The film examines the ways that women directors have contributed to this genre and emphasizes the role that the media play in representation of sexuality and gender, underscoring the power that film has to shape our perceptions of one another. Visually, this documentary comes to life on screen through compelling and intimate original interviews, intercut with emotionally-charged archival footage, photographs, ephemera, inspired music, and film clips.

Queer culture and the arts would be much poorer without the presence and contribution of butch and stud lesbians, whose identity is both its own aesthetic and a defiant repudiation of the male gaze.

From Go Fish to Paris is Burning to The Watermelon Woman, this festival favorite goes behind the scenes to reveal seven successful lesbian directors. These talented movie-makers enlighten and entertain as they explore their sexual identity, growing up gay, inspirations and techniques, Hollywood vs. Indie, and of course, love and sex, onscreen and off. The conversations are intimate, the topics unlimited, and the clips from their work enthralling! Featuring Cheryl Dunye, Rose Troche, Jennie Livingston, Monika Treut, Maria Maggenti, Su Friedrich and Heather MacDonald.

After a twenty year period of multiple illnesses and injuries, the filmmaker turns the camera on herself as a way to analyze her chances for a happier, healthier life. In the process, she captures the frustration, tedium and petty annoyances of a revolving-door relationship with the medical establishment, while portraying the complicated web of emotions that accompany any medical problem. With humor and honesty, The Odds of Recovery uses the filmmaker's medical history as a means to address a perennial human problem: the desire to avoid conflict and deny the need for radical change.

Su Friedrich has taken up the camera again in her ongoing quest to film the battleground of family life. Her mother Lore--who played the lead in The Ties That Bind (1984), a film about her experiences growing up in Germany during the Second World War--plays the lead again, this time kicking and protesting against being moved at the age of 94 from her home in Chicago to an “independent living” facility in New York. Friedrich and her two siblings fill out the supporting roles, cajoling, comforting, and freaking out.

In Seeing Red, three elements run parallel, overlap, diverge, lock horns and in various other ways give voice to the notion that a color, a melody, or a person has multiple characteristics that cannot be grasped by, or understood within, a simple framework. One element is purely visual. One is very verbal and minimally visual. One is purely musical. So is red the color of a fire truck or a ruby, of rust or a rose, of blood or a brick? How fixed is a melody if it can be twisted, stretched and shaken to the point where we no longer recognize its original form? And when we "see red," what color is that exactly? What aspect of passion are we feeling? Are we looking outward and seeing injustice and cupidity, or looking inward at our own limitations and failings?