Jiro Onuma arrived in the U.S. from Japan at the age of 19 in the 1920s and was imprisoned during WWII. Queer, and an avid collector of homoerotic physique magazines, the Jiro of this film is depicted surviving the isolation, boredom, humiliation and heteronormativity of internment. This musical mash-up video features drag king performance, U.S. propaganda footage, muscle building and homoerotic bread-making.

I wanted to be a boy when I got borned, you know, outta your tummy!" — Audrey, age 6

Audrey Superhero explores the shifting terrain of gender identity. The film includes vividly charged discussions with Audrey, who insists that she is Superman, along with views of her obsessive role-playing during her daily life out in the "real" world. Playful and arresting, Audrey de-cloaks from Clark Kent to Superman, revealing her "secret identity" as a boy. She does push-ups, practices flying, and imagines "saving the police from the bad guy." She ruminates, "to have a girlfriend I have to be a boy," all the while drawing us into her state of transformation. The unscripted narrative was built through the collaboration of mother and daughter, with Audrey youthfully honest and willing to reveal her inner emotional state. She is open as only a six-year-old could be.

In Los Angeles, art, like life, is something that happens between car rides. As seen through a rear-view mirror-like reflection of the mind, a hand-processed explosion of emulsion, light flares, and re-photographed images, a day shared between three artists creates a unique form of autobiographical fiction. As their conversation about a single relationship becomes a metaphor for the relationships between each of them and the relationship between an artist and their own artistic process. Adrift in a world of lousy, lost, or un-attainable loves, sometimes the only relationship we have that keeps us going is one we make ourselves.

A relationship breaks down under the strain of different oppressions that keep us silent even in our most intimate spaces.  Oppression works divide-and-conquer style through struggles with race and class.

Dreamy macro shot stills of a fabulous queen create a landscape of genderfuck beauty. Voiceover of the filmmaker and Veruca talking about the shared histories of the evolution of their gender presentation. This is a film about friendship.

D1: Disasters that happen to humans because of nature.

D2: Disasters that happen to nature because of humans.

D3: Disasters that happen to humans because of humans.

16mm film collage with hand-altered (painted, scratched, distressed) found footage and experimental processes shown on dual-projectors to create superimposed juxtapositions of nature footage, flooded towns, logging, smokestacks, crowded city sidewalks - not natural disasters as we might popularly imagine them but the disaster of life.

A postcard has two sides. One, a recognizable image; the other, a personal message. A visceral journey, Death In Three Acts is a matador's dance between two seemingly competing identities.

This film is a contact printed experimental film. Spliced loops of picture and then optical sound have been printed onto new stock, hand-processed and solarized. A new kind of physical examination was formed.

Danya McLeod watches TV so we don't have to. Like the short description summaries that often accompany TV programs through an on-screen cable guide, Don't Ask Don't Tell Gay Gay Gay is a jump-cut/short-cut edit of Season 4, Episode 4 of Boston Legal. All excess material has been removed to effectively capture the tone of national discourse around DADT.

Staging of an excerpt from the opera Lakmé by Leo Delibes. Two women meet secretly where "the flowering vines spill their shadow over the sacred creek that runs quiet and dark, awakened only by bird songs." A man stares at them . . . Their voices, floating on the water can be heard far away.

A glimpse into Weimar-era Berlin through an imagined one-night-stand between Frida Kahlo and Anita Berber in 1924. Sparks fly when two gender transgressing icons meet in a deliciously seedy nightclub. Revolutionary ideas and subversive art form the basis for a powerful attraction. This beautifully erotic film adds an anachronistic queer flavor to a favorite historical era.

Wildblood is the third piece in a trilogy of animated shorts by Los Angeles artist David Jones. It takes its inspiration from queer zines and the San Francisco homocore music scene of the early 90s. The artist was a member of the seminal band Fagbash and considers the piece reminiscent of the type of making indicative of this period. It is constructed entirely of xerox collages re-photographed and animated digitally.

A comedy about a troop of shield-bearing Amazons who take over city institutions before relaxing in the country. "Superdyke takes women into the streets when Barbara arms a platoon of vagina warriors with Amazon shields in an attempt to overthrow San Francisco. They march through City Hall, usurp the bus lines, demythologize the consumer mentality at Macy's (to the recorded astonishment of casual shoppers), and wander through the erotic art museum. Barbara's frenetic handheld lens catches the startled reactions and the glee of the participants. Superdyke has a home-movie quality to it, but its committed and loose moments in the playground confirm its comic rationale." 
-P. Gregory Springer 

"I wanted to be a boy when I got borned, you know, outta your tummy!" Audrey, age 6.

