Page 1


French Restaurant And Bar

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FRAMELINE PRESENTS

THE THIRTEENTH SAN FRANCISCO INTERNATIONAL LESBIAN AND GAY FILM FESTIVAL JUNE 16-25, 1988

CASTRO THEATRE

The 1989 Festival is made possible by the contributions of Frameline donors and support from San Fran­ cisco Grants for the Arts, the National Endowment for the Arts, the California Arts Council and the Chicago Resource Center.

FRAMELINE/FESTIVAL STAFF

Michael Lumpkin, Festival Director Linda Farin, Executive Director Wendy Dallas, Festival Assistant Karen Larsen, Daniel Mangin, Publicity Tom Bonauro & Rex Ray, Festival Design Kris Balloun, Business Donations Coordinator 1989 FESTIVAL SCREENING COMMITTEE

Cecilia Dougherty Linda Farin Robert Hawk Michael Lumpkin Daniel Mangin Lawrence Wong FRAMELINE BOARD OF DIRECTORS

Phyllis Zusman, President Bruce Carolan, Vice President, Development Flora McMartin, Vice President, Administration Elizabeth Whipple, Secretary Doug Braley, Treasurer Susie Bright Roberto Esteves Peter N. Fowler Fenton Johnson Susan Kuchinskas Steve Lew Shu Lee Ong , John Silva Laura Thielen Lawrence Wong FRAMELINE ADVISORY BOARD

Allan Berube, Historian Harry Britt, S. F . Board of Supervisors Douglas Edwards, Academy of Motion Pictu re Arts and Sciences Robe rt Epstein, FiIm Director Mar k Finch, British Film Institute Tim Hanlon, Vice-President, Wells Fargo Ban k

ROXIE CINEMA

Vivian Kleiman, Film Producer Hael Kobayashi, KRON-TV Armistead Maupin, Author Pat Norman, Co-chair, National March on Washington Lourdes Portillo, Filmmaker Frances Reid, Cinematographer B. Ruby Rich, New York State Council for the Arts Marlon Riggs, Video Director Vito Russo, Author, Film Critic Gail Silva, Film Arts Foundation Liz Stevens, Iris Feminist Collective Rikki Streicher, Businesswoman Paul N. Thurston, Attorney at Law Tim Wolfred, San Francisco Community College Board Debra Zimmerman, Women Make Movies Affiliations listed for identification purposes only

CASTRO THEATRE

429 Castro Street at Market (415) 621-6120 ROXIE CINEMA

3117 16th Street at Valencia (415) 863- 1087

FESTIVAL TICKET OUTLET

Captain Video - Second Floor 2358 Market Street at Castro (415) 431-9227 FRAMELINE

P. O. Box 14792 San Francisco, CA 94114 (415) 861-5245 Offices located at 347 Dolores Street, Suite 205, San Francisco . The San Francisco International Lesbian and Gay Film Festival is a registered service mark of Frameline, Inc. Cover: Tom Bonauro

WELCOME TO THE FESTIVAL As the producer of the 13th annual San Francisco International Lesbian and Gay Film Festival, Frameline invites you to indulge in an exciting ten days of the best lesbian & 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. Frameline and the Festival were established to increase the availability of lesbian and gay film and video, and every work screened or distributed 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 com­ munities across the nation: • INFORMATION EXCHANGE: The only fully-staffed lesbian and gay media . arts organization in the country, Fram.ellne receives inguiries year-round for infor­ mation 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 established its distribution program making lesbian and gay films and videotapes from .the U . S . and ot��r countries acceSSible to communities across America. • AIDS AWARENESS: Last year, the distribution program launched another project: the AIDS Film Project National Tour . Presented in conjunction with the Names Project Quilt Tour, this two-hou.r film program gave over forty communi­ ties the opportun!ty to see five ��cellent films that deal With the AIDS crisIs and its effect on gays, heterosexuals, and. minorities . In Septem ber 1989 Framell ne will present the U . S. tour of POLICING THE BEDROOM, a package of new British shorts dealing with laws of desire and sexual representation .

TELEV ISION BROADCAST: Since 1982, Frameline has broadcast "Frameline Presents", an anthology of new lesbian and gay video, now seen every Monday at 8:30pm on San Francisco cable channel 25. •

• EDUCATION: Each year Frameline co-sponsors a film and video class at City College, presenting the history of lesbians and gays in cinema .

FUNDING: Now in its third year, Frameline's Completion/Subtitling Fund awards grants to new lesbian/gay pro­ ductions enabling them to reach a wider audience. •

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US Tour: Set p ember 1989 booking g a ent: FRAMELINE, PO BOX 14792, SAN FRANCISCO, CA 94114 (415) 861-5245 4

SFLlGFF


FRAMELINE DONOR PROGRAM 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.

BENEFACTORS Paul Albert In Memory of Shirly, John and Rachel Friedman Horizons Foundation Clyde Wildes

PATRONS Christopher J. Bakes, Esq. L. Wayne Bennett Bruce Carolan J. Brian Cowgill & Joseph Del Barba Roberto Esteves Peter N. Fowler, Esq. Kirk Frederick Graphics James H. French Monaco Labs Inc. Joyce M. Norcini W. Rash Lawrence T. Rose Fred Rosenberg Art Simon Brian L. Skaggs Peter Washburn

SPONSORS Douglas Allen M. Janet Allen Alternative Mortgage Sources! Real Estate Services Robert M. Anderson Michael Andaloro Roy Bateman Alvin H. Baum Scott Bravmann David Clayton Courtney Jeffrey M. Davidson Glen Davis Gail Dekreon Claire Delaney Susan Elliott Hermon Fleming Ellen Gibson Maurice Gibson Jim Govek & Don Hunter Great Works, Inc. David M. Halperin Geoff Harris & Bob Matgen Catherine Harrison Joan Haskin Michael J. Hawley James L. Joslin Steve Kaye Christy Keith Irwin E. Keller Steven Kotz Newman Lee Betsy J. Levine Daniel Mangin Eugene Marangoni Ray March Agustin Martin Maureen Mason Donald T. Masuda Burl McNeely Brandy Moore Kathryn Nelsen Michael Pobuda Karen Pollach Curtis Ponzi Gary W. Powell Ted Rolfs Carol Rowan & Nina Allen Gail Silva Richard Skidmore & Mark Pierce Rick Solomon Thomas Steel

Cathy Jane Steirn Dianna Stirpe Noelle Tracy Steven Unger Kris Weingard Daniel A. Wohlfeiler Douglas Woodyard Cedric C. Yap Robert Zaborny & Noel Day

DONORS Scott Anderson Gaetano Bandiera Tom Bauer Mary Beeson Mike Berg Bill & Ken Eileen Blumenthal & Ruth Borenstein Phyllis Caruso Jim Chambers & Eric Hsu Lynn Devon & Jackie Dawley David Devereaux Helen de Vivien Bob Dressel Joanna Dusich Sue Fenstermaker John Figone Brett Gladstone Piers Greenhill Stuart Gurtman Arndt Hansen David Harrell Ken Hom Jim Hubbard Mark David Johns Elizabeth Kantor A. Karcz & D. Mosher D. W. Karner Kathleen Monico Klein Hael Kobayashi Chuck LaGrave Dennis Letbetter Jose Lorenzo M. Lucid Joan Louise Marquardt Kate Meiss & Beth Steckler George Mendenhall Mermaid Productions Sharon O. Medairy Shelley Mesirow Joan Miller David Mincin James Mishima S. Nakamura Daniel Nicoletta & Michael Pinatelli, Jr. Ken Overholt Robert Perry Don Pharaoh Graham Phelps Cathy Phoenix & Liz Cox Thomas Plageman Edward Pollock T. B. Preston Liz Rigali Marlon T. Riggs Nancy Rosenblum Heather Ryan Fritz Schultz Robert Schwarzbach Judy Sisneros Alden Spafford Cheryl Swannack Keith Thomas Paul N. Thurston, Esq. Carol Upton Aleeta M. Van Runkle Mario Villa & Dennis Marquardt Mustela Vison Gerry D. Watt

Alan Weaver David Weisman Karen Wickre Thom Wineland Michael A. Zimmerman Charles Zukow & Scott Champlain

SPECIAL THANKS TO:

Gary Rorick Rosie's Cantina John W. Rowberry Roxie Cinema Ruby's Vito Russo SF Eagle S.F. Weekly San Francisco Bay Times San Francisco International Film Festival Sausage Factory Scholastic Productions Steve Seid Sparky's Paul Spehr, The Library of Congress The Stud Sweet Inspirations Tassajara Taste Roger Tonge, BBC-TV Tom Toth Trax Vestron Pictures David Weissman Dave Wittkowsky, Cleveland

Adair & Armstrong, Film & Video The Advocate Albany Video Distribution Alta Plaza Andiamo Gourmet Deli Artemis Cafe The Bagelry Baghdad Cafe Beaulieu Vineyard Bed of Roses Blue Muse Blumenfeld Enterprises Bobby Ray's BBQ Bobby Rubino's Place For Ribs Paul Bollwinkel Tom Bonauro The Box The British Council International Film Festival Cake Gallery Tim Wohlgemuth, Award Films Canadian Consulate, San Francisco Women Make Movies Captain Video Robert Wulff Florist Diane Carelli, Blumenfeld Enterprises Carlene's And many thanks to the many wonderful Castro Gardens and dedicated voluteers who help make Castro Street Flowers this Festival possible. Castro Theatre Castro Village Wine Co. Catering Extraordinaire Cha Cha's Channel Four Television, London Chocolates from Chocolates Cinevista!Promovision Complete Business Services Cove Cafe Crystal Geyser Jeff Diamond, Blumenfeld Enterprises A Different Light Dino's Liquor Douce France Patisserie EBS Productions The Elles' Mere on Nob Hill Mark Finch, British Film Institute Richard Fontaine Foodtalk Fran Gage Patisserie Francaise Freixenet Cordon Negro Cynthia Gaffney The Galleon Goethe Institut, San Francisco Golden Brands Hayes Street Grill Larry Horne, Gay and Lesbian Media Coalition Ideal Deli Ironwood Cafe Maria Kellett Cathy Kuenster John Lewis, The New Festival Steve Loving James Mackay Stan Maletic Photography Maud's Bar McKesson Corporation La Mediterranee Metro The Mint Anita Monga Philip Muller New Zealand Film Commission EI Nuevo Frutilandia Orphan Andy's Pacific Film Archive Mark Page Huguette Parent, National Film Board of Canada Patio Cafe Phoenix Hotel Prescott Hotel Jacqueline Poudrier, Canadian Broadcasting Corp. Queen Anne Suites Rainbow Grocery Rami's Cafe Rex Ray Real Foods

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FESTIVAL SCHEDULE FRIDAY JUNE 16 Castro Thea tre

OPENING NIGHT

7:00 pm Salut Victor! Ray's Male Heterosexual Dance Hall 9:30 pm Therese and Isabelle

SATURDAY JUNE 17 Castro Theatre 1:00 pm Gay Shorts 3:00 pm Experimental Lesbian Shorts 5:30 pm Out of Our Time 7:30 pm Nelly Toons 10:00 pm The Long Weekend (o'despair) Decodings

SUNDAY JUNE 18 Castro Theatre 12 noon Panel: Lesbian/Gay Sensibility足 'More Than Sex? 2:30 pm An Empty Bed Beyond Gravity 4:30 pm Sex Change & Cross-Dressing In Early Silent Film 6:30 pm What Shall We Do Without Death

Special Festival Broadcast on Viacom Cable Channel 25 8:30 pm Where There Was Silence TUESDAY JUNE 20 Castro Theatre 7:00 pm Fun Down There Mothers 9:30 pm Looking For Langston

' WEDNESDA y JUNE 21 Castro Theatre 7:00 pm All-Girl Action The History of Lesbian Erotica 9:00 pm The Killing of Sister George

THURSDAY JUNE 22 Castro Theatre 7:00 pm Some. of My Best Friends Are... 9:30 pm Urinal The ADS Epidemic

FRIDAY JUNE 23 Castro Theatre 6:30 pm Johanna D'Arc of Mongolia 10:00 pm Taxi To Cairo Interior Decorator From Hell Midnight Pink Narcissus

Roxie Cinema 8:30 pm Taxi Zum Klo Presentation of The 1989 Frameline Award

MONDAY JUNE 19 Castro Theatre

1:00 pm Response To AIDS 3:30 pm Care Giving Videos

7:00 pm Lesbian Shorts

5:30 pm A Yearning For Sodom The Right To Fight

9:00 pm Summer Vacation: 1999

7:30 pm Men In Love

9:45 pm Out On Four

SATURDAY JUNE 24 Castro Theatre 12:30 pm Panel: Lesbian/Gay Media in the 90's 2:30 pm Derek Jarman, Know What I Mean The Deflatable Man Psyclones On Heat 4:30 pm Desire A.l.D.S.C. R.E.A.M. 7:00 pm Night Visions 9:00 pm Wonderland Ballad Of Reading Gaol

Roxie Cinema 12:30 pm The Heart Exposed 2:30 pm Two Of Us The Truth About Alex 5:00 pm Annette Forster Lecture: New Lesbian Cinema 7:00 pm Videos By John Greyson 9:15 pm Barbara Hammer New Video Works 11:00 pm Out On Four

SUNDAY JUNE 25 Roxie Cinema 5:00 pm Out On Four 7:00 pm No More Nice Girls: New Lesbian Videos 9:00 pm Getting Off & Dancing New Gay Videos SFILGFF

7


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FRIDAY

JUNE 16TH

7:00 pm

9:30 pm

SALUT VICTOR!

THERESE AND ISABELLE

Canada, 1988

France, 1966 In this film based on the novel "La Batarde" by Violette Leduc, Therese returns to the scene of her sexual awakening. She remembers her desola­ tion after being sent away to a boarding school by her adored but newly married mother, and meeting Isabelle, a class­ mate, quite adjusted and unconcerned that her parents have left her at the school . An immediate and intense friend­ ship develops between the adolescent girls. Their intensity leads to hurried caresses in the school chapel, in the bathroom, and ultimately to a brothel that the sophisticated Isabelle knows. Leduc's whispered poetic imagery of the "secret pearl" is narrated during the love scenes conjuring images the screen does not reveal .

