Its title taken from the Shel Silverstein song popularized by Johnny Cash, A Boy Named Sue is a documentary about a woman in the process of becoming a man.  The film begins in 1994, when Sue begins taking testosterone injections.  Within months, she begins to experience changes in her voice, muscle density, breast size and … ummm … other parts.

More interesting than the physical changes in Sue are the interviews conducted with her friends, especially her girlfriend Lisi.  They are all concerned but supportive in her quest to become Theo.  The film plays out over six years, and viewers will see the relationship between Sue and Lisi affected in surprising ways.  The film also focuses on society's preoccupation with labels.

0:56 – but contains nudity

David (Ben Berkowitz) and Jack (Ben Redgrave) are best friends, but Straighman’s opening scene shows you just how different their lives are.  David, an overweight Jewish comedian who is lucky with the ladies, is shown having a passionate one-night stand.  Jack, a burly construction worker with a fu manchu moustache, is shown fighting with his girlfriend, who he has become less and less interested in sexually.

When Jack’s girlfriend moves to California, the two buddies get an apartment together.  Despite David’s intention to make the place a swinging bachelor pad, Jack starts to blow off his friend’s double dates for a string of anonymous sexual encounters with strange men.  This revelation puts a strain on their friendship and begins to affect David’s womanizing.  Straightman was directed by Berkowitz, who co-wrote the script with Redgrave.

1:41 – but contains nudity, strong sexual content and adult language

“There’s all different kinds of families,” exclaims a boy with two moms and two dads.  That’s a Family, a documentary short made for and featuring children, tackles relationships that include mixed races and religion, adoption, step parents, physical disabilities, same sex relationships, single parents, grandparents as guardians and various combinations thereof.

There’s something refreshing about the honesty and innocence about children explaining the facts about terms like “birth mom,” “lesbian,” and “divorce.”  If everyone could live by the words, “You can be a rat and marry a mouse,” the world would be a much happier place.  Especially for rats and mice.

0:35 – and contains no objectionable material

Meet U.B. Morgan and Jann Nunn, two gay filmmakers from California. And meet Bob and Mary Bradford, a live-action version of King of the Hill’s Hank and Peggy Hill.  What do the two couples have in common?  They’re the same people.  That’s right – Morgan and Nunn pose as a non-threatening, married Catholic couple from Midland, Texas to tour the Bible belt in a motor home in The Bradfords Tour America.  Along the way, they run into Jerry Falwell, Pat Robertson and Fred Phelps, and make appearances in Branson, Missouri, at The 700 Club’s studio audience and at Liberty University.

While the point of the film is to point out that people from the South are largely ignorant when it comes to same-sex relationships, it comes as no big surprise.  It’s still pretty funny to watch these toothless wonders try to explain why homosexuality is deviant behavior.  The Bradfords comes off as a cross between a Michael Moore film and a Tom Green skit, accentuated by clips of Morgan emptying sewage from their motor home to drive home the argument.

0:51 – and contains no objectionable material…other than bigotry

Based on a Rainer Werner Fassbinder play, Water Drops on Burning Rocks is the directorial debut of François Ozon, the reigning bad boy of French cinema.  The film centers on the relationship between middle-aged Léopold (Bernard Giraudeau) and twenty-something Franz (Malik Zidi).  Their affair begins torridly, but quickly turns dull and routine, with Franz basically becoming Léopold’s houseboy.

Just a Franz appears to be ready to check out of the relationship, the situation gets complicated by the arrival of his curvy, sex-starved ex-fiancée (Ludivine Sagnier), who arrives just before Léopold’s ex-lover – a man who became a woman to please her former boyfriend (Anna Levine).  Hilarity, tragedy and a bizarre dance number ensue in this well-executed film debut.

1:30 – for nudity, sexual content, adult language and violence