Sixth Annual San Francisco International Lesbian and Gay Film Festival by Frameline

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•

San Francisco

DIRECTOR

Frameline acknowledges the generous support

Michael Lumpkin

of the following in making this year's Festival

ASSISTANT DIRECTOR

possible:

John Wright

-Capp Street Foundation

ART DIRECTOR

Jorge Dominguez

Gary Rorick

Carol Keeton

ADVERTISING

VIDEO FESTIVAL DIRECTOR

Sue Mitchell

John Canaly

Chris Olson

PHOTOGRAPHY

PROGRAM NOTES

Barbara Cameron

Paul Bollwinkel

Greg Day

Mark Page

Peter Hartman

SCREENING COMMITTEE FOR INDEPENDENT FILM CATEGORY

Mick Hicks Bill Jacobson

Paul Bollwinkel

Marcelina Martin

John Canaly

Sue Mitchell

Rob Epstein

Chris Olson

Robert Evans

Robert Pruzan

Ted Kamingaksang

Marshall Rheiner

Allan Kraus

Clare Wren

Michael Lumpkin

Special thanks to Valencia Rose, Expose Gallery, 544

Sue Mitchell

Natoma Gallery, Cliff's Variety Store, Vincent Tipaldo and

Kathy Nelson

Sylvanna Nova.

Chris Olson Mark Page Frances Reid

Program printed by Dharma Press

Gary Rorick

TYPESETTING Avantgraphics/L Corwin

Liz Stevens

LAYOUT

Jeff Watts

Bill Jacobson

John Wright

Helen Oh

GALA COORDINATOR Douglas Murphey GALA SPONSORS Ambush-Catering Arena-Champagne Church St. Petal Pushers-Flowers Goddess Artista-Flower Arrangements

�,-

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Diana Duff, International Photo Exhibition

THE MIDNIGHT SUN ,4067

18th Street at Castro

MONDAY, JUNE 21

CASTRO THEATRE

MONDAY, JUNE 21

CASTRO THEATRE

7:00PM CHAMPAGNE RECEPTION 8:00PM SALOME USA, 1922. Directed by Natasha Rambova and Charles Bryant. Silent. Bob Vaughn, organist.

In honor of the Castro Threatre's sixtieth an niversary,

Frameline presents the

1922 film

SALOME, released the same year San Fran cisco's Landmark Theatre opened its door to the public. Directed by Natasha Rambova and Charles Bryant, written by Natasha Rambova, starring Alia Nazimova. Based on the work by Oscar Wilde, SALOME was not well received by critics or censors when it was presented by Alia Nazimova sixty years ago. Made with a reputedly all-gay cast, this exotic and highly stylized film horrified the cen sors who had several sequences deleted includ ing one that made clear a homosexual relation ship between two Syrian soldiers.Artist Aubrey Beardsley was the inspiration for the sets and costumes which were executed by Rambova

(reportedly

Nazimova's

Natasha

sometime

lover and the wife of Rudolph Valentino). Ac cording to one New York examining censor after viewing SALOME: "This picture is in no way religious in theme or interpretation. In my judgment, it is a story of depravity and immoral ity made worse by its biblical background. Sac rilegious! " Intermission

BARRY SANDLER IN PERSON Frameline hosts a champagne reception and buffet at the landmark Castro Theatre to cele brate the opening of the Sixth Annual Festival and the Castro's sixtieth anniversary.Join us and our host for the evening, Vito Russo, along with this year's guests, Barry Sandler, Kenneth Anger, Barbara Hammer and the other partici pants in this year's event. Vito Russo talks with Barry Sandler, screen writer for MAKING LOVE, about his film and Hollywood's entrance into gay cinema.

Film

segments from MAKING LOVE will be included as well as audience participation.

TUESDAY, JUNE 22 6:30PM PRISON FOR WOMEN Canada, 1981. Produced and directed by Holly Dale and Janis Cole. Camera: Nesya Shapiro; 81 min., 16mm, color.

