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The king of queer film festivals San Francisco International  LGBTQ Film Festival June 16 — 26, 2016


Premier Technology


Premier Creative

Contents Welcome to Frameline40

Kiki (p. 19)

Ovarian Psycos (p. 59)

Realness & Revelations (p. 67)

Paris 05:59: Theo & Hugo (p. 39)



About Frameline



Opening Night Film & Gala Kiki


Centerpiece: US Feature AWOL


Centerpiece: World Cinema Being 17


Centerpiece: Documentary Southwest of Salem: The Story of the San Antonio Four


Closing Night Film & Party Looking


Frameline Award: Robert Hawk Film Hawk


First Feature Award


In Whose Image? LGBTQ Storytelling 1977–Today




Special Presentation Vegas in Space


Showcase Programs


US Features


World Cinema






Family Matinee



Schedule at a Glance The Intervention (p. 38)

The trans list (p. 45)




Ticket Info


Ticket Order Form


Festival Venues


Festival Info


Frameline Board & Staff


Members & Donors


Film Index



Š 2016 AT&T Intellectual Property. All rights reserved.

Equally innovative Diversity drives innovative solutions. Because ideas are better when everyone works together. That’s why we’re proud to support the 2016 San Francisco International LGBTQ Film Festival. AT&T is proud to be named one of the “Best Places to Work” by the Human Rights Campaign (HRC) for the 12th consecutive year, receiving a perfect score from 2004-2016 on the Corporate Equality Index for its fair treatment of LGBT employees.

Proud to be the Design Partner of Frameline40

Welcome Frameline40 presents the king of queer film festivals. Through four decades in the San Francisco Bay Area, Frameline’s uncompromising drive to illuminate LGBTQ stories has never wavered. The films that have found their home here endure as a testament to the tenacity of queer storytelling and its power to create vital change both locally and worldwide. Frameline40 pays homage to queer histories that refused to be silenced, as we propel ourselves toward a bright and bold future being built for and by our community’s youth—all while remaining grounded in the powerful movements and creativity of our here-and-queer present. We are not just proud, but honored to bring you the 40th San Francisco International LGBTQ Film Festival. This year’s cinema selection features 155 films from 24 countries. In addition to our central showcases, we’ve put together festive parties, expert panels, live performances, and much more, bringing together filmmakers, actors, producers, artists, screenwriters, and moving picture lovers from all around the globe. We are especially thrilled to open Frameline40 with Kiki, Sara Jordenö and Twiggy Pucci Garçon’s truly empowering documentary on today’s ballroom scene: an unapologetically flamboyant and political subculture centered on LGBTQ youth of color for whom dance is far more than performance. Like Kiki, many of the films this year embody the decadeslong effort of LGBTQ filmmakers to create change through storytelling. Our special series of screenings and panel discussions, titled In Whose Image? LGBTQ Storytelling 1977–Today, explores queer film’s impact on social change and intersectional activism over the 40 years of Frameline’s existence. Highlights include our Centerpiece Documentary, Southwest of Salem: The Story of the San Antonio Four, which excavates the nightmarish persecution of four Latina lesbians wrongfully convicted of sexual assault, and Growing Up Coy, about a courageous Colorado family advocating for their transgender child’s rights in school. Our series also brings back milestone films like Tongues Untied, The Celluloid Closet, and Living with Pride: Ruth C. Ellis @ 100, and we’ll turn the clock back to Frameline’s founding year with a unique retrospective program, Flashback 1977. This special series is proudly supported by the Academy of Motion Picture Arts and Sciences. Frameline40’s outstanding crop of new narratives and documentaries from around the world is your chance to explore places and aspects of the LGBTQ experience that may be entirely new to you: André Téchiné’s exquisite Being 17, our Centerpiece World Narrative, takes us to the French Pyrenees for the story of two rival teenagers, and you’ll find surprising films taking you inside LGBTQ lives in China, Myanmar, and Cuba, as well as among the Inuit of Canada. Closer to home, but no less eye-opening, our Centerpiece US Narrative AWOL is a romantic drama set in working-class Pennsylvania, where two women’s love may be threatened

by a deployment to Afghanistan, while the documentary Treasure: From Tragedy to Trans Justice, Mapping a Detroit Story takes us to the streets of Detroit for the heartwrenching story of systemic violence faced by a trans woman of color and her community’s search for justice. Wherever your “destination” at Frameline40, we know the journey will be rewarding, so take a chance and choose someplace new to explore. And we’ve got film celebrations galore: the documentary Strike a Pose marks the 25-year reunion of the fierce dancers from Madonna’s Blond Ambition tour; San Francisco’s legendary impresario Peaches Christ hosts a revival of the drag classic Vegas in Space; and Film Hawk celebrates the incomparable contributions of film authority Robert Hawk, who receives the 2016 Frameline Award for his extensive influence on American independent and queer cinema. We close the Festival with a joyous reunion: following up two seasons of HBO’s breakthrough series, Looking, directed by Andrew Haigh, reunites the show’s sexy San Franciscans in a romantic drama that delivers the sweet satisfaction of closure. Whether this is your 40th year joining us or your first, we’re certain this year’s Festival will surprise, challenge, and delight. Venues include the Castro, Roxie, Victoria, and Elmwood and Piedmont theatres, where we’re extending our East Bay run. After forty years out, we still can’t wait to see you at the movies!

Frances Wallace Executive Director

Desiree Buford Director of Exhibition & Programming

Peter L. Stein Senior Programmer

Kevin Schaub Program & Hospitality Manager



See how often testing is recommended. Visit Š 2016 Gilead Sciences, Inc. All rights reserved. UNBC3150 06/16

days of stories that don’t always get told

Photo by Barak Shrama

Of all the many things we do to support Pride, one of our very favorites is Frameline: the San Francisco International LGBTQ Film Festival. It’s a wonderful way to promote understanding and acceptance of the LGBTQ community, and we look forward to it every year. Wells Fargo is proud to sponsor the festival, and honored to participate in Pride all month long.

Frameline and Wells Fargo — supporting the Bay Area’s own

Sponsors Grand




10 Frameline40

Premier Technology

Premier Creative




Industry 11

Sponsors Continued

Event Production

Premier Event Venue

Catering + Beverages

Event Venues

Hospitality ·· Bi-Rite Market

·· Escape From New York Pizza ·· Heliotrope San Francisco ·· Ike’s Place

·· Kabuki Springs & Spa ·· Kasa

·· KIND Snacks ·· Locanda

·· New Conservatory Theatre Center ·· Omni San Francisco Hotel ·· Poesia

12 Frameline40

About Frameline Frameline thanks the following for their generous year-round support:

FRAMELINE’S MISSION is to change the world through the power of queer cinema. As a media arts nonprofit, Frameline’s programs connect filmmakers and audiences in the Bay Area and around the world.


Founded in 1977, the San Francisco International LGBTQ Film Festival is the longestrunning, largest, and most widely recognized LGBTQ film exhibition event in the world. With an annual attendance of 65,000, the Festival is also the most prominent and wellattended LGBTQ arts program in the Bay Area. Additionally, Frameline presents year-round exhibitions and programs which include members-only sneak previews and special events featuring directors, actors, and other queer media icons. Frameline Encore is our yearround free screening series in Oakland and San Francisco that aims to increase accessibility to diverse queer stories. These films and panel discussions emphasize underrepresented LGBTQ experiences including those from gender expansive persons and queer communities of color.


Established in 1981, Frameline Distribution is the only nonprofit distributor that solely caters to LGBTQ film. Frameline’s collection has over 250 award-winning films that we distribute globally to universities, public libraries, film festivals, and community organizations. Our films can also be seen on direct-to-consumer providers and streaming services. In 2008, Frameline Distribution launched Youth In Motion, a program that provides free LGBTQ-themed films and curriculum resources to Gay-Straight Alliances nationwide. This year, Youth In Motion added six states to its roster. It now supports over 850 schools in 49 states and Washington D.C. In 2011, we launched Frameline Voices, a digital showcase of diverse LGBTQ stories with an emphasis on films by and about people of color, trans and gender expansive persons, youth, and elders. This free content is available any time on a computer or mobile device.

Filmmaker Support

Since 1990, the Frameline Completion Fund has awarded more than $465,000 to 136 film projects by and about the LGBTQ community. Grants are awarded annually and provide much-needed support to filmmakers for their final post-production work. These completed films often go on to receive international exposure and accolades. Submissions include documentary, educational, narrative, animation, and experimental projects about LGBTQ people and their communities. The Fund also seeks to bring new work to under-served audiences; with this in mind, applications by women, people of color, and transgender persons are especially encouraged.

Join Us

We thank all of our donors and partners for furthering our mission and supporting LGBTQ media arts.

Frameline Members are vital to our year-round work in creating change for LGBTQ people everywhere. When you join as a member, your generous gift supports emerging filmmakers, youth outreach to create safer and more accepting communities, and the exhibition of thought-provoking films documenting LGBTQ lives and experiences both online and at the Festival. By joining the most respected LGBTQ arts organization in the nation, you invest in our future and also receive an array of exciting benefits. For more information about how you can be a part of the Frameline family, please visit us online:



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  

It feels good to give back. And together with our generous customers and employees, Macy’s averages more than $1 million a week to initiatives important to you and your community – arts, education, the environment, HIV/AIDS, and women’s health and wellness. It adds up to $70 million* a year. It’s a good feeling we can all share, and to us, that’s the magic of giving. * Includes grants from Macy’s Foundation

It’s a celebration And everyone’s included

Photo credit: Wayne White Photography

Employees of Bank of America are bringing the message of equality to people everywhere. Join us as we work to overcome every obstacle and celebrate every success.

©2016 Bank of America Corporation. | AD-01-16-8482.B | ARP5GWWY

2015 Most Gay Friendly Cruise Line



We deliver exciting destinations on all seven continents and are proud to support of the 40th Frameline International Film Festival. Visit your local AAA Travel Agency, call 877 363 6649, or visit © 2016 Celebrity Cruises Inc. Ships’ registry: Malta and Ecuador.

2016 Best Overall Food Experience


Opening Night


DIR Sara Jordenö 2016 USA, Sweden 94 min

More than two decades after Paris Is Burning introduced the world to the New York ballroom scene, it’s time to clear the dance floor for Kiki: this vibrant, eye-opening documentary fastforwards us into today’s unapologetically flamboyant and political subculture of performance, now centered on LGBTQ youth of color who are redefining realness and family through artistry. True to its legacy, Kiki delivers over-the-top ballroom scenes pulsing with energy— underscored by music from Qween Beat. But director Sara Jordenö and co-writer Twiggy Pucci Garçon (a House Mother) take the motto of the ballroom youths to heart: “Not About Us Without Us.” In a full artistic collaboration, they bring us inside the lives of Kiki scene members like Gia Marie Love, Queen Mother of the House of Juicy—an activist who equally displays bravado and vulnerability—and Chi Chi Mizrahi, Founding Mother of the House of Unbothered-Cartier, whose leadership allows community members to flourish. Kiki reveals a world that is not only a fun safe haven, but also an important rallying point for youth development and activism. Although full of hope, Kiki’s participants are quick to point out that young LGBTQ people of color still deal with disproportionate homicide and suicide rates, harassment by law enforcement, and homelessness—survival issues often left out of mainstream gay initiatives. Kiki bears joyous witness to dynamic young people lifting each other up in communities of chosen family, where they are not just surviving, but thriving.  — ANGELIQUE SMITH

Thursday, June 16, 7:00 pm · Castro opening night Film & Gala

$75 members, $90 general · kiki16C opening night Film Only

$30 members, $35 general · kiki16C Friday, June 24, 7:00 pm · Piedmont special east bay encore

$12 members, $15 general · KIKI24P proudly sponsored by

This film is a recipient of a Frameline Completion Fund grant.

GALA   Immediately following Kiki, Frameline40’s festivities continue at the Opening Night Gala at

The NWBLK (1999 Bryant Street at 18th Street). Feast on the sights, sounds, and flavors of the Festival while celebrating with mediamakers, industry professionals, and filmgoers alike.

gala partners: Girl friday, gala event producer / Tito’s Handmade Vodka / Kokomo Winery / The Hugh Groman Group / Simply Bliss Catering & Event Planning / Small Potatoes Catering / Curryous Catering / Poco Dolce Confections / Foxtail Catering & Events / corona extra / fogo de chao  Guests must be 21 or over to enjoy beer, wine, or cocktails.

proudly sponsored by

Opening Night 19

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You will not be charged for the SHOWTIME streaming service during the free trial period. TO CANCEL YOUR SUBSCRIPTION AND AVOID BEING CHARGED, YOU MUST CANCEL BEFORE THE END OF THE FREE TRIAL PERIOD. ©2016 Showtime Networks Inc. All rights reserved. SHOWTIME and related marks are trademarks of Showtime Networks Inc., a CBS Company. “Masters of Sex”: ©Sony Pictures Television and Showtime Networks Inc. All rights reserved. “The Affair,” “The L Word®,” “Penny Dreadful” & “Queer As Folk”: ©Showtime Networks Inc. All rights reserved. “Shameless”: ©Warner Bros. Entertainment Inc. All rights reserved.

Centerpiece: US Feature


DIR Deb Shoval 2016 USA 85 min

Recent high school grad Joey (Lola Kirke, Mozart in the Jungle and Mistress America) is scooping ice cream at the local fair when she meets Rayna (Breeda Wool, UnREAL), a leggy blonde in Daisy Dukes who likes drinking and flirting, and who has a weakness for “them tomboys,” as her grandmother calls them. Rayna takes Joey home along with some ice cream, and soon Joey is head-over-heels in love and lust—even after she discovers that the older woman has a couple of kids and a trucker husband named Roy. Based on the award-winning short film of the same name (Frameline35), this story of star-crossed love provides a nuanced depiction of working-class life in rural America. Director Deb Shoval gets the details right, from Joey’s series of dead-end jobs to the car on blocks outside Rayna’s trailer house. The film finds gritty beauty in the scuffed basements, bars, malls, and meadows where Joey and her friends work and play. It observes the gradations of class within Joey’s circle: Joey’s sister looks down on Rayna as a welfare-check-collecting freeloader, and Joey’s mother desperately wants Joey to join the army, her one shot at college. Tensions mount as Rayna and Joey’s relationship moves from summertime fling to something more serious. While the pair are creative about setting up clandestine meetings—in a barn, the front seat of a pickup, and, most memorably, a tent—they have a harder time imagining a life together. “Would you go into the army if you were rich?” asks a college-going lesbian friend of Joey. “Probably not,” she answers laconically. In this movie, the price of same-gender love is steepest for those who can least afford it.  — MONICA NOLAN

Wednesday, June 22, 6:30 pm · Castro $12 members, $15 general · AWOL22C Saturday, June 25, 7:30 pm · Piedmont $12 members, $15 general · AWOL25P proudly sponsored by

This film is a recipient of a Frameline Completion Fund grant.

Centerpiece: US Feature 21

Welcome Home

We are PROUD to SUPPORT Frameline40 San Francisco International LGBTQ Film Festival.

Centerpiece: World Cinema

Being 17

Quand on a 17 ans

DIR André Téchiné 2016 France 116 min In French with English subtitles

Ah, youth, that time of life when hormonal imperatives take over and confusion reigns. For Thomas and Damien, high school classmates in the remote French Pyrenees, increased testosterone and unspoken feelings have created a rivalry they find difficult to understand, leading to occasional outbursts of violence. The two couldn’t be more different: Thomas (striking newcomer Corentin Fila) is the adopted child of rural mountain farmers, commuting by bus and foot for more than three hours to get to and from school. Damien (Kacey Mottet Klein) is more urbane, sporting an earring and declaiming Rimbaud in class. As the boys’ animosity intensifies, Damien’s mother, Marianne, the village physician—a wonderfully warm Sandrine Kiberlain (Violette, Frameline38)—finds herself treating Thomas’s mother for a difficult pregnancy and invites Thomas to live with them for a while. The boys’ increased proximity, and the pressure to put aside their differences under Marianne’s watchfulness, may lead to a detente, but it also sets the stage for a complicated emotional reckoning for both of them. More than 20 years ago, director André Téchiné’s Wild Reeds, a study of gay adolescence, became an instant classic, and he returns to similar themes with Being 17. If anything, this new effort is even more complex and alluring, exploring the sometimes too-close connection between attraction and violence, the push and pull of family ties, and Thomas’s passion for nature. Gloriously filmed in the mountains of southwest France, and with delicately nuanced performances from the entire cast, Being 17 is another masterwork from Téchiné (whose The Witnesses opened Frameline31).  — ROD ARMSTRONG

Tuesday, June 21, 7:00 pm · Castro $12 members, $15 general · BEIN21C proudly sponsored by

Centerpiece: World Cinema 23

Arnold & Porter LLP is proud to support

Frameline As a firm we are deeply committed to diversity and equality. Our attorneys have taken on high-impact cases supporting marriage equality and fighting against discrimination based on sexual orientation and gender expression and identity.

24 Frameline40

Centerpiece: Documentary

Southwest of Salem: The Story of the San Antonio Four DIR Deborah Esquenazi 2016 USA 91 min

During the “Satanic ritual abuse panic” of the 1980–90s, a pervasive fear rang throughout conservative communities and the media as cult activity, sexual perversion, and homosexuality were often linked as interconnected “evils.” (Remember the West Memphis Three of the Paradise Lost documentaries?) At the tail end of this hysteria came the disconcerting case of four Latina lesbian women in San Antonio, Texas, who in 1994 were accused of a heinous sexual assault against two young girls. Southwest of Salem is an extraordinary account of the nightmare that unfolded for these women—a nightmare that continues to this day. At first the women cooperated with authorities, facing the initial baseless accusations with faith that the truth would prevail. Yet the trials were marred by the bias of a homophobic police department, jury, and court; their sexuality criminalized, the women were convicted and received sentences ranging from 15 to 37 years. The film charts the remarkable efforts of The Innocence Project (fans of the podcast Serial will be familiar with the organization), whose lawyers work tirelessly to debunk outdated scientific evidence and to ally with one of the alleged victims (now an adult) during their epic fight for exoneration. The interplay of home movies and intimate interviews from prison offer stirring insight into this tight-knit group of friends and how their lives have been devastated by these ghastly accusations. Emotional and heart-wrenching, director Deborah Esquenazi’s frank examination of the rampant prejudice and systemic failings of the criminal justice system sets itself apart from the current proliferation of wrongful-conviction stories by focusing on the personal impact on the women and their families.  — HOLLY ROACH

Monday, June 20, 6:30 pm · Castro $12 members, $15 general · SOUT20C Thursday, June 23, 7:00 pm · Piedmont $12 members, $15 general · SOUT23P proudly sponsored by

This film contains discussions of sexual assault.

Centerpiece: Documentary 25



Closing Night


DIR Andrew Haigh 2016 USA 85 min

For fans of HBO’s breakthrough series Looking, news of the show’s impending end stung like a breakup. Wooed for two seasons by the intimate exploits of Patrick Murray (Jonathan Groff), Agustín Lanuez (Frankie J. Alvarez), and Dom Basaluzzo (Murray Bartlett), three handsome but imperfect gay friends living in San Francisco, viewers fell irresistibly in love and were reluctant to say goodbye. It’s fitting then that Looking, the movie, is about the sweet release of closure— and, like recovering from the end of a toe-curling romance, it will leave audiences, aficionados and newcomers alike, feeling renewed. Video game designer Patrick returns to San Francisco for bestie Agustín and adorable bear Eddie’s (Daniel Franzese) wedding. Patrick left several months earlier—for a job, he says, but with a lovesick expression that suggests otherwise. Celebratory reunions with hunky restaurateur Dom and the ever-hilarious Doris (Lauren Weedman) ensue, as do erotic minglings, old and new. Whether Patrick reconciles with bad-news-boss Kevin (Russell Tovey), renews his relationship with charmer Richie (Raúl Castillo), or chooses the non-committed life, we won’t say, letting you savor the potent particulars as they unfold. Director Andrew Haigh (Weekend, 45 Years) and co-creator Michael Lannan evoke a genuine sense of people and place, from partying at The Stud, to bonding on Indian Rock, to getting down and dirty at home. Our characters are still flawed, messy, and complex, but they’ve also matured, and like the transformed city in which they reside, their optimism and beauty of spirit are what ultimately prevail.  — CURRAN NAULt

Sunday, June 26, 7:00 pm · Castro Film & party

$50 members, $60 general · LOOK26C film Only

$30 members, $35 general · LOOK26C proudly sponsored by

PARTY   After the film, head to Frameline40’s Closing Night Party at Oasis (298 11th Street at

Folsom Street) to indulge in tasty creations and smooth cocktails as we announce winners of the AT&T Audience Awards and the First Feature Award, proudly underwritten by the Wells Fargo Foundation. Then enjoy live performances by legendary SF drag impresario Heklina and the cast of Roundabout Theatre Company’s production of Cabaret, featuring Randy Harrison (Queer As Folk). gala partners: girl friday, gala event producer / Heklina / Tito’s Handmade Vodka / Small Potatoes catering / SHN / corona extra

proudly sponsored by

Guests must be 21 or over to enjoy beer, wine, or cocktails.

Closing Night 27

Frameline Award

Robert Hawk

It is no exaggeration to say that the world of independent film would be a decidedly less dynamic place without the unrelenting efforts of Bob Hawk. You won’t find him standing in the spotlight; you may not even notice his name in the film credits. But his work as a consultant, advisor, mentor, producer, and festival programmer has had a tremendous impact on both independent film and independent queer film for nearly four decades. Hawk’s credits run long, and his career accomplishments run deep. In 1985, he founded San Francisco’s Film Arts Festival, a showcase for local independent filmmakers. He has been attending and supporting Frameline since the second Festival in 1978, serving on Frameline’s Board of Directors and Screening Committee in its formative years, and helping to establish the Festival as it is known today. He was on the Advisory Selection Committee of the Sundance Film Festival for over a decade. And Bob currently serves on the advisory boards of Independent Film Week (IFP/NY) and The Legacy Project (a collaboration of Outfest and the UCLA Film and Television Archives). But it is not just his deep engagement with the film community that has made Hawk’s work so meaningful to so many—it is his dedicated care and nourishing of the people who make the films. He is the paterfamilias of indie film who has launched, nurtured, and supported the careers of dozens of filmmakers, from early indie breakouts Kevin Smith and Edward Burns to a slew of trailblazing LGBTQ artists, including Rob Epstein, Barbara Hammer, Ira Sachs, and Kimberly Reed. Having Bob Hawk in your corner can be a

game changer for an aspiring filmmaker—his astute eye for talent, ear for storytelling, and passionate pursuit of perfection all offered unsparingly in service to their creative endeavors. The depth of these professional-but-also-quite-personal relationships is well documented in JJ Garvine and Tai Parquet’s Film Hawk, featured in this year’s Festival. Hawk’s love for the arts started young, when he discovered an interest in the theater and a surprising ability to overcome a childhood stutter while performing on stage. Hawk’s awareness of his sexuality also came early, an identity he embraced and celebrated, with the support of his family, including his minister father, despite the conservative nature of their community. When he arrived in San Francisco in the ’70s, his activism in the gay community is what ultimately drew him from theater to film, after a work-in-progress screening of the seminal gay documentary Word Is Out propelled him to consult on the production with filmmaker Rob Epstein, and then to assist him with fundraising and the development of the Oscar-winning The Times of Harvey Milk. Bob also worked as a researcher on acclaimed documentary The Celluloid Closet (Frameline40 restrospective screening, p. 34). At 78, Hawk’s pace has not slowed. He recently made his directorial debut with the short film Home from the Gym (Frameline38), for which he received Outfest’s Emerging Talent Award in 2014. For our 40th-anniversary Festival, we are honored to present the Frameline Award to Bob Hawk, the son of a preacher who became a high priest of the queer film art world.  — Joanne Parsont

Join Frameline and acclaimed filmmaker Cheryl Dunye as we present Bob Hawk with the 2016 Frameline Award at the June 18 screening of Film Hawk at the Castro Theatre. 28 Frameline40

Film Hawk

DIRS JJ Garvine & Tai Parquet 2015 USA 75 min

Curator. Consultant. Mentor. Producer. Independent film guru. Bob Hawk is all of these and so much more. For nearly 40 years, he has been the secret agent of indie film, the man behind the screen—beloved and respected by everyone in the industry but virtually unknown to audiences. The rebellious gay son of a Methodist minister, Hawk was the godfather of the San Francisco independent film community during his tenure at the Film Arts Foundation in the ’80s, and a champion of numerous Frameline alums, including Ira Sachs (Keep the Lights On, Frameline36), previous 2000 Frameline Award honoree Barbara Hammer (Welcome to This House, Frameline39), Kimberly Reed (Prodigal Sons, Frameline33), and Rob Epstein (1990 Frameline Award honoree), whose groundbreaking 1977 documentary Word Is Out was a huge influence on Hawk both professionally and personally. He went on to offer his advice and support—and his infamously impeccable notes—on Epstein’s next trailblazing film, The Times of Harvey Milk (1984), as it made its way to an Oscar win—the first for a gay film. Hawk not only encouraged but discovered young film talent, transforming Kevin Smith (Clerks) and Edward Burns (The Brothers McMullen) from unknowns to indie darlings. As the cameras follow him celebrating his 75th birthday and remembering an eventful life, all of these (and many more) friends, admirers, and protégés share their love and respect for the impresario who took them under his great Hawk wing and made an indelible mark on the independent film world.  — Joanne Parsont

Saturday, June 18, 3:30 pm · Castro $8 members, $10 general · FILM18C proudly sponsored by

frameline award: Robert Hawk 29





June 4 - 10, 2017


#aidslifecycle Photo by: Chris Stewart



First Feature Award Proudly underwritten by the Wells Fargo Foundation This Year’s Eligible First Features Akron dirs Sasha King & Brian O’Donnell

Arianna dir Carlo Lavagna AWOL dir Deb Shoval

Bruising for Besos dir Adelina Anthony Closet Monster dir Stephen Dunn

Fire Song dir Adam Garnet Jones Girl Gets Girl dir Sonia Sebastián Horses dir Fabián Suárez

The Intervention dir Clea DuVall

Jonathan dir Piotr Lewandowski

While we all love seeing the latest film by our favorite well-known director, there’s nothing quite like catching debut work from an emerging voice whose first feature—whether sharply comic, emotionally gripping, visually audacious, or completely unclassifiable—brings with it the promise of a prolific career as one of our generation’s next vital storytellers. Frameline, the San Francisco International LGBTQ Film Festival, prides itself on introducing audiences to remarkable new talent and filmmaking artists. Previous groundbreaking winners include: In the Grayscale (dir Claudio Marcone), Something Must Break (dir Ester Martin Bergsmark), Facing Mirrors (dir Negar Azarbayjani), Undertow (dir Javier Fuentes-León), and Hedwig and the Angry Inch (dir John Cameron Mitchell). The recipient of this year’s First Feature Award will be announced at the Closing Night Party on June 26. Regardless of which director takes home the Award, all of the Festival’s debut feature filmmakers are winners simply for sharing their extraordinary visions and voices with us.

