Director
Feelings Are Facts: The Life of Yvonne Rainer chronicles the defiant, uncompromising, and highly influential ideas of postmodern choreographer and filmmaker Yvonne Rainer. Over the course of her career, she revolutionized modern dance, generated what later became known as performance art, and changed the basic tenets of experimental filmmaking - all during a time when women were largely ignored in the art world. Today she continues to push forward, creating vibrant, courageous, unpredictable work, inspiring a new generation of artists to question, overthrow, and generate possibilities of their own. Feelings Are Facts: The Life of Yvonne Rainer is the story of this remarkable artist and the equally remarkable times that shaped her creative practice.
Producer
Harry Hay was one of the founding fathers of the gay rights movement, and for more than 50 years was synonymous with the term "gay pride." Director Eric Slade's documentary about Hay looks at both his life and the movement he did so much to define. In 1948, Hay founded the Mattachine Society in Los Angeles; the goal of the organization was to establish a "Golden Brotherhood," one that sought to redefine homosexuality as a normal, healthy way of life. The problem, Hay famously maintained, was not homosexuality itself, but the way it was treated by society. Dramatizations, photographs, archival footage, and interviews with original Mattachine Society members are all incorporated to tell Hay's remarkable story, one whose legacy continues to be felt in the treatment of gays and lesbians in culture today.
Director
Futuristic story of Carlos and Ben who fall in love in high school despite the racism and and homophobia.
Executive Producer
The psychological and emotional motivations of gay sexual fetish, especially relating to gay male teens maturing into men and their sexual exploits.
Director
A posthumous fan letter to Rock Hudson that uses Hudson as a springboard for an exploration of AIDS and homophobia. Using the contrived form of the fan letter, the film uses digression as its structure, beginning with elements of Hudson's life that open onto larger contemporary issues about gay male identity.
