Ten years of shaping, forming, breaking, discovering and finding XPOSED is about QUEER FILM in all it’s forms, glory, shame, distaste, trash and beauty. Sometimes it’s all in one and sometimes it’s spread out like Blanche at the Rusty Anchor.
XPOSED was started as a passion project, a passion for Queer Film, for Berlin and the ever expanding possibilities of storytelling within the world of Queer Film and the festival remains to this day a passion project. This festival is made by people who enjoy making festival, who enjoy queer films, filmmakers and queer Berlin, and this is reflected within the programming of the festival.
By not only screening some of the newest films around, XPOSED takes special care to always mix their programs with new and old films, be it in a short film program or a feature screening with a short. XPOSED enjoys creating programs and these programs can only be created by looking at the queer perspective from all corners of the world, perspectives that challenge normative views, propose an alternate way of thinking, and approach life and story telling from another way.
Created in 2006, the XPOSED International Queer Film Festival has built itself with the aim of creating entertaining, odd, left of centre Queer Film Programs that also in turn eXPOSE the Queer Filmmakers out into the international world of Queer Festivals and beyond. You can only be you when you are truly XPOSED. This festival, in the end, is about YOU.
Ana Galizia 2018 Brazil 22′
“Luiz Roberto Galizia was an important figure for the theatrical scene in the 1970s and 1980s. He was also an uncle I did not know. This documentary seeks a rescue of the lived, based on the record made in photographs and super 8 films by uncle Luiz and found by me 30 years after his death.” Ana Galizia
Charlie Lyne 2018 USA 14′
The story of sixteen men put on trial for sadomasochism in the dying days of Thatcher’s Britain was told by the police, the prosecution and the tabloid press — but not by those in the dock.
SIXTY NINE CLUB
Rob Eagle 2018 UK 22′
Now only a small handful of members, the Sixty Nine Club is Europe’s oldest social group for gay leathermen, founded in 1965 when homosexuality was illegal in Britain. Today the club’s last surviving older members take us through home movies and tales of debauchery, love and friendship.
L’ALBERO ROSSO (THE RED TREE)
Paul Rowley 2017 Ireland/USA/Italy 22′
THE RED TREE / L’ALBERO ROSSO is a “powerful and poetic” short film that tells the little known history of Italian gay men being arrested and exiled to a remote island during Mussolini’s Fascist regime. In the film an elderly man returns to the island of San Domino where many years before during the Fascist era he was imprisoned with hundreds of other men for being gay. As he walks the island alone, memories come back – of all-male dances in his home town in Sicily in the 1930s, of his beating and arrest, the difficulty of prison life on the island, the suffering of gay men under fascism, and their public humiliation after their return. And of this unique island where all the prisoners were gay, and the seeds of a community were first sown.
Richard Millen 2017 USA 19′
Fragments 83 rediscovers and repurposes Richard Millen’s 1983 experimental film that was shot in Brooklyn and the West Village in the early days of the AIDS epidemic. The resulting documentary explores the hunt for sex/love, the joy of making cinema, and the inexorable passage of time.
Barbara Hammer 1974 USA 4′
“A popular lesbian ‘commercial,’ 110 images of sensual touching montages in A, B, C, D rolls of ‘kinaesthetic’ editing.” — Barbara Hammer
“Hammer’s films of the ’70’s are the first made by an openly lesbian American filmmaker to explore lesbian identity, desire and sexuality though avant-garde strategies. Merging the physicality of the female body with that of the film medium, Hammer’s films remain memorable for their pioneering articulation of a lesbian aesthetic.” – Jenni Sorkin, WACK! Art and The Feminist Revolution, 2007.
Jorge Jácome 2017 Portugal 26′
In a natural crisis scenario, the entire population of Azores is forced to evict due to an uncontrolled plague of hydrangeas, a common flower in these islands.
Two young soldiers, bound to the beauty of the landscape, guide us to the stories of sadness of those forced to leave and the inherent desire to resist by inhabiting the islands. The filmic wandering becomes a nostalgic and political reflection on territorial belonging and identity, and the roles we assume in the places we came from.
Jay Bernard 2017 UK 8′
The New Cross Fire was a major tragedy in 1981 that claimed the lives of 13 young black people and was initially met with state, media and police indifference.
Haunted by that history, and in the context of the recent rise of the far-right and the tragedy of Grenfell, Something Said is an imaginative, gestural letter to Yvonne Ruddock, the 16 year-old whose birthday was being celebrated the night of the fire.
