Pink U.F.O. (1978)

Of the 28 total films I watched, just six of them were queer or featured queer characters in some way.

Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories. 

Although not canonically aromantic or asexual. the stories and personalities of these Disney princesses resonate with members of the aroace community.

‘Killers of the Flower Moon’ is preoccupied with plot and not on the greater struggle of the Osage.

Moonlight is a film that will certainly be remembered for how it won Best Picture, but the movie itself should be known for its excellent representation of one of the most underrepresented groups in film: Black, gay men.

Fire Island is the more inclusive film of the two with the bi-phobic definition of pansexuality in The Thing About Harry and its obvious lack of colour on screen