A documentary of unusual impact, PRISON FOR WOMEN is the first feature by Canadians Janis Cole and Holly Dale. They have gone into the only federal penitentiary for women in Canada and have come out with a heart-wrenching film showing the desperate plight of the inmates. The stories of five of the women are told in their own words. The lives they reveal are bleak and empty. Worst of all, few of them see any hope for their futures. Almost no opportunity is offered for rehabilitation; the only job training available is in cosmetology. Some of the few bright spots in the film are the segments dealing with Janise and Debby, two women who met in prison and fell in love. Their happiness when they are together is infec tious. Ironically, after being brought together by im prisonment, it is freedom that may cause these two lovers to lose each other. Debby is sched uled for release in 48 days. Janise has 20 more years to go. The helplessness these two feel as they dis cuss their separation is typical of all of the pris oners. Unable to direct their own lives, to be with their loved ones, to even walk down a street, these women are truly forlorn. The loss, and the anger that they feel as a result is seen in every face in the film, and is heard in every story.

8:00PM FESTIVAL SHORTS (See end of schedule for complete program).

CASTRO THEATRE; 10:00PM ONCE UPON A TIME IN THE EAST Canada, 1971. Produced by Pierre Larny, di rected by Andre Brassard. Photography: Attila Dory; 100 min., 16mm, color.

ONCE UPON A TIME IN THE EAST

A transvestite night club is the center of activity for a wildly diverse group of people, all margi nal members of society, doing the best they can in a oppressive world. An old woman wins one million trading stamps, while another readies a country-western night club act. An aging "Duchess" returns home, a young girl con templates an abortion, a young man prepares for the drag of his life as Cleopatra-all of these people know and rely on each other for good or ill. This French Canadian entry in the Cannes Film Festival explores life on the outskirts of conventional society with honesty, humor and empathy. ONCE UPON A TIME IN THE EAST is the first feature directed by Andre Brassard, the most sought-after stage director in Canada.

PACIFIC FILM ARCHIVES 7:30PM 3 FROM DOWN UNDER

UCSF, Cole Hall

Noon GREETINGS FROM WASHINGTON, DC USA,

1981. Directed by Lucy Winer.

16mm,

color.

PINK TRIANGLES USA, 1981. Produced by Cambridge Documen tary Films, Inc. 16mm. PINK TRIANGLES is a fascinating, informative film in which both the roots and the current manifestations of homophobia are explored. Historical

documents

and

interviews

with

people who know about prejudice first hand are mixed, showing how lesbians and gay men ex perience discrimination and oppression. The historical perspective of homophobia is revealed, along with its links to other forms of oppression (against women,

Blacks, radicals

and Jews) and the reasons why this particular prejudice is felt so strongly. The treatment of gays in ancient and medieval times, in the Nazi death camps, and during the witch hunts of the McCarthy years are all shown. These past at rocities are linked to the present through TV in Recent years have seen a much-publicized re

terviews

naissance in Australian film production, sparked

from today's Moral Majority.

and

paid

political

announcements

by generous aid from a sympathetic govern

PINK TRIANGLES shows how society looks

ment. Fortunately, this aid has been extended to

for scapegoats in times of trouble, and how the

independent filmmakers as well as to larger,

past can be repeated. The best way to avoid this

mainstream producers. These three films sub

is to continue educating our society and our

mitted for this years festival by the Australian

selves. PINK TRIANGLES is an important part of

Film Commission give ample evidence of the

this effort.

positive impact of such help, and offer and ex ample for our government agencies. FAREWELL TO CHARMS by Carla Pontiac (16mm, 13min., 1979).The story of Emma, a re formed lipstick addict, her old school chum Cec ily and Stretch, the bionic bike dyke, this experi mental drama questions the goals of love and romance as a woman's ultimate fulfillment. FLESH ON GLASS by Ann Turner (16mm, 40 min., 1981). This beautifully produced and acted film tells a story of Catholicism, guilt and their impact on one woman's obsessive love for her brother's wife. TREAD SOFTL Y by Di Drew (35mm, 27 min., 1980). A love story of beauty and pain. "If only she'd given more time, a little attention ..... but you can't change people to what you want them to be. Its not love anymore, its an obsession tread softly."

9:05PM FESTIVAL SHORTS (see end of schedule for complete program)

WEDNESDAY, JUNE 23 2:00PM (A repeat of Tuesday evenings program of shorts -at the Castro)

4:00PM TIMES SQUARE USA, 1980. Produced by Robert Stigwood. Di rected by Allan Moyle. Photography: James A. Cont. 1'11 min., 35mm, color.

