Abstract
This article seeks to reflect upon the interaction between film culture and both the LGBTQIA+ communities and society at large in the twenty-first century, an interaction (and film production) that has increased exponentially during the period under examination, in large measure as a result of the diversity agenda, along with broader access to film funding. After providing a context to queer filmmaking in Brazil and to exhibition in the 21st century, the article analyses three key films from the last 6 years: Praia do Futuro (Future Beach, Karim Ainouz, 2014), Mãe só há uma (Don’t Call Me Son, Anna Muylaert, 2016) and Bixa Travesty (Tranny Fag, Kiko Goifman and Claudia Priscilla, 2018).
Film Culture; Queer, LGBTQIA; Gender; 21st Century