Proudly underwritten by the Wells Fargo Foundation, this $7,500 juried award is presented to the outstanding first narrative feature at Frameline40.

Loev dir Sudhanshu Saria Pushing Dead dir Tom E. Brown

Rara dir Pepa San Martín Retake dir Nick Corporon Slash dir Clay Liford

Spa Night dir Andrew Ahn Suicide Kale dir Carly Usdin

Women Who Kill dir Ingrid Jungermann You’ll Never Be Alone dir Alex Anwandter

FRAMELINE39 FIRST FEATURE AWARD RECIPIENT: In the Grayscale, directed by Claudio Marcone

First Feature Award 31

In Whose Image? LGBTQ Storytelling 1977–Today Since 1977, Frameline has been asking key questions not only about

who gets to be seen on-screen, but also about how they are represented and by whom. Born out of a political climate that demanded visibility during a time we were actively made invisible, Frameline continues our legacy of uplifting game-changing stories made by and for the full spectrum and diversity of the LGBTQ community. As part of a

special initiative supported by the Academy of Motion Picture Arts and Sciences, Frameline40 presents In Whose Image? LGBTQ Storytelling 1977–Today, a series of film screenings and panel discussions that

reflect upon and contextualize a powerful body of filmmaking from the founding year of our Festival through today. Retrospective screenings

on the following pages include landmark documentaries from the ‘70s, ‘80s, and ‘90s, while two panel discussions (opposite) dive into current topics energizing LGBTQ filmmaking today.

living with pride (p. 35)

32 Frameline40

out run (p. 59)

kiki (p. 19)

LGBTQ Film as an Agent of Social Change: Then & Now Tuesday June 21, 3:30 – 5:00 pm · Roxie · PANL21R · Free

Frameline’s 40th anniversary offers a prime opportunity to take stock of extraordinary strides in both the world of cinema and broader social change, as LGBTQ filmmaking has made   its impact. Authentic portrayals of LGBTQ lives—through documentaries in particular—  have played a significant role in establishing visibility, promoting social and political progress, and shifting attitudes toward the LGBTQ community. From landmark films that have screened throughout the Festival’s history, such as the Frameline23 Audience Awardwinning Living with Pride: Ruth C. Ellis @ 100, to those making waves today, like Frameline40 Opening Night film Kiki and Centerpiece Southwest of Salem: The Story of the San Antonio Four, we reflect upon LGBTQ documentaries—and the change makers behind them—that push forward important narratives, and explore the opportunities and challenges facing filmmakers eager to make a measurable social impact now.

Panelists Scheduled to Participate

Deb Esquenazi  Director,   Southwest of Salem: The Story of the San Antonio Four Sara Jordenö  Director, Kiki Ellen Schneider  Founder,   Active Voice Johnny Symons  Director/Producer,   Out Run, Ask Not, Daddy and Papa MODERATOR: Peter L. Stein Senior Programmer, Frameline40;   Director, The Castro

Additional programs in this series include: The Celluloid Closet (p. 34) / Check It (p. 56) / Conversations with Gay Elders: An Intergenerational Film Project (p. 56) / The Freedom to Marry (p. 57) / Gay USA (p. 34) / Growing Up Coy (p. 37) / Out Run (p. 59) / Political Animals   (p. 60) / Tongues Untied (p. 35) / The Trans List (p. 45) / Treasure: From Tragedy to Trans Justice, Mapping a Detroit Story (p. 61) / and Upstairs Inferno (p. 62).

Trans Stories—On Film and Online

Wednesday June 22, 3:30 – 5:00 pm · Roxie · PANL22R · Free With queer stories on mainstream film and television, the LGBTQ community has never   been more visible on big, small, or even mobile screens. But when it comes to trans and gender expansive people telling their own stories, online portals are host to the most riveting and impactful narratives. New wave “television” strongholds like Amazon and Netflix have disseminated trans stories into the collective zeitgeist through series like Orange Is the New Black and Transparent. Online content is an even more robust endeavor; from highly produced groundbreaking online series, such as Frameline Completion Fund awardee   Her Story, to everyday individuals documenting their own experiences on YouTube, Vine, and Tumblr, the impact is an online culture that influences how trans and gender expansive people find themselves, and how they interact with those who have come before them.   In this panel, we will discuss what trans and gender expansive stories look like both on   film and online, and how the power of film media impacts change in the community.

Panelists Scheduled to Participate

Rhys Ernst  Director, This is Me,   We’ve Been Around; Producer,   Transparent Jeffrey Marsh  Vine star, Social Media Guru, author How to Be You Jen Richards  Writer, Producer,   Actor, Her Story Angelica Ross  Actor, Her Story;   Founder of @TransTechSocial MODERATOR: Sam Berliner Festival Director, Translations Film Festival; Director, Producer, Float, Dating Sucks: A Genderqueer Misadventure

Programs in this series include: Guys Like Us (p. 65) / Her Story (p. 48) / Real Boy (p. 60) /   The Trans List (p. 45) / Transtastic (p. 67) / and We’ve Been Around/This is Me (p. 68).

We’ve been around / this is me (p. 68)

growing up coy (p. 37)

tongues untied (p. 35)

in whose image? 33


The Celluloid Closet

DIRS Rob Epstein & Jeffrey Friedman 1995 USA 102 min

Friday, June 24, 1:30 pm · Castro $8 members, $10 general · CELL24C Exactly twenty years after its theatrical release, and despite a generation’s worth of LGBT-themed films and characters entering the American media mainstream since then, San Francisco-based documentarians Rob Epstein and Jeffrey Friedman’s The Celluloid Closet remains an indispensable—and profoundly moving—record of the way Hollywood depicted gays and lesbians throughout the 20th century. Drawing from the groundbreaking work of the late film historian and activist Vito Russo (who in 1986 received the very first Frameline Award), and weaving together countless film clips from the obscure (Charlie Chaplin’s 1916 Behind the Screen) to the infamous (Cruising, Basic Instinct), The Celluloid Closet powerfully demonstrates how movies reflected and reinforced the deep-seated distrust, mockery, and downright hysteria with which mainstream America viewed (and often still views) sexual minorities. The film’s stellar cast of interviewees—including Tony Curtis, Shirley MacLaine, Quentin Crisp, Whoopi Goldberg, and Susan Sarandon—provide firsthand accounts of the behind-the-scenes attitudes that shaped how homosexual characters were portrayed and same-sex love was erased or vilified on camera. It is a legacy that resonates to this day; as Lily Tomlin reminds us, in Armistead Maupin’s deft narration, “Hollywood, that great maker of myths, taught straight people what to think about gays and gay people what to think about themselves.” As entertaining and sometimes campy as Hollywood’s gay cavalcade can be, The Celluloid Closet is a poignant reminder of the long lavender shadow the movies have cast on LGBT lives. —PETER L. STEIN sponsored by

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Flashback 1977: Frameline’s Founding Year

Living with Pride: Ruth C. Ellis @ 100

Sunday, June 19, 6:15 pm · Roxie $10 members, $12 general · FLAS19R

Wednesday, June 22, 1:30 pm · Castro $8 members, $10 general · LIVI22C

1977 was a watershed year in the world of lesbian and gay visibility in the United States, no more so than here in San Francisco, where, among other landmark events, Harvey Milk became California’s first openly gay elected official, and a group of eclectic gay artists and filmmakers hung up a white sheet in a community center on Page Street and projected a collection of Super 8mm short films that marked the first edition of what has become Frameline, the largest and longest-running LGBTQ film festival in the world. That same year, gay documentarian Arthur J. Bressan, Jr. (Artie, to his friends) commissioned filmmakers around the country to document the burgeoning pride marches and the emerging gay-lesbian culture that was taking shape in major U.S. cities, creating his seminal, if rarely seen, Gay USA. In tribute to Frameline’s 40th anniversary, this program presents a freeze-frame of that remarkable, visionary year, bringing together some of the groundbreaking film images and voices that launched a new era in LGBTQ visibility. In addition to Gay USA, we will screen one of the short films originally shown at the first “Gay Film Festival of Super-8 Films,” Marc Huestis’s campy Hollywood send-up Miracle on Sunset Boulevard; and we’ll hear fresh recollections of the first festival in Zeitgeist 1977, excerpted by longtime Bay Area filmmaker Lauretta Molitor from Impresario, her upcoming documentary about Huestis.

Filmmaker Yvonne Welbon’s breakthrough documentary, Living with Pride: Ruth C. Ellis @ 100, provides exceptional insight into the life and times of centenarian Ruth Ellis. Catching her between the many engagements on her packed lesbian social calendar, for which Ellis is often the guest of honor, Welbon presents viewers with a rare glimpse into a century of African American gay and lesbian history through the eyes of one remarkable woman. Born July 23, 1899, and out from the beginning, Ellis advocated for senior and lesbian rights until passing in October 2000. Her legacy of activism continues to be honored at The Ruth Ellis Center, a dedicated space for homeless LGBT youth, in her home town of Detroit. Welbon had the foresight to document Ellis’s life while she was still here to share her story, combining interviews, rare archival material, and reenactments of the period when Ellis’s home (shared with her life companion of 34 years, Ceciline “Babe” Franklin) was the social hot-spot for African American gays and lesbians. A 1998 Frameline Completion Fund Recipient and winner of ten Best Documentary awards, including the Frameline23 Audience Award (which Ellis was present to receive alongside Welbon), Living with Pride exemplifies the tremendous and lasting gift our community’s elders have to offer if we only take the time to appreciate it. With undeniable charm, humor, and joy for life, Ellis shows us that a life lived with pride is a life well lived.

Total Running Time: 91 min


Zeitgeist 1977: The First Festival dir Lauretta Molitor 2016 USA 5 min / Miracle on Sunset Boulevard dir Marc Huestis 1977 USA 8 min / Gay USA dir Arthur J. Bressan, Jr. 1977 USA 78 min Followed by a conversation with Marc Huestis, Lauretta Molitor, Bob Hawk, and participants in Frameline’s formative years, moderated by Frameline Executive Director Frances Wallace.

DIR Yvonne Welbon 1999 USA 60 min

sponsored by

DIR Marlon T. Riggs 1989 USA 55 min

Thursday, June 23, 1:30 pm · Castro $8 members, $10 general · TONG23C Emmy Award-winning director Marlon T. Riggs’ Tongues Untied uses poetry, personal testimony, and performance, featuring poet Essex Hemphill and others, to address homophobia and racism. The stories told offer fierce examples: the man refused entry to a gay bar because of his color; the college student left bleeding on the sidewalk after a gay-bashing; the loneliness and isolation of the drag queen. Yet they also affirm Black gay male experience: protest marches, smoky bars, “snap diva,” humorous “musicology,” and Vogue dancers. Winner of the Best Documentary Prize at the 1990 Berlinale, Riggs’ groundbreaking work wasn’t well received by mainstream audiences, and the American conservative right cited the film as “pornographic art.” In reply, Riggs stated, “People are far more sophisticated in their homophobia and racism now ... they say ‘We object to the language, we have to protect the community’ ... those statements are a ruse.” While battling the controversy off-screen, Riggs reinforced the on-screen declaration that “Black men loving Black men is a revolutionary act.” Riggs’ semi-autobiographical work provides insight into a filmmaker, writer, and artist who captured the intersectionality of Black gay life in a way that continues to be unrivaled. Tongues Untied has found audiences through Frameline Distribution since its release, ensuring that it continues to be viewed, studied, and experienced across the globe. —ALEXIS WHITHAM

Preceded by: Voguing: The Message DIRS Jack Walworth, David Bronstein, & Dorothy Low 1989 USA 13 min

Special Presentation

Tongues Untied

Vegas in Space

DIR Philip R. Ford 1991 USA 85 min

SPECIAL PRESENTATION with Peaches Christ Productions Friday, June 17, 9:30 pm · Victoria $12 members, $15 general · VEGA17V Gender-bending astronauts, an evil Empress, and an adventure that will take you to the farthest, most fabulous reaches of the galaxy. It can only be Vegas in Space. An international cult classic and significant slice of San Francisco drag history, Vegas in Space is a rollicking musical space odyssey like no other. Directed by Phillip R. Ford and starring drag icons Doris Fish, Miss X, and Tippi, the film tells the tale of a trio of astronauts who must change their sex to infiltrate a planet of women and save the universe from the clutches of an evil galactic tyrant. Shot over the course of eight years and starring a cast comprised primarily of drag performers, the film became a midnight movie darling, playing Sundance, Cannes, and earning a coveted spot on USA Up All Night. An essential slice of drag culture and cinema, Vegas in Space paved the way for a generation of films and queens to follow. For the film’s 25th anniversary, Frameline, in association with Peaches Christ Productions and Troma Entertainment, is proud to present a fully-fledged celebration of the movie that took us to the stars. Featuring an accompanying pre-show featuring Vegas in Space cast and crew in person, including director Phillip R. Ford, Miss X, Ramona Fischer, Lori Naslund, Timmy Spence, Kate Guthorn, Silvana Nova, and Connie Champagne! —MICHAEL VARRATI

One of the most popular titles on Frameline Voices, this pre-Madonna primer on the roots of the gay Black and Latino dance form raises questions about race, sex, and subcultural style.

retrospectives & special presentation 35


Girls Lost Pojkarna

DIR Alexandra-Therese Keining 2016 Sweden 105 min In Swedish with English subtitles

Some narratives are so bracingly unique that they demand to be seen. Such a tale is Girls Lost, a delectably twisted fairytale of gender fluidity directed by rising Swedish auteur AlexandraTherese Keining (Kiss Me, Frameline36). Based on Jessica Schiefauer’s popular young adult novel Pojkarna, which won the prestigious August Prize in 2011, the film centers on three teenage outcasts—Kim (Tuva Jagell), Bella (Wilma Holmen), and Momo (Louise Nyvall). Mercilessly bullied at school, the girls seek solace in their off-kilter friendship and daydreams of carefree existence as boys. One day, daydreams become reality: the girls imbibe the nectar of a peculiar plant they’ve been growing in Bella’s greenhouse and are temporarily transformed into boys. Delighted by their new bodies, and the spectacular mischief-making these bodies enable, the girls are unprepared for the woes that lie ahead—especially for Kim. Becoming dangerously enamored with her newfound identity and developing a mad crush on troubled bad boy Tony (Mandus Berg), Kim finds herself within the jagged brambles of homoerotic entanglements, as impossible decisions loom ahead. Unfurling like a thriller, and enhanced by an intoxicating soundtrack of Euro-trance, Girls Lost dares to take its fantastic plot seriously, plunging us deep into an otherworldly realm of gender nonconformity with artistic aplomb. This luscious supernatural tale of finding one’s true self also raises serious questions about identity, igniting our passionate attention: “If you are blind to what is different, this story is not for you. But if your eyes are open, you should listen carefully,” the film declares in its opening exhortation. Take heed, and open those eyes to the dark and magical wonders of Girls Lost—self-liberation lies somewhere down the shadowy serpentine path.  — CURRAN NAULT

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Saturday, June 18, 9:00 pm · Victoria $10 members, $12 general · LOST18V Saturday, June 25, 9:30 pm · Piedmont $10 members, $12 general · LOST25P proudly sponsored by


Growing Up Coy DIR Eric Juhola 2016 USA 86 min

In a highly conservative Colorado town, a pink-loving, pigtailed six-year-old girl named Coy becomes the unlikely poster child for transgender rights, in a landmark case that is reverberating in state courts across the country. Although she was born as a boy in a set of triplets, Coy’s gender identity was evident even as a toddler, leading her parents, Kathryn and Jeremy, to accept her early on as the girl she wished to be. At first their school is very supportive, but midway through Coy’s first-grade year, they ban her from using the girls’ bathroom. Infuriated and fearing for their child’s safety, Kathryn and Jeremy decide to fight the school’s decision (which defies Colorado’s anti-discrimination law), despite the further attention they know it will draw to Coy’s gender status. They engage the Transgender Legal Defense and Education Fund, led by civil rights attorney Michael D. Silverman, who take their case, and the international media firestorm it generates is fast and often extremely furious. For a family with five children under the age of nine—including the triplets, a very young child, and a daughter with severe cerebral palsy—the strain is enormous. Throughout Eric Juhola’s intimate documentary, we feel the fraught tension between Kathryn and Jeremy’s need to protect their privacy and their child’s innocence and the need to fight for Coy’s rights—as well as the rights of the “thousands of Coys out there.”  — JOANNE PARSONT

Saturday, June 25, 11:00 am · Castro $8 members, $10 general · GROW25C proudly sponsored by

This film is a recipient of a Frameline Completion Fund grant.

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The Intervention DIR Clea DuVall 2016 USA 91 min

Featuring an all-star, female-driven comedic ensemble, writer-director-star Clea Duvall’s directorial debut is a heartfelt homage to The Big Chill (and delivers upon decades of dreams in reuniting cast members from the iconic But I’m A Cheerleader). No one knows better than Annie (Togetherness’s Melanie Lynskey) what’s best for her friends in terms of relationships, especially her best friend Ruby (How I Met Your Mother alum Cobie Smulders). Ruby and hubby Peter are long overdue for a talking to about how toxic they are for each other, so Annie stages an intervention to tell Ruby and Peter that they’re better off divorced. They’re passive-aggressive without the “passive,” sex for the couple is a distant memory, and they can’t even agree on how old their kids are. But Annie’s weekend getaway of reflection turns into one of deflection and uncomfortable truths for everyone involved. Ruby’s sister Jessie (Duvall) and her longtime girlfriend Sarah (Orange Is The New Black’s Natasha Lyonne) are a few snores away from lesbian bed death. “Non-couple” Jack and Lola have very different ideas of commitment, but haven’t found the time to discuss it in between road tripping and humping like rabbits. And Annie herself, the ever-sloshed facilitator of this fiasco, won’t address the fact that she hasn’t committed to a wedding date with her doting fiancé, Matt. Winning Sundance’s 2016 Special Jury Award for Individual Performance, Lynskey’s busybody Annie truly shines as she unravels, especially during her blink-and-you’ll-miss-them hilarious interactions with Lola (Arrested Development alum Alia Shawkat). Over a rollicking score composed by Sara Quin (Tegan and Sara) and juxtaposed against a backdrop that should otherwise be peaceful and serene, The Intervention is a sharp, funny, and honest portrayal of the complexities of modern adult relationships.  — ANGELIQUE SMITH

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Saturday, June 18, 9:15 pm · Castro $10 members, $12 general · INTE18C proudly sponsored by


Paris 05:59: Theo & Hugo Théo et Hugo dans le même bateau

DIRS Olivier Ducastel & Jacques Martineau 2016 France 97 min In French with English subtitles

Thursday, June 23, 9:15 pm · Castro $10 members, $12 general · PARI23C

Explicit sex has rarely been used to explore the contours of a new relationship as effectively as in Olivier Ducastel and Jacques Martineau’s new film—an exquisite return for the pair after Born in ’68 (Frameline33) and Côte d’Azur (Opening Night Frameline29). In the wee hours of the night at a Paris sex club called Impact, Theo spots the handsome Hugo just a couple of naked bodies away. After some intense glances—and even more intense sex—they leave together, joyfully exclaiming that their intercourse “helped with world peace.” Riding their bikes through the mostly deserted streets, the two young men begin a conversation that will take them through the evening and traverse an extraordinary range of personal and psychological territory. Shifting from a lengthy X-rated sequence to the dialogue-driven territory of Richard Linklater’s Before trilogy or Andrew Haigh’s Weekend requires a careful balancing act indeed, but it’s what makes Paris 05:59 (winner of a Panorama Audience Award for Best Narrative Feature at the Berlin International Film Festival) so remarkable. With a digital clock flashing on the screen now and then to state the current hour, the film follows Theo and Hugo in real time as they wander from a kebab joint to Theo’s apartment, discussing their current jobs, family and relationship history, and their possible future together. Ducastel and Martineau unfold their dialogue in carefully orchestrated scenes beautifully performed by Geoffrey Couët as Theo and François Nambot as the more impulsive Hugo. As the two discuss, argue, make out, and even enjoy being silent with one another, it’s a distinct pleasure to see how the mating dance can begin and evolve for many gay men. For Theo and Hugo, as they watch the dark give rise to day on a night they won’t soon forget, the hot sex is just the beginning.  — ROD ARMSTRONG

proudly sponsored by

This film contains sexually explicit material.

showcase 39


Pushing Dead DIR Tom E. Brown 2015 USA 108 min

In what may be a comedy first, San Francisco writer-director Tom E. Brown shakes together some unlikely ingredients—healthcare bureaucracy, a gentrifying city, and the tribulations of being a longtime HIV survivor—and serves up an effervescent, quirky cocktail of pathos and black humor in his delightful feature debut. At the center of the outstanding ensemble cast is James Roday (TV’s Psych) as HIVpositive writer and bouncer Dan Schauble. When a bureaucratic snafu makes it impossible for him to get his prescriptions refilled, he quietly panics that even a short disruption of his pharmaceutical regimen could have disastrous consequences. But as he navigates a comically Kafkaesque insurance labyrinth, this cockeyed optimist is just as concerned about the emotional wellbeing of his lonely roommate, Paula (Robin Weigert), and of his recently separated boss, Bob (Danny Glover). Dan also finds welcome distraction in Mike (Tom Riley), a cute British painter. Brown (whose comic short Tradesman’s Exit was a Frameline39 hit) makes acute observations about a healthcare system that puts lives at risk with arbitrary rules, but his film is deceptively light, leavened not just by its often absurd humor but also by its strong relationships and its authentic local feel. Pushing Dead is in some ways a valentine to San Francisco’s traditional, all-inclusive nature, which welcomes artists and dreamers like Dan and allows them to flourish in makeshift families such as the one he’s created with Paula, Bob, and Bob’s wife, Dot (Khandi Alexander). The entire ensemble is terrific, led by Roday’s amiable performance as the generous, gentle soul at the heart of a film that is as warm as it is funny.  — PAM GRADY

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Saturday, June 18, 6:30 pm · Castro $10 members, $12 general · PUSH18C Tuesday, June 21, 9:30 pm · Elmwood $10 members, $12 general · PUSH21E proudly sponsored by



DIR Pepa San Martín 2016 Chile, Argentina 88 min In Spanish with English subtitles

With her first feature film, writer-director Pepa San Martín delivers a powerful but brilliantly subtle family drama. The story, which is both a poignant coming-of-age tale and a basedon-a-true-story account of a same-gender marriage threatened by social forces, begins with a tableau of relative domestic harmony: Paula (Mariana Loyola) lives with her partner, Lía, and her two daughters, Sarah and Catalina. Her ex-husband, Victor, lives nearby with his new wife, Nicole, and the girls shift easily between the two homes. But internal tensions and external pressures slowly begin to unravel the family tapestry. Standard mother-daughter squabbles and explosive moments of adolescent angst that are par for the course in any family spark heightened anxieties in a family with lesbian parents living in a conservative-leaning community—an outwardly tolerant environment with a latent underpinning of insinuation and judgment. Co-written by Chilean director Alicia Scherson, the story is told chiefly from Sarah’s perspective, as she rides a tumultuous wave of pubescence toward her 13th birthday. As an eldest daughter and a child of divorce, Sarah (an exceptional Julia Lubbert) is well versed in the maneuvers needed to play one parent against another in order to get what she wants, but she has little understanding of the potential consequences for their fragile family dynamic. Unlike in most divorce dramas, the custody battle that looms on the horizon is not the focus of Rara—it is the everyday moments driving its characters to the precipice that are the true source of its power and authenticity.  — JOANNE PARSONT

Friday, June 24, 6:30 pm · Castro $10 members, $12 general · RARA24C saturday, June 25, 5:00 pm · piedmont $8 members, $10 general · RARA25P proudly sponsored by

Preceded by: Xavier · DIR Ricky Mastro 2015 Brazil 13 min

Upon discovering his 11-year-old son Xavier’s attraction to boys, Nicolas follows the growth of his son through their shared love of music.

