Valerie and Her Week of Wonders (1970)

Valerie and Her Week of Wonders (Czech: Valerie a týden divů) is a 1970 Czechoslovak gothic coming-of-age surrealist dark fantasy film co-written and directed by Jaromil Jireš, based on the 1935 novel of the same name by Vítězslav Nezval. It is considered part of the Czechoslovak New Wave movement. The film portrays the heroine as living in a disorienting dream, cajoled by priests, vampires, and men and women alike. The film blends dark fantasy, eroticism and Gothic horror genres.

The Devil Rides Out (1968)

The Devil Rides Out (U.S. title: The Devil's Bride), is a 1968 British horror film directed by Terence Fisher and starring Christopher Lee, Charles Gray, Niké Arrighi and Leon Greene. It was written by Richard Matheson based on the 1934 novel of the same title by Dennis Wheatley. It is considered one of Terence Fisher's best films. Click on the image above to watch it.

The Witch's Cradle (1943)

The Witch's Cradle, sometimes billed as Witches' Cradle, is an unfinished, silent, experimental short film written and directed by Maya Deren, featuring Marcel Duchamp, and filmed in Peggy Guggenheim's Art of This Century gallery.

The surrealist film shows repetitive imagery involving a string fashioned in a bizarre, almost spiderweb-like pattern over the hands of several individuals, most notably an unnamed young woman (Pajorita Marta) and an elderly gentleman (Duchamp).

The film also shows a shadowy darkness and people filmed at odd angles, an exposed human heart, and other occult symbols and ritualistic imagery which evokes an unsettling and dream-like aura.

The Witch's Cradle was written and directed by experimental filmmaker Maya Deren. The film was developed at a comparison between surrealists' defiance of time and space and that of medieval magicians and witches. Daren developed the film over a period of one month, lasting from August to September 1943. However, long after principal photography for the film commenced, she abandoned the project, leaving the film incomplete. Some of the film's outtakes were found and stored at the Anthology Film Archives, while several sequences that were shot appear to be lost. Surviving shots from the film are mostly semi-edited sequences, including one particular sequence that Deren had engineered during post-production to be played backwards.

In her essay taken from her dissertation for her doctorate at The University of Southern California, “So I Would Move Among These Things: Maya Deren and “The Witch’s Cradle,” Fox Henry Frazier revives the important legacy and cultural importance of Ukrainian-born, avant-garde poet and filmmaker Maya Deren, who died too young of a brain hemorrhage in 1961. Frazier’s analysis of Deren’s filmic semiotics reminds present day readers not only of Deren’s groundbreaking work as a filmmaker in the nineteen forties and fifties, but her poetic genius as well for creating memorable surrealistic imagery in both her poetry and films. By documenting Deren’s particular brilliance for converting a torturous, misogynistic ritual called “The Witch’s Cradle” at the hand of the writer and “adventurer” William Seabrook, Frazier explains just how Deren ingeniously converted her torturous experience with Seabrook into her own visionary feminist film starring Marcel Duchamp under the same title, thus not only exposing Seabrook’s ritual for his thinly disguised enactment of one of his perverse sexual fantasies in the guise of witch-training for broom-riding, but co-opting it as her own with a far superior philosophical conceit for betraying the complexity of the feminine psyche via the symbolic use of string. “Deren’s interest in the power of objects may feed into bigger questions triggered by the Rhinebeck episode,” Frazier writes, “questions, for example, about bodily/embodied autonomy for female and femme people, and subject-versus-object power within that context…We might ask,” she goes on to suggest, “whether there is an implication here that, if these objects have subjectivity and agency, then perhaps even a woman who has been reduced to an object, in a violent way, might then more easily be able to envision herself possessing subjectivity and agency—even if that, too, must be achieved by supernatural or occult means, i.e., witchiness.” –Chard DeNiord

Catching Fire: The Story of Anita Pallenberg

Anita Pallenberg (6 April 1942 – 13 June 2017) was an Italian-German film actress, artist, and model. A style icon and "It Girl" of the 1960s and 1970s, Pallenberg was credited as the muse of the Rolling Stones: she was the romantic partner of the Rolling Stones founder, multi-instrumentalist Brian Jones, and later, from 1967 to 1980, the partner of Stones guitarist Keith Richards, with whom she had three children.

