The 34th festival which marked the return to Espace Reuilly took place from October 20 to 23, an advanced period compared to the traditional All Saints' weekend, just before the school holidays. A total of 40 films from 23 different countries were screened. There were 1199 festivalgoer-members in attendance, a figure up sharply compared to 2021 (edition "split" between several cinemas) but still lower than 2019 (-17.6%). The proportion of reduced-rate memberships reached its highest level (39.2%) while that of supporting memberships returned to a level comparable to 2018-2019 (22.4%). The "pending tickets" programme has been put back in place. The total number of entries to screenings is 2786 (-31,7% par rapport à 2019) (-31.7% compared to 2019) over 16 screenings. In the end, the average number of tickets per screening (174) moved back up compared to 2021 (108) but remained lower than that of 2019 (255).

The programming was carried out in the same spirit as that of previous editions: fiction feature films (The Venus Effect, 326 spectators; Mickey on the Road, 166 spectators; Sweetheart, 166 spectators) or feature length documentaries (Rebel Dykes, 285 spectators; My Name is Andrea, 268 spectators; Gabi between Ages 8 and 13, 116 spectators) and series of short films (382 spectators Saturday at 4:45 p.m.; 292 spectators Sunday at 4:45 p.m.; 138 spectators Friday at 4:45 p.m.). This disappointing attendance can be partly explained by the advancement of the dates of the festival which was probably not sufficiently communicated and partly by the difficult return to mass events after the two years of the pandemic.

The art exhibit presented the work of six women artists (painting, collage, photography, poetry and drawings) with the theme of "powerful women". As a prelude and in parallel, the works of three artists selected for the 2020 and 2021 editions were exhibited outside the walls under the title "Free bodies" in partnership with the Paris Center LGBTQI+ from October 1 to 31. The impossibility of renting the usual additional rooms near the Espace Reuilly and the lack of internal strength did not allow us to offer debates or workshops but meetings with the directors at the he outcome of some sessions were rich and appreciated by the festival-goers. Given the change of configuration of Espace Reuilly, it was not possible to accommodate stands either, but the festival-goers appreciated the return of our cafeteria despite the restricted space now dedicated to it, with the tightening of conditions of security.

Before the festival, screenings of short films "Hors les murs" were organized on April 26 at the auditorium of the Paris city hall as part of lesbian visibility day and on the same day in Nice in partnership with the Vigna bookstore and the Polychromes association then on June 7 at the Marguerite Duras Media Library. These events did not give rise to any specific expenses. Cineffable joined the Tango 3.0 collective for the reopening of this emblematic place of Parisian gay and lesbian nightlife, but the dance party initially planned for November 20 to invite volunteers active during the festival could not be organized, pending the security commission's authorization to open. Part of the team also took part in the April 23 lesbian march and Cineffable had a stand at the "Printemps des Assoces" on April 2 and 3.

With the return to Espace Reuilly, the share of expenditure devoted to the venue again becomes preponderant (66.6%). However, expenditure has been controlled compared to the previous edition in 2019 (-8.2%). We had to find new suppliers and, faced with rising prices, we chose to acquire reusable equipment for the cafeteria. Catering supplies have also increased significantly, especially beverages and serving utensils with the decrease in single-use plastics. Broadcasting rights for films are down slightly (fewer feature films pay for) but bank charges related to transfers abroad have more than doubled. Communication expenses remain low thanks to the massive use of numeric media (website and social networks) and the voluntary work of the team, as well as the absence of a paper catalog, replaced by a leaflet summarizing the program in addition to information available online. The use of an electronic payment terminal has allowed us to adapt to the generalization of card payments since the pandemic, in addition to the Helloasso platform for presales.

Membership revenue increases compared to 2021, but remains lower than 2019 (-23.7%), with a higher share of reduced-rate memberships (students, unemployed people), and are not sufficient to finance the costs fixed operating costs (storage box rent, bank charges, insurance). Screening revenues more than double compared to 2021 but, lower than in 2019 (-30.8%), they do not cover direct venue, programming (films, technical) and communication costs, even by adding to this the surplus generated thanks to the cafeteria, whose revenue fell by 35.3% compared to 2019. Subtitle concessions to other festivals increased significantly (+132.2% compared to 2021). The deficit is contained (€4,334) thanks to the double subsidy from the City of Paris in support of actors in the fight for women's rights and in the fight for LGBTQI+ equal rights and visibility (€8,000) and reversals of accounting provisions (€3,961). Donations from members are down compared to the previous year and are at the same level as in 2019 (€721).

Guidelines for the 35th festival:
 •  New methods of organization and communication have to be found to reduce the costs of future editions and to bring back and stay a sufficient audience in order to perpetuate the festival.
 •  A film project on Cineffable is in progress with the help of Chriss Lagg, with the aim of presenting it to the audience of the 35th edition.
 •  Cineffable will participate in the resumption of the "Thés au gazon" evenings at Tango as soon as the reopening of the place is authorized.
 •  The renewal of the grant application to the City of Paris has been initiated for the 21st year.