World Theatrical Premiere A Benefit for the Frameline Completion/Subtitling Fund In SALUT VICTOR! Canadian filmmaker Anne Claire Poirier has created an intimate chamber piece around two older gay men whos� diverge�t. life exper.iences could never have anticipated their late-in-life frien.dshlp . For Phl!lppe, a qUiet, distinguished gentleman, old age means frail health, loneliness . and loss of freedom. Resigned to the infirmities of age, he moves to a comfortably slt�ated h�m� for the elderly; there, amidst anonymous surroundings, he prepares t? Sit ou� his final years, waiting for the end. This solitary vigil is almost Immed�a.te!y disrupted by another resident-Victor, a handsome lion of a man whose SPirit IS undaunt�d by a withering of the flesh . For him, the wheelchai: li�erates.' the mal.e nurses delight, and an occasional surreptitious nip of cognac revitalizes . HIs gregarious, often irreverent, familiarity initially ruffles Philippe's dig.nified .reserve. Yet gr.a�ually he warms to Victor's generous charm and a tender friendship evolyes, . �evlvlng laughter, dreams, and secrets confided. Based on Edward 0 . . Phillips �ook, " Matthew and Chauncy," SALUT VICTOR! draws a sensitive and revealing por!ralt of . friendship. While infused with a sense of humor and fantasy,. thls slmply-t�ld tale IS all the more poignant for the realities it address�s-the. physlcal �nd emotl�nal . effects of age, the euphoria of past loves, the P�1n of difficult c�olces, lon.ellnes�, . and ultimately, loss. As played by Jacques Godin and Jean-LouIs Roux, friendship IS cherished as much for its mystery as for its delight! -Laura Thielen

Director: Radley Metzger Cast: Essy Persson, Anna Gael 35mm, 102 minutes

Director: Anne Claire Poirier Screenplay: Marthe Blackburn Photography: Michel Brault Editor: Suzanna Allard Music: Joel Vincent Bienvenue Cast: Jean-Louis Roux, Jacques Godin 16mm, 83 minutes . . . Subtitling funded by a grant from the Frameline CompletIOn/Subtitling Fund

Sponsored by the Canadian Consulate General, San Francisco

RAY'S MALE HETEROSEXUAL DANCE HALL USA, 1988 Winner of the 1988 Academy Award for short films, RAY'S MALE HETEROSEXUAL DANCE HALL tells the offbeat story of Sam Logan and his search for a job-a really good one.

Director /Writer: Bryan Gordon Cast: Boyd Gaines, David Rasche, Lee Wilcoff 35mm, 23 minutes

SFILGFF

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SATURDAY

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Gently Down The Stream

1:00 pm

3:00 pm

GAY SHORTS

EXPERIMENTAL LESBIAN FILMS

OUT OF OUR TIME

INFIDEL

U SA, 1 988

DER OHRENWURM S w i t z e r l a n d , 1 986 D irector: Herbert Fri t s c h Ca m er a : U el i Ste i g er 1 6m m , 1 2 m in u t e s

CHAERO I r e l a n d, 1 988 Two D ubl i n yo u t h s inh abit t h e i r o wn a u tono m o u s, t e enag e w o r l d w h e re a d u l t m o d e s h av e no s w ay, c i g a r ettes a r e t h e s t a n d ard u n i t o f cu r re n cy a n d a l c o h o l t h e u s u a l m e ans of e s c a p e. D i rector : M att Hayes 1 6 m m , 15 m i nutes

SORTIE 234 C anad a, 1 988 Th e t h e m e o f S O RTI E 234 is p as s i o n , t h e rabi d p a s s i o n o f R ena u d fo r F r ank . A p as s i o n w h i c h s h o ots l i k e a star and e x p lod es. In bet w e e n t h ese t w o p o l e s t h e r e i s Lu c i l l e, F r an k ' s l o v e . L u c i l l e w h o m R e n a u d t r i es t o t a m e, L u c i lle w h o bec o m e s t h e g o-betw e e n i n t h i s pUl s at­ i n g r e l at i o n s h i p . D i recto r / S cr i p t : M i c h e l Lang l o i s P h o t o g r ap h y: Er i c C a y l a E d i t or: J e an-C l a u d e C o u l b o i s Cast: R o y D u p u i s, El i s e G u i l b a u lt, J e an L'ltal i en 1 6 m m, 26 m i nutes

MY NAME IS EDWINA CARERRA U SA, 1 986 Ed w i na a n d h e r two g ay r o o m m ates s q u a r e off.

U SA, 1 989 Si m p l y stated, A r r oe is a b l a c k f as h i o n m o d e l , a l es b i a n , w h o d e a l s w i t h i s s u es of r a c i s m i n an ind u st ry t h at is i n t o l e r­ a n t of v a r i ati o n f r o m e i t h e r t h e p as s iv e A n g l o i d e a l , o r t h at o f t h e e x o t i c i z e d , p r i m i t i v i z e d w o m an o f c o l o r . T h e r e i s n o t h i n g s i m p l e abo u t C at h e rine S a a l ­ f i e l d ' s I N F I D EL, h o w ev e r, as t h e f i l m u n c ov e rs a n d r e p o s i t i o n s l ayers o f m yt h abo u t f e m a l e be a u ty, t h e f u n c t i o n o f rac i s m i n s t an d a r d i z i n g o u r i d e a l s, a n d t h e n e c es s i ty o f f e m a l e s e l f ­ c ons cio u s ness i n a s c h e m e t h at d e m and s both c o n f o r m ity and u ni q u ­ ene s s . Part ly a utobi o g r a p h i c a l , a n d p a rt l y e x t r a c t e d f r o m c o l l e ct i v e e x p e­ r i e n c e, t h i s ju m p y, t i g h t l y c rafted n ar r a­ t i v e r e c onst ru cts t h e p ro c ess be h i nd t h e fo r m u l at i o n o f s e l f-i m ag e .

-Cecilia Dougherty

D irector: Cat h er i ne S aa l f i e l d 1 6 m m , 4 5 m i nutes

BOTH U SA, 1 989 Abi g ai l C h i l d 's c a m e r a c r e ates a s m a l l m as t e r p i e c e i n B OTH . I t i s a r i c h l y t e x t u r e d f i l m t h at is s i m u l t a n e o u s l y r e v e a l i n g a n d myste r i o u s as a s t u d y of the n u d e i n l i g h t and m o v e m ent .

-Cecilia Dougherty

D irecto r : C l i ff Bryant 16m m, 15 m i nutes

D i rector: Ab i g a i l C h i l d 16m m , 5 m i nutes

SONG FROM AN ANGEL

GENTLY DOWN THE STREAM

U SA, 1 988 A n g e l of L i g h t R o dney P r i c e g i v es a f a r e w e l l p e rfo r m a n c e .

U SA, 1 983 G E N TLY D O W N T H E S T R E A M u s e s m at e ­ r i a l f r o m a s u c c es s i o n o f d re a m s t a k e n f r o m e i ght y e a r s o f jo u rn a l s to e x o r c i s e t h e myste r i o u s r i t u a l i s t i c p o w e r o f r e p e ati ng i m ag e s .

D irecto r : Da v i d W e i s s m an Cas t : Rodney Pri c e 1 6m m, 10 m i nu tes

CROSS BODY RIDE U SA, 1 988 Tw o m en d ance a s e n s u a l d u et .

5:30 pm

West Coast Premiere An e x c i t i ng f i rst feat u re by two n e w yo u n g t a l e n t s o n t h e ind e p end e n t f i l m s c ene, O U T O F O U R T I M E j u x t a p o s e s t w o c i r c l es o f w o m en-o n e a l i t e r a ry / art i s t i c s o c i ety of w o m en i n C h i c a g o c i rc a 1 930, t h e o t h e r a c o n te m p o ra ry g r o u p of f e m i n i sts . Th e two c i r c l e s a r e l i n k ed by V a l e r i e Ward and J ac q u e lyn M att h ews, g ran d d a u g h t e r and g ra n d m o t h e r res p e c ­ t i v e l y, b o t h o f w h o m , in t h e i r o w n e r a s, g r a p p l e w i th t h e f r u strat i o n s of n o t f u l f i l l i n g t h e m s e l ves as w r i t e r s, and s h a re a d re a m of be i n g p u bl i s h e d . J ac q u e l yn i s a w ri t e r f o r a p ro m i n ent 1 930' s f as h i o n m a g a z i n e w h o w a nts t o h av e h e r no v e l p ubl i s h e d . V a l i s a ty p e s et t e r f o r a s m a l l u rban f e m in i st n e w s p a p e r, i n s e c u r e abo u t p u bl i s h i n g a n d read i n g h e r p o et ry. T h e fi l m s k i l l ­ f u l l y i n t e rw e a v es t h e sto r i e s o r t h e s e t w o e ras, s h o w ing u s t h e p a r a l l e l s i n t h e c h o i c es, i s s u e s a n d stru g g l e s t h at bot h c ont e m p o r a ry and w o m en o f t h e past enc o u nte r . T h e 1 930's p e r i o d s c e n e s c onv i n c i ng l y rec r e a t e a s e n s e o f a r i st o ­ c r at i c bo h e m i a, of w o m en f i g h t i n g fo r an a r t i st i c i d e n t i ty in a w o r l d w h e re u s ing a m a l e p s e u d onym w a s t h e m os t a c c e s s i - b l e v e n u e t o be ing p u b l i s h e d . T h e c o n ­ t e m p o r a ry s c enes a r e h u m o ro u s, w i tty, and re a l i stic as bo n d s of f r i e n d s h i p a r e s h o w n t o b e a t t h e c o r e o f one's i d e n t ity and at the same tim e a t h reat t o i t .

-Chicago Lesbian & Gay International Film Festival

D i rector/ Pro d u cer/C a m era / E d i tor: C a s i P a c i l i o Wri ter/Art D i rector: L i n d a Keys Cast: Penny Co l l i ns, S h erri B e t h S i m m o ns, Ani ta Stenger, D o m i n i q u e G i d l o w, C h r i st i e Sue S a v o c a 1 6m m, 70 m in u t e s

D irector: S u Fre i dr i c h 1 6m m (s i l ent), 14 m i nutes

D i recto r: J e ff M c M a h o n V i d eo transfer to 16m m , 1 3 m i nutes

SFILGFF

11


SATURDAY

SUNDAY

JUNE 17TH

JUNE 18TH Castro

12 noon

7:30 pm

1 0:00 pm

NELLY TOONS

THE LONG WEEKEND

A look at animated sissies Introduced by Vito Russo Animated films have always followed the real life conventions of live action movies. We have only to compare the earliest gay characters on the screen with their cartoon counterparts to see that the cultural assumptions which form the basis for sissy characters is the same in both art forms. The sissy versus the bully was a plot device used over and over again in the early films of Harold Lloyd, Charlie Chaplin, Douglas Fairbanks"and Eddie Cantor. This same plot structure can be seen today on Saturday afternoon televis.ion for c � ild­ reno In animated films, as In early live action films, homosexuality is not pres­ ented as a form of sexuality but simply indicated as a type of behavior. There­ fore, the "gay" characters in cartoons are identified as such by so-called effeminate manners and, more often, by cross-dressing. This is particularly evi­ dent in Warner Brothers' Bugs Bunny cartoons in which Bugs is constantly in drag and marries EI mer Fudd o� ��re than one occasion. Whenever sIssified characters turned up in the world of macho men, in films featuring cowboys or pirates for example, they are almost always the butt of cruel humor or of . specific physical violence . Just as with live action films, the sissy in cartoons was ghettoized and labelled as the outsider in every situation. What remains true today is that the so-called "gay" character,s in cartoons wer� often the only saving grace about bad films and the funniest characters in the good ones.

- Vito Russo

Frameline thanks Tom Toth and Vito Russo for their generous time and assistance in organizing this program. Sponsored by

itBYOCATB

(o'despair)

San Francisco Premiere USA, 1989 The grainiest gay movie of the year is . also the funniest. After his love-or-Ioath first feature THREE BEWILDERED PEOPLE IN THE NIGHT, director-writer-producer Gregg Araki looks bound to win over everyone with THE LONG WEEKEND . For openers, there's double the dr�ma an. d humor: his new film follows SIX Bewil­ dered People, but it's a breezier adven­ ture. College friends Michael, Rachel and Sara-and their bemused lovers-team up again five years later for one long holiday weekend. Over thr�e days they change their ideas and their partners even faster than L.A. nightclubs change names. It's twent ysometh ing set by the . light of a shopping mall; where a.11 the characters are too doped up or simply. can't stop talking. If anyone can �et Wit or meaning out of them, it's A�akl. THE LONG WEEKEND is what gay cinema ought to be-droll, detached and undetermined. Note: THE LONG WEEKEND also chaper­ ones this year's Major Theme in Gay- . Male movies: bisexual melancholy. This is about modern youngsters who can't decide whether they crave relationships with the same sex, the opposite sex, or with their complete collection of The Smiths singles. None of WEEKEND's protagonists know what they want, bu. t if Frameline installed armrest electronic pollsters, we would be sure to tell th�m.

-Mark Finch

Di recto r I Writer IProducer IPh otog rap her & Editor: Gregg Araki . Cast: Bretton V ail, Maureen Dondanvi lle, Andrea Bea n e, Nicole Dillenberg, Marcus d'Amico, Lance Woods 16mm, 93 minutes

DECODINGS USA, 1988 Director: Michael Wallin 16mm, 1 5 minutes

12

SFILGFF

. PANEL Lesbian/Gay Sensibility­ More Than Sex? The parameters within which . lesbian/gay cinema has been defined have always been somewhat vague. Many different factors can and have been used by critics, festiv�ls, and . audiences in defining what IS a lesbian or gay film. Many works easily fall into the category; those dealing wit.h lesbian/gay relationships, lesblan/9ay rights issues, and lesbian/gay erotica. But what about factors other than who a character has sex with and issues that directly relate to the lesbian/gay com­ munity? What importance does the se.xu­ ality of the director or the oth�r creative persons involved with the project have in determining the "sexuality" . of the film. How valid is it for a lesbian/gay film festival to show a film about a lesbian relationship directed by a hetero­ sexual man? Does the sexuality of experimental filmmakers �ake"t heir. " often abstract works "gay or lesbla�? Can a feminist film directed by a lesbian director also be considered a "lesbian" film? This panel will explore thes� . questions and more with the participa­ tion of audience members and the film directors, programmers and critics attending the Festival.


SUNDAY

JUNE 18TH Castro .

2:30 pm

4:30 pm

6:30 pm

AN EMPTY BED

SEX CHANGE AND CROSS-DRESSING IN THE EARLY SILENT FILM

WHAT SHALL WE DO WITHOUT DEATH

USA, 1988

West Coast Premiere

AN EMPTY BED is a day in the life of Bill Frayn�, a gay m.an in. his mid-60's living alone In Greenwich Village. During the course of this typical day, he encounters people, objects and places which stir and revive memories from his..past . Told I?rgely through flashbacks, the film is a time tapestry where past and present weave together to form a poignant and graceful picture of one man's life. Director /Writer: Mark Gasper Producers: Mark Gasper, Victoria Larimore Photography: Oren Rudavsky Editor: Gloria Whittemore Cast: John Wylie, Mark Clifford Smith, Conan McCarty, Dorothy Stinnette 16mm, 56 minutes

BEYOND GRAVITY New Zealand, 1988

US Premiere

Richard is a reserved, thoughtful lab technician with an obsessive interest in astronomy-he fantasizes about the de­ �truction of the Earth by the sun . Johnny I� so eccentric and unpredictably roman­ tiC that he seems to have come from another planet . This may be why they are drawn to each other in BEYOND GRAVITY, the off-beat, charming story of the chaotic love that develops between these mismatched young New Z�alanders . While Richard initially finds Johnny's relentless pursuit disruptive and unappealing (he has recently broken up with a lover and says he's not ready for a new romance), the dark, hand­ some, Italian proves impossible for Richard to resist.

