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Challenging representation and centring trans community and craft at TITE 2025
D ublin’s Smithfield Plaza is a wide, cobbled expanse lined by bright cafes, block-colour signs, and tall, thin lampposts like metal flamingos. Mos…
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Motel Destino review – a sleazy stay in a neon nightmare
A s he runs freely across the sprawling dunes of Ceará, flitting back and forth between the crisp water and the blazing heat of the Brazilian sun, …
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The Wedding Banquet review – an unexpected delight
T he first explicitly gay film director Andrew Ahn ever saw was Ang Lee’s The Wedding Banquet . A comedy drama about a gay Taiwanese-American man w…
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The Extraordinary Miss Flower review – an eccentric music doc
A slight conflict of interest here, as the producer of Iain Forsyth and Jane Pollard’s The Extraordinary Miss Flower is named Zoe Flower and she …
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Inside TGirlsOnFilm: An archive for the future of Trans cinema
I n no small part due to the rise and fall of the Nazis, McCarthyism and Margaret Thatcher’s Section 28, there is a scarcity of films exploring Tra…
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Was Crumb right?
I t was in my junior year of college that I watched through Terry Zwigoff’s filmography and was stunned and amused by his wry humor and frank hones…
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The quiet intensity of Lee Kang Sheng’s gaze
O ur first glimpse of Lee Kang Sheng in Tsai Ming Liang’s Rebels of the Neon God (1992) features the young man seated at a desk. His back is turne…
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