Pallenberg appeared in over a dozen films over a 40-year span. One of her first appearances was as the Great Tyrant in Roger Vadim's science fiction film Barbarella (1968); however, the character's actual voice was dubbed by Joan Greenwood. She played the sleeper wife of Michel Piccoli in Dillinger Is Dead (1969), directed by Marco Ferreri. Pallenberg also had roles in the German crime thriller A Degree of Murder (1967), which featured music composed by Brian Jones; the cult film Candy (1968) as James Coburn's possessive nurse; Volker Schlöndorff's Michael Kohlhaas – Der Rebell (1969), which was filmed in Slovakia; and the avant-garde Performance (1970), in which she played the role of Pherber. Performance was shot in 1968, but a nervous studio delayed its release.

Pallenberg appeared in a documentary about the Rolling Stones, Sympathy for the Devil (1968), directed by French filmmaker Jean-Luc Godard. In an interview she gave The Independent, which published it on 16 March 2007, she related her encounters in Rome while La Dolce Vita (1960) was being filmed, with its director Federico Fellini, other filmmakers such as Luchino Visconti and Pier Paolo Pasolini, and with the novelist Alberto Moravia.

In 1985, for the video of "Wild Boys," Duran Duran used a clip of Pallenberg from Barbarella. She portrayed "The Queen" in the comedy-drama Mister Lonely by Harmony Korine, and played a character named Sin in Go Go Tales (both 2007).

In the 1990s, Pallenberg returned to education to study fashion. She graduated from Central Saint Martins in London in 1994 with a fashion and textile degree. However, she decided not to forge ahead with a career in fashion, finding it too cutthroat and cruel.

Pallenberg has been portrayed several times by other performers. Monet Mazur played a young Pallenberg in the film Stoned (2005), a biographical film about the last year of Brian Jones's life, while the NBC television show Studio 60 on the Sunset Strip (2006) included a story arc in which the character Harriet Hayes was hired to play Pallenberg in a film.

Pallenberg's burgeoning relationship with Jones encouraged him to experiment musically in their 1966 album Aftermath, while her intelligence and sophistication both intimidated and elicited envy from the other Stones. Pallenberg played an unusual role in the male-dominated world of rock music in the late 1960s, with Jagger respecting her opinion enough for tracks on Beggars Banquet to be remixed after she criticised them. In the 2002 compilation release of Forty Licks, Pallenberg is credited as singing background vocals on "Sympathy for the Devil".

Tony Sanchez's account of his time as Richards's bodyguard and drug dealer mentions Pallenberg's spiritual practices: "She was obsessed with black magic and began to carry a string of garlic with her everywhere—even to bed." Sanchez goes on to describe Pallenberg as having been "like a life-force, a woman so powerful, so full of strength and determination that men came to lean on her".

Jo Bergman, who was the band's personal assistant from 1967 to 1973, said of Pallenberg: "Anita is a Rolling Stone. She, Mick, Keith and Brian were the Rolling Stones. Her influence has been profound. She keeps things crazy."

In the 1977 Toronto heroin arrest, Pallenberg pled guilty to marijuana possession and was convicted and fined several weeks after Richards' arrest.

Pallenberg was a friend of singer Marianne Faithfull, Jagger's girlfriend in the late 1960s. They appeared together in the fourth series (2001) of the BBC sitcom Absolutely Fabulous in episode four, "Donkey", with Faithfull playing God and Pallenberg the Devil.

Pallenberg died on 13 June 2017, aged 75, due to complications from hepatitis C.

This films is based on an autobiographical manuscript titled Black Magic discovered by Pallenberg's children after her death in 2017.

Cick on the above image for the full film.

Max. Mon Amour / Max My Love (1986)

Peter Jones (Anthony Higgins) a British diplomat in France, suspects his wife Margaret (Charlotte Rampling) of having an affair. He hires a private detective, who reports that Margaret has rented an apartment. It then turns out that her live-in lover is a pet chimpanzee she calls Max. A bizarre love triangle comedy in the surreal style of Buñuel. Directed by Nagisa Oshima (In The Realm Of The Senses, Merry Christmas Mr. Lawrence), written by Jean-Claude Carrière (The Discreet Charm of the Bourgeoisie).

