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FRIDAY JUNE 21 Castro Theater 6:30 pm MC-Monica Palacios Frameline hosts a champagne reception honoring the filmmakers participating in this year's Festival.

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7:30 pm NOVEMBERMUND (NOVEMBERMOON ) Federal Republic of Germany/France 1984 NOVEMBERMOON por trays one part of Franco­ German history which has not yet been the subject of a German feature film. The film deals with the German occupation and the French collaborating with the German army. Specifically, it is the story of one woman's apparent collaboration in an attempt to save the life of the woman she loves. November Messing, a German Jewess, emigrates to Paris with her father in 1933. After German troops enter and occupy France in 1940, November is still able to flee to the "free zone". However, someone informs the Gestapo, and she is arrested. With the help of a young SS-soldier she is able to escape. She returns to Paris where her lover, Ferial, risking her own life, keeps her in hiding. So as not to arouse any suspicion and for the sake of November's safety Ferial takes a job with the colla­ borationist newspaper "La Gerbe". November and Ferial make it through the war, but Ferial must pay a pnce�After tneTiberation of Pafrs:fanatic compatriots take their vengeance on her as a purported collaborator. The persecution of French and German Jews is a subject that is not easily dealt with, either in France or in Germany. Anti­ Semitism in France was already strong before the War. After German troops entered France, many French, if not the majority, collaborated passively and actively with the Fascists. The occupying powers used this to their advantage; the conse­ quences for German emigrants and for French Jews were disastrous. Author and director Alexandra von Grote met and talked with many German Jews who had emigrated to France and with French Jews who had been carted away by their very own "Gendarmerie", who survived the gas chambers only through a miracle. She talked in particular with women who, more often than not, were in an extreme way at the mercy of the henchmen, and she talked with French women who had been the victims of the unrestrained acts of vengeance perpetrated by the "Resistance" after the war. NOVEMBERMOON, however, is a film that reaches beyond the horrors of World War II. It is a film against every kind of violence, against war and the persecution of all minorities.

Director and Screenplay by: Alexandra von Grote Camera: Bernard Zitzermann Music: Eisto Macchi Editor: Susann Lahaye Cast: Gabriele Osburg, Christiane Millet, Daniele Delorme, Bruno Pradal Print source: Alexandra von Grote, Gustav Muller Str. 17 Berlin 62 35mm, color, 106 min.

playing to sold-out crowds in its first American screening in over a decade. A long-time favorite in Europe, this legendary erotic art film, shot in super-8 and 16mm then enlarged to 35mm, "stands as a landmark atthe juncture of the gay underground tradition and the gay porno industry " (Peter Lowy, NY Gay Film Festival). Seven years in the making, this dreamy, surrealist film has been praised for its "untarnished poetry," and entrancing perfor­ mance by teen-age male beauty Bobby Kendall. Opulent, gaudy, off-color, PINK NARCISSUS' cult status is guaranteed by its "lapses of taste and taste alike," not to mention the dazzling scene in a public urinal. Controversy surrounding the original production caused the film's director Jim Bidgood to go uncredited until last year's revival.

Director: Jim Bidgood Cast: Bobby Kendall, Charles Ludlum Print source: Rumsen Film Distribution, 330 West 58th St. #5P, New York, NY 10019 35mm, color, 70 min. -plus short-

G.I. SPORTS 16mm, B/W, 20 min.


Pink Narcissus


Director: Stefan Christian Henszelmann 16mm, color, 17 min. Print source: Stefan Henszelmann, Mollegrade 38 3 TH, 2200 Copenhagen, Denmark

THE STEPS U.S.A., 1984 Director: David Weissman Cast: Carol Roberts 16mm, B/W, 4 min. Print Source: David Weissman, 1677 Haight St. , San Francisco, CA 94117

1:30 pm CHOOSING CHILDREN U.S.A., 1984 How does a lesbian couple go about having a baby? First, they should see this documentary. It can qualify as a how-to film but is also a candid, and often funny, examination of six lesbian-headed families that have the same problems as "ordinary" families-problems of money, division of respon­ sibilities, lack of time, etc. Through excellent editing, CHOOSING CHILDREN covers an impressive range of topics from novel methods for getting pregnant to the legal aspects of adoption and custody rights. It even grants screen time to the children themselves and addresses the issue of whom they think should be called "mommy" and why. Obviously, not all lesbians want to become mothers, but this provocative film has something of interest for everyone and covers social issues which concern us all.

Directed, Produced and Edited by: Debra Chasnoff & Kim Klausner Music: Noel Williams with a special song by Holly Near Print source: Cambridge Documentary Films, Inc., PO Box 385, Cambridge, MA 02139 16mm, color, 45 min.

