The Canon A-z

Below, every film included in the canon is listed in alphabetical order. These represent some of the best cinema ever produced about QTPOC experiences in America. Enjoy!

To find these resources through your local library, please use the invaluable Worldcat.org and search by Title or Director or use the handy widget below!

Act of Faith. Dir. Daniel Bree, 2006. 7 minutes

This very short film examines three very different Muslim men’s relationships with their Muslim faith and how they’ve struggled to live as openly gay men because of the cultural and religious disapproval. One has given up his faith altogether, as he was unable to reconcile faith and sexuality. The others have complicated relationships with both. The film doesn’t provide and answers to this dissonance – indeed, no film of any length likely ever could. Instead, this short production functions as a firm “we are here” announcement and a powerful encouragement to the religious establishment to modernize its thinking on contemporary issues.

Affirmations.  Dir. Marlon Riggs, 1990. 10 minutes

In another under-seen, uplifting gem from Marlon Riggs, this short seeks to celebrate the experience of being gay and Black in America. Despite the constant threats of racism and homophobia, HIV/AIDS, depression, and general persecution, gay, Black men have survived and find love, peace, and happiness in a hostile world. In this film, Riggs focuses on the positive aspects of being “in the life” and how those aspects help the community thrive. Like all of Marlon Riggs’s films, exponentially more ideas and content are explored than should even be possible in the runtime.

All God’s Children. Dir. Dee Mosbacher, Frances Reid, Sylvia Rhue, 1996. 26 minutes

This seminal documentary short explicitly and expertly explores the intersections of racism and homophobia and focuses on the struggle of organized religion and religious African-American queer people to find space for each other. It also makes a compelling argument that the homophobia many Black people have experienced from Black religious communities is a natural offshoot of the crippling racism those communities have endured. The film consists largely of interview vignettes of preachers, LGBT people, their families and some politicians (including, thrillingly, a young Rep. Maxine Waters offering full-fledged support to LGBT people) and the insights they offer make this an essential artifact in the representation of QPOC in film.

All In My Family. Dir. Hao Wu, 2018. 46 minutes

In this intimate and endearing short documentary, director Hao Wu, an immigrant to the United States from China, explores the fallout in his eccentric but loving family when he and his partner choose to have two children via surrogacy. Hao’s coming out has caused some conflict in his family before and, as a result, he is not out to his grandfather. However, suddenly showing up in China with two children raises many questions and Hao must decide whether to tell his grandfather the whole truth. Despite its short runtime, this delightful film provides meaningful insights on culture clash, family expectations, maturation, and the upsides and pitfalls of the truth.

Anthem. Dir. Marlon Riggs, 1991. 9 minutes

This infectiously pulse-pounding long-form music video/experimental film audaciously combines music, poetry, provocative imagery, and myriad dance styles to ruminate on, critique, challenge, celebrate, and otherwise delve into contemporary Black, gay culture. Sly but insightful critiques are also directed at the derision of queer people in Black popular culture and the simultaneous disrespect of Black people in the gay community. Characteristically thought-provoking for documentarian Marlon Riggs, this short film is evocative, erotic, illuminating, upsetting and, ultimately, endlessly rewatchable. It highlights the enormity of the loss of Riggs as a filmmaker and the crushing void he left behind.

Appropriate Behavior. Dir. Desiree Akhavan, 2014. 84 minutes

Hilariously and completely inappropriately, this engaging indie comedy explores the unique tribulations in the life of Shirin, a directionless Brooklynite struggling to navigate: dating as a modern bisexual woman, professional limbo, moving on and growing from a tumultuous breakup, and wrestling with how to come out as bisexual to her Persian family. Besides its wicked sense of humor, the strengths of this movie lie in its disinterest in cliché, its utterly lived-in, believable relationships between family, friends, and lovers, as well as the fresh perspective offered by the director/star on living at so many intersections of culture, ethnicity, and sexuality. Shirin is pulled in more directions than it seems she can bear but in the end, though nothing is “solved,” the viewer is left with the impression that Shirin will be able to handle what life throws at her next – she’s growing, as all queer people must, in order to survive and thrive. A must-see…for mature audiences.

Bessie. Dir. Dee Rees, 2015. 111 minutes

Veteran lesbian filmmaker Dee Rees’s excellent direction and Queen Latifah’s electrifyingly charismatic performance elevate this overdue biopic of blues legend Bessie Smith. Smith overcame strict and destitute origins to become one of bestselling musical acts of the 1920s, despite her outspokenness, the crushing racism and sexism of the time, the unabashed expression of female sexuality in her music, and her not-particularly-discreet bisexual love affairs. Though Smith’s life was often difficult and tragic, this film’s hopefulness shines through while also providing visibility to bisexual people of color, often rendered completely invisible on screen.

Black is…Black Ain’t. Dir. Marlon Riggs, 1994. 87 minutes

In Marlon Riggs’s final film, he deeply and insightfully explores toxic masculinity, long before that phrase had entered the mainstream, and how it interacts with historical oppression, internalized racism, misogyny and homophobia in the Black community in tremendously destructive ways. Angela Davis, bell hooks, Cornel West and other impressively prominent Black thinkers and activists discuss a whole array of hot topics that have and continue to galvanize Black people, while challenging assumptions within the Black community that have problematic elements, such as organized religion, Afrocentrism and perceptions of the Black body. Marlon Riggs’s own body, ravaged by AIDS during the production of the film also becomes part of the focus and discourse in truly touching and profound ways. This is the kind of animating doc that has you talking back to the screen. A feat of all-time, top-notch documentary filmmaking, this film punctuates what a tremendous loss Marlon Riggs was to the LGBT, QPOC and “mainstream” artistic communities.

