Conroy, Jennifer

1999

One redhead, one black woman, one interracial connection. Sexualized, racialized, unmasked and visible.

Conroy, Jennifer

1999

One redhead, one black woman, one interracial connection. Sexualized, racialized, unmasked and visible.

del Valle Ojeda, Claudio

1999

A group of childhood friends reunite in a bar and small talk opens old wounds and creates new ones. Then, binding memories of what they know about each other in the past dissolve by what they don’t know about each other in the present.

Nordell, Jessica

1999

An exploration into the reality and finality of leaving home, using biblical and contemporary narratives.

Walsh, Aisling

1999

Relying on frame shifts and top-notch performances from her actors, director Aisling Walsh adroitly maneuvers through the working-class neighborhood of South London to portray a moving story of unspoken love among ruins. Produced for Scottish television, FORGIVE AND FORGET traces the dilemma experienced by young construction worker David (Steven John Sheperd) who desires his best friend Theo and who longs to confess to family and friends that he's gay. His fantasies for his best mate are thwarted by the arrival of Theo's girlfriend Hannah (finely portrayed by Laura Fraser), and his desire to confess is mirrored in a daily television chat show. Ultimately, David accepts his gay identity, despite the rejection of his friends and family. Sheperd's sensitive performance is unforgettable. His handsome Freddy Mercuryish face painfully chronicles David's struggle to come out. Amidst the concrete dust and the blue-collar banter of shagging and wanking, Kevin Rowley's camera captures occasional images of surprising beauty: In one scene David mentors Theo on the craft of wall plastering, and the two slide across the slick surface like a pair of ice skaters. Just as pleasant are Hannah's photographs, which David keenly appreciates as the two eye each other with suspicion and jealousy.

Tan Hoang, Nguyen

1999

“I embrace the desires of full, unrepentant Bottomhood.” The tape takes a humorous look at the insatiable appetite of an Asia male bottom.

Wivell, Paddy

1999

A TS woman and her guy tell us what it’s like for them.

Gomez, Frank

1999

A voyeur with a camcorder discovers his brother-in-law's dark secret.

1999

Mark Taylor's Lesson 9 explores love, loss and insanity.

Ichaso, Leon

1999

1978 murders of George Moscone and Harvey Milk by Dan White, based on the play by Emily Mann.

November 27, 1978 was a dark day in San Francisco as Supervisor Dianne Feinstein tearfully announced that "Mayor George Moscone and Supervisor Harvey Milk have been shot and killed. The suspect is Supervisor Dan White." When former fireman and policeman White was, astonishingly, found guilty of voluntary manslaughter rather than murder in the first degree as anticipated, it was attributed to the infamous "Twinkie defense." Justice, it was felt, had not been served, and rioting ensued. This made-for-TV-movie, with a screenplay by Michael Butler based on Emily Mann’s 1986 courtroom drama, will air on Showtime later this year, over two decades after the assassinations. It’s eerily disconcerting to see Showtime's version of events that you may have lived through, but it becomes a game trying to distinguish San Francisco locations from the streets of Toronto, where much of the film was shot. Tim Daly, with his boyish good looks, sympathetically portrays the hot-headed White, while Peter Coyote captures some of Harvey Milk's charisma. With a nod to the pseudo-documentary style of "Reds," Tom Ammiano and other talking heads offer their perspectives on the events. Watch for Tyne Daly (Tim’s sister) in a small role, and don't miss DiFi’s big wigs, or the roller skating black man in a nun’s habit who has the last word.