Deville, Noski

1994

An expressive fictional portrayal of a pair of lesbian couples, one in Spain, the other in London, dealing with epilepsy.

Karpinski, Barbara

1994

A femme's story for her Daddy.

Torrealba, José

1994

In José Torrealba’s Limités, Peruvian photographer Carlos Quiroz unveils the artistic process behind capturing the male nude. Inundated with doe-eyed and hung French-Canadian models, Limités visits Quiroz’s private photo sessions, allowing you to witness the intimate relationship established between camera and subject, a relationship in which the distinctions separating the artistic and the commercial are constantly changing and forever blurred. Lounging naked around the studio, even the models themselves—some of whom could very well be straight—offer surprisingly intelligent insights into how and why they do what they do. Encompassing the vast range of nude photography, Quiroz’s work, in being so erotically charged, is, in his words, “an invitation to masturbate, to become an accomplice with the model to reach orgasm.” In doing so, the simple act of looking becomes a sexual act in and of itself. After this film, you may never flip through another blue magazine in quite the same way again.

Marnell, Lily

1994

The trials and treats of coupledom as Lily and Lulu get sexy, get ready, and go to the March.

Kennereley, Annette

1994

Johnston, E

1994

No further information available.

Nolan, Monica

1994

Monica Nolan's fast-paced survey scans the range of public opinions, pro and con, on Lesbians Who Date Men.

Fung, Janine

1994

Fung's wild narration about misunderstandings (some of which concern her gay friend) in her traditional Chinese family plays over images of her mother carving turkey.

Gauthier, Paula

1994

An exploration of the public/private dualities of a lesbian love affair.

Roberts, Cynthia

1994

A terminally ill man bids the world an elaborate farewell in this poetic adaptation of Hillar Liijota’s play, originally presented on stage by Toronto’s DNA Theatre. Chris (Ken McDougall), a dancer, shares a final night of food, wine, and reminiscence with his lover Val (Jack Nicholsen), after which his physician (Daniel MacIvor), who will assist him in ending his life, explains to Val the ritual Chris has devised. Chris performs a “dance” in his bed—he asks Val, a photographer, to document it—then the death scenario, which culminates in two lethal injections, is set into motion.  Though The Last Supper takes place in a single room and its individual sequences unfold in an approximation of real time, director Cynthia Roberts’s nicely conceived camera movements and Rembrandt-like lighting maintain visual interest. McDougall, who died shortly after filming, is particularly strong as the ailing Chris, who steers his lover (and himself) through a traumatic moment with grace and thoroughly appropriate touches of gloomy wit. In death Chris proves not only how much he loves Val, but life itself. The Last Supper won the “Gay Teddy Bear” Audience Award for Best Feature at the 1995 Berlin Film Festival.