NEXUS U.S.A., 1984 Director and Animator: Rose Bond 16mm, color, 6V2 min. Print source: Media Project, 925 NW 19th, Portland, OR 97209

RITE OF PASSAGE U.S.A., 1985 Director: Michael Solinger 16mm, color, 8 min Print source: Michael Solinger, 511 N. Puget St., Olympia, WA 98506

A FINE ROMANCE U.S.A., 1985 Director: Robert De Andreis 16mm, color, 22 min. Print source: Filmakers Library, Inc., 133 East 58th St., New York, NY 10022

ONE WOMAN WAITING Canada, 1984 Director: Josephine Massarella 16mm, color, 5 min. Print source: Women in Focus, #204-456 W. Broadway, Vancouver, B.C., Canada V5Y 1R3

10:00 pm PINK NARCISSUS U.S.A., 1971 Described by Parker Tyler as a major cult film made with the "heart and will of someone devoted to prick-worship and the hermetic myth of an all-male fantasy world," PINK NARCISSUS proved to be the hit of the 1984 New York Gay Film Festival,

TRY TO REMEMBER Denmark, 1984

Try to Remember


Choosing Children

BREAKING THE SILENCE Great Britain, 1985 As a companion piece to CHOOSING CHILDREN this documentary from England seems to indicate that that country is behind the United States in recognizing lesbian mothers. The optimism of the former film is replaced by poignant interviews with divorced lesbians who have lost their children in BREAKING THE SILENCE. British courts in reality are no more conservative than their Ameri­ can counterparts in Peoria. Lesbian mothers everywhere are still being forced to relinquish their children. Yet what can be sadder than the look on a woman's face when she relates how she trusted her husband (after all, she had lived with him for ten years), until the day he walked into the divorce court and condemned her as an unfit mother for loving another woman?

Producer/Director: Melanie Chait Camera: Belinda Parsons Sound: Mandy Rose Editor: Ellin Hare Music: Lindsay Cooper Print source: Lusia Films, 7-9 Earlham St. , London WC2 16mm, color, 65 min.

8:00 pm EIN MANN WIE EVA (A MAN LIKE EVA) Federal Republic of Germany, 1983

4:00 pm THE TIMES OF HARVEY MILK U.S.A., 1984 Six years in the making, THE TIMES OF HARVEY MILK has seen unparalelled success in the past year. From its first screening at the Telluride Film Festival last September to the winning of the Academy Award in April, the film has re-written the history of gay cinema. Chronicling the rise to power of both Harvey Milk andthe city's gay commu­ nity, the film gives a nostalgic look at a unique period in the history of the gay rights movement and the city of San Francisco.

Producer: Richard Schmiechen Director and Co-Producer: Robert Epstein Editors: Deborah Hoffmann and Robert Epstein Camera: Frances Reid Music: Mark Isham Narrator: Har vey Fierstein Print source: Cinecom International Films, 1250 Broadway, New York, NY 10001 16mm, color, 87 min.

A brilliant cinema-a-clefon the life and filmmaking of Rainer Fassbinder, A MAN LIKE EVA tells the story of a director (EVA) and his company, holed up in a dilapidated rented villa, trying desperately to finish his remake of "Camille" before the money runs out. Bullying, cajoling and seducing his cast, EVA ditches his male lover for his leading lady, only to set his lustful sights on his married leading man instead. Former Fassbinder actress Eva Mattes creates an electrifying portrait in the lead role, swaggering and staggering behind leather vest, sunglasses and beard in one of the most convincing cross-gender acting performances ever. Fassbinder's squalid personal life, his cruelty and manipulation are contrasted to the glamour being created in front of the camera. Director Radu Gabrea has created a spell-binding drama sure to generate controversy regarding the truth being told about Fassbinder. True or not, A MAN LIKE EVA stands on its own as a truly brilliant film.

Director: Radu Gabrea Script: Radu Gabrea & Laurens Straub Cinematography: Horst Schier Music: Loek Dikker Cast: Eva Mattes, Liza Kreuzer, Werner Stocker, Charles Regnier, Charley Muhamed Huber Print source: Promovision International, 353 West 39th St., Suite 404, New York, NY 10018 35mm, color, 92 min.

Director and Screenplay: Marleen Gorris Director of Photography: Frans Bromet Sound: Georges Bossaers Editor: Hans van Dongen Producer: Matthijs van Heijningen Cast: Lineke Rijxman, Henriette Tol, Edda Barends, Coby Stunnenberg, Marijke Veugelers, Carla Hardy Print source: Ministry of Culture, Film Dept., PO Box 5406, 2280HK Rijswijk. 35mm, color, 1 10 min.

Broken Mirrors

Even contemporary gender benders such as Boy George and Annie Lenox owe much tothe Cockette's inspiration. Frameline and the San Francisco Les­ bian and Gay History Project are proud to present the Cockettes for the audiences of the '80s. - Eric Garber

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Before Stonewall

SUNDAY JUNE 23 Castro Theater 1:00 pm BEFORE STONEWALL From the sexual experimentation of the Roaring Twenties, to the scapegoating of homosexuals during the McCarthy era, to the development of the early homophile rights movement, BEFORE STONEWALL presents a unique portrait of the history of the homosexual experience in America.

6:00 pm GEBROKEN SPIEGELS (BROKEN MIRRORS) Netherlands, 1984 Marleen Gorris's first feature A QUESTION OF SILENCE has become somewhat of a classic in feminist circles. With her new film we believe the Gorris will be unquestionably recognized as one of the premier feminist filmmakers. Most of the action of BROKEN MIRRORS takes place in a brothel called "Happy House" which is run by Ellen, the madam. Working there are Dora, an Academy of Art graduate; Irma, a good-natured naive girl; Francine, a hard successful hooker; Jacky, an elegant and indifferent English vamp; Tessa, a colored girl from Surinam; and the vulnerable and remote Linda. Diane, who has a baby girl and who is married to a heroin addict,is a newcomer in the business to which she has been introduced by Dora. Running parallel to the story of the women in the sex club is the fate of Bea. She is an ordi­ nary housewife who is kidnaped by a man one evening and locked up in a cellar. Although Bea and the prostitutes seem to have little in common, it becomes clear as the action progresses how strongly their destinies are intertwined. Both stories merge together in the surprising conclusion to the film.

disbanded. The Cockettes' influence outlasted their short careers. Their style and sensibility helped popularize the "unisex" look of the decade. Their androgynous image was embraced by per­ formers such as David Bowie and the New York Dolls to promote glitter rock and bisexual chic. .

