Picking up both the Un Certain Regard Jury Prize and the Queer Palm at this year’s Cannes Film Festival, Pakistani filmmaker Saim Sadiq’s debut feature is a lilting hymn to emerging identity gently unfurling against the odds. Read: Neptune Frost film review: a visual album that defies form Joyland It’s a lot, in the very best way, but for sheer unadulterated trippiness, we’re just giving it to Rwandan director Anisia Uzeyman and American co-director Saul Williams for their dance-driven, genderqueer, Afrofuturist, system-smashing cosmic adventure, which scooped up the inaugural MIFF Bright Horizons Award for emerging filmmakers. It has been a year for queer sci-fi, with French experimental filmmaker Bertrand Mandico’s luminous lesbian acid-porn dystopia After Blue seemingly splicing Flash Gordon with Bound. A riot, the final reveal is deliciously wicked. In true Agatha Christie fashion, the trust-fund guests are all suspects and probably next.
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