An experimental documentary that explores the shifting terrain of gender identity. The film includes vividly charged discussions with Audrey, who insists that she is Superman, along with views of her obsessive role-playing during her daily life out in the "real" world. Playful and arresting, Audrey de-cloaks from Clark Kent to Superman, revealing her "secret identity" as a boy. She does push-ups, practices flying, and imagines "saving the police from the bad guy." She ruminates "to have a girlfriend I have to be a boy," all the while drawing us into her state of transformation. The unscripted narrative was built through the collaboration of mother and daughter, with Audrey youthfully honest and willing to reveal her inner emotional state. She is open as only a six year old could be.

Pony Glass is the story of comic book character Jimmy Olsen's secret life. In this 15-minute cutout animation Superman's pal embarks on his most adult adventure ever as he navigates the treacherous shoals of early '60s romance trying to resolve a sexual identity crisis of epic proportions. A three-act melodrama -each act has its own song- filmed in Klahr's signature collage style that "unmasks" our collective iconic inheritance as Americans while significantly expanding the notion of what a music video can do.

"Klahr cruises the elysian backstreets of childhood comic books to make a set of 'musicals' ripened by blue-eyed melos and soul-searching psychodrama. Cub reporter Jimmy Olsen proves to be a pony of a different stripe and a man of steel as he ascends beyond good and evil in this bittersweet bildungsroman." - Mark McElhatten, New York Film Festival.

"In a different vein is Lewis Klahr's Pony Glass . . . The central character of this cartoon collage, whose visual focus is in the 1950s, is Jimmy Olsen, the cub reporter from 'Superman', who is imagined in scenarios with musical accompaniment dealing with racial and sexual anxiety. The character is liberated from a repressed Milquetoast into a figure posed in various pornographic couplings. The synergy of intense pop music and cartoons makes for a disturbingly heady meditation on transgressive imagery and popular culture." - Stephen Holden, The New York Times.

"Less fussy and far more transgressive than his previous work, Klahr's collage animation Pony Glass makes comic-book hero Jimmy Olsen the locus of desperate anxieties about sexuality and race. The film is so charged with fear and desire that a simple iris down to black made the hair stand up on the back of my neck."
- Amy Taubin, The Village Voice.

A stutter-step progression of extended moments unmasks the technological miracle of Wonder Woman's transformation, playing on the psychological transformation of a television product. Birnbaum considers this tape an "altered state [that] renders the viewer capable of re-examining those looks which on the surface seem so banal that even the super-natural transformation of a secretary into a 'Wonder Woman' is reduced to a burst of blinding light and a turn of the body -a child's play of rhythmical devices inserted within the morose belligerence of the fodder that is our average television diet."

Live-action, hand-drawn and computer graphic animation drive this high-speed fractured narrative about a Dionysian superhero who sometimes has to punch out Batman for being too goody-goody. Superhero is an updated personalized humorous response to our traditional cartoon hero story.

An absurd, weirdo imagining of a rubber-stamped "dyke dollar" come to life, Dyke Dollar is a comedy about gay activism and identity politics as seen through the eyes of teenage boys in Suburban New York. Starring Lisa Haas as the Dyke Dollar herself.

A role-playing workshop where participants reenact a fictional polyamorous romance leads to a group wedding and honeymoon between characters based on two obscure Marvel superheroes and two internationally renowned art personalities. The happy foursome are Stelarc, an artist whose cybernetic mission in life is to render the body obsolete; Orlan, an artist whose actual redefinition of her own body via plastic surgery confronts representations of woman throughout art history; the Scarlet Witch, a mutant superhero who has unlimited powers over probability, and the Vision, a "synthezoid" whose mechanically fabricated body contains a human soul. What If? unfolds the entangled story that brought this romantic foursome together, spanning the gulf between genders and representations; the body and technology.

Inspired by The Autobiography of Alice B. Toklas and the classic essay on inflation and fiat currency by Gertrude Stein, this film features some of the Bay Area's most POSSESSED performance artists making "art" with a Picasso Blue Period "print," an "original" African mask, loads of "fake" money and a REAL live wheelbarrow and fog machine with a chant that is sure to get the Occupy Wall Street folks IN THE ZONE. Their symbols only have power over us if we let them. INVERT THE PYRAMID. We have magic too.

A relationship breaks down under the strain of different oppressions that keep us silent even in our most intimate spaces.  Oppression works divide-and-conquer style through struggles with race and class.

Danya McLeod watches TV so we don't have to. Like the short description summaries that often accompany TV programs through an on-screen cable guide, Don't Ask Don't Tell Gay Gay Gay is a jump-cut/short-cut edit of Season 4, Episode 4 of Boston Legal. All excess material has been removed to effectively capture the tone of national discourse around DADT.

A local NYC-Queer experimental documentary using art world critique to demonstrate the effective ambiguity of street protest and the continuing dynamism of "gay" in political strategies steeped in greed.

Through the poetry of a queer, mixed race woman, Uncovering Color looks at how skin color relates to racial identity. It interweaves interviews of Black women of different backgrounds to explore how perceptions of color impact childhood, beauty and family.

