This year's ambitious programme spanned over 4 days (previously it's been over the course of one evening at a Bar Wotever event) and for the first time used the beautiful and culturally important London Cinema Museum as well as holding the closing event at Bar Wotever.
With 9 screening events and additional networking and media socials, the third Wotever Film Festival was a smorgasboard of UK and International LGBTQI films that pushed the envelope, discoursed with a range of identities and represented the under-represented.
We were lucky to catch days 3 and 4 of the event, which include 3 of the programmes: Queer Stories, Community Spirit and Defiance alongside a large and welcoming audience.
The range of production, media, genre and style was second to none, despite being low-budget DIY story-telling, and much more experimental, and in turn exciting, than likely to be programmed at a mainstream film festival.
Themes linked the films ensuring unity. Queer Stories brought animation, photo, empowerment, documentary, comedy and pathos to the fore. Of note were Krissy Mahan's Gloucester City My Town andWhen a butch dyke dies exploring the tensions of class understanding of the queer experience, through Plastic Little People and dildo extraction plans.
The three part talking head series I'm not your inspiration dir. Sandra Alland explored the intersection of queer and trans* performer indentities with additional 'otherness' such as disability, rejecting the notion of disability acceptance through 'inspiration porn' and measuring success against 'for disabled people'.
Defiance was a programme for anyone who has had to face a battle of some kind, giving space to undefeatable Queer Power. Standouts in this programme were Out-takes from 'diRTy' dir. joey Hately a cutting edge kaleidoscope vision of the body representing rejection, reproduction, sex, re-birth, defiance and acceptance through a dance piece with a setting more closely resembling to a Saw movie and editing of the highest standard.
Being Stavros dir. Jonathan McLeod highlights the prejudices within our own community that exist especially around body image following an unforgiveable disservice by the Mr Gay UK contest. The film is being used as a tool of defiance itself and played to rousing cheers of support within the audience.