showcase 41


Spa Night

DIR Andrew Ahn 2016 USA 93 min

From the nearly wordless opening scene in a steam-veiled LA bathhouse, the atmosphere of Andrew Ahn’s deeply felt feature debut is thick with frustrated yearning and sublimated desire. Gay sex is both illicit and alluringly mysterious to the virginal teenage protagonist, who’s very gradually starting to buckle under the lifelong pressure of pleasing his Korean-born parents and doing the right thing (which, when it comes to upsetting cultural norms, usually means doing nothing). The prospect of sex is a source of confusing and conflicting emotions, but so is everything else as he approaches the threshold of adulthood. David (Joe Seo, whose subtly nuanced portrayal of a good guy on the verge received a Special Jury Award for Breakthrough Performance at Sundance) helps out in his parents’ struggling storefront restaurant and avoids thinking about his future. But he can’t escape their expectations—or the conversations that invariably circle around to money. While David wrestles with the initial stirrings of gay identity, his parents grapple with the under-the-table economy and the grinding reality of their once-promising American dream. Raised in a culture where adults paper over disappointment and failure with a happy face, David is shocked by the fissures opening between his parents. He takes a part-time job in a Korean bathhouse, subconsciously aware that he’s nearing an explosion, of sorts, when he can no longer deny any part of who he is. With Spa Night, writer-director Ahn (who was on the editorial team of several Frameline documentary favorites including Vito, I Am Divine, and Tab Hunter Confidential) has crafted a visually impressive, steamily atmospheric first feature.  — MICHAEL FOX

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Thursday, June 23, 6:30 pm · Castro $10 members, $12 general · SPAN23C proudly sponsored by


Strike a Pose

DIRS Ester Gould & Reijer Zwaan 2016 Netherlands, Belgium 83 min

In 1990, Madonna’s taboo-busting Blond Ambition tour blew the roof off of global pop culture and raised AIDS awareness while turning a sudden spotlight on seven male dancers. “Give me more of you,” the singer exhorted her young troupe, in rehearsals and performances, and they eagerly complied. A couple of the guys, however, hid secrets that withstood the glare and controversy of both the tour and the legendary behind-the-scenes documentary Truth or Dare, with its “scandalous” kiss that liberated so many young gay men. A quarter century after these intense formative experiences, the extraordinary new documentary Strike a Pose reunites the talented corps of dancers—who dispersed as suddenly as they came together—not only to relive a seminal cultural moment through their eyes, but also to try to make sense of the momentous changes they’ve lived through. AIDS took Gabriel, alas, in 1995. Today, Luis, Jose, Kevin, Salim, Carlton, and Oliver (the only one who wasn’t classically trained, and the only straight guy to boot) continue to grapple with reconciling the massive career break of that exuberant, high-profile tour with the poignant reality of day-to-day life in middle age. Deeper and richer than a mere cautionary fable about fickle fame, Ester Gould and Reijer Zwaan’s empathetic portrait conveys the pressures of growing up in public, the difficulty of being a role model, the double-edged sword of ambition, and the burden of family expectations. Embellished with both vintage and current footage of the principals dancing, the film climaxes with a touching reunion dinner (sans the pop diva, with whom they still have an ambivalent relationship). Strike a Pose revisits an era when being HIV-positive carried a devastating stigma, and it honors how far we—and these talented, gutsy artists—have come.  — MICHAEL FOX

Saturday, June 25, 8:30 pm · Castro $10 members, $12 general · STRK25C proudly sponsored by

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Summertime La belle saison

DIR Catherine Corsini 2015 France 105 min In French with English subtitles

This 1970s-set French love story is sure to provoke a rush of nostalgia (even if you weren’t there) for that heady time when political and romantic passions intertwined. Frustrated farm girl Delphine (Izia Higelin) trades the family farm (and her family’s pressure to marry) for a job in Paris. There she discovers a group of feminist activists, and before long she’s eagerly churning out abortion rights flyers on a mimeograph machine—but the real draw is the group’s firebrand, Carole (Belgian star Cécile de France). Despite the fact that Carole has a nice lefty boyfriend, she and Delphine are soon skipping political rallies for afternoons in bed together. But when a family emergency pulls Delphine back to the farm, their relationship is challenged. French auteur Catherine Corsini (La Répétition, Frameline26) has prepared a feast for the senses, capturing the rural beauty of France’s Massif Central region in long, serene wide shots, and representing the energy of the Parisian feminist meetings with rapid cutting. Glorious, 70s-style sex scenes—rock on the stereo, a joint or two, and lots of unabashed nudity— put the chemistry between the two stars on full display. The smart script pulls no punches. This is France in 1971, after all, and Delphine is torn between her love for Carole and her deep ties to family and farm, even if her rural community is as straitlaced as any in Kansas. Delphine’s choice won’t be easy, but the ride is sure fun.  — MONICA NOLAN WITH GENEROUS SUPPORT FROM

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Friday, June 17, 6:30 pm · Castro $10 members, $12 general · SUMM17C Thursday, June 23, 9:30 pm · Piedmont $10 members, $12 general · SUMM23P proudly sponsored by

Photo courtesy Timothy Greenfield-Sanders


The Trans List

DIR Timothy Greenfield-Sanders 2016 USA 60 min

At one point during The Trans List, a riveting documentary group portrait, actress Laverne Cox (Orange Is the New Black) stares directly into the camera and emphatically asserts, “My voice matters. My truth matters.” These words, simple yet potent, remind viewers why documentaries like the The Trans List are so vital. While transgender narratives have recently become more common within the pop culture landscape, it’s rare that we actually get to hear transgender people voicing their own stories, telling their own truths. The Trans List foregrounds the lived experiences of its subjects, who are also some of the most fascinating and accomplished individuals of today (or any day), including Janet Mock, Kylar Broadus, Caroline Cossey, Buck Angel, Nicole Maines, Amos Mac, Laverne Cox, Bamby Salcedo, Shane Ortega, Alok Vaid-Menon, and Miss Major Griffin-Gracy. These are activists, artists, athletes, models, porn stars, military personnel, and entrepreneurs. Their stories extend beyond surface explanations of identity to deeper realities of politics and pleasure, telling captivating tales of love, desire, family, prejudice, and rebellion—from Cossey’s difficult days as an outed “James Bond Girl” to Griffin-Gracy’s striking memories of the Stonewall Riots. Directed by Timothy Greenfield-Sanders, The Trans List follows other “list” documentaries, including The Out List (Frameline37) and the award-winning The Black List. As in these earlier works, Greenfield-Sanders wisely gives his charismatic subjects center stage while co-producer Janet Mock skillfully helms interviews. Boasting an impressive assemblage of transgender luminaries, The Trans List highlights the distinct individuality and diverse outlooks of its subjects, while simultaneously evoking the collective power of an indomitable community.  — CURRAN NAULT

Saturday, June 25, 4:00 pm · Castro $8 members, $10 general · TLST25C proudly sponsored by

showcase 45

US Features


DIRs Sasha King & Brian o’donnell 2015 USA 88 min

A spark of attraction, a budding romance, a dark family secret: tender first love between a pair of college freshmen is put to the test when a tragic connection from far in their past is unexpectedly revealed. Benny is a first-year student at a leafy college in his hometown of Akron, Ohio. On the prompting of a friend, he joins a pickup touch football game, where he meets—and asks for the phone number of—handsome fellow freshman athlete Christopher. Flirting over text messages turns to dating and the hope of something more. In the midst of the excitement of their burgeoning romance, the pair sets off on a road trip to Florida for spring break, propelled by encouraging hugs and waves from Benny’s thoroughly supportive parents. Along the way, however, the two young men discover that they share a connection to a tragedy from years before. It is a revelation that will test their bonds with their families and each other. Akron offers a gay coming-of-age tale with a refreshing twist—none of its characters are in search of self- or familial acceptance, because they’ve all already achieved it. Set against the backdrop of Midwestern suburbia, where familial cohesion and domestic stability are cultural commodities, the film instead explores the damage that can be done by other kinds of buried secrets, and the resilience and forgiveness it takes to heal that damage. — MICHAEL LOPRESTI

BearCity 3

DIR Doug Langway 2016 USA 108 min

The beefy, burly boys of the sweet and frisky BearCity series return for a final rom-com romp in the delightfully satisfying climax to the popular trilogy, which from the start has celebrated let-it-all-hang-out body positivity, the comforts of coupledom, and the joys of camaraderie among a loveable group of gorgeous guys who all seemingly suffer from xyrophobia (fear of razors, naturally). This final installment finds nervous nelly Brent and papa bear Fred preparing for parenthood, with Brent’s wisecracking mom (the scene-stealing Kathy Najimy) providing baby-proofing tips and Fred’s sis serving as super-preggers surrogate. Will filmmaker Fred finish his bear epic before she pops? Meanwhile, silver fox Roger is broke and lonely, bumming beer from friends and yearning to rekindle a spark with sexy ex Tyler, now shacking up with closeted fireman Jay. Their buddy Michael has a shot at domestic bliss with Dalton, if only the cub’s phone-hacking teenage daughter will give the bow-tied suitor a chance (and if he can let go of his blood-stained beef jerky wrapper… but that’s another story). As plot strands tangle, the gang embarks on a campy camping trip replete with body paint, trysting twinks, a much-used outdoor sling, and an actual bear in the woods. Everyone has a roaring good time— including the grizzly—and viewers are sure to do the same as the beloved trilogy comes to a climax in a furry flurry of hirsute pursuit. —STEVEN JENKINS

Friday, June 17, 4:00 pm · Castro $8 members, $10 general · AKRO17C

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Saturday, June 25, 4:00 pm · Victoria $8 members, $10 general · AKRO25V

Friday, June 24, 9:15 pm · Castro $10 members, $12 general · BEAR24C

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Bruising for Besos

Daddy’s Boy

In this beautifully shot love story, Yoli is a seductive queer xicana artist who finds great passion with Daña, an alluring Puerto Rican nurse. But their growing intimacy stirs up their own troubled histories. Can Yoli break the cycle, face the past, and create something new for herself? Writer-director Adelina Anthony plays Yoli, a budding artist who has finally pieced together a new familia of friends in the queer and trans people-of-color community in LA. But her solid foundation, a boring job and a home with her best bud Rani (performance artist D’Lo), is rocked when she and Daña get together and get serious. Yoli makes marionette puppets of her family and contemplates using them to win an animation contest. For now, though, the puppets help her order her private memories of love and longing and the trauma she fled. Anthony deftly intercuts these marionette sequences delineating the family history with the progress of Yoli and Daña’s volatile relationship. As intimacy and connection deepen, the domestic violence that Yoli escaped, or thought she had, comes to the surface. New emotions also bring to light the deep inner conflict that Daña suffers as a closeted lesbian, good nurse and daughter, and devout Catholic. As their feelings grow, the danger of trusting each other amplifies. Yoli ultimately has a choice to heal or to forever be a puppet on a string.

Four young men, each somewhere near the crossroads where boyhood and adulthood meet, find their lives intertwined in the strange world of low-budget porn and male burlesque photo shoots in New York City. Max (Al Miro) is a suave, handsome Italian living in Canada who has become somewhat of a regular in the adult film scene. Checking into a hotel before the shoot, he struggles to put his feelings toward his distant father into a letter. Elsewhere in the city, Max meets and exchanges phone numbers with Fabian (Joe Lopez), a Puerto Rican from Queens with latent homosexual tendencies, who is grappling with the challenges of becoming a father for the first time and hearing an unexpected revelation from his own dad. Manuel (Jonathan Iglesias), a quiet but confident midnight cowboy from Arizona, makes his way to New York to shoot a porn scene with Max. While in town, he reaches out to his estranged older brother Jorge (James Koroni), a somber dancer in a loveless relationship with an overly critical photographer. With a nod to the French New Wave and a dash of Cassavetes, writer-director Daniel Armando weaves themes of fatherhood, family, and manhood into a beautifully stylized, enormously evocative, and highly erotic sketch of contemporary New York City that feels timeless with its stunning blackand-white cinematography.

DIR Adelina Anthony 2016 USA 90 min In Spanish & English with English subtitles


DIR Daniel Armando 2016 USA 78 min In English, French, & Italian with English subtitles


This film contains depictions of domestic violence and trauma.

First Girl I Loved

DIR Kerem Sanga 2015 USA 91 min

Opposites attract in this alternately funny and heart-rending high school romance. Anne is a bike-riding, yearbook-editing, gangly nerd whose best friend is yearbook pal Cliff. Sasha is an attractive and popular athlete in the top 15 percent of the class. Anne finds herself smitten when she photographs Sasha playing softball, and she uses the yearbook as an excuse to interview her girl crush. Attraction sparks, and soon the girls are texting nonstop, thrift-store shopping together, and sneaking out to bars. But are they budding BFFs or something more? The line blurs during a sexy sleepover, leaving Anne clearly ready to bust out of the closet. However, even in these enlightened times, coming out can be complicated and painful—especially when odd man out Cliff turns jealous and Sasha gets nervous. Winner of a NEXT Audience Award at Sundance, First Girl I Loved unfolds in kaleidoscopic fashion, as writer-director Kerem Sanga moves back and forth in time to reveal the full story—handling the visual challenge of communicating these teenagers’ digital, device-driven lives with ease. Dylan Gelula (Unbreakable Kimmy Schmidt) as Anne and Brianna Hildebrand (Deadpool) as Sasha capture all the awkwardness and effervescence of first love, backed up by a terrific supporting cast of teachers and parents. In this middle-class SoCal community, everyone is, of course, OK with gay kids—except when they actually have to deal with them. Look for Cameron Esposito in a sweet cameo as a counselor who gives Anne the quiet acceptance she’s seeking. —MONICA NOLAN

Sunday, June 19, 7:00 pm · Elmwood $10 members, $12 general · BESO19E Tuesday, June 21, 7:00 pm · Victoria $10 members, $12 general · BESO21V

Tuesday, June 21, 9:30 pm · Roxie $10 members, $12 general · DADD21R

Sunday, June 19, 6:30 pm · Castro $10 members, $12 general · FIRS19C

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US Features 47

Front Cover


Her Story: Season One

Set against New York City’s slick and cutthroat fashion world, this culture-clash romance is stylish, charming, and captivating from the get-go. Ryan is a twenty-something Chinese American photo stylist working for a hip and happening magazine. With his career on the rise, he works toward getting a big front cover assignment while his quirky crew of fashionista friends supports his out and proud life in the Big Apple. But when his editor assigns him to re-style Ning, a handsome breakout movie star from China, Ryan’s life turns upside down. What Ryan expects to be a simple East-to-West makeover becomes a complicated and often antagonistic relationship fueled by each man’s stubborn beliefs, cultural arrogance, obscured emotions, and simmering passion. Soon Ryan and Ning find they have more in common than a shared Chinese heritage, as life launches them onto twisting roads of discovery and self-determination. The second feature written and directed by filmmaker Ray Yeung, Front Cover subtly confronts important issues of culture, class, and sexuality while delivering an entertaining and heartfelt story about complex people facing real challenges. Anchored by charismatic and moving performances from the two leads—Jake Choi as Ryan and James Chen as Ning—the film navigates the turbulence churned up when human chemistry collides with cultural assumptions. Funny, touching, and thoughtful, Front Cover deftly deconstructs multiple stereotypes as it drives to a surprising and satisfying level of insight, pathos, and humor.

Two very different women form an unexpected bond, but when their friendship sparks a reckless romance their worlds are turned upside-down. Lauren is at sea after the death of her girlfriend. Finding herself jobless and evicted, she retreats to her childhood home in Oklahoma and her well-meaning but less than accepting mother (splendidly portrayed by Beth Grant). Also returning to the nest is Lauren’s brother Justin, bringing his polished, Californian girlfriend, Carrie, with him. Carrie is a fish out of water, always overdressed and underprepared for the social niceties of this small town. Justin and Carrie are driven and business-minded, and the pair’s romantic and business relationships are inextricably linked as they try to launch a local branch of her family’s Napa winery. When a crucial meeting sends Justin out of town, Lauren’s grief and Carrie’s career and commitment anxieties draw the two women together, challenging them to face their fears and rise from the ashes of their former lives. Having worked extensively behind the scenes in film and digital platforms, Maura Anderson chose to make Heartland her feature directorial debut after she was first approached to produce. Set against the beauty of the plains, Heartland’s story is accompanied by a warm acoustic score. Velinda Godfrey, who plays Lauren, co-wrote the script with Todd Waring after the two met in a workshop led by Jeffrey Tambor. Together, Anderson and Godfrey lead a majority female cast and crew to bring this down-to-earth story to the screen.

The much anticipated sexy new-media series Her Story grapples forthrightly with the frictions and fissures of desire between trans and queer women, as they navigate sometimes paradoxical identities in Los Angeles. Showrunners Laura Zak (a mentee of Jill Soloway) and Jen Richards (as seen on E!’s I Am Cait) combine their creative forces with director Sydney Freeland’s (Drunktown’s Finest, Frameline38) to center the frame on the lives and loves of women of trans experience. Allie (Laura Zak), a budding journalist for Gay LA, notices Violet (Jen Richards), a super-cute server, while out with her old-school lesbian posse (including Fawzia Mirza, The Queen of My Dreams, Frameline36) and finds her curiosity piqued. Allie makes a bold inquiry, asking Violet if she is trans and if she can interview her for a story. Although hesitant, Violet accepts, sparking an excitingly unexpected relationship. Meanwhile, Paige (Angelica Ross), a fierce LAMBDA Legal attorney and Violet’s best friend, helms a challenging case against a transphobic women’s shelter, while coming out as trans to her gorgeous, grounded new boyfriend. Before long these women’s stories and communities intersect with consequences that force everyone to question preconceived, normative notions of who they are allowed to be and be with. With #realtalk realness and beautiful cinematography, Her Story exemplifies the storytelling power of new media when it is made by and for trans and queer women.

DIR Ray Yeung 2015 USA 88 min


DIR Maura Anderson 2016 USA 100 min


DIR Sydney Freeland 2015 USA 55 min


This series is a recipient of a Frameline Completion Fund grant.

Saturday, June 18, 6:00 pm · Victoria $10 members, $12 general · HERS18V Saturday, June 25, 6:00 pm · Castro $10 members, $12 general · FRON25C

Thursday, June 23, 7:00 pm · Victoria $10 members, $12 general · HEAR23V

Wednesday, June 22, 7:00 pm · Elmwood $10 members, $12 general · HERS22E

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48 Frameline40

Lazy Eye



Judging by appearances, Dean is doing fine. He’s a successful graphic designer with a tastefully furnished apartment in Los Angeles. In his early 40s, he’s stylish, fit, well groomed—the model middle-aged urban homosexual male. But when Dean opens his email inbox one night to find an out-of-theblue message from an ex, his deeply rooted dissatisfaction with his life begins to rise to the surface. A hesitantly rekindled correspondence with Alex, who disappeared without a trace (or even a goodbye) after an incandescent summer fling 15 years earlier, eventually leads to an invitation to a weekend at Dean’s rustic retreat in the Southern California desert. Alex arrives with the air of a self-assured, free-spirited man of the world, though it soon becomes clear that he harbors his share of doubt and regret as well. What begins as a passionate second-chance fling inevitably turns into an emotionally charged rehashing of their longago romance, as both men grapple with the decisions that have led them to this point. Set amidst starlit swimming pools and the luminous Joshua Tree landscape, Lazy Eye features assured, naturalistic performances from its two handsome leads, Lucas NearVerbrugghe and Aaron Costa Ganis. The sharply observed script and sensitive direction are both by Tim Kirkman, director of Loggerheads (Frameline29) and Dear Jesse (Frameline22), who in this grown-up film explores one of the most intractable questions of middle age—whether turning back to the past is ever a viable way to move forward.

With a seductive gravitational allure, Retake pulls viewers into a world of love, loss, and intrigue from its opening scenes. Handsome businessman Jonathan (Tuc Watkins) has returned to San Francisco with a mission. He’s on the hunt for a brunette who is “rough around the edges,” temperamental, and scented with just the right cologne. Cruising the streets of the city, he finds what he’s looking for in a flirtatious young hustler played by Devon Graye, and a bold proposition is made: If this young man agrees to accompany Jonathan on a road trip to the Grand Canyon, he’ll get double his nightly rate, plus $1,000. But, there’s a catch: He has to role-play as someone named “Brandon” for the full ride. Eager to leave his life on the streets, he says yes, and an amorous game of manipulation and obsession commences. So begins the ambitious, risk-taking first feature by Nick Corporon (Empire, Frameline36), a film of romance and brooding suspense, with shades of Alfred Hitchcock’s Vertigo. The mystery of the real Brandon haunts the film for its duration. As the role-playing intensifies, the what and the who become captivatingly confused, as lines between fantasy and reality, desire and performance, blur. This is a perverse scenario, for sure, but these are also wayward souls, and their wounded humanity evokes genuine empathy. Grounded in the intimate complexities of authentic human relationships, Retake is a spellbinding journey of heartbreak and self-discovery.

The emphasis is on the “Q” in “LGBTQ” as two teens with a passion for writing fan fiction meet in writer-director Clay Liford’s sweet, hilarious, and sometimes poignant adaptation of his 2012 short of the same name (Frameline38), a film as much about friendship as it is about budding sexuality. Fifteen-year-old Neil’s (Michael Johnson, Teen Wolf) passion for writing “slash” fiction—erotic fan fiction that emphasizes same-sex fantasies—about a sci-fi icon, Vanguard (Tishuan Scott), is a secret that the shy adolescent keeps closely guarded. He’s thrown for a loop when he becomes close to his 16-year-old, seemingly worldlier, more self-confident classmate Julia (Hannah Marks, Awkward). His fantasies and crushes have been focused on males, but questions arise as he grows smitten with a girl who shares his interests. At the same time, after Neil begins posting his writing on a fanfiction website, he starts an online flirtation with its middle-aged administrator, Denis (Michael Ian Black, Wet Hot American Summer), furthering his sexual confusion. Dramatic re-enactments of Neil’s stories— complete with special effects the way a kid might imagine them—are hot and silly at the same time. They further the fun, as does a visit to a Houston Comi-Con that allows Neil and Julia to cosplay and further indulge their fantasies while adding new wrinkles to their relationship. Johnson and Marks are wonderful in this warm, funny film that perfectly captures the awkwardness and inchoate yearning of youth.

DIR Tim Kirkman 2015 USA 94 min

DIR Nick Corporon 2016 USA 98 min


DIR Clay Liford 2016 USA 100 min



Tuesday, June 21, 4:00 pm · Castro $8 members, $10 general · RETA21C Sunday, June 19, 6:30 pm · Victoria $10 members, $12 general · LAZY19V

Saturday, June 25, 7:00 pm · Victoria $10 members, $12 general · RETA25V

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Tuesday, June 21, 9:30 pm · Victoria $10 members, $12 general · SLAS21V

US Features 49

Women Who Kill

Jasmine and Penny, a new couple of one month, are invited to a lunch party by hosts Jordan and Billie, a married couple living the lesbian dream after five years together. They have a beautiful home, a fabulous partnership, and Rosie, a darling pit bull pup they co-parent with another couple. While the hosts tend to the grill, Jasmine and Penny escape for a quickie—because it’s August 2, and they haven’t had sex all month. While rolling around in their pals’ bedroom, they stumble upon what appears to be an anonymous suicide note, which leads them to believe that maybe Jordan and Billie’s partnership isn’t as effortless as it seems. Featuring actress Jasika Nicole (Scandal, Fringe) and actress-writer Brittani Nichols (Transparent), Suicide Kale explores the thrill of new relationships and the tensions that arise after the comfort settles in and the excitement fades. Jasmine and Penny, determined to figure out who penned the note, devise a strategy to uncover the identity of the author. But nothing goes according to plan, leaving Jasmine and Penny to depend on their sometimes misguided intuition to get to the root of this crisis. This (mostly improvised) dark comedy takes on important topics, from frequency of masturbation to whether it’s a good idea to decorate your home with items that once belonged to a neighbor who died in a hot tub. You know, the type of stuff you and your friends typically discuss over beer and grilled veggie skewers.

We all know that mystery keeps a relationship alive and that love can be dangerous. But can it also kill you? Exes Morgan and Jean are “Women Who Kill,” paranoid co-hosts of a podcast about female murderers. They’re inches away from getting back together when the mysterious, sexy Simone joins their Park Slope food co-op and Morgan falls quick and hard. But Simone’s secrets make everyone’s fur stand on end, and jealous Jean is convinced she might be a killer with a past to hide. Now what’s a commitment-phobe to do when everything that felt right seems suddenly wrong? Hot off its debut at the Tribeca Film Festival, Women Who Kill is a whip-smart dark comedy that asks some clever questions about trust and intimacy. Is Googling someone the first step in a serious relationship? How soon is too soon to rent the U-Haul? Can you still get fat and happy with the love of your life even if she might be a deviant sociopath? In this feature debut, lauded writer-director Ingrid Jungermann (co-star and co-creator of the acclaimed lesbian web series The Slope and F to 7th) stars as Morgan alongside Sheila Vand (A Girl Walks Home Alone at Night) as Simone and Ann Carr (The Actress) as Jean, with turns by co-stars Deborah Rush (Orange Is the New Black) as cranky co-op manager Grace and Annette O’Toole (Smallville) as creepy suspected killer Lila.

DIR Carly Usdin 2015 USA 78 min

DIR Ingrid Jungermann 2016 USA 93 min



This film contains discussions of self-harm.