Uncle Boonmee Who Can Recall His Past Lives

Uncle Boonmee Who Can Recall His Past Lives (2010) from irenebeatriz on Vimeo.

Suffering from acute kidney failure, Boonmee has chosen to spend his final days surrounded by his loved ones in the countryside. Surprisingly, the ghost of his deceased wife appears to care for him, and his long lost son returns home in a non-human form. Contemplating the reasons for his illness, Boonmee treks through the jungle with his family to a mysterious hilltop cave—the birthplace of his first life.

Uncle Boonmee Who Can Recall His Past Lives (Thai: ลุงบุญมีระลึกชาติ; RTGS: Lung Bunmi Raluek Chat) is a 2010 Thai drama film written, produced, and directed by Apichatpong Weerasethakul. The film, which explores themes of reincarnation, centers on the last days in the life of its title character, who is played by Thanapat Saisaymar. Together with his loved ones—including the spirit of his dead wife, Huay, and his lost son, Boonsong, who has returned in a non-human form—Boonmee explores his past lives as he contemplates the reasons for his illness.

Uncle Boonmee Who Can Recall His Past Lives was inspired by the 1983 book A Man Who Can Recall His Past Lives by Buddhist abbot Phra Sripariyattiweti. The film is the final installment in a multi-platform art project by Apichatpong Weerasethakul called "Primitive". It premiered at the 2010 Cannes Film Festival, where it won the Palme d'Or, becoming the first Thai film to do so.

Blonde Cobra (Ken Jacobs, 1963)

 

Blonde Cobra is a 1963 short film directed by experimental filmmaker Ken Jacobs. Footage for the unique and at the time controversial film was shot by Bob Flieshner. Marc Siegel states that the 33-minute film is "generally considered to be one of the masterpieces of the New York underground film scene", and that it is a "fascinating audio-visual testament to the tragicomic performance of the inimitable Jack Smith", who was a photographer and filmmaker and "queer muse" in New York avant-garde art in the 1960s and 1970s.

The film captures Smith wearing dresses and makeup, playing with dolls, and smoking marijuana. Paul Arthur writes that the film contains "dizzying quasi-autobiographical rants" which spin on sadism, and that like Jacobs' Little Stabs at Happiness, it contains "languid improvisations studded with the bare bones of narrative incident or, more accurately, its collapse". The film contains Smith droning and singing and wildly cooing and cackling in parts of the film. The "lonely little boy" episode about a little boy living in a large house with 10 rooms has been cited as being "potentially repugnant to many viewers" because of its exploration of sadism against children and childhood sexuality. In this episode the narrator confesses to have "blown up the penis" of a 7-year-old boy with a match. The film contains numerous other elements which were shocking at the time of release such as references to necrophilia, the use of the word "cunt", the confession of a nun (impersonated in a posh high-pitched voice by Smith) to lesbianism, the holding of a giant would-be dildo, and a portrayal of transvestites. The film features quotes such as "Why shave when I can't think of a reason for living" and "life is a sad business", quoting Greta Garbo. "Let's Call the Whole Thing Off" is then played, described as a "burlesque rendering" of Robert Siodmak's 1944 film Cobra Woman. The last scene captures Smith stabbing a man in the chest. Hilary Radner and Moya Luckett consider the film to be a camp portrayal of Rose Hobart.

Mad Max 2: The Road Warrior

 

Mad Max 2 (released as The Road Warrior in the United States) is a 1981 Australian post-apocalyptic dystopian action film directed by George Miller. It is the second installment in the Mad Max franchise, with Mel Gibson reprising his role as "Mad" Max Rockatansky. The film's tale of a community of settlers moved to defend themselves against a roving band of marauders follows an archetypical "Western" frontier movie motif, as does Max's role as a hardened man whose decision to assist the settlers helps him rediscover his humanity. Filming took place in locations around Broken Hill, in the Outback of New South Wales.

