Page 1


CongratulationJ �rom lIour �riendJ At C�e �lumenleldC�eatreJ 71fbambra

Gas/ro

!Royal

7£e !Regency 1 & 2


We'd like to thank the following: FESTIVAL CORPORATE SPONSORS

<r- Pacific Center for Human Growth <r­

"There are those who fight one day and they are good. There are others who fight one year and they are better. Then there are those who fight for many years and they are very good. But there are those who fight all their life, and they are indispensible"

-Bertold Brecht.

<r- British Council <r<r- Canadian Consulate General <r-

Welcome to the 16th San Francisco International

<r- Castro Market Branch of Bank of America <r­

Lesbian &: Gay Film Festival. This has been a landmark year

<r- Colossal Pfctures <r-

for lesbian and gay movies, and we have the work to prove it: over

<r- Skyy Vodka <r-

200 films and videos from more than a dozen countries. Plus, in

<r- City Athletic Club <r- The Steam Works <r­

three sidebars we celebrate Latinalo artists, investigate British

<r- Cordon Negro Brut by Freixenet <r-

television and dress up for drag and transgender issues. There's

<r- 1808 Club <r- KQED <r-

a historical backbone, too, throughout the ten day program,

<r- Michael White, D.D.s. <r-

starting with our Opening Night film, Changing Our Minds,

<r- Atlantis Events <r- Olivia Cruises <r-

a tribute to pioneer psychologist Dr.Evelyn Hooker, and extending to a platter of archive rarities and Hollywood novelties.

FESTIVAL TRAILER SPONSORS

With a sense of what's gone before, we can truly assess the

<r- On Tape Productions <:r-

gains and achievements of today's groundbreaking lesbian

<:r- Russian Hill Recording <:r-

and gay film and videomakers. Enjoy the Festival ... and let us know what you think.

HOTEL SPONSORS

Official Hotels:

<:r- The Phoenix <:r<:r- The Holiday Lodge <:rSpol1soril1g Hotels:

<r- The Leland <:r- Elle's Mere <:r- Twenty-Four Henry <:r- Red Victorian <:r­ <:r- St. Francis <:r- Bill jones Houseboat <:r- The Majestic <:r-

Mark Finch, Festival Director Jenni Olson, Guest Curator

[jIJe ' "Existen aquellos que luchan por un dia y son buenos. Existen otros quienes luchan por un ano y son mejores. Luego existen otros que luchan por muchos anos y son muy buenos. Pero, existen aquellos

BUSINESS SPONSORS:

<:r- Catering With Style <:r- Whole Earth Access <:r- City Leasing <:r- Ache <:r­ B asi c Living Products <:r- United Airlines <:r- MACadam Computer <:r- Chal one Vineyards <:r- BLK <:r- San Francisco Wine Exchange <:r­ Cine Acci6n <:r- Deaf Gay & Lesbian Center of Sa n F ra ncis co

<:r- The Wright Gardner <:r- Girl jock <:r- Mango jam <:r- Cafe Du Nord <:r­ The San Francisco Sphere <:r- Conncreek Winery

que luchan por toda su vida, y ellos son indespensables." -

Bertold Brecht.

Bienvenidos al decimosexto Festival Internacional de Cine Lesbico y Gay de San Francisco. Este ha sido un ano culminante para el cine y video lesbico y gay, y tenemos las obras para probari�: mas de doscientas peliculas y videos de mas de doce paises. Ademas, en nuestros tres programas especiales

<:r- Michael Ashcraft Events <:r- Oppenheimer Restaurant <:r-

celebramos artistas latinos y latinas, investigamos la television

Yankee Clipper Travel <:r- American Air�ines <:r- A Zebra <:r- First Light Cafe

britanica, y nos vestimos de gala para cuestiones de travestismo y

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transgendrismo. Hay una corriente historica, tambien, por todos

The Ultimate Cookie <:r- Joseph Schmidt Confections <:r- Sees' Candies

los diez dias del festival, empezando con nuestra pelicula de la

<:r- Bakers Of Paris <} Suzanne's Muffins <} Klein's Deli <} Castro Cheesery <:r­

Noche de Apertura, Cambiando de Parecer, un homenaje a la

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pionera de psicologia, la Doctora Evelyn Hooker, y se alcanzando

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The Detour <} Bracco Distributing <} Golden Brands <} The Pendulum <} Stag's Leap Wine Cellars <} Mehrva's Flowers <} Accent on Flowers <:r­

una seleccion de rarezas de ·archivos y novedades de Hollywood. Con el sentido de 10 que se ha hecho en el pasado, podemos verdaderamente apreciar las hazanas y el merito de los cineastas y videastas lesbicas y gay de hoy. Diviertanse en el Festival, y dejenos saber 10 que piensan.

Golden Gate Floral Design <} Project Open Hand <} Hayes Street Grill

Mark Finch, Director del Festival

<} Vicolo Pizza <:r- North South Films <:r- Image Transform <:r- Florza <>

Jenni Olson, Curadora Invitada

To Order Tickets: Please see last page for information. <r- Frameline Office: P.O. Box 14792, San Francisco, CA 94114.

3


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FRIDAY

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PACIFIC FILM ARCHIVE

Opening Night Gala: Changing Our Minds

9:30 PM

20

SATURDAY

12:30 PM 2:30PM

SUNDAY

MONDAY

22

MONDAY

21

22

Scenes From A QueerPlanet

TUESDAY

TUESDAY

23

THRU

Caught Looking/Nonh of Vortex

12:00PM

Sex, Lesbians & Videotape

She Likes Girls: New Lesbian Shorts 1

2:00 PM

4:30PM

The Affairs of Love

5:00PM

Desert Hearts

7:00 PM

The Tv,1n Bracelets

7:30PM

Porn Again

9:15PM

Swoon

10:00PM

Mano Destra

Eunuchs/To Play or Die

12:00PM

She Is Seeing Things (Panel)

12:30PM

7:00PM

Novemberrnoon

Flesh Histories

2:30PM

That Tender Touch

2:15PM

True Colors (Panel)

4:30PM

Borderline

4:30PM

Queer TV

6:30PM

APlace of Rage/Khush

7:00PM

Actions Speak Louder Than Words

9:00PM

Lost Language of Cranes

9:00PM

Barry Walters' QueerPop Video

2:00 PM

Times Square

4:15PM

Friends Forever

5:30PM

Visible Women/Mujeres Visible

7:00 PM

Born In Flames

7:30PM

}thythm Divine: Story of Disco

9:00PM

The Hours & Times

9:30PM

L Is For Lesbian

2:00PM

Emesto

4:15PM

The Twin Bracelets

5:30 PM

Cross-Sexing the Narrative

Noon to

7:00PM

Dead Boys Club/Armistead Maupin

7:30PM

Gender/Body/Self

8:30 PM

9:15PM

Hollywood Sin-erama!

9:30PM

Odd Shorts for Queer Boys

2:00PM

Craig's Wife

SATURDAY

A Day in the Life of

WEDNESDAY

24

British TV

WEDNESDAY

7:00 PM Are We Being

THURSDAY

25

Served? ( British TVPanel)

FRIDAY

26

SATURDAY

27

4:15PM

Caught Looking/Nonh of Vortex

5:30PM

Look At MeiMirame

7:00PM

Last Call at Maud'siDeadly Deception

7:30 PM

Yma Sumac: IncaPrincess

7:30PM

To Play or Die

9:15PM

The Gay Deceivers

9:30PM

An Evening with Sadie Benning

9:00PM

Juggling Gender

2:00 PM

Dead Boys Club/Armistead Maupin

4:30 PM

She Likes Girls: New Lesbian Shons 1

6:00PM

Rock Hudson's Home Movies

7:00PM

A Tribute to Marlon Riggs

8:0.0PM

Queer TV

7:30PM

An Evening with Sadie Benning

9:15PM

Flaming Ears

60s Drag in 90 Minutes

9:15 PM

Affengeil

2:00PM

Fortune and Men's Eyes

4:30PM

Boy! What A Girl

6:30PM

The Affairs of Love

9:00 PM

Daddy and the Muscle Academy

28

6:00PM

The State of Things

8:00PM

Sex, Lesbians, & Videotape

7:30PM

New Lesbian & Gay Shorts

11:15PM

Can't Stop the Music

10:00PM

A History of Violence

9:10PM

Cross-Sexing the Narrative

12:00PM

New Gay Shon Films

12:00PM

L Is For Lesbian

2:15PM

SUNDAY

10:00PM

She Likes ( More) Girls:

2:00PM

Gay Youth/Minoru & Me

New Lesbian Shorts 2

4:00PM

Gender/Body/Self Rhythm Divine: Story of Disco

4:15 PM

Affengeil

6:15PM

6:15PM

Olivia

8:15PM

9:15PM

Closing Night: The Living End

10:30PM

Silencio Muene

7:30PM

Actions Speak Louder Than Words

Sluts and Goddesses Workshop

9:10PM

Caught Looking/North of Vortex

=

5:00PM

Non, Je Ne Regrette Rien

7:00PM

Fashion/Flicks

9:00PM

The City and thePlains


IN SAN FRANCISCO

I

I

ON TAPE PRODUCTIONS • TRANSFER . POST. PAINT. 4 1 5 - 4 2 1 - 5 5 5 1


(}Z'"or the first time since 1987, this Festival has been produced without support Jrom the National Endowment oj the Arts. On behalf oj Frameline,

J7

I would like to thank each oj you whose generous assistance has alloV<>ed us to overcome this substantial financial loss and to continue the history .

oj the oldest lesbian and gay film Jestival in the world.

At Frameline, we've spent a lot oj time in the last Jour months working with NEA staJJ to respond to the constant barrage oj Cliticism aimed at the Endowment'sfunding oj our Festival.It is important to remember that these attacks do not originate at the NEA, but come Jrom organizations and individuals who have long opposed lesbian and gay visibility in any Jorm. Our community's political energy must remain Jocused on those whose pli­ mary agenda seeks to eradicate our contributions Jrom the public arena. As we go to press, there remains a ch�nce that the NEA will befunding one oj Frameline's other film programs; that decision will have been made by the time you read this. In today's panicky environment oj diminishingfunding and entrenched conservatism, we must remember that there is life beyond the NEA. There is a larger context in which to view our quest Jar recognition. Those opposed to Jederalfunding oj lesbian and gay film seem intent on turning back the clock.They understand - at times better than we seem to-the power that exists in our Visibility. But as we look back, history oJJers a clear sense oj our determin�tion to speak about our lives against any odds. This Festival is but a small part oj the centuries oj work created by artists whom we would now call lesbian and gay. We must continue to see ourselves as part oj tha� history ... not only to prepare Jar the real struggles that still lie ahead, but to pay tribute to so many who have created their art in isolation. We must also pay tribute to the filmmakers and video artists whose work is represented in this year's Festival.From a range oj countries and cultures, they have chosen to create a vision that speaks about our lives today. Each oj these works is a testament to our strength as a community and to our willingness to continue to challenge our image oj ourselves. We owe it to ourselves, to those who have preceded us and to those who will Jollow to keep our culture alive, protected and prosperous.No one else will do this Jar us. For the Joreseeable future we must continue to serve as our own critics, historians, artists and audiences.And that's an obligation -.9hamas 0 iMaria, Executive Director

we must all take seriously. FRAMELINE STAFF

FESTIVAL TRAILER

Desi del Valle, DISTRIBUTION ASSISTANT

A Naked Eye Production

Tom DiMaria, EXECUTIVE DIRECTOR Mark Finch, ACTING PROGRAM DIRECTOR Nancy Fishman, DISTRIBUTION MANAGER Jenni Olson, FILMOGRAPHY COORDINATOR

PRODUCERIDIRECTOR: Jane Wagner EDITOR: Diane Caliva MUSIC Symon Michael MUSIC/POST SOUND ENGINEER: Michael Ahearn

Annette C. Perry, ACCOUNTANT

ON-LINE FACILITIES: On-Tape Productions

FESTIVAL PERSONNEL

PAINTBOx/GRAPHICS: Max Gisko

Desi del Valle, SHIPPING COORDINATOR Tom DiMaria, EXECUTIVE DIRECTOR Russell Discher, AsSISTANT TO THE FESTIVAL DIRECTOR Mark Finch, FESTIVAL DIRECTOR Steve Guy, PRESS ASSISTANT Robert Hawk, CASTRO COORDINATOR larry Helman, SPECIAL EVENTS COORDINATOR Tommy Huie, COMPUTER CONSULTANT Stephen Kijak, ENTRY COORDINATOR Karl Knapper, ROXIE COORDINATOR Karen larsen, PUBLICIST David McBrayer, SPONSORSHIP MANAGER lara Maciejewska, AsSISTANT TO EXECUTIVE DIRECTOR Scott Mahoy, TICKET OFFICE MANAGER Johanna Metzgar, TICKET OFFICE MANAGER Jenni Olson, GUEST CURATOR David Olivares, LATINNO PROGRAM COORDINATOR Mark Taylor, EYE GALLERY COORDINATOR Corey Tong, VOLUNTEER & HOSPITALITY COORDINATOR

SCREENING COMMITTEE Aarin Burch Mark Finch Nancy Fishman Geoff Gamble Maria Homar Jill Posener Humphrey Wou

ON-LINE EDITOR: Dennis Marriott RE-RECORDlNG: Russian Hill Recordings TAPE-TO-FILM TRANSFER: Image Transform

FESTIVAL VIDEO

Allan Berube, HISTORIAN Doug Braley, HORIZONS FOUNDATION Harry Britt, SAN FRANCISCO BOARD OF SUPERVISORS Susie Bright, AUTHOR Arthur Dong, FILMMAKER Robert Epstein, FILMMAKER Linda Farin, VIDEO PRODUCER Tim Hanlon, Vice-President, WELLS FARGO BANK Fenton Johnson, NOVELIST, ARTS CONSULTANT Vivian Kleiman, FILM PRODUCER

EDITOR: lara Maciejewska

Hael Kobayashi, FILM PRODUCER

EDITING FACILITIES: A Zebra

Steve Lew, MISSION CULTURAL CENTER

FESTIVAL CATALOG EDITOR: Mark Finch COORDlNATORi. Jay Moman ADVERTISING MANAGER: Lisa Geduldig

Armistead Maupin, AUTHOR Timothy I. McFeely, HUMAN RIGHTS CAMPAIGN FUND Lourdes Portillo, FILMMAKER Frances Reid, CINEMATOGRAPHER

LAYOUT/TYPESETTING: Marsha H. Levine

B. Ruby Rich, CRITIC

TRANSLATION: Guille Quiroz,Jennifer Taylor

Marlon Riggs, VIDEO PRODUCER

PROOFREADING: Nancy Fishman, Kathleen Wilkinson PRINTER: Grant Printing

FRAMELINE BOARD OF DIRECTORS

Gail Silva, FILM ARTS FOUNDATION John Silva, GAY ASIAN PACIFIC ALLIANCE Liz Stevens, IRIS FEMINIST COLLECTIVE

Karl Knapper, PRESIDENT

Rikki Streicher, BUSINESSWOMAN

Bruce Carolan, VICE PRES., Admin and Finance

Paul N. Thurston, ATTORNEY AT LAw

Jennifer Hamilton, VICE PRESIDENT, Development Marsha H. Levine, SECRETARY Kim Scala, TREASURER Joe Caruso R. Martin Chavez

Tim Wolfred, SAN FRANCISCO COMMUNITY COLLEGE Urvashi Vaid, NATIONAL GAY

&1

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Debra Zimmerman, WOMEN MAKE MOVIES

Affiliations listed for identification purposes only

Tina Di Feliciantonio Peter N. Fowler Geoffrey Gamble B. W. Lee May Lee Thomas Rielly

FESTIVAL DESIGN

FRAMELINE ADVISORY BOARD

Liz Rigali

DESIGNER: Sarah Davis

Mary Wings

PHOTOGRAPHY: Betsey Bourbon,Jill Posener

Humphrey Wou

The 1992 San Francisco International Lesbian &: Gay Film Festival is supported by grants from the Hotel Tax Fund of San Francisco Grants for the Arts, California Arts Council, the Chicago Resource Center, The Morgan R. Pinney Trust, The Laine Family Foundation, Colin Higgins Foundation, and the Northern California Grantmakers' Arts Loan Fund.


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MAMA BEARS Women's Bookstore - Coffeehouse Open 10-7 Every Day • 428-9684 6536 Telegraph at 66th S t • Oakland (4 � blocks from Ashby)


N OV E M B E R M OO N U .S.

R E - R ELEAS E P R E M I E R E

A special screening to launch the re-release of this rarely seen lesbian classic. This World War II period piece is a moving and romantic drama from 1987 Frameline Award-winner Alexandra von Grote who will be here to

C H A N G I N G O U R M I N D S : T H E STORY OF D R. EVELYN H OO K E R Frameline's Opening Night Gala celebrates the launch of the Festival and the kick-off of the 1992 Lesbian/Gay Freedom Day Celebration. The evening begins at 7:00pm with a special preview screening of Richard Schmiechen's Changing Our Minds: The Story oj Dr. Evelyn Hooker. Afterwards, ride in our reserved historic trolleycars-champagne and non-alcoholic beverages served on board-from the Castro to the dazzling San Francisco Mart, for cocktails, dinner and dancing. Tickets for the entire

18

evening are $50.00; tickets for the screening of Changing

Our Minds (only) are also available for $7.00. For informa­ tion and reservations, please call (415) 431-9227. For lesbians and gay men, our history is still an undis­ covered country. In Changing 'Our Minds, director Richard Schmiechen-producer of Academy Award-winning Times

oj Harvey Milk

-

brings to film the compelling historical

story of the trailblazing psychologist whose research proved that homosexuality is not a mental illness. It's a powerful and affecting drama, moving from the 1940s to present day, using archive footage and illuminating interviews. Eye-opening period films and photos evoke the repres­ sive period of her research: lesbian and gay love was illegal, and hysteria over the McCarthy hearings prompted the persecution of "perverts." For decades the medical community had been using appalling treatments· on gay men and women: lobotomy, castration, hysterectomy, and electroshock therapy. Through her friendship with a student who introduced her to Los Angeles' secret gay world, Dr. Hooker began pioneering studies which resulted-in 1974-in the removal of homosexuality from the American Psychiatric Association's official list of mental disorders.

Changing Our Minds is a brilliant tribute to an important pioneer whose work has impacted the lives of all American lesbians and gay men. Director Richard Schmiechen and producer David Haugland will be at this screening.

Changing Our Minds is preceded by Resonance, a sublime short about queer-bashing in the back streets of Sydney. <:r- RESONANCE

<:r-

Dirs. Steven Cummins & Simon Hunt (1990) Australia 12 mins. 35mm

<:r- CHANGING OUR MINDS: THE STORY OF DR. EVELYN HOOKER <:r­ Dir. Richard Schmiechen (1992) USA 75 mins. 16mm O P E N I N G N I G H T I S S PO N S O R E D BY T H E PACIF I C C E N T E R F O R H U M A N G R OWT H

introduce the film. A young French woman becomes an apparent collaborator with the

occupying Nazi forces in an attempt to save the life of the German-Jewish woman she loves. A passionate and poignant wartime romance. NOVEMBERMOON Dir. Alexandra von

Grote (1984) Germany 1 06 mins. 35mm

Gennan language/English subtitles.


CAUGHT LOOKING NORTH OF VORTEX WEST COAST PREMIERE A double-bill from Constantine Giannaris, who has swiftly and deservedly become a name-ta-watch amongst international film­ makers. He was recently voted best gay film­

SEX, LESBIANS AND VIDEOTAPE BAY AREA PREMIERES This collection of shorts features some of the

conceived and produced by Shu Lea Cheang. Lastly, No Glove, No Love is a very hot public service announcement from Germany.

Program repeated Fri. June 26, 8:00 pm Roxie

sexiest and brightest work of the year. She

Don't Fade is a self-reflexive look at the sexu­

NO GLOVE, NO LOVE Dir. Inka Petersen

ality, love life and friendships of a young black

and Anja Schulz (1991) Gclmany

lesbian. Bird In The Hand portrays a jealous

2 mins. video'¢- I'VE NEVER Dir. Pamela

triangle. Simone and Kaye are lovers trying

Jennings (1992) USA 6 mins. video '¢­

desperately to escape New York City and the

WHATS THE DIFFERENCE BETWEEN A

reality of their friend Ayo's abusive relation­

YAM AND A SWEET POTATO? Dir.j. Evan

ship. In the locally produced, Fingered!, a

Dunlap and AdrieneJenik (1992) USA

woman looking for sex without commitment

4 mins. video '¢- VANILLA SEX Dir.

learns that some things are worth committing

Cheryl Dunye (1992) USA 4 mins. video

to. Perilous Liasons portrays fetishized lesbian

'¢- BROWN SUGAR LICKS SNOW WHITE

erotic imagery in sequential silent tableaux.

Dir. Robin Vachal and Suzi Silbar (1992)

Ferdous (Paradise) portrays two lesbian lovers

USA 4 mins. video'¢- YOU CAN OPEN

and offers a sensual exposure of the proscrip­

YOUR EYES NOW Dir. Arlene Sandler

tions of the Koran against "deviant" sexuality,

(1991) Canada 3 mins. video'¢- ICH UND

which specifies that lesbians or homosexuals

FRAU BERGER Dir. Heidi Kull (1991)

must "be confined until their death." Stafford's

Germany 4 mins. video'¢- STAFFORD'S

Story is a vividly described lesbian encounter

STORY Dir. Susan Muska (1992) USA

at a sex club. Ich und Frau Berger portrays an

3 mins. video'¢- FERDOUS (Paradise)

animated intergenerational love affair. You Can

Dir. Shakila Mann (1990) GB 8 mins.

Open Your Eyes Now is a quick and clever evo­

video'¢- PERILOUS LlASONS

cation of the relation between d.j. and dancer.

Dir. Charline Boudreau (1991) Canada

I've Never, What's the Difference Between a Yam

10 millS. video'¢- FINGERED! Dir. James

and a Sweet Potato?, Vanilla Sex, and Brown

Raymond (1992) USA 12 mins. video

Sugar Licks Snow White are four tapes dealing

'¢- BIRD IN THE HAND Dir. Melanie Nelson

with interracial relations, which were made in

and Catherine Saalfield (1992) USA 25 mins.

conjunction with "Those Fluttering Objects of

video'¢- SHE DON'T FADE Dir. Cheryl

Desire," a coin operated joint installation (shown in May at New York City's Exit Art)

Dunye (1991) USA 23 millS. video Total running time: 108 minutes

maker of the year by the British magazine Gay

Times, and at the Berlin Film Festival, Caught

,

Looking was unanimously awarded the Teddy Bear Prize for Best Gay Short.

Caught Looking is a sexy and subversive comedy about gay men's stereotypical sexUal fantasies; it's built around a new virtual reality home computer game in which the player can select any historical period or location, and then insert himself into the action. Caught

Looking was originally made for Channel Four's Out series, but-unsurprisingly-deemed too explicit for rnid-evening television. Also by Giannaris, North of Vortex is a sensual change of pace: a studied black-and­ white road movie about a bisexual poet, two hitchhikers, and the American landscape.

Program repeated Wednesday June 24, 4: 15pm Castro & Saturday June 2 7, 9:10 pm, PFA CAUGHT LOOKING Dir. Constantine Giannaris (1991) GB 35 mins. 16mm '¢- NORTH OF VORTEX Dir. Constantine Giannaris (1991) GB 55 mms. 16mm

19


FLESH HISTORIES

SHE LIKES GIRLS

WEST COAST PREMIERE

NEW LESBIAN SHORT FILMS 1

Recent years have witnessed a resurgence of

BAY AREA PREMIERES

work concerning the individual's ability to

An exciting collection of new lesbian films,

TH E A F FA I RS OF LOVE LAS CaSAS DEL QUERER WEST COAST PREMIERE

A hit at last year's New York Lesbian &: Gay

control that most intimate space, within which

featuring Rosebud, the hottest lesbian coming

Film Festival, The Affairs of Love is a highly

we have no choice but to live: our bodies. Flesh

out story you've ever seen. There's tons of

entertaining drama set in 1940's Madrid. It follows the fortunes of three vaudeville per­

Histories is an excitingly diverse program of

voyeurism, cruising and girls making out in

short films and tapes which present the con­

this shiny, sexy color fantasy. Plus Harlequin

formers: handsomeJuan, who plays piano for

tested zone of bodies in all their fleshy splen­

Exterminator, a clever romantic comedy of

his passionate girlfriend Pepita, and her

dor, tracing the contours and complex overlaps

obsession; Where the Cows Go, a touching

onstag� partner, flamboyant Mario.

within identities as they are based in gender,

reminiscence of a woman institutionalized in

The life of a gay man in the Forties, and

class, race and sexuality.

her youth for kissing a girl; and Transportations,

the power of music-the two main themes of

Spanning a range of styles and subjects­ including alternative public service an�ounce­ ments, safer sex enticements, l

Yrical and

a contemplation of lesbian desire in the bed­

the film-are both carefully choreographed by

room and beyond. Also in this program: Reser­

directorJaime Chavarri. Like Pepita, Mario is

vaat, a sensual study of two women dancing

in love with straight man Juan (this is the

didactic voices-Flesh Histories features work

a tango in a park; A Goat Named Tension, an

Fabulous Baher Boys bit); rebuffed, he happily

by Shelly Silver, Gran Fury, Sadie Benning,

absolutely charming, sensual and elaborate

moves his attention to a string of lovers. After

Critical Art Ensemble, Carl M. George, Alnoor

experimental pun; in Looh, two girls cruise

an affair with a young nobleman, whom Mario

Dewashi, andJohn Maybury. Other titles were.

each other at a party. And, Dual of the Senses

spurns, the nobleman's mother concocts a

still being confirmed at press time. Designed

is a gender transit dream. Nexus uses a spiraling

nasty revenge.

as a touring package for wide distribution, Flesh

editing structure and mirrored images to ex­

Histories is curated by Tom Kalin, director of

press connections between women. And, in Rove

of Spanish cinema, The Affai rs of Love is a gor­

Swoon (SaturdayJune 20, 9:15pm, Castro), who

the filmmaker's camera travels over her lover's

geous, completely unselfconcious cinematic

will be present to introduce this screening.

body: "freedom of movement over a wide area."

pleasure.

Total running time: 1 20 mins. approx.

