Coming of Age
The Austin Gay & Lesbian International Film Festival turns 15
One of the most anticipated entries in this year's Austin Gay & Lesbian International Film Festival is a movie called Mango Souffle. It's directed by Mahesh Dattani, it's set in Banglalore, India, it's about two guys in love, and you've probably never heard of it. (Don't be embarrassed -- when it arrived unsolicited on the desk of aGLIFF Artistic Director Scott Dinger, it was initially filed in the "I'll get to that when I get some time" pile.) At least on paper, Mango Souffle doesn't sound terribly sexy. No big names, no thundering buzz like the one that blew Hedwig and the Angry Inch into town last year.
But wait -- Hedwig had to start somewhere, right? Call aGLIFF the starter block: From here, its world premiere, Mango Souffle heads to the prestigious London International Film Festival. It's being hailed as a landmark film for its uncommon portraiture of gay love in India. It's the reason a gay and lesbian film festival like aGLIFF -- and aGLIFF itself -- is still very much a relevant institution.
Let's start at the beginning -- 15 years ago, to be exact. That's when aGLIFF got its launch, in an almost unrecognizable form. Four films were shown, all foreign. Compare that infancy with the cocksure 15-year-old before you, boasting an 11-day program with 120 feature films and a wealth of shorts, much of the lineup homegrown, ambitious in scope, inching closer and closer toward evenness in number of gay and lesbian content, and no longer confined to stories of coming out or coming under the specter of AIDS, the two subjects that defined Nineties queer cinema. Not to mention what aGLIFF devotes itself to the other 50 weeks of the year: frequent screenings and gatherings; programs, like My Gay Movie and the teen-targeted Gay Youth Media Project, geared toward making more inclusive the business of making movies; and a dedication to serve as a sort of unofficial Texas (Queer) Film Commission.
The pop culture landscape was a lot different 15 years ago, too. Will & Grace, or any equivalent, had yet to dominate the Nielsen ratings; multiplexes had not yet opened up its screens to the likes of Philadelphia or In & Out. Now, you can find gay men on Must See TV; in mall movie theatres, there's a new archetype, the "bitchy-but-kindhearted-and-nonthreatening-gay-next-door-neighbor-and/or-best-friend." Straight audiences are eating it up, but where does that leave the gay audience? Glued to the tube like everybody else on Thursday and Sunday nights? Maybe -- that's where you'll find the best writing on television today. But until a prime-time show adapts Heather Has Two Mommies or tackles a very special episode of Wilhemina & Grace, until those sprawling stadium-seater theatres start booking films that feature gays and lesbians (played by gays and lesbians) as something other than a sidekick -- like Mango Souffle, the first Indian feature film to explicitly address homosexuality, or Fish and Elephant, a lesbian drama that had to be smuggled out of its native China -- then there's still very good reason for aGLIFF and all others of its ilk, indeed.
Not that you'll hear Dinger or Executive Director Sandra Martinez bragging about it. They've earned that right after 15 years, but the anniversary is coming and going with very little to-do. The programming committee thought about showcasing films that had screened at previous fests, a sort of "aGLIFF Greatest Hits," but the idea was eventually dropped.
"It got pushed aside because of the number of entries we had this year," explains Dinger (there were some 600 submissions to aGLIFF '02). "We were thinking, we only have so many slots and so much we can do, and for us to do a retrospective, we're going to have to push out some other stuff."
Martinez says it came down to the decision to forgo nostalgia in order to "make 15, 15 -- what it's all about now, rather than look back." She does express hope that there might be an anniversary celebration or retrospective later in the year.
In the meantime, there's another festival to attend to, one that continues aGLIFF's commitment to screening cutting-edge, quality queer cinema that isn't afraid to experiment or address issues considered problematic within the community -- like the further loosening of strict sexual labels, seen in the locally made doc The Most Unknowable Thing and Bob and Rose, the new series from Queer as Folk creator Russell T. Davies.