Black/Womyn: Conversations with Lesbians of African Descent. Dir. Tiona McLodden, 2008. 90 minutes

In this engrossing and deeply human documentary, dozens of Black-identified lesbian women share observations on myriad facets of life, including love, labels, religion, personal fulfillment, and all manner of adversities. Some anecdotes are hilarious, others are tearjerkers, but all are full of refreshing and beautiful insight. What makes this film so indispensable is the unbelievably wide range of lived experience discussed. Women of different faiths, shades, classes, education levels, and ages all illuminate the unbounded of diversity of those living at these intersections. This is an endlessly enlightening film – one you almost wish was longer.

Body of a Poet. Dir Sonali Fernando, 1995. 29 minutes

A haunting, lush and moving examination of the complex and powerful work and life of the legendary poet Audre Lorde. This film explores its subject with gratitude and respect for her tremendous contributions, but instead of pure adulation, it instead opts to examine the often difficult and subjective nature of Lorde’s tremendous contributions with maturity, intelligence, and propulsive vitality. Interweaving dramatic reenactments, passionate discussion, and performance art, this vivacious film breathes life into Lorde’s life and work and accentuates their importance with the magnificent imagery and the thoughtfulness they deserve.

Brincando El Charco: Portrait of a Puerto Rican.  Dir. Frances Negron-Muntaner, 1996. 58 minutes

This stylish, poetic, boisterous film breathlessly weaves heartfelt interviews with dramatic, documentary, and avant-garde elements to explore the complexities and intersections of Puerto Rican identity. LGBT issues such as the AIDS epidemic and culturally rooted homophobia are explored at length but what sets this film apart is its deep understanding of how those issues intersect with manifestations of racism, such as colorism and cultural and linguistic snobbery. This film is far ahead of its time in its holistic portrayal of queer Puerto Ricans specifically and QPOC broadly.

Brother Outsider: The Life of Bayard Rustin. Dir. Nancy Kates and Bennett Singer, 2002. 83 minutes

A respectful, often reverent retrospective on the life of Bayard Rustin, one of the most important civil rights activists in American history. This film was influential in re-shining the spotlight on Rustin who was a pivotal force in organizing many of the most impactful demonstrations of the Civil Rights Movement, including the 1963 March on Washington. Despite his contributions, his career and his legacy have both been severely compromised by the homophobia inherent in all corners of American society, as well as his adamant espousal of nonviolent principles as well as his embrace of aspects of neo-conservatism, both of which were not in sync with his contemporary activists. Rustin’s influence and impact on the successes of the Civil Rights Movement are undeniable, however, and this film goes a long way toward correcting the historical record. Its efforts occasionally veer towards heroification of its subject, but this film remains a fantastic examination of the complex life of a crucial, outspoken activist, who was ahead of his time.

Brother to Brother. Dir. Rodney Evans, 2004. 94 minutes

This moody and ambitious drama breathlessly explores a number of intersectional issues facing Black gay men historically and in the modern day. In his breakthrough performance, Anthony Mackie plays a college student struggling with homophobia from the Black community and racism from other gay men. He befriends a transient man who turns out to be Bruce Nugent, a prominent figure of the Harlem Renaissance. They discover the same kinds of prejudice and inequity in the early twentieth century are mirrored in the modern Black gay experience. This film’s effortless employment of interweaving flashbacks make for a uniquely insightful meditation on how some intersectional concerns are more readily renewed than resolved.

El Canto del Colibri. Dir. Marco Castro-Bojorquez, 2015. 53 minutes

Immigrants from Latin American nations have not had nearly the voice or representation they deserve in media – certainly not LGBTQ immigrants and their families. This documentary focuses on families with LGBTQ members, and how the patriarchs of those families have wrestled with unlearning homophobic and transphobic attitudes prevalent in both their nations of origin and in America. The film draws wise connections between the types of racism and xenophobia these immigrants have faced and their fears for what their family members will face, all without equating prejudices or oversimplifying. The families tell insightful and fascinating stories of love and acceptance, but also the hard work they’ve had to do to put family above intolerance. This inspiring film is a vital teaching tool and a long overdue amplification of voices silenced.

Check It. Dir. Dana Flor and Toby Oppenheimer, 2016. 91 minutes

This wildly provocative documentary focuses on members of the Check It gang, a group of mostly Black LGBT youths in the Washington D.C. area who got together for protection and eventually grew into a violent, feared, and dominant force in the region. LGBT hate crimes are disproportionately high in the D.C. area and, instead of being picked off as targets, Check It seeks to turn the tables on homophobic criminals. The aspirations, hopes, and dreams of these gang members are explored, as well as the innumerable barriers to escaping the tumultuous perils of gang life in D.C. A subplot of the film, for example, involves many of gang members gaining to opportunity to channel their unique perspectives and fashion sense into a chance at putting on a polished fashion show, with an opportunity to progress to an internship and perhaps a new lease on life. Alternately scary, sad, and hilarious, this film documents the lives of QPOC who have been forced to fight for their place and for their space in a society that has abandoned and targeted them for extinction. One may disagree with their methods but their stories are of perseverance, self-respect, and gritty determination.

