2025

“Reclaiming It” — Out On Film Presents Queer Propaganda with a Twist 9/25 – 10/5

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Out On Film 2025

The animated Lesbian Space Princess, documentary The Librarians and the buzzy Tom Blyth/Russell Tovey drama Plainclothes are among the high-profile films in one of the most diverse festivals in the country.

Atlanta’s preeminent, Oscar-qualifying film festival Out On Film today announced its provocative 2025 “Queer Propaganda”’-themed full lineup, marking the event’s 38th year of bringing the most anticipated LGBTQ+ films and documentaries to Southern audiences and nationwide via streaming. Festival ticket packages are available now at outonfilm.org. Presented by GILEAD, festival screenings, Q&As, and panels will take place at the historic Landmark’s Midtown Art Cinema and Out Front Theatre Company.

Plainclothes Out on Film

Out On Film 38 will offer 38 features and 105 shorts films. In all, Out On Film will host nine world premieres, four international premieres, 10 U.S. premieres and 32 regional premieres as part of the 2025 festival.

The Opening Night film set for the September 25-October 5, 2025 festival is the documentary I Was Born This Way directed by Daniel Junge and Sam Pollard, which spotlights how pioneering disco artist Carl Bean’s 1977 anthem became a cultural milestone for LGBTQ+ music. Through interviews with music legends such as Lady Gaga, Billy Porter, Questlove and Dionne Warwick, the story unfolds of Archbishop Bean’s groundbreaking impact on queer representation in mainstream culture in this exceptional, empowering documentary.

The festival’s six centerpiece films are the following:

  • Assembly – A documentary feature directed by Rashaad Newsome and Johnny Symon and recipient of 2024’s inaugural Out On Film Filmmaker Fund Award, this film follows visionary artist Newsome as he transforms a historic military facility into a Black queer utopia, blending art, AI and performance. Through stunning visuals and deeply personal performances, the film captures the transformative power of creativity as a fractured community comes together to find strength, solidarity and liberation. See its trailer here.
  • Exit Interviews – The debut feature from Atlanta Comedy Theater owner Garrett Abd, this independent film explores the complicated emotional terrain of love, regret and personal reflection through the lens of one man’s journey to confront the ghosts of his past relationships head on. Trailer
  • Fairyland – Based on the acclaimed memoir of the same name by Alysia Abbott, this coming-of-age story is set against the backdrop of San Francisco’s vibrant cultural scene in the ‘70s and ’80s. Andrew Durham’s directorial debut is produced by Sofia Coppola and chronicles a father and daughter relationship as it evolves through an era of bohemian decadence to the sober and heartbreaking era of the AIDS crisis. The film stars Emilia Jones of CODA, Scoot McNairy, Cody Fern, Maria Bakalova and Bella Murphy with Adam Lambert and Geena Davis and newcomer Nessa Dougherty. Trailer
  • Lesbian Space Princess – This crowd-pleasing, award-winning animated feature by Emma Hough Hobbs and Leela Varghese centers on a space princess thrust out of her sheltered life and into a galactic quest to save her bounty hunter ex-girlfriend from the “Straight White Maliens.” Trailer
  • The Librarians – Documentarian Kim A. Snyder, hot off her 2025 Oscar-nominated Death By Numbers, showcases librarians emerging as first responders in the fight for democracy, free access to information and First Amendment Rights. When an unprecedented wave of book banning largely addressing race and LGBTQ+ issues is sparked in Texas, Florida and beyond, librarians under siege join forces as unlikely defenders fighting for intellectual freedom on the front lines.
  • Plainclothes – Promising undercover agent Lucas (Tom Blyth), assigned to lure and arrest gay men at a shopping center, defies professional orders when he falls in love with a target, Andrew (Russell Tovey). Director Carmen Emmi’s gripping feature film charts the unexpected relationship between the two men and Lucas’ internal growth. This was a big hit at Sundance, reviewed here on SilverScreenCapture. Trailer
Four Mothers
Out On Film Closing Night Movie: Four Mothers

The festival’s Closing Night movie will be the heartwarming Irish feature Four Mothers, directed by Darren Thornton. A struggling novelist in Dublin, planning for an upcoming book tour, is forced to take care of three eccentric older women – and his own mother, recovering from a stroke – over the course of one chaotic weekend in Dublin in this warm and funny crowd pleaser. Starring James McArdle (Andor), this film won the Audience Award at the BFI London Film Festival.