"We've got gay, we've got lesbian, we've got bisexual, and now even more blurring of the lines," Dinger notes. "It's an interesting concept, which even in the gay and lesbian community is ... not exactly controversial, but there are norms and walls within the gay and lesbian community, and even those are starting to get broken down a little more."
Breaking down walls, taking chances, and questioning what the status quo calls the norm. What would befit a 15-year-old more?
-- Kimberley Jones
The 15th Annual Austin Gay & Lesbian International Film Festival runs from Aug. 22 through Sept. 2. All films screen at the Metropolitan Theatre (I-35 at Stassney) unless otherwise noted. For schedule and ticket information, see p.50.
Bob and Rose
D: Julian Farino, Joe Wright; with Alan Davies, Lesley Sharp, Jessica Stevenson.
So Will's this hot professional gay guy, and his best friend Grace is straight. And then ... what? Oh, this is a different show? Yes and no. Russell T. Davies, the creator of the British (i.e., good) Queer as Folk, has put together an enjoyable series exploring the relationships between gay men and their female counterparts. Set in the same Manchester playground as QAF, the series starts with Bob and Rose's first accidental meeting on an abandoned street after a jaunt in the clubs. As the series develops, the plot turns on Bob and Rose's unexpected intimacy. Are they falling in love? Confused? And since this is Davies, their friendship blooms in a hipster utopia where there's always a stereo playing Donna Summer nearby. Far less goofy than Will and Grace and much more natural than Rupert and Madonna, Bob and Rose take a gutsy look at being gay and being in love -- knowing they don't always coincide. -- David Garza (Episodes 1-2 screen 8/23, 7pm; episodes 3-4 screen 8/25, 4:30pm; episodes 5-6 screen 9/2, 4:30pm.)
Britney Baby, One More Time
D: Ludi Boeken; with Robert Stephens, Mark Borchardt.
Why do gay men pant and swoon for colossal pop idols? In the case of Britney Spears, there are several answers: She sings dance floor empowerment anthems, dated pop twink Justin Timberlake, and she, too, has had to keep her libido hush-hush. But gay fellas really love her because they have senses of humor, and baby, the girl is a joke. Britney Baby, One More Time plays on this joke lovingly, turning the true story of one man's hero worship into a high-camp flick. After drag queen Robert Stephens' victory at a Britney look-alike contest, he shows up to collect his prize: a backstage meeting with the divette. When he gets kicked out by an angry publicist, though, unlikely events lead him on a pilgrimage to Spears' hometown with a news crew in tow. A bit like the starlet herself, the film is trashy, cheap, and -- yes, admit it -- fun.
-- D.G. (Opening Night Film: 8/22, 8pm, Paramount)
Producer J.D. Disalvatore (who also directed four of the shorts in the Gay Propaganda series) grew up loving movies, and she also grew up gay. She imagined her favorite films recast with gay leads, which led her to the inevitable conclusion that she must "queer" the classics. Taking legendary scenes from such all-time faves as From Here to Eternity and On Golden Pond, the directors have transformed them into "From Queer to Eternity" and "On Gay Golden Pond," starring all gay and/or lesbian casts and crew. The standout is director Lynnette Myers' "Goodfaigolas," starring Claudette Colbert in the Joe Pesci role, in which he/she demands to know just exactly how and why he/she is so funny. Although the films are generally shorter than their credits, they are still good for a hearty chuckle in between mouthfuls of popcorn and sips of soda. -- Mark Fagan (8/30, 9:30pm)
Lifetime Guarantee: Phranc's Adventures in Plastic
D: Lisa Udelson; with Phranc.
Crew-cutted, suit-wearing, surfboardin' "Jewish Lesbian Folksinger" Phranc is the subject of this engaging documentary (which won the audience award for Documentary First Film at SXSW 2002) about life after indie-rock semi-stardom as a top-grossing Tupperware® Lady, selling the world's most famous food containers. (She also supplies the film's soundtrack.) Follow Phranc from party to party, and eventually to the National Tupperware Conference in Orlando, Fla., to see if she can keep her integrity flavor-fresh without "burping" too much on that delicately tasty line between (he)art and commerce. -- Kate X Messer (8/31, 4pm)
"No Dumb Questions"
D: Melissa Regan.