Program repeated Thurs.June 25, 4:30 pm Castro

A throwback to the pre-Almodovar days

Program repeated Fri. June 26, 6:30pm Castro

DUAL OF THE SENSES Dir. Heidi Arnesen

THE AFFAIRS OF LOVE

(1991) USA 3 mins. 16mm b&w � ROVE

Dir. Jaime Chavarri (1990) Spain 1 00 mins.

Dir. Mary Patierno (1991) USA 3 mins. 16mm

35mm Spanish language/English subtitles

b&w � NEXUS Dir. Jennifer Johns (1992)

TH I S P R O G R A M S P O N S O R E D BY

USA 6 mins. 16mm � LOOK Dir. Susannah

ATLA N T I S EVENTS

Copi (1992) USA 5 mins. 16mm b&w � A GOAT NAMED TENSION Dir. KateJ.

Goodnight (1992) USA 6 mins. 16mm b&w � RESERVAAT Dir. Clara van Gool (1988)

The Netherlands 9 mins. 16mm b&w � TRANSPORTATIONS Dir. Amanda Wallis

(1990) Australia 1 2 mins. 16mm b&w � HARLEQUIN EXTERMINATOR Dir. Marta

Balletbo-Coll (1991) Spain 1 2 mins: 16mm � WHERE THE COWS GO Dir. Maggie Ford

(1991) GB 15 mins. 16mm � ROSEBUD Dir. Cheryl Farthing (1992) GB 1 4 mins. 16mm Total running time: 85 minutes

21


DESERT HEARTS A special screening of a captioned-for-the­

_� ��!IY

PORN AGAIN WEST COAST PREMIERE

hearing impaired print of this lesbian classic.

BAY AREA PREMIERE

'Take your hands out of your pockets and

The Twin B racelets is a lesbian version of Raise

come here." One of the best (mainstream)

the Red Lantern. The incredible twist is that it

a sharp sixty-minute documentary, commis­

lesbian love scenes in film history. Based on

takes place in the 80s. Hui-hua (Chen Te

Sioned-amazingly-for BBC television. It's

the novel "Desert of the Heart" byJane Rule,

Jung) is a bright-eyed rebellious teenager of

a fresh and thoughtful program about the

this romantic classic tells the story of Vivian

a Chinese minority tribe, growing up in a fish­

modem lesbian and gay porn industry, as well

An evening about pornography, featuring Every Conceivable Position: Inside Gay Porn,

(Helen Shaver) and Cay (Patricia Charbon­

ing village where people have no concept of

as being a good deal of fun (the film's makers

neau) as they meet and fall in love in Reno,

human rights, women's liberation, lesbian

were allowed to use clips, so long as genitals

Nevada in the 1950s. Intelligent, fun and

love or even divorce. Women are purchased

weren't visible). Included are behind-the­

sexy, Desert Hearts has earned its place as

as brides, and wives are only allowed to see

scenes interviews with current-day stars, pro­

a landmark lesbian film.

their husbands three times a year if they can­

ducers and commentators, including AI Parker,

Preceded by Fingered!, a channing roman­

22

THE TWIN BRACELETS

not bear children. While our heroine is con­

ChiChi laRue, and San Francisco's own Susie

tic comedy portrayed in the style of a classic

fronted with the daily oppression of the ancient

Bright, filmed in a bubble bath. Preceding

silent film.

traditions, she seeks love and escape in the

Inside Gay Porn, a taste of the way we were:

arms of her childhood buddy, Hsiu (Uu Hsiao

four rare trailers for seventies classics like

FINGERED Dir.James Raymond (1992)

USA 12 mins. video Silent -¢- DESERT HEARTS Dir. Donna Deitch

(1986) USA 90 mins. 16mm Captioned for the hearing impaired P R E S E N T E D I N ASSOC I ATIO N W I T H T H E D E A F GAY & L E S B I A N C E N T E R O F S A N F R A N C I SCO

Hui). The beautiful details of the Chinese

Get That Sailor ("Servicemen who bend over

minority village life and the atmospheric cine­

backwards to please. .. The ultimate in sexual

matography are truly a feast for the eye. A remarkable film, written and directed by

realism!"). Plus Tag Helms, a short video salute to Senator Jesse Helms.

women, The Twin Bracelets is a deeply moving and tragic portrayal of one woman's struggle

TAG HELMS Dirs. Robert Hilferty &:

for independence and for the love of another

Robert Hoff (1989) USA 5 mins. video

woman. Desperately in love with Hsiu, Hui­

¢-1970s PORN TRAILERS Dir. unknown

hua flirts shamelessly with her, is intensely jealous of Hsiu's ar ranged marriage, and

(1970-72) USA 12 mins. total 16mm ¢­

feigns injury to' keep her near. When Hui-hua

INSIDE GAY PORN Dir. Clare Beavan

successfully .escapes her arrangef marriage she pleads with Hsiu to fulfill their childhood vow, "to be sister man and wife; to live to­ gether and die together." In a sad and tender conclusion, Hui-hua_T�leases Hsiu from her vow and their twin bracelets are separated. Program repeated Tues.}une 23,4: 1 5 pm Castro T H I S P R O G R A M S P O N S O R E D BY KQ E D

THE TWIN BRACELETS Dir.Yu-Shan

Huang (1990) Hong Kong/Taiwan 1 00 mins. 35mm In Mandarin with English subtitles

EVERY CONCEIVABLE POSITION:

Prod. Mandy Merck (1992) GB 50 mins. video Total running time: 67 minutes


SWEET DREAM S

SWOON WEST COAST PREMIERE

These three intense works from lesbian film­

SHE IS SEEING THINGS

At festival screenings worldwide, Tom Kalin's

makers straddle the space between a dream

A PA N E L D I SC U SS I O N O N

Swoon has fast become one of the year's most

and a nightmare. Cleo Ueblemann's Mano

L ES B I A N F I LM A N D V I DEO

glamorous and controversial gay-themed

Destra is a relentless phYSiological experience

The Lesbian Nineties? The Lesbian New Wave?

movies. By any standard, it's a dazzling dir­

of cinematic bondage and sensory manipu­

The New Lesbian Cinema?

ectorial debut.

lation. A European lesbian cult classic, this

There are nearly 100 works by, for and

is SIM cinema. Myra Paci's Transeltown is a

about lesbians in this year's Festival. Why aren't

Swoon is inspired by the story of Nathan

LeopoldJr. and Richard Loeb, two Jewish law

morbid and strangely tender tale of love in the

there more lesbian features? More works by

students who, in 1942, kidnapped and mur-

tradition of David Lynch; it is simultaneously

lesbians of color? More traditional narratives?

dered a young boy to illustrate their intellec­

repulsive and seductive-like a lesbian

More films? These are some of the questions

tual superiority to others. Their capture and

Eraserhead. Plus, a rarely seen film from Su

which eme�ged in programming this year's

trial led to international media coverage, and

Friedrich- But No One incorporates a range

Festival. As we ask these questions, we can

to two movie variations: Alfred Hitchcock's

of images interspersed with the text of an

also acknowledge that we are beginning to see

Rope, and Richard Fleischer's Compulsion.

unsettling dream poem.

But the movies neglected to mention that Leopold and Loeb were more than just a crim­ inal couple; they were also partners in bed.

representations that reflect, celebrate and cri­ tique our experiences; representations that

BUT NO ONE Dir. Su Friedrich (1982)

originate from within our communities; rep­

USA 9 mins. 16mm Silent '¢>

resentations that display an understanding of the common concerns we share as gay men,

Swoon pursues the boys' unusual relationship

TRANSELTOWN Dir. Myra Paci (1992)

from plotting to prison bars: What compelled

USA 23 mins. 16mm '¢> MANO DESTRA Dir.

lesbians, bisexuals, and transgender individu­

Leopold and Loeb to kill? Did their crime have

Cleo Ueblemann (1985/86) Germany 53 mins.

als; and representations that reflect the diver­

anything to do with homosexuality? If it didn't,

16mm b &w

sity of concerns each of us have as individuals

surely their punishment did. Swoon is a clever,

Total running time: 85 minutes

of different races, ethnicities, classes, cultures,

troubling fiction about history, homophobia,

genders, religions, abilities, ages, politics and .

personal backgrounds.

ecstasy and murder. Director Tom Kalin and producer Christine

Lesbian film and video makers continue to

Vachon will be present for this screening. Three

create new work for lesbian audiences, for gay

short videos by Tom Kalin play at the Roxie

audiences, for bisexual audiences, for straight

on TuesdayJune 23, 9:30pm, in Odd Shorts

audiences, for transgender audiences, and for

for Queer Boys. Also at the Roxie on Saturday

anyone else who happens to be in the theater.

June 20, 2:00pm: Flesh Histories, curated by

This work includes films and videos; features

Tom Kalin. Swoon is preceded by Matthias

and shorts; narratives and documentaries and

Mueller's mad 50s melodrama, Home Stories.

"experimental" works that evade categorization

"Swoon is quintessentially a film of its

(works that challenge viewers by creating new

time. It takes on the whole enterprise of 'positive

formal strategies, new vocabularies, new genres,

images'. . . turning the whole thing right on

new ways of seeing, saying and being lesbian).

its head. "

-8. Ruby Rich, Village Voice

Join us-listen and participate-as a panel of lesbian film and videomakers discuss the

SWOON Dir. Tom Kalin (1991)

state of lesbian film and video.

USA 92 mins. 35mm '¢> HOME STORIES Dir.

S P O N S O R E D BY

Matthias Mueller (1991)

T H E LA I N E FA M I LY FO U N DAT I O N

Germany 6 mins. 16mm TH I S P R O G R A M S PO N SO R E D BY C O LO S S A L P I CT U R E S

23


24

SUN DAY J U N E 2 1 , 2 : 3 0 C A S T R O $4

EUNUCHS:

I N D I A'S TH I R D G E N D E R

T O P LAY O R D I E W E ST C O A S T P R E M I E R E

Harish yearns to be a woman, but has a wife

T R U E C O LO R S F I LM A N D V I D E O M A K E R S D I SC U SS T H E I R WO R K

PM

T H AT T E N D E R TOU C H Described by Variety as "One more variation

A N D I SS U E S O F D I V E R S I TY

on the Lesbian thing," That Tender Touch stars

"We must refashion a world where differences

minor cult figure Sue Bernard (Playboy's Miss

are openly acknowledged, layer by layer,

December 1966 and star of the Russ Meyer

castrated four months ago; "I thought it would

side by side. "

classic Faster Pussycat! Kill! Kill !). Bee Tomp­

be better if Kiran got castrated," says his truck­

What does diversity really mean for gay audi­

driver boyfriend, "So he could wear a petticoat."

ences? Recent years have seen a powerful, lib­

and two children. His best friend Kiran was

-Marlon Riggs

Eunuchs: India's Third Gender is a new docu­

erating proliferation of aesthetics, addresses

mentary (made for BBC television) about the

and commentaries from lesbian and gay artists

people who are man and woman in one body.

of color. Already, a history has emerged, im­

There are more than half a million eunuchs­

pacting the shape of all new lesbian and gay

or hijras-in India; they are variously despised

independent work, much of which is on show

and revered, and they are all granted with the

at this year's Festival.

power to bless and curse. Three years in the making, Michael Yorke's film easily captures the pleasures and painful contradictions of a living alternative to Western ideas about gender. From the Netherlands, Frank Krom's To

But what role should film festivals play in increasing the visibility of this work? What

obstacles remain? Do established sy�tems of

distribution, funding and exhibition inherently exclude gay people of color? What indepen­

Play or Die is a powerful school-set psycho­

dent network can festivals, filmmakers and

drama. Kees is an introverted lad, bullied by

distributors form to meet audiences' needs?

his handsome classmates. When his parents

True Colors is a panel discussion with

leave town, Kees works up the courage to in­

visiting filmmakers, including Aarin Burch,

vite the ringleader, Charel, to his home. His

Catherine Saalfield, Susana Blaustein-Munoz,

plan is to take revenge, but Charel gets the up­

Thomas Allen Harris and Marlon Riggs, re­

per hand . . To Play or Die recalls the memo­

cipient of this year's Frameline Award.

.

ries of loneliness and victimization familiar to

S P O N SO R E D B Y

any gay teen, and turns them into an intense,

T H E LA I N E F A M I LY F O U N D AT I O N

enigmatic psychological thriller.

Eunuchs: India's Third Gender and To Play or Die are repeated in separate programs at Pacific Film Archive on Wednesday June 24, 7:30 and 9:00pm.

kins co-stars as her older lesbian ex-lover, who shows up years later (check out the Mommy/Girl iconography) to cause trouble between Bernard and her new husband. In true Hollywood style, Tompkins ends up face down in the swimming pool, another narra­ tive casualty of the h0mophobia of the silver screen. "That Tender Touch has a multitude of scenes between the two femmes," says Variety, "which probably will be explOited for good response in certain bookings." While that "good response" was probably supposed to come from male audiences seeking soft-core titillation, contemporary lesbian audiences will respond wildly to the camp value of this obscure and hilarious motion picture. Please note: this 35mm archive print is complete and unedited, but in poor condition. And don't miss Big Time Wrestlers From

Hollywood with June Adair "The Battling Ballerina" versus Lynn O'Conner "The Lovely Terror." BIG TIME WRESTLERS FROM HOLLYWOOD Dir. Hubbard Hunt

(circa 1950s) USA 5 mins. 16mm b &:w � THAT TENDER TOUCH Dir. Russel Vincent

(1969) USA 88 mins. 35mm P A RT I A L P R O C E E D S F R O M T H I S

EUNUCHS: INDIA'S THIRD GENDER

SC R E E N I N G W I L L FU N D R E S E A R C H

Dir. Michael Yorke (199 1 ) GB 40 mins. 16mm

A N D P R O DUCT I O N O F T H E F R A M E L I N E

� TO PLAY OR DIE Dir. Frank Krom

L E S B I A N /G A Y F I L M A N D V I D E O

(1991) Netherlands 50 mins. 1 6mm

Dutch language/English subtitles

.

DATA B A S E PROJ E CT


I

THAT WAS T H E N . . . T H I S I S N OW This year's Festival features several new works which document lesbian, gay, bisexual and transgender history (Changing Our Minds, Sex

Change: Shock' Horror' Probe', (In) Visible Women, Gay Youth, a n d many others); t h i s new work i s our history.

Q U E E R TV

BORDERLI N E L I V E A C C O M PA N I M E N T O N T H E

A fantastic collection of lesbian and gay tele­

C A S T R O W U R LTZ E R

vison productions. From Amsterdam, an epi­

The history of our representation in the main­ stream is another story. Films such as That Tender

Touch, The Gay Deceivers and Fortune & Men's Eyes

Frameline has great pleasure in presenting a

sode of the Dutch children's show, Theo und

special screening of a rare, silent Paul Robeson

Thea

picture, Borderline, recently rediscovered by

hilarious program takes on the topic of homo­

the British Film Institute, and accompanied by

sexuality with a gay and lesbian studio audi­

the Stonewall era; and with twenty years of hind­

ence. From Berlin, the collectively-produced,

sight, they are a lso very entertaining. The classic

a new music score on the Castro Wurlitzer. Paul Robeson ( 1898-1 976) was a major

-

queerer than Pee Wee's Playhouse- this

monthly lesbian cable show Lasbisch TV covers

are remarkable documents of the social climate of

star with both black and white audiences from

a variety of international items. The wonder­

rediscoveries in Hollywood Sin-erama hold their own uni q u e pleasures for gay, lesbi a n , bisexual a n d

the 1920s until the mid-40s. Gay film historian

fully raw and sexy "queervideomag" Pout comes

Richard Dyer describes Robeson's achievements

to us from a London video collective. A mom

as many and complex: the best-known and

traditional broadcast production, The Jane Show,

most successful male singer of Negro spirituals;

features Toronto drag queen! performance

performer of the definitive Othello (in 1943);

artist Skye Gilbert in an interview with herself;

star of Hollywood's 1935 Showboat.

while DeAundra Peek's Hi Class Hall 0' Fame

In 1 930 he made Borderline, a fascinating

Theatre displays the talents of Atlanta's own

transgender viewers-see Gloria Swanson i n male d rag, Charlie Chaplin in female drag, and Anita Bryant with a pie in her face. Of course, gays and lesbian have been making

piece of melancholy and passion, which­

DeAundra Peek. The Brenda and Glennda Show

while not exactly gay-explicit-is full of lesbian

is New York City'S terrifying contribution to

and gay undercurrents. It's an energetically­

the realm of queer broadcasting. A locally­

ma -Sergei Eisenstein, F. W. Murnau, George Cukor,

edited, elliptical melodrama about interracial

produced item (starring Scott Capurro) which

James Whale, Dorothy Anner, Pier Paolo Pasolini,

love, set in a small Swiss village inn.

should be on television, Loverville offers a mis­

Robeson's role is strangely emblematic. He

anthropic commentary on Valentine's Day and

is the object of adoration for the inn's slim,

gay male coupledom. Plus, Why Not Love?lGet

elegant, over-anxious pianist Robeson is also

Used To It, a series of gay-positive PSAs.

friendly with the Cigar-smoking lesbian owner

Program repeated Thurs. June 25, 8:00 pm Roxie

of the inn and her barmaid lover. The film's sexual ambiguity is explicable in terms of its

WHY NOT LOVE?/GET USED TO IT

artistic milieu as much as codes governing

Dir. Edgar Barens ( 1992) USA 2 mins. 16mm

what could and couldn't be said.

b&w <? LOVERVILLE Dir. Bohdan Zachary

Bisexual writer/director Kenneth Macpher­ son was part of the avant garde group associ­ ated with the film journal Close-Up, which

(1992) USA 6 mins. video <? THE BRENDA AND GLENNDA SHOW Dir. Glenn Belverio

(1991) USA 1 1 min video (excerpts) <?

had just published a special issue on the Har­

DEAUNDRA PEEK'S HIGH CLASS HALL 0'

lem Renaissance, blacks and film. Close-Up

FAME THEATRE Dir. Dick Richards ( 1991)

was also caught up in the tide of new critical

USA 10 min video (excerpt) <? THE JANE

ideas coming from psychoanalysis and femi­

SHOW Dir. Moze Mossanen (1992) Canada

nism; Borderline's themes and formalist style

1 0 min. video (excerpt) <? POUT Dir. Pout

also reveal this influence:

video collective ( 1992) GB 1 0 min video

mainstream movies throughout the history of cine­

Rainer Werner Fassbinder, etc. (the list of great gay, lesbian, bisexual and transgender directors Is a long one). Check out Sorflerline written and directed by bisexual Kenneth Macpherson in 1 930; or the 1 9 5 3 trailer for I Changed M y Sex (aka Glen or Glenda) by heterosexual transvestite Ed Wood Jr.; or the 1 93 6 melodrama, Craig's

Wife by

Hollywood's openly les-

bian director, Dorothy Arzner. There is indeed · a broad spectrum of historical representations in this year's Festival. Looking back at these images we can learn and laugh. And, per­ haps most importantly, we can gain a sense of per­

(excerpt) <? LASBISCH TV Dir. Lasbisch TV

spective on cu rre n t l e s b i a n , g ay, bisexual a n d

BORDERLINE Dir. Kenneth Macpherson

collective (1992) Germany 20 min. video (excerpt) <? THEO UND THEA Dir. Pieter

transgender film a n d video, a n d see how far · we

( 1930) GB 80 mins. 16mm b &w Silent

Kramer (1988) The Netherlands 20 mins. video Total running time: 89 minutes

h ave come in m a k i n g o u r own representations (even if Hollywood stili lags behind).

-Jenni Olson


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A PLAC E O F RAG E K H U SH Join us for two powerful documentaries intro­ duced by lesbian filmmaker Pratibha Parmar. A Place oj Rage is a dynamic celebration of

African-American women and their achieve­ ments, featuring interviews with Angela Davis, June Jordan and Alice Walker. Within the context of the civil rights, Black power and feminist movements, the trio reassesses how women such as Rosa Parks and Fannie Lou Hamer revolutionized American society. Angela Davis recounts her involvement with the Black Panthers and the Communist Party . Archival footage is interwoven with June Jordan's poetry, linking issues of bomophobia, racism, U.s. imperialism and liberation strug­ gles worldwide. The insights of Alice Walker and filmmaker Trinh T. Minh-ba further en­ rich this engrossing portrait of Black feminism. A stirring chapter in African American history. Plus, an encore screening of Khush, winner of the audience award for Best Short Documen­ tary at last year's FestivaL Taking its title from the Urdu word meaning "ecstatic pleasure," Kl1ush is an uplifting documentary about South

Asian lesbians and gay men in Britain, North America and lndia. Parmar's newest work, DoubLe the Trouble, Twice the Fun looks at disabled gays and les­

bians in Britain. Double the TroubLe can be seen at the Roxie on Sunday June 28, at 5:00 p.m. KHUSH Dir. Pratibha Parmar (199 1)

GB 24 mins. 1 6mm <¢> A PLACE OF RAGE Dir. Pratibha Parmar (1991) GB 52 mins. 1 6mm T H I S P R OG R A M S P O N S O R E D BY T H E SAN

F R A N C I SC O S P H E R E

A CT I O N S S P E A K LO U D E R THAN WORDS U . S.

PREM I ER E

T H E LOST LAN G U AG E O F C RA N ES B AY A R E A P R E M I E R E

Owen and Rose seem like a standard married

Three videos about signs, meaning and sexual

middle-aged couple-except that Owen spends

communication. Actions Speak Louder Than

his Sundays sneaking off to a gay porno theater.

Words is a strikingly original work for Channel

Owen's closeted life falls apart when his happy,

Four's Ou.t series, by frequent Festival fixture

well-adjusted son Philip decides to come out

Richard Kwietniowski (Flames oj Passion,

as gay.

Proust's Favorite Fantasy) . Six deaf performers­

The Lost Language oj Cranes is a BBC adapta­

three women, three men-are brought together

tion of David Leavitt's late eighties novel, given

to devise staged pieces based 'on their experi­

a bandsome Great Performances gloss by direc­

ence of gay and deaf cultures intersecting, and

tor Nigel Finch. Cranes, the movie, is a careful

the highly politicized nature of both in Britain.

classy and painful melodrama of melancholy

The result is a diverse, assertive collage, rang­

and miscommunication .

ing from advice on how to seduce a librarian

The main change i s from the original story's

(in silence, of course), to the importance of

N ew York Jewish setting to nondemonina­

short hair in visibly proclaiming your lesbian­

tional suburban London; it works superbly.

ism and deafness; plus an essential beginner's

The mediocrity of England is the perfect meta­

guide to sexual signing. Actions Speah Louder

pbor for the claustrophobia all the characters

Than Words is shot entirely in British Sign

feel . The film also captures the novel's wry

Language, with subtitles for the hearillg. (Tell Me Why) The Epistemology oJ Disco is

humor, and was partly shot in real gay London

a humorous and affectionate look at the role

which had to be invented ( gay porn is illegal

disco music has played in the formation of gay

in Britain).

male identity. Combining tongue-in-cheek semiotics with well-loved disco classics, and extracts from Hollywood movies of the time, director John Di Stefano exhaustively celebrates gay culture from the late Sixties onwards. Patrick Wright's Voices oJ Life is a clever

locations-except for the porno theater scenes,

Also from England: Now That It's Morning, a meltingly sad love story set in 1962. Our continuing free program at the Eye Gallery-A Day In The Life oJBritish Television­

features three d�cumentaries by Nigel Finch, as well as a short account of The Making oj

deconstruction of conventional AIDS docu­

Lost Language oj Cranes. Please see pages 34 &:

mentaries, which alerts us to how appearances

35 for details and times.

can be extremely deceiving. Program repeated Sat. June 2 7, 7:30 pm, PFA

NOW THAT IT'S MORNING

Dir. Neil Bartlett ( 1992) GB 1 1 mins. 35mm ACTIONS SPEAK LOUDER THAN WORDS

<¢> THE LOST LANGUAGE OF CRANES

Dir. Richard Kwietniowski (1992) GB

Dir. Nigel Finch (1992) GB 87 millS. 16mm

THE EPISTEMOLOGY OF DISCO Dir. John

T H E C A ST R O- M A R K E T B R A N C H O F

Di Stefano (1991) USA 24 mins. video <¢>

BAN K OF A M E R I CA

22 mins. video <¢> (TELL ME WHY)

VOICES OF LIFE Dir. Patrick Wright

( 1 991) USA 33 mins. video

Total running time: 79 minutes

TH IS P R O G R A M S P O N S O R E D B Y

27


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BARRY WA LTERS' FAB U LOUS WORLD OF Q U EER POP V I D EO

T I M ES S Q U A R E

F R I E N DS F O R EVE R

This Hollywood teen adventure fantasy focus­

T RY TO R E M E M B E R

es on two runaway girls who become New

It's sometimes racist, misogynist and just plain

York City cult figures through their connec­

dumb, but MTV pumps out more pro-queer

tion with a Times Square radio disc jockey

imagery than any other American media insti­

(Tim Curry) . The relationship between the

tution. Turns out that TVs pop musicians just

girls is not identified as lesbian-unfortunately,

might be our most valuable ambassadors of

the film's lesbian content was removed prior

queerness to budding teen fags, dykes and

to its release. The attentive viewer will notice

would-be bashers. In this feature-length pro­

certain problems in character motivation

gram of clips, catty remarks and sOcio-politi­

which occur towards the end of the film as a

cal deconstruction, the San Francisco

result of the removal of the lesbian content.

Examiner's majorly out pop critic Barry

Walters turns MTV into QTV as he quizzes

The film does portray a powerful and lov. ing bond between Nicky (Robin Johnson) and

queerness in pop video both latent and blatant.

Pammy (Trini Alvarado) . They meet in a hos­

Among the issues under scrutiny will be

pital where Nicky, a streetwise troublemaker,

straight appropriation of queer signifiers, how

is undergoing psychiatric tests. Pammy, the

closet-case performers wink at us while play­

quiet and sheltered daughter of a prominent

ing straight for hets, queer film directors who

politician, is admitted to the hospital for the

create subversive vids, disco divas hungry for

same tests. The girls share a room, and Nicky's

the lavender dollar, sensitive dyke songwriters,

rebellious disrespect for the hospital authori­

bad girls, sissy boys, beefcake-a-go-go, heroic

ties draws Pammy gradu�lly out of her shell.

hairdos and heinous hair-don'ts. Thrill as

Pammy writes a love poem to Nicky (which

Walters outs your favorite video icons. Con­

Nicky steals out of her diary) , and when

template the many ways queerness permeates

Nicky breaks out of the hospital, she returns

the pop alphabet from ABBA to ZZ Top. Gasp

to rescue Pammy, taking her to a dockside

at the mega-queer videos MTV won't dare play.

warehouse where they make their home.