Photo of Angelica Ross by Gerson Lopes
Photo of Angelica Ross by Gerson Lopes

In addition, Out On Film festival is honoring Actress/Singer-Songwriter/TransTech Social Enterprises Founder and CEO/Transgender Rights Advocate Angelica Ross of Pose as its 2025 Icon Award winner. Her award will be presented at an in-person, free ceremony at the Landmark Midtown Art Cinema September 30 at noon. 

“In a year where our rights are being threatened and taken away, it’s as important as ever to stand up and show we are around – and not going anywhere,” said Out On Film Festival Director Jim Farmer.

Regarding this year’s theme, Executive Director Justice Obiaya explains, “In a time when ‘Queer Propaganda’ is used as a political weapon to shame, censor, and vilify LGBTQ+ lives, we’re reclaiming it. At Out On Film, we’re turning the term on its head and making it our own. Queer Propaganda isn’t about pushing an agenda; it’s about telling the truth. It’s about reclaiming our right to be seen, to be heard, and to shape the narrative. Our stories build empathy. They reflect the world as it truly is: diverse, complex, and beautifully queer. In the face of rising backlash and politicized attacks, we’re not backing down. We’re leaning in, louder, prouder, and more united than ever.”

More films and events will be announced closer to the festival. Follow the festival here. And check out the trailer:

2025

Qualley Control: Actress the Best Part of Noirish Comedy “Honey Don’t!”

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Actress Margaret Qualley nearly tames the basest instincts of one half of a talented sibling filmmaking team as Ethan Coen co-writes and directs the offbeat dark comedy mystery Honey Don’t! (C+). What a difference a partner in crime makes, as Ethan trades his brotherly collaborator to instead riff with former editor, now co-writer Tricia Cooke; and from the pulp friction of a detective neo-noir and lesbian romance spawns an unexpected lovechild. The movie is often a battle between the director’s own clever conceits and some dubious daydreams, and impulse control is rarely the victor. Still, Qualley towers above it all in a commanding role as an idiosyncratic private eye investigating crimes connected to a hack minister (an outrageously funny Chris Evans) while simultaneously romancing a police officer (deadpan dreamy Aubrey Plaza). The film, set in a sun-drenched milieu, has its share of spry surprises but doesn’t add up to a cohesive whole. It’s like a mid-season TV episode story got served instead of the impressive pilot.

2025, Rent It Tonight

Latest Spike/Denzel Collab “Highest 2 Lowest” Slow to Find Footing

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From discordant opening sequences to a transcendent finale, the Spike Lee’s latest operates in an auspicious plane as “most improved Joint.” Highest 2 Lowest (B-), playing in select theatres before streaming on Apple+, is Lee’s neo-noir remake of Akira Kurosawa’s 1963 High and Low, and Lee makes the story completely his own with contemporary themes about public image, wealth and morality. The director appears to have a lot on his mind, including how to spend one’s time making art and impacting society; there are artifacts throughout the protagonist’s home and world showcasing the giants of history on whose shoulders its characters stand. The plot is centered on a charismatic but stoic music mogul played by Denzel Washington, with small parts for his wife (Ilfenesh Hadera) and his chauffeur/henchman (Jeffrey Wright), who get much less to do. Together this trio confronts double-crosses in ways that feel at first overly melodramatic and ultimately cathartic. The ensemble also includes music artists ASAP Rocky and Ice Spice creating original characters plus basketballer Rick Fox, actors Rosie Perez and Anthony Ramos and pianist Eddie Palmieri inexplicably playing themselves. The film’s first act leans too much into subversive symbolism with sparse characters posed and juxtaposed against a towering NYC/Brooklyn borderland and an all-too-perfect family underscored by a fussy score. The Howard Drossin music massively improves and makes better sense as the film moves into more kinetic action; it’s soon downright rousing. There’s lots to recommend for viewers who hang in there for the full parable, not the least of which is another towering and nuanced performance by Washington. The parts of the film which are twisty are nifty; other lumpy portions work in circulative spurts. It’s esoteric, genre-defying and largely entertaining with a narrative examining modern anxieties and legacy. 

