by Céline Sciamma, France 2007
Lieu: Plateforme (Rotonde 1)

JUNE 5th 2018


Pendant l’été de leurs quinze ans, trois adolescentes vivent difficilement l’attente de leur sexualité. Marie traîne souvent avec Anne qui est complexée sur son physique et espère être aimée de François, membre de l’équipe de water-polo. Au club de natation synchronisée, pendant qu’Anne entraîne les poussines, Marie observe avec une curiosité troublée Floriane, la capitaine de l’équipe minime.

En échange de l’entrée dans la piscine pendant les entraînements, Marie sert de chaperon à Floriane pour pouvoir voir François le soir. Cependant, malgré une réputation de fille facile, Floriane appréhende sa première fois et finit par s’en confier à Marie. ♀♀♀

Three girls, each about 15, deal with puberty, the onset of sexual attraction, and, for two, the pressure of virginity. Marie, who’s slight and diffident, quiet and nearly expressionless, is friends with Anne, who’s a bit chunky and impulsive and has decided that François will be her first love. Watching synchronized swimming, Marie is suddenly attracted to the team captain, Floriane, beautiful, aloof, tall, and rumored to be a slut. François pursues her. Marie begins to hang around her; they trade favors, and soon it’s an odd sort of friendship. Each of the three experiences her own first, and Marie must sort out attraction and friendship.



By Händl Klaus (Austria), 2016, 124 min.
Lieu: Plateforme (Rotonde 1)

 APRIL 10th 2018


Andreas and Stefan lead a happy life: together with their beloved tomcat Moses, they live in a beautiful old house in Vienna’s vineyards. They work as a musician and as a scheduler in the same orchestra and they love their large circle of friends. An unexpected and inexplicable outburst of violence suddenly shakes up the relationship and calls everything into question – the blind spot that resides in all of us.

⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣ ⚣

*** short ***
by Gilles Tillet | France 2017 | fiction 17 min | French with English subtitles.

A day in the life of Vincent and Jean-Christophe, a romantic encounter one night that continues the day after, on the edge of drama and comedy, of emergency and disease.



By Dagmat Schultz (Germany), 2012, 79 min.
Lieu: Plateforme (Rotonde 1)

6 MARCH 2018


Audre Lorde’s incisive, often-angry, but always brilliant writings and speeches defined and inspired the US-American feminist, lesbian, African-American, and Women-of-Color movements of the 1970s and 1980s. Audre Lorde – the Berlin Years 1984 to 1992 documents an untold chapter of Lorde’s life: her influence on the German political and cultural scene during a decade of profound social change. The film explores the importance of Lorde’s legacy, as she encouraged Afro-Germans—who, at that time, had no name or space for themselves—to make themselves visible within a culture
that until then had kept them isolated and silent. It chronicles Lorde’s empowerment of Afro-German women to write and to publish, as she challenged white women to acknowledge the significance of their white privilege and to deal with difference in constructive ways. Previously unreleased archive material as well as present-day interviews explore the lasting influence of Lorde’s ideas on Germany and the impact of her work and personality. For the first time, Dagmar Schultz’s personal archival video- and audio-recordings reveal a significant part of the private Audre Lorde as well as her agenda—to rouse Afro-Germans to recognize each other. 2012 marks the 20-year anniversary of Audre Lorde’s passing.


By Children of Srikandi Collective (Indonesia/Germany), 2012, 73 min.
Lieu: Plateforme (Rotonde 1)



In 8 stories, CHILDREN OF SRIKANDI provides a personal insight into trans-identity, lesbian and bisexual life in Indonesia. Blurring the boundaries between documentary, fiction and experimental film, the members of the collective tell their stories, reflecting on queer live in Indonesia, the country with the world’s largest Muslim population.

The CHILDREN OF SRIKANDI Collective (Imelda Taurinamandala, Eggie Dian, Oji Yulia Dwi Andriyanti, Winnie Wibowo, Hera Danish, Stea Lim, Afank Mariani, featuring Ki. Suci Soleh and Ning. Anik Juwana) emerged from a workshop with the filmmakers Angelika Levi and Laura Coppens in 2010. Based on their experiences as queer women in Indonesia, the members of the collective directed, filmed and acted in the film, using the means for filmic self-representation provided by the workshop. Thus the films give voice to a group rarely heard, revealing personal tales of exclusion and struggle, but also of love and happiness. The subjects range from identity, reflection on labels, questions of belonging, families and religion.

