sunday 2nd april - who's gonna love me now? - duke's at komedia - 3.50pm

Dir: Barak and Tomer Heymann. (2016, 90 mins)

This moving and poignant documentary follows Saar, a gay man from a religious family in Israel. After being kicked out of his conservative kibbutz because of his sexual orientation, Saar flees to London where he enjoys a newfound freedom to be himself. When Saar discovers that he has contracted HIV, his family struggles with the fears and prejudices related to being HIV positive. With the support and warmth of Saar's surrogate brothers - the London Gay Men’s Chorus - he begins a reconciliation process with his biological family in Israel.

This special preview screening will be followed by a satellite Q&A with the film's directors, star Saar Maoz, and a performance by the London Gay Men's Chorus, broadcast live from London's Barbican Centre and hosted by Julian Clary. 

sunday 9th april - the handmaiden: director's cut - duke of york's picturehouse - 2.30pm

Dir: Park Chan-wook (2016, 168mins) 

We’re overjoyed to be presenting a premiere of one of the year’s most anticipated films, an opulent and labyrinthine tale of deception and romance, with memorable lead characters destined to become two of your favourite queer heroines. 

From Park Chan–wook comes The Handmaiden, a sumptuous and exhilarating period thriller inspired by Sarah Waters’s best–selling novel Fingersmith. Set during the Japanese occupation of Korea in the 1930s, a young handmaiden named Sookee is hired by Hideko, a reclusive heiress who lives in a sprawling mansion under the watchful eye of her domineering Uncle Kouzuki. But Sookee harbours a secret – she has been recruited by Fujiwara, a scheming con artist posing as a Japanese Count, to trick Hideko into entrusting him with her fortune. However, when Sookee and Hideko begin to develop unexpected emotions for each other, they start putting together a plan of their own...

tuesday 18th april - the films of kenneth anger - duke's at komedia - 6.30pm

One of the 20th Century's most important and influential filmmakers, Kenneth Anger changed the landscape of both queer and experimental cinema irrevocably. With his visually arresting, sometimes erotic, sometimes mystical, and always singular films, Anger's visions have a significant legacy of their own. We present a selection of some of his most celebrated films that are just as impactful today as ever. 

Fireworks – 14 mins (1947) 

Eaux D’Artifice – 13 mins (1953)

Scorpio Rising – 28 mins (1965) 

Kustom Kar Kommandos – 3 mins (1970)

Lucifer Rising – 29 mins (1972)

This shorts programme will be introduced by Dr Thomas Houlton.

Dr Houlton is an Associate Tutor in the School of English at the University of Sussex. He completed his PhD, Using Monuments, in 2016, and is preparing it for monograph publication. In the work he uses a mixture of creative writing, psychoanalysis and queer ecological theory to explore the potentiality of monuments as objects that can be used, destroyed, and theorised in radically alternative, productive ways. Since 2012 he has worked as the events programmer at the Centre for the Study of Sexual Dissidence, which organises queer-related events throughout Brighton. He is currently developing a research project looking at the connections between queer landscapes and the ‘natural’, death studies, hybrid writing and the memoir.


Dir: Rainer Werner Fassbinder (1974, 93 mins)

This is the final instalment of Queer Dreams in collaboration with Dreamland Cinema and Fabrica Gallery, with the support of the University of Sussex's Centre for the Study of Sexual Dissidence, the Women Over 50 Film Festival and o2 Think Big

The rain is unrelenting and the middle-aged woman needs shelter, so she steps in to a bar playing Arabic music. A handsome young Moroccan man asks her to dance, and from this unexpected proposition, an electric connection is sparked.

Evoking the work of queer auteur Douglas Sirk in both its aesthetic and its astute social commentary, Fassbinder explores love and desire across the boundaries of age and race. Ali being played by the director’s own romantic partner El Hedi ben Salem imbues this masterpiece film with further queer significance.