Tuesday, June 21, 9:30 pm · Castro $10 members, $12 general · WOME21C Saturday, June 18, 3:45 pm · Roxie $8 members, $10 general · KALE18R

Friday, June 24, 9:30 pm · Piedmont $10 members, $12 general · WOME24P

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50 Frameline40

World Cinema

Suicide Kale


DIR Carlo Lavagna 2015 Italy 84 min In Italian with English subtitles

Arianna was born three times: once as a boy; three years later as a girl; and finally, fully, during a sultry lakeside summer, when she discovers that she is neither, or both—intersessuale. At 19, the captivating pale-eyed beauty looks as if she had stepped out of a Renaissance painting, with her boyish figure, tousled hair, and fine nose. But there is anxiety behind her eyes—she has not yet begun menstruating, and despite reassurances from her doctor father, the hormone patches have resulted in not much more than aching breasts. When she arrives with her parents at their country retreat near Lake Bolsena, it has been 16 years since her last visit there, and Arianna is struck by memories of her old bedroom, her threeyear-old best friend, and something else, something mysterious and indescribable. To make matters more confusing, her teenage cousin Celeste has suddenly blossomed and is busy exploring her sexuality while Arianna fumbles with her own. Amid the buzzing insects, lush greenery, and milky waters of the lake, Arianna begins working her way out of this maze of un-knowing. She investigates her past, probes her body, and slowly pieces together a new identity. Director Carlo Lavagna’s dreamily fragmented ode to selfdiscovery is ripe and unrushed; its sensitive camerawork, revelatory. With a convincing performance by newcomer Ondina Quadri in the title role, Arianna is a coming-of-age story that gives no pat resolution, but instead opens up into the beauty of uncertainty. —LUCY LAIRD

Closet Monster

Fire Song

Teenage lust, woozy visions, and a talking hamster voiced by Isabella Rossellini shape this queer coming-of-age tale that’s as strange, scary, and sublime as the real experience. Oscar (rising star Connor Jessup) is an arty teen with a turbulent home life and a smoldering crush on hardware store “bad boy” Wilder (Aliocha Schneider). An aspiring makeup effects artist, Oscar spends his days concocting wild photo shoots with best friend Gemma (Sofia Banzhaf) and his nights weathering the neglect of an aloof mother and volatile father. Haunted by a gay bashing he witnessed as a child, he begins having surreal nightmares—rendered with grisly Cronenberg-esque flair—that simmer to the surface of his mind and body, as his burgeoning queer desires do the same. Winner of multiple awards on the festival circuit and directed by Stephen Dunn, whose sexually irreverent short Pop-Up Porno was a favorite among Frameline39 audiences, Closet Monster is an impressive first feature that verifies Dunn’s reputation as a risk-taking visionary. Closet Monster is deliriously dark, but with a cheeky comic wit that emerges via Oscar’s closest confidant: “Buffy,” the wryly observant rodent voiced by Rossellini. Undoubtedly a reference to Buffy the Vampire Slayer, a show further conjured by Oscar’s fantastical make-up effects, Closet Monster raises the specter of queer childhood in the ’90s. But bolstered by its distinct depictions and a stunning soundtrack of contemporary indie electronica, from Austra to Light Asylum, Closet Monster is unmistakably now and oh-so-cool.

Shane is at a crossroads after a family tragedy. He can take care of his mom, go through the motions with his girlfriend, and fend off despair on the beautiful, impoverished Anishinaabe reservation in northern Ontario. Or he can use a small inheritance to go to college in Toronto and dare to live openly as a gay man, but risk losing his culture. Either way, his longing is palpable in this tough and tender comingof-age story. Shane’s girlfriend Tara also wants to escape from this haunted place of wild rice and waterways. But Shane would rather have his secret boyfriend go with him. David is an apprentice medicine man, so he wants to stay to continue learning from the elders. Even as the two men become closer, Shane resists his own true nature as a Two-Spirit person destined to be a visionary leader, healer, or teacher because of his special access to both male and female energy. Will they go or will they stay? The clock is ticking. With his mother paralyzed by grief and the house falling apart, Shane needs a lot more money fast but has no good way to get it. He tries to “man up,” but he discovers too late what that really means. By embracing the fullness of his Two-Spirit nature, Shane finds a surprising way forward along with his community, in this stunning feature debut by First Nations director Adam Garnet Jones.

DIR Stephen Dunn 2015 Canada 90 min

DIR Adam Garnet Jones 2015 Canada 85 min


This film contains depictions of sexual violence.


This film contains depictions of homophobic violence.

Wednesday, June 22, 9:30 pm · Roxie $10 members, $12 general · ARIA22R

Monday, June 20, 9:15 pm · Castro $10 members, $12 general · CLOS20C

Saturday, June 18, 1:00 pm · Victoria $8 members, $10 general · FIRE18V

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World Cinema 51

From Afar

Girl Gets Girl

DIR Lorenzo Vigas 2015 Venezuela 93 min In Spanish with English subtitles

DIR Sonia Sebastián 2014 Spain 88 min In Spanish with English subtitles

Desde allá

Winner of a Golden Lion at the 2015 Venice Film Festival, Lorenzo Vigas’s debut feature intertwines psychological angst and romantic nurturing in a dark drama. Armando (Alfredo Castro), a middle-aged single man who makes dentures and is terrified by the prospect of physical contact, spends his free time walking the streets of Caracas and cruising for tough young men. His interest is less in sex than in power, as he seeks control over these macho boys in return for payment. The dynamic changes after he invites home a volatile car mechanic named Elder and the teenager refuses to play by Armando’s rules. Rather than move on to another conquest, though, the older man becomes bewitched, stalking Elder in the streets and eventually offering him a kind of home life. Thus begins an elegantly gritty exploration of two confused and angry men negotiating a relationship that resides somewhere between that of lovers, friends, and father and son. Even as their domestic life gains stasis and balance, the power games that Armando seems unable to resist return to the fore. Vigas, in his debut feature, employs an assured sensibility, isolating his characters through the use of focus and close-ups and gaining a particular kind of emotional truth. The fine character actor Castro (a familiar face from Pablo Larraín’s films) gives Armando a mesmerizing watchfulness, while newcomer Luis Silva’s Elder is wound tight with unpredictable, feral physicality. Together they render their characters and the film resonant and unforgettably disturbing.

De Chica en chica

Sexy, smoky-eyed Inés can’t keep her hands off anyone she meets. But when she’s caught cheating on her girlfriend in the bathroom at a funeral, the aspiring and broke erotica writer escapes back to Spain after ten years away. Enter Inés’s chosen family, a colorful cast of characters who turn Girl Gets Girl into a nonstop romp. They’ve all got a few things to say to Inés when she turns up unexpectedly, including her ex Veronica, whom she left pregnant at the altar. Now their preteen daughter Candela wants to know who her father is, and when the gaggle of lesbians, gays, transpeople, and straight folks raising Candela gathers at her comingof-age menstruation-themed “Period Party,” it becomes a day of twists, revealed secrets, and self-discoveries no one will forget. Can Inés finally put aside her selfish desires and come through for her community? Full of campy surprises, stolen kisses, and plenty of lusty backstabbing, Girl Gets Girl has all the dyke drama and passionate hair-pulling of The L Word, paired with the vibrancy of an Almodóvar film. Written and directed by Sonia Sebastián, the film is based on the steamy online Spanish TV series Girl Gets Girl and stars Celia Freijeiro as Inés. — NATALIE MULFORD

Holding the Man

DIR Neil Armfield 2015 Australia 127 min

Sexy, beautiful, and heartbreaking, Holding the Man is based on the 1995 memoir of the same name by Australian actor, writer, and activist Timothy Conigrave, who completed the book mere days before he died. It is a love story for the ages: Tim and John Caleo fall for each other as students at a boys’ high school in Australia in the 1970s. Braving the disapproval of their families, church, and society, they continue their romance into their 20s and beyond, although career ambitions briefly lead them down separate roads. The sweeping narrative of the film, crisscrossing decades in the couple’s relationship, leaves no doubt about the irresistible magnetism drawing these men together. Mutual HIV diagnoses near the beginning of the AIDS crisis threaten to cut their perfect happiness short while also galvanizing Tim to become an AIDS activist. Even as his own health begins to fail, Tim nurses John through AIDS-related illnesses in some of the film’s most poignant scenes. Director Neil Armfield (Candy) delivers an extraordinary cinematic experience. Tender, honest performances by the lead actors—Ryan Corr (The Water Diviner) as Tim and Craig Stott as John—are supported by several stars of Australian cinema, including Guy Pearce (The Adventures of Priscilla, Queen of the Desert) and Geoffrey Rush (The King’s Speech). This powerful, emotional film is a fitting tribute to a beloved book and to two lives tragically shortened—among far too many others—by HIV/AIDS. — CHARLES PURDY


Wednesday, June 22, 7:00 pm · Victoria $10 members, $12 general · FROM22V Thursday, June 23, 9:30 pm · Elmwood $10 members, $12 general · FROM23E

Saturday, June 18, 6:30 pm · Roxie $10 members, $12 general · GIRL18R

Friday, June 17, 9:15 pm · Castro $10 members, $12 general · HOLD17C

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52 Frameline40

A Holy Mess


I Promise You Anarchy

DIR Helena Bergström 2015 Sweden 108 min In Swedish with English subtitles

DIR Fabián Suárez 2016 Cuba 95 min In Spanish & French with English subtitles

DIR Julio Hernández Cordón 2015 Mexico, Germany 100 min In Spanish & English with English subtitles

En underbar jävla jul

Both 27-years-old, Oscar and Simon have been together for several years and desperately want a baby, so they’ve gotten their close friend Cissi to agree to be their surrogate mother. Together, the three friends decide to become a modern Swedish family, going in on a “fixer-upper” in need of some major repairs. But nine months into their pregnancy, they’re all still wondering who the father is—Simon or Oscar? This coincides with the guys inviting both sets of their slightly homophobic parents (who have also never met each other) for Christmas, so they can share the happy news that they’re about to be grandparents. To add to the mix, a few unexpected guests crash the party. Alcohol flows freely, tensions simmer, secrets float to the surface, and all holiday hell breaks loose. Directed and co-written by acclaimed Swedish actress Helena Bergström, A Holy Mess has plenty of sharp, laugh-out-loud comedic dialogue. The strong ensemble cast includes standout performances by Robert Gustafsson and Maria Lundqvist as Oscar’s parents. Examining themes of tolerance, political correctness, parental responsibility, and what it really means to be a family, the film affectionately conveys the complexity of the human condition. As the soundtrack overflows with evocative holiday music including songs by The Jackson 5 and Smokey Robinson, innocent idealism is woven into an elaborate narrative mix that, in the end, achieves a deliciously infectious and heartfelt authenticity. —TIM SIKA

Friday, June 17, 7:00 pm · Roxie $10 members, $12 general · HOLY17R


Inspired by the work of famed photographer Robert Mapplethorpe (most notably the cover artwork he shot of Patti Smith for her seminal album Horses), Cuban poet and playwright Fabián Suárez’s imaginative first feature revolves around the thwarted longings of a quartet of artists in Havana: an ambitious photographer, a gorgeous model, a sullen DJ, and a wealthy patron of the arts who is dying of AIDS. The four lost souls of Horses convene at an evening soirée, hosted by the affluent Salomón (Pablo Guevara), whose health is in quick decline. Introducing himself as “Mapplethorpe,” lonely, handsome photographer Robi (Carlos Alejandro Halley) invites a striking model/ musician named Galaxia (Linnett Hernandez) to Salomón’s luxurious apartment, where Salomón’s unhappy boy-toy Jairo (Milton García, The Last Match) has been reduced to being a caretaker, due to Salomón’s lingering affections for Robi. Jealousy, curiosity, and seduction blend together in the overlapping, intertwining love triangles at the center of the film. Gorgeously filmed in black and white with a number of nods to Mapplethorpe—including its mischievous sense of humor—Horses touches on themes of post-revolutionary disillusionment and emigration as the film’s foursome contemplates leaving their native Cuba, whether through death, exile, becoming marginal, or simply disappearing. The film, coming on the cusp of a new era of cultural relations between the U.S. and Cuba, offers us an unusual, elliptical window onto our shared fascination with beauty and impermanence. — JOE BOWMAN

Te prometo anarquía

A gritty, visually arresting portrait of contemporary Mexico City, this spectacular new drama from writer-director Julio Hernández Cordón (Gasolina) follows a pair of skateboarding paramours who revel in their blissful sexuality while making a living through black-market blood trafficking. With drug-related violence at an alarming high, business in the underground blood trade proves lucrative for the charming, entrepreneurial Miguel (Diego Calva), who orchestrates groups of his friends and neighbors to get “milked,” as he calls it. As the demand for blood and the size of the jobs increase, he enlists his bisexual, rough-around-the-edges lover Johnny (Eduardo Eliseo Martínez) as his business partner, hoping to provide a distraction from his clingy sometime girlfriend Adri (Shvasti Calderon). However, as the stakes start to rise, Miguel and Johnny quickly find themselves in over their heads. With a sophisticated, assured screenplay that never feels heavy-handed, impressive performances from its cast of unknowns (the director found both of the leads via Facebook), and raw, realistic cinematography that calls to mind some of Gus Van Sant’s best work, I Promise You Anarchy is a powerful, daring tale of young love in the seedy underbelly of Mexico’s capital. — JOE BOWMAN

This film contains depictions of violence.

Sunday, June 19, 9:15 pm · Castro $10 members, $12 general · IPRO19C

monday, June 20, 1:30 pm · castro $8 members, $10 general · HOLY20c

Saturday, June 18, 9:15 pm · Roxie $10 members, $12 general · HORS18R

Friday, June 24, 9:30 pm · Victoria $10 members, $12 general · IPRO24V

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World Cinema 53



Gorgeous cinematography, a bucolic German setting, and director Piotr Lewandowski’s lyrical storytelling style make Jonathan a uniquely sumptuous visual experience—and illuminate a tale about family, romantic love, and bittersweet regret. At 23 years old, Jonathan (played by the stunning Jannis Niewöhner) and his aunt struggle to keep their family farm afloat while also caring for Jonathan’s emotionally distant father, Burghardt, who is dying of cancer. As Burghardt’s condition worsens, the family hires Anka (played by the equally stunning Julia Koschitz), a nurse from a nearby town. While Jonathan and Anka begin to fall in love, a long-absent former friend of Burghardt’s arrives, revealing a secret that will dramatically alter both the course of Burghardt’s final weeks and Jonathan’s understanding of his family. This atypical story about a later-inlife coming out—and the repairing of a sundered father-son bond—is at times raw and emotional. Languorous romantic idylls and intimate lovemaking (sensitively lensed by Jeremy Rouse) are juxtaposed with heartrending scenes in which damaged people confront each other and their own fears and regrets. Among a stellar cast, André Hennicke, as Burghardt, gives a standout performance as a man facing his past mistakes and his own sorrow, while making brave choices about how he will live his final days. Jonathan is a beautiful first feature from a filmmaker of great skill and subtlety.

Sahil, a quirky music producer in Mumbai, has hit a rough patch with his boyfriend Alex. That’s just when Sahil’s longtime friend Jai, a successful and handsome Wall Street deal maker, arrives back in India on a business trip. Jai’s visit gives Sahil the perfect excuse to drop Alex for a bit and escape for a few days’ getaway in the gorgeous countryside with Jai. While the friends enjoy their remarkable rapport at first, differences soon begin to arise—emotions and tensions bubble to the surface until they finally explode in a way that threatens to impact the lives of all three men for a long time to come. Loev is a landmark film, honestly exploring gay relationships in India, where, to this day, same-sex love is punishable by harsh prison sentences. Writer-director Sudhanshu Saria has stated that he wrote the script to deal with a hurt he didn’t know how to process at the time—indeed, the film captures the complexity of attraction, societal disapproval, and moral ambiguity in a way that speaks of first-hand experience and insight. The performances of all three principals are superb and nuanced, making it tragic that Dhruv Ganesh (who plays Sahil), to whom the film is dedicated, died of tuberculosis shortly after the film’s completion. That Loev marks the feature film debut of director Saria makes this beautifully photographed film all the more courageous, impressive, and compelling.

DIR Piotr Lewandowski 2016 Germany 99 min In German with English subtitles


DIR Sudhanshu Saria 2015 India 90 min In Hindi & English with English subtitles


Me, Myself and Her Io e lei

DIR Maria Sole Tognazzi 2015 Italy 97 min In Italian with English subtitles

Sabrina Ferilli (The Great Beauty) and seventime Donatello Award winner Margherita Buy (His Secret Life) star in Italy’s first romantic comedy about a female couple, the second feature film from Maria Sole Tognazzi (daughter of Ugo Tognazzi, star of La cage aux folles). Polar opposites in personality but perfectly aligned in love, Marina and Federica have built their five-year relationship on trust, respect, and chemistry. They share a beautifully appointed apartment in Rome, complete with a Bengal cat and an observant (and often disapproving) queeny maid named Rolando. A former beloved actress, the stunning Marina is gregarious and warm and has been open about her sexuality for years, while Federica is reserved, even “frosty,” as noted by family members, with a past that includes an ex-husband and a 24-year-old son. Federica’s fears about public perception tend to drive rifts between the two, although it is obvious they are very deeply in love. A chance meeting with a male crush from Federica’s past sets off a litany of doubts and threatens to disrupt the blissful world she and Marina have created together. Which version of herself will Federica ultimately choose? Striking a mature balance between comedy and drama, Tognazzi finds the universal chord in her characters’ romantic struggles and delicately unfolds an affectionate story of love and compassion, graciously observing tempestuous hearts searching for their true home. —LEAH LOSCHIAVO

tuesday, June 21, 1:30 pm · Castro $8 members, $10 general · LOEV21C Sunday, June 26, 4:00 pm · Castro $8 members, $10 general · JONA26C

Friday, June 24, 7:00 pm · Victoria $10 members, $12 general · LOEV24V

Monday, June 20, 9:15 pm · Roxie $10 members, $12 general · MEMY20R

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54 Frameline40

Take Me For a Ride


You’ll Never Be Alone

DIR Micaela Rueda 2016 Ecuador, Mexico, Colombia 70 min In Spanish with English subtitles

DIR Händl Klaus 2016 Austria 114 min In German with English subtitles

DIR Alex Anwandter 2016 Chile 81 min In Spanish with English subtitles

UIO—Sácame a pasear

Sara has attempted to fit in with her classmates, but by the beginning of her senior year, she can’t really be bothered anymore to hang with the other teens at school or try to rekindle a dissatisfying relationship with the boy next door. Isolating herself in the smoky haze of a hidden alcove, she is content to live her life apart, spending contemplative solo afternoons in the soft Quito sunlight. That solitude ends when new girl Andrea transfers to the high school and finds her way into Sara’s alcove to share a smoke. The girls quickly become inseparable, discovering a mutual love of live music and tentatively sharing feelings of alienation, of “being weird” in a restrictive culture that doesn’t welcome much difference. Micaela Rueda’s beautifully observed debut captures the obsessive euphoria of falling in love, focusing on the secluded, dreamy moments when it seems that the world is inhabited by only two people. Laced within the intoxication of the girls’ passion is the volatile threat of social and parental rejection, endangering their private sphere. Will they have the courage to follow their hearts, to embrace and proclaim their love? —LEAH LOSCHIAVO


Living in an idyllic country home outside Vienna, Andreas (Philipp Hochmair) and Stefan (Lukas Turtur) have built a harmonious lifestyle together, along with their beloved tomcat, Moses. Andreas manages a respected orchestra in the city, and Stefan plays the French horn in the ensemble. They have a gorgeous garden where Moses can wander and where they host dinner parties with their close-knit circle of friends. Their sex life is as lively and passionate as it has ever been. But their Garden of Eden– like existence unravels after a shocking, violent incident that shatters the two lovers’ perceptions of one another, as well as their understanding of themselves. Winner of this year’s prestigious Teddy Award for Feature Film at the Berlinale, Händl Klaus’s sophomore feature plays like a queer Force Majeure, if it were directed by Michael Haneke (the director himself had small acting roles in that Oscar-winning filmmaker’s The Piano Teacher and 71 Fragments of a Chronology of Chance). Anchored by strong, daring performances from noted stage actors Turtur and Hochmair and accompanied by a lovely classical score, Tomcat is a provocative, stirring examination of what happens to a loving couple when trouble finds its way into paradise. — JOE BOWMAN

This film contains a scene of disturbing violence.

Nunca vas a estar solo

After 25 years managing a factory that produces mannequins, quiet, introverted Juan (Sergio Hernández) hopes to be made a partner with the company. At home, his eighteen-year-old son, Pablo (Andrew Bargsted), has dreams of stardom, studying dance at a respected art school. In addition to teaching neighborhood children choreographed dance numbers and clubbing with his best girlfriend, Mari (Astrid Roldan), on the weekends, Pablo’s life revolves around performing, auditioning, and occasionally sneaking around to sleep with a neighbor boy. While Pablo and his widowed, hard-working dad don’t have a whole lot in common, neither seems to let that get in the way of caring for each other. Everything changes, however, when Pablo is brutally attacked by a group of homophobic kids from the neighborhood. With legal action and medical insurance proving to be both unhelpful and costly, Juan decides, in desperation, to seek out his own form of justice for his son. Powerful and haunting, with a memorable performance by Hernández as the aggrieved father, You’ll Never Be Alone marks the directorial debut of Chilean pop star Alex Anwandter, who based the film on the real-life attack on one of his young fans by a group of neo-Nazis in 2012. Anwandter also wrote, produced, and scored the film, which took home the Teddy Jury Prize at this year’s Berlinale. — JOE BOWMAN

This film contains a scene depicting homophobic violence.

Thursday, June 16, 10:00 pm · Castro $10 members, $12 general · YNBA16C Saturday, June 25, 9:00 pm · Roxie $10 members, $12 general · UIOT25R

Wednesday, June 22, 9:00 pm · Castro $10 members, $12 general · TOMC22C

Wednesday, June 22, 4:00 pm · Castro $8 members, $10 general · YNBA22C

World Cinema 55


Check It

DIRS Dana Flor & Toby Oppenheimer 2016 USA 90 min

Desperate to survive in a city where being true to who you are can get you killed, a group of black gay and trans teens form a gang in Washington, D.C., to protect one another. Check It, the first documented gang of its kind, is dedicated to keeping black gay and trans youth safe when no one else will. After starting off with just a few people in 2009, the group has grown so large that no one can keep an accurate count of its members. In a country where black bodies are seen as criminal from birth, Check It functions as a radical act of resistance. This intimate portrayal follows Check It members, using what few resources they have, as they navigate the world—including Tray, a gay teen determined to make sure that other young people don’t have to go through the same hardships he did; Alton, a trans woman who has been taking care of herself and her friends since she fled her home at the age of 14; and Skittles, a talented amateur boxer who refuses to sacrifice his femme aesthetic when he steps into the ring. This crew of teens does their best to defend one another from state, police, and interpersonal violence, determined to be seen as the brilliant beings they are. — TAYLOR J. HODGES

This film contains graphic images and discussions of violence.

Conversations with Gay Elders: An Intergenerational Film Project DIR David Weissman 2016 USA 60 min

In this unique project-in-progress screening, documentary filmmaker David Weissman brings us inside both the stories and the unusual process that comprise his ongoing mission to capture the experiences of gay men of the pre-Stonewall generation. Now living in Portland, Oregon, longtime San Francisco resident Weissman—as in his previous films We Were Here (Frameline34) and The Cockettes (Frameline25)—is fiercely dedicated to listening to the voices and stories of a generation of gay men that is quickly passing. But in this project, after conducting his on-camera conversations with “gay elders,” Weissman turns the filmmaking itself into an intergenerational collaboration by pairing each elder’s footage with an editor from a much younger generation. The resulting filmed dialogues become an informal history as listened to and, in a sense, interpreted by a new generation of gay men. Weissman’s focus is to create multiple in-depth individual character studies rather than a single feature film, and to amass a rich repository of these histories for future generations. This program will feature excerpts from four of the conversations shot thus far, selected by the young editors. These excerpts include San Franciscans Robert Dockendorff (76) and Jack Lasner (87) as well as New Yorkers Gene Fedorko (72) and Daniel Maloney (77). Following the screening will be a discussion including director-producer Weissman, subjects Dockendorff and Lasner, and editors Alex Bohs, Aron Kantor, Jake Stein, and Ben Zweig. —peter l. stein

56 Frameline40

Sunday, June 19, 3:30 pm · Roxie $8 members, $10 general · CHEC19R

Monday, June 20, 4:00 pm · Castro $8 members, $10 general · CONV20C

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Femme Brutal

The Freedom to Marry


When all the world’s a stage, crafting identity and desire is a performance that develops with and without an audience. In this Austrian documentary, the seven queer- and lesbian-identified performers who make up the performance troupe Club Burlesque Brutal discuss—in honest, ironic, and often humorous tones—their varied experiences with identity and power. Clips of live performances—which range from raw and political to fiercely sexy—are seamlessly merged with discussions in which the women provide the camera and each other a candid view on the thrills and challenges of performing. Unpacking a wide range of issues—such as audience gaze, femme identity, and what body parts each is most comfortable exposing (or not)—the women offer varied insights and perspectives that are both political and personal. The women frequently appear united on stage, but the intimate exchanges between performers reveal the often contrasting and unique queer identities of each, both in and out of character. And just as offstage life inevitably influences their performances, their discussions shed light on the ways onstage experiences impact life when all the glitter and costumes are gone. Although specific to the burlesque troupe, the thought-provoking insights uncovered in this film also touch on broader concepts of performative identity and the creation of a public persona as a source of social commentary and power—issues relevant to a variety of audiences.

