Children's Theatre Company is hosting the Broadway version of Disney's Frozen!
April 8, 2025
What do you think of when you hear these words: Elsa, Anna, snowman, Let It Go, Idina Menzel, Adele Dazeem? If you said Frozen, so did I. If you remember the movie Frozen and falling in love with it, there's great news! Children's Theatre Company is hosting the Broadway version of Disney's Frozen!
Frozen will run from April 15 - June 15, 2025. This production is perfect for all ages. It includes some songs you remember from the movie version and some new ones. Come see this exciting production that will get you singing along and dancing!
Cast member Tyler Susan Jennings answered some questions about Frozen for Twin Cities Gay Scene. She shared her memories of watching Frozen for the first time, what she loves most about Frozen, and her future in performing.
What was your initial reaction the first time you saw the movie Frozen?
The first time I saw Frozen was my Freshman year of high-school. I remember that being the first time I was intrigued by a Disney movie since seeing The Princess and The Frog.
What do you love most about Frozen?
The thing that I love most about Frozen is that it’s a story about more than romance. It’s a story that takes the time to boost familial connections, friendships, and (most importantly to me) self love.
You were chosen as a Performing Apprentice in Children's Theatre Company for their 2024-2025 season. You made your acting debut as a Performing Apprentice in How the Grinch Stole Christmas. How has your experience been as a Performing Apprentice?
Being a Performing Apprentice has been one of the best decisions of my life. Not only have I had the opportunity to be a part of professional shows in named understudy roles, but I have had the chance to have workshops, mentoring, and networking experiences that would take others years in the industry to obtain. I have also enjoyed being a mentor to the student actors and helping to continue fostering their love for the theater. In these past 6 months, it has been fantastic to see Children’s Theatre Company uphold their title of being the premiere theater for young people.
The stage version that's playing at Children's Theatre Company includes some familiar and new songs? Tell me about the new songs.
The Broadway musical includes all 8 original songs (“Do You Want to Build A Snowman”, “Let It Go”) plus 12 new songs, such as "Dangerous to Dream," "Monster," and "I Can't Lose You". I feel like the new songs add depth to all the characters giving a fresh perspective and nuance to the well known story.
The song "Let It Go" has become an LGBT anthem and an anthem of hope. What does the song mean to you?
As a queer person, one of the hardest things I had to do after coming out was accepting myself. “Let It Go” serves as a reminder that I don’t owe anything to anyone except for myself; treat myself with kindness, love, and respect; to walk in my own truth no matter how different or scary.
The story's underline is being true to oneself, despite what others may think. That message is more important than ever now because of the critical political and social climate. What would you add to that message to those who are in the audience?
As cheesy as it sounds, I want to remind the audience that everything will be alright. We are not a people so easily broken down. You are loved and seen.
What's next?
I am auditioning around the Twin Cities for the upcoming 2025/2026 season, as well as in New York, Atlanta, and Chicago. So hopefully you’ll be seeing me again in something soon!
Anything else you want to add?
If you want to follow my journey please feel free to follow me on Instagram @jenningsty_
You can read about Children's Theatre Company's production of Frozen here: https://childrenstheatre.org/whats-on/frozen/
The 44th Annual Minneapolis St. Paul International Film Festival is hosting their Shorts 6: Animation Roundup
April 7, 2025
The 44th Annual Minneapolis St. Paul International Film Festival is hosting their Shorts 6: Animation Roundup screening on Tuesday, April 8 at 7:00 PM. Twelve animated shorts will be included in this block. One of those twelve is of LGBT interest: Even Still
Even Still is a short piece about three trans people who find togetherness from one another. Director Grey Anderson produced this as part of their thesis project as a student at Minneapolis College of Art and Design (MCAD). Since then, it has been screened at several film festivals nationwide, including Minnesota Film Festival where it earned Honorable Mention from SCENE Best in LGBT Show of MFF.
Director Grey Anderson answered a few questions about Even Still. They dug into the making of Even Still, the success of this film, and what's next in filmmaking.
Tell me about Even Still.
Even Still is a short film about creating a life that is joyful to live through the experience of transness. It's about building community, breaking free of public perception, and cultivating the things in life that bring meaning. It's about how life is painful, but still so beautiful and precious nonetheless. The film follows the interwoven threads of the experiences of three characters: Zeke (he/him), Callisto (he/she/they), and Irene (she/her), but also aims to capture how the trans community is so much bigger than any one, or three, experiences can show.
Even Still has been screened in numerous film festivals such as Minnesota Film Festival, Tag! Queer Shorts Festival, and Leeds Queer Film Festival. It will also screen at MSPIFF44 in the Shorts: Animation Roundup on Tuesday, April 8. How does it feel knowing that your film has achieved so much success?
I’m really honored by all of the positive feedback I've gotten from this film. I poured so much of my time and energy into this project, and the overwhelming positive response really means a lot to me. I knew that with this film I was taking some risks, and I wasn’t sure that people would like it. I find that it is a lot easier to connect with audiences when something is funny or cute.
I enjoy comedies, but when you’re being serious or vulnerable, I find that in order to get a good response you need to work a lot harder. Although Even Still is pretty sweet overall, it was coming from a vulnerable place and talks about a group of people that are under a lot of scrutiny right now. But I also knew it was the film I needed to make. In the end, I thought that if nobody liked it, that would be okay. I don’t have to make art for everybody, I could just make art for me.
I was completely overwhelmed by the emotional response I got from audiences and film festival curators who reached out to me to tell me how much they liked it, and how much it made them feel. I am so, so grateful for all of the opportunities this film has gotten me. It has allowed me to travel to some amazing festivals and it led me to meet a lot of really talented filmmakers, and will hopefully continue to do so. I am really thankful for all of the programmers at festivals who decided to believe in my film, and to all of the people who told me how much it meant to them. It’s something that I didn't think was possible while I was making it, and has really stuck with me.
What inspired you to create Even Still?
During the summer of 2023 I had just gone through a breakup, had moved apartments, school was out for the summer, and I was working a job that I didn’t feel qualified for (even though I was.) All of my usual anchors were gone, and I had to kind of re-make my life. I had to figure out what or who I wanted to be, and even more challengingly I had to figure out how to do it.
I had already come up with the designs for the characters at this point, and I had some vague ideas about themes and things like that. But that summer is when I decided what I wanted the core message to be: life is hard, it’s painful, but it’s also so beautiful. You have to choose to love it anyways, and you need to build it into something worth living for. It was a hard summer, but I also learned so much about myself and the world around me. I opened myself up to experiences I wouldn’t have otherwise. I gave myself the freedom to be new to something, awkward and out of place, and then keep doing it anyways.
You created this short animated film when you were a student at MCAD (Minneapolis College of Art and Design). How has MCAD supported you and your creative endeavors?
I am incredibly grateful for all of my amazing professors at MCAD who guided me through this film and helped to shape me into the filmmaker I am today. I am also so fortunate to have met all of my peers, especially those who took the time to help me with this film. I knew it would be a big endeavor, so I reached out to a lot of people for help, but I was blown away by the number of people who gave me their time, talent, critique, and emotional support. Truly, it takes a village. And in turn, being able to help them with their projects has also made me a much better animator. I also spent many hours in the MCAD animation studio for this film, and the camaraderie in that gray windowless room (with very nice equipment and extraordinary staff) is one of the things I miss the most about school.
What's the most memorable moment during the making of the short film?
Oh man, there were so many long days and late nights that it all kind of runs together. Lots of delirious laughter, blood, sweat, and tears were shed during the year and a half I spent on the film. There’s so many moments I could talk about. I think for me one of the biggest is that the whole time I was making the film, I didn’t know exactly how it would look. I had style frames and vague ideas but there was still a lot of mystery there. I remember putting in the last assets, doing the lighting, finishing touches, and then rendering. Then I watched it before sending it in for critique, and I remember sitting there in the studio, around 5 am, and watching it for the first time, and being like “wow, that’s my film, that’s what it looks like” and at the same time, just as I felt like I was getting to know it, it was over.
Even Still focuses on trans related topics. What do you most hope that audiences learn from watching it?
Although this film came from a place of love, we are also living in a time of intense intolerance and bigotry towards trans people. I find it hard with all of the people trying to erase myself, my friends, and my family, to find a way to still love it all. I think to trans people, it’s important to show that happiness is possible. Community is out there. It's never too late. You can make a life to live for, without permission. As much as it's nice to have a society and government that supports you, you don't need those things to be who you are, to fall in love, to be yourself. It's always been dangerous, but it's worth fighting for. And I think for everybody else it’s important to show that trans love is real, and that trans people are happy despite it all. No one can take that away. More broadly, I hope Even Still will communicate the huge variety in life. I hope it will resonate with audiences in their own journeys to find happiness, or inspire them to reach whatever it is they're looking for.
What's the most memorable reaction from an audience member?
When you work on a film for so long, the emotional value is kind of gone by the time you finish. Or, at least that’s how it’s been for me. Maybe if I watch it in a few years it’ll be different. One of the consistent problems I had through the whole thing was that there was so much in my head, and so much that had been cut or changed, that I had a hard time seeing the film as it actually was. I was worried that it wouldn’t make sense, or that people wouldn't know that it’s even about being trans. And then it screened for the first time at a showcase for the animation seniors at MCAD, that students and alum could come to. And the people around me were crying. Which, to be honest, I hadn't expected. I didn’t think that something I made could be that powerful to people. And then it kept happening, friends and strangers alike told me that it made them cry. Which is such a huge honor that I don’t really have the words for it.
What's next?
After graduation I was worried about falling into a rut; which, adjusting to post grad life has been a struggle. So some friends and I made a little short just for the sake of making something, called Spaghetti with Seeds. I then co-founded an independent animation collective called Studio Walleye. I hope to use it to keep making things with my friends, and to give us all an opportunity to keep making work and learning and growing as filmmakers. We are currently working on another short film that should come out in the next few years, and we have some more exciting ideas in the tank for other shorts. After being able to see so many amazing films during Even Still’s festival run, I am also inspired to start thinking on my next short project. I have a few ideas cooking, but I’m looking forward to taking my time refining them into something really good before I start production.
Anything else?
Thank you for this opportunity! Once again, I want to give a huge shoutout to all of my amazing friends who helped me with this film, I couldn’t have done it without you all. Both with the help I got with the short itself and also with all of the people who got me out of the studio to see the sun every once in a while.
Joy Clark talks about her tour and her new album.
March 26, 2025
Joy Clark made her debut with her album Tell It to the Wind. It was released under Righteous Babe Records, which was founded by legendary folk singer Ani DiFranco. Clark uses her music as performances to express her pride as a queer, Black woman with her socially aware lyrics that are accompanied by Southeast Louisiana style folk and jazz. A listener can hear influences of Tracy Chapman and Billie Holiday.
This year, Clark toured with Ani DiFranco as the opening performer and is now touring with Madeleine Peyroux. On March 26, she’ll be headlining at Hopkins Center for the Arts. The show starts at 8:00 PM.
Joy Clark spoke about her tour and her new album. She talked about her tour, her music, and her positive experiences working with Righteous Babe Records.
You're currently on tour to promote your album Tell It to the Wind. You'll be performing at Hopkins Center for the Arts on March 26th. What should audiences expect from your show?
First of all, thank you for talking to me today. I've been reflecting on how it is to be a touring artist at this exact time. I think music is one of those things that people can just get lost in, and I say that in the best way. Something powerful happens when you can share a space with human beings in the same room and exchange energy. Whenever I have a concert or an appearance anyway, anywhere, I just want to create a safe and welcoming place for people to be uplifted.
For people to have positive moments and to just have a human connection with people, I think we really need that. I need it. I say we need it, I'm talking about myself too. You can expect some self-affirming songs, you can expect some beautiful lyrics, beautiful uplifting words. I'm also bringing my trio with me, so it's just going to be a really good time. If you are starving for some great music and some positive vibes, that's where you want to be. You want to be at Hopkins on March 26th, and that's what I'm looking forward to. I hope the audience is going to look forward to that too.
Your latest album incorporates folk and Louisiana style jazz. What inspired these styles in your music?
I grew up in Southeast Louisiana. You can either avoid it, or you can just incorporate it into your work, and I've played with a lot of musicians. I've been immersed in our music culture here. Whenever I'm creating, I pull from those things. We have tracks like Shineon the album that has a full horn section. On the title track, you have a full string section. It's a variety and I think when you come from a culture that celebrates that type of diversity. I just choose to include it in my heart.
What and who inspires you to keep doing music?
I think my community inspires me for one. I've worked with people like Alison Russell, who I had the pleasure to know and to see up close. Meeting people like her, I think a lot of times my previous self inspires me to keep going. I think growing up, I always knew that I wanted to make music. The truth of it seems daunting, so I think seeing people put out work and tapping into their artistry and taking their time and sharing, that just inspires me to keep going.
You signed on to Righteous Babe Records, which was founded by legendary artist Ani DiFranco. What has your experience been like with the record company, and how have they best helped to support you?
It was a no-brainer for me to make that decision. I think the biggest support is knowing that you have people that trust you. I've watched a lot of documentaries with artists when they feel forced to put out a certain image. This is more of we already love what you're doing. We already love what you're putting out. We just want to assist you. I'm putting out who I am, and it's genuine, and I think for the company, it feels more like we're just a team that wants as many people to hear you as possible, and how can we help with that. It's posting from their platform. I just got off the road opening for Ani for a couple of weeks.
I can't tell you how many horror stories I've had of people of an artist being the opening act, and then it's a horror story of people don't respect my job and people don't listen to me in the audience. Doesn't care who I am. They don't care to listen. They don't care to come on time to hear the opener.
I can't tell you how far of a cry it was to be on the road because they had already prepped who's going to be the guest, and I remember the post that they made. It was my picture with her title and everything, but it centered me, and I was blown away because that's unheard of to me. It's not common practice, but I felt it on the road. I felt the love and care from her [Ani's] team. It made it one of the easiest things I've ever done to get up in front of a crowd that's not really there to see me, but it was presented so well that you would have thought that sometimes because her audience already knew who I was. I think that is a case in point of how things could be. It doesn't always, it doesn't have to be. You got to pay your dues, and you got to deal with bad treatment because you are newer on the scene.
This nation is going through a lot politically and socially. How do you plan to use your music to stay politically and socially active?
I am a black woman, and I'm a black queer woman as well. With this administration, they've made it clear who they care about, and it's not us. It's actually not anybody except for wealthy folks. I believe that defiance of being present and of just being myself, being an artist is revolutionary in and of itself. I think the goal of this administration is to discourage people and to beat people into submission, and I think art does the absolute opposite. Art welcomes music, welcomes people and songs. Songs make us feel more connected, not disconnected and not dejected. A lot of people feel that [disconnected] right now, and I'm continuing to fight to create art, to uplift. That's always the plan, that's still the plan, that's going to be the plan.
How do you most hope that listeners and audiences get out of hearing your music?
I'll go back to what I said. I try not to hope people get anything or hope or try to dictate what people feel. I think it's a valid question. I always want people to feel welcomed in all of my songs. If you listen to Tell It to the Wind, the theme of um trusting your gut, trusting your intuition, trusting the past, trusting the journey. If people are struggling, you may want to change something or you want to go for it. I want people to feel encouraged that they can do the thing that they set their mind to and that they are the key. A lot of what you will hear is that encouragement. It's not a mistake that you are exactly at this point in time. You're not behind. As long as we are still here and we're able to be, we can move forward and grow and discover and shine. That's those things that I put out and also people pick that up. I think it's hard not to.
What's next? I'm always writing. I'm always creating something else. I'm always thinking. What's next is just being on the road and being present and doing what I love and sharing songs with people face to face in a room. That's what's next.
Is there anything else you want to add?
If people want to connect with me, they can on social music, and we have a website link below.
You can purchase tickets here: https://www.hopkinsartscenter.com/Calendar.aspx?EID=713
Please check out Joy Clark's music here: https://righteousbabe.ffm.to/joyclark-tell-it-to-the-wind
MSP Film Society's 44th Minneapolis St. Paul International Film Festival (MSPIFF44), will return to The Main Cinema and other venues around the Twin Cities—April 2-13, 2025.
March 26, 2025
Last year, two films from the Minneapolis St. Paul International Film Festival were honored by SCENE Best in LGBT Show 2024: Solo and Listen Up! Solo was named Best Picture! This year, the festival is back with more exciting movies!
With the leadership of Executive Director Susan Smoluchowski, the Minneapolis Film Society will host their 44th Annual Minneapolis St. Paul International Film Festival (MSPIFF44) from April 2-13. MSPIFF44 will screen over 200 films from around the world, including Minnesota. Filmmakers will be present for some films. MSPIFF44 will include special guests, parties, panels, and opportunities to connect with filmmakers.
Of the 200+ films in their lineup, 17 of them are LGBT feature films, and three are LGBT shorts. This is a significantly higher number of LGBT films compared to last year. The LGBT lineup includes a wide range of genres such as comedy, drama, documentary, and animation.
Two-time Oscar winning director Ang Lee will be present in one of the panel events. He'll do an in person conversation at DeLaSalle High School on Sunday, April 6 at 4:00 PM. He'll be talking mostly about the upcoming 20th anniversary of Brokeback Mountain. One of Lee's Oscar wins was for Best Director of this movie, for which he became the first person of color to win an Oscar for that category. This panel will be moderated by Minnesota’s own Bill Pohlad and River Road Productions. A screening of Brokeback Mountain will follow at St. Anthony Main Theater at 7:15 PM.
Here are the LGBT features that will be screened at MSPIFF44:
Assembly / Cactus Pears / Come See Me in the Good Light / Four Mothers / Heightened Scrutiny / John Cranko / Kill the Jockey / Odd Fish / On Swift Horses / Pink Lady / Queendom / Sally / The Shameless / Viet and Nam / The Wedding Banquet / Went Up the Hill
LGBT shorts will be included in these showings: Animation Roundup / We Can Be Heroes / Who We've Become
Please check out the MSPIFF44 website for times and dates of the movies and all events: https://mspfilm.org/mspiff44/
Cristina Costantini, the director of Sally, answered some questions about the documentary. Sally will be screening during MSPIFF44 on Monday, April 7 at 7:05 PM and Wednesday, April 9 at 2:10 PM. Courtesy of National Geographic Documentary Films, the documentary covers Sally Ride's quest to become the first American female to fly in space and being forced to conceal her sexual orientation. Constantini spoke about the documentary, Sally Ride herself, and what she hopes to accomplish from the documentary.
Tell me about Sally.
Sally is a film about Sally Ride, the first American woman in space, and it definitely has been a passion project for me for a very long time. I was a huge fan of Sally's as a kid, and then seeing a woman in a cool jumpsuit blasting off into space was just so inspiring for me. As an adult, I learned in 2012 when she passed away with the rest of the world that she was survived by her female life partner Tam O'Shaughnessy. From that period onwards, I started thinking a lot about how NASA was barely ready for a woman and how difficult it must have been to be a queer woman at that time, trying to do these great incredible things, trying to break the highest stratospheric glass ceiling, and then to have another part of your identity that you had to contend with and knowing the world that was. She was so beloved at the time, but knowing that they might not love you if they knew the full you, if they knew who you really were. I became fascinated by that story. Meeting Tam O'Shaughnessy was the biggest turning point for me. The more I knew, the more interested I was. Tam is an incredible woman and really a godsend for any documentary filmmaker because she has an incredible memory, a great storytelling ability. More than anything, she has the desire to be vulnerable and honest and real about how the relationship played out and who Sally really was.
Sally was selected to screen at the Minneapolis Saint Paul International Film Festival 44 (MSPIFF44). What was your reaction when you discovered the good news?
Wonderful, wonderful! I was so excited to hear that. I'm from the Midwest. My mom is from the Midwest. I have a lot of Midwestern pride. I hope audiences at the festival enjoy the film. Sally's mother is from the Midwest, so there's a lot of Midwestern connections to the film.
What fascinates you most about Sally Ride?
I like that Sally is a real person, a complicated person. Oftentimes, these documentaries about our heroes end up being very inspiring stories but can be one-sided stories about if you work really hard, you can achieve your dreams. That's often the message of these biopics. I found Sally really fascinating because she wasn't always the perfect angel that you want the first woman in space to be, super competitive oftentimes. She was not a public person at all, so she was incredibly introverted, which was a huge barrier for her being that her job was to be a public figure in part. She really shied away from that. She greatly disliked the spotlight, and it took her a lot of time to get comfortable with the public's admiration of her. She wouldn't know how to handle the outpouring of love and admiration from total strangers. That took her a while to get used to. I wanted to tell the story of a real person, of a complex person. I think it's way more interesting, but it's also way more relatable. None of us are perfect, and, for those of us who want to do big things, looking at somebody who had human flaws and seeing that they were able to do what they set out to do despite their personality trait.
What was the most valuable thing you learned about Sally Ride during production?
I think what became clear to me in the making of the film is that there are a lot of different types of bravery. It's the kind of bravery that Sally had, which was that she could get into a spaceship and blast off into space. But then there's Tam O'Shaughnessy's type of bravery, which is a much quieter bravery. As an adult, one that I admire deeply is the bravery to be exactly who you are, regardless of what other people think about you. So, Tam's ability to be out and gay and proud in the 70s and 80s, when she could lose her job, could be reviled by many people. I think that is inspiring in a different sense. I think Sally and Tam are two very different people, and seeing these very different people fall in love was a great privilege for me to be able to tell that story.
How do you think everything would be different if Sally was flying in space now?
I think things have changed, and I think one of the great privileges of being a documentarian is you're given the permission. I've been living in 1983, and I've been able to watch footage, interviews, and press clips from 1983 for a very long time, and I've been able to see that things change. Sally had to face some of the most sexist, terrible questions that you can imagine. Would she be serving coffee in space? Would she cry if something went wrong in the simulator? Would she be deferred to the men, all kinds of sexist questions you wouldn't hear nowadays? It gave me a lot of hope. My mom was my age now when that happened, but it gave me a lot of hope that things have gotten better for women. I also think it's a stark reminder of where things can return to if we don't defend the hard fought civil rights progress that we have made. I think in 2025, it's important to remember that we could go back. This film is really for anyone who's ever had to hide part of who they are to get where they want to be, and I think in 2025 it's more relevant than ever. NASA just removed the phrasing of the word inclusion and their tenets of the six values they believe in. People are removing their pronouns from their email signatures. Taking in the affinity groups like the LGBT group is shut down. I think this film is more relevant than ever unfortunately.
How have the sexist beliefs changed between when Sally was working at NASA and now if it's changed?
I think there's been a lot since my mom was my age. There's been a lot of improvement. Now it's quite unremarkable when a woman goes into space. I think two women went into space this weekend, and we barely talk about it anymore. It's routine. I think that is proof that Sally's legacy has held, and she made great strides. I think we risk going back if we don't carry on and fight and keep telling these stories.
What do you most hope that audiences learn from watching Sally?
I hope they'll be inspired. I hope they'll be able to celebrate with us a beautiful love story that couldn't play out the way I wish it could have in the 80s, but I hope they'll also see different aspects of bravery. There's Sally's bravery that I talked about, Tam's bravery that I talked about, and then there's another bravery. Mick Millane is this astronaut who was incredibly sexist at the time, thought women had absolutely no room in the space program, that they were going to mess things up and [that] they would be worse astronauts. Through working with Sally and the other women, [he] came to see that he could not have been more wrong and now has a deep respect for Sally. He wrote this beautiful apology letter to Tam, Sally's partner, and that to me is a very inspiring move. In 2025, we're celebrated for digging our heels. I really respect that Mike was able to say I was wrong, and I learned and I improved, and I should have been better, but now I can be, and think and learn how to both apologize but also to forgive. I think Tam is very grateful for that letter, and it's very special to her. I hope there are a lot of lessons in this film, but I also hope people love this space footage. We have brought in 5,000 reels from NASA's archive, 70 millimeter, 35 millimeter, 16 millimeter, and there's a lot of stuff that we have covered that wasn't public before. I hope people will enjoy living with that gorgeous footage from our national archive.
What's next?
I have another film coming out this year about Colombian pop star named Karol G, who just broke so many world records, the most well attended and most profitable stadium tour for a Latina artist ever. I followed her in 2023 and 2024, and that's another groundbreaking woman that I've had the privilege of telling her story.
The Minnesota Film Festival was hosted in Duluth, MN on March 19-23 at Zeitgeist. Included in their lineup was 19 LGBT interest films. Of those 19, three were features and 16 were shorts.
March 26, 2025
Audrey director Natalie Bailey quoted in an interview with Twin Cities Gay Scene, "I think it's really important to be able to have a message, but I also think it's ok to just make a film that's just escapism. Sometimes we just need escapism and not to think." The Minnesota Film Festival seemed to have considered this when selecting some of their films. This year's LGBT lineup included movies with a message and movies made solely for escapism. Some made audiences laugh, others made them cry. This aspect is helpful for audiences.
This year's lineup emphasizes various current event topics that are often in the media. Topics include freedom of speech, trans rights, and togetherness. This implies that the general public's fear of the nation's future is being acknowledged by the festival. Aside from that, the quality of these films was superb.
SCENE Best in LGBT Show:
Best Picture: Miséricordia
Best Documentary: Finding Home
Best Director: Miséricordia (Alain Guiraudie)
Best Performance: Audrey (Jackie van Beek)
Best Screenplay: Audrey (Lou Sanz)
Best Editing: Canyon Chorus (Tim Kressin & Makenna Wall)
Best Cinematography: Emerald City (Matthew Hayward)
Best Music: Shame (عيب) (Rasheed Jalloul)
Honorable Mention: Even Still
Double winner Audrey is a feature dramedy with potential to be a cult film. In Audrey, a self-proclaimed mother of the year whose daughter is in show business. When Ronnie's show business daughter lands in a coma due to a fall, Ronnie pretends to be a teenager so she can relive her show business years from before she became a mother. Jackie van Beek shines in her role as Ronnie. Audrey is full of laughs while never forgetting the seriousness of their situation.
The 20th anniversary showing of Venus of Mars was included. In this feature, a Minneapolis transgender person leads a glam rock band while struggling with newness in love.
Of the 16 shorts included in the LGBT lineup, eight are narrative. In Auganic, one man considers being subject to a research study because of gold being in one of his bodily fluids. The Space Between includes a bored woman who finds love with someone who feels the same. Pastor's Kid explores a man who returns home, though his father had assaulted him years before. Emerald City attracts a lot of green in its drama about two men who encounter each other but struggle to become lovers because of one man's broken past.
In Vale of Summer, two best friends bid farewell to each other. Flag Act is a comedy about an elderly woman who tries to show her pride by waving a flag in her yard, despite police attempting to stop her. Coffee Grapefruit Cacao is a French comedy about a lesbian couple's attempt to have a baby that gets complicated because the surrogate father is one of the women's exes. Golden Fingers is a French drama about a man who prepares to come out to his family with help from two friends.
Five short documentaries screened at the festival. Canyon Chorus focuses on a group of chorus singers who go on a canoeing adventure. Trans and gender nonconforming people share their experiences in the Iowa punk scene in Cornfed Punk. In Sultana's reign, a Lebanese man finds drag in New York City after experiencing a rough upbringing. Don't Cry For Me All You Drag Queens honors a beloved drag legend. Minnesota produced Finding Home centers on a family who relocated to a different state so their child can find trans refuge.
Two shorts explore avant garde: Queen is a documentary on a drag queen from a small town. In Shame (عيب), someone belly dances to Middle Eastern music while family members disapprove.
Even Still is a student produced Minnesota animated short of three trans people who create their own happiness while coming together.
I'm honored to present SCENE Best in LGBT Show winner for Best Picture and Best Director to ... Miséricordia. This French feature film was also nominated this year for eight César Awards, the French equivalent to the Oscar. Miséricordia is the perfect film for anyone who loves suspense, thrillers, and drama. It incorporates cinematic styles from vintage movies while maintaining forward creative thinking.
Miséricordia follows a man who returns to his hometown after the death of a beloved town's person. He stays with his ex-boyfriend's mom while he's in town. The ex-boyfriend starts feeling jealous of his accommodation. This leads to him murdering his ex-boyfriend. Tensions build as the police investigation develops.
French Director Alain Guiraudie first achieved worldwide recognition from his erotic thriller Stranger by the Lake. Since then, he's best known for combining seduction and suspense in his works. Other works of Guiraudie include Staying Vertical, Nobody's Hero, and The King of Escape. A viewer can see inspirations from directors Alfred Hitchcock, Darren Aronofsky, and David Cronenberg.
Alain Guiraudie answered some questions about Miséricordia. He discussed the making of this film, the César Award nods, and his SCENE Best in LGBT Show win.
Congratulations! Miséricordia is being honored by SCENE Best in LGBT Show for Best Picture and Best Director. Do you have an acceptance speech?
Thank you!
Miséricordia centers on a man who returns home and eventually murders his jealous ex-boyfriend. What inspired this story?
I don't really know how interesting answering that kind of question is, to say what inspired a story, because it's always kind of the same thing. It's a little bit of my own life, a little bit of things I've read, a little bit of things I've heard that mix with the history of cinema, of course.
Miséricordia was nominated for 8 César Awards. Of those 8, you were nominated for 3 of them. The César Award is the French equivalent to the Oscar. What was your reaction when you found out it got nominated?
My first reaction was, well, I'm going to have to go and be bored for 4 hours at the ceremony because with so many nominations, there's no way I'm going to get out of it. I have to go. And my second reaction was I said to myself that anyhow, it was going to be just like my film Stranger by the Lake, which had also received 8 nominations, that I would win nothing, just like Stranger by the Lake.
Your cast did a superb job in their performances. What is it about the main performers that made you realize they were right for their roles?
In the case of the actor who plays Jérémie [Félix Kysyl], it's obvious. It was his ambiguity that attracted me to him, including his physical beauty. It's very difficult to give him an age to know exactly how old he is. He's somewhere between adolescence and maturity. As for Jacques Develay, who plays the priest, it was both his very solemn graveside and the fact that he has a playful clever side that really fit the priest. Catherine Frot [who played Martine], it was her candor. The fact that she's like what we call une femme enfant, a woman child. And then in the case of David Ayala, who plays Walter, it's the kind of character we have very few of in cinema. His appearance is very unusual in film. I think it's fair to say that he's fat and he's not traditionally sexy, though I find him erotic, but he's not a classically handsome man. It's the kind of physical appearance we're not used to seeing in film, and in fact, he's the only actor who I thought of before I started the casting process.
What was the most challenging part of production?
The hardest thing to do was choosing the shooting dates, and I must say we actually got lucky in that regard because I wanted to shoot at the end of Fall, when the leaves are really red or really yellow, but it's very short. That's only 2 or 3 weeks long, and it's very hard to choose exactly when that period is going to fall, and we finished shooting the exteriors with me praying that the leaves were going to stay on the trees and not fall off the branch.
One aspect of Miséricordia that stands out is the exquisite cinematography by Claire Mathon. You also collaborated with her on Stranger by the Lake and Staying Vertical. What about her work do you love the most?
It's the way that she has, that is rigorous, of recording things and of capturing natural light, and that's really it in fact is that both Claire and I really like to work with natural light. She also has a great relationship to space. She always finds the right distance from people and places.
What's next?
I'm working on an adaptation of a night. French novel title of which would translate to the island and it's a kind of a sequel to The Bounty in which the sailors who wind up on an island with some Tahitian men get lost in the South Pacific and form a kind of community, but things don't work out very well. There's an aspect in which is kind of like a paradise, but then things become hellish and actually devolve into war.
Minnesota Film Festival will be held on March 19 - 23, 2025 at Zeitgeist in Duluth, MN.
March 12, 2025
Not far from the exquisite Lake Superior, it's surrounded by nature and antique landscapes. To those who have never been to Duluth: think St. Anthony Main and Stillwater. That's Duluth.
Vera Bianchini and Matthew Berg are the program directors for this 4th annual event. Their goals for the film festival are to nurture upcoming filmmakers and to build community. They aim to showcase films that defy conventional storytelling and/ or encourage discussion and response.
The Minnesota Film Festival will be screening 19 LGBT films this year, 16 shorts and 3 features. This collection of movies represents filmmakers from around the world, including Minnesota. Genres include comedies, dramas, animated, documentaries, thrillers, and more.
Those who attended the Flip the Script Film Fest (also program directed by Berg) last October will recognize three shorts in the Minnesota Film Festival. Additionally, Flip the Script's Queer Gaze program will partner up with MFF to present the short films.
You can find LGBT selection here:
Performance Shorts:
Thu, Mar 20 5:30 PM, Zinema 2
Venus Of Mars:
Thu, Mar 20 7:00 PM, Zinema 1
Misericordia:
Fri, Mar 21 7:00 PM, Zinema 1
Audrey:
Fri, Mar 21 7:30 PM, Zinema 2
Queer Gaze Shorts:
Fri, Mar 21 9:30 PM, Zinema 2
Time & Place Shorts:
Sat, Mar 22 4:30 PM, Zinema 2
Francophile Shorts:
Sat, Mar 22 7:20 PM, Zinema 2
MinnAnimate x MFF Mixtape:
Sun, Mar 23 11:30 AM, Zinema 1
You can purchase tickets for the Minnesota Film Festival by clicking the link below.
As noted, Audrey is one LGBT feature that will be screened in the Minnesota Film Festival.
Audrey is a dark dramedy that follows Ronnie who still feels devastated that her former career as an actress was cut short years ago so she can raise a family. She puts her older daughter Audrey in show business. When Audrey falls off the roof top of her house and lands in a coma, Ronnie pretends to be Audrey so she can relive her glory days. Ronnie finds this easier said than done. Family tensions reach a boiling point, and hard choices must be made.
Director Natalie Bailey and actor Jeremy Lindsay Taylor answered some questions about Audrey for Twin Cities Gay Scene. They shared what attracted them to Audrey, their hopes from Audrey, how they plan to stay politically and socially through creativity, and what's next for them.
Tell me about Audrey.
NB: It is a story about when their teenage daughter falls off a roof and accidentally falls into a coma. The family discovered that their lives are much better without her. It's a dark comedy, in which everyone gets up to no good and lives their best lives again. It's about having that opportunity to find who you are again, but unfortunately, it's at the expense of someone else. It's a little bit of guilty pleasure.
Jeremy, tell me about your character.
JLT: I play Cormac Lipstick and father of two, married to Ronnie. Ronnie and Cormac, when they were together before kids, had a very open relationship, a lot of fun, and multiple partners. It was open, and it was free, and they had a lot of fun together. And then kids came. One daughter has a disability, which takes its toll on the family because of all the attention and hard work. Both Ronnie, my wife, and myself put each other on hold, basically. Their sex life disappeared. There was definitely no open relationship happening. There were no other relationships. Their sex life kind of died, which, you know, happens a lot to married couples when you've got a lot of kids, and you really need to work at it.
Lou Sanz's script is just incredible. It's always pushing the boundaries and all the characters are just a joy to play. When I read it, I had to get the role, and I'm just blessed that I got it, and Natalie and the producers gave it to me.
Natalie, when was the initial moment you became interested in taking part in Audrey and how?
NB: I had met the writer Lou Sanz at a speed dating event, which was speed dating for writers and producers. And so when I first met her, she pitched me the idea. She pitched me a few ideas. I was looking for television more so at the time in my capacity of working for a company I used to work for. There was another director attached, but I loved the idea so much. Probably 2017 or something, when I first met her. Then maybe 2018, I actually became attached because the other director got too busy. Good for me.
Lou Sanz is a great writer and, and we just get each other. We've got that same silly dark humor but still keeping an emotional heart to what we make. When you meet someone, and you feel like you've been friends forever, even though you've only just met, that's what it felt like. I don't know why in Australia it's hard to meet [people]. That's probably because we're all spread out so much. I lived in London for years, and I have some key writers that I work with again and again and again who I really love. I've only moved back to Australia at the end of 2014. It took me a while to find my clan. She was one of the first people I met that was the right writer for me.
Audrey will be playing in the Minneapolis Film Festival this year. What was your reaction when you found out Audrey was selected?
NB: I was thrilled. It's so nice every time someone selects you in a film festival. It's a big tick for the film. It says, oh, you're accepted, we want the audiences, our audiences to see this. We've connected with this, and we want to share this film with them. I don't think we're getting a film release in the US. It'll go out digitally. It's really good to see it at the cinema with a group of people. I've been in screenings where there's been 500 people and the audience, it just erupts with laughter. It's really fun because it's a lot of laughs. It's something enjoyable about seeing it with a big group of people, especially since it's guilty laughter so there's a shared guilt of laughing at everything.
JLT: It's fantastic news. We've had a lovely run with Audrey starting with South by Southwest in Austin, Texas, and we all went over there for that, which was wonderful. And then Melbourne International Film Festival and seeing a couple of other festivals in Australia and that's where you really get to enjoy watching it with audiences in the cinema. Getting feedback and different reactions, particularly a film like this, which can be dividing and can raise a lot of questions and pushes the envelope. It's just great to be able to see it still having a life in the festival circuit because It's that's where filmmakers and film lovers go to watch films. You're in a packed house with people that are just there for a film, and they really want to get into it and that they're experienced film watchers. It's an honor and a pleasure to be selected in any festival, but I can't wait to hear the feedback from over there again.
