Monthly Archives: July 2019

“The Ultimate Fan Guide to RuPaul’s Drag Race” by John Davis and illustrated by Paul Borchers— A Celebration

Davis, John. “The Ultimate Fan Guide to RuPaul’s Drag Race’, Illustrated by Paul Borchers, Smith Street Books, 2019.

A Celebration

Amos Lassen

Here is a RuPaul’s Drag Race “herstory” lesson like no other. Her book celebrates all the queens from seasons 1 to 10 and so much more! Here is the dish on a great reality show and a guide that celebrates all the queens that have attacked  the runway from seasons 1 to 10 and All Stars seasons 1 to 3. This means that all 127 fierce performers are included. Author John Davis also gives the reader an insider’s guide to drag terms, and includes inspiring quotes from RuPaul, and stats and facts on all the “lip-sync battles, the mad fashion moments and the feuds and friendships that make this series so exceptional.”

John Davis is an Australian nightclub DJ and event promoter with loves RuPaul’s Drag Race. Since he constantly works with drag royalty, he has learned the true importance of these performers to mainstream culture as well as to queer history. He can easily recite the chronological order of elimination of every Drag Race contestant while debating the importance of a winner’s sewing skills over comedic ability. Paul Borchers is a New Zealand born, Dutch artist based in San Francisco. He’s been working on a variety of art and commercial projects since early 2000, collaborating with artists from all over the world. Paul is also an illustrator and graphic designer and has created editorial and covers for Rough Trade, Men’s Health, Demon Records, Virgin, Avantgarde Magazine and many more. Recently he has embarked on more animation work and produced animated videos promoting Stephen King’s It and the Justice League for Village Roadshow.

“Homosexuality, Transsexuality, Psychoanalysis and Traditional Judaism” edited by Alan Slomovitz and Alison Feit— Jewish Orthodoxy and the LGBTQ Community

Slomowitz, Alan and Alison Feit (editors). “Homosexuality, Transsexuality, Psychoanalysis and Traditional Judaism”, (Psychoanalysis in a New Key Book Series), Routledge, 2019.

Jewish Orthodoxy and the LGBTQ Community

Amos Lassen

I did not think that I ever would see a book like “Homosexuality, Transsexuality, Psychoanalysis and Traditional Judaism” that so  explores “the often incommensurable and irreconcilable beliefs and understandings of sexuality and gender in the Orthodox Jewish community from psychoanalytic, rabbinic, feminist, and queer perspectives.” But more than that, this book explores how seemingly irreconcilable differences might be resolved. 

The book is divided into two separate but related sections. The first section examines the divide between the psychoanalytic, academic, and traditional Orthodox Jewish perspectives on sexual identity and orientation, as well as the acute psychic and social challenges faced by Orthodox Jewish gay and lesbian members of the Orthodox world. We are asked to engage with them in a dialogue that allows for authentic conversation.

The second section looks at gender identity, especially as experienced by the Orthodox transgender members of the community as well as highlighting the divide between theories that see gender as fluid and traditional Judaism that sees gender as binary only. The contributors share their views and experiences from both sides. They also ask us to engage in true authentic dialogue about these complex and crucial emotional and religious challenges. 

I understand that this book is meant to be of great interest to psychoanalysts and psychoanalytic psychotherapists. As an active member of the Reform Jewish community and a gay male, I found it to be fascinating. I worked to make our religion more welcoming to LGBTQ people so while I did not really read anything new, I am so glad to have all if this information in one place and as a way to opening the conversation.

We have articles from psychoanalysts, feminists, rabbis, and a writers on queer life and theory. They have come together to provide  a crucial conversation with one another. The editors have brought together a group of writers who share their clinical, theoretical, and spiritual resources to bear on questions that have never before been seriously and simultaneously considered.

Here we have an ancient religious and hermeneutical tradition engaging with a very current situation that is changing traditional assumptions about identity.

 “Trying to pretend to be something I am not in front of you all is becoming more trying by the day as I’m not the heterosexual being I portray for you. I wish I could have told you guys everything and I know you would have understood, but deep down, I know our relationship would have changed.” These are the words of a South African teenager who committed suicide while on a trip to Israel with his friends. It is heartbreaking but it is also very real and frightening. It’s crucial that Jewish institutions and leaders give visibility to the conversation on LGBT identities in Judaism, rather than avoiding them. Only through open discussions on the matter will we be able to try to live in an environment in which no teenager will ever be so afraid to reveal their sexual identity that they prefer to death.

