In Between is a beautiful and poignant film that offers a sensitive and nuanced exploration of the lives and experiences of three Palestinian women living in Tel Aviv. The film follows their struggles to reconcile their traditional and cultural identities with their desire for independence, freedom, and self-expression. The stunning visuals, evocative and emotional score, and brilliant performances of the cast combine to create a powerful and moving portrait of resilience, sisterhood, and hope. Profoundly human and deeply affecting, In Between offers a fresh and important perspective on the complex realities of life in Israel and Palestine.

Given that hookups are inherently quick and casual and impersonal, they are rarely portrayed in a romantic light. But Weekend flips the script on one-night stands by giving its two lovers enough time and space to explore how far their feelings can take them. While both Russell (Tom Cullen) and Glenn (Chris New) are gay, they have more differences than similarities with each other. Russell is reserved, awkward, and not entirely open, while Glenn is the exact opposite. 

This makes for intriguing conversations, which then makes for a smart, thought-proving watch. It’s talky but meaningful, and slow but assured. But most of all it’s romantic, and it’s sure to pull at your heartstrings the whole time. 

Great Freedom is not an easy watch. Apart from the quiet stretches of time and the claustrophobic confines of its prison setting, it also has its lead, Hans Hoffman (played with delicate force by Franz Rogowski) imprisoned again and again and again, unjustly treated like dirt by both his warden and fellow inmates.

But as a Jewish gay man who has lived through the war, Hans is no stranger to these trappings. As such, he takes each day as it comes, open to love, pleasure, and friendship, or at least the potential of these, despite the circumstances. And so Great Freedom is also hopeful and romantic, glimmering with the human tendency to not just survive but to live. Slow but compelling, subdued but powerful, Great Freedom is an affecting balancing act that’s well worth watching. 

Featuring real, in-the-moment footage of operations to rescue young queer individuals from the continuing anti-gay purges in the Chechen Republic, Welcome to Chechnya makes for a demanding but essential call to action. There’s a genuine sense of fear that pervades the documentary, not just for those being rescued after being forcibly outed, beaten, and trapped by the people around them, but for the filmmakers themselves, whose operations are built on meager resources and desperate, spur-of-the-moment decisions. It’s a remarkably courageous film—one that also presents new ways of keeping sensitive subjects safe through the thoughtful use of deepfake technology, keeping their identities hidden while allowing them to freely express themselves.

Named after the Celtic concept of heaven, Summerland is a rare queer period drama that feels hopeful rather than despairing. The film takes us to the countryside in World War II, where our protagonist, the reclusive writer Alice Lamb (Gemma Arterton), studies the folklore about Summerland. We know that her isolation wasn’t fully chosen; her refusal to marry causes adults to gossip and causes children to speculate that she’s a witch. But this all changes when a young evacuee is entrusted to Alice’s care.

Gemma Arterton shines as a reluctant guardian stifled by repressed grief, and she makes Alice’s dynamic with Frank (Lucas Bond) and her former lover Vera (Gugu Mbatha-Raw) incredibly believable. And while it would have been lovely to see more of Vera, even just their first meeting easily captures that heady sense of pure enchantment with another person. It’s no wonder that Alice has to cling to folklore the same way we do. For many of us, it’s the only way we can express our hopes, fears, and dreams.

This lovely comedy-romance from Ireland is about a closeted gay teen and his lesbian schoolmate who pretend to be in a relationship to avoid being bullied at their school.

This premise makes Dating Amber an original story in a genre in which that’s increasingly rare. This is added to the setting, in 1995 rural Ireland, which is executed to gorgeous perfection in everything from the clothes to the music. 

Dating Amber ends up being more coming-of-age than a comedy-romance. It’s a tale of friendship and self-acceptance.

Girl won four awards at the Cannes Film Festival last year and was nominated to 9 Magritte Awards. It was also Belgium’s entry to the Oscar for best foreign-language film. When a dance school accepts her, Lara has the opportunity to realize her dream and become a professional ballerina. The dancing takes a toll on her body, but her biggest obstacle is that she was born into the body of a boy. Girl illustrates the trans teenage experience with sensitivity, slowly and humanly making Lara’s anguish become the viewer’s. Based on a true story.

A sweet and wholesome tale of two boys falling in love against the backdrop of 90s homophobia and social issues. Jamie is a heavily bullied high schooler whose only sanctuary is his family’s low-income apartment. His mom Sandra decides to also make that apartment a sanctuary for Ste, another highschooler suffering from an abusive father and older brother. They share Jamie’s bed and their prospect of friendship quickly turns into something else.

Beautiful Thing is beautifully scripted and never too emotional. In fact, whenever the story moves towards the emotional, a funny scene is introduced to ease the tension. Many of these scenes feature Sandra’s boyfriend, a well-spoken hippie by the name of Tony. Features heavy British accents, subtitles may be necessary!

Led by Rosy McEwen’s commanding performance brimming with fear and self-loathing, Blue Jean pours all of the anguish and defiance felt by the LGBTQ+ community under Margaret Thatcher’s administration into a single character. Writer-director Georgia Oakley keeps her plot light, but through conversations with other beautifully portrayed queer women (especially those played by Kerrie Hayes and Lucy Halliday), she piles on one conflicted emotion after another about what this lesbian woman’s responsibility is toward herself and her community when they find themselves threatened. But even as the film takes a definite stance, it validates every response as authentic—borne out of a need to protect the people whom one loves.

Based on the real-life experience of director Elegance Bratton, who was himself a Black gay marine soldier during the “don’t ask, don’t tell” period in the US, The Inspection documents the behind-the-scenes cruelty that goes on in training the armed forces. Specifically, it inspects how institutions like the marines are hardwired to promote a certain kind of masculinity and how people like Bratton, perennially in the margins, respond, react, and fight back. 

It’s moving and artful but also lighthearted and humorous, finding light even in the darkest corners. It’s self-contradictory that way, but the film is all the better and nuanced for it. Gabriel Union’s performance is also worth noting here; in a career-defining turn, she transforms into a character at once so hateful and loving, you’ll be hard-pressed not to give her your full attention onscreen.