A one-hour documentary on the making of Frank Zappa's bizarre 1971 comic musical. Vintage private footage from Frank's personal archives plus behind-the-scenes of the actual shooting and recording. With Ringo Starr, Theodore Bikel, Keith Moon and such songs as "Sleeping in a Jar," and "Strictly Genteel." The inside history of the first feature-length film to be shot on video in 6 days.
Rock musical adaptation of William Shakespeare's "A Midsummer Night's Dream".
A.D. 2015: A virus has been spreading in many cities worldwide. It is a suicidal disease and the virus is infected by pictures. People, once infected, come down with the disease, which leads to death. They have no way of fighting against this infection filled with fear and despair. The media calls the disease the "Lemming Syndrome".
In the unearthly world of E, hand-made meets hi-tech as characters appear to consume one another with their own, trafficked likenesses. Constructing her work entirely from laser-printed film stills (approximately 770 in total) lifted from Niklaus Schilling’s 1972 horror film, Nachtschatten, Zemlianski rips, layers, and paints these images with pastels and charcoal, then scans them back together into a bracing animation set to the eponymous song (“E”) by the Berlin-based band, Comb. (Lauren Berliner/Greg Cohen)
Robbie Williams performs live at London's Central Hall Westminster in a concert to ring in the New Year featuring some of his most popular hits. The performance continues after the traditional fireworks display.
Songs for Drella is a concept album by Lou Reed and John Cale, both formerly of The Velvet Underground, and is dedicated to the memory of Andy Warhol, their mentor, who had died unexpectedly in 1987. Drella was a nickname for Warhol coined by Warhol Superstar Ondine, a contraction of Dracula and Cinderella, used by Warhol's crowd. The song cycle focuses on Warhol's interpersonal relations and experiences, with songs falling roughly into three categories: Warhol's first-person perspective (which makes up the vast majority of the album), third-person narratives chronicling events and affairs, and first-person commentaries on Warhol by Reed and Cale themselves. The songs on the album are, to some extent, in chronological order.
Centrist revelations abound among repetitions & revisitings.
A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”
Dancers, shown in photographic negative, perform a series of ballet moves, solos, pas de deux, larger groupings. The dancers glide and rotate untroubled by gravity against a slowly changing starfield background. Their movements are accompanied by music scored for a small ensemble of woodwind and percussion.
Produced by Frank Zappa in 1982, The Dub Room Special combines footage from a performance at the KCET studios in Los Angeles on August 27, 1974, a concert performed at The Palladium, NYC on October 31, 1981, some clay animation by Bruce Bickford, and several interviews. Previously only available through mail-order, it was made widely available on DVD on October 17, 2005.
Part documentary, part personal essay, this experimental film combines archive imagery with the striking wintry landscapes of Alaska to tell the story of immigrant experience coming into the UK from 1960 onwards.
Beyond all human restraint lies one's lugubrious layers of paint.
In a deconstruction of classic Hollywood codes, using repetitive single frame images, the re-editing of teenager movies produces an intense Oedipal drama.
Hiding inside&out, writhing about, taken out&in.
Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.
"Heart-wrenching cry about the physical suffering caused by the AIDS plague being compounded by the shameful arrogance of self-appointed moralists."
Something I know or something I was told? When something scalding translates something to behold.
A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.
A young man finds himself unexpectedly taking an audiovisual odyssey into a world of surreality, slowly recounting his memories, revealing the puzzle pieces that led him to where he is, and maybe how he can get out.