A Man Like EVA

10:00 pm THE FABULOUS COCKETTES! Presented in Association with the Lesbian and Gay History Project TRICIA'S WEDDING by Mark Lester ELEVATOR GIRLS IN BONDAGE by Michael Calma PALACE by Syd Dutton and Scott Runyon For two and half years in the early 1970's, the Cockettes, a unique and flamboyanttheater troupe, delighted San Francisco with their casual nudity, outrageous sense of humor and glittering, gender­ fuck drag. Their "Noctural Dream Shows" brought the counter-culture lifestyle of Haight-Ashbury and the gender politics of Gay Liberation to an enthusiastic audience. Gay activist John Francis Hunter called them "an expression of the essence of the Sexual Revolution." Founded on New Year's Eve 1969/70 The Cockettes were centered around a Haight Street commune and usually performed their Friday midnight shows at the Palace Theater, a Chinese language movie house in North Beach. Their productions were a combination musical comedy, agit-prop street theater and drag show; theatrical pagents of costume and improvisation. Titles included "Tinsel Tar ts in a Hot Coma," "Hell's Harlots," "HollywoodBabylon" and "Elephant Shit-The Circus Life:' At one notable performance, a benefit for the city V.D. clinic, entitled "The Cockettes in Clapland," the Cockettes wore giant paper-mache phallus costumes and squirted each other with whipped cream. Such perfor­ mances assured the Cockettes attention. National magazines such as Rolling Stone ran feature articles on them. Truman Capote and Rex Reed attended their shows. They made their first film, TRICIA'S WEDDING (1971), which viciously satires the Nixon family. Encouraged by their local success, the Cockettes went on tour in late 1971. Their November premier in Manhattan however was a disaster, and soon after their return to California the group

Directors: Greta Schiller & Robert Rosenberg Executive Producer: John Scagliotti Editor: Bill Daughton Archival Research Director: Andrea Weiss Narrator: Rita Mae Brown Print source: David Whitten Promotions, 221 Hampton Dr., Venice, CA 90291 16mm, color, 87 min.

3:00 pm WEGGEHEN UM ANZUKOMMEN (DEPART TO ARRIVE) Federal Republic of Germany, 1982 This first feature from the hands of Alexandra von Grote charmed and disturbed festival audiences in 1982. There is "no-fault" divorce for Regine and Anna when their relationship begins to fly apart in sharp fragments. Anna (Gabriele Osburg), bewildered by the failure of their love, can only think of ''taking time out," running away. Driving off for the balmy South of France to soothe her wounded pride and dashed expecta­ tions, she gets unwanted flashes from the past - the best and the worst of times between the two women-that hauntthe journey, but the change of locale and fresh experiences along the way are not enough. The change to a positive identity comes gradually through the realization that she must look directly and clearly at her past self before she can depar t from it to arrive at the new present. Cinematically, it's a crystal clear and colorful journey, paced to fit Anna's constantly altering states of mind, ranging from swift, glossy, pain­ ful images to blushing, cheerful, pastoral landscapes - an enjoyable journey to new places. - Penni Kimmel

Director and Script: Alexandra von Grote Camera: Hille Sagel Music: FemSession Editor: Susann Lahaye Sound: Margit Eschenbach Cast: Gabriele Osburg, Ute Cremer Print source: Frauen Film Produktion, Gustav­ Muller-Str. 17, 1000 Berlin 62 35mm, color, 89 min.

wants to interview Wanda and discovers some­ thing about his own repressed desires in the pro­ cess. While Friederike, the maid, violates Wanda's shadow and watches everything. Only Caren, an eccentric businesswoman, knows what it's all about. Therefore, she soon has no more role to play. Then, the show must go on.

Depart to Arrive

5:00 pm MORE LOVE Japan, 1984 The rice-paper closet door slides back confidently at last. Supported in a beautifully filmed and melodramatic (often somber) framework, MORE LOVE is a startling and welcome breakthrough for Japan's first generically gay film. Though male bonding is built into the Japanese culture, the openly gay lifestyle is a recent and threatened phenomenon, and the film's handling of one young man's tragedy identifies the ecumenism of homo­ sexuality in that country today. This young man's coming out topples his mother'S precarious sanity. Further stumbling-blocks to living "happily gay ever after" bring the story to a sad denouement. One is real (his un-confessed father, a Catholic priest cast as a villainous, hypocritical dispenser of Guilt), and the other imagined (the panic head­ lines concerning AIDS). Despite the ending, and the censorship of full frontal nudity, there is more sensuality in this film, per frame, than in most other like cinema and emotional, explicitly sexual acts defy the viewer's belief that anything is left unseen. Though confined within a self-repressive society, the film expresses an unabashed physi­ cal affection between men that cannot be denied. - Penny Kimmel


Director: Koshi Shimada Producers: Ken Togoh -Screenplay: Ryo Ohja and-Osamu-Dbsawa Print source: Contact Frameline 35mm, color, 60 min. -plus-


