STONEWALL MOVIE NIGHTS
Held in Collaboration with OUTSFL
Join us for an evening of community, conversation, and queer cinema. These free‑to‑attend screenings celebrate LGBTQ+ stories that inspire, challenge, and connect us. Whether you’re a film buff or simply looking for a welcoming space to unwind, come as you are and enjoy the show with friends old and new.
Mahogany
Thursday, June 11 | 6:30 pm
Stonewall’s Monthly Film Series features Mahogany, the dazzling, era‑defining Diana Ross drama that became a touchstone of style, ambition, and self‑creation. Ross stars as Tracy Chambers, a young woman determined to break free from the limits of her Chicago life and reinvent herself in the world of high fashion. The film blends glamour, romance, and social commentary, tracing Tracy’s rise, the pressures that come with success, and the personal cost of chasing a dream that refuses to let her go. A queer‑beloved classic, Mahogany endures for its iconic looks, unforgettable soundtrack, and its celebration of boldness, beauty, and becoming.
1985
Thursday, July 9 | 6:30 pm
1985 is a 2018 American drama directed by Yen Tan that follows Adrian, a closeted young man returning from New York to his conservative Texas hometown at Christmastime, carrying the unspoken weight of an AIDS diagnosis. Shot in evocative black‑and‑white, the film expands on Tan’s earlier short and unfolds with quiet, aching restraint as Adrian struggles to reconnect with his parents and younger brother while deciding how much of his truth he can share. Anchored by Cory Michael Smith’s understated performance and supported by Virginia Madsen and Michael Chiklis, 1985 becomes a tender portrait of family, loss, and the unspoken grief of a generation marked by the early AIDS crisis.
Mildred Pierce
Thursday, August 13 | 6:30 pm
Mildred Pierce (1945) is a gripping blend of film noir and domestic melodrama, directed by Michael Curtiz and anchored by Joan Crawford’s Oscar‑winning performance. Adapted from James M. Cain’s 1941 novel, the film follows a fiercely determined mother who builds a restaurant empire to provide her daughters with the security and status she never had—only to be undone by the cold ambition and betrayal of her eldest, Veda. With its shadowy cinematography, flashback‑driven murder mystery, and emotionally charged portrait of maternal sacrifice, Mildred Pierce stands as both a Hollywood comeback triumph for Crawford and a defining classic of mid‑century American cinema.
Weekend
Thursday, September 10 | 6:30 pm
Weekend is a 2011 British romantic drama film written and directed by Andrew Haigh, and starring Tom Cullen and Chris New as two men who meet and begin a sexual relationship the weekend before one of them plans to leave the country. The film won much praise and critical acclaim after premiering at the SXSW festival in the US,[3] and was a success at the box office in the UK and the U.S., where it received a limited release.
Whatever Happened to Baby Jane
Thursday, October 8 | 6:30 pm
What Ever Happened to Baby Jane? (1962) is a chilling psychological thriller directed by Robert Aldrich, starring Bette Davis and Joan Crawford at the height of their legendary rivalry. The film follows Jane Hudson, a former vaudeville child star unraveling into delusion, as she torments her paraplegic sister Blanche inside their decaying Hollywood mansion—a claustrophobic setting that turns sibling resentment into gothic horror. Adapted from Henry Farrell’s novel, the movie blends noir shadows, grotesque camp, and powerhouse performances.
Bound
Thursday, November 12 | 6:30 pm
Bound (1996) is a neo‑noir erotic crime thriller written and directed by the Wachowskis in their feature debut, starring Jennifer Tilly, Gina Gershon, and Joe Pantoliano. The film follows Corky, a tough ex‑con, and Violet, the mobster’s girlfriend who becomes her lover, as they hatch a high‑stakes plan to steal millions in mafia money and frame Violet’s volatile boyfriend Caesar. With its sleek visual style, tight plotting, and electric chemistry between its leads, Bound subverts noir conventions while delivering a sharp, suspenseful heist story that has since become a queer cinema classic.
Steel Magnolias
Thursday, December 10 | 6:30 pm
Steel Magnolias (1989) is a beloved American comedy‑drama directed by Herbert Ross and adapted from Robert Harling’s play, inspired by his sister’s life. Set in a small Louisiana town, the film centers on a tight‑knit circle of women who gather at Truvy’s beauty salon to share gossip, grief, and unwavering support. With an all‑star ensemble—Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis, and Julia Roberts—the story blends sharp humor with heartfelt emotion as it follows the joys and sorrows of friendship, motherhood, and resilience. Its mix of wit, Southern charm, and devastating poignancy has made Steel Magnolias an enduring classic of American cinema.
