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Founded in , Queer Rebel Productions showcases Queer Artists of Color, connects generations, honors their histories with art for the future and asserts the presence and critical contributions of Queer People of Color. A mother and daughter find strength in global protests against injustice FU , Neelu Bhuman.

There is only one witness to death Warning Shot: The Killing of James Wakasa , Tina Takemoto. An artist meditates on blackness, diasporic longing, and the natural world Hearing in the Dark , Naima Lowe. Post-Orlando, we rise in the spirit of Sylvia Rivera with rage, love, and GAY POWER Queer Historical Mixtape, Celeste Chan and Irina Contreras.

The romantically spurned daughter wants to close herself off to the world, renouncing her queerness and hiding in fear. Irina Contreras , USA, video, color, sound, 18 min. Berlin Premiere. A piece featuring some poetry I wrote last year and visuals from my island Puerto Rico.

Thirza Cuthand , Canada, video, color, sound, 5 min. This is a close to completed version of Reveal. It plays after Maria drinks poison and has a prolonged and ridiculous death scene. It functions as a sort of dead actress memorial reel. This film is also meant to be performed with live sound.

Although it is a work-in-progress, it has already been performed at USC Visions and Voices series, Los Angeles and the Whitney in NYC. Tina Takemoto , USA, video, color, sound, 12 min. One death. Three versions of the crime. James Wakasa, a year-old Japanese American bachelor, was shot to death by military police at Topaz concentration camp during World War II.

Was it justifiable homicide, an accidental fatality, or second-degree murder? The press said he was trying to escape, the shooter claimed it was a warning shot, the case file suggests he was killed while walking a dog. Celeste Chan , USA, video, color, sound, 19 min.

The point of departure is an engraving of a French orphanage in late 19th century China. Through a variety of interviews with activists and researchers set in Berlin, Paris and Amsterdam, the film explores the tension within the image and the colonial enterprise it is supposed to justify.

Finally, the film describes how histories are written in our bodies. The filmmaker weaves in her own personal comments along with the interviews. She concludes by questioning her own Western-oriented education in Peru and abroad, as well as the colonial languages she was socialized with during her childhood.

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Her work tackles questions of autobiography and cultural translation, migration and historiographies, particularly those concerned with the colonial subject. She looks into racism and empowerment in arts, the efficacy of colonial images, body politics as well as represenation and participation in the German arts and culture scene.

FB-Event: Click. Dabei verdeutlicht gerade die Relation zu aktuellen Diskriminierungen und Verbrechen gegen Roma und Sinti die Notwendigkeit umfassender Auseinandersetzungen: geschichtlicher, familiärer, psychoanalytischer und nicht zuletzt die Dringlichkeit der politischen. Marika Schmiedt untersucht und benennt die Wunde, versucht sie zu begreifen, greift hinein, zerrt und weitet sie.