Funeral Parade of Roses is a postmodern avant-garde film that delves into themes of gender identity, social commentary, and the exploration of the human psyche. Set in Tokyo, Japan, the movie follows the story of a transgender protagonist who finds herself entangled in a web of violence, tragedy, and personal turmoil. With a nonlinear timeline and documentary-style elements, the film offers a thought-provoking journey into the complexities of human relationships and societal norms. Funeral Parade of Roses is a visually stunning and emotionally intense exploration of the LGBTQ+ experience and the struggles faced by those who defy societal expectations.
In Quarter to Two Before Jesus Christ, a group of characters find themselves in a comedic adventure set in ancient Rome. As they navigate through various challenges and encounters, they become entangled in a conspiracy that threatens to disrupt the Roman Empire. With clever spoofing and deliberate anachronisms, this comedy takes a humorous and satirical approach to the ancient world.
‘Shakedown’ was a series of parties founded by and for African American women in Los Angeles that featured go-go dancing and strip shows for the city’s lesbian underground scene. Inspired by transwoman Mahogany who, as the mother of the scene, presided over queer strip shows and balls for non-heterosexual audiences in the 1980s, butch Ronnie Ron created, produced and presented the new shows. In them, the largely female clientele from the ‘hood’ slipped dollar notes into lap dancers’ panties while celebrating lesbian sexuality to pulsating hip-hop beats.
Private Life is a movie set in 1950s England, where a complex and secretive love story unfolds. It explores themes of homosexuality, discrimination, and societal norms, as two individuals navigate the challenges of expressing their true identity and desires. The movie dives into the lives of its characters, highlighting their struggles, relationships, and the risks they take to pursue happiness.
After a shooting assignment, Henrique is mugged by two armed motor-bikers who steal his camera and speed off. Seconds later, he watches both get hit by a pickup truck driven by a self-appointed avenger, someone weary of feeling defenseless against the urban violence, and who decided to take action. Henrique recovers his stolen equipment and leaves, feeling avenged. But he goes back to find the memory card, with the photos, lost during the crash. From that moment, he is trapped in a situation where he is now the criminal for failing to rescue a victim, who had been his aggressor. Going from the murder scene to the police station, and then to the emergency ward of the public hospital, he attempts to clear himself.
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