-Paul Bollwinkel

Director: Garth Maxwell Producer: James H. Wallace Writers: Garth Maxwell, Graham Adams Cast: Robert Pollock, lain Rea, Lucy Sheehan 16mm, 48 minutes

Frustrated by her fiance's affairs with hotel maids, a New York heiress pops one of t�e magic seeds that change women Into men, and men into women . But, after shaving "her" morning must­ ache, she forgets vengeance under new­ found pleasure in embracing other women at the Ft . Lauderdale resort. Such is the fi rst of many sexual rever­ sals in the astonishing A FLORIDA ENCHANTMENT from 1914, the first full yea.r O! U.S. feature-length filmmaking. While .ltS ca.mera style is simple, its way of tOYing with gender-specific body gestures �emains amazingly witty seventy-five years later. This hour-long feature is followed by two shorts from the same era . LILLIAN'S DILEMMA. also produced by the Vitagraph Studios in 1914, is a sort of proto-screwball comedy of cross-dressing-the dilemma arising from Lillian's disguise as a man to infiltrate her brother's school and the loss of her woman's dress to a curious schoolboy. In ALGIE THE MINER, a 1912 one-reeler from pioneer producer Alice Guy-Blache, a . young man (Billy Quirk dOing something of a limp-wristed "nance" routine) is obliged to prove machismo to his prospective father-in­ I?w . Off to the West he goes, learning first that one does not than k gunslingers by kissing them.

West Germany, 1980 A documentary film showing life in one of Hamburg's homes for seniors . Over the course of six months Elfi Mikesch interviewed and filmed the inhabitants' concentra�ing on a female couple who are spending the rest of their lives together in a close and inti mate relation­ ship. Elfi Mikesch has made over ten films including co-directing SEDUCTION: THE CRUEL WOMAN. She has recently completed her latest film, MOROKIAN and is working with Monika Treut on a new documentary on contemporary female film directors. Mikesch is also r�garded as one of the world's leading cinematographers, having photographed feature films for Monika Treut (THE VIRGIN MACHINE), Rosa von Praunheim (HORROR VACUI, A VIRUS KNOWS NO MORALS, ANITA-DANCE OF VICES) and Werner Schroeter (THE ROSEKING). Director/Camera: Elfi Mikesch 16mm, 105 minutes

-Scott Simmon A FLORIDA ENCHANTMENT, 1914

Produced by Vitagraph Director: Sidney Drew 35mm, 5 reels

LILLIAN'S DILEMMA, 1914

Produced by Vitagraph 35mm, 2 reels

ALGIE THE MINER, 1912

Produced by Solax Producer: AIice Guy-Blache Cast: Billy Quirk 35mm, 1 reel SFILGFF

13


MONDAY

SUNDAY

JUNE 19TH Castro揃

JUNE 18TH Castro

8:30 pm

Law of Desire

Lovely Hours

7:00 pm

A Tribute to Cinevista/Promovision

NEW LESBIAN SHORTS

Presentation of the 1989 Frame/ine Award

RESERVATION

T h e F r a m e l i n e A w a r d was e s ta b l i s h e d i n 1986 to h o n o r i n d i v i d u a ls, o r g a n iz at i o n s a n d i n s t i t u t i o n s w h i c h h ave m a d e s i g n i f i c a n t c o n t ri b u t i o n s t o l e s b i a n a n d g a y m e d i a arts . P a s t re c i p i e n t s i n c l u d e a u t h o r a n d f i l m c r i t i c V i t o R u s s o, G e r m a n d i r e c t o r A l e x a n d r a v o n G r o t e a n d a c t o r, p e rfo r m e r D i v i n e . Th i s y e a r F r a m e l i n e h o n o r s C i n e v i s t a / P ro m o v i s i o n , t h e n a t i o n 's l e a d i n g d i s t r i b u t o r o f g a y f e at u re f i l m s . F o r m e d i n 1981 b y R e n e F u e n t e s- c h a o a n d J o h n R . T i l l ey, P r o m o v i s i o n I n t e r n a ti o n a l i n t r o d u c ed to A m e r i c a n a u d i e n c e s t h at y e a r a n e w g r o u n d - b re a k i n g g a y f e atu re f r o m West G e r m a n y, F r a n k R i p p l o h's TAXI Z U M KLO . TAXI w as s e l e c t e d fo r t h at y e a r's N e w Y o r k F i l m Fe s t i v a l a n d w e n t o n t o b e c o m e o n e o f t h e h i g h e s t g r o s s i n g G e r m a n l a n g u ag e f i l m s e v e r r e l e as e d i n t h e U . S . I n 1984 C i n e v i s t a ( t h e r e l eas i n g c o m p a n y f o r m e d b y F u e n t es a n d T i l l e y i n 1982) r e l e a s e d t w o n e w g ay f e a t u res f r o m F r a n c e, Pat r i c e C h e r e a u's L'H OMME BLES SE (The Wo u n d e d Man) a n d MA U V A I SE C O N D U I TE ( I m p r o p e r C o n d u c t), t h e a w a r d - w i n n i n g, a n t i - C a s t r o d o c u m e n t a r y d i r e c t e d by O r l a n d o J i m e n ez L e a l a n d N e s t o r A l m e n d r o s . I n 1985 C i n e v i s t a r e l e a s e d R a d u G a b r e a's A MAN LI KE EVA s t a r r i n g Ev a Mattes as R a i n e r We r n e r F a s s b i n d e r a n d b e g a n t h e i r lo n g a s s o c i at i o n w i t h n e w S p a n i s h d i r e c t o r Ped ro A l m o d o v a r w h o s e w i l d l y s u cc e s s f u l W H AT H A VE I D O NE TO DESE R VE TH I S? w o n t h e h e a rt s o f f i l m c r i t i c s a n d a u d i e n c e s a c r o s s A m e r i c a . C i n e v i s t a r e l e a s e d t w o m aj o r g ay f e at u res i n 1986, D O N A HERLI N D A A N D H E R S O N , by M e x i c a n d i rec t o r J a i m e H u m b e rto H e r m o s i l l o, a n d D e r e k J a r m a n 's CA RAVAG G I O, t h e c r i t i c a l l y a c c l a i m e d p o rt r a i t of t h e I t a l i a n Ren a i s s a n c e p a i n te r . I n A p r i l 1987, C i n e v i s t a p r e m i e r e d Ped r o A l m o d o v a r's LAW O F DES I RE i n N e w Y o r k C i ty fo l l o w i n g t h e f i l m's s e l e ct i o n as t h e c l o s i n g n i g h t p r e s e n t at i o n o f t h e " N e w Di recto rs" s e r i e s a t the Mu s e u m o f Mo d e r n A r t . 1988 s a w t h e C i n e v i s ta r e l e a s e o f A l m o d o v a r's 1984 f e a t u re D A R K H A B I T S, t h e w a c k y s t o ry o f a g r o u p o f n u n s l e d b y a d r u g - a d d i ct e d , l e s b i a n Mot h e r S u p e r i o r, a n d t h e i r a s s o c i at i o n w i t h Ped ro A l m o d o v a r c o n t i n u ed i n '88 w i t h t h e c o m p a n y re p re s e n t i n g t h e d i r e c t o r's m o s t s u c c e s s f u l f i l m t o d at e, WOMEN O N T H E VERGE O F A NER V O U S B REA K D O W N . N o m i n at e d f o r t h e A c a d e m y A w a r d fo r T h e B e s t F o re i g n F i l m , W OMEN O N T HE VE R GE h a s b e c o m e a w o r l d - w i d e s u c c e s s f o r b o t h A l m o d o v a r a n d C i n ev i s t a . T h e En g l i s h l a n g u a g e re- m a k e , a C i n e v i st a P r o d u ct i o n i n a s s o c i a t i o n w i t h Tr i-Sta r / C o l u m b i a, w i l l s t a r J a n e Fo n d a a n d w i l l b e d i rected b y H e r b e rt R o s s . C i n e v i s t a i s a l s o p l a n n i n g a s t a g e m u s i ca l v e rs i o n (HELLO PEPA?) . To n i g h t's p r o g r a m w i l l i n c l u d e t h e s c r e e n i n g o f TAXI Z U M KLO p re c e d e d by s c e n e s f r o m t h e f o l l o w i n g C i n e v i s ta / Pr o m o v i s i o n r e l e a s es: TAXI Z U M KLO San Francisco Premiere presented by Frameline at the Castro Theatre as a benefit for the San Francisco Gay Men's Chorus THE WO U N DED M A N I M P R O PER C O N D U CT Opening Night Film, 1984 San Francisco International Lesbian and Gay Film Festival A M A N LI KE EVA 1985 San Francisco International Lesbian and Gay Film Festival D O N A HERLIN DA A N D HER S O N Opening Night Film, 1986 San Francisco International Lesbian and Gay Film Festival CA R A V A G G I O T R A S EL C R I STAL 1987 San Francisco International Lesbian and Gay Film Festival LAW O F DES I RE Closing Night Film, 1987 San Francisco International Lesbian and Gay Film Festival 14

SFILGFF

Th e N e t h e r l a n d s , 1988 Two w o m e n m e et i n a p a r k a n d d a n c e . D i r e ct o r : C l a ra van Go o l 35m m , 9 m i nute s

BUTCH/FEMME IN PARADISE C a n a d a, 1988 H u m o r a n d e r o t i c i s m . Wo m e n o n t h e beac h . D i r e ct o r : Lo rna B o s c h m an 16m m , 5 m inut e s

LOVELY HOURS West G e r m a n y , 1985 Wo m a n - b e a u t y - t h e a m b i v al e n c e o f p u tt i n g o n m a ke-u p , f e m a l e a u t o e r o t i c r i t u al, b u t als o a l i e n a t i o n . D i r ecto r : Ge r d a Ed e l w e i s s Gro s s m ann 16m m , 7 m i nutes

I NEED A MAN LIKE YOU

.

.

.

C a n a d a , 1986 A t i m e l y a n d pla y f u l l a m p o o n i n g of s o m e of the m o s t res i st a n t s e x s t e r e o 足 ty p es a r o u n d t o d a y . I NEED A M A N LI KE Y O U ... d eli v e r s a c o l o rf u l a n d z a n y l i n e-u p o f T o r o nt o's fi n e s t Q u e e n S t r e e t p e rf o r m e r s . D i r ecto r s : Kal l i Paa k s puu, D a r i a Stermak 1 6m m , 24 m inutes

DOUBLE EXPOSURE U S A , 1989 I n J e a n n e S l at e r ' s e ro t i c D O U BLE EXP O 足 S U RE , a p h o t o g r a p h e r a n d h e r m o d e l a r e d ra w n t o g e t h e r i n t h e i r f i rst taste o f l e s b i a n l o n g i n g . W i t h ex q u i s i t e p h o t o 足 g ra p h y by S u s a n Po l l a c k , S l ate r e m p h a s i z es t h e d i ff e re n c e be tw e e n g a y a n d s t ra i g h t r e l at i o n s i n s e n s u o u s a n d o f t e n c l e v e r d e t a i l , a l ways k e e p i n g a n e d g e o f d e s p e r at i o n i n h e r c h a r a cte rs' d r as t i c p a s s a g e . Directo r/Wr i t e r / E d i t o r: J eanne E . S l ater Phot o g raphy: S u san Pollac k Cast: L i sa Kaho fer, B renda S m i th, Jeff M c V e y 1 6 m m , 1 8 m in u tes


TUESDAY

MONDAY

J UNE 20TH Castro

JUNE 19TH Castro

9:00 pm

8:30pm

7:00 pm

SUMMER VACATION: 1999

Special Festival Broadcast On Channel 251San Francisco Viacom Cable

FUN DOWN THERE

San Francisco Permiere Japan, 1988 One of the most visually exciting films in recent memory, SUMMER VACATION: 1999 features a hypnotizing narrative that is both deceptively simple and full of unexplainable mystery . Set in a boys school in a remote, beautiful area of Japan, SUMMER VACATION tells the story of fou r teenage students who spend their summer vacation at school-unsupervised and untouched by the outside world . As the story begins, Yu has decided to take his own life-he is in love with the exquisitely beautiful Kazuhike, who is also loved by another of the boys, Naeto. Kazuhike ignores Yu's love letters and the depressed Yu decides to jump from a cliff into a tranquil lake at the school's edge. Just as the shock of the suicide begins to subside, in walks a new student who looks and sounds exactly like the dead boy, Yu . SUMMER VACATION: 1999 looks at teenage homosexual love with a refresh足 ing and compassionate honesty. These four boys may be suffering terribly as they try to understand the power of their newly discovered romantic emotions, but they are victims of their passions and not their sexuality. To underscore his interest in the mystery of sexual attraction, director Shusuke Kaneko has cast girls to play the parts of all four boys, later dubbing their voices with those of four young actors. -Paul Bol/winkel

Director: Shusuke Kaneko Screenplay: Michiyo Kishida Camera: Kenji Takama Editor: Isao Temita Music: Yuriko Nakamura 35mm, 90 minutes

Frameline Presents

WHERE THERE WAS SILENCE Great Britain, 1988 When Basil Dearden's VICTIM was released in Britain in 1961, it had an enormous impact on the lives of gay men in Great Britain. Starring Dirk Bogarde as a middle-class barrister who confronts his own homosexuality, Dearden's film was the first mainstream British film to offer gay men credible representations of themselves and their situations . In WHERE THERE WAS SILENCE five gay men, all portrayed by a single actor, recall the film and how it effected their lives . Inter-cut with extracts from VICTIM, these recollections vividly highlight what life was like for British gay men before homosexuality was decriminalized in 1967. As one of them comments "In those days, to even discuss a film like VICTIM would have made me nervous and scared that the finger would be pointed and that I would be held to ridicule." Ending with refer足 ence to Clause 28 of the recent Local Government Bill, WHERE THERE WAS SILENCE also goes on to question the future of gay and lesbian representation on film and video . Director: Stephen Bourne 3/4" video, 20 minutes

Presenting recent videotapes of interest to the lesbian/gay community, 'Frameline Presents" is a half-hour weekly lesbian/gay video program broadcast every Monday at 8:30pm on San Francisco Viacom Cable Channel 25.

