This breezy, frenetic work was once described by filmmaker Rock Ross as “an original mambo-rap creation myth of chaos of vacation.” Indeed, the film begins with the bold, declarative text, “In the beginning there was only Chaos.” Nocturnal grown-up party scenes alternate with children posing, pla...

BAGLIGHT, as the title implies, was inspired by Stan Brakhage’s legendary MOTHLIGHT. Only this version, as the filmmaker aptly describes, is “cruelty free” (and it has a score).

Frenetic and impressionistic, this nocturnal foray through San Francisco's streets (heightened by a stop at a nightclub) delivers a thrill-hit of ebullient adrenaline. The rush of excitement, of anonymity, of adventure, of being alive, of potentially meeting someone new is palpable. Somewhere in ...

Mexican singer Alejandro Fernandez’s international hit “Como quien pierde una estrella” overlays posterized images of a teeming city and of a couple looking upward as an airplane moves like a fly across the sky with blank frames that translate the lamentations of the broken-hearted singer into En...

"Rock Ross’ ironically titled, time-lapse record of a 1980s Gay Pride parade in San Francisco is hardly the celebration of a celebration one would expect. By stationing his camera at a jog in the route so that the floats and people head right at us and then veer off at the last minute (and speedi...

“Moments chosen for nuclear annihilation… where are you going to run to?” Working in his beloved 16mm (with an acoustic blues song on the soundtrack), the filmmaker answers his own apocalyptic question with seductive snippets of a relative rocking on the porch; horses bounding in free-spirited pl...

This delightful silent short parodies feature films that flash the names of the big stars (“Liberty,” “Justice” and “Death”) before the title card, STUPOR MUNDI, appears. In something of a cross between a Keystone Kops comedy and an Edwin S. Porter melodrama, Lady Liberty, Justice (with her blind...

Rock Ross described this atypical collaboration as “a celebration of abandon in the parallel nation” and he wasn’t being completely tongue-in-cheek. VESPUCCILAND: THE GREAT AND FREE is an exuberant and witty dance for the camera, shot in vivid, defiant color, records half a dozen spitfires (inclu...