Des images et des paroles de lesbiennes noires et d'origine indienne sur l'importance de retrouver des sensibilités culturelles dans les relations amoureuses.


An honest exploration of how cultural identity effects the way you feel about being a lesbian. Issues of difference are explored within the community and in terms of sex and relationships.
The camera colourfully reveals the joys of sharing and play.

A Short Film about Us est le premier film de Rita Smith.

"A Short Film about Us" is the first film of Rita Smith.

Les effets de 40 ans de silence totalitaire sur les lesbiennes, gays et transsexuel(le)s de l'ancienne Tchécoslovaquie. Le film montre l'impact du nouveau mouvement homosexuel, mélangeant des témoignages et des extraits de films de propagande rares. Dans ce pays le taux de transsexualité FtM était dix fois plus élevé qu'ailleurs. Cette "solution" permettait d'éviter la remise en cause du rôle traditionnel des femmes, et celles qui rejetaient le statu quo tendaient à se considérer comme des hommes.

A wry look at the effects of sexual repression on lesbian and gays in former Czechoslovakia. "After the Revolution" explores the impact of the new gay movement, combining personal accounts and rarely seen propaganda film. After 40 years of totalitarian silence about sexuality, lesbian, gay and transsexual contributors reveal how they reacted to exclusion from communist norms of heterosexuality and parenthood, including in the case of some women, by changing sex.

lizziethynne.co.uk  -   FB Lizzie Thynne

Née à Londres, Lizzie Thynne a terminé ses études en littérature anglaise puis a vécu en Italie. Elle travaille actuellement comme réalisatrice et a créé sa maison de production, Panache Pictures. Elle a réalisé After the Revolution (1994), présenté au festival de 1996. Depuis lors, son travail a souvent mis l'accent sur la façon dont les récits personnels sont liés à des changements politiques, sociaux et juridiques plus larges.

Lizzie Thynne was born in London. She originally studied in English and Related Literature at York University. Theatre was her first love. She spent a year living in Florence, teaching English language and travelled between the UK and Italy for a few years. She did an MA and PhD research in English Renaissance Literature at Sussex University. Her entry into film was as Education Officer at the Tyneside Cinema in 1988 where she devised courses and events around the cinema programme, including for the first UK Lesbian and Gay Film festival. After studying film and television production as a post-graduate at Bristol (1990 - 91), she worked on both factual and drama projects for television. She began making her own films, "After the Revolution" (1994) and "Child of Mine" (1996), for Channel Four. Since then her work has often focused on how personal narratives are connected to wider political, social and legal changes.

Alicia, encore douillettement enroulée dans ses draps, a du mal à se lever malgré la sonnerie du téléphone qui retentit plusieurs fois. Elle en émerge pour se rendre à un rendez-vous dans une chambre d'hôtel. C'est la première rencontre charnelle avec une femme pour Mara et une après-midi comme une autre pour Alicia, prostituée.

Alicia is a young woman who lives in a comfortable apartment. She gets up and leaves the house. Mara is a mature woman with some problems at work. The two have known each other a coffee, talk and then go to a hotel room, where they have a sexual relationship. For Mara, it is something new ... for Alicia, only one customer more.

Gloria Núñez travaille depuis 1989 sur l'écriture de scénarios cinématographiques et la réalisation de vidéos. Alicia cada dia est sa dixième réalisation.

Gloria Núñez has been working since 1989 on screenwriting and the making of videos. "Alicia cada dia" is her tenth film directing.

Le rôle de Chérubin, le jeune adolescent des Noces de Figaro qui vit pour la comtesse Almaviva son premier amour naïf, trouble et troublant, est souvent interprété à l'opéra par des femmes. Il offre à l'imagination un espace pour la séduction au féminin.

The role of Cherubin, the young teenager of the "Noces de Figaro" who lives for the countess Almaviva her first naive, troubled and troubling love, is often performed at the opera by women. It offers imagination a space for feminine seduction.