Some modern Orthodox communities are slowly starting conversations about “inclusiveness, plain ignorance about the way LGBTQ Jews are harassed or dismissed in communities seems to be one of the main obstacles that queer Orthodox Jews face. But as long as Orthodox leaders frame sexual orientation and gender identity as choices, it can be difficult to advance a discussion on the matter.”

“BEFORE STONEWALL: THE MAKING OF A GAY AND LESBIAN COMMUNITY”— Newly Restored for the 50th Anniversary of the Stonewall Riots

“Before Stonewall: The Making of a Gay and Lesbian Community”

Newly restored for the 50th Anniversary of the Stonewall Riots

Amos Lassen

In 1969 the police raided the Stonewall Inn, a gay bar in New York City’s Greenwich Village, leading to three nights of rioting by the city’s LGBT community. With this outpouring of courage and unity the gay liberation movement had begun.

Before Stonewall pries open the closet door, setting free the dramatic story of surival, love, persecution and resistance experienced by LGBT Americans since the early 1900’s. Revealing and often humorous, this widely acclaimed film relives the emotionally-charged sparking of today’s gay rights movement, from the events that led to the fevered 1969 riots to many other milestones in the brave fight for acceptance.

Experience the fascinating and unforgettable, decade-by-decade history of homosexuality in America through eye-opening historical footage and amazing interviews with those who lived through an often brutal closeted history.

On DVD, iTunes & Prime Video August 6

“Entertaining and enlightening.” -Los Angeles Times

“Funny, courageous and touching.” – Seattle Times

“Intelligent, moving!” -The New York Times

“The personal and profound stories of LGBT Americans that populate this Emmy award-winning film remain timeless, and so does its urgent reminder of the personal and political battles facing the LGBTQ community.”
– Ms. Magazine

“You owe it to yourself to see it.” – Judith Crist, WOR-TV

Narrated by iconic author Rita Mae Brown

Groundbreaking interviews with:
Ann Bannon, Martin Duberman, Allen Ginsberg, Barbara Gittings,
Harry Hay, Mabel Hampton, Dr. Evelyn Hooker, Frank Kameny
Audre Lorde, Richard Bruce Nugent, Jose Sarria
and many more!

Executive Producer: John Scagliotti • Director: Greta Schiller • Co-Director: Robert Rosenberg
Produced by Robert Rosenberg, John Scagliotti & Greta Schiller
87 minutes, color, 1984

About the restoration: The 16mm negative was scanned and digitized at Periscope Films in Los Angeles. The file was then color corrected at Edition Salzgeber in Berlin, who created the ProRes and DCP. Director Greta Schiller supervised the process and approved the new master.


“Alice, Sweet Alice”

A Horror Film

Amos Lassen

 “Alice, Sweet Alice” came out in the mid-seventies  to reasonable acclaim but never quite gained the ongoing momentum of some of its peers. Director Alfred Sole introduces us to Alice (Paula Sheppard) is an unpleasant 12-year-old girl who taunts and threatens her younger sister Karen (Brooke Shields in her debut film role), an overly perfect little dear to their separated parents. During her first communion, Karen is brutally murdered and many see Alice as the culprit. especially those of the audience who are the only witnesses to the crime. The girl’s parents (Linda Miller & Niles McMaster) refuse to believe that their precious daughter could do such a thing though and her mother hides away from the truth while  the father decides to do some investigating of his own.

Young girls make creepy and disturbing villains as we see here. Sheppard does an excellent job of creating a  nasty child on the brink of becoming a teenager with an added dark edge.  which helps you accept what she could be capable of. We meet the grotesquely overweight landlord Alphonso (Alphonso DeNoble) who shows hints of being a child molester and Aunt Annie (Jane Lowry), who is openly cruel to most of those around her, especially Alice. Alice’s mother isn’t perfect either and this makes for quite a disturbing experience. Sole keeps his actors interesting and always watchable.

The film is very stylish with some well composed imagery and the slick use of movement and space. There’s a big twist about an hour into the film which totally turns the film on its head. Things are tied up very effectively and although I didn’t care for the choice of turn the film made, the final act is still well handled so I can’t complain too much.


