The 29-minute experimental film Christmas on Earth caused a sensation when it first screened in New York City in 1964. Its orgy scenes, double projections and overlapping images shattered artistic conventions and announced a powerful new voice in the city's underground film scene. All the more remarkable, that vision belonged to a teenager, 18-year-old Barbara Rubin. A Zelig of the '60s, she introduced Andy Warhol to the Velvet Underground, Bob Dylan to Kabbalah and bewitched Allen Ginsberg. The same unbridled creativity that inspired her to make films when women simply didn't, saw her breach yet another male domain, Orthodox Judaism, before her mysterious death at 35. Lifelong friend Jonas Mekas saved all her letters, creating a rich archive that filmmaker Chuck Smith carefully sculpts into this fascinating portrait of a nearly forgotten artist. An avante-garde maverick, a rebel in a man's world, Barbara Rubin regains her rightful place in film history.

In this entrancing documentary on performance artist, photographer and underground filmmaker Jack Smith, photographs and rare clips of Smith's performances and films punctuate interviews with artists, critics, friends and foes to create an engaging portrait of the artist. Widely known for his banned queer erotica film Flaming Creatures, Smith was an innovator and firebrand who influenced artists such as Andy Warhol and John Waters.

"The theater is about sex." At least according to Richard Foreman, the father of the Ontological Hysterical Theater. THE ONTOLOGICAL COWBOY documents Foreman’s invocation of the "manifest destiny" of the avant-garde theater, King Cowboy Rufus strolling down off San Juan Hill with a sigh, waving his handkerchief. Foreman plays himself, and the cast pantomimes his preoccupations. If "the cast and crew suffer alike," it’s all for a good cause: the violent rebirth of the American theater, with Foreman as its midwife.

A filmed play by Richard Foreman.

A film collage tracing the story of the lives, loves, and deaths within the artistic community surrounding Jonas Mekas.

An epic portrait of the New York avant-garde art scene of the 60s.

"The whole film are non-art portraits of people in which they do what they want with this hat – and therefore, act or stand in front of my camera. It’s only love: therefore it can’t harm you". Joyce Wieland.