Chutney Popcorn. Dir. Nisha Ganatra, 1999. 91 minutes

In this delightful and well-observed comedy, Sarita and Reena, two sisters with a devout and pious Indian mother, navigate the struggles of not following the cultural and religious expectations of them. Sarita is a newlywed, to her mother’s great satisfaction, but discovers she is medically unable to conceive. Reena is the black sheep of the family – a family that has never come to terms with the fact that she’s a lesbian, happily living with her Caucasian girlfriend, Lisa. An unlikely solution, with unforeseen complications and turmoil, arises when Reena offers to carry Sarita and her husband’s child to term. With a keen eye for family and relationship dynamics, this funny, wise film presents a crowd-pleasing story of an Indian family marrying tradition and modern life to reinvent itself stronger than ever.

Coming Out, Coming Home. Dir. Hima B., 1996. 44 minutes

Touching stories of Asian-American families actively working together to overcome their own homophobia and regressive attitudes propel this landmark documentary. Four families, 3 Chinese-American and 1 Filipino-American, tell their stories of what happened when a child comes out as gay or lesbian. They discuss their initial reactions, often informed by misinformation or cultural mores, and how they placed the values of love and family over prejudice. Still relevant today, this uplifting short documentary provides a roadmap and inspiration for families, often steeped in homophobia and misogyny, with LGBT members.

De Colores. Dir. Peter Barbosa and Garrett Lenoir, 2001. 28 minutes

This quietly uplifting documentary short features a series of interviews with Latinx families about their struggles with family members coming out, the fear and conflict this brought to the surface, and how the families matured past the homophobia and usually grew closer. A common theme amongst the parents and siblings of queer family is being confronted with the often homophobic assumptions and mores of society, religion, and culture and learning how to process and prioritize family over prejudices. Though not intended to be representative of a universal Latinx experience, it does provide numerous lessons of growth and acceptance. The voices represented here will be especially useful to parents and families of QPOC.

Desi’s Looking For a New Girl. Dir. Mary Guzman, 2000. 71 minutes

In this groundbreaking comedy, widely acknowledged as the first feature film in America centering on Latinx lesbians, Desi is reeling from a devastating breakup and her close-knit circle of family and friends make it their mission to help her get back on her feet again. Through charmingly rendered scenes of warm and energetic friendship, bold artistic choices like occasional animated interludes, and hilarious dating mishaps, this film draws the viewer in to its characters’ lives. This genuinely heartwarming film is a joy to watch.

Dreams Deferred: The Sakia Gunn Film Project. Dir. Charles B. Brack, 2008. 54 minutes

This infuriating and powerful documentary examines the aftermath of the brutal murder of a 15-year-old African-American girl in Newark in 2003. Sakia Gunn and her friends were propositioned by two men at a bus stop. Gunn turned them down, boldly identifying herself as a lesbian, which prompted the men to attack and subsequently kill her. This film explores the brutal impact of this killing on Gunn’s family, friends and community while also ambitiously zooming out to examine a number of related issues including pockets of homophobia in the Black community, stud culture in lesbian communities, and the wide disparity in the coverage of this crime compared to Matthew Shepard’s murder and the racism and classism inherent in that disparity. This film’s ability to juggle all of its topics in its short run time while always managing to center Sakia Gunn and her family, both blood and chosen, is truly impressive.

Drunktown’s Finest. Dir. Sydney Freeland. 2014. 93 minutes

A rare example of an ensemble drama that gives significant screen time to its QTPOC character, this Sundance Festival hit focuses on the intersecting lives of three Navajo 20-somethings trying their best to achieve their dreams in spite of poverty, transphobia, and alienation. One of the three major plots focuses on Felixia, a Trans woman seeking to be a model. Despite some harrowing scenes, this film is ultimately an uplifting rumination on modern lives of indigenous people.

Free Cece. Dir. Jac Gares, 2016. 87 minutes

The case of Chrishaun “CeCe” McDonald became an international cause célèbre after she was attacked in a racist, transphobic, and homophobic incident and killed a man in her self-defense. Instead of authorities accepting her self-defense plea, they planned to send her to prison for 40 years on a murder charge. CeCe was pressured into accepting a plea deal after aggressive interrogation, transphobic media coverage, and enduring unsafe jail conditions. This documentary explores not just the story of that incident and the movement that emerged to agitate for her release, but also her life story before and after prison, the impact of the ordeal on CeCe and her family and friends, and her own activist awakening after her incarceration and it does so with almost radical fairness, including in interviews with people who decided to prosecute her aggressively. What sets this documentary apart, is how it really drives home the fact that, though CeCe is most known for a hate-crime incident and ensuing injustice, the totality of her is so much more. The inherent injustices of the prison system and rampant dangers of being a Trans woman of color are explored from a number of angles. If the film has a weakness, it is perhaps that it tries to interrogate too many issues and so it can’t examine any of them in any great depth, but this is a film that’s more of a call to action than a dissertation. It’s a film that inspires you to challenge yourself to stop being complacent about injustice.