Set in Paterson, New Jersey where Alice Spages is a rebellious and mentally disturbed young girl who has strange habits like dressing up in a yellow raincoat and mask in order to terrorize her angelic sister Karen. While most of Alice’s actions amount to nothing more than ghoulish pranks, Karen winds up being strangled to death at the local Roman Catholic church by an assailant wearing the same raincoat and mask. There are no witnesses to the murder itself. However, when Alice is seen wearing her veil at the communion which her sister was due to take part in, the police believe that she was the perpetrator.

Their mother Catherine (Linda Miller) refuses to believe that her disturbed daughter could carry out such an act. Her busybody sister Annie (Jane Lowry), on the other hand, can’t stand the mischievous girl and is more than willing to believe this theory. When the latter gets attacked in the tenement stairwell by the same masked murderer, she tells the police that Alice was responsible – resulting in her being committed to a mental institution. Catherine’s estranged husband Dom (Niles McMaster), meanwhile, tries to get to the bottom of whoever is carrying out these violent acts.

While it’s not the horror classic that it has been made out to be in some quarters, it’s certainly an interesting and distinctive effort. There’s a lot of emphasis placed on the close-knit Roman Catholic religious milieu. The film has a sympathetic priest character in the form of Father Tom (Rudolph Willrich). However, it does certainly point out that things can go horribly wrong in an environment so infused with ritual and unquestioning faith.

The stalking and slashing sequences are effectively orchestrated here, with inventive use made of POV camerawork. There’s a realistically messy quality to some scenes that makes them quite shocking, especially the attack on Annie which features a succession of knife blows to her legs and feet. She’s reduced to crawling her way out of the front door of her tenement, leaving a trail of blood for rain to wash away.

Director Sole knows how to generate suspense while developing interesting, unusual characters. Lovers of 70’s films, horror titles in particular, should definitely check out this lesser known film. It has a lot going for it and deserves more attention than it has received.

“Covenant & Conversation: Deuteronomy: Renewal of the Sinai Covenant” by Rabbi Jonathan Sacks— The Final Volume

Sacks, Rabbi Jonathan. “Covenant & Conversation: Deuteronomy: Renewal of the Sinai Covenant”, Maggid, 2019.

The Final Volume

Amos Lassen

“Covenant & Conversation: Deuteronomy: Renewal of the Sinai Covenant” is Rabbi Jonathan Sacks’  fifth collection of Torah commentaries and it completes that project. Rabbi Sacks brings together Jewish tradition, Western philosophy and literature and as he has done in the four previous volumes of “Covenant and Conversation”, he presents with “a highly developed understanding of the human condition under God’s sovereignty.” And like the other volumes,  this final volume of the series contains several concise essays for each parasha of Deuteronomy.

The Torah bridges “past and present, moment and eternity and this is the frame Jewish consciousness.” Rabbi Lord Jonathan Sacks explores these intersections in regards to universal concerns of freedom, love, responsibility, identity, and destiny. If you have ever read or heard Rabbi Sacks, you know what I am speaking of and if you haven’t read him, it is never too late to have that wonderful experience.

Rabbi Sacks here writes: “With the book of Deuteronomy, the entire biblical project becomes lucid and reaches its culmination. Deuteronomy is the last act of the Jewish people’s drama before becoming a nation in its own land, and it forms the context of all that follows… [it] is in essence a programme for the creation of a moral society in which righteousness is the responsibility of all. The good society was to be, within the limits of the world as it was thirty-three centuries ago, an inclusive if not an entirely egalitarian one. Time and again we are told that social joy must embrace the widow, the orphan, the stranger, and the Levite, people without independent status or means.  It is to be one nation under God.”

The entire “Covenant & Conversation” series consists of multiple essays on every Torah portion. The set has been described by critics as “profound,” “poetic,” “masterful,” “perfect reading for the lay person or scholar.”

Rabbi Sacks says, “I am delighted to have finished this work on the Covenant & Conversation series. I called this series Covenant & Conversation because this, for me, is the essence of what Torah learning is – throughout the ages, and for us, now. The text of Torah is our covenant with God, our written constitution as a nation under His sovereignty. The interpretation of this text has been the subject of an ongoing conversation that began at Sinai thirty-three centuries ago and has not ceased since. Every age has added its commentaries, and so must ours. I hope by reading this series, people are inspired to participate in that conversation, because that is a major part of what it is to be a Jew.”

I see two kinds of books in the world today—- those that you read and just enjoy and those that are total experiences and the latter is exactly what this is.

“Feast Day of the Cannibals” by Norman Lock— The Sixth Book in the American Novels Series

Lock, Norman. “Feast Day of the Cannibals”, Bellevue Literary Press, 2019.

