Fall Film Frolic 2026

Haunted by the past, siblings Mise’l and Antle are destined to reunite and join forces against a dark spirit that emerges from their shared childhood. Once inseparable, their fractured relationship set by years of silence and a violent episode rooted in homophobia, is tested as they must return to Sk+te’kmujue’kati (the Place of Ghosts) a forest steeped in ancestral memory where time bends. What initiates from trauma soon transforms into an odyssey of healing, as Mise’l and Antle confront their caretaker’s cruelty, the weight of family secrets, and their own deepest fears. Visually stunning and emotionally raw, this extraordinary tale explores how love, even when repressed, can become the fiercest weapon against hate.

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Blood Lines is a lesbian romance wrapped up in a celebration of Métis culture — with dialogue in the Michif language, which has only about 1,130 speakers in the world, including Maurice — and centres around an upcoming Métis Day festival. Storyteller and store clerk Beatrice (Dana Solomon) is completely taken by a new woman who arrives in her Métis community looking to find her biological family. Beatrice decides to help Chani (Derica Lafrance) in order to spend more time with her. Meanwhile, a chorus of older women, collectively referred to as “The Grannies,” try to get Beatrice to mend things with her mom, Léonore (played by director Maurice). Léonore’s past drinking problem had soured their relationship and Beatrice is reluctant to repair it, no matter how many years her mom has been sober. Solomon is a striking discovery, conveying so much in this role of a disgruntled daughter who has mostly buried her feelings, while The Grannies usher in lighter, funnier moments. Blood Lines is a singular film — a Métis same-sex romance — with an ending that will leave audiences talking.

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Three films celebrating the best parts of Massachusetts: from a bike trip to P-town to portraits of our festival founder, George Mansour as well as the new community hub, The Pryde.

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Bouchra, a 35-year-old Moroccan coyote in New York documents her long-distance relationship with her mother in Casablanca, as they explore together the love, pain and secrets that unite them through calls and intimate conversations.

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Aiden, a young cop, embarks on a risky undercover mission where he meets Cody, a captivating male sex worker controlled by a drug lord drag queen. Aiden dives into a perilous world, getting entangled in a deadly police conspiracy.

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As painful as some chapters are to close, another inevitably waits to unfold. In the fragile space before and during an ending, one can feel suspended or stuck, unsure of what comes next. Even in the ashes, these films suggest that within every ending lies the possibility of a new beginning.

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Robberies, demonic summoning, and eighties punk. We’ll weave through trans realities and unrealities, exploring the marks we leave on each other. These eight stories kiss, kill, and kick ass as they ask - who remembers us and how do we remember ourselves?

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These stories unfold in moments of quiet upheaval: a phone call before a wedding, a crisis in a small-town mosque, a young girl’s journey through myth, siblings fractured by grief. Centering queer, trans, and intersex lives across the SWANA region, this program honors the intimate revolutions that occur within families, faith, and the self.

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Eva, a trans woman, takes on the care of her granddaughter after the sudden death of her daughter-in-law. While processing the grief, she tries to help her son connect emotionally with the baby. Amid tensions, reproaches, and silence, mother and son embark on a path toward mutual understanding and the reconstruction of their family bond.

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Taking pages from the absurdism of Jean Genet, the Beat ethos of Jack Kerouac, and the independent spirit of John Cassavetes, Harry Dodge and Silas Howard’s directorial debut is a butch and trans buddy film that follows Shy (Howard) and Valentine (Dodge), two gender outlaws living by any means necessary in San Francisco during the Bush years—when violence and isolation are around every corner, even in the supposed queer mecca of the United States. This inventive, energetic, shot-on-video road movie is teeming with playful scenarios, pathos, and humanity. The film screened at festivals worldwide and won numerous awards including the Audience and Best Screenplay awards at Outfest.

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A journey to the hypermasculine rodeos of Michoacán state in Mexico delves into the subconscious of memory, queer desire and longing, leading to a reckoning with the wounds and beauty of a home left behind.

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Open Endings is a highly acclaimed 2025 Philippine queer film by Nigel Santos, celebrated for its realistic portrayal of sapphic relationships, focusing on four queer women (exes-turned-best-friends) navigating love, heartbreak, friendship, and chosen family, offering a nuanced look at queer lives beyond typical tropes, and highlighting the depth of lesbian bonds

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March is mourning his wife Nat who has recently passed away due to dust pollution. He discovers her spirit has returned by possessing a vacuum cleaner. Disturbed by a ghost that appeared after a worker’s death shut down their factory, his family reject their unconventional human-ghost relationship. Trying to convince them of their love, Nat offers to cleanse the factory. To become a useful ghost, she must first get rid of the useless ones.

