Queer Film Hub
News from the world of queer cinema
By QueerFilmHub Editorial Board
Read story →Welcome back to QueerFilmHub. Today, we have an absolute exclusive for our independent film network. We sat down with acclaimed Swedish director Daniel Di Grado to pull back the curtain on his cult psychological LGBTQ+ horror-drama, Alena (2015).
Matthew Lillard, best known for his iconic portrayal of Stu Macher in the original 1996 Scream, has publicly expressed deep regret and shame over returning to the franchise for its upcoming seventh installment.
Jane Schoenbrun’s third feature film (I Saw the TV Glow, We’re All Going to the World’s Fair) was awarded the Queer Palm at the Cannes Film Festival.
On September 17, 2026, the Polish Sejm once again rejected the opportunity to legally recognize same-sex relationships in Poland. The vote to override a presidential veto fell short by 27 votes.
The appeal process for Maja T., a non-binary person from Germany, has officially opened in Budapest. The prosecution is demanding a severe increase in the prison sentence to over 13 years, alongside a transfer to a high-security prison regime. The defense is seeking full acquittal, citing a lack of clear evidence, procedural violations, and transfobic abuse endured in Hungarian custody.
Some debuts do more than break genre barriers—they become enduring touchstones for an entire generation. In 2001, Italian director Monica Stambrini introduced the world to Gasoline (Benzina / Love and Run)—an uncompromising, atmospheric, and high-octane psychological neo-noir that quickly earned international cult status.
# 🎬 “I Want to Keep Making Cinematic Tarot Cards”: An Interview with Anita Doron
The slasher genre has always operated on rigid, implicit morality—subtextually punishing intimacy while elevating pure "innocence." Jane Schoenbrun’s latest project, Teenage Sex and Death at Camp Miasma (2026), takes these deeply ingrained horror tropes and completely turns them inside out.
It is time to drop the charade and state the uncomfortable truth: multinational film corporations do not care about minority rights, authentic representation, or human dignity. What they proudly dish out season after season in multi-million-dollar blockbusters under the banner of "progress" is nothing more than cynical, calculated rainbow capitalism, where identity has been reduced to a convenient marketing device. When push comes to shove, the industry sells out its own hollow declarations without batting an eye for the first lucrative international paycheck.