Audrey has been selected in numerous other film festivals, most notably SXSW (South by Southwest), where it was nominated for the Grand Jury Award for Best Narrative Feature. ALso, word about the movie is spreading fast in Australia. How does it feel knowing that Audrey is achieving so much success?
NB: It was wonderful. It's so exciting, particularly when it's your first one for Lou and me. I'd never been to Austin before and it was a fantastic city. It's so alive. I can only imagine it's already vibrant, and then when South by Southwest is there, which I think is happening really soon, in March. Everywhere you turn, there's music, there's live bands, there's people doing chats. I think Jane Fonda was there last year and all these great people, activists and actors and tech people. It's an incredible festival. I recommend going even as just a punter. It's worth spending the money on.
JLT: That's fantastic. It's such a good feeling. You do all that hard work, the crew, the cast. Lou Sanz wrote, spent 20 years writing the script. It's just so much work that goes into it. So when people respond to it, it's the best feeling there is. It starts screening on Netflix here in Australia tomorrow [February 28], which is exciting. I think it'll really get a really good solid audience. It seems to be one of those films where it's a Friday night film where you order a pizza and then put it on, and hopefully it gets a real word of mouth and that it becomes a cult classic, cult Australian classic. I think it has the potential to do, and we all hope it does. We're all very proud, so the more eyes on it, the better.
I agree with you. I think this also has the potential to be a cult classic too, and I didn't know that it took 20 years to write it.
JLT: Lou wrote the first draft 20 years ago and then started to revisit it again when she became a mother herself. That's when this story shifted towards more of Ronnie's story as a mother because Lou herself had become a mother 7 years ago. It takes about 7 years to get a film up and on the screen. So Lou would do a pass each time with just one character in mind. So a pass with the daughters and then a pass with Cormac, and that's why I think it's a real ensemble piece, and it really works in that regard, I think.
Audrey includes an LGBT theme mostly because of the connection between the father Cormack and one of his friends in a meeting. How do you most hope that the film connects to the LGBT community?
NB: Lou and I both come from the same school of thought - look at the community around you and reflect who you see in your creative work. Within Audrey there are a multitude of characters reflecting many stories, hopefully you will find one you recognise or relate to - even if it is your worst nightmare. What we do want to show is how diverse people and their relationships can be. Some fulfilling, some toxic, some straddling both these zones. And how does one, particularly as a parent - where self-identity can often disappear, keep the complexity of their love and sexuality alive?
JLT: I think it's a beautiful part of the storyline, and it's quite unexpected, which is great. This is a married man with two kids, and then you kind of get the feeling he's there's something different about the marriage and their relationship.
If you can give Audrey's family one bit of advice, what would that be?
NB: Don’t let go of your dreams. Find a space for yourself, where you thrive - but perhaps do it less selfishly.
JLT: The advice I would give is everyone just stop, sit down, stop thinking about yourself and being consumed by your own wants and your own needs. Sit down as a family, and just listen to each other, and connect with each other and what everyone around you needs and wants. I have a wife and 3 kids, myself, and that's good advice for me too. It can be hard sometimes because life just gets fucking crazy. It's like turmoil, like a freight train, but to be able to sit down and check in and that everyone is ok and not just be in your own lane. It would be great advice for the Audrey family. Don't be in your own lane because you miss everything that's going on around.
What would be the most rewarding takeaway that you would hope for from audiences?
NB: I think just listening to each other because as you talk about togetherness, I would hope that audiences walk away and feel comfortable to discuss what's happening for them, what they're going through. It is about listening, listening to your daughter. You're making them do that, or they do want to do this. Let them do that. I hope they walk away and listen to themselves as well as communicate with each other because of the lack of communication, obviously, as well as what goes wrong when people aren't being open and truthful.
JLT: I think empowerment is a wonderful thing. Everyone gets empowered. Maybe not Audrey herself, but I think Norah, the daughter who has a disability. It's interesting that she's the one who's completely overlooked, that this is the genius of Lou Sanz, the writer. She's [Norah] the one who's being overlooked in the family home, which is not usually the case with a child with a disability and a family. They're the ones who get all the attention because they need it, and the other siblings such as Audrey would have been overlooked or overshadowed by how much effort it is to look after Norah with a disability, but Lou Sanz's mind goes completely opposite to that. So Ronnie, all their attention is on Audrey. So much so that she ends up living, trying to live her life and impersonate Audrey and take on her life. But that empowers Ronnie. Norah becomes empowered because her sister's out of the picture. She's [Audrey] in a coma. So now Norah can live her best life. And then Cormac, the same, they're not all suppressed by Audrey and her teenage behavior that is absolutely house destroying.
How do you plan to use creativity to stay active in the community?
NB: Even at the moment, I have to think about obviously what projects I take on and what value they are. Sometimes you're making simpler projects which don't have much of a message, but everything has a message about what everything really does about humans trying to find themselves. My next film, which we're still just finishing the green light on, it's called Salvation Creek. That is about Someone in a lot of trauma and loss, which seems a thematic thing for me once again trying to find themselves. They move to a new place and try to find their place in the new surroundings. It's a film about friendship and healing. I think it's really important to be able to have a message, but I also think it's ok to just make a film that's just escapism. Sometimes we just need escapism and not to think, right? You just want to watch Wolverine or whatever, that's fine too. I'm sure there's a message in Wolverine, but I don't remember it. Just remember the [Wolverine's] hands.
JLT: It's a great question. I think stories are so important to tell, representing anyone in society. Storytelling is such a powerful tool to have a message, send a message, get a message seen and talked about. I've started directing myself. I have a short film Dusty that's touring the festivals internationally as well, and that has a message about grief, and it's resonating with people. Audrey has a message.
It can reach such a wide width of streamers now and people since COVID. Everyone's consuming content. I think important messages can be seen, heard, and then talked about, spread. So it's such an important medium, I think.
What's next?
NB: There's a series that I directed last year, which is called Down Cemetery Road, which stars Emma Thompson and Ruth Wilson, and that will come out at the end of this year on Apple. At the moment, I'm attached to a few projects and shopping a few projects and hope to find some new projects. I'm always excited when new writers pitch me work. That's great cause I'm too lazy to write. It's great when people come to me and go, oh, you could deliver; I've watched Audrey, and I think this will land with you. That's always exciting for me as well.
I adore Emma Thompson.
NB: She's an amazing person, really, really lovely to work with. It was great to work with such a legend.
JLT: What's next? There's a miniseries called The Last Anniversary, which is coming out here in Australia, and it'll probably come to the UK and the United States soon. That's pretty exciting. I'm attached to two features that are currently in development. It's a tough time in the industry, both here [Australia] and in the [United] states. But it's so important for us to keep going. I love it. I love the industry. I love storytelling. I love the craft of acting. I love directing. You just keep going at it no matter how hard it is because when you make it, like something like Audrey. There's no feeling like it. So that's why we all just stick at it through the hard times.
Is there anything else you want to add?
NB: We had such a great cast. It was Hannah Diviney's first feature film, who played Norah, and she really nailed that role. It took a long time developing, getting this film up. One of the reasons was finding someone like Hannah who had the wit to be able to play that role. It was written for a character with cerebral palsy, and they had to be funny and obviously good at acting. She nailed that role. She worked really hard. It's a big learning curve for her, and she pulled it off. That was a really exciting thing for us was finding Hannah, and I think she's got an incredible future ahead of her.
JLT: I'm really proud of the film, proud of everyone involved. And thank you so much for taking the time to interview Natalie and myself. It's been a joy.
No Man's Land Film Festival was hosted at Riverview Theater on Wednesday, February 26, 2025.
March 12, 2025
This film festival is dedicated to honoring women and gender nonconforming people who love outdoor sports, especially biking.
No Man's Land Film Festival was founded in 2015 in Denver, Colorado. This makes them the first all female adventure film festival. They host 150 events worldwide yearly. They tour various cities such as Atlanta, Jersey City, Nashville, and of course Minneapolis. Over the last decade, they've championed for trans people in sports, advocated for LGBT people, and broken down common gender stereotypes.
The National Center for Youth Development presented this event. NCYD was founded in 2021. It's a local nonprofit organization that's dedicated to helping youth build community through biking. NCYD partners with local schools and local youth specialized organizations while working alongside coaches and board members who mentor them. Their goal is for youth to gain confidence, integrity, and self-awareness.
Local nonprofit organizations tabled in the lobby before the No Man's Land Film Festival. Unruly Women, Midwest Dirt Legion, Stoke MTB, and NCYD are a few such organizations. NYCD hosted a silent auction.
Proceeds donated to NYCD and ticket sales went to training and certifying adult female and gender nonconforming coaches. They also help to provide scholarships, operate a local park-based program, and cover expenses for adventure trips for female and genderqueer youth.
There was high levels of energy and support from the audience. Audience members were enthusiastic to raise money. Overall audience members were of various ages from toddler to senior citizen. This indicates that the festival is connecting with audiences of various backgrounds and identities.
Four LGBT short documentaries were screened as part of No Man's Land Film Festival: The Debora Effect, Flow Up, Coming Home, and Life of Pie.
In this year's most powerful documentary The Debora Effect, Debora de Napoli shares their road to recovery after a near fatal car accident. This resulted in a brain injury. They were told by doctors that another accident, car or bike, will not be recoverable. de Napoli defied doctor's expectations and got back on the bike. They continue to inspire others by their positive messages. The No Man's Land Film Festival team is no exception.
Flow Up and Coming Home explore trans people in sports. Flow Up highlights how biker Blake Hansen evolved in her relationship with nature and her identity. Coming Home shares how fellow biker Alex Showerman found a new sense of belonging in the sport after coming out as trans.
Life of Pie explores how wives Jen Zeuner and Anne Keller juggle biking and owning a popular pizza business. Both ventures have helped to bring their community together.
No Man's Land Film Festival was successful in inspiring audiences with their film lineup. All films have their unique ways of communicating with viewers. Anyone who walks into the festival without an interest in cinema will gain an interest in cinema during the festival. The festival proves that audiences don't need to have an interest in biking to feel inspired by their films.
Did you produce or were in a film about women or gender conforming bikers? If so, No Man's Land Film Festival has begun accepting submissions for their 2026 festival tour. You can submit your film by clicking the link below.
Do you remember Logo, the former cable channel dedicated to all LGBT artists, music, TV, and movies? I'll give you a hint: this is where RuPaul's Drag Race aired until 2017.
February 26, 2025
If you remember Logo, you likely also remember the name Q. Allan Brocka. He directed some well known LGBT comedies such as Boy Culture, Eating Out 1-5, and the series Rick and Steve seasons 1 & 2. His resume is much longer than that.
He now has a short movie called EKG in the film festival circuit. It also includes lots of shirtless sexy men, sex in the backroom, and dancing. Meanwhile, it covers coming out, COVID, belonging, community, and more. The short film manages to give audiences a lot of excitement in only 15 minutes.
Director Q. Allan Brocka took some time out of his busy schedule to answer some questions about EKG. During which, he talks about his hopes for the short film, the importance of DEI, and two upcoming projects (a music video and a feature film).
Your short film EKG is about an overworked emergency doctor who discovers a new world of substance and sex. He also struggles to communicate with his father after coming out to him. What inspired you to do this film?
This film was written by Todd Lien who also stars in it. We have been working together for a few years. He was in Boy Culture: Generation X, and I just thought it was really great, and I wanted to put him in other stuff and work with him. Then he brought me this script last year and said, would you be interested in making a short film? I hadn't made a short for like 20 years, but I really loved the script. I really related to it. I'm always wanting to tell stories about LGBTQ people, specifically the Asian and Asian American experiences. The script just ticked all of those things off, felt right up my alley, so I said, yes, let's do it. We went and shot it, so that's how it came about. The idea for it was Todd and the person who acted as executive producer. I had a conversation about their experiences, and this kind of story came from that, from their experiences, specifically with the homepa and going to homepa and the kind of community that that created.
Along with EKG, you have an impressive resume with movies such as Boy Culture, Eating Out 1 to 5, Before I Got Famous, and the TV series Rick and Steve, seasons 1 and 2. What keeps you creating memorable films and series?
I think everything that I go through just inspires me to want to make something, so I'm always thinking and reacting and writing down stories and ideas. Eventually, some of them make it through all of the obstacles you have to get through to get made. So those are the ones that were fortunate enough to get across that finish line.
EKG also made its Australian premiere on February 14th as part of the Mardi Gras Film Festival. And it, and it is performed well in the film circuit, at film festival circuits along with winning numerous awards. How does it feel knowing that the film is loved by so many people?
It feels wonderful. It's exciting that we're reaching the people who we wanted to tell the story to, and people are enjoying it and feeling seen. Also, just liking the story of connection and the very specific experience of being queer and coming out to an Asian father and how it's a little bit different than what we usually see in coming out stories.
What do you hope most that audiences get out of watching EKG?
I think that there are a lot of conversations to be had about a lot of the things that we cover in there, but mostly I would like people to understand the characters in the film and what they're going through and to see where they're coming from. I think there are a lot of interesting points about not just coming out and culturally trying to connect with your family after doing so but also the spaces that we create for each other and for ourselves. The homepa scene came from a need of being able to fit in, especially when you have an intersectional identity when you're both queer and Asian. These are two extra communities that you are a part of, but then there are also two communities that you can be ostracized from. A lot of Asians do not feel comfortable or welcome in spaces in primarily white spaces, in places like Grindr where you just see no fats, no Asians everywhere. It's hard to find a spot within the queer community where Asians can feel comfortable and free and equal to everyone else in the room. We're often made to feel not equal to the other people in that room. The same thing happens, then we go home where it's like, ok, nothing wrong with you being Asian. We love that, but this queer thing, what is that? Being ostracized from these two communities that are already oppressed and finding a space where all of that just goes out the window and that's what a homepa is. It's a space where you're not being judged for being Asian or for being queer, and you can just be yourself. There's enough hangups already in life without that. And that's another one of the things that the film covers, is breaking down the walls to discover yourself and how often recreational drug use can help with that. We also talk about the dark side of that, where if you are not being careful, you can have bad experiences as well. I think there's a lot of interesting subjects that weave their way through EKG, and that's one of the things that excited me about it.
In EKG you created a safe space for the characters to be themselves, to be free without pressures to do anything they don't want to do. Where did you model the safe space and how?
Yeah, I mean, well, the idea of the homepas mentioned in the short is actually true. It came up during COVID. It started out with people who probably shouldn't have been getting together at a house party because everything was closed, but then it [the homepa] definitely outlived COVID. It was like, hey, we can just have a party at our home and not have anyone come in and treat us differently. So it became very popular with queer Asians. Folks here in the US and in Asia as well have these home parties where we don't need a public space. We'll just do it here, we'll just do it at this house, and this is going to be our club night. This is going to be our party night here.
The DEI initiative is being discussed in the media more often than ever because of numerous businesses eradicating it from their standards. What does DEI mean to you and how do you apply this in your movie sets?
For me, DEI means exactly what it stands for. It means diversity, it means equity, and it means inclusion. I don't think any of those things are bad or wrong, but, the people who are against it, it's just another word for black. That's what they're against. They hated woke, they hate DEI, they hated affirmative action. They come up with new words, new codes. Every new dog whistles, and this is their latest one, their latest attack. The opposite of diversity is homogeneity, the opposite of equity is inequity, and the opposite of inclusion is exclusion, and that is exactly what they're trying to do. It's terrifying that this is happening. For me and my senses, I'm always looking for diversity. I don't want everyone to be just like me or just like everyone that we see and everything that's already being made. If I was making the same thing everyone else was making, I wouldn't have a career. I wouldn't be telling stories. The only stories I know are my stories, so I want to tell stories about me and my community because we just don't hear that much. For popular culture, for white dominated culture, anything I make and any story I tell would automatically be considered DEI, right? Just because of the color of my skin and me being queer. So anything I touch automatically, it would be categorized as that.
Thank you so much for being such a good leader with this, and from what you're saying, it sounds like you do a great job at creating a positive environment in your movie sets. Thank you so much for playing the role in doing that. I wish there were a lot more people who are doing just that.
Well, thank you, I really appreciate that.
You recently made an appearance in Ryan Casssata's upcoming music video. Several people who played part in the music video have been raving about their experience on Instagram. What was your experience in working in the video? And when will we get the pleasure of watching it?
I think Ryan said it was going to be coming out in April. I'm not sure if it was April or May, but sometime then, so I'm not sure, but the song is really good. It's really catchy. It's not released yet, but we were able to hear it cause we had to sing along with it, and it was really, really catchy and a really fun time. Ryan shot it. I don't know if it was his home, but it was a home. We shot it at a home. It was probably about 50 people, a lot of queer people, a lot of trans, non-binary people, and a lot of people who came from different places around the country just to be part of the video. There was no pay or anything. It was just like, hey, I need people to be in this video. I was excited to go be a part of it. It was a short shoot. I got to dance and sing to this incredible song that he wrote, and I hope it becomes a breakthrough hit for him. Just being around just beautiful, incredible people, just experiencing joy, especially with what's going on politically right now. It was just so nice to be in a room full of trans people. Having fun and being themselves and being beautiful, and just making art. It was incredible. I think that's how we're going to make it through these next 4 years, is by making art, by being with each other, and creating spaces of love and joy.
You are in post-production of the film Love and Lockdown. Tell me about the movie.
Love and Lockdown is inspired by a true story about a trans man who is trying to change the gender marker on his Canadian passport. He's originally born in the Philippines, so this means he needs to go back to his hometown, the small village where he was born, to get his original birth certificate. However, he's not out to anyone in this village. So his plan is to sneak in and out and get what he needs and leave. But the COVID lockdown happens during this trip, and he becomes trapped there, and it's relatable. It's a romantic comedy. There's these kinds of dark circumstances around it, but it's really about his relationship with his girlfriend that he goes there with and how this lockdown really tests them. It really finds all of the places where their relationship was not ready to go to the next level and exploits them. They have to work their way through this. So it's a rom-com about falling in love with someone that you've already met, kind of falling in love all over again. I love the story. I'm so excited about it. I've always wanted to make a film in the Philippines, being Filipino. I've never just had the chance to do that. It was an incredible life-changing experience, and I can't wait to share the film with the rest of the world.
I am so excited for the movie too. It looks like it's going to be phenomenal from what you're saying.
Thank you, I hope it is.
When do you expect to release the film?
We're getting close to locking the picture. We're getting there, so probably in the next couple of months we'll finish that. It's all on almost no budget, so we have to work on everyone else's timetable. For example, our editor can work like one day a month, but when you have no money, that's what you do. That's what you do. So we don't have a specific [release] date, but we feel like it's going to be in the next few months. We still have to do score, color correcting, and there's quite a few visual effects, but I think by the 3rd quarter this year we'll start submitting to film festivals. Film festivals are usually a quarter out, so it'll likely be early next year doing film festivals.
Is there anything else you want to share?
Follow me on Instagram if you're interested in keeping up to date with any of my work that I'm putting out there.
Do you love horror stories? Are you fascinated with how some horror stories were born? If you answered yes to both questions, look no further!
February 26, 2025
First Word on Horror is the latest series that explores exactly them...and more. This series is perfect for horror fans!
Every episode includes a different author reading one of their horror stories. Authors included in this series include Paul Tremblay, Elizabeth Hand, Mariana Enriquez, and more. They discuss their inspirations, philosophies, writing style, and human experiences. Overall, this series is a love letter to horror authors everywhere.
Director Philip Gelatt answered a few questions about FIrst Word on Horror. He dished on how the series was born, why he loves horror stories, and where we can find this new series.
Season one of First Word on Horror is a fifteen-part docuseries. This docuseries includes five authors who talk about their life and inspirations while reading one of their stories. What inspired this docuseries?
I love writers, I love horror, and I love to think about the nature and source of human creativity. Each of these authors has a unique take on the genre and is full of great advice and great real life stories. So I guess I was really inspired by each of them and their works.
These authors write horror stories. How did you become interested in horror stories?
As a little kid, I was scared of horror. Just completely terrified of it. I remember all my friends reading Scary Stories to Tell in the Dark and I was basically afraid to even touch the books. That artwork - still some of the best horror artwork of all time. Anyway... a years later, something in my mind flipped and I couldn't get enough of the stuff. Clive Barker, Stephen King, H.P. Lovecraft, Anne Rice and on and on and on. I've loved it ever since.
How did you choose the five authors to take part in the docuseries?
It was an organic process, really. I knew I wanted writers of varying backgrounds, no writers who were too young, and, as much as possible, I wanted to talk to writers who I knew had interesting or unexpected lives. We started with Laird Barron, because I knew him and I knew he'd be a great interview and then expanded from there.
What's the most valuable thing you learned about the authors and the horror genre from doing this docuseries?
There's so much value to be learned from authors! I think the biggest thing to be learned is just how big a tent horror really is. This is a genre for everyone.
How has doing this docuseries made you see the horror genre differently than before?
I don't know that it's made me see it differently BUT it has filled my head with different perspectives on it, perspectives that I had never considered before and that is SO valuable. When someone helps you see something you love in a new way, they're helping you see a new way to love it.
Will there be a season two? If so, which authors would you most like to have on board and why?
I want to make a season two very badly! But we need the first season to be a success first. The list of authors I'd want for a season two is honestly so so long.
Where can we find First Word on Horror?
We're releasing the show via Substack. Click the link below!
Anything else?
Go read scary stories, they're good for your soul!
Children's Theatre Company is hosting Milo Imagines the World.
February 12, 2025
This production is fun for all ages. In this production, Milo takes a ride on a subway train in NYC. There, he realizes that appearances are not always accurate. Milo Imagines the World runs from February 4 - March 9, 2025.
Milo Imagines the World was adapted from a children's book to a musical by director Mikael Burke. It includes lots of fun musical numbers from various genres such as country, pop, hip hop, and more! Those who love music and stories with a message should check out this production!
Director Mikael Burke discussed with Twin Cities Gay Scene about the musical Milo Imagines the World. He talks about how he adapted the book version into a musical, what he hopes to accomplish from this, and how he plans to stay active during the critical social and political climate.
You directed Milo Imagines the World. What should audiences expect from watching the musical?
I believe audiences can expect to be moved by the story that unfolds. Milo's magical journey on an NYC subway train is a wild ride. It's full of great music, delightful surprises, and is just bursting with imagination. But it's also a moving story about love and family that is sure to tug the heartstrings. I cannot wait to see all the ways Milo's journey inspires audiences, and how they carry his story out of the theatre and beyond.
You adapted it from the book version that was written by Matt de la Peña and was published in 2021. What inspired you to adapt this book into a stage musical?
Fortunately, better writers than myself did the actual adaptation. Book writer, Terry Guest, collaborated with Lyricist, Christian Albright, and Composer, Christian Magby, to bring the book to thrilling life, and I have the honor of taking their words and crafting them into an exciting experience. To that end, the moments from the book that most excited me thinking about bringing this story to life are the moments when we dive into Milo’s imagination, and the possibilities for theatrical play that arise when the rules of our real world are off the table. And there’s a moment of imagination that comes late in the play that I think will be a particularly impactful and moving moment.
The story centers around a young boy who rides a subway and analyzes other passengers. He soon realizes that people are not who they seem to be. What do you most hope that people learn from watching this musical?
What the play does so well is deepen the explorations of empathy and understanding so expertly rendered in the picture book. It gives us more time and space to really deal with the sights and discoveries Milo encounters. We get to experience the fun of imagining someone else’s life, and we also get to experience how it feels when someone makes a wrong assumption about us. And the relationship between Milo and his sister is greatly expanded in the play, helping us see Milo’s learning in real time through his relationship with her as they go from siblings-at-odds to a family in harmony. This story takes us on a journey of understanding, and teaches us that there’s always more to people than meets the eye. I hope that people walk away understanding that we shouldn’t judge a sketchbook by its cover, and that there’s always more to the story if we take the time to try and understand rather than simply pass judgement.
The musical includes songs of various genres such as hip hop, country, and pop. What are your favorite genres to incorporate in your productions?
My tastes are pretty eclectic, so picking a favorite is hard, but I do love any opportunity to infuse a play with music. It's emotive and communicative in such a different way than words and acting are, so it allows for some really exciting moments of theatricality. I especially love when the moment you're witnessing and the music you're hearing would seem to be at odds but the juxtaposition reveals a deeper truth in the moment. So for me, musically, nothing's off the table. I've done 80s synthwave Romeo & Juliet, used rap & hip-hop to explore the terrifying impact of genocide, and I once used exclusively top 40 white-girl pop hits to egreat effect while exploring the complicated relationship between a young queer black boy and his over-bearing father. Suffice it to say, my Spotify Wrapped is always fascinating because it's so impacted by what I'm listening to as I dream and scheme about my upcoming shows.
Much of the subject matter is relatable because of the current political and social climate. Do you consider producing Milo Imagines the World a way for you to stay active through creativity? If so, how?
I believe the theatre in general is a gym for empathy. It's the place we go to practice listening to someone else's perspective and walking in someone else's shoes. This story asks us all to look beyond someone's outward appearance, and invites us to accept the people underneath as they are. So I do believe that telling this story in this moment is political, because as we are living through this moment where someone's humanity is being regulated by people who outright refuse to see them beyond some arbitrary marker they've decided is paramount to their person, this story is highlighting how wrong-headed that thinking is and showing us a different way to co-exist with one another. It is activism of the heart.
Milo Imagines the World isn't your first production to touch on social justice. Other works include At the Wake of a Dead Drag Queen and Kickback | a celebration of Black lives. Who and what inspires you to stay active through the creative world?
In my work, I tell stories of people like me overcoming the visible and invisible systems designed to keep them down. I tell stories about people fighting to be seen, heard, and loved. I tell stories about the families we fight with and fight for and who choose to fight for us. I dismantle harmful narratives by telling stories that reflect the full spectrum of our experiences. I create experiences as vivid, surprising, and complex, as the characters inside them and the worlds they reflect, inspired by who we’ve been, who we are, and who we hope to become. And in all of this, I'm inspired by the work of many artists and creators, but what inspires me most is the amazing collaborators I get the chance to work with on a daily basis. People from all different walks and faiths, coming together to tell a story that's bigger than all of us. My colleagues remind me again and again that theatre really can save the world, as long as we continue to tell these stories. And in doing so, we prove again and again that despite our unignorable differences and many truths, we are all simply human, and I really believe that this will make our world less fearful and so much more loving.
What's next?
Following Milo, I go into rehearsals for two projects, the Chicago premiere of Brendan Pelsue’s thrilling new adaptation of Dickens A Tale of Two Cities, opening late April with Shattered Globe Theatre, and Terry Guest's At the Wake of a Dead Drag Queen, also opening late April with The Story Theatre in Chicago.
Anything else you want to add?
If you come, I promise you'll laugh, I bet you'll cry, and I hope that maybe you'll learn something along the way, and have a great time doing it!
The 10th Annual No Man's Land Film Festival
February 12, 2025
The 10th Annual No Man's Land Film Festival will be touring again this year from February 13 - March 29. They'll be traveling to various major cities nationwide to host their film festival. They'll be making a stop at Minneapolis to show us their lineup at Riverway Theater on February 26, 2025 from 6:00 - 9:00 PM.
This film festival specializes in women and gender non-conforming people in adventure and sports. It was founded in Denver, CO in 2015. Every year, while they tour, they partner up with various organizations that are located in the cities that they tour. In Minneapolis, they're partnering with the National Center for Youth Development, which is located in the Seward neighborhood. NCYD is a youth-led competitive cycling team that aims to create community, identity, and purpose for youth. The goal of this partnership is to expand their gender and racial diversity initiatives.
There are four LGBT shorts that are included in their lineup. They are Flow Up, Coming Home, Life of Pie, and The Debora Effect. These films exemplify women and non-conforming people applying passion and community building in biking and adventure.
Participants of Flow Up, Coming Home, and Life of Pie answered some questions about their documentaries for Twin Cities Gay Scene. They shared their reactions to being selected for the festival, their love for biking, and how they plan to stay active during the current critical world affairs.
Tell me about your documentary.
Jacob Oster (Flow Up): Flow Up is, first and foremost, a mountain biking film featuring professional mountain biker Blake Hansen. It highlights her evolution—not just in her relationship with mountain biking but also in her identity. The film celebrates the role of community in personal and athletic progression.
While Blake is part of the transgender community, both she and I wanted to ensure that the film doesn’t reduce her to that aspect of her identity. Instead, Flow Up is about her journey as an athlete and the deep connection she has with mountain biking, told in a way that feels authentic to her experience.
Katie Lozancich (Coming Home): Coming Home is a short film that centers on Alex Showerman, a lifelong Vermonter and professional mountain biker who came out as a queer trans woman in 2020. The film explores Alex's journey of finding a sense of belonging in the unexpected world of women’s freeride and her complex relationship with the sport of mountain biking, viewed through the lens of current events surrounding the LGBTQ+ community and the fight for equality in women’s sports. The project also celebrates those who have supported Alex, including professional athletes Brooklyn Bell and Hannah Bergemann. The film culminates in showcasing what a community looks like when people set aside their differences and uplift each other, broadening the definition of who can call themselves a mountain biker.
Jen Zeuner & Anne Keller (Life of Pie): Life of Pie was a Patagonia film released in 2019. Prior to the filming, Patagonia was in the process of rereleasing their mountain bike product line. They reached out to two filmmakers, Ben Knight and Travis Rummel, and asked them for storyline ideas to coincide with the release. They came back to Patagonia with one suggestion; Pizza. From what we understand, it was a hard sell on their part and the film almost did not get the green light. Life of Pie went on to be one of their most widely viewed films, so hopefully they are happy that they took the chance on a less traditional MTB film idea.
What was your initial reaction when you discovered that your short film got selected for No Man’s Land Film Festival?
JO: Film festivals are an interesting thing. On one hand, it’s incredible to have your work shown to a live audience, and even more meaningful when you can be there in person to experience their reactions, answer questions, and discuss the creative process.
That said, with so many film festivals happening worldwide, the submission process can sometimes feel impersonal—like a numbers game. But the festivals that truly stand out are the ones with a clear commitment to art, storytelling, community, connection, and impact.
When I found out that Flow Up was selected for No Man’s Land, I felt happy for Blake. She's a badass mountain biker and a badass human. Her story deserves an audience that deeply resonates with its message, and No Man’s Land is an impactful platform that supports and amplifies voices like hers in a meaningful way.
KL: Overjoyed! I attended No Man's Land Festival when I was fresh out of college in 2017, and it was an incredibly formative experience to see so many women in film. It gave me the confidence to pursue a career in storytelling, and it felt full circle to debut our film at the flagship event last March.
JZ & AK: It was great! We love Kathy and what the No Man's Land team have achieved! It felt like a perfect fit to be involved.
The festival covers biking as a sport. What do you love most about biking?
JO: Mountain biking is this wild blend of risk, speed, and flow state—it demands total presence and rewards you with an intense, raw joy, especially when shared with friends. Like many outdoor sports, it creates an instant bond between people.
Road biking, on the other hand, taps into something more meditative. It’s about endurance, covering long distances, and exploring new places. There’s something deeply satisfying about the physical and mental challenge—pushing yourself beyond your limits. No one’s forcing you to push harder; it’s just you against you.
KL: I love the freedom and community that come from mountain biking. I have cultivated some of my most meaningful relationships through biking, and been on the best adventures. I love where two wheels can take you.
JZ & AK: The freedom, the exploration, the fun factor, the group camaraderie after a great ride, being in the outdoors in the elements, is there anything not to love about biking?
The Debora Effect exemplifies togetherness through biking. How has togetherness through biking applied to your experience?
JO: Togetherness, to me, is about support and shared experience. Whether it’s pushing each other to ride a technical section, celebrating a big progression, or simply enjoying a mellow ride with friends, biking has this unique way of fostering connection.
It’s also a space where vulnerability and strength coexist. You learn a lot about yourself and the people around you when you’re riding at your limits—when you’re scared, exhausted, or struggling. And in those moments, the people you’re with make all the difference. It’s a reminder that growth, in biking and in life, doesn’t happen in isolation.
KL: I'm always amazed at how quickly it is to build a connection with someone when biking is involved. I have made quick and lasting friendships with folks after a ride, and it speaks to how tight-knit our community is. I think also, as a woman in cycling, there's a greater drive to create more space for each other.
JZ & AK: Mountain biking is a fantastic group sport and with the right group can be inclusive to a wide variety of skill levels. There's nothing more satisfying than sharing that type of outdoor experience with friends and watching newer riders catch the excitement.
This nation is in a critical period politically and socially. This makes creating LGBT movies more important. How do you plan to stay creative during this critical time?
JO: I fully believe that struggle—both personal and collective—fuels creativity. Some of the most powerful art has emerged from difficult times. While the current political and social landscape is challenging, I hope it inspires LGBT artists to tell their stories, to make films, music, and art that reflect their experiences. I hope that LGBT filmmakers feel more empowered than ever to continue to make their voices hear/
For me, staying creative means continuing to tell authentic stories that highlight the depth and complexity of human experiences—including those of the LGBT community. It’s about creating work that fosters empathy, connection, and understanding.
KL: I plan to keep showing up, using my voice, and sharing stories. Storytelling is one of the strongest tools we have for creating understanding across different points of view. I think it can help humanize an issue.
JZ & AK: By turning off the news and giving our attention to pursuits that hopefully add value. What is the saying? Our attention is one of our most valuable resources so choose to spend it wisely? That feels apt right now. The world needs creative voices more than ever.
No Man’s Land Film Festival is screening four LGBT-interest documentaries. In your experience, how else have you seen No Man’s Land Film Festival helping LGBT voices be heard?
JO: No Man’s Land has been incredible in the way they not only showcase LGBT stories but also actively support the filmmakers behind them. Their commitment goes beyond just programming films—they make filmmakers and the stories that we're lucky enough to tell feel truly valued.
From my experience, their passion, positivity, and communication have been exceptional. I’ve felt supported and celebrated, and it’s a great feeling knowing that Flow Up will continue to inspire audiences in real life, not just as a digital file on a streaming platform. That kind of real-world impact is rare, and No Man’s Land is making it happen.
KL: The No Man's Land Film team does a wonderful job uplifting the LGBT community. They make an effort to screen LGBT films and highlight LGBT filmmakers, as well as award grants for underrepresented filmmakers and stories.
JZ & AK: NML is a wonderful outlet for a wide variety of storytelling and story tellers, the festival has really exemplified the mission of representing voices that are often marginalized. I would imagine that the festival team goes out of their way to be intentional about that.
The documentary Coming Home covers the topic of trans people in sports, a topic frequently debated by politicians, leaders, and athletes. What is your stance on trans people in sports?
KL: Mountain biking is for everyone, so I welcome the trans community with open arms.
JZ & AK: We love our trans friends and support them in being a part of the cycling community.
A lot of LGBT people are struggling because of the current political and social climate. Do you have a message for those who are struggling?
KL: It is a tumultuous time, and it's more important than ever to lean into your community and support each other where you can. We will get through this, especially when we have each other.
JZ & AK: Sometimes in the darkest times is when we find our strongest community. Joy and connectedness are powerful agents against oppression.
Is there anything else you want to add?
JO: I want to emphasize how important it is to tell stories that reflect the depth and diversity of the human experience. As filmmakers, athletes, and artists, we have a unique opportunity to craft narratives and ensure that underrepresented voices are heard—not in a tokenized way, but in a way that feels true to the people living these experiences. I also hope to see brands of all kinds continue to invest in authentic storytelling—not just for the sake of representation or good PR, but because these stories matter. I hope Flow Up is a step in that direction, and I’m grateful to No Man’s Land for creating a space where stories like Blake’s can thrive.
KL: Working on this film with Alex and telling her story was an absolute honor. I am immensely grateful for the experience and hope that folks who watch our film can recognize the humanity in each other and be more kind. We could all use a little more kindness these days.
JZ & AK: Thanks for having us be a part of the fest! You all are the best!
Here's the No Man's Land Film Festival website: https://nomanslandfilmfestival.org
Review: The 1st Annual Black Europe Film Festival
February 12, 2025
The 1st Annual Black Europe Film Festival was hosted at St. Anthony Main Theater from January 30 - February 2, 2025. Films were also screened at Capri Theater, Minneapolis Institute of Arts, and Cedar Cultural Center. The films that were screened specialize in people of color in Europe. The most common topics that were discussed this year are racism and displacement.
Their selection included six films with LGBT interest. Of the six, one is a feature, one is a pilot, and the remaining are shorts. Every film captures LGBT culture in Europe by covering various topics such as racism, immigration, relationships, and others. Doing this gives viewers a wide lens of being a person of color living in Europe.
Here's SCENE Best in LGBT Show of this year's Black Europe Film Festival:
Best Picture: Dogfriend
Best Director: The Archive: Queer Nigerians (Simisolaoluwa Akande)
Best Storyline: Dogfriend (Lamin Leroy Gibba)
Best Editing: The Archive: Queer Nigerians (Simisolaoluwa Akande & Joseph Bushell)
Best Cinematography: How to Breathe Out of Water (Giuliana Lanzoni)
Best Music: Edelweiss
Best Picture winner Dogfriend was screened as part of the Black Diaspora Living Shorts Block. What was supposed to have been sex with two people turned into a heated conversation about racism. This conversation tests their beliefs on how they view the world.
