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Short

Gilbert Mhanna is a queer Lebanese artist based in Toronto. His art is baladi, a dance traditionally reserved for cis women. Together, we'll explore the relationship of his Araboqueer body to this Canadian space. How does this country continue to flow through their veins?

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A journey into Aly’s world and his personal growth through the eyes of his new furry, Eden. Aly opens up about his next character, Lusia, who will resemble him in every way.

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A male teenager planning to come out to his father imagines different outcomes while portraying them in different cinematographic genres in his mind.

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Robin is a young woman who lives alone above a gas station in North Bay. Every night she watches truckers fill their tanks up and munch on pepperettes. Robin has a secret. Robin is a porn addict. Robin can’t feel anything anymore.

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I asked various AI to create images and narratives of black wonder womxn fighting in Florida. These are their responses: White supremacism, sexism, homotransphobia are spreading across the web. Let’s play with it and get back some power.

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One day this kid will feel something stir in his heart and throat and mouth. One day this kid will reach a point where he senses a division that isn’t mathematical. One day this kid will talk.

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A gay millennial reels after breaking-up with a popular influencer.

FeatureVIRTUAL EXCLUSIVE

Small towns are no place for secrets. Among the churchgoing folk of a Newfoundland fishing village, Eliza leads a double-life: exploring transgressive photography while managing an unspoken romance with a shunned woman and the insistent advances of a married man. Hearsay only two steps behind. Sneaking around the neighbours, Eliza (Michaela Kurimsky) stages increasingly revealing photoshoots in locations both remote and close to home—perhaps too close. With every new post to her 318K Instagram followers, she imperils the careful balance she’s cultivated between her coexistence with fellow villagers, her burgeoning romance with Toni (Elle-Máijá Tailfeathers), and the married man (Peter Mooney) whose desire for her titillates as much as it terrifies. As a church fundraiser she’s helping to organize approaches, so too does a blaze of gossip, and choices are made that could leave her forever shattered. By turns kinky and kind-hearted, Melanie Oates’ second feature explores our wildest selves with a complexity that continues to deepen through to the final striking frame. All the while, embodying a true sense of place, depicting the rough shores and spirited personalities of one of the most isolated—and spectacular—of Canadian locales.

Feature

Torontonian Z, a transmasculine musical theatre performer, has NYC aspirations. The testosterone he’s on has other plans. Facing unpredictable losses and the foreign feeling of his changing body, Z forges connections that reveal how, sometimes, our favourite places are those we have yet to find. Meeting at now-defunct The Beaver, Z (co-writer/producer Breton Lalama) and Danielle (Khadijah Roberts-Abdullah) are smitten. Danielle supports him as he aims for stardom, but falls short: forced to become a barback bartender at Toronto mainstay Squirly’s after a disappointing audition. There, he’s taken under the wing of his cute, charismatic boss, Santi (Xavier Lopez), who knows a lot more about what he’s going through than Z realizes. Although Z can no longer hit Éponine’s notes in Les Misérables, with the help of his vocal coach (Ali Garrison) and a “dream world” goal, he reaches for a more compatible voice. And as we watch Z retrain, we witness actor Breton Lalama do the same in real time, both coming to terms with who they are becoming. Helmed by non-binary filmmaker J Stevens, this is incisive, richly detailed cinema afforded the flow of a life lived authentically.

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A young trans man returns to his family’s farm in rural southern Ontario following his grandfather’s death, and must navigate the discomforts of familial rural life with his father.

FeatureIN CINEMA

PORTUGUESE • FRENCH ST | Wellington (defiantly nicknamed Baby) trades his detention centre cell for the streets of São Paulo, absorbed into the life of an in-demand “escort” with old school methods. Torn between this erotic father figure, two chosen families, and the mother who left him, Wellington must discern which link is the strongest. Against a backdrop of corrupt cops, vengeful kingpins, and Brazilian ball culture, maybe-18-year-old Wellington (João Pedro Mariano) falls for 42-year-old sex worker cum drug dealer Ronaldo (Ricardo Teodoro), who has a son not much younger than Wellington being raised by lesbian mothers. The two share a charged, teasing bond with yo-yoing power dynamics. Wellington softens Ronaldo, schooling him in voguing’s ebullience and showing him his battle scars, while Ronaldo grounds his protege, giving him boxing lessons while doling out paternal advice and setting strict boundaries. Boundaries that Ronaldo is desperate to maintain and Wellington comes to resent when youthful potential and a biological parent draw him away. Propelled by Marcelo Caetano’s stylish direction, this gritty coming-of-age tale wrestles with themes of love and coercion, considering what’s still possible for a restless heart when a ‘baby’ becomes a man.

