Nicole Veneto
“I Saw the TV Glow” is nothing short of astonishing, a defining moment in queer cinema in the making and proof positive that Jane Schoenbrun is one of our generation’s most needed filmmakers.
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Whatever else 2024 has in store for queer filmmakers and audiences, there’s likely to be nothing else that’ll put a smile on your face quite like “The People’s Joker.”
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Even if the closing film was a complete and utter bust, I had a blast seeing some really great movies with fantastic crowds. See you next year, and as always, stay weird Boston.
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This time around, I decided to go all in and totally movie-pill myself by seeing all 12 films in the feature line-up at the expense of my own sanity. Just kidding …
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“Lisa Frankenstein” is the first delightful surprise of 2024, destined for weird girl slumber party greatness in a few years time.
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Bertrand Mandico’s “She is Conann” left me buzzing, high on a euphoria of aesthetic excess that represents the true legacy of New Queer Cinema.
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For all of “Suitable Flesh”’s indulgence in B-movie schlock and gross-out gore, the film’s pulsating sexuality becomes its strongest asset.
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“The Boy and the Heron” is a work of true beauty that fits squarely within veteran director Hayao Miyazaki’s gorgeous and emotionally resonant oeuvre
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Simply put, there’s nothing (and no one) out there quite like what Neil Breen is putting out into the world, and for that alone, we should be grateful.
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“Mami Wata” beautifully cracks open a world Western eyes either blatantly ignore or seldom get to experience on screen.
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Design Review: A Singular Art Nouveau Shop Front in Harvard Square