Sid (Debargo Sanyal) is under pressure to marry a nice Indian girl and raise a family. Sid’s “Mamaji” (Zena Daruwalla) yearns to have grandchildren. Her dreams are about to come true, but not in the way she could’ve ever imagined…
When Sid comes out as a woman, a fourteen year old boy named RALPH (Jamie Mayers) shows up at her door announcing that Sid is his dad. Ralph, surprised to discover that his biological father is now a woman, thinks having a transgender parent is “pretty cool”. But Ralph hasn’t told his mother and stepfather that he’s tracked her down. And then there is Sid’s boyfriend DANIEL (Pierre-Yves Cardinal) who has yet to tell his family of his relationship with Sid. Daniel is nowhere near ready to accept Ralph as a step son and complicate his life further.
Sid’s coming out has a snowball effect that forces everyone out of the closet and to get real. What happens when gender, generations and cultures collide to create a truly modern family?
“Culture-crossing comedy with a transgender twist.” – The Georgia Straight
“Charming dramedy; pure soap opera.” – NOW Toronto
“Russian Doll” is a female-driven, sexy, edgy crime thriller. The story begins when a young woman discovers a murder plot and calls 911. But moments into the phone call, she is attacked and abducted.
The investigation into her disappearance leads Police Detective Viola Ames to interrogate the cast and crew of a local theater company. What Viola doesn’t know is that one of the people she questions is days from committing a long-planned murder.
Meanwhile, Viola meets a beautiful woman named Faith who unexpectedly provides a vital clue to the case, and who also forces Viola to confront the grief she has suppressed from her wife’s death of almost two years ago.
PRINCESS CYD follows 16-year-old athlete Cyd Loughlin (Jessie Pinnick) while visiting her novelist aunt (Rebecca Spence) in Chicago over the summer. Eager to escape life with her depressive single father, Cyd falls for a girl in the neighborhood, while she and her aunt gently challenge each other in the realms of sex and spirit.
From Director Stephen Cone, who also directed award-winning films THE WISE KIDS and HENRY GAMBLE’S BIRTHDAY PARTY.
A DATE FOR MAD MARY tells the story of ‘Mad’ Mary McArdle returning to her small Irish home town after a short spell in prison – for something she’d rather forget. But everything and everyone seems different. Her best friend, Charlene, is about to get married and Mary is maid of honor. When Charlene refuses Mary a ‘plus one’ on the grounds that she probably couldn’t find a date, Mary becomes determined to prove her wrong. Her attempts at dating are a disaster and she winds up feeling more alone… until she meets Jess – the lesbian wedding photographer – and everything changes.
It is a tough and tender story about friendship, first love, and letting go of the glory days, starring Seána Kerslake (Can’t Cope/Won’t Cope, The Lobster), Tara Lee (Raw, The Fall) and Charleigh Bailey.
PARCHED is an inspirational drama about women set in the heart of parched rural landscape of Gujarat, India. It traces the bittersweet tale of four ordinary women: traditional Rani, a young widow; lively Lajjo, who lives in an abusive marriage; outcast Bijli, a dancer and prostitute who becomes friends with Rani and Lajjo; and Janaki, a young teenager in a miserable arranged marriage to Rani’s son Gulab.
We see the friends unapologetically talk about men, sex and life as they struggle with their individual boundaries and their inner demons. Gradually, they begin question the century-old traditions that have kept them locked in servitude. One fateful night, the women come together and take a bold step that will change the trajectory of their lives.
Shot by Academy Award-winning cinematographer, Russell Carpenter (TITANIC).
*Please note: This title is not specifically lesbian, but an amazing story of women finding empowerment through their bonds with each other. We know you will enjoy it.
