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San Francisco, CA—Whether sounding the alarm, cueing fancy footwork, or electrifying a dance floor, music is a catalyst for queers coming together in the variety of music-centered features, documentaries and shorts offered in this year’s lineup at the 31st annual San Francisco International LGBT Film Festival. Frameline31 runs June 14-24 at the historic Castro Theatre, Roxie Film Center and the Victoria Theatre in San Francisco, as well as the Parkside Theater in Oakland.

Revolution is in the air and on the soundtracks to many of Frameline31’s feature films. Closing Night film Itty Bitty Titty Committee is Jamie Babbit’s (But I’m A Cheerleader) punk feminist fairy tale about a girl’s blossoming political consciousness. A comedic love letter to radical feminists and gender insurrectionists past and present, Itty Bitty Titty Committee is fuelled by a non-stop soundtrack of riot grrrl greats such as Bikini Kill, Team Dresch and Sleater-Kinney, newer musical torch bearers such as Peaches and Le Tigre, and an original score composed by Radio Sloan (former member of The Need, and currently, Peaches’ touring drummer).

No less an inspiration to Babbit is Lizzie Borden’s 1983 underground classic Born In Flames. The revolution isn’t televised in Borden’s prescient vision of an oppressive future America. Rather, it’s beamed over the pirate radio stations that help the guerillas in the Women’s Army shake down the system. With punk musician and director Adele Bertei in the cast, and a rocking new-wave soundtrack featuring bands such as Red Krayola and The Bloods, Born in Flames is as musically charged as it is politically incendiary.

Punk’s rebellious spirit also courses through Chus Gutierrez’s raucous El Calentito. Hedwig meets early Pedro Almodovar in this in your face comedy in which an underground punk rock club provides a safe haven for sexual misfits and creative deviants in post-Franco Spain.

Music provides a different sort of coming together in another Spanish feature and Frameline31’s sole proper musical, Emilio Martinez Lazaro’s The Two Sides of the Bed. A sequel to the director’s 2002 film The Other Side of the Bed, this frothy musical comedy follows the various sensual groupings of two couples, which, although “heterosexual,” are far from straight. Luckily, as the romantic entanglements and sleeping arrangements continue to multiply, a resolution is always only a pop song and dance number away.
Music and passion are explored in a less comic fashion in Chris Krauss’ gripping Four Minutes, which follows the volatile relationship that develops between a convicted killer and the older piano teacher who takes her on as a pupil. Music lessons aren’t the only things learnt in Another Woman, Jerome Foulon’s sensitive domestic drama about Lea, a MTF doctor (played by the captivating Nathalie Mann), who cautiously attempts to reconnect with her estranged family by posing as a music journalist interested in covering her daughter, a budding classical pianist.

Two of this year’s music-focused documentaries suggest how club culture can be its own form of community. Taking us back to they heyday of ‘70s urban gay culture, The Godfather of Disco profiles Mel Cheren, founder of the innovative disco label West End Records and one of the initial investors in the famed dance club The Paradise Garage, where Larry Levan raised DJ-ing to new levels of artistry. Once AIDS brought the party to a calamitous standstill, Cheren was quick to respond, becoming a vocal advocate for an imperiled community whose needs were continually met by official indifference.

Fast-forwarding four decades later, Motherfucker: A Movie takes a behind-the-scenes look at one of the most exciting events in New York’s nightlife: Motherfucker. Run by scene vets Michael T, Justine D, Johnny T and Georgie Seville, Motherfucker carries on the polysexual openness and anarchic spirit of older, legendary downtown clubs, while reenergizing a contemporary club scene very much in need of some outrageousness and providing a new after-dark home for the fabulously freakish.

DJ, musician, and cult film archivist Triple X unveils a fabulous new clip reel of vintage Sapphic soft core porn culled from the genre’s golden age in the ‘60s and ‘70s in Triple X Selects: The Best of Lezsploitation. Although these skin flicks were originally made for straight men, Triple X’s insightful narration and canny editing reclaims these sinning celluloid honeypots for a new generation of gay and lesbian viewers.

In Lesbian Pulp-O-Rama Goes to Sweden! the campy, off-Broadway cabaret group Lesbian Pulp-O-Rama pack up their wigs and head to the Land of Blondes for a second time to tour their sassy holiday revue A Very Pulpy Christmas! This rambunctious documentary cuts between insightful interviews and plenty of show footage, including an affectionately tongue-in-cheek lip synch routine set to Marlene Dietrich’s “Falling in Love Again.”

Following the popularity of last year’s screening of The Many Adventures of Winnie The Pooh, Frameline once again invites queer families with kids (or those who are young at heart) to spend some time in the Hundred Acre Wood with the Family Film Matinee screening of Pooh’s Heffalump Movie. Featuring original songs by Carly Simon, this charming new Pooh parable is a heartwarming sing-along about accepting our differences.

Frameline31’s shorts programs continue to queer the pitch. From the sensual, same sex tangos performed in Milonga Gay, to the Afrikaans two-step used to navigate the legacy of apartheid in A Peek Behind the Boerewors Curtain, to the competitive fox trotters and samba queens of OUTBallroom, program Dancing with the Queers provides a global perspective on music, dance and sexuality. New York Story, in the Genderific! Program, follows musician and performance artist Genesis P. Orridge and life partner Lady Jaye on their ongoing mission to create a new gender by becoming each other.

Frameline31: The San Francisco International LGBT Film Festival, screening June 14-24, 2007 at the Castro Theatre (429 Castro Street), Roxie Film Center (3117 16th Street) and the Victoria Theatre (2961 16th Street) in San Francisco and the Parkway Theater (1834 Park Boulevard) in Oakland.

Advance tickets go on sale May 25 at the Frameline Box Office located inside Superstar Satellite, 474 Castro Street (between Market and 18th). Box Office hours are 1:00 pm to 8:00 pm daily beginning Friday, May 25 (for Frameline members) and Friday, June 1 (for general public). Tickets are also available online ( and by fax (415-522-5543). Unless otherwise noted, tickets are $10 general, $9 members; and $8 general, $7 members for matinee screenings, starting at 5:00 pm or earlier. Castro Passes, good for admission to all screenings at the Castro Theatre other than Opening Night and Closing Night, are available for $200. Weekday Matinee Passes, good for admission to all weekday matinee screenings at the Castro Theatre starting at 5pm or earlier, are available for $35. For more information, visit

The San Francisco International LGBT Film Festival is presented by Frameline, a nonprofit LGBT organization whose mission is to strengthen the diverse lesbian, gay, bisexual and transgender community and further its visibility by supporting and promoting a broad array of cultural representations and artistic expression in film, video and other media arts.

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