This short film about three sisters, ages 6, 9, and 11, who are told by their uncle that there are "no dumb questions" when discussing his decision to have a sex change is a breath of fresh air. The film exhibits not only the fact that kids are gutsy enough to ask all the questions that adults are too afraid to broach, but that kids are more understanding, respectful, and intelligent than most adults give them credit for. The youngest -- who seems most excited that she'll be able to play Barbie and do her nails with her new Aunt Barbara -- is like a cartoon character that hops around spreading joy and good cheer to all. The two older sisters are more cautious and able to question their own, and everyone else's, perceptions of gender and sexuality. Even after all the trepidation of seeing their uncle as an aunt for the first time, they quickly acclimate to the physical difference and realize that Aunt Barbara is still the same person that Uncle Bob was on the inside. The film itself should be applauded for bringing to the forefront an understanding and well-adjusted family who keeps the lines of communication open even when discussing such taboo subjects as transsexuality, gender identity, and the almighty "penis." -- Maya Churi ("No Dumb Questions" screens 9/2, 9:30pm, as part of a program of shorts on transsexuality tilted "S/HE.")
D: Lorene Machado; with Margaret Cho.
To whom does Margaret Cho belong? The Asian-Americans? The gays? The educated and the dispossessed? Judging from her 95-minute concert film The Notorious C.H.O., the comedian is a champion to all. She professes to fellate rescue workers at Ground Zero, get off with midget lesbians, and take advice from drag queen guardian angels. Shot at Seattle's Paramount Theater, the stand-up act is dotted with explosive land mines of sexual humor -- after checking her out, you'll never look at ice cream cones the same way again! But all her brilliant horny wit is tempered with a sincerely delivered empowerment call. "Our revolution is way overdue," she says earnestly. If this revolution is all techno and leather, the woman isn't righteous, she's just right. -- D.G. (8/23, 9:45pm)
Ruthie and Connie: Every Room in the House
D: Deborah Dickson.
Everyone is familiar with the common stereotype of what an old Jew looks and sounds like. Prepare to have your illusions shattered upon introduction to Ruth Berman and Connie Kurtz. The two women met in Brooklyn in the Fifties when both were married and raising children. Their friendship grew through years of service to the synagogue and involvement in community actions. Fifteen years of friendship passed before their first kiss in 1974. The film captures them reflecting on the costs and rewards of their shared love, domesticity, and continued political and religious activity as they prepare to celebrate their 25th anniversary together. -- Marjorie Baumgarten (8/31, 7pm)
D: Lindy Heymann, Christian Taylor; with Christian Taylor.
Bearing a resemblance to Showgirls in its milieu (obvious) but little else (few to no watery epileptic orgasm scenes), the "faction" film Showboy follows the story of Six Feet Under writer Christian Taylor (fact) after he is fired from the series (fiction) and decides to pursue his dream of becoming a Vegas showboy, rather late, untrained, and short in life. A Guffmanish quest ensues, as Taylor meanders forlornly from audition to dance class to liposuction clinic, dogged by a camera crew that he thinks believes he is researching a script. The result is an ambiguous comedy that is somehow both empathetic and absurd -- exceedingly deadpan, possibly sincere, and sometimes downright sweet.
-- Cindy Widner (8/26, 9:45pm; 8/28, 5pm)
Sister Smile (Suor Sorriso)
D: Roger Deutsch; with Ginevra Colonna, Antonio Salines, Simona Caparrini.
This isn't your gramma's Singing Nun. Actually, it is -- only filtered through an arthouse lens and with all the stuff (sex and drugs) left out of that 1965 bit of Debbie Reynolds fluffery. Call it the True Hollywood Story (... or don't) of Janine Deckers, a real-life, one-time future nun who topped the charts in the early Sixties with "Dominique," a pop ode to Decker's patron saint. Life in the convent didn't jibe well with the young woman, so she took off for the outside world, a move that eventually ended in nasty addictions, unresolved Daddy issues, and a suicide pact with her lesbian lover. Ably shot and performed, this Belgian/Italian production is moody, often moving, and not a little bit weird. -- K.J. (9/1, 4:45pm)
D: Jeff Meyers; with David Schmader.