The film was released on 24 December 1981 to widespread critical acclaim, with particular praise given to Gibson's performance, the musical score, cinematography, action sequences, costume design and sparing use of dialogue. It was also a box office success, and the film's post-apocalyptic and punk aesthetics helped popularise the genre in film and fiction writing. At the 10th Saturn Awards, the film won Best International Film and was nominated for five more awards: Best Director, Best Actor for Gibson, Best Supporting Actor for Bruce Spence, Best Writing, and Best Costumes for Norma Moriceau. Mad Max 2 is widely hailed as both one of the greatest action movies of all time and one of the greatest sequels ever made, and fan clubs for the film and "road warrior"-themed activities continue into the 21st century.

Preceded by Mad Max in 1979, the film was followed by Mad Max Beyond Thunderdome in 1985 and Mad Max: Fury Road in 2015.

Santa Sangre (in Spanish)

A former circus artist escapes from a mental hospital to rejoin his armless mother--the leader of a strange religious cult--and is forced to enact brutal murders in her name as he becomes "her arms".

Wag the Dog

Wag the Dog is a 1997 American political satire black comedy film produced and directed by Barry Levinson and starring Dustin Hoffman and Robert De Niro.

The film centers on a spin doctor and a Hollywood producer who fabricate a war in Albania to distract voters from a presidential sex scandal. The screenplay by Hilary Henkin and David Mamet was loosely adapted from Larry Beinhart's 1993 novel, American Hero.

Wag the Dog was released one month before the outbreak of the Clinton–Lewinsky scandal and the subsequent bombing of the Al-Shifa pharmaceutical factory in Sudan by the Clinton administration in August 1998, which prompted the media to draw comparisons between the film and reality. The comparison was also made in December 1998 when the administration initiated a bombing campaign of Iraq during Clinton's impeachment trial over the Clinton–Lewinsky scandal. It was made again in the spring of 1999 when the administration intervened in the Kosovo War and initiated a bombing campaign against Yugoslavia, which coincidentally bordered Albania and contained ethnic Albanians.

The film grossed $64.3 million on a $15 million budget and was well received by critics, who praised the direction, performances, themes, and humor. Hoffman received a nomination for the Academy Award for Best Actor for his performance and screenwriters David Mamet and Hilary Henkin were both nominated for Best Adapted Screenplay.

The Notorious Bettie Page 2005

 

The Notorious Bettie Page is a 2005 American biographical drama film directed by Mary Harron. The screenplay by Harron and Guinevere Turner focuses on 1950s pinup and bondage model Bettie Page, portrayed by Gretchen Mol.

Bettie Page is an ambitious, naïve, and devout young Christian woman who longs to leave Nashville, Tennessee, following a childhood of sexual abuse, a failed wartime marriage, and a gang rape. In 1949, she departs for New York City, where she enrolls in an acting class. Amateur photographer Jerry Tibbs discovers her walking on the beach at Coney Island and she agrees to model for him. He suggests she restyle her hair with the bangs that would become her trademark.

Bettie becomes a favorite of nature photographers (including Bunny Yeager, who films her posing with two leopards), and she has no hesitation about removing her clothes for the photographers when asked. Before long images of the shapely brunette reach brother-and-sister entrepreneurs Paula and Irving Klaw, who run a respectable business selling movie stills and memorabilia, but also deal with fetish photos, magazines, and 8- and 16-millimeter films for additional income. Their top model Maxie takes Bettie under her wing, and she soon finds herself wearing leather corsets and thigh-high boots while wielding whips and chains for photographer John Willie, frequently at the request of Little John, a mild-mannered attorney with unusual tastes. Bettie is innocently unaware of the sexual nature of the images that rapidly are making her a star in the underground world of bondage aficionados.

In 1955, Bettie is called to testify before a hearing, headed by Senator Estes Kefauver, investigating the effects of pornography on American youth. Though she waits patiently for 12 hours to answer the committee's questions, Kefauver, for reasons unknown, decides to not bring her before the committee and dismisses her without an explanation. When it becomes apparent that casting directors are more interested in her notoriety than in any acting talent she might possess, Bettie heads to Miami Beach. Drifting along with limited career prospects and a virtually nonexistent social life, she stumbles upon a small evangelical church, walks inside and rushes forward to embrace Jesus Christ during the altar call. Although she insists she is not ashamed of anything she has done in her life, she appears happy to leave her past behind and return to her spiritual roots by preaching the word of the Lord on street corners.