The feature Edelweiss is a documentary about racism in Austria. It connects with the song with the same title that's included in the classic musical The Sound of Music. Edelweiss includes poetry, dance, and interviews from those who have experienced racism in Austria. Two of those interviewed are LGBT who own an LGBT business. The poetry and the dance numbers enhance the emotional aspect of the interviewees' experiences. This is helpful in understanding the topic beyond what words can express.
Four short films were screened in their Global Queer Block: Black Fruit. Episode 1, How To Breathe Out of Water, The Archive: Queer Nigerians, and The Queer Black Italian Experience. Black Fruit. Episode 1 is a pilot that's reminiscent of the 1967 classic Katharine Hepburn/ Sidney Poitier classic Guess Who's Coming to Dinner. In this case, during a family dinner, parents try so hard to appear educated about racism that it backfires. How To Breathe Out of Water spotlights a swimmer who had just gotten assaulted. She learns that her journey to recover from the incident goes beyond the emotional part. The Archive: Queer Nigerians is a short documentary that shares five testimonies of Nigerian LGBT people who now live in The UK. It includes similarities to Edelweiss but with avant garde style editing and cinematography. The grainy appearance gives a historic perspective to the topic of racism. The other documentary The Queer Black Italian Experience includes a conversation with a group of seven participants about their experiences of being a person of color and LGBT in Italy. The topics are deep, but the images appear casual. This technique is helpful in making a serious topic easier to watch.
Review: The 1st Annual Black Europe Film Festival
January 29, 2025
The festival will screen six LGBT interest films. These films provide a perspective of being an LGBT person of color in various parts of Europe, and they honor Afro Descendant filmmakers.
Of the six LGBT interest films in the festival, four shorts will be included in their Global Queer Blackness Block. One other short will be included in their Black Diaspora Block. One feature (Edelweiss) will be screened as its own entity. The two blocks are free admittance. Admittance for Edelweiss is $12, $8 for members.
This year’s LGBT lineup includes a variety of genres: romance, avant-garde, dramas, and documentaries. Some of these filmmakers will be present for a Q&A after the screening of their films. Those who will be present include director Anna Gaberscik (Edelweiss), actor Lamin Leroy Gibba (Black Fruit) and director Jordan Anderson (The Black Queer Italian Experience).
Simisolaoluwa (Simi) Akande answered a few questions about his documentary The Archive: Queer Nigerians. This documentary provides a glimpse of being LGBT in Nigeria, where homosexuality (as Nigerian law calls it) carries a 14 year prison sentence. During which, she talked about the making of the documentary, interviewing the five individuals who lived through this ordeal in Nigeria, what we can do to better support these people, and what's next for her.
Your film The Archive: Queer Nigerians is being screened as part of the Global Queer Block in Black Europe Film Festival. What was your initial reaction when you first heard that your film was selected for the festival?
Anytime a festival is willing to share the work to a wider and wider audience, it feels really affirming that the work we did on the film resonates in so many different cultures because the film is very specifically about Nigerian British culture. I think that it's always so joyful to me when I see that it resonates with people in America, people in Canada, Brazil, all the different places that it's been. I'm just surprised, but it reminds me that the core thread of our experiences as human beings transcends these kinds of cultural boundaries sometimes.
The Archive: Queer Nigerians shares testimonies from 5 Nigerian people who identify as LGBT. These people immigrated to the UK so they can express themselves without fear of persecution. What inspired you to do this documentary?
Inspiration is a good one cause there were so many. I was inspired to pursue a documentary about queer Nigerians, specifically Yoruba queer history, which is the tribe I'm from in Nigeria. When I had a discussion with a school friend of mine, he was doing a PhD looking into gender in Yoruba culture and had stumbled across research done about the possibility of queer ancestry, stemming from analysis done on the Yoruba language. We don't have gender pronouns, and it's the kind of research that went on to speculate from those kinds of evidence. What type of societies did we live in if we literally did not have the vocabulary for he and she? I think this conversation was the root of my interest in going about this documentary because I felt that I had not been allowed to wonder about the possibility of queer ancestry for my people. In doing that, I was really excited to make more connections with other queer people, queer Nigerians around me and share stories. I wanted to create a space where we could talk about what it was like being both Nigerian and queer and not have to choose between the two identities. I wanted it to be a really therapeutic experience for everyone where they could just share their truths.
As noted in The Archive: Queer Nigerians, homosexuality (as Nigerian law calls it) carries a 14-year prison sentence in Nigeria. How challenging was it finding LGBT people from Nigeria to participate in the documentary, and how challenging was it for the interviewees to share their stories?
My original plan for this documentary was to actually travel to Nigeria and make it there, but I was probably 21, and not really having the infrastructure of safety to offer, like, any participants that might want to be in the documentary, I just felt a bit ill-equipped to actually go back home to Nigeria and ask people to participate in something that could get them in trouble. So I pivoted, and I instead focused on the queer Nigerian communities in England specifically. I was based in London at the time, so that became the scope of the people. Many of the people are either second generation immigrants or asylum seekers. One of them was from Nigeria, [and] they live in Canada, but they were in The UK for a holiday.
They just looked at my Instagram post, and that's how they joined the film. In terms of how I went about finding participants, I did something very simple, which is I just did an Instagram call out. I posted on Instagram welcoming any queer Nigerians in The UK to message me if they were interested in the project. I think I like this way of working because the algorithm affects things. So, it's like, who is more likely to see my posts or the posts of my peers. I think in my head, it opens up the scope a little bit beyond my own bubble, and I catch people who I might never have stumbled upon. Like, one of our participants, Alex; in my head, I'm like I don't think I would have ever met you to have welcomed you into this space with me. I'm really happy that somehow they found the call out, and they responded to it. When I did the initial call out, I had over 20-30 responses, and I would do a Zoom call with each person, introducing them into the concept of what the documentary is. I did Zoom meetings with everyone, and then I sent everyone the task of creating audio diaries for 2 weeks. From those two weeks, we just started narrowing and narrowing down which stories we wanted to follow, and people would also intuitively either desire to continue, or some people would just stop. I think it was a natural understanding that maybe, their part in this journey has ended, and other people had more to discover for themselves. So we would carry on, and that would take about 3 months of us doing audio diaries with them.
The documentary has been screened in multiple other film festivals, most notably London Film Festival, where it won Best Short Film. How does it feel knowing that your documentary has reached so many people?
It's such an honor to be able to make the type of work that I make, which is what I'm very aware that can only be made in places of refuge, where it is safe enough for for communities to gather without the risk of persecution and where it is safe enough for and where the where the government also funds the practice, because the film was funded by the BFI (British Film Institute). One being able to have access to the finances to make the film, cause we also shot on 16 mm film, these are really expensive materials. So having that backing, being in a country where I can safely gather people together to talk about things that are difficult, and myself being in an environment where I felt safe enough to do that, this is work. I feel like this is a work that really comes from safe places. It's a film that attempts to create safe spaces for its participants, but it's also a film that is only able to exist due to the safety of where I live.
The fact that it's really resonated with so many people, especially from people in places where safety is precarious and is in constant negotiation (and they still feel that they are) that their experiences are being recognized, feels really good, because the anxiety with making films about communities is that you will never be able to encapsulate the diversity of experience, especially from country to country. Like, a Queen Nigerian's experience in England is very different from a Queen Nigeria's experience in Ireland and is especially different from a Queen Nigeria's experience in Nigeria. Having a screening in Nigeria and having people DM me talking about how they felt, that was when I really felt like we had done a really good job. That's why we wanted to make the film, is that we all felt in some ways, a reciprocal gaze in the media, that we consume. So winning at the London Film Festival was amazing, but I think being invited to be screened in these small communities, and also being screened in Nigeria, those were the marks of, like, ok, something worthwhile has been done here that is beyond accolade, and has transitioned into being an important object for the community, which is always my aim.
One individual who was interviewed for the documentary was granted asylum in The UK. What do you think needs to be done to support those in this position?
I think there are different sectors of care that could be provided, which is the interpersonal, familial ones that friends and family can provide. They speak a lot about how they have found a chosen family whilst being in England, and I think that is a type of care that is well afforded to them in their coming. Having communities where they can speak on their experiences as a queer person where they can feel self-actualized as a queer person and where they can also mourn the loss of the life that they had to leave behind because nobody really wants to leave their home, but a lot of us find ourselves having to. So there is a lot of mourning to be done, a lot of grief around the person you leave behind, and the people that you leave behind. I think they speak on that really well in the film, about the tensions of being in England and feeling really loved by their partner, the opportunity of being loved openly, needing to leave friends behind, and needing to distance themselves from their mother, for example. I think the type of care that can be done is those interpersonal ones of building community where they are.
Then there's the other side of things, which is the more practical help that can be given, which is like helping people find housing when they come. I think they were fortunate because they had some savings, and maybe they knew some people as well before coming.
Thinking of other asylum seekers that might not have such robust foundations to enter a new country, having access to safe housing, compassionate immigration workers, and mental health practitioners that can support them. A lot of people are coming from quite traumatic environments when seeking asylum, so having mental health support is really good. The thing about seeking asylum is, especially from Nigeria; it's even like a condition that the general middle to upper class can afford, and it's not something that everyone can really afford to do. It really pains me to think of the queer individuals who are also living in poverty that cannot afford escape.
What do you most hope that audiences learned from watching the documentary?
I think when I was making the film, the aim I really had was to instill less of a lesson and more of an experience for people. I wanted people to feel a level of intimacy with the participants that they were listening to. I really wanted people to feel other queer people in the diaspora, other people living in the contexts where almost every context is a context where queerness is under threat. I really wanted people to feel seen. I wanted people to feel that it was a film made by the community of the community with the community in mind. I didn't want people to feel preached to. I didn't think it was really about exposing something because the film doesn't deal with facts, as we would understand them. They deal with experience, and I think that one of the biggest compliments that we've received about the film is that it felt really consensual, and for a documentary to feel consensual, it's a really good thing considering the kind of dark history, especially with black bodies and black lives. I just really wanted people to leave the screening feeling a sense of intimacy with other human beings, feeling really seen, and that they're really loved by the film. I just hope everybody gets a big hug. Maybe they want to give somebody a hug after, or they want to get closer to somebody else in their life.
You're in post production of your next film Baby. Can you tell me a little bit about Baby, and when will the public get the pleasure of watching it?
Baby is a short film that explores two sisters who are trafficked from Nigeria to the UK and enter into um sex work. The story really focuses on how the labor that they're forced to do affects the bonds between the sisters and between the other women in the house. It challenges the levels of intimacy of sisterhood that are allowed to develop when they are surrounded by so much violence. We tried to engage with this topic in a way that is respectful. We worked a lot with a charity called MIT in Paris, which was created by survivors, and they help get other women out of these situations, and help create awareness. We worked really closely with them to develop the story to best represent some of these experiences that these women go through, and it was a very nerve-wracking journey. Even as I speak on it, I'm always anxious because it's such a big and important thing to talk about, and it's one of those ones where you never want to talk about it because you feel ill equipped. It really requires lots of research and lots of asking those who do know what's best to do.
When will it be out? I think we're trying to finish the edit by March. March [or] April maybe, we'll be sending it to festivals and seeing if they bite. This is my first time working on a narrative. I didn't write it. This is also my first time working on a script, just on my own. It's a lot of first times. The opportunity to just get to try all these new things is just amazing. I'm trying not to get too hung up on success or festivals. March around April, hopefully we'll be putting it out into festivals and stuff.
Is there anything else you want to add?
The stuff I said about kind of making this film as really wanting it to be a therapeutic experience for people, really wanting the process of making, I really wanted the process of making the documentary to be good for people, to feel sincerely, nourishing, such that whatever the documentary ended up being, wouldn't really matter, because we would have all reaped the rewards of the hard work that we put in. I'm just really interested in making work in this way where the practice of making is just as important, or maybe even more important than whatever the result of the thing is. I think that's how you make work that feels consensual because when you're so concerned with the ways that your participants are experiencing, what they're making, I think it makes for better work.
The other thing I was going to add was that we did a lot of work with the participants to create those visuals for the film. They would help direct the scenes in accordance to how they wish to be represented. One of the really big highlights of this film was using film as a wish fulfillment to allow queer bodies to be represented in ways that they wished to be celebrated, in ways that they see themselves. I think that that was really important, and I think that brought so much magic to how the film turned out.
The final thing was also really thinking about what it means to share stories because the world will often ask people to share their story and to share their story to share what is quite traumatic to them. I have a bit of a qualm with this, with the ideas of representation, I think these ideas are quite limited in that they're not broad enough to encompass. To encompass conflict that an individual's own identity might have, how some people talk about being queer, being able to engage in, for example, being a Christian or growing up in a religious environment, still having faith, still loving those environments but being aware of those environments. These are very normal situations that we all have to deal with as human beings, the fact that I am not just one thing. I have to figure out a way to accommodate everything that I am. One of the biggest aspects of the film was the anonymity. When we did audio diaries, we didn't want to show people in an interview. I didn't really have questions for them. It was really an exercise in having people have the opportunity to know that they are being listened to. What it revealed is that people are so forthcoming with themselves when they know that there's somebody else listening. They are so willing to share themselves, and I think that's the power of storytelling. It's not about consuming each other's images, but it's about learning how to sit and listen. The level of respect and love that it takes to do that. It's so transformational for so many of our participants, the opportunity to just be listened to. I know it did a lot of good for them, and it did a lot of good for me as well. I think those are the key things that I think really made this documentary very special for all of us.
Here's the Black Europe Film Festival website.
Leonardo! A Wonderful Show About a Terrible Monster makes its run in Children's Theatre Company from January 8 - March 9, 2025.
January 29, 2025
Do you remember the two-part book version written by Mo Willems? This production was adapted from that.
This stage adaptation included puppets, projectors, screens, and music. It appears to have drawn inspiration from Jim Henson, the legend we have to thank for The Muppets, Labyrinth, and more. This is great for all ages.
Emmy winning director Sarah Fornace answered a few questions about Leonardo! A Wonderful Show About a Terrible Monster. She has an impressive resume in the entertainment world that she can bring to Children's Theatre Company. Here's what she had to say:
Tell me about Leonardo! A Wonderful Show About a Terrible Monster.
This show combines puppetry, live original music, live acting on camera, and lip sync to bring the world of Mo Willems books to life in front of the audience's eyes!
This production is based on the two-part children’s book series. What do you love most about the books?
I love the characters in the book and the way that they do not do what is expected of them! The drawings in the books are so emotionally evocative (and funny) and gave us a lot to work with while creating the adaptation.
What’s the best part of adapting the book series into a stage musical?
I loved taking individual pages of the book and turning them into full songs. My favorite song in the show is the Library Song. It was inspired by a two page spread in which Leonardo is researching and trying to find the most scaredy cat kid in the whole world.
You have an impressive resume! You were one of the founders of Manuel Cinema, a film production company in Chicago. Through this company, you won an Emmy in 2017 for The Forger. Also, Chicago Tribune named you Artist of the Year in 2018. What are the most important skills that you learned from this company that you can transfer from there to Children’s Theatre Company?
At Manual Cinema, we make shows that take the experience of watching a story on screen and make it live and weird and handmade. We want the audience to go on an emotional journey with the characters but also think about how the show is being made in real time with simple materials. We hope that the CTC audiences are inspired to make their own puppet shows and tell their own stories.
This production uses hundreds of puppets. You have previous experience with puppetry, notably with Manuel Cinema. How did you get interested in puppetry?
I was working in the physical theatre scene in Chicago, and I started working for companies like Blair Thomas and Co and Redmoon where I started performing a lot of puppetry. My grandfather also used to perform puppet shows at all of our Christmas parties, so I suppose puppetry is also in my blood!
What’s the most memorable moment during rehearsals?
Everyone in the cast is very funny. I have many memories of Lindsey Noel Whiting (who originated the role of Leonardo) and Lily Emerson (the narrator who voices many of the characters) riffing together during rehearsals and telling so many jokes in character. I also remember staging the improvised section of the show with Lily and Julia Miller (who originated Sam) and Leah Casey (who originated Kerry). Julia and Leah lip sync on the fly as Lily makes up answers from the kiddos, and it is always hilarious. I remember the first few times that they did it felt like some kind of impossible stage magic mind meld!
This country is anticipating some challenging times ahead. How do you plan to use your artistry to stay active in the community
I think that puppetry is an art form that encourages empathy. All of us in the room together invest in bringing an inanimate puppet to life and in caring about its journey. We will continue to make shows that tell stories of empathy and the importance of taking care of other people and of resisting cruelty and fascism.
Anything else you want to add?
The songs in the show are total jams, and I am always thrilled to have them stuck in my head. We made this show to be enjoyed by the whole family, so there are jokes and moments for all ages!
Do you remember Aeryn Blackheart? They introduced the world to The Zine last Summer. That issue was about kink and consensuality.
December 18, 2024
Guess what! Issue two is coming soon. Activist, musician, and actor Ryan Cassata will be featured in the issue. Issue two comes just in time for the presidential inauguration. It will cover mostly trans related topics and being creative while active in the community.
Aeryn Blackheart answered some questions about what to expect from issue two, their goals for The Zine, and how they're staying active by being creative.
Tell me about The Zine.
The Zine, as a whole concept, is my ever-evolving passion project. As a Graphic Design student and artist, I enjoy sharing my creativity and the personal experiences of myself and those around me.
This is your 2nd edition of The Zine. The 1st edition covered kink and consent. What will you be covering in your 2nd edition?
This edition is a collection of Queer and Trans "stories" that showcase contributions from local artists and creatives.
The 2nd edition covers trans related topics. What do you believe is the most important thing you hope that readers learn from this edition?
This Zine's release date is Inauguration Day, 2025, and this was purposeful. I am hopeful that readers will see the beauty, love, and creativity found within our LGBTQIA2S+ community amidst all of the hate and violence promoted by this impending administration.
Many trans people in the nation are moving to Minnesota from another state for trans refuge. What do you think needs to be done to best support them?
As a Trans person from Florida, I have chosen to stay in Minnesota, because it is a safer place. As the co-parent of a Trans refugee teenager, my greatest advice is to love and support them. Do your best to be a means of safety and security for yourself and others.
This country is anticipating some tough times in the next four years. How do you plan to stay active during this time?
Self care is a huge piece for me. I publicly came out as Trans Nonbinary during the first Trump administration and I learned very quickly how important self and community care are.
How do you plan to use the zine to stay active?
I plan to use the Zine to continue highlighting musings, works of art, and stories from our community. The Zine serves as a communal space and can morph into any kind of soapbox that we need it to be.
Have you started on edition #3? What should we expect from #3, and when should we expect to be released?
Ha, I forever have ongoing mental Post-it notes of all the creative projects I'm working on and want to work on. Yes, I've started on Edition 3 and, without giving too much away, this will be a personal piece about Duluth, therapy, and recovering when life turned upside down. I plan to release Edition 3 this Summer.
Anything else?
This edition will be released digitally on 1.20.25 and can be found via Instagram @aerynblackheart
Physical copies will be released TBD.
2024 was an interesting year of LGBT movies that were screened in the Twin Cities. The list of films include comedies, dramas, horror, musicals, animation, and documentaries. They tell compelling stories that audiences view the world differently.
December 18, 2024
These films were screened at Minneapolis/ St. Paul International Film Festival, Twin Cities Film Festival, Flip the Script Festival, Sound Unseen Music + Film Festival, HUMP! Film Festival, Twin Cities Black Film Festival, Cine Latino, Lumières Françaises, and Romanian Film Festival. Others were screened independently. They were produced in various parts of the world, Minnesota included.
SCENE Best in Show 2024 honors the best in locally shown LGBT cinema and stage productions. Here's SCENE Best in Show 2024:
Cinema
Best Picture: Solo - MSPIFF
Best Picture Short: The Bend - Flip the Script & TCFF
Best Documentary: Linda Perry: Let It Die Here - Sound Unseen
Best Documentary Short: Dirty Old Man - HUMP!
Best Director: Solo (Sophie Dupuis)
Best Lead Performance: Waiting for the Bus (Michael Wolfe) - Parkway Theater
Best Supporting Performance: Delicious Meal (Madeleine Rowe) - Flip the Script
Best Screenplay: Listen Up! (Erlend Loe & Nora Landsrød) - MSPIFF
Best Editing: Extremely Unique Dynamic (Michael Scotti Jr.) - Flip the Script
Best Cinematography: Solo (Mathieu Laverdière)
Best Music: Linda Perry: Let It Die Here (Linda Perry)
Best Newcomer: The Bend (AP Looze)
Honorable Mention: The Most Dangerous Gains - Heights Theater
Best Picture winner Solo takes home the triple crown! Combine Adventures of Priscilla: Queen of the Desert, To Wong Foo, Thank for Everything! Julie Newmar, and The Birdcage. Throw in lots of colors, lights, and glitter. The result? Solo. This French Canadian dramedy follows rising star Simon as he juggles drag, family life, and a destructive relationship. Solo is available for streaming on Amazon Prime, Apple TV, and YouTube.
The Bend and Linda Perry: Let It Die Here are this year's double winners. In local short and TCFF winner The Bend, the protagonist relocates from Tennessee to Minnesota for trans refuge. While stranded in a secluded area in Wisconsin, he encounters a conservative fisherman. This encounter may change their lives forever. The brutally honest documentary Linda Perry: Let It Die Here channels producer Linda Perry through music, motherhood, hardships, and health. In the documentary, Perry talks about often being compared to Joan Jett and Bruce Springsteen. Surprisingly, the most prominent similarity is never mentioned: Carole King. The similarities between Linda Perry and Carole King are so prominent that viewers are left optimistic that Perry may repeat King's historic album Tapestry(1971).
Waiting for the Bus, Delicious Meal, Extremely Unique Dynamic, and Listen Up!, were also awarded. The former two are local. Waiting for the Bus takes viewers inside the mind of a neurodivergent person. Actor Michael Wolfe shines in his performance by sharing the dance moves he does while waiting for the bus. Delicious Meal is a quirky comedy about a woman whose lover concentrates more on his phone than her and the dinner they're about to eat. The highlight is Madeleine Rowe's adorable performance as the woman's love interest. Extremely Unique Dynamic masters the difficulty of putting a movie in a movie in a movie. The editing makes it easier for the audience to follow the storyline. Norwegian/ Pakistani feature Listen Up! examines a teenager whose younger sibling comes out as trans. Reactions from the family are mixed. Listen Up! can be found on Amazon Prime.
The Most Dangerous Gains was honorably mentioned. This comedy horror B-movie was never intended to be the next Psycho, but that's a good thing. The movie is fun, it's cheesy, and it challenges social norms. Its premiere at Heights Theater was met with immense laughter from the audience and ended with a two-minute standing ovation. This movie challenges toxic masculinity with its story of two sexist men who are lured into a mansion where nothing is what it appears. The Most Dangerous Gains has potential for a large cult following.
Best Documentary Short Dirty Old Man runs only five minutes, but viewers learn a lot. Producer Dr. Jallen Rix examines age and sexuality in this HUMP! Film Festival fan favorite.
In the documentary, Rix educates viewers about age and sexuality. He proves that regardless of the stigma surrounding age and sexuality, nobody is too old to think about sex.
Dr. Jallen Rix chatted about Dirty Old Man. He included his acceptance speech, the making of the documentary, his expertise on human sexuality, and his HUMP! Film Festival experiences.
Congratulations! Dirty Old Man is being honored in SCENE Best in Show 2024 for Best Documentary Short! Do you have an acceptance speech?
Thank you for the honor. It's very flattering. I'm glad that the movie is connecting with so many people.
The festival screened in many major cities including Minneapolis, several audience members consider it a favorite from the 2024 season. How does it feel knowing that lots of people have viewed it and loved it?
It's incredible. Throughout the season, you could watch who is voting for what. Mine was right up there for Best in Show. I came in second, but I could not have ever guessed that it would connect with so many people and to even sit there in the audience at some of the festivals. Hearing the people's reactions was really, really great.
Congratulations on it being HUMP! Film Festival second Best in Show. What inspired you to do the documentary?
I'm a sexologist, and I work with individuals who are wanting to expand and enjoy a healthy sexuality more robustly. I'm always on the lookout for ways to express that, not just in teaching or in sessions or sex therapy but also artistically. I am one of those. I mean, I've done documentaries before. I've created films before and inevitably, a few years back, I was sitting in my first HUMP! Fest and watching these movies go by. Anybody can enter the competition, and so they select whatever their favorites are. Three or four videos in, I was like, I could do this, I could do this. As my creative energies usually do, it all just laid itself out in my mind. I'm like, oh, now I've got to do this; I got to put it together. From the start I pretty much knew exactly what I would do with it and how I would put it together, and it was just a matter of time for me to do that.
Dirty Old Man covers the topic human sexuality, as you mentioned before. You also earned a doctorate in human sexuality. What makes you passionate about the topic?
What's not to be fascinated about it? I am just fascinated by how people react to sexuality. The crazy beliefs that we have developed out of shame. That sabotages healthy sexuality. Sexual energy is the essence of life. We have to recognize that the world all around us right now is procreating madly for survival. Sexual energy and pleasure are erupting. They are what created this planet. It's living essence and yet we want to like, oh it's that shameful thing we're doing, doing secret at night and nobody knows about it. It's bullshit, and that kind of shame does nothing for people except make them feel miserable. That is the opposite of sexual pleasure. If it wasn't for sex, none of us would be here. That's pretty important, and yet the way contemporary society plays with it, it's titillating. It's fun to sell products but to use sex to sell sex, oh, that's pornography; that's horrible. And it's all bullshit. HUMP! Fest is a wonderful vehicle that turns that upside down because it elevates the art of sexual expression to something that's worthy to be watched in a theater, and there's no shame. It was very festive, and people were laughing. It's a celebration of diversity about sexuality, and there's absolutely nothing to be scared of.
In the documentary, you mentioned the stigma about age and sexuality that lingers in our society. What do you hope most that audiences learn from watching?
I joked that I was calling it docuporn because on the one hand, it's like a documentary, but there's also plenty of things going on right there in the moment, and it's full on sex. Other videos in HUMP! Fest, they didn't use that kind of format at all. It is just porn, and that's fine. But my preference, I like to kind of get to know the person a little bit, that there's a little narration as to why we're seeing what we're seeing. I love this kind of format, especially our expression as a teaching tool. That's what I live for: the more I could use my own body, my own sexuality, my own ability to be a role model. That is often the most effective way to teach people. We're not just talking about group chat online or texting back and forth. No, I'm someone who will show up, I will be there in person, and I will say, "Let me show you how it's done." That is a powerful way to learn, and I feel like I did that in the video.
I live in Palm Springs and consequently, the majority of the people that I work with are gay men. Most of them are retired gay men, and a big chunk of them are just coming out of the closet. They've done their many years of making money for the family, and the kids are grown and out of the house. They get into retirement, and there are things that they have wanted to experience. A lot of times, the wife has died so they have an open door to really get it right this time, so to speak. It's easy for our younger counterparts.
In our gay male community, the whole daddy thing has become quite prominent because I think we don't have the role models. We've had an absence of role models with the AIDS epidemic. Our brothers have passed on earlier. So I think a lot of people are looking for mentors, and I do a lot of training so that when we are in front of someone who's having sex for the first time, we do our best to make sure they have a positive experience.
What was the most valuable thing you learned about human sexuality during production of the documentary?
What I learned the most is when I put myself out there authentically and vulnerably as I did in that video, people are attracted to it. People gravitate to it. I was sitting in the audience, and the straight people would laugh at my jokes, and they were getting it. They could see what I was talking about, about feeling invalidated as we get older. If there's anything that I learned, it would be that I was on the right path. I am continuing on the right path that sharing who I am and my celebration of sexuality is contagious, and we can share it with others as well. We just have to talk about it.
What did you think of the HUMP! Film Festival, and what were some of your favorites from the festival?
I've been to a lot of them. There was a lot in our particular season in the first half of 2024 that was really great. There was one where they took a guy. They rope tied him up in mid air, and then they poured hot wax all over him and planted on different parts, piles of wax on his body. He pulled back, and he looked like this giant human chandelier. It was stunning and beautiful. It was beautifully filmed. The lighting was perfect. It was amazing. And so, and that one that is the one that won Best in Show [HUMP! Film Festival].
There was another one where there were two trans people. One was a trans M to F, and one was an F to M one. The male had really light white skin, and the female had really, really beautiful dark skin. At first they were on their own path. The screen was split. But then into the video, you realize they were in the same hotel room. They started undressing and the whole yin and yang and dark and light and male and female and dicks and vaginas, it was fascinating. It was beautiful the way they were interacting and having sex with each other. It was really, really quite cool.
There was this set of women that were having almost like a sexy bachelorette party but they had a guy there who was their slave, and it got really intense. They're slapping him around, and he's having a great time. It's getting more and more intense.
The one that you're talking about, the candles, that one is called Human Chandelier. The one you were talking about with the transgender people, that one is called Transit.
The last one was about God, God feeling that he wasn't getting enough attention from heaven. So he made a porn to put on OnlyFans. Oh my God! It was so funny. And the guy who played God was really hot!
Not Safe for Church
Oh, yes.
I love that one. That was hilarious.
I've really enjoyed the creativity. I'm trying to think what I can do next.
What's next?
I have a private practice in Palm Springs. I am working on another book. You can always kind of keep track of me on my OnlyFans page. I always have several retreats every year that allow for people to come together and explore their sexuality and stuff like that. That's what I do.
You can check out more about Dr. Jallen Rix here:
Blue Sky: https://bsky.app/profile/jallenrix.bsky.social
Onlyfans: https://onlyfans.com/jallenrix
Teaches of Peaches screened at Sound Unseen Music + Film Festival this year. This film was awarded SCENE Best in LGBT Show for Best Message!
December 4, 2024
The documentary flips between her 20th anniversary tour and the history of how Peaches became Peaches with how her classic songs were born. It also shows how she evolved from a music teacher to an underground music legend. In the anniversary tour, Peaches performs her classic songs Rock Star, Fuck the Pain Away, AA XXX, and more.
Teaches of Peaches comes at an ideal time, considering the national and international affairs. The documentary proves that despite the turmoil, there's still hope. It emphasizes that people have a place to go to feel less isolated. The documentary emphasizes this message so fiercely that the documentary becomes equally poignant as a Peaches concert. Teaches of Peaches proves that Peaches is more than just a musician. It shows how she connects with her audiences and how she strives for equality. It includes interviews from Feist, Shirley Manson (lead singer of Garbage), and others that answer why millions love Peaches.
Director Philipp Fussenegger took the time out of his busy schedule to answer some questions about what inspired him to make Teaches of Peaches. He includes his intended message, his interesting introduction to Peaches' music, and how the documentary relates to current affairs.
Congratulations! You're being awarded by Twin Cities Gay Scene Best in LGBT Show for Best Message for Teaches of Peaches. Tell me about the message you're trying to convey through Teaches of Peaches.
I think the movie speaks for itself. There’s a scene where Peaches stands in front of the mirror, half-naked, touches herself, and says, 'Look, this is what you have. As long as you love yourself for it, they will love you for it.' That quote really sums it up—be proud of yourself and embrace who you are. It’s such an inspiring moment, and it inspired me too.
Twin Cities Gay Scene is not the only one who has awarded you for Teaches of Peaches. Most notably, you are also awarded the Teddy Award for Best Documentary from Berlin International Film Festival. How does it feel knowing that the documentary is reaching so many people?
I can relate to the project, and me and Judy, we checked it out to put pieces together and was super excited that we could actually really make a piece that the audience really connects with her. We are super happy that it works out that her message gets across in the movie and to the audience. We're super thrilled by it, and I think it's a very important movie in these really, really difficult times right now.
I hope nothing but a lot more success for you.
Thank you.
The documentary follows the 20th anniversary of Peaches' album, also named Teaches of Peaches, which was released in 2000. It spawned hit songs Lovertits, Set It Off, and Rock Show. Why do you think people still love the album today?
I got completely hooked the first time I had sex with a man. Teaches of Peaches was playing in the background, and I remember thinking, What is this? What is this music? Who is this artist? That was my first introduction to Peaches, and it left a lasting impression. I think many people who watch the movie might not share the exact same experience, but they’ll connect to Peaches in their own way—maybe through their coming out or the moment they realized they were unique or different. She’s always been such an unapologetically bold and unconventional artist, which resonates deeply with queer audiences. Her music and presence have this rare ability to touch those who’ve felt hurt, misunderstood, or out of place, making them feel truly seen and empowered.
What do you love most about Peaches?
I’ve always been curious about how it all comes together—how Peaches built this extraordinary world and grew into the icon she is today. Following her with a camera gave me a glimpse into who she really is, a deeper understanding of her essence.
Peaches, originally from Toronto, has made Berlin her home—a city that mirrors her bold, multicultural, and boundary-pushing spirit. But what she’s created here is more than just a home; it’s a living, breathing hub of creativity and connection. In the movie, you see how she’s cultivated this space—not just in Berlin, but globally. She’s not only an artist but a trailblazer who inspires countless people.
What’s incredible about Peaches is that her journey wasn’t instant. It was a process, an evolution shaped by the people and ideas that flowed into her life. Fans, friends, and collaborators contributed to her vision—bringing her things like inflatable dicks, iconic costumes, furs, and stage props. Her art is a dialogue—a constant exchange of ideas with those around her. Through her music, performances, and films, she’s built something entirely unique.
This collaboration and shared creativity didn’t just spark her style—it forged a worldwide community, a movement. That’s what I hope the movie captures: the richness of her world, the details of her life, and the way she’s both inspired and been inspired. It’s not just a story about Peaches—it’s about the power of art to connect, provoke, and transform.
The release of Teaches of Peaches comes during a crucial time in the world, as you had mentioned before. Does that also play a role in the timing of the documentary? If so, how?
I think the message is very important right now, and I think we should try to keep the dialogue that the movie tries to make. I made this movie as well, but my mom can understand what I'm doing, and my mom does not know what queer is or what non-binary is, all this pronouns and stuff. She has no fucking clue about that, but she gets the sense what it means - identities, feminism, and sexual. What I was hoping to do with this kind of movie is to portray her as a person to get the universal language out that my parents also understand. My mom went to the cinema and was like, Oh wow, this is a strong woman, and she's very inspiring. I think there's a lot of things we can all agree on, and it doesn't matter if you're right or left. We could all agree on those things as our human rights, what she's talking about, and we should all put that in the constitution.
I'm so happy to hear that you have a supportive family.
Thank you.
The topic of reproduction rights is mentioned in Teaches of Peaches. Roe v Wade was overturned during the 20th Anniversary Tour. What effect did that have on the tour and the making of the documentary?
I cannot speak for Peaches here, but it was always Peaches' message. She's pretty clear about all these reproduction rights. For me as a filmmaker it was more, How can I dig into it? How can I portray it? How can I get the messages across? Because it's so obvious. But I don't think that they have any problems or anything. As is shown in the movie, you go there to the venues and then, all the queer people, or you feel like, oh, they have somewhere to go. They come to a Peaches concert. This is their place, their haven.
What's next for you?
We're working on the Kit Kat Club documentary. That's where I'm in at the moment, in the editing room. It shows how a utopian world free, with hedonistic polyamory world, could be in the club, seeing Berlin in stark contrast to the reality that politically right now. That's what I'm doing.
When you mentioned the Kit Kat Club, is that going to be connected anyway to Cabaret at all or a fresh take?
No, that's just the club in Berlin. It's only connected. Release date has yet to be determined. Meanwhile, you can still check it out somewhere in the film festival circuit.
Children's Theatre Company is hosting its stage production of Dr. Seuss's How the Grinch Stole Christmas.
December 4, 2024
It runs from November 5, 2024 - January 5, 2025. In this beloved holiday classic, the cankerous Grinch plans to steal Christmas from a close knit town. Does he succeed, or does he learn the true meaning of Christmas? Those who have never read or seen this classic will find out.
This production includes an eclectic cast. Cast member C. Ryan Shipley took a break from rehearsals to share a little about the production, his favorite holiday stories, and what he's doing for the holidays.
Tell me about the Children’s Theatre Company production of Dr. Seuss’s How the Grinch Stole Christmas.
This show originally premiered at CTC in 1994 and was the first stage production ever! Based on the children's book and the 1966 television special, it follows the Grinch and the Whos as they learn how to co-exist through community and open hearts.
You play JP Who. Tell me about getting into character.
When I was thinking about my character I was inspired by classic TV dads like Mike Brady from The Brady Bunch, Danny Tanner from Full House and Phil Dunphy from Modern Family. I was also really inspired by Goofy from The Goofy Movie. JP Who is a father of five who just wants to be a good dad and husband. He wants to give his family and his community the very best that he can.
What’s the most memorable moment on set?
My favorite moments often come during our student matinees. Having an audience filled with little ones is particularly magical because they're not afraid to just talk right back to you. Just yesterday we had a student matinee of K-4th graders. I have a line, asking Grandma & Grandpa Who, "Do you hear it? The silence all over town?" From smack dab in the middle of the house came the loudest "Yep! I do!"
What should audiences expect from this production?
