If you’re at all familiar with underground cinema, than you’ve probably heard tales about this flick for years. But actually seeing the damned thing is a different matter entirely. Crass, sick and hilarious, this no-budget b&w feature is filled with the essence of pure, undiluted cinematic derangement. Like the earliest works of John Waters, it revels in taboo-shattering shocks and an undying love for Hollywood kitsch. Glorious overwritten by George Kuchar, and directed by the late Curt McDowell (who was one of Kuchar’s first students), it’s a torrent of comically-lit cliches, heated to the point of lurid parody. The time: A dark and stormy night. The setting: An old, secluded mansion–the home of the terrifically obscene Mrs. Gert Hammond (Marion Eaton), who staggers about the place with heavy, mismatched eyebrows and a vomit-caked wig. Continue reading
HEDONISTIC COMMUNICATION / IRM ED SOMMER / KONTAKTE / ICH DU UND ICH is the title of this super obscure experimental short film including also explicit sex.
Very raw and primitive, it features a great soundtrack made of amazing psychedelic abstract electronic music (the song is “I Of IV” by electronic music pioneer Pauline Oliveros), which is probably what makes this short some kind of mesmerizing experience.
We can only suppose the short is german, since the only information besides the title is the name of the “actors” involved, and they sound german (F. Scherz, Gabi Kaa, Hartmut Kaa).
A group of women are kidnapped by guerrillas and forced to serve as prostitutes for them in a jungle brothel. The sadistic female warden decapitates uncooperative girls.
Jess Franco has made some odd exploitation movies in his long and prolific career, and ‘Love Camp’ is one of his nuttiest. Never one to shy from jumping on a bandwagon, the title of this seems to deliberately evoke the legendary nazisploitation sleazefest ‘Love Camp 7’, and the plot in some ways is reminiscent of ‘Salo’, but with a twist. The twist being, that we aren’t talking nazis here but revolutionaries. A group of young and beautiful women are kidnapped, taken into the jungle (what country? who knows) , and forced to be sex slaves for “the revolution”. Continue reading
Randy Greif is best known as an experimental musician, perhaps most notably as the creator of the six-hour Alice in Wonderland project. Subtitled Adventures in Psychotica, his first film is a disturbing, surrealistic cinematic fantasy combining elements of Lewis Carroll with a big helping of “the cinema of transgression.” Think Luis Bunuel’s Belle du Jour, David Cronenberg’s Crash, Jonathan Weiss’ The Atrocity Exhibition and Andrew McElhinney’s Story of the Eye. Other possible influences: Georges Bataille, Octave Mirbeau, Anais Nin, etc. The film is the only recent example of a truly kinky, but still very artistic erotica film I can think of. The soundtrack is amazing, and features lots of post-industrial experimental heavyweights, including Nurse With Wound, Lustmord, SPK, Illusion of Safety and Muslimgauze. Continue reading
A young, idealistic business student has ambitions to be a concert pianist, but his obsession with beautiful women keeps him from achieving his goal. To earn money for his tuition, he takes a job as headmaster of a small girls’ school. There his weakness for beautiful women is put to the test when he is pursued by a bevy of sexy coeds. The film is based on a novel by Agnar Mykle. Continue reading
Eight people that cannot be more different meet in a bar. For one night they escape their everyday life which is paralysed of rituals and find themselves in a journey to their world of thoughts, their quintessential lust. Oppressed wishes, sexual fantasies and fears come to the surface and forgotten experiences are revealed. The evening takes its course.
A film about people, their wishes, fears, hopes and longings.
A visually stunning glance behind the facades of daily routine…
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.
Carolee Schneemann wrote:
…I wanted to see if the experience of what I saw would have any correspondence to what I felt– the intimacy of the lovemaking… And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense– as one feels during lovemaking… It is different from any pornographic work that you’ve ever seen– that’s why people are still looking at it! And there’s no objectification or fetishization of the woman Continue reading