In Celebration of Wicked Queer's 35 years we are revisiting films that made an impact on our culture and continue to resonate. Ripploh's brutally honest portrayal of a gay schoolteacher and the contrasts between his public and private lives was startling for its time (Ripploh has admitted that much of the film was autobiographical). On its release in 1980 the film was siezed by US Customs and deemed "pornographic." With its frank depiction of sexuality, the film is a loving document of pre-AIDS gay culture in West Berlin in the early 1980s and a touching comedy about the human desire for and struggle to achieve intimacy. "The triumph of "Taxi zum Klo" is that, in the midst of its portrait of isolation, Frank Ripploh himself emerges as a cheerful, open man, willing to reveal his weakness, willing to hope that things will take a turn for the better. The movie is about a person, not about his sex life. It understands that all of our identities and lifestyles are just hopeful strategies in the search for a sense of belonging, usefulness and love." www.rogerebert.com Warning! This film contains explicit images of nudity and/or strong language. Viewer discretion is advised. (Seriously though, it’s art - relax.)

EVA AND CANDELA is a portrait of two strong, independent women drawn together by a powerful attraction and their shared desire to take on the movie world. As the years pass, their relationship changes from one of passion to logistics. EVA AND CANDELA, director Ruth Caudeli’s first feature film, is adept at balancing the hope and bitterness that pulls at the edges of a struggling relationship. The film jumps back and forth between Eva and Candela falling in love to their future relationship, all within the timeline of the making and release of the film that they have made together.

Before Christine Hallquist was running for Governor of Vermont, she was David Hallquist, the CEO of the largest locally owned electric utility in Vermont. A self-described “closet environmentalist” Hallquist is dedicated to addressing the way electricity use in America contributes to climate change. But his mission is balanced with the utility’s charge to provide affordable and reliable service. For Hallquist, increasing the efficiency of the grid is the only meaningful route to merging these priorities. He implements one of the country’s first ‘smart’ grids, decreasing outages, increasing the capacity for renewable sources and building a national reputation as an energy pioneer. Resistance, however, comes in many forms – traditionalists balk at the renewable intermittency, solar and wind advocates think Hallquist is dragging his feet, and the public fears that ‘smart’ meters on their homes will send private information about their energy use to the government. As Hallquist struggles to build the kind of transparent company whose honest approach can get stakeholders to accept the realities of how we generate and deliver electricity, he realizes he must apply that same transparency to his personal life and reveals to his son a lifelong secret. Dave Hallquist, who presents as a chainsaw-wielding, hard hat-wearing CEO in a male-dominated industry is a woman inside. Now, Derek’s family must face facts that feel far more immediate than the melting of the polar ice caps and denial emerges as a common theme linking all of these issues. Ultimately the personal and the societal come together as Derek learns that his father, newly named Christine, is still indeed his father – and that Christine’s unique perspective as the first American Transgender CEO to transition in office, may be just the what the limiting, binary worldview on energy and the environment needs.