Front Cover. Dir. Ray Yeung, 2015. 87 minutes

A strong cast and disarmingly heartfelt moments propel this fast-paced comedy about Ryan, a gay fashion designer struggling with internalized racism about his Chinese heritage, so much so that he is far more comfortable around white people, despite the constant microaggressions he endures from them. He is paired with a flippant and homophobic Beijing superstar actor looking for a makeover ahead of his big Western crossover however the two bond in many surprising ways, helping them both to grow. This film offers a unique examination of characters who haven’t sought to find balance in the intersections they live in, instead only making peace with one aspect of themselves. That the profound unhappiness the results from that can be explored so well in a film so cheerful makes this a real gem.

Greetings from Africa. Dir. Cheryl Dunye, 1994. 9 minutes

A gorgeous, wryly hilarious, quietly revolutionary slice of life. Cheryl Dunye’s penchant for storytelling, which made another of her short films, Janine, so excellent, is once again on display. She becomes romantically entangled with a woman known only as L, who is endlessly intriguing, but clearly nothing but trouble. Up to this point, this was Dunye’s most polished film by far, and seeing such an early example of a film this well produced exploring a type of relationship mostly unseen before that time is quite a revelation. Her effortless interweaving of black-and-white and color, and her narrative skill are an exciting predictor of her future success with The Watermelon Woman. Watch for the cameo by young future-legend Jacqueline Woodson.

Gun Hill Road. Dir. Rashad Ernesto Green, 2011. 86 minutes

With an uncommonly empathetic tone, Gun Hill Road examines the relationship between Enrique (Esai Morales), a volatile parolee trying to navigate life outside of prison, and his daughter Vanessa, a gifted young trans woman, who Enrique, due to his long incarceration, has previously only known as his son, Michael. Enrique’s ideas of masculinity put him at odds with Vanessa (the first ever Trans Independent Spirit award nominee, Harmony Santana), often with traumatic results, but he painstakingly comes to turns with how the mistakes of his past are playing out in his familial relationships. This film strikes a delicate balance between hopeful and realistic, right up to its wrenching conclusion.

Honored by the Moon. Dir. Mona Smith. 1990, 15 minutes

This powerfully short documentary of self-discovery and self-affirmation focuses on the experiences of gay, lesbian, and two-spirit Native Americans of various communities (largely Lakota and Ojibwe) and their experiences coming to terms with some negative lessons their communities have taught them about non-heteronormative life. For such a short film, an impressively wide range of topics are discussed including, importantly, how the homophobic cultures of European colonizers poisoned the cultures of Native communities that had no real longstanding history of homophobia. The strength of this film lies in its reliance on first-hand accounts and primary images. No other context is required – the stories speak for themselves. This short is, in many ways, ahead of its time.

I Exist. Dir. Peter Barbosa and Garrett Lenoir, 2003. 55 minutes

Through a series of empowering and insightful interviews, this documentary explores the experiences of gays and lesbians in Middle Eastern communities. One of the great strengths of this film is its diversity of representation and perspective. Heartbreaking stories of being excommunicated from family are balanced by accounts of families who have been brought closer by a family member coming out. The result is bittersweet but ultimately very affirming, amplifying the voices of people who have largely been invisible in media representation.

In God’s House. Dir. Lina Oshino, 2006. 22 minutes

In the tradition of Hima B.’s Coming Out, Coming Home, this short documentary focuses on Asian-American families, specifically devoutly Christian and Catholic families, who have gay and lesbian family members. Very clearly intended as a conversation-starter within families and church communities, In God’s House addresses family and religious responsibilities to LGBT members and how they have often failed at living up to those responsibilities, often with devastating consequences. In addressing the toxic hypocrisy that leads to negative outcomes for Asian-American LGBT folks, this uplifting film also makes the case for radical love as a healing balm for communities torn about by religious- or culturally-informed prejudice.

In the Family. Dir. Patrick Wang, 2011. 169 minutes

Patrick Wang’s utterly absorbing, quiet, humanist masterstroke is an essential queer film that, despite being the longest film in this canon, earns every minute of its runtime and even leaves you wishing you could spend more time with these characters. Wang himself plays Joey, a Chinese-American contractor who lives with his partner Cody and co-parents Cody’s son, Chip, from a previous marriage. They seem to have found peace and happiness as a family unit, even with Cody’s extended family, until Cody dies in an accident. Chip, whose mother died in childbirth, continues to live with Joey and they grow and recover together from this trauma, until the extended family contests custody, throwing all lives into turmoil. This uniquely astute character study examines what happens next when all parties, who clearly want the best for Chip, try to find a way to navigate to the best possible solution. Joey’s ethnicity and his sexuality are not always explicitly centered, but they are clearly undercurrents, gently affecting characters’ motivations. The subtlety and wisdom of this film are truly something to behold, all the way up to its emotional, pitch-perfect final shot. A must-see.

Janine. Dir. Cheryl Dunye, 1991. 9 minutes

Quietly, concisely and powerfully, this early film of Cheryl Dunye’s spins a riveting story of her teenage friendship with an upper-class, very different, Caucasian classmate, the titular Janine.  There’s a bittersweet tinge to her riveting monologue as Dunye takes us through her idolization and tenuous attraction to Janine. This is only to discover her positive feelings toward Janine morphing, almost curdling as Dunye begins to become more true to herself and gains a more mature understanding of her identities as an African-American woman and a lesbian woman, as well as Janine’s hopeless lack of understanding of either. The staging and editing techniques, such as a motif involving two candles and the interjection of on-screen text at a couple of key moments could come across as amateurish by a lesser filmmaker but here they breathe even more life into a fascinating anecdote of coming-of-age. Dunye’s casual skill at storytelling and the chance to witness the early seeds of a great filmmaker make this a must-see. It’s a true gem.

