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You can watch Jewish International Film Festival highlight Transkids at home

And jump online to get insights from the director too

Stephen A Russell
Contributor
Stream Transkids at home, care of JIFF
Photograph: SuppliedStream Transkids at home, care of JIFF
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The Randwick Ritz has fired up the projectors and opened its doors in Sydney, as have sister cinemas the Classic, Lido and Cameo in Melbourne. But it is also getting chillier out, so it’s great to have some rainy day options up your puffer jacket sleeve if heading out seems a bit much right now

The Jewish International Film Festival continues to bring the goodies direct to your door via its steadily growing video-on-demand platform At Home. If you dug Disclosure on Netflix, the brilliant doco about trans representation in film, you might enjoy JIFF hit Transkids, an insightful documentary series you can stream directly to your living room here

The five-part miniseries from Peabody Award-winning filmmaker Hilla Medalia was filmed over four years and follows the journeys of four Israeli teenagers as they embrace transitioning. Documenting the hurdles they have to overcome at home, at school and within their friendship circles, Transkids also explores the very idea of unconditional love. JIFF will also present a live, totally free in-conversation event with the director on Sunday, July 12 at 6pm, which you can register for here.

As if that weren't cool enough, a further trio of JIFF films available to stream on At Home have director chats up for grabs. Trevor Graham, director of Monsieur Mayonnaise, will be in conversation on Thursday, July 9 at 8pm. You can stream the film here, and register for the free chat here.  

Or if you’re keen to hear Danny Ben-Moshe in conversation about Shalom Bollywood, you can stream the film here, and register here for Monday, July 13 at 8pm. Plus you can catch up on last week’s in-conversation with The Last Goldfish director Su Goldfish here.

Want to know more about watching JIFF movies at home? Read about the highlights here

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This article is supported by the Judith Neilson Institute for Journalism and Ideas
  

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