Queeroes – Outfest LA

By starrymag | July 30, 2018

By: Taylor Gates

 

 

“Queeroes” was a series of short films sponsored by the new mentorship program 5050by2020 and digital platform them used star power behind the scenes to help showcase three very different eight-minute movies. The only common thread? To highlight queer, trans and person of color (“POC”) stories. “Transparent’s” Jill Soloway, “The Chi’s” Lena Waithe and “Vida’s” Tanya Saracho were all involved in the program in some way or another and their expertise and enthusiasm for up-and-coming filmmakers with new voices was prevalent in the high caliber of shorts.

 

Central & Broadway

Directed by Chelsea Woods, Central & Broadway is a reimagining of 1930s Los Angeles. The plot is a simple, tried-and-true fairytale formula with a twist. Leon (Folake Olowofoyeku)—a butch lesbian janitor—spends her days mopping the floors of a city theatre while powerful casting director The Madame (Barbie-Q) and her condescending sidekick (“UnREAL’s” Jeffrey Bowyer-Chapman) look for the next big talent to complete their act.

 

Knowing her incredible tap dancing skills lingering underneath the surface, Betty (Tiffany Daniels), another beautiful dancer at the theatre, encourages Leon to audition. Though she initially hesitates, Leon finally swoops in shows her abilities right when The Madame thinks all hope is lost. She is immediately celebrated by uproarious applause, everyone rising to their feet and singing her praises.

 

The cinematography and editingare spot-on for the time period in which it’s trying to emulate. Deep, velvety red props and black-and-white title cards as well as authentic music and costumes have an immersive effect. The entire concept behind the project—a reimagining of a popular, highly-demanded theatre run entirely by black and mostly queer people in the early 20th century—is both empowering and fun.

 

One of the only qualms I have about the short was that there is no explanation for the cruelty of Bowyer-Chapman’s character, especially since he does a complete one-eighty180 in a matter of seconds when he sees just the talent level of Leon. Even a one-line explanation would have served the plot well.

 

Still, fans of classic musicals, 1930s culture and uplifting stories will be more than satisfied by this lovely little flick. Even if you lack a passion for theatre or dance, it would be nearly impossible for Central & Broadway not to bring a smile to your face anyway.

 

Mother Comes to Venus

While Central & Broadway decides to go retrospective, Mother Comes to Venus decides to look forward in this delightful sci-fi film. Taking place years in the future, transgender woman Venus (Alexandra Grey) is now a high-powered executive in a new post-gender Hollywood spending her days ruthlessly running her business and yelling at her assistant Rachel (Crosby Fitzgerald), whose sex and gender shockingly happen to match up. (“That’s so sad,” one of the people in the meeting comically sympathizes.)

 

Performer Ahn Genue (Rain Valdez) wants to sing about her identity, but Venus is adamant they’re past that, even considering hiring robots in place of human talent. The majority of her staff is rightfully outraged, but it takes a visit from Mother and some healing crystals to remind her that she and her transgender brothers and sisters are a community. Once she remembers her roots and the importance of sticking together, she has a change of heart.

 

The script, written by Zackary Drucker and Elle McLeland, is whip-smart and full of wit. Satirizing both the science fiction genre and romantic workplace comedies (like Office Space or The Devil Wears Prada) the final result is both hilarious and heartfelt—a story of banding together.

 

The set design perfectly reflects and encapsulates the silly, sleek material. Though the bulk of the story takes place in a sterile, white-and-glass office the futuristic and funky costume, hair and makeup is a dead time period giveaway. During Venus’ time speaking with Mother, the set is filtered with soft but bold neons and sparkly crystals.

 

Mothers Comes to Venus asks the question, “What happens after equality is achieved?” This is something that often gets lost or overlooked in the fight for equality, but it’s something worth asking. It’s vital that, even when we do reach this point, we can never forget the sacrifices of those who came before.

 

Kiki and the Mxfits

Kiki and the Mxfits has gone somewhat viral recently and for good reason. After being posted on Twitter, the short film has racked up hundreds of thousands of favorites and retweets as well as demands for it to be made into a feature-length movie or web series.

 

Told from the perspective of Chiqulla (Sara Anne), the film follows a gang of latinx teens led by the fierce and fearless Kiki (Cielo Oscuro). Because Kiki is transgender, she tries to avoid the high school restrooms as much as possible. However, after an unfortunate taco incident, she is forced to break her own rules and is caught by an angry teacher (Monica Mauro). Kiki is put in detention and her squad bands together to bust her out every day.

 

There is also a heartwarming B-story where Chiqulla falls for a goody-two-shoes girl, even volunteering to join student council just to get some time with her. Miraculously, the film never feels overstuffed or underdeveloped, which is a testament to Christina Elisa Hjlem and Natalia Leite’s concise and rapid-paced style.

 

The Mxfits are one of the most real-feeling and charismatic bunches I’ve ever seen. Hjlem and Leite have a knack for writing dialogue that is both natural and original and the entire gang feels like they’ve been friends for years. You’d be hard-pressed to find someone who doesn’t want to join the lovable crew of quirky outcasts to pull off an epic teenage plan.

 

The editing helps to create even more excitement. With colorful, comic book-like title cards, the short film does feel like a trailer in some ways. The outfits are fantastic without being so glamorous they’re unrealistic—the crew dons dark lipstick, small-lensed sunglasses and Our Lady of Guadalupe crop tops.

 

Considering the short film has already garnered praise and support from influential actors like Elliot Fletcher, it seems inevitable that an expansion will happen sooner rather than later. When it does, I have no doubt it’ll become an instant teen classic, a mixture of The Breakfast Club and Love, Simon with its own inimitable twist and flavor.