More Love

7:00 pm VERGUHRUNG: DIE GRAUSAME FRAU (SEDUCTION: THE CRUEL WOMAN) Federal Republic of Germany, 1 985 "Whoever lets himself be whipped, deserved to be whipped" (Leopold von Sacher-Masoch). Sex is possibly only an occurence of time. The time of tenderness is over. What is being shown: the world of sado-masochistic symbols, the rhythm of suffering, the desire for suffering. Beyond the ministries of sentimentality and beyond the bloody honesty of pornographic pictures of unloving love. Blood is also there to show cruelty, which our love is. The cruel woman is life itself, if only that which has not yet been shown. The bleeding rose is its symbol and Wanda the embodiment. SEDUCTION: THE CRUEL WOMAN is an episode from the story of Wanda, a mysterious tyrant. Her speciality: setting traps for her lovers, both male and female. Gregor, the romantic dreamer, experiences a harsh awakening. Justine, the naive innocent from overseas, must learn that even pas­ sion is but an illusion. Herr Mahrsch, a journalist,

Directors & Screenplay: Elfi Mikesch & Monika Treut Camera: Elfi Mikesch Music: Maran Gosov Editor: Renate Merck Cast: Mechthild Grossman, Udo Kier, Sheila McLaughlin, Carola Regnier Print source: Hyane Filmproduktion, Gr. Bergstrasse 142, 2000 Hamburg 50 35mm, color, 85 min.

Seduction: The Cruel Woman


BONDAGE Federal Republic of Germany, 1983 BONDAGE was made from, among other things, material that Monika Treut filmed in New York with women of the LSM (Lesbian Sex Mafia/Lesbian Sado-Masochists) for her film IN SEARCH OF THE LIBERTINE WOMEN OF TODAY. The statements of Carol, a lesbian SIM'er, form the core of the film. She speaks about her sexuality, her love of bondage, her desire for pain, which she shows in front of the camera. Her talking is interrupted by assem­ bled impressions: intersections and subways pass through a chained-femalErbo - d - y.- ---

MONDAY JUNE 24 Castro Theater 6:00 pm ANGELIC CONVERSATION Great Britain, 1984 Derek Jarman brings to his films a painter's eye, and with it the technical ingenuity by means of which he has devised, out of the marriage of film and video, a whole new palette of visual effects. An example is the characteristic, stroboscopic style of his most recent films - analysing motion into successions of still images not unlike Muybridge or Marey sequence photographs. Jarman has devised the novel technique to attain the effect. The action is first filmed with a stop-motion camera at the rate of around 3 frames per second. The moving image is then reconstituted by projecting it at the same rate, and recording from the screen to video. (It is characteristic of Jarman's practical approach to film problems that he is as delighted by the economy of celluloid the device achieves as by the visual conquest.) In the case of ANGELIC CONVERSATION, the process of succes­ sive transfer from Super-8 to low-band video to high-band video and finally to 35mm film obtained the striking textured effect of the images. Jarman's distinctive color effects are produced by process­ ing black and white images on video. To achieve particular results, he will sometimes deliberately trick and confuse the electronic equipment - for example by substituting a bright green gel for the white card ordinarily required for color correction. At the first sight characterised by a system of repetition, ANGELIC CONVERSATION never suc­ cumbs to monotony. The repetitions tend in fact to be variations which serve to concentrate the attention and heighten the significance of small gesture: the climactic homo-erotic love scene achieves powerful effect just through chaste and tender touching and twining of hands. More than

Director: Monica Treut Print source: Hyane Filmproduktion, Gr. Bergstrasse 142, 2000 Hamburg 50 16mm, color, 20 min.

10:00 pm NAUGHTY BOYS Netherlands, 1983 Suddenly, the party is over, even if the party-goers don't wish to acknowledge the fact. After the ball is over life goes on, even the morning after the night before. Six men, wearing evening dress, are determined to prolong their weekend away from it all, in a world that no longer exists. They all want to belong, but none of them succeeds. The differ­ ences between them are too great, so they begin to resemble each other. These differences ensure that friendships develop. They speak English to each other, but they all have accents. They use an international language to create a link. From time to time they revert to their native tongues, or they speak another language (French, Italian, German, Dutch) as if by mistake. Six men of the world and a ser vant/gardener/jack-of-all-trades. They talk about women; they wait for girlfriends to return but without much faith. The telephone is their only connection to the outside world we never see. In the void left after the party, there is an occasional revival. The party always goes on . . . Suddenly dejection and sadness make way for an outburst of lively music and dance. Daisy storms in suddenly, only to disappear again almost at once. In a remote room, a piano is playing, accompany­ ing a woman who sings as a ghostly reminder of the party.

Director: Eric de Kuyper Photography: Michel Houssiau Sound: Arno Hagers Ught: Jim Howe Editor: France Duez Print source: Ministry of Culture, Film Dept., PO Box 5406, 2280HK Rijswijk. 16mm, BIW, 107 min.

earlier films, this one demonstrates the meeting of cineaste and painter that gives special charac­ ter to Jarman's most successful work. Every image is arresting for its compositions, its use of mass and shadow, and of color that is sometimes so elusive that you are momentarily uncertain whether you see it or not. Jarman paints in light. - David Robinson

Producer: James Mackay Director: Derek Jarman Music: Coil Sonnets ready by: Judi Dench Cast: Paul Reynolds, Philip Williamson Print source: British Film Institute, 29 Rathbone St. , London W1 35mm, color, 78 min.