Butch women discuss the sometimes complicated relationship they have with their breasts. And they show us their tits.

In Barcelona, a crossroad of events: a performance where a woman penetrates another woman with her fist while holding a camera. A screen projects and reproduces everything in large dimensions. A book launch becomes a ceremony to celebrate the death of the phallus, ending in a fisting by a bonfire. Everything can be inscribed in the same collective search to challenge the representation of the body in order to create alternatives to gender and sex stereotypes.  The Paramo Collective was born in Barcelona in 2010 during one of many afternoons of teamwork. The group united not around a concrete idea, but rather under the same visual needs: the search for out-of-scene images and the exploration of subjects, objects and contexts that do not fit within pre-established limits. PARAMO is currently focusing on the struggle led by the recently-formed Spanish Transfeminist Movement.

The Projectionist uses Queer Film Action and multiple projections to explore the varieties of ways that projected images can help shape an understanding of our presence. From Aristophanes' hymn to "Double Love" in Plato's Symposium, to the implication of the audience in the viral political fears that plague America, Inc., The Projectionist attempts to unnerve, annoy and prod its viewers to the point of power in the present and turn away from the screens.

Every once in a while, MIX comes across a film that, although not "experimental" in process and format, brings to light a subject - or in this case a biography - that in itself qualifies as "experimental". Passionate Politics: The Life and Work of Charlotte Bunch shares with all of us an extraordinary life lived so far. In many ways, Charlotte Bunch lived a social experiment to lead in the fight to create an America that accepts all as equal, devoid of racial, gender or sexuality-based violence and disparity. We, as part of the larger LGBTQ community, have been the benefactors of her courage, her spirit and her determination to reject the status quo of her generation. Her fight continues on a global level, and here at home, all the more necessary as GOP/Tea Party leaders and their female representatives work ardently and tirelessly to erode women's rights to abortion, access to sex education, condoms and the pill, not to mention the continued redefining of queerness as a chosen lifestyle deserving of discrimination.

This documentary is a profile of a truly inspirational woman, but it also serves to define a movement and a struggle that is still relevant.

Passionate Politics brings Charlotte's story to life, from her beginnings as an idealistic young civil rights organizer to lesbian separatist/activist, to internationally-recognized leader of a campaign to put women's rights, front and center, on the global human rights agenda. Charlotte has been both a product and creator of her times: every chapter in her life is a chapter in the story of modern feminist activism, from its roots in the 1960s struggles for social justice to international campaigns against global gender-based violence today.

Following the screening, MIX is proud to welcome Charlotte Bunch, along with director & producer Tami Gold, and co-producer David Pavlosky for a discussion of the film.

Tami Gold is a visual artist who began working in media in the early 1970s in the Newsreel Film Collective of the anti-Vietnam War movement. In addition to painting, sculpture and writing, she is an award-winning documentary filmmaker. Among her many award winning documentary films are Juggling Gender (1992), a portrait of Jennifer Miller, a lesbian performer who lives her life with a full beard and Emily and Gitta (1996), a love story between two women, one, a daughter of Holocaust survivors and the other whose parents were Nazis.

Her work has screened at the Museum of Modern Art, the Whitney Museum, the Chicago Arts Institute, the Kennedy Center, and the American Film Institute among others. Tami is a Professor at Hunter College.

David is an NYC-based independent producer and director. His work covers a wide range of subjects, but themes of social justice and human relations are common among his films. Recent works include: Don't Bring Scott, a documentary about the underlying desire for family and community told through the voice of the filmmaker and Puzzles, which explores the hatchet-and-gun attack on patrons of a gay bar in New Bedford, Massachusetts. He studied with Martin Scorsese and Abbas Kiarostami in the Tribeca Filmmaker Exchange Program in Marrakech, where he completed the documentary short film Crossroads, which screened at the 2006 Tribeca Film Festival.

Goddesses unleash the power of the sea to channel forces beyond their bedrooms. Moving image and still photos create an orgiastic collage set ablaze in this musical short, created as an homage to underground filmmaker Jack Smith.

Sirens of the devil, hounds of hell. Who are these women who represent the danger of times? Feminists for sure, hidden sometimes, but original in their approach to life. Here, Ducellier documents some of the witches she has encountered over time.

A multi-format, process-based experimental film that explores the root of artistic creation. The film documents visual artist C. Graham Asmundson's body of work over a rigorous six-month period.

A haunting and epic dramatic short film starring downtown New York City icon Sophia Lamar, touching on preconceived ideas of genders, sexual expectations and stereotype.

Jesus and Satan, the ultimate opposing and polarized Western deities, prepare for a showdown on battlefield Earth. But sometimes even the gods are in for a surprise. WHITELICK is a raucous, heretical, and satirical puppet music video fantasy about the war between these two ancient adversaries and the American tragedies that ensue. Can the clashing cosmic titans be brought back into harmony for the good of all before it's too late?