Prepare to snap and squeal. Approximate running time: 90 minutes

The tone of their adventure is remarkably appropriate to a teenage girl audie�ce (with an emphasis on such adolescent fantasies as ' escaping parental control, living on one's own and being a rock star). The film displays a surprising sophistication in its gritty portrayal of New York City and in its advocacy of social and cultural diversity. Times Square also boasts a phenomenal soundtrack of up and coming artists from 1980: Patti Smith Group, The Ramones, The Pretenders, Roxy Music, Talking Heads, Joe Jackson, XTC, The Cure and many others. TIMES SQUARE Dir. Allan Mqyle (1980) USA 1 1 1 mins. 35mm

Two firm favorites from previous Festivals, being repeated here in tribute to Danish director Stefan Christian Henszelmann, who died of AIDS in October last year. Friends Forever (winner of our 1989 audience award for Best Feature) is a charming, exuberant drama about friendship and sexuality between three

16 year old schoolboys; it's sexy, funny and . guiltless-a glimpse of popular gay cinema at its best. Try to Remember is an almost word­ less short about an athlete's fascination for his own past. Henszelman was concerned with making liberated and sheerly pleasure able mainstream gay movies; before he became ill, he was work­ ing on an international coproduction based on Aidan Chambers' gay novel Dance On My Grave. His death is a loss for gay audiences

everywhere. TRY TO REMEMBER Dir. Stefan Henszelmann (1984) Denmark 1 7 mins. 1 6mm <:;- FRIENDS FOREVER Dir. Stefan Henszelmann ( 1 986) Denmark 95 mins. 35mm Danish language/English subtitles

29


ENCUENTROS/ENCOU NTERS #Un;ted we stand, divided they catch us one by one

God Save the Queens. "

-Jose Sarria, 1948 Before Harvey Milk came West, Jose Sarria­ community spokesperson and Black Cat regu­ lar-was organizing gays to stand up and be proud of who we are. In 1 96 1 , in a symbolic gesture that lIevery vote was a protest against police harassment of gays," he also filed a petition to run for the San Francisco Board of Supervisors. In 1 992, Jo,e Sarria is barely known outside of the drag circuit. Our concerns within white gay culture have al­ ways been ignored or excluded. Latino activists' contributions- like Sarria 's-have been rendered invisible. This history of exclusion compelled me to come up with these four prog rams celebrating recent work by Latina/o lesbian and gay artists. With these four programs (and there is other Latina/o work spread elsewhere throughout the Festival) I have tried fo do two things. First, I want­ ed the San Francisco Lesbian & Gay Film Festival to reach beyond its familiar constituency, and reach a new audience. Secondly, I wanted all lesbian and gay people to share in the achievements and excite­ ment of new Latina/o work.

David Olivares-Curator, Encounters

30

#Unidos en resistencia, div;dos nos agarran uno por uno

0;05 salve-a las re;nas. " -Jose Sprria,

1948

Antes de lIegara Harvey Milk al oeste, Jose Sarria­ vocero do la communidad y diva de opera en el sitio Negro Gato-organizaba a gays para sustenernos con org u l l o q u ie n e n somos. En 1 96 1 , en u n a

105 votos son protesto contra la hostimagamientos a 105 gays por demonstracion symbolica que IItodos

la policia," el solic ito una peticion al consejo de supervisores de la cuidad de San Francisco. En 1 992, Jose Sarria no es reconocida. Nuestras preocupaciones siempre han sido igno­ racis dentro la cultura angla gay. Las contribuciones de

105 activistas latinos-como Sarria's-han sido in­

visiblisadas. Esta historia de exclusion me obligio a organizar cuarto programas celebrando el trabajo recente de artistas homosexual-Iesbica latinos. Con estos cuarto programas (y existen otros tra­ bajos durante el festival) he probado de hacer dos cosas. Primero, deseo que el Festival Homosexual y Lesbica de San Francisco vaya mas alia de su publi­ co tradicionar. Segundo, deseo que toda la commu­ nidad lesbica-homosexual comparte con nuestros logros y motivaciones de nuestro nuevo trabajo.

David Olivares -Conservador, Encuentros PRESENTED IN ASSOCIATION WITH C I N E ACCI O N

M UJ E R E S V I S I B L ES V I S I B LE WO M E N Seven strong works by and/or about Latina

video de Osa Hidalgo: Primitiva y Orgullosa. No Porque 10 Diga Fidel muestra en detalla

la reaccian publico sobre la pequefla pero

women. Osa Hidalgo'S Mujeria: Olmeca Rap is

creciento comunidad lesbica y gay en Cuba.

a Chicana-lesbian animated musical montage

Ademas unas extraordinarias pera perturbante

that imagines the Olmeca culture and the

escenas de un allanamiento de un bar lesbico

3000 year old monolithic heads as female

en el Peru; est� se consiquio de un reportage

chara�ters; plus Hidalgo's latest tape, Primitive and Proud. Not Because Fidel Says So details

noticiero y no es presentado aqui como una pieza periodistica que si te inspira al activismc

public reaction to Cuba's small but growing

Susana teje entrevistas cinema-verite de su

gay and lesbian community. Plus extraordi­

familia y al mantes a traves de escenas sorper­

nary, disturbing footage of a raid on a Peru­

sivas, filmaciones familiares, y hasta unas cari­

vian lesbian bar; it's lifted from a TV news

Gituras de Disney para mostrar el contexto

report, and is not presented here as an activist

cultural en el cual que nuestras identidades

work, but as a piece of journalism which in­

femeninas, etnicas y sexuales son moldeadas.

spires one to activism.

En Cayendose son la Grieta, Margie Rivera

Susana and Falling Through The Cracks are

two portraits of Latina lesbians. Susana inter­

compartre de su lucha viviendo con SIDA. EI pragrama termina con Mujera (In) Visi­

weaves cinema verite interviews of her family

bles, otra cuadra increible de las poderosas

and lovers with snapshots, home movies and

respuestas de mujeres latinas que son HIV+.

even a Disney cartoon to render the cultural context in which female, sexual and ethnic

MUJERIA: OLMECA RAP Dir. Osa Hidalgo

identity is shaped. In Falling Through The

( 1 988) USA 3 mins. video English & Spanish

Cracks, Margie Rivera shares her experience

as a woman with AIDS. The program ends with (In)Visible Women, an incredible portrait of the heroic and em­ powered responses of Latina women who are HIV positive. (In) Visible Women also plays in

language <:r- PRIMITIVE AND PROUD

Dir. Osa Hidalgo ( 1 992) USA 1 5 mins. video English & Spanish language <:rRAID ON A PERUVIAN LESBIAN BAR

Source unknown ( 1 99 1 ) Peru 8 mins. video

Spanish language <:r- NOT BECAUSE FIDEL

the Si lencio=Muerte program, Saturday June 27,

SAYS SO Dir. Graciela Sanchez ( 1988)

8: 1 5pm Roxie

Cuba 14 mins. video English language <:rFALLING THROUGH THE CRACKS

Trabajos feurtes hechos por y para latinas. Mujeria: Olmeca Rap es un montage musical

animado chicano-lesbico que se imagina a las monoliticas cabezas de la Cultura Olmeca como personajes femeninos de 3,000 de

Dir. Amber Hollibaugh ( 199 1 ) USA 10 mins. video English language <:r- SUSANA Dir. Susana Munoz ( 1 980) USA/Argentina 25 mins. video English language <} (IN)VISIBLE WOMEN Dirs. Ellen Spira

antiguedad. EI orgullode ser primitiva es un

&: Marina Alvarez ( 1 99 1 ) USA 26 mins.

antigo Olmeca accidente durante la cosmono­

video English language/Spanish subtit les

vegacion al siglo vigesimo. Ademas el recente

Total running time: 86 minutes


SCENES FROM A QUEER P L ANET

BORN IN FLAMES Premiered at the 7th San Francisco Interna­ tional Lesbian and Gay Film Festival in 1983,

This engaging video-clip presentation offers

Lizzie Borden's Born in Flames has since

an

overview of the global situation for sexual

RHYTHM DIVINE : T H E STORY OF DISCO WEST COAST PREMIERE

"Drag up and wear wigs" suggests the hostess

become a worldwide lesbian-feminist classic.

and gender minorities, focusing on four coun­

Borden's debut feature presents a tale of femi­

tries' glaring human rights abuses against trans­

trying to explain the main principles of disco

nist activism set in an imagined future, ten

vestites, lesbians and gay men. Raw video

in Paul Oremland's ravey, completist history,

years after a socialist revolution. On the eve

footage and documentary-style clips from Peru,

The Rhythm Divine. In three parts, The Rhythm

of the film's tenth anniversary (what ever hap­

India, Russia and Argentina will be presented

Divine tracks disco's development from Mo­

pened to the revolution?), Born in Flames is

along with commentary by activists from dif­

town to Philadelphia, Funk, HiNRG, Space,

as timely as ever. This independent feature

ferent international groups including: Shama­

Euro Electro Beat, Techno, House and beyond,

has a cinema verite quality which lends the

kami, La Red and the International Gay and

and laces its story with the music of corner­

story the raw power of documentary while

Lesbian Human Rights Commission. The four

stone stars like Sylvester, Divine, Donna Sum­

conveying a hopeful fantasy of women of dif­

countries represented are hot spots this year

mer andJimmy Sommerville. Also interviewed:

ferent races and sexual preferences working

for international queer activism; each exem­

Miquel Brown, Nile Rogers, Neil Tennant,

together against oppression.

plify different types of repression as well as

Giorgio Moroder, and Sinitta. Made for Eng­

the different ways that cultures organize sexu­

land's Channel Four, The Rhythm Divine is

ality and sexual identity.

pr<?bably the most amusing piece of modem

Preceded by Chasing the Moon, a short, poetic evocation of a black woman's journey through a night-time urban landscape.

Organized and presented byJulie Dorf of the International Gay and Lesbian Human

CHASING THE MOON Dir. Dawn Suggs

(1991) USA 4 mins. 16mm '¢> BORN IN FLAMES Dir. Lizzie Borden

Rights Commission.

of a trendy New York club, unusuccessfully

history you'll ever see. From Chicago, a field report onJoanJett Blakk's 1991 campaign for mayoral election: Drag In'for Votes. Queer Nation candidate

Joan is shown hard at work, lobbying at late­

(1983) USA 90 mins. 16mm

night gay clubs, and carefully expounding her

T H I S P R OG R A M S P O N SO R E D BY Ac t4 E

political philosophy ("It's good to scare people, and in this drag it's easy") . Also from Chicago, comedienne Memory Lane, who stars in the socially' relevant music video, Condoms are a Girl's Best Friend. Program repeated Sat. June 2 7, 6: 1 5pm Roxie DRAG IN' FOR VOTES Dirs. Gabriel Gomez

& Elspeth Kydd (1991) USA 1 7 mins. video '¢> CONDOMS ARE A GIRL'S BEST FRIEND

Dir. Eric Kay (1991) USA 4 mins. video '¢> RHYTHM DIVINE: THE STORY OF DISCO

Dir. Paul Oremland (1991) GB 55 mins. video Total running time: 76 minutes

31


,.,;---0..a.,,9-1 Security. "

, -


M ON DAY J U N E 2 2 , 9 : 00 PM CAST R O $6

THE HOU RS AND T I MES WEST COAST PREMIERE In the mid-sixties, on the up curve of the Beatles' rise-and-fall, producer Brian Epstein escortedJohn Lennon to Barcelona for a week­ end of recuperation. Christopher Munch's haunting The Hours and Times takes off from there. Epstein'S infatuation leads to a strange episode usually missing from the officialJohn Lennon biographies, set against the bare back­ drop of a humid Spanish hotel room. It's a

L I S FOR LESBIAN

EILEEN MYl.ES:

suddenly suspend all disbelief and become

This wild collection of lesbian images and sto­

AN AMERICAN POEM Dir. Andrea Kirsch

completely drawn into every detail of the drama.

ries featuresJean Carlomusto's captivating

brilliant achievement: half-way through, you

(1987) USA 3 mins. 16mm

L Is For The Way You Look, a fun-filled explo­

<? DO YOU THINK THAT A

by director Munch (who was also cinematog­

ration of lesbian history, incorporating discus­

CANDIDATE SHOULD LIVE LIKE THIS?

rapher of our Closing Night movie, The Living

sion of events, images, gossip and role models.

Dir.Jennifer Montgomery (1992)

The Hours and Times is a Significant debut

End) , and has been awarded key prizes at this

Sally Forth draws a charming portrait of a

year's Sundance and Berlin Festivals. It plays

lesbian bicycle courier and political activist.

with Kiss, an examination of a peculiar physical

Suddenly Last Summer, produced for BBC TV's

phenomenon-made by Chris Newby, whose

Saturday Night Out, offers a lighthearted ex­

film Relax won last year's audience award for

amination of "the Martina factor" in women's

best short.

tennis. A Prayer Before Birth is an experimental

"The Hours and Times is an elusive, bristling,

remarkably nuanced flight of imagination . . . a continually surprising dance of desire and denial. "

Helen Eisenbach, NYQ "Munch's camera and style are a remarkable

rendering of a young black lesbian's struggle with Multiple Sclerosis. Barbara Hammer's

Vital Signs looks at Western constructions of death. Wicked Radiance, from Azian Nurudin, delves into aspects of S/M sexuality and her

piece of cinema verite, as though some dusty

Muslim background (in Malay with no English

reels had been found in an attic in Liverpool. "

subtitles) . Count Me In is a lyrical lesbian music

B.

Ruby Rich. Village Voice

video fromJudith Kate Friedman. And lastly, two short films focus on lesbian poet (and

KISS Dir. Chris Newby (1992) GB

current preSidential candidate) Eileen Myles.

6 mins. 35mm <? THE HOURS AND TIMES

InJennifer Montgomery's Do 'You Think That

Dir. Christopher Munch (1991) USA

A Candidate Should Live Like This?, we get an

58 mins. 35mm

intimate and nosy perspective on Eileen's

T H I S PROGRAM S P O N SO R E D BY M ICHAEL WH ITE, D . D . S .

. apartment, and in Eileen Myles: An American

Poem, Eileen comes out politically. Program repeated Sat. June 27, 12 noon Roxie

-

USA 3 mins. video <? COUNT ME IN Dir. Rebecca Patterson (1991) USA

6 mins. video <? WICKED RADIANCE Dir. Azian Nurudin (1992) USA 5 mins. video <? VITAL SIGNS Dir. Barbara Hammer

(1991) USA 10 mins. 16mm <? A PRAYER BEFORE BIRTH Dir.Jacqui Duckworth (1992) GB 20 mins. 16mm <? SUDDENLY LAST SUMMER Dir. Clare Beavan (1991) GB 12 mins. video <? SALLY FORTH Dir. Inka Petersen

(1990) Germany 20 mins. video <? L IS FOR THE WAY YOU LOOK Dir. Jean Carlomusto (1991) USA 23 mins. video Total running time: 1 02 minutes S P O N S O R E D BY G I R L J O C K M A GAZ I N E A N D T H E C A F E ( F O R M E R LY C A F E S A N M A R COS ) . A L L ATT E N D E ES O F TO N I G H T ' S S H O W W I L L R EC E I V E A C O M P L I M E N TA RY I S S U E O F G I R L J O C K M A G AZ I N E .

33 ·


BRITISH TELEVISION

2:00 PM

SEX CHANGE-SHOCK! HORROR! PROBl

To American eyes, British television sometimes

Made for Channel Four television, Sex

seems like utopia for lesbians and gay men.

Change is quite unlike any other documen­

The hits of previous Festivals- Oranges are

taries-or fictional exposes-of transsexual­

Not the Only fruit, Portrait of a Marriage, Out

ism. Written and produced by Kris Clarke

on Tuesday- have come from Britain's maior

(who also produced Ann istead Maupin: A

broadcasters. This year's Festival is no diHerent,

Man I Dreamt Up, Tuesday June 23, 7:00pm

at the Castro) , herself a transsexual, Sex

with premieres of the BBC's Lost Language of Cranes,

Change deals with the post-op life. A handful

Armistead Maupin is a Man I Dreamt Up, and the usual sampling of highlights from Channel Four's latest series of Out. This rich range of lesbian and gay-themed programming is unthinkable in the States. Is it a case of the grass really being greener on the other side? To contemplate whether American television can ever match the achievements of the British, it's important to put the latter in proper context. There

A DAY I N TH E L I FE O F B R I T I S H T E L EV I S I O N CO N T I N U O U S

PROGRAM ,

R E P EAT E D

D A I LY

12 N OO N

Dir. Jane Jackson Prod. Kristiene Clarke (1989) GB 50 mins. "GrOLmd-breaking video work-the stuff of change and revolution. It is well-made, enter­ taining, enlightening and provocative. "

Kate Bomstein, Bay Area Reportl

THE GAY ROCK 'N' ROll YEARS

Made last Fall for BBC2's extended evening of 3 : 0 0 PM

lesbian and gay programming, Saturday Night

THAT'S MASCULINITY

are only four TV stations in the U.K., and two of

Out ('fhich in tum was inspired by the suc­ cess of Channel Four's Out), The Gay Rock '11'

them-the BBC channels-are government-funded

Roll Years is a giddy zip through the 50s on­

and masculinity, called From Wimps to

(they are not dependent upon commercials for

wards, using archive clips and pop music. (It's

Warriors, That's Masculinity is an example

income). Even in the 90s, the BBC still clings to its original concepts of 'quality television' and of TV's

34

of transsexuals describe their politics and positions today.

educative role. Channel Four, a commercial station, was estab­ lished in 1 98 1 with a mandate to serve audiences otherwise u nder-represented by the other three

Part of a 1991 BBC series dealing with men

also a spoof of a British tv series called The

of how an oblique approach can frequently

ROell 'n' Roll Years, which uses vintage footage

revive a well-worn subject. Director Marc

and hits-of-the-year to shine a light on days

Munden sets the tone with an aesthetic ode

gone by.) All the great stuff is here- Tom Robinson, Sandie Shaw, the Pet Shop Boys,

to the beautiful bodies of an East End steam room . Two backward leather queens are

Kylie Minogue-as well as some especially

quizzed on the meaning of masculinity

scary Seventies disco fashions. The music is cut

("It's leather, anything to get away from the

to queer moments in British history: from the

cashmere sweater brigade . . . it's the sheer

campaign for law reform, to Clause 28; from

smell of men") . A black drag queen goes

extreme range of voices, from the far right to the far

Dirk Bogarde, to chanting lesbians invading a

shopping for discount dresses and dishes

left. After some early successes with occasional gay

primetime TV news broadcast.

channels; Channel Four has thus come to carry an

programming, the weekly series Out on Tuesday (now Out) was established. Out also illustrates the degree of direct access that British people have to their broadcast media. Last year, BBC2 latched on to the success of Out with an entire evening to celebrate 20 years of lesbian and gay liberation (dubbed Saturday Night Out). A Day in the Life of British Television is a continu­ ous eight and a half hours program featuring some of the finest moments from recent years, including part of Saturday Night Out and three films by Nigel Finch, who also made Lost Language of Cranes. Ad­ mission is

free. Come and go as you please-iust like

dipping in and out of TV at home (with no commer­ cials either). This substantial retrospective (continued opposite)

Dir. Shauna Brown, Prod. Clare Beavan ( 199 1 ) GB 60 mins.

heterosexuals with his campy pals. Startling by American documen tary standards, That's Masculil1ity o ffers quiet observation, extraor­

dinary eroticism, and a mellow kind of pride. 1 : 00 PM

Dir. Marc Munden, Exec. Prod. Paul Watson

KENNETH ANGER'S

( 1 99 1 ) GB 40 mins.

HOllYWOOD BABYl.oN

3 : 45 PM

The first of four films in this program made for BBC's award-winning Arena series. Dir­

THE MAKING OF

ected by Nigel Finch (who also made The Lost

'THE LOST lANGUAGE OF CRANES'

Language of Cranes, Friday June 26 7:00pm

The Lost Language of Cranes is a BBC

at the Castro) , Hollywood Babylon is part por­

adaptation of David Leavitt's famous late-

trait of an artist as a tongue man, part death­

80s gay novel. Brian Skeet's crisp film about

styles of the rich and famous. Finch's fi lm is

the movie's production-made for BBC2's

even more irreverent than Anger's best-selling

nightly arts series, The Late Show -concen­

tell-aIls. Along the way: lupe Velez' violent

trates on the translation fTom leavitt's New

suicide, Fatty Arbuckle's disgrace, human ash­

York Jewish setting, to nondemoninational

tray James Dean, Marianne Faithful in person,

suburban London. Skeet's film also o[ers

and the man who embalmed Marilyn Momoe.

a sideways look at how things are done at

Dir. Nigel Finch Exec. Prod. Anthony Wall ( 1991) GB 60 mins.

the BBe.

-

Dir. Brian Skeet ( 1 992) GB 1 0 milts.


has been made possible by the assistance of the 4:00 PM

A BIRTHDAY TRIBUTE TO

in Britain, and some of Mapplethorpe's work

British Council's Films, Television and Video Depart­

was removed from the film. "The policy is

ment. The British Council arranges special screenings

DAME EDNA EVERAGE

that you can show penises, but not erect ones,"

As much a parody of the typical BBC docu­

director Nigel Finch told London's Time Out

mentary style as an extravagant curtsey to

magazine. "We wanted to use one of Mapple­

Dame Edna Everage, Housewife Superstar. The

thorpe's dick photos which was inbetween.

companies as well as individual program producers in Britain.

Dame is known here largely through her net­

So we sat with the BBC lawyers trying to work

work special broadcast late last year; in Britain

out what was and what wasn't an erection. The

slhe is a household name. This 1984 birthday

definition we finally came up with was 'a ver­

tribute-subtitled La Dame aux Gladioli: the

tically self-sustaining member.' "

Agony and Ecstasy of Edna Everage-is a deeply

probing investigative profile of one of the

Dir. Nigel Finch Exec. Prod. Anthony Wall ( 1 988) GB 60 mins.

world's spookiest celebrities.

There will also be an opportunity to discuss the context of British broadcasting -and compare it to American television -in a panel discussion also sup­ ported by the British Council on Wednesday June 24,

7 : 30 P M

SAINT GENET

Also from Arena, an electric confrontation 5 : 0 0 PM

tions, such as Frameline, and with the assistance of TV

at 7:00 pm. Please see page 47 for details.

Dir. Julian Jebb Prod. Alan Yentob ( 1 984) GB 60 mins.

and events in conjunction with cultural organ iza­

with French writer, ex-con and outlaw hero

STICKY MOMENTS

Jean Genet, who granted the BBC an exclusive

Stichy Moments is a surreal Channel Four

interview just days before his death. The real

game show, hosted by glamorous campster

pleasure of the film is not the biographical

Julian Clare (previously known as The Joan

detail, but the antagonism between subject

Collins Fan Club) . Pulled from the audience,

and interrogator. At first the young interview­

heterosexual men and women are subjected

er asks nervous questions in imprecise French

to unusual degrees of abuse by Clare, who

("Did you say I'amour," asks Genet, "I thought

forces them to drink down gallons of gay

you said la mort"); finally, Genet becomes

innuendo. Clare gets to wear great outfits,

impatient and turns tables on the man and his

everyone has a lot of fun, and some people

crew ("I dreamed the technicians of this little

even win prizes.

film revolted") . It's the end of television.

Dir. John Henderson Prod. Toni Yardley

Dirs. Nigel Williams &. Charles Chabot

( 1 990) GB 40 mins.

Exec. Prods. Nigel Finch &: Anthony Wall

-Marie Finch PRESENTED IN ASSOCIATION WITH THE BRITISH COUNCIL

On the last Saturday of each month, Frameline pre­ sents 'Out on Saturday� screenings devoted to show­ casing new worle by lesbian and gay artists. 'Out on Saturday' is produced in association with the San Francisco Cinema­ theque and Eye Gallery. Call (4 J5) 86J -5245 lor information on upcoming programs.

( 1 985) 60 mins. 5 : 45 PM

Note: 0,1 Wednesday June 24, the program

OFF THE RAILS

The llipside to America's Funniest Home Videos.

ends at 6:30 pm; Robert Mapplethorpe and

In a new move for access television, the BBC

Saint Genet will not play. Instead, there

developed a series called Video Diaries, in

will be a panel discussion at 7:00 pm

which various 'ordinary' people were given

on British Televisioll.

a camera and allowed to develop their own highly personal documentaries. Off the Rails lets I 8-year-old Stephen Hawthorne revisit his strictly religious prOvincial parents, as well as chronicle a few weeks in the life of his relation­ ship with urban boyfriend Bertie. Dir. Stephen Hawthorne ( 1 991 ) GB 48 mins. "Brave and entertaini ng. " Michael Griffiths, Time Out 6 : 30 P M

ROBERT MAPPlETHORPE

Made for BBC's Arena, this profile of contro­ versial photographer Mapplethorpe traces his development from Brooklyn art school bad boy to Manhattan celebrity darling. Like Mapplethorpe's work itself, the documentary was the target for censorship when broadcast

A{

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E R N ESTO Salvatore Samperi's delicious, amoral tale about

T H E TWI N B RA C E L ETS

a cunning lad's social and sexual rise-and-rise

_� � �!IY

B AY A R E A P R E M I E R E

is being repeated due to audience demand; it's

A remarkable film, written and directed by

one of our most frequently requested titles. Set

women, The Twin Bracelets is a deeply moving

in Trieste, in the last years before World War

and tragic portrayal of one woman's struggle

C ROSS-SEX I N G T H E N A RRAT I V E : L E S B I A N S U BTEXT I N M U S I C V I DEOS A M U LT I - M E D I A P R E S E N TAT I O N B Y M A R U S I A B OC I U R K I W

Provocative, subversive, funny and informa­

II, Emesto is a subtle, sensual comedy about

for independence, and for the love of another

class and circumstance.

woman. A lesbian version of Raise the Red

tive, this unique presentation invites you to

Lantern.

revel in the special pleasures of discovering

Our restless hero is bored with business school and dreams of being a world famous

Please see Saturday June 20, 7:00 pm Castro

and uncovering lesbian subtexts (and not so

THE TWIN BRACELETS Dir. Yu-Shan

Joan Armatrading, Michelle Shocked, Annie

Huang ( 1990) Hong Kong/Taiwan

Lennox, Salt 'n Pepa and many others. From

"sub" texts) in the music videos of k. d. lang,

violinist. He also yearns for something else besides strings, and flirts with a handsome laborer (played by Michele Placido, who won Best Actor Award at the 1 979 Berlin Film Festival for this role). But his brief adventure with the laborer is really a ruse for bigger ambitions. ERNESTO Dir. Salvatore Samperi

( 1 979) Italy 95 mins. 35mm Italian language/English subtitles

1 00 m ins. 35mm In Mandarin with English subtitles T H I S P RO G R A M S PO N SO R E D BY KQ E D

Madonna's ever popular girl-kiss in 'Justify My Love" to k. d. lang's rarely seen "1 Wanna Sing You a Love Song" duet with Anne Murray, this wildly amusing presentation tours lesboeroticism, androgyny, cross-dressing and

.

vegetarianism. Marusia Bociurkiw is a Montreal-based filmmakerlcritic. Her feature film, Nightvisions was screened at the 1 989 San Francisco Inter­ national Lesbian and Gay Film Festival; her video, Bodies In Trouble, was shown at last year's Festival.

