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THE QUEER GAZE: HOW DISSIDENT AND COMPLEX NARRATIVES TRANSFORM CINEMA Presented by Otros Ojos at the 24th FICM

Omar Sosa

As part of the 24th Morelia International Film Festival (FICM), a talk titled “The Queer Gaze: How Dissident and Complex Narratives Transform Cinema” was presented by the initiative Otros Ojos. The panel featured Amy Redford, an American actress, director, and producer on the Feature Film Jury for this edition; Franck Finance-Madureira, founder and president of the Cannes Queer Palm; and screenwriter, writer, and consultant for Otros Ojos, Yol Segura. The session was moderated by Andrea Foncerrada, director of The Boston Center for Latin America and Otros Ojos.

Otros Ojos is a non-profit initiative that has been operating in Mexico for two years. It is supported by several organizations—including the Luminate, Nebula, and Meliore foundations—through The Boston Center for Latin America. Its objective is to provide free, accessible guidance and support to screenwriters, production companies, and platforms throughout the creative process.

In conjunction with the screenings—which included the Cannes Queer Palm winner, Adolescence, Sex, and Death at Camp Miasma (2026, dir. Jane Schoenbrun), and Little Genes, a recent project co-directed by Redford and Skye Emerson—the event brought together the founder of the French award and members of Otros Ojos to discuss the evolution of LGBTIQ+ narratives in international and auteur cinema.

Daniela Michel began the conversation with a welcome, highlighting the significance of this collaboration, which has been in place since the 22nd edition of the festival, in bringing the Queer Palm-winning film to FICM audiences. “It is very important to have these kinds of discussions and we are very proud and honored that we are able to engage in these conversations,” she added.

To kick off the discussion, Foncerrada asked the panelists about the thought process behind showcasing these particular films.

Redford remarked that his project—filmed over two days in his hometown in Utah—offers a gentle approach in addressing the lack of recognition for the diverse gender identities of children. “What is emphasized here is that understanding is not always the first step. The first step is love,” he commented.

Finance-Madureira added: “It is a very beautiful film, also quite surprising, and told from a feminine perspective.” She also highlighted the difficulty of securing funding to produce such films—even in places like France—as well as the challenge of finding venues to screen them on the big screen.

Segura noted that, from her perspective, both projects share an intergenerational quality. “We interpret things through new eyes, and those new eyes allow us to see things afresh and, in a sense, retell history,” the researcher said.

Continuing with the Q&A, the moderator asked for their thoughts on what a “queer gaze” in cinema contributes to contemporary discourse.

Redford replied that, rather than merely fueling polarized opinions, LGBTIQ+ cinema acts as a catalyst for conversation—especially with those who might otherwise be hesitant to engage with these topics. The president of the Queer Palm added that the award’s goal is to help producers understand that queer stories are not exclusively for queer audiences; rather, they are narratives open to everyone, without distinction.

She also highlighted the work being done at Cannes through the Queer Palm Lab—an initiative that began three years ago (coinciding with the 22nd FICM) and recently held its third edition in São Paulo, Brazil. The lab’s objective is to support emerging queer voices as they develop their debut feature films.

“It seems to me that Brazil and Mexico are currently the most significant hubs for the emergence of queer narratives; there is a powerful energy and a great deal of development happening within these stories,” she added.

To conclude her contribution, she remarked on the importance of creating space for the LGBTQ+ community as a whole: “For example, (...) having trans people tell their own stories—through their own films and their own narratives—(...) is precisely the next big thing that needs to happen.”

Reflecting on the discussion, Segura highlighted the importance of decentralizing the perspectives typically seen in cinema and making room for more inclusive viewpoints—perspectives that are more generous toward everyone. She also noted that it is crucial not only to listen to these perspectives but also to ensure that queer voices are given equal weight and relevance.

“I believe many of the problems in the world as we know it today would be less severe if we listened to what queer and LGBT communities—and all non-hegemonic communities—have been thinking regarding these issues,” she added.

In closing, Andrea Foncerrada thanked the festival for providing a space for this gathering, and expressed her gratitude to Amy Redford and Franck Finance-Madureir for helping bring queer stories to the screen and fostering discussion beyond the community itself.