7:30 pm SILENT PIONEERS U.S.A., 1985

10:30 pm LUMINOUS PROCURESS U.S.A., 1971

Contrary to popular myth, gay men and lesbians do grow old. Through profiles of eight men and women, SILENT PIONEERS tells us their stories, of how they have lived and loved, and how, despite harmful societal prejudices about gay people, they have lead meaningful lives. SILENT PIONEERS is a film about struggle and silence and the emergence from both.

A major avant garde success in the early 1970's this film by Steven Arnold was filmed in San Fran� cisco and features the legendary comedy/drag group "The Cockettes:' We follow two naive young men in their journey through an elaborate bordello comprised of a strange combination of cloisters and chambers, jungle grottos and ivied forests, banquet halls and temples - all of it located in an undefinable area of time and space. Bezarre and erotic, LUMINOUS PROCURESS was greeted with rave reviews by even mainstream critics when it was released in 1971. Molly Haskell in The Vii/age Voice called it ". . . a west coast Satyricon . . ." while the LA Times said it is a "strangely com­ pelling, highly imaginative work of unabashed hedonism."

The L-Shaped Room


Special Live Entertainment A reception with the filmmakers to benefit the film's production debut will be held immediately after the screening. Producer: Patricia Snyder Director: Lucy Winer Executive Producer: Harvey Marks Director of Photography: Paula deKoenigsberg Print source: Filmakers Library, Inc., 133 East 58th St., New York, NY 10022 16mm, color, 42 min.

TUESDAY JUNE 25 Roxie Cinema 6:00 pm THE L-SHAPED ROOM Great Britain, 1962 The L-SHAPED ROOM stars Leslie Caron as a young, pregnant woman who moves into a seamy London rooming house where she encounters Johnny (Brock Peters), who is painfully in love with Caron's lover (Tom Bell), and a lesbian tenant, an ex-vaudevillian, beautifully played by Cicely Courtneidge.

Director: Bryan Forbes Cast: Leslie Caron, Tom Bell, Brock Peters Cicely Courtneidge 16mm, B/W, 124 min.

Silent Pioneers

10:00 pm THE LEATHER BOYS Great Britain, 1964 Seeking an escape from the ties of school and home, Dot (Rita Tushingham) convinces Reg (Colin Campbell) that they should marry. The relation­ ship quickly sours, and Reg moves in and shares a bed with his biker buddy, Pete. Attempts to recon­ cile with Dot fail, and Reg decides to take Pete up on his offer to sail with him on a merchant boat for New York. As they are preparing to leave, Reg, in a dockside bar, comes face-to-face with Pete's sexuality. Superbly acted - Rita Tushingham has a field day!


CASTRO STREET by Christine Leahy

8:30 pm HORROR VACUI-DIE ANGST VOR DER LEERE (HORROR VACUI-THE FEAR OF EMPTINESS) Federal Republic of Germany, 1984 Rosa von Praunheim, virtuoso of camp shadows and glitter politics (and auteur of the midnight-Iy CITY OF LOST SOULS of the 1983 Festival) has re-invented the Expressionistic soul of Berlin to backdrop the terrifying and entertaining adventures of a young gay student, Frank, seduced by the contemporary superstitions of authority: indus­ try, religion, magic, science, art and romance. Heedless of the warnings of his self-assured and worldly lover - fearing meaninglessness more than insecurity or even death - Frank falls spell­ bound, first by a posturing professor who has Luminous Procuress

7:00,9:00 & 11:00 pm 16th Note THE 1985 SAN FRANCISCO LESBIAN AND GAY VIDEO FESTIVAL

Producer: Raymond Stross Director: Sidney J. Furie Screenplay: Gillian Freeman Based on the novel by: Eliot George Cast: Rita Tushingham, Colin Campbell, Dudley Sutton, Gladys Henson 16mm, B/W, 107 min. cunningly combined the worst (and most attrac­ tive) of determinist philosophies; then by the hypnotic, hedonistic Madame, the gargantuan, alluring mistress of the cult of Optimal Optimism. With a little bit of help from a fascinating assort of enemies, Frank must escape the CABINET OF DR. CALIGARI-maze and the gilded, gaudy, crudely sophisticated Magic Cabaret. There are times when being assured of one's sexual identity - when all else has been taken away - comes in handy. - Penni Kimmel

The Leather Boys

Director, Script & Photography: Steven Arnold Music: Werner Jepson Costumes: Scott Runyon Cast: Pandora, Steven Solberg, Ronald Farrell, Doro Franco, Cherel Fitzpatrick and the Cockettes 16mm, color, 87 min.

Director: Rosa von Praunheim Camera: Elfi Mikesch Set: Inge Stiborski Music: Maran Gosov Cast: Lotti Huber, Friedrich Steinhauser, Volkert Milster, Thomas Vogt, Ingrid van Bergen Print source: Exportfilm Bischoff, Bayerstrasse 15 0-8000 Munich 2 16mm, color, 85 min. -plus­

THE STEPS (See Saturday, 6-22 Noon)

This international collection of shorts explores video expression today, in every available genre: art, satire, social documentary, personal expression, dance, and erotica (see Friday listings at The Roxie). You won't see this on TV. A true indication of our present direction, talent, and resources. Titles for the Video Festival include:

TOP SECRET by Biello/Malkasian 4 min.

