The 33rd Mardi Gras Film Festival sits at the heart of Sydney’s Gay And Lesbian Mardi Gras celebrations. This year’s line-up includes six world premieres, five international premieres, and 64 Australian premieres, but for CEO Benson Wu, numbers only tell part of the story.
“There’s been a major shift in queer storytelling,” he says. “Back in the day, there were more coming-of-age stories, more typical narratives where you could predict where it was going. Now, people are exploring niche genres, intergenerational stories, and angles that go beyond one identity.”
Wu joined Queer Screen last year, and immersing himself in contemporary queer cinema has sharpened his perspective. “It’s slightly more inclusive and more open-minded,” he says. “The storytelling opens up the whole queer community without being so obvious about labels.”
That approach is clear in Opening Night film 'Jimpa', directed by Sophie Hyde and starring Olivia Colman and John Lithgow. The intergenerational story explores queer identity, illness, and family, and it hit Wu immediately. “I got goosebumps,” he says. “It’s the storytelling I’ve wanted to see for many years.”
For Wu, 'Jimpa' opens conversations that are often avoided. A gay father living with HIV, and a non-binary teen bring different perspectives to queerness. “We all attach different meanings to who we are,” he says. “The film breaks down barriers and helps different generations understand each other. It felt like the perfect opening.”
Closing Night film 'She’s The He' offers a deliberate tonal shift. A fast, funny reinvention of the high school comedy through a trans lens, it’s designed to send audiences out energised. “We wanted a big bang,” Wu says. “We don’t want to end with a sad story.” With the Mardi Gras Parade just around the corner, the timing feels intentional.
Across the programme are high-profile titles like 'Pillion', starring Alexander Skarsgård and Harry Melling, and Kristen Stewart’s directorial debut 'The Chronology Of Water', alongside underground and experimental work. This year’s clearly defined strands, from Panorama to QueerScream, help keep that balance. “We didn’t want one strand to outweigh the others,” Wu explains.
For Wu, revisiting older films is about access as much as nostalgia. He points out that many foundational queer films are no longer easy to find or stream. “Those films are actually not accessible when people want to watch online,” he says. “This gives the older generation a chance to reconnect, and a newer generation a way to understand the classics of queer cinema and how they helped build what we see today.”
The festival’s focus on trans storytelling feels especially urgent. “Visibility has always been a core part of Queer Screen,” Wu says. “We want all parts of the community represented on the big screen.”
One of Wu’s proudest additions is the Queer Asia strand. “We’re in the Asia-Pacific region,” he says. “So this representation matters.” Films from Japan, South Korea, and beyond offer perspectives that challenge common assumptions about queer life across cultures.
Beyond the screenings, Queer Screen remains a place for connection. Programmes like My Queer Career and Queer Screen Completion Fund are non-negotiable for Wu. “I don’t want to f... it up,” he says. “They’ve helped so many emerging filmmakers.”
Looking ahead, Wu wants fuller cinemas and broader audiences. “If someone comes in with a negative attitude and leaves understanding us a little more, that’s a win,” he says.
After 33 years, the Mardi Gras Film Festival isn’t just reflecting queer culture. It’s helping shape what comes next.
Queer Screen Mardi Gras Film Festival is on from 12-26 February in Sydney.
