Donna Kerness

Seadrift is based on a story The Shadow Over Innsmouth by H.P. Lovecraft, and was shot partially in Marblehead Mass. Each section represents a synthesis of the various aspects and moods of the story. The sum total of the fragments expresses the atmosphere of the whole.

“Washes of water and other liquids soak the imagery...strung together for a rather enigmatic yet definite statement on something. Only the subconscious knows for sure.” --G.K.

"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.

An abstract, rhythmically cut film with various images of women, some of whom are dancers. The sound track, which is semi-electronic, is composed and played by Cowan. –B. C.

Presented as loosely autobiographical, Hold Me While I’m Naked centres on the tribulations of an independent filmmaker, frustrated at every turn as he tries to make a film that pretends to artistic merit.

A young man's struggle with his sexuality overtakes his life, driving him deep into his subconscious where guilt and fears of physicality chase him still further. Cornered by an intangible terror, he realises he must either break out or break down.

A shady motel manager becomes obsessed with a neglected wife.

Made when I was a bit depressed which is nothing new,. Bob Cowan happened to be depressed as well and so we had a wonderful time working together. One of the actresses was separated from her husband at this time and the movie solidifies into concrete the repressed desires of everyone.

A tender and realistic story of a scientist who falls in love with a mummy he has restored to life.

One million years in the future, the human survivors of a nuclear war are served by robots called "fleshapoids." One day, fleshapoid Xar runs wild, kills its mistress and seeks its mate, a servant of wicked Prince Gianbeno.

A desperate, married woman meets a mysterious man who she blatantly desires. Through some twists and turns, things do not go over as well as she seems to wish.

Having nothing to do with racial tensions, HOUSE OF THE WHITE PEOPLE is actually a chunk of film removed from a bigger chunk called UNSTRAP ME. It is a documentation of George Segal creating the basic elements for one of his statues preceded by rare glimpses into his own private museum. Donna Kerness serves as his live model. Walter Gutman sits on a chair and walks around a bit, being that he produced the film. Helen Segal, personifying the ageless saying, "behind every man there stands a woman," stands behind her man and also stands in front of him occasionally. The film is a unique invitation to view the hidden rituals of a famous artist and his infamous model, half naked, snowbound together on a lonely farm, with a silent wife and a notorious guest.

"A Tub Named Desire," the first movie with Donna Kerness, does not exist anymore, except for one 8mm print that was in George Kuchar's possession. The footage was taken apart, and some of it is included in "The Naked and the Nude." - Carnegie Museum of Art archive.

"A tribute to overwhelming nature, this film is rich in both color and sound. A combination of original footage and images from children's books, text books, etc."/ "Why is it that just when you start getting into something you really like, that woman comes along with all her gyrating and sexy outfits; she's so irresistable you just can't go on... or can you." –B. C.

Smith's third feature film was originally titled "The Kidnapping of Wendell Willkie by the Love Bandit," in reaction to the 1968 Presidential Campaign. It mixes B&W footage of Smith's creatures with old campaign footage of Willkie, a liberal Republican who ran against FDR in the 1940's. The climax of the work appears to be the "auctioning" of the presidential candidate at a convention.

Corruption of the Damned might seethe with violence and sex, the two most attractive things you can put on the screen, but beneath them a twisted outlook pervades.

"A film counterpointing the hard reality of the present with the fantastic actuality or imagining of the idyllic past. This is best realized in the halting transition from the journey through time back to the watery one that evoked." –Ken Kelman

This movie was made mostly in Brooklyn during some very hot and empty evenings. Since the evenings were so empty, Jane Elford, the star, urged me to get started making another movie (we had completed PAGAN RHAPSODY the year before). I said "okay," and launched her in a photographed series of telephone calls, not really knowing who was going to be on the other end. I was interested at the time in irrational, neurotic responses and so the heroine was put into unstable situations that I dreamt up because I was making a movie with a plot and there should be some action .... Many of the stars appear nude and all I can say is that because of the heat and the general, overall feeling of the film which is one of the usual desperation and explosive emotions, I couldn't see any other way of them playing it. The general tone of everything was ... "Why even bother to get dressed?"

Exhausted by a sexually frustrating home life in the Bronx, portly, 65-year-old Uncle Bojo tosses aside all responsibilities, leaves his wife, Stella, and sets out in search of adventures.

A drama in six episodes involving psychological breakdowns, marital showdowns, and messy obsessions. The characters include a wayward priest, a promiscuous school-teacher and her proctologist husband, teenage thrill killers, and an obsession-driven psychotherapist with an enema bag. Lots of special effects, as it moves quickly from one major crisis to another.

In a garden of roses and memorabilia from darkest Africa, a man and woman ponder the joy of cooking and the companionship of cats. Goodies for the guts abound in this visual essay on feline friendship and far away places. An electronic voyage beyond the stench of house and garden that transports the viewer- and cat- to the promised land.