Krissy Mahan is a working class daughter, filmmaker, artist, professional Mx Fix-It, and certified Aging-In-Place Specialist (2011-) trained in modifying living spaces in compliance with ADA standards. Determined to create a world that is more fun for everyone, Mahan learned to make movies in the early 1990s and hasn’t stopped amusing herself since. Over the past twenty years Mahan has developed a body of work exposing the absurdity of man-made barriers to human movement, happiness, and social access.
Mahan’s movies have screened at Anthology Film Archives as part of the inaugural New York City Feminist Film Week (NYC), the British Film Institute (London), Union Docs (Brooklyn), Tisch Film School at New York University with GenderReel, BFI’s “Queer Women In Love” program (various UK locations), Wotever DIY Film Festival (London), Scottish Queer International Film Fest (Glasgow), GAZE Film Festival (Dublin), Creative Quarters Folkstone, Kent (UK), Oska Bright program of Leeds Film Festival (UK), Women Over 50 Film Festival, Brighton (UK), Austin Gay/Lesbian International Film Festival (US).
Academic Screenings: International Center For Photography (NYC), University College (London), Kingston University (UK).
Tired of seeing my friends’ queerness and queer lives erased at funerals during the AIDS crisis, I began making “dykeumentaries.” At that time, image making was a form of evidence-making: evidence that we lived, loved, existed. Coming out during the height of the AIDS years I was met with a growing queer culture eager to show how deserving white homosexuals were of full citizenship in the genocidal American, capitalist, neoliberal project. Alternately, some chose to focus on how SEPARATE they are from everybody else, existing within only the context of their sexuality. Growing up as a working class gender non-conforming person, I had direct experience with the issues I’m addressing in my own movies.
The defining features of my movies are: hand-building my own sets, and an action superhero of myself going out into the world and exposing physical barriers to access.
As the second daughter in a hardworking family of seven, I saw the importance of humor. It’s how we got though. Naturally, I’m excited to tell funny stories about, and to, working class people dealing with the absurd difficulties of 21st century life in the post-industrial northeast: surviving in failed economies, adapting to aging bodies (our own and our parents), and challenging the racism and xenophobia that is being encouraged in poor communities. I’d like to bring visibility to everyday queers like me to become the force for good that we can be.
She’s been making movies about her dying post-industrial town (My Aunt Mame (2017, (My Hometown, 2006, Gloucester City — My Home Town, 2012), accessibility justice ( Faggotgirl Gets Busy In The Bathroom, 2016, Until Justice Rolls, 2014,Faggotgirl Doesn’t Do the MTA, 2013, Faggotgirl in Winter, 2015), immigration (Faggotgirl Does Day Labor, 2006, Not One More Deportation, 2014), and , mental health/suicide of queer women ( My Crazy Boxers and Monique C.) gender identity (Potato/Potato, 2005, Mickey or Minnie, 2014), and of course movies about picking up femmes (Faggotgirl Does Austin, 2004, Faggotgirl Does The West Village, 2009).
I am an unrepentant optimist, even though I live and work Camden County, NJ, home of the city of Camden, where I was born, consistently voted one of the 3 most dangerous cities in the US. Camden County of the few places in the US to have both rural and urban impoverished school districts. I left but have moved back home to take care of my mother. Even so, I’ve made time to work on myself, earn a living, make movies, and play soccer.