As the essays in this issue of Cinephile have demonstrated, one of queer theory’s greatest strengths is its unrestricted access to the many and varied types of cinema. Queer theory’s interrogations extend far beyond queer-identified cinema; reaching to the heights of art cinema and the avant-garde; to the depths of trash and genre films; to the popular cultural products screening at the multiplex each weekend; and from Hollywood to international cinemas. This broad applicability is perhaps unsurprising given queer theory’s challenge to the assumptions that inform our categorizing of films in such a manner, yet its expansive relevance is nonetheless worthy of mention. It was with this in mind that I sought films appropriate to Cinephile’s 2014 report on the 33rd annual Vancouver International Film Festival (VIFF).