Audiences should expect a major dose of joy, a lot of laughs, and for their hearts to grow a few sizes. It's a world class production that you don't need to have kids to come and enjoy. There's plenty for the grown ups too.
Dr. Seuss’s How the Grinch Stole Christmas is one of many beloved holiday classics out there. How do holiday books, movies, plays, music, etc. get you into the holiday spirit?
I think that Holiday music, movies, etc resonate with people through the generations because they are all ultimately about kindness and connection. It's always helpful to be reminded of those things, especially during the darkest time of the year.
What’s your favorite holiday story?
A Christmas Carol is a classic for a reason. To me, it is the most perfect story. The Grinch is very similar. Transformation, redemption...we've all got the option to choose goodness and honor one another's humanity.
What are you doing for the holidays?
Well, I'll be in Whoville ten shows a week. But, I'll be heading to Iowa for a super fast trip to see some family on Christmas and I'm really, really looking forward to that.
The holidays can be a tough time for many who are LGBT, especially those who can’t celebrate with their family. Do you have a message for them?
There is a line in the show that goes, "Christmas day will always be, just so long as we have we." It's the heartbeat and the message of the show. Chosen family IS family. I hope that everyone can find a space where they feel seen and loved fully. Community is especially important during these times.
The 25th Annual Sound Unseen Music + Film Festival was held in Minneapolis from November 13-17, 2024. Parkway Theater, Main Theater, Trylon Cinema, Bryant Lake Bowl, and other businesses and venues hosted the festival. This year's lineup included ten films with LGBT interest.
November 20, 2024
Two of them are shorts. The most common topics in this year's LGBT selection include the political climate in the nation and sexism in the music industry.
The LGBT lineup is: Linda Perry: Let It Die Here, 1-800-ON-HER-OWN, Hello Dankness, The World According to Allee Willis, Teaches of Peaches, Pretty Ugly: The Story of The Lunachicks, Since Yesterday: The Untold Story of Scotland's Girl Bands, S/He Is Still Her/e, Stud Country, and Heavy Metal Parking Lot.
SCENE Best in LGBT Show will include a special award that's as prestigious as Best Picture.
And the award for Best Message goes to…Teaches of Peaches
This year's LGBT selection is so impressive that choosing Best Picture for SCENE Best in LGBT Show is the most difficult decision I've made in my writing experience. Five films deserve this honor. Sadly, I can choose only one.
And the award for Best Picture goes to...Pretty Ugly: The Story of The Lunachicks
The Lunachicks ruled the punk rock scene in the 80s and 90s. Pretty Ugly: The Story of The Lunachicks proves that The Lunachicks are more than a punk rock band. They're also human rights activists. This documentary shows the good times and the dark times. The film is easy to follow. The nation's sign of the times makes this documentary a must-watch for everybody, Lunachicks fan or not.
Lead singer of The Lunachicks Theo Kogan and director Ilya Chaiken appeared for a Q&A after the screening. They also did a meet and greet at Extreme Noise Records the night before. After the screening, Theo and Ilya answered some questions about Pretty Ugly: The Story of The Lunachicks and gave an acceptance speech.
Congratulations! You're being recognized in SCENE Best in LGBT Show for Best Picture for the documentary Pretty Ugly: The Story of The Lunachicks. Do you have an acceptance speech?
ILYA: Yay, we are so excited to be recognized! Thank you so much for believing in this movie! It's been a labor of love, and I'm very honored that The Lunachicks allowed me to bring their story to life in movie form, that they trusted me. I really hope more people get to see it. It was my goal to make the movie fun and interesting and accessible to audiences even if they are not already familiar with the band. I think everyone can find some form of inspiration in their story and relate to something in there, whether it's the music, the humor, the rebellion, the struggles, the strong friendships...
This nation is dealing with a lot right now. Does this play a role in the timing of the documentary? If so, how?
ILYA: Yes and no. We've been heading in this very bad direction for quite a while now, and now it feels like a free-fall. When we started working on this documentary, it was still several years before Roe got overturned. We knew things were getting dark but didn't know how dark and how long-lasting it would be. In the movie, you see the band contending with mixed feelings about doing a reunion. The 2016 election was actually a big factor in their deciding to do it. Unfortunately, a lot of when an indie doc is able to get finished and then get released is not in our control, like we would've loved it if the book and the movie came out at the same time. But Covid was but one factor derailing that, and the timing of the reunions.
Pretty Ugly: The Story of The Lunachicks includes footage of Theo attending pro-choice events? Also, The Lunachicks released the song Fallopian Rhapsody (1995), which covers why this topic is important. What makes you passionate about this topic?
ILYA: Well, in a nutshell, if we don't have control over our own uteruses, (uteri?) then we don't have control over our own lives. There can never be equality. Both Theo and I have daughters, and they now face a future with less rights than we grew up with. But the movement to end these rights started in our own childhoods, so we've had to fight ever since then. The Lunachicks loved to be clowns, and so much of their music is humorous and goofy, but they also sang a lot about kick-ass women and were always serious about women's and LGBTQ+ rights.
As shown in the documentary, The Lunachicks faced a lot of sexism. One example that's included in the documentary is lewd comments from some audience members during concerts. How do you think sexism in the music industry has changed, if it has, between then and now?
THEO: Audiences that we have experienced since 2021 are so loving, accepting, and interested in a way that they may not have been in the past when they didn’t know us. However, we have heard from other bands that lewd comments still happen. I think there are a lot more women and femmes and non-binary people in bands, but the industry has been focused on pop stars and solo performers more, like in the later 90's from what I can tell. Women who are more accessible/ unthreatening seem to be in the forefront these days, which is not surprising given the American political landscape. I think the music industry is still sexist.
In the documentary, you express your passion for social change. What keeps you motivated to stay active in the cause?
THEO: We can’t ever stop speaking out and fighting for what is right. Nothing good has ever come from complacency, and all social change has come from people standing up to fight for what is right and usually against the status quo. Bodily autonomy/ reproductive rights should not be in question but here we are again. We are very weary of this fight, and I have to say that in the climate we are headed in, white men need to stand up for women like never before. White (cis) men don’t have to worry, but everyone else that exists does. We need them to speak out and fight for all of us. Black cis and trans women especially need to be protected and fought for, always and more than ever.
The documentary includes a Lunachicks reunion. Theo, is there any chance of a reunion album? Ilya, if that album happens, is there a chance of Pretty Ugly Part 2: The Reunion Album of The Lunachicks?
THEO: We (Lunachicks) have been planning to get some of our vinyl re-released and some never released tracks out there too and also talking about a "best of". I will say that I know Ilya would love to make a Lunachicks doc series for TV/ streaming as far as I know. :)
ILYA: Well, I certainly have enough material for it!
When will the documentary be available for streaming and/ or purchase?
ILYA: We are still seeking the right home for the movie, meaning a distribution partner to bring it to more theaters and to streaming platforms. So the more people there are out there demanding to see it, the better our chances are. Follow the band on social media @lunachicksofficial and spread the word!
Is there anything else you want to add?
ILYA: Just that we both had a blast visiting Minneapolis for the Sound Unseen Fest, we met so many cool folks (including you!) out there! We're very grateful for all the wonderful feedback. Stay tuned!
Please check out the movie trailer here: https://www.youtube.com/watch?v=VL8KGlVwSXQ
Please check out the new book Fallopian Rhapsody: The Story of The Lunachicks here: https://www.amazon.com/Fallopian-Rhapsody-Story-Lunachicks/dp/0306874482
SCENE Best in LGBT Show:
Best Picture: Pretty Ugly: The Story of The Lunachicks
Best Message: Teaches of Peaches
Best Director: Linda Perry: Let It Die Here (Don Hardy)
Best Storyline: Hello Dankness (Soda Jerk)
Best Editing: Hello Dankness (Soda Jerk)
Best Cinematography: Linda Perry: Let It Die Here (Mike Abela, Richard Bakewell, Don Hardy)
Honorable Mention: The World According to Allee Willis
Combine techno pop, punk rock, sexuality, rawness, and in-your-face realness. What does that equal? Peaches! In Teaches of Peaches, this underground legend flips between her anniversary concert and the history of how Peaches became Peaches. Meanwhile, the documentary delivers heartfelt moments at the perfect times. Overall, Teaches of Peaches is edgy and tender. A noteworthy strength is comparing Peaches’ performances of her hit songs then and now.
The most impressive audience reaction from the LGBT selection comes from Linda Perry: Let It Die Here. The screening ended with a two-minute standing ovation, something that seldom happens in film festivals. Linda Perry and director Don Hardy appeared afterwards for a Q&A. Then Linda Perry performed an acoustic set. In this documentary, Grammy and Golden Globe nominee Linda Perry gets candid about her ups and downs musically and personally. Perry tackles childhood trauma, addiction, and depression as she navigates audiences through her world. Throughout her career, she has consistently delivered heartfelt and raw music. This documentary is no exception.
Hello Dankness sets itself apart as the festival's only non-documentary LGBT interest film. Filmmaker Soda Jerk uses movie clips to tell the story of how the 2016 election, the 2020 election, and COVID affected the world. This satire gives the movie characters a fresh approach that incorporates humor while pointing out the social and political climate. Movies include Wayne's World, American Beauty, Love Simon, The Social Network, Napoleon Dynamite, and more. Hello Dankness successfully gives humor to serious topics.
Allee Willis is best known for writing the song classics Boogie Wonderland, September (both Earth, Wind & Fire), I'll Be There For You (The Rembrandts; Friends theme song) and more. The World According to Allee Willis includes lots of her work and archival footage. Willis was known for excess and boldness. This documentary acknowledges that part of her personality and artistic signature. The home footage gives viewers multiple angles of her personality. Viewers who are not familiar with Allee Willis should expect to learn a lot.
Grammy winner Ani DiFranco has always been known for her independence, her fierce activism, and her music. In 1-800-ON-HER-OWN, DiFranco proves that her career and life would be radically different had she signed on to a major label rather than founding Righteous Babe Records. This documentary delivers powerful and inspiring messages about being true to one's self while emphasizing that what appears impossible is not impossible. Surprising, the documentary concentrates more on her family life than her music. This isn't necessarily a bad thing.
Genesis P-Orridge died shortly after being interviewed for S/He Is Still Her/e. S/He Is Still Her/e is a powerful dedication to the artist of many talents. P-Orridge was a musician, an artist, an activist, and the inventor of industrial music. The cinematography stands out as an extension of P-Orridge's artistic expression. This allows viewers to understand P-Orridge's artistic vision that paintings and music alone can't always do.
Since Yesterday: The Untold Story of Scotland's Girl Bands navigates audiences through how the Scottish girl band scene evolved from the 1960s to today. It teaches viewers on the sexism that these girl bands faced. Interviews from those in the girl bands provide an intimate look at the documentary’s subject matter. In this case, this film technique works better than having a narrator. Interviewees include The McKinlay Sisters, Strawberry Switchblade, and The Twinsets.
Stud Country is one of two LGBT shorts in the festival. Stud Country also played at Flip the Script Festival last October. The timing of Stud Country is perfect! Country music is mainstream now! Those who love line dancing will love Stud Country. As pointed out in the documentary, line dancing culture is underrepresented in Los Angeles. This documentary delivers representation of this subculture. Viewers ought to expect to learn more than the average 11 minute documentary without feeling overwhelmed with new knowledge.
The festival's other LGBT short is the 1986 throwback Heavy Metal Parking Lot. The short was released over a decade before lead singer Rob Halford came out. Despite this, it stands out as an LGBT interest. The short includes footage of devoted Judas Priest fans who are about to see them in concert. This short stands as a testament on why people love Judas Priest.
Please check out the Sound Unseen Music + Film Festival website:
Ani DiFranco! Dana Flor! Linda Perry! What do they have in common? They're making their Minnesota premiere at Sound Unseen Music + Film Festival!
November 6, 2024
Grammy winner Ani DiFranco's new documentary 1-800-ON-HER-OWN will make its Minnesota premiere at this year's Sound Unseen Film + Music Festival on November 16 at 11:00 AM at Parkway Theater. Please watch it.
Ani DiFranco has made a name for herself in the music industry. Unlike others who made it, she did it without a major name recording label. She often uses activism, politics, and poetry in her music. DiFranco tells her story in a new documentary 1-800-ON-HER-OWN. Its world premiere happened last June at Tribeca Film Festival.
I chatted with Ani DiFranco and director Dana Flor about their newest venture. They talked about the documentary, independence, juggling career and family life, and Ani's collaboration with Prince in 1999.
Tell me about 1-800-ON-HER-OWN.
Ani DiFranco (AD): That's still the phone number of my record company home office, Righteous Babe. So that's where the title comes from. I can tell you that I actually haven't seen the final film. I traveled with it a little bit. We just did a run of swing state screenings, Dana Flor, the director, and I, to help get out the vote and raise money for Emily’s List. We were doing Q&A's after the film played. It's a little bit funny because I can't answer specific questions about the film, having not seen it myself. We go somewhere else during the screenings because it's just too much for me to watch myself. I just really gave over to Dana, the director, and trusted her to make a film that was meaningful to her, and I didn't even really want to see it.
Dana Flor (DF): 1-800-ON-HER-OWN is a story about America's best folk singer, in my opinion, Ani DiFranco. It is intercutting between her present life at home and her on the road and then flashing back to her past. I hope that it's an inspirational film. She's a really dynamic musician, but more than anything, she's an activist who has inspired a lot of people. I think that this is a film that really resonates right now, seeing as we're just about to elect our first woman president!! The documentary is about the life of one of our most outspoken feminist icons.
1-800-ON-HER-OWN will be screening at Sound Unseen Music + Film Festival. Do you have a message to the people in Minneapolis?
AD: I hope they find the film inspiring or at least entertaining, but hopefully inspiring. That's why I entrusted Dana with coming into my life, getting on the bus and depicting my life in a documentary, because having seen her other films, I think she can inspire people with her filmmaking. I have heard from people that they find the film inspiring and invigorating, and that really does my heart good.
DF: We're so excited to come to Minneapolis. I know that it's a place that is close to Ani’s heart as she's been in and out of your great city since she started, as I'm sure a lot of her fans know. It's a special place for Ani, and it's really a special place for the film to come to. We're really excited for Minneapolis fans to come out and see the film, it's going to be the bomb, and I'm really thrilled that we can screen there.
Dana, what attracted you to do a documentary about Ani DiFranco?
DF: First of all, the story hadn't been done. She really has been a dynamic musician, an amazing guitarist, an amazing lyricist. But what really drew me to her was her as an iconic feminist, an outspoken feminist. I think women's stories need to be told more, and her’s is absolutely riveting. What she's done, the barriers that she's broken, and what she represents for people has been really singular. I was really drawn to that. I also felt there was such a connection between us immediately. What I found on a 1 to 1 level when I met her was what so many fans connect with, so many people say: “I feel like she wrote the soundtrack to my life”, and I felt that way myself when I talked to her. Then when I talked to her fans, so many people said, oh my gosh, she has changed my life. And so many people said, she's actually saved my life. And I thought, wow, this is an amazing story; this is an amazing woman, and not enough people know about her and know about what she's done. So I really felt like that was the impetus for it. As I started filming her, I realized she was a unique subject. You rarely meet a person who is so vulnerable and so uncensored and so eloquent at the same time. She's a poet, so it was really a magical journey to be able to follow her.
Why tell the story now?
AD: I don't know if there's any significance to now other than I met up with Dana, and we had an instant bond. She just felt to me like a woman on a mission, a woman who makes films for a reason, to inspire, to expand the audience's awareness, maybe of their world, their country, their culture. She made a wonderful film called Check It, which is a documentary about a black gay gang in DC and how they parlay their chosen family into a fashion line and business. And she made a film called The Nine Lives of Marion Barry, which looks into the life and career of the former mayor of DC. I just think her films are interesting, and I agreed to let her do one about me.
DF: Fingers crossed, we’re just about to elect our first woman president! Women's rights, women's reproductive freedom is on the forefront of our national discussion right now. For Ani DiFranco, that's been her mission. That has been her North Star. She was out there talking about women's reproductive rights when she was a teenager, and that has been really her crusade throughout her life. It's a central part of who she is as a person, as a musician, as an activist. The timing couldn't be better really because this is a topic that we're all paying attention to, and it's absolutely critical.
Dana, what's the most valuable thing you learned through doing this documentary?
DF: When you're with Ani, you learn about grace. She's a woman with a lot of grace. She gives grace, and she has grace. She's very generous, and she's very honest, and it's lovely to be in the presence of someone like that, and it makes you want to be like her. I really value that. Grace is a rare quality. Not a lot of people have it, and she truly does. I do think that that's part of why people are attracted to her and her music because you can feel it. You see it.
Ani, you included a clip of Prince praising you in the documentary. You also collaborated with Prince in 1999 for the song Providence in your album To the Teeth. Tell me about your experience with collaborating with Prince.
AD: I've been a huge fan since I was a teenager and felt very blessed. Of course you could tell him from a million miles away, but up close, he becomes no less vivid. I watched him one night when we were jamming at Paisley Park after a recording session. I watched him jump from instrument to instrument, drums, keyboards, guitar, and just slay everything he touched. He was really a one of a kind musician.
DF: I adore Prince. Prince meant everything to me. I don't know how you get any better than Prince.
Dana, did you ever get a chance to meet Prince?
DF: I did not, but I did see him in Madison Square Garden. It was absolutely magical, and I wish that I had seen him more. But I am glad that I saw a spectacular concert in an incredible venue. That was my only encounter, along with probably 20,000 other people. It felt very, very special to me. I still have my ticket. That was probably 20 years ago. I framed it.
Ani, you talked about in the documentary how COVID influenced Revolutionary Love [2022]. How has your music and life shaped you beyond Revolutionary Love from then to today?
AD: More than maybe a couple of years that Dana, the filmmaker, was following me around, I was recording my album before last, which is titled Revolutionary Love. Then in the course of that time period, the pandemic hit, so she recorded my experience of that roller coaster ride, and I, like many people, had my job just vanish, the job of touring around and gathering people together and spinning on them just was over, like so many people's jobs. Again, I don't know what all is in the film, but those are things that were happening when she was around.
Ani, you mentioned in the documentary about your family often. How has your family helped shape who you are now musically and personally?
AD: They change everything. They really do. They take precedence over your art or your vision or so many things in your life. My oldest is about to turn 18. It has brought a balance to my life. It was hard to be forced away from my art and my activism and everything that I feel so inspired by. But of course, I can't help but be grateful because kids are great teachers. Also, they brought this balance to my life that I didn't have before then. They gave me a reason to step away, which actually I didn't know I needed.
How do you think your career would be different had you signed on to a major name label instead of an indie one or starting up Righteous Babe?
AD: I imagine it would be different in many ways. Some of them maybe positive. I think I have a lot of regrets about my recordings, and now there are 23 albums or something that I've put out there, and I did it on my own as the title of the film says, recording, mixing, producing. I think if I had worked with major labels or what have you, the typical industry route, I would have had people come in and help me make records. I probably would have less regrets about the sound of my records and the translating of my songs for posterity so that probably would have been quite helpful, but for better or worse, I made my own mistakes. I was in charge of my own journey. In that sense, I am beholden to no one, and I have no one to blame but myself, and I'm grateful for those things and all of the freedom that I've had being independent and outside of the music industry.
DF: I don't think it would be even vaguely similar. That was everything for her. She called the shots. She put out albums when she wanted to, she wrote about what she wanted to say. She presented herself and packaged herself in the way she wanted the world to see her. None of that could have happened probably if she signed with a label.
Is there anything else you want to add?
DF: I'm just grateful for the film to be coming to you guys. It's a special place, and I’m just excited for you all to see it.
You can purchase tickets here: https://www.soundunseen.com/events/mpls-festival-film-1-800-on-her-own
You may know Linda Perry from her 90s classic What's Up as former lead singer of 4 Non Blondes. She also wrote and produced the gay anthem Beautiful sung by Christina Aguilera. This year, she released a documentary called Linda Perry: Let It Die Here, and it will make its Minnesota premiere as part of Sound Unseen Music + Film Festival! In the documentary, Perry gets candid about her career and her life battles in the documentary.
Linda Perry chatted about the upcoming Minnesota premiere, her music ventures, what to expect from the documentary, and what's coming next.
Linda Perry: Let It Die Here will make its Minnesota premiere on November 16th at 5:15 PM at Parkway Theater. Director Don Hardy and you will make an appearance with a Q & A. You'll also do an acoustic performance. Do you have a message to those in Minneapolis?
I think that people will find it an extremely honest film about my process as a songwriter and how as a creative person we tend to get lost. It's very raw at some points, extremely embarrassing. It's definitely a movie to watch. There's no other music documentary that is this honest and raw. I think it's an emotional experience for people from the experience of what I've been noticing that people have. I think it's because it's so raw. I think people will relate to the honesty.
What inspired you to tell your story?
I wasn't inspired to tell my story at all. It just happened. Don and I worked on a project together called Citizen Penn, a film about Sean Penn. Then he asked me if he could film me at my studio. I said, Yeah, sure. Can I use some of it? My social media? He was like ok because I'm terrible with social media. So I thought, this is a good opportunity to just get some clips. I had no idea I was making a documentary until he came to me one day and said, "That stuff I've been filming? Everybody thinks there's a documentary here." I just said, "I don't want to know about it. I don't want to hear about it. If you want to film me, go for it, but I don't want to be involved." He was like, ok. Then I said, "Show me the film when you think it's ready." I made a couple of suggestions: please do not do any reenactments. If you, if you need to, make it my claymation animation. Voila, there's a documentary.
In Linda Perry: Let it Die Here, you discussed the song Beautiful (2002) sung by Christina Aguilera. You wrote and produced the song. It went on to become a gay anthem. How does it feel knowing that Beautiful has resonated to the LGBT community?
I think it's great that people embraced it that much. It's a song about discovering who you are, and I think it relates to a lot of people. The gay community embraced it with such openness and beauty. It's great to see how they took in Christina with that song. Then she made a great video with it that showed the struggles of many people: anorexia, transgender, gay people, and in general that are struggling. I didn't go, I'm going to write a big gay anthem. I just wrote a beautiful song that was true to who I am and honest.
You shared in the documentary the story of when you emerged into the music scene with the hit song What's Up (1993) as lead singer of 4 Non Blondes? The song has since become a 90s anthem. Why do you think people still love the song?
I was told the other day that it's gotten over a billion Spotify streams, and it's gotten over a billion on YouTube. I get people from around the world doing karaoke versions of it. I believe that I wrote a song that is so relatable in any decade. That song could come out right now with somebody, and it would be a hit. There's never a moment that we're not questioning what the fuck is going on in the world, in life, and today in politics, I don't know who to trust, and I think that's why that song is so timeless. We're always in struggle, we're always questioning people's intentions. There's a lot of mean people in the world. There's a lot of fucked up shit going on. I think that song is an anthem to scream what's going on. Right now I could be fucking singing that song right at this moment because I have so much anxiety about tomorrow [2024 election] and what's going to happen from here on. I'm nervous. I'm really scared to be honest. So I think that's why that song is so big because it's just so honest and relatable.
Thank you so much for opening up about what you feel about the song and everything that's going on. Along with Christina Aguilera, you've also collaborated with Adele, Brandi Carlile, Dolly Parton, Miley Cyrus, and many other artists. Three out of five were interviewed for Linda Perry: Let It Die Here. Of those with whom you've never collaborated, who's your dream collaboration and why?
I've always wanted to work with Madonna and Barbra Streisand. Those two because they're just legends and icons. I feel that I could contribute to them in a way that hasn't been in a long time. I think it would be a really special creative collaboration.
Both of them are great choices. I love them both too. In the documentary, you mentioned motherhood changing you personally. How has it changed you musically?
I'm way more focused and clear. It's helped me in my production and the way I approach music. I have a lot more tolerance, more patience, and I'm a little less judgmental on what I'm doing because I'm extremely hard on myself. You see that in the film. I'm a workaholic, and I go, and I go, go, go, go, go, go all the time. It helps me slow down, be thoughtful, and think about what the priorities are, me being a mother first and raising that child. When you bring a child into this world, you're responsible, you're now obligated by so many things by love, by blood, by being a parent, to make sure that this child is protected, has all the right information, and that you do the best that you can to raise them to be a kind, strong, creative, intelligent child to be a human adult with empathy and compassion. That is my job. That is my priority. Music and me getting down on myself is not more important than me making sure my child is up.
I wish there were more people like you, more people who thought just like you because if there was, there would be a lot more better mothers out there. So thank you so much for that.
Thank you.
You opened up about childhood trauma, addiction and depression in the documentary in relation to them. What do you most hope that audiences learn from the documentary?
It's a difficult one because you can be 50 years old and still experience the things that happened to you when you were five. It's tricky to navigate those emotions because it's certain things in life that will trigger it. In the documentary, you see me talking about it, but what I also do is I create. I take the darkness and the sadness and the pain, and I use it to create. I apply it so it's not festering inside me. I think that what people will see is what using all that pain, that darkness, and what you can turn it into, as someone who's done a lot of drugs and had that experience. You're going to hear stories that you can relate to. You can relate to childhood trauma, you can relate to depression, but all of it goes together. It's the trauma that creates the depression and the addiction. So they all go together. I think because I'm so honest about all of it, I think people can walk out with, That's how I feel. There's someone who's expressing exactly how I feel inside, and I haven't heard anybody be that honest about it.
In the documentary, you give viewers an insight of you composing music for Luckiest Girl Alive (2022) starring Mila Kunis. You were also nominated for a Golden Globe for Best Original Song for the movie Dumplin' (2018). What do you look for in a movie before accepting the role as the composer or songwriter?
I just want to know if I'm gonna have fun doing it. I never looked at things regarding how much money I was going to make, is this going to win me an award. I just try to look at it as: Will I be doing something different? Will this challenge me? Will I have fun? Is this something different that I've never done before? That's what I do. That's how I approach all projects.
Is there anything else you want to share?
I'm working on an album to go with the documentary. So right after the documentary was done, I wrote an album in three weeks, which was really amazing. It's really beautiful. I'm going to call it Let It Die Here as well. I'm planning on releasing it with the documentary when it gets its home and its release date, and I'm excited about that. I haven't released a record in decades. I'm nervous, I'm scared, I'm excited.
Here's where to purchase tickets for Linda Perry: Let It Die Here: https://www.soundunseen.com/events/mpls-festival-film-linda-perry-let-it-die-here-filmmakers-in-attendance-performance
In the Summers is making a big splash in the film festival circuit.
November 6, 2024
It has received an outstanding 90% Rotten Tomatoes score. It has won numerous movie awards. It has played in theaters in multiple cities. Now, you can stream it on Apple TV. The success is not done yet!
In the Summers tells the story of a complicated relationship between father and daughter during a summer that changes everyone's lives forever. Director Alessandra Lacorazza answered some questions about what inspired her to write and direct this film, how it was inspired by her own childhood, and what's next.
Tell me about In the Summers.
At the heart, In the Summers is a story about a father who has two daughters that go and visit him in the summer. That's the only time he gets to see them, and he's trying his best to be a good father. But his addiction and mental health issues get in the way, and it's about their connection and trying to have a relationship despite those difficulties.
In the Summers is loosely based on your childhood. What inspired you to tell this story and why now?
It's semi autobiographical, and I would say that there are parts that are inspired by my story. There are parts that are totally fictionalized, but this is my perspective on my upbringing. It does not necessarily reflect what my family or siblings would say, but the [reason] why now is I just wanted to tell a nuanced story about our complicated relationships with our fathers and specifically in the Latin community. We're so used to seeing certain stereotypes with Latin men specifically, and I wanted to show something that expanded on that. Showing a complicated father who, yes, has addiction issues, yes, has an anger problem but also deeply loves his daughters and also is very smart. I think we need more varied representations in the Latin community.
How did this time of your life shape you to who and where you are now?
I think I am the person I am because of my father for good or for bad. He taught me to love, to love thinking, to love questioning, to stand up for myself, to stand up for others. I think that is a core of who I am. I think it's a long life journey to process our childhood. It's something that we will come up with in different venues when you have a kid. When you get married, all those dynamics that you have with your parents continue to influence you up until you're done with this life.
In what ways do you view this part of your childhood differently now compared to before production of In the Summers?
I think the biggest change for me is being able to see my father's perspective more so than just my own. I think a few things influenced the making of this film and examined what he went through and the trauma that he went through at the same time that I was going through it and also seeing it through his addictions and his mental health issues. Secondly, I also became a parent during that time and being with my son knowing how difficult it is and how hard it is to be a parent and how easy it is to make a mistake and how easy it is to not be the best version of yourself. I have a lot more compassion for my father that doesn't negate some of the hurt and anger and things I went through, but it does add to the picture
Congratulations on being a new parent.
Thank you.
Have any family members watched In the Summers? If so, what were their reactions?
I'm very close to certain people in my family, and I've had the people that have seen it have had very lovely but intense reactions. I think my two sisters are probably at the top of that. You know what? My sister that's two years younger than me, she has a very different perspective on things, and she's very proud of me and loves it. I think it was hard for her to watch in a lot of ways, and my youngest sister was very young when my father died. I think seeing any representation of him is very hard, but they've both been very supportive. I think there's a lot of love for my father and his complexity, and I think they at least realize that I was able to capture that.
What's the most memorable and most challenging parts of production?
Making an indie film, it is all hard and memorable. I think doing something like In the Summers, I think one of the biggest obstacles we encountered was funding. Every film, I think no matter what your budget is, it's never enough. That is very much true for indie filmmaking specifically. But also because we had children, because we had multiple time periods that ended up being a bit of a logistical nightmare, because kids could only be on set for a certain amount of time, we had to shoot everything in disorder. So some days, we were shooting three or four summers in one day. What did the house look like? Turning over the house? It just became really complicated. I think that added to the stress and the difficulty, but I had an incredible team that was able to pull it off, and we pretty much made our days, which was a blessing.
In the Summers has achieved a lot of success, most notably debuting at Sundance where you won the Grand Jury Prize and the Directing Award. How does it feel knowing that the film is reaching audiences?
It's incredible beyond my wildest dreams. We [had] our theatrical release [September 20], and I think I'm anxious and excited for more people to get to see the film. It all feels like a gift that I've been given, and I hope that it reaches more audiences and audiences that might not get the opportunity to see this film.
This is your debut feature film. What's next?
I'm working on my next script. It's still at the early beginnings. It'll be something very different, but it's a military project that I'm currently working on.
What do I love the most about making movies?I love how complicated it is and how many steps there are. There's something about that that's very satisfying. I write my own films. The writing process is difficult and beautiful. Then getting a team together because filmmaking is a team sport and the logistics and difficulty of production. I come from an editing background. So editing is one of my favorite parts. How it all comes together and it all, it always feels like a bit of a miracle when a film gets done. I think the journey for me is my favorite part.
You can stream it online on Apple TV: https://tv.apple.com/us/movie/in-the-summers/umc.cmc.5e36yn7qizz3lh8z8qxq9m2ub
Extremely Unique Dynamic was honored by SCENE Best in Show in the Flip the Script Fest for Best Picture Feature!
November 6, 2024
Extremely Unique Dynamic will be in theaters this January with a digital release to follow soon after. Write that on your calendar now.
Extremely Unique Dynamic is a stoner comedy about two best friends who spend their last weekend together making a film. One of them is relocating to a city far away. During the weekend, mishaps occur, and secrets are revealed that may jeopardize their friendship. Hudson Yang makes a cameo. You may remember Yang from Fresh Off the Boat.
Ivan Leung and Harrison Xu acted, produced, directed, and wrote Extremely Unique Dynamic. They chatted with me about their funniest moments on set, what they love about comedy, how they came up with the idea, and their acceptance speech.
You got honored by SCENE Best in Show for Extremely Unique Dynamic for Best Picture Feature in Flip the Script Fest. It was also honored for Best Editing and Cinematography for SCENE Best in Show. Do you have an acceptance speech?
Harrison XU (HX): We're very honored to be in those categories. Unfortunately, Ivan and I weren't able to make it out to Flip the Script, but we heard such incredible things about the festival and our screening, and we'd really love to make our way out there in the future because we heard it was such an amazing time. But obviously, we're very appreciative, and our cinematographer Steven and our editor Michael were very happy to accept on their behalf because they were a huge part of our film, and they're really special to us as well.
Ivan Leung (IL): We want to especially thank Flip the Script because they're one of the few festivals that really highlighted the films and the filmmakers. You can really tell that Flip the Script really cared about how they want to curate their experience. We have a nice sponsored glass blowing merchandise during our film as well. That was so creative, so special, so unique. So I just want to really thank Flip the Script.
What gave birth to Extremely Unique Dynamic?
IL: Me and Harrison, we always wanted to work together, but we never had the chance to, and Harrison was about to move away to Canada. So during one night of eating Thai food on the floor, we just decided we were very...how do I say stubborn? We just kept egging each other on saying,hey, we should make something, we should make a movie; oh, sure; but, are we actually gonna do it? And then Harrison was like, yes, if we're gonna do it, we're gonna do it. And that's how it was birthed.
HX: We had known each other for 10 plus years as actors, and we always wanted to do something together. It was a great opportunity for us right before I got to move, to do that. And we hadn't worked together in a professional setting like that before. We've just been in acting classes, and we've known each other as friends. We just recently worked together for the first time on the marketing campaign for Winnie the Pooh: Blood and Honey. We had a lot of fun working on that, and we thought it would translate really well with the humor and the work ethic and to making a future.
IL: We both realized that we were both obsessed workaholics. Harrison is one of the most hardworking people I've ever known. It was a very nice honor to be able to work with such a guy.
What was the funniest moment during production?
IL: The funniest moment for me is how much Harrison just did not care about wardrobe or hair or makeup or the art...
HX: ...and the funniest moment for me was how I was on set, still didn't understand the meta of the movie. He never understood what layer we were in. We were filming us with characters, and it fit well to his performance.
IL: It was real. It was a funny thing for me that Harrison had to not only just be an actor but also a director on set. So I just see Harrison walk around with his head thinking the whole time. It was just really amusing to me as well.
HX: Yes, I am a Virgo.
How much of your characters are based on your real life selves?
HX: I would say a lot. I think we're playing heightened versions of ourselves, but a lot of the characters are grounded in reality. The circumstances that we're in were obviously heightened a little bit. [For example,] it wasn't [actually] my final weekend. It was my final few months. I didn't [actually] move to Edmonton. I moved to Vancouver. A lot of the relationship in the movie, between the characters, is very similar to how we interact with each other in real life. I'm smarter in real life than this character.
IL: I'm a lot smarter in real life. It's just crazy how smart I am in real life than the movie.
What were some inspirations that brought on Extremely Unique Dynamic?
IL: Inspiration wise, I think that just working in the industry, we never had the opportunity to do the characters that we wanted to do. So we decided to take the balls by its horn. We've always just wanted to show everyone what way we could actually do. Other movies that were inspirations were obviously the Kevin Smith movies, Legally Blonde, Mary Kate and Ashley's Passport to Paris, Seth Rogen movies, Superbad.
HX: One of my favorite musicals was this musical called [title of show], which is a meta music school about people writing a musical. That was a big inspiration for the meta aspect of us making a movie about two guys making a movie about two guys making a movie.
IL: That's the most biggest important one. Yes.
What do you love most about comedy and making movies?
IL: I love seeing people laugh, and I love making people laugh. And making people feel something different. I have any experience in the theater. It's just really magical.
HX: I feel like with comedy too, a lot of comedy is grounded in truth and reality, and I feel like those are some of the funniest moments in the film where people can actually relate to that. I think it's also really fun doing comedy as well because in our film, we have a lot of improvised dialogue, and we just had so much fun ripping with each other. So that was a really, really fun time on set.
Where can we find Extremely Unique Dynamic?
HX: So we are finishing out our festival run. We will be playing next at Vancouver Asian Film Festival, San Diego, Asian Film Festival and Philadelphia Asian Film Festival. We just finished playing at NewFest in New York and Montclair, New Jersey. We will be having a theatrical run in January, and then we'll be releasing digitally most likely at the end of January so that it will be available for everyone to see.
What's next?
IL: We're working on a horror movie together called Near Death as actors. That's going to be filmed in November. Director is Shaina Aiden. It's going to be a really, really fun time. We're really excited to travel a little bit more, spend some time together because Harrison is in Vancouver now, and I'm in Los Angeles. So it's basically more bonding time.
HX: We had a lot of fun making this film, and we want to continue creating content together. Hopefully, we'll have more movies and potentially even a TV series on the horizon next year. We're constantly thinking and writing, and once we're finished getting this movie out in the world, we'll get started on our project.
Is there anything else you want to add?
IL: I just want to say thank you, David, for watching the movie. Thank you so much for enjoying it. It just really means a lot to us that it resonated.
HX: Just echoing Ivan. Thank you so much. While we're bummed, we couldn't be at Flip the Script, we had a really great reception, and everyone was so nice. It's just really special being honored by you as well, so we really appreciate the time.
October was quite a month for film festivals in the Twin Cities! Flip the Script Fest, Twin Cities Film Festival, and Twin Cities Black Film Festival are three of them.
