This experimental short film by Iain Delavan serves as an abstract, yet harrowing expression of his struggles with Post-traumatic stress disorder, due to his repeated childhood sexual abuse. Iain was diagnosed with PTSD in March of 2022, and this film boldly represents the continued battles that Iain must face every day, such as severe depression, self-harm, panic attacks, flashbacks, nightmares, suicidal ideations, and other painful symptoms.
A strange story from Somerset, England about a filmmaking farmer and the inspiring legacy of his long-lost home movies.
The story of two teenage extraterrestrial refugees from the planet Pluto, who escape to Earth after their planet is destroyed by the US government, as it was deemed “insignificant.” For many years prior, tensions between the Plutonians and the Earthlings had seen a steady incline, as Pluto held camps where Earthlings were experimented on and tortured. The two aliens make their crash landing, undertake human form and undergo the aliases “Hugh Jainus” and “E. Rection”. In an effort to wage revenge on the nation, with their brainwashed sidekick Potator under their wing, the trio hijack television stations worldwide and broadcast mind-numbingly stupid and ridiculous, yet insane and often violent programs to dumb down and distract the nation’s citizens from their devious plans. The tube tells the story...
The corner of a street is matched and mixed with the chant of a bird recorded on that same street. A symbiotic relationship is triggered: the rapid and successively repetitive montage cuts between the image of the street and the corners of the video frame itself produce new textures and shapes in our brain, whilst the sound follows the same rhythmic movements by emphasizing different “corners” (frequencies) from the bird’s singing. The energetic potency stemming from the junction of these elements creates a new image that is almost tactitle, maleable and rippling. The result is a somewhat humorous operation of the portuguese word "corner" throughout the different stages of making the piece, finally unveiling a piercing physical and kinetic experience for all the corners of our eyes and ears.
A lunatic wearing a black gasmask goes on a murderous rampage through a hiking trail, killing six people and leaving only one survivor. The survivor is blamed for the killings and is sent to a mental institution. Three years later he escapes, coincidentally around the same time sightings of a man in a black gasmask begin, and a man is found brutally mutilated. The gasmask man wants to finish the job and kill the person who escaped from him three years ago, and the survivor wants revenge for the brutal murder of his friend, and his sanity.
This fragmented body… usually manifests itself in dreams when the movement of the analysis encounters a certain level of aggressive disintegration in the individual.it then appears in the form of disjointed limbs, growing wings and taking up arms for intestinal persecutions.
A doomer discovers freedom through despair over the course of a fateful night in self-isolation during the COVID-19 crisis. Shot with zero budget entirely in quarantine.
A group of musicians seem isolated from the world playing beautiful pieces. But in the darkness of the night, and from their minds, there are melancholies on earth, loves and families that they left behind. Their silences, their letters, these elements shape the poetic intention of this documentary.
In this three-act necroexploitation romance, Daphyne Delgado, a lonely secretary, decides to go on a date for the first time, but things get weird after her crush dies of natural causes and she decides to keep going.
A gorehound named Marvin orders a lot of splatter movies for a movie marathon with his fellow gorehounds. He ends up ordering so much that he has trouble keeping up with orders. Come the day of the marathon, him and his friends watch gore and grime until very late at night. Just when they think the marathon is over, Marvin rediscovers one tape that he forgot all about... He quickly calls his buddies back over to watch it, and they soon discover that the tape is something far more ominous than they could have ever suspected.
The 29-minute experimental film Christmas on Earth caused a sensation when it first screened in New York City in 1964. Its orgy scenes, double projections and overlapping images shattered artistic conventions and announced a powerful new voice in the city's underground film scene. All the more remarkable, that vision belonged to a teenager, 18-year-old Barbara Rubin. A Zelig of the '60s, she introduced Andy Warhol to the Velvet Underground, Bob Dylan to Kabbalah and bewitched Allen Ginsberg. The same unbridled creativity that inspired her to make films when women simply didn't, saw her breach yet another male domain, Orthodox Judaism, before her mysterious death at 35. Lifelong friend Jonas Mekas saved all her letters, creating a rich archive that filmmaker Chuck Smith carefully sculpts into this fascinating portrait of a nearly forgotten artist. An avante-garde maverick, a rebel in a man's world, Barbara Rubin regains her rightful place in film history.
Nihilistic cousins explore the secret deadly language of a folie à deux relationship in a Brexit environment of racism and illusion.
A hapless filmmaker documents the weird, violent, and surreal torments of an extraterrestrial clown.
When looking at Pedro Almodóvar’s filmography, it becomes evident that women are everywhere; in fact, his work revolves around them. His divas are the best to create a real portrait of Almodóvar and evoke the emotional power of his films. These women are the ideal observers of a cinematic career that, from La Mancha to Hollywood, has changed the image of Spain in the world.
Caleb Loomis is an agoraphobic twenty-something. In his spare time he makes UFO videos with miniature cities and takes an unhealthy amount of LSD. One afternoon he hears Beatrice, the lady next door, being abused. After striking an odd friendship through the wall Caleb is made aware of who lives with Beatrice.. setting in to a motion a pitch-black psychedelic revenge fantasy.
"(On the Quest for) Beograd Underground" is an independent documentary film in the form of a sequence of interviews with alternative artists from Serbia who have dedicated their lives to the creation of one (sub)culture, very rich in its nuances, yet very precarious in its existence. Numerous artists speak of their conceptions of the underground as a movement, a way of perceiving reality, a way of social engagement, and even a way of living. The specific socio-historical condition in the '90s resulted in intensive artistic activity as a response to the totalitarian regime. This film is a collection of the personal experiences of artists who were involved in the underground scene since the '90s until the first decade of the new millennium.
The video revolution of the 1970s offered unprecedented access to the moving image for artists and performers. This Is Not a Dream explores the legacies of this revolution and its continued impact on contemporary art and performance. Charting a path across four decades of avant-garde experiment and radical escapism, This Is Not a Dream traces the influences of Andy Warhol, John Waters and Jack Smith to the perverted frontiers of YouTube and Chatroulette, taking in subverted talk shows and soap operas, streetwalker fashions and glittery magic penises along the way.
The film is a triptych of more or less connected vignettes, two of which are suggested by a song with the same name of the title by the Spanish singer Alaska. It has elements of black humor, gore, grindhouse among other things.
A gang of leather-clad, powerful women take over a traditionally male domain, and hairspray, eyeliner, and bare flesh are on full display in Beth B’s music video for the Arthur Baker–produced club hit from synthpop band Dominatrix. Banned at the time of release, it was acquired by The Museum of Modern Art.