In this big-budget rock-and-roll fable, two ado lescent girls, tough, street-wise Nicky and timid, intellectual Pamela meet and give each other the courage to follow their different destinies. The absence of explicit sexuality was used by straight critics as an excuse to ignore that this is perhaps the most romantic love story between girls ever put on -film, a classic female-bonding picture. Music by Pattie Smith Group, Lou Reed, Talking Heads, The Ramones, Roxy Music and more. 6:30PM FESTIVAL SHORTS (See end of schedule for complete program) 8:00PM PINK TRIANGLES USA, 1981. Produced by Cambridge Documen tary Films, Inc. 16mm.

See Tuesday intermission

CASTRO THEATRE OUT OF ORDER

A work in progress, projected release of 1983. Produced by Robert Epstein and Richard Schmiechen. Associate Producer:John Wright. Directed by: Robert Epstein. Photography: Fr ances Reid and Arthur Bressan. Sound: Elizabeth Stevens. 15 min., 16mm, color.

OUT OF ORDER is a work-in-progress about the increasing visibility of gay people as viewed through the 1978 "Briggs Iniative" campaign and the life and death of Harvey Milk. At this work-in-progress screening the filmmakers will show a fifteen minute filmic out line of what will eventually be an hour long documentary about Harvey Milk and the anti gay "Briggs Iniative" campaign (Prop. 6). It be gins in 1977 with Harvey's election to the San Francisco Board of Supervisors, and ends in the aftermath of his assassination. The completed film will be comprised of interviews with people who participated in the events of 1977-1979, his torical footage, media coverage, and still photo graphs. The fifteen minute sample reel includes a selection of some of this material.

SPECIAL LIVE PERFORMANCE CASSELBERRY AND DUPREE

WEDNESDAY, JUNE 23

CASTRO THEATRE

10:00PM FUNERAL PARADE OF ROSES Japan, 1968. Produced by Mitsuru Kudo;

Director Matsumoto sets the story against the

rected by Toshio Matsumoto. Photography by

turmoil of Japanese society in

Tatsuo Suziku; 105 min., 16mm, 8/W.

Peter's world is made of parties, free love, drug

1969. Eddie/

traffic, student radicals, gay bars, prostitutes, hippies, rock music and rebellion. The stage blood gore of the Oedipus sequences are a po tent counterpoint to the serenity of Leda's tea service and the light-heartedness of Eddie and his friends' entry into a mens room in full go-go girl drag. Dire omens mix with comic moments as Matsumoto steers his course through melod rama, tragedy, comedy, documentary style in terviews, and social commentary, coming at last to Eddie's inevitable end. The question that re mains is, what will become of Peter?

FUNERAL PARADE OF ROSES is a unique avant garde masterpiece, a brilliant film within a film which recreates the classic story of Oedipus while simultaneously showing the film crew, ac tors and director at work. Set in the Japanese "gay-boy" society of 1969, the film tells the Oedipus tale with a gay twist - "Eddie" is a young, mod gay-boy who killed his mother and ends up sleeping with his father. As this fictional tale unfolds, we are also shown the real�life world of Peter, the 16 year old gay-boy who plays Eddie in the film. FUNERAL was the first feature

film by director Toshio

Matsumoto.

Known previously as a maker of experimental and short documentary films, Matsumoto has created

fascinating

picture

Tokyo's

homosexual underground and of the constant battle in Japan between the old ways and the new. Eddie's main rival in the movie is Leda, a trad itional, geisha-style gay-boy. As different as Eddie's vinyl miniskirt and Leda's kimono, the two protagonists still want the same things, the number one spot at the local gay bar and the love of Gondo, manager of the bar. As their drama plays itself out, it seems inevitable that modern ways will win in the end.

THURSDAY, JUN'E 24

CASTRO THEATRE 10:00PM NIGHTHAWKS

6:30PM THE WORLD OF GILBERT AND GEORGE

Great Britain, 1978. Directed by Ron Peck and

Great Britain, 1981. Producer: Philip Haas. Di

Paul Hallam. Photography: Joanna Davis and

rected by Gilbert and George.

Wilfred Thust. 113 min., color.