New York, NY

A satirical study of communication from board­ room to boudoir.

VICKI PICKS A TIE by Hunter Wolkoff Video Free Earth/Jamie Walters Washington, D.C. 10 min. This is the third in a series emphasising a concep­ tual approach to the behind the scenes existence of American public personalities. In this case, Vicki Morgan, mistress of the late Alfred Bloomingdale, is found bludgeoned to death with a baseball bat.

DREAM COME TRUE by Breitling/Birchum 17 min.

Norman, Oklahoma

A glittery, behind-the-scenes look and concise docu­ mentation of the official Gay Miss America contest.

GAY TAPE: BUTCH & FEMM by Cecilia Doherty Oakland, CA 29 min. A candid, inciteful look at lesbian butch and femm role models, the women that exhibit these charac­ teristics, and their place and effect in society. (continued on back pane/)

(continued from Tuesday, June 25 at the 16th Note)

Director and Script: Ab van leperen Producer: Frans Raskar Camera: Marc Felperaan Music: Bram Vermeulen Cast: Rudolph lucieer, Elias van Zangen, Ma.rjon Brandsma Print source: Netherlands Information Service, PO Box 20006, 2500EA The Hague 16mm, c%r, 69 min.

Behind Glass Son, Are You Down There?

ONE SINGS by John Canalli San Francisco, CA 20 min. To parallel stories, one presented in a formal, drama­ tic style, the other in subscript form, that reveal the coinciding after effects of love gone wrong and the coping mechanisms we use to move on.

CONNAN THE WAITRESS by Mark Addy 7 mi n.

Hollywood, CA

You'll never complain about bad service again after experiencing this excessive parody of the restau­ rant of your darkest nightmares.

A SIMULATION by Mark Verabioff Halifax, Nova Scotia 2 min. The mystique and allure of boy in photon flashback.

IMMACUlATE CONCEPT!ON by Kim Foley Olympia, Washington 13 min. A well crafted, sensible look at the option of artificial insemination for lesbians and gay men.

CLONES IN LOVE by Michael Biello Philadelphia, Pennsylvania 5 min. A heavy-handed, well thought out criticism on our ever-changing, ever-interesting evolution of what's desirable.

"SON,ARE YOU DOWN THERE?" by Carl Johnson London, England

13 min.

Uses a non-narrative, train of thought approach combining past isolation and present growing awareness of a gay sexuality.

WEDNESDAY JUNE 26 Roxie Cinema 6:00 pm BEHIND GLASS Netherlands, 1981 BEHIND GLASS deals with the tensions that can arise in a homosexual relationships between two people of very different social and cultural back­ grounds. The film revolves around David, Thomas and Marina. David makes information programs for radio. Thomas is a window-washer and is taking a correspondence course. Marina has a daughter and is a close friend of David. Wanting nothing more than to be happy, David and Thomas find their lives disintegrating into a series of small wars over class, education, money and sex.

THURSDAY JUNE 27 Roxie Cinema 6:00 pm PAUL CADMUS: ENFANT TERRIBLE AT 80 U.S.A., 1984 When a morally indignant admiral threw Paul Cadmus' painting of rowdy sailors out of a W PA exhibition in 1934, it was only the first scandal in the artist's unusual career. In this intimate film portrait, Cadmus, now 80, draws from the nude, demonstrates his mastery of ancient painting tech­ nique, and candidly recounts his past as a promi­ nent American scene painter and controversial social satirist.

Director and Producer: David Sutherland Camera: Joe Seamans Editor: Michael Colonna Print source: David Sutherland Productions, 141 Plymouth Rd., Newton, MA 02161 16mm, c%r, 64 min.

8:00 pm A TASTE OF HONEY Great Britain, 1961 Rita Tushingham won the Best Actress Award at the Cannes Film Festival for her sensitive por trayal of Jo, a young girl forced to make a life of her own. Deserted by an irresponsible mother and pregnant by a Black sailor, Jo sets up housekeeping with a young homosexual (Murray Melvin) she picks up at a carnival.

Director: Tony Richardson Cast: Rita Tushingham, Murray Melvin, Dora Bryan, Paul Danquah Print source: Kino International, 250 West 57th St. , Suite 314, New York, NY 10107 35mm, B/W, 100 min.

10:30 pm PASO DOBLE Federal Republic of Germany, 1983"Papa's in love with him" "With a foreigner!?!" lothar lambert's PASO DOBLE is the answer to whether a long-underground filmmaker (FUCKING CITY, FRAULEIN BERLIN) can make his way to the light without losing integrity, cast members of wacky, sexful sense of humor. It's an ordinary, nuclear Berliner family. . . except that the hausfrau (the bouneous Ulrike S.) can't get her macho hubby (the wonderfully stolid Albert Heins) to danc­ ing class to learn the Paso Doble in preparation for their vacation in Spain, to take off his toupee, nor out of his disgusting habit of jacking off in bed. Their teenagers, Tanya and Christian, feel the lack of sexual knowhow and muscles, respectively. German inhibitions are loosened by the hot Spanish sun. On their return, Mama takes off with a Persian poetry-intoning Masseur, while papa Erich brings home another kind of Spanish son - hunky, young, mute, supple, sexy and gay. The erotic energies in PASO DOBLE are transformed into wit and unex­ pected sensual beauty as the family "problem" turns out to be its solution and its salvation.