“A burning source of inspiration to oppressed women everywhere. . . filmmaking heroism at its most effective.” – AwardsCircuit.com
“Leena Yadav weaves a few humorous, heartbreaking and bewitching tales into an insightful, entertaining, award-winning film.” – Moviemaker Magazine
“Should resonate with audiences worldwide.” – Variety
“One of the most honest, uncompromising portrayals of female friendship I’ve ever seen on screen.” – Broadly
WINNER Director’s Award – Foreign Language Film, Cinetopia Film Festival, Michigan
WINNER Audience Award for Best Film, Indian Film Festival of Los Angeles
WINNER Grand Jury Award for Best Actress: The cast of PARCHED: Tannishtha Chatterjee, Radhika Apte, Surveen Chawla, and Lehar Khan Indian Film Festival of Los Angeles
Erotic tension prevails when five very attractive lesbians (and one bisexual) go on their annual camping trip. Buff leading actress Moynan King (Mrs. Stevens Hears the Mermaids Singing, Queer As Folk) stars as Susan, the birthday girl who invites all her ex-girlfriends to join her for a weekend in the wild. But one by one someone is bumping them off — in classic slasher fashion! The women include: boyishly beautiful Monica and her girlfriend Andrea; knockout blonde bisexual Linda, Wiccan womon Dawn and militant vegetarian Chloe.
“In the time-tested slasher tradition, there’s room between murders for topless makeout scenes.” – Variety
“If anyone can think of a better set-up for a horror film than lesbian ex-lovers camping in Texas, I’ll pay to hear it.” – FAB Magazine
“In the spirit of Friday the 13th, one by one the lesbians get the chop. First time filmmaker Ferranti creates fever pitch psycho-sexual tension, with lots of self deprecating humor thrown in. It’s about time we got our very own lesbian slasher!” – London Lesbian and Gay Film Festival
Official Selection at LGBT Film Festivals across North America: Miami, Los Angeles, San Francisco, Toronto, Fire Island, Montreal, Pittsburgh, Seattle, Austin, Kansas City, Philadelphia, and many more!
In present-day Texas, Maya (Tallie Medel) and her on again, off again girlfriend Jules (Betsy Holt) total their car after a night of backwoods raving and teen mischief. They’re rescued from the wreckage by Freddy (Robert Longstreet), a divorced oil worker whose stoic facade crumbles as he comes to see himself, and his repressed desires, in Maya. As Jules recovers, Maya and Freddy develop a rapport that dulls the debilitating silence of their small-town lives. Together, they subtly encourage one another to chase after what they want the most (or at least figure out what that might be).
Defined by earnest, full performances and a blue palette, Daniel Laabs’ first feature solidly articulates the universality of queer loneliness and uncertainty across genders and generations.
Pic of the Castro in San Francisco September 18, 2020 from the SF Chronicle.
BY ERIN BAYER Special to Lesbian.com
May her memory be a revolution.
Between real storms and the proverbial ones, 2020 keeps getting unimaginably worse. As the impossible plot has unfolded, the very fabric of our nation has seemed to be tearing. We looked to the courts to hold us together. We listened for leadership, for a voice of unshakable reason, something solid to guide us through. We found the notorious RBG. She was the masthead of the most seaworthy liberal ship, guiding our fleet through these stormy seas.
Justice Ruth Bader Ginsburg famously said, “When I’m sometimes asked ‘When will there be enough [women on the Supreme Court]?’ and I say ‘When there are nine,’ people are shocked. But there’d been nine men, and nobody’s ever raised a question about that.”
From a small, unthreatening person came a voice so sharp and savage, it’s truth could not be ignored. In a culture where candor makes the best quick-witted memes, Justice Ginsburg’s written dissents have ignited a generation. I grew up with a sense of equality with my peers. We questioned gender norms, chose careers and loves, and felt ourselves generally overwhelmed by everything possible. The realities of glass ceilings, unaffordable childcare, and financial doors closed to the women and queer among us sunk in slowly. Another famous dissent by Justice Ginsburg articulated that discrimination often isn’t apparent at first, but only becomes clear over time.(Ledbetter v. Goodyear.) She made my own tired, disillusioned voice feel heard. She gave me hope.
Justice Ginsburg emerged as a vestige of truth, magnetic and necessary. And fun. Watching a diminutive woman speak truth to power is excellent fun. She was a lynch pin on the Supreme Court, and we looked to her to hold our country to account in the same way she held the highest court, with dignity and a laser-focus on equality. As she turned 87, we prayed she could hold out until the next election, our last chance to pull America out of its tailspin. We needed her voice, her strength, her clarity, her position.