October 22, 2024
They included an eclectic lineup of LGBT films. A few are local. All three festivals included their unique lineup of LGBT films. This year's hot genres are drama, comedy, horror, and documentary.
Notably, local short The Bend screened at Flip the Script and Twin Cities Film Festival. Local artist AP Looze is being recognized twice by SCENE for their poignant performance as Pip, a person seeking trans refuge. Looze shared their experiences on set, the success of The Bend, what the future holds, and an acceptance speech.
Congratulations! You're being honored for Best Performance by SCENE Best in Show in Flip the Script and SCENE Best in LGBT Show in Twin Cities Film Festival for the short movie The Bend. The Bend is also being honored for Best Picture by SCENE in both fests. Do you have an acceptance speech?
I'm honored. This whole experience of making that film and being in it was completely unexpected. It just landed in my lap. It was a stroke of luck. I feel like I've received really great feedback from different festivals as well. I feel both humbled and surprised because acting is not my wheelhouse. It's not something that I've ever pursued. I make experimental solo performances, but I am myself in those contexts--I'm not playing a character. So this was my first time ever doing that. So my reaction to recognitions like these have been like, Oh me? Are you sure?
You also won Best Actor in Blue Whiskey Independent Film Festival. The Bend has been screened in other film film festivals such as Milwaukee Illuminate Film Festival. It's also playing in the Twin Cities Film Festival this season. How does it feel knowing that the film has been so successful?
I feel like it's worth getting a little bit into the story of how this all came to be. I was having an extremely, extremely hard time, and a friend called me, my friend Jay, and he was like, Oh, my friend Sarah McCarron is doing this short film about a trans masculine person from Wisconsin who relocated to Tennessee and is trying to get back to Minneapolis for their chosen family. And I remember laughing, thinking how similar it was to my own life--having grown up in Wisconsin and moving to Minneapolis. I was like, Jay, I'm not an actor, and he's like, I knew you would say that, but I believe you can do it. What's funny is that I simply was not tracking that Sarah was going to be submitting the film to festivals. It was just so naively unexpected. I feel grateful I surrendered to this experience in such a dark time, because now, later, being in a much better place, I'm able to take in the brightness of the recognition. While I did not recognize it at the time, saying yes to this film was a form of me rooting for myself and believing in my capabilities.
The Bend covers the topic of trans refuge states. Your character relocates from Tennessee to Minnesota to seek refuge. What do you hope most audiences get out of watching The Bend?
There's so many layers in that film. I think at the core it is about the importance of safety. The joy, celebration, and growth, comfort and expansiveness that comes with safety. When Pip arrives in Minneapolis, it's such a dear, sweet homecoming. He's literally desperate to get home because it's safe. It's not unnoticed to me that trans people are seeking refuge in Minnesota--particularly the Twin Cities. Queer social media housing groups have exploded with asks for housing from trans people trying to leave states where massive anti-trans legislation is being passed. While the term refuge state may sound like a symbol, there is something to be said for living among other trans and queer people--the feeling of being understood without having to explain anything is gold. I'm so curious what will happen with more and more trans people relocating here. What will the community become?
I feel like there's this broad spectrum hatred for trans people among conservative groups. It's not even a phobia. It's not fear, it's hatred, and it was instigated by Trump and some alt right shit. When there wasn't anything else to focus on within the right's agenda, they decided to use trans people as a scapegoat for their own pain and suffering and their own lack of self love and inquiry into their own experiences. They hated some of the more liberated people of our society.
It gets me thinking about the hatred megaphone of a political party. Is that really what individual people feel and/ or is it this sort of a propaganda campaign? Leaders have so much power to completely influence how a group of people thinks about the world. Then you have these one on one interactions--like between Pip and the fisherman--where the hatred seems to fall away or someone has at least a modicum of decency to help. It gets me thinking: Who are we really? What is this hatred covering up or obscuring? What do we actually feel and think and like on our own and not as a result of some leaders' hatred megaphone?
What turned you on to The Bend when you were introduced?
I thought, well, I have nothing else to do. I guess I'll do this. But the story itself did compel me! Probably because it was so similar to my own life. Sarah, the director and writer, was so kind and so open and so willing to meet me where I was emotionally at that time. I was like, Oh, ok, this person cares about me, and I think that made me feel like I could do it. I also know the person who played the fisherman--Dan Dukich. We've collaborated before. It was a gift to work with people I trusted, and I think that's the most compelling part of making anything--trusting those I am working alongside. Sarah invited me and Dan to ad lib stuff as we felt fit. She was really organic in the whole process of making this. She's so generous in how she creates. I felt like she wanted me to lean into my power and my choices and impulses, and she really trusted me to do that.
What's the most memorable moment on set?
It was right when we started rolling. I just was like, Whatever, I will literally do anything. I felt so uninhibited as a result of my really hard place that I was in. We were on set at 7 A.M. It was cold out. And the first scenes we shot were in the water. I was in my underwear and I just submerged myself and started floating. Looking back on it now, I was in a place of needing to surrender and let go of a lot of stuff in my life. That act of literally letting go and floating in this super cold water, it felt like it was a bit of an oracle for the next step and stage of my own life. I know that sounds wild to say, but it really was. It was a tremendous turning point in my life. And in the story, Pip is sort of at the end of his rope and doesn't know what to do. He's lost. He has no idea where he's going to go next, how he's going to get out of that predicament. He's frustrated and scared and pissed, and then he surrenders. It felt like my own internal experience of my personal life at that moment. Again, this was not planned. It just happened, and I really believe that opportunities that fall into your lap are little keys. They're keys out of or into the next stage of your life. You can't plan for those things. You just can't.
What does the future hold for you?
I am a multidisciplinary artist. I do so many things. I'm making new music through the Cedar Commissions at the Cedar Cultural Center that will be performed January 31st and February 1st. I also am a flag maker, and I'll be having a trans and non-binary flag raising celebration at the Powderhorn Park Neighborhood Association next June for Pride Month. I'm working on a watercolor and poetry book based on a contemplative and esoteric practice I have of accessing the Akashic Records. I'm working on an ode to my grandmother who recently died. Her death has made me wonder deeply about what ancestry even is and the beautiful roles we play in our families. Her death opened up this massive ineffable feeling of unconditional love for my lineage in a way I never imagined possible. What happens when I choose to love every part of the story of how I came to be--the pain, the love, the heartache, the bullshit--all of it? That's the next arena I will be exploring and tending to in my artistic practice.
Anything else?
I was exceptionally grateful to have this opportunity to be in this film. I met and worked with so many wonderful people who contributed to this film. I think collaborative art projects like these often create new relationships and avenues for more collaborations. My world is expanding as a result of this experience and it's really wonderful.
Flip the Script
October 22, 2024
The 5th Annual Flip the Script Fest was hosted at Emagine Willow Creek Theater from October 11-13, 2024. They included a virtual option for most of their selection from October 11-19, 2024. This LGBT film festival included features and shorts of various interests. The festival had an intimate setting for the audiences to enjoy the fantastic lineup of LGBT films.
Flip the Script Fest included three films that connect with the Conflict in Israel: Photo Booth, Foragers, and Blessed Blessed Oblivion. In this satire operatic documentary, Photo Booth follows a group of activists working to boycott Eurovision 2019. Foragers follows a group of people in Israel who are affected by the unfair nationwide ban on some crops. Blessed Blessed Oblivion is a short poetic avant garde piece of toxic masculinity. Flip the Script donated the ticket sales of these films to The Ghassan Abu Sittah Children’s Fund.
Three Other Features were screened in the festival: Extremely Unique Dynamic, Pride and Prejudice: Swedish Film Queer, and Lady Like. Extremely Unique Dynamic is a stoner comedy of two best friends who try to make a movie together during their last weekend together, but mishaps that could jeopardize their friendship happen. Pride and Prejudice: Swedish Film Queer chronicles how Swedish queer films have shaped cinema. Lady Like follows Lady Camdon's journey as a contestant on RuPaul's Drag Race Season 14.
The segment Comedy Shorts included six hilarious films, all revolving around love. Delicious Mealis a local silent comedy of someone who flirts with a "living" human head in front of her phone-obsessed lover. The Escape Room is the shortest of this segment of two lovers whose trip to an escape room begins with a breakup but still need to work together to escape. Thank You examines a teenager in dire need of a tampon and has a crush on a classmate. 9 Lives includes a series of mishaps of a woman who eventually offers to help bury her crush's dead cat. In the comedy horror Thank You, two lovers on a date night unknowingly have a spirit who ends their night sooner than anticipated. Matinee Baby steps away from romance with its witty comedy of two best friends who work in a historic movie theater known for its quirky customers.
Five films were included in Drama Shorts. Three of them include a romantic story. In Apocalypse Dream, a woman living in a post-apocalyptic world, meets a woman who needs assistance. In Everything is easy, everything is hard, a man explains to his lover the tragedies he experienced in his home country. Pigeons are dying, when the city is on fire explores the sensual aspect of two lovers who try to rescue a pigeon trying to flee from their habitat that's in flames. Queen is an avant garde piece about a teenager who searches for their socioeconomic and racial binaries. In local short The Bend, a trans man relocates from Tennessee to Minneapolis and encounters a conservative fisherman while stranded in rural Wisconsin.
Documentary Shorts segment included six films. Stud Country introduces audiences to line dancing in LGBT culture. Don't Cry for Me all You Drag Queens commemorates a beloved drag legend. Sultana's Reign shares the challenges of Sultana performing in drag in conservative societies. Old Lesbians presents a research study on senior citizen lesbian life. The Landmarks of Memory takes viewers on a tour of a Lebanese tattoo shop. System Errors educates viewers about online sex work.
5th Annual Flip the Script Audience Awards winners are Delicious Meal for Best Short and Foragers for Best Feature.
SCENE Best in Show:
Best Picture Feature: Extremely Unique Dynamic
Best Picture Short: The Bend
Best Director: Foragers (Jumana Manna)
Best Performance: The Bend (AP Looze)
Best Screenplay: 9 Lives (Millie Rose Evans)
Best Editing: Extremely Unique Dynamic (Michael Scotti Jr.)
Best Cinematography: Extremely Unique Dynamic (Steven Shulgach)
Best Music: Photo Booth (David Wall)
Honorable Mention: Delicious Meal
Twin Cities Film Festival
October 22, 2024
Ten LGBT films were included in the lineup of the Twin Cities Film Festival. Three were features, seven were shorts. The lineup of LGBT films included comedies, dramas, horror, and documentaries.
The three features were Body Electric, Hauntology, and We Strangers. Body Electric is a documentary on the pressures of looking sexy. Hauntology follows a woman who shares ghost stories with her sister to prevent her from leaving town for good. We Strangers presents a woman who accepts a job as a house cleaner and falsely claims to be a medium.
Three short films were filmed in Minnesota, whether fully or partially. First, The Bend. Second, $55 Private Room in a Safe Quiet Neighborhood combines comedy and murder in a woman's plot to kill her husband doesn't go as smoothly as expected. Third, Orange Vests and Cigarettes spotlights a boy ordered to do community service and meets a group of people who change his view on life.
Four other shorts were included in the festival. In Boy Mode, a young trans girl seeks support in drag clubs while not receiving it at home. Canyon Chorus is a documentary on a group of choir men who go canoeing in the outdoors. Safety State focuses on a couple who live in a US state that stripped away all LGBT rights, so they relocate to a safety state. In the shortest of the LGBT shorts Festival Child, a music festival trip turns into a babysitting job.
SCENE Best in LGBT Show:
Best Picture: The Bend
Best Director: The Bend (Sarah McCarron)
Best Performance: The Bend (AP Looze)
Best Screenplay: $55 Private Room In A Safe Quiet Neighborhood (Lauren Norby)
Best Editing: $55 Private Room In A Safe Quiet Neighborhood (Andrew Weed)
Best Cinematography: Boy Mode (DJ Zachary)
Best Music: Hauntology (Jonathan Snipes)
Honorable Mention: Orange Vests and Cigarettes
Twin Cities Black Film Festival
October 22, 2024
The 22nd Annual Twin Cities Black Film Festival was held from October 10 - 13. They screened 26 films, shorts and features. They screened a powerful LGBT film called Cornelius. Cornelius is a documentary that honors activist Cornelius Wilson for four decades of educating, advocating, and raising awareness of HIV/ AIDS.
Minnesota author and educator Michael Lee
October 9, 2024
Lee will be publishing his book, When the Band Played On, this October 8. The book covers the life of Randy Shilts (1951 - 1994), the first openly gay journalist who broke social barriers. Shilts covered the AIDS crisis during a time when most people feared to mention the topic. Lee proves in his new book that Randy Shilts is an important figure that people today should know because of his LGBT and HIV activism that continues to inspire generations after him.
Michael Lee sat down for an interview about his novel. He spoke about the writing process, what inspired him to do this, and what the future holds.
Tell me about When the Band Played On.
When the Band Played On is the first mass market biography of Randy Shilts who was the author of And the Band Played On. It's been the focus of my work for the last decade. It has been a really deep and meaningful project for me as a researcher and a writer, and I hope that comes through to people. I really wanted this to be the very intimate life story of Randy. There's been a lot written about his career. There's been a lot written about his trailblazing journalism as the first openly gay journalist to cover gay issues in the mainstream press. And the Band Played On had a lot of controversy to it as well, but I feel like people haven't necessarily gotten to know the person behind that work and for someone who was as influential as he was in LGBTQ history and especially HIV and AIDS history. I just thought that was a real gap, and I wanted When the Band Played On to fill that gap, and I'm excited for people to read it and understand this person better.
When the Band Played On is based on And the Band Played On (1987) by Randy Stilts, which deals with HIV topics. What got you passionate about the topic HIV?
I came out in the mid 90s, so we did not have at that point the medications to save lives. Those came out shortly after I came out. I remember a time when it was just absolutely deadly to try to exist as a gay man in this society, and in many ways, it still is. That was part of my life experience as a young gay person. Then as I started to move into the community professionally, one of my first professional internships was at an AIDS organization, and that eventually led me to getting hired at the Minnesota AIDS Project almost 21 years ago. A lot of it was just this feeling of connection to my community and seeing how hard people were working and how scared they were. This pandemic that, up until the mid 90s, was completely untreatable and was unfortunately a death sentence for many people who are no longer here. It was always there as a piece of the background. Then I would say it became my professional life in the early 2000s in a way that was really meaningful. A lot of my work was doing outreach and testing in the bars alongside coworkers and many, many volunteers. We were working really hard to try to create a community that embraced health and embraced taking care of each other. Those were hard efforts but rewarding, and that work has always stayed with me, even as I've moved on from that direct work in my life. Writing this book almost felt like a natural extension of that.
Why should our generation and future generations know about Randy Shilts?
I think it's easy to forget that there was a time where even talking about gay issues in the mainstream press was sort of an oddity or a novelty. Before Randy, a lot of the stories that would make it into the major newspapers or major TV programs were very much slanted around the idea of "who are these people and what's wrong with them." Randy was one of the first to really normalize conversations about gay topics in the mainstream press that never questioned whether we as a people were legitimate or illegitimate. It was just accepting that gay life was part of life. It hasn't always been as easy for us to talk about queer topics in mainstream venues. We didn't have social media. We did not have this wide variety of channels that people can really find topics of interest to them or find their own people. He was really pioneering, he was really courageous, and he took a lot of backlash for that at points in his career. I think it's important for generations coming up to understand that what we enjoy now came with a struggle, and it was earned. It was something that we should not take for granted because people like Randy fought for us to have the visibility and the access that we do have. In the course of this, I think he also demonstrated that we can have hard conversations about our community and our community life in ways that don't necessarily tear our community down but make us stronger for having those difficult conversations.
During your research, you interviewed family, friends, acquaintances, and other people who knew Randy Shilts. What are the most surprising things about Randy Shilts that you learned?
I interviewed more than 70 people who knew Randy, and most of those interviews were oral history. They were more detailed, with people giving me more intimate stories of the person that they knew. He was just quite a character. He was very colorful, very fast talking. He had a very unorthodox sense of humor. He could quickly grasp and respond to someone and ask questions in a really smart way to provoke their thinking. In terms of what surprised me about him, [it's] hard to say in terms of surprises. When you're researching someone's life and you start from the very beginning, it's kind of a wide open tableau in terms of finding out what they experienced along the way, who they became friends with, who they offended. I think it was interesting to find out that he was a very conservative republican at the beginning of his life because his family was. He was very active in conservative politics all the way up through high school. I think it was really the [Vietnam] war that started to change his mind, and he became more liberal, more part of the anti war youth movement of the late 60s. I think that really influenced his coming out as a gay person, which he did for the time quite early. He was only 20 when he came out to a room full of his college classmates, and that was a remarkable breakthrough for him. One thing that's remarkable is once he came out of the closet, he never went back in. He really devoted himself, even when he graduated from college and was looking for jobs in journalism, to being an openly gay journalist. He got turned down by a lot of newspapers because of that, even though he was an award winning student journalist, but he was determined from about the end of his college career onwards that he was only going to be a journalist. He was only going to write, and he was going to be open about writing about gay issues. Even though his career suffered for that in the short term, I think it's really amazing that he made that decision to not go back in the closet to try to establish his career. He was bold and upfront about being who he was on every resume he sent out to every potential employer when he was a college graduate. I just think that that kind of courage and confidence for that time is really remarkable.
Tell me about the writing process of When the Band Played On.
It was long, and it took a lot of sitting with some very in depth material. The thing about writing a biography, it's nonfiction, which means every fact has to be accurate. You have to have a source for it. You have to be able to justify the conclusions that you draw, and yet you still have to do it in a way that draws people in and gives them an emotional connection to the text. The writing process for me was a lot of taking the factual evidence and turning it into something that I would enjoy reading. So it reads more like a novel in a lot of ways. It does require some creativity, some imagination in terms of setting a good scene but then also leaning into the material that people gave me, and that Randy left behind in his papers. It was very much a process of sewing together the factual evidence, all of that documentation, into something that people could sit down and read and find interesting and exciting so that it has that emotional component to it as well. It took a long time. I started writing in 2016, which was a couple of years after I first started the research. I finished it in early 2022. That was a good six year period of just writing a manuscript, while I was also working as a part time professor and a grant writer. You have to pay the bills too. It was a very intensive process of sitting with that material, trying to write it in a voice that I thought was true to Randy as well as myself, and then lots of editing and revising along the way. It was a very long intensive process.
Many times I've come across people who've asked who I am writing about, and they don't recognize the name Randy Shilts. When I say And the Band Played On to a certain age or older, let's say 40 or older, they have this immediate recognition. Oftentimes those people will start telling me a story about someone they lost from the AIDS epidemic. Something I came to realize from those conversations was that for them, And the Band Played On was a way of making sense of their own grief, of their own loss of a loved one in their life, given how much stigma and shame have been associated with HIV. Over the years, it gave them a way to think about their loved one in terms of the injustice they experienced and not just the shame around sexuality or using injection drugs or things like that. It was a touchstone for them to someone who they still held in their own hearts. When they connected back to And the Band Played On, it was through the memory of their own loved ones. That was really powerful. The number of times people would tell me those kinds of stories still stays with me today.
What are the biggest takeaways that you most hope for from readers after reading the book?
One I think is really connecting with just the intensity of the early years of the HIV/ AIDS pandemic and the amount of pressure that someone like Randy Shilts faced in terms of dealing with it as one of the only reporters covering it full time and doing more than just writing the medical side of AIDS, but also the human interest and the political side. It was quite a bit of pressure on him, and he didn't get everything right, but he was doing it because he was so worried about the extinction of our community. That's actually a phrase that he used in a number of his interviews, our biological extinction. He was terrified of that. I think that in this day and age with the quality of medications that we have with U=U, with PrEP and all sorts of prevention options, we tend to forget just how absolutely terrifying that was for people at the time, and Randy was right at the center of that. People who take a positive view of him [versus] people who take a more critical view, I think there's room for everyone to sort of take a look and see what he was doing was under enormous pressure. Yet somehow, he managed to rise above it and create a work of literature that to this day still moves people around the world. It's very important for people to understand that story and how hard he fought to tell how the politics were played, and how they kept the government from responding to AIDS sooner than they did. He was really determined to show just how many lives were lost because of the political games that were being played.
Randy Shilts wrote the book And the Band Played On, which was published in 1987. What do you like most about the book, and what's the most valuable thing you learned from it?
I've gotten to know that book quite well, and what's been interesting for me has been to see just how deeply personal the relationships were that Randy had with many of the sources in it and many of the characters in And the Band Played On. He really connected a lot of different systems that you wouldn't see having connections to each other from the federal level all the way down to the City of San Francisco and City of New York. He did a remarkable job of weaving together all these threads to create a kind of tapestry in the response to AIDS and showing how there were people all across the country really worried about it who were being blocked by systems for reasons that just did not make good sense unless you looked at it through a political lens.
I think he gets the politics right for the time, which was unfortunate in that there was so much embarrassment around even talking about sexuality, talking about the ways that HIV was being transmitted, that the information that was being provided by the government was very incomplete, and that was scaring people quite badly. I think Randy did a real service.
And the Band Played On was adapted into a movie in 1993, which starred Matthew Modine and Ian Mckellen in it. If your book When the Band Played On is to be adapted into a movie, what would you most hope for it like? What would it be about? Who would direct it? Who would play the people? Et cetera.
In terms of who would direct it, someone who did a phenomenal job with Harvey Milk's story was Gus Van Sant with the movie Milk, and I think that he would do a wonderful job with the material in this. I'm really terrible at knowing the names of up and coming actors and things like that. Obviously, I'd want it to be about Randy. But another star of And the Band Played On was Lily Tomlin, who played Dr. Selma Dritz, who was San Francisco’s Director of Epidemiology. She was well known among the gay community there because she was the one who always tracked down infectious diseases when they were spreading. Lily Tomlin played her quite well in the movie. The only thing was that Selma Dritz at the time was close to retirement age. Lily was quite a bit younger when she played Selma in the movie. It would make my heart overwhelmed with joy if there is a film adaptation of When the Band Played On. I would love to see Lily Tomlin come back and play Dr. Selma Dritz because she has some very, very important scenes in my book. And the Band Played On doesn't really detail just how close of a friendship she had with Randy. She even described it in one of her letters as being almost maternal. I would be overwhelmed with joy if Lily Tomlin came back to play that role in the movie of Randy's life because I just think that connection would be so meaningful, and we all love Lily Tomlin.
Is there anything else you want to add?
I hope people will read it and take it with an open mind and an open heart. This is a story where I really leaned into Randy's lived experience and the emotions of what he went through, and I hope people will see the opportunity to put themselves in his shoes and understand what life must have been like for him. He had a really tough life growing up with his family. He dealt with a mother who drank heavily and had quite a violent temper. He left at 18 and moved from Illinois all the way across the country, came out on the west coast, and went on this journey that no one had really been on before, in terms of taking on the journalistic profession and being an out proud openly gay person leading the charge for our stories being told just as part of everyday American life, just like everybody else's. I hope people will go on that adventure with him because it's certainly been an adventure for me, and I'm just really excited for people to share that.
HUMP! Film Festival Part 2 was held at Parkway Theater on September 21, 2024.
September 25, 2024
HUMP! Film Festival showcases a series of short porn films while promoting sex positivity. The atmosphere provides audiences a sense of when porn ruled the world in the 1970s. This type of atmosphere ranges from films having a storyline to being memorable to being campy. This year's part 2 line-up includes various fantasies such as fetishes, kink, romance, message driven, and more.
Part 2 covers numerous films of LGBT interest: The Pizza Guy, Heavy Load, Cumline, Stay, The Cumcubus, Veronica, Spacetrip Do You Wanna, Banana, and Pizza Sluts. Part 2 embraces various film genres like comedy, drama, horror, musical, and avant-garde.
The Pizza Guy explores a pizza delivery guy who fantasizes about a hot night with his customer. Heavy Load utilizes Salvador Dali's artistic style of overlays and abstract images of two men taking advantage of being alone in the back of a moving truck. Cumline tells a story of a Hollywood legend who declares his coming out by making a sexy TikTok style video. Stay proves that two people in a long term relationship can still use "my man was horny" as an excuse to be late for work.
The Cumcubus includes one of a few people who knows how to stop the 1,000-year-old-plus cumcubus who uses his bottoming powers to kill his victims. Veronica exhibits two women who film a porn film while a monster either tries to stop them or join them. Spacetrip Do You Wanna is a campy message driven music video about consent. Banana is an animated short about a man who judges people frequently but finds himself judged by everybody. Pizza Sluts incorporates humor as one woman receives a pizza slut as a gift from her lover.
AnderSCENE's HUMP! Film Festival 2024 Best of Show:
HUMP! Film Festival Part 2:
Best Picture: Banana
Best Director: Veronica
Best Performance: Stay
Best Screenplay: Spacetrip Do You Wanna
Best Editing: Spacetrip Do You Wanna
Best Cinematography: The Pizza Guy
Best Music: Spacetrip Do You Wanna
Best Non-LGBT Picture: Family Affair
To see the HUMP! Film Festival Part 1 winners, scroll down to the June 19, 2024 publishing of the review. It includes an interview with founder Dan Savage.
HUMP! Film Festival Parts 1 & 2 Combined:
(* - from part 1; **- from part 2)
Best Picture: Dirty Old Man*
Best Director: Dirty Old Man*
Best Performance: Happy G Day*
Best Screenplay: Spacetrip Do You Wanna**
Best Editing: Transit*
Best Cinematography: The Pizza Guy**
Best Music: Happy G Day*
Best Non-LGBT Picture: Family Affair**
Honorable Mention: Human Chandelier*
If you didn't catch parts 1 or 2 at Parkway Theater, you can still stream them here: https://www.humpfilmfest.com/streaming-library
Check out the trailer for HUMP! Film Festival Part 2 here: https://vimeo.com/957749685/7b1806c4de
Next year is the 20th anniversary of HUMP! Film Festival! Be on the lookout for show dates.
Any Other Way: The Jackie Shane Story
September 11, 2024
Any Other Way: The Jackie Shane Story debuted at SXSW (South by Southwest) Film Festival on March 9, 2024. Since then, it has achieved tremendous success in the film festival circuit, most notably the Out in the Silence Award win from Frameline International LGBTQ+ Film Festival! Any Other Way: The Jackie Shane Story is a documentary that covers the life of Jackie Shane, an R&B singer and a pioneer transgender figure who rose to fame in the early 1960s. She was best known for her song Any Other Way, which reached #124 on the Billboard Bubbling Under Chart in 1962. She opened up for Etta James, The Temptations, Marvin Gaye, and other legendary musicians. Shane disappeared from the limelight in 1971.
Directors Michael Mabbott & Lucah Rosenberg-Lee answered some questions about Any Other Way: The Jackie Shane Story. They share what to expect from the documentary, why Jackie Shane is an important figure, and gratitude they're feeling from the movie's success.
Tell me about Any Other Way: The Jackie Shane Story.
Any Other Way is about an incredible R&B soul singer named Jackie Shane, who escaped Jim Crow South and moved to Canada where she released chart topping records, before disappearing for 45 years. Most people thought she was dead but in 2016 she resurfaced with a Grammy nomination for the re-issue of her album "Jackie Shane Live". Jackie was living in Nashville away from the spotlight since leaving the stage in 1971, and not even her living relatives knew. This film tells the story of her life using her personal archive, rotoscope animation and stories Jackie told on never before heard recorded conversations.
What should audiences expect from seeing this documentary?
They should expect a film that invites them into a story of a woman who was not only incredibly talented, but who lived her truth authentically. Jackie was a transwoman, performing on stage in the 1960s and 70s, and although little was understood of the trans experience back then, she didn't let that stop her from pursuing her dream of being on the stage. Audiences can expect to be moved, inspired and entertained by Jackie's music, her humour and her wit.
Your documentary has been selected for numerous film festivals such as SXSW and SF at Frameline, some leading to award wins. How does it feel to achieve the success?
It feels amazing to have the film recognized at this level. It took a lot of heart and passion for us to create, as well as a diligent dedication to bringing Jackie to life, since she sadly passed before this film was completed, so it's wonderful that it's been so well received. It shows that stories like hers are needed now more than ever.
Why do you believe it’s important for people to know Jackie Shane’s story?
So many stories are lost to history for many different reasons. Due to the intersections of sexism, transphobia and racism, stories like Jackie's rarely see the light of day. If it was not for this film, few would remember the impact Jackie had on music and culture. It's also important for people to see that trans people are more than their gender identities, as so much of today's media see's the trans-experience as one dimensional.
What about Jackie Shane's story interests you most?
The two most interesting parts to us are, one, that she was making music like this in Toronto, when the Folk scene was going strong she was rocking up the clubs in the downtown core. And despite the club scene being dangerous and full of gangsters, she managed to survive (I mean she was only kidnapped once or twice!). Secondly, her family's story is a crucial part of this film, they didn't know Jackie existed until after her death, and to see them come together and support her legacy has been a great journey to be a part of.
What do you most hope that audiences get out of watching this documentary?
Some new music to love in listening to Jackie's songs and inspired to live their truth as well.
What was the most rewarding part of making this documentary, and what was the most challenging part?
One of the most rewarding things has been having audience members tell us they felt like they had just seen her on stage, felt her presence. We had only one piece of recorded footage to achieve this so that's been incredibly rewarding as it was important people felt connected to her. The most challenging was deciding which parts of Jackie's life to include in the film and sift through nearly 100 hours of recorded phone calls. There was a lot of gold that never made it into the film but every line we picked has a very specific purpose.
Zip Zap Circus: MOYA will be playing at Children's Theatre Company from Sep 12 - Oct 20, 2024.
July 31, 2024
It includes exciting dance and acrobatic routines that are accompanied by South African music. It's great for all ages. Masizakhe Kovi took time out of his busy schedule to share with us about MOYA, what he loves about acting, and his future in acting.
Tell me about MOYA.
MOYA was created to give local talent a South African circus ring in which to not only stretch their talents and pursue their dreams, but also to create shows that celebrate the land we call home.
What turned you on to accepting the role in MOYA?
I’ve always wanted to be a professional circus performer, so it was a nice opportunity for me to be part of MOYA cast and perform around the world with MOYA.
What should audiences expect from watching MOYA?
I can’t wait for the audience to experience our South African vibe, our culture, our dance, and our music in the production. They're gonna love it!
What's your favorite routine and song in MOYA and why?
My favourite routine is my Act (Handstand Act) and my song that I use for my Act; it tells a story that really relates to the show. It’s a very nice song.
What's your best memory of rehearsing MOYA?
My best memory is when we were rehearsing for another show in Mauritius. I remember I was so excited, because it was gonna be my first time touring with MOYA outside South Africa.
How familiar were you with South African music and dance compared to now?
South African music is, and will always be, the banger. Our music makes people happy, and surely people dance when they listen to our music.
You've been acting since age 9. What do you love most about acting?
I love acting because it shows the real me, and when I’m on stage performing, I become myself. That’s what I want people to see. I really love performing.
Of all that you haven't done yet in the entertainment industry, what do you most want to do
I would like to experience and perform in Vegas. That would be so cool.
Is there anything else you want to add?
I’m looking forward to traveling to America for the first time. It's gonna be an amazing experience. I can’t wait.
Please follow Children's Theatre Company and Zip Zap Circus here:
Facebook: https://www.facebook.com/childrenstheatremn/
Facebook (Zip Zap Circus): https://www.facebook.com/zipzapcircus/
X (fka Twitter): @ChildrensTheatre @zipzapcircus
Instagram: @childrenstheatrecompany @zipzapcircus
The 40th anniversary of Purple Rain was celebrated at Target Center on July 27. This was no ordinary movie screening. It was a celebration!
July 31, 2024
The film was screened in front of thousands of attendees. Though the screening was hosted in an auditorium, it felt like an intimate setting and a Prince concert simultaneously. This combination is determined by everyone supporting one another while celebrating Purple Rain, Prince’s life, and his legacy.
Prince’s spirit felt present. Audience members were dancing to his music, waving their phones during Purple Rain song, and applauding after every song. Some individuals even stood up and danced while others cheered. Other Prince classics in the movie include When Doves Cry, Take Me With U, and I Would Die 4 U. Other tunes include Jungle Love by Morris Day and The Time and Sex Shooter by Appolonia 6.
After the screening, the one who played the woman thrown in a trash can spoke on stage. Then a rendition of Purple Rain was performed by three time Grammy award winner Jamaris. Then Prince was inducted into the Songwriters Hall of Fame. Prince’s half sister Sharon Nelson accepted it in his behalf. Then a VIP ceremony was held.
This event proves that Purple Rain still holds a strong influence on people 40 years later. Overall, people have still not forgotten Prince.
Queen Tut is an inspiring comedy that tells the story of Nabil, a newly Egyptian immigrant who recently moved to Toronto.
July 17, 2024
Nabil familiarizes himself with the Toronto LGBT community as he befriends a trans elder Malibu (played by Alexandra Billings) who inspires him to explore drag. Meanwhile, he joins forces with Malibu and the LGBT community to save a local historic LGBT bar from being demolished.
Ryan Ali, who plays Nabil, shares his moments on the set of Queen Tut, the film's success, and his future in acting.
Queen Tut has been nominated for four Canadian Screen Awards. What was your initial reaction when you found out about the nominations?
I was so thrilled!!! The Canadian Screen Awards are the equivalent of a Canadian Oscars. It is a tremendous feat and I think, most of all, it made me excited at the prospect that more people would hear about our movie and wanna watch it!
Also, the fact that this is Alexandra Billings’ first solo acting nomination is unbelievable, but I’m so glad she was finally recognized for her work, and for such a special film. Big shoutout to our music team spearheaded by Suad Bushnaq for landing THREE much, much deserved nominations! They were all incredible to work with.
Queen Tut has been screened at numerous festivals such as OUTshine LGBTQ+ Film Festival, and Chicago LGBTQ+ International Film Festival. How does it feel knowing that the film has achieved this success?
It feels so rewarding to know that our movie has found this amount of success, and that it got to be seen by so many people all around the world! When you sign on to a movie like this, you’re just trying to do work that you’ll be proud of and that aligns with your creative vision and that of the director’s. The fact that it was received so well, I’m just so grateful for that.
What should audiences expect from watching Queen Tut?
A beautiful emotional journey accompanied by a lot of laughter. I think audiences really got attached to all our unique characters very quickly and it makes you really root for them and empathize with all of them.
What's your most memorable audience reaction?
I got to watch the movie with an audience a few times, and every time, it really makes me so happy to hear all the audible reactions from audiences. People were “ooh”-ing and “aaah”-ing throughout the film. There was a lot laughing and some sniffled crying too haha. I think that’s my favorite part of watching a movie with an audience — I get to experience it with fresh eyes and see it through other people.
What was your most memorable experience on the set of Queen Tut?
There’s a scene in the movie where I get to walk down the street in a big beautiful green dress. It’s one of the busiest intersections in all of Toronto, right by the Royal Ontario Museum. That’s probably one of my favorite memories ever! In my entire life. There was such a beautiful duality to it, where I myself felt safe and joyful and playful, surrounded by a crew and the team, and then get back into character where he felt a little scared and alone.
What do you love most about the film?
I love that the film became such a platform for so many queer artists to have and share their authentic voices, especially the trailblazer that is Alexandra Billings. We were so lucky to have her on this production, and my favorite part of the movie is the lessons she shares throughout. A lot of which were improvised and based on hers and her community’s own experiences.
What and/ or who mostly inspired your performance as Nabil?
I genuinely dedicated this film to my 18 year old self, who moved to Canada just like Nabil and struggled a bit to fit in and find his way. That’s really who inspired me the most and what fueled the drive to be so committed to telling this story and putting out my best work to date.
What's next?
I’ve been really enjoying my time in Los Angeles and getting to know the creative community out here. It feels like a whole new world bound with possibilities and I can’t wait to share some exciting new projects soon!
Anything else you want to add?
Find me on Instagram @ryanali23 and let’s connect!
Rock legend Melissa Etheridge talked about her newest venture: her docuseries Melissa Etheridge: I'm Not Broken and the live album that accompanies it! #I'mNotBroken
July 3, 2024
Melissa Etheridge: I'm Not Broken debuted at Tribeca Film Festival on June 14. In the docuseries, Melissa Etheridge performed at Topeka Correctional Facility where she used music to inspire women to find their path of healing and recovery. Etheridge discussed various topics such as addiction, trauma, and grieving. In this interview, she talks about Melissa Etheridge: I'm Not Broken, what inspired her to do this, and what she learned from this journey. And! She'll be performing in Minnesota on August 1.
Tell me about how Melissa Etheridge: I'm Not Broken came to be.
I'm Not Broken is the project that came out of my desire to do a concert at a women's penitentiary in Kansas. It took many years to get the permissions and to set up all of everything that it takes to get into a prison. And the song Burning Woman is from my experience of meeting the residences and experiencing them and their stories.
You mentioned in the docuseries that when you were a child, Johnny Cash performed in Leavenworth Federal Penitentiary, two blocks from where you live. What was it about his performance that inspired you to make this film?
