Faith, Desire, and Finding Oneself: A Review of 'La Petite Dernière' (dir. Hafsia Herzi)
When a cinematic adaptation stems from Fatima Daas’s acclaimed, autobiographical novel, the bar is set exceptionally high
Queer Film Hub
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When a cinematic adaptation stems from Fatima Daas’s acclaimed, autobiographical novel, the bar is set exceptionally high
Read story →When a cinematic adaptation stems from Fatima Daas’s acclaimed, autobiographical novel, the bar is set exceptionally high
While major film studios eagerly champion inclusivity and celebrate LGBTQ+ representation on red carpets in Cannes, Los Angeles, and Venice, cold-blooded calculations are taking place behind closed doors.
When a film's title directly invokes the Book of Leviticus—the biblical foundation for centuries of anti-queer dogma—you expect a confrontation. But in writer-director Adrian Chiarella’s feature debut Leviticus, religious guilt isn't just a theme; it manifests as a visceral, bleeding nightmare of Australian body horror.
Matthew Lillard, best known for his iconic portrayal of Stu Macher in the original 1996 Scream, has publicly expressed deep regret and shame over returning to the franchise for its upcoming seventh installment.
Dramat biograficzny w reżyserii Bruno Barreto przedstawia namiętny i skomplikowany romans amerykańskiej poetki, zdobywczyni Nagrody Pulitzera Elizabeth Bishop (w tej roli Miranda Otto), z brazylijską architektką krajobrazu Lótą de Macedo Soares (Glória Pires). Akcja skupia się na latach 50. i 60. XX wieku w Brazylii, gdzie w tle burzliwego miłosnego trójkąta i walki z uzależnieniem powstają przełomowe dzieła sztuki oraz ikoniczny Park do Flamengo w Rio de Janeiro.