Film Categories: LGBTQ

  • (ab) NORMAL

    “In ‘(ab)NORMAL’ the relationship spectrum, from paranoid avoidance to smothering and overwhelming attention, is traced through four pixilated sketches.” – Toronto International Film Festival

  • Porcaria

    The year is 1968 and Joaquim and Amalia Quinteiro are just your average young new immigrant couple, drawing blood over money matters and overdosing on culture shock. Into their nest of perfect domestic bliss flies the ever popular, handsome young university student border, Joao. Amalia gets a job and Joaquim’s already flagging machismo shoots off the exit ramp. Perhaps only Joao’s devilish derriere can buttress this poor male ego. A love triangle of unusual proportions, “Porcaria” demonstrates a total lack of resistence to new world charms that has the fish jumping off the walls.

  • Prologue: Infinite Obscure

    The film began with the idea of doing a “remake” of “Moby Dick” using the parts of the text that John Huston omitted from his version. A number of other issues began to take precedence however: the politics of the translation process; the relation of filmic to hieroglyphic writing; the possible intersections of (auto) biography and fiction; the articulation of (filmic) writing and (homo) sexuality. (MC)

  • Proud Drivers of Canada

    Fear of driving. Using every excuse not get a driver’s license doesn’t work anymore and with the assistance of a “gay friendly” driving school, the protagonist moves slowly toward his goal.

  • Bad Brownies

    A mockumentary of memoires of childhood transgression. Former Brownies recall their lives in the organization, and two modern-day recruits – one a good Brownie and one a bad one – demonstrate different reactions to the rules and rituals of the Brownie circle.

  • RSVP

    “RSVP” is a lyrical piece which explores the emotions felt by a group of people, some who knew, and some who did not know, a man who has just died. Its approach, however, is unusual: there is almost no dialogue, but rather a central piece of music – “Le Spectre de la Rose” from Berlioz’ Les Nuits d’Eté, performed by Jessye Norman. This piece was requested by the man several weeks before his death; it plays on the radio, ironically, as his lover, Sid, returns home from the funeral. The music forms a link between various people listening to it…

  • Rules of the Road

    “Rules of the Road” tells the story of a love affair and its demise through one of the primary objects shared by the couple: an old beige station wagon with fake wood paneling along the sides. A typical American family car for an atypical American family, it provides them at first with all the familiar comforts. But when their relationship ends, the car becomes the property of one woman and the bane of the other’s existence. Even long after their separation, this tangible reminder of their life together – and thousands of its imitators- continues to prowl the streets of…

  • Sappho

    Using the sixth century B.C. lyricist’s poetry, a group of women unwrap the papyrus gauze of the lesbian goddess and bring her to life. Made by Barbara and six students, together at the Women’s Building in Los Angeles.

  • Schizy

    “Schizy” is Barbara Hammer’s first film and is about her own coming-out process.

  • Sister

    In the attempt to find out how and why her sister died, a young woman discovers her sexuality. How her desire for women is held prisoner in the mourning and mystery surrounding her sister’s suicide. With a nod to the youthful fetish films of Anger and the J.D’s, scenes which begin light and fun with mod girls out on an adventure, grow dense and wet as sexual longing fulminates.