The Anti-Hero Filmmaker Fabrizio Federico

'Id rather create chaotic films, they're more beautiful.  Parent's hate my movies, cose I deal in state's of mind not discipline. It's the antithesis of professionalism & craftsmanship - more like sorcery. Be childish & irresponsible when creating, with the minimum of means. Regard my projects as epileptic fits.''

An auteur filmmaker. Born in the UK in 1983 and the oldest of  6 siblings, Federico was raised in an Italian/Jamaican culture.  After surviving a house fire in 1989 which started late one night while he was watching Godzilla, him and his family narrowly escaped with their lives, having to escape by jumping out of their upstairs window. All that survived from their house was a photo of his recently deceased grandfather.

He fell in love with cinema as a young boy after moving to Italy. Films such as the Italian Spaghetti Westerns, Casper cartoons and the comedies of Paolo Villaggio (Fantozzi) all made an impression - as a teenager more avant-garde films by Dennis Hopper, Kenneth Anger, Andy Warhol & Pasolini  captured his imagination to create movies outside of the mainstream.

After being deported from the USA in 2006 Federico settled back in the UK.

For his debut feature film Black Biscuit (2012) he chose homeless people, sex workers & addicts to star in the film. Raising the funds by nude life modeling & going from door to door asking people to donate a £1.00. Most of the filming was done using car crash stolen cameras, mobile phones and children's cameras. There was no script, and he didn't tell anyone what the movie's plot was about during filming. His only direction was ''just be yourselves and either make me sick, amazed or inspired'' The film was called ''A rubik's cube of images.''

It was around this time that his controversial PINK8 manifesto emerged, which created hostility, uncomprehending indifference and submission in the filmmaking world.

In The Milk Man (2013) became an abandoned vérité film project. The movie focused on a milk man who spiked local families milk bottles with LSD on his morning route's. The project was abandoned after the Royal Association of British Dairy Farmers (RABDF) who were notified about the film and threatened to sue over alleged defamation regarding the films subject.

His next film Pregnant (2015) was released, which focuses on technology addiction in the 21st century & the mass hypnosis of a generation''. We witness the Facebook/Youtube generation's inner spiritual stagnation & mass disconnection from society, as they come to grips with this new madness called reality. During the filmming Federico was accused of arson after a misunderstanding concerning one of the films shoots.

During this period Jett Hollywood was born. Federico's alter-ego (Ziggy Stardust's illegitimate son). A filmmaker from Mars.

He promised to create two films and then commit 'cinema suicide'. Evolution Of The Earth Angel (2015) & Anarchy In The UK (2016) were the two films that emerged.

A controversy emerged from a Jett Hollywood's suicide note which appeared online by his alter ego Jett Hollywood which resulted in an inquest. It prompted a disappearance case which revolved around the cryptic note which has since been withheld.

In 2016 the 1st Straight Jacket Guerrilla Film Festival launched 30 international films across the world, exploring today's Underground/Cult cinema makers.

At the core of the film LOON (2017) lies a folie à deux relationship between two cousins, 16 year old Charlie Sheen (who wishes to be called 'Keith' - even though no one does) and his poison minded 18 year old cousin Georgia Sheen; who's aggressive, cunning, sexual personality has hypnotised her younger cousin into doing anything she wishes.

An experimental melodrama with presidential assassination bulletins and a parody of children's record-read along book set. Charlie is a nihilistic icon, he's a kleptomaniac and a compulsive liar living in an incestuous tight knit family who have created a pillow world for him (he's also on prescription tablets - his medical condition is never explained), to sink deeper into his fantasy lifestyle of becoming a famous drummer like his hero Keith Moon.

The climate of Brexit looms as this tragedy unfolds. While unemployed his loner life is largely based on crime, daydreaming and pleasing Georgia's superior super-woman Nietzsche anti-heroine.

To date his last film Teddy Bears Live Forever (2019) about a former 'it girl' suffering from multi-personality disorder was made in a single room with one actress as she unraveles into psychosis, and finally decides to go outside to lose her virginity.