The Sixth Book in the American Novels Series

Amos Lassen

Set in New York City between 1873–79, we meet Shelby Ross, a merchant ruined by the depression of who gets a job as a New York City Custom House appraiser under inspector Herman Melville. Melville, now bitter and forgotten, had written the novel, “Moby Dick”. While working on the docks, Ross becomes friendly with a genial young man while at the same time becoming the enemy of one who attempts to destroy their friendship by insinuating that Ross and the young man are involved in an unnatural relationship. Ross is telling this story to his childhood friend, Washington Roebling, chief engineer of the almost-completed Brooklyn Bridge. Other characters include Ulysses S. Grant, dying in a brownstone on the Upper East Side; Samuel Clemens, who will publish Grant’s Memoirs; and Thomas Edison, at the beginning of electrifying the city. While this is the story of Ross, it is also the story of the transformation of America during an unsettling time and we get important questions about sexuality.

Author Norman Lock has a remarkable eye for historical detail and the talent of writing beautiful prose. He examines both societal and personal questions of desire and repression, both personal and societal while giving the reader a look at old New York and the conflicts that the narrator experiences. Obsession and violence are the result of repression and sublimation as we read about the  ugly side of the Gilded Age. 

Shelby Ross visits his old friend Washington Robling, who is incapacitated and tells him his sad story including his fall from fortune forcing him to seek work, and the events that led to his imprisonment. Having lost his business in the depression, Ross found employment at the Customs House, working under Herman Melville, a bitter, failed novelist and a younger man who pursues a friendship, while another co-worker, a sinister older man, harasses them as suspect homosexuals.

Ross reads Melville’s forgotten books, and Moby Dick influences him in dark ways. He plays into the hands of his nemesis, until his rage drives him to commit a crime of passion.“This is a dark novel of evil and hatred, of failed dreams, the bitterness of life’s unjustness, and the many ways humans are all cannibals at heart.” We see that while age was gilded, it was sordidly so.

“45 DAYS AWAY FROM YOU”— After the Breakup


After the Breakup

Amos Lassen

Direcror Rafael Gomes takes us to a time after the breakup when 20-somehing Rafael (Rafael de. Bona)), a young gay Brazilian bachelor finds his romantic life going out of control.

He sets out on a journey that will take him to England, Portugal, and Argentina. Along the way, he learns that time is  all it takes to mend a broken heart is time… and the support of a few good friends. This is a fiction film with documentary characters.

Rafael, a waited 45 days for a love that never returned. Broken hearted, he goes into self-exile, seeking refuge with three friends who, for different reasons, decided to live away from their own home: Julia (Julia Correa) in England, Fabio (Fabio Lucindo) in Portugal and Mayara (Mayara Constantino) in Argentina.  This is quite the romantic drama.

“Mary McCarthy: A Life” by Carol Gelderman— An Extraordinary Woman

Gelderman, Carol. “Mary McCarthy: A Life”, St. Martin’s, 1988.

An Extraordinary Woman

Amos Lassen

 I am a bit ashamed to say that I never read Carol Gelderman’s wonderful study of Mary McCarthy and there is reason for that especially since McCarthy was Hannah Arendt’s best friend and Carol Gelderman was one an important professor in my graduate studies.

For half a century, Mary McCarthy was at the center of the literary and intellectual life of America. This book, written with her cooperation, but not authorized, traces for the first time her extraordinary career.

Written while the subject was still alive, and with her cooperation, this is an engrossing biography of a woman whose name always comes up in any discussion of mid-20th century writers and intellectuals.


Mary McCarthy was both known as and actually was a brilliant writer, thinker, and supporter of leftist causes. She was outspokenness and this  often brought her unfavorable attention (the whole Lillian Hellman/Dick Cavett episode is examined). Gelderman gives us  a sympathetic yet balanced treatment of the criticism and controversies in her personal and literary life. There was much more to Mary McCarthy than her most famous work, “The Group.”

 Carol Gelderman was McCarthy’s first “official” biographer, and what surprised me was the inclusion of small details that were absent in later efforts such as McCarthy’s friendship with Montgomery Clift, and, after he sublet her house one summer who up as a character in “A Charmed Life?”).  

“SOCRATES”— Bereavement, Isolation and Family Breakdown


Bereavement, Isolation and Family Breakdown

Amos Lassen

Alexandre Moratto’s “Socrates” is a stunning and deeply emotional portrayal of a young man’s (Christian Malheiros) journey through bereavement, isolation and family breakdown. “Socrates” empowers at risk young people and their input gives the film a realism and natural delivery that reflects the very thin line between poverty and security in inner city Brazilian society.


