Page 1

free

your

nd

m

presents

iune

15-24

1990

the fourteenth Ian francisco

castro theatre roxie cinema

international festival


C ,0 N G RAT U L AT ION S

to

the

IN T

E

e

I L

from

b I T

d M

F

Four

Star

I

a

9

a

S T

y

I V A L

your friends at the

men E

Alhambra Clay

E

ION A L •

b

5

u H

francisco

RN AT

n

a F

san

Gateway Regency

A

f

T

e R

Bridge Lumiere

1 and 2

I d

E

S

Castro Opera Plaza Cinemas Royal


fe sfl v

'I Jnyite you to

In Eastern Europe people have aJ­

faine new-foun freedoms, wb�te, ' in the United States we find ourselves : fig fllTSI' anofher bottre to retain:' lo�g-e�tabllshed freedoms of expreuion. x

� o, � i � g O��'t, the firs:.t,

Opel?jiRg fhe 1990 Festivol is

fio

and (with the unifica.­

of tbe two Germanys) pr�b�hl' y the litst gay film from the German Demo­

:-

craftc Republlc. Th.fs touchingJs tory a bo�;one man's coming out carries the , t.'

spj;r-f and excifement of the c�m�ng out of,a.n entire na.tion_ �

,

"

' ,

x

Here, our Ia.test

bottle is with conservative ele�e �t$' 'c:a''i, ng' for the suppressio.n of freedom of

.

!,ft',

express�o.n and the eHmination 'o'f 'fhe lI{ationa.[ Endowment for the Arts, the "

.

federal agency wltich supports tllous ' and� of orgo.nfz:afions and artists a.round

tbe country - including Fra� �l i�'�;:/t he:non-profrt organiz:ation which pro­ . diuc�s tnrs festival. The arts funding' ba' tfle encompasses a wider range of ' ,A,t'.

"

issues: A.IDS, public support , � f ,the' arts� 'f.reedom o.f expression, freedom of

access, and the definition of, ;b:s,�enitY.'x We're the world's largest and lo.R<gest-running lesbian and gay" fit ..., 'festival: 14 years old. Once again, , .� ':

we've worked hard to bring ' iQu" !�.e be,s't and most varied, entertaining and

:

(sometimes) infurfafi'ng works ' (foin 'aro��d the world.We will be screening

over one hundred firms and taee's from "a dozen different nations - so, cle�r your calendars for ten days �

(�: i�anc , and comedy, AIDS and activism,

tory, art, pa.ssron a.nd sex.' � " M' i ch· ae.1

:. t.l��:,::;,\ ,.

Castro Theatre:

lumpkin,

Festival

429 Castro Strt:et at Market 415-621-6120

his­

Director

x Ro":,i e Cine.ma:

_

3TT7 16th Street at Valencio 4J5 K� �'3-1087 x Conferenc.e Venue: 347 Dolores " ' Street ot 16th Street x Festivci II.Ti �I( t Out[et: Ca.ptain Video (upper level) 2358

2

Market Street at Castro 415-43 J -92 7 . CA 94114

" .f;' '�f

x

""{"�

Th e

Ftameline:

P.O. Box 14792 San Francisco

Offices located at: 3t47'Dolort�s Street Suite 205 San Francisco CA 94110

.�:;<. . .�, _.�

,

,

.f"

Fo urt e e n th

Le s bia n

Fil m

a nd

D a v id of

Fra m e l i n e and

Gay Fil m Fes tival


fe . t l va l

/ fr a m e l i ne st a ff

Tim H 4:lD l on

f.st l va l

s cr e e ni ng

com.l tt .e

V i ce -Presi dent, W e l Js Fargo Bank M i ch a e l L u mp k i n

V i v i a n KJe iman

Fest i v a l Director/ Pro gram

F i lm 'Pro d u cer

T h oma s Di M a r i a

H a e l K o ha y a s h i

Exec u t i v e Director

K R O N -TV S t e v e le w

M a rk Finch

Mar'k F i nch R o bert H a w k M i ch a e l l u mpk in

Asso c i a t e Directo r / D i stri b u t i o n M a na g e r

M i ssi o n C u lt ur a l Center

Liz Kotz

Armi ste a d Mou p i n

Liz R i ga l i

Author

M a ry W i ngs

C o nference Director

Timoth y I. M cFe e l e y

K a ren Larsen

H u man R i g h ts C a mp a i gn Fund

P u b l icity

L o u rdes P o rt i l l o

W e ndy Da l la s

F i l mma k e r

Ticket Outlet

Frances R e i d

P a m W e a t h erford

C i nema t o g ra p h e r

B u siness Dona t i ons C o o rd i n a t o r J o h a nna M e t z g a r S p ec i a l E vents C o o rd inator

B . R u b y R ic h N e w Y o rk S t a t e C o u nci l f o r t h e Arts M a r l o n R i g gs

T i m Oros

V i d e o Director

Advert i s i ng S a l es M a na g er Bob Hawk

a d vi so r y

J o h n S i l va

G e o ffrey G ambl e

Marsh a H . L evine S h u l e e Ong

Liz S t e v ens Iris Femin i st C o l l ect i v e

Mary W i ngs

R i k k i S tr e i c h e r

Lawrence Wong pro g r a m

Attorne y at L a w. T i m Wo l fre d S a n Francisco C ommu n i ty C o l l ege B oard

Art h u r Dong

Urvash i V a i d N a t i o na l G a y & L e sb i a n T a sk Force Debra Zimmerman

F i lmma k er

W omen M a k e M o v i es

L i nd a Farin V i d e o Pro d ucer

R oberto E s t e v e s Vice Pres�dent, Administra t i on

l i z R iga l i

S u s i e Bri g h t

R o b ert E p ste i n

V i ce Pre si dent, Deve l o pment

L a u ra T h i e l e n

Pa u l N . T h u rston

S a n Francisco B o ard o f S u p e rv i sors

F i l mma k e r

Pre s i de nt Bruce C aro lan

B u s i n e ssw o m a n

H a rry B r i t t

O n O u r B a cks

Peter N. Fow l er

Ame r i can C a ncer S ociety Al l a n B er u b e

H o r i z o ns Fo u nd a t i on

d i r e ct o r s

Fenton Jo h nson

board

Do u g Bra l e y

of

S u san K u c h i ns k a s

Gail S i l va

H i sto r i a n

board

V i to R u ss o

F i l m Arts Fo u nd a t i o n fr a m e l l ne

fr ame Une

A u t h or, F i l m C ri t i c

Fest i v a l / T h e a tre L i a i son

2

� u s i e B ri g h t C e ci l i a Do u g h erty

Affiliations listed for identification purposes only

what

is

Tom B on a u ro Desi g n W a yne S m i t h T y p es e t t ing Jeffery N ew bury Cover Ph o t o gra p h y Top Copy L i notronic O u t p u t

fr ame l l ne ?

Frame l i ne i s a community-based, non- pro f i t org an i z a t i on w h ose purpose i s t o exh i b i t, distrib u t e and promote l esbi a n a nd g a y-re l a t e d f i lm and v i d e o in ord er to e d u c a t e , c h a l l en g e and enterta in t h e l esb i a n and g a y community. In a dd i t i on to t h e S a n Francisco Interna t i ona l Lesb i a n

& G a y F i l m Festi v a l , Frame l in e ' s sta f f w orks y ea r-ro u nd on t h e f o l l o w i ng pro j ects: D i strib ution: In 1 9 8 1 Frame l ine estab l ish e d i ts d istribu t i on program, ma k ing l esb i a n and g a y f i lms and v i d eotapes a ccess i b l e to comm u n i t i es a ro und t h e world. In spring of t h i s y e a r Frameline expand e d t h i s program t o f u rth er increase t h e a v a i l a b i l i t y o f t h ese w orks to u n i versit i es, t h e a tres, e d u c a t i o n a l mar ke t s a nd t h e g enera l p u b l ic. Information Exchange : T h e o n l y f u l l y - st a f f e d l es b i an and g a y m e d i a a rts o rg an i z a t i o n i n t h e co u ntry, Frame,line rece i v e s inq u i r i e s year-ro u nd f o r i nf o rma t i o n on f i lms a n d v i d e o ta p e s. O u r f i l es cu rrentl y cont a i n det a i ls o n h u ndreds o f t i t l es, a n d w e provi de a dvice a nd a ssistance to fest i v a l s and org a n i z a t i ons a ro u nd t h e w orl d . Spe c ia l Programs : E ac h y e a r Frame l i ne presents special programs o ·f interest t o t h e l esb i a n and g a y comm u n it y . H i g h l i g h ts f r o m t h e p ast y e a r incl u d e d t h e premi ere o f Rob E pst e i n a nd Jeffrey Fri e d m a n ' s Academy Aw ard w i nning Common Thread s : Stories From The Q uilt; R i c h a rd K w i e tni o wsk i ' s seven c i ty t o u r o f Polic ing the B edroom, a co l l ect i o n of B r i t ish sh orts d e a l i ng w i t h g a y re presenta t i on and l a ws of d esire ; and The Cell uloid Clos et, V i to R usso ' s c l a ssic presenta t i on o f h omosexu a l i t y in t h e cinema . Edu cation: E a ch y e a r Frame l ine co- s p o nsors a cl a ss on t h e h istory of l esbi a ns a nd g a y s in t h e cinema a t S an Francisc o ' s C i t y C o l l e g e. F unding: T o enco u ra g e t h e pro d u ct i on a nd a va i l a b i l i ty o f l esbi a n and g a y f i lm a nd v i d e o , Frame l ine ' s C omp l e t i on/ S u b t i t l ing F u nd pro v i d es g ra nts to new l es b i a n / g a y p ro d u c t i ons e na b l i ng t h e compl e t i o n of w o r k s in progress. For f u rt h er i nform a t i on, or for d et a i l s o n h ow t o su p p ort Frame l in e ' s programs, p l ea se contact: Frame l ine, PO B ox 1 4 7 9 2 , San Francisco , C A 94 1 1 4 , or ca l l 415-8 61-5 2 4 5 .

The

San Francisco Interna t i ona l

Lesb i a n & G a y Fi l m Fest i v a l ® i s a re g i stered tra d emark o f Frame l i ne , Inc. Y'


o p e n i n g

Fram eline's the

Opening

kick-off

of

the

begins at 5:30pm

Night 1990

with a

lowed at 7:00 with the Out from of the

Gala

Freedom

Aft erwar d s,

Co m i ng Out:

the

Festival

Celebration. the

The

Castro

and

evening

Theatre fol­

i oin the fi Im m akers and other guests

dinner and dancing at the dazzling San

Tickets for the entire evening are

Opening

415-431-9227.

of

Am erican prem iere of Heiner Carow's Com ing

of Com ing Out only also available for $7. ca II

the start

cham pagne reception at

Festival for cocktails,

cisco Mart.

celebrates

Lesbian/Gay

North

East Ger man y.

n i g h t

N ig

ht

Fran­

$50; tickets for the prem iere

For inform ation and reservations

The

by

s pons ored

Advocate.

of h is sc h o o l d a ys d e si r e f o r g a y p a l J a k o b - a nd

N o r t h A m er i c a n pre m iere.

The first sig nif i c a n t gay m o vi e fro m Ea s t G er­

h is p a r e nts' p l e a to s t a y on t h e stra ig h t a nd

m a ny o p e n e d on a n h istoric nig h t l a st f a l l. Given

n a r r o w - P h il i p p b e c o m e s t o r n b e t w e e n h is two

its c o n t r o v e rsia l s u b j e c t a nd d i ffic u l t pro d u c ­

l o v ers, and risks l o sing b o t h . X P h i l i p p ' s pre­

tion

to

d ic a m e nt p r o p e l s h i m in to the c it y ' s gay s c ene.

e x c i t e its first nig h t c r o w d i n E as t B e r l in; ne v e r­ ' t h e l e ss, d i r e c tor H e in e r C a row h a d n ' t a ntici­

H e ine r C a r o w shot Coming O ut l a r g e l y at r e a l

h ist o r y ,

Coming

O ut

was

expected

E a st B e r l i n b a rs a n d b a c k a l l e y s; o u tsid e o f t h e S u p e r- 8 se g m ents i n Wie l a nd S p e c k ' s We s tler,

p a t e d w h a t h a p p e n e d ne xt . T h e a p p l a u s e and p a r t y a tm osp h ere c o ntinu e d - o u t on t h e s tre e t s a f ter t h e scre e n ­

t h is is a first a nd l a st l o o k a t g a y l o c a tions and g a y l if e b e f o r e

in g , w h e r e p e o p l e w e r e a l re a d y s h o u ting a nd c e l e b r a ting . Com­

t h e w a l l fe l l . X Th e re ' s l o ts in Coming Out t o b e ex cited a b o u t .

ing O u t's pre m i e r e h a d c o i nc i d e d wit h t h e ni g h t t h e B e r l in w a l l ' c a m e d o wn. X E v e n wit h o u t t h i s p r o f o und p o l itic a l b a c k d r o p ,

Y e t, e v e n se p a r a t e d f r o m its h i st o r ic c i r c u m s t a n c e s , e d u c a t i o na l

C a ro w ' s ta l e of s o c ia l ist sex u a l i ty w o u l d se e m e x tra o r d ina ry .

a s a m o ving a nd p a ssio n a t e st o r y , h onest l y t o l d . We ' v e p a i r e d its

a m b ition a nd f a sc ina ting c u l t u r a l t o u ris m , Coming Out st a n d s

P r o d u c e d by t h e st a t e st u d io DEFA ( w h i c h k e p t d is c re e t d ist a n c e

pre m i e r e with 0 Brinco, a d r o l l B r a z i l i a n sh o r t on t h e t h e m e of

f r o m t h e p r o j e c t!, a nd c l o a k e d b y t h e inevita b l e w h ic h - a c to r ' s ­

an inc r i m ina ting e a rring . X Mic h a e l L u m p k in .

q u e e r? c u riosit y , Coming O ut c l e a r l y h a d a stru g g l e j u st to se e

1 9 89,

it to t h e sc r e en. x I t ' s a c l a ssic st ory - a sort of M a rxis t , m o d e rn­

M o r eno ,

Raul

day

g r a fica .

Coming

Maurice.

S c h o o l t e a c h er P h i lipp

fin d s h im s e l f

d i stra c t e d

Dir e c t o r : Fl a via

M o r a e s.

Ba rreto,

With Fl a v io d e S o u z a , C a r l o s

35mm, 6

O ut :

DDR ,

0 Brinco: Bra zi l ,

min.

1 9 89,

S o u r c e : Fil m Cine m a t o­ Dir e c t o r :

H e in e r

C a row.

f r o m h is c o l o r l e ss r o m a n c e with c o l l e a g u e T a n j a b y t h e a ttention

W i t h M a t h ia s Freih o f , Da g m a r M a nze l , Di r k K u m m e r , 3 5 m m , 1 0 9

o f a t e e n he m e e ts in a c o n c e rt t i c k e t l i ne . H a u n t e d b y m e m o ries

m in.

Nocturne:

S o u rc e :

D E FA .

Fr i d a y

June

15

7.00 p m

C a stro

A t l ast, a

c l o t h es. Fro c k e d in s m o c ks, t h e y t r o t o f f t o d in­

fil m w h i c h d es c r i b e s a l e sbian l a nd s c a p e f u l l o f

ne r , g r ossing o u t the h o use k e e p e r who k no ws

c o n t r a d i c tion, innuend o , a n d h a untings fro m a

l ines wil l be crosse d at t h e su p p e r t a b l e . ( And

l e sbian-p ositive p o int of vie w . M a d e for Bri tis h

t h e y a r e . ! X Noct urne is r e m iniscent of H a ro l d

West C o a st P r e m i e re .

T V , Noct u rne h a s a tig h t l y c o nstru c t e d ( h o ur­

Pint e r ' s sc ree np l a y f o r The Servant. W e ' re no t

l ong ! p l o t , a s we l l a s c h a r a c ters w e sy m p a t h i z e

su re w h o ' s c o nt r o l ling w h o . T h e t h r e e so m e pro ­

wit h , o r l o v e to h a te , e v en w h en t h e y t u rn on u s .

v o k e and t e a se e a c h o t h e r in w a ys t h a t w o u l d

X

p u t T o m J ones t o s h a m e. Fu r t h e r f l a s h b a c k s o p en

M a r g u e r it e , a 4 5 y e a r o l d u p p e r c l a s s w o m a n,

r e t u rns to t h e fa m i l y m a nsion to a t tend h er m o t h e r' s f u n e r a l . F l a s h ­

c l ose t d o o rs in M a rg u e rite 's p a st , and w e ' r e invited into a c o m p l e x

b a c k se q u enc e s r e v e a l h er e m o tiona l l y im p o v erish e d c h i l d h o o d a s

psy c h o l o gic a l r e a lity t h a t r e l e a ses po ssibil itie s and p a ssions f o r

t h e m a t u re M a r g u e rite ro a m s t h e re l i c -fil l e d roo m s . M e a nw h i l e ,

t h e h e roine . X pl u s Life o n Earth a s I Know It, a s h o r t st ory

d o wn t h e r o a d , t w o l esbian l o vers a re t h u m b i ng a rid e . Pic k e d u p

a b o u t l o v e , l one liness a nd m e t e o r o l o g y .

b y a m a n in a s e d a n , t h e y smirk a s h e w a rns t h e m a g a inst h it c h h ik ­ . ing , a l l u d ing to g risl y crim e s c o m mitted in t h e a re a . X "Go on, te l l

d e spairs of finding a m e aning f u l r e l a tionship in t h e big city. W h en

Lois is d e p re ssed a nd

s h e m o v e s into an a l l -w o m e n h o u se h o l d on t h e w r ong sid e of town,

u s a b o u t w h a t h a p p e ne d , " g o a d s T h e r e s a , w h i l e h e r g i r l f riend

t h e r e ' s st o r m y w e a t h e r a h e a d . lik e Noct urne, Life on Earth is

fond l e s h e r f r o m t h e b a c k se a t . M o re surp rises a w a it u s f r o m t h e

sm a r t

so m e w h a t socio p a t h ic c o u p l e . T h e d river stops t o t a k e a l e a k and

w h i c h m a na g es to be b o t h h u m o r o u s and l y ric a l a b o u t c o m in g o u t .

t h e y m a k e o f f with t h e c a r . T h e y arrive a t M a r g u e rit e ' s h o u se ,

x

b re a king in t h r o u g h t h e Frenc h d o o rs w h ere s h e i s p l a ying t h e

Dir e c t o r :

piano. I t 's intrig u e a t first sig h t , a s Marg u erit e , d r esse d f o r d e ­

Make

fense , enj o ys h e r first wet T-sh irt exp erienc e . X W h a t f o l l ows wil l

C h a m b e r l ain. With Lisa Eic h h o rn, M a u reen O ' B rien, C a r o l ine P a t ­

ta k e even t h e se a sone d d y k e by su r prise . M a rg u erite a c c o m p , a nies

te rson, 1 6 m m , 5 8 m in. S o u r c e : M a y a Vision.

t h e c o u p l e to t h e nu rse ry and dresses t h e m in h e r o l d c h i l d ren's

10.00 p m C a s t ro & S a t u r d a y JI'::;� c

and

sty l ish

-

a new

be nc h m a r k

f o r l e sbian fil m m a king

M a r y Wing s. Life O n Earth A s I Know It, Au stra l i a , 1 9 8 9 , Le sl e y Fu rne a u x - C o o k ,

Mo vies.

Nocturne :

Great

1 6mm,

9 m in.

B ritain,

._

S o u r c e : W o m en

1 9 90,

Dir e c tor:

Fri d a y J u n e

� �".j Ul

J oy 15

�L: t;as t r o

3


Take er 0 s read

ďż˝

In

his

Miracle

of

Genet drew From inside

his imagination in nine-to-fivers who are repellan!,

retain as we are,

honey, Shurin


T h e M u rderer , V i c M o r r o w keep s t h e c i p h er;-l i e

h a r a cter i z a t i o n s b u t b r i n g s a

c i n em a t i c q u a l i ty

t st a g e p l a y. Leo n a rd N i m o y

(wh o c o - p r o du c ed t h e f i l m wil'h M o r r o w) i s t h e sm a l l t i m e t h i ef wh o b a t t l es w i t h q u eer P a u l Ma ztJrsky o v er i l l i t era te, m u sc u l a r k i -n g

c

c o n v i c t M i c h a el F o r est . T h e t�ree a r e c o n sta n t c el l m a tes so thi n g s t u r n a b i t twi t c hy, t a l k y a n d'ten se. D e a t h w a t c h i s a b o l d g a y ­

Q)

them ed m a i n st r ea m m o v i e wh'i c h va n i sh ed r a p i dl y o n rel ea se a n d ' ha s n ever b een sc r een ed si n ( e. W e' re p r ec ed i n g i ts pa r o l e wi t h a Genet ' � o n l y f i l m ,

b r a n d n ew p r i n t of u

Un

Chant

d'A m o u r.

F r a n c e, 1 9 4 7, D i rec t o r : J ea n G enet , 35 m m ,

Un C h a n t D'A m o u r :

26 m i n . , si l en t, S o u r c e: B r i t i sh F i l m In st i t u te. De a t h w a t c h : U S A , 1 967, D i r ec t o r : V i c M o r row.·W i t h Leo n a r d N i m o y , M i c h a el F o r est, P a u l M a z u r s k y , 35 m m , 88 m i n . S o u r c e: Ca st l e ' H i l l P r odu c t i o n . , Friciay

o

Querelle:

-

22

June

9.30pm

P r o du c er

Castro

D i eter

S c h i do r

o r i g i n a l l y t o o k t h e t a sk o f fi l m i n g G e n et ' s sa di sts-a n d- sa i l o r s do c k si de ,dr a m a -.

B ern a r do

B ert o l u c c i

( who

could

to

on ly,

a c co r di n g t o S c h i do r , " p resen t i t a s c o c k p o et r y " ) ,

t h en

W er n er

S c h r o eter

( who

wou l d t u r n it i n t o IIf a g g o t p o et ry " ) , a n d f i n a l l y F a ssb i n der ( " I t h o u g h t he m i g h t m a k e i t g a y k i t c h en t r a sh " ) . u

H a rdl y t r a sh , t h e r esu l t i s in stea d o n e o f t h e m ost o v er - deter m i n ed g a y f i l m s of

all

t i m e: sta r r i n g sa l t y J ea n ne M o r ea u ,

b l a n k­

f a c e B r a d D a v i s a n d a su r r ea l B a r b a r el l a -sty l e sea p o r t . P l u s

E o

Ec c e

H o m o,

J er r y T a r t ag l i a ' s c a n n y Ch a nt d' A m o u r re- m i x .

Ec c e

H o m o:

USA,

1 9 89

"

D i r ec t o r : J e r r y T a r t a g l i a ,

1 6m m , 7

m i n . , S o u r c e: F r a m el i n e. Qu e r e l l e: West G erm a n y , 1 983, D i r ec t o r : R.W.

F a ssb i n de r .