The project started in 2010, a time of massive oppression against LGBT events. In 2010, two major LGBT events were attacked and several others had to be cancelled following intense pressure from violent religious groups, who organized themselves after the collapse of Suharto’s dictatorship in 1998.

In a time of strong and negative stereotypes about Muslims, this film offers a different perspective. The different stories deconstruct stereotypes about Muslims and LGBT people by challenging a binary view and showing that different identities are not a western import but are rooted in Indonesian culture itself. Consequently, the stories are interrelated through scenes of traditional Javanese shadow puppet theater (wayang kulit), telling the tale of Srikandi. Srikandi is a mythical figure from the Indian Mahabharata epic, who changes her gender to live and fight as an equal among men. Providing a shared reference point, the story also points out that same-sex love and gender variety were not imported from the west but form a deep and ancient part of Indonesian society.




By Phoebe Hart (Australia), 2010, documentary, 60 min.
Lieu: Plateforme (Rotonde 1)



For our second screening this autumn and for the upcoming Intersex Day of Solidarity we’ll be showing the sunny and warm biographic documentary Orchids: My Intersex Adventure by Phoebe Hart, an Australian intersex filmmaker. This event is organised in cooperation with Le Centre pour l’égalité de traitement (CET) and Intersex & Transgender Luxembourg a.s.b.l. (ITGL).

After the film we will give a platform for a discussion with Kris Günther and Thierry Bosman, founders of the Intersex Belgium and experts by experience, as well as  Erik Schneider, co-founder of Intersex & Transgender Luxembourg a.s.b.l.

Here’s a message from Phoebe about this project:

I have Androgen Insensitivity Syndrome (AIS). I am a woman with 46XY (male) chromosomes. Without a doubt, I have struggled with unwarranted categorisation and medical interference. Wherever possible, I actively seek to disrupt this cataloguing and meddling with as much honesty and humour as I can muster. It’s the reason why I wanted to make this film.

I chose the title, Orchids, as these ornamental flowers are an especially potent symbol for intersex people. The etymology of the word ‚orchid‘ derives from the Greek orkhis, meaning ‚testicle‘. As such, I have appropriated these flowers as a resonant visual signifier throughout my documentary.

On a professional and personal level, Orchids: My Intersex Adventure has presented me with many challenges. At an early stage of research and development, I made a conscious decision the film should be largely autobiographical. This was important for me on a number of levels and represented a huge step in terms of self-confidence and courage. In my early life, my condition was kept a secret from me. I was confused and told to keep quiet about who and what I was. I was subjected to medical scrutiny, surgery and pathology. Orchids has allowed me to reflect on the shame and trauma of my coming-of-age experience and examine why “coming out” continues to be extremely challenging.

After speaking with many intersex men and women for many years, it has become evident to me most are happy to be intersex but unhappy with the attendant “social” problems. Every day they deal with the stigma of being intersex, being seen as “different” or “freakish” by society, and treated by doctors and family members accordingly. Medical treatment contributes greatly to a sense of social inferiority and shame, as cosmetic surgery seeks to normalise aberrant bodies, pushing individuals with intersex towards either (more) male or female. In effect, such pathology represents a social shift to sequester intersex people from the normal population. Orchids: My Intersex Adventure is a portrait of survival and courage, revising societal and historical perspectives of intersex by creating understandings of difference, which originate from a highly subjective space.

I hope my narrative will engage and move audiences. Orchids: My Intersex Adventure presents the struggles and triumphs of other intersex people throughout Australia. However, most of all, it’s a potent story of family, acknowledging the past, and moving into the future with love and acceptance.




By Lizzie Borden (USA), 1983, fiction, 80 min.
Lieu: Plateforme (Rotonde 1)

10 OCTOBRE 2017


Ten years after the social democratic revolution. The new order is established, but still equality  has not been reached. Being confronted with sexism on a daily basis and discriminated against in the labour marked, women – many of them queer and Black – organize and fight back. The ‘Women’s Army’ is founded.

Using the stylistic means of a documentary, Born in Flames depicts the feminist struggles in a post-revolutionary society. Consequently, the key protagonists are two independent radio stations, a group of white academic feminists representing an establishment newspaper and the Women’s Army as the militant angle of the movement. While the radio stations give voice to Black working class feminists and comment on the events of the revolt, the reporters in the newspaper fear the separation of the revolutionary movement. Nevertheless, the death of a leading Black woman in the custody of the establishment brings them together in anger and motivates the different positions within the feminist struggle to act.

Preserved by Anthology Film Archives with restoration funding from the Hollywood Foreign Press Association and The Film Foundation.