The Queer Women of Color Film Festival is probably one of the most unique festivals for queer women out there. Here we can definitely take note of the new directions of filmmaking each year as each filmmaker comes to terms with the latest in technology for low budget production. Out of a series of scripts and a desire to make movies, several women tell their story with passion, dedication and purpose. The event is free and held at the Brava Theater in the Mission district of San Francisco. Directors Madeline Lim and T Kebo Drew run an excellent venue. 
In essence, the festival is a training ground for filmmakers, and once the film wraps it becomes part of the festival. In QWOCMAP's training program filmmakers are on a strict schedule to produce an intimate and relevant project to their own lives. They are guided by the award winning filmmaker Lim, and act and serve as crew in each other's films. Community partners include Pink and White Productions, which helped to host the Sunday afternoon "Sexually Subversive" centerpiece screening, and Trikone , a non profit organisation for lesbian, gay, bisexual, and transgender (LGBT) people of South Asian descent. Sponsors include Linda Harris of the Harrison Team, a real estate agency which services the LGBT community. Harris is on the board of directors for Frameline.There is a trained staff of volunteers that usher in the block long length of women, and if you are on time there is no problem with a seat. The tradition of the festival is to serve food, also free, to make everyone feel at home. The feedback that each filmmaker gets from her film is enough to keep the images rolling for a long time, for the crowd is generous and knows what it likes.
To celebrate this event, a representative of Mayor Gavin Newsom spoke about how the festival is appreciated and honored by the City of San Francisco. With the new passage of legalized marriage in California and a conservative backlash already in gear to try to defeat the measure in November, strong community action is underway to get people out to vote. According to the representative, "let's get the measure passed, then worry about deconstructing the institution of marriage". Right on. Activism is a key component to the Queer Women of Color Festival (QWOCMAP), with leaflets in the vestibule for signatures to Mayor Newsom, "I support having a city owned Asian Pacific Islander Cultural Center in San Francisco", and to Governor Schwarzenegger, " I recently attended the QWOCMAP Film Festival that was part of the Unisted States of Asian America Festival and National Queer Arts Festival". In California, public support of the arts is 3 cents per person, whereas the national average is one dollar.
This year Pratibha Parmar was the special invited guest to the festival, a British Indian who was born in Kenya and grew up in London in a working class neighborhood. She never went to film school but has made several films, one of which won the public prize for the best film at the Créteil International Women's Film Festival - Khush, a film about gay and lesbians in South Asia, and those interviewed came out for the first time . "Khush" means "ecstatic pleasure" in Urdu.Parmar was interviewed by the 
award-winning journalist Helen Zia, author of Asian American Dreams: The Emergence of an American People. Two other films were shown in a retrospective of Parmar's work: Bhangra Jig and Wavelengths. The films are archived by Women Make Movies in New York, an organization that rents films to schools and universities. Parmar noted the quality of the films on video and is planning on a DVD release of her work in the near future. Of particular interest is Parmar's latest film Nina's Heavenly Delight which has won several top awards at festivals in Fresno, Tampa and the Cineffable Lesbian Film Festival in Paris. Parmar plans to spend more time in the Bay Area with her partner of 16 years.
Programs were divided into three themes this year in addition to the special Sunday screening "Sexually Subversive": "Kindred Spirits", films about family relations, and "Delectably Yours", a pageant of films on food.
Highlights of some of the films this year include: Labels Are Forever (Jinky de Rivera, 2008).The opening titles reads like the introduction to Star Wars in this humorous saga about 007 Secret Agent J. Wong. Wong is sent by her boss to investigate how labels are used by a group of women only to discover that the assignment is bogus.
Luna Han takes a look at The Cock: Lesbian Owned & Operated (2008).
Han was also the better half in One in a Million by Monifa Porter (2008) a playful journey into the twists and turns of a lesbian fertility rite. If you click here you can see the festival's secret agent on duty.
Renacimiento de una bruja (Zemaya, 2008) is a spiritual oddyssey by a woman with the earth and her ancestors.
