Nicole Veneto
The intention isn’t to provoke, eroticize, or sexually titillate. Devoid of the kinds of melodramatics that play into the fujoshi fantasy that’s all the rage right now, “Pillion” is a film about fetishes that never fetishizes its subject matter to placate an outsider’s gaze.
True to its name, “Nirvanna the Band The Movie” is bigger and crazier than anything Matt Johnson and Jay McCarrol have ever conceived of, a feat of gonzo filmmaking that would make Werner Herzog sweat.
Besides Chainsaw Man’s abundant visual pleasures and uncompromising blend of ultra-violence and adolescent sexuality, one of its particular draws is that it’s a cinephile’s anime.
It’s up to us to champion films like “Boys Go to Jupiter,” which push the medium into exciting new territory when AI slop is literally banging at the door.
What sets “Weapons” apart from other films utilizing a puzzle-box approach is Zach Cregger’s command of tone, a byproduct of honing his skills in sketch comedy.
In a film that maintains a deft, tightrope balance of tone, writer-director-star Eva Victor has delivered an acerbically funny depiction of how we learn to cope in a world where bad things can (and often do) happen.
In this film, Alexis Langlois suggests that the diva worship so central to queer cultural production has found new toxicity thanks to social media, where we all feel entitled to a piece of our idols.
Annapurna Sriram’s “Fucktoys” is poised for cult greatness among queer cinephiles, filthy femmes, and those of us who find today’s movie landscape frighteningly sex averse.
If you think the world’s gotten a lot colder in the last couple years, you’re not alone. Director David Cronenberg feels it too.
We return to my coverage of the 25th annual Boston Underground Film Festival, our own little local celebration of oddballs, freaks, and celluloid weirdos of all sorts.
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