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Home › News & Events › Events › Lesbian Looks – 2 Restored Vintage Docs from the Gay Liberation Era

Lesbian Looks – 2 Restored Vintage Docs from the Gay Liberation Era

February 15, 2026 at 2:00pm

Venue: Loft Cinema

 

Frances Reid with camera crew, late 70’s.
Frances Reid with camera crew, late 70’s.

Lesbian Looks is thrilled to welcome distinguished filmmaker Frances Reid to present two recently restored classic documentaries from the Gay Liberation era. After the screening, join Frances at the cash bar reception for continued discussion!

GREETINGS FROM WASHINGTON DC
(Rob Epstein, Frances Reid, Greta Schiller and Lucy Winer, 1981, 29min)

Documents the first National March on Washington for Lesbian and Gay Rights, where tens of thousands of people converged on October 14, 1979. Documented by pioneering filmmakers Rob Epstein (The Times of Harvey Milk, 1984), Frances Reid (In the Best Interests of the Children, 1977), Greta Schiller (Before Stonewall, 1984) and Lucy Winer (Rate It X, 1986), who skillfully capture the hopeful and peaceful activism of this community, mirroring past movements grounded in non-violent action.

This new digital 4K restoration captures the joyous, intersectional spirit of an event that heralded the beginning of a new chapter in the national fight for queer rights and visibility.

IN THE BEST INTERESTS OF THE CHILDREN
(Frances Reid, Elizabeth Stevens and Cathy Zheutlin, 1977, 53min)

An intimate and courageous portrait of lesbian mothers and their children during a time of intense legal and social discrimination. It stands as a cinematic milestone in the documentation of LGBTQ+ family life and a record of the history of the broader struggle for civil rights. Originally produced with the aim of educating family court judges, this important documentary transcended its initial purpose, also becoming a critical artifact of feminist and queer filmmaking. Through candid interviews, courtroom narratives, and everyday scenes, the film captures the resilience, love, and dignity of queer families fighting for recognition, justice, and the right to care for one another. Refusing sensationalism in favor of emotional honesty, the film constructs a layered narrative at the intersection of gender, sexuality, race, and class.

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