Finding Kim is a new doc on the trans experience that follows the transition of Kim, who desperately wants to feel at peace with his body in time to be a 50-year-old man instead of a 50-year-old woman.
From the press release:
Fifty-year-old Kim has made a decision. A decision a lifetime in the making: transitioning to a man. Join him through the fearful, powerful, freeing journey of which he’s only dreamed. Witness the entire process including top surgery, navigating friendships and the torment of what to tell one’s family. Watch Kim’s joy as he experiences life the way he always felt he should: as a happy, confident, human being. Captured by documentary filmmakers Aaron Bear and Gabriel Bienczycki, Finding Kim is a journey of self-discovery and self-acceptance. Set in the backdrop of progressive Seattle, this film features insights, advice and real-life experience from Dan Savage, Carmen Carrera, Calpernia Addams, Buck Angel and more.
Looks like a great way to teach people how bottom surgery works and about being trans without having to ask every trans person they meet rude questions!
Sometimes, it feels like 1/4 of the guys who hit me up on Grindr ask about parTying. It seems more and more acceptable to openly admit to using meth, which is a great way to turn me off completely.
This weekend, New Yorkers, check out the film parTy boi: black diamonds in ice castles — info above — on the growing meth epidemic in the black and Latino queer community.
Via press release:
New documentary, parTy boi: black diamonds in ice castles, will premiere on May 7, 2017. The film project focuses on methamphetamine addiction within the LGBTQ community of color, and explores a drug epidemic that is affecting the lives of Black and Latino gay millennials at an alarming rate. Directed by Micheal Rice, parTy boi was designed to spark debate and educate LGBTQ youth around the world about crystal meth and drug addiction. The premiere screening and cocktail Q&A event takes place on May 7that 7:30pm – ImageNation Cinema, 2031 Adam Clayton Powell Blvd. New York, NY 10027. Tickets will be available at the box office window prior to the viewing. Admission: $20.
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If you're old enough to know who Hedy Lamarr (1914-2000) was, her name probably conjures a handful of things: Great beauty, skinny-dipping, many husbands, Harvey Korman's Hedley Lamarr character in Blazing Saddles (1974), a shoplifting scandal.
Literally, more than a pretty face
After viewing director Alexandra Dean's Bombshell: The Hedy Lamarr Story, you'll never think of this woman the same way again, and anyone being introduced to Lamarr via this film will have the advantage of knowing a much truer picture of Lamarr than the Hollywood image she herself despised.
There is a reason the production company for this effort — which boasts Susan Sarandon as a producer — is entitled Reframed Pictures.
“Here is the role model everyone thinks doesn't exist. And she's a movie star! I knew it had to be my next project.” — Director Alexandra Dean on Hedy Lamarr
The film, beautifully shot and edited with great care to form a compelling narrative, covers the most important aspects of the Austrian actress's career, including her infamous nude swimming scene in 1933's Ecstasy, triumphs in films like Ziegfeld Girl (1941) and Samson and Delilah (1949), the self-parodying of popular pap like White Cargo (1942), and her pioneering efforts as a producer of her own work with Loves of Three Queens (1954).
However, the doc's main focus is not to ooh and ahh over her remarkable beauty as a movie queen, but to show how her good looks held Lamarr back from the field in which she probably belonged — science.
Dismissed as a hot piece willing to disrobe on camera, Lamarr was in fact a cerebral woman whose mind worked like that of a trained scientist. Thanks to newly rediscovered audio tapes of a Forbes interview the by-then reclusive Lamarr gave Fleming Meeks, we are treated to hearing how she analyzed even simple subjects (you'll never forget her shading water wings), and we are also given ample reason to believe that Lamarr was not only a beauty with a brain, but was responsible for one of the last century's most important inventions — frequency hopping.
During World War II, Lamarr was troubled by how indestructible German ships seemed to be, and decided to devise a way for the Allies to create torpedoes that couldn't be stopped or tracked. Realizing the Germans would jam all frequencies to make torpedoes less accurate, she invented the idea of frequency hopping — sending torpedoes using an indecipherable series of codes on different frequencies — with the help of her musican friend George Antheil (1900-1959), who came up with the idea of adding player-piano tech to the concept. They were granted a patent in 1942, but the idea was snatched by the military and the inventors were never kept apprised of its application, which began within 20 years, and which is now recognized as the foundation of such indispensable innovations as Bluetooth, CDMA and Wi-Fi.
They were never paid a dime.
In the film, we hear Lamarr circa 1990 casually say inventing things came easy to her, but it is apparent nothing else did. Pigeon-holed as a shallow beauty, she was pushed to sell war bonds via kissing soldiers and showing leg, even though she'd invented something that might have ended the war had it been taken more seriously sooner.
“I want to be a ... very simple, complicated person!” — Actress/Inventor Hedy Lamarr (1969)
Her film career languished, her beauty faded (and became garish thanks to multiple excursions into plastic surgery — which she also pioneered, by coaxing doctors to try new techniques on her famous face and body) and her love relationships with men were nothing short of disastrous. She rarely saw her children for the last 20 years of her life, including her son, Anthony Loder, but Loder became an archivist of his mother's life and work, and a champion for a reassessment of her contributions to science.
I caught Robert L. Camina's thorough, compassionate Upstairs Inferno this past week, as gut-wrenching a film as you'd ever want to see.
A documentary on the tragic fire that claimed 32 lives at the gay bar the Upstairs Lounge in New Orleans in 1973, the film is a valuable record of an event many people — even LGBTQ people — have no idea ever happened.
The fire tore through the popular gay watering hole, which also served as a nexus for the gay-affirming Metropolitan Community Church, killing dozens in a matter of minutes thanks to its fire-friendly decor and barred windows. One enduring image from the blaze is a news photo of the upper part of a gay pastor's body wedged between the bars of one window, where he died desperately trying to escape.
Over 20 bodies were found stacked by the windows, while others never had a moment to budge from where they stood. Still others died in the hospital in the days following the fire.
Sadly, the fire was almost certainly caused by a gay man angry that he'd been kicked out of the establishment. Sadly and sickeningly, he was never questioned by police and not long after committed suicide, reportedly at odds with being gay — and no doubt wracked with guilt over doing something he couldn't have imagined would end so horrifically.
It's all a part of Logo's promo for the April 6 airing of Strike a Pose, the brilliant documentary that could have been called What Ever Happened to Madonna's Blond Ambition World Tour Dancers? — except they've all moved on, none are confined to their rooms and they're all serving middle-aged realness, not dead rats.
Check out Logo's interstitial piece “What Truth or Dare Meant to Me” here.
A statement on his death from the filmmakers appeared on Facebook Saturday:
The film covers the subject of endurance tickling, a pastime that alleges to be resolutely straight even though it involves men tickling each other in a way that can only be described as sexually dominant.
The makers of the films that are the subject of the doc are portrayed as bullies who manipulate the participants in deplorable and at times jaw-droppingly, creatively brutal ways, especially when they show disloyalty and/or want to get out of the field.
In the film, D'Amato is not portrayed as someone you'd be sad to hear has died, so make of this information what you will.