ABOUT THE EVENT
New Orleans Queer Film Night
Third Tuesdays, 7-10PM
In the New Orleans Healing Center
2372 St Claude Avenue,
New Orleans, LA 70117 [MAP]
New Orleans Queer Film Night is an evening of community and film. The three hour program includes a set of short films followed by a feature presentation. The bar will be open so come in, grab a drink, sit back and enjoy. Short films include old classics, cut-ups, animations, and new films. Feature presentations include classics, documentaries, and new full-length films. “We look for films that need to be part of the zeitgeist of contemporary queer men’s culture,” said Brayden Shayne.
Brayden Shayne is a queer artists’ collective based in North America that is interested in queer art and thought and good faggotry. We show up in the world as a magazine; products; events; film; and sounds.
Brayden Shayne invites filmmakers to share their projects with us and members of the queer community to share with us what films they would like to see. SEND US AN EMAIL.
NEXT FILM NIGHT
TUESDAY, February 20, 2024
Queer Short Films
At February’s Queer Film Night, Brayden Shayne presents a full slate of short films from filmmakers around the world.
Cockleidoscope is a deliciously queer short film from Vancouver, Canada filmmaker Clark Nikolai where “asking for help at a seaside mansion, a ship captain is told ‘You’re just in time for coffee. Come on in.’ He then is sucked into a world of discussions about video art.
A lush film shot in New Orleans City Park by Tulane student Cameron Brown, The Bench “is about the stasis that lies in between moments of abuse. The stasis that carries the greatest weight, the greatest pain, and the greatest hope.” Brown writes, “This film represents an incredibly therapeutic, fulfilling creative experience for me, an experience where I painted my truth onto a park bench that I pass by on walks.”
South African filmmakers Iban Bester and Roelof Hayward offer the magical coming out story, Metamorphosis. “A young gay man named Lerato is struggling to become intimate with his boyfriend Jaden, due to feelings of gay shame.”
Jesse Cracks bends his back to impress his crush in Eli Hoffman’s Gen-Z take on romantic, coming-of-age comedy.
Always, Azul is a compelling short film that follows the life of Carlos, a humble janitor from Mexico who leads a secret life as a captivating drag queen in the vibrant Latin club scene of Los Angeles. By day, he cleans the floors of an upscale office building, blending into the background, unnoticed and uncelebrated. But when the sun sets, he transforms into the fierce and fabulous “Azul”.
In Hair to Stay, Canadian director Pree Rehal uses clay stop-motion animation to tell the story of a young, trans, brown kid getting bullied by their crush. Andy Frans Coleman’s moving, drawn animation, Pieces of You, tells the story of a crow who has lost their partner. In Alice Roncier’s animated film, Running Still Running, two criminals rob a diner then drive away in their hover car. Will they be able to escape unharmed? One thing’s for sure: they’re in love and one of them likes to sing about it.
In Pastry, Writer Alison Rayner and Director Eduardo Barreto deliver a sweet, seductive, campy comedy where “romance blossoms between an inspirational baker and an overweight businesswoman with a seriously sweet tooth.”
A prying journalism student interviews a world-wearied drag queen about her life and career in Ramblings of a Middle-Aged Drag Queen, a short film written by gender queer Hamilton, Ontario actor and screenwriter Darren Stewart-Jones. The film was produced by Prince Edward Island, Canada filmmaker Goldy Locks and directed by Aharon Jinjihashvili.
In Warehouse, a queer, Latino-Indigenous, warehouse worker must choose between keeping his job or standing up to his boss when his LGBTQ colleagues are fired for demanding better working conditions. Director Ahuatl Amaro is “a proud queer, Latinx-Indígena screenwriter and director born and raised in Los Angeles to working-class Mexican migrant parents.”
When Glasgow, Scotland-based queer performer Derek McLuckie went to see the Stranglers in 1978, his eyes were opened as he felt part of a youth movement – yet there was struggles due to his sexual orientation. In My First Punk Gig, Derek reflects back on this gig and how punk provided the soundtrack for his coming of age
From the United Kingdom, Company is a short film “about letting love take the wheel and trailing your own path to happiness. In a world where words falter, love speaks louder than anything else.”
UPCOMING FILM NIGHTS
TUESDAY, March 19, 2024
My Own Private Idaho
Gus Van Sant
River Phoenix * Keanu Reeves
In this loose adaptation of Shakespeare’s “Henry IV,” Mike Waters (River Phoenix) is a gay hustler afflicted with narcolepsy. Scott Favor (Keanu Reeves) is the rebellious son of a mayor. Together, the two travel from Portland, Oregon to Idaho and finally to the coast of Italy in a quest to find Mike‘s estranged mother. Along the way they turn tricks for money and drugs, eventually attracting the attention of a wealthy benefactor and sexual deviant.
PAST FILM NIGHTS
TUESDAY, January 16, 2024
Myra Breckinridge & Queer Short Films
Myra Breckinridge is a 1970 American comedy film based on Gore Vidal’s 1968 novel of the same name. The film was directed by Michael Sarne, and featured Raquel Welch in the title role. It also starred John Huston as Buck Loner, Mae West as Leticia Van Allen, Farrah Fawcett, Rex Reed, Roger Herren, and Roger C. Carmel. Tom Selleck made his film debut in a small role as one of Leticia’s ‘studs.’
