BFI Flare 30: Women He's Undressed (2015)

If you’re reading this, I assume that you’re a fan of cinema.  And can certainly name a handful of directors, and probably producers and scriptwriters, but then it gets trickier.  How many established editors can you name? Or cinematographers?  How about production manager? Or what about costume designers?! 

Most of the people who have designed some of the most iconic images in cinema history are largely forgotten.  That’s the nature of the medium – the stars onscreen are mythologized, whilst the technicians behind the scenes are just cogs in a collaborative machine.  That is, until someone shines a light on a largely forgotten genius and suddenly the nature of the work is brought to the fore.  Orry-Kelly was one of the greatest costume designers of all time, working on such classics as Casablanca, The Maltese Falcon, Angels with Dirty Faces, Oklahoma! and Some Like it Hot.  

BFI Flare 30: Tangerine (2015)

It’s a sun-drenched Christmas Eve in Los Angeles when transgender prostitute Sin-Dee (Kiki Kitanna Rodriguez) gets back on the streets after a stint inside. Over breakfast, Alexandra (Mya Taylor) lets slip that Sin-Dee’s pimp boyfriend Chester (James Rasone)  is sleeping with another woman (or “fish” – a non-trans women).  This leads her on a frenzied revenge mission to find them both, via meth parties, donut shops and endless street corners. 

In the meantime, Armenian taxi driver Razmik (Karren Karagulian) with a taste in picking up pre-op trans hookers and having quickies in carwashes is also trying to find Sin-Dee for some fun, which does not go down well with his extended family… 

BFI Flare 30: Real Boy (2016)

The best documentary films shine a light on a corner of the world that is misunderstood and work to change viewer’s opinions.  Whether they’re about a huge phenomenon in culture or the life of just a single person, they should provide insight and they should do it with passion.

Shaleece Haas’ directorial debut Real Boy is exactly that: framing the formative years of a young transgender teenager amidst the transition from Rachael to Bennett Wallace.  As Shaleece follows him through hormone therapy and his ‘top’ surgery, as well as meeting similar young men including his transgender hero Joe Stevens, it is impossible not to feel sympathy for Ben and those like him through the compassion of the camera.

 

BFI Flare 30: Seed Money, The Chuck Holmes Story (2016)

The narrative of America is littered with entrepreneurial opportunists spotting a gap in a market and filling it with the right product at the right time and changing history.  Yet Chuck Holmes will probably not feature in any school syllabuses any time soon.  As his right time was 1971 San Francisco, and his right product was hardcore gay pornography.

First sold as 8mm ‘smutty’ loops featured out of the back of a catalogue and then as feature length films sold on VHS.  Chuck founded Falcon Studios with a passion for sex, and men and an eye for business. 

BFI Flare 30: Akron (2016)

When Benny (Matthew Frias) and Christopher (Edmund Donavon) meet playing a friendly game of football during downtime at college, they quickly fall for each other and start dating.  Yet as their college finals approach and they prepare for a spring break trip to Florida, a secret from their past involving an interaction between their families creates a seemingly insurmountable wedge between them…

BFI Flare 30: Who's Gonna Love Me Now? (2016)

When Saar moved from Israel to London 17 years ago to escape his religious families disapproval of his gay identity, he quickly found love in a stable relationship with the man of his dreams.  Yet as this relationship suddenly broke, he moved into the ‘scene’ and dated a new guy more into hard drugs, money scams and parties.  One day his new man arrived at his door with the ultimate bad omen – an HIV diagnosis.

Saar with the LGMC

Saar then found the London Gay Men’s Chorus, a place where he could share his story and be accepted as an insider instead of the foreigner running from his orthodox family and native Jewish culture.  His family feature heavily – both parents come to visit him in London, as well as Saar travelling to his “home” – and clearly love him, but are disgusted and fearful at his ‘choice of lifestyle’ and ‘dangerous disease’.