This is a difficult one to pin down, and honestly, that's both its greatest ambition and its biggest flaw. It's a wildly eccentric psychosexual comedy attempting to invent an entirely new genre, and I truly can't think of anything else quite like it. But wanting to be audacious and successfully being audacious are two very different things, and for me, it simply didn't work. And just so expectations are clear, this isn't strictly a gay film. One of the two main characters is gay, and sexuality is definitely part of the discussion, but that's pretty much where the queer aspect ends.Joey and Craig are roommates, and their relationship is warm, though somewhat uneven. He covers the rent while she doesn't, so he can get away with things like making Joey sit in her darkened room when his Grindr date arrives because he's told the guy he lives by himself. The movie begins with Joey talking to her therapist and recounting this long, rambling tale about meeting someone named Brian, sleeping with him, and discovering that he's an alien. The monologue drags on forever, running through her entire messy past with Brian before finally explaining how Craig entered the story. When Brian turns up in their lives again and their apartment becomes more or less uninhabitable, they wind up spending a weekend at his house. Brian possesses this alien power where a simple touch can soothe and subdue anyone he encounters, and naturally, both Joey and Craig are pulled toward him in ways they can't fully control. Joey has tentacle sex…

Honestly, this was such a refreshing film. Rather than leaning into the familiar trans victimhood narrative, it goes somewhere much more nuanced and compelling. It unapologetically allows its trans protagonist to inhabit two spaces usually treated as incompatible for trans characters. She pursues her sexual fantasies while also attempting to create the kind of family life trans people have historically been excluded from. The film’s point is basically that identity holds multitudes, and it refuses to confine her within society’s expectations. A girl can have it all, and this film argues that confidently.The main character is a successful, famous trans theatre actress. She’s fierce, highly sexually active, and entirely unapologetic about it. One night, she meets a gay Mexican lawyer who remained in Argentina, let’s be real, for the hot men. They’re strongly attracted to one another and begin a relationship. He meets her family, and before long it’s obvious that having a relationship hasn’t altered her behaviour whatsoever. She continues hooking up with local men on the side, and their relationship is openly defined as just that: open. The film takes a turn when they choose to adopt a child, and near the end we learn that the child is HIV positive. Yet this shift toward domesticity and building a family doesn’t go over well with her trans friends, who think she’s betraying them by trying to slot herself into a conventional life. At the same time, their relationship develops, changes, and endures plenty of highs and lows. There’s a continual clash between convention and her rebellious, free-spirited side.…

I found this film almost magnetic in a way I couldn't fully explain. Some films have that rare quality where every frame feels worth taking in—the people, the settings, the movement—and this one completely has it. It’s a fictionalised retelling of real moments from the life of dancer and choreographer Rianto, who performs the Lengger dance, a traditional form from his native island of Java in which men adopt feminine appearances and movements.The film follows Juno in something like chapters, with each section capturing a different phase of his life—his childhood, his teenage years—and each one centres on a crisis connected to how the people around him interpret his body and sexuality. Having grown up without a mother figure, Juno is at ease with solitude and isolation. When he is young, a dance master notices the grace and flexibility of his body and recognises him as a natural dancer, yet those same effeminate qualities make him a target for bullying. As a teenager, we see him learning to sew, and much of this chapter focuses on his bond with a boxer from the village. Juno becomes a sort of assistant to him, and the boxer genuinely enjoys his company. The homosexual undertones are unmistakable, and Juno seems utterly captivated by the man’s physicality, viewing him as somewhere between a friend and an obsession. He trembles as he watches the boxer attempt to force himself into the version of masculinity everyone expects from a real man. Sadly, that storyline goes nowhere hopeful, since the boxer nearly loses his life because of…

At its core, this documentary is about the American religious right's aggressive opposition to the LGBTQ community and the harm that causes families caught between their faith and the love they feel for their own children. The film takes a gentle, patient approach, clearly hoping to convince people with conservative religious beliefs that there is no reason to be fighting the LGBTQ community. It keeps its attention on parents: how they responded when their children came out, what the families endured, and how they eventually reached a point where they could offer support.The film begins with the Supreme Court's legalization of gay marriage and the backlash that followed across much of the country, though that is not really its central concern. Its real focus is four families. The first is an evangelical family in Washington state whose entire world is shaken when one of their sons comes out as gay. The parents speak very openly about putting him through conversion therapy, and about how badly he struggled internally, eventually developing serious drug problems and dying. Two more stories involve transgender children, one boy and one girl, and both are especially compelling because prejudice against trans people is so much more intense considering how small that community is. You can also see that things are gradually changing, since one of the people featured is Sarah McBride, who became the first trans person ever to speak at a national political convention when she addressed the 2016 Democratic convention. The fourth story follows a gay Puerto Rican immigrant whose grandmother rejected him, though…

