By Gary M. Kramer–
This year’s Frameline Film Festival opens June 18, 2025, with Jimpa, which has non-binary teen, Frances (Aud Mason-Hyde), wanting to live with their gay grandfather Jimpa (John Lithgow) in Amsterdam—much to the chagrin of their mother (Olivia Colman). The festival closes June 28 with Twinless, James Sweeny’s drama about the gay Dennis (Sweeney) who befriends the straight Roman (Dylan O’Brien) at a meeting for people who have lost their twins. In between, the festival offers more than 100 features, shorts, and documentaries by, for, and about LGTBQ+ lives.
Several films have local connections, such as A Body to Live In about Bay Area artist Fakir Musafar and his “Modern Primitives” movement, and the 1970 set-in-San Francisco erotic film The Meatrack.
Here is a rundown (in chronological order) of what to catch in this year’s program.
Between Goodbyes is an excellent if bittersweet film that chronicles the renewed relationship between Mieke, a queer woman in the Netherlands, and Okgyun, her Korean birthmother. Okgyun and her husband Kwangho were too poor when Mieke was born and gave their daughter up for adoption. Both Mieke and Okgyun each experience a profound sadness, but through Kwangho’s efforts, the family reunites. The initial visit is a bit awkward and tinged by unspoken feelings of guilt and shame over lost years. However, Mieke waits more than a decade to reconnect, in part, because she has concerns, not just about how her birth family will accept her and her Dutch girlfriend/wife, Marit, but also that she does not know what it means to be Korean, having spent almost her entire life abroad. Between Goodbyes investigates what home and family mean for Mieke and her birth parents as they each seek understanding and forgiveness. This is a heartbreaking, but life-affirming, film about the power of love. Mieke is a very inspiring subject and Okgyun is equally compelling.
Plainclothes is an ambitious, yet muddled, debut by writer/director Carmen Essi about Lucas (Tom Blyth), an undercover cop in 1997 who entraps gay men in public restrooms. When he meets Andrew (Russel Tovey) in a bathroom stall, Lucas finds himself attracted to the suspect and lets him go; they later begin a secret affair. Essi uses pretentious cinematic devices from time-jumping narrative (cue facial hair signposting), and erratic editing to illustrate Lucas’ paranoia and conflicted mindset. Moreover, Lucas’ heavy-handed exchanges with his homophobic uncle (Gabe Fazio) are cringe-inducing. Plainclothes makes obvious points about shame, which is a real shame.
I Was Born This Way is a celebratory documentary that walks viewers through the highs and lows of gay singer, activist, and archbishop Carl Bean. He recounts his difficult childhood in Baltimore, MD, and musical success—first as a gospel singer, and then for Motown, when Berry Gordy asks him to record a new version of “I Was Born This Way,” in 1977. The song became a gay anthem, but Bean took his passion and energy—and his big voice—back to the church, founding the Unity Fellowship Church, a space for queer people of color. He also became an AIDS activist. Directors Daniel Junge and Sam Pollard nimbly trace Bean’s life and work using animation, archival footage, and interviews with Billy Porter, who produced the film and records a new version of Bean’s B-side “Liberation,” as well as Lady Gaga, whose monster hit “Born This Way” was inspired by Bean. (Editor’s Note: Also check out Dusty Springfield’s “Born This Way,” which was released in 1990.) I Was Born This Way is a fitting tribute to an underknown legend.
Heightened Scrutiny chronicles trans advocate and activist Chase Strangio arguing the December 2024 Supreme Court case, United States v. Skrmetti, about banning gender-affirming care in Tennessee. (Strangio is the first transperson to argue in front of the country’s high court.) The film, directed by Sam Feder (Disclosure) shows not only how Strangio must counter transphobic thinking that instills fear and misunderstanding, but also how the media creates trans narratives about regret and detransitioning that are being used to create laws and criminalize acts. With observational footage and a plethora of smart talking heads, including actor Elliot Page, Heightened Scrutiny generates both uplift and justifiable anger as it creates awareness. Hopefully, it will also change minds.
Sandbag Dam has teenager Marko (Lav Novosel) struggling with his sexuality after his neighbor, Slaven (Andrija Žunac), returns to Croatia from Berlin. Slaven was kicked out of his house because he and Marko were caught together. Now Marko, who is dating Petra (Franka Mikolaci), tries to avoid Slaven, but the guys meet up in secret and give into their desires. Director Čejen Černić Čanak establishes a strong sense of place, and she captures the homophobia of Marko and Slaven’s parents and classmates realistically, but this simmering drama fails to generate much emotion or insight despite Novosel’s valiant performance as Marko.
