Alia and Muz are Pakistani-Welsh queer chosen siblings who overcome rejection and forge a path towards inclusivity. While being part of the local house ballroom scene, they soon meet Aiman, who compels them to form a trio as an Asian artist's collective in Wales. 'Trailblazers' follow their journey in reclaiming their identities, preserving their cultural heritage, and empowering Asian queer artists who refuse to let their families' rejection define them.
We Can Be Heroes (2024)
Sometimes, finding your tribe requires a bit of magic. For attendees of a live action role-playing (LARP) camp in upstate New York, the deeply accepting environment has given neurodivergent, queer, and self-proclaimed "nerdy" teenagers the space and community for self-discovery that they have never found anywhere else. As the campers immerse themselves in this imaginative world, they discover inner strength, heal from past traumas, and emerge as the heroes they are meant to be, both in the fantasy realm and in real life.
Love is in the Legend (2022)
A documentary relating to a video of the Grand Street Ball of 1988, held by Patricia Field and the House of Field. The film explores the relationships and connections between the music and culture of the Paradise Garage with the ball culture of the mid 1980's, driven by the participants' need to belong, each working, dancing, and surviving together despite the epic sweep of larger societal conflicts of the time. They are featured in present day interviews, along side 1980's archival photography and film, and iconic music representative of the theme, bridging this piece of history to the present day by the passion that lives on.
Step Up and Be Vocal (2001)
Interviews from 1999, with some queer artists, activists and bands about queer punk, feminist concepts and actions. Filmed during a trip to San Francisco.
Baldiga: Unlocked Heart (2024)
Using diary excerpts, photographs and memories from companions, the film paints the portrait of the artist Jürgen Baldiga who sensitively and authentically captured the West Berlin queer scene of the 1980s and early 1990s with his camera.
Stop the Movie (Cruising) (NaN)
A short film documenting street protests against the filming of William Friedkin's Cruising (1980)
Rude Questions (1980)
A portrait of Larry Loomer, the owner of an antiquarian bookstore located in a small town. Larry is a colourful and amusing character who shares his wry take on the world.
Lesvia (2024)
Since the 1970s, lesbians from around the world have been drawn to the island of Lesvos, the birthplace of the ancient Greek poet Sappho. When they find paradise in a local village and carve out their own queer lesbian community, tensions simmer with the local residents. With both groups claiming ownership of lesbian identity, filmmaker Tzeli Hadjidimitriou—a native and lesbian herself—is caught in the middle and chronicles 40+ years of love, community, conflict, and what it means to feel accepted.
Otherland (2018)
A vogue dancer performs at a Voodoo Carnival Ball, an important dance contest where he will have to prove himself to be accepted by the local ballroom community. Based upon the biographical story of Elvin Elejandro Martinez.
Beyond the Colors (2023)
A documentary interview with Khookha McQueer a queer visual and performing artist, non-binary transgender activist. Active in raising awareness of the rights of people living with HIV. Discussing her personal experience, sexual health and people living with HIV’s condition in Tunisia.
The Silent Village (1943)
The true story of the massacre of a small Czech village by the Nazis is retold as if it happened in Wales.
Mother Saigon (2023)
In Saigon, family culture carries on as it has for centuries, even when blood ties are broken. Through a mosaic of intimate portraits, Má Sài Gòn explores humanity’s universal desire for love, acceptance, connection and belonging through an LGBTQ+ lens. The film is a love letter – a bittersweet ode to a comforting yet disturbing mother, to a city that is as liberating as it is oppressive.
Sylvie (2019)
In the suburbs of Toulouse, a group of queers and migrants are squatting a pink house. They find traces of the previous occupants, and try to live with the memory of a crime.
Mr. Leather (2019)
Dom Barbudo, a pioneer in the São Paulo gay and BDSM community and elected first Mister Leather Brasil in 2017, prepares to pass on the mantle to one of the four contestants in the second edition of the contest.
Raja Bro (2022)
A sensitive heart-warming story of an Indian transman's acceptance, by himself and his family. Merlin, born as a girl, felt right from his childhood that he was trapped in the wrong gender.
Resident Ground Floor (2020)
Heiko, 51, a sheet metal former trained in GDR times, unemployed since the fall of the wall, pisses on his bed and on the carpet. The film encounters Heiko's dysfunctional family history and his decision to be alone forever. Piss and GDR, a reflection of how deep the consequences of the fall of the Wall are still in the bodies of some people to this day.
The Last Taboo (2024)
Hard to imagine, but true: According to current estimates, out of 500,000 active male football professionals worldwide, under ten (10) are openly homosexual. While homosexuality hardly plays a role in other areas of life today, the topic seems to be completely taboo in professional football. The feature-length documentary THE LAST TABOO lets those who broke exactly this taboo tell their very personal stories alongside Thomas Hitzlsperger. Like the British professional footballer Justin Fashanu (*1961 in London; † 1998 in London), who broke this taboo for the first time in 1990 and paid for it with his life. His niece Amal tells his story. Marcus Urban, on the other hand, was about to make the jump to the Bundesliga as a teenager and, by deciding to come out, he also went against his big dream. The stories of the US professional Collin Martin and the British player-coach Matt Morton, on the other hand, suggest that normality is not far away.
Tomatoes (2020)
Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes. Throughout the ever-changing scene, kisses, whispers, and caresses are shared with a casual, gentle intimacy that reflects interconnectivity and abundance. These queer and desirous exchanges constitute a portrait of collectivity wherein individuals come together as distinct parts of a whole.
Living With Lions (1999)
Exclusive two-disc film documenting the British and Irish Lions tour to South Africa in the summer of 1997. The unprecedented behind-the-scenes access to the team shows the preparations, the training, the fun, the team selection, the 'earthy' language, the bonding, the awesome task of playing and some shocking footage of injuries. Despite securing the series with wins in the first two tests, the Lions remained motivated by the prospect of a 3-0 whitewash, a feat never achieved against the Springboks throughout the century.
Lake (2019)
Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. As they glide farther away and draw closer together, they reach out in collective queer and desirous exchanges — holding hands, drifting over and under their neighbors, making space, taking care of each other with a casual, gentle intimacy while they come together as individual parts of a whole. The video reflects on notions of togetherness and feminist theorist Silvia Federici’s call to “reconnect what capitalism has divided: our relation with nature, with others, and our bodies.”
The Weight of Sight (2024)
The Weight of Sight is a playful and very personal essay where director Truls Krane Meby, through a massive archive of his own material - anything from DV-tapes to 35mm - explores the last 20 years of digital development - how it’s influenced the images we make, and our bodies. What kind of images do we get of the world now that everyone is a photographer, and what does it do with how we unfold our identities? How has the internet both captured and freed us? And will Truls even dare to show this film?