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After living undocumented in the UK for two years, Nigerian migrant Isio is caught and sent to the Hatchworth Removal Centre. She hopes for a fair asylum hearing and is convinced that, as long as she strictly follows the rules, she will be released – even if her charismatic new roommate Farah tells her this is a naive mistake. As Isio adjusts to life in the Removal Centre, she finds herself falling for Farah, as well as becoming close to her new friends Nana and Atefeh. When Isio’s asylum application is rejected, Farah suggests they escape together to give their love a chance. Isio initially refuses. But when events beyond their control threaten the promise of a new life, she realises that she has to start playing by her own rules. Freedom is elusive, but love is eternal.

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Arthur Rimbaud’s ghost wanders through history, meeting revolutionary figures such as Emma Goldman, David Wojnarowicz and Marsha P. Johnson. A layered collage of encounters questioning identity, revolution and the role of the artistic avant-garde.

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Fatima, 17, the youngest of three daughters, treads carefully as she searches for her own path, grappling with emerging desires, her attraction to women, and her loyalty to her caring French-Algerian family. Starting university in Paris, she dates, makes friends, and explores a whole new world, all while confronting a timeless and heartrending dilemma: How can one stay true to oneself when reconciling different parts of one’s identity feels impossible?

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Join us in a survey of the gay male reality: job interview anxiety, rural hookups, later in life love and some dancing, but please don't use the blue sponge on the sink, Thanks :)

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Director Houston Bone attacks the horror/demon baby genre with gusto in his second feature. Sara is well into her pregnancy and happy in her relationship with bartender Carol when the baby’s father, Troy, makes a surprise appearance back in her life. Against the wishes of Carol, Sara agrees to dinner at Troy’s family estate outside of Toronto so she can meet his mother (a fantastic, scenery-chewing Jane Moffat). A quiet dinner takes a turn to the demonic as Sara discovers the true nature of Troy’s family leading to a wild confrontation between the couple and Satan.

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Chile’s official selection for the Oscars. Set in a dusty Chilean mining town in 1982, Diego Cespedes’ film is a poetic, absurd, and deeply human modern western. 11 year old Lidia is being raised by a community of trans women led by Boa, the matriarch, in a remote mining town. When several men begin dying of a mysterious plague (supposedly spread by stares) Lidia is confronted by ignorance and fear as the miners decide to exercise control of the bodies of the trans women (whom they adore at night and loath during the day). Cespedes’ film uses magical realism and poetic tenderness to draw us into a pivotal moment in queer history. An ode to the care and resilience of trans family, this breathtaking debut never loses sight of the power of love in the face of dire circumstances.

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Directed by Pete Ohs, who also wrote, edited, and produced the film, Erupcja (the Polish word for eruption), starring a luminous Charlie XCX, is an idiosyncratic postcard romance with a casual, slice-of-life vibe that sucks you into a world you want to inhabit. While on vacation in Poland, Bethany (Charli XCX) breaks away from a romantic itinerary planned by her doting boyfriend, Rob (Will Madden), fearing that a marriage proposal is imminent. Reuniting instead with an old friend, Nel (Lena Góra), the two women rekindle a uniquely combustible chemistry over the course of a few days in a chaste but burning tryst predicated on sapphic synchronicity and a mutual penchant for poetry. Ohs finds inspiration in locations, workshopping characters with his cast and shooting the film with only half the film outlined, creating a story that unfolds one scene at a time. Charlie XCX shines as Bethany, channeling her party girl persona into a character who approaches her wanderings as an introspective vision quest, searching for a deeper truth within herself.

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A sexy, bloody, and bitingly sharp slasher. Blowie follows a group of sex workers who rent a remote mansion in the English countryside to shoot OnlyF*ns content. When a tragic accident unleashes Blowie, the doll-faced killer with a thirst for vengeance, it becomes a race for survival. Who will die? Who will survive? Who will c*m? Blowie is a wild ride of horror, humor, and hotness. Starring real adult industry performers, Lidbetter and Aldridge have created a unique slasher that feels true to the genre but also carries a deeper message about the rights of sex workers and the ongoing marginalization of queer communities.

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Seven Latin American short films share a pulse: the body as a site of desire and transformation. Whether fighting supernatural forces, the tender arithmetic of intimacy, or the quiet act of claiming a day for oneself, these films trace the many ways queer lives carve out space: in ballrooms, in beach towns, in the loom, in the night.

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Winner of the Teddy Award for Best Documentary/Essay film at this year’s Berlinale, Brydie O’Connor’s film explores the life and films of queer cinema pioneer Barbara Hammer. A longtime friend of WQ and Boston, we are honored to present this cinematic celebration of a filmmaker that was near and dear to all of us. Barbara Hammer (1939–2019) started making films at the age of 27, coming out as a lesbian in her early 30s: “My life has been lived in film.” The sheer wealth of film material of her life also forms the basis for Barbara Forever, Brydie O’Connor’s debut feature which achieves the mammoth task of doing justice to her dazzling and charismatic personality: a pioneer of lesbian and queer self-representation “in a world where we are invisible”, a seductive lover – and a both experimental and daring filmmaker. O’Connor weaves a kinetic tapestry with archival footage using Hammer’s own voice as her guide.

