Desert Hearts
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4 items from 2016

BFI Flare reports 9% audience boost

30 March 2016 2:50 AM, PDT | ScreenDaily | See recent ScreenDaily news »

Lgbt festival also sees industry and filmmaker delegate numbers double.

BFI Flare: London Lgbt Film Festival (March 16-27) has reported a 9% audience boost for its 30th anniversary edition, which closed on Sunday with a gala screening of Catherine Corsini’s French lesbian drama Summertime.

Audiences at all events and screenings over the 11-day festival totalled 25,623 – up on the 23,500 recorded in 2015.

This year’s festival also saw a boost in industry numbers with 168 visiting filmmakers and more than 300 press and industry delegates – up on the 120 filmmakers and 200+ industry that attended last year.

This was due to an expanded industry offering that included daily press screenings, alongside talks with an Lgbt focus on development, production and distribution with speakers including Desiree Akhavan (Appropriate Behavior) and new series The Makers, with key international filmmakers Silas Howard (Transparent), Fenton Bailey (Mapplethorpe: Look At The Pictures), and Donna Deitch (Desert Hearts).

Expanding vision

Clare Stewart, head of festivals »

- (Michael Rosser)

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BFI Flare unveils 2016 line-up, expands industry programme

18 February 2016 11:30 AM, PST | ScreenDaily | See recent ScreenDaily news »

Lgbt festival will feature more than 50 features in its 30th anniversary year; Catherine Corsini’s Summertime [pictured] revealed as closing night film.

BFI Flare: London Lgbt Film Festival (March 16-27) has revealed the line-up for its 30th anniversary edition.

The festival will feature more than 50 features and 100 shorts this year, as well as a series of events and an expanded industry programme.

The film programme will be split into three programmes - Hearts, Bodies and Minds - which will highlight three distinct themes: Lgbt content in British film and new British talent, transgender representation, and Queer Science and new technology.

The first of those, Lgbt content in British film and new British talent, will feature titles including Tomer and Barak Heymann’s documentary Who’s Gonna Love Me Now?, Andrew Stegall’s Departure, and Fenton Bailey and Randy Barbato’s Mapplethorpe: Look At The Pictures.

The second strand, Transgender representation on screen, will feature »

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Retro Sundance: 1991's Poison

26 January 2016 5:30 AM, PST | FilmExperience | See recent FilmExperience news »

Since we're not in Sundance this year, a look back at Sundance classics. Here's David on Poison...

Glenn kicked off our Sundance retrospective with a look at Desert Hearts, a film with more than a passing resemblance to Todd HaynesCarol; a few years down the line, and we come to Haynes’ own appearance in the Utah festival, with his feature debut Poison. Winner of the 1991 festival’s Grand Jury Prize - Dramatic, Poison is considered a vital film in the ‘New Queer Cinema’ movement of the early 1990s, as coined by B. Ruby Rich the following year. Rich’s theory involved not just the presence of Lgbt characters and themes, but the queering of filmmaking form itself. Haynes had already demonstrated his inventive, radical eye in the controversial short film Superstar: The Karen Carpenter Story, and Poison, with its triptych of homonymic narratives, consolidated the director’s manipulation »

- Dave

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Retro Sundance: 1986 Special Jury Prize Winner, Desert Hearts

21 January 2016 9:40 AM, PST | FilmExperience | See recent FilmExperience news »

Team Film Experience isn't at Sundance this year, so instead we're going back through the years to discover and revisit some Sundance classics. Here is Glenn with the 1986 winner of the Special Jury Prize, Donna Deitch's Desert Hearts.

It was a happy accident that on a whim I picked the 1985 drama Desert Hearts to write about today given we’re still very much wrapped up in the warm bosom of Carol. I had not seen Donna Deitch’s film before and had no idea prior to sitting down to watch it that it shared so much in common with Carol, 30 years its senior. I was aware of course that it was a lesbian romance, and I was also aware that the film is (famously) regarded as the first film to allow a lesbian romance to end without tragedy. Still, there were moments where beat-for-beat the films are almost identical. »

- Glenn Dunks

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4 items from 2016, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.

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