Both tender and hardcore, Aquarius follows a young man as he uses magick to manifest the love he desires.

Using a combination of power tools and sexual energy, the performers pay homage to our feminist and queer pioneers through tactics of inversion. Jerk the circle documents a ritual in which a powerful symbol is dismantled, rendered impotent.

Screening in conjunction with the Museum of Arts and Design's Francois Sagat: The New Leading Man series (see page 43), MIX NYC is proud to present selected scenes of Chris Ward's porno opus Arabesque. As much as we'd like to screen the whole 3 hours of 17 men in varying states of hirsuteness - and we certainly encourage micro-marathon-screenings amongst yourselves all around the city - we're focusing solely on the scenes where Francois is center stage, so that it's all-Sagat, all the time. Also starring Hussein, Joey Milano, Joey Russo, and Manuel Torres.

"Arabesque emerges from the silent films of Rudolph Valentino, starting in black and white and quickly turning into a lush, colorful photoplay. We peer into the hustle and bustle of a marketplace where a dozen hot Arabian men, hairy, built, and beautiful, conduct the business of life: buying and selling goods, gossiping about the village . . . eyeing each other and perhaps wondering about unthinkable thoughts . . . Slowly the scene thins out as men go back to their houses, some carrying new guns from the arms merchant, others with carpets, some with food. Finally five remain - the hottest men of all, each thirsting for something more than the cool water of the market fountain . . . — Raging Stallion Studios

If you find your self flush and thirsty from the Turkish bath scene, feel free and retreat to the lounge, cool yourself with water, wander about and if the spirit leads you to our Sagat Shrine, lay out your wishes and desires and leave an offering . . . needless to say, NYC Condoms are available at the hospitality desk.

MIX NYC first screened De Profundis in 1997 at the 11th MIX Festival, where we called attention to its experimental rigor and celebrated its investigation of language, sexuality, and Oscar Wilde's fabulously transgressive aesthetics. We are just as excited now as we were then by the striking beauty of this work and the enveloping score by Frederic Rzewski, with additional sound compositions by Douglas Cohen.
De Profundis is a three part, hand/alternative-processed experimental film based on Oscar Wilde's prison letter De Profundis. This 65 minute film sets up a haunting investigation of queerness, masculinity, history and sexuality, buttressing images against a soundtrack composed of Wilde's aphorisms, a voice and piano setting of Wilde's prison letter, and multi-tracked interviews with a diverse group of contemporary gay men.

"The only way to get rid of a temptation is to yield to it." -Oscar Wilde

If film no longer existed, De Profundis gives the impression that Lawrence Brose is certainly capable of reinventing it. Oddly enough, Brose would do so by stripping film down to visual components that are reassembled only as they are knitted to each other at their breaking points. Redacted.
But one must resist the impulse to talk only of how Brose -with controlled image manipulation and extremely experimental hand-processing techniques- has produced in De Profundis a film united by stress and diaphanous. De Profundis is more than an unconventional approach to filmmaking, though it would be a visual tour-de-force if it were only that. Taking its cue from Oscar Wilde, De Profundis holds up a mirror to gay sexuality and plumbs the tensions reflected there.
Meshing images culled from home movies, drag performances, Radical Faerie gatherings, and vintage gay erotica with a piano soundtrack scored from Wilde's prison letter and a voice composition fashioned from the poet's aphorisms, Brose makes film itself into the protagonist of his exploration. With images and sounds constantly decaying and shifting and contaminating each other, film becomes a metaphor of the transforming self that Wilde prized for corrupting a sense of sexual normalcy. De Profundis embraces Wildesque deviance and cautions that the desire for normalization prevalent among contemporary gays threatens to contain it.
Serenity in sophistication is a triumph - like the deviance of De Profundis, which, achieved in an age too terrified to be deviant, lies in the film's unflinching honesty and terrifying beauty.
- John Palattella

Filmmaker Lawrence Brose was arrested by the FBI in 2008 and charged with downloading child pornography from a German website. The charges also include 100 exhibition prints from his film De Profundis. If convicted, he faces a lengthy prison sentence and lifelong sex offender status.
Join us for a screening of Brose's 1997 film De Profundis, followed by a panel discussion about his case with Keith Gemerek of the Lawrence Brose Legal Defense Fund andt Judith Levine, author and activist with The National Center for Reason and Justice. Moderated by Sarah Schulman, author and MIX Co-Founder.