USA, 1988 West Coast Premiere Roger Stigliano's first feature is a fresh, comic coming-of-age drama about Buddy, a young man from upstate New York, who' arrives in New York City and falls into love affairs with two men at the same time. The film follows Buddy over the course of a week: from home where, anxious to leave, he quarrels with his sister, to New York City, where he meets Joe, and then Angelo. Joe and Angelo .initiate Buddy into sex and city life, while demonstrating their own com足 plete jgnorance of life outside New York . One of Stigliano's greater achievements in making FUN DOWN THERE is not the explicit representation of sexual acts, but his real istic incorporation of sexual acts into everyday life. A refreshing performance by Michael Waite as Buddy along with the use of real time and dead-pan humor, give FUN DOWN THERE much of its charm. Buddy in New York: "Fun down there ." Director/Screenplay/Set Decoration: Roger Stigliano Camera: Peggy Ahwesh, Eric Saks Editors: Roger Stigliano, Keith Sanborn Cast: Michael Waite, Jeanne Smith, Nickolas B. Nagourney, Martin Goldin 16mm, 89 minutes

MOTHERS USA, 1989 Six loving mothers and their babies converge in a San Francisco park. Director: David Weissman 16mm, 10 minutes

Sponsored by Bobby Rubino's Place for Ribs

BOY WITH CAT Japan, 1966 Director: Donald Richie 16mm, 6 minutes

Sponsored by

EnWEEKLY

SFILGFF

15


T U E S DAY

W E D N ESDAY

J UNE 20TH Castro

J UNE 21 sT Castro'

9:30 p m

7:00 pm

9:00 p m

LOO K I N G FOR LA N GSTO N

A LL- G I RL ACTI O N

G r e at B ri t a i n , 1 988

The His tory Of L esbia n Erotica

TH E KI LLI N G OF SISTER GEO RG E

U. S. Premiere Y o u ' v e n e v e r s e e n a n y t h i n g l i ke L O O K­ I N G F O R L A N GSTO N -h o n est l y . O n p a p e r , a co l l a g e of arc h i v a l f o o t a g e . i l l u m i n at i n g t h e 1 930's H a r l e m Re n a I s­ s a n c e a n d a r e c o n s t r u ct i o n of B l ac k g ay l if e , t h e n a n d n o w . B u t to t h e eye, I s a ac J u l i e n ' s e s s ay is a q u i te d i ff e r e n t , d r e a m y t h i n g . Y o u ' d h a v e t o g o bac k to C H A N T D ' A M O U R to m at c h h i s l y r i c i s m a n d e r ot i c i m a g e r y , b u t w h at's s o f r e s h a b o u t LA N G STO N i s t h e l i b i d i n a l t u s s l e b e t w e e n a n a l y s i s a n d ar d o u r. Th i s f i l m m o v es l i k e s o m e m e n d a n c e . S e p a r at e l y c o m m i s s i o n ed by C h a n n e l F o u r , b u t s c re e n e d as p a rt of t h e i r l es b i a n a n d ' g ay s e r i es O U T O N TU ESDAY, J u l i e n ' s b l a c k- a n d -w h i te f i l l i p f o c u s e s o n L a n g ­ s t o n H u g h e s , g a y a rt i st of t h e R e n ai s ­ s a n c e . P o e m s by H u g h e s a n d by E s s e x H e m p h i l l p l ay a g a i n s t a p l et h o r a of p o s e s - m e n n a k ed , l az i n g , l o u n g i n g , c r u i s i n g . I m a g i n e d s c e n e s fro m a 30s b l a c k g ay c l u b are b o o k- e n d ed by m o m e nts f r o m t h e l ate e i g h t i es eq u i v a l ­ e n t . J u l i e n t r i e s t o d ra m at i z e J a m es B a l d w i n ' s w o rd s -"A p e r s o n d o es n ot l i g ht l y el ect to o p p o s e h i s s o c i et y " -a n d g et s b ey o n d a g ay g r eet i n g c a rd aes­ t h e t i c t o s o m et h i n g e l s e . On the o n e h a n d , u n as h a m ed t o b e e r ot i c ; o n t h e o t h e r h a n d , ang ry e n o u g h to be deeply affect i n g . -Mark Finch Director: Isa a c Julien Camera: Nina Kellgren Editor: Robert Hargrea ves Music: Blackberri, Ways on Jones Text: Essex Hemp hill, Langston Hughes Pro ducer: Nadine Marsh-Edwa rds Cast: Ben Ellis on, Ma tth e w Baido o, John Wilson, A kim Mogaji, Dencil Williams 1 6mm, 40 minutes

Sponso red by A ,

DIFFERENT LIGHT

Gd) � � l(>Sb'd/! 1,f('fdhUt'

16

SFIL GFF

I n 1 985 l e s b i a n s m a d e t h e f i rst e r ot i c v i d eo s b y a n d fo r w o m e n . B u t f o r t h e p a s t 2 0 y e a r s , s i n ce t h e ad v e n t o f X- r a t e d f i l m , t h e m o v i e b u s i n ess h as h a d a co n t r o v e rs i a l affa i r w it h t h e l es b i a n s e x u a l i m a g e . F r o m 1 970's s o ft-fo c u s Eu ro-t r a s h t o e a r l y l e s b i a n f e m i n i st s a p p h i st r y , f r o m B-g rad e H o l l y w o o f a n ­ tas i es t o D ES E RT H EA RTS, t h e l es b i a n e r ot i c p i ct u re h a s b e e n a m i xt u re of ste re o t y p e and a u t h e n t i c i t y , and w h et h e r m a l e p r o d u c ed o r n ot, i t ' s b e e n a ref l e cti o n o f t h e c h a n g i n g l e s b i an c o n ­ s c i o u s n es s . S u s i e B r i g h t , e d i t o r of On Our Ba cks m ag az i n e a n d " H e r o t i c a , " w i l l s h o w ex p l i c i t a n d p ro v o c at i v e c l i p s f r o m t h e p ast t w o d ec ad e s o f l es b i an s ex u a l ­ i t y o n t h e s c re e n , as w e l l as i nt ro d u c e t h e c o n t r ast i n g p e rs p e c t i v e s of m o d e rn day l es b i a n e r ot i c v i d eo m a k e r s . S u s i e w i l l a l s o d i s c u ss t h e l es b i a n p o i nt of v i e w as the a u d i e n c e , a s the s u bj e ct , a n d o u r s i m i l a r i t i es a n d d i ff e r e n c e s w i t h g ay m e n ' s a n d h et e ro s e x u a l e rot i c p r es­ e n t at i o n . The p r e s e n t at i o n w i l l i n c l u d e s c e n es f ro m : S W E ET D R EA M S WE A RE O U R S ELVES THERESE A N D ISAB ELLE D E S E RT H EA RTS LIANNA P E R S O N A L B EST L I Q U I D S KY A E R O B I S E X G I R LS THE K I N K P R I VATE P L EA S U R E S E R O T I C I N N AT U R E R E F L E CT I O N S WA K I N G U P

G r eat B r i ta i n , 1 968 Th i s n o t o r i o u s fi l m , co n ta i n i n g t h e fi r s t l e s b i a n " l o v e s c e n e " , r e a l i z e d a l l of a 1 968 l e s b i a n ' s wo rst f e a rs : t h a t s h e b e s e e n as a s i c k , d e p r a v e d , u n h a p py a n d d o o m e d c r e at u r e . R e l eas ed o n t h e e v e o f t h e m o d e rn G ay L i b e r at i o n M o v e m e n t , o n e c a n s p e cu l at e t h at t h i s f i l m f u e l ed t h e l e s b i an c o m m u n i t y ' s r a g e a n d d e m a nd f o r c i v i l r i g ht s . T h e r a m p a n t h o m o p h o b i a of t h e 1 960's wa s a l l t o o a p p a re n t i n t h e f i l m a n d t h e m e d i a' s re v i ews a n d t r eat m e n t of i t . W h i l e t h r e e o t h e r m i l d - m a n n e r e d l e s b i a n -t h e m ed f i l m s o p e n e d i n 1 968, t h e d ev as t at i n g S I S T E R GEO R G E w as t h e o n e t h at r e c e i v e d exte n s i v e m e d i a att e n t i o n , c a l l ed a "fi l m d ev ot e d t o s h o w i n g t h e n i tty-g r i tty o f g ay l i fe . . . a n o ut c a s t , b u t sti l l v ery h u m an g r o u p . . . " To o , i t w a s n o a c c i d e n t t h at R o b e rt A l d ri c h , t h e d i r ecto r of W H AT E V E R H A P P E N E D T O B A B Y J A N E a n d T H E B I G K N I F E , w as c h o s e n to d i r e ct t h i s h o r ro r-s h o w l es­ b i a n f i l m . J u n e B u c k r i d g e (Beryl Re i d ) , w h o p l ays S i ster G e o r g e o n a T V s o a p , i s t h e s t e r e o ty p i c a l l y o b v i o u s a n d o b n o x i o u s b u tc h . S h e i s o ut ra g e o u s , s ad i st i c a n d d o m i n at i n g t o w a r d s C h i l d i e ( S u s a n n a h Y o r k ) , h e r p as s i v e , l i v e- i n g i r l f r i en d , w h o s h e r i t u a l i s t i c a l l y pu.n ­ i s h es fo r b r e a k i n g t h e r u l es . I nt o t h i S p i ctu r e o f d o m e s t i c b l i s s c o m es c h i c TV e x e c M e r cy C r oft ( C o r a l B r o w n e ) , the . s m o o t h p r ofeSS i o n a l d y ke w h o p a s s e s I n t h e s t r a i g h t w o r l d . B i l l e d a s a b l ac k c o m ed y , t h e s t o r y h as i t s f u n n y m o m e nts a n d i s t o l d w i t h w i t a n d s n a p p y d i a l o g u e . S i st e r G e o rg e' � w i l d , . d r u n ken episode w ith two n u ns I n a taxI i s h i l ar i o u s , as a r e G e o r g e ' s r o u s i n g s e n d - u ps o f t h e T V w r i t e rs a n d b r a s s . -L inda Farin Pro d u c e r I D i recto r : Ro bert A l d r i c h Scr e e n p l a y : L u kas H e l l e r P h o t o g ra p h y : J o s e p h B i ro c E d i t o r : M i c h a e l L u c i an o Cast : B e ry l R e i d , S u s a n n a h Y o r k , C o ral Browne, Ronald Fraser 35m m , 1 38 m i n u tes


FRIDAY

THURSDAY

JUNE 23RD Castro

JUNE 22ND Castro

7:00 pm

9:30 pm

6:30 pm

SOME OF M Y BEST FRIENDS A RE . . .

URINA L-

JOHANNA D'ARC O F MONGOLIA

USA, 1971 SOME OF MY BEST FRIENDS ARE . . . is a rare op portunity to experience the plight of pre-Stonewall gay culture. It is an experience which is both in furiating and fascin�ting. Set in a New York gay bar on Christmas Eve, SOME OF M Y BEST FRIENDS ARE . . . is a Grand Hotel filled with a generation of lost souls. The � p p � es�ion of gay people by the very Institutions which once offered them a kin d of temporary safety is the subtext of the film. Yet it remain s onl y a subtext. The overt substance of the piece degen �rates i�to a kind of orgy of melodramatic self-pity in which homo­ sexuals are pathetic creatures exp loited by each other, as well as by their surroun dings. Originally titled THE BAR and cast as a kin d of family affair from a group of well-known New York actors ' SOME OF MY BEST FRIENDS ARE . . . contains a group of the most ghoulish and exaggerated performances ever put o� s�, reen. Rue. McClanahan ( "Golden GI rls ) plays Llta Joyce, a bitchy fag hag. The late Candy Darling weighs in with a ter.rific portrait of a lonely transvestite who dreams of being a real �oman .. Gary Sandy ("WKRP Cincinnati") IS the bisexual hustler who discovers Candy 's secret. SOME OF MY BEST FRIENDS ARE . . . is not great movie­ making and it will drive post-Stonewall gays crazy with its bleak and relentless self-loathing, but it's eminently worth­ while. as a history lesson, as well as classIc camp.

- Vit o Russ o

Director/ Writer: Mervyn Nelson Photography: Tony Mitchell Music: Gordon Rose Cast: Alan Dellay, Nick Denoia" Dan Drake David Drew 35mm, 109 minutes

Canada, 1988 San Francisco Premiere Curiously transported to the present­ day, a Q,roup ? f dead lesbian and gay artists " Including Sergei Eisenstein, Frida K�hl�, Lan9 ston Hughes and Yukio Mlshlma, find themselves guests in the hon:e of Toronto sculp tors, Frances LO ring and Florence Wyle. They have been mysteriously summoned to Ontario to re.search the sy stematic poliCing of p � bllc w.ashroom sex. These artists of wildly dl�fering temperaments embark upon their research with flamboyance and. aplomb, examining not only the � ubJe.c� at hand, but their own sexual . ! d� ntltl es Each night, one of the six­ J Oined by Wilde man Dorian Gray­ delivers a riotous lecture on some aspect of the issue. Toronto artist Greyso � 's audacious film, which could be subtitled "If Only Heads Could Talk' " n:akes a shambles of filmic expectatlons. The lectures themselves -"A Socia! History of the Public Washroom" one night, "��shroom Sex Texts", the next-ar� mln! -parodies, taking some facet. of film d! scourse and knocking it o.tf kilter. But In URINAL, the formal is flrn:ly embraced by a fiery brand of p�lltlc.al urgency. With an irreverence for historical p ropriety and a story structure that doesn't discriminate between burlesque, surrealist tableaux and bitter fact, Greyson �mploys a mad pastiche to confou� d straight narrative, as he seeks a solution to gay harassment.

-Steve Seid

Producer / irector /Writer: John Greyson Camera / L i ghti ng: Adam Swica, Al merinda Travas sos Sound: Bil l Lasovich, Marg Moores Editors: David Mci ntosh, John Greyson 16mm, 1 00 minutes

THE ADS EPIDEMIC Canada, 1987 A safe sex music video .

!

D rector: John Greyson V i deo transfer to 16mm, 5 minutes

Sponsored by

THE BOX

West Germany , 1989 West Coast Premiere In this lesbian LAWRENCE OF ARABIA ' director/writer Ulrike Ottinger has cr�ated an ethnographic farce which � rlsscrosses Europe, Asia and time Itself. Co.nstructed in two parts, this challengIng road movie lets us travel on the exotic Trans-Siberian before we are swept away to the dramatic Mongolian steppes. No exp erienced traveler has seen .the �orld until they have been on the. historic Trans-Siberian. The original train was a miniature museum and �agnifi.c�nt hotel on wheels, with luxur­ I O US cu ISlne, and spacious com part­ ments in which the passengers could gather and amuse themselves . In this film, the famous railway is an elegant backdrop for a surreal meeting of an un usual group of international pas­ se.ngers. They are the sophisticated Lady Wlnderm.ere (Delphine Seyrig); an Ameri­ can � � slcal � tar Fanny Ziegfeld (Gillian Scalllsl) ; a prim German schoolteacher �Irm Hermann) ; a beautiful, young Span­ I sh adventuress (lnes Sastre) ; and a trio Of. Klez.me.r musicians. They trade songs �Ith YI� dlsh actor, Micky Katz; a Rus­ sian . officer �nd his young "attache" (Chrl.stoph Eichhorn ) who resents giving u p hl� ballet lessons for assignment to Siberia. The ladies transfer to the Trans­ Mongolian train and are abducted by a troop of wild Mongolian women who lead them to their nomadic tents in the sweeping grasslands. Camels, wild horses, Buddhist priests and a shaman provide a bit of culture shock for the group. The encounter, however, proves to be one the Mongolians won't easily forget.

