Arts & Entertainment
Film, food and fun
D.C. Shorts kicks off ninth annual festival Thursday
A scene from ‘Hatch,’ a 19-minute LGBT-themed drama directed by Christoph Kuschnig from Austria about two couples forced to make hard decisions on a wintry night. It’s part of ‘Showcase 10,’ a series of films that will be shown on Sept. 8 and 10 at E Street Cinema as part of the D.C. Shorts Film Festival. (Photo courtesy D.C. Shorts)
The D.C. Shorts Film Festival
September 6-16
Various venues
Ticket prices start at $12 and include an online only option
The numbers behind the ninth annual D.C. Shorts Film Festival are staggering: 140 films under 20 minutes long, 27 countries, four venues, eight chefs, 16 showcases, 11 days, five parties and six screenplays staged by local actors. Luckily, Jon Gann and his talented colleagues have it under control and their excellent website guides audience members easily through the festival.
Gann, the openly gay founder and director of the Festival, became interested in filmmaking when he became disenchanted with his work in media relations.
“I owned a graphic design firm for many, many years and I was tired of producing stuff that I thought was great that clients thought was schlock and stuff I thought was schlock that they thought was great, so I decided to go to film school,” he says.
His most notable film to date is the award-winning “Cyberslut,” a nine-minute confession of an unnamed man obsessed with finding sex on the Internet. In intimate and riveting detail, the film tracks his fascination of the online hunt, the frequent disappointment at the first meeting and the occasional ecstatic encounter that sends him back to the computer to hunt again. As the narrator wryly notes, “a computer lets you make more mistakes faster than any other invention in human history, with the possible exception of handguns and tequila.”
Gann’s experience with film festivals (“Cyberslut” has had 47 screenings worldwide, making it one of the most successful gay-themed short films) inspired him to create a different kind of film festival.
“I travelled to festivals all over the world and that’s when I realized that many festivals were about food and parties and sponsors but not necessarily about films or filmmakers,” Gann says. “That’s when I said I need to do something that’s different. The focus of my festival was going to be on filmmakers and if I did that right, then the food and the money and the parties would come.”
Gann has established a system to make the Festival a supportive environment for filmmakers.
“We give feedback to all the filmmakers who enter, whether they make it into the festival or not. We allow them to see their scores and the judges’ comments. That has helped some filmmakers recraft their final edit to make it tighter.”
Jon Gann (Photo courtesy the Festival)
Gann also realized he wanted to focus on short films (less than 20 minutes). He thinks that “there’s a hunger for really good short content. If Internet use is any indication, people like to see a story in a few minutes.” He adds that short films are also a great way for fledgling artists to learn their craft.
“As a filmmaker,” he says, “if you’re able to tell a succinct story that grabs the audience’s attention and is emotionally gripping in a few minutes, then you know what you’re doing as a storyteller. And that to me is impressive.”
So, in 2004, Gann started the D.C. Shorts Festival, financed largely with money from his own checking account. The first year, 75 films were submitted and 32 films were presented in three screenings for enthusiastic audiences. Looking back on the experience, he says, “It made me a nervous wreck but the whole thing was a big success. We sold out all the tickets and had to turn people away, which was amazing. And it’s grown from there.”
Today, D.C. Shorts is the largest short film festival on the East Coast.
There were more than 850 submissions for the 2012 Festival. After a rigorous selection process, 140 movies were chosen for screening. The films, with run times ranging from one to 20 minutes, are being presented in 16 showcases. Each showcase lasts around 90 minutes. An interactive online tool called “The Film Finder” helps audience members select the programs they’re most interested in seeing. Browsers can sort by showcase, country of origin, genre (documentary, animation, horror, comedy, drama and so on) and interest area (including LGBT, local films and celebrities).
The showcases will be presented at four venues throughout the D.C. region, including the E Street Cinema, the U.S. Navy Memorial, the Atlas Performing Arts Center and the new Angelika Film Center in Fairfax.
In addition to the showcases, there are a variety of other events for filmmakers and film fans to enjoy. For example, patrons can enjoy:
• Free lunch time screenings at the E Street Cinema in downtown D.C.
