Inkwo For When the Starving Return (Inkwo à la défense des vivants)

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Derik Lynch, a Yankunytjatjara person, journeys from the confines of city life in Adelaide back to their Anangu community in Aputula, seeking healing through sacred Inma, traditional storytelling and reconnection with ancestral memory and spiritual strength.

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An Indigenous woman, Sarah, recounts to her grandson Devin a story from her time in Residential School, when she was believed to be possessed by a demon.

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A lyrical portrait of Nikyle Begay, a non-binary shepherd and weaver, preserving their way of life through the traditional art of weaving.

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Organza, a broke artist in a distant galaxy, travels across the stars to seek revenge on her ex-lover in an attempt to cure her mysterious illness.

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This documentary explores Indigeneity in prairie settings, highlighting feelings of disconnection and the desire for kinship with the Land. Through contrasting experiences and landscapes, it reflects on cultural dispossession and the ongoing journey to reconnect with one’s roots.

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This film captures the fleeting yet powerful moments of happiness, connection and resilience experienced by the queer community.

DocumentaryVIRTUAL EXCLUSIVE

Uniting from across continents to bring representation to the sport they love, Indigenous Rising laces up their skates to claim their space on the roller derby track. Indigenous Rising is the first team in roller derby history to break the barriers of representing a single country at the Roller Derby World Cup—igniting a movement that pulsates throughout the sport and within each other. Rising Through the Fray follows the team as it welcomes a new generation of players determined to change the face of roller derby—an inclusive, female-empowering sport still lacking diversity. With a compassionate, candid lens, Courtney Montour weaves energetic on-track game play with tender moments in teammates’ daily lives as skaters from over 30 Indigenous Nations navigate and learn each other’s play styles at tournaments and find strength within each other to compete and skate onto the track with pride. Intimate portraits of teammates Sour Cherry, Krispy and Hawaiian Blaze reveal stories of displacement and disconnection from their culture and identities and the journey of finding belonging within team Indigenous Rising. Rising Through the Fray offers a poignant exploration of resiliency, healing and reconnection of a roller derby family with a bond that goes beyond sport.

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Karun, a kindly border guard, finds himself in “paradise” among Bandipora’s soaring peaks, though religious and cultural resentments simmer and scald. Jolted by Faheem’s gorgeous face revealed from behind a helmet visor, Karun is drawn into a romance with indelible repercussions in this first queer film in the Kashmiri language. Wooed by an apple and a warm ripple of attraction each time Faheem (a subtle yet potent Mir Tawseef) passes his checkpoint, Karun (Akash Unnimenon) ventures into Gurez to seek out further encounters. Gurez, a remote Kashmiri village near the border between India and Pakistan, speaks with the voice of soft lullabies and bleating sheep, of a flowing river indifferent to divisions, though that tranquility is soon replaced by distant gunfire. Determined to drop the veil of shame that partitions their lives, Faheem and Karun’s restless hearts pine for one another from a distance, the two praying to separate deities but sharing an equal desire. Wanting, so passionately, to be one. When terrorist infiltrators and a homegrown street gang make a volatile situation worse, can love bind as society breaks?

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Black. Brown. Trans. Cis. Queer. Immigrant. Full Bodied. Embodied. Femme. A conversation with women from Toronto's ballroom scene exploring the intersections of identity and how they channel the presence and power of womanism on the runway.

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CROATIAN • FRENCH ST | Marko, slight but mighty, seems always in control, always a champion—but what happens when he slips his banks? As “unstable air” portends torrential rains for a small Croatian village, the return of Marko’s former neighbour is the rush that might pull him under. Marko (Lav Novosel in a natural, understated performance) has a full life: a brother with Down syndrome (Leon Grgić) who he treats with a soft attentiveness; learning discipline from his father (Filip Šovagović) in the lead up to an arm-wrestling competition; chanting about female anatomy with his buds before pestering his girlfriend Petra (Franka Mikolaci) for sex. But there’s another side to his even-keeled bravado. For, as he tells his brother in the guise of a story, “the boy and the bunny” were once “inseparable,” with a secret hiding place of their own. And now that “bunny” is back. Home from cosmopolitan Berlin for his father’s funeral, Slaven (Andrija Žunac) catches Marko off guard. Despite training constantly as if to outrun his feelings, Marko returns again and again to the river, again and again to Slaven. An imported joint is shared, affections are renewed, and temperatures—and waters—rise.

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With the verve of a Guy Ritchie caper and the popping-hearts swoon of Heartstopper, writer-director-actor Lloyd Eyre-Morgan brings us a tale of troubled men and a soured affair. When two frequent flyers from the north of England cut ties, one sifts through the past to master his heartbroken present. According to “fit AF” Jake (David Tag), his sexuality is 70/30—the 30% of himself set aside for men. With one weekend a month in Amsterdam saved for sweet, searching Benji (Lloyd Eyre-Morgan), who he meets after a cancelled flight. The two seeming opposites wade through emotional and societal baggage to find the sweet spot: a short-term rental in Amsterdam where they can meet away from homegrown obligations. But the closer Benji gets to Jake’s gooey center, the more Jake approaches romance with the bumper rails up, flip-flopping between encouraging and squashing Benji’s vulnerability—and his own. In addition to its sex-soaked escapades and visual flair, Departures is written with care and complexity, peeling off layer after layer of what builds bonds, only to have them break. Self-funded by a collective of working-class LGBTQ+ filmmakers, this Manchester-made feature is confident, can’t-miss filmmaking.

