Paris Is Burning
Having a ball… Wish you were here
1991 | 78m | English
Popularity: 1 (history)
| Director: | Jennie Livingston |
|---|---|
| Writer: | |
| Staring: |
| Where does voguing come from, and what, exactly, is throwing shade? This landmark documentary provides a vibrant snapshot of the 1980s through the eyes of New York City's African American and Latinx Harlem drag-ball scene. Made over seven years, PARIS IS BURNING offers an intimate portrait of rival fashion "houses," from fierce contests for trophies to house mothers offering sustenance in a world rampant with homophobia, transphobia, racism, AIDS, and poverty. Featuring legendary voguers, drag queens, and trans women — including Willi Ninja, Pepper LaBeija, Dorian Corey, and Venus Xtravaganza. | |
| Release Date: | Mar 13, 1991 |
|---|---|
| Director: | Jennie Livingston |
| Writer: | |
| Genres: | Documentary |
| Keywords | transvestism, new york city, aids, drag queen, homophobia, male homosexuality, transsexual, subculture, shoplifting, lgbt, drag, woman director, harlem, new york city, black lgbt, 1980s, voguing, ball culture |
| Production Companies | Off White Productions |
| Box Office |
Revenue: $3,800,000
Budget: $500,000 |
| Updates |
Updated: Feb 04, 2026 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| Pepper LaBeija | Self |
| Octavia St. Laurent | Self |
| Venus Xtravaganza | Self |
| Dorian Corey | Self |
| Willi Ninja | Self |
| Paris Dupree | Self |
| Freddie Pendavis | Self |
| Sol Williams Pendavis | Self |
| Junior LaBeija | Self |
| Angie Xtravaganza | Self |
| Carmen Xtravaganza | Self |
| Brooke Xtravaganza | Self |
| Kim Pendavis | Self |
| Sandy Ninja | Self |
| Avis Pendavis | Self |
| Andre Christian | Self |
| Stevie St. Laurent | Self |
| Bianca Xtravaganza | Self |
| Danny Xtravaganza | Self |
| David Xtravaganza | Self |
| David Ian Xtravaganza | Self |
| David the Father Xtravaganza | Self |
| Eileen Ford | Self (uncredited) |
| Jose Guitierez | Self (uncredited) |
| Shari Headley | Self (uncredited) |
| Name | Job |
|---|---|
| Natalie G. Hill | Production Manager |
| Lynn Geller | Music |
| Paul Gibson | Director of Photography |
| Sam Henriques | Additional Camera |
| Stacia Thompson | Sound Editor |
| Anne Dutlinger | Graphic Designer |
| Jim Rogula | Graphic Designer |
| Catherine Calderon | Sound Recordist |
| Rick Dior | Sound Mixer |
| Judy Karp | Sound Recordist |
| Matt Skilton | Sound Mixer |
| Pawel Wdowczak | Sound |
| Jonathan Oppenheim | Editor |
| Jennie Livingston | Still Photographer, Director |
| Maryse Alberti | Second Assistant Camera |
| Bill Megalos | Additional Camera |
| Frank Prinzi | Additional Camera |
| Alyson Denny | Additional Camera |
| Ben Speth | Additional Camera |
| Kate Davis | Additional Editing |
| Carol Hillson | Associate Editor |
| Elise Pettus | Production Coordinator |
| Elizabeth Bouiss | Assistant Editor |
| Nancy Crumley | Assistant Editor |
| Melissa Hacker | Assistant Editor |
| Spike Lampros | Assistant Editor |
| Jacinta Orlando | Assistant Editor |
| Michael Bon Villain | Assistant Camera |
| Theo Crimona | Assistant Camera |
| Lloyd Goldfine | Assistant Camera |
| Rosalinda Alvira | Production Assistant |
| Nicole Barnum | Production Assistant |
| Harry Birckmeyer | Production Assistant |
| Sara Blecher | Production Assistant |
| Jane Bresnick | Production Assistant |
| Penny Dow | Production Assistant |
| Jan Heissinger | Production Assistant |
| David Irrera | Production Assistant |
| Karen Kandrak | Production Assistant |
| Bengt Mattson | Production Assistant |
| Tracy Morgan | Production Assistant |
| Myra Paci | Production Assistant |
| Sydney Pokorney | Production Assistant |
| Eric Rosenblatt | Production Assistant |
| Carolina Salguero | Production Assistant |
| Kevin Skvorak | Production Assistant |
| Phoebe Yantsis | Production Assistant |
| Dorian Corey | Still Photographer |
| Hector Crespo | Still Photographer |
| Josef Astor | Still Photographer |
| Name | Title |
|---|---|
| Barry Swimar | Producer |
| Nigel Finch | Executive Producer |
| Claire Goodman | Associate Producer |
| Madison Davis Lacy | Executive Producer |
| Meg McLagan | Associate Producer |
| Jennie Livingston | Producer |
| Richard Dooley | Associate Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 12 | 21 | 7 |
| 2024 | 5 | 16 | 28 | 9 |
| 2024 | 6 | 15 | 30 | 9 |
| 2024 | 7 | 17 | 29 | 8 |
| 2024 | 8 | 14 | 23 | 7 |
| 2024 | 9 | 11 | 17 | 7 |
| 2024 | 10 | 12 | 23 | 6 |
| 2024 | 11 | 13 | 28 | 7 |
| 2024 | 12 | 12 | 20 | 7 |
| 2025 | 1 | 11 | 17 | 8 |
| 2025 | 2 | 10 | 18 | 3 |
| 2025 | 3 | 5 | 12 | 1 |
| 2025 | 4 | 3 | 7 | 1 |
| 2025 | 5 | 2 | 9 | 1 |
| 2025 | 6 | 2 | 4 | 1 |
| 2025 | 7 | 2 | 3 | 1 |
| 2025 | 8 | 1 | 3 | 1 |
| 2025 | 9 | 2 | 3 | 2 |
| 2025 | 10 | 3 | 4 | 2 |
| 2025 | 11 | 2 | 5 | 1 |
| 2025 | 12 | 3 | 10 | 1 |
| 2026 | 1 | 1 | 1 | 0 |
| 2026 | 2 | 1 | 1 | 1 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 6 | 927 | 927 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 1 | 748 | 748 |
Set over a seven year period, this follows not just the evolution of a group of 1980s New York African-American and Latino drag artists, but it also shines quite a light on changing societal attitudes as these lively, strong and characterful folk try to assert their own identity amidst a city not al ... ways accepting or willing. It’s all about balls - literally and metaphorically, and showcases a community determined not to be ground down by using their exuberant fashions, dancing, extroversion, competitive spirit and overwhelming sense of community to provide each other with strength and inspiration. They are all from a working class background, but again are bent on using their wits to start businesses, to travel the world, to achieve stardom and to prove their worth to themselves and their frequently hostile and/or bamboozled neighbours. As you’d expect, there’s a lively soundtrack that epitomises the spunkiness of these people, there’s a flamboyance and there is also a vulnerability - rather tragically illustrated towards the end that shows us that being different, proud and “out” is not necessarily the same as being safe and respected. The contributors are passionate, erudite and engaging and though the timeframe offers us a degree of hope that lasting change is coming, slowly - it also reminds us that that change is neither consistent nor guaranteed. At times a little repetitive, maybe one too many catwalks, but it’s still a fascinating insight into an urban sub-culture set upon flourishing.