Bob Mizer's earliest photographs appeared in 1942, in both color and black & white, but his career was catapulted into infamy in 1947 when he was convicted of the unlawful dis- tribution of obscene material through the US mail. The material in question was a series of black and white photographs, taken by Mizer, of young bodybuilders wearing what were known as posing straps - a precursor to the G-string. He would serve a nine-month prison sentence at a work camp in Saugus, California for what now seems tame. At the time, how- ever, the mere suggestion of male nudity was not only frowned upon, but also illegal.
In spite of societal expectations and pres- sure from law enforcement, Mizer would go on to build a veritable empire on his beefcake photographs and films. He established the influential studio, the Athletic Model Guild (AMG) in 1945 with one or more heretofore- unidentified partners, but by the time he published the first issue of Physique Pictorial he was operating the studio on his own. With assistance from his mother, Delia, and his brother, Joe, he would go on to photograph thousands of men, building a collection that includes nearly one million different images and thousands of films and videotapes.
Robert Henry Mizer was born in Hailey, Idaho on March 27, 1922 to Delia Mizer, a recently widowed mother. Five years later she would move, along with her two youngest sons, to a home in Los Angeles, where she took in boarders to support her family. The home at 1834 West 11th St. would become the centerpiece of the AMG compound -a small Hollywood-style studio that spanned four city lots. Here Mizer would build an internation- ally known photography business, producing images that focused on representations of American masculinity. In his fifty years as an artist, he photographed bodybuilders, US ser- vicemen, male prostitutes, and his fair share of cultural figures, including Victor Mature, Alan Ladd, Susan Hayward, Arnold Schwarzen- neger, Joe Dallesandro, and others.
He died of cardiac arrest at White Memorial Hospital in Los Angeles on May 12, 1992. During his fifty-year career, he influenced artists like David Hockney and Jack Pierson, and was instrumental in bringing the works of others, like Tom of Finland, to the public's attention. Following his death, the contents of Mizer's home and studio were either discarded, given away, or salvaged. This collection was housed largely in public storage units and residential garages until 2004, when photographer Dennis Bell purchased the photographic collection and what remained of the Mizer estate.
With donations and purchases from Mizer's friends and contemporaries, some of whom rescued props and equipment from abandonment, Bell founded the Bob Mizer Foundation and has since managed to gradually rebuild the estate, which is now part of the Foundation's permanent collection.
His works have been published and discussed in multiple journals and books, including Bob's World: The Life and Boys of AMG's Bob Mizer (Taschen, 2009) and The Complete Physique Pictorial (Taschen, 1997), and have appeared in galleries and museums all over the world. The work is currently represented by Exile gallery in Berlin, Germany, where the exhibition "The Private Bob Mizer," curated by Billy Miller, debuted earlier this year, showcasing the artist's never-before-seen pioneering color photography.
Mizer began making films in the 1950s and as times progressed, his films reflected changes in both the adult film market as well as the society at large. The sampling here is mainly culled from the 1960s and gives a small taste of his output during that period when laws and the adult market was evolving. Mizer's films were originally produced and distributed to be viewed privately; then in the late 60s they were shown at theaters, and then later still, as the market changed and the videotape was introduced, his product was once again consumed in the viewer's private domain. This program is not meant as a mini-retrospective but simply as a sample of a certain period of production.

TV Guide.com calls it a "dismal miasma of butch posturing," and "a festival of ugliness."

MIX NYC calls it "fabulous" and "a beloved classic!" Let's celebrate the 20th anniversary of this groundbreaking masterpiece of dyke filmmaking!

Collaborators shared acting, writing, filming and every other aspect of the production of this highly stylized, science fiction dystopian lesbian romance. Flaming Ears was shot in super-8 and blown up to 16mm. This process gives the film a grainy quality on top of its brightly colored costumes and sets, setting up the viewer to contemplate the landscape of a shabby but vivid low-budget future. The film is set in the year 2700, but we may learn more about the year 1991 by observing the contents of this time capsule of the queer imagination.

Keep an eye out for Spy drawing comics, Volley setting fires and Nun eating reptiles. Keep an eye out for stop-motion animation, clunky special effects and that infamous furniture sex scene. There is so much to look at, but don't get too caught up looking for the plot line! With minimal dialog, spoken sometimes in metaphors, the images create their own iconography of a sexy but bleak future bursting with fetish attire and violence. Relying on tactile images more than words, we see fire, water, smoking, tea drinking, roller-skating and dancing. The film requires our careful attention and yet is simultaneously forgiving of our wandering minds as it conveys more a sensibility than a narrative. In the abandoned and desolate city of Asche, the world is inhabited almost entirely by lesbians. Hands get blown off, bombs get blown up and guns get fired. Nearly every detail of this film is cryptic, with symbolism and stylization going so far in the end as to transform one of the characters into a cardboard cutout. Let's wear our dark cyberpunk best for this late night screening - And bring on the strange!

Ursula Pûrrer, director and actor:
"I am a woman. I make films. I know how to work with a ridiculous budget: you can call me a master of improvisation. I'm lesbian and I have a preference for experiments, I am a strategist, a utopist. I am Volley. As simple as that. And Volley loves precision, ease, aggression, devotion and wit. I live in a special world, and I walk through the so-called world heavily armed."

