A still from ‘Move Ya Body.’
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This year’s BlackStar Film Festival, running July 31-Aug. 3, features a selection of documentaries, features and shorts by queer filmmakers that depict LGBTQ+ life, with screenings held both in person and online. Here is a rundown of what to watch from this year’s program.
“Move Ya’ Body” (Aug. 2, 9 p.m., Suzanne Roberts Theatre) is out gay director (and former Philadelphian) Elegance Bratton’s (“The Inspection”) affectionate documentary about the birth of house music. Vince Lawrence, who produced the first house records, recounts how this Black and queer subculture originated in the late 1970s in safe spaces like The Warehouse, a gay nightclub in Chicago — a city where redlining was used to officially segregate the Black community. An extended sequence on the “death of disco” goes on too long, but it prompts Lawrence and others to pioneer a new musical genre, house, which mixed disco and electronica, and achieved tremendous success in the U.K. and abroad. But, as the film shows, it was late to make it in America. “Move Ya’ Body” also addresses the whitewashing of Black culture to make it more mainstream, as well as how Larry Sherman, the founder of Trax Records, a house label, denied payments to artists. Bratton uses interviews, archival footage and re-enactments to tell this story, and its impact on race, the queer community, and popular music. It may be a bit scattershot, but the music is groovy.
There is a mesmeric quality to writer/director Trương Minh Quý’s “Viet and Nam,” (Aug. 2, 10:30 a.m., The Wilma Theater). This ambitious queer romance concerns two young miners in Vietnam circa 2001. This film, divided in two halves, is driven more by atmosphere than plot. Much of “Viet and Nam” exists in a liminal, dreamlike state that allows one’s mind to drift along with the characters. This approach will be enthralling for some viewers, but frustrating for others. Viet (Dao Duy Bao Dinh) and Nam (Pham Thanh Hai) are in love and steal private moments together whenever they can. However, Viet and Nam may not be together much longer. Nam is looking to emigrate to Europe and has contacted a human trafficker. Before he leaves, however, Nam’s mother, Hoa (Nguyen Thi Nga) hopes she and her son can find some answers regarding the death of Nam’s father, a soldier, who left before Hoa knew she was pregnant. Quy is addressing the impact of war trauma here and “Viet and Nam” comments on Vietnam’s past. His dense film asks key questions about identity, family, and home, but it lets viewers connect the dots and form answers. If the film is a slow burn, it delivers an affecting payoff.
A still from ‘Las Cosas Que Brillan.’
” data-medium-file=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?fit=300%2C169&ssl=1″ data-large-file=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?fit=780%2C439&ssl=1″ src=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=780%2C439&ssl=1″ alt=”A still from “Las Cosas Que Brillan.”” class=”wp-image-53393″ srcset=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=1024%2C576&ssl=1 1024w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=300%2C169&ssl=1 300w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=768%2C432&ssl=1 768w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=1536%2C864&ssl=1 1536w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=2048%2C1152&ssl=1 2048w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=1200%2C675&ssl=1 1200w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=2000%2C1125&ssl=1 2000w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=780%2C439&ssl=1 780w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=400%2C225&ssl=1 400w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?resize=706%2C397&ssl=1 706w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134.jpeg?w=2340&ssl=1 2340w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/LCQB_MASTER_PL_2k-UHD-ProRes.00_05_36_11.Still134-1024×576.jpeg?w=370&ssl=1 370w” sizes=”(max-width: 780px) 100vw, 780px” />
Two shorts in this year’s program are by local queer filmmakers. “Las Cosas Que Brillan” (“Shiny Objects”) by out director Kristal Sotomayor will be part of the “Philadelphia Filmmaker Lab Films Shorts” program (Aug. 3, 5:30 p.m., Perelman Theater; Aug. 3, 7:30 p.m., virtually). Marisol (Josielyn Aguilera), a trans mermaid, is curious about the world above the water. While her mother (Asia Monroe) warns her not to go, Marisol journeys to the surface and makes some discoveries before meeting a Conquistador (Brad Wakeman) who attempts to harm her. Sotomayor’s vibrant short is full of playful and arresting animated images, but the themes of resistance ring clearly as Marisol fights against oppression for love and self-worth.
The “Antecessor Shorts” program (July 31, 5 p.m., Perelman Theater; July 31, 6:30 p.m., virtually) features “Talking Walls,” directed by Marcellus (aka Marcellus Armstrong). The film deftly chronicles Black gay/queer lives and history through spaces and voices. Ten interviewees recount their experiences including Alfred Johnson, who as a teenager in Detroit, dressed in drag and “integrated” a gay club. Another man recounts the devastating impact AIDS had on his lover and friends. In between these moving recollections are artful shots of former gay clubs, like the Catacombs in Philadelphia, as well as the cruising area known as “Gay Acres” (aka Judy Garland Memorial Park), now the Schuylkill Banks. “Talking Walls” is an affectionate and important history; the images and stories resonate.
A still from ‘Della Can Fly!’
