The film industry's failure to deliver on queer representation has hit rock-bottom, with a damning report revealing the lowest level of LGBTQ+ inclusion in three years. According to GLAAD's annual 'Where We Are In Film' study, just 20.4% of the 225 movies released by major distributors in 2025 featured LGBTQ+ characters – a stark decline from the 28.5% recorded in 2023.
The numbers are even more alarming when it comes to queer characters of colour, who have been disproportionately affected by this decline. And in a staggering snub, not a single film featuring a trans character made it into the over 200 surveyed – a 'dark day' for inclusivity, says GLAAD's President and CEO, Sarah Kate Ellis. The industry's failure to prioritise LGBTQ+ stories risks alienating an entire generation of viewers, Ellis warns.
Despite this gloomy backdrop, there are glimmers of hope on the horizon. Mid-budget films like 'Downton Abbey: The Grand Finale', 'After the Hunt', and 'I Know What You Did Last Summer' have been praised for their commitment to queer representation, while horror movies – yes, you read that right – have emerged as a surprisingly inclusive genre, with titles like 'The Parenting', 'Companion', and 'Weapons' not only featuring queer characters but also smashing box office expectations.
The report also shines a light on smaller distributors who are leading the way when it comes to LGBTQ+ inclusivity. Companies like Mubi, Bleecker Street, Magnolia Pictures, and Blue Harbor Entertainment have been commended for releasing films that are 'breaking boundaries and deserving recognition', including titles such as 'The History of Sound', 'Mother Father Sister Brother', 'The Wedding Banquet', 'Plainclothes', and 'A Nice Indian Boy'.
Megan Townsend, GLAAD's Senior Director of Entertainment Research and Analysis, is adamant that this trend has serious commercial implications. Gen Z – the largest share of North American moviegoers – is comprised of a significant proportion of LGBTQ+ individuals who are being ignored by studios at their own peril. As Townsend puts it, 'It's bad business to neglect nearly a quarter of your most engaged ticket buyers if you want to remain relevant and financially successful.'