2025, Rent It Tonight

Zach Cregger Explores Another House of Whacks in Masterful “Weapons”

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As horror movie writer/director, Zach Cregger is best known for depicting the underbelly of a double-booked vacation rental home, but his widening scope to the milieu of eerie suburbia makes for a next fascinating filmmaking frontier. There goes the neighborhood in the suspense thriller Weapons (A) as the multi-hyphenate auteur (he’s also a very good composer here) unveils the intriguing premise that all but one elementary school classmates exit their homes via the front door in the middle of the night, never to be seen again, and a grieving community tries to piece together what the hell happened. This mystery/horror hybrid tells its vanishing act through violent vignettes tracing the travails of intersecting characters including Julia Garner as the kids’ feisty teacher, Josh Brolin as a hostile father of the disappeared and Alden Ehrenreich as a hapless policeman. Each episode folds gracefully into the next, giving viewers more clues and insights with each omniscient perspective. It’s like a secret being passed around. Along with the dynamite performances by the aforementioned trio, child actor Cary Christopher and Amy Madigan as “Aunt Gladys” also get to shine in intriguing and pivotal roles. There are genuine scares, for sure, interlaced with a few grisly acts; but for the most part, suspense and invention loom large, captured in the twisty dreamscapes of Larkin Seiple’s stunning cinematography. This is one of those stories evoking heartbreak one moment and hilarity the next, a veritable progressive block party to be discovered and savored together in movie theatres. That sublime sound of satisfaction is Cregger making house calls.

2025

2025 “Naked Gun” Reboot Lets Deadpan Liam Neeson Be Frank to Fun Effect

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Surely/Shirley Hollywood can’t be serious that the gag-a-minute spoof comedy genre is brazenly dropping trou into our collective consciousness again, and Akiva Schaffer’s 2025 legacy sequel The Naked Gun (B-) is mostly crackling, cackling kindling on the formula fire. More effective than imagined in the lead role playing against type, Liam Neeson is dreamy deadpan. He plays the son of Lieutenant Frank Drebin (Leslie Nielsen in the original film trilogy and short-lived Police Squad! TV show) who must succeed in his father’s footsteps to prevent a tech billionaire baddie played by Danny Huston from achieving mass mind control over L.A. society. The parade of sassy sight gags and plentiful plays on words play out with feckless abandon in a tidy hour and a half laugh-fest. Pamela Anderson is an absolute joy as a bombshell novelist, who gets to effectively ham it up in jazz speakeasies and an absurdist alpine adventure. Paul Walter Hauser is also funny as the straight man to the straight man as the dad jokes play out one after another. Co-screenwriters Dan Gregor and Doug Mand milk every laugh they can get out of the action and antics, with clear inspiration from the comic classics and undeniable nifty notes from goofball producer Seth MacFarlane. The film is often giddily retrograde, with knowing knock knocks centered around such novelties as TiVo devices, the Black-Eyed Peas, mobile phones, body cams and the Buffy the Vampire Slayer catalogue deep-cuts. Sometimes viewers will see the joke coming from a mile away (I’m looking at you, dropping new year’s balls), but the familiarity doesn’t make many of the proceedings any less chortle worthy. And many of the jokes do actually miss; for all the buzz about the tight running time, there’s certainly still room for pruning. But the act of laughing together in public in a movie theatre is nearly a lost ritual, and I encourage it.