Program repeated Fri. June 26, 9: 1 0 pm PFA Total running time: 90 minutes T H I S P R O G R A M S PO N SO R E D B Y T H E CA N A D I A N C O N SULATE G E N E R A L


A R M I STEAD MAU P I N I S A M A N I D R EA MT U P TH E DEAD BOYS' C L U B U . S . PREMIERE

Annistead Maupin is a Man I Dreamt Up is an

affectionate portrait of San Francisco, and of ' the man whose Tales of the City have inspired thousands to come here. Maupin relates a life

GENDER/BODY/SELF

and then a feminine extreme. Limitless captures a pair of bodybuilders, a man and a woman,

story more bizarre than his fictional characters'

A two-hour identity tour: Juggling Gender fea­

(including his meeting with Richard Nixon),

tures a lesbian performance artist talking

in a sensual montage.

while local eccentrics and ex-colleagues dish

about growing up, coming out, lesbian-femi­

Program repeated Sat. June 2 7, 4:00 pm Roxie

and praise lavishly. Beautifully put together

nism and having a beard; Two Spirit People

for BBC television by Kate Meynell and Kris­

gives an overview of historical and contempo­

LIMITLESS Dir. Jennifer Johns ( 199 1 ) USA

tiene Clarke (whose 1 989 documentary Sex

rary Native American concepts of gender, sex­

5 mins. 16mm -¢' PASSING Oir. Sara Whitely

Change-Shoch! Horror! Probe! plays daily at

uality and sexual orientation; in F2M (Female

( 1 99 1 ) USA 3 mins. 16mm b &w -¢' DUAL OF

the Eye Gallery from Tuesday June 23- Saturday

To Male) , jasper a 3D-year-old lesbian female­ ,

THE SENSES Dir. Heidi Arnesan ( 1 99 1)

USA 3 mins. 16mm b&w {> A SPY (Hester

27), Armistead Maupin is also a filmmaker's

to-male pre-op transexual, talks about grow­

fascinating attempt to get at the myth and

ing up wanting to be a boy, and the physical

Reeve Does 'The Doors') Dir. Suzie Silver

meaning of San Francisco. Appropriately, the

and emotional changes involved in recreating

( 1992) USA 5 mins. video -¢' GIVE ME BODY Dir. Pablo Bautista ( 199 1 ) USA 9 mins.

mood is capped with music by the Gay Men's

himself as a man. Cecilia Dougherty's The

Chorus.

Drama of the Gifted Child tries to understand

video SHE BEGINS Dir. Hrafnhidur

the role of the lesbian within the lesbian and

Gunnarsdottir ( 1 989) USAlIceland 9 mins.

award-winning short comedy, The Dead Boys'

gay community. She Begins is an experimental

video -¢' THE DRAMA OF THE GIFTED

Club (which was assisted by Frameline's Film

meditation on femininity, hairstyles and gender.

&' Video Completion Fund) . Awkward, nerdy

Give Me Body question the construction of

Plus Mark Christopher's accomplished,

CHILD Dir. Cecilia Dougherty ( 1 992)

USA 10 mins. video {> F2M (Female To Male)

Toby is visiting his N.Y. cousin Packard, who

brawn, beauty and objectivity from a gay Asian­

Dir. Cayte Latta ( 1 992) Australia 1 5 mins.

gives him a pair of shoes previously owned by

American perspective. A Spy (Hester Reeve Does

video -¢' TWO SPIRIT PEOPLE Dirs. Lori

his recently deceased I.over. When Toby dons the shoes, he's transported to a world of prom­

The Doors') is a lesbian Jesus-drag music video.

Levy, Gretchen Vogel, Michel Beauchemin

In Dual of the Senses crossdressing gives a het­

( 199 1 ) USA 20 mins. video -¢' JUGGLING

ero twist to an encounter �etween a gay man

GENDER: POLITICS, SEX AND IDENTITY

iscuity, disco music, hot guys and glitter balls. Program repeated Thurs.June 25, 2:00pm Castro

and a lesbian. In Passing, a woman is trans­ formed from her everyday self to a masculine,

THE DEAD BOYS' CLUB Dir. Mark

Christopher ( 1 992) USA 25 mins. 1 6mm {> ARMISTEAD MAUPIN IS A MAN I DREAMT UP Oir. Kate Meynell Prod.

Kristiene Clarke ( 1992) GB 60 mins. 16mm T H I S P R OG R A M S P O N SO R E D B Y S KYY VO D KA FO R I N F O R M AT I O N O N T H E FRAM ELI N E FI LM & VI DEO CO M P L ET I O N F U N D , P L E A S E W R I T E TO F R A M E L I N E, P . O . B OX 1 47 9 2 , S A N F R A N C I SC O , CA 94 1 1 4 .

Dir. Tami Gold ( 1 992) USA 27 millS. video Total running time: 1 06 minutes


.

TUES DAY J U N E 2 3 , 9 : 1 5 C A S T R O $6

I

PM

"I'm a transsexual. That's what they call it, in

FRI. & SAT. ONLY· LATE SHOWS al lAM!

this cen tury anyway. And my culture, my people, are evolving just like your people

THE MOST SHOCKING FILM OF 1 953

And just like the straights expect you to be like

" GLEN OR GLENDA "

every bad Hollywood stereotype they've ever

("1 CHANGED MY SEX " )

seen, I am expected to be Christine Jorgenson,

slarrin, BELA LUGOSI \.'Be1fore H O LLYWOOD S I N - ERAM A !

GENDER EDIT

Renee Richards. I'm not. "

-Kate Bornstein

The Gender Edit sidebar features a selection of fi lm and video work that goes far beyo n d bad

THE YOUNG PHYSIQUE:

Hollywood stereotypes. The issues and ideas cur­

Last year's Odd But True program showcased

"DUALS" &: "A DAY AT FIRE ISLAND"

rently emerging from the transgender movement

a selection of archival short films with gay,

A pair of classic physique films starring Billy

are changing the ways we think about sexual and

lesbian and campy content. This year's Holly­

Hill and jim Stryker.

gender identity. This is reflected in a special pro­

wood Sin-erama! program offers an ,even

stronger line-up of curiGSities including more lesbian material, commercials, trailers and

Dir. Unknown (circa 1950s) USA 6 mins. 16mm Silent b&w

COPENHAGEN:

gram of short work, Gender/80dy/Self which high­ lights several new video works examining cultural and historical notions of gender and sex roles. The

fragments from: The Vampire Lovers, The

GAY CAPITOL OF DENMARK

Liberace Show, The Flintstones, Batman (with

A campy, condensed travelogue of Copenhagen.

program includes Juggling Gender, a profile of a

Dir. Unknown USA (circa 1960)

bearded lesbian; F2M (Female To Male), an inter­

8 mins. 16mm b &w

view with an Australian transsexual; and Two Spirit

fashion designer and Mattachine Society founder, Rudi Gernreich) , and: MR. WS LITTLE GAME

"HOME MOVIE"

People, an overview of the Berdache tradition i n

The fabulously clever New York drama critic

An aggressive Avon lady jumps a client in this

Alexander Woollcott teaches an intriguing

1960s technicolor porn fragment.

Native America n cultures. Eunuchs: India's Third

little word game to his table companion at a restaurant.

Dir. Unknown (circa 1 960s) USA 10 mins. 1 6mm Silent color

Gender takes a look at a living alternative to Wes­ tern ideas about gender. Other highlights of the

BIG TIME WRESTLERS

Gender Edit sidebar include Kris Clarke's Sex Change:

FROM HOllYWOOD

Shockl Hor�rl Probel which looks at the situation of

THE DANGER GIRL

june Adair "The Battling Ballerina" versus

transsexuals in Great Britain in the 90s; and the 60s

Gloria Swanson stars in this madcap hetero

lynn O'Conner "The lovely Terror."

Dir. Lynn Shores ( 1 934) USA 10 mins. 16mm b &w

melodrama. She wants the boy, but he wants

Dir. Hubbard Hunt (circa 1950s)

the other girl. Gloria dons male persona and

USA 5 mins. 1 6mm b &w

Drag in 90 Minutes program which flashbacks to the classic drag of that decade. More contemporary cross-dressing can be seen in the Queer TV program

seduces the other girl to get her out of the

NO HELP NEEDED

way. Although it ends heterosexually-ever­

This rare fragment of 1 940s porn features two

after, it's full of transgender fun and girl-girl

portrayals of women fooling around with each

The 8renda and Glennda Show and The Jane Show.

tension.

other (no help needed).

Also of special note is the 1 940 all black cast musi­

Prod. Mack Sennett (.19 1 6) USA 26 mins. 16mm Silent b&w

Dir. Unknown (circa 1 940s) USA 6 mins. 1 6mm

THE FEMALE IMPERSONATOR

"SWORD FIGHT"

Fired from a film ShOOl, Charlie Chaplin re­

Two bare-chested girls duel it out on the rocks.

turns to the set dressed as a woman. The men on the set flirt with her, and, in a disturbing conclusion, Charlie reveals his masquerade. Dir. Charlie Chaplin (circa 19 15) USA 1 0 mins. 16mm Silent b &w

Dir. Unknown (circa 1960s) USA 3 mins. 1 6mm, b &:w

ANITA BRYANT: PIE-IN-HER-FACE

One of Anita Bryant's "Save Our Children" television news conferences is zapped by a pie­

I CHANGED MY SEX (trailer)

wielding gay activist. An historic document

A fascinating trailer from Ed Wood jr's 1953

of political strategy.

low-budget exploitation feature (also known as Glen or Glenda). Dir. Ed Wood jr. ( 1 953) USA 10 mins. 1 6mm b &w

Dir. Unknown ( 1 977) USA 4 mins. 1 6mm Total running time: 1 13 minutes

The si lent films in this program will be accom­ panied by Bob Vaughn on the Castro Wurlitzer.

in DeAundra Peek's Hi Class Hall 0' Fame Theatre;

cal feature, 80yl What a Girl starring Tim (The King­ fish) Moore as Bumpsie, a butch cigar-s moking fella in a dress. 80yl What a Girl plays on a double-bill with Michelle Parkerson's portrait of legendary male impersonator 5torme DeLarverie, Storme: The Lady of the Jewel 80x. There are many other shorts scattered throughout the festival, a nd, yes, even . a few bad Hollywood stereotypes (for historical perspective ). So, take a new look at gender, take a more com­ pl icated look at the binary concept of men and women, and take a minute to think about it. -Jenni Olson

39


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God's Love We Deliver, Inc. (NYC)

ACT U P (NewYork)

Hyacinth Foundation (NJ)

The AIDS Foundation of Houston

Northern Light Ahernatives (Boston)

AIDS Foundationof SI. Louis

Project Inform (San Francisco)

AIDS Task Force (NC, LA)

PWACoalition, Inc. (NYC, U)

AIDS Libraryof Philadelphia

PWA Health Group (NY)

AmFAR (NYC, DC, Los Angeles)

San Francisco AIDS Foundation

Communhive Research Initiative

Seattle AIDS Support Group

on AIDS ( N Y , MA, FL)

Seattle Treatment Exchange Project (STEP)

Critical Path AIDS Project (Phil)

StopAIDS Project (San Francisco)

GMHC (NYC)

TPA Network (Chicago)

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C RA I G'S W I FE The horrors of heterosexuality. As the only openly lesbian director in Hollywood in the 1 930s, Dorothy Arzner made a wonderful col­ lection of "women's pictures" featUring such strong female stars as Katharine Hepburn,

0 0 0 S H O RTS FOR Q U E E R BOYS

A shot in the arm from the second wave of queer-identified videomakers.

Joan Crawford and Rosalind Russell. Craig's Wife is a disturbing proto-feminist melo­ THEY ARE lOST TO VISION ALTOGETHER

drama/murder mystery (remade with Joan Crawford as Harriet Craig in 1950). Here,

Dir. Tom Kalin ( 1989) USA

Roz Russell stars as Harriet Craig, the anal­

12 mins. video <¢> NATION

retentive control queen of the century.

The Mother Show stars Frieda and is as

Dir. Tom Kalin ( 1 992) USA 1 min. video

A scathing commentary on the institution

strange and as silly as you'd expect from direc­

-¢- BARELY HUMAN Dir. Steve Reinke

of marriage , Craig's Wife maps the tragic

tor Tom Rubnitz (if you've never heard of him,

( 1992) Canada 4 mins. video <¢>

demise of a woman who has married a man

HIS RED SNOW WHITE APPLE LIPS

she doesn't love. As she matter-of-factly tells

Yahnke's His Red Snow White Apple Lips con­

Dir. John Yahnke ( 199 1 ) USA

her niece, Ethel: "I saw to it that my marriage

jures the work of Kenneth Anger, and Troy

7 mins. video <¢> TOUCH ME

was a way to emancipation. I had no private

Boyd's Lord and Master is unafraid to use S/ M

Dir. John Slater ( 1991) USA

fortune, no special training-so the only road

to raise questions about race. Can't Take That

90 seconds video

to independence for me was through the man

Away From Me is a horrific, powerful analysis

<¢> THE MOTHER SHOW

of a queer-bashing, and A Hard Reign's Gonna

Dir. Tom Rubnitz ( 1992) USA

this could be a religious experience) . John

Fall turns Bob Dylan's song into a semi-ani­

mated ac tivist aria. Some of these works are very high-speed;

4 mins. video <¢> LA FRUTA ( 1 992)

prostitute themselves to men (by marrying

USAf Mexico 3 mins. video <¢>

them) in order to live. Harriet accepts this fact of life and is determined to have all of

ILLUMINADO LAS AGUAS <¢>

scratch dub of some recent TV footage, which

Dir. Raul Ferrera-Balanquet ( 1992)

of. La Fruta is a sublime, cheeky moment of eroticism. Illuminado las Aguas by Raul Ferrera­

USA/Mexico 4 mins. video <¢> LORD AND MASTER

Dir. Troy Boyd ( 1992) USA 7 mins. video

Balanquet is a mood held between lovers and

-¢- A HARD REIGNS GONNA' FALL

dancers. Plus two tapes from Canadian Steve

Dir. Dean Lance ( 1 990) USA 7 mins. video <¢>

Reinke, who takes brief images from gay porn md turns them something lyrical and resonant

Dir. Kevin Adams ( 1 992) USA 1 4 mins. video

In Barely Human and Why I Stopped Going to

<¢> NEWS FROM HOME <¢> Dirs. Tom Kalin

�oreign Films.

Arzner presents Harriet as a victim of a society in which women must essentially

Dir. Roly Barrero Chang ( 199 1 )

think and you'll miss them. Touch Me is a smart gets right to the nub of what men are afraid

I married. 1 married to be independent."

CAN'T TAKE THAT WAY FROM ME

&. Stathis Lagoudakif ( 1 987) USA 7 mins.

Odd Shorts for Queer Boys also includes

video <¢> WHY I STOPPED GOING TO

:our works by Tom Kalin, who made Swoon

FOREIGN FILMS Dir. Steve Reinke

the superficial middle-class happiness and stability that she fears she cannot live without. Although her controlling demeanor seems at first villainous, her vulnerability is subtly conveyed, and in the end she emerges as a truly tragic figure. Preceded by Su Friedrich's First Comes Love. This contemplative short provokes a

flow of ambivalent and intensely personal meditations on love and the ritualized institution of marriage.

:Saturday June 20, 9 : 1 5pm at the Castro): They

( 1 991 ) Canada 6 mins. video <¢>

Ire lost to vision altogether, Nation, the fearful

FINALLY DESTROY US Dir. Tom Kalin

(1991) USA 22 mins. 16mm b &w �

'Jews From Home, and finally destroy us, set to

( 1991 ) USA 4 mins. video

CRAIG'S WIFE Dir. Dorothy Arzner ( 1 936)

Total running time: 82 minutes

USA 78 mins. 35mm b &w

he song "Everytime We Say Goodbye."

FIRST COMES LOVE Dir. Su Friedrich

41


N O RTH O F VORTEX A double-bill from Constantine Giannaris,

M I RA M E: LOO K AT M E

asimilacion de los latinos gay a la cultura gay angla-saj ona; presentamos 10 que fuera terrni­

recently voted best gay filmmaker of the year

Four tapes abot\t identity. Videomaker and

by the British magazine Gay Times. Caught

AIDS activist Ray Navarro was working on

Loohing is a sexy and subversive comedy

Deject at the time of his death last year. (He's

amiento llrico y autobiografico de la cultura,

nado de la obra. POI' Favor Pudrase Despacio es un cuestion­

about gay men's stereotypical sexual fantasies.

honored in Ray Navarro Memorial Tape, which

la identidad y la sexualidad. Porque la Reali­

North oJ Vortex is a sensual change of pace:

plays in the Silencio=Muerte program on

a studied black-and-white road movie about

Saturday June 27, 8:00pm at the ROxie .)

dad no Esta en Blanco y Negres es un extracto de vista previa de una obra mas larga propues­

a bisexual poet, two hitchhikers, and the

Deject is about Latino gay male assimilation

ta sobre la realidad lesbica y gay en Cuba;

American landscape.

into white gay male culture; we are screening

esperamos poder presentar la obra completa

as much of the work as was finished.

en el proximo Festival el ano que viene.

Please see Sat. June 20, 1 2:30 pm, Co,stro Program also repeated Sat. June 27, 9: 10 pm PFA

Please Decompose Slow ly is a lyrical autobi­

ographical questioning of culture, identity CAUGHT LOOKING Dir. Constantine

42

8:00 pm en el Roxie.) DeJecto se trata de la

Giannaris ( 199 1 ) GB 35 mins. 1 6mm "¢> NORTH OF VORTEX Dir. Constantine

Giannaris ( 1 991) GB 55 millS. 16mrn

Ademas, y por demanda, vamos a volver a presentar Las Minas de Sal, que se presento en

and sexuality. Because Reality isn 't Blach and

el Festival del ano pasado. Las Minas del Sal es

White is a preview extract from a proposed

un area aislada en la orilla del Rio Hudson

longer work about the reality of lesbian and

donde el departamento de salubridad guarda

gay life in Cuba; we look forward to screening the finished film at next year's Festival.

sus camiones fuera de servico; aca se ha junta­

Plus, by demand, a repeat screening of The Salt Mines, from last year's Festival. The Salt

do una comunidad de travestis sin casa. "La Minas de Sal l10s habla de una minoria

muy especifica- Ios travestis latinos, urbanos, sin

Mines is a secluded area alongSide the Hudson

casa, y adictos al crach. Viven en un basurero.

River where the sanitation department stores

Su mayor consideracion pOl' un hogar es, segun

its out-of-service trucks; here, a community of

este documental, la compania de Jam i lia . . . Este

homeless transvestite prostitutes has gathered.

poderoso video es hec110 con la misma emocion

"The Salt Mines tal1�s about a very specific minOlity-11Omeless, urban, Hispanic drag queen prostitutes on crach. They live in a junh yard.

Juerte de Paris se esta Quemando, pero sin ningun en canto amortiguante. " -Kale Bornstein, Bay A rea Rep011er

Thei r over-liding collSideration Jor home is, per this documentary, the companiol15hip ojJamily . . .

DEFECT Dir. Ray Navarro (1990) USA 20 millS.

This poweljul video has all the pOignancy oJ Paris

video/unfinished work English language "¢>

is Burning, witll none oj the cushioning glamour. " - Kate Bomstein, Bay Area Reporter

BECAUSE REALITY ISN'T BLACK AND WHITE Dirs. Kelly Anderson ( 1 992) USN

Cuba 9 mins. video/work-in-progress English Cuatro cintas sobre el tema de identidad. Ray

language,,¢> PLEASE DECOMPOSE SLOWLY

Navarro, activista en el area de SIDA y videasta, se murio mientras trabajaba en DeJecto el ano

Dir. Alfonzo Moret ( 1 992) USA 20 millS. video

pasado. (Se Ie honra en la Cinta MemOlial de Ray NavaJTo que se presentera en el programa

Susan Aikin & Carlos Aparico (1 990) USA 47

de Silencio =Muerte, el sabado 27 de junio a las

English language,,¢> THE SALT MINES Dir. mins. video Spanish language/English subtitles

Total running time: 96 minutes


L AST CAL L AT M AUD'S ( WO R K- I N - P R O G R E S S )

DEAD LY DECEPTION Frameline presents a special evening celebrat­ ing two landmark films by California lesbian

ARE WE BEI N G SERVED? A PAN E L DISC USSION ON L ESB I A N Be G AY I MAG ES ON B RITISH T V

To complement our Day In The Life oj British

A T H O M E W I T H T H E STA R S ( PA R T O N E )

Y M A SUM AC : -i N CA PRI NCESS True camp followers will need no introduction to the legend that is Yma Sumac. For those of you who haven't heard of her, your world-view

Television screenings at the Eye Gallery, visit­

may well change with this program., featuring

Tonight's program will feature a special

ing program-makers from Britain will talk

a 90-minute German documentary about Yma.

work-in-progress screening of Paris Poirier's

filmmakers Debra Chasnoff and Paris Poirier.

about the context for British broadcasting.

Originally from Peru, Yma's extraordinary

Last Call at Maud's. This fascinating film

The evening is intended as an information

eight-octave range brought her world acclaim

focuses on the closing of the oldest lesbian

exchange for American audiences. Is British

in the 50s. Her first album- The Voice oj

bar in the world, San Francisco's Maud's.

TV truly a utopia for lesbian and gay images?

Xtabay-is in a genre all of its own (file under

Tracking our history from the WWll lesbian

Should we aspire to producing the same images

Operatic Peruvian Fall? Song With full Orche­

bar scene, to the birth of The Daughters of

here? How did Out oJ Tuesday get made, and

stra ) . With international success, and a few

Bilitis, to the closing of Amelia's last year, Last

how has it been received in Britain?

more albums (culminating in the truly ghastly

The panel will be moderated by Tim High­

rock-disco medley Miracles), myths about Yma

ries of some of the major figures in San

stead, of London's Institute for Contemporary

multiplied. Could she really sing live? Was she

Francisco's lesbian community.

Arts. Panelists include Nigel Finch (editor

really from Peru? Spelt backwards, wasn't she

of BSes Arena series, and director of Lost

actually Amy Camus from Teaneck, New jersey?

Call at Maud's documents the lives and histo­

Debra Chasnoffs 1991 Academy Award­ winning documentary, Deadly Deception is a

Language oj Cranes) , Kris Klarke, (maker of

powerful indictment of General Electric's

Amlistead Maupin Is A Man I Dreamt Up, and

Yma Sumac: Hollywood's l1ua Princess tackles

all the myths, and gets aL some even stranger

Gunther CzernelZky's well-researched bio,

nuclear weapons development in the United

Sex Change-Shadd Honor! Probe!), Clare

States. The film offers a disturbing documen­

Beavan (director of l1lSide Gay Porn ) , and Ron

truths. CzernelZky starts out in the hills of

tation of GE's destruction of the environment

Santora, program manager for San Francisco's

Peru (asking peasants if they've heard of Yma) ,

and disregard for human lives in its release of

KQED, which will be airing episodes of Out

and proceeds La America, where he talks to

radiation, dumping of toxic wastes, and con­

011 Tuesday starting in june.

record producers and, finally, the

tinued development of nuclear weapons. It's a remarkable, lesbian-made documentary. Both filmmakers will be present to intro­ duce their work. Partial proceeds from tOnight'S program will benefit the completion of Last Call at Maud's.

'

man

who

Admission is Jree and seats are limited to 1 00.

managed her New York gay cabaret comeback

Doors will open at 6:40pm

in the early 80s. Along the way there's lots of

.

S PO N S O R E D BY T H E B R I T I S H C O U N C I L

rare footage, including Yma s famous encounter with David Letterman. To make the show even more special, we shall be using live simultaneous translation of the Spanish and German segments, plus a re­

DEADLY DECEPTION Dir. Debra Chasnoff ( 1991 ) USA 29 millS. 16mm -¢LAST CALL AT MAUD'S (work in progress)

peat screening of a Festival hit from 1986joe Westmoreland's hilarious At Home with t1te Stars: Jeatu.ring Patsy Cline witll Y1l1a Su.mac..

Dir. Paris Poirier ( 1 992) USA 45 millS. (approximately) video

AT HOME WIlli THE STARS Dir. joe

P R E S E N T E D I N ASSOC I AT I O N W I T H

Westmoreland ( 1984) USA 12 mUlS. video

T H E F I L M A RTS FO U N D AT I O N

-¢> YMA SUMAC: HOllYWOOD'S

INCA PRINCESS Dir. Gunther Czernetzky ( 1992) Germany 90 millS. video T H I S P R O G R A M S P O N S O R E D BY T H E G O ET H E I N ST I T U T E

43


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Fares from San Francisco are 1/2 roundtrip based on roundtrip purchase.

London Amsterdam Frankfurt Paris

Low-fire, raku, and high-fire reduction

$349 $369 $385 $41 5

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$435 $459 $509 $51 5

These ar� sample fares and are valid through August 3 1 , 1 992. Restrictions may taxes are not included. For the most curent vvorldwide airfare information, ca stop by any of OU" Bay Area offices.

Studio space and kiln use are also avai lable. For more

Eurailpasses issued on the spot/

information, ca ll 43 1 -6296.

