Em 2016, o Queer Lisboa – Festival Internacional de Cinema Queer, assinala 20 anos de existência, de 16 a 24 de setembro, com uma edição especial que contemplará uma ampla retrospetiva da obra de Derek Jarman, um dos nomes maiores da história do cinema queer, na Cinemateca Portuguesa.
Abre hoje o Queer Lisboa 20 o filme “Absolutely Fabulous: The Movie”, de Mandie Fletcher,a muito aguardada adaptação ao cinema da mediática série de culto britânica, trazendo para o grande ecrã as aventuras da dupla Eddy e Patsy Stone.
Para a sessão de encerramento do Queer Lisboa 20 vai ser exibido, no dia 24 de setembro, no Cinema São Jorge, em estreia nacional, em parceria com a TV Cine & Séries, “Looking: The Movie”, da HBO, realizado por Andrew Haigh, e que serve de capítulo final à série televisiva, transmitida entre 2014 e 2015 e que rapidamente se tornou um fenómeno viral.
Departure is an intimate story beginning at dawn on the first day and ending at night on the sixth, charting the end of a summer, the end of a childhood and the end of an otherwise nuclear family.
BFI presents in association with AMARO FILMS a MOTION GROUP PICTURES and CONNECTIC STUDIO production Written and Directed by Andrew Steggall Produced by Pietro Greppi, Guillaume Tobo and Cora Palfrey Starring Alex Lawther, Juliet Stevenson and Phénix Brossard
Queer Lisboa 19 - International Queer Film Festival commercial created by the agency FUEL Lisbon.
www.queerlisboa.pt www.facebook.com/qlisboa -------- Títle: OBSCENE Client: QUEER LISBOA Agency: FUEL LISBOA Creative Director: MARCELO LOURENÇO / PEDRO BEXIGA Art Director: PEDRO BEXIGA Copywriter: MARCELO LOURENÇO Executive Producer: PEDRO SILVA
Production Company: KRYPTON Director: FRED OLIVEIRA Executive Producer: RICARDO ESTEVÃO / JOÃO VILELA Production Director: ALEXANDRA RIBEIRO Production: ANA RIBEIRO DoP: SERGI GALLARDO Assistant Director: SÉRGIO MATOS Styling: ISABEL QUADROS
Video Post-Production: LIGHT FILM PP Video Coordination: NEIA OLIVEIRA Sound: SOM DE LISBOA Music: PEDRO CAMACHO
London, 1962. Two strangers strike up a conversation on a park bench about life, sex and the hostile world they find themselves in as gay men. The conversation might be commonplace, but the language isn't, because the two men are speaking in Polari.
Polari was a form of slang spoken by some gay men in Britain prior to the decriminalisation of homosexuality in 1967. Used primarily as a coded way for them to discuss their experiences, it quickly fell out of use in the 70s, although several words entered mainstream English and are still used today.
"In 6 minutes, Brian and Karl’s new short film Putting on the Dish creates a complete environment of the homosexual under Britain’s anti-homosexuality laws." - Julius Kassendorf, The Solute. http://www.the-solute.com/shorts-putting-on-the-dish/
"A fantastic short...It’s a poignant scene, made all the more so by our knowledge that this exquisite mode of communication will soon only exist in museums and preservation documents like this film." - J. Bryan Lowder, Slate. http://www.slate.com/blogs/outward/2015/07/28/polari_the_gay_dialect_can_be_heard_in_this_great_short_film_putting_on.html
Written & Directed by Brian Fairbairn and Karl Eccleston Maureen: Steve Wickenden Roberta: Neil Chinneck Director of Photography: Benjamin Barber Camera Assist: Antonis Tsiakos Sound Recordist: Patrick Casey Sound Mixer: James Wright Colourist: Jack McGinity Edit: Brian Fairbairn and Karl Eccleston Production Assistant: Brad Hoyland Stills: Chris Parkes
É do Roland Emmerich, eu sei, mas a esperança de que seja bom será a última a morrer. O trailer nem é mau e o cartaz é... dourado. Low expectations are good protections.