Kiki. Dir. Sara Jordeño, 2016. 96 minutes

This deeply affecting spiritual sequel to the classic Paris is Burning closely examines Ball and Drag culture almost 30 years later, specifically focusing on a number of mostly Black and Latinx queer and trans performers trying to learn, survive and thrive in sometimes very harsh realities. Though Kiki is clearly channeling and building on its predecessor, its artistic ambition and intense interest in painting deeply human portraits of its subject are simply remarkable. Kiki also zooms out beyond just the ballroom scene and focuses on several issues including the continued devastation of homophobia, transphobia, and HIV/AIDS despite years of ostensible progress, as well as the complex reasons people choose to transition and, fascinatingly, what life after retiring from drag looks like. This is a must-see.

Kumu Hina. Dir. Joe Wilson, 2013. 77 minutes

Hina Wong-Kalu, the driven, talented and intrepid protagonist, shines and brings to life this emotional docudrama about the Māhū tradition (analogous but not identical to two-spirit or transgender identities) in Hawaiian cultures and the joys and struggles that accompany modern Māhū lives in Hawaii. Hina uses her strength, determination and deep knowledge of Hawaiian traditions to teach and mentor young students, especially girls who seek to excel in traditionally male spaces. A significant and uniquely insightful subplot of the film focuses on the complexities and expectations of love and marriage as a Trans woman in America.

Major! Dir. Annalise Ophelian, 2015. 95 minutes

With a fresh visual style, this documentary discusses the crisis of mass incarceration disproportionately affecting Trans people of color in America through the lens of the long history of activism planned, led, and executed by Miss Major Griffin-Gracy. Miss Major, thoroughly respected and beloved by her community, is one of the foremost and most respected Trans activists in American history. Bookended by inspirational messages of the resiliency of the Trans community, this beautiful documentary is a riveting tribute to a powerful activist and an important overview of the history of Trans activism.

Mala Mala. Dir. Dan Sickles and Antonio Santini, 2014. 88 minutes

This energetic and highly stylized documentary examines the unique experiences of trans people living in Puerto Rico. Against the backdrop of the historic fight to pass Law 238-2014, which banned employment discrimination in Puerto Rico based on sexual orientation and gender identity, we follow the experiences of a dozen trans Puerto Ricans as they navigate activism, making a living, transphobia, and the difficult business of finding their true communities. This vigorously infectious documentary shines a light on people and a unique American experience that is widely overlooked.

Milind Soman Made Me Gay. Dir. Harjant Gill, 2002. 26 minutes

A collection of queer men from Indian and Pakistani backgrounds, and many different cultural and family traditions, describe how the intersections of their identities lead to unique and fascinating experiences in America, especially after Matthew Shepard’s murder and the 9/11 terrorist attacks. This short film manages to touch on homophobia, islamophobia, alienation, and navigating dating, often interracial dating, in the 21st century. Its strengths are not necessarily in focusing on the difficult issues facing these men but in how they find inspiration, what keeps them motivated and what they want for their futures. This film fills an important gap with perspectives that have been alarmingly absent from the body of films giving voice to QPOC.

La Mission. Dir. Peter Bratt, 2009. 117 minutes

Benjamin Bratt stars as a tough-as-nails Che Rivera, respected in his mostly Latinx community for his strength, his mechanical know-how and his perseverance in overcoming a past that included alcoholism and time in prison. However, when he discovers his son Jes (fiercely played by Jeremy Ray Valdez) is gay, the tension between them explodes and Che realizes there are limits to what his hypermasculinity has prepared him for in life. Though one wishes Jes’s story was a little more fleshed out, this film crafts a fascinating narrative about the internal duel of love and hate and the devastation that can arise from letting hatred guide one’s actions.

Moonlight. Dir. Barry Jenkins, 2016. 111 minutes

At long last, QPOC coming-of-age stories went mainstream with this artistically-daring, barrier-smashing, Academy Award-winning drama following the sensitive and withdrawn Chiron through three difficult stages of his life. With uncommon compassion, Moonlight traces Chiron’s slow, tumultuous journey towards emotional and sexual maturity in an unforgiving and cruel world. The quality, importance, impact and aesthetic triumph of this film simply cannot be overstated. QPOC and African-American gay men especially have been invisible, peripheral, tragic, pathologized, feared, mocked and otherwise discounted for most of cinema history. This film’s beautifully sympathetic portrayal of Chiron is the largest blow yet struck against the shortchanging of QPOC lives on the big screen. This quintessential film is required viewing.

Mosquita y Mari. Dir. Aurora Guerrero, 2012. 85 minutes

One of the most endearing cinematic female friendships is at the center of this warm and empathetic coming-of-age tale. Mosquita is a driven straight-A high schooler with strict parents who hold fast to the idea that education is her ladder out of the poverty that has devastated their mostly Latinx community. When hard-edged Mari joins the school, they feel an unexpected magnetism for each other. The film wisely does not apply too many labels to the protagonists’ romantic friendship, but the two young women learn a great deal about themselves and each other as this beautifully shot exploration of young attraction unfolds.

