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Black_Women*_Space: The Black Her*Stories Project (2015)

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Screenings, film discussions, workshop organized by Black_Women*_Space
Wienwoche, 2015

The Black Her*Stories Project presents the first queer Black feminist film festival in Vienna. The selected films depict stories by and about Black LGBTIQ people (Lesbian, Gay, Bisexual, Transgender, Intersex, Queer), bringing them to the cinema screen and thus creating decolonial and feminist resistance.

The Black Her*Stories Project utilises the medium of film to highlight and pass on queer Black feminist stories. For three nights the cinema Top Kino stands in the light of Black revolutionary resistance. From feature films to documentaries and experimental movie formats, what connects these powerful, artistic and humoristic narratives is their political relevance. Not only do queer Black feminist positions claim space, but social struggles and movements are made visible.

Shu Lea Cheang: FLUIDØ (2017)

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Following the acclaimed cyberpunk movie I.K.U., which premiered at the 2000 Sundance Film Festival and screened worldwide, Shu Lea Cheang is set to direct FLUIDØ in 2015 with Jürgen Brüning Filmproduktion and Berlin-based crew and cast members.

Set in the post-AIDS future of 2060, where the Government is the first to declare the era AIDS FREE, mutated AIDS viruses give birth to ZERO GEN – humans that have genetically evolved in a very unique way. These gender fluid ZERO GENs are the bio-drug carriers whose white fluid is the hypernarcotic for the 21st century, taking over the markets of the 20th century white powder high. The ejaculate of these beings is intoxicating and the new form of sexual commodity in the future. The new drug, code named DELTA, diffuses through skin contact and creates an addictive high.

Folkbildningsterror (2014)

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Folkbildningsterror és una producció feta per activistes de Göteborg i es defineix com un musical socialista, queer, feminista, militant, revolucionari i amb molt odi a la autoritat, que enllumenarà els vostres cors i ments en els temps oscurs que estem patint.

Suzana Tratnik/Maja Wiess: Ime mi je Damjan (2015)

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Prvi slovenski celovečerec po romanu Suzane Tratnik “Ime mi je Damjan”. Režirala ga bo Maja Weiss, ki s Tratnikovo piše tudi scenarij. V središču zgodbe romana je razlomljen svet odraščajočega 19-letnika, ki svojo samostojnost vzpostavlja na skrajen, brezkompromisen in hkrati zelo samoten način, med drugim tudi skozi odpoved svojemu imenu in pripisani ženski družbenospolni identiteti. Film “Ime mi je Damjan”, ki nastaja v producentski hiši Vertigo Emotionfilm, bo t. i. ‘dramedy’ oziroma komična drama, namenjena širšemu občinstvu.

Panos H. Koutras: Strella (2009)

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George is released from prison after 14 years of incarceration for a murder he committed in his small Greek village. He spends his first night out in a cheap downtown hotel in Athens. There he meets Strella, a young transsexual prostitute. They spend the night together and soon they fall in love. But the past is catching up with George. With Strella on his side he will have to find a new way out.

Sabine Bernardi: Romeos (2011)

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Romeos (German: Romeos …anders als du denkst!) is a 2011 feature film that revolves around the romantic relationship between Lukas, a 20 year old gay trans man and a cisgender bisexual man named Fabio.

Bruce LaBruce: The Raspberry Reich (2004)

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The Raspberry Reich is a 2004 film by director Bruce LaBruce which explores what LaBruce calls “terrorist chic”, cult dynamics, and the “innate radical potential of homosexual expression”.It is about a contemporary terrorist group who set out to continue the work of the Red Army Faction (RAF), also known as the Baader-Meinhof Gang. The group […]

Harriet Dodge/Silas Howard: By Hook or by Crook (2001)

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By Hook or by Crook chronicles the tale of two unlikely friends who commit petty crimes as they search for a path to understanding themselves and the outside world. Silas Howard plays Shy, (a Transgender man) who leaves his small town after the death of his father, and heads to the big city to live a life of crime. Along the way, he encounters Valentine, a quirky adoptee, in search of his birth mother. An immediate kinship is sparked between these men and they become partners in crime. Suffering money troubles, emotional problems, and physical confrontations, the duo face their issues head on and learn to trust each other and support each other in pursuit of their goals.

Kimberly Peirce: Boys Don’t Cry (1999)

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Boys Don’t Cry is a 1999 American independent romantic drama film directed by Kimberly Peirce and co-written by Andy Bienen. The film is a dramatization of the real-life story of Brandon Teena, a trans man played in the film by Hilary Swank, who is beaten, raped and murdered by his male acquaintances after they discover he is transgender. The film explores the themes of freedom, courage, identity and empowerment.

Chen Kaige: Farewell My Concubine (1993)

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Farewell My Concubine is a 1993 Chinese drama film directed by Chen Kaige, is one of the central works of the Fifth Generation movement that brought Chinese film directors to world attention. Similar to other Fifth Generation films like To Live and The Blue Kite, Farewell My Concubine explores the effect of China’s political turmoil during the mid-20th century on the lives of individuals, families, and groups, in this case, two stars in a Peking opera troupe and the woman who comes between them.

Srdjan Karanović: Virdžina (1992)

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Karanović was inspired to make the film Virgina by reading a newspaper story about an Albanian woman who lived for 25 years as a man, fought with the Partisans near Trieste, and was wounded and discharged, when it was discovered that she was a woman. The sources list her as Fatima Aslani from a village near Orahovac and Prizren in Kosovo, who had been raised as a boy named Diljoš or Daljuš. Karanović set the first screenplay for Virgina among the partisans in WWII near Trieste. Karanović wanted his film to be a multi-ethnic, multi-religion, multi-republic project— even an international one. None of these survives explicitly into the final version of the film, which is set not in 1944, but at the beginning of the century. The 1990 version centers on Stevan as an adolescent and is set in a isolated village near the Adriatic Sea. The film begins when yet another girl (Stevan) is born into a family whose bad luck is ascribed to the lack of a male child. Her father Timotije, who carries a gun through most of the film, takes her out to a field to shoot her, but then relents and declares he will raise her as a boy.

Ulrike Ottinger: Freak Orlando (1981)

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In the form of a “small theater of the world”, a history of the world from its beginnings to our day, including the errors, the incompetence, the thirst for power, the fear, the madness, the cruelty and the commonplace, in a story of five episodes.