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Flee.(Sundance Film Festival)
Queeries is a weekly column by CBC Arts producer Peter Knegt that queries LGBTQ art, culture and/or identity through a personal lens.
It may have mostly happened in the living rooms of movie lovers, but the Sundance Film Festival just successfully pulled off its first and hopefully only pandemic edition. And with it came the same quality of LGBTQ-themed filmmaking we have come to expect from a festival that has built a pretty unparalleled reputation in that regard in its four decades of existence.
Alongside the many new films that will surely go on to represent the very best queer cinema of 2021 (which I ll get to in a minute), this year s festival gathered a multi-generational Zoom panel of LGBTQ filmmakers, asking them to look back and imagine forward. The looking back specifically was in reference to New Queer Cinema, a movement of energetic and disruptive filmmaking in the early 1990s that I discussed at length in last week s edi
Alerts
Judas And The Black Messiah, Shaka King’s propulsive drama about Black Panthers chairman Fred Hampton and the months leading up to his murder by the FBI, “screened” last night at Sundance, providing a shorter, less glamorous, and largely online edition of the fest with its most prominent premiere. As Katie Rife’s full review is up on the site now and since I mostly concur with her thoughts I won’t expend many words on the late-breaking awards contender. That the film seems to eschew the kind of distortions and fabrications that mar the historically adjacent
Trial Of The Chicago 7 is mostly a strength, though there were times when I longed for a