Damned If You Don't

An insider's look at the first year of an activist group known as the Lesbian Avengers.

The Ties That Bind is an experimental documentary about the filmmaker's mother, who was born and lived in southern Germany from 1920-1950. Through a mixture of personal anecdote and social history, she describes the rise of Nazism, the war years, and the Allied occupation, during which she met her future husband, an American soldier. The Ties That Bind breaks with the usual format of war documentaries, thus allowing a different portrait of the individual to emerge, while it reflects on the current political situation in America and the filmmaker's activities in relation to those issues.

First Comes Love consists of perfectly choreographed scenes of four wedding ceremonies accompanied by a complex medley of popular love songs. All seems to be going as it should until the couples reach the altar, when the celebratory atmosphere is interrupted for a surprising public service announcement. Then song and dance continues until the happy couples depart, leaving behind a dwindling crowd and a few altar boys who carefully sweep up the rice that blankets the pavement like snow. The film doesn't attempt to defend--or discredit--the institution of marriage. Instead, it reveals the many subtle emotions surrounding the event, and raises questions about how the double standard regarding marriage affects gay and straight couples.

Mixes documentary interviews of memories of lesbian adolescence with the story of the 12-year-old girl Lou discovering her sexuality in 1960s America.

Through a series of twenty six short stories, a girl describes the childhood events that shaped her ideas about fatherhood, family relations, work and play. As the stories unfold, a dual portrait emerges: that of a father who cared more for his career than for his family, and of a daughter who was deeply affected by his behavior. Working in counterpoint to the forceful text are sensual black and white images that depict both the extraordinary and ordinary events of daily life. Together, they create a formally complex and emotionally intense film.

A global portrait documenting the year's events, Cinetracts '20 features the work of an international lineup of 20 filmmakers. Capturing the zeitgeist in their own backyard, the artists' short films are the culmination of a year-long residency project.

Scar Tissue by Su Friedrich is a filmic version of a white canvas or a silent music piece.The fact that Friedrich never really shows the whole body, but rather plays off of body parts could be read as a desire to show less of the people on the screen, so that the viewer's reading can be generalized. If the "characters" existed as people, the images would inevitably read to be telling a story about these people. The legs and torsos do not signify people; it is the experience of these body parts and the rhythm with which they are portrayed that constitute the work.

Rules of the Road tells the story of a love affair and its demise through one of the primary objects shared by the couple: an old beige station wagon with fake wood paneling along the sides.

GENTLY DOWN THE STREAM is constructed from fourteen dreams taken from eight years' worth of my journals. The text is scratched directly on to the film so that you hear your own voice as you read. The accompanying images of women, water, animals and saints were chosen for their indirect but potent correspondence to the text.

In Seeing Red, three elements run parallel, overlap, diverge, lock horns and in various other ways give voice to the notion that a color, a melody, or a person has multiple characteristics that cannot be grasped by, or understood within, a simple framework. One element is purely visual. One is very verbal and minimally visual. One is purely musical. So is red the color of a fire truck or a ruby, of rust or a rose, of blood or a brick? How fixed is a melody if it can be twisted, stretched and shaken to the point where we no longer recognize its original form? And when we "see red," what color is that exactly? What aspect of passion are we feeling? Are we looking outward and seeing injustice and cupidity, or looking inward at our own limitations and failings?

A dream that was "left over" from Gently Down the Stream. Like many dreams, it transformed the familiar world into something more disturbing, contradictory and amoral.

Su Friedrich's personal essay charting the destruction of Williamsburg, Brooklyn. After living in the neighborhood for 20 years, the filmmaker was one of many who were forced out after the city passed a rezoning plan allowing developers to build luxury condos where there were once thriving industries, working-class families, and artists. Filmed over many years, it is a scathing portrait of one neighborhood's demolition and transformation.

The film begins with a series of events on a crowded outdoor market street. Women on stages perform "private" rituals: shaving legs and armpits, fixing their hair, etc. A woman tries to disrupt their "work." She struggles to set herself apart from them, to resist the forces of habit, but gradually becomes more involved than she is willing to admit. Although she sets in motion a chain reaction of rebellion, she isn't able to keep the momentum going. She stops before carrying it to the logical conclusion, and ends up on the stage herself. Can we hold a knife without stabbing ourselves? Can we hold a knife without even thinking of doing that? And do we need knives?

After a twenty year period of multiple illnesses and injuries, the filmmaker turns the camera on herself as a way to analyze her chances for a happier, healthier life. In the process, she captures the frustration, tedium and petty annoyances of a revolving-door relationship with the medical establishment, while portraying the complicated web of emotions that accompany any medical problem. With humor and honesty, The Odds of Recovery uses the filmmaker's medical history as a means to address a perennial human problem: the desire to avoid conflict and deny the need for radical change.

Queer culture and the arts would be much poorer without the presence and contribution of butch and stud lesbians, whose identity is both its own aesthetic and a defiant repudiation of the male gaze.

A journey through an old house by way of a mirror, a child’s storybook, and some images from days gone by. Or a journey through some old images by way of a house. Or both.