Writer, performer and director Jay Bernard undertakes a queer exploration of black British history, starting with this particular moment in time and examining its ramifications at two scales: the larger social and political rupture that followed the fire, and the smaller, individual attempt to reconcile one’s queer present and the black radical past.
Jordan Wong 2018 USA 5′
A nonfiction reflection on being out of the closet. As a queer person of color, it’s taken me a long time to be as comfortable as I am through navigating forms of intimacy, gender, and self worth. It doesn’t always get better, but you’re beautiful however you decide to present, including the choice of garments you decide to wear.
GALATÉE À L’INFINI (INFINITE GALATEA)
Julia Maura, Mariangela Pluchino, Ambra Reijnen, Maria Chatzi, Fátima Flores Rojas
2017 Spain 17′
Pygmalion, disappointed of the women of his time, decides to create an immaculate woman with his own hands. He models his creation at the height of his expectations and level: she should be able to satisfy his pleasures and provide his kingdom with workforce.
A visual essay about the body as a socially constructed discourse throughout gynecology, a science serving itself of an ideological scalpel to mould gender, sexuality and desire.
THE DRUM TOWER
Fan Popo 2018 China 18′
An introverted senior school student and a transgender vintage shop-owner: two lonely souls swimming in the ever-changing pool of the city. Can they break through wall of communication? Where are they heading to? This is the first film in China with all transgender leading cast.
Andrés Baron 2017 Colombia & France 6′
Two ambiguous characters seated against one another, sharing an easy intimacy while enjoying the sunset. Steadily holding our gaze, the couple try to divert our attention from what turns out to be a cardboard backdrop. A syrupy soundtrack underscores the deconstruction and transformation of a classic cinema trope into a novel beauty.
THE CHAMPAGNE FOUNTAIN
Gerald Zahn 2015 Austria 3′
The Champagne fountain is a nostalgia luxury symbol, a nowadays cliché of cruise ships and casinos. Using the arrangement of glasses as an anachronistic staple of glamour, the artist engages in the self- indulgent ritual, celebrating the unavoidable personal routines.
NO NO NOOKY T.V.
Barbara Hammer 1987 USA 12′
Using a 16mm Bolex and Amiga computer, Hammer creates a witty and stunning film about how women view their sexuality versus the way male images of women and sex are perceived. The impact of technology on sexuality and emotion and the sensual self is explored through computer language juxtaposed with everyday colloquial language of sex. No No Nooky T.V. confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that pokes fun at romance, sexuality, and love in our post-industrial age.
Jess Kohl 2018 UK 15′
Ancient Hindu traditions are celebrated at an annual festival for Hijra and trans women in Tamil Nadu.
Chintis Lundgren 2017 Estonia, Croatia, Canada 13′
A hot young plumber Toomas breaks into the harmonious life of Manivald and his retired mother.
Conrad Veit & Charlotte Maria Kätzl 2017 Germany 3′
Blastogenesis II fantasize Evolution between science fiction images out from the 1950s and images of queer and bizarre experimental films. A film who shows creatures between human and animal, born out of a plant seed pouch in a setting of world end. It shows birthing, living and scoring like in nature documentaries , but with the aspect of drag, which brings up the question about fetishism and experimental porn.
Miriam Gossing and Lina Sieckmann 2015 Germany 11′
Desert Miracles’ is a cinematic exploration of a commercialized architecture of desire. Across 22 different tableaus the film meditates upon the interiors of Nevada’s wedding chapels, considering how the excessive scenery opens up to constitute a cultural organisation of “Love”. A woman’s’ voice is heard reading out an ambiguous letter to an unknown lover in which she finds herself troubled by the challenges of modern relationships, unable to negotiate a balance between self-fulfilment and optimization. The text is based on anonymous posts by different women in various internet wedding forums. One fictional female character is composed out of many assembled perspectives on desire, relationships and social expectation.
FUCK THE BOXES
Abel Rubinstein 2018 UK 10′
Set in the present day, this coming of age story tackles unconventional queer love. Dan a gay man falls in love with Ray, a non-binary person assigned female at birth. Whilst Dan is forced to question his own label, Ray learns to accept love as a non-binary person.