Queering My Mother (Lourdes Rivas, 2007) tells the story of mother that polices her daughter too much especially when she has met that special woman. As the title suggests, the evolution of awareness by the filmmaker's mother is at stake, and she does it in style.
Jagadamba, Mother of the Universe (Amber Field, 2008) is about a young South Korean woman comes to terms with her adoption in the USA while also questioning celebrities such as Madonna and Angelina Jolie who have adopted children from developing nations to give them better lives. The evolution of the young woman is traced as she comes to terms with being a lesbian and also a martial artist. 
In Too Much Plain (Caroline Le, 2008) A young woman tries to figure out what's wrong with all her girlfriends with her best friend, only to discover that its because she wants to be more than best friends with her confidant.
A handful of the films were also shown at the Frameline32 LGBT Film Festival June 19-29 in a section called "Magical Promise", which is precisely what you can say about so many gifted directors at QWOCMAP.
"I obtained a copy of the film, viewed it, and corresponded with Catherine Crouch before making any comment.
I decided to support this petition because Frameline, as an LGBT inclusive organization, is not the appropriate venue for this sort of work. The film expresses a long-familiar anti-transgender polemic: the idea that transsexuals are anti-gay, anti-feminist political reactionaries who collude with repressive social and cultural power; furthermore, that transsexuals are complicit in the non-consensual bodily violation of women.
The ideas in the film echo the rhetoric of Janice Raymond’s Transsexual Empire (1979), which goes so far as to claim that Nazis invented transsexual surgery, that transsexuals are agents of a patriarchal conspiracy to replace biologically female women, to accuse all transsexuals of being rapists (because they represent an “unwanted penetration” of women’s space), and to argue in a eugenic fashion that transsexuals should be “morally mandated out of existence.”
Raymond’s book, and the film, engage in the paranoid fantasy that what transsexuals do to their own bodies is somehow a threat to the bodies of nontranssexual women, that the very existence of transsexuals will somehow “force” a nontranssexual woman to have her body violated through some sort of compulsory and unwanted transformation–it’s the same structure of fantasy that imagines that all black men want to rape white women, that gays are predatory pedophiles, that communists are secretly infiltrating our government, that terrorists are swarming across our borders, that drug pushers are constantly trying to hook our kids, and so on ad nauseum. The film projects fear onto an “alien other” and then condemns that other for reflecting back that fear to the person who has projected it there in the first place.
The director’s comments on the website betray a profound ignorance of the on-going, sophisticated conversations among feminist, queer, and trans activists and scholars about medicalization, pathologization, body modification, and other related issues–and frankly, for that matter, about misogyny and sexism within transgender communities and discourse. Her remarks suggest that she assumes she’s knows what best for other people, and that people who have made different choices than her, or felt different needs, or found other ways to be happy, self-fulfilled, productive members of society, are “distorted.” Sadly, that’s a move that liberal feminism has made many times, and it has only and always served to reinforce the privilege of the most advantaged populations of women, and to extend the repressive apparatus of sovereign power to the detriment of those on the margins. I have no qualms about working as actively as possible against such forms of feminism, and refuse to let such forms of feminism claim to represent feminism in its totality.
But to return to the matter at hand, I personally think that sponsoring a “special screening” of Gendercator in San Francisco, perhaps sponsored by Frameline as part of its public process for dealing with the controversy, contextualized by a moderated panel discussion and presentations on the history of the issues involved, would provide an excellent opportunity to advance discussion on this matter. I guarantee, however, that any discussion in San Francisco would not be the one the filmmaker seems to think she would instigate. She would not be bringing the truth to poor confused transsexuals who would suddenly say, “Gee, it never dawned on me that I was embodying a distorted cultural norm.” She would be further mobilizing an already highly articulate, politically engaged, progressive community of queer/trans people to hold a homocentric GLB(T) to higher standards of accountability on trans issues, and to further isolate an increasingly isolated strand of anti-transsexual lesbian feminism.
For that reason, while I support Frameline’s decision to pull the film as inappropriate for their mission, I truly regret that the film will not be shown. I hope it finds another venue where it will be subjected to the rigorous critique it so richly deserves.
Susan Stryker