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Gay, Lesbian, Pansexual, Bisexual, Transgender Pics to Be Pitched at Queer Screen Mardi Gras Film Fest Showcase in Cannes (EXCLUSIVE)

Annika Pham In its second collaboration with the Marché du Film’s Goes to Cannes showcase strand, Australia’s Queer Screen Mardi Gras Film Festival will unveil four projects and a finished film, all looking for global sales, distribution, top-up financing and festival selection. The five projects to be pitched May 18, will vie for the first €10,000 ($10,700) Goes to Cannes Award.“We set out to curate a selection that embraces a rich tapestry of stories and identities, while also giving prominence to Australian talent,” says festival director Lisa Rose about her program, which “showcases narratives spanning the spectrum of gay, lesbian, pansexual, bisexual, and transgender experience.” For instance, “From All Sides” fearlessly tackles queer sexuality, “a rarity in cinema originating from Western Sydney, says Rose, who also cites “Strange Creatures” and its story about two brothers, one of whom identifies as pansexual, as “a perspective rarely centered in film.”As fresh in its take, the third Australian pic, “Heart of the Man,” “delves into the intersection of First Nations and queer identities, a theme seldom explored in Australian narrative cinema,” says the festival honcho.In a fine example of a queer perspective from another part of the world, the ambitious Indian-U.K./French co-production “Arms of a Man” (“Sabar Bonda”) tells of a city-dweller who falls for a young farmer while grieving his father in rural India.
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‘Bottoms’ Review: Emma Seligman’s Wild Ride of a High School Comedy Is a Gonzo Gay ‘Fight Club’ Meets ‘Heathers’
Owen Gleiberman Chief Film Critic In “Bottoms,” a high-school comedy that is brazenly gonzo, scaldingly and at times even dementedly over-the-top, and actually about something, PJ (Rachel Sennott) and Josie (Ayo Edebiri) have been best friends since the first grade, but in their senior year at Rock Ridge High they’re at the end of their tether. They’re losers, they’re lonely, they’re lesbians — and in their eyes, that puts them beneath the bottom of the food chain. So they do what anyone in their position might do. They decide to start a fight club! It’s modeled (sort of) on the one in “Fight Club,” though the movie isn’t particularly interested in that film, where the characters staged bare-knuckle brawls out of a kind of self-serious macho romantic doomsday nihilism. In “Bottoms,” PJ and Josie, in the time-honored tradition of teen-movie protagonists out to lose their virginity, are just looking for a way to sleep with the cheerleaders they have crushes on. They build the club around a scurrilous and rather ridiculous lie: that they’ve both spent time in “juvie.” Sitting around in the gym, with a handful of the “normal” girls they’ve roped into joining the club, all of them share stories about the men they’ve had to fend off (stalkers, pervy stepfathers, you name it). And when they get to the fight-club part, letting out their aggression, the jabs are shockingly violent. We laugh, but we also think: What’s going on here?
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