It’s 102 nail-biting days before last year’s Supreme Court decision on whether same-sex marriage will be legal in all fifty states, and Evan Wolfson—“the Marriage Guy”—isn’t pacing the floor. Instead, he’s confidently preparing supportive briefs to let the justices know that America is ready for this momentous change. In fact, Wolfson saw the revolution coming decades earlier. When Wolfson wrote his 1983 thesis, titled Gay People and the Freedom to Marry, at Harvard Law School, the legal argument was so unheard of that he risked becoming a laughingstock. But nothing, not even the AIDS crisis, deterred him from becoming the godfather of the marriage equality movement for the next 32 years. Spearheading action in the United States and decisively influencing it abroad, Wolfson ultimately founded the game-changing advocacy organization Freedom to Marry. By sharing the stories of real LGBT people and their lives of love, commitment, and family—including the story of his own relationship with his husband Cheng He— Wolfson helped transform the country’s understanding of who gay people are and why discrimination is wrong. Director Eddie Rosenstein’s inspirational documentary traces the marriage equality movement’s historic progress, also profiling Mary Bonauto, Civil Rights Attorney for GLAD, who joins forces with Wolfson to argue the case of a lifetime—as, at the edge of our seats, we count down (all over again) towards the landmark Obergefell v. Hodges decision. This film adds crucial context to that momentous day.

Misunderstood within the mainstream, furries—or folks who don anthropomorphic body suits for role-play—come into snuggly view in Dominic Rodriguez’s sensitively rendered Fursonas. Avoiding sensationalism, Fursonas acquaints viewers with the unexpected individuals, many of whom are gay or bi, behind the plushy costumes—from androgynous dog-identified eccentric “Boomer,” to suburban mom “Freya,” to furry sex toy manufacturer “Varka” of Bad Dragon. Rodriguez furnishes an insider’s look at this outsider subculture, delving into the furry fray of intimate dramas and intragroup dilemmas. Topping the list of furry predicaments is the continued intrusion of the media—which opts for salacious exposés that paint participants as “sexual freaks.” No one is angrier about this than Uncle Kage, chief organizer of furry convention Anthrocon, who provides unintentional chuckles as his wine-fueled rants, against everything from frank sexual discussions to Boomer’s oddity, edge into absurdity. Winner of a Spirit of Slamdance award, Fursonas is a foundational document of a hitherto discounted community. Both fun and fascinating, Fursonas also raises profound questions about individuality and the human desire for acceptance—questions that will resonate with the furry, the furrycurious, and any viewer who has ever felt like a misfit.


In a world where fetish is the norm, the true nature of deviance stands out.

Saturday, June 25, 1:15 pm · Castro $8 members, $10 general · FREE25C

Sunday, June 19, 9:15 pm · Victoria $10 members, $12 general · FURS19V

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DIRS Nick Prokesch & Liesa Kovacs 2015 Austria 70 min In German with English subtitles


Thursday, June 23, 9:00 pm · Roxie $10 members, $12 general · FEMM23R

DIR Eddie Rosenstein 2016 USA 86 min

DIR Dominic Rodriguez 2015 USA 82 min


PRECEDed by: Mask4Mask DIR Aron Kantor 2015 USA 4 min

Documentaries 57

Inside the Chinese Closet

DIR Sophia Luvarà 2015 Netherlands 72 min In Mandarin with English subtitles

Andy and Cherry are emblematic of a new generation of gay and lesbian people in China—desperately seeking to strike a balance between their sexuality and deeply rooted family pressures to maintain the illusion of heterosexual family life. Trying to live as an out gay man in Shanghai (he self-identifies as a bear), Andy hopes to someday find Mr. Right, even as his insistent, traditionalist father coaches him to find a lesbian who is willing to join him in a sham marriage. His search for a compatible bride—he does want some kind of love to exist with anyone he calls his wife—forms one half of this film’s astonishing dual portrait. Equally compelling is Cherry, a young, rural lesbian already in her own fake marriage, whose parents openly explore buying a baby for her in order to save face with their community and become grandparents. The film’s cameras follow Cherry’s gentle attempts to gain acceptance—for instance, as she shows her mother other lesbians online, explaining that she is not alone in her experience. The tension between a building wave of LGBTQ awareness in China and a powerful undertow of cultural conformity creates ever-present drama in the film, while Andy and Cherry, trying to navigate difficult paths to some kind of personal truth, reveal a quiet but unshakable integrity.

Irrawaddy Mon Amour

DIRS Nicola Grignani, Valeria Testagrossa, & Andrea Zambelli 2015 italy 58 min in burmese with english subtitles

Beauty and defiance blossom in this enchanting documentary about love and marriage on the banks of the Irrawaddy River in Myanmar/Burma. Kyauk Myaung is a unique gay-friendly village, where trans activist and shaman Myo Nyunt fiercely protects “the Third Sex” in an alliance with the local Buddhist monastery. Winsome watermelon vendor Soe Ko and handsome construction worker Saing Ko want to be married. More ominous than family opposition, the country’s military junta is the real threat to their bond. Under its rule, a person can be sentenced to a minimum of ten years in prison for engaging in consensual gay sex, and of course same-sex marriage is illegal. But things are changing in Myanmar, with longtime human rights activist and stateswoman Aung San Suu Kyi poised at the threshold of a new regime. In this environment, Myo Nyunt helps organize a pioneering gay meeting and a radiant wedding ceremony complete with the blessings of three monks, colorful dance performances, and a transcendent ritual of floating candles. As trans patriarch and teacher Thet Htar Phyu says, “Tell them that our love flows over men like the Irrawaddy River—it never stops flowing.” — FRAKO LODEN


The Joneses

DIR Moby Longinotto 2015 USA, UK 80 min

It isn’t easy keeping up with the Joneses. A working-class family born and bred in the Mississippi Bible Belt, they are an uncommon clan with a unique set of challenges—which they meet with an innate philosophy that “family is everything.” And this family sure is something. At the heart of their story (both figuratively and literally) is sprightly Southern matriarch Jheri Jones, a trim, platinum blonde transgender woman with a bedazzled air of both brass and refinement. After marrying and raising four sons, she divorced and became her authentic self, Jheri, in her 30s and finally saved enough money to complete her gender confirmation surgery in her 60s. Now 74, she lives in her tidy trailer park home with two of her grown sons, after years of estrangement encouraged by her embittered and religious ex-wife. Brad, the eldest, suffered brain damage at childbirth and, while functional, has significant cognitive disabilities. Trevor struggles to find his place and purpose in life while dealing with anger issues that ultimately reveal a deeply held secret. Trevor’s twin brother Trent, diagnosed with schizophrenia and autism, lives in a homecare facility nearby, while Wade is happily married with two teenage kids who have yet to discover their grandmother’s story. In his feature documentary debut, Moby Longinotto gracefully embraces this family of outsiders who, despite all their struggles, always trust that “if there is enough love, you can overcome.” — JOANNE PARSONT

This film is a recipient of a Frameline Completion Fund grant.

Saturday, June 18, 11:00 am · Victoria $8 members, $10 general · CHIN18V Saturday, June 25, 3:00 pm · Piedmont $8 members, $10 general · CHIN25P

Wednesday, June 22, 9:15 pm · Victoria $10 members, $12 general · IRRA22V

Saturday, June 18, 1:30 pm · Roxie $8 members, $10 general · JONE18R

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58 Frameline40

Last Men Standing

Out Run

Ovarian Psycos

“We felt like every day was wonderful and anything could happen.” Rich and distinguished stories unfold among the lives of long-term survivors who have learned how to celebrate, heal, love, and thrive after the devastation of the early AIDS crisis. In this cathartic and intimate documentary, eight men look back on their experiences and then toward the future with the strength and resiliency they have cultivated over the past 30 years. Survivors are still affected by the trauma of not only their diagnosis but also the loss of community and way of life. Nobody knew they would grow old with AIDS. Many abandoned careers and went on long-term disability to wait out their death sentence, and now they face an uncertain economic future. As they age, and as the Castro neighborhood changes, long-term survivors are also creating new ways to connect, and to find meaning and community. This meditative documentary, the first fulllength film produced by the San Francisco Chronicle, draws attention to the emotional and inspiring history of the city’s gay community in the post-AIDS era.

Which country has the only LGBTQ political party in the world? Wrong! It’s the Philippines, where the Roman Catholic Church rules society despite a wary tolerance for baklas (gay men) and transgender people—as long as they stay in their “accepted” places. Those places are the entertainment world, in the form of transgender beauty pageants attended by snickering rubberneckers; beauty salons, where transwomen can do business and build community; and sex work, in the shadows of mainstream society. LGBTQ Filipinos on the whole are subject to discrimination and hate crimes. But the party-list system allows marginalized groups to vie for seats in 20 percent of the House of Representatives. In 2013, trans activist Bemz Benedito and the Ladlad (meaning “be true to your nature”) Party made a historic attempt to place three LGBTQ candidates in congressional seats on a platform that included filing an anti-discrimination bill and setting up homes for elderly baklas. This documentary takes us into the Philippines’ of-the-people political world, where beauty salons become campaign chapters and dubious party alliances are the norm. Should Ladlad’s platform include the controversial issue of same-sex marriage? Loss of confidence turns to bitter resolve when, a few weeks before election, a transwoman is beaten to death for using a women’s restroom. Emmy-nominated Bay Area documentarians S. Leo Chiang and Johnny Symons turn an incisive lens on international LGBTQ grassroots organizing and coalition building.

It is a powerful and strikingly beautiful sight to see twenty-plus young women of color biking through the streets of East LA with black bandanas emblazoned with white Fallopian tubes over their faces. Co-opting crew culture and reworking it with a feminist spin, The Ovarian Psycos Bicycle Brigade organizes rides in protest of violence in the community and against women. Founded by poet M.C. and activist Xela de la X and made up of cisgender and transgender women and gender-nonconforming rebellious spirits, this sisterhood is a refuge for those with past trauma, a support system in times of tragedy, and an outlet to confront pertinent issues that stem from misogyny and racism. The film gives us an intimate look at the lives of those who ride while showcasing their perseverance. New recruit Evie must balance family responsibilities with her newfound confidence and love of self. Street artist Andi longs for her mother and sister to support her cause. And Xela struggles with the time needed to maintain the group and her dedication to giving her nine-year-old daughter the life she longed for as a child growing up in a “postcolonized, traditional Mexican home.” In the midst of sexism, harassment, and misrepresentation, the Ovas are outspoken and unapologetic about healing and reclaiming their communities as they build on the legacy of the Chicanx civil rights movement.

This film is a recipient of a Frameline Completion Fund grant.

Monday, June 20, 9:30 pm · Elmwood $10 members, $12 general · OVAR20E

Sunday, June 19, 1:30 pm · Victoria $8 members, $10 general · LAST19V

Sunday, June 19, 1:30 pm · Castro $8 members, $10 general · OUTR19C

saturday, June 25, 7:00 pm · roxie $10 members, $12 general · OVAR25R

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DIRS Erin Brethauer & Timothy Hussin 2016 USA 65 min


PRECEDED BY: 1985 DIR Yen Tan 2015 USA 9 min

Adrian, a man with AIDS, is about to move in with his estranged mother. There’s one problem: he wants to hide his symptoms, so he makes a home appointment with a beauty consultant.

DIRS S. Leo Chiang & Johnny Symons 2016 USA 75 min


DIRS Joanna Sokolowski & Kate Trumbull-LaValle 2016 USA 72 min


This film contains discussions of trauma and sexual abuse.

Documentaries 59

The Pearl

Political Animals

Four transwomen navigate the second half of life in this vérité-style documentary set against the backdrop of the Pacific Northwest. Mainly following separate narrative threads, the photojournalist filmmakers seek to illuminate these women’s individual triumphs and analogous struggles. Nina maintains two lives in British Columbia: one as a husband working nights as a pizza delivery driver, the other spent nurturing her true identity in private. She makes incremental strides toward coming out, but she fears hurting her family. Jodie and Krystal are Oregon sisters living together in an unconventional workshop space. They spent decades keeping their shared secret from each other before revealing their true gender identities. Jodie is self-employed and travels frequently, so she chooses to dress conventionally masculine on the job. The more confident Krystal has fully embraced her new life and returned to college. The eldest of the four subjects is Amy, who lived as a devoted husband for 46 years and then came out as female after the death of her wife. Faced with the prospect of a lonely existence, Amy chooses to open her Washington State home to other transwomen seeking solace, building a new family for herself while urging her transitioning housemates to be their beautiful, authentic selves: to “find the pearl and forget the shell.”

In 1994, Sheila Kuehl became the first openly gay member of the California State Assembly. “People think it was earlier,” she says in this eye-opening documentary. “It wasn’t.” She would be joined in short order by Carole Migden, Jackie Goldberg, and Christine Kehoe, who together took the LGBT civil rights struggle from the streets to the state capitol. Combining present day interviews with a wealth of news clips, photographs, and archival footage, Political Animals tells the story of these four pioneering lesbian politicians and the battles they fought to pass a wide range of anti-discrimination laws. Zippy animation clarifies the sometimes arcane nuts and bolts of the legislative process, and mini-bios of each politician reveal backgrounds that include lesbian separatism, Berkeley’s free speech movement, and a role on the 1960s television show Dobie Gillis. The film traces the passage of domestic partnership legislation and how it paved the way for marriage equality, but the real story is the way these out and proud politicians banded together and slowly transformed the state assembly itself. Initially confronted with fear, indifference, and jawdropping homophobia—Assembly member Peter Frusetta’s rambling monologue on hormonally challenged heifers must be seen to be believed—the four women gradually won acceptance and support from an expanding group of straight allies. This is a must-see documentary for political animals of all stripes.

DIRS Jessica Dimmock & Christopher LaMarca 2016 USA 95 min


DIRs Jonah Markowitz & Tracy wares 2015 USA 90 min

Real Boy

DIR Shaleece Haas 2016 USA 72 min

Bennett Wallace is 19, a musician, and in recovery. When he meets his idol, Joe Stevens of the band Coyote Grace, Bennett’s personal and aspirational lives collide. Joe serves as Virgil to Ben’s Dante while he goes on a journey (both literal and figurative) to forge his identity as a transgender man and an artist. Navigating the difficult terrain of fractured family bonds, Bennett finds his parents and sister reacting to his coming out with varying degrees of dismay—but he maintains a deepening, if at-times tense, relationship with his mother, Suzy, as she struggles to understand his identity. When Bennett and his best friend, Dylan, plan a trip to Florida to undergo top surgery at the same time, what seems a culminating event becomes more of a way station. Director Shaleece Haas’s ambitious visual style imbues Real Boy with the personal and confessional, enriching the story with home videos from Bennett’s early childhood and beautiful animations that bring his journals to life. Woven throughout, Bennett’s music reveals itself as the soundtrack to his coming-of-age—especially evident in a touching moment when Joe invites the young musician to perform alongside him onstage, and from the audience, Suzy realizes that with or without her Bennett is finding his own way. While the story centers around Bennett’s transition, it ultimately reveals how our closest, most complicated relationships can be a source of hurt as well as redemptive, authentic healing. —MORDECAI STAYTON


Sunday, June 19, 11:00 am · Castro $8 members, $10 general · POLA19C

Sunday, June 19, 4:00 pm · Victoria $8 members, $10 general · RBOY19V

Sunday, June 19, 11:00 am · Victoria $8 members, $10 general · PEAR19V

Monday, June 20, 7:00 pm · Elmwood $10 members, $12 general · POLA20E

Thursday, June 23, 7:00 pm · Elmwood $10 members, $12 general · RBOY23E

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60 Frameline40

The Revival: Woman and the Word

DIR Sekiya Dorsett 2016 USA 82 min

Among a congregation of queer women of color artists, the Holy Trinity—“the poet, the people, and the poem”—is the heart of a tour centering on the power, inspiration, and real-talk of a group of five poets who hit the road to perform in seven states in nine days. Featuring Jade Foster, Be Steadwell, Jonquille Rice, T’ai Freedom Ford, and Eli Turner, the journey to grow community ultimately challenges and impacts their own relationships to the people and art in their lives. Touching on the history of Black women creating space for art and resistance in 1970s Harlem, to gender presentation and fashion, to confronting racism and police violence, filmmaker Sekiya Dorsett captures a story of queer women of color rarely told. Through stunning performances and conversations that surface in a cramped tour minivan, this documentary provides an intimate look at a range of experiences and identities—enriched with interviews from leading Black feminist thinkers, elders, and historians, including Dr. Alexis Pauline Gumbs, Nikki Finney, Alexis Deveaux, and CC Carter. Ultimately, the life-saving, lifegiving power of words is the foundation of a project so moving it will leave you saying “amen.” —SOPHIA LANZA-WEIL

PRECEDed by: Oh, I Get It DIRS Sara McCaslin and Danny Tayara 2015 USA 9 min

Standup comedians in Seattle paint a picture of oppressive comedy culture and “the queer feminist comic intervention” needed to change it.


DIR Jason Benjamin 2016 USA 77 min

You move differently when you’re comfortable in your own skin, and although it’s what’s on the inside that counts, sometimes your outside can help the inside along. The Brooklyn-based tailors Bindle & Keep specialize in bespoke suits for the LGBTQ community. People travel far and wide to be fitted by the unlikely duo of Rae, an apprentice-turned-clothier who identifies as trans-masculine, and Daniel, a straight man who’d never considered the LGBTQ market when he started his original business. Suited, a poignant documentary produced by Girls showrunners Lena Dunham & Jenni Konner, focuses on the individual needs and stories of multiple Bindle & Keep clients on the trans spectrum. The desire for a well-fitting garment isn’t merely about fancy textiles or looking dapper; rather, it’s connected to a deeper holistic need for embodiment and empowerment. We meet Derek, a trans man from a rural town who is not only having an important medical procedure but is also getting married to the woman of his dreams. Cab-driving Mel doesn’t care which pronoun you use; she just wants to have an awesome suit to kick off her 40th birthday. Try to stay dry-eyed listening to the stories of Everett, an African American law student searching for a job in a conservative field where employers have no problem saying they don’t want to deal with the “trans thing,” or Aiden, a 12-yearold getting his first suit for his bar mitzvah. Each story begins with childhood pictures that mark the beginnings of very separate journeys, but ends with the common thread of how something as simple as a well-tailored suit can be identity- and dignity-affirming.

Treasure: From Tragedy to Trans Justice, Mapping a Detroit Story DIR dream hampton 2015 USA 63 min

Shelly “Treasure” Hilliard, a young African American transwoman, died violently in 2011 after Detroit police threatened, coerced, and eventually exposed her as an informant against her drug dealers. Though director dream hampton does not shy away from the gruesome reality of Treasure’s murder, heart-wrenching interviews keep the focus on Treasure as a friend who conveyed “24-hour realness,” as part of a vibrant local trans community and as a sister and daughter loved by a family that supported her living her truth. As the details of what led up to the crime unfold, we are also shown affirming safe spaces within the desolation of the city, like the Ruth Ellis Center, where trans justice advocates and outreach workers teach classes and rally around each other to promote healing in the aftermath of a tragedy. Treasure’s murder isn’t merely a hate crime; on a broader level, it is a travesty that displays the interworking consequences of society’s failings: racism, transphobia, the exploitation of sex workers, classism, systematic oppression, government indifference, and the continued criminalization of black bodies. —ANGELIQUE SMITH

This film contains discussions of transphobic violence.


Saturday, June 18, 3:30 pm · Victoria $8 members, $10 general · SUIT18V

Thursday, June 23, 7:00 pm · Roxie $10 members, $12 general · TREA23R

Saturday, June 18, 11:00 am · Roxie $8 members, $10 general · RVWW18R

Sunday, June 19, 9:30 pm · Elmwood $10 members, $12 general · SUIT19E

saturday, June 25, 12:00 pm · piedmont $8 members, $10 general · trea25P

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Documentaries 61

Two Soft Things, Two Hard Things

Uncle Howard

Upstairs Inferno

In this gorgeous animated tale, an Inuit man hunts like the best of men and sews like the best of women. Tension builds like a taut bowstring about whom he should take as a partner, and the arrow hits home when he meets his match.

Gay filmmaker Howard Brookner epitomized the promise and talent of New York’s vibrant independent film scene in the 1980s. His breakthrough 1983 documentary about the Beat icon William S. Burroughs, Burroughs: The Movie, launched what should have been a long and stellar career. But three days shy of his 35th birthday, in 1989, as he was about to release his first star-studded studio film (Bloodhounds of Broadway, starring Madonna and Matt Dillon), Brookner died of AIDS, and he has been largely forgotten. In this captivating documentary, Brookner’s nephew Aaron—who as a child idolized his handsome, dashing uncle—reconstructs Howard’s unconventional life and work. The result is a touching homage that preserves his cultural and cinematic legacy for a new generation. Aaron’s quest takes him around New York City to meet with those who had been close to Howard, including his NYU classmates and Burroughs collaborators Jim Jarmusch (Stranger Than Paradise) and Tom DiCillo (Living in Oblivion), as well as poet John Giorno, keeper of Howard’s archives, stored for decades inside Burroughs’s well-preserved apartment, nicknamed “The Bunker.” Aaron’s treasure hunt for images turns up never-before-seen outtakes from Howard’s three completed movies, and conjures up his fertile life in New York’s largely gay counterculture, including glimpses of Andy Warhol, Allen Ginsberg, Patti Smith, Robert Wilson, Merce Cunningham—a veritable who’s-who of Downtown creativity. Uncle Howard is a poignant family album and an indispensable perspective on the AIDS crisis and the groundbreaking film world of the 1980s.

A forty-year-old mass-murder-mystery is at the center of this captivating and thoughtful documentary from filmmaker Robert L. Camina. In 1973, a devastating fire consumed the UpStairs Lounge, a New Orleans gay bar and occasional church. Thirty-two people died. Despite a conspicuous can of discarded lighter fluid at the scene, law enforcement officials turned away from evidence of foul play. Meanwhile, the community at large chose to ignore what was clearly a hate crime. No one was ever prosecuted, and the crime lives on as a tragic chapter in New Orleans history. Camina combines emotional interviews with survivors—some of whom have never spoken out before—with intense archival footage to capture a very specific time and place for LGBT people. While the horrible crime helped to unite the New Orleans gay community, the bigoted and uncomfortable reaction of the straight world was a disturbing reminder of what it meant to be out in the South in 1973. Narrated by New York Times best-selling author Christopher Rice, this festival audience award–winning film is a mesmerizing mix of crime drama and human connections that brilliantly captures the heartbreaking feelings of unconditional love and overwhelming loss. An unsettling snapshot of what is considered to be the largest mass murder targeting gays in American history, Upstairs Inferno gets inside the hearts and minds of a handful of vibrant people who are connected by tragedy and compassion.

