Flashbacks

Starring Zhanna. Gamaya ("Lead Us") a Sanskrit mantra performed by Zhanna, recorded and mastered by Zak May. This is a haiku and offers a prelude to CONSUME

Starring Bruce Conner, a belly dancer, a geiger counter, and a toxic waste dump.

“AEON (...) draws parallels between the earthly and the heavenly, linking the San Francisco cityscape and city dwellers to outer space (...) brings the (holy) spirit to life (...) one of Angerame’s major and most mature works to date” — Kornelia Boczkowska, author of Lost Highways, Embodied Travels: The Road Movie in American Experimental Film and Video

Anti-war demonstration, 1968, New York City march to Sheep's Meadow, shows Vets against the war, Yippies, arrests, and flags of a half-forgotten revolution.

“WAR ZONE (...) Angerame’s unique take on the history, geopolitics and present-day of the DMZ, which emerges as a complex site that goes well beyond its borders. (...) one of Angerame’s most original and remarkable works to day (...) revealing the intricate complexities of the area and capturing the tension that is still in the air.” — Kornelia Boczkowska, author of Lost Highways, Embodied Travels: The Road Movie in American Experimental Film and Video

Short film by Dominic Angerame.

“I've never seen light that looks or feels so dark; forward moving possibility united with so much cosmic terror.”—Marilyn Brakhage

"In June 1999 dear friends Agnetta Falk and Jack Hirschman were married at Matt Gonzales' place in the Mission. I was there with my 16mm Bolex and filmed part of the ceremony and crowd. After almost 30 years I finally made this footage into a finished film. It features many of our dear friends both living and deceased. In honor of Jack and Aggie's wedding anniversary I finished the film over the weekend." – Dominic Angerame.

Voyeuristic Tendencies is not so much a film about voyeurism as it is our tendency to be voyeuristic. That tendency, nurtured by the filmmakers carefully crafted succession of visual teases and exploited by the camera's ability to become our eyes, becomes in increasingly evident as the film progresses. The camera teases the viewer, in this case, co-voyeur, not with sexual or erotic innuendo, but rather with graphic and aesthetic challenges. The partially opened window of a woman's dressing room forces us to realize our urge to see more about these hidden worlds. This type of cinematically- induced self- realization makes Voyeuristic Tendencies a powerfully human film.

"I traveled to Albany, NY, and called Robert Fulton and stated that I wanted to come and visit him in Newtown, CT. 'You can’t get here from there, look out the window and tell me what the clouds look like,' he said. I described them the best I could and he said, 'Meet me at Butler Aviation at the Albany airport, I will fly there in my plane and pick you up.' This film is a short homage to Bob and his family during the weekend I stayed at the Fulton Estate in Newtown." — DA

Soundtrack: Ed Sanders. Filmed in Buffalo, 1969, completed in Chicago, 1973. Acid in the park, broken images, danger symbols of the fleeting moments.

July 5, 1980. Summertime, San Francisco's Chinatown. A gang of Chinese firework dealers dispose of their unsold goods to the glory of emulsified film. Negative explosions give way to the gateway of reversal images. This film utilizes high speed negative film to enhance grain and image deterioration. Must be projected at silent speed.

These are the waterfalls in Yosemite National Forest. The mesmerizing movement of water. Film ends with two dolphins sun bathing.

"This is dedicated to Rosemary Manno, a dear friend that passed away in 2021. Martin Scorsese’s “The Last Temptation of Christ” opened theatrically one city at a time in 1988. It was met with hysterical protests from the religious right. This happened also in San Francisco at the defunct “North Point Theater”. I was there to film the protests." - DA

Filmed in Chicago 1978, Papa John Creach playing with Grace Slick and Hot Tuna. "I filmed from stage side one roll of Reg 8mm black and white. As the film ran out of the second side of the film, someone from security tapped me on shoulder and demanded that I give him the film. I started fast talking and told him that I would stop filming, he still demanded the film. I then opened the camera and showed him that there was no film left in the camera. That seemed to please him and he left." — DA

“A beacon of creativity, a cauldron of experimentation and a haunted space of an (im)possible future — (...) continues Angerame's (...) collaboration with musician Kevin Barnard (...) provides a nuanced and uplifting score which projects unexpected hope into the tragedy of this film art requiem. Angerame's cine-documentation always speaks to beautiful and redemptive new forms in the face of seemingly impossible odds.” — David Sherman, filmmaker, professor