W i t h B r a d D a v i s,

J ea n n e M o r ea u ,

Franco

Ner o , 35 m m , 1 0 7 mi n . S o u r c e: F i l m s I n c . Saturday June 8 6 1 O.30pm Castro '''e Balcony:

I n a n a m el ess r ev o l u t i o n ­

t o r n c o u n t r y , wa r g o es o n , b u t f o r b r o t h el ­ boss S hel l ey W i n ters i t ' s b u si n ess a s u su a l . Var i et y du b b ed W i n t e r s ' l esb i a n

l et c h"

fo r

c ha r a c te r " a

h er o n - sc r een

dr y ­

IU-S..s i n g wi t h b o o k k e ep e r Lee G r a n t ; a n d P et e r F a l k a n d L eo na r d N i m o y b r i n g a su r p r i si n g deg r ee o f m u sc u l a r i t y t o

t h ei r

r o l es a s t h e b o r de l l o ' s f a n t a sy - f u el l ed

c u st o m ers. H a r dl y G en et ' s f e r o c i o u s, c y n i c a l sex u a l -p o l i t i c a l sta g ep l a y , b u t H o l l y wo od a t i t s wei rdest a n d m o st i n t r i g u i n g . Th e

B a l c o n y:

W i n ters,

Peter

U SA,

1 963, D i rec t o r : Josep h S t r i c k . W i t h S hel l y

Falk,

Lee

Gr a n t,

L eo n a rd

N i moy,

1 6m m ,

8 4 m i n . S o u r c e: K i n o . S"turday June 1 6 1 .30pm Cc::stra

5


out

tuesday

back

v 0 t e d b e s t v i d e 0 b y I a s t y e a r" s F i I m F es t v i e w e r s, O u t O n T u es d ay - C h a n 足 n el

F o u r ' s s p u n k y le s b i a n

network

TV

magaz i n e

w as f i r s t a i r e d t i me

6

when

from

S ec t i o n

28.

the

c o mm i ssi o n ed age n c y ,

r e t u rns .

gays shock

Out o n

t h e s c re e n

It

W'e r-e

an

assa u l t

&

of

i tem wh i c h

T h a t c h er ' s

own

S aa t c h i ,

a n d d o w h a t S ec t i o n 2 8

to

the

r

n

9

Running from Mar ch of this year, 0 ut On Tuesday stepped back in the

ring for a second knock足

down-drag-out bout with the myths and monsters of heterosexuality.

Channel Four increased the

s t i ll

T u e s d ay b la s t e d

with

S a a t c lH

gay

F e b r u a r y 1' 9 8 9 , a

Ii d t i s h

r e el i n g

o n to

in

-

and

n

number of episodes from eight to ten (we're showing the first eight in four double-bills at the Roxie; catch the ninth,

Stuart Marshall's

Comrades In

ad try

h ad b a n n ed :

p r o m o t e h o m o s ex u al i t y . T h e c h ee k i 足

Arms, on film at the Castro), and the show has an

even

punchier

pitch.

The

gloves

are

off.

Tuesday's producers polished up their team by

n ess a n d v e r v e o f t h e f i rst i tem s e t t h e. t o n e f o r t h e s er i es , w h i c h a v o i d e d cri t i ci sm t h r o u g h a u d ac i t y a n d fas t 足

hiring filmmaker Richard Kwietniowski (Alfalfa, Ballad of

Reading Gaol) as series director,

so

t h i n k i n g . A n a n t i c i p a t e d n e w s p q p er at tac k r a t i n gs C h o n n-e l

n e v er ( o v er F o ur' s

h a p p en ed . one

And

m i ll i o n )

t i me

slot

the

bro k e

r e c ord s .

now even the fill-ins have a uniquely gay tone. This time the British press welcomed the series, albeit politely; the only complaint has been from one

tabloid

which

mishearing

plans

for

a

humorous short item on lesbians and gays and their animal companions - reported, scandalized, "TV

chiefs are now giving gay pets their own

slot!"

Mo rk

Fin

c

h.

Sponsored

. by

KQED


p

Out

o

g

On

Tu •• day,

a

p

m

1: Right Wing, Right

Program

Out

On

Tu •• day,

a

Program

2:

g

S ex

a

121 and

Off, Right Hons, Right? probes those gays who still vote

the

Tory, or at least crave Conservatism in some form. Out-gay

through the Soviet states because of inadequate blood

Tory ex-MP Matthew Parris argues the case for Margaret

testing and the complete absence of disposable needles;

Thatcher's "sexual tolerance"l In Luppies, upwardly-mobile

meanwhile, Melanie Chait's interviewees speak keenly of

Gulag

scarily

shows how

AIDS is being

spread

dykes outline their aspirations with unlady-like ambition.

- at last - lesbian and gay freedom. Plus from the maker

My Beautiful Lorgnette affectionately quizzes the ,phe­

of last year's

nomenon of the opera queen. The second part includes Walk

punk rock's gay roots: Jesus Die d for Somebody's

Disco's

Reveng e , a piercing peek at

On Bi,- a catalogue of the confusions and options created by

Sins (But Not Mine). And photographer Sunil Gupta

self-declared bi-sexuals - and a report on Amnesty Interna­

profiles British gay Asian artist Alan Desouza.

tional's attitude to adopting gays as Prisoners of Conscience.

includes Melanie Chait's second special report on sex

plus A Matter of Life and Death asks what it's like for

and

gay men who have buried so many friends; one interviewee

Ea ste rn

E u ro pe:

PoI skiseks.

Part two

The new Sol id a,ri ty

government in tandem with the traditional Catholic Church

describes the film as a bold break-out from the "tyranny" of

is seeking to ban abortion; Bea Compbell polls the opinions

positive thinking: "I've said that AIDS was the best thing

of Polish gay men and women. Also in this episode, a

that's ever happened to me," he says, "But that was last

one-to-one with New Yorker Sarah Schulman, author of

year." Presenter: Communards' Richard Coles.

Out On

'After Dolores' and other lesbian literature.

Out On

Tuesday, Great Britain, 1990, Series Producers: Susan Ardill,

Tuesday, Great Britain, 1990, Series Producers: Susan

Clare Beavan, Series Director: Richard Kwietniowski, Series

Ardill, Clare Beavan, Series Director:' Richard Kwietniowski,

Editor: Mandy Merck, 3/4" video, 100 min. Source: Channel

Series Editor: Mandy Merck, 3/4" video, 100 min. Source:

Four

Channel Four TV.

TV.

g

o

p

Out

Thursday

On

a

Jun.

21

8.30pm

Roxl.

Tu •• d a y ,

Friday Jun. 22 8.3 Opm

p

m

Pr o g r a m

3:

Fl esh

and

Pap e r is a lyrical look a t Ind i a n lesbian poet Su­

Out On Tu •• day, Program 4:

o

Roxl.

g

First, Women Like

Us, a fifty-minute essay on older lesbians. The women -

niti Namjoshi, directed b y Pratibha Parmar. Namjoshi

whose ages range from 50-80 - come from different cul­

i s a wry writer who

tures, classes and backgrounds but all discuss first love,

works

lesbian t h e m e s i n t o a Simon Callow

romance, the social pressures which led them to marry, and

presents White Flannel, a w i t t y tour o f t h e h o m o ­

their late-in- life coming out. An excellent history of the

s e x u a l novelists a n d c h a r a c t e r s w h o ' v e i n s p i r e d s o

changing image of lesbians and lesbianism from the 1920s

complex

picture

of

In dian

culture.

many British costume drama q u e e r s , like M a u ric e

to today.

a n d t h e b o y s of B ri d e sh e a d

In part

bian mothers have become pregnant through Donor Insemi­

two: a "R ough Trade Guide" to the EC c a p i t a l s (A

nation, a scheme which offers frozen sperm to prospective

R evisi t e d.

More dyke demographics in part two. Many les­

Song for Europe) and a travelogue - s o r t of - o n

mothers and guarantees the donor's anonymity. However, a

the nation most celebrated by gay h i s t o r i a n s and

proposed amendment to a new piece of British legislation

travel agents (G r e e k Love and S ap phic S op his­

wants to limit 0.1. treatment to married or stable straight

tication). P l u s a profile of the alm o s t implausibly

couples, and to allow children to trace their fathers at 18.

outspoken Ir ish s e n a t o r David No rris, who success­

Let's Pretend talks to lesbian mothers and tackles the

fully overturned E i r e ' s anti-gay'law s in

threat to drive self-insemination underground. Also: School

Court.

European

Out O n T u esday, G r e a t Britain, 1 9 9 0 , S e ­

for Scandal, an expose of the worst of British newspapers.

ries P r o d u c e r s : Susan Ardill, Clare Beavan, S e r i e s

Out On Tuesday, Great Britain, 1990, Series Producers:

Director: R i c h a r d Kwietniowski, Series Editor: M a n d y

Susan Ardill; Clare Beavan, Series Director: Richard Kwietniow­

Merck, FtHJr

video, Saturday

3/4"

TV.

100 Jun.

min., 23

Source: 6.0 0pm

Channel Roxl.

ski, Series Editor: Mandy Merck, 3/4" video, 100 min. Source

Channel Four TV.

m

Sunday Jun.

24 5.00pm

Roxl.

7


T h e p u n i s h me n t of f e mal e c r im i nals h as p r o v i d e d f o d d e r f o r t h e ma l e gaze an d ge n e rat e d B -mo v i e far e f o r d e c ad e s. W h at hap p e n s b e t w e e n w o me n w h e n t h e y are l o c k e d u p toge t h e r h as pa n d e r e d to t h e misogyn i st a n d p r u r i e n t p o i n t - o f -v i e w ; sc ratc h i n g a n d hai r­ p u l l i n g u s u a l l y e n s u es . On t h e o t h e r e n d of t h e scal e , t h e su r v i val o f w o me n w i t h i n a p at r i a r c h al j u st i c e system (al b e i t ad mi n i st e r e d by o t h e r w o men) i s a wo r t h y an d n e c essary su b j e c t to e x p l o r e . Th e t h r e e f i l ms i n t h is s i d e bar - o n e new , t w o rare - al l e x i s t o n d i f f e r e n t p o i n ts w i t h i n t h i s c o n t i n u u m . � Caged i s p u r e ' 5 05 H o l lywo o d . I t feat u r e s a sad i st i c mat r o n w i t h u n stated l esb ian f e e l i n gs - a c l e a r c reat i o n of ma l e at t i t u d e , simu l tan e o u s l y h u mi l i at i n g an d l u st i n g af t e r h e r c h arge s . Th e i nmates have t h e l o o k an d d e mean o r o f mat u r i n g.sta r l ets i n ste ad o f h ar d e n e d c r i m i n a l s, an d i t ' s san i t i z e d o f a n y s u bstan t i al l esb ian c o n t e n t, w h i l e i n c l u d i n g t i t i l l at i n g sh o w e r r o o m sc e n e s.

B u t Caged o f f e rs t h e b e st asp ec ts of H o l lyw o o d v e h i c les . I t ' s w e l l cast : Agn e s M o o r e h e ad p l ays t h e war d e n ,

E l ea n o r Par k e r i s p r e t ty c o n v i n c i n g, an d H o p e E me rso n r e c e i v e d a n Oscar n omi n at i o n f o r h e r p o r t rayal o f t h e sad i st i c guar d . I n ad d i t i o n , t h i s b l ac k an d w h i te f eat u r e i s w o n d e r f u l l y, n o i r i s h l y l i t . � Pris onnieres i s t h e most sympat h et i c a n d least voyeu r i st i c of the t h r e e f i l ms . Th e d e p i c t i o n o f h u mi l i at i o n , the w i t h h o l d i n g o f smal l p e rso n a l d i gn i t i e s a n d the str uggl e f o r i n mates to mai n tai n t h e i r sel f-resp e c t are t r i u m p h s i n t h is F ren c h f i l m w h i c h avo i d s sensat i o nal i sm. T h e p r i so n i tse l f i s h o u sed i n a c l o i ster, an d t h e guar d s an d mat r o n s are t h e most c r uel an d � n c omp r o m i s i n g of al l t h r e e f i l ms, e ven as t h e y st r i d e t h r o ug h go t h i c i n ter i o r s i n f l ap p i n g w o o l l e n cap e s . T h e l esb ian c o n t e n t c o n s i sts o f o n e u n b e l i e vab l e l o v e affai r , i ts st i l t e d pass i o n r esu l t i n g i n a s u i c i d e attem p t , a maj o r f l aw i n a n o t h e r w i se h u man i st i c mo v i e .

� Scr u bber s

c omes c l osest t o a recogn i z ab l e r e al i ty t h at e v o kes t h e ser i o us d esp erat i o n o f w omen

b e h i n d bars. W h at do yo u do i f yo u r l o v e r i s s h u t u p in o n e p r i so n , an d yo u ' r e l o c ked i n a n o t h er ? B reak o u t, c o mm i t a w o rse c r i me an d , i f yo u ' r e l u c ky, get jai l ed c l os e to h e r . T h a t ' s w h at C ar o l d o es, an d en d s u p o n l y a c e l l

b l o c k away f r om h e r be l o v e d .

U n f o r t u n at e l y, h e r b e l o v e d has shac k e d u p w i t h s o me o n e e l se . W o rse, Car o l i s se e n as a sn i t c h by An n etta, her c o -esc a p e e w h o ' s a l so b e e n caugh t . An n et ta's anger k n ows n o b o u n d s a n d l i n e s a r e q u i c k l y d raw n amo n g t h e i n mat e s . E d d ie, a st o n e b u t c h we w i l l al l recogn i ze, o f fers h e r p r otec t i o n to Car o l f o r a n o t u n att rac t i v e p r i c e, a n d t �e game b e t w e en sto o l i es, patsies, go o d i es a n d b u tc h es is o n . � Af t e r get t i n g used to t h e ac cen ts, yo u ' l l be kep t on t h e e dge of yo u r seat by Scr u bber s' c h arac ters an d p red i caments. Th e i r l o ve affai rs are i n tensely emo t i o n al an d bel ievab l e . Th e i r d es perat i o n i s h i gh v o l tage . We' r e l o c k ed u p w i t h t h ese w o men as w e h e ar t h e i r t rag i c h i st o r ies an d se e t h e i r res u l ta n t h i g h se c u r i ty s i t u at i o n s . A n d t h e c o n stan t sc reami n g, si ngi n g a n d yel l i n g v o i c es t h at b o u n c e off the ceme n t b l o c k s w i l l mak e yo u f e e l l i k e yo u ' r e t h e re. � Mary W i n gs .

Spon s or e d By The San F rancisco Bay Times.

9

C a g.d : F rom The C i nema N ews and P r o p ­

Pr l ao n n l .r .s :

c hai ned

sex l i aiso n s mo re ser i o u sly t h an Scum

erty Gazette, 1 9 5 0 : "Har row i ng ac c o u n t o f

toge t h e r at a Par is stat i o n , f i n d t h e i r l i ves

d i d . E x-S can d i nav ian m o v i e star t u r n ed

experien ces of fi rst-offen d e r i n women 's

entwi n e d j ust as fi rmly w hen t h ey arr i ve at

d i rec t o r Mai Zetter l i ng makes p r i so n l i fe

p r i so n . Po werfu l overal l i n d i c;tme n t of c o n ­

R e n nes

Prisonnieres

b o t h harsh (beware: some scenes n o t f o r

d i t i o n s th at may possi b l y exist i n Ame r i can

p r o pels i ts i nmates t h r o ugh a series of

t h e sq ueamish) an d k i n d o f ten der ( 0 l esb ian

Seven

women 's

women,

p r iso n .

opera-style set

l ime r i c k w r i ter sc reams p oet i c o b scen i t ies

i n sti t u t i o ns, the p i c t u re dw e l ls i n cessantly

sometimes sombre, soap

on varied types that peo ple t h i s so r d i d sc e ne:

pieces. I n the atmosp here of barely su pp ressed

f r om

c r i me-soaked females c u t off from common

v i o l e n ce, some c o p e by compl ian t submission,

Scr u bb e r s uses an e n semb l e to ex p l o r e

decen ci es; sad ist i c mat r o n o p e n to b r i bes;

oth ers by outrigh t rebel l i o n . B u t u nan t i c i pated

t h e p r i so n fo rmu l a,

k i n d ly p r ison su per i n ten den t str uggl i n g f o r

l oyalt i es an d f r i e n dsh i ps also emerge; you ng,

t h e sma r t mo n ey o n E va, a l esb ian o r p h an

sweep i n g refo rms; el de r ly v i c e-q ueen w h o . o rgan i zes par o l es. G r i p p i n g narrat i o n al ­

armed rob ber Sab i n e f i n ds herself d r o w n to

w h o b u sts h ersel f b o c k i n si d e t o r ej o i n

the q u iet, ol der L u c ie. Of al l women 's p r ison

her

most over p ower i ng in

real ism of ter r i b l e

mo v i es, Prisonnieres gets c l osest to the

on h o n est, d reamy q u al i ty. "I l o ve yo u ,

c o n d i t i o n s an d sl ow dec l i ne of i n mates' d e ­

pace an d pacts of cel l b l o c k su b c u l t u re.

c e n t feel i n gs. S u perb l i ne-u p of sensi t i v e

Pris onnieres :

Di recto r:

an d t h e h u mo r o us, ten d e r message b o oms o u t o ver t h e q u ad rangle, w h ere p r i so n ers

F rance,

1 988,

p o r trayals, bac k e d b y sympat het i c d i r e c ­

C h ar l o tte S i l ve ra. W i t h Agnes S o ral , An n i e

t i o n that never st r i kes a jar r i n g n ote. Exc e l ­

G i rard ot,

B e r n adette

len t p r o d u c t i o n q u al i ty. F i rst-rote d ramati c

1 00 mi n .

Sou rce: World

entertai nme n t that deserves w i d e e xh i b i ­

S u n d a y J u n . 17 9 . 15

Laf o n t,

3 5mm,

Mar ket i n g F i lm. pm

Castro

her

cel l ) .

Like

fai t h l ess I'over .

Prisonnie r e s ,

b u t Zetter l i n g p u ts

S ome scenes have

E va, I f u c k i n ' l o ve yo u " ye l l s h e r l o ver,

pass n o tes an d

j o i n ts f r om w i n d o w to

w i n d o w . Scr ubbers even suggests t h at, for some, lesb ian ism is a c h o i ce : "G i ve u s a l i c k , n o t a p r i c k . " P u l py, p oet i c an d

tion, t h o ugh hardly recommended for sq ueam­

p o l i t i c al . Scr u bbers: G reat B r i tai n , 1 9 8 2 ,

ish tastes." Caged : U S A, 1 9 5 0, Direc t o r :

S cru .....r s : Scrubbers was made t o cash ­

J o h n C romw e l l . W i t h E l ean o r P o r k e r , H o pe

in on the c o n troversy an d commerc i al su c cess

Di rec t o r :

Emerso n , J o n S ter l i ng, Agnes M o o r e head,

of t h e 1 9 7 9 mov i e Scum, itself based o n a

Yo r k ,

3 5mm, 9 1 mi n . S o u rce: Wo r ner B roth e rs.

ban ned

3 5mm, 93 mi n .

M o n d a y J u n . 18 7.00 p m C a at r o

v i o l en c e . B u t Scrubbers takes i ts same -

B BC

p l oy

abo u t

reform

sc h o o l

Mai

Zetter l i n g .

W i th

Aman d a

C o t ter i l l ,

Kate

I ng ram,

C h r issie

S o u rce: Or i o n C l assics.

S u n d a y J u n . 17 1 . 00 p m C a at r o


a

ids t

h

W h a t do I w a n t f r o m AI D S fi l m s a n d ta p e s ? T h a t w a s t h e q ue s t i o n t h e S F L e s b i a n a n d G a y F i l m F e s t i v a l a s k e d me to p o n de r . I t ' s a m o r e diffi c u l t q ue s t i o n t h a n t h e r e v e r s e . I k n o w w h a t I do n ' t wa n t . I do n ' t w a n t p i t y ; I do n ' t w a n t s ta t i s t i c s ; a n d I do n ' t w a n t ' e x p e r t s ' te l l i n g m e a n y t h i n g , e s p e c i a l l y ' h o w fa r w e ' v e c o m e ' o n t h e r o a d t o a c u r e . I do n ' t w a n t AI DS fi l m s m a de b y s t ra i g h t w h i t e p e o p l e w h o ' v e o n l y j u s t di s c over e d c o n do m s . And I r e a l l y do n ' t w a n t a n o t h e r h o m e v i de o c a m e r a p o i n t ed a t a de m o n s t r a t i o n fo r t h e s a k e o f i t . I w a n t? D i An a 's Ha i r Ego , Tong u e s Un t i e d , DHPG Mon A m o u r , S i l e n c e

=

x

W h a t do

D e a t h . T h e y ' r e a l l s c r e e n i n g i n t h e f e s t i va l , b ut

I o r i g i n a l l y s a w t h e f i r s t two w o n de r f u l w o r k s on a c o l d Ap r i l e v e n i n g a t t h e N Y D o c u m e n t a r y F e s t i va l . ( I t w a s t h e s a m e day t h a t t h e di r e c t o r o f a m u s e u m i n C i n c i n n a t i w a s i n di c t e d f o r e x h i b i t i n g t h e p h o t o s o f R o b e r t M a p p l e t h o r p e . )

x

N ew York a rt i s t David

Wo j n a r o w i c z r e c e n t l y m a de a p l e a f o r "di v e r s i t y a n d s e x i n e s s . " T h a t ' s w h a t we g e t i n D i Ana 's Ha i r Ego a n d Tong u e s Un t i e d. We a l s o get the t r uth o f e x p e r i e n c e i n di r e c t l a n g ua g e p l a i n l y s p o k e n and de e p ly fe l t . T h e m a k e r s o f both m o v i e s i n s p i r e me - in t h e w o rds o f Tong u e s Unt i e d - to "m o l d a n d di r e c t t h a t f i e r y c o o l 'm a s s o f a n g r y e n e r g y a n d use i t b e f o r e it u s e s m e ."

