Fri 01 October 2021
Tri Postal — SCREENING ROOM — 18:00
Our first screening invites viewers to a global tour of punchy, edgy short films from Belgium, France, Hungary, Poland, the US, and the UK. Amongst other highlights, this screening sees
the return of Karol Radziszewski to the screens of H.H., following the story of the creator of one of Eastern Europe’s first queer zines while drawing a rare portrait of the gay scene in the late
Polish People’s Republic.
Jessie Auritt
Jessica Wolfson
THE PAINT WIZZARD — USA — 2020 — 17'
Millie “The Paint Wizzard” is a transgender housepainter who lives in a bright yellow motorhome in Austin, Texas. A few years ago, at the age of 58, she gained the courage to leave “Michael” behind and embrace her authentic self, cat ears and all.
Lee Campbell
LET RIP: BODIES LEAN AND RIPPED — United Kingdom — 2021 — 4'
‘Smash the fads, rip the mags, and break out those daddy bellies! ‘ OUTSTREAM FILM FESTIVAL 2020
Becoming more and more increasingly aware as a gay man of ideals of body image that the gay male community puts on itself (FIT, FAT, FIT, FAT, FIT, FAT) this film employs protest art, of modes of representation /chanting (NO BODY SHAME, NO BODY SHAME) within ACT UP and queer movements, of political campaign, including my own drawings of my own body. There is so much humour in this work to critique and at times parody, for example, the line, ‘Mr Spinach and Eggs, stick your rules and regs in the hole at the back of the top of my legs!’
Karol Radziszewski
AFTERIMAGES — Poland — 2018 — 15'
A short story about one plate from the archive of Ryszard Kisiel, the creator of Filo – one of the first queer zines in Central and Eastern Europe. The evoked negative from the end of the ‘80s is the starting point for both Kisiel’s personal history and the portrait of the gay scene of the late Polish People’s Republic.
Peter Strickland
GUO4 — United Kingdom/Hungary — 2019 — 3'
A confrontation between two swimmers in a locker room ends in tears.
Maël Nathanaël Sonn
CAMILLE — Fance — 2020 — 4'
Camille is about to take a bath when a child appears and questions the identity she has built up until now.
After having a talk with whom she should have become, she fully embraces the doubts and issues that come
with the construction of one’s unique identity.
Serena Vittorini
EN CE MOMENT — Belgium — 2020 — 15'
I shot “En ce moment” during the lockdown in Belgium.
On March 19, Ophélie, the girl I recently started a relationship with, moved into my house to face quarantine together.
From the very beginning, our relationship proved to be problematic and, in the new daily life, with the pandemic’s altered rhythms, it turned into an intense battle, scattered with exhausting attempts to create a communication that would allow us to express our respective needs.
The film stems from my need to create emotional contact with Ophélie, little inclined to understand and express her emotions, and prisoner of the relationship with her previous partner from whom she was never able to free herself despite the decision to start a relationship with me.
At that moment, my deep need was to get out of the insane relational dynamics that have accompanied me over the years and to finally realise an authentic encounter with my partner and build a relationship made of reciprocity and real presence.
I am a photographer but in this case, I wanted to experience the moving image. I was looking for a language that could record this constant attempt to find a balance between me and her. I wanted the camera to be the witness of our daily battle, the instrument to express my need to be understood, loved, accepted and the consequent frustration for unfulfilled desires and expectations.
This film is my attempt to narrate the difficulty of the relationship, the expressed and unexpressed needs, a consequence of our personal past experience that we project onto the other by creating a system of impossible encounters.
