A psychotherapist helps a law student cope with schizophrenia in one of five interconnected tales dealing with mental illness.

Director Jan Oxenberg's docu-fantasy narrative about aging and death, and how it affects her family.

Director Jan Oxenberg's docu-fantasy narrative about aging and death, and how it affects her family.

A short documentary about the First National March on Washington for Lesbian and Gay Rights, which took place on Sunday, October 14th 1979.

Filmmaker Jan Oxenberg narrates her own home videos, commenting on how her views towards lesbianism and femininity have evolved over time.

A women interviews a roller derby skater.

Jan Oxenberg’s charmingly raw, politically-charged and remarkably funny celebration of the American lesbian experience validates the nuanced voice of a community otherwise underrepresented in the Wild West of mid-’70s independent filmmaking. In an attempt to combat the pervasive misconception of the “humorless, angry feminist,” the vignettes in A Comedy in Six Unnatural Acts experiment with self-aware yet playful depictions of common stereotypes, such as the “Stompin’ Dyke” or the butch-femme couple. In the process, Oxenberg’s short film reclaims those insults and assumptions as newfound, loaded weapons—to deploy on her own terms, of course. (UCLA Film & Television Archive)

Director Jan Oxenberg's docu-fantasy narrative about aging and death, and how it affects her family.

Jan Oxenberg’s charmingly raw, politically-charged and remarkably funny celebration of the American lesbian experience validates the nuanced voice of a community otherwise underrepresented in the Wild West of mid-’70s independent filmmaking. In an attempt to combat the pervasive misconception of the “humorless, angry feminist,” the vignettes in A Comedy in Six Unnatural Acts experiment with self-aware yet playful depictions of common stereotypes, such as the “Stompin’ Dyke” or the butch-femme couple. In the process, Oxenberg’s short film reclaims those insults and assumptions as newfound, loaded weapons—to deploy on her own terms, of course. (UCLA Film & Television Archive)

Jan Oxenberg’s charmingly raw, politically-charged and remarkably funny celebration of the American lesbian experience validates the nuanced voice of a community otherwise underrepresented in the Wild West of mid-’70s independent filmmaking. In an attempt to combat the pervasive misconception of the “humorless, angry feminist,” the vignettes in A Comedy in Six Unnatural Acts experiment with self-aware yet playful depictions of common stereotypes, such as the “Stompin’ Dyke” or the butch-femme couple. In the process, Oxenberg’s short film reclaims those insults and assumptions as newfound, loaded weapons—to deploy on her own terms, of course. (UCLA Film & Television Archive)