The Honey Trap: A True Story of Love, Lies and the FBI

Follow pop provocateur Lady Gaga as she releases a new album, preps for her Super Bowl halftime show, and confronts physical and emotional struggles.

On October 1, 2013, the elusive street artist Banksy launched a month-long residency in New York, an art show he called Better Out Than In. As one new work of art was presented each day in a secret location, a group of fans, called “Banksy Hunters,” took to the streets and blew up social media.

Cypher is a fictional pseudo-music documentary about the artist Tierra Whack and the conspiracy theory that secret societies run the music world.

Thirteen-year-old Willis Gibson's life changes overnight when he becomes the first person in human history to beat Tetris. This coming-of-age story explores grief, the power of community and the rise of an unexpected internet legend.

Spotlighting the art of drag, and centered on the New York staple Wigstock, this documentary showcases the personalities and performances that inform the ways we understand queerness, art and identity today.

An intimate look at a controversial young video blogger, regarded by millions as the Internet's first rebel folk hero.

HBO documentary about sex in the world of modern technology. How much do forbidden pleasures cost on the Internet? And how to make good money on other people's desires?

A playful and illuminating self-portrait of writer Jeremy O. Harris as he workshops and mines Slave Play, the provocative play that thrust him into the spotlight, with a new cast of young actors from New York’s William Esper Studio.

A documentary about Pier Paolo Pasolini and his film 'Salò o le 120 giornate di Sodoma'.

In Comma Boat, we're stuck in a mock-authoritarian fantasy--a power trip. The film centers around a director-character played by Trecartin who oscillates between feelings of omnipotence and self-doubt. As if a post-human, post-gendered reincarnation of the Fellini character in 8 ½, the director gloats and frets about professional and ethical transgressions. "I know I lied to get ahead," he admits at one point. "I've made up so many different alphabets just to get ahead in my field." The director is fancier now, but the fear nags that he might be "repeating" himself "like a dumb soldier ova and ova and ova and ova." The meta-connection to the artist's own career, while obvious, is also a decoy. All art, at some level, is about the artist. Here, reflexivity is the surface level, providing a decodable veneer that encases something more unsettling and complex. Single-channel and 3-channel versions.

In Item Falls, we are peaking. We start out at a casting call, but before long we're firmly in the grip of hallucination, shedding our anxieties and evidently regressing to the animation era, a time when stunt chickens were mere chicklets. Friendly archetypes float in and out of what seems like our bedroom. The red-headed Jenny has returned, but this time she's squeaky and trusting. Unlike in Center Jenny, here our perspective is literally centered. The camera seems to be the in middle of the room, which is good, because we're too blissed out to move. Luckily, our hallucinations look directly at us.