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.

A documentary on serial killer films.

Germany, right after the re-unification. The people are out of control, blind hatred towards immigrants is common sense. In this time, a social-worker, with the mission to bring a Polish family to their destination (an immigration camp in a little provincial town called Rassau), gets kidnapped just as the family. Chief inspector Koern and his girl-friend start to investigate in this matter in Rassau, exploring a world of obsessive sex, mislead lust and an over-whelming irrational love to the German nation, infiltrating anyone's mind. Rascism doesn't start with shaved hair and boots but rather in the middle of society itself...

Seduced by the country, in which German director Dieter Schidor saw a decadent tropical charm, he brought together a varied group of people and involved them in the production.

A comedy about New York and its eccentric inhabitants. A French filmmaker comes to New York to show her film at MOMA. Fascinated by the city, she decides to stay.

The final installment in Ulrike Ottinger’s Berlin Trilogy (following TICKET OF NO RETURN and FREAK ORLANDO) casts Delphine Seyrig as the nefarious Fritz Lang supervillain Dr. Mabuse, here the head of a powerful media empire that seeks to create headlines by manufacturing (and then publicly destroying) its own celebrity: the wealthy, handsome playboy Dorian Gray.

Reel 28 of Gérard Courant’s on-going Cinematon series.

A woman, Nadja, searches for her sister's murderer. This search goes through differing moments of reality, or unreality, that overlap within facets of a broken-up time sense. In this emulation of film noir, the investigative structure does not create suspense; the dialectic murderer/victim does not exist. The crime is fabricated bit by bit, like the staging of a spectacle, and it is in the traditional tools of seduction (the spiked heels) that the weapons will be hidden. Ultimately, the crime Nadja achieves makes her neither a triumphant heroine nor a victim.

In this ostensible murder mystery, the genre elements are merely a pretext for the series of haunting (if inconclusive and only mildly erotic) homo-social encounters he stages. Starting with the familiar premise of the absent woman, so popular with Downtown filmmakers, Vogl drains his storytelling of any hints of noir stylization. Instead of nighttime scenes, slick streets, and dark alleys, he shoots documentary-style on the nondescript, sunlit streets of Brooklyn, Manhattan, and City Island in a manner that casually references the art-film angst of Michelangelo Antonioni.

Autobiographical film about Loulou (Jackie Raynal) who seeks a job as an editor on Broadway, shares a loft in Soho and marries an entrepreneur.

A Nietzschian parable on the fate of innocence, THE TRAP DOOR follows the mishaps of Jeremy (John Ahearn) as he is fired by his boss (Jenny Holzer), gets laughed out of court by Judge Gary Indiana, loses his girlfriend to sleazy Richard Prince, is hustled by prospective employer (Bill Rice) and mauled by predatory bird-women. Finally, he seeks the help of a shrink (the legendary Jack Smith) who turns out to be the most demented of all.