-Erica Marcus

Director/Writer/Camera: Ulrike Ottinger Edi tor: Dorte Volz- Mammarella Music: Wilhelm Dieter Schwarz Cast: elphine Seyrig, Irm Hermann, Gillian . Scal l cl , Ines Sastre, Xu Re Huar' Peter Kern, Christoph Eichhorn 35mm, 165 minutes

SF/L GFF

17


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TERENCE DAVIES TRILOGY • WE WERE ONE MAN • KIM

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Complete list of titles available from FRAMELINE, PO Box 14792, San Francisco, CA 94 1 1 4 phone 4 1 5 861 -5245 telex 65034779 1 9 MCIUW

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FRI DAY

FRI DAY

JUNE 23 RD Castro

JUNE 23RD Roxie

B r i d g e B l o c k a d e / p h o t o b y Rick Gerlmter

1 0:00 pm

M i d n i g ht

1:00 pm

TAXI TO CAIRO

PINK NARC ISSUS

RESPONSE TO AI DS

West G e r m a n y , 1 987

U S A , 1 97 1

West Coast Premiere

Ev e n i f y o u ' v e n e v e r s e e n t h e g l o r i o u s P I N K NARCISSUS, you've pro bably d re a m t a b o u t i t . A y o u n g m a n e s c a p e s f r o m t h e r e a l w o r l d i n a seq u e n c e of p i nk s a t i n f a n t a s i es -h e ' s a s l a v e c h o s en b y t h e e m p e r o r , a b u l l f i g h t e r , a w o o d n y m p h , a h a re m b o y . PI N K N A R­ C I S S U S h as n o s t o r y to s p e a k of, b u t i t fee l s c o m p u l s i v e l y p a c e y . Lo v e d f o r i ts i m ag inat i v e e r o t i c i s m i n 1 97 1 , i t w as a l s o d e r i d e d f o r c a m p y cont e n t (" as m a n y s p a n g l e s , f e at h e rs a n d g i l d e d c o s t u m e s as i n Zi e g f e l d Fo l l i e s , " p r o ­ t e s t e d P a r k e r Ty l e r , a b o y w h o s h o u l d k n o w . ) E i g h t e e n y e a rs on, i n a b r a n d n ew p r i n t , y o u c a n beg i n to s e e ­ b e t w e en t h e W a l t e r M i tty p r e m i s e and t h e B e a u ty S c h o o l D r o p - O u t d e c o r-a p as s i onate i n te l l i g e n c e and the s p i r i t of G e n et . P I N K N A R C I S S U S m ay a p p e a r n a rc i s s i s t i c ( a n d s o w h at?) b u t i t ' s a l s o c h e e k i l y a b o u t na rc i s s i s m . W h i l e H o l l y ­ w o o d w a s g ra p p l i n g w i t h t h e g l o s s of gay l i f e-h o w m a n y ne l l y q u e e n s m a k e a g o o d p a rty?-in B O Y S I N T H E B A N D , P I N K N A R C I S S U S s e t a b o u t s c r a p i n g at the n i tty g r itty . I t ' s a l l h e r e : c a b a l l e r o s a n d b i k e b o y s ; s t r i p t e a s e and t e a r o o m sex . P I N K N A R C I S S U S d e l v es b e y o n d t h e s u rf a c e o f g ay f a n t a s y a n d f i n d s t h at t h e r e ' s an e x p ans i v e t w o -w a y m i r r o r und e r n e at h .

As c i v i l d i s o bedie n c e g ro w s a r o und A I D S a n d g ay r i g hts i s s u es , m a n y l e s b i a n and g a y v i d e o g r a p h e rs a re t u rni n g t h e i r t a l e n ts to c a p t u ring and r e c o r d ing t h e act i v i t i e s o f ac t i v i s t g r o u ps . T H E G OL D E N G A T E B R I D G E BLO C KA D E w a s t a p e d w h e n a c a m e ra c r ew f o u n d t h e m ­ s e l v e s c a u g h t i n t h e b l o c k a d e stag ed b y St o p A I D S N o w O r E l s e . A c t U p 's c l o s i ng d o w n of the F D A l ast Oct o b e r is d r a m at i ­ cal l y reco rded by El l en S p i r o . Barbara J a b a i l y ' s H ALF A M I LL I O N S T R O N G a n d A C A N DLEL I G HT V I G IL d o c u m e n t m o re p e a c ef u l d e m o n s t r a t i ons , t h e 1 987 M a r c h o n Was h i ng ton f o r Les b i a n a n d G ay R i g h t s , and a c and l e l i g h t v i g i l h e l d i n Denv e r t o p r otest C o l o ra d o 's fund i ng o f c ont act t rac ing i nstead o f r e s e a r c h o r s e rv i c e s f o r P W S ' a .

I n 1 98 1 g ay au d i ences w e r e stunned a n d d e l i g h ted by a n e w , b o l d , s e x y c o m e d y f r o m G e r m a n y , TAXI Z U M KLO , a fi l m t h at s e t n e w st and a r d s f o r g ay c i ne m a. E i g h t y e a rs l at e r , Fra n k i s bac k , and h i s l i f e i s any t h ing b u t u n d e r c ont r o l . H e i s s t i l l m a d l y i n l o v e w i th m en; h e 's a l w ays s h o rt on m o n e y ; and he h as just b e e n t i e d u p and r o b b ed by a h u st l e r . O n to p of e v e ryt h i n g h i s m o t h e r t h i n k s i t ' s h i g h t i m e h e k i s s e d h i s i d l e w ays g o o d b y e and started t h i n k i n g a b o u t h o l y m a t r i m o n y-ot h e r w i s e h e co u l d e n d u p be ing c u t o u t o f h e r w i l l . Frank f i nd s K l a r a , an o u t- o f- w o r k a c t r e s s w h o i s w i l l i n g t o stag e a m a r r i a g e f a r c e f o r h i s m o t h e r , b u t th e i r s c h e m e h as j u s t o n e snag : b o t h Frank a n d K l a r a a r e i n l o v e w i t h t h e s a m e m an , t h e i r ne i g h b o r Eu g en. S u d d en l y j e a l o u s y i s t h e o rd e r of t h e d ay , and Frank f i n d s h i m s e l f t o r n b e t w e en c o m p e t i ng w i t h K l ara f o r E u g e n and sti l l ne e d i n g h e r t o c o l l e ct t h e inh e r i tanc e . G o a d e d by E u g e n , w h o m a i n t a i n s t h at w i th Frank b e i ng g ay h e w i l l n ev e r b e a b l e t o k e e p h i s w i fe , Fr an k s n a p s . H e q u i c k l y eng ag e s a s e x t h e ra p i st t o tu r n h i m i n t o a h et e r o s e x ­ u a l . H i s att e m pts to s w i t c h l a n d h i m i n a c h ao t i c m es s i n w h i c h t h e ne i g h b o rs , t h e po l i ce , a n d n at u ra l l y h i s mo th e r a r e a l l em broi led. D i recto r : F r a n k R i p p l o h S c r e e n p l ay : F r a n k R i p p l o h , T a m a r a Kaf k a Camera: Dodo Si moncic C a s t : Fr a n k R i p p l o h , C h r i s t i n e N e u b a u e r , U d o S c h e n k , N i n a S c h u h l y , B e r n d Br o a d e r u p 35m m , 90 m i n u t e s

INTERIOR DECORATOR FROM HEL L U S A , 1 988 A b l e a k D ana, l ong i ng for R i c h a rd , eng a g e s an unu s u a l int e r i o r d e c o rating s e r v i c e , r es u l t i ng i n a c o m ed i c t w i st o f f at e . D i recto r : S o nja R o t h 1 6 m m , 1 6 m i n u tes

-Mark Finch

Director: Jim Bidgood Ca st: Bobby Kendall 35mm, 70 minutes

THE GOLDEN GATE BRI DGE BLOCKADE U S A , 1 989 P l'O d u c e l' : Arl S p e n c e r N a d e l 3 /4" v i d e o , 6 m i n u t e s

ACT U P AT THE FDA U SA, 1 988 D i re cto r : E l l e n S p i r o 3 / 4" v i d eo , 1 3 m i n u t e s

HALF A MIL L ION STRONG U SA , 1 988 Pro d u c e r : B a r b a r a J a b a i l y 3 / 4" v i d e o , 2 9 m i n utes

A CANDL EL IGHT VIGIL U S A , 1 988 Pro d u c er : B a r b a r a J a b a i l y 3 / 4" v i d e o , 8 m i n u t e s

RISK GRO U P U S S R , 1 988 D i recto r : A. N i k i s h i n 3 / 4" v i d eo , 6 0 m i n u t e s ( I n R u s s i a n w i th E n g l i s h v o i ce- o v e r )

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KQED CELEBRATES GAY PRIDE CHANNEL 9 Hero ism: A Community Responds June 18, 5 p m

We Are Family pm

June 21, 11:55

Rights & Rea ctio ns: Lesbian & G ay Rights on Tria l June 20, 11 pm (Repeated June 24, 2 pm) AIDS: A Priest's Testament June 21, 11 pm (Repea ted June 22, 1 2 mid)

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The Times of Harvey Milk

June 22, 9:30 pm (Repeated June 23,

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Before S tonewall

June 22, 8 pm "

A Closer Look with David LambIe Saturdays 1:30 pm June 17-The Music and Phi­ losophy of Michael Callen. June 24--Betty Berzon discusses her book, Personal Partners-Bu ilding Gay & Lesbian Relationships That Last .

VISIT OUR UPSTAIRS BAR HAPPY HOUR MONDAY THROUGH FRIDAY · 5

Out In Suburbia

June 22, 7:30 pm

KQED R adio Playhouse Saturdays 10 pm June 17-Dos Lesbos; Satire on Lesbian relationships. June 24--Last Call; Why Gay men so often fail to connect.


FRI DAY

JUNE 23 RD Roxie

3:30 pm

Family Values

5:30 pm

The Rigllt to Fight

7:30 pm

CARE GI VING VIDEOS

A YEARNING FOR SODOM

M EN IN LOVE

I n res p o n s e to t h e A I D S c r i s i s , t h e l e s b i a n / g ay c o m m u n i ty h as d e v e l o p e d u n p r e c e d e n t e d s u p p o rt sys t e m s f o r t h o s e i n f l i ct e d w i t h t h e d i s e a s e . A G I R L ' S B EST F R I E N D i s a to u c h i n g p e rs o n a l s t o ry of a w o m a n l o s i n g a f r i e n d to A I D S . FI N D I N G O U R WAY TOG ETH E R f r o m t h e s t a t e o f Was h i n g to n p rese nts a w i d e v a r i ety o f f o r m a l a n d i n f o r m a l s u p p o rt s y s t e m s fo r p e o p l e w i th A I D S . D av i d St u a rt's FA M I LY VA L U E S d o c u m e n ts t h e t r e m e n d o u s res p o n s e f r o m t h e l e s b i an c o m m u n i ty i n p ro v i d i n g i n v a l u a b l e s u p 足 p o rt a n d l o v e d u r i n g t h e A I D S c r i s i s i n S a n F ra n c i s c o .

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FINDING OUR WAY TOGETHER U S A , 1 989 D i r ec t o r : M a r k D w o r k i n 3 / 4" v i d e o , 2 8 m i n u tes

FAMILY VALUES U S A , 1 989 D i r ecto r : D a v i d Stu a rt 3/4" v i d e o , 58 m i n u t e s

Th r e e a n d a h a l f y e a r s b e f o r e w o r k b e g a n o n t h i s v i d e o t a p e , G e r m a n acto r K u rt R a a b w as c o m m i s s i o n e d to w r i t e a bo o k a b o u t h i m self and the New German Fi l m . T h e b o o k w as n e v e r c o m p l eted . I n s t e a d , R a a b d e c i d e d to d o s k etc h e s o n v i d e o w i th H a n n o B a e t h e . S i x of t h e t h i rty-t h re e s k etc h es w e r e c o m p l e ted bef o re Raab l e a r n e d t h at he was H I V p o s i t i v e. A s h o rt t i m e l at e r h e w a s c o n f i n e d t o bed i n a H a m b u rg h o s p i ta l , d e p e n d e n t o n t h e h e l p o f o t h e r s . S h ot u p t o t h e t i m e h e d i e d , A Y E A R N I N G FO R SO D O M p re s e nts e x c e r pts f r o m t h e v i d e o s k etc h e s , s c e n es f r o m R a a b ' s f i l m w o r k w i t h F a s s b i n d e r , a n d i n t e rv i e ws w i th Raab a n d h i s acto r f r i e n d , a n d m a i n c a r e - g i v e r , H a n s H i r s c h m u l l e r. D i re c t o rs / W r i t e r s : K u rt R a a b , H a n n o B a e t h e , Hans H i rsch m u l l e r W i t h t h e as s i st a n c e o f : A n k e Oe h m e , C o n n i M o re Ed i t o r : B r i g i t t e K r a m e r 3/4" v i deo, 45 m i nutes

THE RI GHT TO F I GHT West G e r m a n y , 1 988 U l t i m at e l y o pt i m i s t i c , t h i s p r o g r a m s h o w s w h at i s p o s s i b l e w h e n p e o p l e w i t h A I D S r ef u s e t o b e v i cti m s a n d t a k e c h a r g e o f t h e i r l i v e s . A seq u e l to I'M STI L L A L I V E , the tape v i s i t s Pet e r S i e g l a r b a c k a t h o m e 2 1 y e a r s afte r h i s d i a g n o s i s . H e i s n o w act i v e l y i n v o l v e d i n A I D S ed u c ati o n a n d is su r ro u n d e d by a co m m u n ity eag e r to l e n d its s u p p o rt . T H E R I G H T T O F I G H T offers n e w i d e as and d i r e ct i o n as it s h o ws the ways S a n Fr a n c i s c a n s h av e l e a r n e d to c o p e e m o 足 t i o n a l l y , p h y s i cal l y and fi n a n c i a l l y with t h i s d e v as t at i n g p u b l i c c r i s i s .

U S A , 1 989 M E N IN L O V E b e g i n s in S a n F r a n c i s c o at a m e m o r i a l s e rv i ce f o r V i cto r C h a r p i e r , a b e l o v e d t e ac h e r w h o h as j u st di e d f r o m A I D S . A m o n g t h e m a n y l eft i n h i s w a k e i s Stev e n , a y o u n g m a n i n h i s l ate t w e n t i e s who was one of V i ct o r ' s p r i m 足 a r y ca reta k e r s i n t h e f i n a l m o n t h s . V i c t o r h as req u ested t h at Stev e n s c att e r h i s a s h e s o n M a u i i n H a w a i i , s o St e v e n t r a v e l s t h e r e . O n t h e i s l a n d h e m e ets a n e x t r a o rd i n a ry c o m m u n ity o f p e o p l e w h o a r e s t r i v i n g t o l e ad t h e i r l i v es i n a b a l a n c e d a n d h a rm o n i o u s w a y . F a r a w a y f r o m h i s o w n u r b a n w o r l d , Ste v e n i s a b l e to s t e p b a c k a n d t a k e a l o o k at t h e c r u c i a l i s s u e s in h i s l i f e . He f a l l s i n l o v e w i th Pet e r , a n a t i v e H aw a i i a n . Stev e n i s s l o w l y t ra n s fo r m e d b y h i s e x p e r i e n c es o n M a u i . W i t h Pete r , Ste v e n f i n d s w ays h e c a n p r a c t i c e s a f e s e x a n d b e fu l f i l l e d . Th r o u g h t h e p ra ct i c e o f Ta n t ra y o g a, h e a l s o l e a r n s h o w t o be i n t o u c h w i t h h i s o w n fe e l i n g s a n d to i n c r e a s e h i s aw a r e n ess o f o t h e r s , as w e l l as the w o r l d a r o u n d h i m . D i r e cto r: M a rc H u e s t i s Pro d u c e r / W r i t e r : S cott Cata m a s Cam era: Fawn Yacke r C a s t : D o u g S e l f , J o e To l b e 3/4" v i d e o , 90 m i n u tes

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F R IDAY

SATURDAY

JUNE 23 RD Roxie

JUNE 24TH Castro

Crimes of Passion

Derek Jarman

1 2:30 pm

2:30 pm

OUT ON FOU R

PANEL:

