F*cking bodies – a program dedicated to the bodies we’re in.<\/p>\n
TICKETS FOR ALL SCREENINGS AVAILABLE ONLINE OR AT THE DOOR<\/strong><\/p>\n Films:<\/strong><\/em><\/p>\n The Fruit of Our Womb<\/a> \/ 2017 \/\u00a0Laurie Mannessier \/ France \/ 29 min<\/p>\n Andrea is lesbian and never had sex with a man. One day, she gets pregnant. What if it\u2019s a miracle ? The Fruit of Our Womb is a FEEL-GOOD film that follows the funny story of this adorable lesbian couple as the impossible becomes very likely.<\/p>\n Push Pink<\/a> \/ 2017 \/\u00a0Kai Tillman \/ United States \/ 9 min<\/p>\n A trans person\u2019s conflict using the public restroom leads him on a journey to answer some unresolved questions.<\/p>\n Vibes<\/a> \/ 2018 \/\u00a0Bane Fakih \/ United States \/ 7 min<\/p>\n Mayssa is looking for a sexual release to cure her recent depression but luck \u2013 and her mother \u2013 are not on her side.<\/p>\n Non \u00c9 Amore Questo<\/a> \/ 2017 \/\u00a0Teresa Sala \/ Italy \/ 34 min<\/p>\n \u201cNon \u00e8 amore questo\u201d tells about Barbara, of her intimate, authentic life. Barbara looks more like us than we would like to admit. Barbara is a person like any other. Barbara is unique. Barbara is disabled.<\/p>\n The Chemo Darkroom<\/a> \/ 2018 \/ Harvey Rabbit \/ Ghana, Germany \/ 17 min<\/p>\n Sex, pain, the unknown. \u2018The Chemo Darkroom\u2019 is ritual film about recovering the sexual self after chemotherapy. A woman embarks on a voyeuristic journey in a gay darkroom, attempting to free herself of the memory of cancer treatment and remember who she was before.<\/p>\n <\/p>\n If you’re interested in films about sex and relationships, we recommend you check out our screenings of the feature films The Artist and the Pervert<\/a> and\u00a0SINGLED [OUT]<\/a>!<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" F*cking bodies – a program dedicated to the bodies we’re in. TICKETS FOR ALL SCREENINGS AVAILABLE ONLINE OR AT THE DOOR Films: The Fruit of […]<\/p>\n","protected":false},"author":3,"featured_media":2647,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[29],"tags":[],"_links":{"self":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/2761"}],"collection":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/comments?post=2761"}],"version-history":[{"count":12,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/2761\/revisions"}],"predecessor-version":[{"id":2973,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/posts\/2761\/revisions\/2973"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/media\/2647"}],"wp:attachment":[{"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/media?parent=2761"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/categories?post=2761"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/berlinfeministfilmweek.com\/wp-json\/wp\/v2\/tags?post=2761"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}