Hungover和一点睡眠剥夺了，Vivian Kleiman仍在试图处理前一天的快乐。经过近十年的作品，她的纪录片“没有直线：奇怪的漫画的崛起”在Tripeca电影节“在Tribeca电影节”在哈德森上的一个巨型跳线上，旁边是直升机场，拖船和海鸥和无人机嗡嗡作响，“她说。“那种完美的一部关于漫画书的电影。”
这不仅仅是壮观的环境和喧闹的后巴特，让她有点茫然和耀眼。奥克兰电影制片人突然急，陡峭的暴跌越来越茫然地回到了社会“与每个人出来的孤立，压力和损失，”克里姆曼说，当关闭夜晚的“没有直线”屏幕时，谁将在手头of this year’s San Francisco International LGBTQ+ Film Festival, a.k.a. Frameline 45, on Sunday, June 27, at the Castro Theatre.
“这是我们中许多人在前面的朋友以外的人身边第一次，”Kleiman召回。“在别人的公司中，有一切尴尬，自我意识和纯粹的喜悦。”
灵感来自Queer Comic艺术家和历史学家贾斯汀大厅的开创性选手同名，“没有直线”作为一个相当传统的历史。但多年来，它进化到了更多类似于交叉代理庆祝活动的东西，并且在许多方面，其纽约首映的过渡时刻与电影的潜在故事回荡。
虽然从20世纪70年代和80年代的凝固艺术家专注于五位 - Alison Bechdel，Howard Cruse，Mary Wings，Jennifer Camper和Rupert Kinnard - Kleiman讲述了一个更广泛而更深的故事，即在所有多种式表现形式中看到一个人的经验。
“我想通过心灵到达人们，创造一个生活，呼吸纪录片电影，更加重视”电影“而不是”纪录片“，”她说。“我的目标受众是Queer青年。我想创造一部我需要的电影，当我是Queer青年时，感觉孤立和困惑。“
Kleiman experienced a cinematic epiphany in 2017 when she set up a white screen at the Queers & Comics Conference in San Francisco, the first West Coast event of its kind, hosted by the California College of the Arts (where Hall, the film’s producer, is a longtime professor in one of the country’s only comic arts programs). The idea was to do short, impromptu interviews with young queer comic artists talking about the importance of queer representation. She had set up the shoot with little time for preparation “and it was one of the most dynamic days of filming I’ve ever done,” Kleiman said.
“Andy Black was the shooter for the entire film, and after that day he said, ‘That was amazing, but I haven’t got a clue how you’re going to incorporate it.’ We played with the footage, and I started thinking of them as my Greek chorus, opening and closing a scene.”
她采访的一位艺术家之一是21岁的Emeric Kennard，这是一个奥克兰的跨国人，在CCA学习大厅和Howard Cruse。在俄勒冈州农村的高中出来后，他来看看通过他的艺术讲述酷儿故事是“不仅仅是关于我处理和看待自己的能力”，“他说。“它可能看起来极端，但它感觉像生死攸关的问题。”
Hall, an esteemed comics artist himself, has chronicled the art form’s rise from the margins to the center of American culture since he produced the first panel of queer comics artists at an indie comics convention in San Francisco in 2003 with “Dykes to Watch Out For” cartoonist Alison Bechdel, who went on to write the 2006 best-selling graphic memoir “Fun Home,” which was adapted for 2015’s Tony Award-winning musical.
“这是这部电影的正确时刻，”他说。“一个非常充满活力的，有趣的艺术地下存在几十年，每个人都互相认识，但在我的书出来的时候，有这种令人难以置信的横向爆炸。漫画已经越来越奇怪。“
“没有直线”是由和大的一个湾区故事，当在旧金山融合的重叠替代社区时，捕获了令人毛骨悚然的时刻。波希米亚诗人和作家，激进的劳工组织者和文化活动家在20世纪上半叶致力于蓬勃发展的地下出版社。当Queer漫画艺术家在20世纪60年代末从地下漫画场景中出现时，印刷机已准备好滚动。
But the narrative power of “No Straight Lines” flows from another Bay Area wellspring, namely Kleiman’s collaborations and close friendship with Marlon Riggs, the brilliant gay Black filmmaker responsible for seminal works such as “Ethnic Notions,” “Black Is … Black Ain’t,” and “Tongues Untied,” the latter which sparked a major battle in the culture wars of early ’90s. She was on the shoot with Riggs at Oakland’s Festival by the Lake when he collected the footage of Black men used in the opening sequence of “Tongues Untied,” a film he completed while fighting AIDS (he eventually died of the disease in 1994).
“他创造了那些令人震惊和令人震惊的凶狠和意向的电影，”Kleiman召回了Riggs。“”舌头“是为一个非常特定的观众而创建的，为黑人同性恋者。在每一个削减的思想中，'这是推进黑人同性恋者之间的谈话吗？或向外人解释？“后者被切断，前者留下来。我有这一点记住，“没有直线”。“
抵消压力包括学术和专家的声音，Kleiman使艺术品本身成为电影之星。
“有各种各样的奇怪漫画，”她说：“但他们大多是植根于我们的生活中的日常内容可见。”
框架45显示“没有直线：奇怪漫画的崛起”：下午6点30分。6月27日星期日，卡斯特罗剧院，429卡斯特罗圣，S.F.还可以在星期天溪流。www.frameline.org.