An apt end to a chaotic career.

HAL 9000 - DID HE COMMIT MURDER?

As far as cinema history goes the Hal 9000 from Kubrick's 1969 masterpiece 2001 A Space Odyssey might possibly be the most peculiar and omnious villain to ever grace the silver screen because of how chillingly rational he is, and also because hes not a human being. But to this day people are still debating whether the Hal 9000 was trully evil, or did he do it based on a cyber glitch called 'hofstadter moebius loop'. Many have theorized that HAL, the computer genius turned villain of the spaceship Discovery, went mad during the Jupiter mission. However there is an alternative theory: that HAL acted rationally and logically, indeed with cold, calculating precision befitting a machine of his intelligence. 

But to find all this out you need to follow some detective principles, such as; Hal's origin, personality trails, beliefs, values, and intent. Also what he did, the reason why he did it, and who he is. This debate continues to go on because its beyong subjectivity, it asks the profound question 'do computers have a soul?'.

Mathematician Alan Tourin who back in the 1940's answered the question of whether or not machines are capable of thought:

''If the response is generated by a machine during conversation were indistinguishable from the responses that a human would make in a similar then it stands to reason that the machine was indeed thinking, as how does one find the correct response during conversation, other than to think of that correct response.''

In 2010 there was even a banned thought experiment relating to future AI's that would target individuals to do their evil bidding called Roko's Basilisk which I will leave you a link to check out: SLATE magazine

Even philosopher Daniel Dennett asks, “Did HAL commit murder?” His chapter, published nearly 25 years ago in ''HAL's Legacy'' a collection of writings that explore HAL’s tremendous influence on the research and design of intelligent machines, remains an indispensable introduction to the thorny problems of “murdering” by computers and the “murder” of computers. He focuses on the central concept of mens rea, or “guilty mind,” asking how we would ever know when a computer would be so self-aware as to satisfy the legal criterion to make him (it) guilty of murder. 

In 1962 Arthur C. Clarke, who wrote the novel – and co-wrote the screenplay for the movie – “2001: A Space Odyssey”, he visited Bell Labs before putting the finishing touches on the work. There, he was treated to a performance of the song ‘Daisy Bell’ (or, ‘A Bicycle Built for Two’) by the IBM 704 computer. This evidently inspired him to have HAL sing the song as an homage to the programmers of the 704 at Bell Labs, John L. Kelly, Carol Lockbaum, and Max Mathews. Kelly and Lockbaum programmed the lyrics, and Mathews the accompaniment.

The novel explains that HAL is unable to resolve a conflict between his general mission to relay information accurately and orders specific to the mission requiring that he withhold from Bowman and Poole the true purpose of the mission. With the crew dead, he reasons, he would not need to be lying to them. 

He fabricates the failure of the AE-35 unit so that their deaths would appear accidental. In other words, HAL is asked to lie, and he doesn't take to it very well, to say the least. The conflict between his mission objectives backs him into a corner where he has to make some pretty big (and cold) leaps in logic in order to reconcile the paradox in his programmed orders. But also Hal was incapable of abstract thought which is why he wasnt able to understand the difference between a secret and a lie, which created a loop of paranoia in his psyche which conflicted with his programing, and when he finds out his crew members wanted to shit him down he goes into survival mode. He didnt know the difference between sleep and death so he followed through on the only solution he thought was logical. This is how we know Hal could feel some human emotion, and the unknown instils fear within him, which is why at the end he tells Dave ''Im afraid''. And emotion is the primary catalyst for irrational behaviour. What Hal did was evil because of the moral code ''thy shall not kill' but to Hal the greater good was that he successfully complete his mission to Jupiter, so his programing prevented him from seeing what he did was wrong.

Even now in modern times the mystique of Hal 9000 hasnt diminished. When the Kubrick exhibition arrived in London the longest selfie line was for people to have a photo with the original Hal 9000. Here below is a photo of cult filmmaker Fabrizio Federico with the famous AI.

