Marcolina, Kirk

1994

A filmmaker struggles to address his mother's fears of gay parenting.

Gee, Daven

1994

A witty, seductive nightmare about American family life.

Broussard, Rene

1994

Shirley, Nolan

1994

The story of four friends, a new relationship, and a bashing.

Chiu, Terry

1994

Press, Richard

1994

Confronted with the inevitability of the aging process, a gay man seeks refuge in anonymous sexual encounters in New York's Central Park.

1994

The locally produced Queers Among Queers offers up an articulate series of interviews with bi community activists.

Rauch, David

1994

One of the first gay works made entirely on digital video.

Coray, Tony

1994

No further information available.

McClean, Steve

1994

Postcards is inspired by the poetic and autobiographical writings of David Wojnarowicz, specifically his books Close to the Knives and Memories that Smell Like Gasoline. The film weaves together three fictional stories from the life of a young gay outsider. A violent suburban childhood spent with an abusive father in New Jersey in the early 1960s is seen from a queer child’s perspective; it leads to his years as a teenage hustler on the streets of New York, and eventually to his adult fascination with anonymous sex, the American desert and the open road. The film deals with the conflict between the young David and his family, and later, between David and society at large; in representations which are suppressed in the dominant culture—those American taboos of sex and desire, death and AIDS. "McLean has found himself a brilliant cast of unknowns, and it is to his great credit that he can balance such naturalistic scenes that seem to owe much to the spirit of Cassavetes with the more stylized and eliptical moments. For the film draws its strength from the way it jumbles together the different segments from David’s life and makes connections between them. Certainly McLean has created an extraordinarily textured film full of moments that will blaze in the audiences memory. The cinematography that evokes the sunglazed landscapes and the twilight interiors alike as burnished fragments, the soundtrack’s snatches of plaintive pop songs that spin their own melancholy tales, along with Stephen Endelman’s ethereal score haunt the mind long after the last reel. It may make for a bleak portrayal , for despite the sparks of comedy and the moments of tenderness, the film unwinds towards a terrible mourning. But McLean’s distinctive vision sends the message home to the heart like no other.