International film festivals (IFFs) are increasingly taking an interest in offering programs that target LGBT audiences. Since this practice can be understood as an emancipatory and commercial strategy, this article examines the implications of this ambiguity within an IFF’s politics of representation. Drawing on the results from a textual and contextual analysis of the films and programming strategies of the 2014 Film Fest Gent in Belgium, this article argues that an IFF has the potential to engage in moderately queer programming. By offering an identity-based program that makes room for alternative and critical negotiations of identity and intimacy and that looks for ways to offer LGBT content to diverse audiences in various settings, this festival demonstrates how programming LGBT content can be a critical and commercial success without having to rely on homonormative tropes and practices.
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