Saturday, June 25, 2:00 pm · Roxie $8 members, $10 general · TWOS25R

Friday, June 17, 7:00 pm · Victoria $10 members, $12 general · UNCL17V

Thursday, June 23, 9:30 pm · Victoria $10 members, $12 general · UPST23V

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DIRs Mark Kenneth Woods & Michael Yerxa 2016 USA 71 min

A great un-shaming is uniting and healing Inuit and LGBTQ communities in the eastern Arctic. The territory of Nunavut was built upon decades of relocation, re-education, and Christianization of nomadic Inuit people. Colonization and shame have shadowed the community, hitting LGBTQ people especially hard, as the systematic destruction of native culture has driven the Inuit’s original complex, inclusive sense of sexual orientation and family structure underground. Directors Woods and Yerxa methodically trace colonization from the 1950s, through the gradual thaw leading to LGBTQ protections in the Nunavut human rights act in 2003, up to the current state of affairs. The moving story comes alive through the voices of returning LGBTQ Inuit adults and the new generation of youth; tribal elders reviving ancient inclusiveness; white LGBTQ activists and scholars; and an Inuit filmmaker and LGBTQ ally who’s making it all visible. As indigenous values and contemporary mores come together, the way opens up for Inuit people to lead this continuing and exciting journey. —CAROL HARADA

PRECEDed by: He Who Has Two Souls DIR Fabrice Luang-Vija 2015 France 17 min In French with English subtitles

62 Frameline40

DIR Aaron Brookner 2016 USA 96 min

DIR Robert L. Camina 2015 USA 96 min



Who’s Gonna Love Me Now? DIRS Tomer Heymann and Barak Heymann 2015 Israel, UK 90 min In Hebrew & English with English subtitles

In this intimate documentary (winner of Panorama Audience Award for Best Documentary at the 2016 Berlinale), a 40-year-old gay Israeli man living with HIV in London must confront his looming fears and attempt to resolve long-simmering differences with his conservative Jewish family. When we first meet the amiable yet emotionally fragile Saar Maoz, he’s living alone comfortably and leading a busy life as a member of the London Gay Men’s Chorus while working full-time at an Apple Store. Raised by a strict military father and steadfast mother, he was forced to leave the family’s kibbutz when his sexual orientation became known. Now, after 20 years’ estrangement and a set of emotional and physical setbacks, Saar and his remarkably candid parents and siblings attempt to navigate through profound cultural, religious, and personal conflicts. The film presents no villains or victims, asking us instead to step deep inside a close-knit but divided family, each member committed in his or her own way to honoring firmly held moral values while pained by the sacrifices that entails. With restrained yet assured hands, the filmmakers—brothers Tomer and Barak Heymann, makers of Paper Dolls (Frameline30) and The Queen Has No Crown (Frameline35)—shade in every brutally honest hue of this complicated dynamic. The film’s universal message of acceptance through understanding is sure to resonate, as will the rousing musical scenes (including lively choral versions of “Go West” and “Holding Out for a Hero”). —CHRIS KEECH

Women He’s Undressed

DIR Gillian Armstrong 2015 Australia 100 min

In this glitzy, dishy documentary, esteemed director Gillian Armstrong (My Brilliant Career) traces the rise and fall and rise again of one of the most prolific costume designers of Hollywood’s golden age: three-time Academy Award winner OrryKelly. Born in a small Australian town in 1897, the artistic young Orry George Kelly left for Broadway in the 1920s to seek his fortune. Finding he wasn’t quite cut out for the life of a chorus boy, he worked as a set painter and costume designer while his handsome British boyfriend, Archie, struggled to make it as an actor. The pair headed to Hollywood in the 1930s. Archie ditched Orry, (mostly) retreated into the closet, and became Cary Grant. Orry, who refused to hide his sexuality, eventually became the head costume designer for Warner Brothers— responsible for dressing leading ladies (such as Bette Davis, who adored him) in as many as fifty movies a year. Along the way, he dropped “George” from his name and added a hyphen, for a bit of exoticism. An outspoken creative genius, Orry-Kelly worked on three decades’ worth of classic films: Jezebel, 42nd Street, Casablanca, Oklahoma, Auntie Mame, Some Like It Hot, An American in Paris—and hundreds more. This enchanting, inventive documentary, rich with film clips, features tributes from today’s top costume designers and the reminiscences of those who knew him, bringing Orry-Kelly—the man and the artist— to glorious life. Women He’s Undressed is a must-see fashion extravaganza for film lovers. — CHARLES PURDY

Monday, June 20, 7:00 pm · Victoria $10 members, $12 general · WHOS20V

Sunday, June 19, 4:00 pm · Castro $8 members, $10 general · UNDR19C

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Documentaries 63

Shorts Programs

Bi Candy

TOTAL RUNning TIME: 88 min

Binary-breaking shorts in this year’s batch of Bi Candy range from the adorable and romantic to the real and raw. In Spectrum, two friends must confront their sexuality when a wingwoman loses focus. Viviane meets an attractive stranger while sightseeing, and they discover How to Kiss in Paris. Noam, a young Israeli transman now living in NYC, is anxious to reconnect with his childhood friend Natan in The Friend From Tel Aviv. In the haunting autobiographical short ID#1:Writer, a bisexual woman refuses to be reduced to one label as she explores her overlapping identities. In Tits on a Bull, a women’s rugby team comes undone as their star player struggles to choose between following the playbook and breaking all the rules by pursuing the team captain. Meeting someone new has many challenges, and Lionel finds himself grasping at Straws to figure out which way(s) his new acquaintance swings. Three college friends go camping, only to awake to the harsh reality of their inebriated decisions in More of Last Night. And male participants in the popular #StillBisexual campaign reveal how they came to accept their identity in Why Should I Give a S#*t about Bisexuals? (Men’s Edition). — CURATED BY APRIL & ALLEGRA HIRSCHMAN

SPECTRUM dir Katrina Kudlick 2015 USA 16 min / how TO KISS IN PARIS dir April Hirschman 2016 USA 6 min / the fRIEND FROM TEL AVIV dir Federica Gianni 2015 USA 11 min / ID#1:WRITER dirs Emília OndriaŠovÁ & adriana piroŠkovÁ 2016 Slovakia 4 min / TITS ON A BULL dir Tim Worrall 2015 New Zealand 16 min / STRAWS dir Christine Deal 2015 USA 8 min / MORE OF LAST NIGHT dir Chase Casanova 2014 USA 16 min / WHY SHOULD I GIVE A S#*T ABOUT BISEXUALS? (MEN’S EDITION) dir korina birosh, jordan blower, & Alexandra Hansen 2016 USA 11 min

Wednesday, June 22, 7:00 pm · Roxie $10 members, $12 general · BICA22R

Coming Up Queer TOTAL RUNNING TIME: 88 min admission free screening!

Back by popular demand, this year’s Coming Up Queer free program returns! From skate parks to Georgia rodeos, these short films showcase diverse LGBTQ youth perspectives. In a story of familial love between a butch mother and her feminine son, Pink Boy follows BJ and Jeffrey as they both learn to embrace Jeffrey’s inner princess. When a struggling young Muslim girl feels unsafe at the skate park, a group of girls forms an all-female force field on the half pipe in Crystal Lake. In Swirl, a bout of bullying transforms into a defiant dance of joy when two handsome outcasts find each other in solidarity—and maybe a little romance, too? The short documentary Becoming Johanna follows a 16-year-old transgender Latina struggling with both school and a mother who prays for her to be someone else. Luckily, she finds mentors and a family of choice who enable her to thrive. And in Veracity, popular Olivia is inadvertently outed after developing feelings for the new girl at her high school. Written by a high school senior from Chicago’s South Side, Veracity explores both the stigma of being gay in the Black community and the ultimate power of friendship. —ALEXIS WHITHAM

PINK BOY dir Eric Rockey 2015 USA 15 min / CRYSTAL LAKE dir Jennifer Reeder 2016 USA 20 min / SWIRL dir Lance McDaniel 2015 USA 6 min / BECOMING JOHANNA dir Jonathan Skurnik 2016 USA 27 min / VERACITY dir Seith Mann 2015 USA 20 min This program contains strong language, depictions of teen drinking, and a scene in which a character considers self-harm.

Sunday, June 19, 1:00 pm · Roxie free · COMQ19R sponsored by

64 Frameline40

Pull out guide

Film Schedule /frameline /framelinefest @ framelinefest #FL40


Premier Technology


Premier Creative

Schedule at a glance THURSDAY











11:00 am Fun In Boys Shorts



FIBS18C p.65


11:00 am The Revival: Woman and the Word RVWW18R  p.61 D

1:30 pm We Need to Talk

1:30 pm Fun In Girls Shorts

WENE17C  p.68 S

1:30 pm The Joneses

FIGS18C p.65


3:30 pm Film Hawk

4:00 pm Akron

FILM18C  p.29 D

AKRO17C  p.46 U

7:00 pm A Holy Mess

SUMM17C  p.44

KIKI16C p.19 


7:00 pm Uncle Howard

HOLY17R  p.53 W

UNCL17V  p.62 D

YNBA16C p.55  W

HOLD17C  p.52 W

10:00 pm Opening Night Gala at The NWBLK

CHIN18V p.58

11:00 am Political Animals POLA19C  p.60 D


1:00 pm Fire Song

1:30 pm Out Run

FIRE18V  p.51 W

OUTR19C  p.59 D

3:45 pm Suicide Kale KALE18R  p.50 U

3:30 pm Suited

4:00 pm Women He’s Undressed

SUIT18V  p.61 D

UNDR19C  p.63 D

9:30 pm Vegas in Space

GUYS17R  p.65 S

VEGA17V  p.35 t

6:30 pm Pushing Dead PUSH18C  p.40

9:15 pm The Intervention

INTE18C  p.38

6/22 Castro

6:30 pm Girl Gets Girl

6:00 pm Her Story

HERS18V p.48

GIRL18R  p.52 W

6:30 pm First Girl I Loved


FIRS19C  p.47 U

9:15 pm Horses

HORS18R  p.53 W

9:00 pm Girls Lost

9:15 pm I Promise You Anarchy

LOST18V  p.36

IPRO19C  p.53 W







1:30 pm Living with Pride





3:30 pm Trans Stories— On Film & Online  

3:30 pm Check It

CHEC19R  p.56 D

6:15 pm Flashback 1977 FLAS19R  p.34 s

9:00 pm Up Close & Personal UPCL19R  p.68 S

7:00 pm Bi Candy

BICA22R  p.64 S

9:30 pm Arianna

ARIA22R  p.51 W

P2 Frameline40

7:00 pm From Afar

7:00 pm Her Story

FROM22V  p.52 W

HERS22E p.48

9:15 pm Irrawaddy Mon Amour

6:30 pm Spa Night

IRRA22V p.58


9:30 pm Sticky Fingers

STIC22E  p.67 S


SPAN23C  p.42

PARI23C  p.39


7:00 pm Treasure

TREA23R  p.61 D

9:15 pm Paris 05:59: Theo & Hugo


WORL24C  p.69 S

4:00 pm Worldly Affairs

UPCL23C  p.68 S

TOMC22C  p.55 W

COMQ19R  p.64 S

4:00 pm Up Close & Personal

PANL22R p.33

YNBA22C  p.55 W

9:00 pm Tomcat

1:00 pm Coming Up Queer

CELL24C  p.34 s

1:30 pm The Celluloid Closet

TONG23C  p.35 s

AWOL22C  p.21 C

RODG19R  p.69 F


1:30 pm Tongues Untied

LIVI22C p.34 s

6:30 pm AWOL

10:30 am R & H’s Cinderella



4:00 pm You’ll Never Be Alone


9:15 pm 9:15 pm Holding the Man Guys Like Us 10:00 pm You’ll Never Be Alone


11:00 am Inside the Chinese Closet

6:30 pm Summertime

7:00 pm Kiki

JONE18R  p.58 D



9:00 pm Femme Brutal FEMM23R  p.57 D

7:00 pm Heartland HEAR23V  p.48 U

9:30 pm Upstairs Inferno UPST23V  p.62 D

7:00 pm Real Boy

RBOY23E  p.60 D

9:30 pm From Afar

FROM23E  p.52 W

7:00 pm Southwest of Salem

SOUT23P  p.25 C

6:30 pm Rara

RARA24C  p.41

9:30 pm Summertime SUMM23P  p.44

9:15 pm BearCity 3

BEAR24C  p.46 U





11:00 am The Pearl











PEAR19V  p.60 D

1:30 pm Last Men Standing

1:30 pm A Holy Mess

LAST19V p.59


1:30 pm Loev

HOLY20C  p.53 W

LOEV21C  p.54 W

4:00 pm Conversations with Gay Elders

4:00 pm Retake

4:00 pm Real Boy

RBOY19V  p.60 D

RETA21C  p.49 U

CONV20C  p.56 D

7:00 pm Bruising for Besos

LAZY19V  p.49 U

6:30 pm Southwest of Salem

BESO19E p.47

9:15 pm Fursonas

SOUT20C  p.25 C


9:15 pm Closet Monster

9:30 pm Suited

FURS19V  p.57 D

CLOS20C  p.51 W

SUIT19E  p.61 D

PANL21R p.33


6:30 pm Lazy Eye

3:30 pm LGBTQ Film as an Agent of Social Change

7:00 pm Transtastic

7:00 pm Who’s Gonna Love Me Now?

TRAN20R  p.67 S

7:00 pm Political Animals

WHOS20V  p.63 D

9:15 pm Me, Myself and Her

WOME21C  p.50 U

DADD21R  p.47 U








GROW25C  p.37

11:30 am Queer Student Shorts

WENE25V  p.68 S

QUEE25R p.66 

1:15 pm The Freedom to Marry

FREE25C  p.57 D

11:00 am We Need to Talk


TLST25C p.45

7:00 pm Loev

REAL24R p.67


LOEV24V  p.54 W

7:00 pm Kiki

KIKI24P  p.19 D

2:00 pm TBA125V Two Soft Things, Two Hard Things

4:30 pm Sticky Fingers STIC25R  p.67 S

9:30 pm Oh the Horror!

OHTH24R  p.66 S

9:30 pm I Promise You Anarchy IPRO24V  p.53 W

9:30 pm Women Who Kill WOME24P  p.50 U

7:00 pm Ovarian Psycos  

8:30 pm Strike a Pose

STRK25C  p.43


PUSH21E  p.40


11:00 am Fun In Girls Shorts FIGS26C  p.65 S

12:00 pm Treasure

4:00 pm Akron

AKRO25V  p.46 U

1:30 pm Fun In Boys Shorts

FIBS26C  p.65 S

3:00 pm Inside the Chinese Closet CHIN25P p.58


4:00 pm Jonathan

JONA26C  p.54 W

5:00 pm Rara

RARA25P  p.41

OVAR25R  p.59 D

REAL21E p.67

9:30 pm Pushing Dead

SLAS21V  p.49 U

6:00 pm Front Cover

7:00 pm Realness & Revelations




1:30 pm TBA1

FRON25C  p.48 U

9:30 pm Slash

TREA25P  p.61 D

TWOS25R  p.62 D

4:00 pm The Trans List

BESO21V p.47 

7:00 pm Realness & Revelations



11:00 am Growing Up Coy


9:30 pm 9:30 pm Women Who Kill Daddy’s Boy

OVAR20E  p.59 D

WEVE21R p.68 

9:30 pm Ovarian Psycos

ONLY20V  p.66 S

7:00 pm 7:00 pm We’ve Been Bruising for Around/This Is Me Besos

BEIN21C  p.23 C

9:15 pm Only in San Francisco

MEMY20R  p.54 W

7:00 pm Being 17

POLA20E  p.60 D

7:00 pm Retake

RETA25V  p.49 U

7:00 pm Looking

7:30 pm AWOL

LOOK26C  p.27

AWOL25P  p.21 C


9:00 pm Take Me For a Ride

TAKE25R p.55  W

9:15 pm TBA2


9:30 pm Girls Lost

9:30 pm Closing Night Party at Oasis

LOST25P  p.36

Q Opening/Closing C


s retrospective Showcase U

US Feature


World Cinema




Shorts program


Family matinee

t Special program  Panel

p.27 P3

Text your vote

Support LGBTQ filmmakers... text us your Festival favorites! Vote with your fingertips and support your favorite films as they compete for the Frameline40 AT&T Audience Awards. Filmmakers can receive cash prizes for Best Feature, Best Documentary, and Best Short to fuel their filmmaking dreams. It’s up to you! If you like what you see, send the film’s text voting code (listed on the Frameline40 mobile film schedule and at to the phone number 55333. You’ll have six hours after the start of the screening to vote, and you can vote for as many films as you want! But, to keep it fair, you can only vote once for each film. For those without text-messaging capabilities, a small number of paper ballots will be available upon request in the lobby. Standard messaging rates may apply (a small price to support LGBTQ film).


Fun In Boys Shorts

Fun In Girls Shorts

Guys Like Us

Why the long face? Break out the smiles and the popcorn as we celebrate homo hilarity in nine comic shorts. We start (like all good lightweight bouts) with a Weigh In—a queer send-up of hyperventilating boxing promos. In the charming animation Bittersweet, an anxious schoolboy scrambles to retrieve a valentine he’s sent to his secret crush, while a cake delivery goes horribly wrong (until it goes just right) in Spark. Two longtime San Franciscans recount their unlikely first date in The Glory Hole, which calls for a sexy black latex dance break (Mask4Mask). In the post-apocalypse, our time-traveling hero breaks protocol to visit his sex-starved younger self, in Time Quest...while the human jukebox at a carnival serves up a gay fantasia in MeTube 2: August Sings Carmina Burana. Enjoy a fairy flashback to Frameline’s founding decade (that’s the ’70s, kids): a filmmaker who found a box of fabulous Super 8 movie reels re-fashions them into The Radical Fairy Prince: A Love Story. And we close with a visit to a London bathhouse, where some of the guys are so unresponsive you’d think they were zombies—oh no! They are! It’s Sauna the Dead—A Fairy Tale.

The unabashed horror of LBD and LTRs, misadventures in queer baby-making, rugby scrums Down Under, and ride-or-die loyalty are all part of this year’s grin-inducing and powerful collection of queer women’s shorts! Cara has something important to tell her grandfather, and she’s worried he might find it a bit shocking in Dance Card. When a slump in work/life Partners Kate and Leigh’s sex life forces them to reconsider their relationship, they must confront how intertwined their lives have become. Tensions rise when a woman and her wife ask her brother to be the sperm donor of their baby...or the uncle...or the Spunkle! Virgin Territory is a queer and questioning coming-of-age story about a teen who wants to have sex for the first time to commence her long-desired exploration. Set in rural New Zealand, Tits on a Bull follows a women’s rugby team’s star player, Phoenix, as she struggles with the new relationship blossoming between her and the team captain, Mel. When Mac, a young butch Latina dies, her novia, Hope, must overcome personal grief in order to respectfully send Mac off into the afterlife as she would’ve wanted, in the ride-or-die inspired Vámonos.

This handsome collection highlights a robust representation of transguys and transmasculine folks. From dashing gender outlaws to hunks with hearts of gold, the heroes of these stories navigate landscapes of loss, develop brotherly bonds of friendship, and discover the pure exhilaration of being someone’s “Mr. Right Now.” These shorts showcase a spectrum of stories about self-defined men. MoC Spanish hottie Victor needs to explore hir gender. But secrets don’t last forever, and Victor XX will have to defend the true image that the mirror reflects back. Tear Jerker is a portrait of Elliot, a guy faced with difficult life circumstances trying to find new ways to express old and familiar feelings. Shot in the stunning beauty of the Santa Cruz Mountains, Finn Paul’s meditative (the here and now) a visit is a hybrid portrait of a friendship between two transgender pals. After being estranged from his family for three years, Julian (Kingston Farady, Black Is Blue, Frameline38) returns home to spend Thanksgiving with his family in Transcend. Will Julian have his seat at the table? Two young guys meet at an underground party after midnight on New Year’s Eve, and push each other to try something new in Say U Will.

Total Running Time: 66 min


THE WEIGH IN dir The Perez Bros. 2014 USA 2 min / BITTERSWEET dir Allen Martsch 2015 USA 5 min / SPARK dirs Kuba Szutkowski & edgar kapp 2016 Netherlands 8 min / THE GLORY HOLE dir Daniel Maggio 2014 USA 4 min / MASK4MASK dir Aron Kantor 2015 USA 4 min / TIME QUEST dir John Dilley 2015 USA 7 min / METUBE 2: AUGUST SINGS CARMINA BURANA dir Daniel Moshel 2016 Austria 6 min / THE RADICAL FAIRY PRINCE: A LOVE STORY dir Bobby R. Poirier 2015 USA 9 min / SAUNA THE DEAD—A FAIRY TALE dir Tom Frederic 2016 UK 21 min



DANCE CARD dir Renee Crea 2016 Australia 7 min / PARTNERS dir Joey Ally 2015 USA 7 min / SPUNKLE dir Lisa Donato 2016 USA 11 min / VIRGIN TERRITORY dir Emily Robinson 2016 USA 15 min / TITS ON A BULL dir Tim Worrall 2015 New Zealand 16 min / VÁMONOS dir Marvin Lemus 2015 USA 12 min



VICTOR XX dir Ian Garrido López 2016 Spain 20 min / TEAR JERKER dir Amy Adler 2016 USA 15 min / (THE HERE AND NOW) A VISIT dir Finn Paul 2015 USA 13 min / TRANSCEND dir Kai Towns 2015 USA 17 min / SAY U WILL dir Chris Cruse 2015 USA 11 min

Saturday, June 18, 11:00 am · Castro $8 members, $10 general · FIBS18C

Saturday, June 18, 1:30 pm · Castro $8 members, $10 general · FIGS18C

Sunday, June 26, 1:30 pm · Castro $8 members, $10 general · FIBS26C

sunday, June 26, 11:00 am · Castro $8 members, $10 general · FIGS26c

Friday, June 17, 9:15 pm · Roxie $10 members, $12 general · GUYS17R

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Shorts Programs 65

Oh the Horror!

Only in San Francisco

Queer Student Shorts

Have your nightmares gotten too vanilla? Our queer-y scare-y camp-y creepshow will fix that fast! Get ready to gasp, clutch your sweetie (or the stranger next to you), and scream bloody murder at this gothic grouping of queer horror flicks…with a few giggles thrown in for good measure. In Tonight It’s You, handsome CJ arranges a late-night hookup with misfit Hunter, only to discover more going on in Hunter’s backwoods farmhouse than he bargained for. Don’t be fooled by the sophisticated stop-motion doll animation that gives B. childlike charm; the bloody story—of repressed bombshell B. and her bisexual boyfriend K.—is a perverse twist on Saturday morning Barbie-mation. In Russia, vicious homophobes have been known to ambush unsuspecting gays they find online, but the attacks rarely turn supernatural, as they seem to do in PYOTR495. In the sweetly comic Monster Mash, two fanboys meet at a horror costume party and try to find common ground in their love of genre flicks. And we close with a trip to a London gay bathhouse, where the fixed stares of the guys wandering in towels make you wonder if we’ve arrived at the zombie apocalypse. Look again… we have! Welcome to Sauna the Dead— A Fairy Tale.

From dancing leather daddies and celebrated drag kings and queens to the imaginatively sexy and romantic and a trip to a Furry convention, this batch of shorts truly embodies the “only in San Francisco” spirit. We start on Folsom Street, which gorgeously combines the gay leather and S&M world of the 1970s and the universe of choreographer Bob Fosse—and whips up into a sexually charged dance frenzy. The dancing continues with Be Fabulous, First Stop: Sexitude, which looks at D’Arcy Drollinger’s body-positive, sex-positive, agepositive Sexitude dance class—with plenty of neon spandex, fishnet stockings, and gold booty shorts. SF drag icon and cinephile Peaches Christ gets profiled in A Wig and a Prayer—The Peaches Christ Story. The owner of a small vintage shop has more on her mind than selling clothes in Be Right Back. Jeff and Cosgrove tell us their charming and true story of love at first sight... 22 years ago at The Glory Hole. In Furries, local filmmaker Eric Risher takes a trip to a convention in downtown Pittsburgh where thousands gather, wearing tails, hats with ears, and full-body animal costumes. The film looks beyond the fur to discover the importance of identity, creativity, and the community’s people.

The strength and resilience of the queer community and family is at the fore of this diverse program of shorts. Pink Boy showcases the love between a butch mother and her feminine son, in one sense opposites, but united by a determination to be who they truly are. An anxious high school student scrambles to get back the love note he accidentally sent to his crush in Bittersweet. Three Asian American women share their experiences, frustrations, and identity amid the backdrop of San Francisco’s Castro District and other neighborhoods in Do Not Think For a Moment. In the experimental sci-fi short Persistence of Memory, a reserved programmer grapples with the loss of her beloved as she begins employment at a controversial tech company specializing in artificial companions. A young transgender woman considers a dangerous black market procedure that may be her only way to gain a more feminine body, in Vessels. Written by Janaya Green when she was a high school senior in Chicago’s South Side neighborhood, Veracity explores the tensions and stigma of being queer in the Black community, as well as the ways in which we save each other.


— CURATED BY KARLY STARK & the QUEER CINEMA institute at san francisco state university

TONIGHT IT’S YOU dir Dominic Haxton 2014 USA 16 min / B. dir Kai Stänicke 2015 Germany 15 min / PYOTR495 dir Blake Mawson 2016 Canada, Russia 15 min / MONSTER MASH dir Mark Pariselli 2014 USA 21 min / SAUNA THE DEAD – A FAIRY TALE dir Tom Frederic 2016 UK 21 min

FOLSOM STREET dir Aron Kantor 2015 USA 6 min / BE FABULOUS, FIRST STOP: SEXITUDE dir Meghan Ryan 2015 USA 5 min / A WIG AND A PRAYER – THE PEACHES CHRIST STORY dir Jeff Schlags 2015 USA 19 min / BE RIGHT BACK dir Hilda Schmelling 2016 USA 13 min / THE GLORY HOLE dir Daniel Maggio 2014 USA 4 min / FURRIES dir Eric Risher 2016 USA 33 min

PINK BOY dir Eric Rockey 2015 USA 15 min / BITTERSWEET dir Allen Martsch USA 5 min / DO NOT THINK FOR A MOMENT dir Adria Siu & Vivian Wang USA 4 min / PERSISTENCE OF MEMORY dir Natalie Tsui 2015 USA 16 min / VESSELS dir Arkasha Stevenson 2015 USA 15 min / VERACITY dir Seith Mann 2015 USA 20 min

Friday, June 24, 9:30 pm · Roxie $10 members, $12 general · OHTH24R

Monday, June 20, 9:15 pm · Victoria $10 members, $12 general · ONLY20V

Saturday, June 25, 11:30 am · Roxie $8 members, $10 general · QUEE25R

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66 Frameline40



Realness & Revelations

Sticky Fingers


These captivating shorts celebrate an abundance of voices of queer and trans folks of color. From homecomings to crossings over, to redefining the meaning of familia and just kickin’ it with the peeps, these films feature QTPOC folks who keep on keepin’ on with resilience and resistance. Capturing diverse portraits of queer and trans Asian Americans, Gaysians is an illuminating patchwork documentary that explores relationships with family and culture. After being estranged from his family for three years, Julian (Kingston Farady of Black Is Blue, Frameline38) returns home to spend Thanksgiving with his family, in Transcend. Exploring the intersection of gender identity, immigration, and health, Afuera finds an undocumented transgender woman making sacrifices to live as the woman she always was. Created as part of the 2016 Outfest Fusion One Minute Movie Competition, I Was features a femme woman of color rhythmically reflecting upon coming out. When Mac, a young MoC Latina dies, her novia, Hope, must overcome personal grief in order to respectfully send Mac off into the afterlife as she would’ve wanted, in the ride-or-die inspired Vámonos. Crystal Lake is about a crew of young girls who take over a skate park, forming an all-female force field on the half-pipe. There on the reclaimed ramp, they are thriving and visible.