” data-medium-file=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?fit=300%2C158&ssl=1″ data-large-file=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?fit=780%2C411&ssl=1″ src=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003.jpg?resize=780%2C411&ssl=1″ alt=”A still from ‘Della Can Fly!'” class=”wp-image-53395″ srcset=”https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=1024%2C540&ssl=1 1024w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=300%2C158&ssl=1 300w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=768%2C405&ssl=1 768w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=1536%2C810&ssl=1 1536w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=2048%2C1080&ssl=1 2048w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=1200%2C633&ssl=1 1200w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=2000%2C1055&ssl=1 2000w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=780%2C411&ssl=1 780w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=400%2C211&ssl=1 400w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?resize=706%2C372&ssl=1 706w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-scaled.jpg?w=2340&ssl=1 2340w, https://i0.wp.com/epgn.com/wp-content/uploads/2025/07/DellaCanFly_149351698_finale_dellacanfly.01_07_50_16.still003-1024×540.jpg?w=370&ssl=1 370w” sizes=”(max-width: 780px) 100vw, 780px” />
In addition, there are six shorts by queer filmmakers that are worth watching.
“Della Can Fly!” (July 31, 5 p.m., Perelman Theater; July 31, 6:30 p.m., virtually) by queer filmmaker jasmine lynea is also in the “Antecessor Shorts” program. The film has Charlie (Damien Wallace) recounting the story of how his sister, Della (Kalani Ava Glass) “flew away” from the Black Bottom neighborhood in Philadelphia to his niece, Amala (KaCi Camille Ferguson). No one has ever believed him, but Amala finds his story convincing.
The “Ebullience Shorts” program (Aug. 1, 8:30 p.m., The Wilma Theater; Aug. 1, 9 p.m., virtually), includes two films by queer filmmakers. “Budget Paradise” is a nifty film about the nonbinary Chester (Ashley Hernandez) who steals some art supplies and just wants a place to paint. As they encounter a variety of characters, Chester finds a comfortable space with a model, but it may be temporary. Nonbinary director LaTajh Simmons-Weaver films “Budget Paradise” with a sharp eye, using space as a way of commenting on Chester’s emotions, from the image of their head framed by a clothes dryer door in a laundromat to a stream of light through a window, and the use of sound and music is exceptional. This is a short that one wishes were longer.
“LWC (Lazy White Cows)” by queer writer/director Asaph Luccas, has Ster (Mavi Lucena) referring to a classmate Larissa (Gabriela Lang) as a “lazy white cow”— unaware that her mic is unmuted. As Ster is taken to task for her bad behavior, she apologizes and tries to reconcile with Larissa, setting off another chain of events in this amusing tale about the internet and cancel culture.
A still from ‘Correct Me If I’m Wrong.’
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“Correct Me If I’m Wrong,” part of the “Wellspring Shorts” program (Aug. 3, 6:30 p.m., Suzanne Roberts Theatre; Aug. 3, 9 p.m., virtually), is director Hao Zhou’s sensitive documentary short about their family’s efforts to “cure” them of their homosexuality. The filmmaker’s grandmother tries exorcising the “she-boy,” hoping to extract female energy through a series of rituals, prayers and practices including a “corn cure,” cupping and qigong treatments. Zhou’s participation is largely passive; they endure these various sessions to appease their mother and grandmother who both want them to get married and have children, but it is clear they will not and cannot change — especially when they express to their grandmother, “A fag will remain a fag.” “Correct Me If I’m Wrong” is a fascinating short about a cultural kind of conversion therapy. Moreover, it suggests Zhou’s family have to be the ones to modify their thinking, not Zhou.
The “Abolish! Shorts” program (Aug. 1, 3 p.m., The Perelman Theater; Aug. 1, 7:30 p.m., virtually) features transfemme filmmaker Juicebox P. Burton’s “Space to Breathe.” The ambitious and engaging Afrofuturist short that imagines the end of systemic oppression and a world without prisons. Sojourner (Tanisha Jae Newton), a genderqueer filmmaker, is documenting the history of “Abolition Day” with her friends Namu (Porsche Kemp) and M04R (Aaron Garrett), as well as Storian (Roger Guenveur Smith), as they review videos and photographs of slavery and incarceration and discussions of restorative justice. The points made about police and prisons are cogent and the images and comments are often potent.
A still from ‘Space to Breathe.’
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“Tessitura” in the “Revel Shorts” program (Aug. 1, 11 a.m., The Wilma Theater; Aug. 1, 1:30 p.m., virtually), is an informative short about trans opera singers Breanna Sinclairé, Lucas Bouk, and Katherine Goforth, who all find healing and power in making music. These three performers create opportunities for inclusion and question the traditional gendered notion of male castrati and women performing “trouser roles.” Their experiences are contextualized by Dr. Naomi André, a scholar who looks at how spaces for gender and voice are depicted in opera. Even viewers who don’t love opera will find the subjects as engaging as their performances.
The BlackStar Film Festival will be held July 31-Aug. 3 at various locations throughout Philadelphia. For tickets, schedules and more information, visit blackstarfest.org.
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