L es bia n/Gay TV From Britain 's Ch annel 4

L esbia n/Gay Media in the 90's

JAR MAN AND NEW BRITISH SHORTS

9:45 pm

O n St . V a l e n t i n e ' s D ay t h i s y e a r , B r i t a i n ' s C h a n n e l F o u r l a u n ched O U T O N TU ES­ D A Y , a d a r i n g a n d i n n o v a t i v e e i g h t-w e e k s e r i e s o f o n e - h o u r p ro g ra m s d e a l i n g w i t h t o p i c s o f i n t e re s t to l e s b i a n s a n d g ay m e n . Th i s p ro g r a m p re s e n t s t w o of t h e e p i s o d e s f r o m the s e r i es w h i c h w i l l be p r e s e n t e d i n i t s e n t i rety d u r i n g t h e fes t i v a l . Th i s p ro g r a m f e atu r e s C R I M E S O F P A S S I O N , C l a r e B e a v a n ' s racy i n v e s t i g a­ t i o n of d y k e d et e ct i v e s , a m u st f o r f a n s o f a l t e r n a t i v e b e s t -s e l l e rs M a ry W i n g s , Kath e r i n e F o r r e s t a n d R u t h R e n d e l l . D i s c o v e r t h e w a y t o te l l i f y o u r s e x s c e n e i s w e l l - w r i tt e n , a n d h o w S F' s E m m a V i c t o r ' s l at e s t " S h e C a m e i n a F l a s h , " w as n e a r l y " S h e C a m e Too Oft e n . " A l s o f e at u red i s O U T IN A F R I C A , M e l a n i e C h a i t's fasc i n a t i n g f i l m on how t w o p r o m i n e n t p o l i t i c a l ac t i v i s ts i n South Africa are c o m b i n i n g t h e stru g g l e a g a i n s t a p a rt h e i d w i t h t h e s t r u g g l e fo r g a y ri g h ts . S i m o n N k o l i a n d I v a n To m s , c u r r e n t l y s e r v i n g t h e m ax i m u m p r i s o n s e n t e n c e fo r ref u s i n g t h e d raft, m a d e n o s e c ret o f t h e i r s e x u a l i t y , fo r c i n g f e l l o w a ct i v i s ts t o re-e v a l u a te t h e i r o w n p r ej u ­ d i c e s a g a i n s t g a y s . A s a re s u l t , t h e Af r i c a n N at i o n a l C o n g ress h a s b e c o m e t h e f i rst l i b e ra t i o n m o v e m e n t t o a c k n o w l e d g e t h e i m p o rt a n c e o f l e s b i an a n d g a y r i g hts, r at h e r t h a n d i s m i s s i n g d e m a n d s w it h the u s u a l "we' l l d e a l w ith t h at a ft e r t h e r e v o l u t i o n . " H o s t e d b y g ro ov y l e s b i a n c o m e d y d u o Pa r k e r a n d K l e i n , t h i s n e x t e d i t i o n o f t h e s e r i es l o o k s a t les b i an a n d g ay foster p a re n t s a n d p r e s e n ts a s h o rt f i l m by M ar k Fi n c h a b o u t c u l t c i n e m a entitled F A S T E N Y O U R S EAT B E L T S .

Tw o d e c a d e s a ft e r St o n e w a l l , L e s b i a n a n d g a y f i l m a n d v i d eo h as b l o s s o m e d . L e s b i a n / g a y f i l m f es t i v a l s a r e s p r i n g i n g u p around the world, and lesbian / gay t e l e v i s i o n c a n be s e e n i n m o s t m aj o r U . S . c i t i e s . Les b i a n a n d g ay c h a r a ct e r s - re a l o n e s -a r e a p p e a r i n g m o re r e g u l a r l y i n m a i n s t r e a m fi l m s a n d n et w o r k a n d c a b l e t e l ev i s i o n . On t h e c l o s i n g w e e k e n d o f t h e Fes t i v a l , t h i s p a n e l o f d i r ecto rs, p r o g ra m m e rs a n d c r i t i cs w i l l tac k l e q u es t i o n s a n d issues c o n c e rn i n g t h e f u t u r e of l e s b i a n / g ay med i a.

DEREK JARMAN, KNOW WHAT I MEAN G r eat B r i t a i n, 1988 Th i s d o c u m e n t a r y b l e n d s D e r e k J a r­ m a n ' s own f i l ms , p a i n t i n g s and p o etry w i t h o r i g i n a l m at e r i a l t o g i v e a s t a rt l i n g p o e t i c i m a g e o f a c o n t r o v e rs i a l a r t i s t ' s l i fe a n d w o r k . F r o m t h e h o m e c o u n t i e s o f t h e 1950's to t h e S l a d e , f r o m t h e Royal Opera H o u s e to K e n R u s s e l l , f r o m f e a t u re f i l m s to t h e F l o re n c e O p e ra H o u s e , t h e fi l m p o rt r a y s J a r m a n ' s h u m o r a n d h u m a n i ty w h i c h t r a n s c e n d s t h e c o n t r o v e r s y t h a t su r r o u n d s h i m , m a k i n g h i s d i l e m m a i n M a r g aret T h a t c h e r ' S B r i t a i n of t h e 1980's b o t h p o i g n a n t a n d d es perate. D i re cto r : Lau r e n s C . Postma Pho t o g raph y : D iuli o R i n g r e s s i , N i c k B e e k ­ Sau n d e rs E d i to r : Hus s e i n Yu n i s 1 6 m m , 5 2 m i nutes

TH E DEFLATABLE MAN G r e at B r i t a i n , 1988 A c e r e m o n y o f l o v e, h u m o r, s p o n t a n e i t y a n d sex u a l i t y . R a w , u n a d u l t e r a t e d l i f e , f r e e f r o m t h e c o n s t r i cts o f s o c i et y . D i r e cto r : Paul B e t t e l l 1 6 m m , 2 4 m i nute s

PSYCLONES ON H EAT G reat B r i t a i n , 1988 PS Y C L O N ES i s t h e f i rst i n a t r i l o g y of f i l m s r e f l e ct i n g t h e c h a n g i n g att i t u d e s a n d sty l e s o f g a y m e n i n t h e 1980' s . Th i s f i l m c o v e r s t h e e a r l y 80' s , "Th e A g e o f I n n ocence. " D i recto r: B o y d Walte r s 1 6 m m , 2 2 m i nut es

Ex ecut i v e P r o duc e r : Chr i s t o pher H i rd S e r i e s P r o ducers : Susan A r d i l l, C l a r e B eavan S e r i e s D i r e c to r : Ph i l Wo od ward S e r i es E d i t o r : Man d y M e r c k 3 / 4 " v i d e o , 1 00 m i nutes

SFILGFF

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SATURDAY

JUNE 24TH Castro

4:30 pm

7:00 pm

9:00 pm

D ESI R E

NIGHT VISIONS

WOND ERLAND

G r e a t B r i t a i n , 1989

C a n a d a , 1 989

G r e a t B r i t a i n , 1988

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World Prem iere

San Fra ncis co Prem iere

N I G H T V I S I O N S is an h o u r- l o n g d ra m a d e a l i n g w i th i s s u e s o f l e s b i a n i s m a n d race with i n the context o f an u rban co m m u n i ty o f w o m e n f i g h t i n g f o r i t s s u rv i v a l . T h e s t o r y d r a w s f r o m a ct u a l events, l eg a l batt l e s , c u s t o d y c a s e s a n d a ct i o n s w h i c h h a v e o c c u r r e d i n C a n ad a d u r i n g t h e l a st d e c a d e . Th e s e s t r u g g l e s are h u m an i zed t h r o u g h the s i m u l t a n e o u s d e p i ct i o n o f p a ss i o n ate r e l a t i o n s h i p s a m o n g th ese w o m en -p o l i t i c a l , sex u a l , h u m o r o u s , s e r i o u s - ex i s t i n g a m i d t h e p o l i t i c a l t u r m o i l o f t h e co m m u n i t y . A N at i v e s i n g l e m o t h e r ( N e a ) i s f i g h t i n g a c h i l d c u s t o d y b a tt l e , p i tte d a g a i n s t t h e C h i l d r e n ' s A i d a n d h e r w h i t e ex-h u s b a n d . A l e s b i a n p h o t o g r a p h e r ( M o rg a n) h a s h e r erot i c p h otog raphs s e i z e d b y t h e p o l i c e . T h e t w o w o m e n m e et t h ro u g h a m u t u a l f r i e n d ( H e l e n a) , a fe m i n i st a c t i ­ v i st w h o e n c o u r a g e s t h e m t o f i n d c o m ­ m o n c a u s e . B u t c u l t u ral d i fference and r a c i s m i n t e rv e n e ; c o n t a c t w i t h M o rg an a n d h e r f r i e n d s c o m p l i c at e s N e a ' s l i fe t o t h e p o i n t o f c r i s i s ; t h e n a r r at i v e s e n d s e p a r ate l y . " H o p e l i e s i n w h a t w e d o a m o n g s t o u rs e l v e s , t h e m e s s a g e s w e send t o o n e another i n t h e n i g h ! " says ' N e a to H e l e n a, " Y o u h av e y o u r s t r u g g l e , a n d I h a v e m i n e . " I n a ' n i g h t ' o f state r e p r e s s i o n and s y s t e m i c r a c i s m a n d h o m o p h o b i a, the v i s i o n o f c o m m u n ity a n d c o m m o n c a u s e a p p e a rs a n d d i s a p ­ pears l i ke a d re a m .

F r o m t h e c re at o r of LETT E R TO B R E Z H ­ N E V , a c o m p l et e l y m a d c o n c o ct i o n o f rent boys, arias and dolph i nari u ms. Ed d i e i s a s h y t e e n q u ee n w h o w at c h e s o l d wee p i es w i t h h i s m u m ; h i s best p a l M i c h a e l t a k e s h i m t o a l o c al L i v e r p o o l d r ag d i s c o h o sted b y a g i n g h a m - g o w n e d Ro b b i e C o l t r a n e . When t h e boys w i t n ess a g a n g l a n d m u rd e r , t h e y h e a d s o u t h ­ fas t-to B r i g h t o n ( B r i t a i n ' s R u s s i a n R i v e r) i n t h e b a c k s e a t of an a g i n g o p e r a sta r ' s B e n t l e y . T h i n g s g e t we i r d e r w h e n Ed d i e s t a r ts s k i n n y - d i p p i n g w i t h a d o l ­ p h i n c a l l ed S o oty, and M i ch ael starts s l e e p i n g with the d i v a . Soon t h e y 're p u rs u e d by a s a bre-w i e l d i n g a s s a s s i n ( p l a y e d b y p i n - u p B r u c e Pay n e) a n d t h a t ' s w h e n E d d i e ' s l i p- s y n c h i n g to M a r i l y n ' s h i t s j u st i s n ' t e n o u g h . M a d e at t h e s a m e t i m e as M A U R I C E , W O N D E R ­ LA N D c o u l d n ' t b e f u rth e r fro m E n g l a n d ' s u s u a l c o u t u r e- a n d-co i ff e u r g a y s e n s i b i l ­ i t y . At e a c h t u rn d o tt i e r a n d m o r e c o m p l i c a t e d , WO N D E R LA N D s h o w s h o w g ay f i l ms d o n 't h a v e t o b e g e n re co pycats. I s i t a t h r i l l e r? A m u s i ca l ? A w o r k i n g c l a s s c o m e d y o r s a m e- s e x B I G B L U E ? O n e p a r t s o c i a l r e a l i s m , two p a rts s u r r e a l i s m -y o u g et the s e n s e t h a t a u t h o r F r a n k Cl a r k e e i t h e r l o st c o n t r o l o r j u st transc r i bed a good bad d ream . E i t h e r w a y , t h e r e s u l t is m o s t l y h eave n l y . -Mark Finch

D i recto r: M a r u s i a B o c i u r k i w C a m e r a : A l m e r i n d a Tra v a s s o s Ed i t o r : D e n n i s D a y M u s i c : I n g r i d St itt, L i l l i a n A l l e n C as t : M o n i q u e M oj i c a , J a n i n e Fu l l er, K i m R e n d e r s , S h a w n a D e m p s e y , K a r e n K e es h i g ­ To b i a s , T i n a B o m b e r ry V i d eo t ra n sf e r to 1 6m m , 60 m i n u t e s

D i recto r : Ph i l i p S a v i l l e S c r ee n p l ay : F r a n k C l a r k e D i r e c t o r of P h o t o g r a p h y : D i c k Po p e Ed i t o r : R i c h a r d B e d f o r d C a s t : E m i l e C h a r l es , T o n y F o rs y t h , R o b e rt St e p h e n s , B r u c e Pay n e , R o b b i e C o l t r a n e 35m m , 1 03 m i n u tes

St u a rt M a r s h a l l ' s f o r c e f u l n e w f i l m ( s e p a r at e l y co m m i s s i o n e d , b u t s c r e e n ed i n B r i t a i n as p a rt o f - a n d t h e m o st­ w a t c h e d e p i s o d e of- C h a n n e l F o u r ' s l e s ­ b i a n a n d g a y m a g a z i n e s e r i es) i s n ' t j u s t about the H o l o c a ust. Su b-headed "Sexu­ a l i ty i n G e r m a n y 1 9 1 0- 1945, " i t d i g s u p a w h o l e d e a l of s t o r i e s l e a d i n g to t h e N az i e x t e r m i n at i o n o f l e s b i a n s a n d g a y m e n . T h e b o d y a n d nature w o rs h i p c u l t : t h e d e i f i c at i o n o f s a m e - s e x f r i e n d s h i p ; t h e g r o w t h o f g a y b a r s ; t h e p e r s e c u t i o n of s e x u a l r a d i c a l s - M a rs h a l l ' s i n t e r v i e w s add up to a s h a r p a n a l y s i s o f t h e a n x i et i es a n d i n c o n s i s t e n c i e s i n t h e r i s e o f N az i s m . O f c o u r s e t h e m a s s a c r e i s a h i d e o u s an d a p p a l l i n g h i storical fact. B u t D E S I R E a i m s to g et m o re o u t o f t h e d e a t h t o l l t h a n a n g e r a n d u p s e t . M a r­ s h a l l ' s e a r l i e r t a p e (s h o w n at the 1987 Fest i v a l ) , B R I G H T E Y E S , was p a rt l y a b o u t t h e r e l at i o n betw e e n A I D S a n d t h e H o l o ca u s t . H e r e h e s t r i k e s a l e s s c o m p l i ­ c at e d a n d d i d a ct i c p o s e . I f t h e c o n c e n ­ t r at i o n c a m p s c a n t e a c h a n y t h i n g , t h e g r o u n d h as t o b e r a k e d t h o r o u g h l y a n d s o b e r l y . So o n - s c r e e n w o m e n a n d m e n r e c a l l a n e c d o t e s o f p r e- N az i B e r l i n l i fe l i k e l o s t f r i e n d s , and M a r s h a l l s t i t c h e s t h e m t o g e t h e r i n a c o m p e l l i n g p at c h ­ w o r k . I n n o v at i v e a n d i l l u m i n at i n g , D ES I R E i s an i nstance o f o utstan d i n g g a y re s e a rc h . - Mark FinC ' h D i r ecto r : S t u a rt M a rs h a l l Prod ucer: Rebecca Dobbs, Maya V i s i o n 1 6m m , 9 0 m i n u t e s

A.I. D. S.C. R . E.A. M. U S A , 1 988 E x a m i n at i o n o f A I D S f e a r ; d e s e x u a l i z a ­ t i o n of h o m o s e x and d i ss o l u t i o n o f g ay i d entity. D i r e cto r : J e rry Tartag l i a 1 6m m , 6 m i n utes

Sponso red by The San Francisco Bay Times Iform erly Com i n g U p!] luse l o go]

BALLAD OF READING GAOL G r e at B r i t a i n , 1 988 A u n i q u e v i s u a l i n t e r p r etat i o n of O s c a r W i l d e ' s d e fe n c e te s t i m o n y ( " T h e l o v e t h at d a r e n o t s p e a k i t s n a m e . , ) . . "

D i r ecto r : R i c h a r d K w i etn i o w s k i 1 6m m , 1 2 m i n u te s

SFILGFF

25


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O N YOU R KN EES A n irreveren,d comedy Two Videos From:

" B u y two c o p i e s ; the first w i l l b e r u i n e d a n d unre adable w h e n y o u fin i s h w ith it . "

(Phil An dros)

· · W ith h ar d l y a p au s e , Trav i s t o r m e n t s u s f r o m s e x scene to s e x s c e n e , e a ch b u i ld i n g higher th an the o n e before, all s atisfying, original, le ading s u rely to the h a i r - r a s i n g l a s t c h apter ! " (Bay Area Reporter)

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Let the g-ames beg-in !


