THE GUYS NEXT DOOR is an intimate portrait of a real "Modern Family:" Meet Erik and Sandro, a gay married couple whose friend Rachel is a surrogate for their two daughters. Rachel, who is in her 40s, is married to Tony and they have three children. Together, they form a unique extended family. Spanning over three years, this lyrical documentary tackles some of the most pertinent issues of our time: gay marriage and parenting, surrogacy as a path to having children, and the extension and redefinition of what it means to be “an American family.” Elegantly shot and edited, and told with candor and humor, THE GUYS NEXT DOOR is an inspiring story of family, friendship and gay rights.

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In most years, it's a challenge for the festival to program trans films for two reasons: there are so few of them, and many of them tend to overly focus on the physical aspects of transition. Not this year! This year's films have trans folks doing more than transitioning: they're traveling the world, following their hearts, fighting for justice, running for office, loving and being loved, fighting fires, and standing up for themselves and one another.

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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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