Executive Producer: Jochen Bach Director and Script: lothar Lambert Camera: Helmut Rottgen Music: Albert Kittler Cast: Albert Heins, Ulrike S. , Susanne Stahl, Christoph Wellemeyer Print source: Igelfilm, Friedensallee 7, 0-2000 Hamburg 50 16mm, c%r, 90 min.

7:00,9:00 & 11:00 pm 16th Note THE 1985 SAN FRANCISCO LESBIAN AND GAY VIDEO FESTIVAL (See Tuesday, June 25)

Paul Cadmus

8:00 pm DOMESTIC BLISS Great Britain, 1984 The conflicts in this carefully observed and insight­ ful comedy/drama center around the relationship of Diane, a successful doctor and her lover Emma, whose life has followed a less structured path. Diana invites Emma and her ten year old daugh­ ter to live with her. They all get more than they bargained for, including visits from Emma's ex­ husband, Emma's best friend Amelia, who arrives with baby and dog, and a next door neighbor who has a habit of locking herself in the bathroom and crawling through Diana's window. Diana, kind but inflexible, is torn between her love for Emma and her need for structure and tranquility. Full of bright dialogue and a genuine chemistry between the excellent cast, the film depicts lesbians in a way rarely seen in the movies.

Director: Joy Chamberlain Script: Gillian Siovo Lighting and Camera: Pascoe Macfarlane Editors: Ginny Heath, Joy Chamberlain Cast: Mandy More, Penny Nice, Martha Parsey, Y vonne Gidden, Rachel Bell Print source: Newsreel, 4 Denmark St. , london WC2H 8l P 16mm, c%r, 52 min. -p/us-

NEXUS ONE WOMAN WAITING (See Saturday, 6-22, Noon)

LOST LOVE by Cathy Zheutlin

10:00 pm VICTIM Great Britain, 1961

FUN WITH A SAUSAGE by Ingride Wilhite 15 min.

When VICTIM was made in 1961, 90% of all black­ mail cases in the English courts were homosexual in origin. In this film Dirk Bogard plays an upper middle-class barrister who instead of giving in to the blackmailers' demands, cooperates with the police to track them down risking his marriage and career.

Director: Basil Deardon Cast: Dirk Bogarde, Sylvia Sims Print source: Kino International, 250 West 75th Street, Suite 314, New York, NY 10107 35mm, B/W, 100 min.

FUN WITH A SAUSAGE is a hilarious spoof on lesbian sexual politics and cross-dressing. Origi­ nally produced on super-8 film, it won the award as Best Super-8 Film at the 1984 San Francisco International Lesbian and Gay Film Festival.

Source: Blush Productions, PO Box 421916, San Francisco, CA 94142


PRIVATE PLEASURES (See 6:00 pm above)

6:00 pm DEPART TO ARRIVE (see Sunday, 6-23, 3:00 pm)

10 pm EROTIC IN NATURE L'INGENUE (See 6:00 pm above)

8:00 pm BROKEN MIRRORS (see Saturday, 6-22, 6:00 pm)


SHADOWS A Fatale Films Presentation

30 min.

For the leather fetish connoisseur. Bike-riding butch is taught a few lessons in femme worship and is richly rewarded.

10:00 pm MORE LOVE (see Sunday, 6-23, 5:00 pm) Midnight PINK NARCISSUS (see Friday, 6-21, 10:00 pm)

Source: Blush Productions, PO Box 421916, San Francisco, CA 94142


7:00 & 11:00 pm 16th Note THE 1985 SAN FRANCISCO LESBIAN AND GAY VIDEO FESTIVAL (See Tuesday, June 25) 9:00 pm 16th Note LESBIAN PULP NOVELS 1950-65 A slide presentation by Roberta Yusba This show is a "must see" for social history buffs as it is a visual chronicle of the women who wrote and the social conditions that fostered the dime­ store lesbian novel.

FRIDAY JUNE 28 Roxie Theater THE 1985 SAN FRANCISCO LESBIAN AND GAY VIDEO FESTIVAL 6:00 pm EROTIC IN NATURE U.S.A., 198540 min. Some call it erotica, some call it smut. We won't pretend that this new phenomenon isn't contro­ versial, but sex videos made by lesbians for lesbian audiences have finally arrived. EROTIC IN NATURE premiered in Cotati on a weeknight last April to sold-out crowds. As far as visual entertainment is concerned, it has good production values, better­ than-average acting, and an effective sound track consisting of original music with limited voice-overs.

Director: Christen Lee Rothermund -plus-

L'INGENUE by Ingrid Wilhite 15 min. lJNGENUE recounts the adventures of a baby dyke's first visit to a lesbian bar. Filmed on location at Mauds.

Source: Blush Productions, PO Box 421916, San Francisco, CA 94142

PRIVATE PLEASURES A Fatale Films Presentation

30 min.

This video-within-a-video features a lovely Asian lesbian at home alone with lesbian porno on her VCR. The porn video entitled PENTHOUSE is a breath-taking seduction scene with a touch of class and heart-stopping action.

Source: Blush Productions, PO Box 421916, San Francisco, CA 94142

8:00 PM EROTIC IN NATURE (See 6:00 pm above) -plus-

Midnight MALE EROTIC VIDEOS Titles include: A SELECTION FROM DEAN DECENT Preoccupied with his own god-given talent, Dean's need to communicate takes precedence over protocol.

