Bringing with it a new crop of exciting LGBTQIA+ titles, 2024’s NewFest is officially in full swing in the most exciting of ways. Check out our full coverage of the festival after the jump!
Films
BABY
Full review at the link.
DUINO
Full review at the link.
LADY LIKE
Full review at the link.
LILIES NOT FOR ME
Full review at the link.
OUT
Could there be a more generic name for a queer feature at NewFest than the super-simple Out? Probably not, but nevertheless, the movie itself is anything but generic. Filmed in stunning black-and-white cinematography, this Dutch import from writer/director Dennis Alink deals with a complicated relationship. One of its lead characters, Ajani (Jefferson Yaw Frempong-Manson), has just come of the closet to his family in the opening scene, leaving his bisexual boyfriend, Tom (Bas Keizer), still very much on the down-low. Much of the runtime concerns Tom, a filmmaking hopeful, struggling with his sexuality. His unbalanced relationship with Ajani presents an interesting dynamic. At first, we see Tom as the top, but later, he appears to bottom for the first time. Tom tries to focus on his studies and career potential; Ajani embraces freewheeling partying and sex clubs. There are plenty of explicit intimate scenes and visually, Out looks stunning. However, there seems to be something missing—the ending is unsatisfying, particularly in the face of an appalling sexual assault that occurs free from repercussions. Despite the narrative eventually coming full circle, a key emotional core leaves Tom’s story underdeveloped. An outstanding turn from Bas Keizer still makes it a must-see.
QUEENS OF DRAMA
(Written by Intern, Sean Barry) Queens of Drama provides a peculiar narrative seemingly designed for one very specific audience. In the year 2055, eccentric superfan Steevy Shady (Bilal Hassani) reflects on his idol, singer Mimi Madamour (Louiza Aura). When she and her toxic partner, Billie Kohler (Gio Ventura), finally break up, Steevy Shady tells the story of Mimi’s career, spanning half a century. From humble beginnings back in 2005, we are shown Mimi’s first encounters with fame, from failed auditions, to nightclub experiences, to first sexual experiences with a new lover. As the industry takes hold of her identity, Mimi goes down a dark path, ultimately leaving the former pop star unrecognizable. Meant as an audacious satire of the music industry, connections can be drawn to other artists working today who have endured similar unfortunate experiences. Millennial audiences may catch references to Britney Spears, with aspects like Mimi’s head shaving mimicking the famed singer. Louiza Aura’s transformation over the course of her career is intriguing to watch, and she never commits halfway to her bold acting decisions. Writer/director Alexis Langlois establishes a larger-than-life world with frequent irregularities including offbeat costume choices and strange dialogue. While these quirky elements may be more entertaining, mismatched tones between scenes create an uneven flow, often leading to thematic ambiguity. Furthermore, the risqué soundtrack features exceedingly sexually graphic lyrics which, even in today’s society where vulgarity is commonplace, can be far too much at times. Coupled with morally destructive characters and an intensely modern style, those outside a strict demographic of young creatives open to counterculture might find it difficult to get past the often lewd messages and visuals. Queens of Drama bravely and unapologetically shoots for the fences in an effort to channel the nightmarish realities of fame, but consistent oversexualization and an often meandering story may alienate some prospective viewers.
ROOKIE
(Written by Intern, Sean Barry) Rookie offers a refreshing take on queer romance, free from tired clichés. When awkward teenager Ace (Pat Tingjuy) transfers to a new school without a basketball team, she reluctantly tries out for the volleyball team. Thanks to her height and mobility, she all too easily makes the team, much to her teammates’ dismay. Jana (Aya Fernandez), the senior captain, displays a particular animosity towards Ace, constantly harassing and belittling her. When the pair must bunk together during an elite training camp, they discover they have more in common than they initially realized. What begins as an unlikely friendship between Ace and Jana soon blossoms into something more. Writer/director Samantha Lee crafts a poignant and deeply personal narrative centered on the experiences of an ordinary high schooler, expertly weaving in universally resonant themes. Rather than simply tackling one primary subject, Rookie adopts an unconventional structure by exploring a broad spectrum of harsh realities faced by youth. Although themes of female solidarity and courage clearly emerge by the conclusion, the initial intent becomes muddled as plot threads intermittently fade, only to resurface later. Upon first sight of Jana, Ace is smitten, visualized through soft camera filters and dreamy music, but the romantic storyline is not reintroduced until deep into the second act. By emphasizing grounded depictions of adolescence, common tropes like the problematic parent or the asinine male classmate are avoided, allowing for a sharper focus on the central protagonists. However, a lack of remarkable side characters and compelling content outside of the main action diminishes the story’s overall impact. Despite these detractors, Tingjuy and Fernandez add a strong beating heart to the narrative, providing authenticity to people so often seen as stereotypes elsewhere. Rookie might shoot at too many targets to effectively satisfy certain viewers, but a heartfelt script and palpable care and passion from the cast and crew results in an incredibly moving and sincere final product.
For more information on NewFest, The 36th Annual New York LGBTQ+ Film Festival, please head over to the official website.