One of the first releases by Stage Direct -- an organization founded expressly to distribute fringe theatre performances on video -- David Schmader's one-man show Straight documents his undercover stint in the support groups and weekend retreats of the gay-conversion movement. In the hands of some performers, this material might end up tediously smug, but Schmader thankfully has as little regard for knee-jerk liberalism as he does for intolerant Bible-thumping, so his humorously empathetic sketches of hopeful future "ex-gays" largely dig deeper where they could seek out the easy punchline. Scattered among Straight's handful of really big laughs (and its handful of trite bits) are moments of genuine insight about the universal human longing for wholeness and grace, a longing that, Schmader points out, can all too easily be preyed upon. (Schmader will also host a screening of Paul Verhoeven's Showgirls and provide a running analysis on Friday, Aug. 23, 9:30pm, at the Metropolitan.) -- Will Robinson Sheff (8/24, 9:45pm)
Sylvester: Mighty Real
D: Tim Smyth; with Jim Fouratt, Patti LaBelle, Martha Wash, John Waters.
High-pitched gay male angst did not begin and end with Bronski Beat and the Fine Young Cannibals. The queen of them all, y'all, was Sylvester, yet there seems to be precious little known or remembered about the disco icon -- until now. This too-short doc (only 11 minutes) nods at Sly's days as the "Child Wonder of Gospel" and his tenure (along with fellow doll Divine) with the Cockettes, but mostly focuses on his international fame in the late Seventies. With rarely seen roller disco clips and lots of mighty real insight from the folks who knew and loved him best (divas Martha Wash, Patti LaBelle, and John Waters), Sylvester: Mighty Real is the real deal, a fierce tribute to a groundbreaking life, lived in the life: our first openly gay No. 1 Hit Superstar. -- K.M. ("Sylvester: Mighty Real" screens prior to the documentary, Dance Culture in the Mix, 8/27, 7:30pm.)
D: Miles Swain; with Larry Sullivan, Steve Braun, Alexis Arquette, Sirena Irwin, Ray Baker, Jill St. John.
The Trip traces the lives of its two main characters as they travel through two decades and the Mexican desert, learning along the way about love, loss, forgiveness, and being true to themselves. The movie opens in 1973, in L.A., at the start of the gay lib movement. Tommy is an outspoken gay activist, Allen a talented but closeted young writer. The two fall madly in love, and set about building a life together until fate -- and an overbearing acquaintance named Peter -- get in the way. Tommy and Allen eventually find each other again, but by that time quite a bit has changed; watching their tentative attempts to reconcile time and distance is alternately sweet and heart-wrenching. A touching love story, The Trip is also an entertaining, Cliff's Notes version of the history of gay rights and the evolution of the gay community. -- Cathy Vaughan (Closing Night Film: 9/2, 7:30pm)
Whether You Like it or Not: the Story of Hedwig
D: Laura Nix.
For anyone interested in working in film or theatre, Laura Nix's Whether You Like It or Not: The Story of Hedwig is a documentary you should see. This in-depth look at the origins of Hedwig -- from a raw, unformed series of songs and sketches to the well-tuned story one sees in the film -- gives the audience a clear sense of what it takes to make a modern rock opera. The film follows writer/director/actor John Cameron Mitchell and composer/lyricist Stephen Trask through six years of hard work, commencing with their first meeting in the early Nineties on a flight to New York and ending with their heartfelt hug when the film won the audience award at the 2000 Sundance Film Festival. In the beginning, they couldn't give tickets away to the staged production of Hedwig. But they stuck with it, and theatre- and moviegoers are all the better for it. -- Maya Churi (8/29, 7:30pm)
The Texas Penal Code isn't generally thought of as a laugh-out-loud read, but Section 43.23 is an exception: "A person commits an offense if he ... possesses with intent to wholesale promote any obscene material or obscene device. A person who possesses six or more obscene devices ... is presumed to possess them with intent to promote the same."
