Sex on the Beach

Vital true sex facts and scenes formerly restricted to medical books, this film was billed as an illustrated lecture on film.

In the late sixties, Spanish cinema began to produce a huge amount of horror genre films: international markets were opened, the production was continuous, a small star-system was created, as well as a solid group of specialized directors. Although foreign trends were imitated, Spanish horror offered a particular approach to sex, blood and violence. It was an extremely unusual artistic movement in Franco's Spain.

The question of "who hunts virgins" and more will be stripped down and explored in the sexiest trailers hosted by Playboy's Nikki Leigh.

Radical feminist Andrea Dworkin's expose on the pornography industry.

A pseudo-documentary, “Samarang” tells the story of lowly Ahmang (Captain A.V. Cockle) and his socially superior love, Sai-Yu (Theresa Seth). Both live in the village of Samarang in the Indian Ocean. Because Sai-Yu is the daughter of a chief and Ahmang is but a poor fisherman, he needs to increase his wealth before asking for her hand. Thus he accepts the perilous offer of the wily Chang-Fu, who seeks pearl divers. Ahmang must brave the treacherous waters of the Forbidden Lagoon of Sakai, home to bloodthirsty cannibals, killer sharks, and a monstrous grasping octopus. Sai-Yu and Ahmang’s younger brother Ko-Hai come along for kicks, too. Ahmang finds his pearl, but he and Sai-Yu are stranded on the island, where they befriend a local orangutan. When they return to the boat, a shark kills Ko-Hai, and Ahmang must get revenge.

Somewhere between Sri Lanka and the island of New Guinea, in the upper reaches of the Amazonia jungle, there is rumoured to be a lost tribe of cannibals. Assembled out of Italo cannibal mondo movies, Hollow Jungle documents their rituals, sourcing their power in narrative repetitions and analogies, before structurally locating them in the prurient pathologies of certain pseudo-ethnographies.

Documentary on Sakine Cansız (Sara), the Kurdish revolutionary and PKK co-founder killed in Paris in January 2013 by Turkish agents.

A documentary that resurrects the buried history of the outrageous, often brilliant women who founded the modern women's movement from 1966 to 1971.

WELCOME TO THE ALAMO DRAFTHOUSE CINEMA, the most awesome post-modern hot spot for exploitation movie revival, deep in the heart of Texas! Home to world-famous events such as The Quentin Tarantino Film Fest, Fantastic Fest and Butt-Numb-A-Thon, the Alamo is one of the last places on earth where you can still see grindhouse classics such as THE DEVIL WITHIN HER and MAD MONKEY KUNG FU. Now, the Alamo has opened their vaults for a peek at some of the most outrageous cinematic gems from several golden ages of sleaze cinema. Digitally re-mastered in high-definition from the actual reels that show every week at the Alamo, this exciting edition of the 42ND STREET FOREVER series is the most bizarre, the most terrifying and the most hilarious one yet!

This fascinating political look at a little-known chapter in women's history tells the story of "Jane", the Chicago-based women's health group who performed nearly 12,000 safe illegal abortions between 1969 and 1973 with no formal medical training. As Jane members describe finding feminism and clients describe finding Jane, archival footage and recreations mingle to depict how the repression of the early sixties and social movements of the late sixties influenced this unique group. Both vital knowledge and meditation on the process of empowerment, Jane: An Abortion Service showcases the importance of preserving women's knowledge in the face of revisionist history. JANE: AN ABORTION SERVICE was funded by the Independent Television Service (ITVS) with funds provided by the Corporation for Public Broadcasting.

A very human tech doc, uncovers the real costs of the platform economy through the lives of workers from around the world for companies including Uber, Amazon and Deliveroo. From delivering food and driving ride shares to tagging images for AI, millions of people around the world are finding work task by task online. The gig economy is worth over 5 trillion USD globally, and growing. And yet the stories of the workers behind this tech revolution have gone largely neglected. Who are the people in this shadow workforce? It brings their stories into the light. Lured by the promise of flexible work hours, independence, and control over time and money, workers from around the world have found a very different reality. Work conditions are often dangerous, pay often changes without notice, and workers can effectively be fired through deactivation or a bad rating. Through an engaging global cast of characters, it reveals how the magic of technology we are being sold might not be magic at all.

Cousins Menahem Golan and Yoram Globus relive the creation, rise and fall of their independent film company, Cannon Films. This documentary recounts their many successes and discusses their eventual downfall.

In a dark, ambiguous environment, minuscule particles drift slowly before the lens. The image focuses to reveal spruce trees and tall pines, while Innu voices tell us the story of this territory, this flooded forest. Muffled percussive sounds gradually become louder, suggesting the presence of a hydroelectric dam. The submerged trees gradually transform into firebrands as whispers bring back the stories of this forest.

In June 1893, European prospectors unlawfully took claim to ‘The Golden Mile’ on Aboriginal land. In little over a hundred years the natural landscape has been transformed into the industrial hellscape of Kalgoorlie-Boulder. As incumbent Mayor John Bowler starts to campaign for a second term, independent prospector John ‘General Hercules’ Katahanas decides to run against him on an anti-corruption ticket. What starts out as a quirky David-vs-Goliath political battle, unravels into a portrait of a man, a town and a country sent mad by the timeless cycles of exploitation, racism and greed.

Mondo Cane and the Schoolgirl Report series stand as obvious influences on this occasionally amusing but generally rather tedious exploitation film that alternates between documentary, fake documentary and docudrama. The theme is Satanism and the linking thread is a recreation of what is supposedly the real-life case of a murder and attempted murder of two Munich teenage men by a quartet of girls who had been dabbling in devil worship. During the ensuing trial, the lawyer resorts to dilatory tactics while the hearing is frequently interrupted by the girls breaking into incantation, temper tantrums or shivery fits ostensibly bearing on demonic possession. When the subject of the Manson killings is brought up, the most obnoxious of the defendants breaks in indignantly, claiming that Sharon Tate’s “execution” was justified as she posed dangers to the Satanic community.

American resort developers bear down on the wild west coast of Nicaragua, hoping to build the next tourist paradise. With lax labour and environmental regulations, some of the developers take full advantage of the situation, and the local fishermen start accusing them of exploitation and land thievery. Unexpectedly, in the midst of this conflict, firebrand Daniel Ortega and the Sandinistas sweep back into government, boldly empowering the local fishermen. The tables turn viciously on the American developers, who get much more than they bargained for. But when the local fishermen, corrupted by new found power, begin acting in the same manner as the American developers, questions are posed about human nature, morality, and ethics on a much larger scale.

The video is accompanied by a richly detailed article that adds more depth to the documentary. If there’s any question about why Hollywood is dead set against the unionization of vfx artists, the following graphic from the article will answer the question: vfx artists comprise the biggest portion of the crew on most Hollywood blockbusters.

Hollywood is a town of tinsel and glamour; but there is another Hollywood, a place where maverick independent exploitation filmmakers went toe to toe with the big guys and came out on top.

Douglas Fairbanks Jr. and Peter Fonda host an examination of the history of decency standards for movies from the early 1920s onwards.

Mondo Strip