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FOOD DRIVE In honor of our 10th year anniversary, we invite you to join us in helping the unfortunate and the hungry. From September 11th through September 14th 1988, come to any Cybelle's location with canned goods and you may purchase any food item at 1978 prices. All canned foods will be donated to the homeless in the Bay Area. This special offer is good only for pick up and in house customers. ,

We would like to take this opportunity to thank you for your participation and caring.

6 SAN FRANCISCO LOCATIONS TO SERVE YOU 719-14th Street 431-1722

203 Parnassus Avenue 665-8088 4042-24th Street 285-3212

1000 Bush Street 885-6830 1535 Haight Street 552-4200

2105 Chestnut Street 563-0620


FRAMELINE PRESENTS THE TWELFTH ANNUAL SAN FRANCISCO INTERNATIONAL LESBI AN AND GAY FILM FESTIVAL June 17 - 26, 1988

Castro Theatre

Greetings On behalf of the people of the City and County of San

Roxie Cinema

ft'aJlcisco, I alii pleased and honored to extend our warm WELCOME and heartFelt GREETINGS to all attending the 1988 SAN fRANCISCO INTERNATIONAL LESBIAN

The 1988 Festival is made possible by the

Marlon T Riggs, Independent Video Director

contributions of Frameline donors and support

Vito Russo, Author, Film Critic

from the California Arts Council, San

Gail Silva, Co-Director, Film Arts Foundation

Francisco Grants for the Arts, the Chicago

Liz Stevens, Co-Founder, Iris Films

Resource Center, the National Endowment for

Rikki Streicher, Businesswoman

the Arts and the San Francisco Goethe Institut.

Paul N. Thurston, Attorney at Law

'

Tim Wolfred, Member, San Francisco Community College Board FESTIVAL STAFF

Debra Zimmerman, Woman Make Movies

Michael Lumpkin, Director

Affiliations listed fOT identification pUTposes only

Maria Kellett, Associate Director

& GA Y FILM fESTIVAL heing held from June 1.7 through 26, 1988.

Now in its twelfth year, the San Francisco international gay film festival, the oldest and largest leshian alld g'ay men's film festival, continues to offer' a richly diver'se selection of films from arolll1d the world.

These

excellent films enlighten, edify, alld educate those who are ahle to see them.

Please accept my hest wishes for another' successful alld enjoyable film festival.

Daniel Mangin, Video Curator Karen Larsen, Publicity Tom Bonauro, Festival Design

CASTRO THEATRE

Amy Capen, Business Donations Coordinator

429 Castro Street at Market (415) 621-6120

1988 FESTIVAL SCREENING COMMITTEE Susie Bright Cecilia Dougherty Peter N. Fowler Robert Hawk Susan Kuchinskas Michael Lumpkin

ROXIE CINEMA 3117 16th Street at Valencia (415) 863-1087 FESTIVAL TICKET OUTLET Captain Video-Second Floor 2358 Market Street at Casu'o (415) 431-922 7

Daniel Mangin FRAMELINE BOARD OF DIRECTORS Phyllis Zusman, PTesident Elizabeth W hipple, Vice-PTesident Roberto Esteves, Seaetary Doug Braley, TreaSUTeT Bruce Carolan

Frameline

Po. Box 14792 San Francisco, CA 94114 (415) 861-5245 Offices located at 347 Dolores Street, Suite 205, San Francisco.

Peter N. Fowler Robert Hawk Fenton Johnson Lionel E. Mayrand Flora McMartin Dan Wohlfeiler FRAMELINE ADVISORY BOARD Allan Berube, Historian Susie Bright, Editor, On OUT Backs; Film/Video Critic Harry Britt, Member, San Francisco Board of Supervisors Douglas Edwards, Academy of Motion Picture Arts and Sciences Robert Epstein, Film Director Mark Finch, British Film Institute Tim Hanlon, Vice-President, Wells Fargo Bank Vivian Kleiman, Filmmaker Hael Kobayashi, Producer, KTSF-TV Armistead Maupin, Author Pat Norman, Co-Chair, March on Washington for Lesbian & Gay Rights

Publishers: Christie Dessy Ian Sclater

Advertising Sales: Cynthia Brown Nancy Chin Production Assistant: M. Kathryn Thompson

Lourdes Portillo, Filmmaker

1255 TAYlO�

Frances Reid, Filmmaker/Cinematographer

SAN F�ANCISCO

B. Ruby Rich, New York State Council for the

(415) 928-2652

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FRAMELINE DONOR PROGRAM

DONORS

Frameline donors, sponsors, patrons and benefactors provide invaluable support to the organization and the San Francisco International Lesbian and Gay Film Festival. For further information visit our donor table in the lobby or call (415) 861-5245.

Jake Albright Ed Aulerich Alvin Baum David Beery Paul Bollwinkel Bill Bradley Doug Braley John Breen Jon Cain Tom Caldwell Elizabeth W. Callaway Len Carrington Robert J. Cassetta

BENEFACTORS Paul Albert George Gund Clyde Wildes

PATRONS S. Bush David Lewis, M.A., M.F.C.C. Tom Steel Rodney Thomas Paul N. T hurston

SPONSORS Adelphi Quartet M. Janet Allen Kirsten Anderson Awards by Chris Roy Bateman & Robert M. Anderson L. Wayne Bennett Joan Bobkoff Crystal Chan Christine Coppolo Joan Drury Bruce Elfstrom Linda Farin Peter N. Fowler, Esq. Jeny Freeman Marsha Gale Geoff Hanis Catherine Hanison David Harsany Robert Hawk Betsy Hoadley Michele Holm George Howson Intelligence in Media Dorr Jones Naved Khan & Bruce Carolan Penni Kimmel Lindsey Lane Meredith Lesley Betsy Levine Henry Mach Michael J. Markic Bob Matgen Museum of Modern Art, New York Brandy Moore Carl Neidert Joyce M. Norcini John-Michael Olexy Vincent Pietromartire Michael Pobada Professional Glass Weldon Rash Redwing Roe Design Larry Rose Harriet Rubin C. Salvo C. Salzberger Janet Schrim David S. Sharp & Bill A. Tyler Barbara Simas Monika J. Stokes & Crystal Teny Sean O. Strub Susan A. Synarski Noelle Tracy Steven Unger Kevin B. Voccia Peter Washburn John Wright Debra Zimmerman Phyllis Zusman

& Michael H. Stevens Bruce Chernoff Jack Collins Courtney Glenn Davis Noel Day, Jr. Helen de Vivien David Del Rosario B. Deshaw David Devereaux Russell Discher Bob Dressel Wendy Edelstein Roberto Esteves James Franicevich Lin Gentry Elwood Genits Maurice Gibson Jim Govek Michael J. Hawley Ernie Hobbs Molly Hogan Don Hunter Cindy Icke Fenton Johnson Elizabeth Kantor D.W. Karner Steve Kaye Susan Kuchinskas Mitch La Plante

Newman Lee Judy Macks Jeff Mandel, Ph.D. Gay Mannheimer

& Dan Hampshire

A. Martin Scott McAdams Mac McGinnes Rob McHugh Flora McMartin Burl McNeely Jeffery Moss Hal O'Neal Daniel Ostrow William F. Owen, Jr., M.D. Adele Prandini T.B. Preston Demian D. Quesnel Jonna Ramey Productions Helen Ruvelas Diane Sabin Janet Schrim Silly Old Queen Barbara Simas David Smick Rick Solomon & Steven Saylor Stanford Stevenson Dianna Stirpe Steve Swanson & Brian Quon Jimmy Takagi Katherine Ann Thompson Carlo Togni Zimya' A. Trend Uncle Roy Charles Wagner Pam Walton Steve Warren A. William Weber, M.D. David Weisman Elizabeth Whipple Timothy R. Williams Wolfe Video Robert Zaborny

SPECIAL THANKS TO Adair & Armstrong, Film & Video Americana Suites Andiamo Gourmet Deli August Entertainment Beaulieu Vineyard Bed of Roses Tom Bonauro Bredwell Meyer Flowers Calistoga Mineral Water Co. Jean Carlomusto, Gay Men's Health Crisis Deborah Casado, Kaiser Permanente Castro Street Flowers Castro Village Wine Co. Brendan Cotter, V-Tape Bruce Cronin, Media Network Danish Film Institute Jeff Diamond, Blumenfeld Enterprises Dino's Liquor Kevin Duggan, Media Network Mindy Faber, Video Data Bank Field's Mark Finch, British Film Institute Finnish Film Foundation First Course Catering Anna Foster, Latino AIDS Project Freixenet Cordon Negro The Galleon Cynthia Gaffney Adolph Gasser, Inc. Martha Gever, T he Independent Goethe Institut San Francisco Golden Brands John Goss John Greyson

Edward Guthmann Headlines Chris Hill, Hallwalls LaITY Horne, Los Angeles Gay and Lesbian Film and Video Festival Bill Horrigan, American Film Institute Jim Hubbard, New York Lesbian and Gay Experimental Film Festival Hungarofilm Hilery Kipnis, Testing the Limits Collective Ken Kirby, American Film Institute Klein's Deli Steve Loving James Mackay Maria Maggenti, T he Kitchen Natalie Magnan Stan Maletic Photography Val Martin, Albany Video Disu'ibution Maud's Bar Irmi Maunu-Kocian La M(�ditenanee Metropolis Allison Mierzykowski, Free Sharon Committee Anita Monga, Renaissance Rialto Norsk Film William Olander, New Museum of Contemporary Art Orphan Andy's Mark Page Harvey Perr Pro Helvetica Rainbow Grocery Ramis Cafe Rawhide Mary Redick, San Francisco Community College District B. Ruby Rich, New York State Council on the Arts Ring's Fine Seasonal Cuisine Gary Rorick Rosie's Cantina John Rowbeny Roxie Cinema Manfred Salzgeber SF Eagle San Francisco International Film Festival Say Cheese Gail Sax, Video Data Bank Erika Suderberg, Los Angeles Gay and Lesbian Film and Video Festival The Stud Sutter's Mill Swedish Film Institute Kim Tomczak, V-Tape Trifles Pastry Shop Unifrance Film Val de Cole Wine Vidmark Dave Wittkowsky, Cleveland International Film Festival Tim Wohlgemuth, Award Films John Wright


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WEDNESDAY, JUNE 22

CASTRO THEATRE

CASTRO THEATRE

2:00 p.m. T WO FROM SIX OF HEARTS

6:00 p.m.

7:00 p.m. THE EVERLASTING SECRET FAMILY

STRIPPED BARE

OPENING NIGHT RECEPTION 7:30 p.m. DARK HABITS ALFALFA

10:00 p.m. MADCHEN IN UNIFORM SHELL

SATURDAY, JUNE 18 CASTRO THEATRE 12:00 noon BRI TISH SHORTS 2:00 p.m. FRENCH SHORTS 4:00 p.m. EMPIRE STATE

6:30 p.m. BECAUSE THE DAWN DRACULA'S DAUGHTER

9:00 p.m. A DIVINE TRIBUTE

SUNDAY, JUNE 19

CASTRO THEATRE 1 :00 p.m.

AT HOME CROWS

3:00 p.m. DISPLACED VIEW TEN CENTS A DANCE (PARALLAX)

5:00 p.m. KAMIKAZE HEARTS

7:00 p.m. FRIENDS FOREVER

9:00 p.m.

KEN DEATH GETS OUT OF JAIL

9:00 p.m. DORIAN GRAY IN THE MIRROR OF THE POPULAR PRESS NEGATIVE MAN

THURSDAY, JUNE 23 CASTRO THEATRE

7:00 p.m. THE WINGS

STILLER, GARBO & ME

9:00 p.m. TIN Y & RUBY HELL DIVIN' WOMEN INTERNATIONAL SWEETHEARTS OF RHYTHM

FRIDAY, JUNE 24

CAS TRO THEATRE

7:00 p.m. A QUEER FEELING WHEN I LOOK AT YOU 9:30 p.m. ANGUISHED LOVE AUTOMATING

ROXIE CINEMA 11:00 a.m. to 7:00 p.m. AIDS VIDEO S Y MPOSIUM 7:30 p.m. REVOLUTIONS HAPPEN LIKE REFRAINS IN A SONG 9:30 p.m. LESBIAN TV PARTY II

SATURDAY, JUNE 25 CASTRO THEATRE 11:30 a.m.