• Free family and teen screenings at the new Angelika Film Center in Virginia
• A screenplay competition where six scripts (selected from 185 submissions) are given a staged reading by local actors and directors. The winner will receive a cash prize ($1,000 when the award is made and $1,000 when the film is completed) and a slot in the 2013 Festival.
• Free seminars for aspiring and practicing filmmakers
• “The Best of DC Shorts” showcase which features movies selected by audiences during the festival’s opening weekend
• An Awards Brunch with accolades from the festival jury, the festival director, audience members, and a peer award from the filmmakers themselves
• And, a variety of legendary parties that offer “food and drink and DJs and dancing and lots of chances to meet filmmakers.”
Gann adds that that this year’s festival has an emphasis on films about food and includes partnerships with area restaurants.
“We have a big food-film program this year,” he says. “We’ve paired eight films with local chefs who’ve prepared special dishes based on those films. At those films, you can actually sample the food at the end of the screening.”
For example, “Murder Mouth” by first-time Australian filmmaker Madeleine Parry is a documentary showing how, “Madeleine decides that unless she kills it, she can’t eat it.” The film is paired with Ed Witt’s recipe for Crostini with Lamb Tartare, which will be served to audience members after select screenings. Like Maddie in the film, the chef from 701 argues that, “Modern day carnivores have become so disconnected from their food that they are unable to identify it without the labels from the grocery store.”
Queer themes
Several selections in this year’s Festival have LGBT storylinesThe D.C. Shorts Film Festival includes 10 films with explicitly LGBT content. They are sprinkled throughout the showcases, often in interesting combinations with other films.
The most delightful, a modern day fairy tale called “The Maiden and the Princess,” is actually part of the free Family Showcase on Sept. 15 at the Angelika Film Center. Directed by American filmmaker Ali Scher, this charming film tells the story of Emmy, who is teased by her classmates and rebuked by her parents when she kisses another girl.
Luckily Hammond, a narrator with the Grand High Council of Fairy Tale Rules and Standards intervenes. He transports himself (in fairy godmother drag) and Emmy into a musical fairy tale that reassures Emmy that her feelings are perfectly normal and that convinces Hammond’s stodgy superior to let him put the “fairy” back in fairy tale.
Scher was very clear about her aim in making the film, saying “My goal with this project is to cut through the silence and facilitate honest communication between children and parents about sexual orientation.” She affirms that she made the movie so that “no kid ever has to feel ashamed of who they are. We as a society need to encourage individuality in children, even if it means exposing them to things we are afraid of.”
A much darker story is told in “Hatch” by Austrian director Christopher Kuschnig, who won a student Oscar for the film. “Hatch” tells the stories of two couples whose lives intersect on a wintry night in Vienna and the baby whose fate will be changed by the decisions they make. Kuschnig succeeds in using an innovative narrative and visual style to capture both the inner dynamics of each couple and the broader social implications of their desperate acts.
“‘Hatch’ is much more than the story of one couple’s wrenching decision and another’s criminal act,” he says. “I was particularly interested in each couple’s distinct dynamics and how these events on this particular night could challenge their assumptions of each other, and therefore alter their relationships and eventually their lives.”
Some of the other LGBT films in the Festival are “The Queen of My Dreams,” a Bollywood influenced take on a young lesbian’s coming-out story; “Cobra,” which takes a grieving father from the funeral of his estranged son to the bar where his son performed; and “The Gay Who Wasn’t Gay Enough,” a hard-hitting take on conformity in the gay community. — BRIAN T. CARNEY
Movies
‘Things Like This’ embraces formula and plus-size visibility
Enjoyable queer romcom challenges conventions of the genre
There’s a strange feeling of irony about a spring movie season stacked with queer romcoms – a genre that has felt conspicuously absent on the big screen since the disappointing reception met by the much-hyped “Bros” in 2022 – at a time when pushback against LGBTQ visibility is stronger than it’s been for 40 years.
