Glenn Branca

Stourley Kracklite, a driven, detail-obsessed architect, travels from America to Rome with his much younger wife, Louisa, to oversee an architectural homage to a personal hero, 18th-century master builder Etienne-Louis Boullée. En route by train, Stourley and Louisa conceive a much-wanted child — but Stourley's obsession with his wife's expanding belly, her perceived infidelity, and his own recurrent bouts of abdominal pain reach epic and dangerous proportions.

Rock My Religion is a provocative thesis on the relation between religion and rock music in contemporary culture. Graham formulates a history that begins with the Shakers, an early religious community who practiced self-denial and ecstatic trance dances. With the "reeling and rocking" of religious revivals as his point of departure, Graham analyzes the emergence of rock music as religion with the teenage consumer in the isolated suburban milieu of the 1950s, locating rock's sexual and ideological context in post-World War II America. The music and philosophies of Patti Smith, who made explicit the trope that rock is religion, are his focus. This complex collage of text, film footage and performance forms a compelling theoretical essay on the ideological codes and historical contexts that inform the cultural phenomenon of rock 'n' roll music.

A fictionalized portrait of the British dancer and choreographer Michael Clark, depicting a day in his life as he and his company prepare for a performance.

Concert film documenting a 1995 performance of Glenn Branca's 8th and 10th symphonies performed live at The Kitchen.

A feature-length narrative crime film compressed two different times into two separate films of diminishing duration until the synoptic is synopsized. The imagery has all been "appropriated" (the fancy, art-world-sanctioned term for "stealing") from four issues of an early 1960s comic book version of the then-popular American television show 77 SUNSET STRIP. Music by Glenn Branca (an excerpt from "The Ascension"); film commissioned by the 2004 Rotterdam Film Festival's "Just a Minute" program. - Lewis Klahr