THREE BEWILDERED PEOPLE IN THE NIGHT

SAPPHIC CELLULOID (Panel)

COMMUNICATION FROM WEBER

1:00 p.m. WOMEN'S SHORTS

MONDAY, JUNE 20 CASTRO THEATRE 7:00 p.m.

3:00 p.m. JAMES BROUGHTON TRIBUTE

ANOTHER WAY

5: 00 p.m.

9:00 p.m.

POETRY FOR AN ENGLISHMAN

THE LAST SONG

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7:00 p.m.

TUESDAY, JUNE 21

THE DAYS OF GREEK GODS

CASTRO THEATRE

9:30 p.m.

7:00 p.m.

THE VIRGIN MACHINE

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NO NO NOOKY TV.

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4:00 p.m. 5:30 p.m. LIFETIME COMMITMENT DOCTORS, LIARS AND WOMEN

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9:30 p.m. SEX AND DRAG AND ROCK 'N' ROLL

SUNDAY, JUNE 26 ROXIE CINEMA 5:30 p.m. A QUEER KIND OF FILM 7:30 p.m. THE WAR WIDOW

9:15 p.m. THE WAR WIDOW


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j:'RIUAY,

JUNE

1'1

CASTRO THEATRE

San Francisco Premiere

Welcome to the Festival! As the producer of the annual San Francisco International Lesbian and Gay Film Festival, Frameline invites you to indulge in an exciting ten days of the best lesbian and gay films and videos from around the world. Since Frameline began sponsoring the annual Festival in 1979, it has grown into the world's largest and most respected showcase for lesbian and gay films and videotapes. The great advantage in supporting the presentation of lesbian and gay media lies in its cost-effectiveness: more bang for our bucks. Every film or video distributed or screened through Frameline reaches hundreds, even thousands of viewers. With that in mind, Frameline offers, in addition to its annual Festival, several other programs designed to make lesbian and gay media productions more accessible to the San Francisco community as well as other communities across the nation: •

INFORMATION EXCHANGE: The only

fully staffed lesbian and gay med�a arts organi­ zation in the country, Frameline receives inquiries year-round for information on films and videotapes. Our files currently contain information on hundreds of titles, and we provide information and assistance to festivals and organizations around the world. DISTRIBUTION: In 198 1 Frameline estab­ lished its distribution program making lesbian •

and gay films and videotapes from the U.S. and other countries more accessible to communities across America. AIDS AWARENESS: This year, the distri­ •

bution program launched another project: the AIDS Film Project National Tour. Presented in conjunction with the Names Project Quilt Tour, this two-hour film program is giving over forty communities the opportunity to see five excellent films that deal with the AIDS crisis and its effect on gays, heterosexuals, and minorities. Frameline plans to package other programs for touring in the coming year.

7:30 p.m.

10:00 p.m.

DARK HABITS (ENTRE TINIEBLAS)

MADCHEN IN

Spain, 1983

West Germany, 1957

Yolanda Bell, a young "bolero" singer who enjoys taking drugs, daring and ambiguous, sees her boyfriend Jorge die before her own eyes from an overdose of heroin laced with strychnine that she brought him. Their relationship was of mutual desu'uction and rather uptight dependency. Scared, she decides to disappear. She seeks refuge in a convent run by the "Humble Redeemers" whose Mother Superior told her about her admiration one night when she went to see her sing at the "Molino Raja". For years now, the Humble Redeemers have tried to save young girls leading a wild life. Lately, the community is going through a crisis: very few girls seem to want to be redeemed. Thus, Yolanda is most welcomed, especially by the Mother Superior, a cross between Saint John Bosco and Jean Genet whose fascination for evil pushes her to become an accomplice and a friend to all the young girls who have passed by the convent. Yolanda allows the Mother Superior to trap

TELEVISION BROADCAST: Since 1982, Frameline has broadcast "Frameline Presents,"

her, and starts reliving with her the same kind

a one-hour video anthology program broadcast every other Thursday on San Francisco cable

with Jorge. A game from which heroin is not

channel 25. EDUCATION: This fall Frameline will co­ sponsor a new film and video class at City College, presenting the history of lesbians and gays in cinema. •

of self-destructive game that she was playing absent . . . The members of the community, five nuns and a chaplain, lost in the midst of the huge deserted convent, have unconsciously evolved towards a strange, even autonomy that they will have to defend against the order estab­ lished by a new Mother General, the highest authority in their order. The party to celebrate the Mother Superior's name-day, to which nuns from the other convents have been invited, will become a real battlefield. DIRECTOR, W RITER: Pedro Almodovar CAMERA: Angel L. Fernandez EDITOR: Jose Salcedo PRINCIPAL CAST: Cristina Sanchez Pascual, Julieta Sen-ana, Marisa Paredes, Carmen Maura 35mm, 113 minutes

plus

ALFALFA (see Saturday, June 1 8, 1 2 noon)

UNIFORM The classic story of the infatuation of a school­ girl for her tender teacher was first filmed in 1931. This 1957 version, starring Lilli Palmer and Romy Schneider, is much more lavish, in color, and influenced as much by Hollywood as by pre-war Germany. The setting is still a turn-of-the-century girls' boarding school in Germany, and the theme remains the struggle for love in an authoritarian system, but the luminous presence of Palmer (Fraulein von Bernberg) and Schneider (Manuela) and the openness and emotion of their performances give this newer version great impact. This version of Miidchen in Uniform was released in the United States very briefly in 1965, and has remained unseen here since then. DIRECTOR: Geza von Radvanyi SCREENPLAY: F. D. Anam, Dr. Franz Hollering; based on a play by Christa Winslow CINEMATOGRAPHY: Werner Krien CAST: Romy Schneider, Lilli Palmer, Therese Giehse, Christine Kaufman 35mm, 91 minutes

plus

SHELL

(see Saturday, June 25, 1:00 p.m.)


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SATURDAY, JUNE 18

CASTRO THEATRE West Coast Premiere

12:00 noon

2:00 p.m.

4:00 p.m.

BRITISH SHORTS

FRENCH SHORTS

EMPIRE STATE

ALFALFA

BEL RAGAZZ O

Great Britain, 1986

1987

1986

One of the year's most exuberant short films, Alfalfa is a gay dick tionary, a fag's thesaurus for those in the know (that's you, honey). You can dish about it-and you will-but you can't really find a name for it. The Queen's English from A-Z; state of the tart; queer as Christmas and British as a bent penny. -Mark Finch

A young Italian stops at a filling station on the freeway, and having some time to kill, telephones a friend. He recounts his adventures as a hustler, but in doing so a sudden aware­ ness causes him to reconsider certain values that had escaped him, bringing him face-to­ face with himself.

Moments from Ron Peck's first feature since the landmark Nighthawks have as much sign­ of-the-times significance as his early desultory schoolteacher, cruising the shadows in a cease­ less search for fulfillment. Only the times which Peck now chronicles in his sassy soap opera thriller are both more bleak and more energetic. Here's a movie in which American businessmen crave for S&M and where the worst nightmare for East End rent boys is a stock market downturn, all set to the beat of a Communards (et a1.) soundtrack. In other words: the best of times, the worst of times. Empire State started life as an epitaph for contemporary Britain in the fashion, if not the style, of My Beautiful Laundrette and Letter to Brezhnev. Whereas these earlier unhappy valen­ tines revel in nuance and nitty gritty, Peck picks a different path from social real ism. Not so much a sideswipe at Thatcher's rotten lands­ cape as a last-gasp lunge at the throat: charac­ ters have names like ciphers in a Jackie Collins novel (The Journalist, The Businessman, The Boxer) and endure the disaster movie denoue­ ment in a suffocating, panoramic dockside nightclub. Through a broad cartoonish quality, Ron Peck achieves a visual pastiche and political satire along the lines of his short film What Can I Do with a Male Nude?; especially success­ ful in a breezy, teasing opening full of the iconography of '40s thrillers. Sometimes over­ ambitious, Empire State's problems are also offset by its unique gay tone: Jimmy Sommer­ ville on the soundtrack, a riot of rent boys, and a set-piece work-out to rival Can't Stop the Music. -Mark Finch

DIRECTOR, WRITER: Richard Kwietniowski CAMERA: Frank Passingham MUSIC: Startled Insects 16mm, 9 minutes

O S TIA 1987

Reconstruction of the events leading to the murder of Pier Paolo Pasolini, the inevitability of which he himself had perhaps foreseen. DIRECTOR, SCRIPT: Julian Cole PHOTOGRAPHY: Curtis Radclyffe CAST: Derek Jarman, David Dipnall 1 6mm, 26 minutes.

BE F ORE T HE ACT 1987

A documentary about the 1967 Sexual Offences act in England which decriminalized homosexuality between consenting males over the age of twenty-one. DIRECTOR: Kenneth Butler 16mm, 25 minutes

DIRECTOR, SCRIPT: Georges Bensoussan 35mm, 12 minutes

L'HIV ER APPROCHE (WINTER IS APPROACHING) 1975

An intense look at Paris, a nocturnal Paris, dark and mysterious, as a young man walks the streets looking for his desire. DIRECTOR, SCRIPT: Georges Bensoussan 35mm, 14 minutes

CAVALE 1987

Diane, a lesbian, becomes involved in a dispute between her friend Valerie, who she has been in love with for a long time, and Valerie's lover, Romain. In French, no subtitles. DIRECTOR, SCRIPT: Luc Fritsch 35mm, 10 minutes

BERTRAND DISPARU (BERTRAND MISSING) 1986

VIVAT REGINA 1987

A seriously camp affair with the chorus boys from La Cage Aux Folies, on the day the show closed in London due, it seems to fears about AIDS. DIRECTOR: Charlotte Metcalf 16mm, 26 minutes

In Paris, Bertrand, 12, runs away from home. While trying to steal something to eat in a supermarket, he meets Boris who saves him from getting into trouble and lets him stay at his home. Boris is an odd sort of man and Bertrand an odd sort of boy. They gradually become acquainted . . . DIRECTOR, SCRIPT: Patrick Mimouni 35mm, 44 minutes

DIRECTOR: Ron Peck SCREENPLAY: Ron Peck, Mark Ayres CAMERA: Tony Imi EDITOR: Chris Kelly CAST: Cathryn Harrison, Jason Hoganson, Ian Sears, Martin Landau 35mm, 104 minutes

c¢ -


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SATURDAY, JUNE

18, cant'd

CASTRO THEATRE

Wor ld Premiere

6:30 p.m.

9:00 p.m.

BECAUSE THE DAWN

DR ACULA'S

U.S.A., 1988

DAUGHTER

A Benefit for the Frameline Film Completion Fund

U.S.A., 1936

The smoky feel of film noir and the sultry rhythms of swing music frame a mysterious and romantic vampire tale in Because the Dawn, a new film by Amy Goldstein, the

award winning director of Commercial for Murder.