In the end lets leave it to the films director to settle the score. In an interview, Stanley Kubrick gave a quote which supports this reading, saying, "In the specific case of HAL, he had an acute emotional crisis because he could not accept evidence of his own fallibility. ... Most advanced computer theorists believe that once you have a computer which is more intelligent than man and capable of learning by experience, it's inevitable that it will develop an equivalent range of emotional reactions — fear, love, hate, envy, etc. Such a machine could eventually become as incomprehensible as a human being, and could, of course, have a nervous breakdown — as HAL did in the film." 

    

. Elon Musk, Stephen Hawking, Sam Harris, and many other leading AI researchers 

SID VICIOUS: THE REAL LIFE ZIGGY STARDUST

If anyone personified a rock star that falls from grace at the speed of light (1977-79) then look no further than the punk star Sid Vicious. He embodied everything a true rebel rock star should be. Tragic yes but the myth is enormous. David Bowie even based a whole album around a mythic fallen rock star, but Sid trully did live this doomed tale.

But forget about his untimly death and focus on what he brought to the table - excitment. With Sid you never knew what to expect, he was an agent provocataur and Mclaren saw this in him. He was a PR man's wet dream, he created sensationalism everywhere he went. And nowhere did he shine more brightly then when he was onstage. Underground filmmaker Fabrizio Federico who made a movie about Sid even said ''who cares that he wasnt the best bass player, punk wasnt about that, it was about chaos and showing the audience that anyone could do it, only difference was that Sid was born to be an icon, he was as good looking as James Dean, and the audience felt this too. They would push to be closer to Sid even though he wasnt the frontman, which is very rare, the only other person I can think had this effect was Ritchie James from the Manic Street Preachers. Sid would spit, jump, hit people with his bass, slash his chest, drip blood, verbally abuse the audience, and hit his bass strings with a fish. But most importantly he would connect with people.''

Early in the Pistols career Sid was quite tame onstage but he really came into his own skin during the Sex Pistols deranged 1978 USA tour of the South. During that tour Johnny Rotten had to work extra hard in order not to be overshadowed by Sid onstage. With ''I Need A Fix'' carved into his chest Sid really gave the Yanks a show with his outlaw antics. ''We're the best band in the fucking world!!!!'' he screams in Dallas, bonding with the punk groupies in the front, kissing them, taking drags off their smokes, and getting headbutted in the nose, creating a gurgling bloody mess, which created all those iconic photos of him covered in fresh blood. He was the personification of punk and while the audience celebrated him, Johnny Rotten envied his natural charisma. Sid made picking fights fun and ironic, ''Hey who just hit me in the head, it didnt hurt a bit so tough shit!.'' 

The Dallas gig was a blood bath and Sid played the audience like the devil would a fiddle, he looked great and created anarchy which was his real job, he was the enfant terrible who took the audience higher, ''this ones called Belsen! 1-2-3-4!!", even when he walks out during the encore for No Fun he flicks them the V sign, he simply loved not giving a fuck. At the end of the gig he almost comes to blows with his road manager Noel Monk because he wont let him bring his new groupie friends backstage, as the audience shouts at Noel ''leave him alone you bastard!".

After the gig a fan was wearing a leather bracelet, hand-crafted by a friend. Vicious told him he wanted it — and demanded he give it to him.   “I said, ‘I’ll trade you for yours.’ He had a dog collar on,” Kooda says. “He said, ‘I stole it from a dog. Ya can’t get much lower than that, can ya!’ I said, ‘Well, was the dog pregnant?’ For some reason, that set him off. So, he starts throwing punches at my face. I said, ‘Dude, this is Texas, you can die from screwin’ with people down here.’ ”

Then theres the gig at Randys Rodeo that has become one of the most legendary and dangerous punk gigs ever. As the band board the stage to the sounds of reggae coming out the PA system and crash into God Save The Queen you can feel it in the bootleg recording that theres serious tension in the air. In the film D.O.A you can see Sid losing his mind and pulling serial killer faces and shaking his head in spasms. He announces ''I want some pussy tonight'' as the audience screams, even goading the angry mob with ''you missed again you sucker!". As the rest of the band is audibly nervous this only makes Sid live up to his debauched reputation even more, ripping off his leather jacket and spitting at the photographers.