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e x p l o r a t i o n s o f t h e i n j u s t i c e t h a t e x i s t s i n t h e w o r l d o f l i vi n g w i t h AI D S . I n Ha i r Ego , i t i s t h e w i l l ful di s s e m i n a t i o n o f m i s i n fo r m a ti o n t h a t k i l l s . B e a u t y p a r l o r o w n e r D i An a i s s e e t h i n g b e l o w t h e s u rfa c e ( a n d w h a t a fa n c y s urfa c e : t h e p e r m a n e n t s , t h e c u r l e r s - a v e n e e r o f t r ue c a m p h i l a r i t y ) . T h e i de a e x p o s ed i s t h i s : p e o p l e c a n ' t ta l k a b out s e x i n S o u t h C a r o l i n a , s o t h o u s a n d s w i l l d i e i n i g n o r a n c e . D i An a

10

Si l e nce = D e a t h l Rosa von Praun h e i m i s probably the world' s most restl e s s gay fi l m m a ker. When Pra u n h e i m a n n ounces a n e w fi l m , you k now to expeCt an a n a rc h i c a ttitude and a s u rpri s i n g sub­ j ect. He's notori ous fo r out­ rag i n g the gay c o m m u n i ty with h i s warts-a nd- a l l a p ­ proach and g i ddy m i x o f fri ­ volity w i t h fi st- i n -the-face fury. L a s t t i m e he ta ck led AI DS w a s i n 1 9 8 5 , with h i s m us i c a l mel odra m a , A V i r u s Knows N o M o r a l s. N ow h e ' s settled dow n . I n S i l ence = Dea t h h e l ets h i s i nterviewees carry t h e a ng e r a nd outrage. It's the fi rst of t h r e e fi l m s o n AI DS activi s m . Pra u n ­ h e i m platfo r m s N e w York's a rtists a g a i n st AI DS. H e and j ourn a l ist P h i l Zw i c k l e r talk t o K e i t h H a r i n g a n d s urvivors D a v i d Wojna rowi cz, Al len Ginsberg, Paul S m i th a n d Rafael Gamba. DiAna's Ha i r Ego : AIDS Info Up F r ont is the i n s p i r i n g s tory of a S o u th C a rol i n a town that took t�e i n itiative in getti ng educated a bo u t AI DS. It all sta rted when DiAn a , w h o r u n s a l o c a l bea uty s a l o n , bec a m e c u r i ous a bout AI DS a n d went

h i s lover n o t to keep his grief to h i m s e l f but to a c t p u b l i c l y , actively and radi c a l l y as p a rt of a n a t i o n a l movement a g a i n s t i g n o r a n c e , i l l n e s s a n d unde r- fundi n g . Pra u n h e i m a l s o ta l k s t o La rry K r a m e r , M i c h a e l C a l l e n , La rry M a s s - a n d even m a n a g e s to rope in R o n a l d Rea g a n . Positive i s preceded b y P h i l Zw i c k l e r ' s o w n s h ort fi l m , F e a r o f Dis­ c l os u re, made with David Wojnorowi cz. I t ' s a bo u t the diffi culty of re­ vea l i n g you ' re HIV posit ive to a pote n t i a l lover; i n the backg round, ' Pyra m i d C l u b go-go boys size up e a c h ot h e r ' s m o rta l i ty. F e a r of D i s c losu r e : U S A, 19 8 9 , Di rectors: p h i l Z w i c k l e r , David W o j n a rowi cz, 16m m, 5 m i n. Source: p h i l Z w i c k l e r. Pos i t i v e (Po s i t i v): West Ger­ m a n y , 1990, Di rector Rosa von Pra u n h e i m , 16 m m , 9 0 m i n . Source: F i rst Run Feature s . Sa t u rday J u n e 23 8 . 0 0 p m Roxie

look i n g for i n formation . N ot the type to keep a n yth i n g to herself, s h e gradu a l ly i nvolved h e r custo m e r s , their fa m i l i e s , and t h e l o c a l school system in a prog r a m o f g r a s sroots AI DS edu c a t i o n . D i Ana emerges a s a c o m p u l s ive o rg a n ize r , a b r i l l i a n t educator, a g re a t friend a c ro s s com mu­ n i ties, and the best h a i rdre s s e r in tow n . D i Ana's Ha i r Ego : AIDS Info Up F r ont: U SA, 199 0 , Di rector: E l l e n Spiro, 3 / 4 " video, 29 m i n . Source: Women M a k e Movies . S i lence = Dea th ( S c h weigen = Tod): West Germa ny, 19 90, D i rector: Rosa von Praun h e i m , 16 m m , 60 m i n . Source: F i rs t R u n Features. Friday J u n e 2 2 6 . 3 0 p m Ro xie

c a l r i g ht, w h i c h h a s ta k e n the offe n s i v e by pol i c i n g m o ­ r a l i ty and s ee k i n g t o control a c c e s s to health c a re . F ortun ately, there is a vocal counter- offe n s iv e that fi nds fig h t i n g fo r g a y a n d wome n ' s rig hts a t the c o r e o f the i s s u e . x C a t h e r i n e Saa lfield a n d Z o e Leon a rd' s K e e p Yo u r Laws O f f M y B o d y i s a h i g h- c o n trast c r i t i q u e of t h e s i tua ti o n . A q u iet, rov i n g c a m era doc um e n ts s c e n e s f r o m the l e s b i a n bedroom - ta lk i n g , touc h ­ i n g , m a k i n g love - w h i c h a re in tercut w i t h street s h ots of p o l i c e l i n es, de m o n strators i n confrontation w i th them , a n d s o m e to the p o i n t of a rrest. x O u t l a w Poverty, Not Prostitu tes i s a doc umentary by a n d a b out prostitute s at the World W h o re ' s S u m m i t. In l i s fe n i ng to the women's experiences you defi n i tely get that 'tip of the i c e b e rg ' fee l i n g . T h e w o m e n s p e a k from t h e hea rt, a n d w i th a k e e n understa ndi n g of j u st where i s the bottom l i n e of sexua l p o l i t i c s. x In La u ra , Ing r i d And

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Asses on F i r e , is sti l l b e i n g m a de ) . He b r i n g s h i s E u ro p e a n perspec­ tive to the rava g e s , anger a n d a c h i evements o f AI DS-torn N ew York. The p r i n c i p a l s pe a k e r is P h i l Z w i c k l e r , w h o de c i ded a fter the de ath of

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i s a h e r o . S h e o p e n s h e r l i f e a n d d o e s s o m e t h i n g to c o u n t e r t h e m i s i n f o r m a t i o n . Fro m h e r h a i r -d o p ar l o r s h e h a n d s o u t s a f e s e x i n f o a mI f r e e c o n d o m s . D i r e c t o r El l e n S p i r o h a s m a d e a l o v i n g p o r t r a i t of a pa s s i o n a t e m i s s i o n , a d ra m a a b ut a s i n g l e f i g h t i n t h e f a c e of S Ollth . C a r o l i n a b i g o t r y . Tong u e s Unt i e d m a d e t h e N e w Y o r k a u d i e n c e c r a z y w i th j o y . I t ' s a n a n g r y , s m old e r i n g f i l m - s o f i l l e d w i t h m o m e n b o f r e a l l i f e i n r e a l t i m e i t l e ft m e b r e a t h l e s s . Tong u e s Unt i e d i s a c e l e b r a t i o n o f t h e f r e e d o m t o e x p r e s s t h e t r u t h - i n w o r d , i m a 'gl!, m u s i c a n d s n a p t h o l o g y ! I t ' s a n i n s p i r a t i o n t h a t s h o w s h o w we - t h e a n g r y o n e s w i t h H I V - w i l l n o t go s i l e n t i n to t h e n i g h t. A n d i n t h e s h o r t f i l m D H PG M o n A m o u r ( a s o r t o f h a r r o w i n g h o w -to h o m e m o v i e ) , i t 's t h e l i tt l e d o m e s t i c m ome n t s t h a t e x p o s e t h e v i o l e n c e -alld i n v a s i v e m a d n e s s i n t h e d a y-to-d a y e x p e r i e n c e of l i v i n g w i t h A I D S . T h a t f u c k i n g c a t h e t e r . T h e n e edl e i n t h e v e i n . W a t c h i n g TV o n t h e c o uc h . I t i s e l o q u e n t a n d s t ra i g h tf o r w a r d , s t r a i g h t ta l k a b o u t t h e t h i n g s t h a t m a tt e r t o k e e p u s ali v e . x I w o r k e d o n a n o t h e r o f t h l! ' Fe s t i v a l f i l m s , S i l e n c e = De a t h , w i th Ro s a v o n P r a u n h e i m . We i n c l u d e d m o n o l o g u e s by D o i d W o j n a r o w i c z a s a c o m m u lli ty ' s l i n d i c t m e n t o f t h e d a i l y , m a l i g n a n t n e g l e c t b y a m u r d e r o u s g o v e r n m e n t - s c o rc h i n g te s t a m e n t s t h a , k i c k a s s! Wo j n a r o w i c z i s t h e Vo i 1:l! of o u r t i m e , i n th i s a n g ry , c o n f u s e d e p i d e m i c . H i s w o r k i n w r i t i n g , p a i n t i n g , a n d p h o t o g r a p h y a l �o c e l e b r a te s t h e a n g r y r e s p o n Sl! a s n e c e s s a ry a n d g o o d . ( /IA n d I a m c a r r y i n g t h i s r a g e l i k e a b l o o d -f i l l e d e g g ... /I) T h e s e a n:; t h e t y p e s o f t h i n g s I w a n t t o s e e . I w o n ' t a 1:C e p t t h e w a y t h i n g s a r e . A n d n e i t h e r d o t h e s e f i l m m a k e r s . I l o ve t h e m a n d c e l e b r a t e t h e i r v i s i o

Rebec c a , th ree l e s b i a n a c t i v i sts from A C T U P s p e a k c a n d i d l y a b o u t th e i r e x p e r i e n c e s w i th g r o u p p o l i t i c s . They m a n a g e to i n teg r a te a n g e 'r a n d a c t i o n , A I D S a c tivi s m a n d pro-c h o i c e w o r k , m a k i n g it c l e a r that men's a n d women's hea lth body i s s u e s a r e not gender exc l u s ive. x D H PG Mon A m o u r i s a d o cument of perso n a l a c t i v i s m . David Conver i s an A I D S p a t i e n t who h a s ta ken control o f his own treatment by c h o o s i n g an a lte rna tive drug thera py. On the s u rf a c e , t h i s ta pe is a b o u t c o p i n g , a b o u t the need for l o ve a n d s u ppo rt, a n d e v e n evokes a s pects of q u i et h e r o i s m . M i xed with v i d e o m a k e r Carl M . Georg e's love of l o u n g e m u s i c and a g o od d o s e of self-c o n s c i o u s n e s s i n the v o i c e -over, however, the p rivate d r u d g e ry of coping beco m e s a n a ffi r m a tive d i s ­ s e m i n a t i o n o f i n fo r m a ti o n a n d e n c o u r a g e m ent. x O pti m i stic? Y e s ! The feel ing Of Powe r #6769 i s a f f i r m a tion i n a n other te m po. C o m b i n ­ i n g te levi s i o n a pp r o p r i a ti o n , the ever-po p u l a r street d e m o foota g e ,

a n d i m a g i n ative e l ectro n i c s p e c i a l effects w i th a d y n a m i te o r i g i n a l g u i tar s o u n d tra c k . T h e feeling O f Power m o r e or l e s s i n s i sts t h a t t h e g a y a n d l e s b i a n c o m m u n i ty do i t s o w n i n formation g a t h e r i n g , a n d t h a t w e pa rta k e i n a l i ttle c ounter-surve i l l a n c e o f o u r o w n . x Pe r i l O r P l e a s u re? fe m in i s t -P r o d u ce d Pornogra p h y r a i se s i m po rt a n t que s t i o n s a b o u t e r o t i c a , p o r n a n d c e n s o rs h i p w h i c h rema i n u n r e s o l ve d a mo n g f e m i n i s ts a f t e r severa l y e a r s of d e ba te . Prod u c e r A n d rea T o r r i c e presents the pros a n d c o n s thro ug h i n tervie ws with women a c tive o n both s i d e s of t h e i s s ue. On t h e o n e h a n d a re a s pects of p o r n o g r a p h y a s r i tu a l , a n d a s exploration a n d c e l ebration of sexu a l ity, w h i l e q u e st i o n s a bout e x p l o itation, " sex u a l terr o r i s m " a n d sex m i s i n f o r m a t i o n l i n g e r . T h e F e e l ing Of Powe r #6769: U SA, 1 990, D i re cto r: Ro bert B e c k , 3 / 4 " v i d e o , 9 m i n . Source: The K i tchen. D H PG Mon A m o u r : U S A, 1 9 8 9 , D i rector: Carl M. George, 3 / 4" v i d eo, 1 2 m i n . Source: C a rl M . George. la u ra , Ing r i d A n d Rebe c c a : U SA; 1 9 90, D i rector: P h i l i p p e Roq ue s , 3 / 4 " v i d eo, 7 m i n . Sou rce: P h i l i p p e Roque s . Keep Yo u r laws Off M y B o d y : U SA , 1 9 90, D i rectors: C a th e r i n e S a a l fi e l d , Zoe Leona rd , 1 / 2 " video, 13 m i n . Source: n/a. O u t l a w Pove rty, N o t P r o s t i t u t e s : U SA , 1 99 0 , D i re cto r: C a r o l Le i g h , 3 / 4 " video, 21 m i n . Source: n / a . Per i l O r Plea su re? fem ini s t-Pr o d u c e d P o rnogra­ p h y : U SA , 1 98 9 , D i rector: A n d rea Torrice, 3 / 4 " v i d e o , 28 m i n . S o u rc e :

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c o r p o r a t e p ro f i t e e r s a r e c o n s a n t l y i n te r r u pted b y , a s s h e puts i t , " t h o s e s c ruffy a c t i v i sts./I It' s a subl im e w a y t o s l i c e t h ro u g h conferen'Cl! c a n t a n d o f f e r a n ot h e r p o i n t of v i e w on t h e e v e n t (Greys o n i s c a r e f u l t o e x p l a i n t h a t t h i s i s j s t o n e o f m a n y p o te n t i a l a c c o u n t s o f w h a t h a p p e n e d ) . A l o n g t h e w a y , A I D S a c t i v i s t s f r o m En g l a n d , M e x ic o , T r i n i d a d , Th a i l a n d a n d SOllth A f r i c a a re g i v e n c e n te r'Stag e t o s h ov e t h e r e c o r d b a c k i n o �r f a v o r . M o r e p o i n t e d inte r v i ew 'S a n d a c o m i c r e m a k e of T h e S c a r l et P i m p e rne l - i n T h e Pink P i m p e rne l . S o m e o n e i s m a k i n g d rug r u n s to t h e U .S . for treatments n o t a v a i l a b l e in C a n a d a . W�'o ' s r e a l l y b e n e a t h the b l u s h -<o l o lf mask? C o m m u n ity a c t i v i s ts exp l a i n t h e p r o b l e ms o f p rocuTinlS t re a t m e n t f o r PWAs a n d t h e n g o on to l a s o o o t h e r i s s ue s , w h i l e b a d, 1 i n t h e n a r r a t i v e , T o r � n to ' s g a y co m m u n i t y w o r r i e s a bo ut t h e s a fety o f S i r Percy. G r e y s o n th r o w s � t h i rd b a l l i n to t h e g a m e - a s e r i e s o f s a fe s e x e r o t i c i n te r l u d e s i n tile s t y l e o f o t h e r g a y a r t i s t s ( A S a fe!' Q u e re l l e , A S a f e r G e n et) . G reys o n ' s w o r k h a s a l w a y s b e e n smaTt a n d fun n y ; P i n k P i m pe rn e l �d Th e W o r l d I s S i c k ( s i c) a n e v e n b e tte r. T h e s e n e w t a p e s aie w h a t m o re A I D S m e d i a oug h t to be l i k e : p a s s i o n a te , p l a y f u l , Ico m p l e x a n d s h a r p . The P ink P i m p e rne l , C a n a d a , 1 9 8 9 , Dr ect o r : J olin G r e y s o n , 3 / 4 " v i deo , 32 m i n ., S o u r c e : V i d e o D a t a B an k . Th e W o r l d Is S i c k ( s i c): C a n a d a , 1 9 8 9 , Di r e c to r : J o h n G lify s o n , 3 / 4 " v i d eo , 38 mi n ., S o uTce: V i d e o D a ta 8 a n k . Th u rs d a f ,"u n e 21 1 0 . 3 0 p III o xl.

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l i z K o t z , C o n f e r e n c e D i r e c t o r . The

f u n d e d by and

the

A d vi s o r s : U.C. Dav i d

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C a l i f o r n i a C o u n c i l f o r t h e -H u m a ni t i e s

H u man

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San ta C r u z ; M i lle r ,

R u l e s of A t tr ac t i o n i s

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D a n i el M a n g i n , U.C.

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x

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Earl J ac k s o n ,

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M a r lo n

R i ggs ,

U.C.

B e r k eley.


F e m i n ist Theory/Lesbi a n Med i a : Reth i n k i n g Sexua l Representation x How do lesbian artists change or challenge the te rms of fe min ist theory? How do they r� present the body, desire and sexual ity d i fferently? How do the relative pleasures a n d powers of voyeurism and exh ibitionism cha nge from a lesbia n point of view? And what about that famous "male gaze" ? Abi g a i l C h i l d : A New York based experi mental filmmaker, her series Is That What You Were Bo rn? screened recently in the Bay Area; it includes the sh ort films Covert Action, Mayhem and Both . She is currently working on a video soap opera Swa m p and a new film, Rubble. Martha Gever: A New York writer and critic, she has written exte n sively on lesbia n media, fem i n i st theory and women's video. She i s the editor of The Independent Film & Video Month ly; she recently co-ed ited Out There , an anthology of writi ngs on cultural iden tity and marginality, and co-curated the film a n d video screen i ngs for the How Do I Look? Queer F i l m a n d Video C onference. Pratibha Parmar: An Indian-British videoma ker living in London, Parmar is now prod ucing programs for Channel Four. Hew works incl ude the experimental videos E mergences and Sari Red and the documentary Refra ming AIDS. Her latest documentaries incl ude Memory Pictures, on photogra pher Sunil Gupta , and F l e s h & Pa per, a portrait of Indi a n writer Sun ita Nam joshi (both o f which p l a y i n t h i s yea r's Festiva l ) . Mi l l i e Wi lson: A Los Angeles ba sed painter and artist, Wilson's insta llation Peter ( A You n g En g l i s h Gi rl) - examining t h e life o f a fictitious turn-of-the-century lesbian pa inter - will b e exhibited a t San Francisco Camerawork in J u n e . S h e is cu rrently a t work on T h e M u s e u m o f Lesbian Dre a m s . J u l i e Z a n d o : A videomaker living i n Buffa lo, N. Y., Zando is the former di rector o f Squeaky Wheel, a Buffalo­ based media arts center. Her vi deo art tapes include Let's Play Prisoners, Hey Bud and I Like G i r l s for F r i e n d s . She will be presenti ng a selection of her videos, including her newly completed work Th ree Case H i stories, at this year's Festiva l. Cath e r i n e Lord ( Moderator ) : A former ed itor of Afterimage, Lord teaches at Cal Arts and writes on photography, cu ltural politics, video and feminist med ia. Saturday J u n e 1 6 1. 0 0 p m 3 4 7 Dolores Street A I D S and Med i a : Stra t e g i es for t h e 90s x As we en ter the second decade of the AIDS crisis, what a re the chal le nges fac i n g fi l m a n d videomakers dea l i ng with t h e d i sease? How do AIDS- re lated works a d d ress specific c o m m u n ities a n d constituencies? How do w e represe n t t h e d i verse perso n a l and pol itica l consequences of and responses to the e p i d e m i c ? Where do we go from h e re? John Greys o n : From Toronto, G reyson has made a wide range of ex perimental videos, many fo c u s i n g on the AIDS c r i s i s and political acti v i s m . He screened his first feature fi l m Uri n a l at last yea r's F e stiva l , along w i th a retro spective o f h i s ta pes. T h i s year: new v i d e o s , T h e W o r l d i s S i c k a n d T h e P i n k Pi m pe r n e l . Ma r c H u es t i s : A S a n Fra n c i sco- ba sed film and videomaker, h i s works i n c l u d e C h u c k S o l o m on: C o m i n g of Age and the e a r l i e r Wh ateve r H a p p e n e d to Susan Ja ne? He's c u r re n tly work i n g on Sex Is, a n erotic documentary a bout gay sexu a l i ty. F ra n c e s N e g r o n & A l ba Marti n e z : Philadel ph ia-b a sed Pue rto Ric a n videomakers, Negron a n d Martinez have produced two videota pes dea l i n g with AIDS in the ci ty's La tino co m m u n ity, AIDS i n the Ba r r i o: E s o N o Pa s a A M i a n d Piec e s of Lif e . E l l e n S p i r o : S p i ro ' s t a p e A C T U P at t h e FDA screened a t l a st y e a r ' s Festiva l . T h i s y e a r she wi l l be presenting DiAna's H a i r Ego, about a n i n novative AIDS e d u cation program based o u t of a South Ca rol i n a bea u ty s a l o n . T i n a de F e l i c i a nto n i o (Moderato r ) : De Felicia ntonio di rected Liv i n g W i t h AIDS , a 1 9 8 7 tape about a young man's struggle with the d i sease. She i s cu rrently at work on N e l l S h i p m a n: T h e G i r l f r o m God's C o u n try, a fem i n i s t look a t early f i l m h i story a n d a pioneering wo m a n d i rector. S a t u r d a y J u n e 1 6 3 . 3 0 pm 3 4 7 D o l o res S t r e e t Experimental Media/Gay A u d i e n c e s : W o r k i n g at the E d g e s x What are the audiences for experimental lesbian a n d gay film and video? Does

lesbian or gay content allow a work to cut across boundaries between mainstream and experi mental cinemas? How do works by lesbian and gay artists challenge or extend traditions of experimental filmmaki ng? How can experimental work be made meaningful and accessible to gay audiences? Gregg Ara k I : H i s experimental feature f i l m s T h ree Bewi l d e red People i n t h e N i g h t a nd T h e Long Weekend (O'Desp a i r) have exami ned t h e l ives of the post- punk generation with humor and irony. He's now wo rking o n three new d ramatic films. J o h n Greyson: From Toronto, Greyson has made a wide ra n ge of experimental videos, many focusing on the AIDS crisis ar,d political activism. He screened h i s first feature film Ur i n a l at last year's Festiva l, along with a retrospective of his tapes. This year: new videos, T h e Pi n k Pimpernel a n d The World is S i c k . Barbara Hammer: Barbara Hammer has been a pioneer of lesbian experimental filmmaki ng, sta rting with her film Dyketactics and Optic N e rve in tne mid-70s. She presented a program of videos at last yea r's F estiva l and will be prem iering a new short, Sti l l Po i n t, th i s year. J a c k Waters: A New York based experi mental fi lm ma ker, Waters was the ma naging di rector of ABC No Rio, an East Village alternative art space, from 1 9 83- 1 989, where he now cu rates the Naked Eye Ci nema film program. His films include The R i n g My Way, Noctu rne (with Leslie Lowe), a n d The Male Gayze, showing in th is yea r's Festi va l. J i m Hubbard (Moderato r ) : Hubbard is an experi mental New York filmmaker and co-director of the N . Y. Lesbian & Gay Ex perimental Film Festiva l, now in its fourth yea r. H i s films include Homosexual Desire in M i n n esota and El egy i n the Streets, which screen s in this year's Art for Boys and G i r l s progra m. Sunday June 1 7 1 1 . 0 0 a m 3 4 7 Dol ores Street

& Gay Med i a Artists of C o l o r x How d o lesbians and gays of color n avigate the complex con necti o n s a n d bord ers �etween d i fferent c o m m u n ities, aud iences and aesthetics? H o w d o e s their w o r k cha nge our v i s ion o f gay media and gay identities? How can l e s b i a n and gay media orga n izati o n s bette r serve B l a c k , Lati n o and A s i a n aud i ences a n d a rtists? S i lv i a Rh u e : Rh ue wo r k s f o r t h e G a y & Les b i a n Com m u n ity ' Services Center in Los Angeles. She is Med ia C h a i r for the B l a c k Lesbian & Gay Lea dersh ip For u m and a member of the B o a rd of D i rectors of the Gay & Le sbian Media Coa li tion. Her videota pe Women i n Love: Bo n d i n g Strateg i e s o f B l a c k Le sbi a n s pl ayed at the 1 9 87 festival and she h a s recen tly completed a new work, C h e r c h e z La F e m m e , trac i n g l e s b i a n image s in Hol lywood f i l m s . P r a t l bh a P a r m a r : An I n d i a n videomaker l iving in london, Parmar is now p rod u c i n g progra ms for C h a n nel Four. Hew works i n c l ude the expe rimental videos Em e r g e n c i e s a n d S a r i R e d a n d the docume ntary Refra m i n g AIDS . H e r l a test docu menta r i es i n c l u d e M e m o ry P i c t u r e s , o n ph otographer S u n i l Gu pta, a n d F l e s h & Pa per, a portrait o f I n d i a n writer S u n ita N a m j o s h i (both o f w h i c h play i n th is yea r's Festiva l ) . Ri c h a rd F u n g : A C h i nese C a n a d i a n v i d e o m a k e r born i n T r i n i d a d a n d l i v i n g in Toronto, Fu ng w o r k s a t D . E.C. Fi l m & Video , a n i n d e pendent med ia d i stribution center, and h a s produced seve ral videos i n c l u d i n g C h i n ese C h a r ac t e r s a n d Orie ntati o n s . He will be m a k i n g a p resentation on Asian image s with i n gay video porn - Loo k i n g F o r My Pe n i s - a s part of th i s yea r ' s festi v a l . S u s a n a Mu n o z : Munoz made a n e a r ly ex perimental film, S u s a n a , about her experiences a s a n Argenti n i a n lesbian, a n d went on to co-d i rect L a s M a d res: T h e Mothers of the Plaz a de M a y o and La Of r e n d a: T h e Da ys of the De a d with lourdes Portillo. She is cu rrently wo r k i n g on My H o m e , My P r i s o n a docu mentary about Pal esti n i a r, j o u r n a l i s t and activist Ra ymonda Ta m i l . C o rn e l i u s Moore ( Mo d e r a to r ) : Moore i s the di rector of the Southern African Med ia Project of C a l ifornia Newsreel, an i n d e pendent d i stributor of progress i ve media. He h a s c u ra ted programs o n South African med ia a n d is c u rren tly devel o p i n g News ree l ' s d i stribution of African and Africa n -American film and video. S u n d a y June 1 7 2 . 0 0 p m 3 4 7 D o l o res Street Loo k i ng For H o m e : Lesbi a n

Subcultural Stances, Ma instream Visibi l ity: Lesbia ns & Gays In Media and Visual Arts x While lesbian and gay work in film and video gets circu lated and shown, lesbian and gay visual artists are often made invisible or ghettoized. How do gay visual artists navigate a pervasively homophobic artworld? How does their engagement with popular culture and subcul tural imagery challenge fine art aesthetics? How do they make lesbian and gay desi res visual and visible? Kaucylla Brooke: A San Diego based photogra pher and artist whose work explores questi ons of narrative, popu lar cu lture and lesbian representa tion. She recently co-directed a videotape, Dry Kisses Only, with Jane Cottis, which wryly exa mi nes representations of lesbian desire in feature films. Ceci lia Dougherty: Dougherty is a San Fra ncisco photographer smd videomaker whose work includes Gay Tape: Butch & Femme, Sick, and Kathy. This year she will be screening her most recent tape, Grapefruit, which explores mass culture and popular memory from a lesbian perspective. Doug Ischar: A photogra pher and writer based in San Fra ncisco, Ischar's conceptual installations exploring gay l ives and subjectivities h ave been exhibited at Southern Exposure Gallery in San Francisco, los Angeles Contemporary Exhibitions, and the Randolph Street Ga llery in Chicago. Bob Ki nney: From San Diego, Kinney's tapes include The Maids, The Si lence That Silences and Ta l k To Me Like CALIFORNIA COUNCIL The Ra i n , based on the Tennessee Willia"1s play, and which will screen at this year's Festival . Liz Kotz: A critic and curator, Kotz FOR THE I. .. . .... : .... n " " I .. chi"n "n'! JAm i n i d fil m . video ond visual a rts. HUMANtnES Sunday June 1 7 4 . 3 0p m 3 4 7 Dolores Street


Art

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e x p l i c i t l y offe r n a r r a t i v e s - i n m o s t c a s e s , m o r e eng a g i n g t h a n stra i g h tforward l e s ­ b i a n a n d g a y s to r i e s . Mer'dad P ro s e rita is a s a d , s e p i a l o v e s t o ry s e t in M e x i c o , s h o t i n a s c r a t c h y , G u s V a n S a n t st y l e o n e of t h e m o s t m o v i n g f i l m s i n t h i s y e a r ' s Festiva l .