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TO CREATING A N I N NOVATIVE LE A R N I NG ill:ifN\ltR.01ii iJ SOC I A L RESPONSI B I LI TY , I N D I V I D U A L Ex�·tlE::,�,S, fOIr-i

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SAN F R A N CISCO, CA 94 1 02


,

TO P LAY OR D I E

J U G G L I N G G EN D E R

From the Netherlands, Frank Krom's To Play

An inter-gender program would be incomplete

or Die is a powerful school-set psychodrama. Kees is an introverted lad, bullied by his hand­

without slippage within the works themselves. In Susan Muska's hilarious Stafford's Story,

quote liberally from

some classmates. When his parents leave town,

language and image are at odds with a dizzy

Marcel Proust and ask

Kees works up the courage to invite the ring­

rendezvous at a sex club. Here, genitalia emer­

leader, Charel, to his home. His plan is to take

ges from the darkness, sheathed in nothing

revenge, but Charel gets the upper hand . . .

but ambiguity. Cayte Latta's F2M (Female to

To Play or Die recalls the memories of loneli­

Male) is a no-frills interview with an Australian

ness and victimization familiar to any gay teen,

nearing the completion of a transgender jour­

and turns them into an intense, enigmatic

ney. A lesbian, now in transition to maleness,

psychological thriller.

The Weight of Oceans is a beautiful evoca­ tion of a dream before waking, by local film­ maker john Binninger. Now That it's Morning

Oscar Wilde and your sergeant if he

likes your mascara.

You have nothing to lose but your draft card.

"GREER HAS A GAY TIME AS QUEEN BEE OF THE COLONY!"H";::'Z ��:�o;,o;.. "HILARIOUS!" ,;"::�.��7:'':.

both the lesbian and gay communities. Susie Silver's psychedelic A Spy has pefor­

tographed by Nina Kellgren (who shot Looking

while lip-synching to jim Morrison's "A Spy

for Langston), and directed by Neil Bartlett,

In the House of Love.» A bearded lady tells all

new star of the British gay arts scene.

in Tami Gold's juggling Gender. This mini-doc looks at a simple anomaly, facial hair, and how

THE WEIGHT OF OCEANS

it stymies gender perception. Thomas Allen

Dir. john Bmninger ( 1991) USA 7 mins.

Harris gets his feet wet in Splash, an experi­

16mm <? NOW THAT IT'S MORNING

mental work about role-models and resis�nce.

Eunuchs: India's Third Gender by Michael Yorke takes a sometimes tragic view of those

( 1991) Netherlands 50 mins. 16mm

subcontinental men who eschew their mascu­

Dutch language/English subtitles

line roles. Aligned with centuries' old religiOUS

Total running time: 68 minutes

tradition, these eunuchs are not an isolated

E A ST B A Y S C R E E N I N G S S PO N S O R E D B Y

lisp a lillie, put your hands on your hips,

she has retained her female lover. The muddle

mance artist Hester Reeve dragging it asj.c.

<? TO PLAY OR DIE Dir. Frank Krom

tight filling pants,

of identities threatens to ostracize her from

is a meltingly sad love story set in 1962, pho­

Dir. Neil Bartlett ( 1992) GB 1 1 mins. 35mm

Wear long hair.

occurence but a caste of thousands.

T H E PA C I F I C C E N T E R

STAFFORD'S STORY Dir. Susan Muska

( 1992) USA 3 mins. video <? F2M (Female to Male) Dir. Cayte Latta ( 1992) Australia

1 5 mins. video <? A SPY Dir. Suzie Silver ( 1992) USA 5 mins. video <? JUGGLING GENDER Dir. Tami Gold ( 1992) USA

2 7 mins. video <? SPLASH Dir. Thomas Allen Harris ( 1990) USA 7 mins. 16mm <? EUNUCHS: INDIA'S THIRD GENDER

Dir. Michael Yorke ( 199 1) GB 40 mins. 16mm Total running time: 97 minutes' E A ST B A Y S C R E E N I N G S S P O N S O R E D B Y T H E P AC I F I C C E N T E R

THE GAY DECEI VERS Yes, Virginia, there were other gay-themed films of the 60s besides Boys in the Band-and

The Gay Deceivers is the best of them. The plot's simple: two straight all-American boys play sissy to dodge the draft; they move into a swishy all-gay L.A. apartment complex, and a comedy of misunderstanding ensues. The Gay Deceivers is like Love, American Style on drugs; it's lurid, weird and unintentionally funny. What makes the movie really treasurable, however, is Michael Greer (who went on to feature as another queen in Fortune and Men's

Eyes) ; his swishes and turns were such a hit with audiences that the distributor switched ad campaigns after a week's release, billing him as the star. At this special revival screening, . Michael Greer will be present to dish onstage about the making of the movie afterwards.

Michael Greer will also be appearing at josie's Cabaret & juice joint, Saturday and Sunday june 2 7-28. Please call (41 5) 861 -7933 for tickets and information. Fortune and Men's Eyes plays Friday june 26,

2:00 pm at the Castro. THE GAY DECEIVERS Dir. Bruce Kessler

( 1969) USA 1 05 mins. 35mm


,

A N EV E N I N G W I T H SAD I E B E N N I N G join us for a retrospective of the works of Sadie Benning. Using a Fisher-Price XPL camera (originally conceived as a children's

A R M I STEAD M AU P I N I S A M A N I D R EAMT U P THE DEAD BOYS' C L U B U.

S. PREM I E RE

featuring Cheryl Farthing's sexy coming out tale, Rosebud, and eight other brand n�w works. Please see Saturday, June 20 2:30 pm, Castro

toy), Benning has created a body of work

affectionate portrait of San Francisco, and of the man whose Tales of the City have inspired

lenging and hauntingly sensual. Tapes being

thousands to come here. Mark Christopher's

shown include: the Bay Area premiere of

accomplished, award-winning short, The Dead

Benning's most recent video, a sexy gender­

Boys' Club is a comedy about promiscuity,

fuck tale of lesbian lust on the road called,

disco, music, hot guys and glitter balls. Please see Tuesday June 23, 7:00 pm Castro

sions of a violent world in, A Place Called

DUEL OF THE SENSES Dir. Heidi Arneson ( 199 1 ) USA 3 millS. 16mm b &:w '¢> ROVE Dir. Mary Patierno ( 199 1 ) USA 3 mins.

1 6mm b &:w '¢> NEX�S Dir. jennifer johns ( 1 992) USA 6 mins. 1 6mm '¢> LOOK

Dir. Susannah Copi ( 1 992) USA 5 millS.

Lovely; meditations on teenage sexuality in

THE DEAD BOYS' CLUB Dir. Mark

1 6mm '¢> A GOAT NAMED TENSION

Jollies, and the fragmented collection of im­

Christopher ( 1992) USA 25 millS. 1 6mm

Dir. Kate ] . Goodnight ( 1 992) USA 6 mins.

pressions which develops into a video diary,

46

An eXCiting collection of new lesbian films

Armistead Maupin is a Man I Dreamt Up i s an

which is intensely personal, stylistically chal­

It Wasn't Love; her raw and disturbing impres­

S H E LI KES G I R LS N E W L E S B I A N SHORT F I L M S 1

Ij EvelY Girl Had a Diary. Plus Me and Ruby- · frui t, in which Benning offers a wonderfully

personal take on "Rubyfruit Jungle," and, ' A New Year, Be nning's first video, made at age 1 5 .

<>- ARMISTEAD MAUPIN IS A MAN

1 6mm b&:w '¢> RESERVAAT Dir. Clara van

I DREAMT UP Dir. Kate Meynell Prod.

Gool ( 1988) The Netherlands 9 mins. 16mm

Kristiene Clarke ( 1992) GB 60 mins. 16mm

'¢> TRANSPORTATIONS Dir. Amanda

T H I S P R O G R A M S PO N SO R E D BY

Wallis ( 1 990) Australia 12 mitis. 1 6mm b &w

S KYY V O D KA

'¢> HARLEQUIN EXTERMINATOR

Dir. Marta Balletbo-Coll ( 1991) Spain 1 2 mitis.

Benning will introduce her work and be

16mm '¢> WHERE THE COWS GO

present for audience discussion follOwing the

Dir. Maggie Ford ( 1 99 1 ) GB 15 mins. 1 6 mm

screening. Program repeated Thurs. June 25, 7:30 pm PFA

'¢> ROSEBUD Dir. Cheryl Farthing ( 1 992)

GB 1 4 mins. 16mm Total running time: 85 mi nutes

IT WASN'T LOVE ( 1 992) USA 20 mins, video <>- A PLACE CALLED LOVELY ( 1 99 1 ) USA

14 mins, video <>- JOLLIES ( 1990) USA 1 1 mins, video <>- IF EVERY GIRL HAD A

DIARY ( 1 990) USA 6mins, video -¢> ME AND RUBYFRUIT ( 1 989) USA 4 mins, video <>- A NEW YEAR ( 1 989) USA 4 mins, video

Total runninp time: 90 minutes


umentary in favor of a more impassioned, emotionally engaged, and heart-felt one, makes ' it possible for his films to touch and commu­ nicate to all people. His work rises above sim­ plistic boundaries and connects with the universal aspects of the human condition. It is the humanity and reach of Marlon's work that precisely makes it threatening to our opponents. No other gay filmmaker in recent years has had such wide exposure and misappropriation of his work; in a famous controversy last year, many PBS affiliates re­ fused to broadcast Tongues Untied, and most AT H O M E W I T H T H E STA R S ( PA R T TWO)

recently Pat Buchanan re-edited a few seconds

ROC K H U DSON'S H O M E MOV I ES

to produce a queer-bashing political ad. These attacks are an index of the importance of Marlon's message.

W E ST C O A S T P R E M I E R E

As many critics have pointed out, Rock Hudson

made movies which look different in the light of his sexuality. The melodramas-like All

That Heaven Allows and Magnificent Obsession­ lack heterosexual conviction; and the comedies

Visibility encourages survival and self­

A TR I B UTE TO M A R LO N R I GG S P R E S E N TAT I O N

1 992

OF TH E

F R A M E L I N E AW A R D

affirmation, and Marlon's work attempts to remedy the absence of real images of black gay men by giving people a glimpse of the reality of our lives. By erasing the invisibility

-Pillow Talk, A Very Special Favor-have him

The Frameline Award was established i n 1 986

that surrounds our existence, it validates not

pretending to be gay. In scenarios devised by

to honor individuals and organizations which

only our continued survival, self-empower­

those who knew Rock was gay he was cease­

have made Significant contributions to lesbian

ment, and self-esteem, but that of all intelli­

lessly thrust into compromising, ambiguous

and gay media arts. This year we are proud

gent and sensitive people.

situations.

to pr�sent the Award to Bay Area filmmaker

In Mark Rappaport's new tape Rock Hudson's

Marlon Riggs. It would pe hard to think of anyone who­

This special presentation will include clips from Tongues Untied and Color Adjustment, as well as tributes to him by friends-whom

Home Movies, Rock, played by a Rock-alike, journeys through an array of clev�rly-edited

in the past two years-has done more to raise

Marlon describes as the inspiration for his

clips and <fesses up to the homosexual conno­

America's consciousness about African-Amer­

work-including Blackberri, Porno Afro

tations. This new Rock is more militant than

ican and gay issues than Marlon. Through his

Homos, Alan Miller, Nicole Atkinson, Rupert

the old, and he never fails to point out a 90s

award-winning films such as Tongues Untied,

Kinnard, and Akiba Tiamaya.

way of looking at his pre-60s persona. The re­

and through his writing in anthologies like

sult is a dizzying, smart-ass, high-wire comedy

Brother to Brother: New Writings by Black Gay

about Hollywood and homosexuality. Plus, from Britain, a musical response to celebrity outing, Innings, made for British tele­

-Karl Knapper PRESIDENT, Frameline Board of Directors

Men, Marlon has helped shatter the silence surrounding the black and gay experiences. He is one of the foremost documentary

Marlon Riggs' latest tape, Non , J e Ne Regrette Rien, will be screened on Sunday June 28, 5:00 pm

vision's Saturday Night Out, but withdrawn

filmmakers of the African-American experi­

at the Roxie. Also on Friday June 1 9, at 1 0:00 pm

before broadcast, and Hollywood and Homo­

ence. Ethnic Notions (for which he won an

KQED (Channel 9) will rescreen The Creative Mind: Marlon Riggs.

phobia, an energetic argument between Basic

Emmy) examined stereotypes of blacks in

Instincts' makers and opponents (including a

American society aIJ,d showed the damage

trip to this year's Oscars).

these images have done, and still do. Tongues

T H I S P R O G R A M S P O N SO R E D .B Y B L K

Untied explored and exploded the silence and

FRAMEUNE AWARD WINNERS

INNINGS Dir. Clare Beavan Prod. Shauna

invisibility that cloaks the black gay male ex­

1986-1992

Brown ( 1991) GB 3 mins. video

perience and gave a voice to those of us who

� HOLLYWOOD AND HOMOPHOBIA

Vito Russo, author

didn't know we had one. And Color Adjustment

1986

Dir. Clare Beavan Prod. Shauna Brown

continues the study of prej udice and percep­

1987

Alexandra Von Grote,filmmaher

(1992) GB 20 mins. video �

tions by tracing four decades worth of Ameri­

1988

Divine, actor

can race relations through the depiction of

1989

African-Americans on television.

1 990

CinevistalPromovisiori, distributor Robert Epstei n� film maker

ROCK HUDSON'S HOME MOVIES Dir. Mark Rappaport (1 992) USA 62 mins. video Total running time: 85 minutes

Marlon's rejection of the so-called objective and profesSionally detached approach to doc-

1991

Elfi Mikesch ; filmmah er

1 992

Marlon Riggs, filmmaher

I

47


VIUAGE VOICE TOP 10 BESTSEUER • • •

an articulation of that dream in the dark welve all had­

gazing at those flickering

THE TERRIBLE GIRLS by R..� b�c:c:a.

images, searching for ourselves and too often

B r <>'VV rI.

A contemporary gothic world in which

settling for less.

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A N EV E N I N G W I T H SAD I E B E N N I N G Join us for a retrospective of the works of

Q U E E R TV productions reflects an international revolu­

Sadie Benning. Using a Fisher-Price XPL

tion on the small screen. Featuring excerpts

camera (originally conceived as a children's

of programs from Amsterdam, Berlin, London,

toy) , Benning has created a body of work

Toronto, Atlanta, New York and San Francisco.

which is intensely personal, stylistically chal­

Please see Sunday June 2 1 , 4:30 pm Roxie

lenging and hauntingly sensual. Tapes being shown include: the Bay Area premiere of

WHY NOT LOVE?lGET USED TO IT

Benning's most recent video, a sexy gender­

Dir. Edgar Barens ( 1 992) USA 2 mins. 1 6mm

fuck tale of lesbian lust on the road called,

b &w -¢- LOVERVILLE Dir. Bohdan Zachary

It Wasn't Love; her raw and disturbing impres­

sions of a violent world in, A Place Called

( 1 992) USA 6 mins. video -¢- THE BRENDA AND GLENNDA SHOW Dir. Glenn Belverio

Lovely; meditations on teenage sexuality in

( 1 99 1 ) USA 1 1 min. video (excerpts) -¢­

Jollies, and the fragmented collection of im­

DEAUNDRA PEEK'S HIGH CLASS HALL

pressions which develops into a video diary,

0' FAME Dir. Dick Richards ( 199 1 ) USA

If Every Girl Had a Diary. Plus Me and Ruby­

1 0 min. video (excerpt) -¢- THE JANE SHOW

fruit, in which Benning offers a wonderfully

Dir. Moze Mossanen ( 1 992) Canada 1 0 min.

personal take on "Rubyfruit Jungle," and,

video (excerpt) -¢- POUT Dir. Pout video

A New Year, Benning's first video, made at

collective ( 1 992) GB 1 0 min. video (excerpt) -¢- LASBISCH TV Dir. Lasbisch TV collective

age 1 5 . Benning will introduce her work and be

( 1 992) Germany 20 min. video (excerpt)

present for audience discussion following the

-¢- THEa UND THEA Dir. Pieter Kramer

( 1 988) The Netherlands 20 mins. video

screening.

Total running time: 89 minutes IT WASN'T LOVE ( 1 992) USA 20 mins. video -¢- A PLACE CALLED LOVELY ( 1 99 1 ) USA

14 mins. video -¢- JOLLIES ( 1 990) USA 1 1 mins. video -¢- IF EVERY GIRL HAD A DIARY ( 1 990) USA 6 mins. video -¢- ME AND RUBYFRUIT ( 1 989) USA 4 mins. video -¢- A NEW YEAR ( 1 989) USA 4 mins. video

Total running time: 90 minutes E A S T B AY S C R E E N I N G S S PO N S O R E D B Y THE

PAC I F I C C E N T E R

F LAM I N G EARS

This priceless portmanteau of lesbian and gay

RO S E B U D W E ST C O A ST P R E M I E R E

In a blast of color and sound this new Austrian feature portrays a futuristic tale of urban lesbian angst. In the year 2700, amid the caustic rub­ ble of the town of Asche, a peculiar gang of lesbian characters live out a squalid and vio-

lent existence. A fragmented and bizarre drama of lust, jealousy and revenge develops between the film's three protagonists: Spy (a brooding cartoonist), Volley (Spy's ruthless antagonist) and Nun (a necrophiliac nun in a red plastiC outfit) . The film's technical innovations in Super 8 cinematography (blown up to 1 6mm) , sound, editing, set and costume design are as remark­ able as the story being told. Co-directed by a trio of Austrian filmmakers, Flaming Ears stakes out a new lesbian aesthetic for the 90s. Plus, check out Rosebud, the hottest lesbian coming out story you've ever seen. There's tons of voyeurism, cruising, and girls making out in this shiny, sexy color fantasy. ROSEBUD Dir. Cheryl Farthing ( 1 992) GB 1 4 mins. 1 6mm � FLAMING EARS Dir. Angela Hans

Scheirl, Dietmar Schipek, Ursula Purrer ( 1 992) Austria 84 mins. 1 6mm

49


60s D RAG I N 90 M I N U TES

H O L LY W O O D LAW N I N P E R S O N

AFFENG E I L ( L I FE I S L I K E

A

C U C U M BER)

W E ST C O A S T P R E M I E R E

Rosa von Praunheim's best film yet is a homage to larger-than-life actress Lotti Huber (most

50

FORTU N E A N D M E N 'S EYES M I C HAEL G R E E R I N PE RSON

A collection o [ rare underground shorts [rom

John Herbert's famous stage play about the

the late 60s, starting with Brohen Goddess, fea­

horrors of prison life, transformed into a sex­

turing Warhol superstar Holly Woodlawn. It's a

ually explicit movie about "a country club for

beautiful black-and-white salute to both silent

sadomasochistic homosexuals," accordirtg to

films and the Woodlawn image; she lounges

Vito Russo in The Celluloid Closet.

besides fountains, looking ravishing while De­

It's a tough, tragic, drama involving vio­

bussey plays on the soundtrack Brollm Goddess

lence, sex roles, and epic bitchiness. The film

is camp in the richest sense, and truly moving.

was made under difficult conditions: the actors

In the early 1960s, a group called Gay Girls

suffered in subzero temperatures on location

Riding Club were renowned for their drag

in a real, disused Quebec prison, and first

spoofs of Hollywood movies. We presented a

director Jules Schwerin was replaced by Harvey

, full retrospective in 1 985, and here's a chance

Hart. "Lester Persky, the prdducer, wanted

recently, star of von Praunheim's Anita-Dances

to view one of the funniest and best, The Roman

of Vice). She describes her careers as dancer,

Splings on Mrs. SLone. Plus, from Richard Fon­

"He wanted a great deal of nudity and was

wife, restaurateur, concentration camp prison­

taine (best known for his AMG posing pouch

interested only in the exploitation element."

er, and full-time eccentric. Full of gay humor

pictures like The Days of G reel? Gods), Nude

and bruised egos, Affengeil-it means some­

/1111. an all-Singing, ali-danCing, and almost all­

thing like 'apeshit'-is a generous, affectionate

nude version of television's Laugh In, featuring

Greer, fresh from The Gay Deceivers (Wed­

and lively movie.

Fontaine's favorite drag star, Miss Glory Holden.

nesday June 24 9 : 1 5 pm at the Castro) . Greer

Also on the same program: Dean Lance's

Finally, Tlicia's Wedding, starring The

only a kind of sex fantasy," says Schwerin,

The movie is saved from its exploitative tendencies by the performance of Michael

stars as the prison's resident outrageous drag

semi-animated activist aria A Hard Reign's

Cockettes. Founded on New Year's Eve 1 969,

GOIma' Fall, and Suddenly Last Summer, a

The Cockettes combined a Haight-Ashbury

than 400 performance of the Sal Mineo stage

hilarious investigation of "the Martina factor"

counter-culture lifestyle with the new gender

production. At this rare screening, Michael

queen, a role he had also occupied in more

in women s tennis.

politics of Gay Liberation. Their mix of nudity,

Greer will be present to talk about the making

Affengeil repeated Sat jwle 2 7, 4:15 pm Castro

gay humor and genderfuck drag assured them

of the movie .

instant San Francisco success. TIlda's Wedding A HARD REIGN'S GONNA FALL

is a thrillingly vicious satire of Patricia Nixon's

Dir. Dean Lance ( 1 990) USA 7 mitIS. video

wedding party; watch [or the great scene with

� SUDDENLY LAST SUMMER

Mamie Eisenhower.

FORTUNE AND MENS EYES Dir. Harvey Hart (1971) Canada/USA 1 02 millS. 35mm

Dir. Clare Beavan ( 1 99 1 ) GB 12 mitIS. video � AFFENGEIL Dir. Rosa von Praunheim

BROKEN GODDESS Starring Holly

( 1 990) G ermany 87 millS. 35mm

Woodlawn Dir. Dallas ( 1 969) 29 millS.

Genl1an language/English subtitles

1 6mm b &w silent � THE ROMAN

Total running time: 106 minutes

SPRINGS ON MRS STONE Starring The

E A S T B AY S C R E E N I N G S S P O N SO R E D B Y

Gay Girls Riding Club Dir. Ray Harrison

T H E PAC I F I C C E N T E R

(circa 1 963) 22 millS. video b &w � NUDE INN Starring Glory Holden Dir. Richard Fontaine ( 1 969 CHECK) 20 millS. 1 6mm � TRlClA'S WEDDING Starring The Cockettes Dir. Mark Lester ( 1 9 7 1 ) USA 3 5 millS. 1 6mm

Mic1Jael Greer will also be appearing at josie's Cabaret & juicejoint, Saturday and Sunday june 2 7-28. Please call (415) 861 -7933 for tickets and i nformation.


BOY ! WHAT A GIRL This rediscovered all-black cast musical stars

THE STATE OF TH I N GS

T H E A F FA I RS O F LOVE LAS CaSAS DEL QUERER WEST COAST PREMIERE

Tim Moore (liThe Kingfish " on the popular 50s ' Amos en Andy television series) as a butch

To complement the Queer Planet program (at the Eye Gallery, Monday June 22, 7 pm,

Madrid, after the Civil War. Like his song-and­

queen pursued by three men with marriage

free admission) , here's four films and videos

dance partner Pepita, gay Mario is in love with

on their minds. Black comedy team Patterson

which open our eyes to the state of different

their handsome straight pianist juan; rebuffed,

and Jackson co-star, along with a musical

nations.

he happily moves his attention to a string of

line-up that includes the Slam Stewart Trio, Sid Catlett Orchestra (with a cameo by Gene

First, Pride and Prejudice, a primer about

lovers. After an affair with a young nobleman,

homophobia, the closet, and coming out

whom Mario spurns, the nobleman's mother

Krupa), Deek Watson and His Brown Dots,

today-nicely spliced together with visual

concocts a nasty revenge . . . A throwback to

Ann Cornell and the International jitterbugs.

jokes and in-the-know references. John Goss'

the pre-Almodovar days of Spanish cinema,

Although Herald Pictures was a white

Flowing Hearts: Thailand Fights A IDS is a doc­

The Affairs of Love is a gorgeous, completely

production company, Boy ! What a Girl was

ument of grassroots equcation, focussing on

unselfconscious cinematic pleasure.

made for the contemporary black audience, and featured some of the best black musical

performances by The White Line Dance Troupe

and comic talent of the day. The acting is less

AIDS awareness) and interviews with Thai

than naturalistic at times-and the plot less than subtle-but these were characteristics of

gay/AIDS activists. Plus Fantasy Island, which creatively uses

most of the big studio musicals of the 40s.

plasticine animation and, yes, Ethel Merman

A Harlem tenement is home to the film's

to portray the homophobia in Britain's Isle of

collection of entertainers. The plot revolves

Man, where until three months ago homosex­

around a pair of smalltime producers trying to

uality was completely illegal. And Welcome to

stage a show, while wooing the daughters of

the Dome, a strong record of the spectacular

the show's wealthy backer. The romantic ele­

ACT-UP action which took place during the

ment in this romantic-comedy is heterosexual;

German Bishop's Conference in late 1 99 1 ;

the comedy element, however, is eminently

unlike New York ACT-UP's similar "Stop the

queer. When the show's other backer doesn't

Church" action at St. Patrick's Cathedral, this

arrive from "Gay Paree" , the producers enlist

protest ended in violence.

the talents of a bald, cigar-smoking female im­ personator to masquerade as 'Madame Deborah.'

PRIDE AND PREJUDICE Dir. Dorothy

Class emerges rather strangely as the defining

Engleman ( 1 992) USA 30 mins. video

stereotypical element in this convoluted com­

<7 WELCOME TO THE DOME Dir. Jochen

Hick ( 1 992) Germany 15 mins. 16mm <7

edy of errors. Plus, Michelle Parkerson's acclaimed doc­

FANTASY ISLAND Dir. Brian Wood ( 1 99 1 )

umentary, Storme: The Lady of the Jewel Box.

