Liz Rosenfeld

A queer metaphysical love story that weaves itself through real and imagined sexual encounters across darkrooms, forest cruising zones and highway shoulders. In these fantastical playgrounds, bodies are free to imagine themselves in a multiplicity of forms as they encounter other bodies without preconceived notions of what those other bodies desire, what they will need, and how they should be touched. While trusting the energetic attraction of bodies towards each other and learning through the encounter, INSTINCT simultaneously asks: what does it mean for a queer body to actively (un)learn what it might assume about another body's sex, gender, and desire?

A 36-year-old lesbian from London navigates Berlin's treacherous alternative scene.

A portrait of queer ecstasy that questions the notion of a neutral body.

Liz walks between different rooms of the city. A bar, a toilet, a wasteland, a garden, a trailer. The cruising body can't, unlike the flaneur, be alone. She won't leave the world outside of her. Several eyes follow her: the women holding the cameras, the director. The director is sending her a love letter. The director needs her cruising body. They are a part of each others fantasies and share a dream about a city's possibility of providing safe sexy spaces. They travel together to look for the rooms in between, to find rooms of their desires.

A re-telling of a cruising experience where the lines between real life and fantasy are blurred.

From activist and painter Frida Kahlo to filmmaker Leni Riefenstahl to Hitler’s lover Eva Braun – Liz Rosenfeld tells a trio of queer histories that may or may not have actually happened. Making no attempts to disguise the fact that, despite taking place in 1924, 1933 and 1977, the films were clearly made in modern-day Berlin, Rosenfeld turns the way we normally look at history on its head.

No synopsis available yet.

An exploration of cruising glory holes, the clash between queer politics and queer desire, feminism, and general queer frustration.

Both an embrace and deviation of Barbara Hammer’s 1974 film, Dyketactics. This work is a pure corporeal expression of bodies interacting, mingling, touching.

After extensive research into the history, methodology and imagery of Luther Price’s film Sodom (1989), Rosenfeld created a portrait of an infamous tree which holds space for cruisers in London’s Hampstead Heath.