STONEWALL is a drama about a fictional young man caught up during the 1969 Stonewall Riots. Danny Winters (Jeremy Irvine) is forced to leave behind friends and loved ones when he is kicked out of his parent’s home and flees to New York. Alone in Greenwich Village, homeless and destitute, he befriends a group of street kids who soon introduce him to the local watering hole The Stonewall Inn; however, this shady, mafia-run club is far from a safe-haven. As Danny and his friends experience discrimination, endure atrocities and are repeatedly harassed by the police, we see a rage begin to build. This emotion runs through Danny and the entire community of young gays, lesbians and drag queens who populate the Stonewall Inn and erupts in a storm of anger. With the toss of a single brick, a riot ensues and a crusade for equality is born.
Here actor Tim Robbins reads from Martin Duberman's account of what became known as the Stonewall Riots, in New York City, on June 28, 1969.
Tim Robbins is introduced by Howard Zinn at the 92nd Street Y celebration of Young People's History on May 13, 2009. Produced by Voices of a People's History (peopleshistory.us) in collaboration with Seven Stories Press. (youngchicagoauthors.org).
Learn more at Facebook.com/VoicesofaPeoplesHistory and on Twitter @VPH.
Here's what Howard Zinn and Anthony Arnove had to say about Stonewall in their introduction to this reading in their book Voices of a People's History of the United States (Seven Stories Press 2004; see: catalog.sevenstories.com/products/voices-of-a-peoples):
//One of the most important moments of resistance from the 1960s was the Stonewall Rebellion. On the night of June 27–28, 1969, a multiracial group of gays who had gathered at the Stonewall Inn on Christopher Street in New York City’s Greenwich Village resisted when police sought to shut down the bar (allegedly for serving alcohol without a license) and to arrest patrons. They fought back, as the historian Martin Duberman recounts here, and, in doing so, helped spur a new, more militant phase of the struggle for gay liberation.//
You’re born that way—or else you’re not. It’s snowing—or else it’s hot. It’s like the strangeness, that’s also natural, When it’s raining on one side of the street.
I’m back to childhood when I see it weirdly Raining on only one side of the street. I stare Because it’s rare. How does nature dare! It’s like the first time you hear Bach. You stop and stare—and hear!
Everybody watches the weather report On morning TV when everybody’s getting dressed. You always see something. You never see nothing. If you don’t like what you’re wearing, change the channel.
But it’s always the same weather, isn’t it, On every channel, and always changing With the times? I like that It wasn’t raining, and then it was, but the sun was shining at least
On one side of the street for homosexuals In those not-so-long-ago pre-Stonewall days, Though it was difficult and even dangerous And they were often unhappy,
However happy they were. Samuel Barber at the Curtis Institute In Philadelphia with Menotti and oh my what gifted fun. I think of the hard-drinking tough-guy GI Bill fags
I knew in Cambridge, Mass., Harvard Teachers and fiends with a taste for straights, doing their best on weekends Not to get caught or killed, And basically brilliant and frightened and thrilled.
You saw hysterical, theatrical, paranoid men, Given to hissy fits and Carmen Miranda outfits, Become calm when a shot was fired, When it came down to taking off the costume and loving someone.
And Leonard Bernstein was vamping around. And Aaron Copland Gave manly kisses. Wasn’t Dvořák mildly gay? Renée Fleming singing Dvořák’s dragonfly-winged, ethereal
“Song to the Moon” from his opera Rusalka Is what beauty really is and does. The water nymph Rusalka, a spirit in a lake, Broadcasts her sorrow
And longing to the moon To ask the moon to tell the prince—a mortal man— That she loves him even if he’s queer, Which she deeply does, whom she’ll later kill with a kiss.
Devo andar muito distraído porque não me tinha apercebido da produção do National Theatre para o "Angels in America" do Tony Kushner. Ou se calhar até já sabia e tinha-me esquecido. Seja como for, não fosse um post do André Murraças no Facebook, muito menos me tinha apercebido que o elenco contava com Andrew Scott (brevemente num Bond perto de si) e Dominic Cooper (Mamma Mia!).
Nunca vi a peça encenada mas a minissérie do recentemente falecido Mike Nichols é das minhas coisas favoritas de sempre em televisão. E também já li o texto original do Kushner e é realmente brilhante.
A cena abaixo é do princípio da primeira parte "Millennium Aproaches", humor, drama e emoção em palco. Like.