Search SO TOUGH: THE BOY BEHIND THE SID VICIOUS MYTH unflattering anecdotes about the Sex Pistols bassist that appear in the book is one in which, while going through heroin withdrawal, he simultaneously vomited and defecated on a groupie as she was performing oral sex on him.While stories like these are in no short supply, neither are fans like the barista, who continue to idolize Vicious — a junkie, accused murderer of his girlfriend, and by all accounts unable to play his instrument — nearly twenty-three years after he died of an overdose. The punk rock version of James Dean, Vicious solidified his fame by dying young (at age twenty-one), leaving behind memories of his notorious behavior and the mystery of girlfriend Nancy Spungen’s murder. Although he contributed little to punk music, Vicious remains its most famous name, and his cult has only grown thanks to T-shirts and posters bearing his likeness and slogans like “Don’t let them take you alive” and “Drugs Kill”, and especially the iconograph

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THE PUNK ROCK VERSION OF JAMES DEAN, VICIOUS SOLIDIFIED HIS FAME BY DYING YOUNG (AT AGE TWENTY-ONE), LEAVING BEHIND MEMORIES OF HIS NOTORIOUS BEHAVIOR AND THE MYSTERY OF GIRLFRIEND NANCY SPUNGEN’S MURDER. ALTHOUGH HE CONTRIBUTED LITTLE TO PUNK MUSIC, VICIOUS REMAINS ITS MOST FAMOUS NAME, AND HIS CULT HAS ONLY GROWN THANKS TO T-SHIRTS AND POSTERS BEARING HIS LIKENESS AND SLOGANS LIKE “DON’T LET THEM TAKE YOU ALIVE” AND “DRUGS KILL”, AND ESPECIALLY THE ICONOGRAPHIC 1986 

Search for:. The punk rock version of James Dean, Vicious solidified his fame by dying young (at age twenty-one), leaving behind memories of his notorious behavior and the mystery of girlfriend Nancy Spungen’s murder. Although he contributed little to punk music, Vicious remains its most famous name, and his cult has only grown thanks to T-shirts and posters bearing his likeness and slogans like “Don’t let them take you alive” and “Drugs Kill”, and especially the iconographic 1986 fil

With 300 Mexicans throwing full beer cans, plus a guy pulling a knife out on Sid, which is when he crashes his white Fender bass down into the audience coming close to killing someone, ''oh look Sid's guitar fell off''. Sid was so out of control during that gig, but he did warn them ''we dont want your free gifts you assholes!", he definitely yells at the audience more then Rotten, ''you can throw every fucking thing you've got we dont give a shit!". Even while getting pelted in the face he takes it like a champ ''hey the one who hit me with the beer can it hurt, but I dont care''. As the stage gets filled with pigs faces, cheeseburgers and God knows what Sid sneers his way through a shootout which the gig has now has become, "you cowboys are all faggots!" as he famously said.

As the 1978 USA tour progressed danger lurket at every turn, but Sid simply looked it straight in the eye. Whenever the band stopped on the highways for food cowboys would challenge them, Sid even cut his palm and let the blood run into his straks and egg breakfast and carried on eating as the red neck cowboy looked on in absolute horror. Needing heroin badly after a gig he got lost looking for a local dealers home address so the band had to abandon him to get to the next gig on time. He ended up vomiting and having a diarrhea attack on a transexuals chest after receiving oral. Pulled a fat spandexed groupie onto a bar and started having sex with her infront of papparazzi. Smashed his fist into the Kingfish backstage wall while wearing metal knuckle dusters, which still remains to this day. Famously exposed himself to a photographer before a gig in some revealing photos. Even at the bands hotel he got into an insane cold turkey fight with the bands security, proving to have super human strength while withdrawing from heroin addiction.