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The filmmaker aka Tranie Tronic tells the tale of the incident that inspired their latest album Transgression and brings awareness to the potential dangers of dating men online.

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A young woman and her friend are led to a metamorphic realization when they ponder the nature of dreams.

Documentary

Whether wowing 1960s nightclub audiences with her vocal prowess or vanishing from the scene in a haze of rumours, Jackie Shane never failed to leave her mark. Through recorded conversations with the boundary-bursting yet reclusive icon, and the magic of ghostly, gorgeous rotoscope animation, Jackie is restored to us. Encouraged to leave Jim Crow-era Nashville by Joe Tex so that her talent could soar, Jackie Shane brought her R&B sound and daring charisma to adoring fans everywhere from mafia-controlled Montreal to her beloved Toronto, getting kidnapped and turning down a transphobic Ed Sullivan Show offer along the way. Close friends with Little Richard and an opener for the likes of Etta James and Marvin Gaye, Jackie Shane was an It girl in a time when using “she/her” seemed unthinkable. So she had a choice: global superstardom or her own hard-earned authenticity. This is the story of that choice, told through Jackie’s own words, vibrant reenactments, and assessments by contemporary trans figures, with music as the film’s soul. Executive produced by Elliot Page, Any Other Way is a triumph of the documentary form—as polished and impressive as Jackie herself.

FeatureVIRTUAL EXCLUSIVE

DUTCH • FRENCH ST | Capturing the recklessness of youth and the excitement of newfound sexual liberties in sensuous black-and-white cinematography, Dennis Alink’s Out offers up a vivid and tender tale of being young and gay. Tom (Bas Keizer, in a star-making performance) and Ajani (an effervescent Jefferson Yaw Frempong-Manson) are closeted secondary school sweethearts who yearn for life outside of their small-minded, rural community in the Netherlands. Their solution is Amsterdam, where the queer scene is thriving and they can work at their dreams of becoming filmmakers. Quickly falling into the Dutch capital’s gay nightlife offers the pair some initial thrills: cheeky games of Never Have I Ever, limo rides across the city, eye-opening trips to the bathhouse. But the challenges quickly follow, pushing them to separately question: “Who am I, and where do I fit in?” Recalling such classic monochromatic films about wayward youth as The Last Picture Show and Gus Van Sant’s Mala Noche, Alink and his queer collaborators present a lived-in, piercing portrait that proves coming out isn’t just a pronouncement of one’s sexuality, it’s a simultaneously joyous and heartbreaking journey of self-discovery.

Short

Robin is a young woman who lives alone above a gas station in North Bay. Every night she watches truckers fill their tanks up and munch on pepperettes. Robin has a secret. Robin is a porn addict. Robin can’t feel anything anymore.

FeatureVIRTUAL EXCLUSIVE

DUTCH • ENGLISH ST | Capturing the recklessness of youth and the excitement of newfound sexual liberties in sensuous black-and-white cinematography, Dennis Alink’s Out offers up a vivid and tender tale of being young and gay. Tom (Bas Keizer, in a star-making performance) and Ajani (an effervescent Jefferson Yaw Frempong-Manson) are closeted secondary school sweethearts who yearn for life outside of their small-minded, rural community in the Netherlands. Their solution is Amsterdam, where the queer scene is thriving and they can work at their dreams of becoming filmmakers. Quickly falling into the Dutch capital’s gay nightlife offers the pair some initial thrills: cheeky games of Never Have I Ever, limo rides across the city, eye-opening trips to the bathhouse. But the challenges quickly follow, pushing them to separately question: “Who am I, and where do I fit in?” Recalling such classic monochromatic films about wayward youth as The Last Picture Show and Gus Van Sant’s Mala Noche, Alink and his queer collaborators present a lived-in, piercing portrait that proves coming out isn’t just a pronouncement of one’s sexuality, it’s a simultaneously joyous and heartbreaking journey of self-discovery.