Honestly, they should’ve just named this show J&J. The two leads are Jerome and Jinn, and the show itself even calls them by that nickname a few times. Maybe there were title issues, but J&J would’ve suited it so much better. Head 2 Head just sounds a little off. Anyway, it begins like a pretty standard enemies to lovers story, but give it a little time and there’s more happening under the surface. It’s 12 episodes, around 45 minutes each, and overall it’s a decent watch.Jerome and Jinn have lived across from each other since childhood, and they’ve been rivals for just as long. They tease each other, talk each other down, and basically disagree about everything. Even so, they’re in the same friend group, along with Van and Farm. Jerome gets hurt after a car race and begins having visions. He soon realizes they’re always tied to Jinn and the world around him—sometimes comforting, sometimes seriously unsettling. Since he’s injured, both sets of parents decide Jerome should recover at Jinn’s university condo. While he’s busy worrying about Jinn, Jerome starts catching real feelings, and eventually they begin dating. But the visions don’t stop. They show Jinn arguing with his mother, being in an accident and maybe dying, and also the two of them growing apart, though other times they become boyfriends. Jerome gradually shares some of what he’s seen with Jinn, and together they try to change the future by having Jerome stay close, support him, and love him. Alongside that is Van and Farm’s love story. Van is…

This is an early-90s film, and that context genuinely matters when you watch it. It was probably fairly talked about in its day. It's a murder mystery erotic thriller that's somehow both dramatic and utterly ridiculous, and the sheer absurdity actually made me laugh a few times before I had to remind myself that logic clearly wasn't much of a concern for filmmakers back then. David, the central character, is deeply messed up and genuinely cruel, yet you still feel sorry for him because he's obviously a victim of sexual abuse who never processed any of it and instead inflicts that pain on everyone around him in the most horrible ways possible.The movie starts with the brutal murder of a naked man. We then meet David, a young man who has just left boarding school after a teacher dies, almost certainly the murder we have just seen. He arrives at his wealthy mother's beautiful oceanfront home to spend time with her and her boyfriend, Paul. They both keep trying to push David into socializing, meeting girls, and making friends, but he has no interest in any of it. Paul quickly realizes David is gay, whereas his mother simply refuses to acknowledge it. David begins spending time with a pair of hippie guys, already making both his mother and Paul uneasy, and when they start asking him for money and taunting him over his denial of his sexuality, he pushes them to their deaths. Paul becomes convinced that David is responsible, while the mother remains entirely oblivious. David later befriends Tony…

You could pretty much describe this as a queer neo-noir erotic thriller about a closeted cop who freely admits he's a sex addict and gradually loses control as the story unfolds. There was a time when sleazy, sweaty, proudly trashy movies like this flourished on dangerous attraction, moral ambiguity, and people making terrible decisions beneath neon lights. This isn't one of them, though, at least not for me. It falls short in a lot of ways and, honestly, never managed to hold my attention. The main problem is that the plot becomes so convoluted and confusing that massive parts of it simply stop making sense. Aiden is a Sydney cop trying his hardest not to masturbate because he's dealing with some kind of sex addiction and has persuaded himself that abstinence makes him physically stronger as well as a better cop. He takes it so seriously that, midway through the movie, he actually buys a chastity cage. He's assigned to a unit policing the queer district, where his lesbian boss tells him to go undercover as a gay man at a gay club because overdose deaths around the area are rising. There he meets Cody, a young twink who works at this shady bar and is controlled by Fat Frankie, a local drug dealer, pimp, crime boss, and drag queen all in one. While still desperately trying to suppress his urges, Aiden begins falling for Cody as he's pulled deeper into the murky, morally gray politics of this entire underworld. The pair start attending various drug fueled parties in an…

It is hard to wrap my head around the fact that in 2026, we are still being served BL series of this low quality. This mini series consists of roughly 7 to 8 episodes with a total runtime of approximately one hour, and it is so tedious that I am at a loss for words. Between the awkward acting and a story that couldn't be more basic, there is almost nothing worth saving here. Even when the makers attempt to inject drama, the effort falls completely flat.After spotting a man sitting by himself at a gay bar, 23 year old university student Ho Won feels an immediate attraction. The man, Min U, is 33 years old and dismisses Ho Won right away, claiming he is too young. Ho Won decides to lie about his age; having made a bet with the bartender that he could get the man home before the night ends, he changes his approach. This tactic works, and the two eventually sleep together at Min U's place. Although they are complete opposites, a certain pull brings them together for a few dates. However, once Min U discovers the bet, things shift. He offers Ho Won a chance to explain, but Ho Won shuts down, admitting to the lie without mentioning his feelings, largely due to intense guilt. Three months later, Min U arrives at Ho Won's university as a new professor, at which point he learns Ho Won's actual age. This time, Ho Won is able to open up and explain the situation properly, leading to a…