Marie has been alive for centuries - living off her victims' blood. Her thirst is driven by a desire to be recognized by the light of day and to feel more a part of the world around her. At dusk in a cemetery overlooking Manhat­ tan she sees a disheveled, good looking photo­ grapher, Ariel. Through her camera, Ariel catches sight of Marie and is captivated. The exquisitely erotic relationship that develops

This sequel to Dracula is much better than the original. Dracula is dead, and his smart, cultured daughter ( Gloria Holden) is not inter­ ested in carrying on her father's evil ways. She seeks the advice of a doctor (Otto Kruger) to help her cure her vampirism. Showing her human side, she falls in love with him, and sets out to wrest him away from his fiancee as her bloodlust becomes too difficult to control. This version is far superior to the Lugosi original in conveying the sexuality implicit in the vampire legend. The film's most famous scene has Holden painting (she's also an artist) a young, depressed streetwalker (Nan Grey). She is attracted to the half-naked girl and ends

evocative backdrop of New York City at night.

up seducing her with her eyes and draining her blood. There wouldn't be a more explicit lesbian scene in a vampire film until Roger

Edwige Belmore (the Vampire Marie) is a

Vadim's Blood and Roses made 24 years later.

between the women takes place against an

French recording artist and cabaret performer who plays the saxophone, sings, models and has acted in numerous films. Sandy Gray (Ariel) has appeared in Francis Coppola's One From the Heart and Mel Brooks' To Be Or Not To Be among other films. -Paul Bollwinkel DIRECTOR, SCRIPT: Amy Goldstein PHOTOGRAPHY : Dan Schulman MUSIC: Dan Licht CAST: Edwige Belmore, Sandy Gray 16mm, 40 minutes

DIRECTOR: Lambert Hillyer CAST: Gloria Holden, Otto Kruger, Nan Grey, Hedda Hopper 16mm, 70 minutes

A DIVINE TRIBUTE Presentation of the 1988 Frameline Award This year Frameline honors (posthumously, alas) Divine, the sublime creation of a hard­ working actor once known as Harris Glenn Milstead. Divine liberated us all. For many of us - vicariously, in the dark - he allowed us to experience the outer limits of outrageous­ ness. He also inspired some of us to explore and expose, in the streets or on stage and screen, our own variations of outrageousness. The "rage" in outrageousness was usually there but never overwhelmed, thanks to Divine's unerring comic sense of the ridiculous and his total belief in whatever character he was playing. From high farce to low comedy, Divine was indeed a singular sensation - and we, with shrieks and howls, are the better for it. John Waters, the Baltimore-based director who gave Divine the perfect elements to showcase and immortalize her talents, will accept the 1988 Frameline Award. In tribute tonight's program will feature a delicious selec­ tion of some of our (and we're sure, your) favorite scenes from Divine's legacy of decadent delights - from Mondo Trasho to Lust in the Dust, from Female Trouble to Trouble in Mind,

from Polyester to Hairspray, and more! Frameline gratefully acknowledges the generosity of New Line Cinema, New World Pictures and Alive Films for making this program possible.


We Salute the Festival

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SUNDAY, JUNE 19

CASTRO THEATRE

North American Premiere

Displaced View 1:00 p.m.

3:00 p.m.

5:00 p.m.

AT HOME

TWO FILMS BY MIDI

KAMIKAZE HEARTS

(BABI-IT)

ONODERA

U. S.A., 1986

Israel, 1987

Midi Onodera is a Toronto-based filmmaker who has been producing films for eight years. She has 19 short films to her credit, including her latest, Displaced View. As a body, her films deal provocatively with issues of identity and isolation within the arena of sexuality and ethnicity. [Her fil m Ten Cents a Dance (Paral­ lax) caused a near riot at the 1986 Lesbian and Gay Film Festival. ] Minimal in design, they often combine documentary elements with fictional/dramatic forms. Midi has also worked with similar themes in still-photo and text pieces and has been published in periodicals such as Fuse, Incite, Impulse and Fireweed . Her films have been included in numerous exhibi­ tions in Canada including the 1984 and 1985 Toronto Festival of Festivals.

When I first met he?' I thought she was sleazy, she needed to make a living, she was fucking on camera - I thought she was just another dumb porno slut. But I was wrong _.

Through the lives of two homosexual writers who have been living together for the past ten years, At Home provides a brief look into the nuances of long-term relationships and marriage. DIRECTOR, SCRIPT: Jonathan Sagalie CAMERA: Udi Goren EDITOR: Rachel Ba1anga MUSIC: Peter Vertheimer CAST: Amikam Levi, Shmuel Vi1ozni, Ruth Sagalle 16 mm, 23 minutes San Francisco Premiere

CROWS Israel, 1987

A piercing authentic look at the life of homeless youngsters who lead a strange, commune-like life in a colorful garbage sanctuary amidst an ignoring Tel-Aviv. This is viewed through the eyes of Maggie, a naive but tough seventeen year old, who leaves her home in the province and comes to the big city and is taken in by a group of young homosexuals. DIRECTOR, SCRIPT, EDITOR: Ayelet Menahemi PHOTOGRAPHER: Amnon Za1aeyt MUSIC: Ari Frankel CAST: Gili Benousilio. I tzik Nini, Boaz Tourgeman, Doron Barabi 16mm, 45 minutes

DISPLACED VIEW 1988

Displaced View is the latest film by Midi Onodera, a third-generation Japanese Canadian (Sansei). Most Sansei grew up unaware of the unique history of their people. The film traces a personal search for identity and pride within that history. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history are revealed. The film is a celebration of the acceptance of self, not only as a Japanese Canadian, but as woman, person of color, lesbian, immigrant.

TEN CENTS A DANCE (PARALLAX) 1986

A striking split screen is used throughout the three scenes that make up this provocative film which deals with communication, sexuality and alienation. In scene one a lesbian and a straight woman discuss their planned sexual encounter. Scene two is an extended overhead shot of two men who meet in a bathroom stall. Scene three depicts phone sex between a man and a woman. Sponsored by Mona Tong Realty

So begins Kamikaze Hearts - it's a raw story about an impossible relationship between a young woman, Tigr (Tigr Mennett), who becomes obsessed with a beautiful porn star, Sharon Mitchell. From their first meeting Tigr is mesmerized by "Mitch" - by her joie de vivre and flamboyant sensuality. Tigr's life is changed forever when she is drawn under­ ground into Mitch's world, a world of strip­ joint rock and roll, mainlined cocaine, and high-paying commercial sex. Filmed on location in San Francisco, notorious home of the XXX film industry, where North Beach provides an existential backdrop to Tigr's dark odyssey. Stylistically, Kamikaze Hearts is best described as a dramatic documentary. But this is not a "docu-drama" in the made-for-TV-movie sense, with actors portraying "real people" in "real situations. " Tigr calls it a docu-dreama, an intensely personal narrative with real people playing themselves in scenes from their lives. Additionally, a documentary camera crew followed Tigr and Mitch through the produc­ tion of Gerald Greystone's ill-fated sex opera version of Bizet's Carmen. Into the fabric of this eccentric footage, director Juliet Bashore and editor John Knoop have woven a bizarre drama by turns absurd, ironic, ridiculous and simul­ taneously brutal, disturbing, even tragic. Kamikaze Hearts resists easy classification. The film draws freely from both documentary and dramatic conventions. It is complicated, stirring and controversial. DIRECTOR: Juliet Bashore PRODUCER: Heinz Legler, Sharon Hennessey, Bob Rivkin WRITTEN AND CONCEIVED BY: Juliet Bashore, Tigr Mennett DIRECTOR OF PHOTOGRAPHY: David Golia EDITOR: John Knoop CAST: Tigr Mennett, Sharon Mitchell, John Martin, Sparky Vasque, Jerry Abrahms 16mm, 80 minutes


SUNDAY, JUNE 19, cant'd

MONDAY,

West Coast Premiere

San Francisco Premiere

7:00 p.m.

9:00 p.m.

7:00 p.m.

FRIENDS FOREVER

THREE BEWILDERED ·PEOPLE IN THE NIGHT

ANO THER WAY

(VENNER FOR ALTID) Denmark, 1986

Together with his mother, sixteen year old Kristian has moved to a new neighborhood, and he is about to start in a new school. Feeling insecure in his new surroundings, Kristian for this reason is drawn to two very different pupils he meets at school. One of them is Henrik, an independent boy who refuses to yield to group pressure, and the other is Patrick, who is the leader of a dominating and tyrannical ga�g. Kristian's desire for popularity and acceptance is so great that he eventually becomes part of Patrick's clique. When the gang's activities become too violent and criminal, Patrick and Kristian break away. Kristian sees his growing friendship with Patrick as an experiment, a chance to become more independent and decisive. The friendship is soon put to the test when Kristian discovers that Patrick is gay and is sexually involved with the captain of a soccer team. While trying to accept his best friend's homosexuality, Kristian is also exploring his sexuality, first with a girl of his own age, and more seriously with an older woman, a Swedish soul singer called Ayoe. At school, Patrick and Kristian clash with the headmaster, who merely pays lip service to democracy and in fact prevents the pupils from having a say in anything. But when Kristian, together with his classmate Anette kindle the first sparks of revolt against the authorities, he begins to look beyond himself and realizes that there are more impor­ tant things in life than his own small world. Friends Forever is a film about the youth of the 80's. But it is, more than just a young people's film, because it is about daring to look at the world with our own eyes, instead of looking as we are taught to see. DIRECTOR: Stefan Henszelman PRODUCERS: Gerd Roos, Max Hansen, Vibeke Pedersen/Thomas Heinesen SCREENPLAY: Stefan Henszel man, Alexander Korschen CAMERA: Marcel Bergaa, Eigil Jacobsen, Jesper Find, Fritz Schroder PRINCIPAL CAST: Claus Bender Mortensen, homas Sigsgaard, Christine Skou 35mm, 95 minutes

� �

U.S.A., 1987

David is a gay performance artist. Alicia is a video artist. They are the best of friends, sharing frustrations and feelings about love, sex employment, and art over 3 a. m. cups of coffee. Into their worlds comes Craig, a would-be actor and photographer who is as ambivalent about his career plans as he is about his sexual­ ity. Although he lives with Alicia he finds himself more and more attracted to David. Three Bewildered People in the Night is a refreshing, often wryly funny, look at three young people struggling to understand themselves and their needs as artists. The gay elements in the story are treated with unusual respect and affection as the dilemma is brought to a compassionate and original resolution. Writer/producer/director Gregg Araki has done a remarkable job with a limited budget. He began work on the film in 1984 after graduating from USC and taking a Hollywood movie industry job at MGM. He hated it and, encouraged by the success of some recent American independent films, decided to go for broke. He quit his job, wrote the script for Three Bewildered People in the Night and began production in Los Angeles where all the action takes place. Judging from the reaction ( the film won numerous awards, including the Bronze Leopard at the 40th Festival Internazio­ nale del Film in Locarno, Switzerland) Araki has a bright future as an independent filmmaker. -Paul Bollwinkel DIRECTOR, SCRIPT, PHOTOGRAPHY: Gregg Araki CAST: Darcy Marta, Mark Howell, John Lacques 16mm, 92 minutes plus

COMM UNICATIO N FROM WEBER U.S.A., 1988

A Fascinating look at Albert Michael Weber, described by the filmmaker as a "derelict­ politico/artist-collagist/communicator" who lives "on the edge of society" in a small hotel room in Montgomery. DIRECTOR: Robert F. Gates 16mm, 15 minutes

(EGYMASRA NEZVE) Hungary, 1982

Based on a popular, partly autobiographical novel, Another Way traces the developing relationship between Eva, a sparrow-like but determinedly uncompromising journalist from the provinces who is overtly lesbian, and Livia, a beautiful, restless fellow journalist unhappily married to an army officer. Director Karoly Makk's considerable achieve­ ment here is his interweaving of two controver­ sial themes - lesbianism and political repression - into the historic context of the still-sensitive period following the 1956 Hungarian uprising. Another Way skillfully treats the lesbian affair as a mirror for a wider discussion of public and private freedom. More specifically, the film follows the precarious path of journalists in the post-1956 "consolida­ tion" period between commitment and compromise. Makk triumphs in evoking astonishingly sensitive performances from Polish actresses Jadwiga Jankowska-Cieslak (winner of the 1982 Best Actress Prize at the 1982 Cannes Film Festival) and Grazyna Szapolowska as the tormented couple whose characterizations vividly intensify the impact of the film's controversial sexual and political themes. DIRECTOR: Karoly Makk SCREENPLAY: Karoly Makk, Erzsebet Galgoczi, based on a novel by Galgoczi PHOTOGRAPHY: Tamas Andor CAST: Jadwiga Jankowska-Cieslak, Grazyna Szapolowska, Jozef Kroner, Gabor Reviczky, Peter Andorai 35mm, 107 minutes

Sponsored by George Gund


JUNE 20

TUESDAY, JUNE 2 1

CASTRO THEATRE

San Francisco Premiere

u.s. Premiere

9:00 p.m.

