2024 has been an especially strong year for queer cinema. The LGBTQ+ theatrical releases over the past 12 months were bookended by musicals. “Mean Girls,” which opened in early January, was a fun, if perhaps unnecessary retread of the classic comedy. And last month, the juggernaut that is “Wicked” opened to boffo box office and Oscar buzz for Cynthia Erivo’s sensational performance. It also helped out actor Jonathan Bailey cement his reputation as a heartthrob.
In between, there were many memorable films. Out writer/director Molly Manning Walker released a provocative debut, “How to Have Sex,” a blistering coming-of-age drama that immerses viewers in the lives of three female friends on a summer party holiday. Tara (Mia McKenna-Bruce in a knockout performance) hopes to lose her virginity, while Em (Enva Lewis), a lesbian connects with Paige (Laura Ambler). The film was stunning both in its depiction of the debauchery and sexual abuse as well as in the emotionally powerful scenes of teen sexuality.
One of the year’s best films, “In the Summers,” by queer writer/director Alessandra Lacorazza, also depicted coming of age as the queer Violeta (played over time by Dreya Castillo, Kimaya Thais, and Lio Mehiel) and her sister Eva (Luciana Elisa Quinonez, Allison Salinas, and Sasha Calle) visit their father, Vincente (René Pérez Joglar), over several summers during a ten-year period. What goes unsaid is why Lacorazza’s film is so exceptional.
For a more comic depiction of queer teen sexuality, “My Old Ass,” was an amusing coming-of-age film about Elliot (Maisy Stella), a lesbian teen who encounters her 39-year-old self (Aubrey Plaza) while tripping on hallucinogens. Older Elliot warns her younger self about Chad (Perry Hynes White), but Elliot falls for him anyway. Complications ensue.
Other highlights this year include “Drive-Away Dolls,” which was a hoot. The sultry Jamie (Margaret Qualley) goes on a road trip with her uptight friend Marian (Geraldine Viswanathan) unaware that there is a sought-after briefcase in their car’s trunk. As Jamie and Marian meet women they hope to couple up with, they also find themselves running from men who want the briefcase. Raunchy and hilarious, this flick was criminally underseen.
Arguably the strongest — and filthiest — film in 2024 was the stylish crime thriller, “Love Lies Bleeding,” directed by bisexual filmmaker Rose Glass. Depicting the ride-or-die romance between two strangers, Lou (Kristen Stewart) and Jackie (Katy O’Brian), this gritty film features graphic sweaty sex and graphic bloody violence, as its characters grapple with crimes and crimes of the heart.
Also exceptional was “Housekeeping for Beginners,” out gay filmmaker Goran Stolevski’s shaggy comedy-drama about a queer chosen family in Macedonia that does not quite choose to be together. While the film can be a bit slippery, it rewards viewers who sink into its rhythms.
“Problemista,” by out gay writer/director Julio Torres, was a playful directorial debut about a Salvadorian immigrant, Alejandro (Torres), who dreams of designing toys for Hasbro, but experiences one bad situation after another — especially when he works for the brittle Elizabeth (Tilda Swinton). The film features absurd and surreal moments that will either charm or annoy viewers.
The great gay filmmaker Luca Guadagnino graced cinephiles with two films this year. The homoerotic “Challengers” was a delicious and ticklish love triangle about two rival tennis players (Mike Faist and Josh O’Connor), and the woman (Zendaya) they both love as much as each other. The film’s churro-biting scene was especially memorable. Guadagnino’s stylish and surreal “Queer,” which is still in theaters, is a hypnotic adaptation of William S. Burroughs’ novel about Lee (Daniel Craig) as a junkie who falls in love with Allerton (Drew Starkey) in 1950s Mexico.
Among the queer horror films this year, out gay Philadelphia native Lee Daniels, directed the absorbing thriller “The Deliverance.” Based on a true story, the film depicted demonic possession after Ebony (Andra Day) moves into a new home with her three kids and feisty mother (Glenn Close).
Even better was the wonderfully unsettling “Cuckoo,” which provided a fantastic showcase for trans actress Hunter Schafer as a teen who has a series of odd experiences at a strange hotel in Bavaria. This slow-burn thriller was an effective, knotty film that rewards repeat viewings.
Easily the best trans film this year was the poignant, charming and emotional documentary, “Will & Harper.” The film follows Will Ferrell and his trans friend, Harper Steele, as they embark on a cross-country road trip, offering Harper the chance to reconnect with places where she once felt safe and accepted while living as a man. Will’s support and empathy throughout is gratifying and their camaraderie allows for candor, tears and laughs as the friends dig into their feelings.
Another trans film, the Narco musical “Emilia Pérez,” was an astonishing and audacious film about a drug kingpin, Manitas Del Monte (trans actress Karla Sofia Gascón in a dual role), who asks Rita Moro Castro (Zöe Saldana) to help her get gender confirmation surgery on the sly. Years later, Manitas, now Emilia Pérez, asks Rita to help her reunite with her family — without disclosing her new identity. The film is operatic and filled with fabulous musical numbers, romance and violence. But while “Emila Pérez” has been critically acclaimed, it has also received criticism from the trans community about scenes such as one of Rita and a doctor (Mark Ivanir) discussing Manitas’ surgery without him in the room.
The documentary “Merchant Ivory,” chronicled the on- and off-screen relationship about the gay filmmaking couple Ismail Merchant and James Ivory. It was more genial than deep, but clips from “A Room with a View,” and the queer classic, “Maurice,” among others likely triggered happy memories from fans.
Here is to more great queer cinema in 2025.
