香港影人杨曜恺（Ray Yeung）一向直言不讳。他对自己亚洲酷儿的身份引以为傲；他的作品，时常聚焦跨文化、跨地域的自我认同和酷儿理念，内容机智风趣又不乏深度。在他2015年的电影《封面有男天》 (Front Cover) 里，主人公莱恩 (Ryan)，一位美籍华人男同志造型师，

Hong Kong filmmaker Ray Yeung has a reputation for taking no prisoners. Unapologetically gay and proudly Asian, his work tackles the complexities of cross-cultural identity and queerness with a refreshingly astute wit and depth. His film Front Cover (2015) centers on Ryan, a Chinese-American, gay fashion stylist who distances himself from his heritage to fit in – but a work assignment with rising Chinese movie star Ning leads him to reconnect with and reconcile his nationalit

Following a landmark ruling on marriage equality earlier this year, Taiwan continues to lead the way in LGBT rights in Asia. But as the freedom to love gains legal recognition, is the freedom to enjoy sex, both in law and in public opinion, keeping pace? In part one of our series on Shanghai Queer Film Festival, we look at two filmmakers who are exploring different sides of the gay male experience in Taipei. Sodom's Cat (dir. Huang Ting-chun) A large house, an electric gate.

我想说的是，我的性向是酷儿；而我的种族身份，也是酷儿的。 影人 Stuart Gaffney (斯特尔特∙加福尼) 访谈 影人Stuart Gaffney是一名酷儿。同时，他也是一个混血儿，拥有一半中国血统，一半英国和爱尔兰血统。对于他来说，能够找到完全符合自己身份的正面文化符号难上加难。他2002年的短片《Transgressions》（过界）探索了对于自我身份的发掘和实现。借用流行文化中的图像，例如《蝴蝶君》（1983）等经典影像内容的片段剪辑，这部短片着重于追溯他父母之间“过界”的跨种族爱情，以及他本人“过界”的同性恋情。通过这两种在发生之时都尚未合法的情愫，Stuart 追寻着自我身份认同，编织出一个属于混血LGBTQ人群的独特故事和文化符号。 在影像制作之外，Stuart Gaffney也是一位积极号召LGBTQ婚姻合法化的社会活动家。他是Marriage Equality USA（美国婚姻平权组织）的联合创始人之一，也是2008年里程碑式的，控诉加州同性婚姻禁令违宪提案的主要申诉人之一。他与他的先生John Lewis经常在世界范围内

Should we ever stop fucking around? Tony Zhiyang Lin’s 2015 short documentary A City Of Two Tales explores questions of sex and relationships through frank and revealing interviews with two older gay men in Hong Kong. Seventy-year-old Smiley Sze probably gets more dick than people half his age. “I can go to saunas. I can talk to people there, and if it clicks, we move onto sex.” Pulling out his phone, he shows the dozens of messages he has on gay-dating apps. “I didn’t expect

Twenty years after it was first released, Happy Together is still the quintessential Chinese queer film, a dream of starting over at the end of the world. Emily Benita traces Yiu-fai and Po-wing’s acid neon steps and finds a love that transcends labels, identity and national boundaries, with lessons for today’s world. Watching Wong Kar-wai’s Happy Together (1997) twenty years on from its initial release, and four years from when I first saw it, it is striking how little it ha