7:00 p.m.

9:00 p.m.

THE LAST SONG

THE ICE PALACE

THE LAST OF ENGLAND

Thailand, 1986

(IS-SLOTTET)

Great Britain, 1987

Norway, 1987

"Relentlessly narcissistic, repetitive, head-ache inducing . . . mindbendingly self-indulgent. " Derek Jarman's latest film has been swa ,?ped . with a tide of homophobic hate from crltlcs; Its controversy has disguised its modest intentions . and sensitive address. Behind the pOlson-pen pans there's a uniquely critical movie struggling to be seen. . The Last of England is a non-narrative collage on Britain today. It has twice the energy and bite of My Beautiful Laundrette, and none of the story. Jarman divides his movie into three strands, starting with seductive black-and-white shots of himself at home in London, trying to sum up his feelings about being gay and being an outsider in Brita in . today. This is intercut with a home mOVIe scrapbook of his wartime childhood, a homosexual Hope and Glory in which the sentimental colors-his mother's blue and white print dress, the red chrysanthemums­ contrast with his acid hindsight. In the film's most controversial section, Jarman arranges a series of a�gry tableaux: Tilda Swinton tears her weddmg dress, dock­ side, in an amazing parody of the Royal Wedding; a soldier and his lover fuck on top of the Union Jack. It's like an issue of The Face re-designed by Kenneth Anger. Undoubtedly, The Last of England is a diffi­ cult movie if you're not prepared for its innova­ tive structure, but what's exciting is the meeting between Jarman's two personas: the shocking surrealist who made Sebastiane and Jubilee, and the newly despairing don't-get­ even-get-mad didacticist. If there's ever an ad for the contradictions and attractions of lateeighties Britain, this is it. -Mark Finch

From the Bangkok Post comes this notice: "The Last Song was a hit. Director-producer Pisarn Akarasainee thinks that the gay theme alone was not solely responsible for the movie's popularity-the lesbian theme helped too." And indeed it does in this story of a hunky country boy, Boontherm (which me� ns "long . stem" in Thai), who comes to the bIg City to seek his fortune. He shortly finds himself being supported by a high-class female i ,?personat?r (played by Thai cabaret star �omymg p ao:aI), head-over-her-six-inch-heels m love with hIm. Boon seems to enjoy things well enough with Somying, but, alas, feels he must do the "natural" thing and fall in love with a young girl, Orn, who, unfortunately for hi� is � lesbian. But not for long if her dommeenng mother has anything to say about it. Mom won't let up until her daughter gives up her lovely butch girlfriend, Praew. An incredible tug of hearts develops as Praew tries to keep Om, Orn tries to straighten out but lapses, Somying fights to keep Boon and Boon chases Orn while also trying to start a singing career. The machinations of these four are witnessed by a veritable gaggle of drag queens, who flutter, shriek and squeal with all the joie de vivre of their wester� countefJ�arts. The Last Song is made a smldge funmer because of occasional subtitling faux pas (,There he goes again, over-pandering ? is boyfriend") and a few spots wher� the titles don't seem to coincide with the pIcture on the screen. These problems aside, it is an intrigu­ ing glimpse at Thai gay life. It ends with apparently requisite sad endings for the les/gay characters who don't straighten out, but they return (even the dead ones) in the sequel (see . Friday, June 24 Castro listing) to get theIr revenge. "Garish item"- Variety. DIRECTOR, SCRIPT: Pisan Akarasainee PHOTOGRAPHY: Vichien Ruengvitchayakul CAST: Bin Bunluerit, Somying DaoRai, Chalit Feang-arom 35mm, 90 minutes

The Ice Palace is the story of two girls aged 1 1, Siss and Unn. Unn is a recent arrival in the little rural community; her mother is dead and she has never seen her father. She lives with her aunt. As a stranger, Unn is excluded from the circle of friends at school. Siss on the other hand has both friends and parents. The two girls become increasingly attrac�ed to each other, in a relationship full of buddmg expectations and silent longing for warmth and tenderness. One evening when they meet they are for the first time hurled into �onfront­ ing their intense feelings. The followmg day, Unn cannot face another encounter with Siss and sets off alone, out into the cold, unfre­ quented landscape. Eventually sh � disappears inside the frozen waterfall - the ICe palace. Siss never sees Unn again. She, too, is alone now, and she struggles through a l�ng winter, fighting the frost that has taken a £Irm hold of her soul. The Ice Palace is, like the novel it is based on, a story about budding emotions, about children on the threshold of the adult world, about the dark land within us where our impulses conflict with dreams. Tarjei Vesaas ( 1897-1970), author of the novel, is one of Norway's best-known authors. He wrote 20 novels, in addition to numerous collections of short stories, poems, and plays. Several of his works have been adapted for the screen. Translated into several languages, his novel "The Ice Palace" is one of Norwegian literature's most widely read books. The novel was published in 1963 and was awarded the Nordic Council's Prize for Literature. DIRECTOR, SCREENPLAY: Per Blom PRODUCER: Gunnar Svendsrud BASED ON THE NOVEL BY: Tarjei Vesaas CINEMATOGRAPHY: Halvor Neass CAST: Line Storesund, Hilde Nyeggen Martinsen, Merete Moen 35mm, 78 minutes plus-

S O METIM E S

...

A P O EM

(see Satu rday, 6/25, 1:00 p.m.)

DIRECTOR: Derek Jarman PRODUCERS: James Mackay, Don Boyd PHOTOGRAPHY: Derek Jarman, Christopher Hughes, Cerith Wyn Evans, Richard Heslop . PRINCIPAL CAST: Tilda Swinton, Spencer Leigh, Spring, Gay Gaynor, Matthew Hawkins, Gerrard McCarthur, John Phillips 35mm, 87 minutes plus-

ALFALFA (see Saturday, 6/18, 12 noon)


WED NESDAY, JUNE 22

THURSDAY, North American Premiere

7:00 p.m.

9:00 p.m.

7:00 p.m.

THE EVERLASTING SECRET FAMILY

D ORIAN GRAY IN THE

VINGARNE (THE WINGS)

MIRROR OF THE

Sweden, 1916

Australia, 1988

POPULAR PRESS

This provocative and daring new work from Australia employs an excellent cast, Arthur Dignam and Mark Lee (Gallipoli), to tell the story of a secret homosexual society. A wealthy senator (Dignam) is chauffeured to a private boys school to select his next lover. Having surveyed the crop of handsome youths, he picks a blond (Mark Lee). Several encounters are arranged between the two, and eventually, Lee is inducted into a private group of older homosexual men in high places and their young lovers. To further his career, the senator marries and has a son. Lee stays around and works as a companion for the senator's son. Lee becomes concerned about his fading youth and seeks the assistance of a doctor who succeeds in keeping him forever young. As the senator's son comes into manhood, he too falls in love with Lee and is also inducted into the secret family. Lee now has both, father and son. An original and oddly surreal film which could well become the next gay cult classic.

West Germany, 1984

PRODUCER, DIRECTOR: Michael Thornhill SCREENPLAY: Frank Moorhouse CAST: Arthur Dignam, Mark Lee, Dennis Miller, Heather Mitchell 35mm, 94 min. plus

KEN DEAT H GE T S O U T O F JAIL U.S.A., 1987

A youth who's just come out of jail tells us about it. DIRECTOR: Gus van Sal'lt 16mm, 3 minutes

Oscar Wilde's "The Picture of Dorian Gray" has been the inspiration for numerous film and television interpretations-some have been horribly literal translations of his classic horror tale while others have used the story as a jumping-off point. Director Ulrike O ttinger, one of Germany's leading lesbian filmmakers, uses Wilde's work as the basis for an explora­ tion of the function of the media in the modern world. Visually and thematically, Dorian Gray in the Mirror of the Popular Press owes less to Wilde's novel than it does to the traditions of German expressionistic cinema. Dr. Mabuse (played by Delphine Seyrig), the president of a multinational press conglomer­ ate has an unscrupulous plan for the company's expansion. She wants to use her company to create a human being that she can shape and control according to the corpora­ tion's requirements. Enter Dorian Gray, a wealthy and handsome young man (played by female actress/model Veruschka von Lehndorff) who Mabuse leads on a nightmare journey through the city. "We shall let him experience everything the reader does not dare to dream, " she explains. At the premiere of an opera the self-obsessed Dorian Gray meets his mirror image on stage, leading to the central question in this bizarre, startling and masterfully made film: will Dorian Gray become Dr. Mabuse's victim or her best disciple? -Paul Bollwinkel DIRECTOR, SCRIPT, PHOTOGRAPHY: Ulrike Ottinger MUSIC: Peer Raben CAST: Veruschka von Lehndorff, Delphine Seyrig, Tabea Blumenschein, Toyo Tanaka 35mm, 1 50 minutes plus-

NEGATIV E MAN (see Saturday, 6/25, 1:00 p.m.)

Based on Herman Bang's novel Mikael, Vingame is a silent melodrama about an artist's love for his new-found male model. Radically, the film opens with director Stiller and his cinematographer coming across a sensual statue of Icarus in the gardens of Stockholm. Then the movie proper begins, with artist Claude loret struck by love at first sight for the young Mikael in a woodland; he adopts Mikael, who serves as inspiration for his latest sculpture. Inevitably Mikael gets his wings burnt when he starts courting loret's patron, the unscrupulous Lady Lucia; pained by Mikael's desertion, loret dies during a fierce storm before his statue of the naked boy. Watching Vingame seventy-five years after its production is an extraordinary experience. It's easy to get caught up in the fragmentary feel of the narrative, to work too hard at following the story instead of giving up to its original allusiveness. So, some tips to tap into that intended sense: First, bear in mind that both novelist Bang and director Stiller were known to be gay. Second, it's interesting to compare Vingame with Carl Dreyer's film of the same novel (also called Mikael). Many of the gently sensual scenes from Dreyer's film are foreshadowed in the first version. Finally, the most startling-and infuriat­ ingly brief-thing about Vingame is the framing device and the idea of a film-within-a­ film. Confronted by the barest remains of this extraordinary conceit, we can only imagine what the original must have felt like. D IRECTOR: Mauritz Stiller SCREENPLAY: Mauritz Stiller, Axel Esbensen, from the novel by Herman Bang CAMERA: J. Julius CAST: Egil Eide, Lars Hanson, Lili Bech 35mm, 40 minutes

S TILLER, GARBO & ME (STILLER, GARBO & JAG) Finland, 1987

A documentary about the silent film director Mauritz Stiller ( 1883-1928) and his dog Charly. DIRECTORS, Script: Claes Olsson, Alvaro Pardo 1 6mm, 47 minutes


JUNE 23

FRIDAY, JUNE 24

CASTRO THEATRE

West Coast Premiere

7:00 p.m.

9:30 p. m.

A QUEER FEELING

ANGUISHED LOVE

DIVIN' WOMEN

WHEN I LO OK AT YOU

Thailand, 1987

U. S.A., 1988

HOLLYWO OD STARS

9:00 p.m.

TIN Y

& RUBY: HELL

A Benefit for the Frameline Film Completion Fund

i coulda played with pops, basie, the duke. i was mighty. the sensation of the century, out of this world, supreme, stellar it was them girls white, light, bright, brown, tan, and yellow. Yes suh that's who -Cheryl Clarke i grind my axe fuh. Tiny & Ruby: Hell Divin' Women profiles the legendary j azz trumpeter Tiny Davis and her lover and partner of over 40 years, drummer Roby Lucas (aka Renee Phelan). Billed as the "female Louis Armstrong" in the 1940's, Tiny was until recently blowing her trumpet in Chicago blues clubs. Tiny & Ruby weaves together music, compelling archival material, live action performances, an evocative narrative by poet Cheryl Clarke, and an informal, intimate style to pay tribute to these two extraordinary women. A film by Greta Schiller & Andrea Weiss DIRECTOR, EDITOR: Greta Schiller 16mm, 40 minutes

IN TERNATIONAL SWEETHEARTS OF RHYTHM U.S.A., 1986

A surprise hit at the 1987 Festival, International Sweethearts of Rhythm documents the success of the all-women, mostly black music group that breathed refreshing life into the big band sound of the 1930's and 40's. Tiny Davis was one of the band's featured soloists. DIRECTORS: Greta Schiller, Andrea Weiss 16mm, 30 minutes Frameline sponsors a benefit reception for the filmmakers of Tiny & Ruby immediately following the film screening. All proceeds to benefit the filmmakers.

