Superdyke Meets Madame X

Devotion investigates the extremely complex and heirarchical relationships among a committed group of Japanese filmmakers who dedicated up to 30 years of their lives making films for one man-Ogawa Shinsuke. Members of Ogawa Pro filmed the student movement of the late 60's; the fight by farmers to save their land from government confiscaton for the Narita airport at Sanrizuka; and the village life of a small farming community, Magino Village, in northern Japan. These heartbreaking and sometimes funny stories have never been told on film before. Rare footage, stills, and diaries with interviews with Oshima Nagisa, Hara Kazuo and Robert Kramer make this historical inquiry visually exciting as well as valuable.

A short documentary about the First National March on Washington for Lesbian and Gay Rights, which took place on Sunday, October 14th 1979.

A lesbian/feminist aesthetic proposing the connection between touch and sight to be the basis for a new cinema. The film explores the tactile child nature within the adult woman filmmaker, the connection between sexuality and filmmaking, and the scientific analysis of the sense of touch.

A hand plays with a vagina as the same scene drifts over a sea of erotic rock formations.

A celebration and collage of lesbians, including footage of the Women's International Day march in SF and joyous dancing from the last night of the second Lesbian Conference where Family of Woman played; as well as images of women doing all types of traditional "men's" work.

It shows a family where the son makes a wish to switch sizes with the father so that he can be the boss for a change. The father doesn't like this at all. After a while, the son slowly realizes that being a grownup isn't all that easy. Unfortunately, the father doesn't seem to realize that the same holds true for being a kid.

1920’s Surrealist artists Claude Cahun and marcel Moore come to life in this hybrid documentary. Lesbians and step-sisters, the gender-bending artists lived and worked together all their lives. Heroic resisters to the Nazis occupying Jersey Isle during WWII, they were captured and sentenced to death. Award-winning filmmaker Barbara Hammer infuses this film with vigor using photographs, archival footage, dramatic interludes of a “found Cahun script”, and unique interviews of Jersey Isle residents who knew the “sisters”.

In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshack which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. The shack had no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal. In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her Duneshack images, sounds and writing to filmmaker Lynne Sachs and invited her to make a film with the material.

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 of a platoon of vagina warriors with Amazon shields in an attempt to overthrow San Francisco. They march through City Hall, usurp the bus lines, demythologiz 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.

From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives.

Four stages of a lesbian relationship explored in an experimental film starring performance artists Terry Sendgraff and Barbara Hammer on suspended trapezes and ropes.

Essay documentary explores eroded emulsions and images for lost vestiges of lesbian and gay culture. First feature by a pioneer of lesbian cinema, Hammer weaves gay and lesbian couples with footage that unearths the forbidden and invisible history of a marginalized people.

Maya Deren's Sink, a 30 minute experimental film, is an evocative tribute to the mother of avantgarde American film. The film calls forth the spirit of one who was larger than life as recounted by those who knew her. Teiji Ito's family, Carolee Schneemann and Judith Malvina, float through the homes recalling in tiny bits and pieces words of Deren's architectural and personal interior space. Clips from Maya Deren's films are projected back into the spaces where they were originally filmed appearing on the floorboard, furniture, and in the bowl of her former sink. Fluid light projections of intimate space provide an elusive agency for a filmmaker most of us will never know as film with its imaginary nature evokes a former time and space.

The Female Closet uses archival photographs, home movies, interviews, and other visual materials to explore the closeted lesbian stories of artists Alice Austen, Hannah Höch and Nicole Eisenman. Utilizing groundbreaking research, newly discovered home movies, and archival photographs, and other visual sources, The Female Closet is a cultural interrogation of the closeted and not-so-closeted lives of three women artists.

Barbara Hammer’s Audience is a fascinating deep cut from the director’s prodigious filmography. Relatively raw in its design, this 16mm diary of audience reactions at retrospectives of Hammer’s work in San Francisco, London, Toronto, and Montreal in the early 1980s bears none of the distinctive visual flourishes and essayistic form one usually finds in her filmmaking. Today, Audience serves as an invaluable historical archive, providing quick but complex portraits of lesbian scenes in different cities and countries: the San Francisco women are bold and raucous, treating Hammer like a celebrity; the London crowd more reserved and tentative; the Canadians politely critical after initial hesitation. It also functions as a testament to the power of Hammer herself as a figure of lesbian culture, showing how fully she engages audiences to incite new forms of discourse about representation.

What do construction workers do in their well-earned breaks? How might Angelina Jolie's and Brad Pitt's relationship have ended? And what really happened between Marilyn Monroe and Joan Crawford during the summer of 1959? The answers to these and many other interesting questions are provided by twelve queer New York filmmakers. Their films also scrutinize such topics as the difference between the way men and women dream, and how erotic tying a necktie or having a manicure can be.