The New Black. Dir. Yoruba Richen, 2013. 75 minutes

In this hard-hitting but surprisingly evenhanded documentary, the campaign surrounding the 2012 Maryland ballot measure on same-sex marriage frames an examination of how LGBT rights are discussed in African American communities. Present are deep examinations of the positive and restorative role of religion in Black communities, but also how the Black church can be a breeding ground for intolerant opinions. The vast array of different opinions presented, from voters, clergy, QPOC activists, liberal and conservative activists, and civil rights leaders make this one of the most comprehensive documents about the evolution of the Black community on same-sex rights. This is an activating, exercising documentary – the kind that makes you want to yell at the screen in agreement, anger, and triumph. Or perhaps even in praise.

No Regret (Non, Je Ne Regretted Rien).  Dir. Marlon Riggs, 1993. 38 minutes

Perhaps Marlon Riggs’s most rare and underseen classic, this moving documentary short features interviews with five HIV-positive Black men facing mortality and ostracization. Despite the sadness of the topic, this film sings with hope instead of despair, disclosure and sex positivity instead of shame, and power and resilience instead of depression. The defiant courage and optimism of the film’s subjects inspire us to move past the toxicity of regret towards hope for the future, even against the toughest odds.

Noah’s Arc: Jumping the Broom. Dir. Patrik Ian-Polk, 2008. 101 minutes

Patrik Ian-Polk has long been an expert at incorporating serious and important issues into wildly farcical situational comedy. In this much-anticipated follow-up film to his groundbreaking QPOC-focused television show, Noah’s Arc, he crafts a hilarious soap opera that could easily be dismissed if one focuses too hard on the absurdist humor, risible plot twists, catty friendships, petty betrayals and umpteen examples of men having badly. What makes this film important is how Polk is able to use these situations to springboard into serious conversations about crucial issues facing Queer people of color. These conversations ran the gamut from the HIV crisis, to domestic violence in queer relationships, to commitment, to coming out, to the perils of promiscuity, to varying generational attitudes towards relationships to, importantly, how to give the kind of love that hasn’t necessarily been modeled for our communities. This film is easy to dismiss as little more than a piece of entertainment, but it’s truly impressive just how much this film has to say.

Pariah. Dir. Dee Rees, 2011. 86 minutes

Adepero Oduye commands the screen as 17-year-old Alike, a burgeoning young poet whose gender non-conformity alarms her devoutly religious mother (a career-best performance by Kim Wayans), causing family tension, as her father is far more permissive and supportive. Alike has increasingly begun embracing and living her identity as a more butch lesbian, but isn’t quite ready to come out. This film’s authenticity, lived-in characters and relationships, and powerfully poetic artistry (highly characteristic of veteran lesbian filmmaker Dee Rees) make it one of the most impactful QTPOC narrative films ever released. Consider it essential viewing.

Paris is Burning. Dir. Jennie Livingston, 1990. 78 minutes

There isn’t much more to write about this barnstorming, iconic, groundbreaking, barrier-destroying, seminal documentary about drag and ball culture in New York in the 1980s. Still routinely shown 30 years later, this documentary shed light on an innovative and endlessly creative group of performers and their culture that the world still cannot get enough of. More than perhaps any other film on this list, Paris is Burning is absolutely essential viewing for QTPOC and, one might argue, the world. With equal parts humor, suspense, and tragedy, this film still stands as a testament to the power of documentary filmmaking. It simply must be seen.

Saturday Church. Dir. Damon Cardasis, 2018. 83 minutes

This disarming coming-of-age story follows the tumultuous story of the aptly-named Ulysses, a queer Black teenager, bullied by his classmates and by his strict, religious aunt who comes to live with him after the death of his father. During this traumatic time, he finds refuge in a group of gay, trans, and drag queen friends, who initiate him into the world of the ballroom circuit. This film’s fusion of music and narrative storytelling results in some of the most heartwarming and exhilarating shots in recent queer cinema.

Saving Face. Dir. Alice Wu, 2004. 97 minutes

The romantic farce is a very difficult subgenre to execute well, but Alice Wu’s beloved comedy manages to knock it out of the park. Wilhelmina “Wil” Pang, a skilled Chinese-American surgeon but closeted lesbian, is constantly pressured by her more traditional mother to settle down with a man. Wil has grown used to living with this pressure, but her life is turned upside down when, in quick succession, she is charmed and romanced by gorgeous dancer Vivian (Lynn Chen) and her mother scandalizes her community by becoming pregnant out of wedlock at age 48. Despite the madcap hijinks that follow, this film succeeds in its clever and lived-in depictions of a close-knit Chinese-American community (indeed, at least half of the dialogue is in Mandarin) and the infectiously warm romance at its center.

The Skinny. Dir. Patrik-Ian Polk, 2012. 99 minutes

Patrik Ian-Polk’s wild, raunchy, explicit dramedy shines a light on modern concerns facing queer Black people, mostly men, such as exploitation, the thrills and perils of promiscuity, the vital importance of friendship, and the continuing, insidious specter of HIV/AIDS in the community. Continuing the unflinching, camaraderie-focused legacy of Polk’s legendary TV show Noah’s ARC, this presentation quickly initiates us into a group of hilarious friends who reunite a year after college for NYC Pride Weekend. Revelations and grudges, however, cause their rapport to fray over the course of the trip. This film is a wild ride that successfully walks the tightrope: bawdy but not repellant, surprisingly educational but not didactic, fun but never frivolous. Recommended for mature audiences.

