ANOTHER WAY
Directed by Karoly Makk, 1982

A startling romantic drama set against the aftermath of the failed Hungarian uprising of 1956. Livia, the quiet wife of an army officer, is a reporter for a Budapest newspaper where Eva, an outspoken lesbian, comes to work after two years of politically motivated unemployment. Eva and Livia engage in an intense flirtation, which leads to tragic consequences. In Hungarian with English subtitles.

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BALLROOM
Directed by Patrick Mario Bernard, Pierre Trividic & Xavier Brillat, 2003

A gripping, edgy drama about identity and creativity, Ballroom tells the story of reclusive artist Rene Bernard, who lives and works in an abandoned ballroom with his male lover. Increasingly out of synch with the world around, Rene begins to experience delusions involving two spooky clowns he once saw in a magazine. In French with English Subtitles.

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BLACK & WHITE
Directed by Boris Frumin, 1991

Lisa, a young Russian émigré new to New York, and Roy, an African-American apartment manager, bond as they eke out a meager living on the city's Lower East Side, but their budding relationship is thwarted by economic realities and personal responsibilities. Set in the early 1990s, before gentrification, Black & White captures the gritty locale as well as the difficulties of escaping a fringe existence. The film is populated by an assortment of bohemian artists, disenfranchised immigrants, sexual surrogates, and working class stiffs, who respond to life on the edge of society in different ways.

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MASSILLON
Directed by William E. Jones, 1991

William E. Jones's autobiographical film about growing up gay in the small Ohio town of Massillon pushes the boundaries of documentary by offering a poignant self-portrait within the context of gay political history. Combining provocative voiceover with evocative imagery, Massillion gets its message across and tells Jones's story without the presence of onscreen human narrators or actors. "Part One: Ohio" offers shots of Massillon, a Rust Belt town victimized by outsourcing, as Jones recounts memories of his youth. "Part Two: The Law" shows images of government buildings as Jones recites laws restricting sexual activity. And, "Part Three: California" contrasts the neutral landscapes of Santa Clarita with a narration detailing the history of sexual persecution.

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MEN IN THE NUDE
Directed by Karoly Esztergalyos, 2006

Men in the Nude tells the story of Tibor, a middle-aged writer who leaves his wife to pursue an on-again off-again relationship with a young male prostitute, Zsolt. Consumed with lust and the thrill of their secret relationship, Tibor continues to stay with Zsolt even as he begins to ruin every aspect of Tibor's life. In Hungarian with English subtitles.

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ROY COHN/JACK SMITH
Directed by Jill Godmilow, 1995

In Roy Cohn/Jack Smith, actor Ron Vawter’s legendary, tour de force performance as two public figures who were both gay is captured by director Jill Godmilow. Vawter (Sex, Lies and Videotape; Silence of the Lambs) dazzles in a dual role as the rabid, conservative lawyer Roy Cohn and the flamboyant experimental filmmaker Jack Smith. Representing two extremes of the political spectrum, Cohn and Smith nonetheless shared something in common -- they both died of AIDS.

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A VILLAGE ROMANCE
Directed by Bodis Kriszia, 2006

A powerful film about two women who fall in love in a small Hungarian village, once a haven for the lesbian community. One lives in poverty while the other is married to an abusive and alcoholic husband. He threatens her with a trip to family court when he finds out about her secret, but she bides her time until he is out of the picture. In Hungarian with English subtitles.

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WHAT'S UNDERGROUND ABOUT MARSHMALLOWS?
Directed by Jill Godmilow, 1996

What's Underground About Marshmallows? was the second part of Ron Vawter’s highly acclaimed theater piece Roy Cohn/Jack Smith, first staged in 1989 in New York City and then performed nationally until Vawter's death from AIDS in 1994. Jack Smith was a vanguard underground filmmaker, who was sometimes hailed as the father of performance art. In his later films and performances, such as the one re-imagined here, Smith explored a deceptively frivolous camp aesthetic that transformed bits of Hollywood "B" movies into socio-political critique and high art.

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