Photography:

Martin Schafer, 69 min., color.

Ken Robertson is a teacher who spends his nights cruising in bars and discos and having

8:00PM DEPART TO ARRIVE

one night stands, a situation that causes him to

West Germany, 1982. U. S. Premiere. Produced by

Frauen-Film-Produktions.

Directed

Alexandra von Grote. Photography: Hille Sagal. 89 min., 35mm, color.

look inward at the double life he leads. By pre senting a dispassionate view of London gay nightlife, NIGHTHAWKS allows a gay male audi ence to experience "the hunt" as more than passive spectators. There is an uncanny feeling that we in the audience are ourselves cruising, recognizing a glance or a gesture, then realizing it is meant for a character in the film. The movie climaxes with a defiant, courageous moment of liberation. When NIGHTHAWKS opened in New York in 1978 several mainstream critics, including Janet Maslin in The New York Times and David Denby in New York magazine singled it out as a film that examined gay nightlife with sensitivity, in telligence and an uncompromising respect for its main character. Gay critics have criticized the film for presenting a limited picture of the gay

DEPART TO ARRIVE tells the story of Anna, who, at the end of a year-long love affair, quits her job as a photographer, borrows a friends' VW camper and heads for the south of France to recover. On the road she begins to reminisce about the good times and the bad that she shared with her lover, Regine. Directed by Alexandra von Grote, the film was conceived as "a portrait of a womans' relation

world. A charge that director Ron Peck has intel ligently explained: "The film shows one part of the gay scene . . . it does not cover everything as many people may wish it did. But such a hope . . . is only a reflection of the dire situation in which there are so few films with or about gay charac ters. Almost any film starts off with the burden of trying to redress an imbalance . . . We need hundreds of gay films, not half a dozen."

ship". This is the first feature for the German di rector, who is also a journalist, film professor and author. Von Grote uses a fragmented flashback tech nique to tell the lovers' story and to sort out Anna's reasons for running away. Memories as sume the nature of hallucinations, forming a sharp contrast to the pastoral French country side through which Anna passes. Many differ ent experimental film techniques and laboratory col or processes are used by the director to skill fully evoke the intensity of these scenes. Variety has said that there is something of ev erything in this film. It was subsidized by both the German Federal Film Board and the Berlin Film Fund. The quality of the film proves that their support was well deserved.

MIDNIGHT EROTIC SHORTS Titles include THE DEEP FRONTIER by Pete Schrader, PIERCED McDowell.

ROBERT by

Sandy

HAVING Daley,

HIS

LOADS

NIPPLE by

Curt

PACIFIC FILM ARCHIVES, Berkeley 9:40PM FUNERAL PARADE OF ROSES

7:30PM ARMY OF LOVERS OR REVOLT OF THE PERVERTS

Japan,

West Germany, 1978. Produced and directed by

rected by Toshio Matsumoto. Photography: Tat

Rosa von Praunheim. Photography: Rosa von Praunheim

and

Lloyd

Williams.

107

min. ,

16mm, color. A challenging and controversial film that asks serious questions about gay politics in America, ARMY OF LOVERS charts tha progress of what director Praunheim sees as a losing battle. His images form a picture of a movement talking to itself as he examines the stridencies of political and social extremes within the gay movement. Through a series of interviews interspersed with newsreel footage, still photo montages and snippets of marches and rallies we are consis tently asked to redefine and reexamine the na ture and purpose of gay liberation. "Radicalism died in 1973", a grim-voiced narrator intones while onscreen the former executive director of the National Gay Task Force, Bruce Voeller, is seen on the street wearing a suit and tie. NGTF is described, conversationally, as a "conserva tive,

elitist

organization."

Anita

Bryant,

Stonewall, San Francisco's 1977 Gay Freedom Day Parade and cynical scenes of the cult wor ship of superstar women by gay men are all in cluded in this radical documentary that has been both praised and condemned by feminists, lesbians, gay men and straights. In an interview with Montreal gay publication, Le Berdache, director Praunheim made his in tentions clear: " It's too easy to show homosex uals as victims. To get out of the situation of vic tim you have to struggle. Gays have been used to hiding and playing a passive role. They are also passive politically ...When they saw my films, many gays felt hatred and anger for the first time, though it was directed at men and at the films. But that's the reaction I wanted. It's a very important step forward."

