195 LEWIS is a dramedy series about a group of women navigating the realities of being Black, queer, and poly in New York City. Based in Brooklyn, the series follows Yuri and Camille as they test the boundaries of their open relationship. Yuri’s growing infatuation with a new lover leaves Camille distressed, which is only amplified by the unexpected arrival of Yuri’s old college friend Kris, who shows up with nowhere else to stay. Director Chanelle Aponte Pearson and writer Rae Leone Allen will be in attendance.

The film is based on the true story of Tamara Adrián, the first trans person elected to national office in Venezuela. The film follows her transition as she comes out as a woman, while maintaining her career as a prominent lawyer with a wife and two small children.

Recent high school grad Joey (Lola Kirke, Mozart in the Jungle and Mistress America) is scooping ice cream at the local fair when she meets Rayna (Breeda Wool, UnREAL), a leggy blonde in Daisy Dukes who likes drinking and flirting, and who has a weakness for “them tomboys,” as her grandmother calls them. Rayna takes Joey home along with some ice cream, and soon Joey is head-over-heels in love and lust—even after she discovers that the older woman has a couple of kids and a trucker husband named Roy. Based on the award-winning short film of the same name, this story of star-crossed love provides a nuanced depiction of working-class life in rural America. Director Deb Shoval gets the details right, from Joey’s series of dead-end jobs to the car on blocks outside Rayna’s trailer house. The film finds gritty beauty in the scuffed basements, bars, malls, and meadows where Joey and her friends work and play. It observes the gradations of class within Joey’s circle: Joey’s sister looks down on Rayna as a welfare-check-collecting freeloader, and Joey’s mother desperately wants Joey to join the army, her one shot at college. Tensions mount as Rayna and Joey’s relationship moves from summertime fling to something more serious. While the pair are creative about setting up clandestine meetings—in a barn, the front seat of a pickup, and, most memorably, a tent—they have a harder time imagining a life together. “Would you go into the army if you were rich?” asks a college-going lesbian friend of Joey. “Probably not,” she answers laconically. In this movie, the price of same-gender love is steepest for those who can least afford it. Desc. courtesy of Frameline: The San Francisco International LGBTQ Film Festival.