BQFF 2018: Call for Entries
The Bangalore Queer Film Festival 2018 is now open for submissions! It’s been nine years of sheer wonder and mad love, so we look forward to popping the cork out of the bottle and right into the stratosphere this coming festival!

We invite you to send us your short and full-length features, short and long documentaries, animation and experimental films. Please send us your entries and pass this call on to friends, lovers, family and colleagues who might want to send in theirs.

The deadline for submission is January 15th, 2018. The final schedule of films will be released in the first week of February 2018.

Details of entry are all available below (and on our website –, but first a quick look at last year’s festival:

The BQFF 2017 (24-26 February, 2017) was held at our regular venues (Alliance Francaise de Bangalore and The Goethe Institut/Max Mueller Bhavan), and offered a lovely visual feast for its audience. We were thrilled to include a retrospective of the films and videos of Richard Fung, Trininad-born artist and writer living in Canada, who has a long history of making challenging videos on subjects ranging from the role of the Asian male in gay pornography to colonialism, immigration, racism, homophobia, AIDS, justice in Israel/Palestine, and their own family history. Fung attended the festival all the way from Toronto to screen and discuss Islands, School Fag, Sea in the Blood, Steam Clean and Re:Orientations.

BQFF 2017 also included the highest number of Indian features, shorts and documentaries the festival has ever screened. The opening feature, Natasha Mendonca’s Ajeeb Aashiq, follows the story of Khush (a working class transgender man) and Suman (a Bollywood singer), and the film blurs the boundaries between art and politics, and turned the camera into a harlequin that looked at Mumbai with both love and irreverence. The audience fell in love with the scrappy and resourceful kids in Prithvi Konanur’s Railway Children. We were also entranced by the spell cast by Velutha Rathrikal (White Nights, directed by Razi Muhammed), a film that glistened in the rays of the moon as it told us the story of Chelly, Jyothi and Manu. Ananya Kasaravalli’s Harikatha Prasanga was a touching tale of the life of Hari, a Yakshagana artist who performs female roles and exists in the interstices of identity.

The Indian short film section included The 6th Element (Arjun Dutta), Sannata: Absence of a Sound (Zameer Kamble), 23C (Yaggna Valkiyan), Knock Knock (Ravi Mallipeddi and Moses Thulasi), Shakyata (Possibilities) Anindya Shankar Das, My Mom is Worried Sick (Neelu Bhuman), Bhram: Delusion (Manoj Thorat), and we had three documentaries, Avalilekulla Dooram (P Abhijith), Naked Wheels (Rajesh James), and Guru: A Hijra Family (Laurie Colson and Axelle Le Dauphin).

The festival also included films from regions that have till now been underrepresented in our festival and in other events. Santa Khurai and Siddharth Haobijam’s The Unheard Voice was a film that evoked the history of the Nupa Amaibi, Manpuri priestesses of the Sanamahi tradition who transcend gender in their devotion to the Gods. Oh My Soul! (Kivini Shohe) followed the steps of three young men-who-have-sex-with-men (MSMs) in Dimapur, the commercial hub of Nagaland.

Again this year the Alliance Francaise de Bangalore organized screenings of French films from the AFB’s catalogue, and brought us Mélanie Laurent’s Breathe (Respire), Emilie Brisavoine’s Pauline S’arrache, Anthony Doncque’s 1992 and Rémi Bigot’s Juillet Electrique. The Goethe Institut/Max Mueller Bhavan brought us a selection of short films from the Berlinale Film Festival: A Boy Needs A Friend (Steve Reinke), A Night in Tokoriki (Roxana Stroe), O Pássaro Da Noite (Marie Losier), Reluctantly Queer (Akosua Adoma Owusu), The Intervention (Jay Duplass), and With What Shall I Wash It? (Maria Trénor).
For the first time the festival featured a collection of delightful animated shorts sent to us by the Fantoche International Film Festival: Cut, For the Best, Naked Youth, Sandy, Teagan, and The Dog Who Was A Cat Inside.

The festival selection also brought a whole range of short film entries to the audience, including Valentina Pedicini’s sweet sweet film It Was Yesterday, Loic Dimitch’s wish-induced Apollon, Zoey Vero’s insightful Internal Aspect, Florian Halbedl and Joshua M Ferguson’s disturbing Limina, the mysterious Room for Rent by Enock Carvalho andMatheus Farias, and Elegance Bratton’s hair-whipping Walk for Me.

As you know, BQFF is not only about films but also provides space for queer artists, performers and photographers to share their work. At the opening night inauguration, the Indian Folk Band had us thumping to the music of Jhambe Jhalak. The festival was also proud to host a play based on Kannada writer Vasudhendra’s collection of short stories, Mohanaswamy. The play was directed by KSDL Chandru and had the audience laughing and crying with the characters on stage. The final day ended with our much-beloved Pink Divas and The Crew, kicking up their heels on stage.

Last but never least, our photo exhibition for this year, curated by Akshay Mahajan and Joshua Muyiwa brought us illustrations by Jen Uman and photography by Kannagi Khanna and Karolina Gembara. The exhibition also featured Chan Arun Narendra’s subtle series Self portrait of a transman: Archiving the subtexts of inhabiting homes, and a showcase of artwork from The Gaysi Zine.

We now ask you to join us for our Ninth Anniversary in 2018, and spread the word in the coming months. The festival loves independent films that transform ideas of queerness, so send the call out!

Here are our guidelines on submission:

We accept films made by directors on themes related to lesbian, gay, bisexual, transgender, intersex and other queer populations. Films that challenge traditional gender and sex / sexuality notions are welcome.

Please submit films of any form: Features, Shorts, Documentaries, Animation or Experimental.

Preview copies
Submit preview copies of full films online (through vimeo, youtube etc. or by sending the full film via Dropbox or similar file transfers) or by sending us the DVD copies to our address. Preview copies submitted for selection will not be returned. Copies of all films will be kept with the BQFF Archives.

Format of Final Submission
Final submissions are expected on high-quality DVDs only. Contact the organisers if you require more information or want to use other formats.

Since accents vary even among English language films, all films should preferably have subtitles in English. We also prefer soft subtitles and not hardcoded ones.

Submission/mailing costs
Mailing costs for the submissions have to be borne by the director/producer/distributor. The BQFF cannot, at this juncture, support the costs of receiving copies for preview. Please contact the organisers if you are unable to bear these costs so as to arrange for alternative ways to send your films to us.

Screening Costs
As always the BQFF is a FREE event and no charges are levied on submissions. Additionally, only films that do not charge screening fees will be accepted.

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