That's why when filmmakers Laura Barton and Judy Wilder walked into Forbidden Fruit, they saw row after row of penis-like objects, anatomically correct condom education models made of latex and silicone, and vibrating oblong-shaped massage devices. Some had leather harnesses for realistic demonstrations, others had suction cups on the bottom; some featured hand-painted veins, others sparkled with glitter. But when they asked for a dildo, they were informed: "Sorry, we only have educational models." No dildos here, pervert, this is Texas!
"[To buy a sex toy] we had to sign a statement that not only identifies you as the buyer but also certifies that you're using it for educational purposes," recalls Barton. "I'm 47 years old, I'm a grandmother, and here I am standing in the store feeling like I'm doing something shameful! I'm thinking, 'this is ridiculous.'"
The absurdity of the situation inspired Texas natives Barton and Wilder to make an eight-minute documentary, Dildo Diaries, aGLIFF's inaugural My Gay Movie competition. The film was a hit with audiences, later played at aGLIFF 2001, and won Best Short Film at the Inside Out Film Festival in Toronto. The positive reaction inspired the filmmakers to expand the project, and the version that will be premiering on Friday, Aug. 30 is a fast-moving 63 minutes. The film uncovers a chorus of objections to Texas sex laws, making use of interviews with legislators, porn stars, the curator of the Museum of Questionable Medical Devices in Minnesota, sex toy (oops, I mean educational toy) shop owners, and vagina enthusiast Annie Sprinkle.
The film rarely strays far from its sense of the absurd, but even in its frivolity, Dildo Diaries raises important issues about the possible dangers of these laws. "Last week, a clerk at a toy store in Houston was arrested by an undercover cop for selling an obscene device." explains Barton. "The problem with the law is it's on the books, it's a stupid law, and it can be used to harass people." Still, Barton is skeptical that the Texas Legislature will reform the penal code anytime soon. "It's going to take a lot of public awareness so the legislators aren't afraid of voting appropriately. As Molly Ivins says in the documentary, they're afraid everyone will think they're queer."
And until that changes, Forbidden Fruit is likely to remain the most popular educational store in Austin. -- Michael Connor
Dildo Diaries screens Friday, Aug. 30, 7:30pm.
Homer had it easy. In Mary Patierno's The Most Unknowable Thing, there are intimate revelations, a wedding, funerals, jaw-dropping twists of fate, the joy and challenges of parenthood, sibling rivalry, loves lost and found -- and all in one family, all captured in 57 minutes.
Filmed in Austin, where Patierno's brother David and his lover Carlos were living, The Most Unknowable Thing was originally envisioned as a three-year project. The documentarian knew the endeavor could potentially be emotionally challenging, but Patierno hadn't imagined the Homeric proportions her brother's story would take on.
"I started the film in 1989," she says. "It was supposed to be about my brother and Carlos living with AIDS. But then, the story just took on a life of its own."
"The story" changed when Carlos and David's relationship ended and David decided to marry a woman. Those were just two of the hairpin turn of events that would happen in the 10-year odyssey toward The Most Unknowable Thing. Revealing any more of the film's real-life drama would, as Patierno says, simply not sound real.
After each new development, Patierno explains, "I continuously thought the film was finished. But I wouldn't tell people about it. It didn't sound real. I actually felt like I had a bad soap opera," she says. "Over the years, when I wasn't working on it, I showed clips to filmmaker friends, who said, 'you have to do something with this. You've got an amazing story.' But it was a challenge. How do you tell the story without being maudlin or sensational?"
Patierno shot her documentary on 16mm over five years, then shelved it for another six. She completed the work in 1999, transferring it to videotape, which (along with the hairstyles and clothing) explains its dated look. Still, the story is nothing short of astonishing. Juxtaposed with David's story is the portrait of a family that learns about the profound possibilities of love, and of the capacity to love beyond expectations.
