Krissy Mahan has been making movies using humor as a feminist tool for 25 years. Mahan’s movies center the social failures around accessibility, gender identity, mental health, immigration, and working class post-industrial cities. Mahan works in public elementary schools, and has recently screened at the 2017 and 2018 New York Feminist Film Week, aGLIFF in Austin, Women Over 50 Film Festival, Brighton, UK; the London Fringe! Film Festival, London, UK; Scottish Queer International Film Festival, Glasgow, the Dyke Drama Film Fest in Perth, Australia, Queer Access Berlin, festivals/programs that focus on dis/Ability+queerness, and screenings in support of community groups.
She is a perennial favorite at the Wotever DIY Film Festival, London, UK.
Upcoming Screenings November – December 2018
Fringe! Film Fest – London
November 17th 21:00 GLOUCESTER CITY, MY TOWN plays in the London Fringe! Film Festival at the Hackney House, in a program of short films called “Rewrite the Ending.” Lesbians have long suffered terrible fates in the plots of film and TV that just can’t seem to let us have a happy ending. This programme of shorts challenges the common tropes to imagine what could have been, what we are fighting for now, and alternatives to the usual narrative.
Scottish Queer International Film Festival
December 7TH 12:00 ALL IN A DAY’S WORK WORLD PREMIERE in the SQIFF Shorts: Bodies and Borders program at CCA. From the event notes: “The most urgent issues surrounding identity and oppression revolve around bodies and borders. In Being Okey, a gay Nigerian man is denied asylum in Switzerland and consequently caught between the constant fear of being sent home and hope of a life in safety. ABEO is an animation by Latinx artist Brenda M. Lopez Zepeda depicting the journey of two immigrants risking their lives to cross the Arizona desert. My Shoreline is an experimental film-poem about a disabled queer body in water, and My Own Wings documents intersex people from around the world. Working class queer bodies and class borders are forefronted in Krissy Mahan and Patricia Silva’s All in a Day’s Work and the implication of supposed sexual boundaries is explored in Patricia Silva’s bisexual ode, A Feeling More Than a Picture. Finally, legendary lesbian filmmaker Barbara Hammer’s new short, Evidentiary Bodies, is a plea for empathy and compassion generated through the viewing of other beings.”
Centre for Contemporary Arts, 350 Sauchiehall Street
Glasgow, G2 3JD United Kingdom