Née en 1963, Cristina Rap est diplômée en scénographie des Beaux-Arts de Catania. Elle enseigne l'éducation artistique. Elle a également réalisé en 1994 la vidéo Quando l'eroe e un mezzo soprano : il fascino lesbico del "travesti" nel melodramma.

Born in 1963, Cristina Rap graduated in scenography from the Academy of Fine Arts in Catania. She teaches Arts Education. She also directed in 1994 the video "Quando l'eroe e a mezzo soprano: il fascino lesbico del" transvestite "nel melodramma."

Le titre, B.D. Women, autrement dit Black Dyke Women, s'inspire de la chanson B.D. Women's Blues, chantée dans les années 20 par Bessie Jackson. Le film entrecoupe fiction et témoignages avec brio pour recréer l'histoire et la culture des lesbiennes noires et témoigner de leur expérience dans un milieu majoritairement blanc. Les scènes de fiction se situent dans un club de jazz des années 20 avec une chanteuse à la voix rauque et sa belle amante masculine.

"B.D. Women" is a wonderful celebration of the history and culture of Black lesbians. Lively interviews feature Black women talking candidly about their sexual and racial identities. These contemporary views are cleverly interwoven with a dramatized love story, set in the 1920s, in which a sultry romance develops between a gorgeous jazz singer and her stylish butch lover. The film rewrites the vanished history of Black lesbians’ lives in an eloquent and entertaining way.

 Voir un extrait du film / Watch an Excerpt

www.blackmanvision.com  -   @CampbellX

Inge Blackman a commencé par faire des films pour la télévision anglaise, dont Ragga Gyal D'Bout ! sur les fans féminines de ragga musique et B.D. Women déjà primé dans de nombreux festivals. Elle est également la fondatrice et directrice de la société de production BlackmanVision.

Inge Blackman is the filmmaker behind BlackmanVision. She started out making films for UK television and titles include "Ragga Gyal D'Bout!" about female fans of Ragga Music, and the award-winning "B.D. Women" about Black lesbian stories.

Une marée de cheveux noirs voraces - désir féminin et forces surnaturelles 'obscures' - dévore à belles mèches et en gros plans les interdits qui pèsent sur la sexualité féminine. Des images superbes et étonnantes où se mêlent influences surréalistes et résonances psychanalytiques.

 Voir le film / Watch the Movie

In "Backcomb" the demonic is unleashed on domestic space. It takes the form of two of femininity's mildest tokens, hair and embroidery, that serve here in the creation of a sexualised surrealist experience. Within the claustrophobic space of a table-lay, a forceful and erectile mass of hair comes alive and slithers across its surface. The hair probes into vessels and punches through the cloth till finally order overturns and all smashes to the ground.

Sarah Pucill, originaire de Manchester, est photographe, enseignante et artiste vidéo. Backcomb est son troisième court métrage expérimental après You Be Mother (1990) et Milk and Glass (1993).

Sarah Pucill has been making 16mm films since completing her MA at the Slade in 1990. Since then her films, which have all received public funding, have been screened and won awards internationally at festivals, and have been staged in museums and galleries.

Between These Few Silent Breaths est une fiction sombre et poétique qui décrit la première rencontre entre une femme adoptée et sa mère biologique.

The short film describes the night an adopted woman meets her biological mother and rather absurd circumstances of their meeting.

Lucinda Komisar étudie à l'Université Columbia de New York, où elle a réalisé ce film.

Lucinda Komisar studies at Columbia University in New York where she directed this film.

Black Nations/Queer Nations? a été filmé lors de la conférence du même nom qui a eu lieu à New York en mars 1995. Cet évènement a réuni un grand nombre de cherch-euses-eurs, militant-e-s, et intellectuel-le-s de la diaspora africaine. Les intervenant-e-s se penchent sur les situations politiques, sociales et économiques des lesbiennes, gays, bisexuel-le-s et transgenres de la diaspora africaine, et parlent de la construction des identités Black et Queer, du nationalisme noir et de l'homophobie dans la communauté noire.