I heard that she hung on for us as long as she could. Justice Ruth Bader Ginsburg passed away Friday, September 18. As I write, it’s only been two days. We mourn with her loved ones and larger circles of friends. The loss of her love and light will not be filled. With just 46 days until the presidential election, the country is reverberating, and a liberal front is panicking.
Ginsburg herself noted that while she didn’t choose the role of lone dissenter, she was willing to take it on when she saw the need. (RBG, movie.) That need for dissent has never been greater. RGB’s indomitable voice filled that need like she was born for it, but her journey to the Supreme Court was fraught and long fought for. Her dignity came from being a woman in a career dominated by ignorant men. To honor her journey, now is the time for all of us to pick up the torch.
Molly Conway, in a Facebook post, reminds us that Ginsburg was Jewish. She writes, “When we say ‘may her memory be for blessing’ the blessing we speak of is not ‘may we remember her fondly’ or ‘may her memory be a blessing to us’ the blessing implied is this: May you be like Ruth.”
Newly updated, first North American edition — a paperback original — “Outrages: Sex, Censorship, and the Criminalization of Love” by Naomi Wolf.
From New York Times bestselling author Naomi Wolf, “Outrages” explores the history of state-sponsored censorship and violations of personal freedoms through the inspiring, forgotten history of one writer’s refusal to stay silenced.
I never thought I’d be a professional feminist as a career choice; I certainly didn’t intend to be. Growing up in the Haight-Ashbury in San Francisco, at the height of various social justice movements in the 1970s including the fight for LGBTQ rights and the agitation of the “second wave” of feminism, I thought that by the time I was an adult, all of these battles would surely be won.
Sadly they weren’t. When I wrote “The Beauty Myth” at 26, which happened to be published when a new generation was seeking a way out of the torpor and “backlash” of the evil 1980s, I named in the book, and engaged with, what became known as the “Third Wave” of feminism. (Writer Rebecca Walker coined the phrase at the same time).
This led me to an unusual life opportunity: I happened to have a seat as an observer of (and at times a participant in) the drama of Western feminism for the next thirty years.
The headline is that the women’s movement has gotten smarter and better, and that we are in what I’ve called elsewhere, a Renaissance moment for feminism.
This is hard at first, I am sure, to believe since mainstream media, which is still reactionary when it comes to women, rarely documents our vast successes. News outlets still like to feature the battle for women’s rights in a few stereotypical ways. At best a story will run about women’s systematic victimization – which is all too real; but the huge efforts that go into our effectively pushing back — landmark court cases, giant settlements against employers, rapists put in prison, traffickers undone by good legislation, even gradual transfers of larger shares of wealth to women as they open businesses, drive companies’ profits and fight for equal pay – are downplayed or ignored. So women don’t see reflected in the news, many benchmarks of how very effective we are being accruing decades of revolutionary victories.
A reason that we are being so very effective as what is basically the most sweeping revolution in history also has to do with how feminism has grown and gotten smarter since the 1970s.
When I was in my twenties, a painful fact was that feminists of my generation had to start all over again simply explaining (and learning) what equity issues were; simply re-teaching and reiterating what most students who take gender studies today, see as Feminism 101; basic theory. In the 1990s, things were a mess: the first insight of feminism – it’s not my personal problem, it’s systemic, it’s Patriarchy – was hard for many women to achieve, as the analysis had been swept away and they were being told that their problems were personal, not political. The accomplishments and analysis of my mom’s generation, the Second Wave, had been erased in a very short time. This left younger women to grope in the dark, figuring out the basics of body image issues, pay inequity, work/family balance struggles, sexual and domestic violence traumas. But when Third Wave feminism arrived, with books such as Susan Faludi’s Backlash and Rebecca Walker’s collection To be Real: Telling the Truth and Changing the Face of Feminism, younger women joined forces with enthusiasm.
Western feminism at the end of the 20th century, and into the 21st, had flaws. One central flaw was the fact that at first, white women’s issues and issues relating to women of more affluent economic classes, were often seen (or portrayed) as being central. An example of how simply bad a situation this created, from my own experience, is the fact that for a decade, I was invited onto panels – often made up only of white women – that were asked about “the conflict between mothers who worked and mothers who stayed home”, as if that was “feminism” – as if that the biggest problem that women of all backgrounds, faced.