SATURDAY

JUNE 24TH Roxie

12:30 pm

2:30 pm

5:00 pm

THE HEA RT EX POSED

TWO OF US

u. S. Premiere

Great Britain, 1986 In most instances of banned or censored TV tales, the outcry is often more imaginative than the actual film. TWO O F US i s a rare ruIe-breaker: an atypical tale of working class teens who cross the fine line from friendship to sex, it's both austere and sensual . Filmed in 1986 as part of a BBC school series ' with transmis�ion postponed in the light of Thatchen te concern over sex education ' and t� en delayed further during the

ANNETTE FORSTE R LECTURE

Canada, 1986 Jean-Marc is a 39 year old French teacher who has recently ended a 7-year relationshi p. He is disillusioned and uncertain about his future but knows he isn't ready for a new relationship. At a Montreal bar h e meets Mathieu a handsome 24 year old aspiring 'actor. They head for a cafe and while having coffee, Jean-Marc suddenly excuses himself and disap pears into the Montreal summer night, leaving Mathieu alone and confused. J ean-Marc's reluctance to begin a n.ew r.elationship is only the first problem In this thought-provoking drama from Canada. After they begin to date, Jean- Marc becomes concerned with their age difference and finds himself unable to handle the anxiety it creates . It's at this point that he learns that M?thieu has a five year old son, Sebastien, from a marriage that ended when Mathieu finally accepted his homo­ sexuality and admitted it to his under­ stand ing wife. The confl icts for Jean-Marc multiply as he finds that his clos� st friends, a very lively group of lesbians, aren't all that taken with his new lover and that Mathieu feels overly scrutinized by the women . As the story progresses and Sebastien becomes an integ ral part of the lovers' lives ' Jean­ Marc finds he has some questions to an�wer. Does h e want to help raise a child? Does he need th e problems a child could mean to th eir relationship? Does he love Mathieu? Does Mathieu really love him? Well-written and comp letely sympathetic to all its characters, THE HEART EXPOSED also succeeds in re­ creating th e look of a classic film romance.

-Paul Bol/winkel

Di rector: Jean-Yves Laforce Screenplay: M i chel Tremblay Ca s t : Gilles ena u d, Michel Poirier, Olivier Cha ss e, Lou i sette Du s s a u lt Film transfer to video, 106 minutes

drawing up of Section 28, Britain's legislation which forbids local councils from "promo. ting homosexuality, " TWO O F US was finally aired on public TV in M� rch 1988 at an unusually late hour, with two scenes abridged-th e end (which suggests that Phil returns to Mathew) and an earlier embrace (am� nded by adding t-shirts and erasing . a q � lck kiss). . Fort.un.ately, this special festival version will Include the t-shirts off and the kiss in.

Anne Tris ler

As a critic and p rogrammer, Annette . Forster has come to be recognized as an expert on international lesbian cinema. She programmed the lesbian section of Holl�nd's . 1986 International Gay and Lesbian Film Festival, one of the most ambitious and comprehensive festivals of . lesbian/gay media ever organized. In thiS presentation she will look at the lesbian cinema's search for a new voice'' a cinema which is "subversive and romantic at the same time-these films open up space for new forms of love . " Excerpts will be screened from interna­ tional lesbian cinema from the past fifteen years. Titles will include among others Ch antal Akerman's J E, TU, IL, ELL !: , Alexandra von Grote's NO VEMBERMO ON ' and Lea Pool's ANNE TRISTER.

-Mark Finch

Di rector / Producer: Roger Tonge Writer: Les lie Stewart Ca s t : Lee Whitlock, J a s on Rush, Jenny J ay . V i deo, 60 m i nu tes

THE TRUTH A BOUT ALEX Canada, 1987 B�ad Stevens and Alex Prager are best friends. They are both popular high school students and key members of the football team . Brad is up for nomination to West Point, and Alex is a talented pi�nist who's counting on his football sk ! lls to land. hi.m a university scholar­ ship. But their lives are turned upside down one day when Alex admits that he's gay. THE TRUTH ABO UT ALEX is a sensitive portrayal of how two boys' sense of decency, loyalty and self­ respect overcomes the p rejudices and petty fears of th e people around them. Director: Pau l Shapiro Screenplay: Cra ig Storper Ca st : Peter Spence, Scott Baio, Jessica Steen Video, 48 minutes

SFILGFF 27


SATURDAY

J UNE 24TH Roxie

7:00 pm

...-� Tile Jungle Boy

V IDEOS BY JOHN GRE YSON THE PE RILS OF PEDAGOGY 1984, 5 minutes

A meditation on the unconscious collab­ oration between dominant mainstream cul tural values and the supposedly alter­ native gay ghetto, focusing on the limited rol e options available to young gay men, caught between two worlds. The actor and director are trying to produce a music video of "To Sir With Love" slowed down to sound like Per ry Como, but their relationship and the dominant culture intervene and interrupt .

THE J UNG LE BOY 1985, 15 minutes

This tape is based on the 1985 wash­ room bust in St. Catherines, Ontario, where one of the thirty-two men arrested committed suicide. Greyson combines narrative drama with appropriated scenes from the movie of the same name .

KIP LING MEETS THE COWBOYS 1985, 22 minutes

KIPLING MEETS THE COWBOY gently tosses cowboy porn and the western classic RED RIVER starring Montgomery Clift and John Wayne into a tale of Rudyard Kipling' s escapades on the lecture circuit.

MOSCOW DOES NOT BELIEVE IN Q UEERS 1 986, 27 m i n utes

Based on the experience of attending the 1986 Moscow Youth Festival as an " out" gay del egate, this tape is an eccentric diary of those ten days . Reconstructions of adventures in Moscow's gay sub­ culture are cut with lurid Rock Hudson headlines and scenes from his cold-war classic ICE STATION ZEBRA.

28

SFlLGFF

9: 1 5 pm

Two Bad Daugl7lers

BARBARA HAMMER New Video Works THE HISTORY OF THE WO RLD ACCORDING TO A LESBIAN

'<\1:'\i!!1I!ooi!i11il1_

1 1 :00 pm

Disco's Revenge

OUT ON FOUR

L esbian/Gay T V From Britain 's Channel 4 This program presents two of the epi­ sodes from the series which will be 1988, 16 minutes presented in its entirety during the From the Pl atonic Cave to Post-Punk, the festival . tape traces the invisib l e and visible Directed by Connie Giannaris, maker references to women who love women of the Communards' videos, DISCO'S from prehistory to contemporary times REVENGE examines the history of gay with the sarcastic sounds of the 50 's disco music from Britain's adoption of lesbian quartet from Seattle, The Sluts Taml a Motown, through the soul of From Hell . . Sylvester and Summer, the high energy of Evelyn Thomas, Divine and Miguel T.V. TART Brown, through its appropriation by 1989, 11 minutes Frankie Goes to Hollywood and Bronski Equating broadcast television and sugar Beat to the recent gay Latinization of desserts as empty, non-nutritive sub­ House and its distinctive dance trend of stances, T. V. TART seduces the viewer's 'voguing'. The informed tal king heads eye with electronic colors as bright as include Neil Tennant of The Pet Shop candy. Boys, producer and Heaven O J Ian BEDTIME STORIES Levine, and Chicago house star Frankie 1 989, 33 minutes Knuckles . Giannaris' conscious, crafted use of visual seduction provid es an I: THE WET DREAM-Questions of seduc­ appropriate approach to gay disco his­ tion, viewer Iviewed, and personal sto­ tory. As Frankie Knuckles remembers ries are col laged in this heavily post-produced account of a "hot tub the worst excess of "Saturday Night Fever" he turns knowingly to the rel ationship. " camera, adjusts his sun-specs and del iv­ II: THE EROTIC INTELLECT-Shot in Gar­ ers a suitably camp farewell, "Al l that bo's Hairdressing Sa lon, Hammer sug­ polyeste r, I couldn't stand it . " The gests intel lectual sti mulation to be as program concludes with Richard Kwiet­ provocative as overt sexuality . niowski's short fi Im ALFALFA, a gay III: CLIP, GRAB, AND PAINT-A sunstroke romp through the alpha bet. The next delirium as the videographer identifies episode of the series is hosted by Julian with Georgia O'Keeffe and her radio Clary who introduces an anal ysis of the obituary using a frame buffer and appeal of programs like "Dynasty" and computer program for paintb rush and "Gol den Gir l s" to gay audiences. The easel . program also includes a report from TWO BAD DAUGHTERS Newcastle on the lesbian I gay scene in 1988, 8 minutes England's northern-most city . Made in collaboration with Paula Levine, Executive Produce r : Christopher Hird TWO BAD DAUGHTERS posits play as Series Producers: Susan Ardil l, Clare Beavan subversive activity, a sabotage of the Sel'ies Director: Phil Woodward Ser i e s Editor: Mandy Merck patriarchal institutions of psychoanaly­ 3/4" vi deo, 100 mi n utes sis and sadomasochism through video image processing, changing the. subject/object relationship in psychoa­ nalysis, and interrupting and recon­ structing the paraphernalia of S/M sexual practice .


SUN DAY

JUNE 25TH Roxie

Voguinglpll o t o by D o ro tll y Low

5:00 pm

7:00 pm

9:00 pm

OUT ON FOUR

NO MORE NICE GIRLS

L esbian/Gay TV Fro m Brita in 's Ch annel 4

Ne w L esbian Vide os

GETTING OFF AND DANCING

F e at u r e d i n t h i s i n sta l l m e n t is A FTE R STO N EW A L L , a l o o k b a c k at t h e t w e n t y y e a r s s i n c e t h e f at e f u l d a y t h at a p o l i c e r a i d o n a b a r i n N e w Yo r k ' s G r e e n w i c h V i l l ag e s p a r k e d o f f t h e m o d e r n G ay R i g hts M o v e m e n t . Th e p r og ram a l s o t a l ks t o s o m e of t h e m o st v o c a l p a rt i c i ­ p a nts f r o m t h e I i v e l y s e v e n t i e s a b o ut t h e s e n s e o f p u r p o s e t h at m o t i v ated t h e m at t h e t i m e a n d , in m a n y c a s e s , a bo ut t h e i r a n g e r a n d d i s a p p o i n t m e n t i n w h at t h ey s e e as a p at h y a m o n g s t t h e B r i t i s h g ay co m m u n it y to w a r d s C l a u s e 28. The next p ro g r a m takes a h a rd l o o k at the c l a u s e w h i c h i l l eg a l i z es " p ro m ot i o n " o f h o m o s ex u a l i t y , i n t e r v i e w i n g a u t h o r o f t h e c l au s e, C o n s e rv at i v e M P D av i d W i l ­ s h i re a n d c h a l l e n g i n g S aatc h i & Saatc h i t o d e v e l o p a n ad c a m p a i g n t o "s e l l " h o m osex ual ity t o t h e p u b l i c. Also i n c l u d e d i s a l i v e l y r e p o rt f r o m H o l l y ­ w o o d o n h o w g ay ro l es a re s e e n a s a b a d c a r e e r m o v e f o r m o v i e a c t o rs , I n t e r v i e w e r J o h n Lytt l e f o l l o w s t h e p as­ s i o n ate b i ts f r o m MY B EA U T I F U L LA U N ­ D R ETTE a n d D E S E R T H EA RTS w i th s u c h c r u c i al q u esti o n s a s "Who t h o u g ht u p t h e c h a m p ag n e- s e x s c e n e ?" a n d " I s H e l e n S h a v e r a g o o d k i s s e r ?" H e a l s o a s k s H a rv e y F i e rste i n i f h e ' d e v e r c o n ­ s i d e r p l ay i n g a s t r a i g ht r o l e C' W - e- I I . , , I ' v e a l w a y s w a n t e d t o d o E l e a n o r of A q u ita i n e , . , " ) . Pl u s a p e n et r at i n g t e n m i n u t e l o o k at g ay m e n , l u st, a n d safe sex c a m p a i g n s . Ex e c u t i v e Pr o d u c e r : C h r i s t o p h e r H i r d Series Prod u cers : S u san A rd i l l , Cl are Beavan S e r i es D i recto r : P h i l W o o d w a rd Series Editor: Mandy Merck 3 / 4 " v i d e o , 1 00 m i n u tes

A c o l l ec t i o n o f r e c e n t l e s b i a n wo r k s f r o m t h e U S an d C a n a d a f e a t u res a w i d e ra n g e of sty l e s a n d a p p r o a c h e s t o l e s b i a n a n d fe m i n i s t v i d e o . T h e p ro g r a m beg i n s w i th M a rg a r e t M o o r e s ' c o m e d y S U R E LY TO G O D , w h e re t w o w o m e n t ry to c a s h i n a l o t t e ry t i c k e t stu c k to a f r o z e n c h i c k e n . I n KATH Y, C e c i l i a b a k e s a p i e w h i l e s o m eo n e' s i n t h e b e d ro o m w i t h S u s i e . OUT I N S U B U R BIA, w h i ch l o o ks at w o m e n l i v i n g a n d l o v i n g i n t h e ' b u r b s , i s fo l l o w e d by t h e m u s i c v i d e o " S o M a n y W o m e n " b y Zan n e . J o a n B r a d e r m a n ' s N O M O R E N I C E G I R LS t r a c e s a n d r e - c o l l ects a f e m i n i s t h i s t o r y by v i s u a l l y l ay e r i n g t h e p e r s o n a l a n d p o l i t i c a l h i s t o r i es o f w o m e n w h o w e re act i v e i n t h e 70's f e m i n i s t art movements.