Filmed on a very low budget, “Socrates” is the story of 15 year old young man who is dealing with the deeply emotional loss of his mother. We follow Socrates through his struggles in supporting himself while dealing with the loss that has taken his security and opportunity from him.

As a gay young man, this security is further threatened by a distant and disconnected relationship with his absent father; who will not accept his son’s sexuality/

Socrates finds an emotional connection with another local young man, who hides his sexual orientation through anger, frustration and lies and they develop a complex relationship of hidden truths and barriers of expectation in masculinity.

The impact of the film comes from its realism and social reflection. It dares to challenge the audience and the social constructs of the society it represents as we become very aware of the choices forced upon young people in a society where opportunities are limited by income and support. The recent political changes in Brazil of increasingly isolating LGBT young people from their society makes this all the more relevant.

“Socrates” demonstrates the emotional and social power of Brazilian film making by examining  the challenges faced by young people at risk. It is a multi-layered film explores grief, identity and societal failures and will remain with you long after the credits roll.


“Socrates” was created in a workshop of young people between the ages of 16 and 20, and is  Brazilian-American filmmaker Alexandre Moratto first feature film.  It has been winning awards at festivals around the world. As we watch, we discover how powerless he really is: he isn’t even allowed to collect his mother’s ashes. He can’t turn to his estranged father (Jayme Rodrigues) for help, because he’s harshly religious and has rejected Socrates for being gay. So Socrates tries to get on with life, finding a job in a local junkyard. There he meets Maicon (Tales Ordjaki), and they begin a tender romance. But their hot tempers, as well as some other outside circumstances, make this relationship increasingly difficult. Socrates needs to grow up quickly if he hopes to have a future.

Socrates could get help from a persistent social worker if he would accept it but instead tries to do things on his own, even though everyone he turns to abandons him, leaving him to consider unthinkable options like prostitution or suicide. The film remains earthy and honest about even these things and focuses on Socrates’ internal thoughts and feelings rather than the bigger political themes. There’s no overt plot structure here— the narrative traces this young man’s emotional journey into manhood.

Malheiros is superb in the role, delivering an expressive performance that reveals the characters’ inner feelings to the movie audience but not to the people around him on-screen. He conceals himself from everyone and this is moving but also a little scary, because he is a teen dealing with very grown-up issues essentially all by himself. Each knock-back is awful to watch. Scenes with his father are especially painful, because it’s clear that his father’s love is so conditional. Malheiros and Ordjaki have quite a range of powerful textures as they play out the relationship between Socrates and Maicon that starts with a brawl and remains rough-edged even through moments of tenderness.

This is an intimate film in which director Moratto never moralizes about any of the decisions that Socrates makes or actions he takes. We are right with Socrates all the way through his journey of self-discovery and it is not an easy path. Watching Socrates battle against obstacles is darkly moving but this also shows us some big social issues that are rarely depicted in such powerfully honest ways on-screen. We are reminded that most people are struggling and afraid to ask for the help they need.

Frameline43, World’s Largest and Longest-Running LGBTQ+ Film Festival, Announces Juried and Audience Awards

Frameline43, World’s Largest and Longest-Running LGBTQ+ Film Festival, Announces Juried and Audience Awards

SAN FRANCISCO – Following 11 days of electrifying screenings, events, and galas, Frameline announced its slate of award winners for its 43r d annual International LGBTQ+ Film Festival. Each year, the Festival issues a duo of juried prizes: The First Feature Award, proudly underwritten by Wells Fargo, and the Outstanding Documentary Award. The Festival audience too is given an opportunity to select their favorites each year with four categories of AT&T Audience Award winners, after introducing a new category for the Episodics section last year.

First Feature Jury Award

Frameline43’s First Feature Award, proudly underwritten by Wells Fargo, went to Lucio Castro’s END OF THE CENTURY from Argentina. The Cinema Guild will be releasing the film in New York City on August 16t h before expanding it across the country, reopening in San Francisco and Berkeley on September 27t h . This year’s international jury consisted of ITVS producer and filmmaker Bianca Beyrouti; journalist and founding president of the Queer Palm prize at the Cannes Film Festival, Franck Finance-Madureira; and Frameline alum, filmmaker, and board member of the Beijing Queer Film Festival, Popo Fan. The jury collectively offered the following statement:

“We are excited to discover a remarkable film about time and memory, love and relationships. In this debut work, the director found a smart and cinematic way of creating a unique timeline, while also thoughtfully exploring new challenges and possibilities in our community. At this moment, when we are about to conclude the first fifth of our new century, this work brings us a fresh element of filmmaking. Congratulations to the winner of the Frameline43 First Feature Award: END OF THE CENTURY, directed by Lucio Castro.”

