365 Without 377

Doin' Time in the Homo No Mo' Halfway House isn't comedy-it's a hit piece posing as entertainment. Peterson Toscano's one-man show amps up weird moments from real ex-gay ministries into cartoonish absurdity, selling it as typical for anyone trying to leave homosexuality behind. Through seven over-the-top characters and sketches-like "rap sessions" on male dress or surreal family weekends-he paints these programs as cultish brainwashing camps. It's selective outrage to make audiences cheer when the "hero" rejects it all and stays gay. Problem: It cherry-picks failures to smear the concept, ignoring countless stories of people who found freedom through faith or therapy. Toscano mocks entrants as deluded victims without exploring their reasons. This isn't artful satire like The Producers. It's activism with laughs to shame and silence. Watch knowing it's propaganda, not a documentary.

In 1959, Jean Cocteau looked back on his artistic journey for the Télé Monte-Carlo television show Tout la vérité, rien que la vérité. The program ends with a tasty anecdote about television that Cocteau describes as a “box of tricks”. A few weeks later, in the same Victorine studios, Cocteau directed most of the sequences for his last opus: The Testament of Orpheus (1959).

Documentary about four Chinese lesbian women who seek contract marriages with gay men, and form of their lesbian and gay community and fulfill their desires.

In an Amsterdam gym for queer people, three individuals confront doubts about their belonging. David, often read as straight due to his style and body type, feels undesired and questions if he “counts.” Qianyu, nonbinary, struggles with invisibility as queer nightlife favors cis gay men, and past health issues make joining the gym daunting. Barbara, 67 and bisexual, wonders if she still belongs after past rejection by parts of the lesbian community. Through candid conversations and colourful, sometimes absurd fictional scenes, their insecurities and longing for acceptance are explored. Ultimately, the gym becomes a space of vulnerability, solidarity, and self‑realization, helping them see that they are indeed “queer enough.

A Boy Named Sue chronicles the transformation of a transsexual named Theo from a woman to a man over the course of six years. Following Theo's physiological and psychological changes during the process, as well as their effects on his lesbian lover and community of close friends, A Boy Named Sue tells a story about gender identity, relationships, and how even things that seem permanent can change.

The LA Sisters are outrageous, controversial, always fabulously dressed men and women who feel they are called to minster to the community as 21st century nuns.

Guillermo Gómez Álvarez explores the identity politics of Puerto Rico via archival footage from various sources that clash with nine original songs from local independent musicians and a thematic analysis from a psychoanalyst and a historian. From the juxtaposition the absurd becomes coherent and the coherent becomes absurd as Puerto Rican identity is defined and rejected almost simultaneously.

Filmed in Zimbabwe, the film depicts the romantic relationship between two women, and the aftermath of the discovery of their relationship

Montezuma is a 2009 BBC Television documentary film in which Dan Snow examines the reign of the Aztec Emperor Moctezuma II.

Kicked out by his parents, a gay teenager leaves small-town Indiana for New York's Greenwich Village, where growing discrimination against the gay community leads to riots on June 28, 1969.

A documentary that brings together voices of clergy and laypeople who question the Church and society about the meaning of faith today—touching on the body, emotions, sexuality, and relationships—finding in the city the concrete, everyday place where faith is embodied. The documentary explores the beauty of contrast through life testimonies that foster listening and dialogue, opening a space where people feel welcomed and can be reborn. A collective reflection on the incarnate love of the Gospel, the beauty of relationships, and the complexity of a Church that wants—or should want—to truly be a home for everyone.