"I learned so much about life during that time," Patierno says. "Doing a film that made me have to revisit those events made me stronger. I learned about life and death, and I'm more serene about both." -- Belinda Acosta
The Most Unknowable Thing screens Saturday, Aug. 24, 2pm.
In Grit and Polish, documentarian Birgit Rathsmann profiles Hong Kong's high-flying action divas. Female superstars like Michelle Yeoh, Jade Leung, and Shaw Brothers heroine Cheng Pei Pei hold their own against male matinee idols, challenging traditional notions about what women can do, onscreen and off. -- Marrit Ingman
Austin Chronicle: Chang Pei Pei looks like she was a trip.
Birgit Rathsmann: She was awesome.
AC: I think it's great that she's working again.
BR: Well, she's done having children now, and she's divorced.
AC: That seems to be kind of a common thread.
BR: Yeah. Well, I tried to interview Brigitte Lin, and I couldn't because she had just retired from acting because she had gone to marry a very wealthy Chinese-American businessman ... And his family basically had told her that if she was going to get married to him and have his children, she would have to be out of the spotlight. So it's very prevalent.
AC: I think that we in the West are so eager to embrace this strong, fighting woman. Asian society seems more ambivalent about her.
BR: I haven't quite gotten to the bottom of that. I think it's just a very ingrained, traditional attitude toward acting as a profession. I think that's really what underlies it all.
AC: What inspired you to make Grit & Polish?
BR: [When] I went to film school in Chicago ... I was looking for someone who made films with characters that I would like to portray. Strong women who were confident that they could do anything they wanted to do. I started looking at films, and I couldn't find any ... [Barbara Scharres, of the Chicago Film Center] is very passionate about Hong Kong films, and she programmed two months a year of these films, and I started going to see them, and I said, "Oh, that's where they are! Look at them!" So I felt like I should go talk to the people who made the films, and see why they made them -- why they are coming from such an unexpected place, in a way. We think of Asian society as more traditional in some ways.
AC: Of course, there's the tension between those traditions that are patriarchal and the liberated heroines of the Hong Kong films.
BR: Yeah. A lot of the films were made by men, and I would ask, "Why are you making these films?" [A]nd they would say, traditionally, women were so disadvantaged and disenfranchised that it's in some way easier to express social criticism through their position.
AC: So they're more symbolic?
BR: For some of the directors, they are. Some other directors are trying to express parts of their personality. I talked to Stanley Kwan, who is not in the film. ... He's a gay man, and he always felt like this was an easier way to portray a part of his personality. ... He's since gone public with his sexuality, and now he's making a film about a gay man. But it was sort of a long journey for him, I think.
AC: It seems that in the West, women have been more associated with melodrama. When talking about emotions, it makes more sense to have that discussion located within a female character.
BR: In some sense, that's what [these directors] are doing. Except, of course, their form of melodrama is --
BR: [laughs] Well, it's a potpourri. There's comedy, and there's action, and there's everything.
(Grit and Polish plays as part of the "Girls With Gusto" program on Sunday, Aug. 25, 2:30pm.)
"She was born in a wagon of a travelin' show, her mama used to dance for the money they'd throw ..." Yes, it's pre-nose-job Cher in her absolutely wretched 1969 dramatic debut, Chastity, which screens at 11:45pm on Friday, Aug. 23 -- the night before Cher will be singing her heart out at the Frank Erwin Center. Cher plays a sullen and surly hitchhiking runaway with a heart of pressed tin, and though what she does with her grating voice and punk-ass demeanor might be misconstrued as acting, do not be fooled -- she is simply a marionette in the hands of producer Sonny "Svengali" Bono (whom many suspect was also the never-heard-of-before and never-heard-from-again director Alessio de Paola). Chastity is a disturbed young woman who hits the road to escape her dreary, unhappy life, and finds more dreariness and unhappiness. In the turgid and lugubrious script, she takes her anger out on men by picking them up, leading them on, and then "not letting them get anything." She works as a prostitute without ever having to give up "the goods," and winds up in a Mexican whorehouse for a lesbian madam who would like Chastity to be something more than an employee. With a creepy introspective/philosophical voiceover narrative by Cher, Chastity is hippie-age BS, and you can definitely see the chanteuse's Gypsies, Tramps and Thieves period looming on the horizon. There are some who will dig deeply to find some merit to this film, but it should strictly be taken as what it is: pure camp -- meaning, of course, that it's hysterically funny while it tries desperately to be serious. Would you name your child after this? "Chastity ... pick her up if you dare." Indeed. -- Stephen MacMillan Moser
Chastity screens at 11:45pm, Aug. 23, at the Regal Metropolitan.