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( b a s e d o n a Te n n e s s e e W i l l i a m s s t o r y ) i s e v e n m o re m e l a n c h o l y : two b o y s c i r c l e t h e r u i n s o f t h e i r r e l a t i o n s h i p . I n This I s Not A V e ry

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e a s i l y s c r e e n i n t h e F u n F o r Boys And Gir l s s a m p l e r . J o h n a n d Y o k o - a k a S u s i e

B r i g h t a n d Shel ley Cook - replay the whole g l o r i o u s Beatles story i n l e s b i a n d rag. M i les more i n s p i r i n g than the Pa u l McCartney c o n c e r t , Grapefr uit i s a w r y l e s b i a n reta k e o n p o p u l a r c u l t u r e . V Is F o r Vio l e t t u n e s in

and

o u t o f t h e t a l e o f t w o te e n s : ,a

yo u n g f a u x - n a i f h u s t l e r ( " P e o p l e a r e s o f r i e n d l y a n d n i ce - t h e y j u s t c o m e u p t o you a n d g i ve you m o n e y " ) a n d a n a c t r e s s n a m e d V i o l e t w h o m a y be t h e s a m e p e r s o n . V

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like

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chainsaw

thro u g h t h e i r d e c a d e s o f d e b a u c hery i n t h e s a m e h o t e l r o o m ; i t ' s c a t t y , to n g u e - i n ­ cheek a n d m a k e s a b a c kd rop o u t o f c u te g u y s, i n w h ite j o c k e y s h o r t s . x M a r k F i n c h . 1 989,

D i r e c to r

Todd Verow, 3/4" video, 15 min.

Source:

V Is

F o r Vio l e t :

USA,

T o d d V e r o w . Tal k To M e Lik e The Rain: USA,

1 989,

D i r e c to r s :

Robert Ki nney &

Donald K i n ney, 3 / 4 " video, 1 7 m i n . Source: n / a . This Is Not A V ery B lank Tape , D ear : U S A , 1 9 8 9 , D i r e c t o r : J a n e C o t t i s ,

3 / 4 " v i d e o , 2 2 m i n . S o u rc e : J a n e C o t t i s . Meridad Pros e rita: M e x i c o / U S A , 1 9 9 0 ,

the

Homo,

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that m a i n s tream m ovie

t r a i l e r s a r e m o s t l y m o r e e n t e r ta i n i n g t h a n B e ca u s e

We

Becau s e We

the features they ' r e promoti n g , a n d the

M u st

Mu s t s t a r t s w i t h M i c h a e l

Clark puking u p on the ca mera lens. C l a rk i s t h e e p i to m e of l o n d o n ' s p o s t - p u n k a r ty gay s c e n e ; l i k e D e r e k J a r m a n , h e ' s b e ­ come i n c re a s i n g l y both o u tspoken p o l iti­ cally

and

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profess i o n a l ly.

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in

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put to­

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show n a t the

1 9 8 7 F e s t i v a l ) . O n s t a g e : M a r- i l y n l o o k a ­ l i ke s pose while a girl w i th a c h a i n s a w d e c a p i ta te s a c o l l e a g u e , a l l t o a C h o p i n s o n a t a . B a c k s ta g e : C l a r k g i v e s a l i p s t i c k y s m i l e to t h e c a m e r a , a n d r u n s a b o u t c h a n g ­ ing his leigh Bowery and Bodymap cos­ t u m e s every t w o m i n utes. T h e s h ow h o ps b a c k w a r d i n t i m e to t h e s i x t i e s , f r o m a c o m i c , q u e e n y c o v e r of ' E b o n y a n d I v o ry ' , to T - R ex, B l u e M e e n i e s a n d p sy c h e d e l i a with a p i tstop for p u b - s e t C o c k n ey s o n g s a n d c h oreog r a p h y . Stra n g e by e v e n B r i t­ ish

s ta n d a r d s ,

Becau s e

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is

p o s s i b l y t h e q u e e r e s t th i n g i n th i s y e a r ' s F e s t i v a l . ox A l s o i n t h i s p r o g r a m : t w o s h o r t d a n c e a n d p e r fo r m a n c e p i e c e s b y A m e r i ­ c a n g a y a r t i s t s . I n Untitled, B i l l T . J o n e s c reates a t r i b ute t o h i s p a r t n e r A r n i e Z a n e w h o d i ed

of A I D S

Effe m inate

in

1 988, and

G e s t u re s ,

in

29

perfo r m a n c e

artist/ c h o r eog r a p h e r Joe G o ode portrays

s a m e i s a s t r u e f o r H o l l yw o o d ' s g a y - t h e in e d f i l m s a s f o r a n y o t h e r s . H e n c e th i s o n c e ­ i n - a - l ifeti m e prog r a m : F ra m e l i n e u nveils a n even i n g of m o v i e p re v i e w s a n d p r o m o s the c o m p l ea t l e s b i a n

and

gay movie

t r a i l e r c a ta l o g u e . I t ' s f o r f a n s o f t h e a r t a n d f o r a n y o n e w h o c a n ' t b e b o t h e r e d to s i t t h r o u g h a h u n d r e d m i n u t e f e a t u r e to l e a r n w h a t H o l l yw o o d t h i n k s of h o m o s e x u ­ a l s . ox E x p e r i e n c e i n s y p n o s i z e d f o r m t h e d r a m a o f t h e s e n s a t i o n a l s a l e s p i tc h ( i n t r a i l e r s f o r The Killing O f Sis t e r G eorg e ,

Cruising

and

The

Gay

De­

ceive r s ) , t h e c o m e d y o f c o y n e s s ( Mak ­ ing Love , Vi �tim ) , a n d t h e h u m a n i t y o f

H o l lywood a t its m o s t perp lexed ( S ome

Of M y Be s t Friends A r e

. . .

). O t h e r rare

p r e v i e w s i n c l u d e Wo m en I n Revolt, Glen Or G l enda, Tea And S y mpathy, Can ' t S top t h e Mu sic, A Tas t e O f Hone y , The Hunge r , 9 9 Wo m en, Norman I s That Y o u ? a n d x

Refo r m

School Girls .

To r o u n d o u t t h e c i n e m a t i c ' e x p e r i e n c e :

h o m o p r o m o s o f a l e s s c o n v e n t i o n a l s o rt . B e t w e e n t h e tra i l e r s , look for spec i a l y e s ­ tery e a r s u r p r i s e s l i k e the n ev e r - s c r e e n e d T V a d f o r J o h n s o n ' s B a b y P o w d e r ( a i m ed a t the l e s b i a n m a r k e t ) , an u n u s u a l a p p l i ­ cation f o r a b r a n d of a u to S h o c k Absorber, a n d t h e i n fa m o u s C h a r l e s

Nelson

Reilly

J e l l o c o m m e r c i a l . A n i g h t to r e m e m b e r ! OX T h a n k s to J e n n i O l s e n f o r h e l p i n c o m p i l ­ ing this progra m.

a n a u t o r e p a i r m a n w h o t u n e s u p t h e m o re

Sponsored by Bobby Ru bino ' s Place

f e m i n i n e s i d e of h i s n a t u r e . X M a r k F i n c h .

F or Ribs

Untit l ed :

USA,

1 989,

D i re c t o r s :

John

S a n b orn a n d M a ry Peri l l o , 3 / 4 " v i d eo , 1 0 m i n . S o u r c e : Al iv e F rom Off C e n ter. Effe minate

Gestures:

USA,

29

1 989, Di­

rector: T i m Boxwe l l , 3 / 4 " video, 8 m i n . S o u r c e : A l i v e F r o m Off C e n te r . Beca u s e We Mu s t : G r e a t B r i t a i n , 1 9 8 9 , D i r e c t o r :

C h a r l e s Atl a s , 3 / 4 " v i d e o , 5 0 m i n . S o u r c e : C h a n n e l F o u r TV.

Di recto rs: R a u l Ferrera - B a l a n q uet & E n r i ­ q u e Nove l o Casca nte, 3 / 4 " v i d eo , 8 m i n . S o u r c e : l a t i n o M i d w e s t P r o d u c t i o n . G rape ­ fr u i t : U S A , 1 9 8 9 , D i r e c t o r : C e c i l i a D o u g h ­

erty, 3 / 4 " v i d eo, 39 m i n . Source: V i d e o D a ta B a n k .

T h u r s d a y J u n e 2 1 6. 3 0 p m R o x i e

Saturday June

23

4. 30p m

Roxie

Tuesday J u ne

19 9. 3 0 p m C a s t r o


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A r lll s

West C o a s t P r e m i e r e

S tu a rt M a r s h a l l i s g a i n i ng a r e p u ta t i o n f o r p u tt i n g t h e h o m o b o c k i n to h i story. After s q u a r i n g up to W e i m a r a nd w a r t i m e Ger­ m a ny . n lost yea r ' s De sire, M a r s h al l a nd h i s d e d i c a ted d o c u m entary tea m m ove b o c k to B r i ta i n . Comra d e s In Arms ( c o m m i s · s i o n e d , l i k e D e s i' r e , a s p a rt o f C h o n n e l F o u r ' s O ut O n T u e sday a n d s h o w n h e re s e p a r a t e l y i n 1 6 m m J d e s c r i be s h o m o s ex ­ u a l l i fe d u r i ng t h e s e c o n d w o r l d w a r . S i x l e s b i a n s a n d g o y m e n n a rrate t h e i r e x p e ­ r i e n c e s of s l e e p i, n g a n d s e r v i n g with the B r i t i s h Armed forces. '' I t' s a d i c h e , i s n 't it, w h e n they say that there's noth i n g l i k e t h e f r i e n d s h i p s y o u form i n w a r t i m e · b u t i t ' s perfectly t r u e . Y o u n ev e r m e e t i t a g a i n i n a n y f o r m o f H fe . " X I n s tead of stories o f p e r s e c u t i o n a n d o p pres s i o n , t h e f i l m ' s i n · te rviewees re c a l l a r i o t o u s t i m e . I n t h o t typi c a l l y E n g l i s h m a n n er, m o s t ' p e o p l e were left a l o n e to g e t o n with their b u s i n e s s as l o n g a s they were fairly d i s creet, and as J o n g a s t h e a u t h o r i t i e s weren't f o r c e d to r ec o g n i z e dearly

them

off i c i a l f y .

The

h a d i ts a d va n ta g e s .

blackout

Comr a d e s

In Arms m a t c h e s t h e s t o r i, e s w i t h a n ew t a k e on d i p s f r o m d o s s i c c o m b a t m o v i e s . MarshaU

h a s a l s o s h o t n e w H o l l y wo o d ­

style scenes which

restore t h e r o m a n c e

a n d brava d o o f l e s b i a n a n d g o y m e n ' s c o n t r i b u t i o n to t h e w a r effort. A c o m p l e ­ m e n t t o A l l a n B e r u be ' s r e c e n t book on t h e American

forc e s ,

Comr a d e s

rippingly

revea l s t h e s p u n k a n d g o y s p i ri t be h i n d w a r t i m e B r i ta i n ' s stiff u pper H p . X A l so very E n g l i s h : Fla m e s of Pa s s ion, a new fiftee n · m i n ute Kwietniowski

melodrama

by

R i c h a rd

( n o s tro n g er to S o n F ra n ·

c i s c o a u d ien ces t h r o u g h h i s p rev i o u s f e s ­ tiva l g e m s , Alfalfa a n d Ballad of R e a d ­ ing G aol} .

Flam e s of

Pa s sion t o k e s

i ts t i t l e f r o m t h e m ov i e C e l i o J o h n s o n a n d Trevor H oward w a l k o u t of i n t h e d a s s i c B r i t i s h teo r · j e r k e r Bri e f Enco u nter. T h i s w i tty pock et· s i z e d re · m a k e f o l l ow s a d i s h y d octor a board a t r a i n b o u n d f o r stra n g e roma nce. X Mark F i n c h .

Flam e s Of Pa s ­

sion: G reat B r i ta i n , 1 9 8 9 , D i re c t o r R i c h · a r d K w i e tn iow s k i . W i t h R i c h a r d Sey m o u r , Don

G re i g ,

Frameline.

1 6m m ,

Comr ad e s

18

min.

Sou rce:

C r o co d i l e s

In

A lli S e r

a lft

Ev e n i n g s North American

West C o a s t Pre m iere

A t l o s t , t h e E r o p e a n a n s w e r to D esper­ a t e t y S e e king S us an . G i n o � s 0 f l il g lr t y b J o ", d e w i th a poo d l e h a i r - d o w h o ' s o s h a p py in a tax h r r a s b l a c k l e a f h e r b t k e r g e a r . N r n a is a s u l ky a c t i v i s t w h o d re a m s

0 1 the u h i m ote terrortsf a c t . T o g e t h e r t h e y s h a re 0 p o s s F o n f o r t lT e c o r o � b r u e a n d h a t c h a p l o t 10 rob G � n o ' s r i , h UllTtc l e . X I t ' s a c ut e · m e e t m ov i e w r t h m o m e n ts o f i n · s p i r e d , l u n a l i c h u m o r . T h e y f i r s t b Ui m p i n to e a c h o t h e r on t h e s i d ewa l k o Ul ts � d e G i n o ' s h o u s e - s h e ' s locked lT e rs e l f o u t . N i n a s h o w s her

h ow

to

break- i n ,

and

Gino's

first

e x p r es s i o n o f g r a fi t u d e i s " Wo u l d Y O II l i k e a bath - with b u b b l e s ? " t n sfe o d ,

i n a seft l e s

f o r d in n e r i n a swa n k restcr u r a n f, a n d h i n t s i n a n e e d s th e

a t h e r p r o n f o r r o b be r y .

m o n ey to f u n d h e r M story· m a k � n g a c t o � s a b o to g e ; G i n o w o n f s t fl e m o n ey t o b u y a h o u s e . Nolu r a U y , they fea m u p . X A s i d e f r o m b e i n g a b r iU i o n t h i s s · o o d · boo g li r s a dv e n t u r e m o v i e , Crocodif e s b y · t h e · b y featu res f l a s lt y e d i t i n g a n d o,n evoc a t i v e a t m o sp h e re of n i g h tt i m e A m s t e r d a m .

(It

w a s m o d e by A n n e tte A p o " , w h o s e E ii r s t f e a t u re f r l m w a s based o n V r r g i n iia Woo f f ' s The W a v e s . ) It's a l s o a s h o d'e: . a fter A Woman L i k e Eve a n d CJ c o u p � e of h e avy­ h a n de d l e s b ta n · th e m ed m m s from t lt e Neth: ­ e .- l a n d s - to c o m e a c r o s s on o d r o i t , e n e r · g el i c c o m e d y w h i c h k n ows w h a t i t ' s d o i n g , a n d d oe s i t w i th sty r e . A l t h o u g h Croco ­ d il e s n ever e x p l i c i t r y o d, d r e s s e s l e s b i a n · t sm t H i na i s c h a ra c t e r i s e d a s m i s g u i d e d l y b u t j, n c o r r i g i bty heterose x u a l ) , it h a s l o t s of f u n p la y i n g the f i e l d . X O n fhe s a m e b a r : J a c ki'e a n d the Beons.olk by C.on n i e S te i n m a n . ! I ' s m'ore a J o w · b ud g e " L o n d of the

Giants

than

CJ

f e s b ii a n fa i ry ta l e

r e m a k e · resou rcefu ', s i l ly o ll d pretty m i n t y . X Mark f i n c h .

sta lk: USA,

Ja·c kie And The Bea n ­

1 9 9 0 , D i rector : C o n n ; e B o y

S te- i n m a n , 1 6m m , 2 0 m i n . S O IJl "e : C o n n i e Boy

Prod u c t i o n s .

Cracodile s

In

Ams t erdam ( Krokodillen In Ams t er ­ d' a m ) :

Nethe r l a n d s ,

1 989,

A n n.ette A p o n . W ; th J o a n

Djredo r :

e d e r l o f, Y o ·

� a n d a E n t; u s , 3 5 m m , 8 8 m i n . S o u r c e : N e t h · e r l o n d s M i n i stry of C u l t u r e .

I n t h i s a l te r n a t e l y a r c h , m e s m e r i z i n g o n d poignant yarn obout fading adolescence a n d p e r s- o n a l t r a n s f o r m a t i o n , D u t c h d i r e c ­ t o r R u d o l f V a n d e n B e r g k n i t s tog e t h e r Oed i p a l ta n g l e s a n d f l i c keri n g frie n d s h i p s with a s l y d re a m l o g i c t h a t ' s both e n t r a n c · i n g a n d t e r r i fy i n g . X E v e n ing s i s b a s e d o n r e n o w n ed g a y a u t h o r G e r a r d R e v e ' s s a m e · n a m e no v e l .

( R e v e 0 1 5 0 w r ote t h e

b o o k t h o t b e c a m e t h e m o v i e The F ou r th Man . ) Evenings fo l l ows 2 3 · y e a r · o l d c l e r k

a n d n a s c e n t w r i te r F r i t s v a n E t g e r s t h r o u g h the s i x days prece d i n g New Y e a r ' s Eve of T 9 4 7 . A H o l d e n C a u l f i e l d i s h f i g u re , F r i ts is o b s e s s e d w i t h t i m e , th i n n i n g h a i r , th e d a r k , s a n i ty , b e l l y b u tt o n l i n t o n d a h a n d · s- o m e s c h o o l d a y s c h l,l m . H e e n d u re s h i l a r i · o u s m e a l s w i th h i s flatu l e n t, d e a f father a n d d e m a n d i n g l y e a g e r · to · p l e a s e m o t h e r , w i th w h o m h e l i v e s . H e l u r k s o r o u n d p u b · l i c p oo l s w i tlT h i s d e m e n ted f r i e n d D u i v e n i s- , a g r e a s y · h a i re d b o y to r t u r e f a n ta s i s t . A n d h e s t u m b l e s t h r o u g h p a rt i e s , offi c e s , s c h o o l reu n i o n s and

various

s e x u a l e n c o u n te r s

w i t h t h e v i v i d f e a r o n d d e f e n s i ve c y n i c i s m o f a t r u e n e u ro t i c . X D i r e c t o r V a n

den

B er g i m a g i s t i c a l l y t h r eo d s t o g e t h e r t h e m e s o f c o m i n g o u t, t h e s o u l · s l a u g h te r i n g n a · t u r e o f f a m i l y r e l a t i o n s h i p s , a n d th e p a r a ­ d o x i c a l l y s u f f o c a t i n g a n d f r e e i n g n a tu re of t i m e ' s p a s s a g e . A l o n g t h e way h e w h i m ­ s i c a l l y d e p i c ts t h e r i b a l d s e n s i t i v i t i e s- o f a D u fc h t o w n g r i p p ed by t h e C h r i s tm a s s p i r i t . X

Y e t t lT e f i l m ' s s u rf a c e c o m e d y o n l y h i g lT ­

[ 'g. h t s t h e c l a u s t ro p h o b i c a n g s t t h a t lT a u n t s F r i t s ' d re a m s - a n d t h u s , h i s l o n e l y l i f e . H e h a s a s ec r e t to t e l l ; t h e f i l m ' s te. n s i a n I res

in w h> e t lr e r o r n a t · a n d h o w · h e ' l l te l l i t. V a n d e n B e r g d e f t l y d r a g s u s t lT r o u g h e a c h o f F r i t s ' s e x u a l l y · c h a r g e d , a n x i e ty-fr a u g h t d a ydrea m s , i r revoc a b l y revea l i n g t h e d e s ­ p e r a t i o n o f F r i t s ' f l i g h t to f r e e d o m a n d h i s f i g h t f o r m e ta m o r p h o s i s . X E v e n t h e. b a: ­ r h c)5 · h e a v y d e'n o u e m e n t , w h i c h f o l l o w s a s i d e s p l i tt i n g c l i m a c t i c f a m i l y m e a r , fai l s t o m u te t h e fi l m ' s r e d e m p t i v e p o w e r . F r i ts '

u l t i m cr te o ct o f c o m m u n i c a t i o n m i r r o r s o u r ow n , p e r h a p s h i d d e n d e s i re t o c o n ve y o u r s e rv e s t o w h o t s o m e t i m e s s e e m s a d e af a n d u n c o r i n g wo r l d . X D a v e F a r d . nings

In Arm s : G re a t

Prem iere

( De

Avand en) :

(ve­

Neth er l a n d s,

B r i ta i n , 1 99 0 , D i r e c t o r : S t u a rt M a r s h a U ,

1 9 89, D i rector: R u d o l f V a n d e n B erg . W i t h

1 6mm,

T h o m K offm a n , R i j k d e Go o i j e r , V i v i a n e

50

min.