AND LESBIAN SPECTATORSHIP A presentation with film clips by Andrea Weiss Hollywood, before and even at times despite the Motion Picture Code of 1935, produced a number of popular films in the 1930's that implicitly suggested lesbian sexuality. These cinematic moments were (and still are) poignant for lesbian viewers, who rarely saw their desire given expression on the silver screen. Certain Hollywood stars of that decade, especially Greta Garbo, Katharine Hepburn, and Marlene Dietrich, are icons that have come to hold different meaning for lesbian viewers than for the culture at large; these actresses are often perceived by lesbians to assume opposi­ tional stances which signify homoeroticism, even within the heterosexual confines of the classic Hollywood narrative. In part this subversive reading is dependent upon rumor-the official unrecorded history of the lesbian and gay subculture-that identi­ fies these stars to be lesbian or bisexual in their real lives. But more importantly, as Hollywood cultural products these sceries reveal a contra­ diction in the ideology of the dominant culture from which they emerge. While conforming ( to varying degrees) to the early 20th century construction of the "mannish lesbian" as an expression of sexual deviance, at the same time these oppositional stances project certain androgynous qualities-Marlene Dietrich's top hat and tails, Greta Garbo's defiant stride-that originated and found expression in the emerg­ ing lesbian subculture. This lecture with film clips and slides attempts to reclaim a lesbian film heritage where we've been told none exists, and takes a step toward the feminization of the theory of "camp" - in order to explore the importance of the cinema for the lesbian community. Scenes from Morocco, Queen Christina, Blonde Venus, Sylvia Scarlett, and other films will be shown. This presentation is a chapter from a forthcoming book by Andrea Weiss on lesbian representation in the cinema, to be published by Pandora Press, London.

Anguished Love begins with the funeral of Somying Daorai, who killed himself at the end of The Last Song (see Monday, June 20 listing) when his lover, Boontherm, went straight. Boontherm, now living with his ex-lesbian wife, appears at the funeral, enraging Somying's drag queen friends, who vow revenge. As luck would have it, Somying has a twin brother, who is brought in to plot Boontherm's demise. Unfortunately for the vengeful drags, Somnuek (Somying #2) is just as susceptible to Boon's charms as Somying # 1 and quickly falls in love with his brother's ex. Meanwhile, the ex-lesbian wife, Om, is about to suffer another of the lapses that so enraged her mother in The Last Song. She consults with a few of her girlfriends (at what may be the first Thai lesbian potluck ever filmed) and somehow tracks down her ex-girlfriend Praew, who since having lost Om has been living as a semi­ lunatic in a "smelly" part of town. Alongside all of this is a subplot about a pudgy gay aristocrat who on a whim borrows money from his lesbian sister to purchase the Tiffany Club, where Somying formerly sang, a sort of Drag Queen Central in Pattaya. The clubowner was the Bangkok Post reviewer's favorite: "Easily the most delightful character. . . his tantrums are hilarious . . . his promiscuity i s both rollicking fun and a satirical view o f the gay lifestyle. He likes every good-looking boy in sight. He wears several rings to give away to new partners and is always loaded with cash in the event he has to buy off other men to take their boyfriends away from them. What a character! " As before, we must warn that the subtitling is occasionally problematic. Prepare to be lost now and again, but in between enjoy the lesl gay fun. DIRECTOR, SCRIPT: Pisan Akarasainee PHOTOGRAPHY: Vichien Ruengvitchayakul CAST: Bin Bunluerit, Somying Daorai, Chalit Feangarom 35mm, 105 minutes plus

A U T O MATING Iran, 1988

A study of human form. DIRECTOR: Pej Behdarvand 16mm, 6 minutes


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FRIDAY, JUNE 24

ROXIE CINEMA

AIDS VIDEO SYMPOSIUM

THE ADS EPIDEMIC

The San Francisco International Lesbian and Gay Film Festival presents an all-day program of videos providing historical, educational, medical, political and artistic perspectives on AIDS. Mary Redick, Ph.D., AIDS Coordinator for the San Francisco Community College District, and Daniel Mangin, the festival's video curator, will introduce the videos. The AIDS Video Symposium is designed to acquaint educators, social workers and the general public with recent video works about AIDS. The featured tapes employ a variety of approaches for a variety of communities. In addition to information about tapes screened, the festival will provide symposium participants with materials on other AIDS videos and films currently available.

(Acquired Dread

excerpts from TILL

of Sex)

Canada, 1987

A clever music video promotes safe sex while roasting those using AIDS as pretext to push anti -sex agenda. DIRECTOR: John Greyson Video, 5 min.

D O CTORS, LIARS AND WOMEN

DEATH D O US PART

THIS IS NO T AN AIDS

U. S.A., 1988

U. S.A., 1988

ADVERTISEMENT

New York women react to a Cosmopolitan article stating unprotected heterosexual vaginal intercourse constitutes little risk for women. Grassroots protest gains media attention and confrontation with the article's author. A primer on political action that elucidates many of the medical facts as well.

A rap/theatrical film about AIDS and IV needle use. Vivid presentation of peer pressure, drug abuse and personal responsibility.

DIRECTORS: Jean Carlomusto, Maria Maggenti Video, 22 min.

DIRECTOR: Ginny DUfrin Film on video (also available on l6mm film), 16 min.

UP IN ARMS OVER NEEDLE EXCHANGE U.S.A., 1988

FIGHTING FOR OUR LIVES: FACING AIDS IN SAN FRANCISCO U.S.A., 1987

A history of AIDS in San Francisco that traces its effects on gay and other communities. Discusses how political and medical issues converged and surveys support groups that emerged. DIRECTORS: Ellen Seidler, Patrick DuNah Video, 29 min.

"For the first quarter [of 1988], the number of cases reported among intravenous drug users is greater than the number of cases reported among gay men . . . it is a snapshot of two, three, five years ago . . . we know what's coming." -Dr. Stephen Joseph, New York City Health Commissioner. Up In Arms Over Needle Exchange examines the controversy that surrounds the implementa足 tion of a needle exchange program to stem the spread of AIDS in New York City. DIRECTORS: Jean Carlomusto, Hilery Joy Kipnis Video, 28 min.

LIVING WITH AIDS: WOMEN AND AIDS U.S.A., 1988

AIDS education and political action on behalf of heterosexual women and lesbians, with an emphasis on women of color. DIRECTOR: Alexandra Juhasz Video, 28 min.

excerpts from OJOS QUE NO VEN U.S.A, 1987

BLACK PEOPLE GET AIDS, TO O U.S.A., 1987

Black health care professionals discuss AIDS causes, offer advice on safe sex and IV drug use in this tape for blacks, presently one-quarter of those with AIDS. DIRECTOR: Cedric Pounds Video, 23 min.

A series of educational "telenovelas" for the Hispanic community. Tape shows AIDS as it affects a cross-section of the community, from the streetwise to the affluent. DIRECTORS: Jose Gutierrez-Gomez, Jose Vergelin Video, 52 min. (available in Spanish and English)

Great Britain, 1987

Two men bop about London in music video about sex, race and identity. DIRECTOR: Isaac Julien Video, 5 min.

THE SUBJECT IS AIDS U. S.A., 1986

Actress Rae Dawn Chong narrates this video combining AIDS education for young people with dramatized segments of youths discussing their thoughts and fears about AIDS and its prevention. DIRECTOR: Franklin Getchell Film on video, 18 min.

excerpts from THE AIDS MOVIE U.S.A., 1986

An AIDS education film for youths featuring three people with AIDS who share what it's like to live with the disease and how to protect against it. DIRECTOR: Ginny Durrin Film on video (also available on 16mm film), 26 min.

REFRAMING AIDS Great Britain, 1987

A compelling tape by an Asian woman who lives in Britain. Analyzes AIDS in terms of race, gender, sexual orientation and social standing. Stylistically mature and thoughtful presentation. DIRECTOR: Pratibha Parver Video, 30 min.

excerpts from TESTING THE LIMITS GUIDE TO SAFER SEX U.S.A. , 1987

Denise Ribble, RN, of the Community Health Project, New York, delivers safe sex informa足 tion in wry, dry and direct manner. Sound advice for men and women, gays and straights. DIRECTORS: Testing the Limits Collective Video, 13 min.

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FRIDAY, JUNE 24, cant'd

ROXIE CINEMA

Evolution of a Sex Life 5:00 p.m.

7:30 p.m.

9:30 p.m.

Ad mission included with AIDS Video

West Coast Premiere

LESBIAN TV PARTY II

Sy mposium ticket or evening matinee this show only:

REVOLUTIONS

AIDS: A PRIEST'S TESTAMENT

HAPPEN LIKE REFRAINS IN A SONG

Ireland, 1987

Philippines, 1987

Shot in the U.S. for Irish television, AIDS: A Priest's Testament is the story of Father Bernard Lynch, an Irish-born priest and psycho­ therapist who set up an AIDS Ministry in New York. Father Lynch is a daring, eloquent and passionate missionary who discusses with startling honesty the pressures that have brought him close to the edge of his physical and spiritual limits as he conducts his ministry.

Grand Prize winner at the 9th International Super-8 and Video Festival in Brussels, Revolu­ tions Happen Like Refrains in a Song is the third film of Nick Deocampo's trilogy about the links between poverty and prostitution in the Philippines. The film traces the revolution that deposed Ferdinand Marcos and updates the lives of the people in his two earlier films, Oliver ( 1983), the story of a young gay who supports his family with his drag act at a Manila bar, and Children of the Regime ( 1985), about children forced by poverty into prostitution. Deocampo is a filmmaker who sees his homosexuality as his "manner of perception, as a form of consciousness. " From its images of the revolution, to Oliver's erotic "spider" routine-a metaphor for the web of poverty in which the protagonist finds himself caught­ to footage surreptitiously shot in Manila's child-sex dens, Revolutions is an uncomprom­ ising view of the Philippines. Deocampo has only one purpose in filming his country, " to speak out the truth in our people's lives. " Film becomes a "radical instru­ ment" in his hands and the "truth" in 1987 was that Oliver was still supporting his family by working at a Manila gay bar and children were still selling their bodies in order to survive. Deocampo reveals this, then wonders aloud, "Will it take another revolution to change people's lives?"

DIRECTOR: Conor McAnally Video, 52 min.

TO O LITTLE, TO O LATE U.S.A., 1987

This award-winning documentary is the moving story of the families of AIDS patients and how they deal with the disease and its effects on their lives: What does it feel like to be the sister of an AIDS patient and have to listen to AIDS jokes? To be unable to talk about your dying son for fear of losing your job? To have your neighbors forbid their children to play with yours because your youngest child is ill with AIDS? In Too Little, Too Late several families share their pain and frustration-as well as the solace they derived from having been able to help their loved ones to a peaceful death. Barbara Peabody, co-founder of MAP (Mothers of AIDS Patients), is featured. DIRECTOR: Micki Dickoff Video, 49 min.

DIRECTOR: Nick Deocampo Super-8, 85 min.

The program that started an international movement returns! Azian Nurudian gets things cracking with a whip and a TV in Malaysian Series, Part 1. In Suburban Queen, Mindy Faber fantasizes her suburban mom an African warrior/goddess. Mom ain't buyin'. Cynthia Gaffney irreligiously u'aces the evolution of her sex life, from its baptism all the way to . . . The Revelation. Sara Tuft's Don't Make Me Up is a snappy, musical request of Madison Avenue. Goo Gohman sheds light on girl jocks in Iowa City Women's Rugby, right before the first installment of The Bisexual Kingdom, where girl meets girl, still likes boys, and all hell breaks loose. A ll Day Always is a music video from Olivia Records. I Like Girls for Friends is an intimate chat, and It's a Lez:de Life is a sit­ com set in a certain freewheelin' West Coast city. MALAYSIAN SERIES, Part 1 U.S.A. , 1986·87 DIRECTOR: Azian Nurudin Video, 3 min.