1968. Produced by Mitsuru Kudo. Di

suo Suziku. 10 5 min., 16mm, BfW. FUNERAL PARADE OF ROSES is a unique avant garde masterpiece, a brilliant film within a film which recreates the classic story of Oedipus while simultaneously showing the film crew, ac tors and director at work. Set in the Japanese "gay-boy " society of 1969, the film tells the Oedipus tale with a gay twist - "Eddie " is a young, mod gay-boy who killed his mother and ends up sleeping with his father. As this fictional tale unfolds, we are also shown the real-life world of Peter, the 16 year old gay-boy who plays Eddie in the film.FUNERAL was the first feature

film

by director Toshio

Matsumoto.

Known previously as a maker of experimental and short documentary films, Matsumoto has created

fascinating

picture

Tokyo's

1969.

Eddie/

Peter's world is made of parties, free love, dru g

SAN FRANCISCO INTERNATIONAL EXHIBITION OF LESBIAN AND GAY PHOTOGRAPHY

21 May

27 June Concurrently at

Valencia Rose, 766 Valencia St. � -'-------�

'(tj u

Expose Gallery, 4406A 18th St. 544 Natoma Gallery, 544 Natoma St.

The objective of this exhibition is to encourage excellence in the work of lesbian and gay photographers and to promote

=E c

:i:

0) ::l o �____________________��______� o

photography in the lesbian and gay community, It is our in tent to present a wide range of our community's sen sibilities and concerns. The exhibition includes one hundred and sixty images by seventy-six photographers from throughout the United States and Europe.

1 J

FRIDAY, JUNE 25

ROXIE CINEMA

6:15PM MONTREAL MAIN Canada, 1974. Produced by Frank Vitale and Allan Bozo Moyle. Directed by Frank Vitale. Photographed by Eric Bloch. 90 min., 16mm, color.

MONTREAL MAIN is a film which clashes two very different worlds in a setting as realistic as the corner bar. Frank is the inarticulate, self proclaimed artist; the faded tail of the youth comet of the sixties. Johnny is thirteen and is just ready to emerge from the swadliings of the suburbs. They meet in a strange moment of mutual need only to be separated by all those forces which keek society neat, clean-cut and in its place.

8:00PM TRIBUTE TO IRIS FILMS Titles include IN THE BEST INTEREST OF THE CHILDREN, Produced by Iris Films, 1977, 53 min., color; WE HAVE OUR REASONS by Fr ances Reid and Elizabeth Stevens,1981,30 min., color; ALTERED HABITS by Marjorie Newman, 1981, 2 min., B!W;

A COMEDY IN SIX UN

NATURAL ACTS by Jan Oxenberg, 1975, 26 min., BIW. Iris Films was founded in 1975, as part of the movement of women to regain, define, and create our own culture. We produce and distri bute films by and about women. As filmmakers, we use the film media to speak to the reality of women's lives and counter the stereotypic, and oftentimes romanticized or degrading, images of women presented by the film industry. As distributors, we make the film statements of other women available to the community for the purpose of enlightenment, entertainment and creating social change. We feel that it is ex tremely important for all of us who are working for social change to understand the importance of culture, and visu�1 media in particular, in achieving our goals. Visual media-films in this case-can put forward the most powerful ideas, point out the most blatant contradictions, with out saying a word. Our committment is to get ting as broad an audience as possible for films that we believe have important political and aesthetic content.-Iris Films.

ROXIE CINEMA

I FRIDAY, JUNE 25

MIDNIGHT LIFE AND DEATH

10:00PM KENNETH ANGER'S MAGICK LANTERN CYCLE-PROGRAM I

Norway, 1980. Directed by Svend Wam and Pet

Director Kenneth Anger in person. Program I consists

FIREWORKS, RABBIT'S

ter Vennerod. 35mm, color.

MOON,

EAUX D'ARTIFICE, INAUGURATION OF THE PLEASURE DOME. A film exhibition organized and circulated by the American Federation of Arts.

