Blood for Dracula
Burden of Dreams
Criminals
Flesh
Flesh for Frankenstein
Heat
Interviews with My Lai Veterans
Janice
Jazz on a Summer's Day
Madame Wang's
Mixed Blood
Muscle Beach
The Savage Eye
Steppenwolf
Trash
Women in Revolt

BLOOD FOR DRACULA
(1974, Colour) Director: Paul Morrissey
If you wanted to enjoy Blood for Dracula as pure entertainment, Morrissey gives you this outlet in spades. However, behind the goofiness lies the heart of a film that actually bothers to look at Dracula in a way that hadn't been done before.

BURDEN OF DREAMS
(1982, Colour) Director: Les Blank
'Burden of Dreams' documents the making of Werner Herzog's film Fitzcarraldo. The film is a fascinating record of an obsessed film-maker's battle to finish his work against all odds.

CRIMINALS
(1996, Colour) Director:Joseph Strick
This a fierce documentary about crime in America featuring the action of decoy squads police videotapes of crimes in progress, unimaginable confessions and some heroic resistance.

FLESH
(1968, Colour) Director: Paul Morrissey
The opening sequence of Paul Morrissey’s Flesh compellingly breaks all of the rules cinema (notably, never frame a single shot longer than thirty seconds), but in so doing signals the start of an amazing treatise on family life in the laissez-faire world of the late ‘60s.

FLESH FOR FRANKENSTEIN
(1973, Colour) Director: Paul Morrissey
In most filmed versions of the Frankenstein legend, Baron Frankenstein is merely a mad scientist whose reanimation project leads to monstrous results. Morrissey's black comedy takes a different approach to the story. In Flesh for Frankenstein, the baron is a degenerate married to his sister. Holding his own silent, voyeuristic offspring in contempt, Frankenstein's reanimation experiments are aimed at producing a "perfect," beautiful pair of zombies who will in turn produce children.

HEAT
(1972, Colour) Director: Paul Morrissey
Continuing his examination of fading society, Morrissey turns to fame and travels from New York to Los Angeles for this outrageously funny but almost painfully sharp comedy.
With a much bigger budget than the earlier films, slicker editing, glorious photography and a strong John Cale score, this is a polished, dialog-based film . But as it takes a swipe at everything from sexuality to showbiz, it stays consistently entertaining and very telling.

INTERVIEWS WITH MY LAI VETERANS
(1970, Colour) Director: Joseph Strick
Terrifying and indescribably sad, this piece of cinema-verite is a series of interviews with five men who participated in the My Lai action in Vietnam, all of whom are now out of the army. These clean-cut American lads recount with smiles, indifference and poise, how and why they murdered.

JANICE
(1973, Colour) Director: Joseph Strick
Two young truck drivers set out from New Jersey with a load of meat. On the journey they pick up Janice - for a price. From that moment on bad luck strikes at them from all sides...... An original work of art - the Observer

JAZZ ON A SUMMER'S DAY
(1959, Colour) Director: Bert Stern
In 1958, a 28 year old Bert Stern had built for himself a reputation as one of the world's leading fashion and advertising photographers. Although he had ambitions to turn his talent to film, the opportunity did not present itself until the founder of the Newport Jazz Festival invited him to "take some pictures". That request would evolve into a full-fledged motion picture presenting some of the most remarkable scenes of live jazz ever brought to the screen. Performers include Louis Armstrong, Gerry Mulligan, Mahalia Jackson, Thelonius Monk, Chuck Berry and Chico Hamilton.

   

MADAME WANG'S
(1981, Colour) Director: Paul Morrissey
Lutz (Patrick Schoene), is a self-proclaimed East German sailor-spy who has jumped ship while in Long Beach harbor so he can prepare the way for a planned Soviet invasion. Lutz is a handsome, musclebound type who attracts a following as diverse as a mixed salad: a rotund mother and son whose affection for hamburgers, fries, and ice-cream is self-evident, a gay pimp cum door-knob collector, an attractive call-girl from the Temple of Dance Arts, and other flotsam and jetsam of the human condition. The antics of this troupe enliven the film as they head to Madame Wang's punk show, where Lutz shows off an eccentricity of his own.

MIXED BLOOD
(1985, Colour) Director: Paul Morrissey
Brazilian drug dealers in the lower east side of Manhattan start a war with a rival gang of Latino drug dealers. Their soldiers are Latino kids all under 17 because, as Rita La Punta says, "They can kill and not go to jail." The war escalates to include their German heroin supplier, his sexy English girl friend, a Puerto Rican ex-cop, and the Japanese police captain. This movie is about racism, police corruption, junkies and drug dealing. There is plenty of killing and even a visit to a store dedicated to the Latino pop group "Menudo."

MUSCLE BEACH
(1948, B/W) Director: Joseph Strick
On a beach in Southern California acrobats and muscle- builders flaunt their skills and poses. A singing narration takes note of their obsessions.

A PORTRAIT OF THE ARTIST AS A YOUNG MAN
(1977, Colour) Director: Joseph Strick
Joseph (Ulysses) Strick returns to his favourite author James Joyce. An outstanding achievement - Films & Filming.

THE SAVAGE EYE
( 1958, B/W) Director: Joseph Strick
Judith McGuire, young and divorced, suddenly finds herself cut off from the life she knew so well. To escape the ghosts of old memories she immerses herself in every form of pleasure and sensationalism she can find...... A work of startling and disturbing brilliance - The Daily Mail

STEPPENWOLF
(1974, Colour) Director: Fred Haines
This Faust-like and magical story of the humanization of a middle-aged misanthrope is a self-portrait of a man who felt himself to be half-human and half wolf. This stunning film is as faithful an adaptation of Herman Hesse's poetical novel as one could possibly expect.

TRASH
(1970, Colour) Director: Paul Morrissey
Joe Dallesandro stars as the impotent heroin-addict, suspended in a state of asexual bliss and perpetual disconnection, and the film thinly – and mostly hilariously – follows the attempts of many women (and men) to seduce him, and those of his live-in girlfriend to salvage him/them-as-a-couple (a great, celebrated performance by transvestite actress, Holly Woodlawn). Those brave enough to venture into the film will be rewarded with an unyielding canvas of transitory but chilling emotional truths. At the end, it's up to the viewer whether to take it seriously or not, but either way, it's essential viewing.

WOMEN IN REVOLT
(1971, Colour) Director: Paul Morrissey
This film is a satire of the women's liberation movement, staring a trio of female impersonators. Candy (Candy Darling) is an aloof heiress caught in an unhappy relationship with her brother. Jackie (Jackie Curtis) is a virginal intellectual who believes women are oppressed in contemporary American society. And Holly (Holly Woodlawn) is a nymphomaniac who has come to loathe men, despite her attraction to them. Together, they join a militant feminist group, P.I.G. (Politically Involved Girls), but their newfound liberation doesn't make them any happier.