REALITY FRAGMENT 160921
Qigemu (April Lin and Jasmine Lin) 2018 Sweden, USA, UK 14′
Reality Fragment 160921 follows two people in their process of reality-curation, as they create their own spaces against and via understandings of distance, as they go through the motions of growing themselves by growing their universes.
Chaerin Im 2018 USA 4′
At Kindergarten I thought I could grow a penis from my vagina, just like the other boys.’ Although Chaerin Im was born as a woman, she never had affection or interest in objects or properties that corresponded to the category of ‘feminine’. At the same time, she never had the feeling that she should have been a man. Through twist and turns of uncanny sculptures resembling a penis and/or vagina or both, Chaerin questions the general gender connotations.
SUPERDYKE MEETS MADAME X
Max Almy, Barbara Hammer 1975 USA 21′
Winner of the Louise Riskin Prize at the 1976 San Francisco Art Festival, Superdyke Meets Madame X documents the Barbara Hammer’s relationship with Max Almy on a reel-to-reel ¾” videotape recorder and microphone. This was Hammer’s first foray into recording with the Sony Portapak and was produced as part of a skill swap with Almy.
OS ÚLTIMOS ROMÂNTICOS (THE LAST ROMANTICS)
João Candido 2018 Brazil 15′
Two young men share different points of view of the same sexual encounter in a public space.
Amber Bemak & Nadia Granados 2019 Mexico / USA 15′
Goodbye Fantasy is about two bodies in relation to each other as they let go of multiple cinematic universes they occupy together. Transforming from a fantasy body to a dreaming body to a dying body, they enact different constellations of social and political power as they relate to each other within the tight construct of the frame.
Trevor Andreson 2019 Canada 4′
Trevor reflects on his fear of dating.
ST PELAGIUS THE PENITENT
Jason Elvis Barker 1988 UK 14′
Five friends in the 1990’s and one medieval saint, each exploring their gender.
Miguel Nunes 2018 Portugal 25′
Lisbon, after another blistering summer, Miguel finds himself in a deep jadedness. When an improvised party erupts at his apartment awakening the memory of a passion.
Werther Germondari 2019 Italy 3′
Some unusual creatures come to life in their natural habitats…
Kirrilee Bailey 2018 Australia 6′
Jordan, a queer non-binary person, must navigate the widening divide between the left and the right when they visit their evangelical Christian family in rural Australia and discover that their own mother is a Trump supporter.
Alejandro Zuno 2018 Mexico 16′
OPHELIA, a lower middle class housewife in her 40’s, goes to a gay bar called “Oasis” looking for her husband. The impact of confirming her suspicion leaves her lying on the ground after fainting and is JACKELINE, a transsexual prostitute, who unexpectedly helps her and takes her to a quiet place where she can find some peace of mind.
ONDAS MAREDAS (DIZZY WAVES)
Collective film by:
Inés Aledo, Amaia Araiztegi, Jone Garitano, Alberto Gómez, Aitor Ibarguren, Paty Ortiz de Zárate
2018 Basque Country 6′
Mariana has something to tell us. A collective film made in the framework of the workshop “Experimental cinema and lesbian realities” conducted by Zazpi T’erdi & Irene Bailo.
Dubravka Turic 2017 Croatia 30′
Family tensions are slowly eroding what should have been a carefree summer for 10-year old Jakov. Shielded by the innocence of a child, Jakov does not understand the cause of the troubles, but can sense a profound injustice in the actions of the grown ups. A series of events ending in tragedy will incite his emotional revolt, but also his feelings of guilt.
Serena Porcher-Carli 2018 France 7′
Serena is drawing the portrait of Enzo. In a cozy and intimate atmosphere, he tells us his story, this life is extraordinary, because it is a life of a Female-To-Man (FTM) transgender. This photography project does not deal with the issue of nudity. No nudity, no sign of trans-identity is highlighted. Pictures just show a man in his daily life, a life that can even be a little bit boring within the framework of a vernacular photography. The spectator is immersed into the small flat of Enzo. Pictures take into account every detail of human life; they are likely to embody the personality and universe of Enzo.
WE LOVE MOSES
Dionne Edwards 2016 England 15′
When Ella was 12, she had her first fight. And when she was 12, she discovered sex. Now 18, Ella reflects on how her obsession with her brother’s best friend Moses left her with a secret she still carries.