South Beach on Heels. Dir. Dmitry Zhitov, 2014. 80 minutes

This warm and empathetic documentary focuses on the lives, trials and tribulations of professional drag queens, mostly of color, working in the South Beach area of Florida. Some of the featured queens, such as luminous and enchanting Latrice Royale, have achieved much exposure and mainstream success, and some still work tirelessly at their craft with a much lower profile and no guarantee of fame or even a steady paycheck. Deeply personal and heartfelt moments and insights into the lives of these drag performers set this documentary apart from the rest in this increasingly popular subgenre of drag documentaries.

Southwest of Salem: The Story of the San Antonio Four. Dir. Deborah Esquenazi, 2016. 91 minutes

This Peabody Award-winning documentary shines a spotlight on an infuriating miscarriage of justice involving 4 Latinx lesbian women accused of sexually assaulting a child. The jury, clouded by homophobia, racism, and an absurd fit of Satanic Panic, derailed these women’s lives by sentencing them to long jail sentences, despite the lack of any credible evidence. Along with the tireless efforts of family, activists, lawyers and a key witness who recanted their false testimony, this film was instrumental in their eventual release after more than a decade of jail time. In addition to telling the story of these remarkable, determined women, this documentary also serves as an exploration of how insidious racism and homophobia can trump the truth and justice in America’s criminal justice system.

Spa Night. Dir. Andrew Ahn, 2016. 96 minutes

Andrew Ahn’s contemplative, melancholy, and sensually shot drama focuses on a Korean immigrant family struggling to survive the broken promises of the “American Dream.” David, the son, is fiercely loyal to his parents, but seems overcome by both isolation and fear. His parents gave up everything to migrate to America so David could attend a good college, get married, and have children, but David is mortified to tell them that not only does college seem unattractive, but he’s been acknowledging his attraction to other men more and more consciously. When the family’s business fails, David gets a job at the local spa, which is a cultural hub of sorts but also, as he discovers, a cruising spot for the men who frequent it. What sets Spa Night apart from other LGBT coming-of-age stories is that the focus is on the internal rather than on actions. Ahn wisely trusts the viewer to read between the lines, rather than overtly stating the cascading emotions of sorrow, longing, alienation, disappointment, and regret. Even when events climax, the understatement of the moment is more powerful than anything more overt could ever be. This quiet, mature film is gloomier than many other narrative films on this list, but it’s one of the most honest and enriching.

Speak Easy, B. Dir. Becca Park and Jun Shimizu, 2018. 15 minutes

Becca Park’s surreal, lush, and funny short film examines themes of depression, abandonment, and cultural alienation. Becca Park, the writer/director, plays the title character, attempting to find a way to explain the complexity of these feelings to a white therapist who may not be equipped to understand. We follow them on a metaphorical journey to vast deserts, kitschy diners, and a hilarious interaction with their own inner child. Rarely has a film packed so many complex ideas surrounding intersectional identities into such a short and aesthetically daring film.

Still Black: A Portrait of Black Transmen. Dir. Kortney Ryan Zeigler, 2008. 79 minutes

This sparsely produced, yet pioneering collection of interviews with 6 Black trans men features subjects at different points in their lives, from different classes and cities, and with different perspectives on identity and transitioning. Common underlying themes in this documentary involve self-discovery, find and losing community and the complexities of dating and relationships. This film successfully amplifies the voices of people from a demographic who have been historically rendered invisible in media.

Tangerine. Dir. Sean Baker, 2016. 88 minutes

Sean Baker’s essential, game-changing dark comedy follows the tumultuous but intensely close friendship of two Black transwomen surviving by operating in the often dangerous world of sex work in Los Angeles. Famously shot and edited with an iPhone, this original, frenetic, and stylishly intoxicating film centers transwomen of color in ways rarely before seen in narrative film. In addition to the quick-paced, bawdy humor and occasional heart-stopping tension, this film’s quiet moments of grace and true friendship sneak up on the viewer, creating a truly profound experience. This comes with the highest of recommendations.

Tongues Untied. Dir. Marlon Riggs, 1989. 55 minutes

Simultaneously perhaps the most controversial, infamous, and influential queer film of the 20th century, Marlon Riggs’s seminal and nonconformist documentary shattered the plague of silence around race and sexuality. With never-before-seen candor and boundless energy, Riggs savagely attacks the homophobia in the Black community and the racism of the gay community while simultaneously extolling the beauty of the Black body that has been so maligned and fetishized in culture. Despite being openly reviled and condemned by social conservatives upon its release, this documentary endured and changed the entire landscape of QTPOC representation on television and film forever. This is essential viewing.

Trappings of Transhood. Dir. Christopher Lee and Elise Hurwitz, 1997. 32 minutes

An audacious, energetic and groundbreaking examination of the unique experiences of 11 trans men from various walks of life in the 1990s. The wide-ranging topics discussed by the highly diverse group of interviewees include isolation, violence, the perils of navigating sex and dating, transphobia in the gay community, and intersectional issues like how coming out as trans can play out different in different ethnic communities. This film feels ahead of its time in many ways, but also sobering, as many of the issues the interviewees faced in the mid-90s have actually been amplified and worsened in the ensuing 20 years, rather than solved. Nevertheless, this is a fascinating glance at day-to-day concerns of trans people from a refreshingly diverse array of perspectives and experiences.

