A short experimental cutup film by Jon Moritsugu.
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Short experimental film based on the theme of waiting, and how with time good things will come.
An experimental film shot with the purpose of trying to create a hostile alien environment using only shots of nature, color correction, and sound design.
Loosely based on an infamous 1984 Long Island murder case involving Satan-worshiping, teenage drug freaks (Knights of the Black Circle), David Wojnarowicz and Tommy Turner’s Where Evil Dwells is a low-budget D.I.Y. movie that walks the jagged lines between splatter flick, experimental film and transgressive art. The original footage was destroyed in a fire and the only footage that survived is this 28 minute preview that was put together for the Downtown New York Film Festival in 1985.
Hoping to find a sense of connection to her late mother, Gorgeous takes a trip with her friends to visit her aunt's ancestral house in the countryside. The girls soon discover that there is more to the old house than meets the eye.
The Cavalcade of Perversion, a traveling freak show, acts as a front for Divine, who is out for blood after discovering her lover's affair.
CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...
CREMASTER 4 (1994) adheres most closely to the project's biological model. This penultimate episode describes the system's onward rush toward descension despite its resistance to division. The logo for this chapter is the Manx triskelion - three identical armored legs revolving around a central axis. Set on the Isle of Man, the film absorbs the island's folklore ...
A man and woman embark on a sexual journey to detach mind from body. The relationship slowly grows into one of emotional domination, physical disease, abandonment and the creation of personal pornography.
This fantastical movie inspired by the music of Michael Jackson features imaginative interpretations of hit tracks from the iconic 1987 album “Bad”.
A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.
An abstract work featuring three dancers, the performers interact with large screens as well as each other. Included in Shirley Clarke’s Four Journeys Into Mystic Time, costuming and color play an integral role in this piece.
An unnamed passer-by is forced to trace a circular route inside an abandoned tram station, facing loss and time. The broken walls act as a channel, transmitting fragmentary, blurred and analogical memories.
David struggles with the aftermath of a tragic accident and his innocent musings of feeling powerless slowly turn into a bizarre nightmare.
Seeking fulfillment, a young drifter forgoes isolation to embark on a year-long murder spree.
Creeping from the halls of the maze brain, corruption and terror is woven by devils born from the denied errors of mankind.
A Japanese salaryman finds his body transforming into a weapon through sheer rage after his son is kidnapped by a gang of violent thugs.
A Schmelzdahin short wherein a print of a portion of Nosferatu (including the iconic shot of the vampire on the boat) has been degraded and abstracted through the bacterialogical decomposition, disintegration, and chemical processes Schmelzdahin would use.
Part of the larger filmic Four Journeys Into Mystic Time, in this work director Shirley Clarke makes use of a dancer’s body not only as the primary performer, but also as a canvas on which to paint projected images. Further enhanced by editing and effective use of shadows, the film is a transformative experience.
A gang of women wreak havoc in the city, killing various men who have treated women poorly. And sometimes they do it just for fun.
Short experimental 16mm film.
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