WOULD YOU LOOK AT HER
Goran Stolevski 2018 Macedonia 18′
In the way she carries herself, 18-year-old Aneta barely differs from the boys. Because of this and an uncomfortable cell phone recording doing the rounds, she and her only friend are mocked as ‘lesbians’. This destroys their friendship. Meanwhile, Aneta also has to deal with family problems. Her father is slowly losing his battle with cancer. When his TV breaks down, his suffering seems to increase.
Aneta comes up with an idea. She has to convince the village priest to let her participate in a centuries-old all-male church ritual. If allowed to take part, she will have to battle the savage high school bullies. The prizes range from the spiritual (good health and blessings) to the lucrative (a brand new flatscreen).
CAROLEE, BARBARA AND GUNVOR
Lynne Sachs 2018 USA, Gibraltar 9′
From 2015 to 2017, Lynne visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee’s 18th Century house in the woods of Upstate New York to Barbara’s West Village studio to Gunvor’s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.
Harry Lighton 2018 UK 11′
“Tradition can be cruel you know, and we used to do a very cruel thing on the day after Christmas…”
In his sermon on St Stephen’s Day, a priest from County Cork recalls the now-outmoded wren hunting tradition. Boys on the cusp of manhood would be sent out to kill a wren, and later the parish would gather for the burial of the bird. The tradition symbolized the burial of the past, promising a fresh start in the new year. But it was cruel, and tradition, Father Conor concludes, does not legitimise cruelty.
Later that day, Conor drives his nephew to prison to visit a battle-worn inmate. Their visit is one born of a new 21st Century Ireland, which casts a critical eye on tradition. But within the prison walls, progress operates at a different pace; and runs alongside the threat of violence.
OF ORIGINS, PART 2: EMMA
Irit Reinheimer 2018 USA 7′
In the second installation of this series, the filmmaker addresses the great-grandmother she’s not quite named after. Using home movies, projections, and newspaper announcements, Emma traces the ways naming practices — being named after land and after ancestors — can make and erase a family geography.
Anna Luis de Filippis 2017 Canada 13′
As a young trans woman cares for her Italian grandmother, she discovers a tender bond in their shared vulnerability.
Maša Zia Lenárdič & Anja Wutej 2018 Germany/Slovenia 8′
We’ve all done it before. We felt uncomfortable in one place, and thought that running away would solve everything. But it didn’t. What is home? What is comfort? At which point will we take a risk, give it a real try, what will make us stay? And: Are we able to stay at all?
Sky Hopinka 2017 USA 17′
An incomplete and imperfect portrait of reflections from Standing Rock. Cleo Keahna recounts his experiences entering, being at, and leaving the camp and the difficulties and the reluctance in looking back with a clear and critical eye. Terry Running Wild describes what his camp is like, and what he hopes it will become.
Sally J. Cloninger 2018 USA/Philippines 23′
MIX-MIX (HALO-HALO) is a Filipino dessert, a memoir, a treatise on global feminism and misogyny, a coming out story and a metaphor for experimental filmmaking. Like the dessert, it is experimental, complicated, a bit disturbing, layered, not for everyone, but ultimately, refreshing. Shot in the Philippines over a period of three decades.
VEVER (FOR BARBARA)
Deborah Stratman 2019 USA 12′
A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti. A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.
LAISSEZ-MOI DANSER (LET ME DANCE)
Valérie Leroy 2017 France 17′
Mylène, 45 years old is a cleaning maid on a ferry boat. Tonight her colleagues are organizing a surprise party for her birthday. But on the gift voucher, Mylène reads her old name, a name that she doesn’t’ want to see anymore, her male name. Who wants to blackmail her? Whereas the party will increase the claims of those exploited women, Mylène will have to investigate…
Anna Brownfield 2018 Australia 7′
As a backlash to the politically correct 1980s lesbian movement, Jasper (Francine) Laybutt and Lisa started Wicked Women magazine in 1988, challenging the ideas of lesbian sex. Using playful images and text, Wicked Women wasn’t just pornography but explored sexual pleasure in all its forms including S&M. Due to its controversial nature, they relied heavily on fundraising events. The most infamous being the “Ms Wicked Competition” where women stripped and performed acts for an all-female audience. In 1994 Lisa and Jasper stepped back from the front line of editing and in 1996 Wicked Women ceased publication with 28 issues.”
Manuel Abramovich 2019 Argentina/Germany 19′
What are you up to tonight? Do you want me? We could have fun together…
Seven Romanian male-to-male sex workers in Berlin have their portraits taken as they listen and react to recordings of their own experiences. By turning the process of exploitation into a spectacle, the camera becomes a client highlighting the inevitable performativity of such power relations.
