A baby, John, who was abandoned in the church with a horse-headed koto on his side. His grandfather was once a Morin Khuur player and died in the atomic bombing of Nagasaki. The brilliantly colored images have an avant-garde charm while hiding the sadness of the war, and will grab the viewer's heart.
An unknown future. A boy confesses to the murder of another in an all-boy juvenile detention facility. More an exercise in style than storytelling, the story follows two detectives trying to uncover the case. Homosexual tension and explosive violence drives the story which delivers some weird and fascinating visuals.
Moonwalker is a 1988 American experimental anthology musical film starring Michael Jackson. Rather than featuring one continuous narrative, the film expresses the influence of fandom and innocence through a collection of short films about Jackson, some of which are long-form music videos from Jackson's 1987 album Bad. The film is named after his famous dance, "the moonwalk", which he originally learned as "the backslide" but perfected the dance into something no one had seen before. The movie's introduction is a type of music video for Jackson's "Man in the Mirror" but is not the official video for the song. The film then expresses a montage of Michael's career, which leads into a parody of his Bad video titled "Badder", followed by sections "Speed Demon" and "Leave Me Alone". What follows is the biggest section where Michael plays a hero with magical powers and saves three children from Mr. Big. This section is "Smooth Criminal" which leads into a performance of "Come Together".
With input from actor and writer Jan Hlobil, director and cinematographer Rene Smaal presents a film in the true surrealist tradition, in the sense that only 'found' elements were used, and that it defies interpretation based on ordinary cause-and-effect time sequence.
A sexual reverie unfolds over the course of one ethereal night. Characters wander through an erotic maze of love and lust, blurring the lines between wet dream and lucid nightmare as a macabre, erotic stage performance sends a ripple of lustful desires through its audience and performers.
CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins. In Matthew Barney's abstraction of this process, the system resists partition and tries to remain in the state of equilibrium imagined in Cremaster 1.
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 ...
Michael Gondry's examination of childhood love is replete with his trademark surreality. One evening at the turn of the century, Stephane discusses with his brother the end of the millenium, but also girls, particularly Aurelie, a classmate with whom he is secretly in love. The following day, Aurelie has a letter to give to him....
Visionary artist Matthew Barney returns to cinema with this 3-part epic, a radical reinvention of Norman Mailer’s novel Ancient Evenings. In collaboration with composer Jonathan Bepler, Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer’s hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.
Prometheus, on an Odyssean journey, crosses the Brooklyn Bridge in search of the characters of his imagination. After meeting the Muse, he proceeds to the "forest." There, under an apple tree, he communes with his selves, represented by celebrated personages from the New York "underground scene" who appear as modern correlatives to the figures of Greek mythology. The filmmaker, who narrates the situations with a translation of Aeschylus' Prometheus Bound, finds the personalities of his characters to have a timeless universality.
Under the constant watch of The Eyes, Misha lives within an environment of constant fear and hypervigilance. They live this way until they are interrupted in their work one day when a creature in the old vent above their station drops fragments of an image that changes the world as Misha knows it.
Based on the 1930s comic strip, The Shadow is put up against his archenemy Shiwan Khan, who plans to take over the world by holding a city to ransom using an atom bomb. Using his powers of invisibility and "the power to cloud men's minds", The Shadow comes blazing to the rescue with explosive results.
This is the only feature directed by the famed French painter and sculptor Martial Raysse. In keeping with the revolutionary spirit of the time, the movie has no plot to speak of and appears to have been largely made up on the spot. We follow the cat man into a bizarre fantasy universe presented in negative exposure that reverses color values (black is white and vice versa) and written words. The cat man steals a car and then picks up a young girl he promises to take to “Heaven.” Heaven turns out to be a country chateau inhabited by several more animal mask wearing weirdoes...
An old man, cut off from his future and his past, brings a young taxi driver into his game. The two meet Karkalou, a crazy prostitute, whom the former once loved madly and the latter will soon love.
Begotten is the creation myth brought to life, the story of no less than the violent death of God and the (re)birth of nature on a barren earth.
Three student filmmakers set out to capture each other's inner life struggles in an avant-garde documentary, but as the lens turns inward and time begins to lose meaning, they drift into an existential spiral of insanity—where memory fractures, selves unravel, and nothing remains quite real.
A taxi driver, a young girl and a backpacker simultaneously experience a wonderful journey in Tokyo, where they find connections to their own homes in Africa, Europe and Southeast Asia.Throughout their journey, they run into the same Japanese woman named Akiko. Meanwhile, a writer in Paris recalls her encounter with Akiko in Tokyo.