A. Hans Scheirl, director and actor:
"They are female lone warriors, and they try to live their lives as intensely as possible and thus collide with each other somehow. lt's a matter of life and death. And love."

(Artists quoted from Media Werk Statt Wien)

Prospective students, mentors, supporters, and inquisitive spectators are invited to observe and participate in the new direction of ADT as a peer-based/ mentor driven workshop for media makers in all phases of development.

The session will feature guided critique of current material from ADT including raw footage, rough edits, storyboards and script drafts for projects in the making

Rorschach meets the electronic punk of Lesbians on Ecstasy.

A tribute to Diamanda Galas and her seminal work Plague Mass, created by vocal artist and performer Yvon Bonenfant with the adventurous electronics of Cox Ring and the sensual scores of Sebastiane Hagarty.

Little Orphan Gender Revolutionary Annie is stuck in the rotten gender-binary girls orphanage system, dreaming of a place where ze could thrive. "Tomorrow, tomorrow, I'm changin' tomorrow... I'm not just a girl or gay!" sings G.R. Annie. This short video is based on a play written by Dr. Kate Sorensen and Killer Sideburns and performed at Idapalooza Fruit Jam in 2004. The 2011 video features four toy theater stages created by Dr. Kate Sorensen, green-screen video magic by Niknaz Tavakolian, and Killer Sideburns as a miniature Broadway star.

Singing and daydreaming in the shower conjures up a satyr and a moon, both full of questionable advice on romance- all set to the music of Rossini with newly inspired lyrics.

Two women meet secretly where "the flowering vines spill their shadow over the sacred creek that runs quiet and dark, awakened only by bird songs," accompanied by Leo Delibes opera Lakme.

People, thoughts and bad childhood memories - and a leopard print girl I loved. A film collage featuring music from the Montreal scene and lo-fi video effects.

Radio's companion piece, also shot on a phone with low resolution, Alibi is guerilla-noir, mixing found footage, videophone diaries, and constructed sequences into a collage of sight and sound.

Jiro Onuma arrived in the U.S. from Japan at the age of 19 in the 1920s and was imprisoned during WWII. Queer, and an avid collector of homoerotic physique magazines, the Jiro of this film is depicted surviving the isolation, boredom, humiliation and heteronormativity of internment. This musical mash-up video features drag king performance, U.S. propaganda footage, muscle building and homoerotic bread-making.

Shot on a camera-phone and using found footage, Radio is a psychedelic journey into the world inside a radio.

Neither mourning nor celebrating the transition from image to information, this piece shows the gradients of color, contrast, focus and signal that flow through so-called white noise.

Journey from the countryside to the Santiago metropolis with a motley family that includes ex-prostitute matriarch Trans, robber-clown father Payaso and porn star daughter Jot. Their epic search for their family tree brings them head-to-head with cyborg agents of the multinational media corporation that has seized the Chilean capital.

San Francisco underground muse Shawna Virago doles out lyrical pleasure-pain with a sweet growl. This power-femme flashes a whole arsenal of toys, singing, "I do it for the leather, I do it for the power, I do it for the pleasure of two-fifty an hour."

Drawn from the cell phone album of the director, a renowned South African photojournalist, this cell video turns snapshots into transitioning windows that capture the creative lives of New York City transgender/queer artists. Playing with the limits of montage, these moving cell images give impressions of a past-future, just shy of a memoire, vignette, or narrative sequence.

The Transborder Immigrant Tool, developed by Electronic Disturbance Theater 2.0, retools GPS (Global Positioning System) for use on low-tech cell phones to help immigrants crossing the US-Mexican border. The Tool redirects technology used by nation-states to measure territory towards a more universal cosmology of celestial navigation, guiding human border-crossings across time.

This award-winning science fiction film traverses the authoritarian desert ecology of an underground city, struggling to preserve its last natural resources in a futuristic Africa. In this parched dystopia, sedated androgynous citizens subsist at minimum vitality, confined indoors by command of the Maitu Council. A museum curator inside the city's compounds attempts to escape outside, in the hopes of planting a rare, if not extinct, seedling.

Far from just an instrument, the Transborder Immigrant Tool is a mythic, poetic, and erotic recoding of technology. Re-oriented towards the embodied, migrant user of the cell phone, the Global Positioning System (GPS) can be re-rooted in the cellular and transcendental "tradition of migration, a tradition of long walks."

Singer, performance artist, and costume designer Yozmit teleports us into a labyrinth where we witness an initiation through ritual bath. Yozmit's haunting voice, evoking traditional Korean pansori, and her metamorphosing body-costume revel in the interplay between beauty and confinement.

Grandmother desperately wants her granddaughter to appease her sexual need with her little tongue, but her desire won't be easily satisfied since her own son - the girl's father - also wants his daughter for the same purpose.

X for symmetry. X for chromosome. X for erasure. X marks the spot.