2025

Real-Life Couple Fuse “Together” with Eyes Wide Stuck in Comedic Body Horror Film

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Talk about a two-hander! And every other limb, for that matter! Together (B), the body horror comedy movie directed by Michael Shanks and subsequently buzzed about at this year’s Sundance Film Festival, centers on real-life couple Alison Brie and Dave Franco as a fictional pair finding themselves scientifically and supernaturally fusing into one being. She’s a plucky teacher, and he’s a hapless guitarist, and moving from city life to countryside seclusion proves a prescient change of scenery for taking their relationship to the next level. In a form of magnetic attraction even Plato couldn’t have contemplated, the film depicts the sometimes scary and often funny misadventures when two become one. The movie’s production values are consistently high, even when the makeup effects and particular plot devices become the most far-fetched. The central actors are effective and endearing, and they represent a variety of dimensions about the stages of co-dependency in relationships. A few final act missteps can’t take away from the effectiveness of the generally wise and witty thesis, with an especially awkward post-coital sequence and refreshing takes on how couples drift from intimacy and intensity to sometimes blatant disregard. It’s not graphic or terrifying enough to scare off casual viewers but has enough twisty content to simultaneously appeal to hardcore horror fans. Strangely, it’s an appealing date movie with lots of personality for those willing to examine just how close they’re getting. 

2025

“The Fantastic Four: First Steps” is At Least Not an Embarrassment

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Third time’s the charm for the new Four, for the most part. Faithful and fastidious to its comic book origins but strangely dramatically inert, Matt Shakman’s The Fantastic Four: First Steps (B-) does a better job than past attempts to ignite this story but remains simply a passable initial entry into Phase Six of Marvel movies. The glorious production design evokes a retro-futuristic Manhattan with such splendid detail in the film’s first act that it’s a shame there’s really no place to go from there. Pedro Pascal and Vanessa Kirby dutifully play a married couple in a quartet of astronauts imbued with superpowers. He’s stretchy and she’s sometimes invisible, and very few interesting sight gags come from that premise. Joseph Quinn is equally unmemorable playing the Human Torch, supposedly the comic relief, but he doesn’t really blaze the screen with much of a bonfire of hilarity. This feels like the most obligatory team-up since the Gerald Ford cabinet. The heroes fight an intergalactic character who gobbles up full worlds, and yet his presence is evocative of a kaiju rampaging a city block. Still, given some of the MCU movies of late, this one has a positive message and a science-forward agenda and doesn’t careen into too much nonsense. The crafts are impressive. Graded on a curve, this is at least cogent if uninspiring.

2025

“Happy Gilmore 2” an Abject Calamity

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Kyle Newacheck’s legacy sequel Happy Gilmore 2 (D-) has such a “grip it and rip it” feel, it almost doesn’t even qualify as a movie at all. Undoubtedly a documentary about making this film would have yielded more laughs than those captured and presented on the streaming screen. Slapshot direction meets a scattershot script as the title character played by Adam Sandler returns nearly three decades later to battle alcoholism, incidental deaths on and off screen and a new extreme league of his adopted sport of golf. There’s nary a real threat, a funny gag or a compelling subplot to add to the first film in any substantive way. It just feels like the makers are casually marking time because they know there’s an appetite for more fun on the fairways with a character they’ve grown to love. Fan service flashbacks and throwbacks fill much of the bloated run time, with strained sequences on parade so Netflix can clock viewer eyeballs for a smidge longer. Adam Sandler exudes little of the rowdiness or rage present in the title character before, and his story arch about getting his life turned around and funding his daughter’s dance dreams prove quite incidental. A flurry of real golf stars largely ill-equipped to add to the comic or dramatic timing round out a cast of many actors from the original. It’s an indictment when Bad Bunny appears to be acting the hardest as Gilmore’s new caddy. This outing is a mulligan from nearly any perspective. 

