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The Best Jan Oxenberg Movies. Go to The Best Shows

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poster

82

7.8

/7932/

79

/188/

71

/109/

3.9

/15096/

96

/92/

89

/174/

3.5

Exuberant, eye-opening movie that serves up a dazzling hundred-year history of the role of gay men and lesbians have had on the silver screen. Film contains fabulous footage from 120 films showing the changing face of cinema sexuality, from cruel stereotypes to covert love to the activist triumphs of the 1990s.

poster

?

45

/4/

55

/2/

Filmmaker Jan Oxenberg narrates her own home videos, commenting on how her views towards lesbianism and femininity have evolved over time.

poster

?

6.8

/25/

10

/1/

70

/1/

Held in 1972 at 533 N. Mariposa Street, Los Angeles was one of the most important cultural events in the United States: "Womanhouse," a feminist art installation and performance space organized by Judy Chicago and Miriam Schapiro.

poster

61

?

6.8

/24/

43

/3/

3.6

/271/

A short documentary about the First National March on Washington for Lesbian and Gay Rights, which took place on Sunday, October 14th 1979.

poster

?

6.2

/91/

20

/1/

60

/1/

Rescued from the Closet is a 2001 documentary consisting of interviews originally recorded for the 1995 film The Celluloid Closet. It explores the history and impact of LGBT representation in cinema, providing insights into the portrayal and evolution of LGBT characters and themes within the film industry.

poster

67

?

6.6

/28/

60

/3/

60

/1/

3.6

/392/

Jan Oxenberg’s charmingly raw, politically-charged and remarkably funny celebration of the American lesbian experience validates the nuanced voice of a community otherwise underrepresented in the Wild West of mid-’70s independent filmmaking. In an attempt to combat the pervasive misconception of the “humorless, angry feminist,” the vignettes in A Comedy in Six Unnatural Acts experiment with self-aware yet playful depictions of common stereotypes, such as the “Stompin’ Dyke” or the butch-femme couple. In the process, Oxenberg’s short film reclaims those insults and assumptions as newfound, loaded weapons—to deploy on her own terms, of course. (UCLA Film & Television Archive)

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