Sydney Film Festival ( SFF )Will Go Virtual And National For The First Time In Its History This Year

From 10 to 21 June 2020, Sydney Film Festival (SFF) will present important elements of its 2020 lineup: world premieres of compelling true stories from some of Australia’s most exciting documentary filmmakers, a program of shorts from rising stars of the Australian film industry, and films from Europe’s most cutting-edge female directors.

For the first time, festival attendees around Australia will be able to buy tickets and packages to experience the Sydney Film Festival wherever they are.

The 67th SFF Edition will present the Documentary Australia Foundation Award for Australian Documentary, the Dendy Awards for Australian Short Films, and Europe! Voices of Women in Film.

“This year’s special 67th Sydney Film Festival: Virtual Edition and Awards is all about bringing audiences across the nation together at a particularly challenging time in celebration of filmmakers and particularly the Australian film industry,” Sydney Film Festival Director Nashen Moodley said.

“For almost 70 years, Sydney Film Festival has been the way we collectively explore the world and our times through the medium of film. It is two weeks in June when Sydney is as we know and loves it – open, alive, inquisitive, inspired and connected – and we are with it. SFF is when we came together to discover, discuss, explore; to be transformed and always entertained. So, from our homes, the journey continues!”

Here are the 3 Films with an LGBTQ Focus :

A Perfectly Normal Family

A little girl’s “perfectly normal family,” is turned on its head when her father comes out as transgender. As her father, Thomas, transitions into Agnete, the pair struggle to hold on to the bond they once had while trying to accept their new normal

I Want To Make A Film About Women

Premiered at the Jewish International Film Festival, Australia in 2019, where director Karen Pearlman (After the Facts—SFF2018) won a grant to complete the film;
A documentary love-letter to the Russian constructivist women who pioneered Soviet filmmaking in the 1920s; By bringing to life three artists in particular — Esfir Shub, Lilya Brik and Varvara Stepanova — Pearlman speculation what they might’ve thought, felt, and done had it not been for Stalin’s oppression of artists during the period;

Her Own Music

When model student, Maddie, falls in love with Tessa, she must keep their relationship a secret to protect her reputation as school captain;
• Cinematic debut from theatre director, Olivia Aleksoski, whose work has been featured at the Sydney Fringe;