SURELY TO GOD C a n a d a , 1 989 D i r ec to r : M a rg a ret M o o res 1 / 2" V H S , 25 m i n u tes

KATHY U S A , 1 988 D i r e cto r : C e c i l i a D o u g h e rty 3 /4" v i d e o , 12 m i n utes

OUT IN SUBURBIA U S A , 1 988 D i r e cto r : Pam W a l t o n 3 / 4 " v i d e o , 2 8 m i n u tes

ZANNE: "SO MANY WOMEN" U S A , 1 989 D i re ct o r : A u s t i n 3/4" v i d eo , 4 m i n u t e s

NO MORE NICE GIRLS U S A , 1 989 D i re cto r : J o a n B r a d e r m a n 3/4" v i d eo , 4 4 m i n u t e s

Ne w Gay Videos JOHNNY D e n m a r k , 1 988 D i re cto r : U l r i k AI B r a s k 3 / 4 " v i d eo , 8 m i n u tes

DEL IVER US FROM EVIL C a n a d a , 1 987 D i r e cto r : M a rc Para d i s 3/4" v i d e o , 9 m i n u tes

SAFE A u st r a l i a , 1 988 D i recto r : Eve A s h 1 / 2" V H S , 3 m i n u t e s

OF MAN; FOR DAD U SA , 1 988 D i r ecto r : S c ott S h at 3/4" v i d eo , 6 m i n u tes

VOGUING: THE MESSAGE U S A , 1 989 D i recto rs: B r o n s t e i n , Lo w , Wa l w o rt h 3 / 4" v i d eo , 1 3 m i n u tes

L E VOYAGE DE L'OGRE C a n a d a , 1 98 1 D i re cto r : M a rc P a r a d i s 3/4" v i d e o , 2 4 m i n u tes

"OUT" TAKES U S A , 1 989 D i r e ct o r : J o h n G o s s 3 / 4 " v i d e o , 1 3 m i n u tes

ONE IN SEVEN U S A , 1 988 D i re cto r : J o h n C a n a l l i 3/4" v i d eo , 1 0 m i n u tes

STRAWBERRY SHORT CUT U S A , 1 989 D i recto r : T o m R u b n i tz 314" v i d e o , 40 s e c o n d s

SFILGFF

29


SOURCES A.I . D.S.C.R.E.A.M. Canyon Ci n e m a , I n c . , 2325 T h i rd St . , Ste. 338, S a n Fra n c i sc o , CA 941 07 ACT UP AT T H E FDA E l l e n S p i r o , 1 1 9 Avenue D, N e w Y o r k , NY 1 0009 THE A D S E P I D E M I C F r a m e l i n e F i l m Arc h i ve A L G I E THE M I N E R L i b r a r y of C o n g ress, Was h i n g t o n , DC 20540 BALLAD O F R E A D I N G G A O L Fra m e l i ne , B o x 1 4792, San Fra n c i s c o , CA 941 1 4 B E D T I M E STO R I E S Ba r b a r a H a m m er, 5700 Fl o r e n c e T e r r . , O a k l a n d , CA 9461 1 B E YO N D G RAVITY N ew Zeal a n d Film C o m m i ss i o n , B o x 1 1 -546, W e l l i n g t o n , N e w Zea l a n d BOTH A . C h i l d , 303 E . 8th S t . , N e w Y o r k , N Y 1 0009 B O Y W I TH CAT Fra m e l i ne F i l m A r c h i v e B U TC H / F E M M E I N PA R A D I S E W o m e n i n F o c u s , #204-456 W. B r o a d w a y , V a n c o u v e r , B C , C a n a d a V5Y 1 R 3 A C A N D LE L I G H T V I G I L B a r b a r a J a ba i l y , K B D I - TV, 1 531 Sto ut S t . , D e n v e r , CO 80202 C HA E R O M att H a y e s , B e n netts b r i d g e , C o . K i l k e n ny , Re p u b l i c o f I r e l a n d C R O SS B O D Y R I D E Je ff M c M a h o n , 5 1 2 E . 1 1 th S t . , #4B, New Y o r k , N Y 1 0009 DEC O D I N G S C a n y o n Ci n e m a , I n c . , 2325 T h i rd St . , S t e . 338, S a n Fr a n c i s c o , CA 941 07 T H E D E F LATA B L E M A N H u n g r y Pi ctures, 40 T h a c k e r a y Co urt, B l yt h e R o a d , Lo n d o n W 1 4, E n g l a nd D E L I V E R US FROM EVIL V i d eo g ra p h e , I n c , 4550 rue G a r n i er, M o ntrea l , C a n a d a H 2 J 3 S 7 DER ORHENWURM Res B a l z l i , H a u ptstrasse 3 3 , CH-2560 N i d au , S w i t z e r l a n d D E R E K J A R M A N, K N O W W H A T I M E A N Y o y o F i l m V i d e o & T h e atre P r o d u cti o n s , 1 08 G r o v e Park, Lo n d o n S E 5 , E n g l and DESIRE M aya Vi s i o n , 4 3 N e w O x f o rd S t . , Lo n d o n W C 1 A 1 BH , E n g l a n d D O UBLE E X P O S U R E F i r e B a l l F i l m s , 1 0 1 44 T a b o r A v e . , #2 1 0, L o s A n g e l es , C A 90034 A N E M PTY B E D Y an k ee- O r i o l e C o m p a ny, 28-02 36 A v e n u e , Astor i a , N Y 1 1 1 06-3 1 06 FA M I L Y V A L U E S H a n d s O n P r o d u cti o n s , 633 P o s t St . , #500, S an F r a n c i s c o , CA 941 09 F I N D I N G O U R WAY T O G E T H E R A m e r i c a n R e d C r o s s , 1 900 2 5 t h A v e . S o u t h , S e att l e , W A 981 44 A F L O RIDA E N C HA N TM E N T L i b ra r y of C o n g ress , Was h i n g t o n , D C 20540 F U N DOWN T H E R E A n g e l i na Pro d u c t i o n s , 3 1 5 E . 1 2th St . , #28, N e w Y o r k , N Y 1 0003 G E N T L Y DOWN THE STREAM W o m e n M a ke M o v i e s , 225 Lafayette S t . , # 2 1 2 , New York, N Y 1 001 2 A G I R L' S BEST F R I E N D K a t h y C l a r k , 2 1 1 9 N E 1 4t h , # 4 , Port l a n d , OR 972 1 2 T H E G O L D E N G A T E B R I D G E BLOCKADE A r l S p e nc er N a d e l , 5 1 8 4 1 st S t . , Oakland, CA 94609 HALF A M I L L I O N STRO N G B a rb a r a J a b a i l y , K B D I - TV, 1 53 1 Sto u t S t . , D e n v e r , C O 80202 THE H EA R T EX POSED C a n a d i a n B ro a d c ast i ng Corp., 1 400 b o u l . R e n e- Le v es q u e est, M o nt re a l , Can a d a H2L 2 M 2 THE H I STO RY O F T H E W O RLD A C C O R D I N G TO A L E S B I A N B a r b a r a H a m m e r, 5700 Fl o r e n c e Te r r . , O a k l a n d , CA 9461 1 I NEED A MAN LIKE YOU W o m e n M a ke M o v i es , 225 Lafayette St . , #2 1 2 , N ew Y o r k , N Y 1 00 1 2 INFIDEL Cat h e r i n e S aalfi e l d , 6 0 Warre n St . , 5th F I . , N e w Y o r k , N Y 1 0007 I N T E R I O R D E C O RA T O R F R O M H ELL K e i t h Rotm a n , 1 35 Watts St . , New York, N Y 1 00 1 3 J OH A N N A D ' A R C OF M O NGOLIA Ex p o rtf i l m B i s c h off & Co . , I s a b e l l astr. 20, D-8000 M u n i c h 40, W est G e r m a n y JOHNNY Art C o m , B o x 31 23, S a n Fra n c i s c o , C A 941 1 9 THE J U NG L E B O Y V i d e o Dat a B a n k , S A I C , 280 S . C o l u m b u s D r . , Ch i c a g o , I L 60603 KATH Y Ceci l i a D o u g h e r t y , 41 Putnam St . , San F r a n c i s c o , CA 941 1 0 T H E K I LL I N G OF S I STE R GEORG E K i n o I n n 333 W e s t 39th St . , S t e 503, N e w Y o r k , N Y 1 00 1 8 KI P L I N G M E E T S T H E COWBOYS Video Data Bank, S A I C , 280 S . C o l u m b u s D r . , C h i c a g o , IL 60603 Ll LLl A N ' S DILE M MA L i b ra r y of C o n g ress, Was h i n g t o n , DC 20540 THE L O N G W E E K E N D (o'des pair) D e s p e r ate P i ct u res, Ltd . , 740 S . Det r o i t St., #1 , Los A n g e l e s , CA 90036 L O O K I N G FOR LA N G S T O N T h i r d W o r l d Ne w s re e l , 335 West 3 8 t h S t . , 5t h fl , N ew Y o r k , N Y 1 00 1 8 LOVELY H O U R S G e r d a E d e l w e i ss G r o s sm a n , D u ss e l d orfer str. 4 , 1 000- B e r l i n 1 5 , West G e r m a n y

30

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M E N IN LOVE S c ott Catamas, 340 N o rth Fernd a l e , M i l l Val l e y , CA 94941 MO SCOW D O E S NOT B E L I E V E IN Q U E E R S V i d eo D a t a B a n k , S A I C , 2 8 0 S. Co l u m bu s D r . , C h i c a g o , I L 60603 M OT H E R S Dav i d W ei s s m a n , 1 659 O a k St. , Sa n F r a n c i s c o , CA 941 1 7 M Y NAME I S E D W I N A C A R E R RA P i ct u re Start, 221 E. Cu l l e r t o n 6th F I . , C h i c a g o , I L 606 1 6 NIGHT VISIONS W i n d s of C h a n g e Prod . , 1 2 G r o v e A v e . , T o r o n t o , Ontari o, C a n a d a M 6J 3 B 6 NO MORE NICE GI RLS V i d e o D a t a B a n k , S A I C , 2 8 0 S o u t h Col u m b us, C h i c a g o , I L 60603 OF MAN; F O R DAD Scott S h a t , 205 C o l l i n s St. # 1 0, S an Francisco, CA 94 1 1 8 O N E I N SEVEN: T R U E C O N F E S S I O N S O F A GAY F L ES H P O U N D E R J o h n C a n a l l i , 633 E a s t 1 1 t h S t . # 1 , N ew Y o r k , N Y 1 0009 OUT I N S U B U RBIA Pam Walton Pro d u ct i o n s , B o x 391 025, M t n . V i e w , CA 94039 O U T OF O U R T I M E B a c k P o r c h Prod u ct i o ns, 1 1 3 E. W h i t e m a n S t . , Yel l o w S p r i ng s , O H 45387 OUT ON F O U R C h a n n e l Fo u r T e l ev i s i o n , 6 0 Char l otte S t . , L o n d o n W 1 P 2 A X , E n g l a n d "OUT" T A K E S J o h n G o s s , 1 242 S . R i m p a u , Los A n g e l e s , CA 9001 9 THE P E R I L S OF P E D A G O G Y V i d e o Data B a n k , S A I C , 2 8 0 S . C o l u m bu s D r . , Ch i c a g o , I L 60603 PINK NARCISSUS M i c h a e l Lu m p k i n , 650 G u errero S t . , San F r a n c i s c o , CA 94 1 1 0 PSYC L O N E S O N H EAT Boyd Walters, 6 Ki n g s t o n R d . , R i ve r s i d e , Card iff C F 1 8 H U , E n g l and RAY'S MALE H ET E R O SE X U A L DANCE HALL Fox / Lo r ber, 4 3 2 Park A v e . S o u t h , New Y o r k , NY 1 00 1 6 R E S E R VA T I O N The M i n i stry o f Cu l t u re , T h e N e t h e r l a n d s , B o x 5406, 2280 H K R i j s w ij k, T h e Net h e r l a n d s T H E R I G H T TO F I G H T EBS P r o d u c t i o n s , 3 3 0 R it c h S t . , S a n F r a n c i s c o , C A 94 1 07 R I SK G RO U P A m e r i c a n F i l m In stitute, B o x 27999, L o s A n g e l es, C A 90027 SAFE Seven D i m e n s i o n s Pty. Ltd . , 1 8 A r m s t r o n g St., M i d d l e Park, V i c t o r i a 3206, A u s t ra l i a SALUT VICTOR! N at i o na l F i l m Bo ard of C a n a d a, 3 1 44 Cote d e L i esse R o a d , M o nt r e a l , Q u e b e c , C a n a d a H4N 2N4 SOME OF M Y BEST F R I E N D S A R E . . . O r i o n P i c t u re s , 1 888 C e n t u ry Park East, Los A n g e l es, CA 90067 SONG FROM AN ANGEL Dav i d W ei s s m a n , 1 659 O a k S t . , San Fra n c i s co , CA 941 1 7 S O RT I E 234 A C PAV, 1 050 B o u l . R e n e- Le v es q u e Est, #200, M o nt re a l , Qu ebec, C a n a d a H2L 2L6 S U M M E R VACATI O N : 1 999 New Y o r k e r F i l m s , 1 6 West 6 1 s t S t . , New Y o r k , NY 1 0023 S U R LEY TO GOD V Tape, 1 83 Bat h u rst St., Toronto, Onta r i o , Canada M 5T 2R7 T.V. TA RT B a r b ara H a m m e r , 5700 Fl ore nce T e r r. , O a k l a n d , CA 9461 1 TAXI TO C A I RO Ex p o rtf i l m B i s c h off & C o . , I s a b e l l a s t r . 20, D-8000 M u n i c h 40, West G e r m a n y T A X I ZU M K L O C i nev ista, 3 5 3 W e s t 39th St . , New Y o r k , NY 1 00 1 8 T H E R E SE A N D ISABELLE A u d u b o n F i l m s , I n c . , 1 31 East 74th S t . , New York, N Y 1 001 2 T H E T R U TH A B O U T ALEX Scholastic Prod u c t i o n s , I n c . , 730 B r o a d w a y , New York, N Y 1 0002 TWO BAD D A U G H T E R S B a r b a r a H a m m e r , 5700 F l o re n c e T e r r . , O a k l a n d , CA 9461 1 TWO OF U S B B C S c h o o l T e l e v i s i o n , Vi l l i ers H o use, E a l i ng B r o a d w a y , Lo n d o n W 5 2PA, England U RI N A L G r e y s o n Prod . , 2 9 M cC a u l S t . , #603, Toro nto, Onta r i o , C a n a d a M 5T 1 V7 VOG U I NG:THE M ESSAGE Fra m e l i ne, B o x 1 4792, San Fra n c i s c o , CA 941 1 4 L E VOYA G E D E L'O G R E V i d eog raphe, I n c . , 4550 r u e G a r n i er, M o n t r e a l , Qu ebec, C a n a d a H2J 3S7 WHAT S H A L L WE DO A B O U T D EATH Goethe I n s t i t u t WH ERE T H E R E WAS S I LE N C E A l bany V i d e o , T h e A l b a n y , Do u g l as Way, Lo n d o n SE8 4 A G , E n g l a n d W O N DE RLAND Vestron Pictures, 2029 C e n t u r y Park East, S u i t e 200, Los A n g e les, CA 90067 A YEA R N I NG F O R S O D O M H a n n o B a et h e V i d e o Prod ucti o n , S e e l i n g s t r . 14, 1 000 B e r l i n 1 9, West G e r m a n y ZA N N E "So Many W o m e n " Fr a m e l i ne, B o x 1 4792, S an Fra n c i sco, CA 941 1 4.


Qff\c\ �\.. VI D E O GAY GAM E S II

THE E x p e ri e n c e the c h a l l e n g e of c o m pe­ t i t i o n and the t h ri l l of v i ct o ry w i t h 3 , 5 0 0 ath letes f r o m arou n d t h e world.

M E N b r i n g s you the b e s t of t h e O p e n i n g a n d C l osi ng C e re m o n ies, a n d all 1 7 s p o rts in t h i s exc i t i n g 1 h o u r h i g h l i g h ts t a p e .

A n d f o r f a n s o f t h e m o st p o p u l a r a t t ra c t i o n o f t h e G a m e s M E N p re ­ se n t s t h e P h y s i q u e s h o w s f o r b o t h men and women.

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13th San Francisco International Lesbian and Gay Film Festival  

13th San Francisco International Lesbian and Gay Film Festival Program Guide (Frameline 1989)

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