In New York, Irving is highly stressed and suffering from poor health. He decides that he and his sister must burn their vast collection of erotic photos and movie footage to avoid potential prosecution. Paula reluctantly complies with her brother's request, but secretly saves the negatives of many of Bettie's pictures and movies from the bonfire, thereby ensuring that Bettie's work will survive for future generations. Click on the image above for the full film.

He Died With a Falafel in His Hand

 

He Died With A Felafel In His Hand from helen raymond on Vimeo.

A 2001 Australian comedy-drama film directed by Richard Lowenstein and starring Noah Taylor. The film draws on the 1994 memoir of the same name and consists of a series of vignettes from a young man's experience of sharing accommodation with a variety of characters.

The Last Wave / Black Rain (1977)

The Last Wave (also released in the United States as Black Rain) is a 1977 Australian mystery drama film directed by Peter Weir. It is about a white solicitor in Sydney whose seemingly normal life is disrupted after he takes on a murder case and discovers that he shares a strange, mystical connection with the small group of local Aboriginal people accused of the crime. Click on the image above to watch the full film.

Lucifer Rising

Kenneth Anger began working on the idea for Lucifer Rising in 1966. He filmed it in 1972 but it was not released until 1980 after the sountrack was completed. Anger is 96 years old today. He represents a bridge between the older occult of rich wierdos and the new world of mainstream people following occult teachings. Lucifer Rising is the point of turning, when the counter culture and the older culture of mystercism met. Manson Family member and murderer Bobby Beausoleil, with his prison band The Freedom Orchestra, completed the soundtrack for Lucifer Rising in 1979. The film premiered in New York in 1980.

Lucifer Rising is a short film by director Kenneth Anger about the ceremonial rising of Lucifer, a sort-of birthday party of the Aquarian Age, the Love Generation. It is also a symbolic analogy of the coming Aeon of Horus as prophesied in the Thelemic sacred text, The Book of the Law. Anger himself said in The Guardian: “Lucifer Rising was about Egyptian gods summoning the angel Lucifer – in order to usher in a new occult age, in accordance with the principles of Ordo Templi Orientis – an occult order founded by British genius Aleister Crowley.”

Lucifer is not the devil. He’s the god of light and color. Luciferous – I bring the light. To me Satan and Lucifer are totally different entities. — Kenneth Anger

The film’s central theme as impersonation of gods, known to Crowley as the Dramatic Ritual, with Isis and Osiris appearing in Egypt invoking the natural elements that conjure the rising of Lucifer, not as devil but as the rebellious Angel of Light in John Milton’s Paradise Lost (1667), the Venus morning star, bringer of Light and “patron saint of the visual arts,” said Anger.

Hvíti víkingurinn (The White Viking) (1991)

Norway in the 10th century. Askur, son of the powerful Thorgeir marries Embla, daughter of one of the few remaining landowners in Norway, in a pagan ceremony. King Olav, a ruthless Christian, wants to remove all traces of non-Christian beliefs and captures the two of them during the ceremony. In order to free Embla, Askur must go to Iceland and convert the people there to Christianity.

Count Dracula (1977)

Count Dracula is a British television adaptation of the 1897 novel Dracula by Bram Stoker. Produced by the BBC (in the then standard video/film hybrid format), it first aired on BBC 2 on 22 December 1977. It is among the more faithful of the many adaptations of the original book.

Begotten (Full Film 1990)

Begotten is a 1989 American film written, produced, edited, shot, and directed by Edmund Elias Merhige. It stars Brian Salsberg, Donna Dempsy, Stephen Charles Barry, and members of Merhige's theatre company, Theatreofmaterial. The film contains no dialogue and employs a style similar in some ways to early silent films. Its enigmatic plot, drawn from elements of various creation myths, opens with the suicide of a godlike figure and the births of Mother Earth and the Son of Earth, who set out on a journey of death and rebirth through a barren landscape. According to art historian Scott MacDonald, the film's allegorical qualities and purposeful ambiguity invite multiple interpretations.

