In February 2015, the Village Voice heralded the arrival of “New York’s Bravest” – Brooke Guinan, the first openly transgender firefighter in New York City. As a third-generation firefighter, Brooke has a passion for heroism that runs in her blood. Her father George is a respected lieutenant and 9/11 survivor with a 35-year legacy in the FDNY. People always asked Brooke if she would follow in her father’s footsteps. But when Brooke transitions from male to female in her father’s workplace, it poses not only a challenge to a macho profession, but also to the customs of the people she cares about the most – her traditional family. Meanwhile, Brooke’s boyfriend of two years, Jim, struggles with to come out to his family. A wise-cracking Air Force veteran, Jim still hasn’t told his mother that Brooke is a transwoman. Brooke and Jim realize that having the life they want means being vulnerable in the face of judgment. As we watch the couple buy a house together and consider marriage, we reconsider what it means to be man and woman, gay and straight, traditional and nontraditional. A heartfelt portrait of change in the American family and workplace, Woman on Fire is a testament to love, courage, and loyalty.

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Recent high school grad Joey (Lola Kirke, Mozart in the Jungle and Mistress America) is scooping ice cream at the local fair when she meets Rayna (Breeda Wool, UnREAL), a leggy blonde in Daisy Dukes who likes drinking and flirting, and who has a weakness for “them tomboys,” as her grandmother calls them. Rayna takes Joey home along with some ice cream, and soon Joey is head-over-heels in love and lust—even after she discovers that the older woman has a couple of kids and a trucker husband named Roy. Based on the award-winning short film of the same name, this story of star-crossed love provides a nuanced depiction of working-class life in rural America. Director Deb Shoval gets the details right, from Joey’s series of dead-end jobs to the car on blocks outside Rayna’s trailer house. The film finds gritty beauty in the scuffed basements, bars, malls, and meadows where Joey and her friends work and play. It observes the gradations of class within Joey’s circle: Joey’s sister looks down on Rayna as a welfare-check-collecting freeloader, and Joey’s mother desperately wants Joey to join the army, her one shot at college. Tensions mount as Rayna and Joey’s relationship moves from summertime fling to something more serious. While the pair are creative about setting up clandestine meetings—in a barn, the front seat of a pickup, and, most memorably, a tent—they have a harder time imagining a life together. “Would you go into the army if you were rich?” asks a college-going lesbian friend of Joey. “Probably not,” she answers laconically. In this movie, the price of same-gender love is steepest for those who can least afford it. Desc. courtesy of Frameline: The San Francisco International LGBTQ Film Festival.

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195 LEWIS is a dramedy series about a group of women navigating the realities of being Black, queer, and poly in New York City. Based in Brooklyn, the series follows Yuri and Camille as they test the boundaries of their open relationship. Yuri’s growing infatuation with a new lover leaves Camille distressed, which is only amplified by the unexpected arrival of Yuri’s old college friend Kris, who shows up with nowhere else to stay. Director Chanelle Aponte Pearson and writer Rae Leone Allen will be in attendance.

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