NewFest 2023: Cinematic Cerebrations

By Sean Boelman and Tatiana Miranda

​NewFest is known as one of the premier LGBTQIA+ film festivals in the United States, and this year's lineup — for its 35th edition — was particularly strong, filled with high-profile awards contenders with queer themes or by queer filmmakers. Equally exciting, though, are the indies and international films by up-and-coming voices in the queer cinema community.

We at disappointment media were glad to have again covered this year's edition of NewFest. Here are some quick thoughts on a few of the films we were able to see as part of this year's festival.

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All the Fires

Review by Sean Boelman

Mauricio Calderón Rico's All the Fires is a visually stunning film, with the imagery and atmosphere doing a lot of the heavy lifting to keep the viewer enthralled in the story. The film follows a teenage pyromaniac who begins to question his sexuality, and just as it may seem, the film arguably bites off more than it can chew. Although there are some great individual pieces at play here narratively, they never quite cohere into something as riveting as one might hope. It's definitely a slow burn (pun intended), but the gorgeous cinematography — making extensive use of firelight — is enough to make this drama mostly transfixing.

Almamula

Review by Sean Boelman

The Argentine film Almamula (known in English as Carnal Sins) is a horror-esque fantasy that uses its folkloric premise to create a fascinating exploration of the queer identity. Following a teen boy who must come to terms with his sexuality, as he learns of a local legend of a creature that takes the sexually impure, it's clear where the symbolism and metaphors of this film are heading, but Juan Sebastián Torales's script nonetheless uses these images and concepts effectively to explore his characters and themes. As the feature debut of Torales, Almamula shows tons of potential — even if it doesn't always deliver in its own right.

Eileen

​Review by Tatiana Miranda

Based on the award-winning book by Ottessa Moshfegh, Eileen is an eerie drama filled with subtle queer undertones and captivating performances. The film stars Thomasin McKenzie in the titular role and Anne Hathaway as Eileen's coworker and potential friend, Rebecca. Set in 1964 Massachusetts, it watches like an imitation of a Hitchcock film. Although some of the more off-putting aspects of the plot and Eileen's character don't penetrate as harshly as they do in the source material, the film still excels in keeping the audience on their toes and questioning the morals of the main characters. Aesthetically delightful, Eileen is sure to find a cult classic status among fans of thrillers and psychosexual dramas.

Golden Delicious

Review by Sean Boelman

There are not enough queer stories featuring people of color protagonists, and for that alone, Jason Karman's Golden Delicious deserves some merit. However, the script by Gorrman Lee is severely lacking, with an inconsistent approach to its themes, which makes it hard to buy into the film despite its heart undeniably being in the right place. The dialogue is nearly insufferable in how out-of-touch it feels, with several lines standing out as things that teenagers would absolutely never say. That being said, if there's one thing clear from watching this, it's that young actor Cardi Wong has a bright future ahead of him — if only he can find a script that allows him to better use his talents.

The Lost Boys

Review by Sean Boelman

Not to be confused with the cult classic 1980s vampire movie, or the characters from Peter Pan, Zeno Graton's The Lost Boys is a conventional, albeit mostly powerful film following a group of teenagers at a youth correctional facility. It's surprising how seamlessly the script by Graton, along with Clara Bourreau and Maarten Loix, balances its various themes — sexual identity, race, and rehabilitation — all under the central thematic umbrella of freedom. However, perhaps the biggest highlight of the film is the lead performance by young actor Khalil Gharbia, who brings an extraordinary amount of empathy to the role.

Orlando, My Political Biography

Review by Sean Boelman

Paul B. Preciado's Orlando, My Political Biography is simply an incredible feat of filmmaking. Combining a loose adaptation of the themes and ideas of Virginia Woolf's eponymous groundbreaking and incendiary novel with a series of personal stories from an all-trans and non-binary ensemble, the film is a beautiful and profound ode to the strength of the LGBTQIA+ community in the face of massive adversity. Preciado's unorthodox style is captivating, resulting in an experience that manages to devastate and inspire in turn. This truly is one of the best documentaries of the year.

Queen of New York

Review by Sean Boelman

Queen of New York should be a fascinating documentary, as it follows the campaign of Marti Cummings — the non-binary drag performer who made history as the first non-binary candidate to run for the New York City Council — and for the most part, it is. However, in the final 30 minutes of the film, it unfairly turns into a hit piece against Cummings's Latino opponent. A lot of accusations are thrown around and not explored in much depth. The result will leave a sour taste in many viewers' mouths. After all, Cummings's campaign was about giving a voice to the voiceless — so why is the film pitting underrepresented voices against one another, rather than suggesting minority communities come together to lift each other up.

This Place

Review by Sean Boelman

​V.T. Nayani's This Place tells the story of two young women from different cultures forced to confront their own identities while they grow closer together. What is frustrating about the film is that there is a legitimately great message and compelling story, but it is dragged down by cringe-worthy dialogue and less than impressive performances. Despite leads Devery Jacobs and Priya Guns' great chemistry together, their line delivery is so stilted that it's hard to take them seriously — although as much of the fault here can be blamed on the script as the performances. Still, the film will win viewers over by the end with its charming exploration of intersectionality.

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The 2023 edition of NewFest runs October 12-24 in New York City.