Opening night film Britney Baby, screens at the Paramount Theatre (713 N. Congress); Mr. Sinus Theater's Xanadu screens at the Alamo Drafthouse Downtown (409 Colorado).
Evening tickets cost $6.50/aGLIFF members; $7.50/general admission. Matinees before 6pm: $4.50/aGLIFF; $5.50/general. Mr. Sinus tickets: $7.50/aGLIFF; $9.50/general.
Day-of-show tickets may be purchased at the Metropolitan box office. For more information, call 512/796-2862 or 512/796-3852, or visit www.agliff.org.
Thursday, Aug. 22
**Britney Baby, One More Time 8pm (Paramount)
Bob & Rose, Episodes.1-2 7pm
Fish and Elephant 7:15pm
Showgirls -- Revisited 9:30pm
Notorious C.H.O. 9:45pm
Georgie Girl noon
Rainbow House 12:30pm
Most Unknowable Thing 2pm
*Our Heroes 2:30pm
Execution of Wanda Jean 4pm
*Are You Kinky? 5pm
A Family Affair 7pm
The M.O. of M.I. 7:30pm
*Friends to Lovers 10pm
*Gay and Parenting noon
*Lesbian Awakenings 12:30pm
*Girls With Gusto 2:30pm
Bob & Rose, Episodes 3-4 4:30pm
American Mullet 5pm
Treading Water 7:15pm
*Boys to Watch 7:30pm
Lost & Delirious 9:30pm
Days (Gioni) 9:45pm
The M.O. of M.I. 5:30pm
The Journey to Kafiristan 7:15pm
Under One Roof 7:30pm
*All My Lesbians 9:30pm
**Xanadu and MST 7pm (Alamo)
**Xanadu and MST 9:45pm (Alamo)
Dance Culture in the Mix 7:30pm
*Critic's Choice 7:45pm
*Lesbian Awakenings 9:30pm
*Super Boys 9:45pm
A Family Affair 7pm
The Wedding Video 7:30pm
Second Skin (Segunda Piel) 9:15pm
Fish and Elephant 9:30pm
The Journey to Kafiristan 5pm
Maggie and Annie 7pm
When Boys Fly 7pm
To Be Announced 9:30pm
Whether You Like It or Not: The Story of Hedwig 9:45pm
The Wedding Video 5pm
In Passing 7pm
Dildo Diaries 7:30pm
*Gay Propaganda 9:30pm
Sex, Politics & Cocktails 9:45pm
*Fighting the Good Fight 12:30pm
*Family Matters 1:30pm
Days (Giorni) 2:30pm
Lifetime Guarantee: Phranc's Adventures in Plastic 4pm
To Be Announced 4:30pm
Ruthie and Connie 7pm
Mango Souffle 7:30pm
Fleeing By Night (Ye Ben) 9:30pm
The Truth About Gay Sex 9:45pm
Rebel With a Cause noon
Critic's Choice 2:15pm
Boys to Watch 2:30pm
Second Skin (Segunda Piel) 4:30pm
Sister Smile (Suor Sorriso) 4:45pm
His Secret Life (Fate Ignoranti) 7pm
Sex or Something Like It 7:15pm
Treading Water 9:30pm
My Gay Movie noon
All My Lesbians 2pm
Under One Roof 2:30pm
Bob & Rose, Episodes 5-6 4:30pm
Body: A Woman's Definition 5pm
In Passing 7pm
The Trip 7:30pm