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Argentinian director Lucio Castro follows up his fantastic debut film End of the Century (2019) with another story of love that plays with time and space. Consisting of five segments (all told out of order), the film follows art student Adnan across his relationships, exploring spaces where sexual fantasy and reality coexist. The five chapters serve as anecdotal evidence of Adnan’s sexual life with the lack of chronological order giving the film an unreal dreamlike quality that is both sexy and mythic. As with his first film, Castro explores the realities of queer life with delicacy and honesty. Drunken Noodles is a film about love and sex, but also about friendship and loneliness.

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Z lives to sing — musical theatre is his whole world, and his star is rising fast. But when a big audition goes off the rails, he’s left questioning everything: his career, his relationship, his voice, and how his identity as a newly trans masc performer fits into it all. Just when it seems like curtains, Z meets a warm, no-nonsense vocal coach who helps him rediscover his sound. Add a new gig as a barback and a charming boss named Santi into the mix, and suddenly life is hitting a different kind of high note. As Z finds a new voice that reflects who he is now, the story becomes a celebration of resilience, self-discovery, and newfound identity.

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Plumbing disasters. Overgrown gardens. Unwanted pests. Unfiltered skin. First periods. Last calls. And maybe even a princess or two. Unruly & Unfiltered is a bold, laugh-out-loud collection of comedy shorts that revel in life’s messiest, most awkward, and unexpectedly tender moments. From cringe-worthy encounters to quietly subversive character studies, these films find humor in discomfort and heart in the absurd.

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Writer/Director Sergio Tovar Velarde brings his latest feature The Divine Tragedy to Boston for its World Premiere. Set in Mexico City, Cristián (Artús Chávez) is a former telenovela actor used to a life of luxury. When his husband of 24 years kicks him out, he is forced to move in with his hard-partying, messy gay half-brother, Roy (played by the hypnotic Pablo Gómez). The two wildly different men must learn to coexist as Cristián tries reinventing himself and Roy confronts the reality of his hedonistic lifestyle. Sergio Tovar Velarde’s drama/comedy (heavily influenced by pop aesthetics, comics, anime, and Almodovar-esque over-the-top characters) breathes fresh air into contemporary queer cinema. As the director himself says, “It’s a film that celebrates the right to reinvent oneself, to fail without guilt, to make a fool of oneself, and to start over.”

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In coastal Wales, a middle-aged family man is unnerved to find himself hopelessly drawn to a younger drifter in this finely drawn erotic drama from British novelist-turned-filmmaker Helen Walsh.

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There is something unmistakable about a filmmaker at the very beginning: a willingness to take risks, to let feeling drive the work. This program gathers six student films that capture that quality, each one a promising arrival in queer cinema.

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Love doesn’t arrive neatly. It rushes in all at once. It lingers over Sunday lunch. It hides behind a cover story. It surprises us in reflections — in fishbowls, in family expectations, in the space between you and me. All the Ways We Love is a tender, dynamic collection of short films exploring connection in all its forms — romantic, familial, unexpected, and transformative. These stories capture the quiet glances, bold declarations, complicated dynamics, and deeply human moments that shape how we find and redefine love.

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Castration Movie is a multi-part postmodern epic by visionary auteur Louise Weard. This abridged version of Anthology iii. contains one chapter. In Chapter iii. Junior Ghosts—Premorphic Drift, Izzy (Avalon Fast) seeks out everything in her power to stop her partner (Henri Gillespi) from transitioning.

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Writer/director Tara Thorne creates an intimate queer drama exploring the complex, often chaotic, and dramatic side of long-term friendships that is equal parts emotional and comedic. Come on down to Lakeview for a restful turned reckless retreat with a group of queer women reuniting for a weekend to celebrate a divorce, new loves, and old flings. Darcy, our divorcée and a resident wine mom, is joined by Lauren who appears to be disciplined but is dating a woman far too young for her. Phoebe, the new beau, is an empath and just happy to be there. Julien and Juli Anne are married and expecting but one of them is more excited than the other for the new addition to their family. Lucy is going through a breakup of her own with questionable coping mechanisms. What do they all have in common? Everyone’s been with Dax, except Phoebe who’s vying for her turn.

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A vampire falls in love with the moon, pageant queens and roadkill, Charlie whispers for reprieve, lust becomes cannibal, cowboy seduction abduction, and the horniest breakfast ever served.

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THIS IS A FREE SCREENING OPEN TO THE PUBLIC. ATTENDANCE IS FIRST COME FIRST SERVE FOR ADMISSION.

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You voted for them. Come and catch our Audience picks for Best in Show short film. Tis is a good way to play catch up or see again all the community's faves. This screening is FREE and open to the public.

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