2025, Rent It Tonight

“Kpop Demon Hunters” All the Rage

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Kpop Demon Hunters

This is the summer sensation that’s equal parts singing and slaying. Canadian film director Maggie Kang taps into her Korean heritage with collaborator Chris Appelhans, best known as an American illustrator, to co-direct and write the musical fantasy Kpop Demon Hunters (B), an engaging and culturally rooted film about a trio of female singers who moonlight as monster assassins. The high production value style is inspired by the look and feel of large-scale concerts, promotional videos and globetrotting adventures with pop music sensations, blended seamlessly with aspects of mythology and demonology for equal parts authentic action. Arden Cho as lead vocalist of the fictional group Huntr/x, Ji-Young Yoo as the rapper/lyricist/knife specialist of the girl-group and May Hong as the rebellious dance lead are among the fresh voice talent delivering funny, contemporary dialogue and music, with assist from contemporaries such as the band Twice and veterans such as crooner Lea Salonga, plus Ken Jeong and Daniel Dae Kim, as agent and doctor, respectively. Ahn Hyo-seop also shines as the lead singer of a mischievous rival boy band, flanked by sly sidekicks: a grinning tiger and a cute bird with a hat The score composed by Brazilian pianist Marcelo Zarvos adds to the kinetic, electric atmosphere with a bevy of international talents contributing to bangers such as “Golden,” “Takedown,” “Soda Pop” and “Your Idol,” keeping audiences humming in sassy syncopation. Although it drags a little in the final act, the film is mainly breezy and exciting with infectious catchiness and colors. It is more finely and winningly observed than expected; and it’s no wonder this Netflix discovery has inspired sing-along cinema screenings.

2025, Industry News

James Gunn Shares the Technology Behind the Hit 2025 Film “Superman”

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The company NEP Sweetwater played a role behind the scenes of the new 2025 Superman film, supporting the LED stage technology behind many of the film’s most dynamic storytelling visuals. The film has more than 2,000 visual effects shots.

From flight sequences to the alien chaos outside the protagonist’s apartment, the Lux Stage at Trilith Studios in Georgia gave this team flexibility to move fast, light practically and keep the ensemble connected to their acting performances opposite superhero fantasy elements.

Check out this Facebook video, in which writer/ director James Gunn talks through how this technology helped shape his vision.

2025

As Pandemic Microcosm, “Eddington” is a Wicked Little Town

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For his latest neo-Western fantasia fixated on uncompromising characters maneuvering the tripwires and powder kegs of modern life, Ari Aster dusts up a flurry of ideas and then leaves his audience largely befuddled! The nervy politically-charged dark comedy Eddington (C-) rolls the clock back just a few short years to the opening months of pandemic lockdown in his titular fictional New Mexico town, and a whole lot of story subsequently goes down. Aster finds ample horror in the built-in anxieties of the darkest echo chambers even as many of his ambitious storytelling conventions often fall by the wayside. Joaquin Phoenix as the mask-eschewing sheriff and Pedro Pascal as the by-the-books mayor appear destined for an epic showdown, but largely the writer/director squanders his setup with characters all dressed up with nowhere to go. Phoenix, whose lawman is festooned with iconic holster and inhaler, is entrusted with another in his pantheon of eccentric characters; and although he’s consistently enjoyable to watch, the plot around this very flawed antihero splinters into such a madcap and preposterous series of detours, it simply can’t hold its thesis. Intriguing bit parts by Emma Stone and Austin Butler enliven subplots served like a sentence diagrammed into infinity. The film ultimately proves reductive, as flimsy as a facemask drooping below one’s nose. It’s often as if Aster doesn’t mind punishing his audience and leaving them perplexed, and the cavalcade of ideas he presents rarely coalesce into clarity of purpose. The collaboration between Aster and his cinematographer Darius Khondji is one of the movie’s highlight, though, creating widescreen vistas blending the everyday with the surreal to evoke contemporary anxieties and isolation, all the while depicting mobile devices as weapons to disarm and cancel one another. There’s gallows humor aplenty and a series of snarky surprises for those who can endure the full expanse of Aster’s fever dream of a presentation, but his brand of satire lacks subtlety and unfortunately his enterprise often careens from daring to drudgery. It’s urban sprawl on a small scale and a near-miss in a sometimes frustrating auteur’s catalogue.

