This isn’t just a film about queer characters with a queer form — it’s also a film with very specifically queer motivations and conflicts.

There are limits and boundaries that vanish outside the paradigm of heterosexual expectations.

The wrongness of the servant/matriarch relationship does not preclude these encounters from being very, very sexy.

I’m glad we have lesbian cinema that goes beyond this narrative of homophobia and shame. But as long as homophobia and shame are present in our world, there will be a place for movies like Sweet Angel Baby.

There’s a pressure on trans people and trans storytellers to frame transition as a wholly positive experience. Any negativity is supposed to be external.

On Swift Horses is an unconventional queer love story. The person Muriel (Daisy Edgar-Jones) first meets is not a lover, it’s not even a woman — it’s her soon-to-be brother-in-law Julius (Jacob Elordi).

If Pain and Glory was a reckoning with self and Parallel Mothers a reckoning with Spain, The Room Next Door is a reckoning with the entire world.