Jacob, a doctor, meets and falls immediately in love with John, a young medical student. In a candle-lit bedroom they consummate their af fair. At first, Jacob's wife, Jennifer is shocked Kenneth

Anger,

self-described

"Ieft-handed

fanatic craftsman", is one of the most brilliant and influential American avant garde filmmak ers. Since his 1947 film FIREWORKS, a startling and humorous homoerotic fantasy he filmed in his Hollywood home at age 17, Anger has been in the forefront of the underground film move ment. While several of his films have been lost or

destroyed, those that exist are dazzling,

evocative works concerned with magic, ritual, popular icons, sexuality, religion and mythol ogy. Calling his lifework the "Magick Lantern

Cycle" (a reference to the dawn of cinema, when every film was an experiment), Anger at tempts to cast a spell over the audience with his films, films which reflect his worship of the spirit of Lucifer, "Lucifer created his own light show in heaven", writes Anger. And with typical humor, "Eventually he was expelled for playing the stereo too loud." The Roxie programs of 9 Kenneth Anger films begins Friday with FIREWORKS and ends on Saturday with LUCIFER RISING, his latest and most ambitious work: a film that took over 12 years to complete. A detailed program will be available at the door.

and hurt by the relationship but gradually finds herself deeply involved with both men and drawn to an expanded understanding of roman tic/sexual possibilities. With the music of ABBA in the background Jacob, John and Jennifer embark on a touching,often very funny triangle. A relationship that finds the three roaming the snowy Norwegian landscape, at an outrageous Christmas dinner in the country, and at a loud, colorful Oslo disco. Eventually they come face� to-face with contemporary homophobia - in the form of an eerie black American-made van. Mephisto films is a Norwegian production company launched by Svend Wam and Petter Vennerod in 1976. Their first feature film, THE

SILENT MAJORITY, a major hit in Norway, was shown at the Cannes Film Festival. After several more productions they filmed LIFE AND DEATH in Oslo in 1980. LIFE AND DEATH has been screened at both the Berlin and Chicago festi vals.

SATURDAY, JUNE 26

ROXIE CINEMA

4:00PM MADAME X, AN ABSOLUTE RULER West Germany, 1977. Directed by Ulrike Ot足 tinger. 16mm, color. Print is in German with no English subtitles, and English translation will be provided.

6:30PM 3 FROM DOWN UNDER

8:00PM TRIBUTE TO BARBARA HAMMER Titles Include WOMEN I LOVE, OUR TRIP, and SYNC ToucH.

CELEBRATING TEN YEARS OF FILMMAKING

Titles include: I WAS I AM: (1973) 7 min., X (1974) 7 min., PSYCHOSYNTHESIS (1975) 7 min., WOMEN I LOVE (1976) 25 min., HAIRCUT (1977) 6 min., DOUBLE STRENGTH 16 min., PICTURES FOR BARBARA ( 1979) 10 min., OUR TRIP (1980) 4 min., POOLS (with Barbara Klutinis) (1981) 6 min., SYNCH TOUCH (1982) 10 min.

Barbara Hammer, one of the world's most vocal and prolific Lesbian/Feminist filmmakers, is an artist whose work has contributed significantly to our growing cultural movement. In honor of her 10th anniversary as a filmmaker, the Festival presents ten of her films, one from each year of her work. Hammer is currently involved in creating en足 vironments in which the audience is encour足 aged to participate, fusing the creative and spectative aspects of film. Everyone attending this tribute screening is encouraged to wear cel足 ebratory costume. The audience will be filmed while entering the Roxie and while inside.

(SATURDAY, JUNE 26 10:00PM KENNETH ANGER'S MAGICK LANTERN' CYCLE-Program II Director Kenneth Anger in person. Titles include KUSTOM KAR KOMMANDOS, SCORPIO RIS ING, INVOCATION OF MY DEMON BROTHER, PUCE MOMENT and LUCIFER RISING. A film exhibition

organized

and

circulated

the

American Federation of Arts. Kenneth

Anger,

self-described

"left-handed

destroyed,

those that exist are

dazzling,

evocative works concerned with magic, ritual, popular icons, sexuality, religion and mythol ogy. Calling his lifework the "Magick Lantern

Cycle" (a reference to the dawn of cinema, when every film was an experiment), Anger at tempts to cast a spell over the audienCe with his films, films which reflect his worship of the spirit of Lucifer, "Lucifer created his own light show in heaven", writes Anger. And with typical humor, "Eventually he was expelled for playing the stereo too loud." The Roxie programs of 9 Kenneth Anger films begins Friday with FIREWORKS and ends on Saturday with LUCIFER RISING, his latest and most ambitious work: a film that took over 12 years to complete. A detailed program will be available at the door.

