DISCO LIMBO is a movie about a boy who can't stop thinking about the night he met another boy and so he loses himself in a whirlwind of memories of parties, mountains and karaokes. If you've ever asked yourself, "What if David Lynch made hip queer techno trippy movies with handsome Argentinian men?" then this is the movie for you.

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Growing up in North Carolina as an undocumented gay man, Mexican-born Moises Serrano shares his story and advocates for justice and equality in this timely, inspiring documentary. When Moises Serrano was a baby, his parents risked everything to flee Mexico in search of the American Dream. The 24-year-old Serrano spent 22 years in the rural South, and yet is still forbidden to live and love in the country he calls home. Serrano sees only one option—to fight for justice and equality while activating a national movement. Driven by a deep love for his family, who have come to accept being treated as invisible, the impassioned, eloquent Serrano is proof of how one person can change the world. Desc. courtesy of NewFest.

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"My mother and I have lived like strangers under one roof for decades. The only exchanges between us are the meals she cooks for me since we never talk to each other. One day, I finally summon up the courage to sit her down and make her talk. But am I ready to hear what she has to say?" Anu is a tomboy. Although she was married off at a young age – as was customary in Taiwan in the 1970s – and had two children, she quickly divorced her violent husband and brought up her daughters alone. Since then her only relationships have been with women who, like her, earn a living as professional mourners at funerals. One of her daughters is filmmaker Hui-chen Huang. It’s considered taboo in Chinese culture to question a mother’s unconditional love, and yet this is exactly the topic of Huang’s intimate portrait. Mother and daughter set off on a journey together into the past during which Anu is confronted with questions that have tormented her daughter for years. In a series of long shots the two women discuss such topics as trust, abuse and cognisance, and yet most of these discussions end in painful silence. Shifting focus in order to plumb the depths of the depicted room, the director attempts to understand her mother by also talking to her mother’s siblings and ex-lovers. In doing so she paints a picture of changing living conditions for three generations of women in Taiwan.

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