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A half-hour experimental film that shows Fukui moving towards cyberpunk imagery in a manner similar to Tsukamoto, featuring industrial locations, a malfunctioning cyborg/android and a hulking metallic ‘caterpillar’ that stalks characters.
Deep in an ocean facility, Aryanna, must face the unknown, as drips from water-tight air vents and scratches from within empty cells drive her to the brink of madness.
A wandering suit man finds love, but that’s not his true desire. Through a seductive encounter, he begins to reveal his own identity and delusions surrounding him.
A student moves into their accomodation, only to find their room already decorated, a strange, inhuman flatmate, and a kettle that won't stop boiling.
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.
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.
Missed connection regret at that one late-night spot—the kind you keep playing back in your head but not quite ever remembering right, until it starts to look like something else.
A weary hitman— who must bash his own head with a hammer in order to enter a murderous state of parasomnia— is promised freedom from self-mutilation upon the completion of one last hit job.
Seraphim Cloud and his life size doppelgänger enter the netherworld of Calico Ghost Town deep within the Mojave Desert.
Two damned women escape from hell and discover the modern world. They are followed by Hades coming to collect their souls.
An homage to the influential practice and philosophy of artist Nasreen Mohamedi. The film incorporates Mohamedi’s personal notes and her unique singular vision, drawing upon the aesthetics of the bare line, and its metaphysical journey eliminating physical borders/barriers.
A stream of mysterious rituals and symbols are encountered as a young boy journeys to school in the fantastical world of Kshya Tra Ghya.
A Japanese fairy tale meets commedia dell'Arte. All in white, the naïf Pierrot lies in a wood. Doo-wop music plays as he rises, stares about, and reaches for the moon. Although music abounds and the children of the wood are there at play, Pierrot is melancholy and alone. Harlequin appears, brimming with confidence and energy. He conjures the lovely Colombina. Pierrot is dazzled. But can the course of true love run smooth?
Filmmaker and artist Jack Smith described his own film as a “comedy set in a haunted movie studio.” Flaming Creatures begins humorously enough with several men and women, mostly of indeterminate gender, vamping it up in front of the camera and participating in a mock advertisement for an indelible, heart-shaped brand of lipstick. However, things take a dark, nightmarish turn when a transvestite chases, catches and begins molesting a woman. Soon, all of the titular “creatures” participate in a (mostly clothed) orgy that causes a massive earthquake. After the creatures are killed in the resulting chaos, a vampire dressed like an old Hollywood starlet rises from her coffin to resurrect the dead. All ends happily enough when the now undead creatures dance with each other, even though another orgy and earthquake loom over the end title card.
The model’s feet are uncomfortably squeezed into the heels, and her movements are slippery on slick silver liquid, before she slowly and ominously destroys the glass pane separating the subject from the viewer.
In the dining room of the abandoned house a white, faded entity feeds on her pieces. Memories keep her here and time transforms her into something new.
The night before her eighteenth birthday recital, an overworked and undertalented pianist is abducted by three ghouls.
Through thread and textile, an Asian seamstress tries to escape from the factory.
Cinematic magician, legendary provocateur, and author of Hollywood Babylon, Kenneth Anger was a unique figure in post-war American culture. His iconic short films are characterised by a mystical-symbolic visual language and phantasmagorical-sensual opulence that underscores the medium’s transgressive potential. Anger’s work fundamentally shaped the aesthetics of 1960s and 1970s subcultures, the visual lexicon of pop and music videos and queer iconography. These nine films form the basis of Anger’s reputation as one of the most influential pioneers of avant-garde film and video art. Fireworks, 1947, 14 min Puce Moment, 1949, 6 min Rabbit's Moon, 1950/1971, 16 min Eaux d'Artifice, 1953, 13 min Inauguration of the Pleasure Dome, 1954, 37 min Scorpio Rising, 1964, 28 min Kustom Kar Kommandos, 1965, 3 min Invocation of My Demon Brother, 1969, 11 min Lucifer Rising, 1981, 27 min
A socially awkward, neurodivergent youth struggles to adapt at a social gathering that quickly takes a turn into the uncanny and surreal.
