This year we are bringing you the best LGBT short films from the YoungCuts Film Festival. The YoungCuts Film Festival is an event showcasing the best independent films by undiscovered talents. The Festival features short films produced by emerging filmmakers and serves as a launch pad for filmmaker careers, providing exposure and recognition for some of the most exciting new talent from around the globe – student film makers and non- student film makers alike.

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Twelve years after her explosive debut, Baise‐moi, Virginie Despentes is back with the decidedly lighter tale of two middle‐aged women struggling to rekindle their teen‐aged romance after three decades. 40‐ year‐old Gloria (Béatrice Dalle) is still a volatile, art‐punk drifter in the north‐eastern city of Nancy. Frances (Emmanuelle Béart) has settled into a comfortably bourgeois life of marriage (to a gay man) and a career in television. With trouble brewing at work and a husband struggling with writer’s block, however, Frances impetuously summons Gloria to stay with her in Paris, searching for the magic she felt as a rebellious, love‐struck teenager. Youth’s poignant intensity versus middle‐aged nostalgia are evoked in alternating scenes from Gloria and Frances’ young love circa 1984, and the present. With passionate performances by Soko and Clara Ponsot (who play the young Gloria and Frances), a Lydia Lunch cameo and a kickass soundtrack (Siouxsie and the Banshees, Bérurier Noir), this is a film for anybody who has ever wondered about the possibility – or wisdom – of trying to recapture their first big love."

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Disco. Whether you love it or hate it, it was an undeniably massive cultural phenomenon, offering heady dance‐floor escapism — and some priceless polyester outfits. But beneath the reverberating vocals, frenetic strobe lights and four‐on‐the‐floor beat, there was a neon epiphany waiting to emerge. In THE SECRET DISCO REVOLUTION, director, satirist and comic provocateur Jamie Kastner offers a humorous and insightful investigation into the much-maligned genre, taking up the claim by academic revisionists that disco was in fact a misunderstood culture of protest and a movement of mass liberation for some of American society’s most marginalized citizens: women, African‐Americans, and gay men. Could disco enthusiasts actually have been unwitting foot soldiers in a glittering social revolution?

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