ROXIE CINEMA

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TUESDA Y 6/22 PFA (9:05PM)

NIGHTSHIFT A moody, artfully edited black and white look at

TOUMANAKA'S CAVE (Jack Mongovian; San Francisco)

one of San Francisco's less popular neighbor

SEE WHAT I SAY (Linda Chapman,

hoods.

Pam Leblanc, Freddi Stevens)

FLESH ON GLASS

STRIDER'S HOUSE (Clyde Derrick; Los Angeles)

Catholicism,

PUPPET CHARACTERS (Donna Gray;

DA DA DA

guilt and their impact on

one

woman's obsessive love for her brother's wife.

New York)

TOUMANAKA'S CAVE

FOOLISH THINGS (Peter Wells;

Elaborately

Auckland, New Zealand)

detailed,

colorful and humorous

animation.

MILAN BLEU (Jean-Francois Garsi; Paris, France)

DAVID, MONTGOMERY UNO ICH Bowie, Clift and a really bad night club singer form the imagery in this somber film about sex

TUESDA Y, 6/22 CASTRO (BPM)

ual frustration.

DADADA (Jack Mongovian; San Francisco)

PUPPET CHARACTERS

LOST LOVE (Cathy Zheutlin; San Francisco) ERNIE A N D ROSE (John Huckert;

An amazing look at the creation of stuffed doll toys. JOAQUIN

Silver Springs, Maryland)

Joaquin La Habana is an intelligent, insightful

LUSCIOUS BRITE (Karl E. Fischer;

drag performer. This film documents several

Los Angeles)

stages of his life and work.

SHAMAN PSALM (James Broughton, Joel Singer; Mill Valley)

PINK TRIANGLES A

ILLEGAL ACTS (Moze Mossanen;

frightening

and

unsettling

study

homophobia in the 20th century. Blatant sexism

Toronto, Canada) NIGHTSHIFT (A.P. Gonzalez; San Francisco)

and ignorance are juxtaposed with scenes of lesbians and gay men gearing up for battle.

WEDNESDA Y 6/23 CASTRO (6:30PM) TOUMANAKA'S CAVE (Jack Mongovia; San Francisco) FILM FOR TWO (Victor Mignatti; New York) DAVID, MONTGOMERY UND ICH

WASTED DREAMS THE MAD MAD WORLD OF STELLA SLICK Splintered, chaotic imagery and the best of popular music. TREAD SOFTL Y A story of love and pain and obsession.

(Wieland Speck; Berlin)

LUSCIOUS BRITE I

JOAQUIN (Serge Raoul; New York)

An on-target parody of an all too familiar televi sion commercial. SHAMAN PSALM Gay men everywhere are invited to become

FILM FOR TWO Angst and more angst as two men struggle to

"champions of hug " and "warriors of kiss " in

sustain their relationship. A beautifully photo

this unfaltering sensitive film by poet James

graphed portrayal of young love in New York

Broughton and Joel Singer.

City. Gold medal winner at the 1981 Chicago Film Festival. FAREWELL TO CHARMS An experimental, satiric look at makeup, motor cycles and the ways women experience love and romance. Missed opportunity and lost love. A haunting, literate, narrative film produced as a graduate project

the

University

Southern

California. ILLEGAL ACTS A brilliantly photographed and eye opening visit to a chicken processing plant is at the center of this disturbing film, a clever comment on the gay struggle.

Love " takes a light-hearted approach to a sensi tive subject - the break up of a love affair. Sophisticated comedy with music by Margie Adam.

STRIDER'S HOUSE

film

LOST LOVE With Woody Allen-like clarity and humor, "Lost

ERNIE AND ROSE A completely original film about two aging men sharing their lives together, "Ernie and Rose " is at once a touching document and a subtle, bril liantly satiric look at sexual role playing. FOOLISH THINGS A man undresses teasingly behind a scrim. Another drives city streets at night pondering the trauma of relationships. An abstract film full of humor and playful irony.

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