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德黑兰禁忌
剧情内核高度相关，共同探讨了关于 社会、道德、职场 的深刻主题
强制披戴的头纱下，是三个伊朗女性的暗黑命运。一个因丈夫吸毒坐牢，要独力照顾不能说话的幼儿，不获批淮离婚再嫁，只好卖淫为生。一个怀孕后好不容易找到工作，丈夫却拒签同意书让她上班。一个情不自禁与年轻乐手发生关系，却因为失去处女身而一身蚁。充满禁忌的父权国度，到处是性别歧视、 虚伪做假、滥权渎职。一个恶作剧电话，更凸显女性面对的巨大压力。如此故事，只能用动画呈现，以绿幕拍下真人演出，再利用转描技术做出栩栩如生又带强烈控诉的德黑兰风情画。入选康城影展影评人周及安锡国际动画电影节。
性梦爱三部曲：性
剧情内核高度相关，共同探讨了关于 社会、现代、婚姻 的深刻主题
两个在屋顶上工作的已婚男子，一个是弯一个不是，又或者两个都不是，但无论是隐是显，确认性向真的那么重要吗？一切似乎从其中一人梦见大卫宝儿开始，然后令人困扰偏又发人深醒的事情接二连三发生。究竟偶尔与同性亲热了算不算不忠？能向妻子坦诚甚至讨论分析吗？梦里别人当你是女人你就成了女人，现实中自己又有多少部份其实是活在别人眼皮底下的？人格面具会否大到令「真我」一早丧失意义？达约翰侯格劳性爱梦三部曲首章，直探人之大欲何谓何为。
别和日本人谈性
剧情内核高度相关，共同探讨了关于 现实、社会、文化 的深刻主题
遇到全球人口不断激增问题的国家很多，而在日本恰恰相反，预计未来日本的人口将会缩减三分之一。通过采访不同背景的人，来探索这一现象的成因，过程中详细发掘了御宅族文化对人口的巨大影响力。
欲罢不能(德国版)
剧情内核高度相关，共同探讨了关于 爱情、社会、人性 的深刻主题
最炙手可热的德国热辣单身者齐聚在热带天堂，这群年轻人认为这将是他们生命中最具异国情调和最性感的时光，但转折不约而至。如果想要赢得 10 万美元的大奖，这些喜欢随意约会的承诺恐惧症患者在整个过程中都不得有任何性感接触。没有亲吻，没有爱抚，没有任何形式的自我满足。每僭越一次，奖金就会随之减少。在这个奢侈的禁欲区，热衷单身的人能够建立更深的情感联系吗？还是诱惑太过强烈，让人无法自持？
百人斩男色
剧情内核高度相关，共同探讨了关于 成长、社会、历史 的深刻主题
100 Men fast-tracks through 40 years of gay history via a countdown of filmmaker Paul Oremland’s most memorable shags. This isn’t just a blow-by-blow account of past glories; instead, Paul uses a personal lens to explore the key moments that have defined the contemporary gay experience. The significance of the men on Paul’s list varies, but all have lingered in his mind for some small or, ahem, big reason. Most of the men feature only as a descriptive nickname (‘US Jet Pilot’, ‘Closet Westie’), but Paul has convinced a handful to appear on camera for candid interviews. Although the film does ask whether gay men are too fixated on sex, Paul is more interested in the lives that these men have lived, emphasising the collective experience of isolation that can come with growing up gay.