Begotten was first conceived as an experimental theatre piece with dance and live musical accompaniment, but Merhige switched to film after deciding that his vision would be too expensive to achieve as a production for live audiences. Antonin Artaud and philosopher Friedrich Nietzsche were major influences on Begotten, as Merhige believed their ideas and theories had not been explored in film to their full extent. The film's visual style was inspired by Georges Franju's documentary short Blood of the Beasts, Akira Kurosawa's Seven Samurai, Stan Brakhage's The Act of Seeing with One's Own Eyes, and the German Expressionist film The Cabinet of Dr. Caligari. Begotten was shot on location in New York and New Jersey over a period generally thought to have been three and a half years – although, in an interview, Merhige said filming took only five and a half months.

Once the film was finished, Merhige spent the next two years trying to find a distributor willing to market it. Following its debut at the Montreal World Film Festival, it was screened at the San Francisco International Film Festival, where it was seen by film critics Tom Luddy and Peter Scarlet. They brought it to the attention of fellow critic Susan Sontag, whose enthusiastic praise and private screenings of the film in her own home were instrumental to its eventual release. Though largely ignored by main-stream critics, it attained cult film status and influenced several avant-garde film-makers, visual artists and musicians. The film's scarcity on home video prompted its fans to spread their own bootleg copies, a phenomenon described as a "copy-cult" by film studies scholar Ernest Mathijs. As the first part of a planned series, Begotten was followed in 2006 by Din of Celestial Birds, a short sequel with the theory of evolution as its dominant theme.

Zachariah (1971)

Two gunfighters separate and experience surreal visions on their journey through the mythical American Wild West.

The film is loosely based on Hermann Hesse's 1922 novel Siddhartha, and 1930 novel Narcissus and Goldmund (wherein two young friends take divergent paths in life, to reunite and share similar perspectives); surrealistically adapted as a musical Western. Lead writer Joe Massot said his inspiration came from when he joined the Beatles in India, when they were studying Transcendental Meditation under Maharishi Mahesh Yogi in early 1968. Massot said he arrived to find only George Harrison and John Lennon there, after their bandmates had left the course early, and the two Beatles "locked into some sort of meditation duel ... to see who was the stronger character".

Massot initially asked Harrison to provide the film's soundtrack, following his work on Wonderwall, which Massot directed. According to Levon Helm of The Band, Harrison discussed making Zachariah as an Apple Films project starring Bob Dylan and The Band, in late 1968. The following April, Rolling Stone announced that Cream's drummer Ginger Baker and The Band were to be major players in the film.

This film was billed as "The first electric Western". It features appearances and music supplied by rock bands from the 1970s, including the James Gang, New York Rock & Roll Ensemble, White Lightning and Country Joe and the Fish as "The Cracker Gang". Fiddler Doug Kershaw has a musical cameo as does Elvin Jones as a gunslinging drummer named Job Cain.

The Naked Civil Servant

The Naked Civil Servant is a 1975 made-for-television biographical comedy-drama film directed by Jack Gold and produced by Verity Lambert. It was adapted for film by Philip Mackie, based on Quentin Crisp's 1968 book of the same name. The movie stars John Hurt, Patricia Hodge and John Rhys-Davies. It was originally broadcast on 17 December 1975 on the British channel ITV. In 1976, it was shown on the US channel WOR and later PBS when Thames Television and WOR-TV exchanged programming for one week. For his performance, Hurt won the BAFTA for Best Actor in 1976 and the production also won the 1976 Prix Italia. The title of the book and the film (naked civil servant), is derived from his time working as a nude model in a government-funded art school.

Harry Smith: American Magus

 

A documentary about the brilliant and versatile cult figure Harry Smith (1923-1991) – compiler of a famous three-part folk album, film-maker, painter, anthropologist, obsessive collector and thinker.
The films, paintings, and recordings of Harry Smith pay tribute to his genius. Filmmaking, painting, anthropology, musicology, and the occult. His knowledge of each was encyclopedic and firsthand. As might befit a man of such varied interests, his circles of friends were large and, for the most part, wholly independent. This film demonstrates how differently Smith appeared to friends from each circle, offering personal recollections that present a multidimensional, largely contradictory picture of the man. Together with artwork, the interviews director Paola Igliori conducted with such friends as William Breeze, Robert Frank, John Cohen, Jonas Mekas, and Allen Ginsberg make up a sizable portion of the film.