Sally is a flattering portrait of Sally Ride, the first American woman to go into space. A role model for breaking a glass ceiling, Ride endured incredible sexism and gendered expectations on the job and in the media—before, during, and after her famous shuttle flight. As director Cristina Costantini’s informative documentary shows, she handled it all with aplomb. However, Ride did not publicly disclose her sexuality, or her decades-long relationship with her partner Tam O’Shaughnessy, until after her death. She was even reluctant to tell her sister, Bear, who was also a lesbian. Sally recounts Ride’s life and work, her ambitions and training at NASA, her positive impact on women in STEM, as well as her marriage to fellow astronaut Steve Hawley and her relationship with O’Shaughnessy, making points about how things are harder for women in general and queer woman in particular. As a pioneering lesbian who remains an inspiration, Ride gets some overdue love and even more respect.
Keep Coming Back, Uruguayan filmmaker Sergio de León’s debut, has the baby-faced teenager Emilio (Bruce Pintos) overwhelmed by emotion after his mother, Lucía (Anabella Bacigalupo), dies. He is silently attracted to her boyfriend, Juan (Juan Wauters), with whom he manages a dovecote. They hope to win a race with their carrier pigeons. Emilio also explores his budding sexuality, by fighting with a man he spies on showering and visiting a gay erotic hothouse underground. Keep Coming Back is about Emilio’s endurance as he processes his feelings of grief and desire, but this slow, overly symbolic drama is more of an endurance test for viewers.
The feel-good Irish film, Four Mothers, has harried gay YA novelist Edvard (James McArdle) caring for his ailing widowed mother, Alma (Fionnula Flanagan), who has been debilitated after a stroke. Although speechless, Alma can still manage to make demands of and chastise her adult son using a computer. When Edvard is asked to participate in a book tour in the states, he struggles with getting care for Alma. Making matters worse, his friends all head off to a Pride event, leaving their mothers in Edvard’s care. Four Mothers is a bit farcical as Edvard tries to manage everyone’s needs but his own. He is given some assistance from his ex, Raf (Gaetan Garcia), a nurse, but what Edvard really needs is a backbone because he is taken advantage of too easily. Cue him denying the ladies a trip to Galway to see a medium—then getting on a bus to take them. The humor is gentle, and the emotions are sincere in this crowd-pleasing comedy.
Dreams in Nightmares invites the audience along for the ride as three Black queer friends, Z (Denée Benton), Tasha (Sasha Compère), and Lauren (Dezi Bing), go on a road trip to find their missing friend, Kel (Mars Rucker). Writer/director Shatara Michelle Ford takes time to introduce and appreciate each woman, so their interactions feel truthful and lived in. The trio of performers are all engaging and genial, with Compère’s practical Tasha a standout. As they drive from New York to Iowa City, to see Kel’s girlfriend Sabrina (Jasmin Savoy Brown), they make a stop in Pittsburgh for some queer poetry and head off to Kansas City to check in with Kel’s parents (Regina Taylor and Robert Wisdom), who fail to use their daughter’s preferred pronouns. The episodes are dramatic, funny, and heartfelt, especially when the trio arrive in Mexico. The film as a whole is uneven, but as with many road movies, one’s mileage may vary.
Outerlands is a sensitive character study of Cass (non-binary actor Asia Kate Dillon), who is eking out life in San Francisco. After spending a night with Kalli (Louisa Krause), Cass is asked to watch Kalli’s twelve-year-old daughter, Ari (Ridley Asha Bateman). Cass is also struggling because their landlord is making it increasingly more difficult for Cass to live in their apartment. Outerlands tells a not unfamiliar story, but it benefits from Dillon’s strong central performance and a sly supporting turn by queer icon Lea DeLaria as a kindly queer bank employee who offers Cass support and community.
A gritty, moody gem, Baby has 18-year-old Wellington (João Pedro Mariano) connecting with Ronaldo (Ricardo Teodoro), a man more than twice his age. The sexual attraction between these guys is intense, and Ronaldo, a sex worker, takes Wellington under his wing. But Baby, as he is renamed, wants to do what he pleases. Director/cowriter Marcelo Caetano presents Baby’s story in an elliptical narrative that shows the young man living by his wits and his looks. The film generates considerable emotions because of the tender romance between Wellington and Ronaldo, and the attractive actors deliver lived-in performances.
Gen_ is a marvelous documentary showcasing Milanese endocrinologist Dr. Maurizio Bini, who provides a humanist, empathetic approach to his patients, many of whom are either trans or couples seeking to have children. Dr. Bini handles his trans patents with compassion and care that is inspiring; he does what is right working around the bureaucracy. He is encouraging when a client is struggling with their gender identity and reassuring with a patient who wants to suppress an erection, or one who wants to grow a beard. He makes queer youth feel at ease so they can “be in harmony with their body,” and tells a trans patient their father is “concerned, but not opposed” to their child transitioning. Dr. Bini is especially helpful with one adoptee trans patient grappling with abandonment issues. Director Gianluca Matarrese’s film gently eavesdrops on these riveting consultations, and he includes a montage of Dr. Bini’s patients’ bodies to emphasize the humanity of these transpeople’s lives. This is a rewarding, life-affirming documentary.