This stirring collection centers images of transgender and gender-nonconforming folks, celebrating the beautiful richness of self-discovery and the driving determination of living an authentic life. Directed by Nicole Opper (Off and Running, Frameline33) Mezzo celebrates the life and artistic endeavors of Breanna Sinclaire, an African American opera singer and the first openly trans woman to study at a major conservatory. Victor needs to explore hir gender. But secrets don’t last forever, and Victor XX will have to defend the true image that the mirror reflects back. The powerful Vessels (winner of the prestigious 2015 Iris Prize for Best Narrative Short Film) follows Diamond, a young Latina transgirl, as she seeks gender confirmation by visiting a hermana who is a “pumper.” Two young guys meet at an underground party after midnight on New Year’s Eve, and they push each other to try something new in Say U Will. Writerdirector Jake Graf (Brace, Frameline38) returns with a lyrical soul-gazing short: as Dawn creeps across London, two lost outcasts meet in the darkness, more afraid of themselves than each other.


Love and lust come in a variety of shapes and forms. In these sexy, rambunctious shorts, we capture rabble-rousers on wild rides through first crushes, friend crushes, and online crushes. This collection of stories gives a fresh twist on rebellion and living out your truth, all accompanied by an energetic soundtrack by new music artists. Sticky Fingers finds Lucy and Cassie, two best friends, exploring their complicated relationship over a night of punk rock, shoplifting, and hair dye. And Cassie certainly embraces her edgier side under the guidance of the more radical Lucy. Raniya, a young Danish woman with Middle Eastern roots, discovers her sexuality by secretly flirting through a dating app, and eventually meeting up with Julie. But Raniya’s love is tested when she must decide between her allegiance to her family or herself. One Last Night presents an urban adventure in Tel Aviv: before Orr leaves for Berlin, she and Noa fall into one last night of rock, sweat, and tears. But trouble brews as Orr comes to the rescue of a friend, and both she and Noa get arrested. In Arrivederci Rosa, two old school friends from Rome meet up again in London. Rosa’s a radiant beauty; Andi’s a bit of a nerd. Rosa’s lust for life helps her friend to see it’s not about being gay, being straight, or being Rosa—it’s just about being true. Come along and experience this musicdriven collection for the ride of a lifetime.

GAYSIANS dir Vicky Du 2015 USA 13 min / TRANSCEND dir Kai Towns 2015 USA 17 min / AFUERA dir Steven Liang 2016 USA 15 min / I WAS dir Joshua Walker 2016 USA 1 min / VÁMONOS dir Marvin Lemus 2015 USA 12 min / CRYSTAL LAKE dir Jennifer Reeder 2016 USA 20 min

STICKY FINGERS dir Gabriella Moses 2015 USA 12 min / RANIYA dir Sidsel Møller Johnsen 2016 Denmark 28 min / ONE LAST NIGHT dir Kerem Blumberg 2015 Israel 22 min / ARRIVEDERCI ROSA dir Flaminia Graziadei UK 2015 19 min






MEZZO dir Nicole Opper 2015 USA 14 min / VICTOR XX dir Ian Garrido López 2016 Spain 20 min / VESSELS dir Arkasha Stevenson 2015 USA 15 min / SAY U WILL dir Chris Cruse 2015 USA 11 min / DAWN dir Jake Graf 2016 UK 14 min

Tuesday, June 21, 7:00 pm · Elmwood $10 members, $12 general · REAL21E

Wednesday, June 22, 9:30 pm · Elmwood $10 members, $12 general · STIC22E

Friday, June 24, 7:00 pm · Roxie $10 members, $12 general · REAL24R

saturday, June 25, 4:30 pm · roxie $10 members, $12 general · STIC25r

Monday, June 20, 7:00 pm · Roxie $10 members, $12 general · TRAN20R

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Shorts Programs 67

Up Close & Personal

We Need to Talk

These six short docs profile fascinating people in some incredibly insightful ways. Persistence of Vision chronicles the experiences of blind photographer John Dugdale and the changes in his creative process after his loss of vision. Libertad is the inspiring story of Alejandra, an incredibly charming health care worker in the Bay Area, who always knew deep down inside that she was a chola, not a cholo. In Mezzo, we meet 25-year-old Breanna Sinclaire, a talented African American opera singer and the first openly transwoman to study at a major conservatory—right here in San Francisco. In A Doll’s Eyes, Jonathan Wysocki searches for the meaning behind his lifelong obsession with the movie Jaws only to discover a fear deeper than the shark stalking his imagination. Those diagnosed with Alzheimer’s live an average of eight years after their symptoms first become noticeable—it’s been 12 years for Greg when we meet him and his partner of 40 years, Michael, in the incredibly moving, Alzheimer’s: A Love Story. In the sublime SXSW 2016 Jury Award-winning film, These C*cksucking Tears, we’re introduced to Patrick Haggerty, the man behind the world’s first and only gay-themed country music album, Lavender Country, 40 years after its release. —KEVIN SCHAUB

It’s the sweaty palms, the nervous laughter, the uncomfortable silence, the gulp: those moments when a hard truth needs to be disclosed, and can’t be avoided any longer. These moments—risky, private, erotic, intense—are at the crux of five marvelous short dramas about male intimacy that challenge the stereotype that guys just don’t—or won’t—talk. In Before Midnight Cowboy, lonely Cameron is getting over a breakup and has turned to a paid cuddler for regular companionship, when a nervous disclosure threatens to change their ongoing professional relationship. We Could Be Parents is an astonishing 15-minute confessional, delivered in one take, in which a Swedish lad lays out all the reasons his ex should give him another chance. Inside his New York bedroom, Dustin plans to celebrate his third anniversary with Colby by taping their hot sex, but the scene that unfolds isn’t quite what they’ve scripted in the sharply observed Raw Footage. A tender glimpse of an aging couple set in snowy Norway, Thanks for Dancing finds two former pro skiers broaching—and avoiding—the fact that this may be their last winter together. And in downtown LA, a driver for a ride-sharing service is falling for one of his passengers; the secret he decides to share may steer them off course in Pick Up.

PERSISTENCE OF VISION dir Rodney Evans 2016 USA 11 min / LIBERTAD dir Brenda Avila-Hanna 2015 USA 10 min / MEZZO dir Nicole Opper 2015 USA 14 min / A DOLL’S EYES dir Jonathan Wysocki 2016 USA 13 min / ALZHEIMER’S: A LOVE STORY dirs Monica Petruzzelli & Gabe Schimmel 2016 USA 17 min / THESE C*CKSUCKING TEARS dir Dan Taberski 2015 USA 15 min

Before Midnight Cowboy dir James Sweeney 2015 USA 13 min / We Could Be Parents dir Björn Elgerd 2016 Sweden 15 min / Raw Footage dir J.R Reid 2015 USA 11 min / Thanks for Dancing dir Henrik Martin Dahlsbakken 2015 Norway 19 min / Pick Up dir Joshua Rogers 2015 USA 20 min

Total Running Time: 80 min

Total Running Time: 78 min


Sunday, June 19, 9:00 pm · Roxie $10 members, $12 general · UPCL19R

Friday, June 17, 1:30 pm · Castro $8 members, $10 general · WENE17C

thursday, June 23, 4:00 pm · castro $8 members, $10 general · UPCL23c

saturday, June 25, 11:00 am · victoria $8 members, $10 general · WENE25v

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68 Frameline40

We’ve Been Around / This Is Me Total Running Time: 52 min

Directed by Emmy Award-nominated filmmaker Rhys Ernst (co-producer of Transparent), this double-anthology screening honors the rich histories of transgender trailblazers and explores the current lived experiences of trans and gender non-conforming (GNC) folks. It can be hard for a community to know its roots when the historical academy has ignored them, and revered origin stories have been subject to cis-washed, whitewashed fictionalizations. Ernst’s films offer a refreshing alternative by presenting the past through the eyes of the trans community and documenting tomorrow’s histories today. We’ve Been Around is a series that chronicles the lives of Lucy Hicks Anderson, Albert Cashier, Little Ax, and Lou Sullivan, and the founding of S.T.A.R. From the narrators to the composer to the animator, the series was made with a breadth of talent from the trans community, including Transparent actress Alexandra Billings, writer and filmmaker Susan Stryker, and trans historian Monica Roberts. This Is Me is an online series surveying contemporary issues faced by the trans and GNC community. From gender-neutral language to public restrooms these episodes explore the real-life struggles and triumphs of individuals like D’Lo (starring in Frameline40’s Bruising for Besos), Valerie Spencer (Beautiful Daughters), Rocco Kayiatos (Original Plumbing magazine), Lily Rubenstein (Looking), Miss Barbie-Q (Leave It On The Floor), and more, bringing humor and honesty to these timely issues.


An expanded Q&A with filmmaker Rhys Ernst will follow this screening.

Tuesday, June 21, 7:00 pm · Roxie $10 members, $12 general · WEVE21R

Total Running Time: 75 min

You don’t need a foreign adapter plug to feel the electric charge coursing through the four films in this year’s selection of global romantic encounters. As the couples in these films discover, though, while flying sparks can sometimes lead to a lasting flame, they might just be signs of a hazardous connection. Detecting the difference is the challenge for all the sexy fellows in these marvelous short films. We begin in Australia, where a handsome doctor is developing a strong after-hours bond with Sami, the hospital’s young Arabic translator. But all is not what it seems in Sami’s world, beautifully rendered in You Deserve Everything. We spin the globe to land in London, where a onenight “No Strings” hookup between Bryn, a Welsh loner, and Sean, his friendly Irish bedmate, threatens to go deeper, much to Bryn’s chagrin. On we move to a Los Angeles club in Say U Will: it’s past midnight on New Year’s Eve, and Marcus meets the alluring Ray. As they discover more about each other, what will their resolutions dare to be? And our global adventure ends, fittingly enough, on an airplane, where strangers Leon and Felix discover they have an uncommon connection. Seizing the moment requires they first have to resist playing out their entire future in their heads in the delightful Welsh Iris Prize winner, Spoilers. —PETER L. STEIN

You Deserve Everything dir Goran Stolevski 2015 Australia 19 min / No Strings dir Eoin Maher 2015 UK 23 min / Say U Will dir Chris Cruse 2015 USA 11 min / Spoilers dir Brendon McDonall 2016 UK, Australia 22 min

Family Matinee

Worldly Affairs

Rodgers & Hammerstein’s Cinderella DIR Robert Iscove 1997 USA 88 min admission free screening!

Rodgers & Hammerstein’s Cinderella turns the classic Brothers Grimm fairytale on its head. Cinderella, a teen girl working as a live-in servant for her cruel stepmother and evil stepsisters, wants nothing more than to run away from the family that mistreats her. With a little help from her fairy godmother, a magical pumpkin carriage, and a strategically placed glass slipper, Cinderella is able to attain the freedom she’s desired all her life. This film features an impressive array of accomplished actors: starring “The Queen of Broadway” Bernadette Peters as the wickedly fabulous and shrewd Stepmother; Whoopi Goldberg (The Color Purple) as the effortlessly regal Queen Constantina; Jason Alexander (Seinfeld) as Lionel, the overworked royal assistant; Brandy (Moesha) as the ever-honest and kind Cinderella; and, of course, the late legendary diva Whitney Houston as the wise and powerful Fairy Godmother with the voice to match. Packed with gorgeous costumes and vibrant sets, Rodgers & Hammerstein’s Cinderella features stunning musical numbers you can’t help but sing along to. (You will always remember the words to Brandy and Whitney Houston’s “Impossible/ It’s Possible” duet, won’t you?) Brandy’s iconic portrayal of Cinderella carved out another path of possibility for Black actresses and showed Black girls coming of age in the ’90s that they too can be at the center of a fairy tale. — TAYLOR J. HODGES

Friday, June 24, 4:00 pm · Castro $8 members, $10 general · WORL24C

Sunday, June 19, 10:30 am · Roxie Free · RODG19R

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Family Matinee 69

Ticket Info Regular Screening General Public $12.00 Member/Discount $10.00 Matinee


General Public Member/Discount

$10.00 $ 8.00

Centerpiece Films & Vegas in Space General Public $15.00 Member/Discount $12.00 Opening Night Film & Gala General Public $90.00 Member/Discount $75.00 Opening Night Film Only General Public $35.00 Member/Discount $30.00 Closing Night Film & Party General Public $60.00 Member/Discount $50.00



Advance member ticket sales start Friday, May 27. General ticket sales start Friday, June 3.

Streamline your Frameline40 experience with a Castro Pass or as a member with a Gold Card. Skip the box office lines, ditch individual tickets, get priority entry, and enjoy the flexibility to decide each day which movies you’ll see. Daytime moviegoers will want to nab a Weekday Matinee pass!


Daily, 24 hours at

Walk-up:  Daily,* 1:00 pm to 7:00 pm at the Frameline40 Box Office, presented by Showtime®, located at Strut, 470 Castro Street, San Francisco. *Closed Monday, May 30 Fax:  Daily, 24 hours at 415.861.1404. Download order forms at Day-of-show Tickets: Only available for purchase at the appropriate theater’s box office beginning a minimum of thirty minutes prior to the first screening of the day. Discounts not available. Cash only. Payment: Visa, MasterCard, and American Express are accepted. Personal checks and money orders are also accepted on walk-up orders only. Cash only on day-of-show tickets. Ticket Delivery Via Mail: Tickets/passes purchased online or by fax before June 6 will automatically be mailed within three business days to the billing address listed on the ticket order. Please email if you would like your tickets held at Will Call or mailed to an alternate address. NOTE: Orders received on or after June 6 will automatically be placed at Will Call.

Closing Night Film Only General Public $35.00 Member/Discount $30.00  Will Call: Tickets held at Will Call will be available at the theater of the ticket order’s first screening ONLY on the day of that screening. Will Call will open thirty minutes prior to the DISCOUNTS first screening of the day at each venue. If you NOTE: Discounts are not available miss the first screening for which you have day of show. Will Call tickets, we’ll hold your tickets at the Frameline Members: theater where your next screening is taking When ordering, you must present place (and so on). Only those people listed your membership card or have on the ticket order will be allowed to pick up your I.D. available. Limited to Will Call tickets. Please bring a valid photo ID two discount tickets per screening so our Will Call volunteers can make sure you (available online). get the proper tickets. Students/Youth (21 & under) & Sold Out? You might still get in! Disabled/Seniors (55+): When advance tickets are no longer available, When ordering, you must present a separate Rush Line will form outside the venue, a valid photo ID (proof of discount anywhere from 15 minutes to one hour prior to eligibility). Send a photocopy of the screening. As soon as the number of your ID with your Ticket Order Form unoccupied seats has been determined, typically when ordering by fax. Limited to a few minutes before showtime, those tickets one discount ticket per screening. will be sold to individuals in the Rush Line. Discount not available online. THE FINE PRINT: All orders are final. No refunds, exchanges, substitutions, or replacements. Frameline is not responsible for lost, stolen, forgotten, or damaged tickets or passes, or any item misdirected by the Post Office. If a screening is cancelled, tickets must be returned to the Frameline Box Office within 48 hours of the cancelled screening date. Service fees are non-refundable. The service fee is $2.00 per ticket or pass, up to a maximum fee of $8.00 per order. Returned checks are subject to a $25.00 fee. Frameline Box Office location is generously provided by Strut.

70 Frameline40

Gold Card: This pass is presented in appreciation of Frameline members at the Benefactor ($725) and Visionary ($1500) levels. Entitles bearer priority admission (subject to house manager discretion) to all Frameline40 screenings including Opening and Closing Night Films and Galas. Present this pass at the Gold Card Door for admission. Gold Card bearer may be accompanied at the Gold Card Door by ONE guest with a valid ticket or pass. Gold Cards are not sold separately. To become a Benefactor or Visionary member, please go to, contact, call us at 415.703.8650 x 301 or visit the Frameline Box Office, presented by Showtime®, inside Strut, 470 Castro Street. Castro Pass: $225 each. This pass entitles bearer admission to all Frameline40 screenings at the Castro Theatre, excluding Opening and Closing Nights. Present this pass at the Members Door for admission. Castro Pass bearer may be accompanied at the Members Door by ONE guest with a valid ticket. Quantities are limited. Weekday Matinee Pass: $35 Members/ $40 General Public. Spend your weekday afternoons in the luxury of the Castro Theatre, where many of the Festival’s hidden treasures screen Monday through Friday before 5:00 pm. With a dozen programs to see, you’ll save plenty purchasing a pass instead of individual tickets. Pass holders gain admission to all Frameline40 weekday matinee screenings at the Castro Theatre. The Weekday Matinee Pass is not valid for Castro weekday screenings starting after 5:00 pm, all Castro weekend screenings or screenings at other venues. Matinee Pass holders may be accompanied at the Members Door by ONE guest with a valid ticket.

Connect with us! WEBSITE:




Frameline40 Ticket Order Form

Questions? Please contact Please print legibly or processing may be delayed. Fax to Frameline at 415.861.1404.



I am a Frameline Member. I am joining Frameline, and my membership payment is included.











American Express









































M = Member D = Disabled S = Senior (55+) ST = Student Y = Youth (21-) Please enclose proof of age or student status.

Membership (SEE BELOW LEFT)



Castro Pass

@ $ 225


Weekday Matinee Pass

@ $ 35


/ $ 40

($2.00 per ticket, up to $8.00 maximum; not charged if membership payment only, and not charged for purchases made at the Frameline Box Office).

One-time Additional Donation

Please make a special gift to support the future of queer film.

Donation = $ GRAND TOTAL = $

Join Frameline/Renew Membership

Visit for a complete list of member benefits, including advance member ticket sales beginning on May 27, 2016.

Service Fee = $


Your tickets will automatically be mailed to the billing address listed above unless you select one of the options below. Orders received on or after June 6 will automatically be placed at Will Call. On the day of the screening, your tickets may be picked up at the theater’s Will Call desk.

Basic.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50

Benefactor. . . . . . . . . . . . . . . . . . . . . . . . . $725

Basic Discount.** . . . . . . . . . $35

Visionary. . . . . . . . . . . . . . . . . . . . . . . . . $1,500

Dual Basic.. . . . . . . . . . . . . . . . . . $95

Visionary Star.. . . . . . . . . . . . . . . $2,500

I would like my tickets held at Will Call (photo ID required).

Supporter. . . . . . . . . . . . . . . . $175

Visionary Director. . . . . . . $5,000

Dual Supporter. . . . . $300

Luminary. . . . . . . . . . . . . . . . . . . . . . $10,000

I would like my tickets held at Will Call. However, I also authorize the following person to pick up my tickets at Will Call (photo ID required):

Patron.. . . . . . . . . . . . . . . . . . . . . . . $400 **Please enclose proof of age or student status. This option is not available online.


Venues Castro Theatre 


15 TH ST.

MUNI Metro: K, L, M, T (exit at Castro station)


20 TH ST.

The lot is located on 17th Street between Church and Sanchez. Parking is available on a first-come, first-served basis. Please see the parking sched­ule at Please note that Frameline is not responsible for cars left in the lot after closing; cars can be picked up the following day as soon as the lot reopens.

Bus: 14 Mission, 22 Fillmore, 33 Ashbury/18th, 49 Van Ness/Mission

Street parking can be difficult to find throughout the Castro and Mission Districts. If you do find a space, please be aware of parking restrictions on many streets.

BART: 16th & Mission station

In the Mission District, you also might try the parking garage at 42 Hoff Street, off 16th Street between Mission and Valencia.

Festival Box Office  Strut Open daily 1 pm – 7 pm 470 Castro Street (between Market & 18th)



72 Frameline40


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Oasis 298 11th Street (between Howard & Folsom)


Closing Night Party 

San Francisco

17th Mariposa 18th






The NWBLK 1999 Bryant Street (at 18th Street)




19 TH

Frameline is pleased to partner with Everett Middle School in providing parking for $10 per car per day as a fundraiser for this wonderful neighborhood school. All proceeds will go directly to funding classroom supplies.

2961 16th Street (between Capp & Mission)

Opening Night Gala 


PA R K I N G   P

BART: 16th & Mission station

Victoria Theatre 


18 TH ST.

Festival Box Office

3117 16th Street (between Valencia & Guerrero) Bus: 14 Mission, 22 Fillmore, 33 Ashbury/18th, 49 Van Ness/Mission

17 TH ST.

1 Castro








MUNI Metro

Parking Lot


Roxie Theater 

16 TH ST.


BART: transfer to MUNI Metro at the Embarcadero, Montgomery, Powell, or Civic Center stations


Bus/Streetcar: 24 Divisadero, 33 Ashbury/18th, 35 Eureka, 37 Corbett, F Market



429 Castro Street (between Market & 18th)

Festival Info Rialto Cinemas® Elmwood 

Festival Box Office Presented by


2966 College Avenue (at Ashby), Berkeley

Located inside Strut, 470 Castro Street (between Market & 18th) in San Francisco.

AC Transit Bus: 9 to College Ave., 51/851 to Ashby Ave. BART: Rockridge station » AC Transit 51/851 to Ashby Ave. Ashby station » AC Transit 9 to College Ave. Driving: Hwy 24 E » exit at Claremont Ave. turn left, then slight left at College Ave.





4186 Piedmont Avenue (at Linda), Oakland Driving: Interstate 580 E » exit at Broadway Auto Row/Webster St., keep left to merge onto Broadway, then turn left at Piedmont Ave. AC Transit Bus: C to Piedmont Ave., 12 to Linda Ave. BART: 12th Street station » AC Transit 12 to Linda Ave. MacArthur station » AC Transit C to Piedmont Ave. PA R K I N G Parking is available on surrounding neighborhood streets where meters run until 6 pm Monday through Saturday.

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• All seats are general admission, and multiple seat-saving is not permitted.




Landmark Theatres Piedmont 

Walk-up ticket sales Membership services Festival merchandise General Festival information

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Patron Courtesies




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Daily 1:00 pm – 7:00 pm (closed on Memorial Day)



Parking is also available in the Elmwood Parking Lot just west of College Avenue on Russell Street, one block north of the theatre. Alta Bates Summit Medical Center has a parking garage located on Colby Street between Ashby Avenue and Webster Street.

Ticket sales open to the general public beginning Friday, June 3.


PA R K I N G In the Elmwood neighborhood, two-hour parking is strictly enforced until 6 pm. If you drive south on College Avenue, there is unlimited parking throughout the Rockridge neighborhood.

Tickets go on sale to Frameline members beginning Friday, May 27. Become a member and receive immediate discounts on Festival tickets and merchandise.


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• While waiting in line, please be considerate of our neighbors and local businesses. We remind patrons that it’s illegal to 13 smoke while waiting in line or near entrances to venues. • Frameline believes in everyone’s right to choose the restroom they are most comfortable using. Please disregard any exclusionary signage that may be visible at our venues.

• Please refrain from wearing perfumes and other scented products so that attendees with environmental sensitivities can comfortably enjoy the films. Thank you.

Services for People with Disabilities

Frameline is committed to accommodating audience members with disabilities, offering early seating as needed. Please make yourself known to the theater house manager for assistance. All screening venues are wheelchair accessible. Assisted listening devices are available at the Rialto Cinemas® Elmwood.

All screening venues have wheelchairaccessible bathrooms. At the Roxie, please ask the house manager for the key to an accessible bathroom. American Sign Language interpretation will be provided at the Festival Awards presentation and many introductions and post-screening Q&A sessions of subtitled films throughout the Festival. Please visit for details on ASL-assisted screenings. 73

Every year, about 50,000 people in the U.S. are diagnosed with HIV.