Set in Porto Alegre, Brazil, Night Stage arrives with a powerful impact. I was hooked early on, convinced the film was heading toward something special; however, the final twenty minutes veer into thriller tropes, resulting in an ending that feels unsatisfyingly unresolved. Drawing heavy inspiration from 80s erotic thrillers, the story features two gay men who repeatedly engage in high-stakes, public sexual encounters that threaten to ruin their lives at any second.The story follows roommates and theatre actors Mathias and Fabio, whose relationship is defined by a sharp competitive streak. Mathias, who is openly and comfortably gay, meets Rafael via an app. Although Rafael initially insists he only meets people once, that boundary quickly dissolves as the two continue to meet for sex in locations where they risk being caught at any moment. Complications arise when it is revealed that Rafael is running for mayor, while Mathias is competing against Fabio for a web series role that promises real fame. After Rafael pulls some strings, Mathias secures the part. Both men are now on the verge of becoming public figures, facing immense pressure to maintain a straight, respectable image, yet neither can stop their behavior. Their encounters move to increasingly exposed locations, including terraces, cruising parks, a parking garage, and Rafael's office. Driven by jealousy over the lost role, Fabio films the pair having sex in public near a family, then uses the footage to blackmail Rafael via his security guard. Having seen his repeated warnings ignored by both men, the security guard snaps, killing Fabio before turning his aggression…

Anyone tracking these Japanese Pink films understands the formula: a ridiculous premise, a bit of a plot, and an hour of simulated gay sex that somehow keeps you hooked. This entry leans heavily into a body swap fantasy, posing the question of what would happen if you woke up in your attractive friend's body and could finally indulge every secret desire.Atsushi has harbored a quiet crush on his childhood friend Yuma for years, though the two lost touch until they eventually ended up working at the same company. While Yuma is straight and has a girlfriend, their relationship is currently struggling. Following a signing strike, the two men swap bodies; suddenly, Atsushi is living inside the man he has fantasized about forever, while Yuma is stuck navigating life in Atsushi's skin. Atsushi wastes no time exploiting the situation, fooling around with himself and getting completely worked up by being in the body he has always wanted. In contrast, Yuma uses his time in Atsushi's body to try and fix things with his girlfriend. Naturally, a ton of sex follows. Yuma even helps Atsushi connect with another guy he likes, meaning Atsushi at least ends up with a real relationship in the works.The film delivers exactly what genre fans expect, featuring a story that holds together well enough and decent acting. It is packed with simulated sex scenes, baby oil, and plenty of steamy nonsense that leans into the fantasy without becoming uncomfortable, staying true to the genre. Because it is Japanese, there is no actual nudity, only implied action and…

I didn't realize before watching this that people from Middlesbrough call themselves Smoggies, but that is the setting for the British sitcom Smoggie Queens. I had never even heard of this show until now, so I went in completely blind to these six episodes, each lasting about half an hour, and it turned out to be a brilliant little find. The series centers on a group of LGBTQ friends who have essentially built their own chosen family. You watch them navigate secrets, drag brunches, terrible dates, and break-ups—the kind of constant drama that only happens when everyone in a friend group knows every single detail about everyone else.The cast includes Dickie, a drag queen; his drag mother Mam; a newly out man named Stewart; Sal, a lesbian with musical ambitions; and Lucinda, the group's lone straight friend. As they navigate life in Middlesbrough, they are all simultaneously figuring out their careers, their relationships, and one another. The series kicks off with Dickie being dumped by his boyfriend Harrison, which is complicated enough since Harrison is also a colleague. Dickie's immediate attempt to win him back goes exactly as poorly as you would expect. From there, the show follows a classic sitcom format where each episode explores a different premise. In one, Mam goes into full fairy godmother mode to help Lucinda find her perfect match, and in another, Mam hosts a Titanic themed brunch that is interrupted by the sudden appearance of an old enemy. I found the murder mystery game night episode to be the funniest, as Dickie loses…

It is a genuinely fun return, with the entire gang back for season 2. Having watched both seasons back-to-back, I found this one felt slightly flat compared to season 1, though that might just be because I went straight from one to the other. It isn't bad by any means; it is simply difficult to live up to the predecessor. Everyone is back and remains hilarious, including Mam, Dickie, Stewart, Lucinda, Sal, and Neil. The series picks up exactly where it left off with the same madness and the same crowd, consisting of six episodes that are thirty minutes each.Dickie is back on the hunt now that he is single again, while Mam faces some seriously uncomfortable history that has come back to haunt her. Sal finds herself caught in a messy situation involving Danni and Mel, and Mel has begun dating a new, truly insufferable TikTok type. Lucinda's relationship with Neil hits a snag upon the discovery that his ex-girlfriend's name is tattooed on his back, whereas Stewart is out enjoying life. Dickie handles his singlehood by making everything about himself and convincing himself that every stranger he encounters is a rival. While Mam continues to be the glue keeping everyone from falling apart, her own mess begins when her estranged wife appears. Stewart remains absolutely brilliant, using his deadpan humor to navigate all these new developments. The setups for the episodes this season are quite specific. In the first two, the gang somehow loses a white rabbit inside a carpet warehouse—complete with fun Alice in Wonderland touches—and Stewart's…