Shirley Clarke

Three actors in Hollywood live and love together. A director comes from New York to make a movie about actors and Hollywood.

Shirley Clarke's frenetic documentary about multi-talented musician Ornette Coleman.

Eight drug addicts are waiting for their connection in a New York apartment while a two-man documentary team films the proceedings. Things go out of control as the men grow increasingly nervous and the cameraman keeps recording.

"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.

Spoof science fiction. An alien mother and her child are pursued across England by a bunch of incompetent government agents and take refuge in a house full of vampires. Homage back to the camp tone of British directors of the 1970's such as Ken Russell, (The Lair Of The White Worm), Robert Fuest, (Dr Phibes Rises Again), and Joe McGrath, (The Magic Christian). Distributed by Troma in the U.S., it contains violence, nudity and exploding bagpipes.

A fifteen-year-old boy wants to buy a gun from an adult racketeer named Priest, in order to become president of the gang to which he belongs, and to return them to active "bopping" (gang fighting) which has declined in Harlem.

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.

Interview with Jason Holliday aka Aaron Payne. House-boy, would-be cabaret performer, and self-proclaimed hustler giving one man's gin-soaked, pill-popped view of what it was like to be black and gay in 1960s United States.