My Own Private Idaho
Thursday, January 14 | 6:30 pm
My Own Private Idaho (1991) is a landmark American independent drama directed by Gus Van Sant, loosely inspired by Shakespeare’s Henry IV and Henry V. Set against the drifting landscapes of the Pacific Northwest and the streets of Portland, the film follows two young hustlers—Mike (River Phoenix), a vulnerable drifter searching for his mother, and Scott (Keanu Reeves), the rebellious son of a wealthy family—whose lives intertwine in a story of longing, loyalty, and self‑discovery. Phoenix’s haunting, deeply human performance anchors the film’s dreamlike style, while Van Sant’s blend of surreal imagery, queer desire, and road‑movie melancholy has made My Own Private Idaho an enduring touchstone of New Queer Cinema and a defining work of early ’90s independent film.
What’s Up, Doc?
Thursday, February 11 | 6:30 pm
What’s Up, Doc? (1972) is a sparkling screwball comedy directed by Peter Bogdanovich, lovingly modeled on the rapid‑fire wit and chaotic charm of classic 1930s farce. Set in San Francisco, the film follows the misadventures of absent‑minded musicologist Howard Bannister (Ryan O’Neal) and the irrepressible, trouble‑magnet Judy Maxwell (Barbra Streisand), whose chance encounter triggers a whirlwind of mistaken identities, stolen suitcases, and escalating mayhem. With its sharp dialogue, impeccable timing, and a now‑legendary chase through the streets of San Francisco, the film showcases Streisand’s comedic brilliance and Bogdanovich’s flair for old‑Hollywood homage. What’s Up, Doc? remains a beloved classic—bright, fast, and joyfully absurd.
Kissing Jessica Stein
Thursday, March 11 | 6:30 pm
Kissing Jessica Stein (2001) is a sharp, charming romantic comedy that helped define early‑2000s queer indie film. Directed by Charles Herman‑Wurmfeld and co‑written by its stars, Jennifer Westfeldt and Heather Juergensen, the film follows Jessica, a neurotic New York copy editor whose search for love takes an unexpected turn when she answers a personal ad placed by the confident and free‑spirited Helen. What begins as a tentative experiment blossoms into a tender, funny exploration of identity, intimacy, and the messy, exhilarating process of figuring out what—and who—truly makes us happy. With its witty dialogue, heartfelt performances, and warm portrayal of queer connection, Kissing Jessica Stein remains a beloved modern classic.
The First Wives Club
Thursday, April 8 | 6:30 pm
The First Wives Club (1996) is a sharp, stylish comedy directed by Hugh Wilson and powered by the irresistible trio of Goldie Hawn, Bette Midler, and Diane Keaton. Based on Olivia Goldsmith’s bestselling novel, the film follows three college friends who reunite after the death of a classmate and discover they’ve all been traded in for younger women. What begins as shared heartbreak quickly transforms into a hilarious, high‑spirited mission of empowerment, revenge, and rediscovered sisterhood. With its iconic one‑liners, unforgettable musical finale, and a supporting cast that includes Maggie Smith, Sarah Jessica Parker, and Stockard Channing, The First Wives Club has become a beloved classic celebrating friendship, resilience, and the power of women who refuse to be underestimated.
Jeffrey
Thursday, May 13 | 6:30 pm
Jeffrey (1995) is a bold, buoyant romantic comedy directed by Christopher Ashley and adapted from Paul Rudnick’s acclaimed stage play. Set in New York City at the height of the AIDS crisis, the film follows Jeffrey (Steven Weber), a neurotic actor‑turned‑waiter who swears off sex entirely—only to fall for Steve (Michael T. Weiss), a charming, HIV‑positive man who upends all his carefully constructed rules. With scene‑stealing turns from Patrick Stewart, Sigourney Weaver, Christine Baranski, and Nathan Lane, the film blends sharp satire with genuine heart, offering a rare mix of humor, vulnerability, and queer resilience. Jeffrey remains a beloved snapshot of 1990s gay culture—funny, fearless, and unexpectedly tender.
Valley of the Dolls
Thursday, June 10 | 6:30 pm
Valley of the Dolls (1967) is a glamorous, melodramatic cult classic directed by Mark Robson and adapted from Jacqueline Susann’s sensational bestseller. Set against the glittering worlds of Hollywood and Broadway, the film follows three young women—Anne (Barbara Parkins), Neely (Patty Duke), and Jennifer (Sharon Tate)—as they chase fame, love, and success, only to find themselves entangled in the pressures and pitfalls of show business. Fueled by ambition, heartbreak, and the infamous “dolls” (the pills that promise escape), their intertwined stories unfold with high style, soaring emotion, and unforgettable camp appeal. With its iconic performances, bold fashion, and unapologetic drama, Valley of the Dolls remains a beloved touchstone of 1960s pop culture and queer cinematic canon.