2025, Rent It Tonight

Gunn’s Inventive “Superman” a Maximalist Mixtape for Comic Book Movie Fans

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One could fret this superhero reboot’s ambition is akin to Icarus soaring straight and unflinching into the Krypton sun. But fortunately in the hands of writer/director James Gunn’s singular craftsmanship, the new Superman (A-) is sufficiently earthbound and will keep viewers leaning in breathlessly, blissfully to trace its lofty legend. In keeping with his tuned-in, punked-up pop cultural sensibilities, the auteur tenders a mighty mixtape of everything currently intriguing him about comic books, comic book movies and life in the (mis)Information Age, and we as viewers are the beneficiaries of his visionary and occasionally cheeky gifts. Gunn’s candy-colored liberal arts curriculum of peculiar fandom and folklore sometimes careens into a pace oddity, but the boisterous blend of art, science and movie magic will surely reward repeat viewings. There’s a central theme simmering about the mysterious planetary protector being too good to be true and a hypothesis about what would happen if a supervillain pierced the perceived mythology he and we have come to expect. A constant hum of newspaper story uploads, breaking broadcast news, word of mouth buzz and social media posts fills the film’s vaguely contemporary Metropolis and surrounding dreamscapes. Gunn’s whiz-bang fortress of freneticism almost overwhelms and threatens to topple over itself, domino-style, like skyscrapers on a chasm: there’s more imagination per frame of this adventure than we’re used to getting in a summer blockbuster or even in a few twirls of a fidget spinner. From the get-go of its intriguing opening scrolls and multiple milieus, Gunn quickly plots the flight and fight patterns of his hero and those who love and loathe him. David Corenswet, graceful and earnest, and Rachel Brosnahan, wide-eyed and wordy, make an absolutely splendid Clark/Supes and Lois, respectively, with charming and too-infrequent screwball sequences straight out of classic Tracy/Hepburn mode. Nicholas Hoult is a deliciously diabolical Lex, always two steps ahead of his adversaries in his fastidious evil plotting. And Edi Gathegi is a solid standout as Mister Terrific, one of a series of DC Comics emerging characters who spice up subplots across various dimensions (he gets an amazing trick with a force field that’s a showstopper). Gunn raises the stakes with a title character vulnerable to physical and emotional pain, and the film is best when it spotlights this protagonist facing fear and fragility, including in tender moments with his nifty Smallville foster parents. The movie’s visual palette is unusual but inventive; not every effect gets “inked” with precision, but whisked in the whirlwind of super-breath, x-ray vision, heat rays and single-bound leaps, contours are maximized with thrilling panache. Once the action starts, with powerful pups and pocket universes hovering around each corner, the film sustains a rather relentless and surprising rhythm. It’s a run-on sentence no amount of diagramming can harness. The hopes and tropes powering this installment provide ample payoff in a superhero treatise with much on the mind. There’s also meta-textural material here about those who aren’t particularly keen on the filmmaker’s hokier, jokier take on the caped wonder plunged into a primary colored silver age universe; Gunn’s humor is preemptive disarming armor shielding against the haters, but sometimes his clever sensibilities do border on eclipsing the superhero himself. Regardless of the whirling dervish of it all, this movie definitely gets the Superman character right; he’s sure to be a fan favorite. It’s all a glorious calling card for a DC universe of possibilities (things are certainly looking up!), and it all makes for an invigorating and slightly exhausting time of fun under the Gunn.

Watch my 60-second FilmThirst review of the film on TikTok.

Also, check out this making-of featurette.