SUBURBAN

QUEEN

U.S.A., 1985 DIRECTOR: Mindy Faber Video, 3 min.

EVOLUTION OF A SEX LIFE DON'T MAKE M E UP

U.S.A. , 1988 DIRECTOR: Cynthia Gaffney Video, IS min.

U.S.A., 1986 DIRECTOR: Sarah Tuft Video, 4 min.

IOWA CITY WOMEN'S RUGBY

U.S.A., 1984 DIRECTOR: Goo Gohman Video, 8 min. THE BISEXUAL KINGDOM

Canada, 1987 DIRECTOR: Elizabeth G. Schroder Video, 22 min. ALL DAY ALWAYS

U.S.A., 1988 DIRECTORS: Kathy Wolfe, Irene Young STARRING: Diedre McCalla Video, 4 min. I LIKE GIRLS FOR FRIENDS

U.S.A., 1987 DIRECTOR: Julie lando Video, 3 min. IT'S A LEZZIE LIFE: A DYKE-U-MENTARY

U.S.A., 1988 DIRECTOR: Ingrid Wilhite Video, 30 min.


SATURDAY, JUNE 25 1 1:30 a.m.

SEPARATE SKIN

SAPPHIC CELLULOID

U.S.A., 1987

Separate Skin is about Emily, a young woman who is the child of Holocaust survivors, who

Lesbians on Film-Panel Discussion A Benefit for the Frameline Film Completion Fund

struggles with her childhood fears and fanta­ sies of love. Her relationships, with a man and then with a woman, fail to relieve her anxiety, but instead force her to confront the pain in her past and to make peace with her own life.

A recent increase of lesbian characters and issues portrayed in various media raises some

DIRECTOR: Deirdre Fishel

questions vital to the lesbian filmmaker and to

16mm, 26 minutes

anyone concerned with the media image of lesbians. How are lesbians depicted in contem­ porary film? Can a frank and accurate portrait of lesbian culture be successfully produced? What are the special difficulties in funding, distribution and exhibition of such films? Can they reach a general audience? Must certain issues be avoided or diluted in order to avoid alienating certain segments of the audience, or

NO NO NOOKY T.V. U.S.A., 1987

No No Nook)' T V confronts the feminist controversy around sexuality with electronic

even of the film industry itself? Are some

language, pixels and electronic interface.

stereotypes with us forever? These and other

D IRECTOR: Barbara Hammer

questions will be discussed by a diverse panel of women involved in various areas of

16mm, 12 minutes

filmmaking and other media. Panel members will include Andrea Weiss, Greta Schiller, Cathy Korniloff, Monika Treut, Barbara Hammer and others.

1:00 p.m.

3:00 p.m.

WOMEN'S SHORTS

JAMES BROUGHTON

Films by and about lesbians

75th Anniversary Tribute

NEGATIVE MAN

The San Francisco International Lesbian and Gay Film Festival pays special tribute to James

U.S.A., 1985

Broughton-a leading poet, author, and

A scratch film which foregrounds the superfi­

filmmaker for over forty years. His unique style

cial self-importance of male authority figures.

blends visual imagery with poetic insights in films that often challenge while they entertain.

D IRECTOR: Cathy Joritz

Many of his films are stunning celebrations of

16mm, 3 minutes

SHELL U.S.A., 1987

MAYHEM U.S.A., 1987

An homage to film nair with soap opera

male homosexuality in terms both explicit and ethereal .

The Golden Positions (1970) refines the format of Broughton's landmark film, The Bed

A stylized black and white film about a woman

thrillers and Mexican comic books generating

( 1968). It begins with a navel in close-up. "Let

troubled by her mother's reaction to her

the action. The film links the screen, the

us contemplate, " Broughton says as the camera

lesbianism.

bedroom and the streets to create a mosaic of

zooms back to frame the entire naked male

DIRECTOR: Karen Lee 16mm, 7 minutes

the way modern culture sends mixed signals

form. San Francisco Chronicle critic John

about sexuality to men and women.

Wasserman said of the film: "A lovely, poetic,

DIRECTOR: Abigail Child

humorous and crystal investigation of

16mm, 20 minutes

mankind standing, sitting and lying down. " In the delightful and clever Hermes Bird

A group of people gather at a wake for a

SOMETIMES ... A POEM

a penis grow erect. Devotions ( 1983 ) celebrates

mutual friend, Gab.

U.S.A., 1987

D IRECTOR: Ann Akiko Moriyasu ' 16mm, I I minutes

An animated love poem.

GAB U.S.A., 1988

HAZEL'S PHOTOS U.S.A., 1988

DIRECTOR: Kim Tempest 16mm, 4 minutes

( 1 979), we hear a Broughton poem as we watch images of the gay community and gay relation­ ships in a masterful visual and poetic montage.

Scattered Remains, which received its world premiere at this year's San Francisco Interna­ tional Film Festival, is a multi-faceted explora­ tion of moral questions. Broughton metamorphoses from scene to scene as he is

Comments of contemporary women as they

heard in a variety of voices and seen in magic

look at found photos and re-imagine the lives

visualization by co-maker Joel Singer. -Paul Bollwinkel

of their peers at the turn of the century. DIRECTOR: Doreen M. Bartoni 1 6mm, 6 minutes


CASTRO TH EATRE North American Premiere

5:00 p.m.

7:00 p.m.

9:30 p.m.

WENDEL

THE DAYS OF GREEK

THE VIRGIN MACHINE (Die Jungfrauenmaschine)

Switzerland, 1987

David has got himself pretty well organized, he's got friends, jobs - not bad. Broods a little, but who doesn't. Occasional political activity. He never really grasped why Wendel, his best friend for years, had left. Just took off. The fool. Emigrated. Back in the seventies, they had

GODS Physique Films of Richard Fontaine

At first glance this new film by Monika Treut

1949 to 1962

woman who sets out to find happiness, as did

Richard Fontaine is the spiritual father of

Parsifal, the simple fool.

shared their lives, their love, their apartment

modern gay erotica, the fountainhead from

and sometimes even the same woman. And

which all else has flowed. Although he didn't

now, what happens? Wendel comes back, out of

invent the idea of erotic gay films, he pioneered

the blue. They spend the day together.

their commercial possibilities. His landmark

DIRECTOR: Christoph Schaub SCRIPT: Martin Witz, Christoph Schaub CAMERA: Patrick Lindenmaier CAST: Daniel Buser, Kriton Kalaitzides 16mm, 58 minutes

The Days of Greek Gods ( 1949) is the earliest­ known gay erotic film to play theatrical engagements. Under the signature of Zenith Films, Richard used the Athletic Model Guild studios in Los Angeles for his early posing-strap

POETRY FOR AN

shorts. He even convinced AMG's legendary

ENGLISHMAN

making 8mm films himself to sell via his

Australia, 1987

Janie knows her brother has a secret, and she wants that secret more than anything else in the world.

Poetry for an Englishman, set on a

remote stretch of the Australian coast, is a woman's reminiscence of a summer in her childhood. A time when, from afar, she witnessed events she would never forget and couldn't understand, but perhaps she did understand . . . perhaps she understood better than anybody. DIRECTOR, SCRIPT: Martin Daley PHOTOGRAPHY: Joanne Parker CAST: Peter Bensley, Georgina Bradley, Annie Byron, Nathan Dutton 16mm, 25 minutes

West Germany, 1988

Physique photographer, Bob Miser, to start popular "Physique Pictorial. " Both men used historic motifs in their work, Richard in films and Bob in still pho tography. The props and models and concepts flowed freely from one medium to the other. Between them, they reinvented the glamourous sexual iconography of the gladiator. In these early days of posing-strap films ( 1950-1965) with their cachet of being "art studies" and requiring little more than flexing while wearing a white nylon pouch, it was possible to solicit the services of up-and­ coming actors and bodybuilders. All of Richard Fontaine's short films are divided into three types: the posing films were about being a model; the historic films used

recounts a very simple story, that of a young

Unhappy in Germany, and pursued by her former lover Heinz, Dorothy Muller decides to continue her investigation of romantic love in America, following the footsteps of her mother, who immigrated to the U.S. many years before. In the mythical dreamland of California, Dorothy by chance meets several very remarka­ ble women. Susie Sexpert initiates Dorothy into the practical arsenal of the American pragmatics of love. Dominique, a Hungarian from Uruguay presents herself as a humorous, sisterly friend, and finally the sly lesbian sex therapist with whom Dorothy falls romanti­ cally, naively in love. This dream romance quickly dissipates and Dorothy finds something else: a narcissistic, self-ironic relationship with herself; robbed of her dreams, but still curious enough for us to know that this is not the end of her adventure. With the expert camera work of EHi Mikesch, Monika Treut employs a unique experimental form allowing us to enter the protagonist's world so that we may see and hear the world through Dorothy's eyes and ears. The direction and camera style also reflect the film's two locales, Germany where Dorothy experiences paranoia, and California, the wonderland where Dorothy reacts with amaze­

antiquity as a means to a visual end; the story

ment at the strange land and people.

films were contemporary situations built on

DIRECTOR, SCRIPT: Monika Treut

foundations either of bonding or of struggles

PHOTOGRAPHY: Elfi Mikesch

for domination.

SOUND: Alf Olbrisch

An air of romanticism pervades these films, undeniable even in the least-romantic situa­ tions. The motivations of the characters are timeless, universal. These films are, after all, about the search for love and acceptance. -John W. Rowberry

EDITOR: Renate Merck MUSIC: Blazing Redheads, Pearl Harbor, Monamur, Laibach CAST: Ina Blum, Marcelo Uriona, Peter Kern, Hans­ Christoph Blumenberg, Dominique Gaspar, Susie Sex pert, Shelly Mars 85 minutes This program has been supported by the Goethe­ Institute San Francisco, German Cultural Center

plus-

NO NO NOOKY T.V.

(see Saturday,

6/25, 1:00

p.m.)


SATURDAr: JUNE 25 u.s. Premiere

Video Album 5 12:00

noon

4:00 p.m.

SIX OF

STRIPPED BARE: A

CONNOISSEUR'S

TWO FROM

CORNER

HEARTS

LO OK AT EROTIC

Video for the "Thoughtful" Gay

TALL DARK STRANGER

DANCERS

Featured in this program is George Kuchar's

Great Britain, 1986

acclaimed "video diary" of the people and

"There is no tall dark stranger, " concluded Quentin Crisp in the 1970s, and Paul

Video Album 5: The Thursday People, the

events around the late filmmaker Curt McDowel l. Originally shot on 8mm video, this carefully made tape was edited entirely in-camera. A lesson in video/film style as well as a lighthearted, intriguing look at McDowel l's entourage. Also screening: Julie Zando's Hey Bud, a probe of women's power via a government official's televised suicide; Scars, an exploration of self-scarring; A Plague, an experimental video poem about AIDS and loss; Requiem, videomaker Tim Zraggen's stylized

memorial to a friend (music by Eric Holsin­ ger); and Aesthetics and/ or Transportation, Dan Minahan's peculiar "take" on art critic Gregory Battock (a woman reads Battock's essay; he's in Puerto Rico with his boyfriend).

HEY BUD U.S.A., 1987 DIRECTOR: Julie lando Video, 9 min.

SCARS

Canada, 1987 DIR ECTOR: Lorna Boschman Vdeo, II min.

