We Were Here

Neuroscientist David Eagleman taps into the creative process of various inventors, while exploring brain-bending, risk-taking ways to spark creativity

As a result of the Holocaust and later, AIDS, the male homosexual community has sustained bitter losses and, according to Praunheim, lesbian women have now placed themselves at the head of the so-called queer movement. The female protagonists in the film represent two different generations; they also incorporate the past and present status of homosexuals in society.

I Always Said Yes is a portrait of pioneering filmmaker Wakefield Poole, whose careers as dancer, choreographer, and director spanned the golden years of Broadway, television, porno chic, and gay liberation.

A feature film that chronicles a complete season of the International Gay Rodeo Association. Roping and riding across north America for the past 30 years, the IGRA's courageous cowboys and cowgirls brave challenges both in and out of the arena on their quest to qualify for the World Finals at the end of the season. And along the way, they'll bust every stereotype in the book.

A documentary exploring the life of a man with multiple disabilities, as he discusses his approach to sexuality and romance; focusing on his desire for a genuine partner, as opposed to ​a carer, a martyr or somebody "doing him a favour".

Director Miguel Kohan tries to connect the memories of his Gaucho-Jewish family with the fleeing of the Sephardim from the Iberian Península in 1492. Surinam, New York, Jamaica, and Brazil are some of the places where the untold story of those who escaped inquisition is visibilized.

Contrary to the public stereotype of a youthful homosexual community, gay men and women do grow old. Silent Pioneers presents an upbeat focus on the lives of these people today, showing them living full and diverse lives and sharing concerns on ageing, health and housing, with other senior citizens. It also considers how support networks within the gay and lesbian community have enriched and strengthened their individual lives.

'Stand together!', a film on the "mass day of solidarity" on 11 July 1977, was made in 1977 for the Grunwick Strike Committee by the Newsreel Collective, of which Chris Thomas was a member, and members of the Association of Cinematograph, Television and Allied Technicians (ACTT) and the Transport and General Workers' Union.

Spotlighting the art of drag, and centered on the New York staple Wigstock, this documentary showcases the personalities and performances that inform the ways we understand queerness, art and identity today.

This film tells the story of the unknown pre-history of the AIDS virus, long before people started to die in the US and Europe. Following a team of scientists we uncover a forgotten medical archive in the Democratic Republic of Congo, that tells of an epidemic a full two decades before anyone knew about the novel killer. From high-tech labs in the US to African medics who have their boots on the ground, we trace HIV back to its origin in the jungles of Cameroon. In the decades around the turn of the 20th century, colonialism fundamentally changed the lives of millions of people in central Africa; it created an environment that allowed HIV to leave its original host, the chimpanzee, and start to spread in humans.

The film follows the story of Jamie, a struggling butch lesbian actress who gets cast as a man in a film. The main plot is a romantic comedy between Jamie's male alter-ego, "Male Jamie," and Jill, a heterosexual woman on set. The film's subplots include Jamie's bisexual roommate Lola and her cat actor Howard, Lola's abrasive butch German girlfriend Andi, and Jamie's gay Asian friend David.

The inspiring story of the unemployed man who stood up against the Greek crisis and created a social kitchen for the homeless and refugees.

Seizing her power as she confronts her mortality, trailblazing trans activist Connie Norman evolves as an irrepressible, challenging and soulful voice for the AIDS and queer communities of early 90's Los Angeles.

It is late 2004, and 34-year-old Englishman Alistair Appleton is about to fly from London to the Brazilian coast, where he will drink ayahuasca for the first time. With wit, insight, and sensitivity, Alistair shares this experience with us, and chats with some fellow participants before and after the ayahuasca ceremonies. For the past few years, Alistair had been working as a television presenter. In 2000, he started making trips to the Centre for World Peace and Health in Scotland to learn how to meditate. When clinical psychologist Silvia Polivoy opened an ayahuasca healing center in Bahia in 2004, Alistair faced his fears and seized the opportunity to attend.

A walk through the career of French filmmaker André Téchiné, from his own point of view and that of those who worked with him: Catherine Deneuve, Daniel Auteuil, Emmanuelle Béart, Juliette Binoche and Sandrine Kiberlain, among others.

When Bruce Chatwin was dying of AIDS, his friend Werner Herzog made a final visit. As a parting gift, Chatwin gave him his rucksack. Thirty years later, Herzog sets out on his own journey, inspired by Chatwin’s passion for the nomadic life, uncovering stories of lost tribes, wanderers and dreamers.

A Boy Named Sue chronicles the transformation of a transsexual named Theo from a woman to a man over the course of six years. Following Theo's physiological and psychological changes during the process, as well as their effects on his lesbian lover and community of close friends, A Boy Named Sue tells a story about gender identity, relationships, and how even things that seem permanent can change.

The LA Sisters are outrageous, controversial, always fabulously dressed men and women who feel they are called to minster to the community as 21st century nuns.

Filmed in Zimbabwe, the film depicts the romantic relationship between two women, and the aftermath of the discovery of their relationship.

"Panic Bodies is a 70-minute, six-part exploration of the ways we experience the body's betrayals: disease, decline and death. The film is a panorama of emotionally charged recollections of strange relatives and estranged siblings, staged recreations of fast-fading pasts and personal mythologies, and reflections on the anxious states created by the body's fragile claims on time and space. It's about being a stranger in your own skin. Panic Bodies perfects the phantom quality of any good work about mourning, but it is not reducible to that. It is also enlivened by the intimacy that comes from having made a spectacle of personal secrets." (Kathleen Pirrie Adams, Xtra)