From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
A restoration of Lizzie Borden’s landmark 1986 portrait of sex and labor is coming to theaters.
Becca Willow Moss muses on how her work as a camgirl informs her work as an actor and director.
Now streaming as part of JAPAN CUTS, Kana Yamada’s Life: Untitled features a wealth of skillfully written characters attuned to Japan’s contemporary social dysfunctions.
The Sex Workers’ Pop-Up brings together installations, performances, and conversations from an exciting group of international artists, many of whom are or were sex workers themselves.
Artists and sex workers will offer their insights at Public School Los Angeles.
By amplifying the voices of those directly affected by the dehumanization and criminalization of sex work, No Human Involved has built a successful platform that highlights and challenges these intersections of oppression.
Without speaking with or even acknowledging the existence of critical members of the sex worker community, Performa has ultimately appropriated migrant sex worker organizing.
In her new memoir Camgirl, screenwriter Isa Mazzei joins the long tradition of women who use the personal to explore and deconstruct sex and culture.
Declaring a pro-sex, pro-porn stance off the bat, On Our Backs presents diverse notions of intimacy, in sex work and the communal art and advocacy that spring from it.
When Isa Mazzei set out to write the screenplay for Cam, she wanted to “create a film where an audience would empathize with a sex worker.”