S o u rce :

Maya

Vision.

de M u y n c k , P i e r r e B o k m a . 3 5 m m , 1 20 m i n .

S o u r c e � M i n i s try o f F o r e i g n C u l tu re . W e el n e s el ay J u n e 2 0 4 . 30p" Ca stro

S a t . r" a y I • • e

a Thurselay lune 2 1 6 . 30plft C •• tro

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e stress t e best in lesb'an and go,. humor II

11 ex'trulOr­

and 1 e f ndamen a � imparlance o f being

as on .,

si1�y. first, Al p h o it 10n d . Jrohn Canalli's

suee n e d twi-ce in the Ski res before_

�ntroi:l etton to h i s 'ow-key 'ifestyle i n New

In 1 6 th C e n t u ry S p a i n , -c T v s h � n g

axes , WOIT

YOI" �:S

-a n d d i :se t n e' r e i g Tl , JOlf''C - 'l1 .g pero �e e-' ell" to e m i g r a t e ,

luin

the aTmy ur e n ter (I

oUes,t g h euo, w ich explodes ,i nto

drag deJiiT i w m with scenes fn)m Wigstock.

eai­

a lii an

g lo u s order. But even !beh� n d 'Conven wa3�s"

a� '60s- styled spedacuJar located

i lD Tompki:ns S q u a re Parlt. � y,kes! B utch

II"IOS­ Jnito tibe wIOrJCI -

w o m e n str u g g l e w i th poverty Gnd the

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t h a t i � , u 'l1 t i l one

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e

u p o n the ideG of fa kilO'g s t j g mGtXJ wi(t'h

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tOlf'lg- aired preflies a re being

y a go g of nro-nonse n s e dylte tou ghies.

5

or t e h air-squea m i s h . And i n The

0'

a j d of h e r l e :s btu n lover. x Pedro A m'Odo­

lost

oura ,

e1iP

lucy

I p bo d e ll

lucy in sists Ethel

er d i scover t eir post lives with the

p l a y s the n u n w h o a g rees to A n g e -a ' s self­

aid of Dr. S i rley" s New

to be separated from .belJ' ove lf'.

Ta l e s of a ll Exbauste d Woma n i s a

less s -c a rn , em l y be co >u s e s e d'Oesn"1 wanlf

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- O!Te co Slhlt

a

ediiocre Cailifornio resort colony - but

len ife -edge D'UlDlll e,,)' p:ower games � Extl'u m .urGS 'is \0 c<om!plU�sive" of ea air

a n ywhere and J oystick .Iues i s a dildo­

m o v j e - i t ' s Il ke a Jes:biian versilOn of

drama which tel l s a true crime-of-natu re

til en"

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J i m G n d To m m y Fuye

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Jus an ad for The Lesbian Im press donqt leave the festival without it.

- S usie Bright_ x The les b i a n I m p l'ess

' eme

Card : U S A" 1 990 .. Director: In grid Wilh ite ..

est o f a l l , fl(­

3 / 4 " video , I m i n . S ource; 11'1/0. T h e lost

tra m vlT''O'5 i :s n J t coy ,a!bo'U.t its c h ;QII''Oden�

lucy E p i s o d e . USA .. 1 990. Ohedor Thom

sex u a Ii

E xtra-

W·ne' a n d , 3 14 ' video, 2 2 m i n_ Source:

Mig el

n / a _ SeoTa n c h : The True Story. USA.

Mercedes

1 98 8 , D i redor: Terri H a n l o n , 3/4" video.

I

;a s Ma de e

y,

Unif.I'm.

cihaeJ

1 mplkin_ i redor: U!fa ,

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UII'OIfG Baultista"

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1 20

'5 '0 11 riC<e: frameJ�IDe_

o n s'O re Ci

3 m i n , Source: Terri H a n lo n .

I s That AU

There is to the Gree n h o u s e Effect?:

USA / l '990�

y rhe Sentinel

O,,.edar: f sther Koohan Paik.

3 1 4 " video� 6 m i n . Source; Estber Koohan Poi".

A � p ha b,it

Tour

featu r i n g

La n d :

The

Backyard

Wig stoclt

'89: ' US�.

� 990 , Directo r ; J o h n Canalli .. 3/4 28

m ri 'n .

Source:

john

Canam.

I

video, B utc h

Patrol ; U SA. 1 990, Director: Myra Paci ..

3 /4/f' videro. 5 m i ln . Source: Myra Pae i . J oysti c k B l u e s : USA. 1 990. Director l i sa

GinsbuT'g . 3/""' video. S m i n . Source,: 11'1/'0. Tales of a ll E x h au'sted Wom eln,: USA.

1 990 , Director: lucy Winer. 3/4"' video. 30 min. Source: Amerjcan film I n stitute.

Gay usa a . .. . . arthu r Bre s s a n Arch ive

Arth u r Bresson . who died i n

1 98 7 , was

one of Americ a ' s s i g n a l goy filmmakers. Before the better·known Ward is O u t, Bresson produced h i s h a n d s -across-gay­ America panora m a . G a y U SA . When other gay filmmakers were startin g to invent stories of m i d d l e -class monogamy, Bres son turned u p with Abuse, a q ueer kind of love story between a filmmaker a n d a ' 4 yea r - o l d

child

a b u se

victi m .

And

wit"

B ud d ies Bresson crafted the first American

movie IObout A,IDS. � frameline recently a cquired m ost of Bresso n ' s movies · and some u n completed work · for our a rch ive a n d for d istr i b u t i o n . We're s-creening Gay USA a n d A b u s e in tribute to Bre sson's

ta lent a n d amb ition . � Arth u r Bressa n o n Gay U SA: "'Whe n the Anita Brya nt debacle

' ha ppened political

I

wa s

gay

hu rled

i nto

making

d o c u mentary.

a

S u ppose

someone were to film every gay demo o� June 27, 1 9 7 7 , from a n the citie,s? It would be

l i ke T r ,i u m p h

of

the

WiU,

only

I

wou l d c a n it T r i u m ph of the fag, Triu m p h of t h e Dyke . . • MY na ive d ream a t t h a t p o i n t was t h a t if w e a l l saw oursetves in o u r n u mbers w e wou l d never b u y into the g u i lty trip a g a i n . Not ,from A n i ta Bryant or from Mayor Koch o r from C a r d i n a l Cook. Not even from AIDS." � On A b u s e : Din 1 9 7 5 , when I m e t t h e r e a l T h o m a s C a rro U , I h o d n o i d e a o f m a k ing a movie about h i m , c h i l d abuse. or our relation s h i p . Only after we became frie n d s , then 10vers, and fi n a l ly ex·lover s , d i d I see a powerf u l fi l m in h i s story. M y straight and g a y friend s criticized me for my sexu al invo Jvement with Thoma s. Some felt I wa s exploiting

h i m , others

believed he was u s i n g me s i m p l y to get away from his a b vsive parents_ , l i ste ned , to my friends but - like larry, the filmmaker in the movie · I d i d not follow their a d v ice. I n s tea d , Thomas and I wou n d v p living in S a n fran c isco . . • 1 made A b u s e because I thought it w a s a u n i q u e , compel ling story a bo,ut people a n d th i n g s that d o n 't u s u a l l y g e t into A m e r i c a n feature fi l m s . " � Gay U SA: USA, 1 9 77, Director: Arth u r Bre's s a n ,

35mm, 78 m i n . S ource: fram�l ine. A b u s e : USA, 1 98 2 . Director Arth ur Bres s o n . W i t h R i c h a r d Ryder, R a p h a e l S b a r g e , 1 6m m , 9 4 m i n . Source: fram,e l i n e .

A la • • • : F,1

y

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e

22

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. r 1 d ". y

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I

Am

A

Man

West Coast Premiere

This Thai

Lookin g For

My

Pe n h

My

H u.tler

B l ow

T h e E r o t i c i z e d A s i a n I n Gay V i d e o Porn

Job

Warhol At H I . Gayest

ada ptation of Mart C rowley 's

For c e n t u r i e s , there has been a n i n f l u e n ­

p l a y The Boys in the Band h a s a s o r t

tial cu rrent i n Western thought which sees

o f p s y c h o t r o n i c l o w - te c h l o o k t h a t ' s a c r o s s b e tw e e n a 1 9 6 8 e p i s o d e o f Hawaii Fiv e ­

a n i n v e r s e c o r r e l a t i o n b e t w e e n i n te l l i g e n c e a n d s e x u a l i ty . T h e m o s t r e c e n t m a n i f e s ta ­

o a n d a H e r s c h e l l G o r d o n Lew i s e p i c . O t h e r

tions o f t h i s equ ation have c a s t t h e Asian

t h a n t h a t , i t ' s p r e t ty fa i t h f u l t o t h e o r i g i ­

m a n a s a sexl e ss m a t h or com p u te r w h i z.

nal

T h i s s t e r e o t y p e h a s p r o l i f e r a te d o n a l l l e v ­

a s in l a n g u i d a n d l i m p - w r i s t e d . To p r o v e t h e p o i n t , we p r e s e n t a d o u b l e - h e l p i n g o f

in

plot and

acti o n .

The

q ueens

of

Among

many other things,

probably

the world's

filmmaker.

His

movies

Warhol

was

most famous

gay

a re

distinctively

q u e e r . B a re l y e n e r g e t i c e n o u g h t o b e c a l l e d c a m p , they're better descri bed a s l i m p -

expression istically

els of popu lar consciousness as well a s i n

i n t e r p r e ted h e r e a s d r a g q u e e n s ( t h e b i r t h ­

t h e n o n -Asian media. Asian m e n a n d women

d a y g i r l e v e n s p o rt s a t i a r a ! ) a n d t h e c o w b o y

a re a l m o st c o m pletely a b sent a s su bj ects

s h ow n u n a d v e r t i s e d i n 1 9 6 3 , l a t e r f o u n d

a s a y o u n g m a c h o d a n c e r . T h e best s c e n e

i n m a i n s t re a m c i n e m a a n d o n te l e v i s i o n . '

u n l i sted i n g a y p o r n theaters, a n d now

i s s t i l l the s a m e : a s the M i c h a e l c h a r ac ter

W h e n t h e y do a p p e a r , it i s u s u a l l y w i t h i n

rec e i v i n g its C a stro c o m i n g - o u t i n b r a n d

d e c o r a tes the b i r t h d a y ca ke and the oth ­

new prints. A would-be James Dean in a

e r s d a n c e to C h a r l i e P a r k e r , t h e s t ra i g h t

a n a rrow r a n g e of r o l e s . x G i ve n t h i s c o n ­ t e x t , i t i s h a rd l y s u r p r i s i n g t h a t A s i a n s

f r i e n d (and a h u n k y y o u n g cou ntry boy)

are a l most c o m p l etely a bs e n t from m a i n ­

by someone o u t s i d e the f r a m e . H e l o l l s h i s

s u d d e n l y w a l k i n . M a r k S u m m e rvi l l e ' s s h o r t

stre a m , N o rth America n , g a y erotic i m ­

h e a d b a c k , s c r a tc h e s h i s n o s e , s e e m s b o r e d ,

Singing Seas i s a c a m p y , o p e r a t i c r e v ­

a g e r y . O n t h e o t h e r h a n d , there i s a g row­

a n d t h e n b u c k s a b o u t a b i t i n o n e of c i n ­

Crowley's

play

a re

r a re W a r h o l . F i r s t , Blow Job, o r i g i n a l l y

b l a c k leather j a c ket i s s ex u a l l y serviced

e r i e of g a y t r i b a l l i fe o n a S o u t h P a c i f i c

i n g s p e c i a l ty m a r k e t f o r g a y p o r n v i d e o

I s l a n d , somewhere on the m a p between

featu ring Asian m e n . Focusing on the work

u p s (over h a l f a n hour l o n g l ) . H y p no ti c ,

B r u c e Weber a n d L i n d s a y Kem p . x Jeffrey

of S u m Y o n g M a h n , o n e of the f e w N o rth

t a w d r y , s u b l i m e . x F o l l o w e d b y My H u s ·

Lunger.

New Zea l a n d ,

A m e r i c a n a c to r s w o r t h y o f b e i n g c a l l e d a

1 98 8 , Di rector M a r k S u m merv i l l e , 1 6m m ,

g a y p o r n s t a r , t h i s i l l u s t r a t e d t a l k by R i c h ­ a r d F u n g e x a m i n e s t h e w a y i n w h i c h A s i a fl

t i er, w h i c h w a s s h o t o v e r t h e 1 9 6 5 L a b o r

10

min.

Singing S eas :

Source:

New

Ze a l a n d

Film

e m a ' s m o s t e l o q u e n t a n d e x te n s i v e c l o s e ­

Day weekend. Warhol records Paul Ameri c a ' s a t t e m pts t o u n w i n d o n F i r e I s l a n d

C o m m i s s i o n . I Am A Man: T h a i l a n d , 1 9 8 8 ,

m e n h a v e f i g u red in p o r n , a n d e x p l o re s

D i r e c t o r : M . L . B h a n d eva n o p Deva k u l . W i t h

the i d e o l ogy b e n e a t h s ee m i n g l y i n n o c u o u s

s e x l o c a l s . Wa r h o l ' s f i r s t c o m m e r c i a l h i t ,

Likit Ekmongkol, Dr. Seri Vongsemontha,

i m a g e r y . x Looking F or My Penis t a k e s

My Hu s tler ' s h i g h p o i n t i s i t s e v e r y d a y

C h a l i t F i e n g a r o m , S i n j a i H o n g th a l . 3 5 m m ,

the p o i n t of view of the g a y A s i a n m a n

s c e n e s o f g ro o m i n g

and

seduction

1 1 5 m i n . S o u r c e : T h a i M o t i o n P i c t u re P r o ­

searc h i n g f o r sexu a l a s w e l l a s r a c i a l va l i ­

bathroom

l i ke

The

d u c e r s As s o c i a t i o n .

d a t i o n . W h a t a r e t h e p ro s p e c t s ? x P r e ­

wh ittled-down. x Mark F i n c h .

s e n te r R i c h a r d F u n g

USA, 1 96 3 ,. Director: Andy W a r h o l , 1 6m m ,

w r i te r a n d

i s a Toro nto - b a sed

i n d e p e n d e n t video p r o d u c e r .

w h i l e b e i n g p u r s u e d by a t r i o of m i x e d -

35 min.

-

sort

So u r c e :

of

in

a

Women,

Blow Job:

M u s e u m of Modern Art.

His work has dealt with issues of gender,

My Hu s t l er : U S A , 1 9 6 5 , D i re c t o r : A n d y

r a c e , s e x u a l ity a n d c o l o n i a l i s m , often with

Warhol .

a s p e c i f i c foc u s o n g a y a n d l e s b i a n A s i a n s .

C a m p b e l l , Dorothy Dea n , 1 6m m , 67 m i n .

Tapes

Source: Museum of Modern Art.

include

Orientations

( 1 984),

With

Pa u l

America,

Joseph

Chine s e Charac t e r s ( 1 9 8 6 ) , The Way to My

Fath e r ' s

Vil lage

( 1 988),

P l a c e ( 1 9 8 9 ) , a n d M y Mother ' s

Safe

Place

( 1 990 ) . Spon s o r e d by the California Co u n c i l for the Humanitie • •

M o n d a y J u n e '1 8 o . 'I 5 p m C a .tro & W e d n e s d a y J u n e 20 2 .00p m C a . t r o .

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New

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Le . b l a n

Sh ort

New

Fil m.

This yea r ' s l e s b i a n s h o rts p rog r a m i s a com b i ­ nation of talent s a n d i n teres ts t h a t represents the aesthetic, i s s u e -orie nted, and comedic fo­ cuses of women f i l m ma k ers from around the U . S . , New Zea l a n d a n d Germany. 'X Life in the Kitc h e n is a moody and l i vely study in fantasy. O u r s o l i ta r y prota g o n i s t expe r i e n c es a sweet a n d i m a g i n a tive m i n d trip people d with friendly food feti s h i s ts. She a l s o e n j oys a s i d e d i s h of body po i n t i n g . No Need to Re­ pent i s a d o c u m e n ta ry portra i t of the Rev. Jon G r i e s i n g A r , whose s o l i d m i d -Western u p ­ b r i n g i n g h a s prod u c ed a c h u rch wom a n of u n ­ u s u a l conviction a n d p e r s i s te n c e of v i s i o n . The film i s a lovi n g p rofile of a strong wo m a n . It a l so m a n a g e s to c h ro n i c l e the k i n d o f g r a s s ­ roots move me n t - b u i l d i n g fa m i l i a r t o a g e n ­ eration of fem in i st activis ts. 'X The explora­ tion of d e s i re i s a l s o a form of acti v i s m , and Drea m s of Pa s s i o n i s a br ief, express ive performa nce of love a n d d e s i r e betwe e n two B l o c k wome n . In How to Ki l l H e r (by Ana Moria S i m o a n d E l a T roya n o ) , d e s i r e seems d a n g e rous - or i s i t? A beautiful com b i n a ti o n of f i l m n o i r spoof i n g a n d Pue rto R i c a n j a zz, the r e s u l t i s on a c u te, if perverse, i n s i g h t i n to the bi tte r rea l i ty of u n re q u ited affecti o n . 'X Barbara H a m m e r ' s Sti l l P o i n t is exper i m e n ­ tation on a n other level . V i s u a l l y i n tr i c a te a n d tightly e d i ted, t h e f i l m u ses a s p l i t s c reen to d e s i g n a d i a l o g u e abo u t l e s b i a n n o ti o n s ' of domestic ity, priv ate l i fe and the s e a r c h for a valid ated home l i fe. 'X p l u s I Got T h a t Way F ro m K i s s i n ' G i r l s , o n exte nded set of ro­ ma n t i c couples, set to Patsy C l i n e ; and A n ­ n i e , i n w h i c h s e x e n terta i n e r A n n i e S p r i n k l e tran sforms h e rself f r o m p l a i n J a n e t o a very provocative lady. A n n i e takes the m ea n i n g of ' ''g ra p h i c depiction" one step further - to "gynecol ogica l " , spe c u l u m i n c l u d e d . 'X Ce c i l i a Doug he rty. I Got T h a t Way F r o m K i s s i n ' G i r l s : US A, 1 990, D i rector: J u l i e Butler, 1 6 mm, 6 min. Source: J u l i e B u t l e r . Life i n the Kitc h e n : New Zea l a n d , 1 9 89, Di recto r : S a l l y S m i t h , 1 6 m m , 8 m i n . Source: N e w Zea l a n d F i l m C o m m i s s i o n . H ow t o ' Ki l l H e r : US A, 1 9 8 8 , Di rector: Ana Ma ria Si mo, 1 6 m m , 1 5 m i n . Source: S p i c F i l m s . A n n i e : West Ger­ m a ny, 1 9 89, Di rector: Mon ika Treut. With Annie Spri n k l e, 1 6 m m , 10 m i n . Dre a m s of Pass i o n : USA, 1 9 89, Di recto r: Aa r i n B u r c h , 1 6 m m , 5 m i n . S o u r c e : W o m e n Make Movi e s . Sti l l Po i n t: US A, 1 990, Di rector: B a r b a ra H a m me r , 1 6 m m , 8 m i n . Source B a r b a ra H a m ­ mer N o Ne ed t o R e p e n t : USA, 1 9 89, D i re c ­ to r: A n n Alter, 1 6 m m , 27 m i n . S o u r c e : Women Make Movi e s . Su n d a y J u n e 1 7 5 . 0 0 p m C a s t r o

T h u . . .. .. v

Juna

21

4.00am

Gay

Sh o r t

Fil m .

New

D o c u m entary

Sh a ri .

F i v e - m i n u t e mo v i e s w i l l a l w a y s b e a f e a ­ t u r e of f e s t i v a l s l i k e th i s o n e . C h e a p e r t h a n features a n d w i t h o u t the s a m e n a rr a ­ tive demands, s h o rt films are cut loose from the b u rd e n of high f i n a n c e a n d a l l c o n s e q u e n t e x p e c ta t i o n s . 'X T h i s i s t h e b o y s p r og r a m , a n d i t ' s s m a r t «! r a n d f u n n i e r t h a n e v e r . ( T h re e o f th i s ye a r ' s s e v e n g a y s h o r ts are a l s o m a d e by w o m e n . ) In B u s t - Up , an off- s c r e e n v i s i t o r c o m e s to tea w i t h a n a n g l o p h i l e q u e e n , w h o , l i k e t h e f i l m ' s style, s u d d e n l y ta k e s a h o r r o r m o v i e t u r n f o r the w o r s e . W a l k t h e D o g is c r e a t i v e c h o r e ­ o g r a p h y - i f y o u c a n c a l l g e tti n g - d r e s s e d ­ f o r - sex a k i n d o f d a n c i n g . A n d Tr i a n g l e i s t h i s yea r ' s o n l y a n i m a ted e n try: a s a d , swe e p i n g st ory s e t a g a i n s t b o h e m i a n B e r ­ l i n a n d t h e r i s e o f N a z i powe r . 'X " T h e re are worse t h i n g s than s i l l i n e s s , " says one of t h e two sa i l o r s i n T h e O b e l i s k , b a s e d o n o n E . M . F o r s t e r s h o r t s t o ry . P r o b a b l y , b u t th i s ' l l d o - a s t r a n g e l y a u t - o f - sy n c h s u m m e r ' s d a y ta l e w i t h a l o o p y p u n 'c: h l i n e . Bo y s / L i f e s h o o t s s c e n e s f r o m N e w Y o r k ' s J a c k - O ff C l u b a n d 2 4 h o u r s o f a l l - m a l e k i s s i n g o n t h e s t r e e t s o f M a n h a tt a n w i t h t h e R a d i c a l F o e r i e s . I t ' s b l u n t a n d bea u t i ­ f u l . Viva Eu l fol l ows B r a z i l i a n a r t i s t W i l t o n B r a g a f r o m S a o P a u l o to N e w Y o r k a n d to B a r c e l o n a d u r i n g the e i g h t y e a r s h e l i ved w i t h AI D S . 'X " G r o w i n g u p as I d i d , w a tc h ­ i n g mo v i e s , " s a y s fi l m m a ke r J e rry Ta rta ­ g l i a on t h e s o u h d tr a c k of R e m e m b r a n c e , " . . . 1 n a t u r a l l y a s s u m e d that l i fe was g l a m ­ o r o u s , f r i e n d s were c h a r m i n g a n d w i tty, a n d , style b e i n g everyth i n g , of cou rse, that parties were e l e g a n t and soph isti­ c a ted . " R e p e a t e d s c e n e s f r o m A l l A b o u t Eve a n d h i s o w n h o m e m o v i e s o n l y p r o v e h i m pa rtly w ro n g . 'X M a r k F i n c h . B o y s / L i f e : U S A , 1 9 8 9 , D i r e c to r : P h i l l i p B R o t h , 1 6 m m , 1 0 m i n . S o u r c e : P h i l l i p B R o t h . B u st Up : USA, 1 9 8 9 , D i r e c t o r : C a t h y C C o o k , 1 6 m m , 7 m i n . S o u r c e : C a th y C C o o k . T h e O b e l i s k : U SA , 1 9 8 9 , Di r e c t o r : M e l i n d a G a r,e y, 1 6 m m , 2 2 m i n . S o u r c e : M e l i n d a G o r e y . R e m e m b r a n c e : U S A, 1 9 9 0 , D i ­ r e c t o r : Je rry T a r ta g l i a , 1 6 m m , 5 m i n . S o u r c e : F r a m e l i n e . T r i a n gl e : U S A, 1 9 9 0 , D i re c t o r : R o b e r t D o u c e t te , 1 6 m m , 6 m i n . S o u r c e : n / a . V i v a Eu l : B r a z i l , 1 9 8 9 , D i re c t o r : T a n i a C y p r i a n o , 1 6 m m , 1 8 m i n . S o u r c e : T a n i a Cy p r i a n o . Wa l k Th e Dog: U S A, 1 9 8 9 , D i r e c t o r : T o m D a i l e y , 1 6 m m , 5 m i n . Source: Tom Dai ley.