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Based on Fleur Pierets’ memoir of the same name, Julian tells the heart-wrenching love story between the author Fleur and Julian Demoor and Project 22—their international LGBTQ+ marriage campaign of 2017 that was brought to an abrupt halt by tragic circumstances. In 2017, it was legal for same-sex couples to get married in twenty-two countries worldwide, hence the birth of the performance art piece: Project 22. Fleur Pierets, a Belgian journalist and LGBTQ+ activist, came up with the idea to travel around the world and marry Julian—her partner in life as well as business (as co-founders of Et Alors? Magazine)—and not only once, but in every country where it was possible. The goal? To raise awareness on how few places same-sex couples could legally marry. Director Cato Kusters provides a fictionalized account spanning the campaign, from the years 2017–2019, with home-movie-esque film segments that provide an immersive peek into this courageous couple’s experience, both behind the scenes, on the road, and after the fact—moments of joy and silliness, as well as the intimacy, doubt, uncertainty of fighting for one’s rights while also fighting for one’s life.

Documentary

In Muslim-majority Malaysia, a queer punk band led by a transman are outliers of the system —carving out spaces to exist through their music while challenging conservative traditions and religious extremism. Brash, defiant and wickedly funny, punk rockers Shh…Diam! are an underground sensation in Kuala Lumpur. An all-queer band led by charismatic trans man Farris Saad, they’ve won devoted fans with playful anthems like “I Woke Up Gay” and “Lonely Lesbian.” Even their name (“Shut up!” in Malay) is a joke, poking fun at those who’d rather queer folks just kept quiet. Malaysia’s harsh laws are no laughing matter, however, and they put Farris and his bandmates at real risk of state persecution. Filming over six years, director Yihwen Chen follows them to practices, gigs and protests, capturing their irreverent advocacy amid a spate of anti-LGBTQ+ raids and arrests. She also documents major developments in their personal lives and relationships, including Farris’s preparations for his surgical transition. Both an iconic portrait of fearless activism and an intimate chronicle of chosen family, Queer as Punk is an instant entry in the queer cult canon.

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Azad is a transman and aspiring film student who lives discreetly, but happily, with his girlfriend Nora in Iran’s bustling capital, Tehran. After the long and grueling process of acquiring gender affirming care, one last step stands in Azad’s way of medically transitioning–a signature of consent from his estranged father. Farnoosh Samadi presents the heart-wrenching tale of young love strained under the confines of social oppression, where sumptuary legislation enforces dress codes and women can be subjected to ‘virginity tests.’ Even darker shadows lurk beneath the stunning scenery of the remote Iranian village where Azad hails from–a place he is no longer welcome for bringing shame to his conservative and superstitious family simply by being himself. Plagued by strange premonitions, in intermittent and surreal dream sequences, Nora soon finds herself suspicious of her partner’s true whereabouts when Azad suddenly goes missing and his family insists that he has returned to Tehran without her. A slow burn that eventually heats up with riveting intensity, Between Dreams and Hope tells a remarkable story of strength, courage, and resilience that leaves a profound and lasting impression long after the credits have rolled.

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DANISH • FRENCH ST | With In Ashes, writer-director Ludvig Christian Næsted Poulsen grippingly toys with genre. He inflects one Danish collegian’s immersion in frantic hook-up culture amidst a relationship mysteriously ended with elements of psychological horror and the tension of a spy thriller. In 2017 Copenhagen, baby-faced Christian (Rex Leonard, a nervy knockout) is glued to his camera, determined to capture every giddy moment he spends with his long-distance boyfriend Aske (Lior Cohen). Flash forward to 2022 Aarhus, “the most wonderful city in the world,” and a scruffier Christian seems less than content. He interrogates his schoolmate’s perspective and confronts strangers over assumed slights. He’s plagued by an unspoken ailment. And Aske seems nowhere to be found. With each empty tryst, each hungrily inhaled cigarette, Christian descends into a type of madness. Or is it clarity? Aske’s reappearance, arriving with the jolt of a jump scare, may hold the key to that question, as desperation congeals into starry-eyed determination. For those drawn in by the enigmatic pull of All of Us Strangers, In Ashes will have you guessing ‘is this a romance or a tragedy’ until the very last second—perhaps, even, long after.

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The latest from Gail Maurice, the director of Rosie (Opening Film, I+N35, 2022), Blood Lines is breath-taking and evocative, bringing visibility to the lives of indigenous adoptees. Set in a remote Métis village, this woman-centric tale braves the nuances of intergenerational trauma with not only courage but humour. Director Gail Maurice delivers a poignant cameo as Leonore, seeking amends for her disappearance from her daughter Beatrice’s life. Meanwhile, Beatrice (clerk of the Eager Beaver gas station) meets Chani (a new transplant from the city in search of her birth family) but from here: a love story that’s anything but typical. With dialogue in the Michif language, which has less than 1200 speakers left, this urgent film shows the various ways women support one another—in particular, how Leonore’s closest friends “The Grannies” bring joy (and perhaps a bit of mischief) to each day despite hardships, past and present. Whether through sharing laughter, breaking bread, or extending an olive branch, it’s by their grace the next generation can see how patriarchy and colonialism have disempowered them and then held them to blame—until now, when stories finally fall on ears that listen.