A silent foray across the skies, the streets, an amusement park and the commercial areas of a small town ultimately takes us to the ocean. Across the water, we close in on a young man's crotch. The film culminates in blood and semen.

The viewer is positioned in the crowd, directed to look up at the one who is placed on the pedestal.

The director/actor sits in a cage on a hot sunny day in front of Democracy Monument in Bangkok. She's used to it; she's doing fine.

What would it look like if humanity had no gender? A kathoey noi (baby tranny) shows us how to cook international chicken curry (curry is slang for prostitute in Thai). People have sex with places, the locations they inhabit. A girly boy and a girly girl play snooker and then get dirty. These three scenarios propose new modes of sexuality and relationality.

On a stormy night, we catch glimpses
of each other.

Archival footage of the October 6, 1976 massacre of pro-democracy student protestors in Bangkok is juxtaposed with a Siam Society visit to the Yellow Banana Leaf Ghosts tribe.

Images of Burmese migrant workers in Thailand are overlaid with Thai commentary about them. Subtitles are provided in an invented language.

"To show naked men is forbidden in Thailand, but the fact that we did show it on a big screen is a statement. It is my political expression. To just show it, without saying anything more, already means something. The authorities ban films for the silliest reasons, so here it is."

In the form of a dreamlike confession set to music, two wrestlers bare their souls and brave the consequences for posing nude in the second episode of an audio-visual odyssey through the naked-boy business.

feti(sh)ame is an arousing adaptation of a book of poems based on interviews with gay men discussing their fetishes and connections to shame.

The recipe for a good Raped Carrot Porn? Prepare some "Do it Yourself" sextoys, find same good old "Z" movies and get inspired by post-porn feminist culture. Bon appétit!

Goddesses unleash the power of the sea to channel forces beyond their bedrooms. Moving image and still photos create an orgiastic collage set ablaze in this musical short, created as an homage to underground filmmaker Jack Smith.

This is a MIX classic. Made to premiere at MIX in 2003, it's been a runaway hit. Combining vintage porn footage, original inter-titles and scenes from It Came from Outer Space, it's funny, outrageous and sexy.

Both tender and hardcore, Aquarius follows a young man as he uses magick to manifest the love he desires.

A man recalls a memorable hookup while sitting naked and having a cigarette at his hotel room window.

Recalling the clunky sci-fi of Ultra Man, Dr. Who and Johnny Sokko, two sexy mandroids join in battle before conducting experiments of the intimate kind.

Community Action Center is an ambitious work that sets out to meet the urgent need for sexy, explicit lesbian pornography! Created by and about lesbian collaboration, Community Action Center flows over a series of very loosely connected scenes showing variety of dykes fucking each others' brains out.

The film represents a huge undertaking, important not only for its feminist sensibility and explicit images but also for bringing up concepts of community as they intersect with sexuality. Deliberately assembled with friends as willing participants, Community Action Center situates itself in the real world but nonetheless imagines this world as consisting of one sexual encounter after another. Piecing together texts and influences, Community Action Center references both well-known and obscure images and ideas, including queer favorites like Jack Smith and Carolee Schneeman. Celebrating and subverting images typical in pornography and pop culture erotica, this tour of lesbian sexuality includes everything from the archetypical witch, to fruit, honey and an egg. Straight porn images are literally delivered by the pizza boy and subversively sent to the car wash.

With the addition of a live musical performance by Community Action Center score contributors Sam Miller and Nick Hallett and a Q&A with director A.K. Burns, we’re kicking off our closing night with a very exciting afternoon!

Since September 2010, Steiner & Burns have taken the show on the road to be seen by new friends and collaborators. Dykes have a history of building connections through sharing content that challenges us, recalling the way Barbara Hammer toured her early work in women's coffee houses and stirred up trouble with explicit images of bodies and sexual pleasure. Community Action Center is well situated in the tradition of lesbian art that raises questions about women's complicated relationship with pornography and erotica. After touching down briefly in NYC, the journey continues in creating a constellation of screenings around the world.

And how does sexuality express itself and get represented outside traditional monogamous pairs? Can we create community through sexual expression and connection? Community Action Center is here with both its complicated content and the simple fact of its presentation to fuel the fire of our ongoing conversations about communing sexually through bonds of friendship... and the bonds of piercings, spankings and dildos.

"Because the video contains sexually explicit content, the term 'porn' is relevant and the artists have an interest in exploring the trappings of the term itself. Sex, sexuality and the complexities of gendered bodies are inherently political. Queer sex and feminist agency is a shared acknowledgment of reciprocal penetration. This project is a small archive of an intergenerational community built on collaboration, friendship, sex and art. The work attempts to explore a consideration of feminist fashion, sexual aesthetics and an expansive view of what is defined as 'sex'. Burns and Steiner worked with artists and performers who created infinitely complex gender and performance roles that are both real and fantastical, set to a soundtrack of music and original compositions by artists culled from the worldwide sisterhood. The video seeks to expose and reformulate paradigms that are typical of porn typologies, intentionally exploiting tropes for their comical value, critical consideration and historical homage. Using the gallery to exer/exorcise the mystical and discreet lost spaces of homosocial configuration, the artists have created a reason and a space to reflect on the cultural realness of homo-grown lesbian sexuality. The work aims to be a hedonistic and distinctly political adventure."