T h i s ye a r ' s d o c u m e n ta ry p r o g r a m i s n o te ­ w o r t h y f o r i t s a r r a y of r e p r e s e n ta t i o n s of l e s b i a n s a n d gay m e n of c o l o r . Her G i ve­ away i s one N a t i v e A m e r i c a n l e s b i a n ' s e x p e r i e n c e o f ove r c o m i n g d r u g a d d i c t i o n I and d i s cov e r i n g t h a t s h e h a s A I D S ; p a r t education a n d preve ntion vi deo, this pro­ d u c t i o n by t h e M i n n e so ta A m e r i c a n I n d i a n AIDS T a s k Force i s e n g a g i n g a n d ho pefu l . T h e re o u g h t t o b e m o r e ta p e s l i k e t h i s . H o n o r e d b y t h e M o o n wa s a l m o s t e n t i rely p r o d u ce d a t a c o n fe r e n c e f o r A m e r i ­ can I n d i a n gays, lesbians, their friends a n d s u p p o r t e r s ; i t te l l s p e r s o n a l s t o r i e s o f what it m e a n s to be lesbian a n d gay - from a N a tive A m e r i c a n perspective. M e m o ry P i c t u r es i s a B r i t i s h d o c u m e n ta ry w h i c h uses a s its central f i g u r e a gay I n d i a n m a n , S u n i l G u p t a , w h o se f a m i l y m i g r a t e d f r o m D e l h i to C a n a d a i n t h e l a te 1 9 6 0 s . G u p ta u s e s h i s w o r k t o s h a r e h i s l i fe i n a n i n te r ra c i a l r e l a t i o n s h i p . B y t h e w a y o f p i ctu r e s a n d t h e s t o r y h e te l l s , we m e e t h i s p a r e n t s a n d t h e m a n w i t h w h o m h e l i ve s . T h e o m n i p r e s e n t sto ryte l l e r g u i d e s u s t h ro u g h G u p ta ' s l i fe a s a n o u t s i d e r w h o f a c e s i s s u e s o f b e i n g d i ffe r e n t . A l o v e l y m u s i c a l s c o r e a n d b e a u t i f u l s t i l l p h oto g r a ­ phy m a k e M e m o ry Pictu res u n forget­ ta b l e . ' W i l d i n g ' i s a t e r m u se d to d e s c r i b e a g r o u p - o r i e n te d b a s h i n g , u s u a l l y u p o n a r a n d o m l y s e l ected i n d i v i d u a l . W i l d T h i n g, a p o e m by S a p p h i r e , p o i n t s o n a b r a s i v e , d i s tu r b i n g p i c t u r e o f a B l o c k y o u t h i n v o l v e d i n a w o r l d o f p o v e rty, i s o l a t i o n a n d v i o ­ lence. F i l l ed with strong l a ng u a g e , W i l d T h i n g e x p l'o re s t h e m i s o g y n i s t m a n i f e s t a ­ t i o n s of a t r o u b l e d y o u t h ' s l i fe a n d t h e v i o l e n c e h e r e s o rts to. p l u s A f f i r m a t i o n s , a n e w to p e by M a r l o n R i g g s , w h o m o d e T o n g u e s U n t i ed. 'X B r i t t Te n n e l l . A f­ f i r m a t i o n s : U S A , 1 9 9 0 , D i re c t o r : M a r ­ Ion R i g g s 3 / 4 " v i d eo, 1 0 m i n . S o u r c e : F r a m e l i n e . H o n o r e d By T h e M o o n : U S A, 1 9 8 9 , Prod u c e r : Mono M. S m i th , 3/4" video, 2 3 m i n . S o u r c e : W o m e n M a k e Mo v i e s . H e r Giveaway: U SA , 1 9 89, Prod u c e r : M o n a M. Smith, 3 / 4 " vid eo, 15 m i n . Source: W o m e n M a k e Mo v i e s . W i l d Th i n g : A P o e m By S a p p h i r e : U S A , 1 9 8 9 , D i r e c ­ tor: C h eryl L. Du n y e , 3/4" v i d e o , 8 m i n . S o u r c e : C h e ryl L . D u n y e . M e m o r y P i c ­ t u r e s : G reat B rita i n , 1 9 8 9 , D i r e c to r : P r a t i b h a P a r m a r , 3 / 4 " v i d e o, 24 m i n s . S o u r c e : W o m e n M a k e Mo v i e s .

Sa t u r d a y J u n e 2 3 1 2 n o o n C a . l r o

Sat u r d a y J u n e 2 3 1 2 . 3 0 p m Ro x ie

&

C a .lro


New

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S.ort

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Paris

Is

Bu rn'n.

W e s t Coast P r e m i ere

Another problem with l a b e l l i n g : 'el;tperi­

Pink

Ulysse.

W e s t Coast P r e m i e r e

mentai' doesn 't qu ite do j u stice to the dif­

They c a l f them s elves the C h i l d r e n . They

I f P i n k N a rc i s s u s were re-made for the

feri ng forms of these fou r shorts - a n d m i g h t

a re m e s s e n g e r s , welfare r e c i p ients, s a l e s ­

n ineties, h 'e r e ' s w h a t it would look l i ke:

even p u t o f f some viewers . But each o f the

p e o p l e a n d p .ros titutes. By n i g h t they a r e

s e x i e r , m o re s e U - c o n s c i o u s , a r i p er k i n d

fi l m m a kers represented here does come from

K r y s t l e a n d B l a ke C o r r i n g to n . As B l a c k

of c a m p . D i rector E r i c de K u y p e r p r e v i ­

a n avant garde tradiiti a n , and each s u c ­

a n d H i s p a n i c gay m e n , the C h i l d ren i n ­

o u s l y m a d e a n i m p r e s s i o n on San F r a n ­

ceed s in b r i n g i ng a un i q u e l y gay perspec­

h a b i t two w o r l d s - a n everyday w o r l d o f

cisco

tive to their s,u bieds . x San francisco-based

d i s c ri m i n atio,n a n d poverty. a n d t h e w o r l d

N a u g h ty

Warren Sonbert presents his first sound fi l m

of " Re a l n es s " , where t h r o u g h c o s t u m e a n d

Affa i r - a U movies i n w h i c h the sto r i e s

a u d i e n c es Boys

with and A

C a s ta Stra n g e

Diva, Love

in twenty yea rs. Set t o g i rl - grou p golden

c o m pe t i t i o n , d a n ce a n d i n s p i red perform­

are d rowned b e n e a t h o p e ratic ta b l e a u x of

o i d i e s , F r i e n d l y Witness i s possi.bly tile

a nce,

i rresisti b l e , un atta i n a b l e m e n . P i n k U l ys

most extraord inary and cleverest music video

powerf u l fantasy media th at excludes them.

s e s is a step in the d ir e c t i o n of a ta n g y

ever made. Sonbert has segued the best

-It's l i ke g o i n g through the loo k i n g G l o s s , "

a n d in tox i c a t i n g n ew g a y sty l e . x E r i c de

bits from his l ifetim e of trave l s , tea s i n g

says o n e . " I t ' s h o w b e i n g g a y s h o u l d b e . "

K u y p e ,r is b i t l i ke H o m e r ' s P e n e l o p e , w h o

sc r a p s of stories; old h ip p ies, sol diers. and

x P a r 'i s i s B u r n ,i n g becomes f i r m friends

wea ved b y day and u n d i d th e s a m e w o r k

even camels boog i e to ' Please Mr. Post­

with a n u m b e r of t h e C h i l d r e n a s they

e a c h n i g h t . P i n k U l y s s e s i s a patc h w o r k

m a n ' and ' W i l l You Sti l l Love Me Tomor­

m eet along the p i e rs , where they e x c h a n g e

of ideas a n d heave n l y b o d i e s , g i n g e r l y

row?' I n the f i n a l , more sombre p art. m u s i c

n e w s a n d s e x a n d p ractice Vog u i n g . E a c h

by G l u c k p aves the way for a d arken i ng

of t h e C h i ld ren belongs t o the H o u s e t h a t

tone. x J i m H u bbard ' s E legy I n The Streets

s u its h i m best ( t h e H o u s e of C h a n e l , t h e

the nar'rative - some n on s e n s e a b o u t P e n e l ­

u ses s i lence as forcef u l l y as F r i e n d l y Wit­

H o u s e of S a i n t laurent, the H o u s e of N i n j a ,

o p e f a n c y i n g her s o n m o r e t 'h a n h e r l o n g ­

they

i m itate

and

tra n sc e n d

the

-

held together by the th re a d o f U l y s s e s '

tw � n ty-yea r - I ong retu rn f r o m T r o y . T h e r e ' s

n e s s p lays with sound. It's a gorgeous,

a n d othersl . Monthly f a s h i on b o l t s - the

g o n e H o m e r i c hu bby - w h i c h i s s h ot i n the

wordless p a n across seve r a l years of ACT­

dramatic p ivot of the fil m ' s disco-beat action

style of those I t a l i a n Steve Reeves p i c -

UP demos and Pride m a rches. combined with

and of the s u b c u l ture itself - ta ke place in

tures, a l l satu rated color and ana c h ro n i s -

rural and domestic footage of the filmmaker's

H a rl e m

rival

t i c h is torica l deta i l { P e n e l o p e c a r r i e s a

dying friend . H u bbard has. a s u s u a l . p ro c ­

H o u ses ta l k a bo u t c o m p e t i n g for tro p h i e s

patent leather c l utc h ba g l . The other p a r t

e s s e d t h e f i l m h im self; h i s control of c o l o r

a n d c a s h p r i ze s in cate g o r i e s s u c h a s H ig h

of

g ives a s pooky e m p h a s i s t o some scenes

F a s h i o n E v e n i ngwe a r . F a c e . Model 's Body,

e x p l ore fantasies: an extended b l a c k - a n d ­

a n d washes them w i th the q u a l ity of old

and

all,

w h i te j e r k - off s c e n e in volv i n g a b o y a n d

photos. E l egy is about the connections and

- Re a l ness" . x I n t h e R e a l n e s s category,

h i s m i rror, a l o n g a n ecd ote a b o u t a h u s­

disconti n uities between person(ll i loss, public

d ra g q u eens try to pass for rea l w o m e n ,

band a n d his i ne b r i a te wife, and p o p - v i d e o

m o u r n i n g a n d collective action; i t demands

butch q u e e n s for real m e n - t h a t i s , h etero­

i n serts to CJ g i ddy m i .x of m u s i c , from Z a r a h

and rewa rds con centration. x Jagged and

s e x u a l m e n . {There a re a l so s u b - c o m p e t i ­

Lea n d e r to Stravi n s ky's R i t e s of S p r i n g .

g r a i n y. Auto m o n o s exu a l comes across

tion categ ories l i k e E x e c u tive R e a l n es s a n d

x

l i ke a c a rtoon made from xeroxed Bru c e

S c h o o l b o y R e a l n es s . ) As one o f the j u d g e s

just for the l o i n - cl othed beefcake an d ca ustic

Webers. E d g a r Baren s s hoots h i s o w n body

e x p la i n s. " I f you can p a s s the trained eye

in more ways than one. H e plays with in­

a n d not g ive away the fact that you ' re

or

most

Brook l y n .

c u rious

Members

and

of

seri'o u s

of

the

f i t m works

l i k e footnote s w h i c h

G ive U ly s s e s a l l yo u r attention - not

c a m p , but for the s l e e py , s l ow p a s s a g e s a n d in te l l ectu a l p i r ouette s . W h i c h ever way

dustriaj sounds a n d meta phors while dis­

g a y , t h a t ' s w h e n it's R e a l " . W h a t is a

you look a t · i t, P i n k U ly s s e s i s c l e a rly

covering a new way to p h otograph an act

'rea l ' wom e n , w h a t is a 'rea l ' m a n ? x

g o i n g to be one of the yea r ' s c u l t i e st gay

u s u a l 1 y reserved for porn f i l m s . And Tro­

P a r i s is B u r n i n g is a g i d d y celebration

movies. P receded by B i e n n a l e A p o l l o ,

is an exotic interpretation of the l ife

of t h i s su b c u ltu re, these contra d icti o n s .

a s h o rt Venice-se t m u s ica l . x M a r k F i n c h . B i e n n a l e A p o l l o : Ita l y , 1 9 8 9 , D i recto r :

ia n s

and work of Konstantin Kavafy, the 1 9th

And i f y o u ' re not i n te rested i n t h e s e q ue s ­

centu ry Alexandrian poet. H i s work i m a g i ­

t i o n s , t h e r e ' s a lways the s u pe r g l a m o r o u s

S y l va n a B u s s otti . With J o h n J a n s s e n , E n zo

natively c o m bined motifs f r o m G r e e k h i s ­

costu m e s . x M i c h a e l l u m p k i n . P a r i s

F . C a r a b b a , 3 S m m , 6 m i n . Source: B a s i l i s k .

Is

tory w i t h h o m oerotic i s m ; f i l m ma ke r C o n ­

Burning:

stantine G i a n n a r i s restores Kavafy's c o n ­

L i v i n g ston, 1 6m m , 7 0 m i n . S o u rc e : Off­

rector: E r i c de K u y p e r . W i t h J o s e T e u n i s ­

t e x t with h i s o w n fa ntastically sen s u a l style.

Wh ite Prod u ct i o n s .

sen, JO$ l iland, Dolf Wilkens, Erik de Bruyn,

x

Mark Finch. Friendly Witne s s : USA ,

1 96 7 - 1 989, 1 6 m m , 3'

D irector:

Warren

Son bert,

USA,

S p o n s o red

1 99 0 ,

By The

D i recto r:

Jennie

Box

Pink

Ulysses:

Netherla n d s ,

1 990,

Di­

1 6 m m , 98 m i n . S o u rc e : Neth e r l a n d s M i n i s ­ ' t r y of C u l t u re .

m i n . Source: C a nyon C i n e m a .

Automonosexua l : USA, 1 98 8 , D i rector:

E d g a r A. B a re n s ,

1 6 m m , 3 min. Source:

Edgar A. Barens. E legy In The Streets: USA, 1 990, D i rector: J i m H u bbard, 1 6m m ,

29 m i n . Sou rce: J i m H u b b a r d . Tro i a n s :

Great B r ita i n , 1 99 0 , D i rector: Con stantine G i a n n a r i s , 1 6m m , 3 3 m i n . Source: n / a .

Sunday

June

1 7· · 3 . 0 0 p .

C a stro

S a t u r d a y J u n e 1 6 8 . 3 0 p . C a .t r o

Tuesday June

& Tue.day J u ne 1 9 4 . 0 0p. C a.tro

& .rlday June 22 4.00pm Castro

1 9 7 . 0 0 p m C a .t r o

21


St r a i g h t

Yo

'1 h e

H e a rt

W e s t C o a s t Pr e m i e r e

L e a P o o l ' s l a te s t feature

(she made the

a rty l e s b i a n love story A n n e T r is t e r» i s a Starti n g

d e p i c t i a n of t h e b r e a k · up of a d e c o d e - a

G l a nces

l e s b i a n F i l m s o f the

p h e r , P i e r r e , w h o retu r n s to M o ntreal a f ­

tion,

ter a n a l a r m i n g a s s i g n m en t i n N i c a r a g u a

t h e n we owe a g re a t d e b t t o the

f i l m ma ke r s i n th i s p ro g r a m , each of w h o m h e l ped to b r i n g the l e s b i a n expe r i e n c e o u t o f the p r i vate a n d i n to t h e p u b l ic s p h e re , by c o m m i W n g it t o c e l l u l o i d . F o r f r o m b e i n g m e re c u rios i t i e s , t h e s e f i l m s s t i l l h o l d i n ­

f r i e n d h a ve left h i m . He b roods, h e r e m e m ­ b e r s ( lots of b l o c k - a nd - w h ite f l a s h b a c k s ) , a n d - a fter b r i e f a n d f r u s tra t i n g e n c o u n ­ ters w i t h e a c h o f h i s f o r m e r lovers - h e

t e r e s t , e it h e r a s h i s to r i c a l d o c u m e n ts or

tentatively beg i n s a n e w r e l a t i o n s h i p w i t h

a s bold m a n i fe s t o s - o r both. Jan O x e n ­

S t ra i g h t

Home

M o v i e ( w i t h c a m e ra w o r k

by D o n n a D e i tc h , a m o n g a t h e r s ) d e a l s with her g ro w i n g u p a n d c a m i n g o u t . I n H o l d ­ i n g , t h e love o f two w o m e n f o r e a c h other i s c o m m u n i c a ted t h r o u g h p h y s i c a l c o n ta c t , fantasy a n d n a t u r e . O n e of the l eg e n d a ry B a r b a r a H a m m e r ' s e a r l ie s t f i l m s , A G a y 22

o n l y t o f i n d t h a t b o t h boyf r i e n d a n d g i r l ·

D a y , i s a s a t i r e a b o u t l e s b i a n m o n o g a my, s h ot i n

red f i l t e r - w i t h

sou nd tra c k .

a

d i rg e f o r a

N i m bu s featu res

Cumulus

the m u s i n g o f a wo m a n w a n d e r i n g i f s h e i s g a y . H a m m e r ' s D y k e ta c t i c s i s t h e a r i g i ­ nal

"lesbian

convinced

c a m m e rc i a l " .

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Frie d r i c h ' s pe rceptive C o o l H a n d s , W a r m H e a rt takes wome n ' s p r iv a te r i t u a l s d i ­ r e c t l y t o the s t r e e t s (of l o w e r M a n h a tta n ) . L e s a G i d l ow r e a d s h e r p o e t ry, a c c a m p a ­ n ied b y s a n d a n i m a tion i n L u na T u n e . X' D a n i e l M a n g i n . H o m e Movi e : U S A , 1 97 1 , D i rector: J a n Oxe n be r g , Source:

Jan

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1 6mm,

1 0 min.

Holding:

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c h a ra c te r s ; l i k e N a v a r re , t h e f i l m m a t c h e s form a n d feel i n g p e r f e c t l y . L e o Pool 's l y r i ­ c a l s t y l e s u i t s t h o s e i n trospective m o m e n ts we've a l l f e l t at the e n d of a r e l a t i o n s h i p . At t h e S a m e t i m e , s h e treats P i e r r e ' s b i ­ s ex u a l i ty with a cool m a tter- o f - f a c t n e s s , a t l e a s t u n t i l h e t a k e s up w i th h i s ne w lover. Then the m o v i e beco m e s de ta i l ed a n d affec t i o n a te in d e s c r i b i n g the p r a c t i ­ c a l p r o b l e m s they f a c e . S t r a i g h t To T h e H e a r t i s a l ways h a u n t i n g a n d a ffec t i n g . 'X' M a r k F i n c h .

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( A C o r p s P e r d u ) : C a n a d a , 1 9 8 8 , D i re c ­ tor:

Lea

Poo l .

J o h a n n e - Ma r i e

W i th

M a tt h i a s

Trem blay,

Habich,

Michel

V o i ta ,

3 5 m m , 9 0 m i n . S o u r c e : A l l i a n c e I n te r n a ­ tiona l . Spons ored by the C a n a d i a n C o n s u l a te G e n e r a l , S a n F r a n c i s c o , and t h e Q u e be c Gover n m e n t O ff i c e .

T O ni

R u b n ltz

M arathon

A D oz e n T a p e s , W i g s I n c l u d e d

a n d t w o m e n . I t ' s t h e t o l e of a p h o to g r a ­

I f v i s u a l i z a t i o n t r u l y precedes a c tu a l i z a ­

b e rg ' s

The

l o n g m e n a g e - a - t r o i s i n v o l v i n g one w o m a n

1 9 70s

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R u b n i tz t a k e s a

b i te o u t of the B i g A p p l e a n d s p i ts it o u t i n a w i l d k a l e i d o s c o p e o f u n eq u i v o c a l c a m p and hallucinogenic color. John Sex, Happi Pll a c e , T h e B - 5 2 s , U p sy n c h a , A n n M a g n u ­ s o n , Q u e n t i n C r i s p , M i c h a e l C l a r k a n d Lady B u n n y a re but a few of the s ta rs t h a t s h i n e o h - s o - b r i g h tly i n R u b n itz' g l itte r i n g oeuvre. A g e n r e artist p a r e x c e l l e n c e , M r . R u bn itz can d o i n two m i n u tes what most med i a m a k e rs w i s h they c o u l d d o i n two h o u r s . E v e r y o n e w i l l h a ve t h e i r f a v o r i te d i s h e s from this choice menu. Among mine are Wigstock - The Movie, a h i l arious send­ u p of D . A . Pe n n e b a k e r ' s Mo n ter ey P o p m u s t - see for J o n i

M i tc h e l l

10

fansl; Made

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that b e a r s

his

name.

X'

M a rc

H u estis. B u m p A n d G r i n d It: USA, 1 9 86, 3/4" video, 3 min. C h icken Elaine: USA, 1 9 8 3 3/4 " video, 2 m i n . T h e Drag Queen Marath o n :

USA,

1 9 86,

3/4"

video,

6

m i n . T h e F a i r i e s : U SA , 1 98 9 , 3 / 4 " v i d e o , 1 0 m i n . H u s t le W i t h My M u s c l e : U S A ,

1 9 7 1 , Di recto r : C o n s t a n c e Beeson, 1 6 m m ,

1 9 86, 3 / 4 " video, 3 min. John Sex: The

1 3 m i'n. S o u r c e : C a nyon C in e m a . A G a y

T r u e Story: U S A ,

D a y : U SA, 1 9 7 3 , D i re c to r : B a r b a r a H a m ­

min.

m e r , 1 6 m m , 3 m i n . S o u r c e : Canyon C i n e m a .

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TV:

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1 984,

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. 3 /4 " video, 5 min.