While Rotten was busy being a prima donna Sid even took up most of the bulk of the bands press interviews, appearing on the news talking about his childhood ''when I was 12 I was just a kid, when I was 13 to 15 I was a skin head, from 15 to 20 I've been a punk ''. Even during the bands only live radio interview on KSAN its Sid who provides the anarchy, ''Im illiterate I dont know what you're talking about'', telling the radio host ''I could go right in your mouth'', when the road crew yell them to keep doing the interview he says ''no one forces us into anything, we dont take orders'', putting on a funny rasta accent ''ask me a question I tell you no lie!! Everything you go twin twin/ shut your blood clot mami I cut you to ras''. He even gets philosophical ''rules are meant to be broken right, when there are no more rules and categorisations, when there are no niggars or whites, when theres no more punks, when theres no more dirt, when theres just people, thats is when things are gonna be ok''. Theres a moment when he prophecises his own death ''we'll probably be dead in two years me and him''. New songs are even discussed '' yes we've got one about South Africa about how the blacks are repressed so bad there, and like, thats not on and they're gonna rise up and they're gonna kill those people'' and ''we got one about God and its a real attack, and its played to the death march''. His own creed ''I dont think I just DO!". His dating life ''lets talk about sex I like American girls, Im talking about shoving it in!", then cutting off the DJ with a littany of ''blah, blah, blah, blah, blah, yap yap tap, belly ache belly ache....'' the interview ends with Sid asking to make a dedication to Dee Dee Ramone and then being surprised that Iggy Pop is still alive.

By the time the band arrived at Winterland in San Francisco it was like beating a dead horse, they had all fallen out exceot for Steve & Paul, the last gig was a shambles but Sid still gave it his all and you can actually hear him play bass and he sounds pretty good considering hes goose marching and pogoing all over the stage while the rest of the band looks miserable. But in the end as Freddie said ''nothing really matters'' the band went up in a blaze of glory, and getting maximum publicity, even being crowned Young Business Men Of The Year, and a large part of it was thanks to Sid's incredible gift of publicity, it came so naturally to him, he played the press like a maestro and took every opportunity to further stoke the gasoline fires that burned in his heart.

Black Sabbath's Dark Influence

Black Sabbath's very own name was inspired by a 1963 Boris Karloff horror classic by the Italian director Mario Bava which the band stumbled across one day, but the bands cinematic influence didnt stop there, to the point that if a filmmaker used their music on a soundtrack it would probably be the most badass horror film ever. Songs like 'Children From The Grave', 'Iron Man', 'The Wizard' have immense power to transport the listener to a dark realm that creates vivid and terrifying pictures in your minds eye.

The newest filmmaker to take his battered camcorder as he steps into another world is British born movie-maker Fabrizio Federico. He directs with such exuberance it seems as if he and the camera are bound together by a dark magic spell. 

Call it alchemy, the occult, mysticism - Not every filmmaker is prepared to bewitch the spirits into leading you artistically. 

Here are some examples of filmmaker's who did:

Lucifer Rising (1972)
Lilith (1964)
Pregnant (2016)
Attenberg (2010)
Last Chants For a Slow Dance (1977)
Gummo (1997) 
Performance (1970)
Rosemary's Baby (1966)
The Devils (1971)
The Witches (1966)
Starry Eyes (2014)
The First Power (1990)
Eyes Wide Shut (1999)

As a massive Black Sabbath fan Federico has based his movie 'Teddy Bears Live Forever' around songs lyrics from Sabbath's classic 'Paranoid' about a character losing their mind. The filmmakers life has been filled with drama, he moved to Italy when he was five years old after surviving a house fire, after which the gifted child soon took to painting and learning guitar at an early age. By the age of fifteen he had become a teen prodigy at guitar and art, in America he discovered underground cinema.

This talented and complex artist with a wicked sense of humour has become a symbol for DIY revolt. Driven and self taught Federico is a visual-maestro with a globe trotting streak, having already filmed in Spain, Cuba, Hungary, France, Poland, Germany, Bermuda and Morocco. All his works are self financed by banks that he conned instead of producers or film studios. 