JAPANESE EROTICA Excerpts from the Far East where bondage seems to be a way of life.

BOB DIVA'S 15:16 A "don't miss" for the erotica in film aficiondo.

SATURDAY JUNE 29 Roxie Cinema 11:00 am AIDS: CHAPTER I U.S.A., 1985 AIDS: PORTRAIT OF AN EPIDEMIC U.S.A., 1984. Director: Harvey Marks

FOR OUR LIVES U.S.A. Director: Michelle Paymar The 1985 Video Festival presents three recent video productions recently aired concerning AIDS.

1:30 pm BLAUER DUNST (BLUE SMOKE) Federal Republic of Germany, 1983 Silent with music soundtrack A dark and moody story of petty thieves, gay lovers, lesbian lust, waterfront bars and murder. BLUE SMOKE is a nostalgic new super-8 feature from Berlin made in the tradition of Cocteau, Genet and the early German silents. With its stylishly grainy photography and claustropho­ bically intimate scale, director Keske's film may actually be more true to the atmosphere of Genet's "Querelle" than Fassbinder's overblown production

Director: Klaus Keske Super-8, B/W, 86 min. Source: Syrup Productions, Herrfruth strasse 4, 1000 Berlin 44

3:30 pm DOCUMENTING A COMMUNITY: A PUBLIC FORUM Vito Russo, author of THE CELLULOID CLOSET, moderates a discussion of documenting the history and culture of the Lesbian and Gay com­ munity in film, videotape and slide presentation. Panelists will include Robert Epstein (WORD IS

SUNDAY JUNE 30 Roxie Cinema 6:00 pm NAUGHTY BOYS (see Sunday, 6-23, 10:00 pm) 8:00 pm SILENT PIONEERS (See Monday, 6-24, 7:30 pm) DOMESTIC BLISS (See Thursday, 6-27, 8:00 pm)

10:00 pm SEDUCTION: THE CRUEL WOMAN (see Sunday, 6-23, 7:00 pm)

FRAMELINE BOARD OF DIRECTORS Laura Sanden, President Paul Bollwinkel, Secretary Chris Olson, Treasurer Michael Lumpkin, Film Festival Director John Wright, Assistant Film Festival Director John Canalli, Video Festival Director Sally Jones Maira Kellet Sue Mitchell Susan Passino Howard Sullivan Paul Thruston Jeff Watts

FRAMELINE HONORARY BOARD OF DIRECTORS Peter Adair Eddie Baca Alan Berube Harry Britt Robin Eickman Rob Epstein Vivian Kleinman

Armistead Maupin Pat Norman Frances Reid Vito Russo Liz Stevens Rikki Streicher Tim Wolfred

VOLUNTEERS Gerry Villareal Marsha Gale Gypsy Cathy Githens Susan Exstrom Monica Palacios Judy Stone Dagny Adamson Beth Hawley Ingrid Wilhite Tory Kauffman Lynne O'Neil

Kate Mitchell Ditra Budzinowsky Larry Burnett Nikos Diaman Dan Kiernan Ron Ward Russell Disher Ben Vick Charlie Wagner Rodney Thomas Tom Yanetta Gary Skop

Maria Kellet, Volunteer Coordinator

The San Francisco International Lesbian and Gay Film Festival is made possible by grants from the San Francisco Hotel Tax Fund, the California Arts Council and the National Association of Media Art Centers. Additonal funding is provided by the members of the Festival. Frameline acknowledges their generous support.


BUSINESS PATRONS The Midnight Sun Captain Video

INDIVIDUAL PATRONS Paul Albert Clyde Wildes Jim Brown Steven Saylor Rick Solomon Paul N. Thurston, Attorney

BUSINESS SPONSORS Amelia's/Maud 's Haight & Noe Jeans, S. F. Vivoli's

INDIVIDUAL SPONSORS Chas Koehler Edwin Turrell, A.S.I.D. Victor W. Karlis R.M. Coe Brenda Webb P.J. Duman Rob Dontas Bob Matgen Mike Newton Markley Morris George Mendenhall Silvana Nova Pope Shenouda Skank Robert Hawk Ed Teskey Kitten

BUSINESS MEMBERS Bill of Health Roe Design Geoff Harris Graphics Strand Theater Pensione Hotel Awards by Chris

INDIVIDUAL MEMBERS Ernie Hobbs James Mishima M. Janet Allen

SPECIAL THANKS TO: The Apartment Store Surf Theaters Roxie Cinema 16th Note Larry Horne, L.A. International Gay & Lesbian Film/Video Festival Peter Lowy, New York Gay Film Festival Ministry of Culture, The Netherlands British Film Institute Vito Russo CnA Art Available Dean Sandler, 181 Club Tom Bustillos, US. Runco John Riddler Joseph Durant Rick Bartell Mrs. Fields Cookies, Castro Street Castro Cheesery Castro Street Flowers Castro Village Wine Co. STBS, Union Square David McManis Alan Kraus Philip's Hallmark Shops Bakers of Paris Carson-York Dessert Cafe Zuni Cafe Steve Loving Gary Rorick

BUSINESS MEMBERS Charles N. Williamson, M.D. Human Head Hair Design Sausage Factory Hidden Gardens Baybrick Inn


P.O. Box 14792 San Francisco, CA


(415) 861-5245

Design: David McManis Design

Typography: Jet Set

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