggling not to hit rock bottom. Beautifully filmed, and leisurely paced, the modest “High Tide” is a poignant romance about learning to love yourself.
Best Character Study, Female: The slow-burn drama “Drift” follows Jacqueline (Cynthia Erivo) as she wanders the streets of a picturesque Greek island. She is broke, hungry, and homeless, and a long way from Liberia, where her family lived, or London, where she was romantically involved with Helen (Honor Byrne Swinton). When she meets Callie (Alia Shawkat), an American who works on the island as a tour guide, the two women develop an easygoing friendship. But there is an unspoken tension, possibly sexual, amid the comfort and connection as both women seek healing. “Drift” is an intimate, affecting drama.
[caption id="attachment_49502" align="aligncenter" width="700"]
Cynthia Erivo and Alia Shawkat in "Drift."Utopia Distribution[/caption]
Best Queer Musical: The infectious musical fantasia, “Glitter & Doom,” is a sweet romance about the title characters, Glitter (Alex Diaz), who wants to run away and join the circus, and Doom (Alan Cammish), who dreams of performing his music at a local nightclub. The guys meet cute at a club and perform many catchy musical numbers. (The film’s songs are all from the Indigo Girls catalog, and both Amy Ray and Emily Saliers have cameos.) This visually striking film features fabulous performances from the energetic Diaz and Cammish.
Best Nudity: “Queer.” From Omar Apollo’s full frontal to Daniel Craig’s bare backside, Luca Guadagnino’s film features the best cinematic skin all year.
Worst Queer Film: “The Critic” A criminally boring film about a closeted and vitriolic theatre critic (Ian McKellen) who gets involved in blackmail and murder plot off-stage. The amorality would be fun if the film had any energy or suspense, but Anand Tucker draws things out so slowly that none of the scenes have much impact except as a sleep aid.
[caption id="attachment_52957" align="aligncenter" width="700"]
Ian McKellen and Alfred Enoch in "The Critic."Greenwich Entertainment[/caption]
Runner up: The queer thriller/romance, “Femme,” the feature film debut of co-writers/co-directors Sam H. Freeman and Ng Choon Ping, examines issues of internalized homophobia, race, and revenge in troubling ways. A Black drag queen who is attacked by Preston (George MacKay) outside of a club seeks revenge by engaging in a relationship with his attacker a few months later. The film only scratches the surface regarding the issues of race and masculinity, and the narrative contrivances strain credibility.
Ruaridh Mollica in "Sebastian."Kino Lorber[/caption]
Best Debut Feature: “How to Have Sex” by out writer/director Molly Manning Walker. This film, about a trio of teens (one queer) on a holiday weekend to lose their virginity, was riveting, disturbing, and unforgettable as it immersed viewers into a very uncomfortable world. One might have thought it was a documentary. Mia McKenna-Bruce gave the year’s most indelible performance.
Best Documentary: “The World According to Allee Willis” is a fabulous tribute to the late songwriter who penned Earth, Wind & Fire’s biggest hit, “September,” and cowrote the theme song to “Friends,” among other achievements. Willis was also an artist, designer, and internet content creator (long before influencers were famous). Alexis Spraic’s nimble film showcases Willis’ incredible creativity and success, but also her struggles with being a lesbian.
Runner Up: “Luther: Never Too Much.” A valentine to the late singer, songwriter, and producer extraordinaire, Luther Vandross, told through anecdotes, archival clips, and concert footage, “Luther” does address some of the singer’s troubles, including his ongoing struggles with his weight, his fear about the stigma of coming out, and a car accident in 1986 where his passenger was killed. Although the film is hagiographic, Luther’s lush voice and music still generate goosebumps.
Best Animated Film: “Memoir of a Snail.” Out gay writer/director Adam Elliot’s poignant stop-motion animated film has Grace Pudel (voiced by Sarah Snook) recounting her life to Sylvia (David Williams) after her eccentric friend Pinky (Jackie Weaver) dies. Elliot’s film delivers some salient messages about freeing ourselves from the cages we create, and how to move forward in life even when the chips are down. The imagery is fabulous, and Elliot spikes his affecting film with some dark humor. This is a gem.
[caption id="attachment_53516" align="aligncenter" width="700"] “Memoir of a Snail," directed by Adam Elliot, opened in October at IFC Center.IFC Films[/caption]
Best Character Study, Male: “High Tide” is a bittersweet drama written and directed by Marco Calvani has Lourenço (Marco Pigossi, Calvani’s real-life husband), an undocumented Brazilian living in Provincetown during the late summer. Lourenço is depressed as he has recently been dumped by his lover, and has a month left on his visa. He feels that “his life is happening without him.” Pigossi delivers a very affecting, ingratiating performance as a man struggling not to hit rock bottom. Beautifully filmed, and leisurely paced, the modest “High Tide” is a poignant romance about learning to love yourself.
Best Character Study, Female: The slow-burn drama “Drift” follows Jacqueline (Cynthia Erivo) as she wanders the streets of a picturesque Greek island. She is broke, hungry, and homeless, and a long way from Liberia, where her family lived, or London, where she was romantically involved with Helen (Honor Byrne Swinton). When she meets Callie (Alia Shawkat), an American who works on the island as a tour guide, the two women develop an easygoing friendship. But there is an unspoken tension, possibly sexual, amid the comfort and connection as both women seek healing. “Drift” is an intimate, affecting drama.
[caption id="attachment_49502" align="aligncenter" width="700"] Cynthia Erivo and Alia Shawkat in "Drift."Utopia Distribution[/caption]
Best Queer Musical: The infectious musical fantasia, “Glitter & Doom,” is a sweet romance about the title characters, Glitter (Alex Diaz), who wants to run away and join the circus, and Doom (Alan Cammish), who dreams of performing his music at a local nightclub. The guys meet cute at a club and perform many catchy musical numbers. (The film’s songs are all from the Indigo Girls catalog, and both Amy Ray and Emily Saliers have cameos.) This visually striking film features fabulous performances from the energetic Diaz and Cammish.
Best Nudity: “Queer.” From Omar Apollo’s full frontal to Daniel Craig’s bare backside, Luca Guadagnino’s film features the best cinematic skin all year.
Worst Queer Film: “The Critic” A criminally boring film about a closeted and vitriolic theatre critic (Ian McKellen) who gets involved in blackmail and murder plot off-stage. The amorality would be fun if the film had any energy or suspense, but Anand Tucker draws things out so slowly that none of the scenes have much impact except as a sleep aid.
[caption id="attachment_52957" align="aligncenter" width="700"] Ian McKellen and Alfred Enoch in "The Critic."Greenwich Entertainment[/caption]
Runner up: The queer thriller/romance, “Femme,” the feature film debut of co-writers/co-directors Sam H. Freeman and Ng Choon Ping, examines issues of internalized homophobia, race, and revenge in troubling ways. A Black drag queen who is attacked by Preston (George MacKay) outside of a club seeks revenge by engaging in a relationship with his attacker a few months later. The film only scratches the surface regarding the issues of race and masculinity, and the narrative contrivances strain credibility. What's Your Reaction?
