Kevin Kodama, a 26-year-old, queer, Asian-American filmmaker, was saddened and angered by the rise in anti-Asian hate crimes during the pandemic. Then, he was a student studying film at San Francisco State University. “One of my professors encouraged me to channel my feelings {about the hate crimes} into a short film,” Kodama told the Blade.

Kodama took his professor’s advice. He wrote and directed “Shikata Ga Nai,” a poignant, compelling fantasy romance, set in a Japanese concentration camp where a lesbian couple attempts to reconcile their relationship as ghosts.

Kodama is one of the many filmmakers, theater legends and civil rights heros whose work will be showcased and honored at the March on Washington Film Festival (MOWFF) 2022 from Sept. 28 to Oct. 2.

MOWFF, in a hybrid in person and streaming format, will feature films, panel discussions, theatrical performances and the first-ever VR {virtual reality} Equity Lab in the Nation’s Capital. 

From its honorees to its emerging filmmakers, the Festival has a strong queer quotient.  

In its 10^th year, the Festival celebrates African-American legends of theater and film who have advanced civil rights. Its theme this year is “STORY, STAGE & SCREEN.” To purchase tickets to the Festival, click here.

MOWFF was founded in 2013 on the 50^th anniversary of the 1963 March on Washington. Now in its 10^th year, the Festival uses the power of film, music, scholarship to tell untold stories of the  unsung heroes of the American Civil Rights movement. The Festival shares these narratives to connect the past to the present and the future. For information about the Festival go to: marchonwashingtonfilmfestival.org.

MOWFF is committed to highlighting stories at the intersection of racial and LGBTQIA+ justice, David Andrusia, executive director of the Festival, told the Blade.

“We want to correct stories that have been mistold,” Andrusia, who is gay, said, “Too many are silenced and kept from telling their stories.”

This year, the Festival will bestow the John Lewis Lifetime Legacy Award to Rep. Barbara Lee, a founding member and a Vice Chair of the Congressional LGBTQ+ Equality Caucus and the Chair of the Congressional HIV/AIDS Caucus.

MOWFF2022’s other honorees are George C. Wolfe, Tony-winning director of “Angels in America” whose upcoming film “Bayard Rustin” celebrates the gay rights legend, and pioneering lesbian publicist and producer Irene Gandy, a two-time Tony Award-winner. 

Lewis, Wolfe and Gandy will be honored on the Festival’s opening night.

Gandy, 78, is glad that MOWFF is being held now.  “So that young people can learn about and remember Black community activists and artists who’ve fought for civil rights,” she told the Blade.

It’s important that people not forget that Harry Belafonte, Nina Simone, Mahalia Jackson  and other artists were part of the 1963 March on Washington, Gandy said. “We have to honor the legacy and continue the activism of these artists,” she added.

Gandy doesn’t go into meetings thinking “I’m Black” or “I’m gay.” “That deafeats everything for everybody. It crowds all the good things out.”

There’s a long way to go, but things are changing, Gandy, who for over 50 years has been the only Black female press agent member of the Association of Theatrical Press Agents and Managers (ATPAM).

“There are more Black shows now – with Black actors and produces,” she said, “with more Black managers making decisions.”

In addition to being a groundbreaking press agent and producer, Gandy is a fashionista. In 2008, she became the first female press agent to be immortalized with a Sardi’s caricature. Known for her furs, in 2015, Gandy launched 

a signature collection featured in “Vogue” and her Lady Irene Fur line debuted earlier this year.

On a recent evening as she walked out of a theater on to Broadway, Gandy had an awesome encounter with a father and his five-year-old child. “The child was trans,” she said, “the child was biologically a boy. But when the Dad called him by a boy’s name, the child said ‘I’m a girl.’”

“This little, trans person didn’t know who I was – that I had won the Tonys,” Gandy said, “but she said to me ‘I love your style!’”

If they know who they are, everyone has a story to tell, she added.

The stories to be highlighted at the Festival include “Maurice Hines: Bring Them Back,” an intimate portrait of the trailblazing Black entertainer; “Mankiller,” a documentary about Wilma Mankiller, who became the Cherokee Nation’s first Principal Chief in 1985; and “The Defenders,” about lawyers who fought for civil rights in Mississippi in the early years of the civil rights movement.

After his meeting with his professor, Kodama had the idea of doing a story set in the concentration camps where Japanese Americans were interred during World War II. 

“It’s a way of bridging the history of anti-Asian policies of that time with the anti-Asian racism and hate crimes of today,” he said.

Queer people who were interred during the War had to be closeted. “For most of the decades after the War, queer people were left out of stories told about the camps,” Kodama said.

“Because of homophobia – discomfort with queerness,” he added, “people didn’t talk about it. Same-sex couples had to pass as friends.”

“Shikata Ga Nai” was filmed on the site of one of the camps – Manzanar in Inyo County, California (a National Historic Site run by the National Park Service). “One of the nice things about my film is it will get people to talk about it {queer people in the camps} who haven’t talked about it.” (The film will be shown at MOWFF as part of the Student and Emerging Filmmaker Competitions.)

Derrick L. Middleton, a talented, 35-year-old, Black, gay filmmaker, uses his art to tell stories.

Middleton, born in Harlem in New York City, knew as a little boy that he was different. “I wasn’t yet labeled as ‘gay,’ but I felt like I didn’t fit in,” he told the Blade.

“It felt unnatural to try to be masculine in the way I was expected to be,” he added.

He, like other Black queer men, ran up against hyper-masculinity, when he went to a barbershop.

“Barbershops are critically important to the Black community,” Middleton said, “I want to honor them.”

When Black people were enslaved, one of the few things they could learn was how to cut hair, Middleton said. “When they were freed, owning a barbershop was one of the few businesses they could run,” he added.

But, heteronormity rules in many Black barbershops. Subtle or overt anti-queer slur often make you feel unsafe if you’re queer and Black in a Black barbershop.

“I had already come out to my family and friends,” Middleton said, “but I felt, to be safe, I had to go back into the closet when I went to a the barbershop.”

One day, he became angry and scared when he went to a Black barbershop. “The barber told me that he didn’t cut hair for sissies,” Middleton said.

He was so frightened that he couldn’t think of anything to say and ran out of the barbershop.

Out of this experience, Middleton made “Shape Up: Gay in the Black Barbershop,” an eye-opening, engrossing, moving documentary short about the stories of himself and other queer Black men in Black barbershops. The film premiered in 2016 at the White House and was awarded the Grand Prize for Emerging Documentary by the March on Washington Film Festival.

“I never thought that I, a boy who grew up in Harlem, would get an award at a White House ceremony when the country had a Black president,” Middleton said, “It was a dream come true.”

This year, Middleton has been selected for a VR Equity Lab and Fellowship. His work will be showcased in the Festival’s VR Equity Lab. Middleton’s VR Equity Lab project “Shape Up: Gay in the Black Barbershop” (The Series). The series is a spinoff that takes viewers on a journey to barbershops from different countries in the African Diaspora, using 360-degree video and animated interactive scenes to give viewers an immersive experience from the perspective of LGBTQ people.

“I hope that the Series will be mainstreamed on a platform like Hulu or Netflix,” Middleton said, “so that people who aren’t able to access it through VR will be able to see it.”