A PLAGUE

U.S.A., 1988

Oremland's response to this starts engagingly as a salty, gay La Ronde for the eighties, all casual sex and cross purposes. The programme then settles into the classic structure of new boy on the block, or-this being London-new chicken in town. This rather perky primer is reminiscent of Ron Peck's feature Nighthawks in its images of a class-ridden gay culture. Occasionally, like Peck's film, Stranger goes awry when it comes to dialogue; nevertheless, the visual style is always compelling and the whole affair ends with an unusual first for network TV: a party sequence with go-go boys in leather tongs and aluminum foil. -Mark Finch DIRECTOR: Paul Oremland Film on video, 40 min.

ANDY THE F URNITURE MAKER Great Britain, 1986

"I came from a place where you either get married and get a mortgage, or die on a motor­ bike before 18," admits Andy the furniture maker in an aside that's a cue for Summertime

U.S.A., 1987 DIRECTOR: Tim Zraggen Video, 6 min.

celebrated, historically and anecdotally.

U.S.A., 1987 DIRECTOR: George Kuchar Video, 60 min.

AESTHETICS AND/OR TRANSPORTATION

U.S.A., 1987 DIR ECTOR: Dan Minahan deo, 14 min.

Andy gives equal time to its subject's life and work. His stubborn, austere furniture is

Own land's film caused a small censorship scandal at Channel 4, not so much for its subject as for its sex-positive attitude. Andy is the ideal TV tease-"a bit lippy"-with one eye always scanning for offscreen reaction. "Being a rent boy [hustler] boring? I t's fucking tedious. I don't get an erection when someone wraps a [20 note around it. Takes a bit more than that to get me excited." Hypnotic. -Mark Finch DIRECTOR: Mark Oremland Film on video, 40 min.

club scene via the testimony of dancers. Women speak about working conditions, how they came to dance and the pleasures and pressures of their profession. Lesbian dancers describe the difference between straight male and lesbian audiences. Women discuss their feelings about using their bodies to make money. Debi Sundahl, erotic dancer and opera­ tor of Blush Productions of San Francisco, details her road to entrepreneurship in the sex industry and the differences between a women­ owned erotic dance palace and various male­ owned clubs are discussed. Footage of dancers on the job is interspersed with interviews. Stripped BaTe raises important questions

about female sexuality and sex work as a viable occupation for women. The women are their own conclusions about their occupation

on the soundtrack and the beginning of a brilliantly upbeat sketch on sex and rebellion.

VIDEO ALBUM 5: THE THURSDAY PEOPLE

Stripped Bare explores San Francisco's erotic

allowed to speak for themselves and to draw

U.S.A., 1985 DIRECTOR: Emjay W ilson Video, 2 min.

REQUIEM

IiiiiiiII

2:00 p.m.

and their alternatives in life. The tape opens an important dialogue about the expression (and past suppression) of female sexuality and the ways in which women can empower themselves via their sexuality. Note: Members of the cast and crew of Stripped Bare will be present after the screening to discuss the making of the tape and to answeT questions. DIRECTOR: Caitlin Manning Video, 60 min.


ROXI E CI N EMA West Coast Premiere

If They'd Asked for a Lion Tamer 5:30 p.m.*

7:30 p.m.

9:30 p.m.

LIFETIME

SPLIT BRITCHES

SEX AND DRAG AND

COMMITMENT: A

U.S.A., 1988

ROCK 'N' ROLL

PORTRAIT OF KAREN

Split Britches is a sterling television adaptation

Boys' (and girls' ) night out features the loony

THOMPSON

and directed by Lois Weaver and written in

U.S.A., 1987

In 1983, Sharon Kowalski was critically injured

of a theater production originally conceived collaboration with Peggy Shaw and Deborah Margolin. Weaver, a film actress and performer with

and disabled in a car accident. Since that

the famed WOW theater group in New York,

accident, her lover, Karen Thompson, has been

has fashioned a humorous and unconventional

fighting a full-time legal battle against

narrative based on the true story of Weaver's

Sharon's family and the courts of Minnesota

Aunt Emma Gay Gearhart and Emma's nieces

for the right to see Sharon, care for her, and

Del la Mae and Cora Jane, who from 1932 to

resume their partnership in love, which Sharon

1949 were the sole inhabitants of the defunct

has communicated she too wishes to continue:

Gearhart plantation in the Blue Ridge

Her specific case is made poignant and

Mountains of Virginia. The three women, who

relevant for all people whose rights may be

lived most of their lives in the kitchen of the

jeopardized by systems of law and morality that

plantation'S main house, conduct a most inu'i足

deny the validity-and the reality-of lesbian

cate series of interactions, through which their

and gay partnerships.

peculiar, deep ways of loving each other are

Note: A llison Mierzykowski of the Free Sharon Committee will speak after the screening of Lifetime Commitment to update Karen's and

Sharon's story. DIRECTOR: Kiki Zeldes Video, 32 min.

revealed.

Deborah Margolin Produced in association with WGBH/WNET New

Opening the program

Kim is the candid personal testimony of a

video. In Now Playing, the denizens of a former porno theatre return to their old haunt to reminisce. Gentlemen is an ode to the public toilet-"Jarman meets Orton. " A teacher inter足 views for a job in Pedagogue, Stuart Marshall's send-up of current British homo-hysteria. This

is Not an AIDS Advertisement is a music video. UN DERCOVER ... ME!

U.S.A., 1988 D I RECTOR: Tom Rubnitz Video, 2 min. U.S.A., 1983

DOCTORS, LIARS AND

U. S.A., 1987

Greyson's The ADS Epidemic (Acquired Dread

of Sex), an ever-so-clever pro-sex, safe sex music

JOHN SEX: THE TRUE STORY

Video, 58 m in.

KIM

national spy, in Undercover . . . me! and John

Sex: The True Story. Following Sex is John

Based on the original play conceived and directed by Lois Weaver Written by and featuring Lois Weaver, Peggy Shaw,

Opening the program-

(see Friday, June 24, 1 1 :00 a.m. )

more. Opening the program, John Sex inter足

PRODUCER/DIRECTOR: Matthew Geller

Television

WOMEN

British "biopic" of drag sensation David Dale,

If They'd Asked for a Lion Tamer and much

DIRECTOR: Tom Rubnitz Video, 4 min. THE ADS EPIDEMIC (Acquired Dread of Sex)

Canada, 1987 DIRECTOR: John Greyson Video, S min. NOW PLAYING

Canada, 1988

76 TROMBONES

Video, 22 min.

U.S.A., 1987

GENTLEMEN

D IRECTOR: Cecilia Dougherty Video, 3 min.

DIRECTOR: David MacLean

Great Britain, 1988 DIRECTOR: David Farringdon Video, 15 min. PEDAGOGUE

young Puerto Rican lesbian's coming out and

Plus

Great Britain, 1988

coming of age in New York City. An intensely

PECCATUM MUTUM

Video, 10 min.

personal story unfolds as Kim takes us through the bar scene, the life of an exotic dancer, and the finding of feminism, which plays an important role in Kim's developing perspective on sexuality, love, and her relationship with her mother. DIRECTOR: Arlyn Gaj ilan Video, 27 min.

(The Silent Sin) U.S.A., 1988

This expressionistic tape "exists somewhere in a dark, hazy past, " and explores relationships among cloistered nuns. DIRECTORS: Suzie S ilver, Lawrence Steger Video, 35 min.

*Frameline will donate a portion of the proceeds from this program to the Karen Thompson Legal Fund.

DIRECTOR: Stuart Marshall T H IS IS NOT AN AIDS ADVERTISEMENT

Great Britain, 1987 DIRECTOR: Isaac Julien Video, S min. IF THEY'D ASKED FOR A LION TAMER

Great Britain, 1986 DIRECTOR: Paul Oremland Fil m on video, 40 min.


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SUNDAY, JUNE 2 6

ROXIE CINEMA COV ERT ACTIO N US.A., 1985 DIRECTOR: Abigail Child 16mm, 10 min.

AN INDIVID UAL D E S IRE S S OLU TIO N US.A., 1986 DIRECTOR: Larry Brose Super-8, 13 min.

YO U CAN' T DIE FRO M N O T SLE EPING

Lawless 5:30 p.m.

A QUEER KIND OF FILM "A Queer Kind of Film" was a highly success­ ful festival of lesbian and gay experimental films' that screened in New York in the fall of 1987. The festival's director, Jim Hubbard, has assembled a sampler for this screening. L'Amico Fried's Glamorous Friends is a delightful romp around sexual cliches and performance-with an angelic ending. The poet reads in An American Poet: Eileen Myles by Andrea Kirsch. Leslie Kossoff fashions a dizzy­ ing, hallucinatory self-port.rait in Untitled. Celebrated filmmaker Abigail Child checks in with Covert Action, in which she subverts home movies to explore the contradictions of sexual existence, after which "one's own 8mm child­ hood souvenirs become forever fraught with alarming possibilities." An Individual Desires Solution is about two lovers. One struggles to survive, the other to understand. You Can't Die From Not Sleeping is an experimental and deeply felt documentary about homeless women in New York. Excerpts of Hubbard's own Homosexual Desire in Minnesota are alter­ nately "bluesy and exuberant" in rendering the nature of the gay movement in the early 1980s. In Razor Head, the ritual of erotic shaving is the basis for an S&M variation on getting a haircut. The program closes with Jerry Tarta­ glia's Lawless, which features gay theau-ics with Warhol superstar Ondine and Margaret Gormley.

L'AMICO FRIED'S GLAM ORO US FRIE NDS US. A., 1974 DIRECTOR: Roger Jacoby 16mm, 10 min.

AN A MERICA N P O E T: EILE E N MYLE S US.A., 1987 DIRECTOR: Andrea Kirsch 1 6mm, 3 min.

UN TITLED US.A., 1987 DIRECTOR: Leslie Kossoff Super-8, 3 min.

US. A., 1985 DIRECTOR: Harriet Hirshorn 16mm, 8 min.

excerpts from HOM O S EX UAL DESIRE IN MINNE S O TA

7:30 p.m. and 9:15 p.m.

US.A., 1985 DIRECTOR: Jim Hubbard Super-8, 25 min.

US. A., 1976

RAZ OR HE AD US. A., 1981 DIRECTOR: Tom Chomont 16mm, 5 min.

LAWLE S S US.A., 1977 DIRECTOR: Jerry Tartaglia 1 6mm, 10 min.

THE WAR WID OW Pamela Bellwood stars as Amy, the lonely wife of a long overseas World War I soldier, in the rarely seen KCET-T\', Los Angeles, production of The War Widow, one of the most requested titles each year at the Festival. Constructed with a delicacy reminiscent of Edith Wharton, The War Widow tells the story of the love that grows between the conventional Amy, who lives with her mother and daughter in a stately New York suburb, and the freespirited Jenny (Frances Lee McCain) whose passion for photography is equalled only by her passion for Amy. The romance between Amy and Jenny begins innocently in a New York tearoom, when Jenny befriends Amy, whose eyes she finds "so deeply, painfully sad. " The two women come to. know each other better as they work on one of Jenny's photography projects. A vacation together at the beach makes each realize the depth of their relationship, something which forces Amy to face "what I cannot even name when I am alone and there is no one else to hear. " True to the lives of many lesbians of the period, Amy's society does not easily allow her to reconcile her love for Jenny with the duties of her station. When her husband announces his return, she is forced to make the ultimate choice-between her family, including her young daughter Beth, and her lover. In his book, The Celluloid Closet, Vito Russo lauds The War Widow as a "positive evocation" of the lives of gay characters and as a piece in which the central characters have a "sense of history" and of their role in the struggle for sexual freedom. The War Widow closes the 12th San Francisco Lesbian and Gay Film Festival in grand style, with author Harvey Perr present after each screening to answer questions about the tape's history and creation. DIRECTOR: Paul Bogart PRODUCER: Barbara Schultz SCRIPT: Harvey Perr PRINCIPAL CAST: Pamela Bellwood, Frances Lee McCain, Katherine Bard, Barbara Cason, Nan Martin, Tim Matheson, Stephanie Retsek, Maxine Stuart Video, 83 min.