G B 7 mins. 1 6mm <:r- FLOWING HEARTS:

This intimate portrait of male impersonator

THAILAND FIGHTS AIDS Dir. John Goss

,torme DeLarverie offers a look at the legen­

( 1992) USA/Thailand 32 mins. video

:Iary Jewel Box Revue

-

a favorite act on the

31ack theater circuit from the 40s thru the 60s. STORME: THE LADY OF THE JEWEL BOX

Dir. Michelle Parkerson ( 1 987) USA 21 mins. 16mm <7 BOY! WHAT A GIRL Dir. Arthur Leonard ( 1945) USA 70 mins. 1 6mm

Please see Satu rday June 20, 4:30 pm Castro

(which uses Thai and modern dance to enact

Total running time: 84 m inutes

THE AFFAIRS OF LOVE

Dir. Jaime Chavarri ( 1990) Spain 1 00 mins. 35mm Spanish language/English subtitles

51


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WHERE TH E C OWS GO: N EW LES B I A N & G A Y S H O RTS

The "short" isn't just shorter than a feature, it's a different form,. one which particularly

SEX , LESB I A N S A N D VI D E OTA P E

DA D D Y A N D T H E M U SC LE A C A D E M Y

This collection o f shorts features some of

U .S. PREM I ERE

the sexiest and brightest work of the year,

Tom of Finland (who died last November, age

lends itself to subversive re-readings, fantasy

including She Don 't Fade, a self-reflexive look

7 1 ) was one of the gay world's few authentic

narratives and pointed critiques.

at the sexuality, love life and friendships of

icons. His hypermasculine drawings have had

In Home Stories, American melodramas of the fifties are deconstructed to reveal women characters as trapped within the imagination

a young black lesbian, and the locally pro­

a lasting influence -not only on the visual

duced Fingered!

appearance of gay men (the 70s clone look,

Please see Satu rday June 20, 1 2:00 Roxie

of the narratiVes. The only escape is to leave

the fetishism of leather) but also on their self­ understanding. Daddy and the Muscle Academy

home. The powerful, inventive new video by

NO GLOVE, NO LOVE Dir. Inka Petersen

Kevin Adams, Can't Take That Away From Me,

and Anja Schulz ( 1 99 1 ) Germany 2 mins.

is dedicated to a man who was killed in a gay­

video <:r- I'VE NEVER Dir. Pamela jennings

bashing. His story, told in text, is situated

( 1 992) USA 6 mins. video <:r- WHAT'S THE

artists. I1ppo Pohjola's controversial film also

DIFFERENCE BETWEEN A YAM AND

includes some steamy, invented sequences­

creating a moving critique of societal intoler­

A SWEET POTATO? Dirs. ] . Evan Dunlap

a sort of journey to the center of Tom's psyche.

ance, while affirming gay presence.

and Adriene jenik ( 1 992) USA 4 mins. video

Daddy and the Muscle Academy gets so close to

Rosebud by Cheryl Farthing is a lesbian

<:r- VANILLA SEX Dir. Cheryl Dunye ( 1 992)

the mystique of Tom of Finland, you can smell

coming out film constructed around a series

USA 4 mins. video <:r- BROWN SUGAR

between aestheticiezed images of gay couples,

of purposeful, torrid glances. In Meeting of Two Queens, Cecilia Barriga rereads film histo­

LICKS SNOW WHITE Dir. Robin Vachal

combines interview material with Tom, and hundreds of his drawings, with testifying 'Tom's men", from Drummer daddies to fellow

the leather. Plus, on the same program: Michael Brynn­

and Suzi Silbar ( 1 992) USA 4 mins. video <:r­

trup's hilarious and hot Love, Jealousy and

ry to construct a fantasy meeting between

YOU CAN OPEN YOUR EYES NOW Dir.

Revenge, a comedy about subtitling and crossed

Marlene Dietrich and Greta Garbo. The gift of

Arlene Sandler ( 1 99 1 ) Canada 3 mins. video

a pair of well-loved dancing shoes transports a

<:r- ICH UND FRAU BERGER Dir. Heidi Kull

reluctant young man back to the heyday of the disco scene in Mark Christopher's fanciful

( 1 99 1 ) Germany 4 mins. video <:r­

lines, and, from 1968, a Richard Fontaine physique short, Cell Mates, with muscle bud­ dies Wayne johnston and Bob Watson.

STAFFORD'S STORY Dir. Susan Muska

narrative, The Dead Boys' Club. Where the Cows

( 1 992) USA 3 mins. video <:r- FERDOUS

LOVE, jEALOUSY AND REVENGE

Go is a delightful story of a woman who as

(PARADISE) Dir. Shakila Maan ( 1 990)

(Liebe, Eifersucht und Rache) Dir. Michael

GB 8 mins. video <:r- PERILOUS LIASONS

Brynntrup ( 1992) Germany 7 mins. 16mm

Dir. Charline Boudreau ( 1 99 1 ) Canada

<:r- CELL MATES Dir. Richard Fontaine

a teen longed to jump over the moon. HOME STORIES Dir. Matthias Mueller

1 0 mins. video <:r- FIN G ERED! Dir. james

( 1 968) USA USA 1 1 mins. 1 6mm <:r­

( 1 99 1 ) Germany 6 mins. 1 6mm <:r­

Raymond ( 1 992) USA 12 mins. video <:r- BIRD

DADDY AND THE MUSCLE ACADEMY

CAN'T TAKE THAT AWAY FROM ME

IN THE HAND Dirs. Melanie Nelson and

Dir. I1ppo Pohjola ( 1 992) Finland

Dir. Kevin Adams, ( 1 992) USA 1 4 mins. video

Catherine Saalfield ( 1 992) USA 25 mins. video

55 mins. 16mm Finnish and English language/English subtitles

<:r- ROSEBUD Dir. Cheryl Farthing ( 1 992)

<:r- SHE DON'T FADE Dir. Cheryl Dunye

GB 14 mins. 1 6mm <:r- MEETING OF TWO

( 1991) USA 23 mins. video

P A R T I A L P R OC E E D S F R O M T H I S

QUEENS Dir. Cecilia Barriga ( 199 1 ) Spain

Total running time: 1 08 minutes

SCR E E N I N G W I LL B E N E F IT T H E A I DS

1 4 mins. video <:r- THE DEAD BOYS' CLUB Dir. Mark Christopher ( 1 992) USA 25 mins. 1 6mm <:r- WHERE THE COWS GO

E M E R G E N C Y F U N D A N D TO M O F F I N LA N D F O U N D AT I O N . T I C K ET S A R E A LS O AVA I LA B L E F O R A S P E C I A L TO M O F F I N LA N D R EC E PT I O N A FT E R T H E

Dir. Maggie Ford ( 1 99 1 ) GB 1 5 mins. 1 6mm

FI LM.

Total running time: 88 minutes

( 2 1 3 ) 2 5 0- 1 6 8 5

EAST

BAY S C R E E N I N G S S P O N S O R E D B Y THE

PA C I F I C C E N T E R

PLEASE CALL

TH I S PROGRAM

F O R D E T A I LS .

S PO N S O R E D

1 808

C LU B

BY T H E

53


C ROSS-S EX I N G TH E N A R RAT I V E : L ES B I A N S U BTE XT I N M U S I C V I DEOS A M U LT I - M E D I A P R E S E N TAT I O N B Y MA R U S I A BOCI U R K I W

A H I STORY OF VIOLENCE H I STO R I A D E V I O LE N C I A

Dialogo es un conmovedor monologo acer­

ca de la sexualidad imaginada por un "drag queen" venezolano; y Sano y Sanitario es una serie de cortometrajes con un toque muy

Nine shorts on dark subjects-some blackly

erotico sobre encuentros en el sanitario para

funny, some painful and troubling. House of

caballeros.

Provocative, subversive, funny and informa­

Color's I Object uses fast editing to ask ques­

tive, this unique presentation invites you to

tions about who's excluded from conventional

revel in the special pleasures of discovering

images of beauty and eroticism. Zoe leonard's

comedia agridulce sobre amor, mentiras y

and uncovering lesbian subtexts (and not so

East River Park documents AIDSphobia in the

cucarachas. Como Matarla y Merida Proscrita

"sub" texts) in the music videos of 1<. d. lang,

form of a duel between two grafitti writers.

fueron las dos favoritas de nuestro festival en

Joan Armatrading, Michelle Shocked, Annie

Andrea Slane's The Other Woman delves into

1990; la primera es una combinaci6n bella

lennox, Salt 'n Pepa and many others. From Madonna's ever popular girl-kiss in "Justify

the ambiguous-sado-masochistic?-relation­

que se burla de la pelicula noir, el jazz puer­ toriqueno y el resultado es un penetrante, y,

My love" to k.d. lang's rarely seen "I Wanna Sing You a love Song" duet with Anne Murray,

ships between three women. Dialogo is a moving monologue about sex­

Ademas tres peliculas acerca de la obsesior de Espana, Ar/equin Exterminador es una

uality as imagined by a Venezuelan drag queen,

de por si, perverso adent.ramiento acerca la realidad de un carino desinteresado. Merida

this wildly amusing presentation tours lesbo­

and Sano y Sanitario is an erotically-charged

Proscrita es una historia de amor en sepia y

eroticism, androgyny, cross-dressing and veg­

short set in a men's restroom-a Cuban Un

triste que tiene lugar en Mexico.

etarianism.

Chant d'amour.

Marusia Bociurkiw is a Montreal-based film­

Plus three films about obsession: from

El programa termina con la perturbadora, controversial y lograda Historia de Violencia

maker/critic. Her feature film, Nightvisions was

Spain, Harlequin Exterminator, starring, written

screened at the 1989 San Francisco International

and directed by Marta Balletbo-Coll; it's a bitter­

lesbian and Gay Film Festival; her video, Bodies In Trouble, was shown at last year's Festival.

sweet comedy about love, lies, and roaches.

I OBJECT Dirs. House of Color ( 1 991) USl

How to Kill Her and Meridad Proscrita were

5 mins. video English language <:? HARlE­

Total running time: 90 minutes T H I S P R O G R A M S P O N SO R E D BY THE

PA C I F I C C E N T E R A N D

T H E C A N A D I A N C O N S U LA T E G E N E R A L

de Danny Acosta .

both favorites of our 1990 Festival; the first is

QUIN EXTERMINATOR Dir. Maria

a beautiful combination of film noir spoofing,

Balletbo-Coll ( 1 99 1 ) Spain 12 mins. 1 6mm

Puerta Rican jazz, and the result is an acute, if

English language <:? HOW TO KILL HER Di

perverse, insight into the reality of unrequited

Ana Marie Simo ( 1 990) USA 15 mins. 1 6mr:

affection. Merida Proscrita is a sad, sepia love

English language <:? MERlDAD PROSCRlTl

story set in Mexico.

Dirs. Raul Ferrera-Balanquet &: Enrique

The program ends with Danny Acosta's

Novello Cascante <:? ( 1 990) Mexico/USA

disturbing, accomplished and controversial

7 mins. video Spanish language/English subtiti

A History of Violence.

Nueve peliculas cortas sobre temas oscuras­ algunas muy satiricas, algunas dolorosas y problematicas. Yo Me Opongo de la Casa de Color presenta interrogantes sobre quienes estan excluidos de imagenes convencionales de belleza y eroticismo. El Parque del Rio Este de Zoe leonard discute como la SIDAfobia llega

<:? SANa Y SANlTARIO Dir. Javier Derrio

( 1 991) Cuba 10 mins. 3Smm No dialogue -< DlAlOGO Dir. Haydee Pino ( 1991)

Venezuela 1 0 mins. 1 6mm Spanish

language <:t THE OTHER WOMAN

Dir. Andrea Slane ( 1 99 1 ) USA 13 mins. vidE English language <:? EAST RIVER PARK

Dir. Zoe leonard (1992) USA 6 millS. 1 6m! English language <:? A HISTORY OF VIO­

a ser un duelo entre dos artistas de grafiti. La

lENCE Dir. Danny Acosta ( 1 99 1 ) USA

Otra Mujer trata de las ambiguas relaciones­

7 mins. 16mm English language

Lsadomasoquistas ?-entre tres mujeres.

Total running time: 85 minutes


FRIDAY JUNE

26, 1 1 : 1 5 $4

PM

C A ST R O

CAN'T STO P T H E M USIC Produced by Allan Carr after the unlikely suc­ cess of Grease, Can't Stop The Music was de­ signed to broaden the appeal of 70s gay icons, The Village People. It is probably one of the strangest films of the 80s. On the one hand, it was promoted as the family musical movie phenomenon of the decade, and accordingly the Village People were scrubbed clean of Association sponsored a nationwide tie-in). On the other hand, the movie is chock full 0' faggy in-jokes, campy musical sequences, homoerotic set-ups, and nancyboy behavior.

Can't Stop the Music is also being shown

as a tribute to director Nancy Walker (better known as Rhoda's mom) , who died earlier l'his year. Watch out for Nancy's visionary use of cinemascopic split screen for the setpiece "YMCA" number. We can't think of a better way to see in the start of Lesbian & Gay Freedom Day 1 992. CAN'T STOP THE MUSIC

Dir. Nancy Walker ( 1 980) USA 1 24 mins. 35mm

This year's shorts sampler puts emphasis on

Speck ( 1991) Germany 1 6 mins . 1 6mm � NUDE DESCENDING Dir. Stephen Kijak

.

( 1992) USA 1 4 mins. 1 6mm � SPLASH

feature Westler: East oj the Wall) is a word­

Dir. Thomas Allen Harris ( 1990) USA 7 mins.

less account from a dying man's bedside. In

1 6mm � RAISING NICHOLAS Dir. Feme

Stephen Kijak's Nude Descending a photograph,

Pearlstein ( 199 1 ) USA 4 mins. 1 6mm �

a painting, and a letter shape a memory of

THE WEIGHT OF OCEANS Dir. John

Binninger ( 199 1 ) USA 7 min. 1 6mm � HELMS

=

DEATH Dir. Peter Edward

Maxwell ( 1 99 1 ) USA 1 min. 1 6mm

of a dream before waking.

anything lIlut a queer treat. Besides, any movie

ALL ALL-AMERICAN STORY

remembrance of things past. Room 303, by

The Weight oj Oceans is a beautiful evocation

sexual romance, it's impossible to see it as

about gay credibility.

� ROOM 303 [ZIMMER 303 ] Dir. Wieland

a surreal one-night stand. John Binninger's

Despite the (barely credible) central hetero­

and Paul Sand must know a thing or two

Dir. John Keitel ( 1992) USA 2 1 mins. 1 6mm

W E ST COAST P R E M I E R E S

Wieland Speck (best-known for his 1 986

their gay image (and the American Dairy

with cameos by J une Havoc, Barbara Rush

' N EW GAY S H O RT F I LM S

Splash by Thomas Allen Harris is an emo-

b&w Silent � THE WILD WINDS

tionally violent (and funny) flashback to pre­

Dir. Steve Simpson ( 19 9 1 ) USA 8 mins .

puberty. Raising Nicholas is an artful dialogue

1 6mm � RSVP Dir. Laurie Lynd

by Feme Pearlstein between an adopted boy

( 199 1 ) Canada 23 mins. 16mm

and his gay male parents. John Keitel's An Al!­

Total running time: 101 minutes

American Story is a sharp, funny snapshot of

the filmmaker as a young gay man; attending a Stanford reunion and shocking himself more than his straight pals. Plus Peter Maxwell's abrasive, angry and silent celluloid graffiti, Helms=Death , and Steve Simpson's genuinely

scary surreal short, The Wild Winds . . Ending the program, Laurie Lynd's acclaim­ ed and powerful RSVP. Jessye N orman's per­ formance of Le spectre de la Rose (from Berlioz's Les Nuit d'ete) ties together a near-wordless tour­

de-forc'e about the impact of one man's death on those who loved him. Be prepared to weep. On RSVP: "It's hard not to be moved by this gentle and well-made short. "

-AI Weisel, NYQ

55


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L I S FO R LES B I A N

GAY YO UTH

This wild collection o f lesbian images and sto­

M I N O R U AND M E

ries features Jean Carlomusto's L is Jar the Way You Lool? , and eight other lesbian visual treats. Please see Monday June

22, 9:30 pm Roxie

EILEEN MYLES: AN AMERICAN POEM Oir. Andrea Kirsch ( 1 987) USA 3 mins. 1 6mm <> DO YOU THINK THAT A CANDIDATE

SHOULD LIVE LIKE THIS? Dir. Jennifer Montgomery ( 1 992) USA 3 mins. video <> COUNT ME IN Dir. Rebecca Patterson

( 1 99 1 ) USA 6 mins. video <> WICKED RADIANCE Dir. Azian Nurudin' ( 1 992) USA

5 mins. video

<> VII AL SIGNS Dir. Barbara

Hammer ( 1991) USA 1 0 mins. 1 6mm <> A PRAYER BEFORE BIRTH Dir. J acqui

Duckworth ( 1 992) GB 20 mins. 1 6m m <> SUDDEN LY LAST SUMMER Dir. Clare Beavan ( 199 1 ) GB 1 2 mins. video <> SALLY FORTH Din Inka Petersen ( 1990) Germany

20 mins. video <> L IS FOR THE WAY YOU LOOK Dir. Jean Carlomusto ( 199 1 ) USA 2 3 mins. video Total running time: 1 02 minutes S PO N SO R E D B Y G I R L J O C K MAGAZ I N E A N D T H E C A F E ( FO R M E R LY C A F E S A N M A R C O S ) .

B AY A R E A P R E M I E R E

Two powerful new tapes which both shake up the notion of 'educational video.' Gay Youth (which was assisted by Frameline's Film &: Video Completion Fund) is a stirring tape about two teens: Bobby Griffith, who killed himself at the age of 20, and Gina Gutierrez, a . 17 year old high school senior who has received acceptance and support for her sexu­ al identity. One story is about death, the other about life; director Pam Walton shows what can make the difference. Last year, British-based filmmaker Toichi Nakata invited his Japanese pal Minoru to visit him in London. M inoru -who has cerebal palsy-tells Toichi he has a confession to make . Minoru and Me is the (real life) video result . It's a horribly honest drama: T oichi becomes increasingly obsessed with portraying Minoru as disabled and dependent; Minoru becomes increasingly disgusted and unable to state what he's travelled so far to say. In their argu­ ments and silences, there's a lot to learn about disability, about coming out and about the role of the filmmaker.

I S S U E O F G I R L J OC K M A G AZ I N E .

GAY YOUTH Dir. Pam Walton ( 1 992) USA 46 mins. video <> MINORU AND ME Dir. Toichi Nakata ( 1 992) GB 45 mins. video Japanese and English language/English subtitles

Total running time: 91 minutes FOR THE

I N F O R M AT I O N O N

FRAM E L I N E

C O M PLET I O N

F I L M & V I DEO

FUND,

TO FRAM E L l N E,

N E W LE S B I A N S H O R T F I L M S 2 B A Y A R EA P R E M IE R E S

In A Certain Grace, by local filmmaker Sandra Nettlebeck, Zelda meets Alice and they begin to work together on a photography project. Their relationship develops, and Zelda's boyfriend starts to think that Zelda is spending too much time with Alice. As the erotic tension between Zelda and Alice heightens, a large poster of Michelle Shocked looms prominently on the kitchen wall. Justine Buchanan's Glasses Breal? offers a bittersweet recollection of a love affair. Angie Black's State oj Mind takes us through an experimental sexual journey as a butch babe on a motorcycle recalls a past lover. Then, a woman's realization of her attraction to a co­ worker prompts a fantastic reverie at the Doll Shop, by Christine Rasmussen. True Blue­

by another Bay Area filmmaker, Maureen Brownsey-is a comedy about a lesbian, a pregnancy test, and a regrettable one-night stand. TRUE BLUE Dir. Maureen Brownsey ( 1 992) USA 7 mins. 1 6mm <> DOLL SHOP

A L L ATT E N D E E S O F T O D A Y ' S S H O W W I L L R EC E I V E A C O M P L I M E N TA R Y

S H E LI KES (M O R E) G I RLS

PLEASE WR ITE

P.O. BOX

1 4792'

S A N F R A N C I S C O , CA 94 1 1 4 .

Dir. Christine Rasmussen ( 1 99 1 ) USA 1 1 millS 1 6mm <> STATE OF MIND Dir. Angie Black ( 1 990) Australia 13 mins. 1 6mm color and b &w <> GLASSES BREAK Dir. Justine Buchanan ( 1 991) GB 18 mins. 16mm <> A CERTAIN GRACE Dir. Sandra Nettelbeck ( 1 992) USA 40 mins. 1 6mm Total running time: 91 minutes

57


G E N D E R/ B ODY/S ELF This two hour identity tour highlights nine

(LI FE IS L I KE

A

C U C U M BER)

O LI V I A "Collette's masterful screen drama . . . the ofjbea

W E ST COAST P R E M I E R E

story of a strange relationship . . . condemned

and self, including jugglillg Gel1der, a profile

Rosa von Praunheim's best film yet is a homage

by the world . . . acknowledged only in fanciful

of a lesbian performance artist; F2M (Female

to larger-than-life actress Lotti Huber (most

dreams . . . Discussed only in whispers .

To Male) , about a lesbian, female-to-male

recently, star of von Praunheim's Al1ita-Dances

pre-op transsexual; and Two Spirit People, an overview of the Berdache tradition in Native

of Vice). "I can still remember how I met .Lotti," says Praunheim. "I asked her, the way I always

American cultures.

do, about her sexual practices. She coolly quoted

teacher was written and directed by women.

Oscar Wilde: 'Questions are never indecent,

Although it ends tragically, the film's lesbian

answers can be'."

characters are sympathetically portrayed .

new works focusing on issues of gender, body

Please see Tuesday jLU1e 23, 7:30 pm Roxie

LIMITLESS Dir. Jenni fer Johns ( 199 1 ) USA 5 m ills. 16mm <;- PASS ING Dir. Sara Whitely

( 1 99 1 ) USA 3 mil1s. 1 6mm b &w <;­

58

AFFEN G E I L

Huber's answers to her film-maker's ques­

"

-[rom the u.s. advertisin g campaign [or QIiVi

Like the more well-known Maedchen in Uni­ form, this story of a young girl's love for her

Olivia is a beautifully photographed melo­

tions are certainly indecent by normal bio­

drama, and the o nly fi lm of the 1 950s to deal

graphical standards. She describes her careers

openly with lesbianism.

DUAL OF THE SENSES Dir. Heidi Arnesen

as dancer, wife, restaurateur, concentration

( 1 99 1 ) USA 3 mil1. 16mm b &w <;- A SPY

camp prisoner, and full-time eccentric. She's

Released in the U nited States in 1954 as P of Loneliness, this rarely seen French lesbian

also as obstinate as Praunheim. Half-way

boarding school drama was censored for

Silver ( 1 992) USA 5 mins. video

through the film's making, director and star

American audiences. In The Celluloid Closet

<;- GIVE ME BODY Dir. Pablo Bautista

argue, and Praunheim has to overcome his

Vito Russo reprints the follOwing censor's

(Hester Reeve Does the Doors) Dir. Suzie

( 199 1 ) USA 9 l11ins. video <;- SHE BEGINS Dir. Hrafnhildur Gunnarsdottir ( 1 989) USNIceland 9 millS. video <;- THE DRAMA OF THE GIFTED CHILD Dir. Cecilia

not insubstantial pride. Full of gay humor and

notation on the film: "Eliminate in Ree1 5D:

bruised egos, Affel1geil (it means something

Scene of Miss Julie holding Olivia in close

lively movie.

Reason: Immoral, would tend to corrupt

like 'apeshit) is a generous, affectionate and

Dougherty ( 1 992) USA 10 millS. video

AFFENGEIL Dir. Rosa von Praunheim

<;- F2M (Female to Male) Dir. Cayte Latta

( 1 990) Germany 87 mil1s. 35mm

( 1 992) Australia 15 mil1s. video

German lal1guage/El1glish subtit les

<;- TWO SPIRIT PEOPLE Dirs. Lori Levy,

Gretchen Vogel, Michel Beauchemin (199 1 ) USA 20 millS. video <;- JUGGLING GENDER:

embrace and kissing her on the mouth. morals." The fi lm's advertising campaign ser sationalized the "immoral" lesbian angle as only Hollywood can, promising viewers a loc at "The secret's of a woman's love-starved SOl in the daring drama of an unnatu ral love." OLIVIA Dir. Jacqueline Audry ( 1 9 5 1 )

POLITICS, SEX AND IDENTITY

France 88 mins. 35mm

Dir. Tami Gold ( 1992) USA 27 111il1s. video

French language/English subtitles

Total running time: 106 mi l1 utes

' TH I S P R O G R A M S P O N S O R E D B Y O L I V I A C R U I S ES


R H YTH M D I VI N E :

T H E STORY O F D I SC O The Rhythm Divine is a completist history of

disco, featuring the music of Sylvester, Divine, Donna Summer and Jimmy Sommerville, and interviews with Miquel Brown, Nile Rogers, Neil Tennant, Giorgio Moroder, and Sinitta. Plus a report on Joan Jett Blakk's 1991 cam­ paign for mayoral election, Drag In'Jor Votes, and the socially relevant music video, Condoms are a Girl's Best Friend. Please see Monday JUl1e 22, 7:30 pm Roxie DRAG IN' FOR VOTES Dir. Gabriel Gomez

&: Elspeth Kydd ( 199 1 ) USA 1 7 mil1s. video <> CONDOMS ARE A GIRL'S BEST FRIEND

Dir. Eric Kay ( 199 1 ) USA 4 mins. video <> THE RHYTHM DIVINE:

ACTI O N S S P E A K LO U D E R T H A N WO R D S U.S.

PREM I ERE

S I LE N C I O= M U E RTE Three tapes about AIDS, activism, and the Latina/o experience. AIDS in the Barrio is an X-ray of social conditions in Philadelphia)

Three videos about signs, meaning and sexual communication. Actiol1s Spea h Louder Thal1 Words is a strikingly original work for Channel

barrio. Ray N avarro was a key video maker

Four's Out series, by frequent Festival fixture Richard Kwietniowski (Flames oj Passion, Proust's Favorite Fantasy). Six deaf performers­

white gay culture; Ray Navarro Memorial Tape

three women, three men -are brought together to devise staged pieces based on their experi­ ence of gay and deaf cultures intersecting, and

Ellen Spiro (DiAlia's Hair Ego) focuses on the women who are HIV positive. Like the best

the highly politicized nature of both in Britain.

documents of activist and educational work,

(Tell Me Why) The Epistemology oj Disco is

and AIDS activist, who died while making a work about Latino gay male assimilation into is a tribute to him and his activism. (In)Visible Women, by Marina Alvarez and

heroic and empowered responses of Latina

(In)Visible Women exactly captures human

a humorous and affectionate look at the role

panic, frustration, inspiration and action; it's

disco music has played in the formation of

one of the most inspiring tapes in the Festival.

gay male identity. Combining tongue-in-cheek

THE STORY OF DISCO Dir. Paul Oremland

semiotics with well-loved disco classics, and

Tres videos sobre el SIDA, el activismo y la

( 1 99 1 ) GB 55 mins. video

extracts from Hollywood movies of the time,

experiencia latina/o. SIDA en el Ban'io es un

director John Di Stefano exhaustively cele­

examen de las condiciones sociales de un bar­

brates gay culture from the late 60s onwards.

rio en Philadelphia. Ray Navarro, director de

Patrick Wright's Voices oJ Life is a clever

video, se dedic6 a luchar contra el SIDA. Muri6

Total running time: 76 minutes

deconstruction of conventional AIDS docu­

antes de terminar su ultimo video sobre la ex­

mentaries, which alerts us to how appear­ ances can be extremely deceiving.

periencia de los gay latinos en la cultura gay anglo-sajona. En respecto sus amigos/as hi­

Please see Sunday JUl1e 2 1 , 7:00 pm Roxie

cieron en video sobre la vida de Ray Navarro.