TOGETHER WE CAN HELP STOP THE VIRUS. Gilead proudly supports Frameline40: San Francisco LGBTQ Film Festival. LET’S GET STARTED

© 2016 Gilead Sciences, Inc. All rights reserved. UNBC3140 06/16


The Oakland A’s are proud of our continued partnership celebrating Frameline40. 76 Frameline40









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Photo by: Ana Grillo

Frameline Encore is made possible in part through the generous support of:



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s ed Q&A ent ng nd eprescludi a ms rr in ant es fil undences vari niti e or ze ie er mmu Encphasiexper gend r co m e BTQ from quee LG ose and th ople or. pe col of

progressive local lending since 1986

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Frameline Board & Staff Board of Directors

Frameline40 Staff

Michael J. Colaneri, President


Liz Pesch, Vice President

Machu Latorre, Secretary Chris Cowen, Treasurer Xavier Barrera

Eugene Clifton Cha Jill Golden

Jason Russell Nick Smith

Lesley Weaver

Through January 31, 2016

Eric Whitney

Christopher Wiseman Emeritus Linda Harrison, Chair Adam Berman Dan Flanagan Glenn Kiser

Michael Kossman Tom Magnani

Thom Matson

Randolph (Randy) Quebec

Frameline Staff Frances Wallace

Executive Director

Des Buford

Director of Exhibition & Programming

TJ Busse

Finance Manager

Andy Bydalek

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Kevin Schaub

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Peter L. Stein

Senior Programmer

Programming & Hospitality Team

Mariana Lopez

Membership & Administrative Manager

Sage Yockelson

Alex Hudson

Thom Venegoni

Sandy Holmes

Operations Steve Abbott Seat Captain

Don Chan

Travel Coordinator

Jesse Dubus

Print Traffic & Exhibition Media Manager

Choriko Bogues

Box Office Manager

Ken Katen

Karl Knapper Kerrie Kubo Hy Levy

Barbie Leung Dan Luther

Greg Morris

Screening Committee

Beth Pielert

Natalie Bell

Sam Berliner

Joseph Bowman Vincent Calvarese Joe Carlin John Carr

Luis Casillas

Celeste Chan

Jennifer DeVere Brody

Jackie Dennis Elsa Eder

George Fencl

Sarah Raab

Michael Fox

Jess Salgado

Carol Harada

Shawn Yee

Taylor Hodges

Jamie Mott

Michael Dunn

Candace Roberts

Pam Grady

Jonathan Woo

Laura Henneman


Kapish Singla

Steven Jenkins Chris Keech

Frako Loden

Eric Jost

Curran Nault

Amy Anner

Brian Bromberger

Joe Bowman

Festival Identity & Design

Technical Director

Alex Albers

Michelle Fugardo

Erica Johnson

Milton Magana

Hal Rowland

Rod Armstrong

Glynda Cotton

Lucy Laird

Asher Jelinsky

Michelle Miguelez

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Program Note Writers

Gyllian Christiansen

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House Managers

Sade Huron

David Liu

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Dulce Garcia

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Dan Fourrier

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Margot Breier

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Nick Friedman

Phoebe Heaton

Taylor Hodges Reena Karia

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Will Gardner

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Russ Flanagan

Michael W. Dunn

Christine Bois

Director of Development

David M. Field

Dominique O’Neil Jordan Plath


Festival Trailer

Sophia Lanza-Weil Michael LoPresti Leah LoSchiavo

Natalie Mulford


Curran Nault

Aron Kantor

Joanne Parsont

Production Company Director / Producer

Michael Magdaleno

Production Coordinator

Monica Nolan

Brendan Peterson Charles Purdy

Joe Picard

Holly Roach

Aaron Caramanis

Tim Sika

Director of Photography Art Director

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Hannah Rubin Angelique Smith

Mordecai Stayton Thom Venegoni

Sarah Raab


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Harry Silverlock

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Acknowledgments Alex Albers

Yvonne Andreas

Matthias Angoulvant Rod Armstrong Keith Arnold

Austrian Films

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Ky Boyd & Michael O’Rand

Breaking Glass Pictures Megan R. Brodkey Todd Brown

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Chris Damon

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Zoë Elton

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Isabel Fondevila Mark Ganter Bryan Glick

Stephen Gong Tim Grady

Joshua Grannell

Thomas & Phoebe Hannon Chris Hatfield

Heklina / Stefan Grygelko Danielle Henry

Allegra & April Hirschman Marcus Hu

Brian Hubbard Alex Hudson

Marc Huestis David Hung

Patrick Hurley Tony Jenkins

Jewish Film Institute

Aron Kantor

Michael Kerner

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Joanne Parsont

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Ana Perromat

Dan Sperry

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Jim Stephens

Juan Ramirez

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Jan Rofekamp

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Rachel Rosen

Lucas Verga

Cheryl Rosenthal

David Weissman

Gavin Rynne

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San Francisco Film Society

Jeffrey Winter

Kathy Nelson

Christopher Scanlan

Danny Nicoletta

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Dolby Laboratories Sophia Lanza-Weil

Anne Laurent-Delage Lexi Leban

Letty Ledbetter

Dawn Logsdon

Michael Lumpkin M-appeal

Florencia Manovil Travis Mathews

Madhukar Mayavan Michael McNamara Melanie Miller

Lauretta Molitor

Cornelius Moore

Lucy Mukerjee-Brown Kathleen Mullen Andrew Murphy NAMAC

Cat Perez

Skywalker Sound

Brandon Peters

Karly Stark

Jason Plourde

Ruthe Stein

Christopher Racster

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Swedish Film Institute

Jeff Root

Christopher Trout

Jay Rosenblatt

Philip Walker

Carol Rossi

Christopher White

Samuel Goodwyn Films

Supervisor Scott Wiener

Steve Nasser

Rick Solomon

Nicely Done Solutions

Kirsten Schaffer

Ninth Street Independent Film Center

Torsten Schulze

Stacey Wisnia Kathy Wolfe

Wolfe Releasing XYZ Films

Kim Yutani

John Schwenger

Frameline40 Staff 123

Frameline Members & Donors

Many thanks to our wonderful members! Donors to Frameline at the Supporter level and above (as of April 1, 2016) are listed below. We sincerely regret any errors or omissions. Please contact the Development office for corrections at 415.703.8650 x 309.


Anonymous Chip Conley Christopher Cowen & Mark Metasavage The Hurst Family Fund Steve Parker Jim Stephens & Abraham Brown

Visionary Director

The Bob Ross Foundation David Castro & David Rowley Eugene Clifton Cha & Niklas Lindström Michael Colaneri & Mike Copani Bill Dickey & Matthew Huyck Bob Dockendorff Kevin Feldman & Tom Nash Linda Harrison & Ellen Anderson James C. Hormel & Michael P. Nguyen Michael Kossman & Luis Orrico Hào A. Lê Brent Lok & J. Wade French Anne Madden & Dana Morse Thomas Matson & Hank Stuart Patrick McCabe Liz Pesch Randolph Quebec & Cal Long Mark G. Reisbaum & Michael T. Case Jason Russell & Roy Hom John Schlesinger & Richard Starkeson Allen Schuh In Memory of Martin Delaney Nick Smith Lesley Weaver & Katherine Catlos Robert Weston Eric Whitney & Richard Bae

Visionary Star

Nancy Lynn Baker, PhD & Cathy Hauer Adam Berman & Alex Scotta Mario Bertucci, Jr. Moira Luz Dawson & Elizabeth Deeley

124 Frameline40

Martha Ehrenfeld & Carla McKay Tim Eicher & Jeff Eubanks Anne-Marie Eileraas Dan Flanagan & Geoff Kerr Jill Golden & Gail Belle Anthony Jenkins Machu Latorre & Eugenia Amador Lori Lewis & Ilya Pratt Jan S. Marks Carl F. Merritt, Pharm. D. Scott Montgomery & Marc Rand Drs. Dee Mosbacher & Nanette Gartrell Debra Palmer K.C. Price Christopher E. Wiseman & Eric W. Sleigh


Anonymous Larry Ackerman Julie Ansell & Orla O’Keeffe Ana Athanasiu Family Fund Lori Barnes & Paula Richmond Clara Basile Alvin H. Baum, Jr. Donald Bird & David Young David P. Black Fund of Horizons Foundation Ky J. Boyd & Michael O’Rand Michael Brown & Joseph Chang Robert Bryant & Reymundo Garcia Kenneth Bukowski Tom Burke & Axel Brunger Darren Cadiz & Keith Kue Debra Carmona & Susan Zimbelman Vivien Chan & Kris Morrow Denis Chicola & Ron Newman Jennifer R. Clark In Memory of Peter P. Connolly Dennis Crader & Anthony Hebert Deedee Crossett & Lauren CrossettWeymouth

Brad Crowell & Gary Koehler Pam David & Cheryl Lazar Gary Demyen & Les Partridge Curtis Dennison & Julio Garay Garcia Dennison Anne Sterling Dorman Michael Dunn & Zachary Haehn Rob Epstein Jeffrey Friedman Martin Fung & Michael Hughes Dipti Ghosh & Meggy Gotuaco Thomas Groden & Thong Bui Gary Grossman, PhD & Matt Dahlberg Harold Hagen & Stephen Hiller Steve Clark Hall Victoria Hall Wayne Hazzard & E. Eastman Rachel Herbert & Dana Oppenheim Gerald Herman Jackie Hicks & Beth Yates The Hoadley-Gale Fund of Horizons Foundation Crispin Hollings & Luis Casillas James Hunter Patrick Hurley Suzanne Israel & Laurie Hanover David Jackson Katy Johnson & Margo Rosen Steve Kahl Anna Karydas & Lindy Koll Cole Kinney & Dale Becherer Gerald LaBuda & Daniel Healy Mauricio Leon James Lewis & Frankie Vargas Lisa Ellen Lippincott John M. Lobato Roger Low Michael Lumpkin & Mark Page Thomas Magnani & Christopher Orsine Glen Mathison & Zoel Fages Bert Mittler Douglas Mylcraine & Kevin Bradford

Missy Nery & Mirna Rivera Robert Newbold & Tiago Pinto Ron Norris & Jason Douglass O’Hanlan-Walker LGBT Equality Fund of Horizons Foundation Dave Oppenheim & Ray Spears Marguerite Pakozdi & Amy Toder Doug Paxton & Joe Vassallo Kristin Perry & Sandra Stier Michael Phillips & Mark Street Simon Pitchford & Jim Munson William Powell & Don Wilson Anna & Rob Prestezog Mark Reisman, MD & Rogelio Chapa Jay Remick & Michael Amodt Debra Resnik & Kathryn Werhane Robert Riekman Diane Sabin & Jewelle Gomez Judy Schultz & Glenna Dowling Marcey Shapiro, MD & Star Woodward Sam Sirko & Lou Smith Bryn Smith & Kevin Voccia Randall Solomon & Joseph Mallet Rick Solomon & Steven Saylor Bill Tompkins & Dan Steves Andrew Utiger & Joseph Tally Steven Vance & Jose Barajas Frances Wallace Rudd & Gerard Walter-Canaday Bill Weber & Aaron Starr Jack Weeden Stephen Wereb David Wertheimer Fiona Wilmot & Jeanette Howard William J. Woods Robert J. Wygand III & Michael Alexovich Dawn Zemo & Stephanie Stehling


Anonymous Mitch Altman Alejandro Amaya Art Anderson Timothy Arbogast Caryl Athanasiu Thomas Atkins & Mike Rowan Hank Baird & Ray Harbort Laurie Baker Roy Bateman Victor & Michael Bishop-Williams Victor P. Bonfilio, JD, PhD John Bors, M. D. Andrew C. Boulter Roland Brunner & Selene Steese David Bulanda Michael Burke & Jose Mendez Louis A. Camera Lisa Carlin John Carr Hector Carrillo & Steven Epstein Jon C. Carroll Charles Cassell Edwin Charlebois Gregory Clinton & Gregory Morris Janice Corran & Linda Polse Dr. Denys Crain-Gully, Sr. Paul Culver Calvin Doucet Nancy DuBois James Dyvad Gregg Ebertz Christopher Esposito John Farnham & William Glass Tim Fincham The Hon. Tara M. Flanagan Erin Flynn & Chloe Atkins In Loving Memory of Michael Charles Atkins James Ford Dan Fourrier James H. French Allan Galanter & Cal Domingue John A. Geishecker Teresa Hernandez Kirk Hinman & Ramon Santos Ernest Hopkins

James C. Hormel LGBTQIA Center of San Francisco Public Library Eric Hsu & James Chambers Marc Huestis James Hughes Carl Jaeger & Freeman Productions Tom Jarman Michael Jennis & Michael Butler Connie Jeung-Mills Tim Jones Kenneth Katen Evan Kavanagh & Andrew Harkins Erwin Kelly & Bill Franklin Daniel Killar Amy Kindrick & Ramona Doyle David King & George Palis Jennifer Kroot A. Landucci Gary Lomax & Dennis Tyler Richard L. Madison, Jr. Liaura Mathews Richard Mazzarisi Stephen McNeil & Brian Mailman Andrew Meagher Seth Meisler & John Devine Lauretta Molitor & Susan Hunsicker John Newmeyer Michelle Ney Neil Oktavec John C. Osborne Mary Peelen & B. Ruby Rich Joel Perlstein Jean Podrasky Paul Quick Maria Ramiu Alan R. Ratliff Elan Rosenquist Cheryl & Chiara Rosenthal F. Allen Sawyer Lisa Schen & Dawn Harbatkin Tom Seago Michael Siever Arthur Slepian & Gerry Llamado Eric Smith & Mark Garrett Jerry Smithson & Gary Nichols Jessica Spurling

Robert & Joan Sullivan Rodney Turner & Ken Thongcharoen William Turner Oliver C. Vogel Brett Wayn Bruce Westland & Greg Fritz Kelly Wilkinson & Edith Peck Bret Wright & Bill Elias Claude Wynne & David Douma Samuel Young Stephen Young & Peter Cullinan Jonathan Zimman & Glenn Roberts Andrew Zimmerman Ron Zuckerman


Dan Alvear Tod N. Arnoldy Jordie Bornstein & Audrey Gilles John M. Carr & Michael Lownie Ron ‘Moose’ Casey Frank Castaldini Jennifer Chaiken & Sam Hamilton Michele Cobble & Michelle Echenique Glenn Davis & James Takagi Rob Delamater & Craig Daniel Leonardo DiGiovanni Frank Early & Eric Hanson Sonja Erickson Tim Farr Peggy Garner Carlos Gonzalez Lauren Green & Kelly Lockwood Olof C. Hansen Joe Hege & Jeff Johnston Brad Henderson & Lennard Torres Alan Hibdon Jason Holstein & Ryan Keyt Jeffrey Huang Glenn Kiser Michael MacDonald Avery McGinn Catherine McKenzie Eric Montgomery & John Wong Wendy D. Nemeroff John Newberry Liliana Palacios Jan Pardoe & Cathy McIntosh Timothy Pennypacker & Allen Orsi Gretchen & Becky Peterson-Fisher

Michael Petty & Scott Madden Catherine Plato & Danielle Belfield Keith Pugliese & Joe Mutow Charlie Ridlon Fred Rimando Roger Ritland & Thomas Ossenbeck Douglas W. Roth Sharon Schrank & Jody Sanford Andrew Schwartz & John Mark Eggerton James Seeman & Michael Caccioppoli, Jr. Michael Sharpless Blair Skellie Kevin Slattery & John Cunningham Ken Smith Martin C. Soto Annie & Victoria Steinberg-Behrman Ken Stram & Steaven Campbell Susan Sullivan & Jennifer Matt Justin Taylor Karen Trilevsky & Linda Pon David Tsai Cary J. Yageman Sue Yom & Kim Dang Mark Ziegler & Douglas Roth

Dual Supporter

Anonymous Fahim Abbasi & Mark Worden Scott Abel & Yasunori Kiba Mark Andrews & John Blazek Ed Babin & Barry Eisenberg John Bare & Ignatius Bau Marlene J. Barneveld & M. Kathleen Archambeau Mark Baumli & David Costa Steve Branton & Eric Jones Lawrence C. Button & Stephen E. Leach James Clayton & Joseph Nesci Phillip Cole, MD & Chris Morris Su Cox & Cathy Keyes Janice Czyscon & Crystal Hyslop Julie DeVincenzi & Dawn Hatch In Memory of Frank Dziobek David L. Elfrink

Jeffrey Fraenkel & Alan Mark Brian Freeman & Peter Stein Kevin Gardner & Paul Morrell Sharon Gillars & Mary Beth Peterson Jim Gladstone & John Lau Susan Greef & Maureen Prochaska Sara Haber & Beth Sousa Alicia Hernandez & Kathleen Hunt Maria Hernandez & Diane Gil Constance Hiatt & Kathi Doster Karen Hirst & Elizabeth Rigali John Hudson & Peter Weiser Ilyas Iliya & Alan Freedman Alex Ingersoll & Martin Tannenbaum Dennis Isner Win Jones & Joanne Scarpa Jerry LaBarge & Carlos Castrillo Krishneel Lall & Asish Purushan Noel Legorburu & Marc Scruggs Dianna Mullins & Clare Dunnett Tony Negri & Kha Hoang Pablo Nelson & Paul Backhurst Charles & Joerg Oliver Heather Olsen & Rona Jawetz Robert L. Owen, MD & ChinShun Wu Mary Sue Philp & Dvora Honigstein David Podger & Christopher Jones Michael Rabanal & Alfredo Victorio Martin Rios Scott Sidorsky & Vince Thomas Bob Siedle-Khan Dachiele Sierra & Kevin Lee Daniel Slaughter & Stephan Blachowski Brad Smith & Mark Schoenberg Guy Smith Hillary Smith & Alexis Bourdamis Karlin Sorenson & Krista Lucchesi Dana Stevenson & Jennifer Schmich Luke Stewart & Georgy Avakov

Allen Swim & Jeffrey Baker David Takacs & Larry Carbone G Anthony Talbot & Mark Duffy John Throckmorton & Jacques Vuillin Tim Tune & David Pinch William & Brad Whitehead Allen Wood & Jim Macrae Linda & Deo Wright Mitchell Youngman Jorge Yviricu & Tom Blommers Adam Zhang & Ofer Rog


Anonymous Leonard Abel Joy Abounds Douglas S. Adams Coyote Amrich Alex Austin SB Robert L. Baker Tarick Bedeir Nancy Bell Tyson Bell Gabriel Benitez Peter Berman James Brashear Sean Brient Larry Brinkin Brian Bromberger John F. Brown Richard Brown Edward O’Malley Buckley Jasmine Buczek Dan Burcham Allen Burke Nikki Bynum Diane Caliva K. Lee Callahan John C. Cassady Timothy Cassidy Audrey Chan Humphrey Chan Patrick Chew Bruce A. Christenson Steve Ciano Michael Clune Etan Cohen In Loving Memory of Michael Cole JD & Ryan Cowell James W. Cranney Billy Curtis Rodney Dayley Jacki Dennis Paul Devine David M. Donahue Lynne Eggers Eric Eichorn

Clair Estrada Bill Fanning David Farrell Brett Fisher Kate Fitzpatrick Mark Forester Maggie Francisco Lucas Freedman Clark Freshman Andy Friend Philip Fukuda Jasmine J. Gee Margo George Robert Goldfarb Jared Goldfine Paige Graff Mari K. Griffin Marvin J. Halpern Eleanor Haney Samuel Harrison Steven J. Hatton April Hawkins C. Alexander Heeger Nancy Hinds Curt Holzinger Vincent Hom Gregory Hunter Jenn Jackson Theo Joire Joseph Kanuch Nancy Kates Michelle Kay Amanda Kennedy Grace Kim Ronald Kisling Edric Kwan Tom Lakritz Alejandro Lara Aaron Leifer Alan Lessik Raquel Lewis Douglas Ley Edward Lim Bernie Lin Salvador Lopez Michael LoPresti Chuck Louden Anthony Macias Valerie Maestas Richard A. Maggi Dante Javier Diego Mandala Rob Manning Jason Martin Shahpour (Shawn) Matloob Jeffrey Mitchell Matthews Shireen McSpadden Mark Menke Celestina Meow Meow Leslie Miessner Joseph Miller Robert Mison Christopher Moore Sara Moore Lambert Moss

Mark Mullin Peter Nye Ayofemi Oseye John Pacheco John M. Peloquin Katie Pfeiffer Sharon L. Ponder Holly Reese Brian Reinhardt Cathy E. Rice Larry Rivera Ernest Patrick Rodriguez Hal Rowland Wendy Rustay Gavin D. Rynne Jim Salveson Evaristo Lito Sandoval Roy Schachter Ben Schaeffer Rachel Scheibe Ashley Selman Mark A. Senick M. T. Silvia Maureen Smith Rob Smith William Lonon Smith David Sovereign Todd Stallkamp Bill Stewart Bradley Stow Maureen Sullivan Steve Sullivan Kelly Sundin Denise Tarantino Jean Teather Ralph A. Thomas Naomi Tilsen Robert S. Tinkler Laura Tow Paul Tremblay Cheri Tsai Tim Vigue Glenn Wagner Kenneth Wallace LauraLee Wells Michael Westcott Sheryll White John Williams Danny Wilson Stephen B. Wilson, Jr. Philip Witkay Howard Wong Peter Wong Yu Wu Siobhan Xie Jack Yang 125

Become a member!

Help us change lives one film at a time. 126 Frameline40


Support LGBTQ film — join us! Frameline is the nation’s only nonprofit organization solely dedicated to the funding, exhibition, distribution and promotion of lesbian, gay, bisexual, transgender, and queer (LGBTQ) media arts. As such, we depend upon your financial support to fulfill our mission. Membership is vital to our hands-on work in creating a lasting impact today and for the future of LGBTQ people everywhere. Join today to enjoy exciting benefits, including special invitations to screenings and events throughout the year, priority access, and advance discount ticket purchasing. For more details about membership, please visit or call us at (415) 703-8650 x 301.

This special group of donors has made a lasting commitment to securing Frameline’s future by including us in their estate plan. Legacy Circle is open to anyone and there are many ways to make a planned gift:

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Film & Program Index #

(the here and now) a visit  65 1985  59


Afuera  67 Akron  46 Alzheimer’s: A Love Story  68 Arianna  51 Arrivederci Rosa  67 AWOL  21


B.  66 Be Fabulous, First Stop: Sexitude  66 Be Right Back  66 BearCity 3  46 Becoming Johanna  64 Before Midnight Cowboy  68 Being 17  23 Bi Candy  64 Bittersweet  65, 66 Bruising for Besos  47


The Celluloid Closet  34 Check It  56 Closet Monster  51 Coming Up Queer  64 Conversations with Gay Elders: An Intergenerational Film Project  56 Crystal Lake  64, 67


Daddy’s Boy  47 Dance Card  65 Dawn  67 Do Not Think For a Moment  66 A Doll’s Eyes  68


Femme Brutal  57 Film Hawk  29 Fire Song  51 First Girl I Loved  47 Flashback 1977: Frameline’s Founding Year  34 Folsom Street  66 The Freedom to Marry  57 The Friend From Tel Aviv  64 From Afar  52 Front Cover  48 Fun In Boys Shorts  65 Fun In Girls Shorts  65 Furries  66 Fursonas  57

128 Frameline40


Gay USA  34 Gaysians  67 Girl Gets Girl  52 Girls Lost  36 The Glory Hole  65, 66 Growing Up Coy  37 Guys Like Us  65


He Who Has Two Souls  62 Heartland  48 Her Story: Season One  48 Holding the Man  52 A Holy Mess  53 Horses  53 How to Kiss in Paris  64


I Promise You Anarchy  53 I Was  67 ID#1:Writer  64 Inside the Chinese Closet  58 The Intervention  38 Irrawaddy Mon Amour  58


Jonathan  54 The Joneses  58


Kiki  19


Last Men Standing  59 Lazy Eye  49 Libertad  68 Living with Pride: Ruth C. Ellis @ 100  35 Loev  54 Looking  27


MASK4MASK  57, 65 Me, Myself and Her  54 MeTube 2: August Sings Carmina Burana  65 Mezzo  67, 68 Miracle on Sunset Boulevard  34 Monster Mash  66 More of Last Night  64


No Strings  69


Oh the Horror!  66 Oh, I Get It  61 One Last Night  67 Only in San Francisco  66 Out Run  59 Ovarian Psycos  59


Paris 05:59: Theo & Hugo  39 Partners  65 The Pearl  60 Persistence of Memory  66 Persistence of Vision  68 Pick Up  68 Pink Boy  64, 66 Political Animals  60 Pushing Dead  40 PYOTR495  66


Queer Student Shorts  66


The Radical Fairy Prince: A Love Story  65 Raniya  67 Rara  41 Raw Footage  68 Real Boy  60 Realness & Revelations  67 Retake  49 The Revival: Woman and the Word  61 Rodgers & Hammerstein’s Cinderella  69


Sauna the Dead – A Fairy Tale  65, 66 Say U Will  65, 67, 69 Slash  49 Southwest of Salem: The Story of the San Antonio Four  25 Spa Night  42 Spark  65 Spectrum  64 Spoilers  69 Spunkle  65 Sticky Fingers  67 Straws  64 Strike a Pose  43 Suicide Kale  50 Suited  61 Summertime  44 Swirl  64


Take Me For a Ride  55 Tear Jerker  65 Thanks for Dancing  68 These C*cksucking Tears  68 This Is Me: And My Sisters, Episode 5  68 This Is Me: Closets, Episode 1  68 This Is Me: From The Bathroom, Episode 3  68 This Is Me: Generations, Episode 2  68

This Is Me: Right This Way, Episode 4  68 Time Quest  65 Tits on a Bull  64, 65 Tomcat  55 Tongues Untied  35 Tonight It’s You  66 The Trans List  45 Transcend  65, 67 Transtastic  67 Treasure: From Tragedy to Trans Justice, Mapping a Detroit Story  61 Two Soft Things, Two Hard Things  62


Uncle Howard  62 Up Close & Personal  68 Upstairs Inferno  62


Vámonos  65, 67 Vegas in Space   35 Veracity  64, 66 Vessels  66, 67 Victor XX  65, 67 Virgin Territory   65 Voguing: The Message  35


We Could Be Parents  68 We Need to Talk  68 We’ve Been Around – Albert Cashier  68 We’ve Been Around – Little Axe  68 We’ve Been Around – Lou Sullivan  68 We’ve Been Around – Lucy Hicks Anderson  68 We’ve Been Around – S.T.A.R.  68 The Weigh In  65 Who’s Gonna Love Me Now?  63 Why Should I Give a S#*t about Bisexuals? (Men’s Edition)  64 A Wig and a Prayer – The Peaches Christ Story  66 Women He’s Undressed  63 Women Who Kill  50 Worldly Affairs  69


Xavier  41


You Deserve Everything  69 You’ll Never Be Alone  55


Zeitgeist 1977: The First Festival  34

TESTING TREATMENT PREVENTION There is no cure, but when we add it all up, we can help stop the spread of HIV. Find out more at Š 2016 Gilead Sciences, Inc. All rights reserved. UNBC3047 04/16




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Profile for Frameline

Frameline40: San Francisco International LGBTQ Film Festival  

Frameline40: San Francisco International LGBTQ Film Festival  

Profile for frameline

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