The top monopoly in the psychic horror documentary. A video was taken to post the railroad crossing rumored to be a ghost on a video site. Six other videos posted.
Musician Max Frost lends his backing to a Senate candidate who wants to give 18-year-olds the right to vote, but he takes things a step further than expected. Inspired by their hero's words, Max's fans pressure their leaders into extending the vote to citizens as young as 15. Max and his followers capitalize on their might by bringing new issues to the fore, but, drunk on power, they soon take generational warfare to terrible extremes.
Film producer Sy Lerner makes a bet with a fellow film executive that he can turn any nobody into a star at the Cannes Film Festival. A New York cab driver who is visiting the festival is chosen as the test subject to settle the bet and Sy uses his skills of hype and manipulation to try and turn the cab driver named Frank into the talk of the town. Many celebrities make cameos throughout the film.
A down-and-out gangster hires a down-on-his-luck agent to make his girlfriend a recording star within six weeks.
After several years without contact, Martijn visits his sister Daantje, who just started to live on her own in Amsterdam. He tells her he is going to make a documentary from her life, and enters her home life with a video camera.
Frustrated filmmaker, Barry Lick, sets out to attempt to make a documentary about a local businessman who he believes is involved in property rackets, prostitution, pornography and the importation of large quantities of recreational drugs.
A clerical error leads to the appointment of a left-leaning small-town priest to a rich village, where he immediately horrifies his snobby parishioners by appointing a dustman and a black man as vicar's wardens and throwing open the vicarage to the sprawling, disreputable Smith family, who have just been evicted from their caravan site. He converts the dowager aristocrat to works of absurd charity but he soon has the town and much of the country in uproar.
72nd entry in the popular "Honto ni Atta. Noroi no Video" series.
74th entry in the popular "Honto ni Atta. Noroi no Video" series.
Dominating the top spot among psychic horror documentaries. Can you face the truth reflected by the camera? A video of the Marionette poster's husband playing with the puppets he bought for his daughter. A bloody woman's face is reflected on the edge of the shelf behind her husband's puppet. Six other posted videos are included.
71th entry in the popular "Honto ni Atta. Noroi no Video" series.
Hollis suffers from an affliction; anyone who gets too close to him dies.
Featuring Joan Adler (who also appears in Chinese Checkers), Soliloquy is one of the four early Stephen Dwoskin films that were awarded the Solvey prize at the EXPRMNTL festival in Knokke, Belgium in 1967. “In Soliloquy a girl broods uncertainly over a failed love affair, while the camera roves over her fingers, her cigarette, her knuckles, her lips and the hand mirror in which she peers. In its dark reflection one isolated eye seems a dead thing, twitching; the split between her body and her spoken thoughts becomes a strange bilocation of consciousness; towards the end, an aeroplane drones overhead” (Raymond Durgnat)
Two women in a living room: smoking, playing cards, listening to the radio. As often in Dwoskin’s films, the use of masks, make-up and costumes allows the characters to playfully transform themselves. Shot in colour film, C-film exuberates swinging London energy. In the second part of the film, the women appear to be watching the rushes of the film on an editing table. ”We are making a movie” we hear them say. As Dwoskin points out, “C-film asks how much is acting acted”, an ongoing question in Dwoskin’s cinema. Produced by Alan Power, with Esther Anderson & Sally Geeson.
A man walks towards the camera down the end of a street to the sound of 'Jesus’ Blood Never Failed Me Yet', a composition by Gavin Bryars based on a loop of an anonymous homeless man singing the song. The man’s voice is progressively intensified by an instrumental accompaniment, which increases in density and richness, before the whole thing gradually fades out. Dwoskin’s film was produced to be shown during the premiere of Jesus' Blood Never Failed Me Yet at the Queen Elizabeth Hall, London in December 1972. For Dwoskin, it represents “… the singing voice of the last days of a London drunk (anonymous) as the orchestra raises him to heaven. The faint ghost image of a figure swims gradually to you through the grains of film low light…”
YouTuber Jared Anderson sneaks onto a deserted island in the Bermuda Triangle to uncover why the inhabitants disappeared
A young man uses a bug camera to spy on his ex-girlfriend, then witnesses her abduction.
Three mountain bikers have a deadly encounter with some hunters on Blood Mountain.
Best friends Michael and Christian navigate through the pacific northwest searching for beauty and miracles in unexpected places.
In an ironic reference to body art, process art and performance, Baldessari challenges definitions of the content and execution of art-making. Performing with deadpan precision, he moves his hands, arms and entire body in studied, minute motions, intoning the phrase "I am making art" with each gesture. Each articulation of the phrase is given a different emphasis and nuance, as if art were being created from moment to moment. This index of body movements is ironically offset by the repetitive monotony of the exercise.