Pesceador

A Nietzschian parable on the fate of innocence, THE TRAP DOOR follows the mishaps of Jeremy (John Ahearn) as he is fired by his boss (Jenny Holzer), gets laughed out of court by Judge Gary Indiana, loses his girlfriend to sleazy Richard Prince, is hustled by prospective employer (Bill Rice) and mauled by predatory bird-women. Finally, he seeks the help of a shrink (the legendary Jack Smith) who turns out to be the most demented of all.

The aftermath of an experience with Heroin causes a man to destroy anything within his path.

PBS produced documentary in two parts: the first is dedicated to saxophonist and composer John Zorn; the second is about Sonic Youth at the height of their powers in 1988.

Lydia Lunch and Richard Kern's first collaborative effort, The Right Side of My Brain, is a glimpse into the world of unsatiable female lust, narrated by Lydia Lunch. The film was initially dismissed and dismayed by critics such as J. Hoberman, but the criticism of The Right Side of My Brain received only pushed the two to go one step further with Fingered (1986).

A teen is locked in a room with a monitor lizard

A group of actors in the East Village of New York City have been rehearsing for a play when the lead actress in the play turns up dead.

In the void created ad hoc to throw us into desperation, fear, shock, the torment of an infinite present, Arto Lindsay sings with words, silences and small gestures of/with/for/about love, a force that is so violent that nothing will ever be the same again.

This fascinating and retrospective look at the music of the outspoken and multitalented Lydia Lunch represents every stage of her varied career, with featured songs such as "I Woke Up Screaming" from her Teenage Jesus and the Jerks days. Other songs spanning the decades in this collection include "Freud in Flop," "Sorry for Behaving So Badly," "Dead River," "Solo Mystico," "Summon," "Violence Is the Sport of God" and many more.

A film noirish atmosphere is created to show detective Lunch (a popular underground musician and poet) plow her way through the plans of a corporate businessman who seeks government defense contracts through real "corporate wars" and the manipulation of politicians.

In this ostensible murder mystery, the genre elements are merely a pretext for the series of haunting (if inconclusive and only mildly erotic) homo-social encounters he stages. Starting with the familiar premise of the absent woman, so popular with Downtown filmmakers, Vogl drains his storytelling of any hints of noir stylization. Instead of nighttime scenes, slick streets, and dark alleys, he shoots documentary-style on the nondescript, sunlit streets of Brooklyn, Manhattan, and City Island in a manner that casually references the art-film angst of Michelangelo Antonioni.

Nan Goldin's slide show “The Ballad of Sexual Dependency” converted, mixed and screened as a film by the artist, portraying the American underground culture, the no wave scene, post-Stonewall gay subculture, among others.

With HOW TO FLY, Bowes abandoned plot entirely, finding other forms of structure. He wanted to show that stories do not have to obsessively organize and explain data, and that television’s hundreds of simultaneous, fragmented narratives – news, fiction, commercials, sports, etc. – had prepared audiences for this new type of structure. — Charles Ruas

Two New York poets talk about art, poetry, and smoke in this French New Wave inspired short.

A delusional man in a modern day city dresses, acts like, and has the mindset of a cowboy.

Complete strangers meet in a room to act out their sexual desires.

Vincent Gallo as Flying Christ

No-Wave film directed by Gordon Stevenson from Teenage Jesus & the Jerks. Mirielle Cervenka (Exene's sister) plays a young woman named Rose who is afflicted with a case of extreme stigmata.

Reclusive Hollywood legend Evelyn Hugo chooses an unknown reporter, Monique Grant, to tell her life story. Evelyn recounts her time in the Golden Age of Hollywood, her rise to fame, and her seven marriages — revealing stunning secrets and lies. But through it all, one question remains: Why has she chosen Monique for her final confession?

Once finished her studies and the stage in the U.S.A., Jane Dimao returned to her town in Asia, to start her profession as psychologist with the specialization in woman's sexual pathologies. In carrying out her activity , Jane will have the opportunity to face with different patients, anyone of them with different sexual problems. Her involvement towards her patients background and the reading of the book she wrote with her good friend and teacher Nicole Wilson, will bring her to experience the same stories being told by her patients. That's why Jane will find herself committed in different sexual situations with no limits to her transgression. This will make her aware of an unknown deep part of herself. She will be abused… she will prostitute herself in a brothel in the outskirts of her town… she will give herself to strangers in a partners swingers club... she will experience sex in all its aspects.