High Art
Thursday, July 8 | 6:30 pm
High Art (1998) is a haunting, intimate drama directed by Lisa Cholodenko, marking one of the defining films of the New Queer Cinema movement. Set in the world of New York photography and independent publishing, the story follows Syd (Radha Mitchell), an ambitious young editor who becomes drawn to Lucy Berliner (Ally Sheedy), a once‑celebrated photographer now living a reclusive, drug‑fueled life with her partner Greta (Patricia Clarkson). As Syd and Lucy’s professional collaboration deepens into desire, the film explores the pull of creativity, addiction, and the complicated power of muse and maker. With its moody visual style and career‑redefining performances—especially Sheedy’s raw, luminous turn—High Art remains a poignant, seductive portrait of love, art, and the costs of chasing transcendence.
Showgirls
Thursday, August 12 | 6:30 pm
Showgirls (1995) is Paul Verhoeven’s infamous, high‑gloss melodrama that has since transformed from critical disaster to beloved cult classic—especially within queer audiences. Starring Elizabeth Berkley as Nomi Malone, a fiercely ambitious drifter determined to claw her way into the glittering world of Las Vegas showbiz, the film follows her ascent from strip‑club newcomer to center‑stage sensation. With its over‑the‑top performances, razor‑sharp choreography, and unapologetic excess, Showgirls blends satire, spectacle, and camp in a way that has fueled decades of midnight screenings, academic analysis, and fan devotion. Today, it stands as a bold, provocative artifact of ’90s pop culture—messy, mesmerizing, and utterly unforgettable.
Benjamin
Thursday, September 9 | 6:30 pm
Benjamin (2018) is a tender, wryly funny queer romantic comedy from writer‑director Simon Amstell, blending sharp British humor with aching vulnerability. The film follows Benjamin (Colin Morgan), an anxious young filmmaker on the cusp of releasing his second feature—a milestone that only heightens his self‑doubt. When he meets Noah (Phénix Brossard), a gentle, self‑possessed French musician, Benjamin is drawn into a relationship that challenges his defenses and invites him toward real intimacy. Surrounded by a circle of delightfully awkward friends and creative misfits, his journey unfolds with charm, cringe, and unexpected emotional clarity. With its dry wit, tender performances, and heartfelt exploration of queer love and self‑acceptance, Benjamin has become a modern favorite in LGBTQ+ cinema.
Barbarella
Thursday, October 14 | 6:30 pm
Barbarella (1968) is a dazzling, camp‑soaked sci‑fi fantasia directed by Roger Vadim and starring Jane Fonda in one of cinema’s most iconic, era‑defining roles. Set in a far‑flung future of shimmering planets and seductive danger, the film follows intergalactic adventurer Barbarella as she’s dispatched to locate the missing scientist Durand Durand—only to tumble through a series of surreal encounters with angels, rebels, tyrants, and pleasure machines. Equal parts space opera, sexual revolution, and psychedelic fever dream, the story unfolds in a whirlwind of bold costumes, inventive sets, and unapologetic sensuality. With its fearless embrace of camp, its celebration of liberated femininity, and its lasting influence on queer aesthetics, Barbarella remains a beloved cult classic that continues to sparkle across generations.
The Watermelon Woman
Thursday, November 11 | 6:30 pm
The Watermelon Woman (1996) is a groundbreaking, slyly funny, and deeply resonant landmark of New Queer Cinema—written, directed by, and starring Cheryl Dunye in her trailblazing feature debut. Blending fiction and documentary, the film follows Cheryl, a young Black lesbian filmmaker working in a video store, as she becomes obsessed with uncovering the erased history of a 1930s Black actress credited only as “The Watermelon Woman.” Her search for truth—part archival detective work, part personal awakening—unfolds alongside her own messy, charming, and complicated love life. With its sharp wit, political bite, and joyful insistence on centering Black lesbian identity, The Watermelon Woman remains a seminal work of queer cinema and a vibrant reminder of how storytelling can reclaim what history tried to forget.
Female Trouble
Thursday, December 9 | 6:30 pm
Female Trouble (1974) is John Waters at his most gleefully anarchic—a riotous, boundary‑shattering cult classic that helped define the aesthetics of camp, transgression, and queer underground cinema. Starring the incomparable Divine as Dawn Davenport, the film follows her from rebellious teen runaway to deranged fashion model and criminal icon, all fueled by a hunger for fame and a spectacular disregard for respectability. As Dawn spirals through bad marriages, outrageous crimes, and the twisted mentorship of a pair of beauty‑obsessed photographers, the story explodes with Waters’ signature blend of shock humor, social satire, and gleeful excess. With its unforgettable performances, quotable chaos, and fearless celebration of queer outsiderhood, Female Trouble remains a cornerstone of midnight‑movie culture and a beloved gem of the LGBTQ+ cinematic canon.