I was only seven years old when Johnny Cash came to town. The fact that the prison got to see the performance, but the town did not and not even Kansas City, which was the closest large city. No one got to see Johnny Cash but the prisoners. This, to my young seven year old mind, cemented the idea that prisons were a place of great entertainment [chuckles]. Well, a few years later, I actually went into the prison with some local talent, a variety show that went into these prisons, and performed, and the experience was exhilarating. They were appreciative, they were very loud and demonstrative, and it really inspired me to want to perform for people who don't usually get entertainment in their day to day lives.
What's the most valuable thing you learned from this experience?
The most valuable thing is never to assume. I tried not to assume what my experience would be going into TCF [Topeka Correctional Facility] and what it would be on stage. And this exceeded all my expectations. And I also have my own unconscious assumptions about what the residents would be like. And I was surprised by how much each of them were like regular everyday people that I knew.
One quote that stands out for me is, "You can't save them, but you can inspire them." How do you hope that Melissa Etheridge: I'm Not Broken inspires audiences?
It is all about inspiration. I hope that people can see this film and feel the gravity of the situation and the need for change in our prisons, in our penitentiaries, in our correctional facilities and the need to understand that most of the incarcerated people have emotional issues dealing from trauma and how we can help inspire people to get back. So, not only inspire the audiences with the gravity but also lifting them up and showing that there's hope that people can be lightened up, that they can be inspired to look to the future.
You mentioned in the docuseries that half the women who are incarcerated are recovering from addiction. What do you think can be done to help those struggling?
I think more understanding about what addiction is, why it is, where addiction comes from, the root trauma in so many of us that causes the struggling and the use of drugs to quiet the trauma. If we can understand more about the trauma, then we can begin to take these people out of prison that just need that sort of emotional help.
Melissa Etheridge: I'm Not Broken will be accompanied by a live album. How did you decide on the setlist?
That was probably my favorite part of it, was making the setlist. I wanted to do the hit songs that they would know so that that would be fun for them to hear me perform my hit songs. So that was about four or five of the songs. But the other songs were specifically curated to be able to speak about trauma, to be able to speak about regret, to be able to speak about pain and desire, and the things that these songs specifically speak about so that I could touch on them when I was speaking to the audience and relating with them. Addiction. That's what the other songs [are]. They're more deep tracks. They weren't necessarily hit songs, but I thought that they would really fit what I was trying to give to the audience.
Please hashtag #I'mNotBroken on social media.
Melissa Etheridge: I'm Not Broken (Live from Topeka Correctional Facility) will be released to streaming on July 9th and available on physical July 12th. You can purchase it here.
Melissa Etheridge will perform with Jewel at The Ledge Amphitheater at Waite Park, MN on August 1 at 7:00 PM. Tickets can be purchased here.
Paul and Trisha: The Art of Fluidity tells the story of legendary surreal artists Paul Whitehead and Trisha van Cleef who share one genderfluid body.
July 3, 2024
Paul and Trisha have designed works for artists such as Genesis, Creedence Clearwater Revival, and... drumroll... The Beatles. Paul and Trisha talk about their new documentary Paul and Trisha: The Art of Fluidity. This new film covers their adventures, careers, and challenges.
Tell me about the new documentary Paul and Trisha: The Art of Fluidity.
The movie didn’t start out as a full-length feature. Before Covid I was doing a series of “One man – One woman” pop up art shows in vacant retail spaces and I decided that we needed a short film that would tell viewers about the show and have a short history of my career. The producer of the art shows, Adam Fisk’s girlfriend Fia Perera, is a filmmaker and Adam hired her to direct this short film for the art shows. After a couple of interviews it became apparent that this had the potential to be much more than just a short film – Fia told Adam this and he told us to keep shooting. As Fia and I worked together I felt more and more comfortable with her, because her questions were sensitive and insightful and they gave me the opportunity to explain my motives, demonstrate my creative process and let people into my life. The result is something that I’m very proud of, it's a very honest portrayal of me and the way I live.
What do you hope most that audiences learn from watching the documentary?
As I said it’s first and foremost a glimpse inside someone’s life, in this case a transgender artist, with an already established reputation as a man, making original art as a woman. This is maybe a challenging concept for lots of people to wrap their heads around, but to me? It’s just my life. I function quite comfortably in the world as both a man and a woman and I make two completely different kinds of art. I hope that people who don’t know about such things or have a preconceived idea of what that’s about, discover, through my revelations, a new and positive way of looking at it. I hope that people who don’t know about or understand what it’s like to make your living purely from your creativity will come away with a new understanding of what that’s all about, both its joys and its challenges.
What was the most rewarding part of making the documentary?
I think the most rewarding part for me was knowing that maybe this documentary could help someone out there that is struggling with their gender identity and give them hope and encourage them to be brave, be themselves and live their lives openly and with honesty. In the film I tell about the first time I had a “One Man – One Woman” art show and I was struggling over who or who not to invite to the opening. A trans friend told me to be brave and invite EVERYONE on my mailing list because there was no down side! She told me that any friends who disowned me, because of my revelation, were not really true friends in the 1st place and that I would have a great feeling of liberation - I might even find a totally new circle of friends. She was absolutely right.
I have also had some really profound and touching Q & A sessions after we’ve showed the film at film festivals. Several people came out to me and told me they felt a huge burden taken off their shoulders. A couple of parents, with trans kids, thanked me sincerely for de-mystifying the whole gender issue & for helping them to understand what is REALLY going on without resorting to extreme or provocative behavior, which is often the case when it comes to discussing transgender issues.
The documentary has received rave reviews from critics. It has been screened in numerous film festivals such as Cinequest Film Festival and Santa Fe Film Festival? What does it feel like knowing that it's been so successful?
It’s a great feeling because when you create something it’s always a gamble whether it’s going to be accepted and understood or not, I know this from my experience being an artist for the past 50 years, but this was a whole new experience for me. We all learned a lot about the film business along the way, particularly by screening the documentary at Film Festivals. We weren’t sure what to expect but in the end I think the quality of the film, the excellent editing and the honest way my story is told all contributed to its success, I also think the timing is just right. There are a lot of documentaries made every year (over 5000 worldwide I’ve been told) so to be noticed and appreciated amongst that volume of work and competition is quite gratifying.
What audience reaction stands out the most from the documentary?
As I said earlier we have had some really amazing Q & A sessions. The common theme seems to be “Thank you for the sane and non-confrontational way that you tell your story!” There is a lot of hateful, sensational and political diatribe around the transgender issue these days and I didn’t want to add to that. One of the spiritual principles that I live by is not to be “preachy” or rigid when it comes to other’s beliefs – I also believe the best way to convince anyone of your point of view and your sincerity is by the way that you live your life day by day. Fia did an excellent and very entertaining job showing the unique and thought provoking way that I live my life.
Do you believe your artistic style changed since coming out as genderfluid? If so, how?
Not really because that has always been an ever changing and exploratory part of my creative process, the interesting thing for me is that it’s put me in a whole new artistic category and one that I didn’t even realize I was part of. I realize now that I was “trans” before I even knew it. I remember in the 60’s I was confused and a little bothered by my desire to “dress up” and create a female character, I enjoyed the buzz from what I saw in the mirror but thought to myself that it was strange because I thought I was the only one doing it. After going to the library and finding the psychology books I discovered that I was a transvestite, that I was not alone and probably suffered from what they call gender dysphoria. This was OK in terms of putting the whole thing in perspective but I didn’t see anything of myself in the extreme psychological cases described in the psyche books because to me it was just part of my creative life, I wasn’t beating myself up over it and, most of all, I didn’t have any guilt. I was OK going out in public and I had a small circle of trans friends that I could relate to and share experiences with, that kept me sane and on track. Around 2000, when I 1st heard the term “transgender”, it was an epiphany for me. “I’m one of those,” I thought to myself. It was like the world had caught up with me and given the lifestyle a more positive and less judgmental term to describe it. Now, of course, it’s become mainstream and, in a lot of cases, something to celebrate.
You've made art work for legends such as John Lennon, Genesis, Creedence Clearwater Revival, and Peter Hammill. What's it like knowing that you've worked with so many legends?
Well to me it was just the way my life enfolded, it was just a case of being in the right place at the right time, I was very lucky to work with such talented & creative people. It definitely upped my game and I discovered that I was a very good collaborator. I produced some memorable record covers by introducing my visual skills and my knowledge of the art world to musicians, it was a very satisfying cross fertilization of two artistic disciplines and we learned a lot from each other along the way.
What do you love most about being an artist?
I always say that I have the best “job” in the world. Choosing artist as your profession gives you incredible freedom because, historically, there are no boundaries when it comes to how you express yourself. I paint and sculpt, I write novels and screenplays and make music and I create Trisha. (as an artist) I find that if you approach any creative process, as an artist, people always expect the result to be original and thought provoking. I try to never let them down. Artists have always been like the canary in the coalmine, our job is to go just a little ahead of the crowd and sniff the air to see if it’s safe ahead. It’s not always safe of course and historically there have been some casualties along the way. I think some of the smartest people I have ever met in my life have been artists. Maybe I’m prejudiced but I find artists are able to move freely and mix easily in any level of society, they adapt and embrace any artistic discipline that they think they can use to get their message across and very often they improve and even expand it.
What does the future hold for you?
What a great question. I see my life as a constantly unfolding miracle and the people I meet and the opportunities that come to me as a never ending series of challenges and tests to be evaluated and assessed by me for their potential to enrich my life. This documentary is such a case. My life and my “ life message” is now out there, big time, for the world to evaluate. Who knows what opportunities and new experiences that will lead to? All I can say is, “I’m ready, bring it on.”
Anything else you want to add?
Be yourself and be brave, there is and will only ever be one YOU. Celebrate your individuality in whatever field you operate, don’t create conflict and most of all – be honest with yourself and the world.
Paul and Trisha: The Art of Fluidity will be available on iTunes/ AppleTV on July 9.
Children's Theatre Company has a new artistic director!
June 19, 2024
Artistic Director Rick Dildine described what he loves about theater and what to expect from Children's Theatre Company.
Congratulations on your new position as Artistic Director of Children's Theatre Company! What are you most looking forward to in this position?
I’m most looking forward to getting to work for and with young people. For some time I’ve felt like there’s not a more noble task than creating something for a young person. I believe this work for multi-generational audiences is most important for the future of the arts and our communities.
You were previously Artistic Director of Shakespeare Festival St. Louis from 2009-2017 and Alabama Shakespeare Festival from 2017-2024. What are the most valuable skills you learned that you can apply at Children's Theatre Company?
I want kids to know that it’s okay to have big thoughts and complex feelings. Stories and live theatre are a great way to articulate and understand better about who we are and aspire to become. I’m a director who listens to the room and the environment and creates in response to what I hear.
What are your goals as the Artistic Director within the next five years?
I love the CTC I see today and want to build on the bright spots. I want to continue CTC’s history of making new work that centers young people; boundary pushing, rigorous work. I think it’s critical that we are producing world premieres each season. I hope to find new ways of creating community within the theater and keeping the theater a place where real conversations happen. Minneapolis and CTC are perfect for launching Broadway-bound shows, and I aspire to take our work beyond Minnesota through streaming and touring.
What do you love most about theater?
I love the magic of the unexpected. Whether that magic comes from language or design, I love being surprised. I go to the theater because I want to connect. Theater is a form of meditation for me; a place where I go to be moved, entertained, and connect with a world bigger than myself.
What initially made you fall in love with theater?
I fell in love with theater because of the people. Theatre is not an art form done in isolation. We are drawn to it because we want to give something away. For as long as I can remember, I have been a storyteller. The ritual of coming together as an ensemble in front of an audience to tell a story is something we’ve done for thousands of years. This art form still brings people together, and I love that.
Who are your favorite people with whom you've collaborated?
I am a product of the company model, so I appreciate the strength found in an ensemble of artists who work together consistently. I want to collaborate with actors who have points of view and bring their lived experiences to roles. I want to work with designers who push the boundaries of space and are also great dramaturgs. I work diligently to create a process and rehearsal room where everyone feels safe and comfortable bringing their whole selves.
What's the most memorable production in which you've been involved?
I’m drawn to heightened texts, ensemble-driven stories, unexpected places, and live music. I gravitate to big ideas in dynamic configurations. If I can put music into a show, I will. If he can find a way to transform a space, I will. If there’s a way to surprise an audience by breaking a rule, I most definitely will. If it’s epic, I'm all in. I am often asked to direct Shakespeare, Moliere, musicals, and Southern-based plays. All of these require an understanding of pace, pitch, language, movement, and a heightened emotional state for actors.
What productions does Children's Theatre Company have lined up?
Please visit https://childrenstheatre.org/shows-and-tickets/2024-2025-season/ for full info on the 2024-2025 Season.
Anything else you want to add?
My husband Stephen and I are very much looking forward to joining the community.
HUMP! Film Festival, founded and directed by Dan Savage, returned to Minneapolis for its 19th year as a festival, 10th in Minneapolis, with more exciting pleasures!
June 19, 2024
Part 1 of 2 played at Parkway Theater on June 1. It had a packed house full of solos, couples, thruples, and people who were curious.
I had the pleasure of interviewing founder/ director Dan Savage about the HUMP! Film Festival. You may know him from his podcast Savage Love and his organization It Gets Better. He discussed how it was founded, what to expect, and how to submit to next year's festival. HUMP! Film Festival gives audiences the experience of a 70s porn theater, when porn ruled the world. But with a modern twist. Its lineup celebrates various sexual orientations, gender identities, sexual pleasures, body shapes, and ages. All of them celebrate sex positivity.
Tell me about the HUMP! Film Festival.
HUMP! is an amateur porn film festival — but our definition of “porn” is very broad (porn is very subjective!), as is our definition of “amateur” (professional filmmakers have entered the festival). The films can’t be longer than five minutes, and we have three “nos”: no poop, no minors, no animals. Otherwise, anything goes: hardcore, softcore, erotica, animation, musical, documentaries, films shot by professional film crews, films created by total amateurs using their cell phones. What surprises people about HUMP! is how funny many of the films are and how diverse the creators are. You can never predict what or who you’ll see next at HUMP!
How do you juggle among Savage Love, It Gets Better, the festival, and your other endeavors?
I drink a lot of strong black tea and I have a lot of help — Nancy Hartunian produces the Savage Lovecast and does most of the heavy lifting there, and Tracey Cataldo produces the HUMP! Film Festival. I’m not organizationally involved with It Gets Better anymore — I’m an ideas guy, not a running-the-show guy!
What gave birth to the festival?
Amateur porn was a big porn genre back when VHS tapes and home camcorders were new technologies. We used to joke — me and a coworker at the paper — that we should announce a film festival for amateur porn just to see what came in. If we got enough submissions, we would rent a theater and screen them and see if anyone would actually show up to watch porn the way their grandparents used to — sitting next to strangers in a dark theater. We weren’t convinced anyone would submit or actually show up to watch… and here we are, almost 20 years, thousands of submissions, and hundreds of thousands of audience members later!
The HUMP! Film Festival is celebrating its 20th anniversary next year. Will there be any special events to celebrate? Will the festival do anything to celebrate?
There will be cake. Any excuse for cake.
You’re currently touring with part one of the festival. Next up will be part two. How will part two be different from part one?
HUMP! Part Two features just as many great, funny, short films as HUMP! Part One — the only difference between the two festivals this year is that all the films are different. You’ll see some things in Part Two you didn’t see in Part One — some kinks, some positions, some animation, some jokes — but both shows are equally entertaining and sexy.
Why two parts?
When we first started the festival we would get dozens of submissions. Now we get hundreds. But to keep the show to a 90-minute running time, we could only show — tops — 25 of the films. This meant we were cutting films for time that were really great and deserved to be in HUMP! that we knew our audiences would love. So, we decided this year to bring more of these great films to HUMP! audiences by having two tours!
How can someone submit a video to the festival?
Everything you need to know about getting a film into a HUMP can be found at humpfilmfest.com/submit! There’s no charge to enter HUMP! and every filmmaker whose movie gets into the festival gets a cut of every ticket sold. Last year each filmmaker got a check for more than $3,000!
What types of submissions are you accepting?
A successful HUMP! submission can be about anything — if you think it’s hot, if it turns you on, get it on film and send it in! It’s a good idea for people who want to submit something to see HUMP! — which can be seen in a theater or screen online — to get an idea of what HUMP! audiences really respond to.
What submissions will be guaranteed to be rejected?
BDSM and kink are always welcome at HUMP! — but films that are cruel, films that set out to mock or belittle someone or something people find sexy, never get into HUMP! We look for films that are joyful and smart and personal.
What do you hope audiences get out of watching the HUMP! Film Festival?
We all hope that people see that underneath the thing layer of differences that we're told define a big part of who we are — our sexual orientations, our gender identities, our kinks, our relationships — there’s so much that we have in common, things like lust, love, joy, senses of humor, vulnerability, and a need to be seen.
What are some of the most memorable audience reactions through the years?
There’s nothing like watching an audience cheer for a film they loved — particularly when the film was made by someone who may have been shamed or faced stigma or rejection because of the thing they put up there on the screen. I love seeing vanilla people cheering for kink films (and vice-versa), cis people cheering for trans films (and vice-versa), gay boys cheering for cunnilingus, straight boys cheering for boys who can deep throat and on and on!
What do you love most about your job?
I love HUMP! Jury Day most — when we get together to watch all of the submissions. It’s a long day — it’s a long few days — but it’s really fun!
What’s the most valuable thing about sex culture that you’ve learned from the festival through the years?
People obsess about being “normal” and worry about the ways in which they’re not. But when it comes to human sexuality — as you can see at HUMP! — variance is truly the norm.
Anything else you want to add?
Come see the show!
AnderSCENE's Best in LGBT Show:
Best Picture: 3rd: Not Safe For Church, 2nd: Transit, 1st: Dirty Old Man
Best Director: Dirty Old Man
Best Performance: Happy G Day
Best Screenplay: Not Safe For Church
Best Editing: Transit
Best Cinematography: The Kettle
Best Music: Happy G Day
Best Non-LGBT Picture: Crashpad's Quickie: Zuri Love & Knotty Rell
Tickets for Part 2 go on sale on July 1. The fun will happen at Parkway Theater on September 21.
Flip the Script is showing four exciting LGBT films to help you celebrate Pride Month!
June 5, 2024
Directors Matthew Berg and Victoria Carpenter took the time out of their busy schedules to share their plans for Pride Month, how to submit a film to their festival, and the importance of LGBT films. Their lineup for Pride Month includes comedy, romance, drama, and documentary.
What are you most excited about during Pride Month?
Matthew Berg (he/him): Pride Month brings the opportunity to celebrate and gather with the Queer community, and its allies, at a more heightened level than the rest of the year, which is very energizing for me. We’re able to hold multiple film screenings during the month, host events with partners, and talk with folks during our two days at Pride in the Park.
Victoria Carpenter (any pronouns): One of my favorite parts of Pride Month is seeing folks celebrating the Queer community that don’t normally get the time to connect and celebrate. Living in the Metro area, sometimes it’s easy to forget what beautiful opportunities we have as far as access goes.
Tell me about Flip the Script.
Flip the Script is the Twin Cities based Queer film organization with a mission to remove barriers to accessing Queer movies! We believe representation should be accessible for all and that financial means should never keep filmmakers from submitting their films to our festival, or audience members from participating in our programming.
Providing access to subsidized FREE tickets to the festival, and liberally waiving submissions fees, to everyone, is the cornerstone of our organization and supported by donations made through our fiscal sponsorship with Springboard for the Arts.
Flip the Script will again be hosting its Pride series this June. What movies are being screened during this film series?
This year we will be showcasing four films over four Sundays. We’ve got a great mix of films that includes something for everyone.
The series kicks-off on June 2nd with the recently released, The People’s Joker, the DIY coming-of-age Joker parody that already has a bit of a cult following. The film follows an unconfident, closeted trans girl as she moves to Gotham City to make it big as a comedian. Along the way she unites with a ragtag team of rejects and a certain love interest named Mister J, and "Joker the Harlequin" is born.
The following Sunday, June 9th, will feature Cheryl Dunne’s 1996 comedy/drama/romance film, The Watermelon Woman, in which Dunne stars as a video store clerk and aspiring director whose interest in forgotten Black actresses leads her to investigate an obscure 1930s performer known as the Watermelon Woman, whose story proves to have surprising resonances with Cheryl’s own life as she navigates a new relationship with a white girlfriend.
On June 16th, we’ll be showing the 2019 documentary, Scream, Queen! My Nightmare on Elm Street, which follows Mark Patton, the star of A Nightmare On Elm Street 2, as he sets the records straight about the controversial sequel which ended his acting career, just as he was becoming a movie star. It provides a window into the excitement of young stardom and the terrifying social climate of the early 80s AIDS epidemic.
The last film in the series is the coming-of-age drama, Pariah, which screens on June 23rd. It follows Alike, who is 17, a poet, and is quietly but firmly embracing her identity as a lesbian. Wondering how much she can confide in her family, Alike strives to get through adolescence with grace, humor, and tenacity – sometimes succeeding, sometimes not, but always moving forward.
Where will these screenings take place and when?
All of these screenings will take place at 4:00pm, at the Emagine Willow Creek Theatre in Plymouth, MN. Just a hop, skip, and a jump outside downtown Minneapolis. Tickets are $10, and on sale now at www.emagine-entertainment.com/queer-gaze
The annual Flip the Script Queer Film Festival will be running from October 11-19, 2024. What can audiences expect from this year's event?
All of these screenings will take place at 4:00pm, at the Emagine Willow Creek Theatre in Plymouth, MN.
How can a filmmaker submit their film to the festival? What's the deadline?
Filmmakers can submit their films through our FilmFreeway page(https://filmfreeway.com/FliptheScriptFest).
Submissions for this year’s festival closed on May 1st, but folks should look for them to open again in November for the 2025 edition.
Does Flip the Script host any other events throughout the year, other than the 9 day festival and the Pride series? When and where?
Yes! In addition to the festival and Pride series, we also host our monthly film series, Queer Gaze, where we celebrate new favorites, cult classics, and hidden gems. These films screen on the second Sunday of the month, and also take place at Emagine Willow Creek.
We are also very excited to announce the launch of our Membership program which will expand Queer Gaze to include a monthly film which will be available online in our virtual cinema. These films are exclusive to Members who join at the monthly rate of $10, or annually for $100. Folks can sign up for their membership now, with our first film, She is Conann, becoming available on June 28th, the beginning of Twin Cities Pride. To learn more about Membership, and other films coming to our virtual cinema, visit: https://queergaze.eventive.org
What do you love most about being the co-director of Flip the Script?
Matthew: Getting to show Queer films! When I was a teenager, I spent so much energy figuring out how to find gay movies and watch them without anyone knowing. Often this looked like me stumbling upon a film late at night on a premium cable channel, racing to the TV Guide channel to learn what it was, and then keeping an eye out for it to play again. Being able to revisit a lot of those films now, along with many new ones, and watch them in a theater with others is magic, every time.
Victoria: I absolutely love sitting in the theater with our audience members during screenings and the chats after in the lobby. Getting to hear stories about people’s connections to the films or a new idea or perspective they had never grasped before, it’s thrilling.
What do you love most about LGBT cinema?
Matthew: Very simply, getting to step into stories that show the world from a perspective that aligns more with my lived experience. I don’t have to imagine myself through the female lead, which is what a lot of movie watching was like when I was young.
Victoria: Queer cinema makes me feel seen! For the most part when I watch films, I want to see something new and exciting. It’s easy to forget while watching mainstream films, that there are different ways of thinking, storytelling, and even cinematic aesthetics out there! Queer cinema reminds me that there is an alternative out there in storytelling that feels like home.
What's missing in LGBT cinema that you wish were present more often? Why?
Matthew: Diversity! There are a lot of films that focus on the default human: white, cis, able-bodied, gay males. To me, this is not a reflection of real life. I want to be invited into the world of all kinds of protagonists as they navigate life, love, friendships, haunted houses, aliens, time travel and maybe even solve a mystery or two.
Victoria: Everything that Matt said, of course! I’ll also add, resources! I’m hopeful that producers and the like are getting hip to the fact that investing in Queer cinema will give them a return! The internet along with streaming services has shown that Queer audiences love Queer cinema and want MORE! I can’t wait for the day to see Queer filmmakers with even bigger budgets and crews, more often.
The fun happens here:
Emagine Willow Creek Theater, Plymouth, MN
Every Sunday during Pride Month • Start at 4:00 PM
A grateful participant sharing their experience and healing with kink. Not a Handbook on KINK! gives a fresh perspective to the kink community.
June 5, 2024
Not a Handbook on KINK! debuted online last May. Founder Aeryn Blackheart shares how this zine grew from a school project to something bigger.
Tell me about the new magazine Not A Handbook on KINK!
Thank you for this opportunity! Not A Handbook On KINK! is about my personal understanding of the intersections between the principles found within kink and personal core values. I want to be clear that I am not an expert on BDSM, and I am not a therapist. I have written this zine, first, as a guide for myself that serves as a code of conduct on how I want and choose to interact with others. This zine is a living testament of values and behavioral goals with a commitment to healing and personal growth.
What gave birth to the magazine?
I have always been a person that enjoys zines and has peers that are creators as well. I am a Graphic Design student, and one of our final projects last semester was to create a “How To Guide” on a simple, step-by-step process of anything of my choosing. I chose to showcase boundaries and how to set them, but wanted to do it in a unique way that hasn't been done before. I found myself enthralled by the idea of sharing my thoughts with others and decided that I wanted to make this school project something bigger, to share with the community. I also attended TC Zinefest at the Walker earlier this year and found myself excited, burning with passion, and inspired by other local zinesters.
Who would be your dream interview for the magazine and why?
Definitely Daemonum X. They are @daemonumx on Instagram and a multi-faceted human that I am inspired and mesmerized by.
What do you love most about the kink community?
So many things! As an autistic person, I value direct communication and clear expectations. As a kinky person, I feel seen and included. As a person that lives with trauma, kink has been a safe space in helping me heal and grow. As a creative, I am able to express, innovate, and share experiences. As a life-long learner, I am able to explore, grow, and take up space.
If there's one thing people need to know about the kink community, what would that be and why?
Well, like any community, there’s a variety of people, experiences, and ideas, and I do not want to overgeneralize the kink community simply from my perspective. I would say that, for me, the kink community is a healthy outlet where one can be totally themselves, authentic, and accepted. It can be a space for developing closeness with other values-aligned folks where safety and consent are at the forefront.
What should readers expect from reading the first edition?
This first edition is specifically tailored towards highlighting the inherent values found within kink, feature how to incorporate these principles into one’s daily life, while also
destigmatizing BDSM as being just a sexual practice. This issue is for any adults, of all
genders and demographics, who may be interested in self-improvement, personal growth, and building upon their emotional wellness.
What topics do you plan to cover in future editions?
I am enthusiastic about sharing my experience as a method of healing and personal growth, and in tandem, with the hopes of helping others. I enjoy combining my interests of harm reduction, emotional wellness, queer and trans experiences, BDSM, and art/creativity. I want to share personal stories and offer a platform and soapbox for others. I especially desire to highlight other community projects, peer submissions, works of art and passion, etc.
What do you hope to accomplish with the magazine?
With this issue, I hope to provide an unconventional and creative perspective on personal development while shining a light on pillars found within kink. Sure, BDSM can absolutely be about sex, pain, obedience, etc. AND the healing and personal development that I have found has been life-changing. In future issues, I would like to remain open to the development and exploration of various topics with the main focus being that zines are usually self-published, small-circulation compendiums that allow creators to communicate their opinions and concepts without the restrictions of more conventional publishing outlets. In a conversation with a friend of mine, we discussed that zines are temporary and a free/low-cost option whereas books can be costly and could be based on the permanence of making a name for oneself. Additionally, in the words of a local creative, Baki Baki Baki (@aloverswar on Instagram) “altars are zines and zines are altars.” This zine and future projects are my loving offerings to myself and our community.
Can readers submit their works to the magazine? If so, how?
Absolutely. Anyone interested in submitting or working together is welcome to email me at aerynblackheart@gmail and can also find me @aerynblackheart on Instagram. I would love to collaborate with other creatives, artists, and like-minded individuals. I strongly value community, and being newer to Minneapolis, I would love to connect more with others.
What kind of submissions are you accepting?
I am open to considering anything and everything! I would like to give a platform for others and myself to share personal stories and highlight other community projects. I would mostly like to stay in the realm of art/creativity, personal growth, kink and sex, interpersonal relationships, life skills, non-monogamy, harm reduction, LGBTQIA2S+, gender exploration and experiences, personal accounts of oppression and resistance, food, pleasure, radical views, and anything else that could potentially piss off your conservative relatives and challenge “traditional” societal beliefs.
Anything else you want to add?
In an effort to reduce impact to the environment, I am choosing to release this zine digitally and downloadable copies are also available. Links for free viewing are available on my Instagram and Patreon; both of these can be found by searching Aeryn Blackheart. Thank you for your time and consideration! <3
Your favorite unlicensed psychotherapist is back for season 2! Dr. Jackie: Unlicensed Psychotherapist returns with more laughs than before!
May 22, 2024
Season 2 comes just in time for Pride Month with an eclectic line-up that includes Debbie Harry, Neil Patrick Harris, Trixie Mattel, Bianca Del Rio, and many others. Jackie Beat gave us the scoop on what to expect from season 2 of Dr. Jackie: Unlicensed Psychotherapist.
Tell me about Unlicensed Psychotherapist.
Anyone who’s met me knows I am a loving, nurturing person who just wants to help people so sitting down with my famous friends and talking out their problems just makes sense. Just kidding! I’m self-centered and unqualified and that’s why the show is so funny!
How will season two be different from season one?
Season one was 90% improv and 10% scripted, but season 2 is the complete opposite. I think the more scripted and structured, but with the freedom to adlib and have fun, works better. Also, I also have different special guests.
Season two includes Debbie Harry, Neil Patrick Harris, Jane Lynch, Alaska Thunderfuck, to name a few. What was it like working with them?
It was great! I’m friends with most of my special guests so we just have fun. Jane Lynch and I go way back. We were actually in a sketch comedy group together in Los Angeles called For Entertainment Purposes Only in the ‘90s!
What’s your favorite episode of Unlicensed Psychotherapist?
I’ll answer that like a proud mother… I love all of them equally! But I have to say there is one scene with Willam, Alaska Thunderfuck & Bianca Del Rio that was kind of epic. And right when you think it can’t get any better - or feature more star power - Trixie Mattel pops up!
What’s the most memorable moment on set?
Definitely when Nancy Allen from the original Carrie dumped a bucket of blood on me!
How do you juggle between the series and your other endeavors?
The real work is writing the show and then editing it. We shoot it all in only 4 days. It’s brutal but so much fun. Don’t tell anyone, but it’s so much fun I would do it for free!
Season two begins just in time for Pride month. How do you hope this series plays into that time of the year?
Well, many of my guests are LGBTQ+ icons so there’s that. And even though my show is poking fun at therapy, I really do think a big part of being a happy person is about self-acceptance and Pride can certainly help one feel not only that, but a sense of community. Uh oh, I’m getting all serious!
What will you be doing for Pride this year?
Sherry Vine and Kelly Mantle and I are doing The Golden Girlz Live at RedEye in NYC and at the Ice Palace on Fire island to celebrate Pride. I live out and proud so every day is Pride for me. With a splash of Halloween!
Anything else you want to promote or a message to your fans?
Just please watch Dr. Jackie: Unlicensed Psychotherapist because I really want to get a season 3!
Waiting for the Bus will be making its world premiere on June 2 at Parkway Theater!
May 22, 2024
Waiting for the Bus is part of a project called Thresholds: Art, Science, and Neurodiversity. The standout of Waiting for the Bus is Michael Wolfe's A+ performance. Wolfe identifies as living with autism. I had the pleasure of chatting with him about appearing in front of the screen and living with autism.
Your film is being screened on June 2nd at Parkway Theater as part of Thresholds: Art, Science, and Neurodiversity. In what ways does your character represent the neurodiverse community?
It's a documentary sort. The document is about the real me. Basically, the documentary sort is about different facets of my personality since I'm the primary focus of the video. I was born with autism, and that right there put me on the mental disability spectrum. So I'd say that me myself, I am living representative of mental disability spectrum.
What attracted you to the film?
I am a member of a theater company called the Interact Center in St. Paul. Back in 2018, Aaron Gabriel who was the music director of Interact at the time invited Beth Graczyk to work with the LGBTQIA+ identified artists and create a new performance work at Interact. Beth [Graczyk, film director] has her own dance company, Beth Graczyk Productions. So her dance company and my theater company collaborated and created a project called Hear Them Now. And Beth liked the work that I did in the Hear Them Now dance project that she reached out to me. She invited me. She told me about Thresholds. So Thresholds is another dance project that her dance company is working on and the film is only a part of this dance project. The documentary film is a part of the Threshold Project. And so Beth contacted me through Aaron Gabriel [composer], and the two of them invited me to create some dance material with them, and they would make a video of the dance material. Ever since 2020, Beth, Aaron, and myself have been filming even though back then I had no idea that that is what we were doing.
Tell me about the biggest challenge of filming Waiting for the Bus.
So there wasn't really a challenge I just had. I just had to know what to do.
Beth asked me what is the most regular thing that I have done within my lifetime. Within recent years I've gotten into the habit of putting on my headphones and listening to music while I'm waiting for the bus because me listening to music actually helps the city bus to show up faster. Every once in a while I will dance to the music that I'm listening to. Sometimes I kind of don't care if other people see me or not, but I will turn off the music in my headphones and I will just dance at that bus stop, and I'll dance, and I'll dance, and I'll dance, and I'll just keep on dancing until the bus gets there. So Beth told me; she says, "What are some of the emotions that you get while you're waiting for the bus?" So Beth told me to take the emotions that I feel when I'm waiting for the bus and turn those emotions into actions. So whenever I'm waiting for the bus and I'm not dancing, these mannerisms begin to happen. So there are certain mannerisms that I would start to do. Like, when I get frustrated about something, there's always certain mannerisms that I would begin to act out. So, and those are the same mannerisms that I would begin to do when I'm waiting for the bus. I would do these mannerisms while waiting for the city bus. So the next thing that happens is Beth told me to take the mannerisms that I do when I'm waiting for the bus, and she told me to make them bigger. So I did that, and then she told me to make them bigger again, and so I did. The mannerism is even bigger. We do the same. We keep making my mannerisms bigger and bigger and bigger until they, until those mannerisms eventually become full blown dance moves.
What is the most important thing people should know about autism?
When people hear that someone has autism or when people hear that someone is on the spectrum, they immediately start associating that person with the autism stereotype. That is one thing that frustrates me. I don't know how to respond to that. That's not who I am. I am not a stereotype, I am not stigma, and if there's one thing that I don't like, I don't like being stigmatized. And as far as the autism spectrum is concerned, autism affects everybody in different ways. Autism affects everybody. It affects every single person in a different way. There are some people in the world who are this [mild] autistic and then there are some people in the world who are this [severe] autistic, and there's a whole variety of conditions that are in between. The way that my autism affects me is completely different from how somebody else's autism affects them. And I have to keep that in mind, especially when I'm addressing other people. And if I'm being honest, I think we all should keep that in mind.
What are some common misconceptions about autism that you encounter?
They don't expect us to aspire to be worthwhile or successful for that matter. Most of the world does not expect autistic people to amount to anything. They don't expect us to achieve anything that is worthwhile. They don't expect us to accomplish anything that is worthwhile. We as autistic people, we can accomplish things, we can accomplish things, and we can achieve things. So that is what most people think. Most people think that people with autism can't maintain a successful career, but we can and maintain a successful career. It's just that because of autism, we just need a little bit of help from the right people in order to accomplish our goals.
What's the biggest takeaway that you most hope for from audiences from Waiting for the Bus?
Well, to be perfectly honest with you, I am very nervous. I am very nervous for people to see this film even though the film is only six minutes long. I'm very nervous for people to see this film because there are people who are from other parts of my life. People from other parts of my life are coming to this premiere, and they are going to see my inner self in this film from other areas of my life. They're going to see a side of my personality that they usually don't see.
What are some of your favorite movies about autism? And what are some of your favorite LGBT films?
There is a movie that I like a lot. It's not one of my favorite movies, but I do like it a lot. It's Rainman with Tom Cruise and Dustin Hoffman. Dustin Hoffman plays a character who is on the spectrum. So, yeah, so Dustin Hoffman's character, because because of his disability, his brain is unable to comprehend certain things. But Tom Cruise's. Tom Cruise's character takes Dustin Hoffman's character to a casino one night. And they discover that Dustin Hoffman's character is very good at counting cards. The two of them [Cruise's character and his character's love interest] use Dustin Hoffman's [character's] ability to count numbers in order to make a lot of money. In this casino, the owner of the casino is gonna have them apprehended. And he's like, I have no idea how you make so much money inside of my casino out of my casino, but you can leave Las Vegas and you can take the money that you won with you. But you're banned from Las Vegas, you've been given a lifelong ban from Las Vegas.
[Favorite LGBT films: The Adventures of Priscilla: Queen of the Desert and To Wong Foo, Thanks for Everything! Julie Newmar]
What's next in cinema for you?
I don't have any other movies lined up, but the good news is Beth and I are in talks for making even more footage later on this year. And if we don't get around to making that footage this year, then we'll probably make more footage for this documentary next year. Like I said, the film is only a part of the Thresholds Project.