Sure, part of the reason is the extended timeline required for filmmaking, which tells us, logically, that the numerous queer love stories hitting theaters this year – including the latest, the Manhattan-set indie “Things Like This,” which opened in limited theaters last weekend – began production long before the rapid cultural shift that has taken place in America since a certain convicted fraudster’s return to the White House.
That does not, however, make them any less welcome; on the contrary, they’re a refreshing assertion of queer existence that serves to counter-balance the hateful, politicized rhetoric that continues to bombard our community every day. In fact, the word “refreshing” is an apt description of “Things Like This,” which not only celebrates the validity – and joy – of queer love but does so in a story that disregards “Hollywood” convention in favor of a more authentic form of inclusion than we’re ever likely to see in a mainstream film
Written, starring, and directed by Max Talisman and set against the vibrant backdrop of New York City, it’s the story of two gay men named Zack – Zack #1 (Talisman) is a plus-sized hopeful fantasy author with a plus-sized personality and a promising-but-unpublished first novel, and Zack #2 (Joey Pollari) an aspiring talent agent dead-ended as an assistant to his exploitative “queen-bee” boss (Cara Buono) – who meet at an event and are immediately attracted to each other. Though Zack #2 is resigned to his unsatisfying relationship with longtime partner Eric (Taylor Trensch), he impulsively agrees to a date the following night, beginning an on-again/off-again entanglement that causes both Zacks to re-examine the trajectories of their respective lives – and a lot of other heavy baggage – even as their tentative and unlikely romance feels more and more like the workings of fate.
Like most romcoms, it relies heavily on familiar tropes – adjusted for queerness, of course – and tends to balance its witty banter and starry-eyed sentiment with heart-tugging setbacks and crossed-wire conflicts, just to raise the stakes. The Zacks’ attempts at getting together are a series of “meet-cutes” that could almost be described as fractal, yet each of them seems to go painfully awry – mostly due to the very insecurities and self-doubts which make them perfect for each other. The main obstacle to their couplehood, however, doesn’t spring from these mishaps; it’s their own struggles with self-worth that stand in the way, somehow making theirs more of a quintessentially queer love story than the fact that both of them are men.
All that introspection – relatable as it may be – can be a downer without active energy to stir things up, but fortunately for “Things Like This,” there are the inevitable BFFs and extended circle of friends and family that can help to get the fun back on track. Each Zack has his own support team backing him up, from a feisty “work wife” (Jackie Cruz, “Orange is the New Black”) to a straight best friend (Charlie Tahan, “Ozark”) to a wise and loving grandma (veteran scene-stealer Barbara Barrie, “Breaking Away” and countless vintage TV shows) – that fuels the story throughout, providing the necessary catalysts to prod its two neurotic protagonists into taking action when they can’t quite get there themselves.
To be sure, Talisman’s movie – his feature film debut as a writer and director – doesn’t escape the usual pitfalls of the romcom genre. There’s an overall sense of “wish fulfillment fantasy” that makes some of its biggest moments seem a bit too good to be true, and there are probably two or three complications too many as it approaches its presumed happy ending; in addition, while it helps to drive the inner conflict for Zack #2’s character arc, throwing a homophobic and unsupportive dad (Eric Roberts) into the mix feels a bit tired, though it’s hard to deny that such family relationships continue to create dysfunction for queer people no matter how many times they’re called out in the movies – which means that it’s still necessary, regrettably, to include them in our stories.
And in truth, “calling out” toxic tropes – the ones that reflect society’s negative assumptions and perpetuate them through imitation – is part of Talisman’s agenda in “Things Like This,” which devotes its very first scene to shutting down any objections from “fat shamers” who might decry the movie’s “opposites attract” scenario as unbelievable. Indeed, he has revealed in interviews that he developed the movie for himself because of the scarcity of meaningful roles for plus-sized actors, and his desire to erase such conventional prejudices extends in every direction within his big-hearted final product.