Treasure: From Tragedy to Trans Justice. Dir. dream Hampton, 2015. 61 minutes

When Shelly “Treasure” Hilliard, a young, Black trans woman, was murdered under mysterious circumstances, her family, along with the Detroit trans community, decided to agitate for answers and for justice. In this rousing documentary, we learn about the reverberations of this tragedy on the lives of Treasure’s family and friends, as well as the infuriating police malfeasance that led to the murder. Always engaging, and occasionally gorgeous, this film discusses issues facing trans women of color in a unique setting. The dire economic conditions facing the city of Detroit provide a profound backdrop to this bleak and urgent story.

Two-Spirit People. Dir. Michel Beauchemin, 1991. 23 minutes

This early, eye-opening documentary short examines the surprisingly widespread traditions of two-spirit people across many different Native cultures, as well as how contemporary Native gays, lesbians, and two-spirits have navigated life and coming-of-age. What’s fascinating about this film is that it makes clear that the recent pushback to ideas of a gender binary in much of mainstream Western culture is nothing remotely new in many cultures. Ways of knowing and ways of thinking from Indian cultures could provide much fuller understanding to modern conversations about the nature of gender.

U People. Dir. Hanifah Walida, 2009. 75 minutes

This self-styled “rockumentary” is an amazing curiosity in the best sense of the word. A group of queer Black and Latinx women come together to film a short film and music video, but Walida keeps the camera going beyond this project and catches a series of profoundly engaging conversations amongst the cast about the intersectionalities of living life as a Black lesbian in America. These discussions range from topics of privilege, being ignored by white LGBT activism, gender expression and quality of life, heteronormativity, and difficulty defining oneself when different identities and labels (bisexual, trans, lesbian, butch, femme, etc.) only partially apply to one’s experience. As these women express engagingly diverse opinions, the filming of the short film within this film provides an excellent narrative structure that grounds and focuses the film. Though they differ and disagree, they’re all working hard toward a meaningful end goal and it’s beautiful to behold.

Voguing: The Message. Dir. Dorothy Low, 1989. 13 minutes

This fast-paced introduction to the origins and culture of voguing and ball culture has perhaps been overshadowed a bit by Paris is Burning, which was released around the same time, but is nonetheless and excellent companion piece. As a primer, it very quickly orients the viewer to the terminology and the basic infrastructure of the NYC ball scene. In addition to this whirlwind introduction to the culture and how it adds value and meaning to the lives of its participants, we also get to see virtuoso performers like the legendary Willi Ninja practice their craft. This is an excellent addition to the canon, especially for those in a hurry.

The Watermelon Woman. Dir. Cheryl Dunye, 1997. 90 minutes

Writer/director Cheryl Dunye changed the entire landscape of queer cinema with this monumentally influential and uproarious comedy about an aspiring Black documentarian (played by Dunye herself) who seeks to make a film about an elusive Black, lesbian actress from Hollywood’s Golden Age. The film uses that actress, dubbed “the watermelon woman” as a jumping off point to discuss Hollywood’s paradoxical obsessions with both fetishizing Black people and erasing them from view. Along the way, Dunye sharply skewers open-minded but feckless white “allies,” the idiosyncrasies of Black lesbian communities, the chaotic research process, and the craft of filmmaking itself. This film, the first feature directed by an out Black lesbian, is essential viewing – a prerequisite for any deep understanding of the history of queer filmmakers of color.

The Wedding Banquet. Dir. Ang Lee, 1993. 107 minutes

Ang Lee’s groundbreaking classic is half farce, half touching family character study. The Wedding Banquet tells the story of Wai-Tung, a Taiwanese immigrant, whose parents constantly pressure him to find a wife and settle down. Unbeknownst to them, Wai-Tung is both gay and in a happy, long-term relationship with Simon, a Caucasian man. They hatch a plan to get Wai-Tung’s parents’ off his back by entering into a sham marriage with one of his poorer tenants, which backfires in routinely hilarious ways. This film explores both the gay immigrant experience in America and how intersectional issues of culture, generational differences, and family expectations can disrupt QPOC’s lives by pulling them in far too many directions at once, while also providing well-earned hope that the experiences and expectations can be reconciled. This film might seem jarringly dated at times to younger viewers (obviously, marriage equality was 20 years away and the scene where a character receives a first-generation cell phone as a gift is unintentionally hilarious in modern times), but this film was and is an astonishing achievement and a surprisingly mainstream critical and commercial success, proving that there was an audience for stories like this. P.S. - The long scene of the titular wedding banquet is one of the most joyously entertaining celebrations ever captured on film.

The Worlds of Bernice Bing. Dir. Madeleine Lim, 2013. 35 minutes

This lean, brisk, and loving exploration of influential Chinese-American lesbian artist and activist Bernice Bing is an expertly crafted retrospective on her life and works. Bing’s tumultuous personal life, prolific artistic contributions, and intersectional issues in the art world are explored in surprising depth for a film of this runtime. This is a profound and emotional paean to one of art’s most unfairly overlooked pioneers is a worthy and eye-opening tribute.