S O URCE S : ADS EPIDEMIC: V-Tape, 183 Bathhurst St., Toronto, Ont., M5T 2R7 Canada AESTHETICS AND/OR TRANSPORTATION : The Kitchen, 512 W. 19th St., New York, NY 100 1 1 T H E AIDS MOVIE: Durrin Films, 1748 Kalorama Rd. , NW, Wash ington, DC 20009 AIDS: A P R IEST'S TESTAMENT: Strongbow Marketing, 15 Sir John Rogerson's Quay, Dublin 2, Ireland ALFALFA: Frameline, PO Box 14792, San Francisco, CA 94 1 1 4 ALL DAY ALWAY S : Wolfe Video Disu-ibuting, PO Box 64, New Almaden, CA 95042 ANDY THE FURN ITURE MAKER: Kinesis Films, 16 Colville Place, London W I , England ANGUIS H ED LOVE: Thai Motion Pictures Producers Assoc., Bangkok, Thailand ANOTHER WAY : Hungarofilm, Bathori utca 10, H-1054 Budapest V. Hungary AUTOMATING: contact Frameline BABA-IT: Jonathan Saga lie, 3 Eshkolot St., Haifa, Mt. Cannel 34 3 2 1 Israel BECAUSE THE DAWN : Amy Goldstein, 236 West 26th Street, Suite 1005, New York, NY 10001 BEFORE THE ACT: Kenneth Butler, 20 Ongar Road, London SW6, England BEL RAGAZZO: Unifrance Film, 1 1 4 Champs Elysees, 75008 Paris France BERTRAND DISPARU: Les Films du Labyrinthe, 1 5 rue Marcel Allegot, 92190 Meudon-Bellevue France THE BISEXUAL KI NGDOM: V-Tape, 183 Bathhurst St., To ronto, Ont . , M5T 2R7 Canada BLACK PEOPLE GET AIDS TOO: Multicultural Prevention Resource CeI1ler, 1540 Market St., Suite 320, San Francisco, CA 94102 CAVALE: Luc Fritsch, 2 rue de I ' Esperance, 9 1 800 Brunoy France COM M U N ICATION FROM WEBER: Omni Productions, 1 1 1 7 Virginia St. E., Charleston, WV 2530 1 CROW S: Crows/Big Girl, 25 Ormy St., Tel Aviv 69016 Israel DARK HABITS: Cinevista, 3.13 West 39th St., Suite 404, New York, NY 10018 DISPLACED VIEW: Development Education Centre, 229 College St., Toronto, Ont. M5T I R 4 Canada DOCTORS, LIARS AND WOMEN: Gay Men's Health Crisis, PO Box 274, 1 32 W. 24th St . , New York, NY 1001 1 DON'T MAKE ME UP: Sarah Tuft, 47 W. 88th St., #5-A, New York, NY 10024 DORIAN GRAY IN THE MIRROR OF THE POPULAR PRESS: Exportfilm Bischoff & Co. , Isabellastrasse 20, 0-8000 Munich 4 0 West Germany DRACULA'S DAUGHTER: Swank, 6767 Forest Lawn Drive, Hollywood, CA 90068 EMPIRE STATE: Vidmark, 2901 Ocean Park Blvd., Suite 1 23, SaI1la Monica, CA 90405 THE EVERLASTING SECRET FAMILY: August El1lenainment, 1 1 1 9 North McCadden Place, Suite 201, Los Angeles, CA 90038 EVOLUTION OF A SEX LIFE: CyI1lhia Gaffney, 380 San Carlos, San Francisco, CA 94 1 1 0 FIGHTI NG FOR O U R LIVES: FACING AIDS I N SAN FRANCISCO: Ellen Seidler, clo UC Berkeley, Gradaute School of Journalism, Berkeley, CA 94720 FILMS OF JAMES BROUGHTON: Canyon Cinema Co-op, 2325 Third St., Suite 338, San Francisco, CA 94 107 FILMS OF RICHARD FONTAINE: available on video from R.A. Enterprises, PO Box 1 1 49, Hanford, CA 93232 FRIE N DS FOREVER: Danish Film Institute, Store Soendervoldstraede, DK- 1 4 1 9 Copenhagen K. Denmark G E NTLE M E N : David Farringdon, 1 3 Cosmo Place, London WC I 3AP, England HAZEL'S PHOTOS: Doreen M. Bartoni, 1906 N. FremoI1l, Chicago, IL 60614 HEY BUD: Video Data Bank, SAIC, 280 S. Columbus Dr., Chicago, IL 60603 L' HIVER APPROCHE: Unifrance Film, 1 1 4 Champs Elysees 75008 Paris FIance I LIKE GIRLS FOR FRI ENDS: Video Data Bank, SAIC, 280 S. Columbus Dr., Chicago, IL 60603 THE ICE PALACE: Norsk Film A/S, PO Box 4 , N - 1 3 42 Jar Norway I F THEY'D ASKED FOR A LION TA MER: Kinesis

~ ....

Fih""

16 Col,ill, P I ,,,, Loodon W I , Engbod

I NTERNATIONAL SWEETH EARTS OF RHYTH M : The Cinema Guild, 1697 Broadway, New York, N Y 10019 IOWA CITY WOMEN'S RUGBY: Goo Gohman, 1231 Navell ier, EI Cerrito, CA 94530 IT'S A LEZZIE LIFE: Ingrid Wilhite, 709 5 th Ave., San Francisco, CA 94 1 1 8 JOHN SEX: T H E TRUE STORY: Tom Rubnitz, 431 Broome St., New York, NY 1 00 1 3 KAMI KAZE H EARTS: Legler/Bashore Productions, 5 Wavecrest, Venice, CA 90291 KEN DEATH GETS OUT OF JAIL: Frameline, PO Box 14792, San Francisco, CA 94 1 14 KIM: Frameline, PO Box 14792, San Francisco, CA 941 14 THE LAST OF ENGLAND: The Sales Co., 62 Shaftesburg Ave. , London W I V 7AA England THE LAST SONG: Thai Motion Pictures Producers Assoc., Bangkok, Thailand LIFETIME COMMITMENT: A PORTRAIT OF KAREN THOMPSON: Kiki Zeldes, 12 Porter Rd . , Cambridge, MA 02140 LIVING WITH AIDS: WOMEN AND AIDS: Gay Men's

TILL DEATH DO US PART: Durrin Films, 1748 Kalorama Rd., NW, Washington, DC 20009 TINY & RUBY: HELL D I V I N ' WOME N : Jezebel Productions, PO Box 1 348, New York, NY 1001 1 TOO LITTLE TOO LATE: Fanlight Prod., 47 Halifax St., Boston, MA 02 1 1 5 UNDERCOVER . . . M E ! : Tom Rubnitz, 4 3 1 Broome St., New York, N Y 10013 UP I N ARMS OVER N E EDLE EXCHANGE: Gay Men's Health Crisis, Box 274, 1 3 2 W. 24th St., New York, NY 100 1 1 VIDEO ALBUM 5 : T H E THURSDAY PEOPLE: George Kuchar, 3434-A 19th St., San Francisco, CA 941 1 0 VINGARNE: Swedish Film Institute, Box 2 7 1 26, 10252 Stockholm Sweden THE VIRGIN MACHINE: Hyane Filmproduktion GbR, Gr. Bergstr. 142, 2000 Hamburg 50 West Germany VIVAT REGINA: Charlotte Metcalf, 34-3.8 Westbourne Rd. Grove, London W25SH England THE WAR WIDOW: contact Frameline WENDEL: Pro Helvetia, Hirschengraben 22, CH-8024 Zurich, Switzerland

Health Crisis, Box 274, 1 32 W. 24th St., New York, NY 100 1 1 MADCHEN IN U N I FORM: Altermedia, 100 Stuyvesant P I . , #U-4, Staten Island, NY 10301 MALAYSIAN SERIES: contact Frameline MAY H E M : Canyon Cinema Co-op, 2325 Third St., Suite 338, San Francisco, CA 94107 NEGATIVE MAN: Cathy Joritz, 2 1 1 9 N. Sedgewick, Chicago, IL 60614 NEIL BARTLETT: PEDAGOGUE: Caught in the Act Prod., 31 Carthew, London 6 ODU, England N O NO NOOKY T.v.: Barbara Hammer, COM 301, Evergreen State College, Olympia, WA 98505 NOW PLAYING: V-Tape, 183 Bathhurst St., ToroI1lo, Ont., M5T 2R7 Canada OJOS QUE NO V E N : Latino AIDS Project, 2515 24th St., San Francisco, CA 941 10 OSTIA: Royal College of Art, Film Dept., Queens Gate, BG-London SW7 England PECCATUM MUTUM: Sacred Heart Prod., 2720 W. St. George's Ct., Chicago, I L 60647 POETRY FOR AN ENGLISHMAN: South Pacific Films, I I I Pitt Street, Redfern N.S. W. 2016 Ausu'alia A PLAGUE: Emjay Wilson, 1426 Newcombe Ave., San Francisco, CA 94124 A QUEER KIND OF FILM: Jim Hubbard, 503 Broadway, R m . 503, New York, NY 100 1 2 REFRAMING AIDS: Albany Video Dist . , The Albany, Douglas Way, London SE8 4AG, England R E QU I E M : Video Free America, 442 Shotwell, San Francisco, CA 94 1 10 REVOLUTIONS HAPPEN LIKE REFRAINS IN A SONG: contact Frameline SCARS: Women in Focus, 456 W. Broadway, Vancouver, BC V54 I R3, Canada SEPARATE S K I N : Women Make Movies, 225 Lafayette St., Suite 212, New York, NY 10012 76 TROMBONES: Cecila Dougherty, 41 Putnam St., San Francisco, CA 94 1 1 0 S H ELL: Karen Lee, 4738-1/2 Twining St., Los Angeles, CA 90032 SOMETIMES . . . A POEM: contact Frameline SPLIT BRITCH ES: Everglades Productions, 4 White St., New York, N Y 10013 STILLER, GARBO AND ME: The Finnish Film Foundation, Kanavakatu 1 2, 00160 Helsinki Finland STR I P P E D BARE: Caitlin Manning, 1243 Pou'ero Ave., San Francisco, CA 94 1 10 THE SUBJECT IS AIDS: ODN Prod., 74 Varick St., Suite 304, New York, NY 10013 SUBURBAN QUE E N : Video Data Bank, SAIC, 280 S. Columbus Dr., Chicago, I L 60603 TALL DARK STRANGER: Kinesis Films, 16 Colville Place, London WI, England TEN CENTS A DANCE (PARALLAX): Canadian Filmmakers Disu'ibution West, 1 1 31 Howe St., Suite 100, V6Z 2L7 Vancouver BC Canada TESTING THE LIMITS GUIDE TO SAFER SEX: Hilery Joy Kipnis, 107 St. Marks Ave. , Brooklyn, NY 1 1217 T H I S IS NOT AN A I D S ADVERTI SEMENT: Albany Video Dist., The Albany, Douglas Way, London SE8 4AG, England THREE BEWILDERED PEOPLE IN THE NIGHT: Desperate Pictures Ltd., 740 S. Detroit St., #1, Los Angeles, CA 90036

V OLUNTE ERS Dagny Adamson Robert Adelman Laura Mae Alpert Rick Andrews Jaz Bergeron Melissa Bower Anne Boyd Doug Braley Howard W. Burr, Jr. Diane Caliva Nancy Connolly Carla Danella Helen de Vivien Claire Delaney Nikos Diaman Russell Discher Nancy Fishman Cynthia Gaffney Marsha Gale Cindy Gohman Winona Jones Betty Kirch Jenny Link Michael Markic Sean McShe Arl Nadel Christopher Raymond Debbie Rieck Dan Schreiber Karen Serrano Marlynn Snyder Diana Stirpe Judy Stone Rodney Thomas Jill TregoI' David Weisman Nancy Whalen Bruce Williams Tom Yannetta Yohimbe And thanks to the many other volunteers who worked on the Festival.


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Twelfth Annual San Francisco International Lesbian and Gay Film Festival  

Twelfth Annual San Francisco International Lesbian and Gay Film Festival Program Guide (Frameline 1988)

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