Touch Me is out gay writer/director Addison Heimann’s wildly inventive film about Joey (Olivia Taylor Dudley) and her gay bestie, Craig (Jordan Gavaris), who fall under the seductive spell of Brian (Lou Taylor Pucci), a hot alien who can heal their traumas through cross-species intercourse. Or can he? This fabulous sci-fi horror comedy is equally ticklish and violent as the friends jealously battle each other for the love of a man who may have nefarious intentions.
In Marco Berger’s wondrous drama Perro Perro, Juan (Germán Flood) is vacationing with his girlfriend Jazmín (Bianca Brandimarte) and another couple, Rama (Matías Quiroga) and Viole (Aldana Dante), when he sees “MAN” (Juan Ramos), who is basically a dog, but in human form. (The film slowly clues viewers into this situation.) MAN is always completely naked and does not speak. Juan pets him and scratches his curly hair. In doing, he imprints himself upon MAN, creating a love that grows deeper and causes issues for him and Jazmin and the others. Shot in luminous black and white, Berger’s film is an allegory that shrewdly lets viewers draw their own conclusions about sexuality and gender, but it is also a deeply romantic love story between a man and his naked human-looking dog.
A Night Like This has the straight Oliver (Alexander Lincoln) trying to befriend the gay Lukas (Jack Brett Anderson) first in a bar, then on a bus on a winter’s night in London. When the morose Lukas relents and agrees to pal around with the fast-talking Oliver until his 8 am work shift, it is not sexual; they just walk and talk, go to a bar, or grab food. The entire time they discuss their lives, dreams, and frustrations—and encounter various people who have an impact on their night. The conversations range from serious to silly, which makes A Night Like This rather bumpy. Oliver can be sweet, but he is also boisterous and, at times, irritating. His bluster masks a real fear, which eventually comes to light. Lincoln sells his character—especially when he spouts heartfelt speeches in a bar or to Lukas. In contrast, Anderson gives a more internal performance and is at his best during a moment of honesty. While there is mild sexual tension between the leads, there is not enough satisfaction when they do finally kiss, which lowers the stakes about wanting them to couple up. A Night Like This is kind of like Oliver—it will either charm or annoy viewers.
During the intense drama Sauna, when the lonely Johan (Magnus Juhl Andersen) meets William (Nina Terese Rask), he reveals, “I’ve never been with a trans guy before.” William is taken aback, but Johan’s curiosity soon leads to consent, and they start a hot and heavy relationship. However, an imbalance soon develops; William gives Johan several reality checks. Sauna remains absorbing as Johan becomes more self-destructive—Magnus Juhl Andersen gives a blistering performance—and he is ably supported by Nina Terese Rask, who is so marvelous, viewers may wish the film was told entirely from William’s point of view.
Diciannove captures the messy life of its handsome protagonist, Leonardo (Manfredi Marini), a 19-year-old sexually fluid student. Quitting business school in London, Leonardo goes to Sienna to study literature. But he is restless and mostly miserable, fending off invitations from classmates and railing against his professors. He is actually not very likeable, despite newcomer Marini’s insouciant performance, which makes it hard to care what happens to him. Writer/director Giovanni Tortorici takes a quasi-experimental approach that focuses on details to create its portrait of a youth finding his way, however, the episodic Diciannove ultimately proves to be both stylish and empty.
#300 Letters When Jero (Cristian Mariani) comes home from a workout to find his partner Tom (Gastón Frías) is gone and ghosting him on their anniversary, he experiences the five stages of grief. As a way of explanation, Tom has left a box of 300 letters explaining his side of their relationship. When Jero starts reading Tom’s missives, he learns that his ex thinks he is childish and superficial. He also learns that Tom was no saint, lying to him and (at least) once cheating on him. #300 Letters cannily lets viewers process Jero’s breakup in ways that illuminate the relationships, from the irresistible sex to the first “I love you,” to moving in, and other milestones, including a threesome. Directed and cowritten by Lucas Santa Ana, this nimble film succeeds because Mariani, who reads the letters mostly in his underwear, expresses Jero’s emotions and enlightenment with style.
© 2025 Gary M. Kramer
Gary M. Kramer is the author of “Independent Queer Cinema: Reviews and Interviews,” and the co-editor of “Directory of World Cinema: Argentina.” He teaches Short Attention Span Cinema at the Bryn Mawr Film Institute and is the moderator for Cinema Salon, a weekly film discussion group. Follow him on X@garymkramer
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Published on June 12, 2024
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