Bradley Eros

Eros & Geraghty compilation

An actress living in New York performs an audition, then goes to meditation and winds up at a party of artists viewing a film. At home, she and her girlfriend explore buried memories and later nightmares trigger sleepwalking. Finally, the actress enacts a childlike performance inspired by a Frank Wedekind play.

A radical remix of the recent Transformers film, via synthetic collapse and critical revenge on its old & new fascist tropes > celebrating SPEED. NOISE. + DANGER. The fervent declarations & violent poetry of the Futurists are superimposed on the mythic morphology of the Autobot blockbuster’s machine mayhem. Images of death & destruction reign in a delirium of transformations as, to quote Marinetti: “We Decompose the Universe!”

Erotic Psyche [Bradley Eros & Aline Mare] ELECTRAMORPHIC 1987, 14 min, Super-8mm-to-16mm Visions of creation & destruction: the birth of pyromania and explosive technology. Promethea’s homage to Reich & Tesla and the Orgone of Alternating Current. ‘Very Kali-graphic.’

The séance is the prototype of modern multi-media. I approach the séance as a medium, or a structural form of media manipulation, somewhere between an art and a belief-system, a cutting-edge demonstration of new technologies mixed with psychic projection. It originated as a novel form of interactive performance, or staged improvisation with a live audience. It ingeniously employs technological innovations in a theatrical environment that incorporates newly developed and experimental devices, such as the phonograph, slide projection and cinema, as well as hidden speakers, magnifying lenses, and mobile lighting., often creating, through special effects, the experience of disembodied voices and floating human figures approximating visitations of the dead and ghostly presences. -BE

Two policemen interrupt a secret ceremony: a woman being disembowelled at the bottom of a garden to let out her inner beauty. This situation is presented in a variety of ways and all possibilities are explored.

An homage to two lyrical surrealists of the cinematic collage, Joseph Cornell and Jean Painleve. Made entirely of science & nature footage, through a process of subtracting the original expository devices, and emphasizing the oneiric beauty and confusion of scale, where the microscopic is analogous to the astrologic, and the insertion of unexpected diversions and creatures creates nocturnal associations and uncanny perceptions. A work more alchemical than clinical, focused on decay and regeneration, with a hypnotic soundtrack by Messiaen. – BE

A beautiful actress struggles to connect with her disfigured co-star on the set of a European auteur's English-language debut.

Mistaken identities converge and separate again in the harsh burn of optical truths. Images revolt and stand on their heads. The story of photography told as a Western.

Hand-developed meditations on being and movement, as inspired by Gysin's Dreammachine, Sufi mysticism, and early cinema. A knowledge of the fragility of existence mirrors the tenuousness of the material. The film itself becomes the site to experience impermanence, and to revel in the unfixed image.

Hand-painted Bradley Eros film

In history as in nature, decay is the laboratory of life. – Karl Marx A fantastic voyage through the cycles of decay and regeneration in the body and the world. Sublime psychotropic sound and a dark sensibility compels us into molecular memory, the structure of living culture, and the electronic architecture of Apocatopia, where beauty and terror merge. Unique chemical treatments emphasize the film's seething materiality.

The mummy signals from the threshold of the living and the dead. Secrets seep through the skin, and tattooed oracles reveal the body is a sign divine. This film is an inscription of the mysteries in action.

“A site-specific cinema performance employing the myriad parameters of the technical apparatuses of analog film projection and light, using Anthology’s Maya Deren Theater projection booth & projectors and operated by our skilled projectionists. The work will include all of the variations of lenses, aperture plates, bulbs, lamps, gates, screen masking, shutter speeds, frame rates, change-over, focusing & framing, etc., in a composition for illuminated flicker and filmless geometries of light, for all types of projectors: 8mm, Super-8mm, 16mm, 35mm, and slide, from an instructional score for the performers. It is a work of contracted cinema, or cinéma concret, focused on the cinematographic machine and filmic light: an exercise in analog fetish, pushed towards the revelation of the invisible mechanisms, foregrounding & celebrating that which is usually hidden from sight.” –Bradley Eros

A study of fire, death, and rebirth.

A transmutation of mystery/history/hysteria, where sex and sacrifice mix with death and voyeurism. Soundtrack by Einstürzende Neubauten and Psychic TV.

a highly personal document of architectural structures, nature & landscape, and the body’s intimacy fabricated from thirty years of collected material

For spidery, mixing original shot material with colored filters, shown through a prism of water and cut crystal, to elongate and splinter the angular animal grace of the arachnidan limbs and elegant web, giving the appearance of a spider trapped in a microscopic pool or suspended within the actual projector lens. The music box soundtrack of Stockhausen's Zodiac rhymes the anthropomorphic notion of the plucked web as a sensitive stringed instrument.

"Deliquescence" offers a double layer of marine flowers and aquatic erotics, with Richard Sylvarnes on electronic shadows. A Bradley Eros' original olfactory cinema with perfume scents.

Featuring, our music videos & video music, stolen treasures & unburied graves, detournèd objects & cultural corpses, including: BELA LUGOSI'S DEAD

Riddles in the LAByrinth. A ritual shadowplay in 7 movements with intertitles, from a live performance at The Gas Station, East Village NYC circa late 80's. Thanks Jack Vengrow for the welding light, and thanks to the FDNY for dousing the burning chair (oops). Creating an intense aura in the blue light of the electronic cave, two creatures in conflict, creation, communication, and the urge to liberate.

A diary-cum-thriller-cum comedy-cum-horror film shot on an iPhone (RIP BlackBerry!) for zero dollars with friends, IN SEARCH OF GLADYS GLOVER was born in the darkness of winter in a post-pandemic 2022 after a fateful 35mm screening of George Cukor’s NYC classic IT SHOULD HAPPEN TO YOU (1954). Indebted to the spirits of Larry Cohen, Anne Charlotte Robertson, and New York City herself, IN SEARCH OF GLADYS GLOVER is a time-shifting journey about the disorienting feeling of being in the city the past few years. It’s a movie for everyone who wakes up each day and continues to put one foot in front of other—laughing often, crying often, watching as many beautiful films and sports games as possible, aimlessly walking the city streets alone, making art, hanging with good friends—but ultimately doesn’t understand what the fuck is going on anymore.

“Featuring, our music videos & video music, stolen treasures & unburied graves, detournèd objects & cultural corpses, including: DAHLIA NOIR,

A modern multi-media myth. To explore and expand the realm of eroticism. A mediation between Eros and Psyche: sexual politics, desire and consciousness. Love under will, to change power. Interrogation. Tenderness. Rage. Rapture. Questions. In search of the militant, androgynous-utopian hermaphrodite. A synthesis of live performance, film, edited images, singing, text, ritual and shadow magic.