男男女女
剧情内核高度相关，共同探讨了关于 社会、文化、传统 的深刻主题
北京某年冬天，来自外省的小博（于勃）在某家服装店打工，因为踏实勤恳，他得到老板娘青姐（杨青）的喜欢，后者不但让他住进了家中，还热心介绍女友阿梦（鱼梦洁）与他认识，期望两人能成为恋人，但小博对女孩不感兴趣。因为与丈夫大康的关系日益冷淡，青姐搬到了阿梦处。 不久，小博因为大康企图强暴他一事辞去了工作，来到同乡冲冲（魏建刚）家中借宿。冲冲是自命的公厕文学一级作家，每天进出各种公厕搜集里面的“有色言语”，小博到来时，他正在创办《灿烂公厕》杂志。与他同居的同性朋友归归（崔子恩）则自办了一个叫做“公厕时空”的电台节目，他的听众只有冲冲一个。小博的出现，打破了冲冲与归归原本稳定的关系。
非诚勿语
剧情内核高度相关，共同探讨了关于 社会、传统、喜剧 的深刻主题
罗马青年马蒂亚斯（Josafat Vagni 饰）在大学毕业后和西班牙男友爱德华（Jose Dammert 饰）终于修得正果，准备前往马德里工作和生活。然而完美至上的爱德华坚信他们理应得到所有家庭成员的祝福，热心的开始计划跟马蒂亚斯的家人会面。这一下反而让马蒂亚斯慌了神——因为他并没有像他说的那样跟家里公开性取向！他需要决定：是跟家人义无反顾，还是对男友坦白从宽？也许凭借朋友们的帮忙，存在一个左右不为难的选择？意大利最新浪漫喜剧，以真心话大冒险的出柜历程讲述同志家庭的爱与戏剧性。
这就是我
剧情内核高度相关，共同探讨了关于 梦想、社会、人性 的深刻主题
主人公贤示自幼饱受性别认同困扰，却始终未放弃成为偶像的梦想。医生和田在与贤示相遇后，首次直面性别认同障碍的现实，并以贤示为首例亲自主刀的性别重置手术患者。一个选择活出自我，一个探索“真正的医疗”，两人在偏见与孤独中建立起深厚信任与羁绊。 本片改编自春菜爱与和田耕治的原著，讲述开启禁忌手术之门的真实故事。
同性恋不是变态东西，变态的是他所活着的社会
剧情内核高度相关，共同探讨了关于 社会、文化、讽刺 的深刻主题
It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives (Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt) is the earnest title of Rosa von Praunheim’s 1971 PG-chaste first feature, which has aged like good cheese from a scandalous sensation (a political wakeup call to gays) into a textbook example of classic camp—and a delightful time warp trip through queer cliché. The very colorful color film (shot MOS) opens with von Praunheim’s camera trailing two fags—one blonde, one brunette—walking down a sunny Berlin street. Daniel, the shy brunette, is new to the big city and blonde Clemens is generously offering him a place to stay. (We know this by the heavily German-accented English, dubbed and spoken in a “Sprockets” cadence.) “It’s so hard to find someone who’s sincere,” Clemens’ voice says as they cuddle on his bed back at the apartment. “I really dig you.” Then, from out of nowhere, a grave, German-accented, Moses-like voiceover explains that “faggots long for loving relationships”, but “live in a dream world of glossy magazines and Hollywood movies.” Now naked in bed with Daniel, Clemens proclaims, “I’d like to throw the window open and show the whole world how wonderful it is when two men are in love!” And so it goes. Daniel fusses over his hair in the mirror while Clemens’ heartsick Teutonic voice narrates their newfound domestic bliss. “Every hour and minute I spent alone was torture for me.” Luckily, the lovebirds spend plenty of time doing things like “watching television to further our education” and housecleaning together. They also read or write letters. “Dear Mother,” Daniel’s voice begins. But alas, as Clemens stares into a cabinet chock full of knickknacks, that damn nagging Moses voiceover returns. “Faggots try to imitate middle class marriage,” he hisses, holding forth on the subject of men taught to be in competition with one another, to be self-involved—dooming the faggot relationship. Next thing you know, Daniel’s sad voice sighs, “Four months have passed. I’ve decided to leave Clemens.” Then a jaunty, genial German narrator intones, “Daniel was often cruised by a well-to-do man.” And there’s girlfriend strolling along with the tight-panted “benefactor at his country estate!” As they stop for a glass of champagne beside a statue, Moses abruptly thunders about the myth that the homosexual’s “interest in the arts is a way to make life more bearable,” when in reality “the arts are a tool for the rich and powerful,” for it makes it “much easier to get them into bed.” Cut to a piano and a wild-eyed fag singing about Deutschland! Nearby, the benefactor plays with his ascot, a gaudy silver ring in the shape of an insect on his finger. The camera pulls back and pans around the roomful of old queens respectfully listening to the recital. Moses announces, “Youth and good looks are tremendously important to old fags.” Like Hitchcock’s birds, the elderly Marys are suddenly swarming over poor Daniel—who gets nauseous and runs out the door. Then it’s off to an outdoor café—with a big sign reading “Moby Dick’s.” The genial German narrator informs that