The jury also included a special honorable mention to an additional first feature whose strengths and merit they wished to recognize: Margherita Ferri’s ZEN IN THE ICE RIFT from Italy. They added: “All of this year’s first feature contenders are remarkable achievements in their own right. This visual poem of a feature debut offers a rich character study of burgeoning androgyny and queer first love against the cold backdrop of adolescent isolation and grief, anchored by assured direction and a captivating lead performance. We’re pleased to present the Frameline43 First Feature Special Jury Honorable Mention to ZEN IN THE ICE RIFT by Margherita Ferri.”

Outstanding Documentary Jury Award

The Outstanding Documentary Feature Award for Frameline43 went to Rodney Evans’ VISION PORTRAITS , which was also a recipient of a Frameline Completion Fund Grant. The jury for this prize consisted of Cornelius Moore, co-director at California Newsreel, and Nico Opper, Emmy®-nominated filmmaker and producer. Moore and Opper issued the following statement:

“In this gripping film about several artists, the filmmaker courageously turns a camera on themself. We experience how their artistic vision expands, taking us on a journey that is at once intellectual, emotional, visceral, and philosophical. We are delighted to present the Award for Outstanding Documentary to a film that also received a Frameline completion grant, VISION PORTRAITS by Rodney Evans.”

Additionally, Evans was the recipient of the Festival’s highest honor, the Frameline Award . Following an anniversary screening of the director’s seminal feature debut, BROTHER TO BROTHER and a celebratory montage of his body of work and interviews with collaborators and admirers, Evans graciously received the Frameline Award at the Castro Theatre before the Bay Area premiere of VISION PORTRAITS. The film begins its US release on August 9t h in New York City, before expanding across the country, and returning to San Francisco on August 30t h , courtesy of Stimulus Pictures.

AT&T Audience Awards

Every year, Frameline lets the audience have their say as well, issuing AT&T Audience Awards in four categories: Narrative Feature, Documentary Feature, Short Film, and Episodic. Choosing from close to 200 of the Festival’s titles, tens of thousands of festivalgoers weighed in on their personal favorites through both text and paper ballots.

The AT&T Audience Award for Narrative Feature went Leon Le’s SONG LANG , a beautiful and evocative first feature from Vietnam.

In the Documentary Feature category, the AT&T Audience Award went to Michael Barnett’s CHANGING THE GAME , a timely and moving portrait of the triumphs and struggles of transgender high school athletes.

Frameline was pleased to issue the second annual AT&T Audience Award for Episodics to the Festival’s Centerpiece title, A LUV TALE: THE SERIES , written and created by Sidra Smith, exactly 20 years after Smith’s short film of the same name, which provided the groundwork for the new series, made its debut at Frameline23.

Competing with a wide array of exceptional shorts, Alyssa Lerner’s BUBBLE , a funny and charming coming-of-age tale which screened in the Festival’s youth-oriented COMING UP QUEER program, took home the AT&T Audience Award for Short Film.

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@framelinefest @frameline framelinefest

About Frameline43: San Francisco International LGBTQ+ Film Festival:

Frameline43, San Francisco International LGBTQ+ Film Festival, takes place June 20-30, 2019. Spanning five venues in the Bay Area, the 43rd Festival celebrates the spectrum and intersection of identities that make up LGBTQ+ communities worldwide. Join filmmakers and festivalgoers alike at the biggest showcase of queer media on the planet. Info and tickets:

About Frameline:

Frameline’s mission is to change the world through the power of queer cinema. As a media arts nonprofit, Frameline’s integrated programs connect filmmakers and audiences in San Francisco and around the globe. Frameline provides critical funding for emerging LGBTQ+ filmmakers, reaches hundreds of thousands with a collection of over 250 films distributed worldwide, inspires thousands of students in schools across the nation with free films and curricula through Youth in Motion, and creates an international stage for the world’s best LGBTQ+ film through the San Francisco International LGBTQ+ Film Festival and additional year-round screenings and cinematic events.