ON THE LINE
Tina Takemoto 2018 USA 6′
Inspired by pre-WWII cannery workers in California, On the Line offers a queer meditation on the Japanese American women who cleaned the tuna, worked the assembly line, and found same-sex intimacy amid sake and fish guts while the men were off to sea.
Adrian Garcia Gomez 2018 USA 10′
La Mesa explores the intersections of memory, identity and queer desire. Stories of a childhood in rural Mexico as told by the filmmaker’s father are interwoven with queered reenactments featuring the filmmaker as the romantic lead opposite the male actors of the old Mexican films and American Westerns from his childhood.
Marianne Farley 2017 Canada 20′
An aging woman and her nurse develop a friendship that inspires her to unearth unacknowledged longing and thus help her make peace with her past.
Christina Willings 2018 Canada 24′
In a world of fixed positions and prescribed roles, expanding the definition of gender requires the courage to dive deep into understanding and acceptance. Christina Willings’ documentary Beauty explores the lives of five gender-creative kids, each uniquely engaged in shaping their ideas of what it means to be fully human. Claiming your own sense of gender when everything around you insists that you comply and conform can be challenging, and sometimes scary. But luckily, family and friends are there to help.
Free-flowing animated elements, ranging from images of octopuses to astronauts, draw together the kids’ shared experiences in beautifully rendered fantasias that celebrate the power of imagination and the flourishing force of self-determination. Playful, goofy, loving and brave—each of these remarkable kids has found their own way to break free and show the world what it really means to be your true self.
BESIDE THE WATER
Finn Paul 2018 USA 12′
In this video essay, the artist as narrator, mixes up sexual discovery, community formation and desert landscapes in a collection of erotic snapshots.
TOO MUCH TENDERNESS
Bettina Blanc Penther 2017 France 24′
On sunny roads a ghost-boy is strolling around two girls.
He changes of body he loose his dress and we let him go.
Eduardo Williams 2018 Guinea Bissau/Switzerland/Argentina 23′
“No es” (It isn’t) is a cumulative poem by Mariano Blatt, which is constantly written over the course of a lifetime. The text of the poem, a list of “what seems to be but isn’t”, to which verses are added over days, months, and years, can cover anything: images, people, memories, landscapes, phrases, ideas. With this list ringing in its head, Eduardo Williams’s film Parsi finds itself in a perpetual movement through spaces and around people. We are taken on a breathless ride through bustling neighborhoods, from person to person, thrown, dipped under water, rushed from image to image, creating in the process yet another poem which is caressed by, crashes into, and spins next to “No es”.
THE SEA RUNS THRU MY VEINS
Zara Zandieh 2019 Germany 21′
THE SEA RUNS THRU MY VEINS features four protagonists who, based on their very own individual challenges and life circumstances, share different perspectives on the topic of happiness. Sabuha Salam, long-term host of the monthly party Gayhâne, fed from Ruhr Area to Berlin in the late 1990s to live their queer identity freely. Llanquiray Valioska Painemal Morales, Mapuche with a Chilean passport and an experienced activist for the rights of refugees, migrants and indigenous people, went to the former Soviet Union before she came to Berlin in the 1990s. Neomi Ilan, a long-standing queer-feminist activist and cancer survivor from Israel/ Palestine, has been living through a lot of changes since her severe illness three years ago. Amir Zandieh, an electrician whose home is in Berlin since the 1970s, started to grapple with philosophical questions after the failed revolution in Iran.
Barbara Hammer 1978 USA 15′
“A poetic study of the stages of a lesbian relationship by two women performance artists from honeymoon, through struggle, to break-up, to enduring friendship. Starring Terry Sendgraff on trapeze.” — Barbara Hammer
“The poetry of Barbara’s images carries us through the duration of a relationship: its intensely erotic beginnings, its sense of serenity, its playfulness and comedy and its closure — the alienation, pain, anger and loss of contact. The death of the body, a theme tenderly interwoven into the ageless strength and agility of Terry Sendgraff’s body, becomes the death of a relationship, a closing out, a leaving of the body behind. The body becomes a source of life. Its movement, grace, pain and happiness are contrasted with the inertness of things and the stillness of photos that merely document the brief passage of light.” — Jacquelyn Zita, Jump Cut.