Daniel’s found a new job working at a “meeting place for homosexuals” where “conversations about film, fashion and physical culture give him ideas about how to fill his leisure time.” Moses butts in to add that faggots “gather to listen to Nina Simone, Judy Garland and Barbra Streisand” and “gather at Fire Island and San Francisco.” He intones, “Fashion has to be like a second skin that suggests the size of the cock.” A sissy saunters down the street in knee-high moccasins and shorts. Moses also warns, “The young fag must give up his interests for more homosexual interests.” And there’s Daniel sunning himself with his fellow homosexuals! Moses snipes, “He was entranced by his strong body and butch style” as a torso, hairy chest and tight blue jeans, appears in medium close up. The genial German offers, “Daniel could sit for hours and enjoy being cruised.” Then: “Wolfgang had a lot in common with Daniel” as the two mop-haired, mutton-chopped boys rub lotion on one another. But all is not well in fairyland. Moses brings news that Daniel has begun going to gay bars—is becoming addicted! And, yup, there’s Daniel, wandering around a dark and dingy hole. Moses explains, “It’s easy for faggots to find one another because they offer themselves on street corners like whores.” Cut to a queen having a hissy fit in front of the bar as another tries to calm her down, all while Moses holds forth on sad fags, how they don’t know how to use their sexual freedom for happiness, how their “greatest enemy is the conspicuous queen.” Two fairies in short shorts appear in the frame, fawning over two embarrassed fags. Moses laments, “Daniel now has no other interest than being a fag.” Cut to a motorcycle gang, leather boys cruising one another amongst the nighttime trees. They feel up each other’s zippers, chains, and studs—a clothed grope fest as Moses teaches that, other than “trans-westites, [who] long for women’s organs, leather freaks are the fags with the most hang-ups.” In fact, “The leather queers are really nice, polite people who suffer from their own weakness.” And that’s when Daniel, “bored with talking,” fatefully leaves the bar scene for the park where he “slowly made his way through the tense choreography of men.” (So sayeth Moses.) Cut to outside a public restroom (a “well-known meeting place”). Men who cruise restrooms “despise tearoom trade,” the voice of Moses trembles. Hustlers—“usually runaways from broken homes” who are “often not queer”—frequent these spots. (Assorted hustlers and fags mill about as a piece of rough trade stands like a sentinel in front of the door.) A group of queers emerge and pile circus-style into a car. An old fag cruises Daniel but strikes out (duh!) before getting beat up by rough trade. Next up: a drag queen singing in a mixed homo bar—a tattooed leather daddy staring stoically from a table nearby. And there’s Daniel! He’s “drowning himself in alcohol and cigarettes” while other fags try to “forget themselves in a frantic atmosphere”—i.e., a black guy and a white guy doing a chicken dance to “Rock Around The Clock”, which blares from the jukebox. An old yodeling queen appears. Daniel sees his friend Paul, asks if he can go back to his communal pad. And that’s where von Praunheim’s film finally reaches its climax—a psychotherapy session with a group of naked fags! Sitting in a circle, they berate Daniel in their dubbed voices. “You’ve become a real full time faggot!” “You’re becoming neurotic, a whore who doesn’t even get paid!” The Teutonic accents start calling for a gay pride awakening, a consciousness-raising “We’re here, we’re queer!” movement. “Queens and butches have to stop opposing and fight together side by side!” “Come out of the closet! Take to the streets!” “Erotically free! Socially involved!” The commentary continues even as the credits roll over a pink background—even as I can’t stop laughing over the “trans-westites,” leather freaks, and glorious tearoom trade.