New Yorker Films

On the eve of 1987's Second National March on Washington for Lesbian and Gay Rights, surviving families and friends of people who have died of AIDS prepare panels to be added to a large-scale memorial quilt project. Drawing from the sea of names memorialized, director Robert Epstein focuses on the lives of six people. Alongside the intimate profiles offered, through news footage and interviews, Epstein puts the AIDS crisis in the larger context of social and government response to the disease.

The film is a sort of presentation of Franco Fortini's book 'I Cani del Sinai'. Fortini, an Italian Jew, reads excerpts from the book about his alienation from Judaism and from the social relations around him, the rise of Fascism in Italy, the anti-Arab attitude of European culture. The images, mostly a series of Italian landscape shots, provide a backdrop that highlights the meaning of the text. - Fabrizio Sabidussi

As funeral preparations begin for Pierre Henri 'Guelwaar' Thioune, rumour spreads that his death may have been an assassination in retaliation for his radical political beliefs and constant criticism of the current regime. When the heroic Guelwaar's cadaver is stolen, his Francophile son, Barthelemy, contacts the authorities. As Detective Gora begrudgingly investigates, he discovers that Guelwaar was a complicated man guilty of his own share of sins.

More than two dozen men and women of various backgrounds, ages, and races talk to the camera about being gay or lesbian. Their stories are arranged in loose chronology: early years, fitting in (which for some meant marriage), coming out, establishing adult identities, and reflecting on how things have changed and how things should be.

Three faded photographs lead the filmmaker Tian Macleod Ji and his great uncle to China’s countryside, on a journey to explore both the tender bonds and the painful memories of the nation’s Maoist past.