On stormy night in an ugly urban landscape, Ciro Norte, a scientist with wild hair and thick glasses, straps himself to a chair he’s has fashioned with wires: lightening strikes, convulsing him. It seems his experiment has not worked. The next day, he drives his jalopy to a bar, sits alone, and weeps. But suddenly, a vortex sucks him into a dream state where he wanders, escapes man-eating fish, confronts his doppelganger, walks through a field of giant flowers, and comes upon Venus herself, buried up to her shoulders in sand.
Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, featuring real people, sometimes moving, in an effort to explain the series’ significance.
This haunting installment contains a solitary wood chair with headphones attached, facing a television monitor. A man (the artist himself), looking visibly fatigued, appears on the screen, sitting in his own chair. Here, the artist compels viewers into an intimate relationship: they sit at eye level with him, listening to the sound of his breathing through the headphones.
What do vampires, Hollywood melodramas, porn films, the countdown of golden oldies, and drives down the highway with Mick Jagger on the radio have in common? Casual Relations knows. In Rappaport’s dazzling and bizarre feature-length debut, he focuses on states of imaginative possession and dispossession, demonstrating how impossible it is to separate fantasies, dreams, and realities.
One of the most important films of the French experimental cinema, filmed by the Mexican director Teo Hernandez. A personal interpretation of Oscar Wilde Salome from three basic elements: the light, the color and the projection speed.
The controversial, sexy, surreal story of a messenger and his journey and encounters with many historical events and people like Auschwitz, the Ku Klux Klan, Frida Kahlo, Cortés and Emiliano Zapata (as a beautiful woman!).
A comic spoof drawing irreverently on both the Shakespeare play and the 1877 story by Jules Laforgue. Hamlet is a would-be playwright. He suffers from inept Freudian analysis by Polonius, and Ophelia and Gertrude are women conjured up in his erotic imagination. After Claudius kills his father, Hamlet only thinks of preparing to put the theatre production in Paris that he was getting ready at Elsinore.
Bert Deling’s surreal, button-pushing and hallucinogenic paean to the emerging possibilities of avant-garde and homemade filmmaking. Telling the tale of a violent ex-cop searching for the man who killed his partner, the film takes an unexpected turn when he encounters drug lord Plastic Man and a tribe of LSD enthusiasts. What follows is both literal and metaphorical mayhem as the boundaries of the film start collapsing and our idea of what’s real is pushed to its very limits.