The 30th festival took place from 31 October to 4 November at Espace Reuilly. A total of 66 films from 22 different countries were screened. There were 1453 festivalgoer-members in attendance, which represents an increase of 10.8% compared to 2017, and of 14.9% compared to 2016, previous edition on 5 days. The proportion of reduced-rate memberships has increased (+2.2%) while supporting memberships are decreasing (-3.3%). In addition, a large number of festival-goers contributed to the "pending tickets" programme, which was renewed for the fifth year in a row: a lot of tickets were distributed to festival-goers on limited budgets. Overall attendance at screenings went up, to a total of 4636 (+12.3%) for 21 screenings, five more than the preceding year. At equal number of screenings in 2016, the increase in attendance was +9.4%. Therefore, the average number of tickets per screening fell by 28.6% compared to 2017 but go up compared to 2016.

The selection of the 30th festival featured 66 films from 22 countries and 17 films from the old festivals, scheduled in "transmission" event and closing night. 20 women filmmakers, producers and technicians came to meet the spectators at the end of the screenings of their works. On the occasion of the 30th festival, an invitation was sent to the women directors of the films presented in previous editions and 10 of them came. The most popular screenings reflected the festival's diversity: the shorts programme 30 nuances de gouines (458 spectators), the feature films Eva + Candela (418), Extra-terrestres (393) and The Substitute (266), the feature-length documentaries Dyke, Camera, Action!, presented at the opening session, in conjunction with the concert of Bodie (288), and Little Stones (268). Retrospective sessions Transmission event: Guerrillères/Warriors and the closing session 30 ans que ça dure combining screenings and live performances also attracted festival-goers (222 and 258 respectively), as well as the shorts programme OrgasmiQ on Saturday night (261). As every year, all foreign language films have been subtitled by the team's volunteer translators, as well as all French-language films to allow access to deaf and hard-of-hearing spectators. Overall, there is a lower concentration of entries on the weekend than in 2016 and 2017 and less attendance also on evenings.

The art exhibit of the 30th festival presented the work of six women artists and a collective. In addition, Shaula Cambazzu and Lucile Cocito presented their live dance performance Une chaise à soi in the screening room and Victoria Hage proposed a series of artistic interludes, surprising and sometimes touching, throughout the festival in the lobby of "Espace Reuilly". The presence of the artists on the exhibition always allows a very liked exchange of festival-goers.

Among the many initiatives to celebrate the 30th festival, the Gouinomaton on the sidelines of the exhibition, the raffle in the cafeteria space and the Time's Up game lesbian and feminist were a big hit. The festival-goers could also choose to participate, upon registration, in six workshops (film creation, dance in pairs, feminist self-defense and how to fight without using force, reactive-writing Pense-Bêtes and two moments of intimate sharing).

Alongside the feminist and LGBT bookstore Violette and Co., other stands gave space to non-profits such as Atalante Vidéos féministes, the lesbian magazine Well well well and the politically committed t-shirt designer Sarah Calas. The restricted space of the meeting hall also hosted each day at 18:30 a participatory raffle.

Despite the difficulties engendered by the space, the cafeteria crew once again managed to satisfy festival-goers with their lovingly prepared meals. And finally, as in previous years, a room was rented from the neighbouring cultural venue Le Chantier in order to be able to propose four debates and round-table discussions, as well as the aforementioned workshops.

Over the course of the year 2018, the Hors les murs screenings, open to all, were the opportunity to reprogram shorts selected in previous editions: prize-winning shorts from the 29th festival for the 3rd Festival of LGBT cultures programmed in partnership with the Centre LGBT Paris Île-de-France and the Mairie du 10e arrondissement, a short session at Espace des Blancs Manteaux as part of the Printemps des Assoces, an evening of screening at the gallery Mémoire de l'Avenir as part of the Fortnight of LGBT prides at the initiative of the Inter-LGBT, and a carte blanche session at the Mairie du 4e arrondissement as part of the Courts sur Cour festival organized on the occasion of the Gay Games Paris 2018. One of Cineffable's films, Oh-be-joyful received the audience's award for this festival. Finally an arm-wrestling tournament was organized at the Bar'Ouf.

The result for the 2018 financial period is surplus (+€3,137.38), which is mainly due to the overall increase in revenue generated by the various activities of the association. The choice of an extended five-day duration led to a turnover of 13.9% higher than the previous year, while expenses increased by only 7.9%, due to continued efforts to control the charges. Memberships are up 7.6% and entries tickets are up 3.5%. The cafeteria crew continued its organizational work while maintaining the constant concern to control the cost price. As a result, the surplus generated is up 18.2%. Expenses related to the opening-night concert are increasing with the performance of a group of three people but remain very reasonable.
Expenditures for the catalog and festival documents are up (+29.5%) but remain low (5.4% of festival expenses). Digital communication is today the majority without additional cost thanks to the volunteer commitment of the members of the communication commission. The events Hors les murs and the party Dyke j'adore are also means of direct communication to audiences potentially interested in the festival.
Operating costs are impacted by the increase in rent and insurance of the equipment storage and the decrease in subscriptions (dissolution of the Lesbian Coordination in France in 2017). Some additional costs were generated by the transfer of the registered office. Overall these expenditures represent 13.9% of the total budget. The contribution of dance parties represents 3%.
Supports and donations increased (+39.2%), thanks in particular to the raffle, while many more subtitles were granted for a fee than in 2017.

The City of Paris has renewed its €3500 operating subsidy.

The treasury is stable but remains insufficient at the approach of the festival and several people on the team had to advance funds or pay bills directly.