Tickets for Thresholds: Art, Science, and Neurodiversity, which includes Waiting for the Bus, can be purchased at the link below.
Parkway Theater
Doors open at 6:00 PM. Show starts at 6:30.
$14 in advance. $17 at the door
All ages
I interviewed Olivier Peyon, the Cesar nominated director of Lie With Me.
May 22, 2024
Lie With Me tells an emotional story of a man who reflects on his teenage years and his love from that time. I interviewed Cesar nominee Olivier Peyon, the director of Lie With Me. He shared about production on and off set, the importance in LGBT representation in cinema, and his reactions to being nominated for a Cesar award (French equivalent for the Oscar) in 2014.
First off, your documentary Comment j'ai détesté les maths (How I Came to Hate Math) was nominated for a Cesar award (French equivalent to the Oscar) in 2014. Describe the experience of a movie that you directed having been nominated for such a prestigious award.
It was fun to imagine that all the mathematicians I had filmed for two years would be represented in a glamorous ceremony! I was especially happy because this nomination was the symbol of the public success in theaters, and it was a real recognition for all these women and men scientists who had trusted me by agreeing to be in my film.
You adapted Lie With Me from the autobiographical novel written by Philippe Besson. What attracted you to the novel?
When I was asked to adapt the book for cinema, I still hadn’t read it. I thought it was simply a coming-of-age love story, and I didn’t see how I could renew the genre, as so many films had already been made about the subject. Once I’d read the book, however, I thought the love story was as magnificent as it was tragic, but what especially caught my attention was the other part of the book which tells the story of Philippe Besson’s encounter with Lucas, his first love’s son. In the end, it is something that Lucas says that convinced me: “You should have seen the look in his eyes. It is at this precise moment that I became certain that it had all existed: my father had been in love with a boy.” I wanted to tell the story of this son who is trying to discover his father’s secrets and to make this encounter the main focus, the center of my film. The book is turned towards the past while I wanted to highlight the present.
Has book author Philippe Besson seen the film adaptation? If so, what was his reaction?
Yes, of course. I was totally free to adapt as I wished his book Philippe Besson, the novelist, had given me carte blanche: “The greatest betrayals make the best adaptations,” he’d told me. But because it was an autobiographical story I felt all the more responsible and often asked him questions about wonders I had or things that weren’t in the book. So step by step we became friends, and I let him read the different drafts of the script or also watch the casting tapes, and he came during the shooting to share the experience with me, the actors, and the crew.
He saw the film twice when it was done, and he was very touched, but also very confused because suddenly his lost love, Thomas, was alive again on the screen, and everybody could know him with images and not just words.
I think he was honest when he said he loved the movie because he was a lot with us for the several premiers all over the world, and because he’s really famous in France, he helped us a lot by being really involved during the French release in the media.
What's your favorite part of adapting the novel into a film?
Adapting this novel was fascinating but complex because Phillippe Besson’s writing is very introspective and action is reduced to the bare minimum. In his book, the encounter between the novelist and the son is practically a pretext for telling the story of what happened in the past. I had to dramatize this encounter and build a narrative for these two characters so that what is happening in the present day would become the main storyline.
What are the most memorable stories on set?
Perhaps the sex scenes. The novel is rather graphic at times, and I didn’t want to water it down. It tells the story of learning and discovery and how sex is part of this journey towards love. While the first scene lacks any kind of tenderness between the two characters, I wanted to follow it up with more sensitivity and joy; that we feel the desire of one body for another, the intoxication of pleasure. When these two boys are together, nothing else exists.
We had a very long casting process. Jérémy Gillet and Julien de Saint Jean were very good in their individual screen tests, as were many others. It was especially when they acted together that this pair stood out from the rest. It was so obvious. I will always remember the moment when they met! And they proved me right because during the shoot, they never stopped expanding their range, and their acting continually evolved in depth and nuance.
This was the first time I’d ever shot sex scenes – in fact, the first time I’ve filmed a love story – but I firmly believed that I would know how to shoot them once the actors were chosen. I felt that I needed to rely upon their energy to construct the scene and stage it. Yet the most important thing was also to include Julien and Jérémy in the staging process, explaining to them what I wanted to do and why, as well as welcoming their suggestions that were often fantastic. The freedom that I hope is felt in these scenes stems directly from this mutual trust.
Lie With Me has been selected to multiple LGBT film festivals, including FilmOut San Diego (winner for Best Narrative Feature), Miami OUTshine Film Festival (winner for Best Feature), and ImageOut: Rochester LGBT Film Festival (winner for Best Narrative Feature). How does it feel knowing that your film has reached so many people?
I was very happy with the success of the film abroad since we sold it in around twenty countries, although because of the LGBT theme and the love scenes, it was banned in a large part of the world such as China, Russia, Hungary, Africa, the Maghreb. This is the reality of the world, we must never forget it ! It was therefore all the more important for me because it touched the spectators who could see it, at LGBT festivals of course but also outside our community. The story has something universal that goes beyond sexual orientation, which is also what I liked about the novel.
What audience reaction of Lie With Me stands out most?
I showed the film a lot in festivals before its release in France; I mean not LGBT films festivals. Many spectators came to watch it without knowing the subject. Many of them told me at the end of the screenings how they didn't know any gay people in their circle and how this film made them understand things, especially that love doesn't have sex ¡ So the road is still long…
What do you love most about making movies?
Working with actors.
How important are LGBT films and why?
They’re essential because we need representations of the LGBT community. Our rights remain fragile, like those of women and minorities. because it‘s a way to make exist and normalize the LGBTQ+ issues in the eyes of the general public.
What's your favorite LGBT film and why?
My Own Private Idaho by Gus Van Sant - Brokeback Mountain by Ang Lee - but my favorite is a british series: It's a Sin by Russel T Davies about friendships and love in the eighties in London with the start of the AIDS epidemic.
What can audiences expect from watching Lie With Me?
Each spectator is different with [their] own background and feelings who‘ll watch my film from his own point of view, so he will find his own message that will talk to him, but if my movie could help to show more empathy and acceptance towards the difference, or simply towards the other, I wouldn’t be unhappy.
Solo is named AnderSCENE number one in MSPIFF43 LGBT show!
May 8, 2024
During the Minneapolis St. Paul International Film Festival 43, I chatted with Sophie Dupuis, the director of Solo. She appeared at the festival to introduce the film and to answer audience questions. She was shortlisted for the Oscar nomination for Best International Feature Film in 2018 for her film Chien de Garde (Family First). She dished on the production of Solo, being surrounded by fabulousness, and her future in filmmaking.
Tell me about Solo.
Solo is a film about two guys that are drag queens and fell in love and are having a very nice love story. But the love story is beginning to get a bit toxic and destructive. And so Simon is navigating to that while keeping performing on in the drag scene, and he's trying to reconnect with his mother, who was away for 15 years now, who is a big opera singer. He's having a hard time to reconnect with her. It's a story about someone who's having difficulties to navigate relationships with people that don't really love him.
What inspired you to do Solo?
I'm a big fan of the drag art. I was researching or maybe just being a real fan. I didn't know I was gonna write a story about the drag queen at one point, and I was really interested in a toxic relationship. I was doing a lot of research about it too, and I wanted to do a film about that because I thought it was a really interesting psychological thing. For me as a writer, I wrote too, it was interesting to write dialogue. So at one point, I decided to combine the two, and I think while I was writing it, I discovered that it was a really good match, and it was interesting to have a character who is a drag queen. So he is discovering himself through his drag character and celebrating himself on a stage while he is in a toxic relationship who's trying to diminish him. So it was a contrary, a very interesting contradiction. So while I was writing it, I thought that the two subjects were a good match.
What are the biggest challenges during the making of Solo?
We had a lot of challenges. I broke my leg, my leg for real a week before we were starting pre production. That was a technicality. But the big challenge for me was to create those six drag queens because there are six drag queens in my film: the two main characters and the four friends. It was a really interesting collaboration to have with makeup, costumes, hair, and the actors who I wanted to give a lot of space to create their own drag. And the choreographer with us, we had to work a lot together to create those characters and while the actors were preparing out of drag characters too.
So, it was a lot and, and it was really interesting, and during the same time, I was looking for the music. We had to have the right to use the music before the shoot in order to create the choreography too. So every time I was adding new music, the film was taking a different shape every time, and the character and the drag characters were taking different shapes. So it was very, very interesting, and it was a challenge, but it was mostly a really nice collaboration, all of us.
I'm so glad that you were still able to get your film done despite all those challenges.
Yeah. I think the fact that I created a real drag group, this chosen family. This chosen family. The importance of it and the energy inside of a chosen family, which is a very queer concept in some way, was happening in real life too. And we got a real bond together. And we became very, very good friends. We are still very good friends now. And I think that the fact that I broke my leg kind of got my team together. So all of this together made something very special. I think we really got through that film with a lot of love and with the crew. Yeah. It was very, very special.
That's great. What do you love most about filmmaking?
I discovered because it's my third feature that I really like to connect people with realities that they don't know a lot about and by connecting them with the character because they all fall in love with the characters every time and they develop an empathy for them. I think that's a very good way to open your heart to something to realities that you don't know. I like to meet the public at the end after a projection. And a lot of people came to me saying, "I thought that wasn't a film for me. I tried it and I'm happy I did because it's not just a film about drag queens or it's not only a queer movie. It's a love story between two people, and it happens to be drag queens, and they connect with the love story, the toxic relationship." After that, they say now I want to go to drag shows. Now I think that I changed my perception of the community with films. It's not my ultimate goal, but to connect people with a reality they don't know, is something that I can do with my films and that I want to do more and more.
What do you love most about LGBT cinema? And what is something that you don't feel you don't see enough of [in LGBT cinema] that you wish you did?
The thing that I love the most is the freedom, the flamboyance. I think that queer people are more free than other people because they get through the construction of what society thinks we should be. I think that queer people don't have a choice than to be free when you're queer in some way. Because the way you love, the way you live, the way you identify is out of the books. I think you learn to be free because of all those. So I think that characters in LGBTQ movies and queer movies always give us this freedom feeling. That's something that I feel, even if the story is about a queer character that discovers his homosexuality, his trans identity, or anything. In any story, even if it's something difficult for them, I feel this freedom in some ways. And I think that's my favorite part of the queer movie.
The thing that I think we miss the most is queer stories that are not about discovering your identity and coming out. I think that talking about queer people that are just living their lives and maybe are surrounded by accepting and loving people can be very good for representation too in the movie where queerness is celebrated too. I know that because some people came to me with Solo and told me that it was one of the first times they saw themselves on the screen without their identity or their [sexuality] being a problem in the story. So I think that's what we miss the most.
What are some of your favorite LGBT films? And what are some of your most influential LGBT figures?
It's an English movie. I think it is one of my favorite queer movies. It's two men that met in a club and passed getting to know each other knowing that there's a deadline at the end of the weekend because one of them is going away from town. It's only in an apartment, and they're just talking together and doing drugs and having sex, and I think it's very beautiful. That's my favorite movie. [Dupuis didn't say the movie title.]
And my favorite figure, I have to mention Dominic Jackson from Pose. I'm in love with her character in Pose. I really like to follow her because I think she's an activist who uses a lot of positivity to advocate for the community. And I have to say Rupaul for the celebration and all he does for the drag community by bringing it to the mainstream culture. I really think that if we can see images and videos of drag queens without being offended, it is because of a part of his job that he did. I'm from Canada and Quebec. We're mostly accepting of drag queens. I think that the job Rupaul did is, the way we're living in Quebec, is a result of it, even if it was in America. I can name a lot. I can name a lot. I would have a list of 20 people, but I think I'll save them for the moment.
Your film Chien de Garde (Family First). That movie was shortlisted for the Oscar in nomination for Best International Film. Tell me about the emotions going through when you found that out.
It was my first feature, so I never thought it was a possibility. When they called me, I was wearing jogging pants [and] going to the store. Never thought it was a possibility. So it got really hot, and it's funny how you get on the train. You have to be ready at all times to live that kind of emotions and events and go through it. We don't have to think that much and just go through it. But it was a confirmation for me that I have interesting things to say and that my way of saying it was good. So it was mostly a good help for my continuation in the cinema field.
Have you started rehearsing your Oscars winning speech? If so, what are you most likely to say, and who are you most likely to thank?
I haven't. But my actors are always in the center of my work from early on. I'm always doing a lot of casting and seeing hundreds of people trying to find not only the right talent but the right connection between us, the right person to create with me. And we're rehearsing a lot, and we change everything just some days before shooting. We write, we question everything. I give them a lot of space to be creators and to get to know their characters better than me. I think for me when we're shooting, we're equal in the direction that they're taking. So sometimes they say because they know they can do that with me. They say, "Let me just do my version for this, for this take," and they're always right. It's always the version that I use in the edit. They're creators behind the film with me. I fall in love with every actor, actors I work with. I think they are a link. They are a link to me in some way until we die.
Who would you most want to work with in a film?
Théodore Pellerin is my main lead actor in Solo. He played in my three features. I gotta say the person I want to work with more is him. We kind of grew up together. I shot my first feature when he was 19, and we follow each other since that day. I think he's becoming the greatest actor I've seen in my life, and I'm sure he's, he's working everywhere now around the world, in America too. You can see him in some things. He just finished shooting in LA right now. I think he's going to be one of our big stars. He's a delight to work with, and now we have a method together. We know each other very well. He knows the creation space he can take with me, and he's taking it. I don't think I have a part for him in my next movie, and it's crushing to me. It's so sad because we really wanna work together again.
My last question, what's...
...next? I'm working on a feature right now. It's going to be a queer movie again, more queer than ever. Some people will ask how the film can be more queer than Solo, but it will be. I don't want to talk too much about it. I think I want to keep it to myself for the moment. But I wish to uplift again the queer coming.
Minneapolis St. Paul International Film Festival hosted their 43rd annual event from April 11-25, 2024 at The Main Cinema. The festival included 10 LGBT features.
May 8, 2024
These films include related topics such as history, trans, intersex, addiction, drag performance, and culture. These stories come from various parts of the world including The US, Canada, Thailand, Pakistan, Norway, and Slovakia. These outstanding filmmakers remind viewers of the importance of LGBT films because of how they help with representation.
Mad About the Boy: The Noel Coward Story 2023/ Documentary/ UK/ English/ 90 min.
Mad About the Boy: The Noel Coward Story chronicles how Coward went from a tough childhood to an acting legend. Mad About the Boy is narrated by Alan Cumming and Rupert Everett. The documentary uses visuals from his performances to tell his story. These visuals give audiences the feeling of living during the silent generation and early golden age of filmmaking. These video clips don't appear to have been restored, which works on the documentary maker's behalf. Video clips include pedestrians walking along a city sidewalk and movie clips that were filmed as early as the 1900s. Stills of Coward, his family, and his friends, and fellow performers enhance the telling the story of his off-screen life, which includes keeping secrets (especially his sexual orientation), struggling with acceptance, and often struggling with finances. 4.5/5 stars
I Am Sirat 2023/ Documentary/ Canada, India/ Punjabi/ 87 min.
I am Sirat shares Sirat's struggles of living a double life, one as a man named Aman that is lived around her family and the other as her true self named Sirat that is lived around her friends, lovers, co-workers, and online. Sirat records clips of herself dancing to music and posts them on Instagram. She uses these clips to give the trans community representation. I Am Sirat uses smartphone vertical shots by Sirat and horizontal shots by the producers. This technique provides a deeper glimpse of Sirat living as a trans woman in India. I Am Sirat proves that sometimes, educating viewers about trans culture in India is more poignant when sharing a story of one individual instead of the country as a whole. I Am Sirat excels at this. 4/5 stars
Solo 2023/ Drama/ Canada/ French/ 101 min.
Solo is a music dramedy about Simon who juggles life as a drag queen, boyfriend, brother, son, and gay man. By combining these aspects, a viewer will want to dance at times and cry at other times. Solo gives audiences glitz, glamour, lights, glitter, and doomed love. If a viewer mixes The Adventures of Priscilla: Queen of the Desert, Birdcage, Kinky Boots, Flashdance, and Saturday Night Fever, they'll get Solo. The most memorable moments of Solo are the colorful shiny drag outfits and the powerhouse performance by Théodore Pellerin (Simon). 5/5 stars
Solids by the Seashore 2023/ Drama/ Thailand/ Thai/ 93 min.
Solids by the Seashore is a drama that explores a love between two women that must be kept secret. The protagonist Shanti falls in love with Fon. Shanti feels torn because of her family pressuring her to marry a man. Solids by the Seashore includes exquisite cinematography of the nearby sea and numerous other nature sights. The colors and the depth stand out with the camera work. There are moments in the film when this is enough to tell the story. The cinematography assists to maintain audience interest successfully. 3/5 stars
Listen Up! 2023/ Comedy/ Norway/ Norwegian & Urdu/ 86 min.
In Listen Up, a Pakistani family immigrated to Norway many years ago in hopes for a better life. In some ways, they're successful but not in every way. Family tensions prevent them from feeling successful in Norway. Eventually, the younger sibling Ali reveals to the family that he is a trans girl. Not everybody is accepting. Listen Up is a comedy that is told through the point of view of the older brother Mahmoud. It successfully incorporates humor to a serious topic while never losing touch with how important acceptance is. Also, the film breaks the fourth wall, a difficult act, multiple times by Mahmoud. The performances and the screenplay are the standouts of Listen Up. Listen Up has potential for the Oscar shortlist for Best International Feature and Best Adapted Screenplay. 5/5 stars
Lady Like 2024/ Documentary/ US/ English/ 87 min.
Lady Like documents drag queen Lady Camden's quest for success on Rupaul's Drag Race Season 14. Meanwhile, it covers childhood trauma she endured and how she rose to the drag scene. It uses interviews, archival clips, and docu-fantasy to share Lady Camden's story. It has the power to inspire viewers to know that success is possible, regardless of one's past. The standout is the docu-fantasy that includes fashion, lights, glitter, and fantasy. This allows the filmmakers to give audiences a glimpse of Lady Camden's childhood that words can't reveal. 5/5 stars
The Queen of My Dreams 2023/ Dramedy/ Canada/ English & Urdu/ 96 min.
The Queen of My Dreams shares the point of view between a daughter and her mother, the daughter being more enhanced. The daughter Azra, a young woman living in Toronto, receives a phone call from her family that her dad died. She flies to her childhood home Pakistan where her family still lives. There, Azra faces family drama that remains from having faced non-acceptance after coming out. The Queen of My Dreams navigates the storyline by traditional independent filmmaking while adding a Bollywood vibe. The combination adds a touch of lighthearted comedy, music, and colorful outfits. Meanwhile, the film switches between 1999 and when Azra's mother falls in love with Azra's father in the 1960s. The two storylines are easy to intertwine. 3/5 stars
We Have Never Been Modern 2023/ Drama/ Slovakia/ Czech & Slovak/ 117 min.
We Have Never Been Modern offers a 1937 lens of living as intersex. An intersex newborn is found dead in a pile of rubble by a factory. Pregnant nurse Helena investigates who placed the baby there. During which, she learns more about the intersex community than she expected. Little do the characters know is the historic catastrophe that will soon come. Filmmakers are careful with always acknowledging that societal views haven't yet progressed to where they currently are. This aspect ranges from terminology to medical knowledge to societal acceptance. The strongest film detail is subtly reminding audiences what occurs years later. 3.5/5
Days of Happiness 2023/ Drama/ Canada/ French/ 118 min.
Days of Happiness explores Emma's quest to become a successful music conductor. Emma has the talent, the determination, and the passion for music. She later learns that she must overcome childhood trauma to flourish in the music scene. Viewers don't need the ability to recognize a strong vs weak classical music performance. The film reveals the differences with cinematography and editing. The film includes a same sex relationship without exploring LGBT issues. Filmmakers treat the relationship the same as a typical dual sex one. Sophie Desmarias shines in her role as Emma. 5/5
High & Low: John Galliano 2023/ Documentary/ UK/ English & French/ 116 min
High & Low: John Galliano educates audiences on the rise and fall of Galliano. It starts with the anti-Semitic and racist remarks he uttered in 2011, which caused his downfall. It proceeds with Galliano's upbringing, his introduction to fashion, his creative extent, and a rocky childhood. It includes interviews from Galliano himself, friends, colleagues, and fashion experts. Every interview offers a unique perspective of Galliano. Not every interviewee agrees with everything, but this makes the documentary more interesting. It also includes clips of mostly fashion shows and personal photos. Besides the 2011 scandal, this is an inspiring documentary for anybody, not just those in the fashion industry. 3.5/5 stars
AnderSCENE top 3 in MSPIFF43 LGBT show are: 3. Days of Happiness, 2. Listen Up!, 1. Solo
The Most Dangerous Gains is a B-Movie comedy horror that tackles heteronormativity.
April 24, 2024
Think Quentin Tarantino meets Beavis and Butthead! Add a positive message. I chatted with director Samuel Studer and two cast members Splash (unidentified drag queen) and Maren Tagney (Pia). They dished about what a blast they had doing it and how Studer proudly owns the title B-Movie!
The Most Dangerous Gains will be screened at Heights Theater on Sunday, May 5. Doors open at 6:00 PM. Showtime starts between 7:30 - 7:45.
Tell me about when you realized you wanted to be a filmmaker (Samuel)/ performer (Splash & Maren).
SS: I suppose I’ve had the inkling for many years, but it was only recently that I finally decided to take it seriously. The fall of 2022 was a dark time for me mentally. I was profoundly depressed, I felt unaccomplished and unfulfilled creatively, and the thought of filmmaking brought me out of that. Why not take the risk? What are you afraid of? Let’s see where this goes, and see if this could get me into film school, and out of this existential rut.
S: I actually grew involved with theater and just performing in general. I had a lot of excess energy. So, my grandma was a really huge, uh, part of my life as a kid. And she told my parents, "You need, we need to put him in something. This is just a lot." So I started doing little things like stepping stone eventually, was with an agency for a while, and did little commercials, and things like that. I've always been interested in performing, and then he [Samuel Studer] had mentioned that he was doing a project, and he wanted me to be in it. I had been doing drag at that point for almost a year, I think. So. I was like, yeah, sign me up.
MT: I actually didn’t have much interest in acting before being approached for this film. I'm not a terribly extroverted person, and the idea of performing has always made me anxious. That being said, I decided to take a chance and discovered that I really enjoy acting (although I'm probably not winning any best actor awards in the near future).
What do you love most about filmmaking (Samuel)/ performer (Splash & Maren)?
SS: I love watching an idea come to life. Prior to this, I found great joy in making music (including on this project, which is composed by me and my friend), but I especially love stories and storytelling. Now, in the case of The Most Dangerous Gains, I get to reflect on the seeds of an idea from 14 months ago and how it came to fruition. I remember all the contributions the cast and crew made, all of their ideas that really made the movie feel collaborative. It’s a really cool, sentimental thing. It’s what I wanted all along.
S: I feel like with acting, it kind of touches that inner child in me of where I get to just play, make believe and pretend, and just have fun.
MT: I love the idea of being able to transform into someone completely different for a little while. Also, costumes. I love any reason to dress up.
Who and what movies inspire you the most?
SS: Oh, there’s so many. Filmmakers like the Coen Brothers (No Country For Old Men, The Big Lebowski) and Martin McDonagh (In Bruges, The Banshees of Inisherin) have a way of weaving a sort of dry humor over serious subject matters. I think it’s a good balance; I approach life with a sense of humor and I want that to show in my art. The first movie that got me into movies was One Flew Over the Cuckoo’s Nest, when I was 15 or so. I love the direction that the horror/thriller genre is going with directors like Ari Aster, Jordan Peele, Rose Glass, and Robert Eggers.
S: I really love Old Hollywood. I love Marilyn Monroe and Dorothy Dandridge. And then for more modern things, I'm really a big fan of Julianne Moore. Oh, and Diane Carroll, she was a Broadway actress, and then she was in Dynasty. Love her. One of my favorite movies is Eve's Bayou. It's with Samuel Jackson, Lynn Whitfield, and Diane Carroll. It's about a New Orleans voodoo, and it tells of a family living in the South, and it's really good.
MT: Oscar Wilde, David Cronenberg, the Muppets, Harold and Maude, Rushmore, 80s B horror, anything that makes me cry.
What inspired you to do The Most Dangerous Gains, and what made you decide to tackle heteronormativity?
SS: The idea began in the gym, a male dominated environment. I’ve spoken with female friends about the gym and the discomfort that can come with that - feeling the male gaze, particularly in a vulnerable situation like that where you’re working on yourself, you’re sweaty, you may not feel at your best. It got me thinking about the male ego, insecurity, peacocking, things along these lines. I was texting my friend, who I co-wrote the script with, about an idea - a horror movie where bodybuilders go to impress women, and the women kill them. He said, “what about this…the Most Dangerous Gains?” We had a good laugh, and I decided to run with it. Make a movie starting with a title, a little backwards, but it spurred so many ideas. The 70’s aesthetic came from my own appreciation of the aesthetic of Giallo slashers such as Suspiria or Deep Red, as well as the realization that leaning into the low budget aesthetic would be the most attainable. I could have my non-actor friends play one dimensional characters and it would suit the movie. The heteronormative aspects of the movie are intended to be ridiculous, because there are many ways in which rigid gender roles are…goofy.
What do you love most about how the movie covers heteronormativity?
S: I think it does it in a really funny comical way, and I think the movie, Sam's movie, it doesn't take itself seriously, which I really enjoy because, especially with even me as a draft performer, I just feel like you don't have to be serious all the time. You don't have to take yourself seriously and you can just have fun. I feel like you need more of that in the world. I feel like if people didn't take themselves so seriously, I feel like this world would be a lot more fun.
MT: I think there's some great commentary on the ridiculous (and often humorous) machismo culture that many men are consumed with as a result of heteronormative stereotypes. The film also has more than a few homoerotic undertones.
What drew you into The Most Dangerous Gains?
S: Mostly because Sam is my best friend, and I think he's really talented. So I just trusted his vision, and I thought it would be just a really fun experience and also to have some more exposure with my drag character [Splash] as well.
MT: As a big fan of both horror and satire, I was immediately interested in being involved. Once I read the script, I was sold. The dialogue is clever and laugh out loud funny, and there's no shortage of goofy and shocking moments.
What people and characters did you channel when creating this movie?
SS: The 70’s aesthetic came from my own appreciation of the aesthetic of Giallo slashers such as Suspiria or Deep Red, as well as the realization that leaning into the low budget aesthetic would be the most attainable. I could have my non-actor friends play one dimensional characters and it would suit the movie. The Most Dangerous Gains is a satire of old, sexually driven horror films and the fear-mongering fantasies of traditionalists both old and new. And a homage, as well. This movie is meant to be watched the way I enjoy tacky cinema, movies such as the Death Wish series or Roadhouse, with irony.
S: I kind of danced around in some of the scenes and the stupid little dance I do. I actually got from American Psycho when Christian Bale hires one of the sex workers, and he's like, "Sabrina. Why don't you dance around for us?" And then she just starts doing this weird awful dance. So, I had to settle that.
MT: I took inspiration from the Giallo films and moody 70s slashers I'd seen over the years, and Sam and Splash did an amazing job finding inspiration for each character. Sharon Stone in Basic Instinct, Rose McGowan in Jawbreaker, and Anna Nicole Smith just being, well, Anna Nicole Smith, were some of my favorite characters and people to channel when playing Pia.
Tell me about your characters the unidentified drag queen (Splash) and Pia (Maren).
S: the unidentified drag queen, according to Sam. She represents danger and death whenever you see her coming on the screen, I don't want to get too much away, but she is, she's definitely a villain, a mysterious villain.
MT: On the surface, Pia is a combination of ditzy and seductive, but there's definitely a character evolution that happens as the story goes on. No one in this film is quite who they seem.
What do you love most about your character?
S: I get to be mysterious, I get to be a villain, and I get to be pretty. I love the bad girl trope in films as well. Like, I used to watch a lot of Bond films with my dad when I was a kid and I've always loved the evil Bond girl who always turns on him.
MT: Her boldness and unabashed determination. Nothing but respect for a woman who knows exactly what she wants.
Tell me about the most interesting time on set.
SS: One of the best days was filming in the graveyard. It was an absolutely gorgeous day, and we were running a small crew that day. We had a lot to film, and we were at the mercy of the sun for light, so we were working but we were also having so much fun with it. This culminated in a frantic effort to get one final shot, arguably the most important in the movie. It involved fake blood, and we had about 5 minutes before the sun dipped below the trees, so we had one shot. I had one guy on the ground with the camera, covered in a tarp, and the other two with jars of fake blood, funnels, and lengths of tube, in order to blow the fake blood all over me. I gave everyone instructions and we went for it. I was so worried. What if it was out of focus? What if Bobby forgot to hit record? It ended up being the best shot in the movie. We packed up as the sun went down, I cleaned myself up as best I could, and we found the closest bar to share some laughs over beers. It was a beautiful moment.
S: So the most interesting times on set. I mean, again, a lot of the people on set and people involved with the movie are all good friends of ours and network of friends. So it just feels familiar, feels like home, I guess you would say. And then I also did, like during the filming, a candid experience, a death of a loved one. Some of the time, I won't lie, it's kind of a blur. But there was one day actually where we got to film. We filmed at a park and, it was a really hot day, and I was in drag, and as soon as the filming was over, I stripped down to just my drag undergarments and walked to the park back to the car. And that was really funny.
MT: Any time fake blood was involved proved interesting, but specifically while filming a scene where my mouth was full of it. This concoction in particular tasted like toothpaste which was actually pretty refreshing.
Splash, I'm so sorry to hear about the death of your loved one. I'm so glad that you were still able to pull up the role, despite that.
S: I'm a professional. I'm a professional. At the end of the day there's a job to do. I got a job to do and I'm going to do it.
What's your favorite part of the production of the movie?
S: I love getting into drag in general, doing make up, and getting into costumes, and just seeing all the work that goes into the set design, and I just really love the whole process of it. It's fun to do things over and over again and try different things. Like being that it's on film rather. I see the stage. Theater was my first love but especially like when you're performing in not two rehearsals. You got to get it right away, and what you get is just what you get when you go on the stage. But being in film you can actually take more time out, try different things which I really like.
MT: Although it was technically post-production, I loved doing the voice acting work after we'd wrapped up filming.
What do you most hope for from audiences?
SS: I hope they have fun. I hope people are entertained and they laugh and maybe even get a little scared at the horror moments. I guess we’ll see. Come May 5, we’ll definitely find out what the audience thinks.
S: That they just enjoy it. That they have a good time. That they find it funny like we did.
MT: My hope is that they enjoy the ride. We had a blast working on MDG, and I think the audience will feel that when they see the film.
Do you have any other productions lined up?
SS: I have a lot of story ideas that I’m eager to write, but no immediate project plans. I’m still waiting to hear back from film school in London, so I’m saving some of them for that.
S: At the moment, no.
MT: Nothing at the moment, but I’d love to be involved in more projects! Film is a huge passion of mine, whether it be in front of or behind the camera.
Is there anything else you wanna add?
S: Can I put my Instagram in there for you to follow me: enterthesplashzone
MT: Come see The Most Dangerous Gains on May 5th at The Heights Theater. You'll laugh, you'll gag, you'll gasp, and you'll be supporting some incredibly talented local creatives.
SS: I hope you enjoyed the movie to some extent, at least. Yeah, I sure did.
I enjoyed it and, and I think this is good. I think this movie has potential to reach a lot of people, and I do think this has potential to reach LGBT folks.
SS: That's good. I would hope that anything I make isn't ostracizing anybody or making anyone feel othered. I know it's a bit of a touchy subject matter to kind of dance around and dance within. I tried to do it with some humor and some flair and some over the top. I'm just hoping that that comes through. I'm really happy to hear you say that. Yeah, thank you.
Absolutely. From what I saw of the movie, I think that the message did come through, and I think you handled it sensitively. You did find some places where people can laugh, and I think you found the right spots to do that. So kudos to you for that.
SS: Thank you. That's, it's really touching to hear. I appreciate that a lot.
Danny Will Die Alone comes highly recommended by AnderSCENE! 5/5 stars
April 10, 2024
I had the pleasure of interviewing Jack Tracy, lead actor and creator of Danny Will Die Alone. He talked about the series, how it was created, and his own dating life.
This comedy series follows Danny who's in a midlife crisis and is newly single after a long term relationship. He enters the dating scene to find that it's not as easy as it looks. Every episode includes a different dating and sex topic that relates to what makes dating difficult for Danny.
Tell me about Danny Will Die Alone.
Danny Will Die Alone was started as a little straight to camera Youtube commentary video that I started to do during the pandemic when I had to figure out things to produce from my own living room. So I did these Youtube essays on dating topics, and then as things started loosening up, I did a podcast called Dying Alone Together where it was me and a co-host. We would talk about dating subjects and our adventures and dating. And then some of those stories all turned into Danny Will Die Alone, which was a nine episode mini series that was meant for only a limited release for just the people that follow and support me. And when I sent it to Dekkoo, they loved it and asked to turn it into an original series. So that's the evolution of Danny. The show follows a character that is based off of me. But I became my most jaded twisted self who went through dating as a complete train wreck, and he's [Danny] dating other train wrecks, and it's following his misadventures and trying to find love but not realizing that he's half of the problem. That started as nine episodes. Each episode is a self contained date. In season two, we'll move to full half hour episodes that tell an entire storyline, and that will be released in the fall.
The series is loosely based on your dating experiences in a midlife crisis. What inspired you to share your story with the community?
So I am what you would call a serial monogamous. Ever since college, I've been in long term relationships, usually with a little bit of break between but lived with all of my exes, multi year sort of things. I found myself single right before the pandemic hit. And then all through that all up until now, I just found that dating has really changed, the apps are so different, and, dating via the apps, you meet all sorts of people. I also think from the perspective of someone who started dating in the 2000s. Dating now; the culture, even our queer culture has changed. It's one of those things where I am a little out of touch. Am I really up on the conversations and the trends? So it's interesting to date in my early forties through these new means of dating, and I just had so many wacky adventures in real life that it was the treasure trail of stories. I will tell you that every single date is based off of something that happens now for comedy and for entertainment purposes, of course, change and embellish and make it bigger, but they all have a kernel of truth in them.
Danny Will Die Alone, got picked up by Dekkoo. Describe the emotions going through you because of that.
I just remember hanging up the phone and just saying to myself alone in my apartment like, we did it! I have worked since probably 2017. I did three seasons of a web series called History. I released music. I've done other web series. I've done an independent movie. I've been doing this for a long time, all self funded, all just trying to get my stuff out there trying to get noticed, and this was the first time that a studio looked at me and said, "We like what you're doing. Here's some money, make something for us." This felt like the start of an entirely new chapter in this side of my career. 2024 has started. I just feel like I've, I've leveled up, and it's incredible, and I'm very thankful to that group for the opportunity.
I'm so glad that this is happening, and what a wonderful series to have picked up. I have a good feeling that this is going to go somewhere.
I hope so. My co-producer Joseph Patrick Conroy and I have worked together for 5-6 years on projects now, and we walked away from this one saying like, you know, you never wanna say this because you never know. But we walked away from this one like this is the one, this is the thing. This. There's something special about this one. When we just finished wrapping season two, we started looking at the footage, started cutting, and we're all kind of like this is something; this is a show show. This is a real thing. So we're very excited to show this to the world.
What's your favorite episode of season one and why?
That's a good question. I'll give you two because one seems to be everyone else's favorite, and the other one's my favorite. So everyone else's favorite is the sex guru [episode] because the actor is so good. Harry plays this intimacy coach, sex guru meditation guy who has these weird theories about consent. He played it so strangely. It makes your skin crawl as you watch the episode. Everyone loves that one. My personal favorite is the doctor one. Danny is trying to teach how to do fun sexy role plays, and the doctor keeps diagnosing him with colon cancer during the role play. That one makes me laugh the most.
What's the most memorable part of production?
The most memorable part for me, it's actually the pre-production. It's after the scripts are done, and you're ready to go. It's like the first time that things start to come together. You're reviewing submissions for actors, you're booking the venues, you're trying to find background actors, you're assembling the crew. That's just that sort of Avengers assemble kind of period where everybody's the team comes together. I love telling stories from that, and I love telling the actors when I got their audition tape, I thought for this, but then you did a better job on this. I love those behind the scenes stories.
Describe the production process of Danny Will Die Alone.
Season one, we recorded three [episodes] at a time. They were only 10 minute episodes so we could film them in a day, day and a half. We would do them every couple of months because I would release them monthly on The Patreon and OnlyFans. So we only ever had to have a couple in the queue. That went over the course of a year and a half of production and then release. And then season two. We got the order from Dekkoo in January, and they wanted us to deliver it by June. So that meant I had to write the episodes in three weeks. So I wrote six half hour episodes in three weeks, did the casting, got the crew, booked the venues. We rolled cameras March 10th, just wrapped March 21st. So this was Fast and Furious. This whole year is flying by because the only thing I'm doing is Danny. It's Fast and Furious. It's looking good.
Who and what inspires you?