The video is an interview with an activist from the Copenhagen queer milleu, filmed with the lens-cap left on the camera. The interviewee begins by talking about pornography and about the creation of separatist rooms. About halfway into the film she goes on to speak, in more general terms, about the possibilities for being different in today's society. The film opens and concludes with a long silent scene from a big public square in Copenhagen. An excellent pairing for contemplation of the challenges of representing queer women's bodies and sexuality!

An unedited video documentation loop, part surveillance, part tableau, which charts the trajectory of three ambiguous figures playing out the mediated fantasies of the videographer. The woods at night is the backdrop for their shifting relations of power, desire and domination.

An ongoing experimental documentary about Satterwhite's mother's drawing and sound practice during her diagnosis of schizophrenia, Drawing Desire is a surrealist animation that weaves together drawing, performance, narrative and new media.

A small space is filled with white balloons and a surprise. There are straight pins available to be thrown. Will an audience become excited popping the balloons and continue to take aim at what they find at the center?

mister honey pours three bags of rice - black, red and white - and then sifts. like in mythology, the impossible is a simple task. the audience is storyteller here. honey asks you to narrate by reading from a box of cue cards. in it, you will find the intimate, the tragic and the geopolitical.

Andrews maintains a single pose while images frame her pose as part of advertisements for fictitious products, institutions and political campaigns. Drawing inspiration from Hank Willis Thomas' Unbranded series, the artist seeks to explore the ways that racially ambiguous subjects are used in advertisements in what has been described as a "post-racial" era in U.S.A. history.

Created as a love letter to an estranged father in the hope of return, this stop motion short presents a struggle to reconcile community expectations, transgressions and desire. The impact of longing and migration is shown through the use of colonial symbols and religious rites. The video asks how do we negotiate our families' needs and identities at the same time as our own?

A performance freestyle juxtaposed with De Wees' video Signifyin' Delta, HERE(now) o!ers elements of a home environment (a lamp, a record player, a table and chair). Inviting audience into one-on-one conversation, De Wees explores the significance of money vs. time, along with other extremely important and trivial subjects, and attempts to come to terms with existing in this unique moment: the present.

A multi-media work in progress documenting the artist's first year of graduate school through a live reposting of his Facebook statuses.

"I wanted to save Precious. Now, I want to save everyone else in this film too." In Precious Precious, Melay Araya turns a 35mm trailer of the film Precious into a surrealist fantasy by bleaching out and painting over the main character in the footage.

Saye Sky, an Iranian rap artist, will perform two songs dealing with social issues pertaining to the Middle Eastern world yet current to everyone.

In Pablo Oliverio's Buenos Aires, humans and aliens live together in a totalitarian society. Books and other publications are outlawed. Constant surveillance and state control rule this bleak future. The relationship between humans and aliens has broken down, and both are subject to the enslaving powers of consumption and technology. Some humans with jobs are permitted to remain in the city, but aliens and poor humans alike are exiled by the city's Department of Cleaning.

Cartographer Rex makes his way through the blighted city, witnessing skirmishes, burning books and lo-fi laser beams fired at protesters. By the light of flashing neon signs, Rex is watched by and interacts with robot representatives of the state. He dons a helmet and enters an altered state to draw beautiful maps with brush and ink. When his girlfriend leaves and he loses his job, Rex struggles between holding on to some form of employment or joining the resistance. Things take a turn for the hopeful when a new and mysterious roommate named Ian moves in, bringing the possibility of love. Along the path to revolution, we find an underground outlaw with cardboard goggles, comic book and video game worlds that come to life, and a rebel rendezvous in a nightclub.

Efforts to liberate the city intermingle with efforts to liberate the body. In this particularly relevant vision of the future, the world is run by consumption, greed and constant surveillance. Hope is offered by the possibility of queer extraterrestrial love. A society based on control is disrupted by desire unbound!

From the ominous titles that introduce the setting to graffiti coming to life, the film is visually stunning and charmingly strange. With extremely low budget special effects, it simultaneously subverts and joins the ranks of the science fiction genre. A testament to independent spirit, Oliverio wrote, directed and self-financed Un Ovni Sobre Mi Cama, with a 2-person crew, 25 actors and a set made entirely of found objects. Reminiscent of the bureaucratic nightmare of Brazil, the social control of Alphaville, and the video game world of Tron, this captivatingly dark film speaks directly to contemporary struggles with employment, protest, and the revolutionary potential of love.