The sounds of Black Sabbath have also influenced the soundtracks to his movies, even going to Aleister Crowleys home in Scotland and recording an album as MAO full of eerie guitar solo's and sounds.

His raw style includes the complete disposal of scripts, actors or any other cinema norm. His debut film Black Biscuit (2012) became notorious. Confrontations would erupt at the mere mention of the movie between film fans both rigid and spirited, young and old on internet film forums, or vitriolic reviews, even on radio and at public appearances. When his movie 'Pregnant' premiered in England a riot broke out when the film was turned off by the theatres manager.

By the time his next feature Pregnant (2015) was released his reputation for being a possessed talent created problems and controversy in rigid mainstream film institutions. During Pregnant's pre-production arson charge surfaced which coincided with his ill health and isolation around this time. By this time he had created a Ziggy Stardust alter-ego called Jett Hollywood (a filmmaker from Mars) who was responsible for the films The Evolution Of The Earth Angel and later Anarchy In The UK. Jett Hollywood committed cinema suicide.

In 2016 Federico ran the first Straight-Jacket Guerrilla Film Festival, which incorporated experimental filmmakers from across the world. His films have been called psychedelic, nightmarish and angelic, all executed with a Peter Pan sense of wonder. He has even been called ''the devils filmmaker''. His PINK8 film manifesto even caused his films to be banned from universities after it was discovered that film groups were screening his films on campus including his new film Loon (2017) which is about a folie a deux relationship.

MISRULE CINEMA: A SECRET UNCUT TRIBE

 

Films made outside the established studio system with affordable equipment (toy cameras, CCTV video, iPhone's) proves anyone with an inclination to make a movie can now do so, but when you mix that with a powerful dose of adrenaline and confidence, then that my friend creates cinema heat. 

This pro-active independent filmmaking community is part of the Misrule Movement. A boom of arthouse films originally came out of the UK under this banner and then spread across the world, pushing the boundaries of cinema and its power to enchant and transfix viewers. This enlivened film-making as an art form and a new wave was born. YouTube directors obsessed with European cinema and countercultural attitudes set the world alight with their micro budget masterpieces. Philosophical, commercial and occult styles blended with experimental elliptical Pick-A-Mix editing techniques. Add a dose of sex, violence and psychedelics and you have a Molotov cocktail approach to filmmaking.

Taboo topics such as social problems, poverty, abortion, drug addiction and prostitution are also tackled giving it a human connection as well as an esoteric champagne pop-culture aura. Both zippy, suggestive and also deliriously good fun.

Internationally recognized as an agent provocateur, controversial British filmmaker Fabrizio Federico led the charge with his provocative movies and the Straight-Jacked Film Festival, bringing together an army of new filmmakers  who's movies run the gauntlet of outrageous themes such as espionage, marriage, mind control and radiation challenge the viewers conceptions. These auteurs explore timeless subjects with a new richer and unhinged eye. The language of cinema  who's tools of sound, moving images and music was revolutionized when these filmmakers bestowed their individual vision, style & themes onto the international stage.

