The success of the 19th festival was underlined by a return to its five-day duration.

The 1,802 subscriptions registered in 2007 represent an increase of 7% compared to the previous year. Entries to the films were also on the increase at 6,701, up 18.5% over the previous year, with a return to the usual length of the festival after a shortened festival in 2006. The average attendance per film came to 295 for the Trianon and 64 for the Halle Saint-Pierre (against 368 and 64 respectively in 2006). All in all, 72 films were shown during the 19th festival, from 26 countries. They included seven francophone films and 15 feature films lasting more than 60 minutes. The return to a five-day duration allowed us to show most of the films twice. All the films were subtitled directly by the team of voluntary translators and adaptors, including the French films for the deaf and hard of hearing.

The long feature films attracted the biggest number of festival goers, in particular Nina's Heavenly Delights, in the presence of the director Pratibha Parmar, Ci Qing, a production from Taiwan and Itty Bitty Titty Committee, a comedy from the United States which is both politically motivated and amusing. The retrospective of three short films by Pratibha Parmar was also a hit. In the Halle Saint-Pierre, the session on women in the Algerian and Iranian resistance had to be repeated because of the amount of people who wanted to see it. When it comes to documentaries, the films acting as a window on other cultures attracted viewers, notably the eastern Kaleidoscope and Regards of Asia. Asia was in particular the guest of honour with films from Taiwan, Hong Kong, Thailand, Singapore, India and South Korea. Around 15 directors were on hand to present their films to festival goers.

We again staged two exhibitions during the festival: in the first 13 artists from France, Italy and Israel presented their paintings, sculptures, drawings, photographs, installations and performances around the theme What is my gender? Apart from the mezzanine, the exhibition spilled over into the mens' toilets with the tribunal of performative phrases of Lupe Ficara, and the Winter Garden with the photos of urban graphics and the slam performance of Saliâme Khéloufi, the first laureate of the public prize launched in 2007. In parallel, the surrounding exhibition F-SPACE brought together 4 artists and 2 collectives around the theme Performing Gender: video installations in the Winter Garden, works suspended above the public in the cafeteria, choreographical work...

At the opening of the festival the performance of Cae, allowed us to discover the sublime voice and the universe of this accomplished Franco-Haitian composer and writer, along the lines of artist committed to the feminist cause like Sweet Honey in the Rock, Tracy Chapman and Toto Bissainthe. Two other performances lit up the stage of the Trianon: the presentation of Belly Dancing (danse du ventre) by director April Faith and the actresses Karin Von Bolschwing and Emily Briggs and especially, as a prelude to the erotic session, the Norwegian collective The Hungry Hearts who sing of lesbian love while playing on the the gap between crude words and evanescente music, suggestive outfits and retro gestures. Nobody will forget their anthem In Your Face. Finally a group of motivated festival organisers dived in to present their corrected version of the Village People's Macho Man.

The Best of Mixte festival did not take place in 2007 after four loss-making editions. Instead one feature film and 10 short films from the 19th festival were shown to the public at two sessions on November 24 at the Best Of « Hors les Murs » session which was open to the public at large at the Centre Louis Lumière in the 20th arrondissement. The documentary Juarez, the City where Women are Disposable by Alex Flores was chosen to mark the international day against violence against women on November 25. The event was organised at a reduced cost thanks to the Paris authorities who made the auditorium available and the authorisation to show the films for free by most of the directors.

Financially the year 2007 ends in the black with a profit of 2,656 €. Incomings and outgoings are higher than the year before mainly due to a return to the five-day length of the festival.

Spending on the venue accordingly increased by 21 percent, despite savings made on the hiring of material. The longer length of the festival did not have an impact on the cost of technical equipment for the screenings. After a drop in 2006, spending on programming increased by 35 percent, mainly due to an increase in the rights for showing the films.

Savings were made in transporting the films; which dropped by 23 percent. Spending on printing the catalogue rose slightly because of a great number of copies, while the cost of printing other documents (tickets, badges, voting papers) dropped. The cost of communication continues to drop due to the use of new medias. Thus, the information newsletter Clap Info was sent by email rather than post to those who gave an email address.

On the side of incomings the 19th festival saw an increased number of subscriptions and ticket sales due to the longer length of the festival, while attendance of the films was more or less the same. A specific subsidy was received from the Embassy of the Netherlands to finance the travel and accommodation of a director from the country. The volunteers from the catering committee again achieved feats which were very appreciated by festival goers. Apart from the extra activity due to the extra day compared to the year before, a slight increase in prices was decided to face up to the increase of prices from food and drink suppliers which had not been taken into account in previous years. This catering activity continues to be a top source of financing. The three parties at the Tango also remain in profit and their public success is clear.

Functioning costs remain stable. The subsidy from the Paris city authorites -- at the same level as previous years of 10,000 €, or 14% of our resources, has allowed us to keep entrance prices low, to distribute the catalogue free, to pay the membership of directors who attend and to arrange the reception zone for the directors and artists in the Winter Garden.

2008 will be the year of the 20th edition. The team is mobilised to make out of this anniversary an unforgettabe event, without putting aside the festival's role as an anchor in the actuality of lesbian creation. The control of costs is always a priority to face up to the higher and higher prices charged by distributors and the increaing prices for renting out the venue. The demand for the subsidy, a symbol of the recognition of the festival and a help to make it accessible to everyone, has been renewed.