Friday, July 31, 2026 at 12:00 AM to Saturday, August 1, 2026 at 11:59 PM
Human Resources, Los Angeles
7:00 pm - 8:30 pm [Tickets](https://pools.events/t/eixvgf57/) July 31st at 7pm Program 1: RISKY BUSINESS The program centers on the intersection of queer Asian identity, sexual desire, and the HIV/AIDS crisis. **7 Steps to Sticky Heaven** (1995) presents candid interviews with young gay Asian men in San Francisco about the “politics of starch.” Queer & questioning twenty-somethings in Irvine, California, confess their lasting longings and missed connections in **Maybe Never (but I’m counting the days)** (1996). **Forever Bottom!** (1999) critiques and embraces the ubiquitous figure of the Asian bottom. **K.I.P.** (2001) remixes 1980s VHS porn decay to highlight a spectral gay male sex community persevering across time. **Sad Porn Circa 1994** (2026) links gay pornography with liberation politics and the curtailment of sexual possibility. **A Horse, A Filipino…** (2005) juxtaposes Hollywood’s Filipino sissy houseboy with bare back porn, highlighting persistent “uninhibited” racial-sexual stereotypes. **I Remember Dancing** (2019) expands the archive to intergenerational trans and queer “gaysians,” reflecting on AIDS, activism, and collective memory. Together, these pieces map a three-decade spanning, self reflexive portrait of the risks, pleasures, and cultural negotiations shaping queer Asian American experience. - - August 1st at 7pm Program 2: PIRATED FANTASIES Across the nine works in the Pirated Fantasies program, Nguyen Tan Hoang foregrounds the negotiation of queer Asian identity through experimental collage and archival appropriation. Each piece taps a different facet of that negotiation—whether it’s reclaiming absent “sticky‑homoerotic” images of Hong Kong pop idols in **Forever Jimmy!** (1995), chronicling personal longing and loss in **Love Letters 1 & 2** (1996), or excavating refugee trauma and its sexual reverberations in **PIRATED!** (2000). The videos also interrogate media representation: they remix pornographic tropes, historic film clips, and found photographs to reveal how race, gender, and desire are simultaneously fetishized, erased, or embraced (e.g., the “no Asians” ban explored in **look_im_azn** [2011], the **Oriental Hardon**’s [2026] gaysian nude archives, and the early‑70s gay porn examined in **Eavesdropping on Jason Sato’s Brothers** [2025]). A third through‑line is the fluidity of gender and desire, illustrated by the gender‑transition narrative of **Crimson** (2000), the priesthood metaphor in **The Calling** (2000), and the hand‑focused objectification of **The Lesbian Hand** (2026). The program binds past and present through memory, longing, and the act of re‑imagining—the act of looping, looping, and looping again to compress history, trauma, and pleasure into short, hyper‑edited kinetic essays that map a continuous, evolving queer Asian diaspora. [Become a member of HR-LA for $13 a month for tickets to all screenings](https://pools.events/o/human_resources_la/join/) Add to calendar Google Calendar iCalendar Outlook 365 Outlook Live