Gay Parisian Jerome is heart-broken and facing another dreary winter without a boyfriend.

Rather than face another humiliating encounter with his ex and the new boy, he impulsively books a solo Christmas vacation to Los Angeles. Optimistic and naïve, Jerome jets to LA, fresh with a new-found determination to become a movie star.

Upon arrival, though, it's more drag queen than Tinsel Town as he meets one intriguing character after another. He finds solace in an artsy flophouse run by the jaded Norma Desire (Michael Airington, in a superb performance), and befriends Ross (Chad Allen), an HIV positive pothead, who has more than bong hits on his mind once he sets his sights on Jerome. He falls inwith a sex worker, visits a bathhouse and begins an endless round of auditions, casting calls and meetings with handlers.

Telling himself that he's over his ex, Jerome bounds from adventure to adventure, searching for that magic combination of happiness and professional recognition.

Reveling in the seediness of LA, Hollywood Je T'aime is a love letter to the lives that play out far from the star-studded film premieres. And in an instance of art imitating life,Jerome is played with delicious charm by newcomer Eric Debets who in real life does toil away in an office, dreaming of stardom. With this bright, funny and completely captivating film under his belt , it's safe to say that he's on his way.

They say that when someone comes out of the closet, they can't stop talking about it. Vancouver filmmaker Gwen Haworth not only talked... she made a movie.

Using archival family footage, interviews, phone messages, and animation, Haworth's documentary She's a Boy I Knew begins in 2000 with Steven Haworth's decision to come out to his family about his life-long female gender identity.

The resulting auto-ethnography is not only an exploration into the filmmaker's process of transition from biological male to female, from Steven to Gwen, but also an emotionally charged account of the individual experiences, struggles, and stakes that her two sisters, mother, father, best friend and wife brought to Gwen's transition.

Under Haworth's sensitive eye, each stepping stone in the process of transitioning becomes an opportunity to explore her community's and our own underlying assumptions about gender and sexuality.

When Steven starts to wear his wife Malgosia's clothing, she struggles with whether Steve "wants to be with me or to be me;" when Steven changes her name to Gwen, her father comments, that's "when I realized I lost my son;" Haworth's gender reassignment surgery forces her sister Kim to grapple with her own experiences in the medical establishment and raises questions about the implications of the medicalization of gender.

In these tender and difficult moments, She's a Boy I Knew forces us to question our own assumptions about the role that names, clothing, and anatomy play in our constructions of gender identity.

As her transition progresses, Gwen is forced to reckon with the end of her marriage and the loss of her status as son and brother. But in doing so, she also discovers that while the nature of personal relationships may change, the love and support present within those relationships can remain just as powerful and sometimes even more so.

At turns painful, funny, and awkward, She's A Boy I Knew explores the frustrations, fears, questions, and hopes experienced by Gwen and her family as they struggle to understand and embrace her newly revealed identity.