Durch die Nacht mit … is a German documentary film television series produced by ZDF for Franco-German television channel ARTE. Locations are mainly in France or Germany. The title of the French version is Au cœur de la nuit. Two Celebrities spend an filmed evening together. One of them is the host who sets the location and the program. There is no moderator.

Created by Canadian filmmaker Mark Kenneth Woods and co-produced by Michael Venus, the first season of the world's first LGBT themed sketch comedy TV show started airing on OUTtv in July 2005. The second season began airing in September, 2006 and, after a hiatus, a third season debuted in July, 2009. The show also aired on SelecTV/OUTtv in Australia in 2006. Pink TV in France, Belgium, Switzerland and other territories started airing the first 2 seasons of the show with the alternate title "Le Venus Show" in September, 2006. The show began airing in the Netherlands and the Benelux in April, 2008 on OUTTv. here! network in the USA began airing the show in August, 2008. Filmed in Vancouver, British Columbia, Canada, the sketch comedy show blends politics and pop culture with humour and irreverence.

The lives of four down-on-their-luck characters. Surrounded by the vestiges of conspicuous consumption, they struggle to survive outside of society, fashioning their own aesthetics of poverty and devising strategies to navigate a surveillance society, evading or performing for cameras everywhere.

Deep dark sick folk on their way down to the bottom.

Reminiscent of Sunset Boulevard, the action is transposed from the silver screen's old backlots to contemporary male prostitution and the pornographic industry.

In LaBruce’s first short experimental super 8 film, a loose narrative is constructed out of a variety of film clips, some shot on location by the filmmaker, some found footage, and some shot off the television screen. A woman with long red hair (G.B. Jones) sits on a window sill and looks down with her binoculars at the street below. Meanwhile, Mary Tyler Moore escapes from an aggressive man and runs to the park. Boy/Girl is a documentation of a period of time when filmmaker LaBruce lived in a crummy, squat-like building at Queen and Parliament Streets in Toronto with the all-girl punk band, Fifth Column.

An Italo-American teenaged girl in Michigan, with a Catholic family, becomes pregnant. To avoid both a scandal and an abortion, she secretly gives birth to a boy in hospital, which is run by nuns. They establish a false identity for him and arrange to have him brought up in Argentina. At the age of 18, the boy discovers that his biological mother is Madonna Ciccone, who, after giving him up, became the iconic international pop-culture mega-star.

Malu is organising a gender-reveal party for a pregnant influencer – while dealing with her own grief, her persistent constipation problems and her adolescent transgender child (who disapproves of her job commission). At the condominium where Malu lives, some strange phenomena are unleashed in the home’s most private zone: the bathroom.

A lonely hairdresser watches the title sequence of "That Cold Day in the Park" then visits a local park to invite a down-and-out skinhead to his apartment. He draws the silent man a bath and talks to him as he soaks. He locks his guest in a bedroom. Next day, the skinhead leaves through the window and visits his sister, who's making a film called "Sisters of the SLA." He helps with a screen-test. The hairdresser has dreams and fantasies involving the skinhead, the skinhead returns to visit him, and then the filmmaker pays a call on the two men, exposing her brother as faking his silence and pretending a lack of sexual interest. Fantasies can come true.

The works of today's most revered talents are set against a provocative, highly amusing commentary track in this celebration of queer art.

A documentary on Queercore, the cultural and social movement that began as an offshoot of punk and was distinguished by its discontent with society's disapproval of the gay, bisexual, lesbian and transgender communities.

A journey through Swedish queer film history.

Over 30 filmmakers and friends of Strand Releasing have come together to honor the company’s indelible contribution to independent cinema over the past thirty years. The participating filmmakers have each created a short film for the project, all shot on iPhones.

Amid girl fights, girl on girl sex and boy on boy sex, and a measure of BDSM, the YoYo gang battles the Skateboard Bitches.

Fonda LaBruce and Vaginal Davis are a drag queen lesbian couple experiencing bed death. They call in therapist (Dr. Chris Teen) to help them get out of their sexual rut.

Documentary on the making of Gus Van Sant's "Psycho." Featured at the Berlin Film Festival, 2000.

Living somewhere in present-day Quebec, Boris Malinowski has achieved all his goals. A freethinker, open-minded and proud, he also displays a certain arrogance when it comes to his successes. For some time now, his wife Béatrice, a Canadian government minister, has been bedridden, suffering from a mysterious depression. To escape from his wife’s agony, Boris begins a relationship with a colleague, Helga, and gets close to Klara, a young woman who works as a maid in Boris’s home. The sudden appearance of a stranger in his life forces Boris to come face-to-face with the world, with everything he takes for granted, with all his certainties.

Toronto filmmaker Alan Zweig analyzes the phenomenon of record collecting.

Invited by the conductor Premil Petrovic to stage Arnold Schoenberg’s Pierrot Lunaire, a musical theater work from 1912 based on the poems of Albert Giraud, LaBruce transposed a strange and tragic episode of true crime onto the composition. Complementing the original atonal score is a narrative about a trans man who is outed by his girlfriend’s father and forbidden from seeing the young woman again. Crestfallen, the protagonist decides to prove the fact of his manhood by castrating a taxi driver and then revealing his newly transplanted member to the two of them. This story, which for LaBruce “serves as a kind of allegory for all gender radicals and outcasts driven to extremes by the disapproval and hostility of the dominant order,” is rendered in a visual style that nods to the era of Schoenberg’s melodrama. LaBruce cheekily appropriates the formal vocabulary of silent cinema with black-and-white photography, irises, and intertitles like “A cock, a cock, my kingdom for a cock!”

A hip and savvy look at sex, sexuality, gender and pop culture.