This is an experimental documentary chronicling the March 1995 groundbreaking conference on lesbian and gay sexualities in the African diaspora. The conference brought together an array of dynamic scholars, activists and cultural workers including Essex Hemphill, Kobena Mercer, Barbara Smith, Urvashi Vaid and Jacqui Alexander to interrogate the economic, political and social situations of diasporic lesbians, gay men, bisexual and transgendered peoples. The video brings together the highlights of the conference and draws connections between popular culture and contemporary black gay media production. The participants discuss various topics: Black and queer identity, the shortcomings of Black nationalism, and homophobia in Black communities. Drawing upon works such as Isaac Julien's "The Attendant" and Jocelyn Taylor's "Bodily Functions", this documentary illuminates the importance of this historic conference for Black lesbians and gays.

 Voir un extrait du film / Watch an Excerpt

Shari Frilot est directrice du festival MIX de films expérimentaux lesbien et gay à New York, et travaille dans la production audiovisuelle depuis neuf ans. Elle a réalisé What Is a Line? (1994) et A Cosmic Demonstration of Sexuality (1992).

An alumna of Harvard/Radcliffe University, and the Whitney Museum Independent Study Program, Shari Frilot is a filmmaker who has produced television for the CBS affiliate in Boston and for WNYC and WNET in New York before creating her own independent award-winning films, including "Strange & Charmed", "A Cosmic Demonstration of Sexuality", "What Is A Line?" and the feature documentary, "Black Nations/Queer Nations?"

Un documentaire qui sert de guide parmi les "femmes cuirs" de San Francisco : S/M, cuir, jeux de rôles, engagement politique et plus encore. Bloodsisters suit huit femmes qui représentent divers aspects de cette communauté.

From pushy bottoms to macho femmes, Bloodsisters is an A-Z documentary guide that takes an in-depth look at the San Francisco leatherdyke scene during the mid-nineties, shattering assumptions about gender and lesbian sexuality. Handelman’s film doesn’t describe the bounds of permissible fantasy in the women’s leather community; rather it broadens the discussion about private expressions of eroticism and their political implications. Eight self-described leather dykes tell their stories about participating in a subculture cast off by its own immediate ally, the larger lesbian community.

Michelle Handelman est une réalisatrice, comédienne et écrivaine qui travaille sur la sexualité radicale. Parmi ses précédents films, on peut citer : Hope (1994), A History of Pain (1992) et Homophobia is Known to Cause Nightmares (1990).

Michelle Handelman uses video, live performance and photography to make confrontational works that explore the sublime in its various forms of excess and nothingness. Her background is a study in opposites – raised during the late 60s/early 70s, Handelman split her time between Chicago, where her mother was a fixture in the art world, and Los Angeles, where her father was a player in the counterculture sex industry. Over the years Handelman has voraciously traversed both these worlds, developing a body of work that investigates ways of looking at the forbidden and revealing dark, subconscious layers of outsider agency.

Collage d'images vidéo, de films trouvés, de super8, de texte et de narration, Boy Frankenstein critique les ravages de la famille nucléaire entretenue par l'éducation et l'institution psychiatrique qui imposent leur folie à l'enfant. Sans elle, le nazisme n'aurait pu exister, dit-on. L'histoire de l'individu et son identité sexuelle, identité de genre, se construit par les commentaires et les perceptions de ceux qui l'entourent.

"Boy Frankenstein" questions the taboos of female body parts. Using collaged images, text and narration a story which forms a lyrical critique of the limitations and destructive propensities of the nuclear family as it relates the story of an individual constructed entirely by the comments and perceptions of those around her/him. Susana Donovan weaves together Super 8 film, Hi8 video and stock footage to create a lyrical dance around the female body.

 Voir le film / Watch the Movie

Susana Donovan jongle avec les techniques du film, de la vidéo, du multimédia et les performances. Parmi sa production, très primée, citons Haunt#451 et SSS.

Susana Donovan is a San Francisco-based mediamaker and received an MA in Interdisciplinary Arts from San Francisco State University. While living off and on in Spain, Donovan developed a passion for the culture and its language. Her close relationship with an Argentinian helped her understand the complexities within Latin culture. Donovan is currently finishing "Haunt #451," a short experimental film about desire and how stories get told.