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C u t : U SA, 1 9 89, 3 / 4 " v i d e o , 1 m i n . U n ­

Ca nyon C i n e m a . D y k et a c t i c s : U SA, 1 9 74,

d e r c o v e r M e : U S A, 1 9 8 8 , 3 / 4 " v i d e o , 2

D i re c t o r : Barbara H a m m e r , 1 6 m m , 4 m i n .

m i n . S u m m er Of love

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to r : J a n O x e n b e r g , 1 6 m m , 2 6 m i n . S o u r c e :

video, 2 1

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I n D e c e m b e r o f 1 9 7 5 , R o b E p ste i n , a 2 0 -

become k n ow n f o r e x p l o r i n g d ifficu l t s u b ­

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y e a r - o l d g a y i m m i g r a n t to S a n F r a n c i s c o ,

j e c t s - f e m a l e m a s oc h i s m , e r o t i c o b s e s ­

mentaries about Black gay experience. F i rst,

a n swered a n ad w h i c h a p p e a r e d i n F ra n c i s

s i o n , a n d victim ization . N ot fem i n i s t fairy

T h e M a l e G a y z e , by J a c k W a te r s . A d a n c e r

F o r d C o p p o l a ' s C i ty M a g a z i n e . I t w a s p l a c ed

ta l e s , h e r t a p e s l o o k f r a n k l y at re l a t i o n s

re l a t e s a s a l u t a r y a n e c d ote a b o u t l o s i n g a

by f i l m m a k e r Peter Adair and rea d : "We a r e

of p o w e r a n d s u bm i s s i o n between w o m e n ,

about being

l o o k i n g f o r a n o n - s e x i s t g a y m a n to w o r k o n

a s l o v e r s , f r i e n d s , a n d m o t h e r s / d a u g h te r s ,

c o u rted b y o n e o f t h e j u d g e s · - w h o t u r n s

a f i l m a b o u t g a y l i fe s ty l e . N o e x p e r i e n c e

a s s h e p r o b e s the c o n n e c t i o n s betwe e n de­

o u t to be f i xed o n e x p l o i t i n g h i s i m a g e . " I f

n e c e s s a ry , j u s t i n s a n e d e d i c a t i o n a n d a c o ­

p e n d e n c y a n d l o v e , p o w e r a n d c o n t r o l . X'

there's a d i s t i n c t i o n between p o r n o g r a p h y

o p e ra t ive s p i r i t . " X' W o r d I s O u t o p e n e d

Let's Play Pri soners is about how power

a n d e r o ti c a , " s a y s t h e n a r r a t o r , " t h e n p o r ­

t w o yea rs l a te r a n d i t

i s e x c h a n g e d b e t w e e n fe m a l e s . I t p r e s e n t s

n o g r a p h y a l wa y s p r o d u c e s a v i c ti m " . T h e

l a u n c h ed the c a re e r · of the 'i n s a n e l y ded ica ted ' Rob E ps te i n , w h o s e

v o i c e - o ver i s p a i r ed w i t h w h a t s e e m s l i k e

ta l e n t a n d u n w a v e r i n g c o m m i tm e n t to t h e

a young

h o m e m o v i e foota g e ; i n t h e m i s - m a tc h , i t

l e s b i a n a n d g a y c o m m u n i ty h a s g i v e n u s a

to w a r d s h e r g i r l f r i e n d , w h o s e a d o r a t i o n

b o d y of d o c u m e n ta r y w o r k u n e q u a l l e d i n

verges o n m a s oc h i s m . I n I L i ke G i r l s for

com petition

in

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ra i s e s p r o v o c a t i v e q u e s t i o n s a b o u t p o w e r

t h r e e r e s ta g i n g s o f a s h o r t s t o r y i n w h i c h is

girl

m a n i p u l a tive a n d

c ruel

a n d re l a t i o n s h i p s . W h a t a r e t h e ra m i f i c a ­

g a y h i s t o r y . X' I n 1 9 80 he s i g n e d o n a s a s s i s ­

F r i e n d s the a u d i ence is sed u ced by the

t i o n s o f t h e ' t w i s t e d ' a ffa i r b e tween t h i s

t a n t ed i t o r f o r T h e L i f e A n d T i m e s O f

f e m a l e n a r r a t o r , w h i l e a t t h e s a m e ti. m e

B l a c k m a n a n d t h e Afro p h i l e c h o reog r a p h e r ?

R o s i e T h e R i v e t e r , a n d a y e a r l a te r a c ted

re p e l l e d b y h e r n e e d f o r l o v e a n d a p p r ov a l .

as c o - p r o d u c e r of G r e e t i n g s F r o m W a s h ­

A n d H e y B u d revo l v e s a ro u n d t h e s u i c i d e

x Tongues

U nt i e d i s Marlon

Rigg's ac­

c l a i m e d f i l m w h i c h c o m b i n e s p o e t ry , p e r ­

i ngton

l o v i n g l y reca l l e d t h e

of B u d Dwyer - a gove r n m e n t offic i a l w h o

s o n a l t e s t i m o n y , r a p a n d p e rfo r m a n c e t o

first national lesbian and gay march on Wash­

c o m m itted s u i c i d e before a telev i s i o n a u ­

d e s c r i b e the h o m o p h o b i a and r a c i s m t h a t

i n g t o n . I n 1 9 84 h e c o m p l eted h i s f i r s t m a j o r

d i e n c e - i n te r c u t w i t h s c e n e s o f t h e a r t i s t

c o n f r o n t g a y Af r i c a n A m e r i c a n s . A l o n g s i d e

w o r k , T h e T i m e s Of H a r v e y M i l k . T h e

a n d h e r g i rlfriend playing dress up. Hey

some b l e a k t a l e s of i s o l a t i o n a n d g a y - b a s h ­

fi l m won th ree E m m ies a n d a n Academy Award

B u d p e e k s i n o n the r e l a t i v e p o w e r s of

D.C. which

for Best F e a t u r e D o c u m e n t a r y . X' After, he

e x h i b i t i o n i s m a n d voy e u r i s m , a n d a s k s h o w

o f t h e· B l a c k m a l e g a y e x p e r i e n c e - f r o m

w e n t d i r e c t l y back to h i s roots in t h e gay

w o m e n c a n r e a p p ro p r i a te t h e m . X' P e r h a p s

the

c o m m u n i ty to c o - p r o d u c e and c o - d i re c t T h e

Z a n d o ' s d a r k e s t w o r k to d a t e , a n d

l a n g u a g e of the S n a p D i va a n d Vog ue d a n c e r .

A I D S S h o w a n d t h e fol l o w i n g yea r h e p r o ­

m o s t re c e n t, T h r e e C a s e H i s t o r i e s i s a

i n g , R i g g s g i ves u s a h i n t of the r i c h fla vor

p r o t e s t m a rc h e s

s m o k y b a r s to

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and

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whose

p o e try

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her

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t ro u b l i n g l o o k a t t h r e e w o m e n ' s s t r u g g l e

i ty? f o r P B S . X' H e a n d h i s pa rtner Jeffrey

w i t h m a l e a u t h o r i ty f i g u r e s . L i k e a l l h e r

d u c e d a n d d i rected W h a t

Price

F r i e d m a n began work i n g on a f i l m a bo u t the

w o r k s , i t ' s d e e p l y sens it ive t o the power

e a r l y g a y c o m i n g o u t s t o r i e s , O u t Of T h e

N a m e s P r o j e c t Q u i l t o u t of t h e i r S a n f r a n ­

e m b e d d e d i n i t s o w n r e l a t i o n s h i p to t h e

S h a d o w s i n trod u c e s a n a tt o r n e y , a c o m ­

c i s c o p r o d u c t i o n c o m p a n y , Te l l i n g P i c t u r e s .

v i e w e r . lando explores sto ry-te l l i n g f o r m s

m u n i ty o r g a n i z e r , a n o l d e r m a n f r o m a n

The result was a c o l l aboration with Home

earlier g e n e r a t i o n of g a y s , a n d t h ree trans­

Box

t h r o u g h T o n g u e s U nt i e d . Rem i n i scent of

called

Office

Common

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a n d the power of the c a m era to d i rect a n d c o n t r o l t h e v i e w e r ' s a t te n t i o n , e x p e c t a t i o n s

v e s t i t e s a n d t r a n s s e x u a l s w h o a l l s h a re t h e

S t o r i e s F r o m T h e Q u i l t w h i c h t h i s yea r

a n d d e s i r e s . J u l i e Z a n d, o w i l l � e p r e s e n t t o

s a m e i s s u e s o f c o m i n g to te r m s w i t h b e i n g

b r o u g h t E p s te i n h i s s e c o n d O s c a r . X' We a r e

d i s c u s s t h i s a n d a l l h e r w o r k . X' L i z K o t z .

B l a c k a n d g a y . O p p o s i te i n i t s a p p r o a c h t o t h e t w o o t h e r t a p e s , O u t Of T h e S h a d ­

h o n o red t h a t h e h a s a g reed to a c c e p t th i s

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1 9 87 3 / 4 " video, 3 m i n . Let's Play Pris­

p r o v i d e s t h e v i e w e r w i t h a c e rta i n p o i n t o f

w i t h h i s v i s i o n a n d h i s ta l e n t . X' V i to R u s s o .

oners:

refe r e n c e w h i c h , f o r t h e l a rg e p a r t , R i g g s

Robert

a n d W a t e r d o n o t p r o v i d e a n d ta k e f o r

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g ra n t e d . T h i s d i ffe r e n c e , h o weve r , w o r k s

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A s s i s t a n t E d itor. G r e e t i n g s F ro m Wa s h ­

S h a d o w s , T h e M a l e Gayze a n d Ton gues

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Sunday

USA,

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D i r e c to r : J a c k W a t e r s , 3 / 4 "

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H i s to r i e s :

3/4" video, 2 8 m i n . All t a p e s d i rected by

Co-Di rector/Co­

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1 990,

U SA, 1 98 8 , 3 / 4 " v i d e o , 2 2 m i n . Case

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W i l d F l o w e r s , f i l m e d i n a s m a l l wo r k i n g c l a s s town o n t h e w e s t c o a s t o f S c o t l a n d , i s B r i t i s h d i r e c t o r R o b e r t S m i t h ' s rr i b u te to the s t r e n g t h ot wo m e n , c u l l e d f r o m c h i l d ­ h o o d m e m o r i e s o f fa m i l i e s a t w h o s e h e a d i s t h e matri a r c h . T h e c a m e rawork i s slow and sen sua l, coveri n g a clean and c r i s p seaside village. The accompanying musi­ c a l score (orig inal compositions in t h e Scot­ tish tradition) f l oats w i t h o u t effort a r o u n d a n d t h r o u g h the n a rrative. These e l e m e n ts, c o m b i n ed w i th a s h a r p s c r e e n p l a y a n d c h a r ­ ac ters t h a t a re sometimes very c h a r m i n g , bel ie t h e f a c t t h a t W i l d F l owe rs g e n tly a n d l o v i n g l y t w i s t s t h e m e s to t h e i r b r e a k ­ i n g p o i n t . 'X S a d i e , a y o u n g w o m a n f r o m G l a s g o w , i s v i s i t i n g h e r boy f r i e n d ' s h o m e to wn . S h e a g r e e s t o s t a y a n d m e e t h i s f a m i l y , a n d u n w i tt i n g l y u n c o v e r s h i s moth e r ' s s e c r e t - a n u n d i m i n i s h e d a tt r a c ­ t i o n to w o m e n . S a d i e i s d r a w n b y t h e m o t h e r s ' w i t a n d e n e r g y , a n d h e r i n te r e s t i n A n g u s ( t h e boy f r i e n d ) d i m i n i s h e s b y i n c re m e n ts e q u a l to h e r f a s c i n a t i o n w i t h A n g u s ' s m o t h e r . 'X A d d t o t h e story a b i t ­ t e r a n d u n f l i n c h i n g g r a n d m oth e r ( t h e t r u e matr i a r c h ) , a dependent h u s b a n d a n d sons, a few local eccentrics, and a c o u p l e of h a r m l e s s b u s y b o d i e s a n d y o u h a v e a ty p i ­ c a l l y g ood B r i t i s h f i l m , poised for t h e k i l l . S e t i n f l a s h ba c k , a n d often i n S a d i e ' s psy­ cholog ica l space, there i s the theme of tra­ d i ti o n that i s as b i n d i n g a s i t i s n u rtu r i n g . W h a t i s t h e p r o p e r s e tt i n g f o r p a s s i o n ? A t w h a t p o i n t i n a n y l i fe d o e s p a s s i o n c o n ­ c e d e t o c o n t e n te d n e s s ? A n d w h e r e w i t h i n tra d i t i o n i s t h e r e a p l a c e f o r t h o s e w h o a re , a s t h e f i l m p u t s i t, " b o r n d i s s a t i s f i e d " ? 'X P l u s , f r o m T e l A v i v , t h e f i r s t I s r a e l i l e s ­ b i a n l o ve s t o ry , I t ' s T h a t A g e . D a n i e l l a i s a b r a t ty, c o n f u s e d t e e n w h o k e e p s s i n g ­ i n g ' T h e M a n I Love' t o h e r self; i n s tead o f a man, she finds Michal, a 32-year-old s c u l p t r e s s w h o l i v e s i n a s e d u c t i ve , o v e r ­ blown s t u d i o - a p a rtment. They e m b a r k on a n i n te n s e a n d m o o d y a ffa i r , b o u n d to e n d i n t e a r s - b u t a ffec t i n g a l o n g t h e w a y . 'X Cec i l i a D o u g h e rty. It's That Age: Is­ ra e l , 1 9 9 0 , D i r e c t o r : H a g a r K o t . W i t h R u t i G o l d b e r g , I d i t Te p e r s o n , 1 6 m m , 4 0 m i n . Source: H a g a r Kot. W i l d F l owers: Great B r i ta i n , 1 9 8 9 , D i re c t o r : R o b e r t S m i t h . W i t h B e a t i e E d n e y, C o l e tte O ' N e i l , S h e i l a K e i t h , 1 6 m m , 66 m i n . S o u r c e : F r o n t r o o m .

G a r b o ' s l e s b i a n i s m h a s been one of t h e b e s t k e p t H o l l y w o o d s e c re t s d u r i n g h e r l i fe; n o w , after h e r d e a t h , it's a l ready s t a rted to g e n e r a te e x c i t i n g p o s t h u m o u s speculation and pub li cation. Goy a nd les­ b i a n h i s to r i a n s h a ve l o n g b e e n a w a r e o f G a r b o ' s a ffa i r s ; d o c u m e n t a t i o n c a n n o w be rev e a l e d w i t h o u t t h r e a t of l i t i g a t i o n . With c l i p s from h e r best f i l m s and material f r o m other s o u rces, th i s look b a c k at h e r c a r e e r w i l l a tte m p t t o b e g i n a n o p e n a n d h o n e s t re- eva l u a t i o n of t h e p u b l i c a n d p r i v a te l i v e s o f o n e o f t h e s c r e e n ' s b r i g h t­ e s t a n d m o s t i n t r i g u i n g s t a r s . 'X A m o n g the sources i n cluded, we'll be presenting segme nts from Garbo's lover Mercedes de Acosta ' s 1 966 book H e re L i e s the Hea rt. S h e d e s c r i b e s t h e i r t o p l e s s v a c a t i o n i n Si l v e r Lake ( u n e xpla i n e d p h o tos wer e p u b l i s h e d i n O u i m a g a z i n e ) , a n d a l s o c l a i m s to h a v e been the o r i g i nator of Queen C h r i s t i n a , G a r b o ' s m o s t f a m o u s c r o s s - d r e s s i n g fi l m . M a n y u n r e a l i z e d p r o j e c t s betwe e n t h e m i n c l u d e d Ga rbo a s D o r i a n G r a y i n O s c a r W i l d e ' s story o f t h e s a m e n a m e (with M a r i l y n M o n r oe a s a y o u n g g i r l ru i n ed by D o r i a n ! ) . Other i n formation i n c l u d e s L o u i s e B rook s ' confession to her biographer that she and Ga rbo s p e n t t h e n i g h t together. Even h e r g a z e , te l l s B r o o k s , " w a s i n te n s e a n d e l o ­ q u e n t . " N e w reve l a t i o n s a b o u t G a r b o w i l l n o t l e a v e h e r i n t h e s h a d o wy r e a l m o f i n n u e n d o f o r m u c h l o n g e r . 'X W i t h t h a n k s t o E r i c G a r b e r o f t h e S a n F r a n c i s co G a y a n d Lesb i a n H i story P r o j e c t for h i s h e l p i n c o m p i l i n g t h i s p ro g r a m m e . 'X M a ry W i n g s .

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f i l m yet. Or i g i n a l l y p l a n ned a s a t h r e e pa rte r for B r i t i s h te l e v i s i o n , t h i s c o m p l ex story takes u s through the h a z a r d o u s j o u r n ey of a h e r o i c yo u n g g i r l ' s e s c a p e f r o m a rel i g i o u s u p b r i n g i n g . 'X T h e f i l m o p e n s w i t h the mother, the young J e s s a n d her wh ite dog s i tt i n g atop a g r avesto n e . M u m i s a l l u d i n g to h e r f a l l f r o m g r a c e wh i l e l i v i n g in P a r i s a s a yo u n g g i r l , a n d h e r r e b i rth a s a C h r i s t i a n . " S h e ' d n e v e r h e a rd of m i xed fee l i n g s , " J e s s te l l s u s i n voice-over. T h e s c r e e n p l a y , a d a pted b y J e a n ette Wi nterson f r o m h e r own n o v e l of t h e s a m e title, i s d ro l l a n d e n d e a r i n g , f r i g h te n ­ i n g a n d f u n n y - even w h i l e d e s c r i b i n g t h e perver ted p e d a g ogy o f C h r i s t i a n c u l ti s t s . 'X It's a stra n g e beg i n n i n g of a l i f e . Y o u n g J e s s , ever o b serva n t a n d p recoc i o u s , te l l s s c h o o l ­ mates t h a t there a r e n o toilets i n H e l l . Later, she trots off to a s s i s t t h e ' S o c i e ty of the Lost', her moth e r ' s odd e v a n g e l i c a l group i n a m u s i cal m i s s i o n . They h o l d forth on the b ea c h , b u t h e a t h e n s throw s a n d i n to M i s s Jewbu ry's a c c o rd i o n ; she loses h e r F s h a r p . ( O r a n g e s h a s some of the best e x a m p l e s I ' ve e v e r s e e n of o l d e r w o m e n c h a ra c ters w h o a r e n u a n c e d , n u rtu r i n g a n d k n ow h o w t o s u rv i ve) . 'X P a rt one e n d s a s t h e l o oney C h r i s ti a n s go off the deep end. T h e p l ots i n p a r t two n ot only gel, b u t thicken i n to a h o r r i fy i n g c l i m a x . Now tee n a g e J e s s meets t h e w i n some M e l a n i e , who w o r k s a t a f i s h s ta l l . T h ey a r e i m m e d i ­ ately s t u c k on e a c h o t h e r a n d , ovf."· a f i s h c a r ­ c a s s , the s c h o o l g i r l c r u s h i s o f f a n d r u n n i n g . 'X J e s s i s a g r e a t k i s s e r on S a t u r d a y fl i g h t, a n d S u n d ay morn i n g f i n d s h e r l o c k i n g eyes with M e l a n i e s i n g i n g ' H e To u c h e d M e ' at service . But t h e word i s o u t a m o n g the fa i t h ­ f u l ; J e s s a n d Me l a n i e a r e d a m ned if not d o o m e d . I n saving t h e m from t h e evi l s of l u s t t h e C h r i s t i a n s reve a l t h e m s e l ve s a s t r u e tor­ turers. T h e heroic Jess tri u m p h s over her s i t u a t i o n and f i n a l l y g a i n s e n o u g h d i s t a n c e f r o m h e r past t o create a f � t u r e for h e rself. 'X T h i s l a n d m a r k l e s b i a n f i l m is cer ta i n l y the best - if n ot the o n l y - i n i t i a t i o n story that is p o s i t i ve a n d m a t u r e i n c h a ra c terization a n d plot, h e l p e d b y a p l a y f u l a n d q u i r ky s c o re by R a c h a l l Portm a n . O r a n g e s is s u re to sati sfy on a l l k i n d s of leve l s . 'X Ma ry W i n g s . O r ­ a n g e s A re N o t T h e O n l y F r u i t : G re a t B r i ta i n , 1 9 8 9 , D i re c t o r : Bee b a n K i d ro n . With Gera l d i n e M c E wa n , C h a rl otte C o l e m a n , Ken­ neth C r a n h a m , F r e d a Dowie, Celia I m r i e , 1 6 m m , 1 6 5 m i n . S o u r c e : B B C TV . S p o n s o r e d by B a n k of A m e r i c a - -

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T h e S t e a m W o r k s , C l y d e W i l d e s . P a t r o n s : A l v i n B a u m , L . W a y n e B e n n e t t , B u. s t e r P' r a d u c: t i o n s , D a v i d C l a y t o n , B e t h H o f f m a n , M i c h a e l M c D o n a l d , Le l a n d M o s s , S t e v e P a r k e r , J o h n R e y n o l d s , C . W . S u l l i v a n , T h u r s ta n - S c h o tt L a w O f f i c e , S te v e n U n g e r , P e te r W a s h b u r n , R i c k Weyr i c h .

S p o n s o r s : A l t e r n a t i v e M o r t g a g e S o u r c e s , M . J a n e t A l l e n , M i c: h a.e l A n d a l o r o , R o y B a t e m a n

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M . A n d e r s o n , C h r i s t o p h e r B a k e s , J o h n P r e n t i c e Bee m a n , J o n a t h a n Best, L y l a c e B l ake, Doug B o n n e r , Doug B r a l ey, J . B r e e n , M i c h a e l B ro w n s t o n e , S c ott C a ta m a s , J e f f r e y L . C o h e n , C o u r t n e y , H e n ry D o e d n g , S t e v e D ow n s & D e n n i s F e r g u s o n , C h a r l e s . D u g g a n , Ro berto E steve s , R o b e r t E v a n s , H e r m o n F l e m i n g , Peter F o w l e r , J a m es F re n c h , M a rs h a G a l e , F rede r i c k M . G a r l i n g h o u se , M a u r i c e G i b s o n & S t a n f o r d S t e v e n s o n , J o h n G i l g u n , B r e t t G l a d s t o n e , J i m G o v e k &' D o n H u n t e r , F . J i l l G o v e r , G a r y G r o s s m a n , ' P h . D . , C a t h e r i n e H a r r i s o n , F e n t o n J o h n s o n , J o h n J o h n s to n , M i c h a e l J o r d a n , R o b e r t K e l l e t t , K i r k F r e d e r i c k G r a p h i c s , R a e L a r s o n , R i c h a rd L e w E l i z a b e t h , L i l l y M a u re e n M a s o n & M a r y D u n l a p , A d a i r M c C l a tc h y , F l o r o M c M a rti n , B u r l M c N e e l y , S te p h e n M c N e i l ,

1 . M i c h e a u , B r a n d y M o o r e , L i s a M o o r e , S t e v e M o r i n , C h r i s,t o p h e r M o u n t a i n , N d r o g n s , K a t h y N e l s e n , B r a'd N e m e t h , J o h n - M i c h a e l O l e x y , M a r k P o 5 1 e y , M i k e P o b u d a , W e i d o n R a s h , C h r i s t o p h e r R a y m 0 n d , J 0 h n R e y n a I d: s , L i z R i g a I i , L a r r y R 0 5 e , F r e d R 0 s e n b e r g , V i n c e n t R u s s o , E l i za b eth S a r i a , Steve n L e e S i erec k i , G a i l S i l va & Ti m B l a s k o v i c h , J o h n S i l v a , R i c k S o l o m o n , Terry Swi n n ey, L a u ra T h i e l e n , E r i c u h I . D o n o r s : D o n a I d A l v a rez, D a v i d Y . Avi n a , D a v i d Beery, M i c h a e l B e r g & B i I I D i c key, E i Ieee n B I u m e n t h a I & R u t h B o r e n s te i n , B r u c e B l a y l o c k , T o m B o n a u r o , M a r y B o t e l l e , W i l l i a m B r a d l e y , S c o t t B r a u m a n n , D a v i d B r i g h t m a n , B r i a n B r i n g a r d n e r , La r r y B ri n k i n , P e t e B u l l a rd & A n d r e w O g u s , T o m C a l d w e l l & C h u c k D o n e l s o n , L e o n a rd C a r r i n g t o n , B r u c e C h e r n o f f, C h e sW e s , R o y M . C o e , S . C o o p e r , D e b o ra h C o w a n , J . B r i a n C o w g i l l , M i c h a e l C o x , L et i c i a C o x - W a r l a c e & M a ry T re i x i r a , C a t h e r i n e D e e s , R o b E p s t e i n , P a! t i F a h e y , D e n n i s F e r g u s o n , F i g o n e f o r S u p e r v i s o r , B r u c e F o d i m a n , R . F o n t a i n e , F o o l i s h , J a m e s F r o n i c e v i c h , J e r r y F re e m a n , S a l l y M i l l e r Gea r h a rt, Lin G e n t r y , E l le n R o s s G i bs o n , Jon G i n o l i , J e n n i f e r G . G r a n t & J u l i e Ann Y u e n , M . G ra y , J . Z . G ro v e r , S t u a r t G u rt m a n , D a n H a m p s h i r e , R o b e r t H a n s o n & C h r i s K l e i n b a u e r, S Q n j a H a n so n , D a v i d H a r re l l , J o a n H a s k i n , M i c h a e l J . H a w ley, M a r i l y n H a ywa r d , P a t r i c k H oc t e , E r i c H s u & J i m C h a m b e r s , A n t h o n y