Creatively, I think that they say write what you know, and the best things I have ever done are things that are born out of my personal life. I'm a recording artist. My music is about my emotions in my life and my story. My web series history was about a particular time in my romantic life different from Danny. It was more dramatic, more sincere. Danny was laced with the dating life in post pandemic, existential dread, midlife crisis period. So it lent itself more to comedy. But there are times when I'm out on the town or out on a date or doing something. I interact with someone in the world, and my brain goes, this is a story; write this down. This is a thing. There are many dates that turn into character studies; the date is not going well, and I decided I'm going to make something from it.
What's the most valuable thing you've learned during the production process?
Everything works out. Don't stress the small stuff. I have been doing this far too long. Venues drop out, actors don't show, equipment breaks, things don't go the way that you plan, but almost every single time, whatever we had to do to fix it, it ended up being better than what was planned in the first place. So I really had a sense of zen that I had never had on another production about this one because things would happen, and it just be like, all right, we got to deal with it. So let's deal with it. And I have really learned to just roll with the punches and trust that it'll all work out.
There will be a season two. What do you anticipate that to cover?
So season two. They are now half hour episodes. There are six episodes. They're coming in the fall exclusively to Dekkoo. They carry the heart of season one in that. Every episode has a new date that tackles a different subject or a different kind of person. But there's a through line story that includes another lead character, which I won't dish on too much. You get more of a connected story of Danny's progress in romance. Let's just say sometimes things pop out of nowhere. Danny is in season one, he's on the hunt, and season two kind of shows you that sometimes the hunt finds you.
Who's your dream guest star? And why?
Dream guest star? I am a huge fan of stand up comedy, so I think there's a lot of opportunity for Danny's personal life outside of his dating. And I would like to see him have a Michelle Bau, Nikki Glaser fabulous female comedian be someone to check him and his craziness. I think that would be a lot of fun. Yeah, a female comedienne, I think, would add some spice to the show.
What can audiences expect from watching Danny Will Die Alone?
They can expect to be triggered. The show does not pull any punches. Danny has a very specific point of view. He is incredibly judgmental. I would consider him to be the mirror universe, evil version of David Schitt from Schitt's Creek. He is a bit unhinged. So you will find yourself being frustrated with him in recognizing some of his dating situations. You will find yourself angry with him for being a jerk. I expect however you feel about how he deals with things and what his opinions are, they will at least be very familiar.
Is dating in New York City really? Is it as difficult as non New Yorkers say it is? Why or why not?
There's a lot of opinions. I only know my personal story. I know that it is far more difficult now than it ever was. I don't know if that's because of app culture. I don't know if that's because of the post pandemic world. I don't know if that's because of the culture. I can't really attribute what it is, but I would say the prevalence of what I'm going to call but what people might not call, sort of non-traditional relationship styles has made people who are interested in traditional relationship styles, especially in New York, very difficult to find like minded people. If you don't want to date a couple, if you don't want to have three boyfriends at once, if you don't wanna have sex with everybody, if you want to find a monogamous committed partner for something long term, the pickings are slim out here in New York.
What's your most and least favorite thing about dating?
My least favorite thing is just with anything. It's a numbers game. So, just a series of disappointments, I'll go on maybe six dates in a month. Two go well, one goes really well, and then Peter's out. The amount of people who say that they're really interested in a long term relationship, and then when one presents itself, it's like, oh, wait, never mind. I don't think I'm ready and say, "well, then why did we, why did we spend two months together? What are we doing?" The time wasted in the series of rejections is the most difficult, and it can make you feel like, is there anybody, is there anything, do I have to move? The best thing is if I would not have had the last five years of dating misadventures, I would not have my first produced show. It has given me the greatest career boost I've ever had. So I can't complain.
What do you look for in a potential partner?
I'll tell you what's in my app bio. I like someone. I am an energy chameleon, which means that I will reverse the energy that the person brings. I will balance. I'll never fight you. So if you're a shy, reserved, thoughtful, quiet, introverted person, I'll be a bit more bubbly and fun. If you're a very loud take up space in the room, center of attention person, I'll fade into the background. I don't like to fade into the background. So I prefer someone kind of an academic type. I'm a bit more reserved, a bit more introverted, a bit of a homebody. I am an introvert, someone who wants to nest. As you will learn from Danny, he has a very high libido. So there's that too.
How close do you think you are to finding the one?
[Laugh] You know what? I had a really great relationship. It was six months. It was a wonderful six months. We parted on great terms. It just didn't work out for, for reasons that weren't about us. There are other things in life that happened. It showed up out of nowhere. I went on a date, and it was just, I just felt the feeling, and I know what the feeling feels like. So I don't waste time if it's not there. I don't go on a second date. I know what it is. I know what it is and I felt it with him, and that was a year ago. It's not a matter of being close. It's just knowing that it is out there, and you just got to put yourself out there, and I can't control when it shows up, but I'm mature and secure enough now to recognize it when I see it.
Is there anything else you want to add?
Definitely. Check out Danny on Dekkoo. It premieres May 16th. You can get season two in the fall. If you would like to support me, everything is in my Instagram bio at Jack Tracy Official, and you can support me on Patreon. You can support me on OnlyFans. I'm a recording artist, and I release music videos and music. You can check me out. Everything's there. We're independent artists, and we need your support. So please don't be afraid to come help us out.
Where can we find your music and your podcast?
Music. My recording artist name is Jack Tracy. That's available on Spotify, Apple, Tidal, and everywhere you get music. As far as the podcast, they're no longer ongoing, but you can find them on all major podcast channels. There's Dying Alone Together. I'm a huge Star Trek nerd. So there's Star Trek Durations. It's a Star Trek podcast I've been doing. There's an audio drama I did a few years ago called Community that follows a mass shooting at a Queer space. It's a drama, and there's a disclaimer at the beginning that it's a hard listen. So be prepared if you check into that.
You may know Jeff Hiller from Somebody Somewhere on HBO. He will be stopping at Minneapolis for his one man comedy show called Middle Age Ingenue on March 29. I interviewed him about the stage show, Somebody Somewhere, and his career.
March 13, 2024
Thank you for taking the time out of your busy schedule to be interviewed! You're touring your one man show Middle Age Ingenue. Tell me about the show.
The show is about “Jeff’s search for meaning”. I know the phrase is actually “Man’s search for meaning”, but like… come on. We’ll just go with Jeff, amiright? Now, I realize that no one wants to watch a show about how I love believing in stuff, so as a gift to the audience, I will tell them three stories about a**holes. Not metaphorical ones. Literal, human, anatomical buttholes. I have three stories about buttholes and none of them leads to sex which is both impressive and humiliating.
Describe the process of preparing for the show.
I come from an improv background (I started at the Upright Citizens Brigade Theatre), so I write my show by walking around my apartment and talking into my phone. I just start with a theme and then think of all of the stories I have about that theme. It’s always too long. They say to “kill your darlings” and after I get lots of stuff down on paper, I become a serial killer honey. All those darlings are murdered! I work with my director, Laurie Woolery and she helps me find themes and then tells me when the jokes are lame. I know its hard to believe, but sometimes my jokes aren’t great. Don’t worry though! I have polished it pre-Minneapolis!
What initially inspired writing Middle Age Ingenue?
I am on a TV show called “Somebody Somewhere” and I play a character who is both gay and involved in the church. I read the script and thought – oh yeah totally. I know this character. I’ve been this character. But as I did press for the show, I realized that gay + church is a really difficult concept for people to grasp. So, I thought I would write a show about what it’s like to grow up religious and also… PROFOUNDLY homosexual. Profoundly. So I wrote this show, and then made it real funny, I promise!
Photo and cover photo by: Greg Kramer
What are the most notable challenges you faced during the production?
We didn’t have many challenges in putting up this show other than the challenge of… you know… writing!
What's your memorable part of the production stage?
When I did the show in Chicago, the audience was so wonderful and when I talked about how I used to work in a bath house, one sweet gay guy clapped so hard, but no one else did. I loved his vulnerability, so I ki-ki’d all night with that queen cause I loved that she put herself out there hunny!
Middle Age Ingenue sold out in some cities. How does it feel knowing that your show is reaching so many audiences?
I know the audiences are coming out because they have seen the show and like the show, so I am just happy that the tone of my comedy and the tone of the HBO show cross over enough to keep people happy! I just love that people are laughing (and I also love that I have enough people who come out so I can actually do the show and have a great time with each other!).
What's your standout audience reaction?
People have been so nice! I had 6 shows in NYC and a young person came up to me crying. This is not necessarily the reaction I was going for, but I loved that they were moved and liked the show. Most people laugh – I swear! But this one person cried, so they stood out.
What should audiences expect from watching Middle Age Ingenue?
People should expect to laugh! It’s a fun night out where we talk about how life is different than you expect it to be sometimes, but it doesn’t mean we can’t laugh about it.
Describe how you juggle touring Middle Age Ingenue and filming Somebody Somewhere (HBO)?
The tour is a mini-tour for a reason. We are shooting the third season of Somebody Somewhere right now, but I am taking time out to do a few shows on the way to shooting and on the way home from it as well! Minneapolis was so close to Chicago where we shoot the show, so I had to swing over. I am trying so hard not to say the word “Uffda” right now. Do you admire my restraint?
Middle Age Ingenue and Somebody Somewhere explore the midlife years. Do you transfer any inspiration from Somebody Somewhere onto Middle Age Ingenue? If so, how?
When I was cast in Somebody Somewhere, I thought the show was written for me. The character of Joel is very similar to who I am in real life. The writers have repeatedly told me that they did not write the role for me. Repeatedly. So, I guess it’s just fate that the show and my own personal voice cross over. If you like the show, come to “Middle Aged Ingenue”. It’s cutie.
Both Somebody Somewhere and Middle Age Ingenue are receiving critical acclaim. Have you started practicing your Emmy and Tony winning speeches? If so, who will you likely thank, and what will you likely say?
In a word? No. These shows don’t win statues – just hearts! Is that incredibly cheesy? Yes. And yet, I stand by it.
You have an outstanding resume! Your resume includes Broadway, TV, and films. Which show is your most memorable and why?
Most people know me from Somebody Somewhere, but I also get recognized a lot for playing the serial killer in American Horror Story: NYC. I am a lot like Joel, but I am EXACTLY like Mr. Whitely. Just kidding! Or am I?
On the stage, my favorite role has been playing “The Lamb” in Silence which was a musical version of The Silence of the Lambs. Don’t worry, it was supposed to be funny. I played everyone from the movie that you don’t remember. Oh, I also played the guy who masturbated on Clarice when she first meets Lecter, so you might remember him. Remember when you asked me if I rehearsed a TONY speech? This is the kind of classy theatre I do.
Is there anything else you'd like to add?
The show is about hope and also it is funny. I just want people to have a great time. I think of myself as a hostess and the audience as a really big dinner party. Except I won’t feed you. Hm. Is this metaphor too complicated? I don’t know. It’s funny! Come!
Review: Randy Rainbow for President!
State Theatre March 1.
March 13, 2024
Emmy and Grammy nominee Randy Rainbow performed his comedy satire Randy Rainbow for President at the State Theater on Friday, March 1. Randy Rainbow is an online sensation because of his hilarious political satirical videos.
Randy Rainbow for President included singing, videos, news clips, a little bit of dancing, and lots of camp humor. Rainbow delivered what he's known for doing online, which is providing comedy relief for those who are feeling stressed because of the future being uncertain. His signature comedy relief included parodying famous Broadway songs that direct towards political figures and acting out a presidential run. Most of the time, not every time, he added a gay twist to his jokes. Rainbow pretended to run for president. During which, he promised to make the country gay.
His visit to Minneapolis was no exception. He never failed to deliver the comic relief that many audience members appeared to need, which relates to the upcoming election.
He channeled this comic relief by parodying show tunes such as ones from Funny Girl, Beauty and the Beast, The Sound of Music, Little Shop of Horrors, Mary Poppins, and Hairspray. The music aspect included a live band. He performed these songs in front of background videos, some being his online videos. His showmanship during these parodies proves that he's influenced by show tunes.
This show tunes influence was displayed by his Broadway style voice and his minimal choreography. His choreography was limited to simple walking and hand/ arm gestures. He didn't need to include more choreography than he did because his vocals alone projected the show tunes theme he sought to deliver. The background videos acted as the choreography.
His satirical show gave audience members some hope for a brighter future. Even though the president run a comedy act, Rainbow made the audience wish it was a real one.
I interviewed Dan Shamp, the owner of Eagle | MPLS.
The Eagle was recently remodeled. Shamp shared some details about the remodeling and what to expect from it.
January 31, 2024
Thank you so much for taking the time out of your busy schedule! Tell me about the changes made with the remodeling.
There were several intentions of the remodel one was to get rid of the distinction between Eagle and Bolt. It is one bar with two great spaces. So, Part of it was rebranding what we have now, just have The Eagle | MPLS: original Eagle side and new Eagle side. We intentionally didn't rename it because we wanted to eliminate that distinction. The other thing was to make it a more usable space. The challenges with the original design were the bar being in the middle. [It] really took up space, made it hard to order drinks, [and] made it hard for people to gain access from the street side of the bar. At busy events, there was less room for gathering, and now, there is a much better flow to the space to allow for bigger events, better circulation during events, and better drink services.
When did you decide, and what made you decide to do that?
After approximately a year of owning the bar and seeing how it functioned, it seemed important to do prior to the upcoming busy Summer season to provide a better usage or functionality than it had before. That's how and why I decided to do it.
What's new about The Eagle now that remodeling has been completed?
If you haven't seen it, the bar is completely relocated to one side of the wall allowing for much wider space upon entry. It allows for three bartenders to work efficiently out the service walls rather than two as had been previously done. It allows more dance floor space. It allows more common space for gathering. We've also made improvements to the lighting, improvements to the sound system, and just overall clearing up of design and decor.
What do you hope to accomplish now that the remodeling has been completed?
I hope that we can continue to provide a safe space for the LGBTQI+ community to serve as a meeting and gathering space for all types of events.
What should customers expect upon walking in there?
Better flow, easier service, and a fresh new look.
One more question I have for you is... Will you please confirm that you still have the iconic license plates, and if you do, where are they displayed now?
So that's a throwback question. The license plates are still on end of the covered area of the patio. That's the only place, to my knowledge, they've ever been and I don't see them going anywhere.
Is there anything else you want to add with the remodeling?
Hopefully that the entire queer community and allied community sees the improvement in service time as well as functionality of both spaces as we continue to improve and grow. I want the community to know that the improvements are to better serve them.
This Summer is going to be an exciting Summer for us with one full year of new ownership under its belt. We will have some more improved Pride events. We're sponsoring and hosting some bigger events for the entire Spring, Summer, and Fall seasons that will hopefully be to the liking of all people within the LGBTQI+ spectrum.
And then off to my Oscar questions. Will you be playing the Oscars at the Eagle?
We sure will.
Excellent. What events will you be hosting during the Oscars?
We'll be doing a special edition of Sunday Show Tunes in conjunction with the Oscars.
Tell me about the show tunes.
The show tunes for the Oscars will be a specifically curated version of show tunes to accompany the Oscars with some show tunes before the show begins and intermittently throughout the viewing of the Oscars broadcast.
Review: Lie With Me is a film about teenage love and adult reflection.
January 31, 2024
Lie With Me was directed by Olivier Peyon, who also directed the documentary Comment J'ai Détesté les Maths (2014). The documentary was nominated for the Cesar award for Best Documentary (French equivalent to the Oscar). Cinephobia Releasing will be releasing Lie With Me on DVD on February 15, 2024.
Author Stéphane Belcourt returns to his hometown 35 years after moving away. Initially, he intended to only promote a distillery. However, he is faced with memories of his first love Thomas. This is thanks to running into a teenager named Lucas, Thomas' son. While Lucas frequently asks questions about his father, Stéphane mentally relives his moments with Thomas that ranged from romantic to intense to erotic.
Lie With Me successfully reminds viewers that we never forget our first love. This is credited to the strong leadership of the film director Olivier Peyon. The never forgetting our first love aspect is maintained between the teenage years in 1984 to Stéphane's adulthood in present time. The switching between the two years is easy to follow, as is the overall storyline. Guillaume de Tonquédec's performance as Stéphane and the chemistry between the cast and him are the on screen highlights. Overall, Lie With Me is an outstanding piece with drama, passion, romance, and reflection.
Making the Yuletide Gay is a parody on 60s, 70s, and 80s Christmas variety shows with a gay twist
December 6, 2023
I chat with producer Justin Ross and cast member David Hernandez about the production of the film.
Justin and David, thank you so much for joining us! Justin, you produced Making the Yuletide Gay. Tell me about the production.
JR: It was the longest day of 2022...I’m teasing. It started with a “what if” vision from creator/director Scott Rockett. Combine that nostalgic inspiration with writing from the incredible Bruce Vilanch and then bringing on all this talent...how lucky were we?! We all came together and in spite of the technical challenges (getting the teleprompter to work took like 19 elves to wrangle) and the floor (yes, we laid a floor the day of the taping) arriving at the last possible minute and all the other shenanigans behind the scenes, these amazing performers hit it out of the park. They really did. Though it was a holiday miracle that we pulled it off!
What's your favorite part of the production process?
JR: This might sound trite but I sincerely love the whole process from the
creation to the rehearsals to the actual production itself. I don’t know that I
have a favorite part. You wear a little different hat, see it through a bit of a
different lens at each stage, all the while keeping the theme, the heart, the
“why are we doing this” at the top of my mind. And watching the lovely and
very talented David Hernandez sing, “Fall on Your Knees” (all puns intended,
ha) with our dancers, Jesse and Tomas, beside him...that was a favorite
too.
David, what was your favorite part of playing your character?
DH: I think the best part of it was that the role was really a parody based on who he [Sal Mineo] was. So we were able to insert a lot of humor. He was a New Yorker so I enjoyed playing around with the accent a little bit.
Your production includes Liberace numbers. How has Liberace
inspired you?
JR: Growing up, he was not really on my radar so much though I recall
watching some of his performances. Liberace made an impact on me later
in life as a talent who lived his life as he wanted, very openly and bravely.
He’s from the Midwest actually as I am (three cheers for Minnesota!) and
that is quite inspiring to me as an openly gay man...I just didn’t know that
growing up. And David Maiocco, our Liberace, is the embodiment of that
talent, showmanship and courage - he’s so, so good.
What's your favorite routine on Making the Yuletide Gay?
JR: That’s like asking which child is your favorite, for shame! Seriously, I loved
all of it. Two things I will point out: first is that Michael Airington who plays
the legendary Paul Lynde is in almost if not every scene and he was a real
trooper in keeping up the high energy for the hours it took to tape this. You
don’t see any lag in his excellent work in the actual show - what a pro. The
second is our dancers, Jesse, Tomas, Luis and Adam. They worked that
fun and sexy choreography in mere hours and help make the special really
pop.
It follows the style of Christmas themed 60s, 70s, and 80s variety
shows. Are there any variety shows that inspired the production
more than others? If so, which ones and why?
JR: The only “real” Paul Lynde holiday special (the Halloween special Paul did
in 1976) was the biggest inspiration for it I would say. Some of the Sonny
and Cher bits and others wove some of their magic into this as well.
Your production adds a gay twist.
Besides the characters included in the production, are there any LGBT figures who inspired your production? If so, which ones and why?
JR: I think all of the legendary LGBTQ figures of the past and present and our
allies like Judy Garland and many others sprinkled their magical fairy dust
over this production. Gay and humor have been hand in hand from birth,
really. I think humor is an important...weapon if you will and healing balm
both. Humor pierces ignorance and even hate.
If there is to be a Making the Yuletide Gay Part 2, which LGBT figures
would you include in that one?
JR: Good question! Off the cuff, Charles Nelson Reilly, Rock Hudson and
maybe Joan Rivers, Phyllis Diller, Elaine Stritch...
David, what was it like playing the role of Sal Mineo?
DH: I had a lot of fun with the character. It was great learning the life and career of an incredible actor gone too soon. He was really creating a name for himself and had already done such amazing work. I normally have facial hair, so I had to do a full shave because he had such a baby face. His hair was a lot thicker as well so I wore a wig so that I could come as close as possible to resemble him.
What research did you have to do to prepare for the role?
DH: Well, Wikipedia is obviously a great source to get general information from. But I also did some deeper digging so I could learn more about his life and how he grew up. I learned that his mother enrolled him in acting and dancing classes at a very early age. I was also surprised to notice that his first play was a Tennessee Williams play because I’ve done several Tennessee Williams plays in Acting Class. Obviously, his breakthrough role came with “Rebel Without a Cause”, but he had already done a lot of incredible things. I always find fascinating researching rules that I am to play because you learn so much about who the person was. As a singer, I was also surprised to find out that he too was a singer, and had much success in the pop music world.
What Sal Mineo movies and movie roles inspired your part in Making the Yuletide Gay the most? Why?
DH: Well, definitely “Rebel Without a Cause” because that was his most commercial role. But I also enjoyed researching a lot of his previous work, and the work that came after. He was an artist through and through.
What other inspirational LGBT figures do you hope to play in the future?
DH: Honestly, as a Latin queer man, any role that would shed light on an inspirational figure would be an honor. However, it would be closer to my heart to place somebody that was also Latin and queer.
You got the pleasure of working with inspiring LGBT figures such as Lady Bunny and Jackie Beat. What was it like working with the crew?
JR: It was like wrangling ornery, horny, feral cats! Totally kidding. It was
honestly a dream come true. Each of them are just phenomenal at what
they do. I wish we had a behind the scenes recording because some of the
things that each of them said to me while setting up a shot or rehearsing...
comedy gold.
DH: It was amazing! I’ve always been a huge fan of Jackie Beat. She is hilarious and has incredible vocals. But she is also very witty and smart. Lady bunny actually, was a DJ at my best friend's wedding in 2014 back in New York City. That was the first time I met her. So working with her on this project was great because I got a better sense of who she was.
What can audiences expect from watching Making the Yuletide Gay?
JR: A fantastic time with deep belly laughs. They will see top notch talent at the
top of their game, all working together. They may even learn some, well,
new terms shall we say...who knew the holidays could be so sexual! The
audience will walk away happy from a time well spent.
DH: Loads of laughs and eye candy. Shout out to the dancers, Jesse Rey and Tomas Mata! We had such a fun time learning the choreography.
What do you hope the audiences get out of watching Making the Yuletide Gay?
DH: I hope that whatever everyone is going through, they’re able to watch the show and escape for a little fun and laughs. This time of year is either really happy or really sad for some people, so I think that comedy is a Healthy way of coping.
Unfortunately, the holidays can be a rough time for some. This is particularly true for LGBT people who were rejected from their family after coming out. What message do you hope that your production sends to them?
JR: The horrific Club Q shooting in Colorado Springs happened the night before/day of the taping actually. We took a moment of silence for that, and what I said to the crowd after that moment was that the show represents a beacon of hope and light in spite of that darkness. Like Harvey Milk said, “gotta give ‘em hope” and hope is very much the core message! Know too
that family is not defined only by those persons who surrounded you when you were born. Family is chosen and found in our friends, colleagues and community. Even in the times where it seems you are all alone, you are not. I am reminded too of some courageous wisdom that helped me in my own coming out: “better to be yourself, hard as that may sometimes be,
than to live a life as someone you are not.” We hope that the humor and joy found in our little show transcends doubt, fear, loss, and pain and maybe even inspires a whole generation who are not as familiar with Paul Lynde or Tab Hunter, etc.
DH: I hope that they can understand that while you can’t control what family you were born into, you do have the control to choose your family. That chosen family can be thicker than blood.
What's your favorite thing about the holidays?
JR: I like the spirit of giving and receiving, and no, that is not a gay pun! I love
the colors and decorations, the food, the tree, the menorah, all of it. This
holiday season at the end of the year is also a time of reflection and
perhaps an opportunity to look to the year ahead as well.
What are you doing for the holidays this year?
JR: I will be home here in Las Vegas. Probably have several exchanges with
friends and family (I am just so fortunate to be surrounded by wonderful
people who love and support me, honestly). Eat something delicious.
Watch a movie. Listen to a podcast as I walk around the city. Simple and
joyous is the goal.
DH: I will be staying home and relaxing. Growing up in a divorced family, my entire life I’ve always been pulled in two different directions. So now, as an adult, I can make my own choices. This year my choice is to totally relax, stress-free, and prepare for 2024.
Is there anything else you want to add?
DH: My Christmas album “Christmas in California” is available on all streaming platforms and includes an original song I wrote called “ My Winter Wonderland”. That music video is also available on YouTube.
Aaron Joshua Perra performed a reading of his new book of poetry Triggers and Love at Roxy's Cabaret on November 11, 2023.
November 22, 2023
This was a simple, yet intimate event that included a dedication, his life story, a Q&A, and his poetry about his struggles with drug and alcohol addiction.
A photo of his book cover remained on screen throughout the reading. He wore a formal suit with light green sneakers. A photo of his book remained on the screen throughout the reading. The stage included a long table on the right side, his book, and the author.
Perra entered the stage with Britney Spears' hit song "Stronger". Only 20 seconds of the song was played, but this was enough time for the intended message to be delivered. During which, he entered the stage from the audience with a casual walk that resembles one walking along a sidewalk.
He dedicated the show to his grandmother, who died a week before the show. He shared how she played a vital role in his life.
He then proceeded with his life story, which begins with him at age 15 when he tried alcohol for the first time. At age 21, he tried meth for the first time and immediately got addicted. He was homeless for many years. He went into treatment a few times before finding sobriety in 2022.
The reading was unrehearsed and full of imperfections. The unrehearsed and imperfect approach worked better than rehearsed because they reminded the audience that he's human. This approach made the event raw and real by speaking from the heart rather than words already in his head. It felt conversational.
Perra kept the reading simple. He sat on a chair behind the table. He sat casually like he was at home: relaxed, legs stretched out to the side, and slouched. He read directly from the book while maintaining minimal eye contact with the audience. The casualness makes his stage presence feel more genuine.
He shared the writing process of a few poems. These few times were enough for audiences to receive a scope of the book writing process. For instance, Perra shared when his drug use accelerated in "July 7, 2022", when he felt hopeless in "January 6, 2019", and when a relationship ended in "August 23, 2019".
Perra spoke tenderly. He never raised his voice. He never spoke aggressively. The only harsh language he used was from his poetry. His voice sounded heartfelt. Speaking aggressively would have likely backfired.
These poems explored more than just addiction. They also explored love, relationships, and nature. The only organization of the poem is based on the date they were written, like in the book. The order in which he read them ranged from earliest to latest. This helps acknowledge that, despite the struggles with addiction, there is beauty in this world.
Aaron Joshua Perra gave the audience something that's missing in the book reading world. That's heart. The imperfections from Aaron Joshua Perra are largely to credit for making this reading inspiring, powerful, raw, and real. Overall, this reading is a breath of fresh air.
You can order Triggers and Love on Amazon or Barnes & Noble.
The First Annual Highly Favored Media Festival
November 8, 2023
Highly Favored Magazine is a local magazine that that was founded in 2023 and shares stories from those who have struggled with drug and alcohol addiction. They are now about to embark on their First Annual Highly Favored Media Festival. They are now accepting submissions. Creative Director Jesse Veils discusses how to submit a film to the festival.
This is Highly Favored Magazine's first film festival. Describe how you're feeling about this new venture with Highly Favored Magazine.
I’m very excited about putting on our first film festival as an organization. Anytime we can expand on our mission and showcase how creative the substance-familiar community is, I’m reminded that we are making an impact. It’s a bit like an out-of-body experience, at times, to realize that we get to help shape new possibilities for the way people view and relate to those of us who are most often dehumanized and ostracized for having a profound experience interacting with substances. We get to facilitate opportunities to bring humanity back to how they are seen, understood, and treated. And we do it by sharing what our contributors have shared with us in their art and writing.
Tell me about the Highly Favored Magazine Film Festival and how the magazine ties in with the film festival.
Well, it has always been our long-term goal to have a space where any and all mediums that substance familiar artists create can be displayed and enjoyed. Having what we hope becomes an ongoing outlet for screenwriting, acting, directing, animation, and video editing is expanding the scope of the magazine’s ability to educate, inspire, and promote the talent of our community.
What film categories will you include in the film festival?
We will be sticking to the classics for our first attempt at a festival. Drama, comedy, documentary, animation, and avant garde.
How will you decide which films will be selected?
We will be selecting based on a similar process we have for choosing which submissions we include in an issue. Things like how well it relates to its intended category, quality of execution for performance, costume and set design, sound and storyboard editing for example. We are also looking for how thought provoking, inspiring, and innovative the content is. We are definitely going to want a lot of variety of films to feature. We probably care most about what we hope the audience will take from the experience and share with the people in their lives.
Where can a filmmaker go to submit a film? When will you start accepting submissions? What are the submission deadlines?
Link will be sent shortly to filmfreeway page. Just finishing making it now.
How much does it cost to submit a film? How many films can a filmmaker submit?
Artists are required to pay an entry fee to submit their films. These fees help cover festival expenses. The fee applies to each entry, and there's up to 3 entries allowed per artist.
Early Bird Entry Fees apply to submissions entered on dates 11/1/2023 - 12/31/2023: Standard early bird entry fee is $5.
Student early bird entry fee is $5.
Gold Member early bird entry fee is $3.
Regular Entry Fees apply to submissions entered on dates 1/1/2024 - 2/19/2024:
Standard regular entry fee is $8.
Student regular entry fee is $8.
Gold Member regular entry fee is $5.
*Deadline is 3/10/2024*
Late Submissions cut off is 3/10/2024:
Standard late entry fee is $10.
Student late entry fee is $10
Gold Member late entry fee is $8.
Along with the film itself, what other items do you require in a submission?
Films must be original works that the artist has the copyright to, in addition to proper permissions being granted and royalties paid for content that is owned by other creators and used in the production. All entities must be properly credited for their contribution to the film. I also know that it takes considerable creativity to work within a budget in order to produce the work and make it look like the professional quality movie goers (or readers of a magazine) expect. I can’t wait for the magic I find when individual artists find ways to use what is accessible to realize their vision regardless of any hurdles. This is what substance familiar people excel in whether they are in a state of use, abuse, or recovery.
What range is the required run time for selected films?
We require that submissions are a minimum of 8 minutes and no more than 15 minutes long.
How old can the film be to qualify?
The most recent work is always going to have a better chance of being relevant and topical for where society is today, but with an artistic renaissance being a symptom of a pandemic we are willing to consider anything made the year 2021 to now.
If the language in the film is anything other than English, will you require subtitles?
Although it is a requirement for films where 85% of dialogue or more is in a language other than English have subtitles in English for our festival audiences. It is important to note that language is capable of being used as a stylistic device and tool in the context of a film’s story telling, and in that respect, it is a decision that we leave to our individual artists.
What video formats do you accept?
Universal video formatting, as well as, videos from artist Vimeo, YouTube, and FilmFreeway accounts are acceptable.
Do you accept rough cuts and films in progress?
We are willing to accept rough cuts and films in progress for those who are able to submit them to us during the early bird submission period, but they should be emailed to me at creative@highlyfavoredmagazine.com ATTN: Rough cut/Film in Progress Feedback. And include their name, contact information, and on what specifically they want feedback. We will only have technical notes on those specifics and content that we see really helps or hinders the progression of the story or point they try to make.
When will submitters find out whether they've been selected?
We will begin announcing the early bird submissions selected as soon as Jan. 1st, 2024, and likely continue up until the week the festival starts.
If a filmmaker's project has been selected, what are the next steps?
The next steps will be revealed to the artist whose work has been selected, via direct communication with the Highly Favored Magazine organization. We want to keep some things a surprise for the festival audience.
Approximately how many films do you anticipate selecting?
It will really be based on the level of interest by artists and by how many audience members we can anticipate coming based on our pre-festival ticket sales that will determine final numbers, but ideally I'd love to show 100 films throughout the weekend.
When is the 1st Annual Highly Favored Magazine Film Festival? Where?
Tentatively we are working with one of our sponsors, The Aliveness Project, as the location for our festival. We are in talks with a couple of local theaters should we have a larger interest than anticipated (which will be indicated by pre-festival ticket sales). The festival takes place the third weekend in March, on the 15th-17th, 2024.
Interview & Review: Triggers and Love, Poetry by Aaron Joshua Perra
October 11, 2023
Aaron Joshua Perra uses poetry to share his struggles with drug and alcohol addiction in his book Triggers and Love. This book is written in the style of a journal, hence the dates being used as titles. These dates refer to when the poem was written. Triggers and Love is the best book of poetry I’ve read in many years!
Triggers and Love is a raw and personal account of his hardships related to addiction. A reader can connect this rawness to Frida Kahlo’s paintings and Charles Baudelaire’s book of poetry Les Fleurs du Mal. Like Kahlo and Baudelaire, the brutal honesty is largely what makes Perra’s poems magical because the poems feel like Perra is ripping out his chest for the world to see. Perra perfects this art.
Perra’s vulnerability is what gives Triggers and Love the potential to inspire others. Furthermore, this book can potentially save lives because it makes readers who may be struggling with addiction feel less alone. Therefore, a passion for poetry is never required upon reading Triggers and Love. His brutal words are enough to inspire readers. One of many lines that exemplify this finding is when he quotes on July 7, 2022, “I will die; And they will spit on my grave.” This example reminds readers how close he felt to dying.
Along with addiction, Perra expresses his romantic side with his love, intimate, loneliness, and heartbreak poems. Perra proves that beyond the struggles with addiction is a romantic man. His romantic side sways between the typical Jane Austen romance (Emma, Sense and Sensibility) to the typical Edgar Allan Poe haunting heartbreak (Annabel Lee). For example, he yearns for love by quoting, “You knew how much I loved; You walked and never stopped.”
Despite sadness throughout most of the poems, Perra finds space to prove that not everything is depressing. He manages to show his appreciation of the beauty in this world like the sun, nature, earth, and living beings (especially insects). The contrast between this beauty and his overall sadness blend well in Triggers and Love. One way he expresses such elegance is in the line, “I love you, sun –; How I adore you my little bumble bee. Look at your; beauty.”
Overall, Triggers and Love possesses an aspect that’s missing in many modern works. That is heart. Anyone can tell a story. However, not everyone can pour their heart and soul into their words while telling their life story. Fewer artists can be brutally honest. Aaron Joshua Perra perfects all three: storytelling, pouring his heart and soul, and brutal honesty.
Aaron Joshua Perra released his debut book of poetry called Triggers and Love. Three of his poems have been adapted into film. Perra appeared on WCCO News, Highly Favored Magazine, LGBT Film Festival Poland, and several others. In Triggers and Love, he shares his struggles with drug and alcohol addiction by being brutally honest and vulnerable.
Tell me about Triggers and Love.
Triggers And Love is a window into my soul. I bare all of myself within the pages of my book. It is a journal of poems that encapsulates and captures my life within the last three to four years. It opens up the door into my life of addiction and perseverance.
I want people who are in the throes of their addiction to realize that their still is hope, there still is light at the end of the tunnel.
It took you almost four years to write Triggers and Love. Describe the journey of writing this book.
Sublime! I was in and out of my addiction, so it was quite challenging, particularly because I am bipolar, and the level of emotions I experienced felt like a stick of dynamite continuously growing off.
What was the most challenging part of writing Triggers and Love?
Revising every poem, to make everything perfect!
How's it feel to know that so many people have read your book?
It’s so surreal. I’m still pinching myself.
Which reader's reaction is most memorable to you?
I would have to say when I was in outpatient therapy, and each group member took a poem from my book and read them out loud. They went around in a circle, and I got to sit there and hear each person read one of my poems from their perspective. It was amazing!
You've been interviewed on WCCO news twice about your book. Your book has been advertised on a billboard in Times Square. Your book is selling well. More and more people know who you are. How has your life changed since releasing Triggers and Love?
My life is still the same as it was, I’m just humbled to share my vulnerability with people. It’s fun exposing all sides of me, and there’s beauty in being able to be relatable to people.
You're performing a book reading at Roxy's Cabaret on November 11. What should we expect from your show?
A little bit of this, and a little bit of that! I’ll be reading from my book, sharing my story, and doing a Q&A while we all have dinner and drinks together, and of course for me, I’ll be ordering the mock tails!
Describe the emotions you're feeling as you're preparing for your show at Roxy's Cabaret.
I am absolutely terrified. I’ve never put on a show quite like this before, let alone me being the focus of the show, but I cannot let fear dictate my decisions. I cannot let fear control my life, so go big or go home!
Will there be book number two coming? If so, what will the book be about?
I have decided that there will be a book number two, but that is a far ways down the road.
What do you anticipate in your future in writing and entertainment?
It’s best for me to not look too far into the future. I really try to live life one day at a time, but I anticipate the hope of good things to come.
What's the biggest takeaway that you hope for upon reading Triggers and Love?
The takeaway is strength and hope, and don’t ever give up, be kind to yourself, show yourself love and compassion, and grace. Don’t be afraid to be who you are. Be bright and brilliant in all that you do.
You can order Triggers and Love online through Amazon or Barnes & Noble.
© Copyright. All rights reserved. 2024
We need your consent to load the translations
We use a third-party service to translate the website content that may collect data about your activity. Please review the details in the privacy policy and accept the service to view the translations.