good boy

The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.

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The Movie Orgy

Clips from assorted television programs, B-movies, commercials, music performances, newsreels, bloopers, satirical short films and promotional and government films of the 1950s and 1960s are intercut together to tell a single story of various creatures and societal ills attacking American cities.

⭐ 6.3🤍

Hotel Monterey

New York City's Monterey is a residence hotel, whose inhabitants are older and primarily live alone. The camera, usually stationery, observes the lobby. No score, the lobby is clean with granite floors, men wear hats, people enter and exit an elevator, the camera looks out from within the elevator as doors open and close. People sit alone and motionless in their apartments. There are long shots of empty halls. Paint peels. The flooring on upper levels is linoleum. Hall lights are florescent. Doors open a crack then close.

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Fear Itself

A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.

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Hair Piece: A Film for Nappy Headed People

An animated satire on the question of self-image for African American women living in a society where beautiful hair is viewed as hair that blows in the wind and lets you be free. Lively tunes and witty narration accompany a quick-paced inventory of relaxers, gels, and curlers. This short film has become essential for discussions of racism, African American cinema, and empowerment.

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All Divided Selves

Collage film about R.D. Laing, who spearheaded the social and cultural revolutions of the 1960s, weaves archival material with his own filmic observations. For Laing normality meant adjusting ourselves to the mystification of an alienating world.

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Breakdown: 1975

In 1975, as America faced social and political upheaval, filmmakers turned chaos into art.

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Frankenstein (Re)Membered

Since its publication 200 years ago, Mary Shelley’s Frankenstein has influenced vast swathes of popular culture. Adaptations have starred cinema legends from Boris Karloff to Robert De Niro – and even Alvin and the Chipmunks. From tales of science gone mad (Jurassic Park) to stories of understanding the other (ET, The Hulk, Arrival), traces of the story and its themes have spread across our media. With Frankenstein Re-membered, video artist and film historian Chris Gerrard collects these diverse fragments from the birth of cinema until the present day and in the tradition of Victor Frankenstein himself, attempts to stitch them back together into an adaptation of the original Shelley novel.

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plant portals: breath

"plant portals: breath" is an experimental meditation on the unspoken history many queer and trans people of colour carry daily, connecting bumblebees, colonial trauma, alternate universes and the complicated concept of "rest" to ask: Can nature heal us? Shot entirely on an iPhone, the film is intentional in imagining what is possible, and manifests a reality rooted in mindfulness.“

⭐ 0.0🤍

Pasolini l'Enragé

The first "filmed portrait" of Pasolini was created by French television in July 1966 as part of the prestigious series Cinéastes de notre temps, directed by Janine Bazin and André S. Labarthe. Interviewed on the streets of the Roman suburbs and in his studio, Pasolini analyzes his dramatic relationship with Italian society and retraces the trajectory of his works up to Hawks and Sparrows.

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The cats, the sea, and everything in between.

In 2022, when the economic crisis in her native country was at its peak, she decided to visit her family there. She turned her short trip into a collage-like diary in which she reflects on her relationship with her homeland, which is in a state of protracted decay. The film is composed of spontaneous snapshots capturing the author's stay, interspersed with inserted captions serving as personal, often poetically formulated comments and observations. As a result, the film does not hide its strongly subjective perspective, but at the same time builds on it to make an important statement that shows the transformation of Lebanese society in everyday details such as the appearance of the city itself or in the intimate sphere of the author's family life.

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Deshilando Luz

A film essay that intertwines the director's gaze with that of her late mother. Beyond exploring mourning and absence as exclusively painful experiences, the film pays tribute to her mother through memories embodied by places and objects that evidence the traces of her existence. The filmmaker asks herself: What does she owe her mother for who she is and how she films? To what extent does her film belong to her?

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Moments Like This Never Last

Dash Snow rejected a life of privilege to make his own way as an artist on the streets of downtown New York City in the late 1990s. Developing from a notorious graffiti tagger into an international art star, he documented his drug- and alcohol-fueled nights with the surrogate family he formed with friends and fellow artists Ryan McGinley and Dan Colen before his death by heroin overdose in 2009. Drawing from Snow’s unforgettable body of work and involving archival footage, Cheryl Dunn’s exceptional portrait captures his all-too-brief life of reckless excess and creativity.

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Swinging Light

An experience of a camera swinging in different gestures facing the optical distortion of the Sun. The last appearance of the smudge.

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How Every Film You Watch Tells You To Love The Rich and What To Do About It

"How Every Film You Watch Tells You To Love The Rich and What To Do About It" explores the representations of wealth in cinema. It looks into how most beloved characters are subtly more well-off than they should be, how criticisms of the system are crushed, how the rich have become the average in the world of the cinema. And it shows how these stories distort the view of the real world, and are used against you by politicians.

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A Trip Down Memory Lane

In this experimental collage film, Arthur Lipsett reworks over fifty years of newsreel footage into a surreal audiovisual montage of twentieth-century life. Juxtaposing images of scientific progress, political figures, spectacle, warfare, and everyday leisure, the film becomes a fragmented “time capsule” exploring the rituals and contradictions of modern technological culture.

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Lost Case

A completely new story based on existing footage from the series Columbo.

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Kenneth Anger: Film as Magical Ritual

Anger discusses his Aleister Crowley-inspired theories of art: How he views his camera like a wand and how he casts his films, preferring to consider his actors, not human beings but as elemental spirits. In fact, he reveals that he goes so far as to use astrology when making these choices. This is as direct an explanation of Anger’s cinemagical modus operandi as I have ever heard him articulate anywhere. It’s a must see for anyone interested in his work and showcases the Magus of cinema at the very height of his artistic powers. Fascinating. (Dangerous Minds)

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