Film Categories: LGBTQ

  • Outsiders, The

    “A super-short Super 8 remake camps up the Coppola classic. An obsession of mine, and a lot of other girls, this movie touched my sense of belonging at a time when I felt I had none – teenagehood. Years later, when tomboy-ish has matured into gender-bending queerness, 21 grown ‘girls’ play at ‘boyhood’. Done DIY style, with an ‘unknown’ all-star cast of girls, this film embodies both a music video style of fast cuts and silent film intertitles – a post-post-modern experiment of complicity and resistance.” – Juliana Saragosa Selected screenings: London Lesbian & Gay Film Festival (London, UK), 2006;…

  • They Dance Alone

    A look back on half my life ago, who I wanted to be. Love and longing – lost friendship, belonging, the fear of touch, a magical embrace, a spell to dispel. Hands become a moment of realization – an intense feeling like no other – you realize you love her, but can never have her.

  • Pink Fairy, The

    A long process of experimentation with a variety of different filmmaking techniques while examining an evolving queer identity. The film shows an emergence of the Pink Fairy. Part femme, part tomboy, part fairy, the characters come together to subvert the idea of a fixed identity. Luminscent imagery is imprinted by hand using hand-processed colour footage, optically printing super8 to 16mm, 16mm to 16mm, negative to positive, video to film, and repeating motifs, to explore the intricacies of the celluloid medium. Audio emotes through random manipulations in a Brion Gysin-like cut-up technique.

  • Role I Was Born To Play, The

    Using borrowed clips from three films about gender bending – two comedies and a tragedy – a personal gender landscape is created. This piece touches on the assumptions, strategies for survival and a the commitment to discussion that alternate gender expressions evoke.

  • Parricide Sessions, The

    In a therapeutic cinematic session of sorts, a gay son introduces his ex-lovers to his father – while examining his own fascination with the father figure.

  • Monsoon St., ‘77

    Monsoon St., ’77 tells the story of a day in the life of a young tomboy, Tina, who finds escapism in the rural desert of Arizona in 1977. To compensate for her unhappy surroundings, Tina lives in a rich imaginative world. She finds beauty in the natural landscape and comforts herself by summoning familiar figures from popular culture. These fantasies supply the happiness that is otherwise so lacking in her everyday life.

  • Breakdance Hunx (Market Value Mix)

    An homage to the cylists of the world and routes less traveled. Referencing The Smiths, Run DMC, and Kenneth Anger, this video follows six bike gangs through back alleys and side streets. The gangs travel to a park where a dance battle ensues.

  • Stages of Mourning

    Ritualised through performance to camera, “Stages of Mourning” is Pucill’s journey of bereavement. In as much as this is a meditation on coming to terms with loss, the film is an exploration of how our relationship with the dead is made different through film. The artist orders image fragments of her late lover and collaborator, Sandra Lahire. By trying to physically immerse herself into photographs and film footage or by restaging these, Pucill forms a continuous stream of a life of two lovers. Through this doubling and layering, illusions accumulate as if these were a product of a machine that…

  • Cast

    “Cast” creates a claustrophobic and haunting space where people and things invade worlds in which they do not normally belong. Lifeless dolls are heaped inside drawers, dolled-up life size figures lie motionless on a windy beach at the water’s edge; a chair rocks in an empty room, a mirror reflects and observes, and a chest of drawers is caressed by the sea. The film has a dramatic sensibility that sets up a false promise of narrative. Its structure, instead, is akin to that of dreams where different scenic spaces collapse and the inanimate and animate interchange. Wide-angled perspectives, shifting points…

  • Swollen Stigma

    “Swollen Stigma” nourishes the fantasy of its protagonist’s inner life and proposes a lesbian imaginary which takes leap into risk and displacement. The film opens with an entranced seated woman working her fingers through a single strand of hair and proceeds to explore her lived imaginary in which desire and fear interlace. She re-visions different moments in time which are haunted by an absent lover. Like a playful fairy princess, this lover appears upside down in an armchair, hanging legs-down from the ceiling, playing dead on the floor, or eating roses; her body continuously permeates the woman’s reality. The film’s…