ACTIONS SPEAK LOUDER THAN WORDS

Ellen Spiro (DiAl1a's Egoism de Pelo) enfocan

Mujeres (In)Visibles, de Marina Alvarez y <> Dir. Richard Kwietniowski ( 1 992) GB

en las respuestas her6icas y poderosas de mu­

22 millS. video <> (TELL ME WHY)

jeres latinas que son HIV+. Como uno'de los

THE EPISTEMOLOGY OF DISCO

mejores documentos activistas, Mujeres cap­

Dir. J ohn Di Stefano ( 1991) USA 24 mins. video <> VOICES OF LIFE Dir. Patrick Wright ( 199 1 ) USA 33 mins. video Total running time: 79 minutes EAST BAY SC R E E N I N G S S P O N S O R E D B Y T H E PAC I F I C C E N T E R

tura con exactitud la fuerza humana, el panico, la frustraci6n, la inspiraci6n y la acci6n. AIDS IN THE BARRIO Dirs. Peter Biella &: Frances Negron ( 1 99 1 ) USA 30 mins. video

El1glish Lal1guage <> RAY NAVARRO MEMORIAL TAPE Dirs. Catherine Saalfield

&: Gregg Bordowitz ( 1 990) USA 30 mins. video English Language <> (IN)VISIBLE WOMEN Dirs. Ellen Spiro &: Marina Alvarez

( 1 99 1 ) USA 26 mitts. video English Language! Spanish subtitles

59


C A U G H T LO O K I N G N O RTH O F VORTEX

T H E S L UTS AN D GODD E S S E S V I DEC WO R KS H O P

W E ST COAST P R E M I E R E

TH E L I VI N G E N D

A double-bill from Constantine Giannaris, who has swiftly and deservedly become a

W E ST COAST P R E M I E R E

Two fatalistic l.A. boys-one's an impulsive, on-the-edge

BAY A R E A P R E M I E R E

Two lesbian tapes for your late-night viewin

psycho cutie; the other listens to the Smiths a lot, and likes

makers. He was recently voted best gay film­

pleasure. The Sluts and Goddesses Video

Godard movies-discover they're HIV positive, and set about

maker of the year by the British magazine Gay

Worl�shop or How To Be A Sex Goddess In 1 0

on an unplanned, unhinged serio-comic spree of violence

Times, and at the Berlin Film Festival, Caught

Easy Steps is sure t o b e a bright and educa­

Looking was unanimously awarded the Teddy

tional experience for all. You can learn how

and abandon . Fresh from its Sundance and Berlin festival screenings, The Living End has been described as a homo Thelma al1d

60

name-to-watch amongst international film­

WA R O N LE S B I A N S

Bear Prize for Best Gay Short. Caught Loohil1g is a sexy and subversive

to have more sensual and sexual pleasure in your life. Follow along as Annie Sprinkle

Louise, which is true enough-but it's also far more than that.

comedy about gay men's stereotypical sexual

exhaustively catalogs the j oys of sex, along

Director Gregg Araki has taken on the issues and energy of

fantasies; it's built around a new virtual reality

with her "Transformation Facilitators" whit

gay youth in 1992, and turned them into a mad, anarchic and

home computer game in which the player can

include Diviana lngravallo , locelyn Taylor

unsettlingly powerful experience. ("It's mostly set on the

select any historical period or location, and

and Carol Leigh (a.k.a. Scarlot Harlot) . Anc

road," explains Araki, "It's like a Hop e/Crosby movie . . .

then insert himself into the action. Caught

take a tour of a lesbian world in Jane Cottis

in which Crosby fucks Hope. ")

Looldng was originally made for Channel

War on Lesbians. Drawing on various pop c

Plus Jerry Tartaglia's irreverent papal fashion primer, Holy Mary.

'The Living End is a cal1did, Jreewheeling road movie

Four's Out series, but-unsurprisingly­

ture conventions and referents (film, televi·

deemed too explicit for mid-evening television.

sian news, and traditional talking head

Also by Giannaris, North oJ Vortex is a sen­

documentary) , Cottis poses as a gallery of characters and incorporates the subject of I

that ably represents the new boom oj gay-oriented talent . . .

sual change of pace: a studied black-and-white

Vibrant, angry, uncomplicatedly entertai ning. "

road movie about a bisexual poet, two hitch­

bianism into every imaginable arena, in thi:

hikers, and the American landscape.

potpourri of lesbian representatjons.

-Janet Maslin, New York Times

"A new landmarh in unapologetic, spit-in-your-Jace gay filmmaking.

-AI

"

Weiss, NYQ

HOLY MARY Dir. Jerry Tartaglia ( 1 99 1 ) 5 mins. 1 6mm -¢> THE LIVING END Dir. Gregg �raki ( 199 1 )

USA 85 mins. 1 6mm

C L O S I NG

N I G H T S PO N S O R E D BY

T H E 'S T E A M WO R K S A N D C I TY AT H L ET I C C L U B

CAUGHT LOOKING Dir. Constantine

WAR ON LESBIANS Dir. Jane Coltis

Giannaris ( 1 99 1) GB 35 mins. 1 6mm -¢>

( 1 992) USA 35 millS. video -¢> THE SLUl

NORTH OF VORTEX Dir. Constantine

AND GODDESSES VIDEO WORKSHO

Giannaris ( 1 99 1 ) GB 55 mins. 16mm

Dir. Maria Beatty and Annie Sprinkle ( 1992) USA 50 mins. video


DO U B LE T H E TRO U B L E

FA S H I O N/ F L I C K S

NON , J E N E R EG R ETTE R I E N

Karen Everett's Framing Lesbian Fashion looks

Four videos with a strong sense o f place. First

at the evolution of lesbian attire and identity­

of all, meet the out-of-towners: Philippe Roques takes us to the Northern Californian country- .

RAG E A N D D ES I R E WO R L D P R E M I E R E

We are proud to host the first screening of Frameline Award-winner Marlon Rigg's latest tape, Non, Je Ne Regrette Rien. Through music, poetry and, at times, chill­ ing self-disclosure, five seropositive black gay men speak of their individual confrontation with AIDS. Each man tells a singular and at the same time familiar story of self-transfor­ mation- from panic, resignation and silence to the discovery of the redemptive, healing power in being vocal and visible. Plus, from England, Rage and Desire, a memorial to black gay photographer Rotimi Fani-Koyode. Ruppert Gabriel's elegant, per­ sonal film also raises powerful questions about race, sexuality and identity. Also from England, Pratibha Parmar's Double the Trouble, a tale about one man's search for his community. That the man is Indian, gay and disabled leads to some revealing confrontations; Pratibha Parmar brings to her latest film-made for Channel Four's Out- the same wit and rich­ ness seen in her acclaimed earlier work Khush. A Tribute to Marlon Riggs will talle place on Thursday June 25 7:00 pm at the Castro. Khush and A Place of Rage play on Sunday June 2 1 ,

6:30 pm at the Castro.

Pannar ( 1 992) GB 25 mins. video <:? RAGE AND DESIRE Dir. Ruppert Gabriel

( 1 991) GB 1 7 mins. 16mm <:? NON , jE NE REGRETTE RIEN Dir. Madon Riggs ( 1 992) USA 30 mins. video Total running time: 89 minutes DAY

SC R E E N I N G S S P O N S O R E D B Y SAN

ButchlFemme, flannel, androgyny, cross­

F R A N C I SCO BAY T I M E S

TH E C I TY A N D T H E P LA I N S

dreSSing and drag, queer fiuorescents, S/M and leather, lipstick, and more. Featuring

side to meet men who identify as faeries. "It

interviews with Sally Gearhart, joAnn Loulan,

Berkeley teacher in Faerie Tales, "But it took

Arlene Stein, Kitty Tsui and others, Framing

a lot of guts to come out as a faerie."

. Lesbian Fashion incorporates archival photos

wasn't difficult coming out as gay," says one

"I didn't think there were any" is the con­

and personal stories to document the sociolo­

stant refrain of white Australia on the subject

gy and history of lesbian fashion.

of lesbian and gay Aborigines. Double Trouble

In We've Been Framed (made for the Channel Four Out series), women of different

proves them wrong with insight and a sharp . . edge of humor. Young urban Aboriginals­

ages, races and class backgrounds talk about

and older men and women from rural back­

the best, the worst and the first lesbian films

grounds-describe their first sexual experience,

they've seen. Plus, two brilliant cinematic

the racism of the white gay scene, and the

montages in The Meeting oJ Two Queens (Garbo and Dietrich together at fast) and Home Stories

contradictions of living in collision between

(a distillation of the position of women in the Hollywood melodrama and thriller) .

the third and first world. William Smartt's The Q.c. Girls is probably the most ragged video you'll see at this year's

FRAMING LESBIAN FASHION Dir. Karen Everett ( 1 992) USA 60 mins. video -<? WE'VE BEEN FRAMED Dir. Cheryl

Festival-it's raw and overwhelmingly intense. ' Smartt takes his camera to McMinnville, Tennessee, where everyone cruises the strip on a Saturday night in their cars. He befriends

Farthing ( 1 99 1 ) GB 25 mil1S. video

several sassy dykes, who stay alive through

<:? THE MEETING OF TWO QUEENS

giving as good as they get from local bigots.

Dir. Cecilia Barriga ( 1991) Spain 14 mins. video -<? HOME STORIES Dir. Matthias Mueller ( 199 1 ) Germany 6 mins. 1 6mm Total running time: 1 05 minutes L E S B I A N & GAY

FREEDOM

DAY

Matthew Link interviews six different men in his thoughtful, unsensational tape Male Escorts oj San Francisco. It answers almost all

the questions you might ever have, and offers a different take on America's favorite city.

SC R E E N I N G S S P O N S O R E D B Y SAN

DOUBLE THE TROUBLE Dir. Pratibha

L E S B I A N & GAY F R E E DO M

W E ST COAST P R E M I E R E S

F R A N C I S C O BAY T I M E S

· FAERIE TALES Dir. Philippe Roques ( 1 992) USA/France 20 millS. video -<? DOUBLE TROUBLE Dir. Tony Aynes ( 199 1 ) GB/Australia 2 4 mins. video -<? THE Q.c. GIRLS Dir. William Smartt ( 1989) USA 1 1 mins. video -<? THE MALE ESCORTS

OF SAN FRANCISCO Dir. Matthew Link ( 1 992) USA 42 millS. video

\

L E S B I A N & GAY F R E E DO M

DAY

SC R E E N I N G S S P O N S O R E D BY SAN

F R A N C I SC O B A Y T I M E S

61


ACTIONS SPEAK LOUDER THAN WORDS . . . . . . . . . . . . . . . . . .27, 59

FLESH HISTORIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1

PARADISE [FERDOUS] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 , 53

THE AFFAIRS OF LOVE [LAS COSAS DEL QUERER] .. 2 1 , 5 1

FLOWING HEARTS: THAILAND FIGHTS AIDS . . . . . . . . . . . . . . . . . 5 1

PASSING . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38, 5e

AFFENGEIL [LIFE IS LIKE A CUC;UMBER] . . . . . . . . . . . . . . . . . . 50, 58

FORTUNE AND MEN'S EYES . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . 50

PERILOUS LIASONS . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 . 53

AIDS IN THE BARRIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

FRAMING LESBIAN FASHION . . . . . . . . . . . . . . . . . . . . . . : . . . . . . . . . . . . . . . . . . . . . . 6 1

A PLACE O F RAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... 27 A PLACE CALLED LOVELy . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .46, 4S

AN ALL-AMERICAN STORY . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

FRIENDS FOREVER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

ALWAYS ON SUNDAy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

LA FRUTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 1

PLEASE DECOMPOSE SLOWLY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4�

ANITA BRYANT: PIE-IN-HER-FACE . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . .39

THE GAY DECEIVERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

70s PORN TRAILERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2j

THE GAY ROCK 'N' ROLL YEARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35

POUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 4S

DAME EDNA EVERAGE . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35

GAY YOUTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

A PRAYER BEFORE BIRTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33, 5;

ARENA: JEAN GENET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34-35

GENDERIBODY/SELF . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . 38, 58

PRIDE AND PREJUDICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

ARENA: KENNETH ANGER'S

GET USED TO IT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 49

PRIMITIVE AND PROUD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3(

ARENA: A BIRTHDAY TRIBUTE TO

HOLLYWOOD BABYLON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35

GIVE ME BODY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38. 58

QUEER TV . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 4�

ARENA: ROBERT MAPPLETHORPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35

GLASSES BREAK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

RAGE AND DESIRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6J

A GOAT NAMED TENSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , 46

ARM ISTEAD MAUPIN IS A MAN I DREAMT UP . . . . . . . . . 38, 46

A HARD REIGN'S GONNA FALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1 , 50

RAY NAVARRO MEMORIAL TAPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5(

RESERVAAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , 4(

AT HOME WITH THE STARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

HARLEQUIN EXTERMINATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , 46, 54

BARELY HUMAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 1

HELMS = DEATH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

BARRY WALTERS' FABULOUS WORLD

HIS RED SNOW WHITE APPLE LIPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 1

RHYTHM DIVINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 1 , 5'

OF QUEER POP VIDEO . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

A HISTORY OF VlOLENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

ROCK HUDSON'S HOME MOVIES . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .4·

BECAUSE REALITY ISN'T BLACK AND WHITE . . . . . . . . . . . . . . . .42

HOLLYWOOD AND HOMOPHOBIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1

ROMAN SPRINGS O N MRS. STONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

BIG TIME WRESTLERS . . . . . . . . . . . . .. . . . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

HOLLYWOOD SIN-ERAMA . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .39

ROOM 303

A BIRD IN THE HAND . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . 1 9, 53

HOLY MARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

ROSEBUD . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 . 46, 49, 5

RESONANCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . U

.

.

............. ....... ................

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. ....... S

BORDERLINE . . . . . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . 25

HOME MOVIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

ROVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , 41

BORN IN FLAMES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1

HOME STORIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23. 53, 6 1

RSVP . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . .5

BOY! WHAT A GIRL . . . . . . . . . .. . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 1

THE HOURS AND TIMES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .... . . . . . . . . . . . . . . . . . . . . . 33

SALLY FORTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . 33, 5

THE BRENDA AND GLENNDA SHOW . .. . . . . . . . . . . . . . . . . . . . . . . . 25, 49

HOW TO KILL HER . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

SCENES FROM A QUEER PLANET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

BROKEN GODDESS . . . . . . . . . . . . . . . . . . :. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . .. . . 50

I CHANGED MY SEX (TRAILER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

SEX CHANGE: SHOCK! HORROR! PROBE! . . . . . . . . . . . . . . . . . . 34-3

BROWN SUGAR LICKS SNOW WHITE . . . . . . . . . . . . . . . . . . . . . .... 19, 53

ICH UND FRAU BERGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

SEX, LESBIANS

BUT, NO ONE . . . . . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

IF EVERY GIRL HAD A DIARY . . . . . . . . . . . . . . . .. . . . . . . .. . . . . . . . . . . .46

& 53 & 49

& VIDEOTAPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 19. 5

SHE BEGINS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . 38. 5

SHE DON'T FADE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . .. . . . . . . . . . . . . . . . 19 . 5

CAN'T STOP THE MUSlc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

ILLUMINADO LAS AGUAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

CAN'T TAKE THAT AWAY FROM ME . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1 , 53

INNINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

SHE IS SEEING THINGS (Pane\) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

CAUGHT LOOKING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19, 42, 60

(IN)VISIBLE WOMEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

SHE LIKES GIRLS: NEW LESBIAN SHORT FILMS . . . . . . . . 21 , 4

A CERTAIN GRACE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 CHANGING OUR MINDS: STORY OF DR. EVELYN HOOKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8

62

RAISING N ICHOLAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S

ARE WE BEING SERVED? [ Pane\] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

& 59

I OBJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

SHE LIKES (MORE) GIRLS: NEW LESBIAN SHORTS 2 . . . . . .5

I'VE NEVER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 , 53

SIXTIES DRAG IN NINETY MINUTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

IT WASN'T LOVE . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46. 49

CHASING THE MOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1

THE JANE SHOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 49

THE CITY AND THE THE PLAINS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 1

JOLLIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .46. 49

CLAIRE OF THE MOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

JUGGLING GENDER:

SILENCIO= MUERTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 THE SLUTS AND GODDESSES VIDEO WORKSHOP . . . . . . . . . . 6 SPLASH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . 45, 5 A SPY (HESTER REVE DOES THE DOORS) . . . . . . . . . . . . 38. 45. 5 STAFFORD'S STORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19. 45.

5

KHUSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

THE STATE OF THINGS

L IS FOR LESBIAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . 33. 57

STICKY MOMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34-3

5

CONDOMS ARE A GIRL'S BEST FRIEND . . . . . . . . . . . . . . . . . . . . . . 3 1 , 59

POLITICS, SEX AND IDENTITY . . . . . . . . . . . . . . . . . . . . . . . . . .38, 45. 58

COPENHAGEN: GAY CAPITOL OF DENMARK . . . . . . . . . . . . . . . . .39

KISS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

LAS COSAS DEL QUERER [ THE AFFAIRS OF LOVE] . . . 2 1 , 5 1 COUNT M E I N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33, 5 7

STATE OF MIND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 .

.

...................................... ............ ...

CRAIG'S WiFE . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 1

L I S FOR THE WAY YOU LOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33. 53. 57

STORME: LADY OF THE JEWEL BOX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . :

CROSS-SEXING THE NARRATIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37, 54

LASBISCH TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25. 49

SUDDENLY LAST SUMMER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, 57.

DADDY AND THE MUSCLE ACADEMY . . . . . . . . . . . . . . . . . :. . . . . . . . . . . . 58

LAST CALL AT MAUD'S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

SWOON

.......

4

.. . . . . . .. . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .. . .... . . . . . . . . . . . . . . . . . . . . . 2 .

.

. .

.

.

THE DANGER GIRL. . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .. . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . .39

LIFE IS LIKE A CUCUMBER [AFFENGEIL] . . . . . . . . . . . . . . . . . . 50. 58

SWORD FIGHT

A DAY AT FIRE ISLAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . : . . . ... . . . . . . . . . . . . . . . . 39

LIMITLESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38. 58

TAG HELMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . �

.

A DAY IN THE LIFE OF BRITISH TELEVISION . . . . . . . . . . . . .34-35

THE LIVING END . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . 60

(TELL ME WHY) THE EPISTEMOLOGY OF DISCO . . . . . 27,

THE DEAD BOYS' CLUB . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38, 46, 53

LOOK . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , 46

THAI'S MASCULINITY . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . .34-�

DEADLY DECEPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

LOOK AT ME [MlRAME] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

THAT TENDER TOUCH . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . . ;

DEAUNDRA PEEK'S HIGH CLASS

LORD AND MASTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..41

THEO UND THEA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, i THEY ARE LOST TO VISION ALTOGETHER . . . . . . . . . . . . . . . . . . . . . .<

.............. . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

HALL 0' FAME THEATRE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 49

THE LOST LANGUAGE OF CRANES . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . 27

DEFECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

LOVE, jEALOUSY, REVENGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

TIMES SqUARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . . . :

DESERT HEARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

LOVERVILLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . 25, 49

TO PLAY OR TO DIE . . . . . . . . . . . . . .. .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, ' TOUCH ME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..

DIALOGO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

THE MAKING OF 'LOST LANGUAGE OF CRANES' . . . . . 34-35

DOLL SHOP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

THE MALE ESCORTS OF SAN FRANCISCO . . . . . . . . . . . . . . . . . . . . . . . 6 1

TRANSELTOWN . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . .. . . . . . . . . :

DOUBLE TROUBLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

MANO DESTRA . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

TRANSPORTATIONS . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , •

DOUBLE THE TROUBLE, TWICE THE FUN . . . . . . . . . . . . . . . . . . . . . . . 6 1

ME A N D RUBYFRUIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 , 53

A TRIBUTE TO MARLON RIGGS . . . . .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. ,'

DO YOU THINK THAT A CANDIDATE

MEETING OF TWO QUEENS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53, 6 1

SHOULD LIVE LIKE THIS? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33, 57

MINORU AND ME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

TRICIA'S WEDDING

.................. ...........................................

TRUE BLUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .�

DRAG IN FOR VOTES . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1 , 59

MlRAME [ LOOK AT ME] . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

TRUE COLORS (Pane\) . . . . . . . . . . . . . . . . . . .. . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . :

THE DRAMA OF THE GIFTED CHILD . . . . . . . . . . . . . . . . . . . . . . . . . . 38, 58

MR. WS LITTLE GAME.. . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .39

TRY TO REMEMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .:

DUAL OF THE SENSES . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , 38, 46, 58

THE MOTHER SHOW . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1

TWIN BRACELETS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, :

DUALS . . . . . . . . . . . . . . . . . . . . . . . . . . . .... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .39

MUjERIA: THE OLMECA RAP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

EAST RIVER PARK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

MUJERES VISIBLES [VISIBLE WOMEN ] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

TWO SPIRIT PEOPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .38, •

EILEEN MYLES: A N AMERICAN POEM . . . . . . . . . . .: . . . . . . . . . . . . 3 3 , 57

NATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . .4 1

ERN ESTO . . . . . . . . . . . . . . . . . ....... . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

NEWS FROM HOME . . . . . . . . . . . . . . .. .. . . . . . . . . . ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

VITAL SIGNS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33,

EUNUCHS: INDIA'S THIRD GENDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 45

NEW GAY SHORT FILMS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

VOICES OF LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .. . . 27. WAR ON LESBIANS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .

& GAY SHORTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

VANILLA SEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 ,

VISIBLE WOMEN [ MUJERES VISIBLES1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

AN EVENING WITH SADIE BENNING . . . . . . . . . . . . . . . . . . . . . . . . . 46, 49

NEW LESBIAN

EVERY CONCEIVABLE POSITION: INSIDE GAY PORN .... 22

NEW YEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . ..46, 49

F2M (FEMALE TO MALE) . . . . . . . . . . . . . . . . . . . v . . . . . . . . . . . . . . . . . . . 38. 45. 58

NEXUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . 2 1 . 57

WELCOME TO THE DOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

FAERIE TALES . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . .6 1

N O GLOVE. N O LOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 , 53

WE'VE BEEN FRAMED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . .

THE WEIGHT OF OCEANS . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . .. . . .45,

WHATS THE DIFFERENCE

FALLING THROUGH THE CRACKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

NO HELP NEEDED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

FANTASY ISLAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . 51

NON . J E NE REGRETTE RIEN . . . . . . . . . . . . . . . . . . . .. . . . . . .. . . . . . . . . . . . . . . . . . .6 1

BETWEEN A YAM AND A SWEET POTATO?. . . . . . . . . 19.

FASHIONIFLICKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

NORTH OF VORTEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19. 39. 60

WHERE THE COWS GO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 , 46.

THE FEMALE IMPERSONATOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . .39

NOVEMBERMOON . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

WHY I STOPPED GOING TO FOREIGN FILMS . . . . . . . . . . . . . . . . . .

FERDOUS [ PARADISE] . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 . 53

NOW THAT ITS MORNING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27, 45

WHY NOT LOVE? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 25,

FINALLY DESTROY US . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . .. 41

NUDE DESCENDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

WICKED RADIAN CE . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33.

FINGERED! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 . 22. 53

NUDE INN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

THE WILD WINDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

FIRST COMES LOVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

ODD SHORTS FOR QUEER BOYS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

YMA SUMAC. HOLLYWOOD'S INCA PRINCESS . . . .

FLAMING EARS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

OFF THE RAILS . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .34-35

YOU CAN OPEN YOUR EYES NOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9 .

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HARREll � GEOFF HARRIS &: BOB MATGEN �

HERTZ � REN HEN ERlAU � RICK H illEGAS � BETH

MARK HARTMAN & RON NORRIS � JOAN HASKIN �

HOFFMAN � FENTON JOHNSON � CHA RLES

M ICHAEL HAWLEY � DON HENRY � WALTER

BRUCE CAROLAN

N ELSON JONES � RUTH KAPLAN � KATHLEEN

HIG HT, J R. � NANCY H I N DS � RONALD D. H I RSCH

CLA I RE CHAFEE

KERSHAW & KAREN COX � M R. & DR. KNA PP­

� PETER HOllORAN � H ENRY HOLMES � KEN

PETER FOWLER

DU NCAN � DAV I D KNOPF � PAUL K N U DSEN �

H U NTER � STEVE I BARRA � SUZA N N E ISRAEL �

ROBERT lAN CI � REV. CHARLES lARSEN � CURT I S

MARK J A M ES &: DAV ID � GLENN J E N K I N S � J U DITI­

lAVERY � JOHN lEE � l Y N N lON I D I E R � M ICHAEL

JENN INGS � M A RC J O HNSON � M. JORDAN �

LUCEY � JOHN lYNCH � GARY MCCAll �

WENDY KARNER � ASA KAPOST I N S & J A N E BEREN

J AMES C . HORMEl MARSHA H . LEV I N E JOYCE . NaRC I N I & SUE STEVENSON DAVID R I N G

M ICHAEL MCDONALD � STE PHEN M C N E i l & BRIAN

HAMlAND � ANNE KEATING � NAVED KHAN �

J A N E WAG N E R & T I NA D I FELICIANTONIO

MAilMAN � ROBERT MAIER � DON CHAN MARK �

H EN RY E. K I E lA ROWSKI & JOSE PH DE lA ROSA , J R

CLYDE Wi lDES

BEN EFACTORS

($500+)

PETER MAXWEll � PADRIC M. M EAGHER � KATE

� CH RISTIAN K l l lLKKAA � PEN N I K I M M E L �

M EISS � ROG ER M i llER � MARK M. MORRIS �

YVO N N E K I NG & J O N I AN DERSON � J I M

PAUL M U N RO � KATH RYN NELSEN � G REG NEVINS

K N I C KERBOCKER � MARK H . KOOPMAN � KITTY

PAUL ALBERT

� MARY N i lA N � JOHN-MICHAEL OlEXY � K.D.