“Myron Breckinridge (Rex Reed) flies to Europe to get a sex-change operation and is transformed into the beautiful Myra (Raquel Welch). She travels to Hollywood, meets up with her rich Uncle Buck (John Huston) and, claiming to be Myron’s widow, demands money. Instead, Buck gives Myra a job in his acting school. There, Myra meets aspiring actor Rusty (Roger Herren) and his girlfriend, Mary Ann (Farrah Fawcett). With Myra as catalyst, the trio begin to outrageously expand their sexual horizons.”
Big Sur Gay Porn
Cult filmmaker Tom DeSimone revisits the production of a lost gay film and resurrects youthful adventures on the California coast, but nostalgia isn’t always 20/20 vision.
From Bay Area Reporter: “Sur” was a 1970s gay porn film shot at the lush and beautiful beaches of Big Sur, California. The film starred Clay Russell, who at the time was a well-known name in the gay porn world. “Sur” was directed by Tom DeSimone, who directed dozens of gay porn films during that period, as well as R rated cult films such as “Hell Night” and “Reform School Girls.” In “Big Sur Gay Porn,” a new short film by documentary filmmaker Ryan White, DeSimone, who is still with us in his golden years, recalls the making of “Sur.” He also relives that magical time during the 1970s when Big Sur was a gay beach populated with gay men who shed their clothes with abandon and practiced free love.
Furious Saint Jack & Otter, Alone
A lonely young man rhythmically narrates his leap from isolation to ecstasy when he meets a beautiful stranger at a bar. Juxtaposing self-consciousness and fear with the joy of liberation, Furious Saint Jack & Otter, Alone dynamically explores the visceral, breathless poetry of a sudden romantic connection.
Self-described “shy otter, queer filmmaker,” Ethan Roberts currently lives in San Francisco. “With a religious background, a distinctive political eye, and an interest in queer history, desire, and discourse, Ethan makes up one half of the filmmaking partnership CINEMA~PARMESAN. His 2014 short Furious Saint Jack & Otter, Alone played at over thirty festivals worldwide, winning Best Drama at the Canton Film Festival and the LGBT Honorable Mention Award at the Columbus International Film+Video Festival. It was called ‘a beautifully shot and exquisitely narrated spoken word tale’ by the Wotever DIY Film Festival and was mentioned by the Calgary Herald as one of the “Five to See” at the Fairy Tales Film Festival.”
TUESDAY, December 19, 2023
Tangerine & Grow the F*ck Up
7:15PM Grow the F*ck Up
Grow The F*ck Up is a coming-of-age story set contextually in the Afro-Present, which allows our hero, Kit Benoit, a young queer woman of color, to exist in the world as she is, rather than in the extremes that our past and current media culture tends to situate individuals like her. The show explores the intersectionality of someone who doesn’t have the privilege of fitting into any particular culture, exploring different queer identities (or a lack thereof), and the deconstruction of Black Exceptionalism. Kit is no more likely to slay at a hip-hop night – we’re looking at you Issa Dee- than she is to be mistaken for one the foible-ridden yet exceptional children of Bow and Dre. That’s not say she doesn’t have the potential, but, based on the events of GTFU, that potential may be all she has. This show was written for people like its co-creator, who are looking for a representation of themselves in the light of day with a flashlight.
There are a lot of stories out there about people in their thirties, trying to get their shit together and striving to achieve the mystical level of Adult. Does adulting look different these days than it did for our parents, or are so many millenials’ growth just stunted? Regardless, it’s a struggle many of us can relate to. Our story (based on real events) is from what we think is a fresh perspective, and one that we think warrants representation.
The filmmaker will be present.
It’s Christmas Eve in Tinseltown and Sin-Dee (newcomer Kitana Kiki Rodriguez) is back on the block. Upon hearing that her pimp boyfriend (James Ransone, STARLET, “Generation Kill”) hasn’t been faithful during the 28 days she was locked up, the sex worker and her best friend, Alexandra (newcomer Mya Taylor), embark on a mission to get to the bottom of the scandalous rumor. Their rip-roaring odyssey leads them through various subcultures of Los Angeles.
“This fascinating, occasionally quite dramatic look at the gay Mardi Gras ‘krewes’ of New Orleans charts this subculture’s development from the harrowing bigotry of the fifties to the empowerment of the present day.” –New York Magazine
“Captures the heart and soul of what has become a sort of Boys Gone Wild As Girls parade. Do papa Tennessee a favor. Put on your Sunday clothes, top them off with three layers of feathers and bugle beads, and check out this movie’s look at a class menagerie.”– Michael Musto, Village Voice
“A treasure trove of archival footage…touching!” – Lou Lumenick, NY Post
“Penning a new chapter in the history of gay-rights efforts, Tim Wolff’s The Sons of Tennessee Williams offers Southern grace instead of the in-your-face conflicts of better-known showdowns on the East and West Coasts…A likeable combination of fresh perspective and Mardi Gras glamour.”- John Defore, The Hollywood Reporter
“An ennobling civil rights documentary.” – Brandon Voss, Advocate’s Hot Sheet
TUESDAY, NOVEMBER 21, 2023
Queer Short Films & The Sons of Tennessee Williams
“Mardi Gras, drag balls and politics–where else could these elements come together but in New Orleans? Interweaving archival footage and contemporary interviews, The Sons of Tennessee Williams charts the evolution of the gay Mardi Gras krewe scene over the decades, illuminating the ways in which its emergence was a seminal factor in the cause of gay liberation in the South.” A staple of Mardi Gras documentaries since its debut in 2010, the 75-minute documentary is a must-see for anyone who wants to understand the role gay Mardi Gras krewes play in the fabric of queer life in New Orleans.