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M r . P h i l J a m e s , J u d ith J e n n i n g s , M a r c J e n s o n , J a m e s J o s l i n , E . Ka ntor, A n d rew K a rcz, W e n d y Karner, Steve Kaye & M i tc h L a P l a n te , K i m K l a u s n e r , R o b i n D . K o j i m a , L i z K o t z , R e v . C h a r l e s W . L a r s e n , J u l i a n L a s to w s k i , N e w m a n L e e , L o r i L ew i s , P a u l a L i c h t e n b e r g & K a te B r a n d t , L i s a & M i k i , J o h n L y n c h , N a n c y M a c k o w s k y , R a c h e l M a i l m a n , E u g e n e M a r a n g o n i & F r a n k M c N a m a r a , D a v i d M a r t i n , B e t t y M a y o , M a c M c G i n n e s , W a l k e r M c i n t y r e , K a t e M e i s s & B e t h S t r e c: k l e r , E l i a M e :z. a - A q u i l a r , D a v i d P. M i n c i n , S . K . M i r r a k ov a , J a m e s M i s h i m a , L a u retta M o l i to r & L i n d a K o l I , J e n n i f e r A . M o r r i s , M a r k l e y M o r r i s , Pete M o r u z z i , S . N a k a m u ra , T e r e n c e O ' G r a d y , D a n i e l O s t r o w & E d A u l e r i c h , 1 . P l a g e m a n , C u rt i s P o n z i & G l e n N e t h e r c u t , G a r y Powe l l , Q S M , D e m i a n D . Q u e s n e l , C h a r l i e R i d l o n & J o h n F r a n k , D a v i d R i n g & S t u a r t H a r r i s o n , T e r r y A . R a g e r s , L i s a R u d m a n , J a r ed R u tt e r , SAA, D r . D i a n e S a b i n , D . C . & C i n d y I c ke C . A . , O . M . D . , D a n n y S a u r o & G a rth W a l l , J o h n S c h r aU y , C a rol S e a j ay, D e n i s e S h e p a r d , M i c h a el S h u g e r t , B a r b a r a A n n S i m a s , R o n S o u t h e r l a n d , A l d e n S p a f f o r d , B o b S t a n t o n , S t e v e S w a n s o n , C a t h r y n Te a s l e y , S a m T h a i , M . D . , D a v i d T h o m a s , K e i th T h o m a s , K a th e r i n e A n n T h o m p s o n , N o e l l e T r a c y , S u s a n U n g e r , A l e e t a V a n R u n k l e , J o h n V a n V l eet, S teve V a n c e & D a n i e l K i e r n a n , T o d d Ve n e m a , M a r i o V i l l a & D e n n i s M a r q u a r d t , M i c h a e l W a l l i n , A . W i l l i a m W e b e r , K r i s We i n g a r d , Corrine S u e W i c k , Ti mothy W i l l i a m s , W. C h a r l e s W i n g , Dan Wohlfeizer, Wolfe Video, C e d r i c C . Y a p , Robert Za borny & Noel Day, Jr., Michael Zimmerman.

Business

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Bank of A m e r i c a , Bay A rea Ca reer Wom e n , Bo bb y R u b i n o ' s

p l a c e f o r R i b s , T h e B o x , C a n a d i a n C o n s u l a te G e n e r a l S a n F r a n c i s c o , H u m a n R i g h t s C a m p a i g n F u n d , K Q E D , T h e Q u e b ec G o v e r n m e n t O ff i c e , S a n F r a n c i s c o B a y T i m e s , T h e S e n t i n e l , T i d e s F o u n d a t i o n .

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Bed of

R o s e s , B o c k ' s B e d a n d B r e a k f a s t, C a te r i n g W i th S t y l e , C o m p l ete B u s i n e s s S e rv i c e s , A D i ff e r e n t L i g h t , T h e E l l e s ' M e r e o n N o b H i l l , E d i b l e A r t , F l o ra l I m a g i n e , G o l d e n G a te F l o r a l D e s i g n s , T h e H o l i d a y L o d g e , I n t e r n a t i o n a l Fo o d s , I x i a , K o a l a S p r i n g s , K P I X , ,

L e t i c i a ' s , T h e M a j e s ti c , A N e w L i g h t , T h e P e n s i o n e H o t e l , T h e Q u ee n A n n e S u i te s , T h e R e d V i cto r i a n B e d & B r e a k f o s t I n n , S c h a rffe n be r g e r W i n e r y , Stafford B u c k l e y C a ter i n g , Ta ste, W a l l P r i d e , R o b e rt W u l f f F l o r i st. T k a n k s : A b s e i l , A l i v e F r o m Off C e n te r , A l l i a n c e I n te r n a t i o n a l , Tom A m m i a n o , A d a i r & A r m s tro n g , A u s t r a l i a n F i l m C o m m i s s i o n , BBC T e l e v i s i o n , B l u m e n f e l d E n te r p r i s e s , Tom B o n a u r o , C h a rly B rown, S u s i e B r i g h t , C a pta i n V i d e o , D i a n e C a r e l l i ( B l u m e n f e l d E n te r p r i sesl , Ca stro Thea tre, C h a n n e l F o u r T e l e v i s i o n , C o u n c i l T r a v e l , C u i s i n e C u i s i n e , J e f f D i a m o n d , C e c i l i a D o u g h e r ty , F i l m A r t s F o u n d a t i o n , D a v e F o r d , F ro n t r o o m , Bob H a w k , T o m m y H u i e , I m a g e T r a n sfo r m , A n d y La F o o t e , Lesb i a n / Ga y F re e d o m Day P a r a d e & C e l e b r a t i o n C o m m i ttee, Steve Lov i n g , Arth u r L u i z (The

N e w F e s t i v a l ) , J e f f L u n g e r ( T h e N e w F e s t i v a l ) , S ta n M a l e t i c P h o t o g r a p h y , D a n i e l M a n g i n ,

M a y a V i s i o n , N et h e r l a n d s M i n i stry o f C u l t u r e , A n i ta M o n g o , N a t i o n a l G a y & L e s b i a n T a s k F a rc e , J e f f e r y N e w b u ry,

le o n a rd

N i moy, J e n n i O l s o n , O n e P a s s I n c . , P a c i f i c F i l m A r c h i v e , M a r k P a g e , L i n d a P a r i u r ( B ri t i s h F i l m I n stitute ) , G a ry R o r i c k, R o x i e C i n e m a , V i to R u s s o , S a n F r a n c i s c o F i l m S o c i e t y , K i m S c a l a , A a r o n S h u r i n , W a y n e S m i t h , R o s e M a r i e S o t o , C a r o l i n e S p ry ( C h a n n e l F o u r ) ' P a u l T a y l o r ( B r i t i s h F i l m I n s t i t u t e l , T e l l i n g P i c t u r e s , B r i t t Te n n e l l , Top C o p y , T a m T o t h , B r e n d a W e b b ( C h i c a g o F i l m m a k e r s ) , P a tri c i a W h ite ( T h e N ew F e s t i v a l ) , J u d i th W i l l i a m so n , M a ry W i n g s , W o m e n M a k e M o v i e s , P h i l Zw i c k l e r . A n d special

thanks

to

the

many

w o n d e rf u l

and

d e d i c a te d

v o l u n te e r s

who

help

make

this

Festiva l

Dossible.

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A 0 11 E

HAPPINE


Do you want Jesse HellJls to program next year's San Francisco International Lesbian & Gay Film Festival? Jesse Helms has amended Public Law 1 01-1 2 1 (the NEA Appropriations Bill) to read: "None of the funds authorized to be appropriated for the National Endowment for the Arts . . . may be used to promote, disseminate, or produce materials which ... may be considered obscene, including ... depictions of sadomasochism, homoeroticism, the sexual exploitation of children, or individuals engaged in sex acts .. :

'

- - - - - - - - - - - ClJp and return to: Framellne, P.O. Box 14792 , San Francisco, CA 9411 4 - - - - -

-

-

- - - -

The Honorable Pat Williams Chairman, NEA Reaut horization Comm ittee U. S. House of Representatives Washington,

DC 20515

Dear Congressman Williams: The recent controversy regarding the National Endowment for t he Arts' support of contemporary works has made me aware that we as citizens of t he United States are facing incursions on our right to free expression and free speech .

I urge you to support public funding for the arts without restrictions on content of funded works.

A s a voter and taxpayer,

I want federal funds to support the diversity of art w hich American cultural organizations

choose to present. I reject

any form of censorship, and believe that art is an important aspect of society that is worthy of government support.

I urge you to use your leadership as Chair of the Reauthorization Committee to support our right to free speec h and expression, to recognise that no change is necessary to restrict NEA grants, and to take this opportunity to fully re-affirm Congressional support . for the peer panel system. Sincerely,

Name: Address: City IState /zip:

o YES!

I support federal fund ing for the a rts without Congressional interference or censorship.

I have sig ned the at tached letter to NEA Reaut horization Chairman W i l l i ams to let my voice be heard.

o YES!

I �ant to ensure that the San Francisco Internat iona l Lesbian & Gay Film Fest i va l returns

next year. Enclosed i s my contribution of:

o $1 00

0 $ 1 50

0 $ 500

0 $25

0 $50

0 Other _____

Name: Address City IState /zip Please make checks payable to Frameline. â&#x20AC;˘ List me in next year's Festival catalog as _______________ Frameline is a 501(c)3 tax-exempt non-profit organization. Donations to Frameline are tax deductible to the extent allowed by law.


The Festival Continues Frameline's Distribution Program •••

After it's over we'll be sending the best of the Fest to other cities across the country - as the worlds' only national non­ profit distributor dedicated to lesbian and gay films and tapes. Our distribution program was established in 1 980 as Frameline saw more and more international works coming into the country for the Festival, and retu rning afterwords, unavailable to other audiences. Now we distribute over fifty titles - including post Fest features like U rinal, Westler, Salut Victorl and Mala Noche - to colleges, libraries, theatres and other festivals, notionally and internationally. Frameline films screened in this yea r ' s Festival a re E xtramuros by Miguel Picazo, Richard Kwietniowski 's flames Of Passion, and two each by Jerry. Tartaglia ( R e m embrance and Ecce Homo) and Marlon Riggs (Affirm a t i o n s and Tongue, Untied ). Other new acqu isitions include fun Down There, B e y 0 n d G r a v i t y , Gus Van Sant's Diary, Voguing: The Message and by Arthur Bresson, Abuse and Gay USA.

i MA MA 'S i Video fur · 22615 Mission Blvd., Hayward, CA 94541 (415) 881-9310

TH U RSTON-SCHOTT LAW OFFICE

PA U L N . T H U RSTON 4 1 5/255'()500

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MARKET STREET.

SAN FRANCISCO. CALIFORNIA

All films and tapes are available for educational and public screenings. Contact us for our new catalogue, available in July: Frameline Distribution, PO Box 1 4792, Son Francisco, CA 941 1 4, or call (41 5) 861 5245.

2200 Market Street (at Sa nchez) Is Pleased to Sponsor " TH E R U LES OF ATTRACTION" Symposium on Lesbian and Gay Media

A

THE HUMAN RIGHTS CAMPAIGN FUND, TIM McFEELEY, EXECUTIVE DIRECTOR 1 0 1 2 1 4TH STREET, N . W. WASHINGTON, DC 20005 ( 202 ) 628-41 60

2 5 5-4699 FREE PARKING A VAILABLE ·

Lesbian and Gay Film Class "Contemporary Lesb ian and Gay Film From Stonewall to Torch Song' 3-units college credit - 18 films for $15! STARTS AUGUST 2 2 - 2 3 Three sessions: Wed., 2 p.m. at City College of S.F. Wed. and Thurs., 6:30 p.m. at Mission H igh phone 863-9754 for information about this and other courses in City College's Gay and Lesbian Studies Dept.


! '

Opening Night Sponsor of the San Francisco International L s i And Ga Fi

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LESBIAN PRIDE

Saturday, June 23

8 pm - midnight

Out! A New York-San Francisco Town Meeting of Gay & Lesbian Pride

Taped live at KQED & W N ET Also This Week: Sunday, June 1 7

Not All Parents Are Straight

7 pm

Sunday, June 24

Out in Suburbia Oscar Wilde: Spendthrift of a Genius The Naked Civil Servant

KQED

7 pm

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� ',

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S E RVI

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LESB IAN CO M M U N ITY E FO R 1 0 YEARS . CA L L US FO R H O M E D E L I VERY! 0

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The Official Hotel For The S an Francisco International Lesbian & Gay Film Festival

Special Film Festival Rates 1 90 1

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. (4 1 5} 776-4469 . 800-367-8504

Swimming Pool 94 1 09


In vites you to our Year - Round Lesbian and Gay Film Festival '"

A DIFFERENT L I G HT , A DIFFERENT LlG H A DI FFERENT L l G . A DIFFERENT L I A DIFFERENT A DIFFEREN A DIFFERE DI

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education, health services, human services and civil and legal rights. Bay Area Career Women 55 New Montgomery Street, Suite 606 San Francisco, CA 94 105 (4 1 5 ) 495-5 393

Now Playing Taxi Zu m Klo � Desert Hearts � Lesbian Humour � Olivia Records 1 5th Anniv. Concert � Two and Twenty (Lesbian Soap Opera) �

Times of Harvey M ilk � Before Stonewall M en Behind Bars � I've Heard the Mermaids Singing � Macho Da ncer � Films of James Broughton � Prick Up You r Ears � Parting G lances � An Early Frost " Torch Song Trilogy � Gay Freedom Day Parades �

Wa iting for the Moon � My Beautifu l Laund rette � C . A . N . N ews � EI Diputado � You Are Not Alone � Consenting Adult � Another Country Lianna � Outcasts � Brideshead Revisited

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T h e San F r a n c i s co Bay Area C o a l i t i o n For F reedom Of E x p r e s s i o n 1 8 05 D i v i s a d e r o S t r e e t S a n F r a n c i s c o C A 9 4 1 1 5 F e s t i v a l Of F r eed o m June 22 ,

-

July 4 1 990

T h e S a n F ra n c i s c o B a y A r e a C o a l i t i o n F o r F r e e d o m O f E x p re s s i o n i s a c o a l i t i o n of i n d i v i d u a l s a n d or g a n i z a t i o n s w h o s h a re a c o n c e r n f o r p r e s e r v a t i o n of f r e e e x p re s s i o n a s g r a n t ed by t h e F i r s t A m e n d m e n t o f t h e U S C o n s t i t u t i o n . W e oppose attempts b y a n y g ro u p t o c o m p r o m i s e these r i g h ts. Write your c o n g res s i o n a l representa tive today and let your o p i n i o n be k n o w n .


I '• • • 16

Abuse Affi r m a t i o n s Alpha bit land : The Bad(yard Tour featur i n g W i g stoclc '89 Annie A u to m o nose xua l The Balcony Because We Must Biennale ApoUo Blow Jolt B o y s / L i fe o B r i n co B u m p A n d G .- i n d It Bust-Up Butc h Patrol Caged U n C h a n t d' A m o u r Chicke n E l a i .n e A C o m e d y I n Six U n n atura l Acts Coming Attra ctions Coming Out Com,rades I n A r m s Cool H a n d s , Warm H e a r t Crocod iles I n Am sterd a m Cumulus Nimbus Deathwatch DiAn a ' s Hair Ego D H'PG Man A m o u r The D r a g Q u e e ·n Marathon Drea m s Of P a s s i o n Dyketactics Ecce Homo E legy In T h e Streets E ye n i ng s (De Ayon d e n ) E x tra m u r o s The Fairies fear of D i s c l o s u re T h e fe e l i n g Of Power #6769 flames Of P a s s i o n f r iendly W i t n e s s

ticket

20

16

20 21 5 14 21

17

20 3 22 20

16 9

5 22 22 14 3 15 22 I S 22 5

10

I I 22 20 22 5 2 1 I S

16

22

10

I I I S 21

ioi. $7

Open i n g N i g h t Reception & F i l m

$25

( i nc l u d e s Recept i o n , Film & D i n n e r )

$50

E ve n i n g P r o g r a m s

$6

Mati nees

$4

Panels

Free

Festival Pass

$50

( g u a ra nteed a d m i s s i o n to a l l Festival scre e n i n g s j

b uy

t i c k et s :

F e s t i v a l T i c k e t O u t l e t : C a p ta i n V i d e o

16

24 I S 22 16 1 0 10

16

23 20 3 17

16

22 22 23 20 14

17

3 20 20 24 23 7

10

D $25 Donor

D $35 Donor Couple

$50

Sponsor

D $ 8 0 S p o n s o r Couple

D $ 1 SO Patron

D $250 Patron Couple

D

t h r o u g h F r i d a y , 1 1 a m to 6 p m S a t u r d a y & S u n d a y . D u r i n g t h e F e s t i v a l the T i c ket O u t ­ B u y y o u r t i c kets i n

a d va n c e a t the F e s t i v a l T i c ket O u tl et a n d receive a c o u p o n g o o d f o r $ 1 . 0 0 off y o u r n e x t C a pta i n V i d e o t a p e r e n ta l . The F e s t i ­ val T i c k e t O u tl et w i l l b e c l osed on L e s ­ b i a n / Ga y F reedom D a y , S u n d ay, J u ne 2 4 t h _ T i c kets f o r t h a t e ve n i n g s prog r a m s a t the R o x i e will be ava i l a b le a t the R o x i e Box Off i c e a t 4:00 p m _

D

Sponsor privileges p l u s two tickets to the 1 9 90 Festival Op ening Night Reception and Fitm Pre m ie'l'e.

$ 500

D

small

D

medium

D large

I wish to make this a 9ih fro

Benefactor

Ticket

Address

O u tle t.

For

16

U 1 4 23 23 20 23 21 14 22 1 4 14 20 22 24 20 U 1 1 20

for

cancelled,

re­

s c h e d u l e d , or su b s t i t u ted p r o g r a m s . V I S A / MC acce pted a t F e s t i v a l T i c ket O u tl e t .

festi"a�

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Phone _____________________________________________________________________________

#

of Tickets

Program Title

I

Date

Time

I

t i c k et

for t h a t day's perfo r m a n c e s o n l y . Ref u n d s av a i l a b l e

1 0 1 7 20 22 22 22

__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ C i�, Sta re, Zip __________________________

I

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i n f o r m a t i o n c a l l ( 4 1 5 ) 4 3 1 - 9 2 2 7 . T i c kets

only

12 9 16

__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ ___

t i c k e ts

w i l l be a va i l a b l e a t the t h e a t r e box office a re

5 20

Name _____________________________________________________________________________

t h e t i c k et o r d e r f o r m a t r i g h t a n d t h r o u g h Festival

10 9

frameiine is a 5 0 1 (cJ3 tax-exemptl non-prof�t organizati o n . Donations a r e tax deductible to the extent allowed by law.

Adva nce t i ckets are ava i l a b l e by m a i l u s i n g the

1 1 1 1

21 22

Please indicate T-shirt size:

Donor privifeges p l u s a free festiyal .-shir t

A l l of the a b ove plus two Festival passes and two tickets to the 1 990 Festival Opening Night Gala.

1 99 1

I would l i k e t o b e listed i n the progr a m a s :

F ree preview scree n i n g s , discounts on festi­ vaJ tickets, special acce ss to the festival, and a l i sting i n the 1 99 1 festival prog r a m

( u p s ta i r s ) , 2 3 5 8 Ma r ke t Street a t Ca s t r o

advance

21

fr a lD e l i ll e a • • s ave o n festival t i c k e t s !

(4 1 5) 43 1 - 9 2 2 7 Hou r s : 1 1 a m to 8 p m Monday

l e t w i l l c l ose at 6 p m _

Paris Is B u rning Peril Or Pleasure: feminist Produced Pornography T h e Pink Pimpernel Pink Ulysses Plastic Rap Positive Prisonn ieres Querelle Remembra n ce The Rules of Attraction (conference) Scru bbers Seara nc h _ . _The True Story Silence = Death S i ntng Seas Stil Paint Straight To The Heart Strawberry Shortcut Summer O f love - Art Against AIDS Tales Of An Exhausted Woman T a l k To Me Like The Rain This I s Not A Very Blank Tape, Dear Three Case Histories Tongues U ntied Triangle A Tribute To Robert E p stein Troi a n s 29 Effeminote Gestures Undercover Me U n titled V 15 for Violet Wa l k The Dog Wigstock: The Moyie Wild flowers Wild T h i n g : A Poem B y Sapph ire A Woman O f Affa irs: Greta Garbo's Lesbian Past The World Is Sick lsic} Viva E u !

Bec o m i n g a donor t o frameline entitles y o u to a $ 1 _00 discount on festival tickets (.50 cents on matinees). in a d d ition to the benefits listed below_

O p e 'n i n g N i g h t G a l a

10

22 16 1 4 20 23 22 22 20 20 22 1 7 20 23

A Gay Day Gay USA Grap efruit Her Giyeaway Hey Bud Holding Home Movie Honored BT. The Moon How To K i I H e r Hustle With My M u scle I Am A Man I Got That Way from K i s s i n ' Girls I like Girls F o r hi ends I s T h a t All There Is To The Greenftouse Effect? It's That Age Jackie And The Beanstal k J o h n Sex: The True Story Joystick Blues Keep Your laws Off My Body lauro, Ingrid and Rebecca The Le sbian Imp ress Card le t's Play Prisoners life I n T h e Kitchen Life On forth As We Know It Looking For My Penis The los. lucy E p isode luna Tune M a d e for T V The Male Gayze Memory Pictures Meridad Proscrita My H u stler Nocturne No Need To Repent The Obel i s le Oranges Are Not The Only f r u i t Out Of The S h a dows Out O n Tuesday O utlaw Poyerty, Not Prostitutes

prices:

O p e n i n g N i g h t F i l m (C o m i n g O u t)

how

J[

P l e a s e m a ke c h e c k s p a y a b l e to f r a 'm e l i n e . M a i l to: Fram el ine: Box 1 4 792, PO San f ra n c i s c o , CA 9 4 1 1 4 . M a i t o rd e r s received by J u n e

1 1 th

will be returned b y m a i l .

received a f t e r J ,u n e

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be heJd

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t h e atre f o r pick-up t,hi rty m i n utes before showin g _

Opening Night Ga la

SSG

festiyal Pass $SO Donation To'tal Amount

Total A_unt

35


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F R A M E L I N E

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CHAMPAGNE RECEPTION CASTRO THEATRE. 5.30 PM NORTH AMERICAN PREMIERE : COMING OUT CASTRO THEATRE. 1.00 PM LATE SUPPER. COCKTAILS. DANCING SAN FRANCISCO MART 1355 MARKET STREET

tickets $50. for the entire evening. limited tic kets available. information/reservations: 415. 431.9227. dress l ike a

A X


The Fourteenth San Francisco International Lesbian and Gay Film Festival  

The Fourteenth San Francisco International Lesbian and Gay Film Festival Program Guide (Frameline 1990)

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