KOPPELMAN & N I K I D I V ECCH IO � W E N DY

ANON YM OU S

OVERHOLT � WilLIAM F. OWEN, J R. M . D . � HAZEL

KOSANOVICH � EMMANUE L KOTKO � RICHARD

PAYNE & L I N DA SCHOMAKER � DAV ID PLACIER �

lABONTE & RICH ZAUN � W. CLAYTON lAN E �

DR. HAROLD COTTMA N , l l l , M . D .

TOM PLAGEMAN � MATT PORTA & GEO F FREY

KEVIN lANGLEY � G EORGE LEBUS � M ICHAEL lEI

J E N N I F ER HAM I LTON & V I C K I SLIGER

DRYVYSYDE � DAVID ROSE � BRAD RUBENSTEIN �

� NEWMAN lEE � MELISSA LEV I N � A RYAE LEVY

A N N J EFFRIES

MA RSHA SEELEY � ROY E. S I MON � ALEX S H A P I RO

& T. DARLINGTON � CAROL lEWAN DOWSKI �

COU RTNEY

KATE O'HAN LAN & LEO N I E WALKER JOHN R. RICHARDS J AM ES A. McIN TOSH BRIAN SKAGGS

PATRONS

($ 1 50+)

B & D V I DEO PRODUCTION

64

DYNIS � TODD EARNHART � GLORIA ESTOLANO �

Roy BATEMAN & ROBERT M. ANDERSON LOUIS BEESON & STEVE LOV I NG

L WAYNE BENN ETT ROBERTO C E R I A N I D E N N I S F E RGUSON & S T E V E DOWNS J ERRY F R I EDMAN JOA"'I G lASSHE I M & ELI ZABETH PEARCE

& RAYMOND BERGER � Bill SHEllEY � J A M ES R.

DEBORAH LIEBERM A N � M I C H A E L lONG � T I M

SHEVOCK � ROBERT E. SMITH � MARC

l U M � SHARON KAY-lUTZ � D E L MARTIN &

SMOLOWITZ � R I C K SOLOMON & STEVEN SAYLOR

PHYLLIS lYON � PRESTON MARTIN � MAUREEN

� CHRIST I N E H. STOCKTON � L I N DA STOICK &

MASON � Bi llY M. MATSON � MAC MCG I N N ES �

KERRY NORMAN � PEG STONE � JEAN SWAllOW �

BURL MCN EELY � KAREN M E N DELSOHN � ROG Er.

MJ TALBOT � PAUL T H U RSTON � CHERYL

E. M l llER, J R. � D A V I D M I N C I N � KE RRY D.

TRAVERSE � PAM WALTON & RUTH CARRANZA �

M I TCHEll & PAUL D U NKLEY � J A N ElL MOON �

PETER WASHBUR N � JAMES WEAVER � Will

TANYA N E I M AN � A LAN N I C HOLSON � M ICH ELLI

WHITAKER � EDWA RD VAN EGRI � lARRY T. YOK

PARKERSON/EYE O F THE STORM PRODUCTIONS �

� BOH DAN ZACHARY & lARRY WAITES, M . D . �

SUSAN PASSINO & A U D REY DEANE � COLIN

P E T E R Z E R BST &: G REG BROYLES � MARK

PETHERAM � G RAHAM H. PHELPS � TH EODORE PlAISTER � FRA N C I N E POPK I N � NAOMI PORAT ·

ZIERING

DO N O RS

($25+)

J I LL POSENER � PAUL QUICK � BRUCE REEVES � BARRY RESS � J I M R I VAlDO � ELAN ROSENQUIST

N I NA AllEN & CAROL ROVVAN � GAYLE

ELIZABETH ROSS � NORMAN L. ROSTAD � M IK E

ALEXAN D E R & WANDA SWENSON � KAREN ANNA

SAFATY � G A i l SA P I RO & DEN ISE YOU N G �

ALBERT H EllER

� ARCHTECH � CH RISTOPHER BABIARZ �

CAROLE SCAGNETTI � ROBERT SCROFAN I & C H R

JOHN JOHNSTON

RICHARD BEilKE & Bill SWEI G A RT � M I KE BERG &

KOMATER � JOHN SCH LESI NGER � HARRY SENG

J EA N N E HAllMAN & M i lLICENT BOGERT TIM HANLON

RICH JOH NSON

Bill D ICKEY � KATH RYN BLACK � F RED M.

FRITZ SCHULTZ � ERIC DAV I D SHARE � SUSAN

KARL KNAPPER

BOLOGNA & MARK TOllADAY � Bill BO'vVEN �

SHALIT & lYNETTE JONES � MARVIN SHAW �

LINDA KOll & LAUR ETTA MOLITOR KRIS KOVICK

KATE BRANDT & PAU LA LICHTE NBERG � ILENE

SCOTT ST. JOHN � RENATE STENDHAl � ALAN

BRETTHOLZ � PETER BROD IGAN � J I M M I E

STEPHENSON � BOB STANTON & JIM D R I N DELl '

STEVE P A R K E R

BUCKLAN D � J A C K BUKTEN I CA � FLORRIE BURKE

DAVID SHENGOlD � ARTH U R SIMON �

KIM SCALA

� LIN DA BURNETT & VAL SCOTT � AMY CAPEN �

CHRISTOPHER SLATTERY � B R I A N SMITH �

lEN CARRI NGTON � M . H . CASEY � BRUCE

PRISCi lLA SMITH & SUSAN CHRISTIAN � MARK

TOM STEEL & M I LTON ESTES

CHERNOFF � BRIAN H . CHEU � CLAI R ) . CONRAD

SPRECHER � JE FrREY SUNSH I N E & ERIC GA RBER

WELDON RASH

& RICHARD lA U F M A N � RICHARD COPELA N D &

GARY T ITUS � DR. SAM THAl � CHA RLES

MARSHA S EELEY

TOM R I E llY VAL SCOTT & L I N DA BURNETT WilLIAM Z I M MERMAN

SPONSORS

($50+)

DAVID BA KER � ). BRIAN COWG ill � J ERI CRUM &

THOM PSON, IV � KATHERI NE A. THOM PSON �

J i ll STEVENS � JOHN C U M M I NGS � EDWARD

A LFONSO THOM PSON-PAZ � ALVI N TODA � COl

CURRI E � GARY DAHL � CAT H E R I N E S. DALY �

TONG � MARYA N N TRU ITT � DENNIS TURNER,

J U D I T H lAVEN DER DANCER � WEN DY DAllAS &

M . D. � DONNA TWAROG � OLIVER VOG E L &

ANN BLOCK � PAM DAVI D � JAMES W. DAVIS �

G USTAVO GALINDO � BRIDGET WAG NER � PET

DOUG AllE N � M. J A N ET A llEN � M A RY A LVORD

lEWIS B. DAY � KENT DEN N I N G � ALAN

WASHBURN � GERRY D. WATT � A. Wi lLIAM

& MAGDA DENN ERT � ROY BATEMAN & BOB

DESROCHES � CHARLES DERRY � ART H U R DONG �

WEBER � DAVID WEISSMAN � L1 ElAND WEST �

ANDERSON � RICHARD BENITEZ � DIANE

ROGE R DOUGHTY � DIANA S. JOH NSON DUBASH �

BENJAM IN � GARY BEYROUTI � Wi lLIAM BRADLEY

lAUREN DUNLAP � NOREEN D U N LEAVY � G REGG

� DOM I N I C CAPPEllO � ELI ZABETH CARA �

EBERTZ & ROBERT KAAKE � J EN N Y E I G E R � M A R K

A RTURO CATRICAlA � R. M A RTIN CHAVEZ � TOM

FORESTER � SONJA F RAN ETA � JAMES S .

ZABORNY � ANDREW Z I M M ERMAN � MARK

CHRISTENSEN � MATTHEW COLE � KEN DEAN �

F R E D E R I C K � JEFFREY FRI EDMAN & ROB EPST EIN

ZIMM ERMAN � JAN ZOBEL � RON ZUCKERMAN

J U LIANA DEG REGOR I O � G A i l DERITA � JACK

� MARI( GARRETT & DOUG LAS MOON � EllEN

CHARLIE ZUKOW

C.S. WICK � ELIZABETH 'vV ILLlAMS � SUE WITT EDWARD WOLF � JACOB L. WOLFE � CEDRIC C YAP � JOANN YBARRA-CHADDAD � ROBERT


/7.l roduction of the San Francisco International Lesbian & Gay Film

� Festival is only possible t h rough the generous assistance of col­

leagues, volunteers, and fi lm and videomallers nationally and il1tel11at ional­ ly. We would 1iI1e to extel1d our than lis to them, and especially to:

ACHE (LiSBET TELLEFEN) � AMSTERDAM GAY AND LESBIAN FILM FESTIVAL (ANNETTE FORSTER. PAUL VERSTRATEN) � GREGG ARAKI <> PENNY ASHBROOK � NICOLE ATKINSON � AUSTRALIAN FILM COMMISSION (SHANE MCCONNOCHIE. CONCHITA PINE) <> CRAIG

BALDWIN � BAY AREA REPORTER (DANNY MANGIN. BOB ROSS) � BAY TIMES (KIM COR­ SARO) � BBC TV (GIN A BOND. BRIDGET BRADLEY. RUTH CALEB. N IGEL FINCH. JAMES HAYES. SARAH HORSFALL SARAH MORTIMER. TANYA SEGHATCHIAN. BRIAN SKEET. PAUL WATSON) <> BERLIN INTERNATIONAL FILM FESTIVAL (MANFRED SALZG EBER. WIELAND SPECK) � ADAM BLOCK � BOB BLUMENFELD � JIM BOIN <> KATE BORNSTEIN <> ANTON BOROWSKI � SUSIE BRIGHT � BRITISH FILM INSTITUTE (MARNEY CHESTNUTT. HELEN DEEBLE. SIAN EVERETT. SYLVIA MARSHALL JAYNE PILLING. PAUL\ j ALFON. HEATHER STEWART) � BRITISH COUNCIL (SATWANT G ILL. ROSEMARY HOOD. CLARE SMITH) <> FLORRIE BURKE � PAUL BURSTON � BUDGET FILMS � CALIFORNIA NEWSREEL � RICH CAMPBELL <> CANADIAN CONSUL\TE GENERAL � CANYON CINEMA � CASTRO THEATRE (MARK GANTER. GARY OLIVE. RICHARD ROVA TTl. HAL ROWLANDS. SLOANE SANDY AND ALL OTHER STAI'F) � CHANNEL FOUR T.V. U.K. (RASHPAL DHALIWAL JEREMY KIMBERLIN. BRIDGET PEDGRIFT. CAROLINE SPRY) � DEBRA CHASNOFF <> SHU LEA CHEANG �

CHI­

CAGO GAY AND LESBIAN FILM FESTIVAL (STEPHEN HOFMAN. INES SOMMER. BRENDA

WEBB) <> CINE ACCION U ENNIFER TA YLOR) � ClN ENOVA (LIANE HARRIS) � CINEPHILE (DANIEL WEINZWIG.jUSTINE WHYTE) � KRIS CLARKE � TERESA CONBOY � MARK COP­ PELL � CORI FILMS (SHELLY COOKE) � BARBARA CRUIKSHANK � BL\CKBERRI � BOP DAITCH � DANISH FILM FOUNDATION (LISSY BELL\ICHE) � DC FILM FEST UULlA PELOSI) � DEMI MONDE PRODUCTIONS (ANNE GOLDMAN) � DENEUVE MAGAZINE (FRANCO) �

JEFF DIAMOND � A DIFFERENT LIGHT BOOKSTORE (DARYL ALVAREZ. RICHARD LABONTE) � RUSSELL DISCHER � JUDY DLUGACZ � DRIFT DISTRIBUTION (CHRIS HOOVER) � CH ERYL

DUN'yE <> RICHARD DYER � EM GEE FILM LIBRARY (MURRAY GLASS) � EYE GALLERY (LYNETTE MOLNAR) <> FILM ARTS FOUNDATION UULlE MACKAMAN. GAIL SILVA) <> FILM IN THE CITIES UOEL SHEPARD) � FILMS INC ( K IRK PENNAK) � FINE LINE (SARAH EATON) � FINNISH FILM FOUNDATION (KIRSI TYKKLAINEN) � FI RST RUN FEATURES (MARC

HIGHEST PRICE PAID IN CA OR TR FO'R YOUR. U NWANTED CDs, L'Ps, � VIDEO LA� COLLECTIONS, ESTATES.WELCOME -we piek �....��-- . .

MAUCERI) � RICHARD FONTAINE � SU FRIEDRICH � FULCRUM PRODUCTIONS (CL\RE BEAVAN. SHAUNA BROWN) <> MATTHEW GARDNER � TONY GARRETT <> GIRL jOCK MAGAZINE (ROXXIE) <> GLMC (NAZIL\ HEDAYAT. LARRY HORNE. MINA NANjl) � GOETHE INSTITUTE � ANNE GOLDEN � GOLDEN DRAGON DISTRIBUTION (STEVE YUEN) � KAROLA GRAMANN � MICHAEL GREER � PAM GREGG � JOHN GREYSON � STEVE GUY � NIC K HAEFFNER <> JUDITH HALBERSTAM � MARK HAMMACK � BOB HAWK <> L\RRY

HELMAN � )OCHEN HICK � TIM HIG HSTED <> ROBERT HOLD � HOLLAND FILM PRO­

Es cape To The B order

MOTION (LUCELLE ZORGE) � CHRIS HOOVER <> MARCUS HU � JIM HUBBARD � INTREPID PRODUCTIONS (DAVID HAUGLAND. RICHARD SCHMIECHEN) � ADRIENNE jENIK � WILLIAM JONES <> TOM KALIN � ERNIE KEARNS <> STEPHEN KlJAK � RUPERT KINNARD � KQED (T IMOTHY RODRIGUES. RON SANTORA) <> LASBISCH TV (HEIDI BARBARA) <> LISA

Best

KUHNE � RICHARD KWIETNIOWSKI <> KAREN LARSEN ASSOCIATES (TIM BUCKWALTER. MARC HUESTIS. M I KE DINGLE. KAREN LARSEN) <> PAUL LEE � LONDON FILMMAKERS CO­

M�

OP � PETER LOWY � MICHAEL LUMPKIN � LARA MAClEjEWSKA � SCOTT MAHOY � STAN MALETIC <> DANNY MANGIN � BERTIE MARSHALL � TEDDY MATTHEWS � MAYA VISION (REBECCA ,?OBBS. SALLY THOMAS. BEN WEISSBORT) � MEDIUM RARE RECORDS <> M ILL VALLEY FILM FESTIVAL (ZOE ELTON) � AL\N M I LLER � JAY MOMAN � ANITA MONGA <>

SouIh

JENNIFER MONTGOMERY <> EILEEN MYLES <> NBD PICTURES (MARO KORKOU) � ALAN MOYLE � THE NEW FESTIVAL UEFF LUNGER. SANDE ZEIG) <> CHRIS NEWBY � JOYCE NORCINI &. SUE STEVENSON <> BARBARA OSTBURG � PA CIFIC CENTER (SCOTT WALTON.

of Mmket

SANDRA POWLEY. MARGARET WALKER) � PA CIFIC FILM ARCHIVE (SHELLEY DIEKMAN. KATHY GERITZ. STEVE SEID) � PRATlBA PARMAR <> PARIS POIRIER � POMO AFRO HOMOS � J ILL POSENER <> TONY RAYNS � MARLON RIGGS � ROHAUER COLLECTION (TAY

KISSLER) � ROXIE CINEMA (HECTOR ARIAS. ELIZABETH AMAN. MELISSA BERTALlNO. BILL BANNING. KABIR CARTER. DAVID CUNHA. ELIZABETH DUMONT. DAN EICHI.ER. MARC DONALDSON. REBECCA GITTY. VICTORIA KAUFFMAN. CYNTHIA LANE. ELLIOT LAVINE.jIM LUNG. DOUG MOBLEY. MIRA MUSGRAVE. RICK NORRIS. MISHA SAZE, STEV SECHOVIC, JOSEPHINE SHERE. DAVID SPIRO. VERONICA VOSS AND ALL OTHER STAFF) <> WAYNE SALAZAR � SAMUEL GOLDWYN COMPANY � SF CINEMATHEQUE (STEVE ANKER. DAVID GERSTEIN. MICHELLE SABOL) � SAN FRANCISCO INTERNATIONAL FILM FESTIVAL (BRYAN GORDON. MARIE PIERRE MAClA) <> SEBASTIAN <> SARAH SCHULMAN � JACK STEVENSON <> STOP AIDS (TOMMY HUIE, DAN WOLFHEILER) � SWANK FILMS (DONNA PERRIN) � TARA RELEASING (GUY CABLES) � JOCELYN TAYLOR � REBECCA TAYLOR � THIRD WORLD NEWSREEL (ADA GRIFFIN) <> AKIBA TIAMAYA <> TOM OF FINLAND FOUNDATION (DURK DEHNER) <> TORINO LESBIAN &. GAY FILM FESTIVAL (ERNALDO DATA. MARINA GANZERLI.

Private Bar and Dining Room Available For Special Lunch -Dinner or Cocktail Parties

8TTAVI0 MAl. GIOVANNI MINERBA) <> TREMAGLIO PRODUCTIONS (MELINDA TREMAGLlO)

Houll Lunch: Mon-Fri 11 AM-2:30 Dinner. Mon-Sat 5:30-10 PM

� ALi X UMEN � CHRISTINE VACHON � URVASHI VAID � VIDEO DATA BANK (KATE HORS­

FIELD. MINDY FABER. AYANNA UDONGO) <> VPRO TV (A. HENDRIKSEN) � JANE WAGNER � BARRY WALTERS � STEVE WARREN � MARY WATKINS � SIMON WATNEY � DAVID

NEISSMAN � CLYDE WILDES � WNET (KIM MYERS. PAUL\ CERRONE) � WOLFe VIDEO JENNIFER BERGMAN) � WOMEN MAKE MOVIES (MAl KIANG. ROBIN VACHAL SANDE �EIG. DEBRA ZIMMERMAN) � WILLIAM WONG � JOHN WRIGHT <> RON ZUCKERMAN

1 192 Folsom St. (at 8th St.) " Phone: 626-6():l3 . 626-0411·

Mexican Restaurant and Bar

65


Frameline donors, arid then sold on a first come, first served basis. There are no passes for PFA screenings.

BOX OFFICE OPENS MAY 30TH TICKET INFORMATION ( 415) 431-92 27

VENUES

HOW TO BUY TICKETS

In respoI1se to audience demand, this year's Festival features expanded screening time at the Roxie Cinema, and a new East Bay venue.

You may purchase advance tickets beginning May 30, 1992 at our ticket offices. Tickets are available at the theater box office for that day's programs only. PFA tickets are ONLY avail­ able from the Pacific Film Archive.

CASTRO THEATRE

429 Castro St. at Market St., San Francisco Tickets on sale here for day of show only. Box office opens half an hour before first show of the day.

TICKET OUTLETS FOR CASTRO AND ROXIE SCREENINGS:

SAN FRANCISCO At Superstar Video Satellite 4 1 4 1 1 8th Street � t Castro, l l am-8pm daily. OAKLAND At Mama Bears Bookstore/Coffee House, 6536 Telegraph Ave. at 66th Street, 1 1 am-6pm daily. Please note: The Oakland ticket office has been established for the convenience of our East Bay audience. We regret that no Frameline staff will be present at Mama Bears to answer your detailed questions about the Festival. Please direct your telephone inquiries to the San Francisco office at (4 1 5 ) 43 1 -9227.

ROXIE CINEMA

3 1 1 7 1 6th St. at Valencia St., San Francisco Tickets on sale here for day of show only. Bo x office opens half an hour before first show of the day. PACIFIC FILM ARCHIVE (PFA)

University Art Museum, 2625 Durant Ave. near C9llege Ave., Berkeley Tickets on sale here from May 30 for any PFA show. Box office opens one hour before first show of the day. EYE GALLERY

1 1 5 1 Mission St. between 7th &: 8th, San Francisco Free, no tickets required. Limited seating.

TICKET OUTLET FOR PACIFIC FILM ARCHIVE SCREENINGS

In person: At the PFA, 2625 Durant Avenue, near College Avenue in Berkeley. Hours: The PFA Box Office opens one hour before the first show of the day. Call (5 10) 642- 1 1 24 for pro­ gram information. To charge by phone, call (5 1 0) 642-5249.

TICKET PRICES

OPENING N IGHT FILM $7 OPENING N IGHT GALA (Film & Dinner) $50 CLOSING N IGHT FILM $7

66

EVENING PROGRAMS $6

TICKETS BY MAIL

MATINEES &: CASTRO LATE NIGHT $4

The easiest way to buy tickets is through the mail. Please use the attached coupon and in­ clude a self-addressed stamped envelope. Ticket orders must be postmarked by June 1 2th. Orders received after that date will be held at the box office for collection. Frameline assumes no responsibility for orders lost in the mail. Please make checks payable to FRAMELINE and mail your ticket orders to: FRAMELINE/Tickets, P.O. Box 14792, San Francisco, CA 94 1 1 4

EYE GALLERY FREE PANELS FREE

FESTIVAL PASSES CASTRO PASS $55

(ALL CASTRO SCREENINGS) ROXIE PASS $40

(ALL ROXIE SCREENINGS) ' Please note: Only a very limited number of passes are available. They are first sold to

METHOD OF PAYMENT

Cash, checks and MastercardIVisa are accepted There is a minimum order oj $ 1 5 Jor credit card orders.

JOIN FRAMELINE AND SAVE ON FESTIVAL TICKETS

Becoming a donor to Frameline entitles you to a discount on Festival tickets and passes, in ' addition to other benefits. $25 donors ($35 donor couples) receive invitations to free pre­ view screenings, special access to the Festival, and a listing in the 1 993 Festival program. $50 sponors ($ 100 sponsor couples) receive donor privileges, plus a free Festival t-shirl. $ 1 50 patTons ($250 patron couples) receive sponsor privileges, plus two tickets to the 1992 Festival Opening Night. $500 benefactor entitles you to all of the above, plus two Festival passes and LWO tickets to the 1 992 Opening Night. Frameline is a 50 l (c) (3) tax exempt non-profit organization. Donations are tax deductible to the extent allowed by law.

REFUNDS AND SCHEDULE CHANGES

Sometimes, for reasons beyond our control, programs must be changed, rescheduled or cancelled. Refunds are only available for can­ celled or substituted programs.

SOURCE LIST

We are happy to provide details on how to contact filmmakers and videographers for any film appearing in this year's Festival.

TRAVELING TO THE FESTIVAL;

Reduced price tickets on United Airlines and reduced room rates from participating hotels are available through the Festival's travel agen! For reservationslinformation call Jim Boin at Yankee Clipper Travel, 1-800-624-2664.

HOW TO CONTACT FRAMELINI

For inquiries other than ticket information, contact: Frameiine, P.O. Box 1 4792, San Francisco, CA 94 1 1 4. Tel: (4 1 5) 86 1 -5245. Fax: (4 1 5 ) 86 1 1404

r-----------------------------------------------------------------------------------.

16th. J{Uz E!li'a/lCl:rco- !In.te/vzatioNal-< e.ro.ia/i &- .Yqy g':"ibn g;;!ll ll"ioa fT ich.et &'C/e/( g:-O/'/JI CASTRO

NAME

P RO G R A M TITLE

VENUE

DAT E

TIME

TOTAL A M O U N T

ROXIE THEATERS ONLY. (FOR PFA TICKETS: CALL 5 1 0/642-5249)

_ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __

ADDRESS CITY

&

# OF T I C K ETS

__ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ __ _

,ST ATE

_______

____

ZIP

__

TELEPHONE __ __ __ __ __ __ __ __ __ __ __ __ _ __ __ __ __ __ _ SIGNATURE

CASTRO PASS - 5 5 5 ROX I E PASS - 5-+0

<f"r creelit ('(1/,/ "r,/crs)

C R E D I T CARD #

O P E N I N G N IG H T G A L A - 5 5 0

I'D L I K E TO M A K E A DONATION TO FRAM ELI N E (sec 0/",,,1') ___

EW D A T E

W H I C H C R E D I T C A R D ? ( M A ST E RCA RDIV ISA ONLY-S I 5 M I N . )

TOTAL A M O U N T

§

D E T .-\CH .-\ N D S E N D T O FR.-\ M E L I N E . P . O . BOX 1 -+ 7 9 2 . SAN FRAN CISCO. CA 94 1 1 -+

�-----------------------------------------------------------------------------------


i------ "

I S

I N N 0 C E N e E

N 0

! "

-----.

(DENMARK,1 986) Directo r : Stefan Ch ristian Hensze l ma n . Co lor. Dan ish with Engl ish Subt it les. 9 5 min utes. Un rated.

A teenage boy's sexual confusion be­ co m e s a catalyst for d ra m atic change in this t e n d e r and u n p red ictable first feature from Danish d i rector Stefan H e nszelm an.. Not si nce You Are Not A lone has D e n ­ mark dealt a s ope n ly a n d honest ly wit h , what fo r A m e rica, still r e mains a taboo subj e ct : t h e o p e n explo r at i o n of s e x u a l i d e n t ity . S everal u n expected twists punctuate the yo u n g

hero's

co m ing -of-age

odyssey,

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Wh at ' s from

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A I DS a n d s e x . A c h a n c e t o h e a r w h at ot he rs a re d o i ng. A n d a c h a n c e t o f i n d o u t you ' re not alone. Take the fi rst st e p . G i ve us a call today.

Sixteenth San Francisco International Lesbian & Gay Film Festival  

Sixteenth San Francisco International Lesbian & Gay Film Festival Program Guide (Frameline 1992)

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