By Ray Pride

Award Winners of 2019 Outfest Los Angeles LGBTQ Film Festival



Los Angeles, July 29, 2019 – Outfest – the Los Angeles-based nonprofit organization promoting equality by creating, sharing, and protecting LGBTQ stories on the screen – has announced the award winners of its 2019 Outfest Los Angeles LGBTQ Film Festival, presented by HBO.

The nation’s leading LGBTQ festival ran from July 18th to July 28th, closing tonight with “Before You Know It,”  – a quirky Sundance favorite from director Hannah Pearl Utt, that infuses tenderness and complex emotion into the absurd misadventures of Rachel and Jackie, sisters living a dysfunctional life in New York City.

Outfest Los Angeles
2019 Award Winners:


Experimental Short:  FRAMING AGNES, dirs. Chase Joynt & Kristen Schilt

Documentary Short:  HOW TO MAKE A RAINBOW, dir. Ryan Maxey

Narrative Short:  TIME & AGAIN, dir. Rachel Dax

Documentary Feature: CHANGING THE GAME, dir. Michael Barnett

Narrative Feature: TOP 3, dir. Sofie Edvardsson

Narrative First Feature (presented by HBO):  SAINT FRANCES, dir. Alex Thompson


Documentary Jury:  

Sarah Harris, senior programmer for AFI Fest and AFI Docs; Outfest award-winning filmmaker Gregorio Davila; and co-founder and Chief Product Officer of queer streaming service, Revry, LaShawn McGhee.

Grand Jury Prize for Best Documentary Short: SWEETHEART DANCERS, dir. Ben-Alex Dupris

Documentary Feature Special Mention: WHY CAN’T I BE ME? AROUND YOU, dirs. Harrod BlankSjoerd Djik

Grand Jury Prize for Best Documentary Feature: UNSETTLED, dir. Tom Shepard

International Narrative Shorts Jury:  

Screenwriter and best-selling novelist Steven Rowley, actor/director of Outfest 2019 selection RAZOR TONGUE, Rain Valdez, and senior manager of Artist Development at Film Independent, Angela Lee.

International Narrative Short Film Special Mention:  I (dirs. Hallfridur Thora Tryggvadottir, Vala Omarsdottir) – Iceland

Grand Jury Prize for Best International Narrative Short: THRIVE (dir. Jamie Di Spirito) – United Kingdom

U.S. Narrative Shorts Jury:

Actor/Comedian Drew Droege, filmmaker Mary Evangelista, and author/filmmaker/comedian Gaby Dunn.

U.S. Narrative Short Special Mention:  SKIN, dir. Audrey Rosenberg

Grand Jury Prize, U.S. Narrative Short:  BABY, dir. Jessie Levandov


International Feature Film Jury:

Screenwriter Phyllis Nagy, Sundance Senior Programmer Dilcia Barrera, and film critic Carlos Aguilar

Special Mention for Performance:  Juan Barberini, Ramon Pujol, and Mia Maestro in END OF THE CENTURY (dir. Lucio Castro) – Argentina

Special Mention for Directing: Lisa Zi Xiang for A DOG BARKING AT THE MOON  – China

Grand Jury Prize for Best Performance in an International Narrative: Juan Pablo Olyslager in TEMBLORES (TREMORS) – Guatemala

Grand Jury Prize for Screenwriting, International Narrative: Santiago Loza for BRIEF STORY FROM THE GREEN PLANET — Argentina

Grand Jury Prize for Best International Narrative Film: THE GROUND BENEATH MY FEET, dir. Marie Kreutzer

U.S. Narrative Feature Jury:

Vidiots Foundation executive director Maggie Mackay, talent and literary manager Ran Aubrey Frazier, and Executive Director of Inside Out Toronto, Andria Wilson. 

Special Mention for Ensemble Performance:  MOTHER’S LITTLE HELPERS, dir. Kestrin Pantera

Special Mention for Directing: Rhys Ernst, ADAM

Grand Jury Prize for Best Screenwriting:  TU ME MANQUES, dir. Rodrigo Bellott

Grand Jury Prize for Best Performance:  Nicole Maines in BIT

Grand Jury Prize for Best U.S. Narrative Feature:  JULES OF LIGHT AND DARK, dir. Daniel Laabs

Special Programming Awards

Emerging Talent: PIER KIDS, dir. Elegance Bratton

Freedom:  QUEERING THE SCRIPT, dir. Gabrielle Zilkha 

Artistic Achievement: VISION PORTRAITS, dir. Rodney Evans

Corporate Awards

Vimeo Staff Picks Award:  CATHERINE OPIE, B. 1961, dir. Sini Anderson

Hyundai’s Vision for Better Award: WONDER, dir. Javier Molina

HBO Award (Best Narrative First Feature Audience Award): SAINT FRANCES 


Founded by UCLA students in 1982, Outfest is the world’s leading organization that promotes equality by creating, sharing and protecting LGBT stories on the screen. Outfest builds community by connecting diverse populations to discover, discuss and celebrate stories of LGBT lives. Over the past three decades, Outfest has showcased thousands of films from around the world, educated and mentored hundreds of emerging filmmakers, and protected more than 40,000 LGBT films and videos. Outfest Los Angeles LGBT Film Festival is eleven days of world-class films, panels, and parties.


Home Box Office, Inc. is the premium television programming subsidiary of Time Warner Inc. and the world’s most successful pay TV service, providing the two television services – HBO® and Cinemax® – to approximately 131 million subscribers worldwide. The services offer the popular subscription video-on-demand products HBO On Demand® and Cinemax On Demand®, as well as HBO GO® and MAX GO®, HD feeds and multiplex channels. HBO NOW®, the network’s internet-only premium streaming service, provides audiences with instant access to HBO’s acclaimed programming in the U.S. Internationally, HBO branded television networks, along with the subscription video-on-demand products HBO On Demand and HBO GO, bring HBO services to over 60 countries. HBO and Cinemax programming is sold into over 150 countries worldwide.



The John Anson Ford Theatres are owned by the County of Los Angeles and operated in partnership with the Department of Parks & Recreation and the Ford Theatre Foundation. Situated in a 32-acre regional park in the Cahuenga Pass, the Ford Theatres complex is one of the oldest performing arts venues in Los Angeles still in use. This event is part of the Ford Theatres 2019 Season, an eclectic series of music, dance, theatre, film and family events that represent the diversity of the region. Ford programs nurture artists, arts organizations and audiences through initiatives designed to encourage participation in the arts. A complete season schedule, onsite dining options, directions, and parking information can be found at

Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon