The Dominatrix Sleeps Tonight

An experimental short by Beth B. It consists of rapidly intercut close-ups of talking heads reading statements from a Sigmund Freud case history; affidavits attesting to the atrocities of Dr. Josef Mengele, the Nazi war criminal; and journals from the trial of New Yorker Joel Steinberg, accused of killing his adopted daughter.

The almost lyrical Letters to Dad, is a meditation on authority that superimposes the spectre of a recent event over the relatively fresh faces of the parapunk art world; the film takes on a musical form - like a 20th-century ballad composed of subliminal behavior cues, advertising testimonials, and the text of the National Enquirer

The first career-spanning documentary retrospective of Lydia Lunch's confrontational, acerbic and always electric artistry. As New York City's preeminent No Wave icon from the late 70's, Lunch has forged a lifetime of music and spoken word performance devoted to the utter right of any woman to indulge, seek pleasure, and to say "fuck you!" as loud as any man. In this time of endless attacks on women this is a rallying cry to acknowledge the only thing that is going to bring us together - ART...as the universal salve to all of our traumas.

The Offenders is a raucous punk satire of the teenager-leaves-home genre. As in the detached and aloof manner of Andy Warhol's underground films, it tells an amusingly deadpan story centred on the kidnapping of a young woman named Laura and her abusive, controlling father. An out-of-control gang of punk hoodlums flesh out the cast.

A troubled young woman hooks up with a money-crazed televangelist and becomes a rich, heavy-metal Christian rock star.

Real-life kung fu master Nathan Ingram stars in this gritty, low-budget martial arts epic as a local karate school owner who clashes with a gang of drug traffickers posing as the owners of a rival dojo. Director Charlie Ahearn (who helmed the landmark hip-hop film Wild Style) used the housing projects next to his New York Lower East Side apartment as his central location in this 1979 classic, shot on a vintage Super 8 camera.

A film noirish atmosphere is created to show detective Lunch (a popular underground musician and poet) plow her way through the plans of a corporate businessman who seeks government defense contracts through real "corporate wars" and the manipulation of politicians.

An innocent youth is abducted and dragged down into a dystopian nightmare where teenage Lydia Lunch throws him into the Black Box.

Eileen Maloney, a hostess at a strip joint, has woken up to find her two children are missing. Lieutenant Bramm suspects that she killed them herself. He questions her for days about her lifestyle, her children, her ex-husband, men and women, and life in general. He forces her to re-enact her last moments in the children's room hoping to shock her into giving more information. The lieutenant's infatuation is not merely professional, however, and soon they are reversing roles.

Complete strangers meet in a room to act out their sexual desires.

Beth B takes us into the 21st century underground and reveals a secret world where cutting-edge performers are taking hold of a taboo art form, Burlesque, and driving it to extremes that most people have never seen. It's satire. It's parody. It's a populist blend of art and entertainment that gives new meaning to the word "transgression." Above all, it's a lot of fun, and it will blow your mind.

An exploration of social schizophrenia in which terrorists consult their mothers before planting bombs, and the head of the New York City bomb squad succumbs to his dominatrix.

A video full of swastikas, human skulls on American flag backdrops, girls frenching on department store mannequins and burning themselves with candles, military helmets and clomping boots, dudes masturbating under crucifixes, and a bunch of crotches.

A half dozen men and women, each addressing the camera directly and alone, speak of their involvement with drugs.

A stark and uncompromising portrayal of the escalation of xenophobic sentiment in a neo-conservative climate. Beth B refuses to preach and, by extension, to divide. The work trusts the ambiguity of art, rather than to assume a condescending position of knowledgeable correctness from which moral superiority might be inferred.

Documentary feature by Beth B.