Rare Experimental Cinema Masterpieces

*Reifezeit (1976)  - Sohrab Shahid-Saless

*Endless Flaneuring (2018) - Isao Yamada

*Pregnant (2015) - Fabrizio Federico

*Heimat Is A Space In Time (2019) - Thomas Heise

*Sorrows (1969) - Gregory J Markopoulos 

*Carol (1970) - Ed Emshwiller

*Fragments Of Decay (1983) - Henri Plaat

*Light Years - The Film Diaries Of Tim Cawkwell (1968) - Tim Cawkwell

*Treefall (1970) - David Rimmer

*From The Cloud To The Resistance (1979) Jean-Marie Straub

*Constellations (2012) Helga Fanderl

*Boi Neon (2015) - Gabriel Mascaro

*Herbeas Corpus (1986) - Jorge Acha

*Landscape (2003) - Sergei Loznitsa

*Addio Anatolia (1976) - Stavros Tornes

*Respice Finem (1968) - Jan Spata

*Soleil (1988) - Pierre Clementi

*Experiments (1981) - Dirk De Bruyn

*The Sound Of The Shaking Earth (1990) - Rita Azevedo Gomes

*The Astronauts (1959) - Chris Marker

*Zone (1995) - Takashi Itoh

*Tetraedar (1967) - Vjekoslav Nakic

*Dieu Sait Quoi (1994) - Jean Daniel Pollet

*Montanas Ardientes Que Vomitan Fuego (2016) - Helena Giron

*The Death Of Maria Malibran (1972) - Werner Schroeter

*Compline (2009) - Nathaniel Dorsky

*Pneuma (1983) - Nathaniel Dorsky

*New Old (1979) - Pierre Clementi

*Nostos I (1979) - Thierry Kuntzel

*Laisve (2000) - Sharunas Bartas

*Own Death (2008) - Peter Forgacs

*21-87 (1964) - Arthur Lipsett

*Invisible Adversaries (1977) - Valie Export

*New Left Note (1968-1982) - Saul Levine

*The 4th Dimention (1988) - Zbigniew Rybczynski

*La Fille De Nulle Part (2012) - Jean Claude Brisseau

*Everything Visible Is Empty (1975) - Toshio Matsumoto

*Sicilia (1999) - Jean Marie Straub

*La France Contre Les Robots (2020) - Jean Marie Straub

*Once Upon A Time In Anatolia (2011) - Nuri Bilge Ceylan

*Nausea/Balanti (2015) - Zeki Demirkubuz

*The Sun & The Moon (2008) - Stephen Dwoskin

*The Man Who Left His Will On Film (1970) - Nagisa Oshima

*The Passing (1991) - Bill Viola

*India Song (1975) - Marguerite Duras

*The Hart Of London (1970) - Jack Chambers

*The Forgotten Colours Of Dreams (2018) - Johnny Clyde

*Utopia (1983) - Sohrab Shahid Saless

*Beduino (2016) - Julio Bressane 

*The Story Of Sin (1975) - Walerian Borowczyk

*The Embryo Hunts In Secret (1966) - Koji Wakamatsu

*Narcissus & Psyche (1980) Gabor Body

*Night Noon (2014) - Shabhavi Kaul

*Lete (1968) - Marcel Hanoun

*Birdsong (2008) - Albert Serra

*Sinbad (1971) - Zoltan Huszarik

*Mirror (1975) - Robert Bresson 

*Institute Benjamenta Or This Dream That One Calls Human Life (1995) - Quay Brothers

*Affettuosa Presenza (2004) - Franco Piavoli

*The Birch Tree (1967) - Ante Babaja

*Dont Deliver Us From Evil (1971) - Joel Seria

*Die Andere Heimat (2013) - Edgar Reitz

*Lovesong (2001) - Stan Brakhage

*April (1961) - Otar Losseliani

*Soul Of The Cypress (1921) - Dudley Murphy

*The Kingdom (1973) - Katsu Kanai

*Blood Beat (1983) - Fabrice A Zaphiratos

*The Other Side Of Underneath (1972) - Jane Arden

*The Blue Planet (1981) - Franco Piavoli 

*L'Imitation Du Cinema (1960) - Marcel Marien

*The Devils Cleavage (1975) - George Kuchar

*Copacabana Mon Amour (1970) - Rogerio Sganzerla

*Le Grand Depart (1972) - Martial Raysse

*Space Is The Place (1974) - John Coney

*Tokyo X Erotica (2001) - Shibireru Kairaku

*Manji (1983) - Hiroto Yokoyama

*Monday (2000) - Sabu

*Pafnucio (1977) - Rafael Corkidi

*Vampires Of Poverty (1977) - Carlos Mayolo, Luis Ospina

*Phantasmagoria 2: Labyrinths Of Blood (2018) - Cosmotropia de Xam

*Rampo Noir (2005) - Suguru Takeuchi, Hisayasu Satō, Akio Jissoji, Atsushi Kaneko

