A program of international subversion, and a swift kick in the pants to conformity. These are the documents of an ever-increasingly swift move to undermine the safety of traditional gender and sexuality. They layer conventional mainstream images with missives from the frontlines of queer, allowing the truth of our constructions to be glaringly obvious. Reworked video and film footage allow us to go to the edge of intimacy, to taste the texture of our aesthetics, to imagine eroticism without relying on restrictive formulas of desire and embodiment.

Curated by the Festival Programming Committee. TRT: 73 min.

November 20, 2009
10 PM


Justin Kelly

2009, USA, video, color, sound, 10 min.

A post-Halloween sleepover opens another dimension into debauched, smeared, day-glow storytime. This video uses gentle, awkward pauses to capture the intimacy of these trashed out characters. The guests trade tales about pervy sex in common spaces, painting an insider’s picture of backroom queer carny shop talk.

proJecT b*mbi

Kristin Galvin

2007, USA, video, color, sound, 5 min.

Project B*mbi contains three classic scenes from the disparate genres of animated feature, pornography, and epic drama. Scenes were reframed, re-cut, and restructured for specific formal and textual juxtapositions and permutations. The chosen scenes contain the most memorable, climactic, and sometimes most traumatic plot points. The editing choice of opaquely layering and physically braiding these classic texts gives the viewer the unique and surprising opportunity to simultaneously watch the films unravel. By layering the texts, the narratives and characters not only commingle, but each text provides a critical lens through which to view and recontextualize the other two films. Debbie Does Dallas’ fairy tale quality is emphasized through Bambi, while its American, Texas-centricity is reinforced by The Deer Hunter. Bambi, read through Freudian sexual desire as implied by the pornographic sex in Debbie Does Dallas, becomes a Freudian Oedipal drama; death of the mother leads to Bambi’s identification with the father in order for him to reproduce and inherit the role of Prince of the Forest. In The Deer Hunter, homoerotic tension between best friends in a war buddy movie and the hyper-phallic battle of Russian roulette between Robert Deniro and Christopher Walken is now elucidated when viewed through Debbie Does Dallas.

loVe effecT

Juana Awad

2007, Canada, video, color, sound, 7 min.

Slow moving forms, solar digitization, and deconstruction of flesh, hair, limbs and crevasses imply copulation. Video footage is abstracted, creating an effect similar to the spider web cracks of a shattered mirror, obscuring physical bodies into a geometric manifestation of liquid visual poetry.

golden diamonds

Julián Vargas

2008, USA, video, color, sound, 3 min.

Augusto and Rosetta Guerrero, both played by Julián Vargas, demonstrate their love and affection for golden high-heeled shoes, reflecting the universal charm and power held by a classic fetish object.


Nana Swiczinsky

2008, Austria, video, color, sound, 7 min.

Lezzieflick provides the viewer with pulsating sonograms of kisses, and fractal vaginal (G_d knows we need more!) fisting, which collectively crumple the pages of mainstream pornography. This digital video collage uses Lichtenstein-esqe blowouts of orange and pink pixilations, warping and animating still images from magazines. A score by Lonesome Andi Hotter couples electro-minimal piano strikes with panting and breathing.

plus: a super-8 surprise by
sTephen kenT Jusick

unTiTled peTer berlin proJecT

Mariah Garnett

2009, USA, 16mm, color, silent, 2 min.

Untitled Peter Berlin Project playfully addresses issues of gender and viewership. I don the coded outfits of gay male hyper-sexuality, and strike various eroticized poses. Some of these poses and outfits are directly lifted from gay male porn icon, Peter Berlin, and others are my own interpretations of this kind of highly coded and fetishized masculinity. The eroticism of the piece directly conflicts with the body performing it. Beyond this is the layer of my own intervention in the form of animation. The labor of this work – me looking at and painstakingly altering my own image – functions as a kind of narcissistic gesture. It is at once loving and violent, and displays the central conflict of the piece. While I am deeply connected to this specific erotic ideal, my attempt to perform it is inherently problematic. And so the piece becomes about looking and the central questions becomes, “who is cruising whom?” — Mariah Garnett


Angeliki Tsotsoni

2008, Greece, video, color, sound, 4 min.

A scene of gear-enhanced breath play and forced shaving disrupts an animated frame of color, then blends together into an exploration of the texture of fetish aesthetics. Using video technology, Tsotsoni attempts to transform recognizable images into pure color and shape.

galacTic docking company

Clark Nikolai

2009, Canada, video, color, sound, 3 min.

With tongue in cheek, Clark Nikolai cleverly fuses vintage film footage from outer space and ground-control rooms with short clips of bareback docking. Much to our delight, these two seemingly unrelated acts find a way to collaborate.


Sara Kaaman & Ester Martin Bergsmark

2009, Sweden, video, color, sound, English & Swedish, 7 min.

Fruitcake offers up the anus as the forbidden fruit. Avoiding identifying face shots, the film explores sex in relation to moist orifices of fruits and bodies. A conglomeration of tight, intimate shots of fingers in ripe fruit, probing holes wet with saliva, tongues exploring the taboo taste of dripping skins. This is sex without gender: wet, blurry and “never satisfied.” Music by Fax ‘n’ Wolf.

aids conference cocksuckers

Charles Lum

2009, USA, video, color, sound, 15 min.

Hybrid AIDS AutoDocumentary, amateur porn, Observational Journalistic Document: AIDS Conference Cocksuckers takes us into the fray, from the aggressive sterility and properness of the conference setting, to the frontlines of determined protestors, and back… into the bathroom. Playing with different meanings of consumption and rejection, Lum provokes us to spit out the truth.


Heather Wodrich & Sadie Lane

2009, USA, video, color, sound, 10 min.

A feminist take on some of Andy Warhol’s early films, with split screens and disjointed music suggesting Chelsea Girls, and a direct reference to Blow Job in a long shot of a woman’s face while she is getting head. And speaking of feminism in the sexual avant guarde of the late 20th century, there is also a delightful self-examination with a hand-held mirror and an Annie Sprinkle-style close-up of a star’s cervix.