Even so, there’s no chip-on-the-shoulder attitude to sour the movie’s spirit; what helps us get over its sometimes excessive flourishes of idealized positivity is that it’s genuinely funny. The dialogue is loaded with zingers that keep the mood light, and even the tensest scenes are laced with humor, none of which feels forced. For this, kudos go to Talisman’s screenplay, of course, but also to the acting – including his own. He’s eminently likable onscreen, with wisecracks that land every time and an underlying good cheer that makes his appeal even more visible; crucially, his chemistry with Pollari – who also manages to maintain a lightness of being at his core no matter how far his Zack descends into uncertainty – isn’t just convincing; it’s enviable.
Cruz is the movie’s “ace in the hole” MVP as Zack #2’s under-appreciated but fiercely loyal bestie, and Buono’s hilariously icy turn as his “boss from hell” makes for some of the film’s most memorable scenes. Likewise, Tahan, along with Margaret Berkowitz and Danny Chavarriaga, flesh out Zack #1’s friend group with a real sense of camaraderie that should be recognizable to anyone who’s ever been part of an eclectic crew of misfits. Trensch’s comedic “ickiness” as Zack #2’s soon-to-be-ex makes his scenes a standout; and besides bigger-name “ringers” Roberts and Barrie (whose single scene is the emotional climax of the movie), there’s also a spotlight-grabbing turn by Diane Salinger (iconic as Francophile dreamer Simone in “Pee-Wee’s Big Adventure”) as the owner of a queer bar where the Zacks go on one of their dates.
With all that enthusiasm and a momentum driven by a sense of DIY empowerment, it’s hard to be anything but appreciative of “Things Like This,” no matter how much some of us might cringe at its more unbelievable romcom devices. After all, it’s as much a “feel-good” movie as it is a love story, and the fact that we actually do feel good when the final credits role is more than enough to earn it our hearty recommendation.
Friday, May 23
“Center Aging Monthly Luncheon and Yoga” will be at 12 p.m. in person at the DC Center for the LGBT Community. For more details, email [email protected].
Trans Discussion Group will be at 7 p.m. on Zoom. This group is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity and/or expression. For more details, email [email protected].
Go Gay DC will host “LGBTQ+ Community Happy Hour” at 7 p.m. at DIK Bar. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite.
Saturday, May 24
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar and Restaurant. This fun weekly event brings the DMV area LGBTQ community, including Allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
Black Lesbian Mixer will be at 11 a.m. on Zoom. This is a support group dedicated to the joys of being a Black lesbian. For more details, email [email protected].
Sunday, May 25
“The Queen’s Table: A Women’s Empowerment Brunch” will be at 11 a.m. at Zooz. This event will celebrate queer women’s strength. For more details visit Eventbrite.
Monday, May 26
“Center Aging Monday Coffee and Conversation” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected].
Tuesday, May 27
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary. Whether you’re bigender, agender, genderfluid, or just know you’re not 100 percent cis — this is your group. For more details, visit genderqueerdc.org or Facebook.
Coming Out Discussion Group will be at 7 p.m. on Zoom. This support group is a safe space to share experiences about coming out and discuss topics as it relates to doing so. For more details, visit the group’s Facebook.
Wednesday, May 28
Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Thursday, May 29
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be fairer with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga with Charles M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breathwork, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
Photos
PHOTOS: Helen Hayes Awards
Gay Men’s Chorus, local drag artists have featured performance at ceremony
The 41st Helen Hayes Awards were held at The Anthem on Monday, May 19. Felicia Curry and Mike Millan served as the hosts.
A performance featuring members of the Gay Men’s Chorus of Washington and local drag artists was held at the end of the first act of the program to celebrate WorldPride 2025.
The annual awards ceremony honors achievement in D.C.-area theater productions and is produced by Theatre Washington.
(Washington Blade photos by Michael Key)
Adams Morgan queer bar broken into and vandalized
‘Things Like This’ embraces formula and plus-size visibility
Calendar: May 23-29
Comings & Goings
New doc chronicles gay hero’s journey from rape to forgiveness
Looking back at 50 years of Pride in D.C
WorldPride events round-up
Wes Moore signs HIV decriminalization bill
Federal judge scraps trans-inclusive workplace discrimination protections
