Abstract
ABSTRACT: This article takes Lucio Castro’s Fin de siglo ( End of the Century , 2019) as a paradigmatic example of broader formal and aesthetic shifts in recent queer world film, most notably towards narrative slowness, a lack of dramatic tension, and an intimate focus on the quotidian realities of queer lives. Through the frameworks of new queer realism and queer futurity, the article contends that the screening of queer lives in a more realistic, observational manner is not a refusal of politics but rather a recalibration of the politics of queer representation for the contemporary period.
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