A needed critique from women of color and women across the economic spectrum, forced a welcome upheaval in the form of a call for “intersectionality.” This critique was made easier by the fact that women’s (and later gender) studies programs had been established at many universities, thus giving feminist ideas institutional continuity that had eluded the Second Wave. One hugely positive result of this critique is that the image of the leadership of the women’s movement shifted, and more people became aware that women’s issues were diverse depending on whom you were, and that feminism was global; and that the most exciting advances and most important theory were being spearheaded by women in the Global South, and often presented by leaders of color.
Another problem in the past was divisiveness. During the Second Wave, sexual identity could be a battleground. Earlier feminism could be extremely Puritanical and judgmental about other women’s choices. Straight women such as Betty Friedan criticized lesbians, as in her famous 1969 warning about the “lavender menace.” https://www.thoughtco.com/lavender-menace-feminism-definition-3528970 Some groups, such as Radicalesbians, organized a reaction to this, and developed influential theories of “woman-identified women” that were exciting, but that also seemed to critique straight women for false consciousness. [https://library.duke.edu/digitalcollections/wlmpc_wlmms01011/]. Women who identified as bisexual faced criticism too, for “not making up their minds.” This judgmental approach endured into the 1980s and early 1990s. Critique often turned women against each other.
Third Wave feminism was a huge step forward in that this group rejected the rigidity, divisiveness and judgmental tone of our moms’ era, creating a more inclusive discourse that was more open to the fact that women made different life choices and had different political agendas, and that there was space for all.
Fast forward to today. There’s never been a better time to be a young feminist, or a better feminism. The young women I meet today have rejected a lot of stupid binaries that have held people in thrall for the duration of history. They usually aren’t wedded to the idea that there are only two genders; they often celebrate the fact that gender is a spectrum, as they see it, and that it can be chosen. They have the important language and concept that sexuality can be a specific identity and/or it can be what they call “fluid” – a word and acceptance that could have liberated so many people in the past, had it been in usage. They are self-aware about white privilege, very often, and scan their own positions for unintended (or intended) racism or class blindness – a self-awareness that is often mocked by the right wing, but that is so much better than the obtuse omissions caused by the narcissism of privilege that often afflicted my own generation.
Younger feminists today have little fear of power or of making a scene in a good way; they are rarely burdened with spectres of what “nice girls don’t do”; they use social media, take to the streets, start blogs and businesses, out their harassers and rapists, choose their own body positivity, make their own family structures, decide their own fates, form their own alliances. I’ve never met a generation less impressed with others telling them what to do and whom to be. The world they are making for women – however you or they define that word – is going to be a world of radical freedom — if only pandemics and oligarchs don’t stand in their way.
Feminism has grown up, in my view, with this generation; and become as fluid and inclusive and diverse as is the human family.
Dr Naomi Wolf received a D Phil Degree in English Literature from the University of Oxford in 2015. Dr. Wolf taught Victorian Studies as a Visiting Professor at SUNY Stony Brook, received a Barnard College Research Fellowship at the Center for Women and Gender, was recipient of a Rothermere American Institute Research Fellowship for her work on John Addington Symonds at the University of Oxford, and taught English Literature at George Washington University as a visiting lecturer. She’s lectured widely on the themes in Outrages: Sex, Censorship and the Criminalization of Love, presenting lectures on Symonds and the themes in Outrages at the Ashmolean Museum in Oxford, at Balliol College, Oxford, and to the undergraduates in the English Faculty at the University of Oxford. She lectured about Symonds and Outrages for the first LGBTQ Colloquium at Rhodes House. Dr Wolf was a Rhodes Scholar and a Yale graduate. She’s written eight nonfiction bestsellers, about women’s issues and civil liberties, and is the CEO of DailyClout.io, a news site and legislative database in which actual US state and Federal legislation is shared digitally and read and explained weekly. She holds an honorary doctorate from Sweet Briar College. She and her family live in New York City.