Stolen Y-fronts and an obsession with dust cause confusion in a Sydney apartment building in Above the Dust Level by Carla Drago (Australia, 1999, 12 min). Stark city landscapes provide a backdrop for dyke drama in Meep Meep! by Jenni Olson (2001, 1 min). Bare by Liz Baulch takes a playful look at living in close quarters (Australia, 2000, 9 min). Butch and her guest show us how to seduce her with dessert in Baking with Butch by Melissa Levin and Nina Levitt (2000, 5 min). An Australian lesbian discovers her ethnic background in Black Sheep by Lou Glover (Australia, 1999, 26 min). While mom is preparing the Christmas turkey, Anne comes out in Home for Christmas by Frank Mosvold (Norway, 2000, 5 min). A six year old falls for her older brother’s girl… and does something about it in Girl Under the Table by Dominique Zeltzman (USA, 2000, 3 min).

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John Cameron Mitchell, creator and star of the long running off-Broadway rock musical Hedwig and the Angry Inch, has adapted his stage hit for the screen. Winner of the Sundance 2001 Audience and Director awards and the 2001 Berlin Teddy Award, this film tells the story of a transsexual would-be rock star. East German teenage boy Hansel agrees to a sex change operation in order to marry an older American man, thus becoming Hedwig. Shortly after their arrival in Kansas, Hedwig’s husband abandons her and she falls in love with confused 17-year-old Tommy, who steals her songs to become a rock superstar. The former soulmates’ paths continue to intersect as the Glam Era-inspired Hedwig rocks her way through the tragic story of her life, singing her soul nightly to audiences at a local restaurant chain. Visual flash and a retro-kitsch sensibility create the campy, underground appeal.

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Love/Juice is a passionate, strikingly beautiful film about female friendships in contemporary Tokyo. Kyoko and Chinatsu aren’t lovers, just roommates who eat, sleep, go clubbing, do dope, and brush their teeth together. Chinatsu is a lesbian photographer who is working on a visual diary. Kyoko, less mature, develops a crush on a taciturn boy who runs a local fish store and barely acknowledges her existence. When Chinatsu is dumped by her girlfriend, Kyoko tries to console her and the two almost make love. And suddenly, it’s make-or-break time for the girls’ relationship. Without hyped-up melodramatics of any kind, Shindo Kaze’s directorial debut is one of the freshest and most believable films about female friendship ever made.

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