Cannes: With "Teenage Sex and Death at Camp Miasma" Jane Schoenbrun doubles down on becoming a defining generational voice.

by Elisa Giudici

TEENAGE SEX AND DEATH AT CAMP MIASMA. MUBI

By the time Teenage Sex and Death at Camp Miasma premiered at Cannes, Jane Schoenbrun had already become something close to a generational folk hero for younger cinephiles. You could feel it inside the Debussy theater before the lights even went down: critics squeezed onto theater steps, festival attendees treating an Un Certain Regard opener like the hottest ticket on the Croisette, audiences buzzing less about Cannes prestige than about what the filmmaker behind I Saw the TV Glow might do next. And honestly, the excitement makes sense. Few filmmakers right now understand how media obsession functions emotionally for millennials and Gen Z quite like Schoenbrun does. Their work isn’t simply nostalgic. It treats pop culture, horror movies, forgotten VHS relics, fandom rituals, and half-ironic internet cinephilia as part of the architecture of identity itself...

Click to read more ...

Review: Elliot Tuttle’s “Blue Film” is a transfixing transgression

by Cláudio Alves

© Obscured Releasing

Every year, so-called provocateurs come out of the woodwork with films that promise to shock audiences, challenge norms and push boundaries, leaving behind broken taboos in their wake. And yet, true transgressions are few and far between. More often than not, viewers are met with the pretension of risk-taking on the part of artists too timorous to take any actual risk. When a picture comes about and honestly earns these descriptors, one should take note. So, please note Elliot Tuttle’s Blue Film. It’s the sordid yet simple story of the night spent between a gay camboy and the stranger who paid for his company. 

During those hours, perversity takes on another meaning as actors Kieron Moore and Reed Birney playact a scenario in which nothing feels more verboten than a show of affection, empathy extended toward those who would rightfully revolt us. Blue Film forms a lewd poem of broken hearts and sad monsters, a mural of cumstains and razor burns, topped by a secret song that you listen to while feeling like you shouldn’t, like you’re encroaching on something so private that to witness it is a violation. All throughout, there’s this pervading sense one is peeking into what ought to remain unseen…

Click to read more ...

Drag Race RuCap: Better late than never, it’s the “Grand Finale”

RuPaul and Miley Cyrus welcome you to the 76th Hunger Gam... I mean the season 18 Drag Race Grand Finale!

CLÁUDIO ALVES: And just like that, it’s over. Season 18 started pretty shapeless, with a scrappy, talented cast who exuded early Drag Race vibes, only to face late Drag Race challenges that did little to capitalize on their energy. The scandal of the Rate-a-Queen Talent Show two-parter suddenly gave us narrative propulsion that elevated the second half of the season until that dreadful makeover episode derailed it all again. We never recovered, enthusiasm dwindling and a bouquet of finalists that, though not undeserving, felt vaguely lackluster. And though the lip-sync LaLaPaRuza gave the show a jolt of life last week, the finale proper couldn’t help but be a letdown, perfunctory apart from one queen’s performance that, for a moment, gave the episode some necessary purpose. 

Grand finales are seldom great hours of television, but we know, from season 16, that this same format can beget better results than what we got this year. Oh well, could’ve been worse.

NICK TAYLOR: It could have been much worse!...

Click to read more ...

Drag Race RuCap: "All RuPaul-A-Paruza Smackdown"

This year's reunion lip-sync smackdown has a trickier format than usual.

NICK TAYLOR: After several episodes of confusing judging and unsatisfyingly resolved lip-syncs, this RuPaulaPaRuZa felt like a return to form for Drag Race as a well-judged variety special. The ultimate top two and winner are maybe not surprising, but the talent on display is immense, and I haven’t had this much fun watching season 18 in a few weeks. As our friend Ale said, it’s a bit of a double-edged sword to see these talented queens strut their stuff and remember how the show’s done them dirty along the way. There’s a world where Jane vs Juicy is the lip-sync for the crown, and that sounds like a very tantalizing reality, but the queen’s performances and the show’s presentation of them are operating on such a high baseline. Were you entertained?

CLÁUDIO ALVES: I was thoroughly entertained, even if I’m still sorting through my feelings about the shape this year’s lip-sync tournament took. Format doubts aside, this was a smashing hour of queer television and while I like your idea of Juicy and Jane at the finale, I’m not sure Baby Dion should be among the two vying for the crown. She’d put on one hell of a show, but I also feel she’s better suited for a future All Stars title…

Click to read more ...

Cannes Lineup - The Competition Films

by Nathaniel R 

Almodóvar will be competing for the Palme for the seventh time with "BITTER CHRISTMAS"

The Cannes competition lineup is here. There's been a lot of scuttlebutt online that it's disappointing. I don't know how that can be the case yet when the films are unseen. It is true that it is very expected in that it is mostly auteurs that they have programmed in the past but that is literally ALWAYS the case since Cannes isn't exactly known for straying from their favourites. What's interesting -- at least to me -- is that the lineup feels gayer than usual with multiple LGBTQ+ filmmakers in the mix. If we're lucky the Queer Palm race will be as spoiled for quality choices as the Palme d'Or!

Cláudio is planning his regular "Cannes at home" series in which he'll revisit previous features from this year's returning auteurs. What else would you love to see? 

COMPETITION LINEUP 2026

Click to read more ...