*Decoder (1984) - Muscha

*Chappaqua (1966) - Conrad Rooks

*Vakratunda Swaha (2010) - Ashish Avikunthak

*The Ghost (1982) - Herbert Achternbusch

*Marsal (1999) - Vinko Bresnan

*The Lighthouse (2006) - Maria Saakyan

*Save The Green Planet (2003) - Jang Joon Hwan

*In The Shadow Of The Blue Rascal (1986) - Pierre Clementi

*Gambling, Gods & LSD (2002) - Peter Mettler

*Arrebato (1979) - Ivan Zulueta

*In the Shadow Of The Sun (1981) - Derek Jarman

*Relativity (1966) - Ed Emshwiller

*Aus Der Ferne (1989) - Matthias Muller

*The Scream (2019) - Philippe Grandrieux

*Unrest (2017) - Philippe Grandrieux

*Song & Solitude (2007) - Nathaniel Dorsky

*The Red Sea (1992) - Michael Maziere

*Aus Den Algen (1986) - Schmelzdahin

*Les Chants (1981) - Jean Paul Dupuis

*Lapse (1981) - Claudine Eizykman

*Antler (2018) - Atoosa Pour Hosseini

*Saint Bathans Repetitions (2016) - Alexandre Larose

*Crepuscule Aux Aresquiers (2014) - Martine Rousset

*The Wind Is Driving Him Towards The Open Sea (1968) - David Brooks

*Homeo (1967) - Etienne O'Leary

*Sun Strobes Light Shows Nitobe (1965) - Sam Perry

*Voluptuous Sleep (2011) - Betzy Bromberg

*Om (1968-72) - Myron Ort

*Never Comes Tomorrow (2016) - Rainer Kohlberger

*Thief Or Reality (2001) - Antoinetta Angelidi

*Code Verse (2018) - Ryoji Ileda

*Reality's Invisible (1971) - Robert Fulton

*The Lighted Field (1987) - Andrew Noren

*Pandora (2020) - Los Ingravidos

*Three Diary Pieces (1985) - Nina Danino

*Rey (2017) - Niles Atallah

*In The Shadow Of The Blue Rascal (1986) - Pierre Clementi

*Faust Sonnengesang (2011) - Werner Fritsch

*Brouillard - Passage 14 (2014) - Alexandre Larose

*Mediterranee (1963) - Jean Daniel Pollet

*I Cannot Tell You How I Feel (2016) - Su Friedrich

*The Parallel Street (1962) - Ferdinand Khittl 

*Aka Ana (2008) - Antoine D'Agata

*Midwinter Hue (2017) - Willem Van Der Zanden

*Bouquets 21-30 (2005) - Rose Lowder

*T-Wo-Men (1972) - Werner Nekes

*Les Soviets Plus L'Electricite (2001) - Nicolas Rey

*Apple Pie (2016) - Sam Hamilton

*Parental Leave (2020) - Matthew Taylor Blais

*Psalm 2: Walking Distance (1999) - Phil Solomon

*Villatalla (2011) - Jeannette Munoz

*4 A Metro Barbes Rochechou Art (1983) - Teo Hernandez

*Tables D'Hivers (1979) - Teo Hernandez

*Private Imaginings & Narrative Facts (1966) - Edward Owens

*Still In Cosmos (2009) - Takashi Makino

*Lamentations A Monumental For The Dead World (1985) - R Bruce Elder

*Sada (1998) - Nobuhiko Obayashi

*Coast Of Death (2013) - Lois Patino

*Reason Over Passion (1969) - Joyce Wieland

*Rumi (1999) - Narcisa Hirsch

*A Mal Gam A (1976) - Ivan Zulueta

*Sink Or Swim (1990) - Su Friedrich

*Parsifal (1982) - Hans Jurgen Syberberg

*Idees Fixes/Dies Irae (1977) - Antonietta Angelidi

*Studies For The Decay Of The West (2010) - Klaus Wyborny

*Jaime (1974) - Antonio Reis

*Ana (1982) - Margarita Cordeiro

*The Room Called Heaven (2012) - Laida Lertxundi

*Ticket Of No Return (1979) - Ulrike Ottinger