Over 16 hours, in February, 1987, a man confronts jealously and rage as a love affair falters. Photojournalist Mel Hurley returns home to San Francisco on the eve of his birthday, expecting... See full summary »
A day in the life of several prostitutes in an upscale Manhattan whore house. The film is a stark portrayal of the women prostitutes, the male customers and the motivations of both. Watch ... See full summary »
Slam tells the story of Ray Joshua, an original, gifted young MC trapped in a war-zone housing project known as Dodge City. Unable to find a job, Ray copes with the despair and poverty of ... See full summary »
A neurotic nebbish lives in 2 worlds: the fantasy of winning his dream-girl via a hit movie, and the meager existence he scrapes out from very odd jobs, such as thesping in an arty ... See full summary »
An out of high school teen from the midwest moves to San Diego, California in the 1950s to live with his estranged father and new family. Escaping his past may not be as easy as he had hoped...or is it all a dream?
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When a man crosses a bridge, he faces a border. Pakal Gomez, ex- border patrol officer, railroaded into prison for a crime he did not commit, turns to terror as the last chance to wake up ... See full summary »
An American in Ho Chi Minh City looks for a daughter he fathered during the war. He meets Woody, a child who's a street vendor, and when Woody's case of wares disappears, he thinks the ... See full summary »
Tony Buba, a film maker from Braddock, Pennsylvania, tells the story of his hometown's decline (along with the rest of the steel mill towns along the Monongahela River) while he dreams of ... See full summary »
Over 16 hours, in February, 1987, a man confronts jealously and rage as a love affair falters. Photojournalist Mel Hurley returns home to San Francisco on the eve of his birthday, expecting his lover, Carmen, to meet him at the airport and tell him if she will be exclusively his. She's not there, she wants more time. Almost 20 years ago, he'd photographed civil war in Biafra, wanting to tell a story that would save people. He now equates that war with his personal struggle: can his photographs save this relationship? He goes to Carmen to talk to her; first he acts the fool, then they seem to connect. But, can he control his jealousy and not force things with her? Written by
An important, overlooked piece of truly independent American film-making
Symbolically this film represents the last hurrah of truly underground American film-making before it crossed over into the "indie" cottage industry we know today, as it won the grand prize at the Sundance Film Festival (then still known as the US Film Festival) a year before the levee broke, so to speak, with "Sex, Lies and Videotape". Artistically, it presents a kind of forgotten missing link between Cassavetes and Harmony Korine. The director and star Rob Nilsson (who's performance and double duty here both strike me as a bit of a precursor to Vincent Gallo as well), heavily inspired by Cassavetes, created his own filmic method he calls "direct action cinema" which basically just means complete spontaneous improvisation from the mostly non-professional actors, mostly hand-held camera and minimal lights etc. Nothing too revolutionary by today's standards, but considering this was 1987 not many people were doing this, let alone in America. He also injects a very innovative editing style strikingly reminiscent of what Harmony Korine would do some ten years later, particularly similar to "Julien Donkey-Boy" with it's ultra-grainy visual quality (Black and white 16mm? Analogue video?) and extensive use of still-frame snapshot images. Despite all this remarkable innovation, the film is not without it's flaws and is in some ways actually very dated. A few unfortunate sequences have a glaringly cheesy "80s"ness to them (leg warmers?), and also the overall production quality, while admirable in it's embodiment of true independent spirit, is also a bit rough to say the least. Still, the actual storyline itself is really very good and the acting, for the most part, is engaging (although I may have considered someone else for the lead role besides Nilsson himself, a choice which strikes of a certain egoism). As a kind of forgotten building block in the independent filmic language it is well worth seeing (and I'm pretty sure Harmony Korine must have seen this since it contains the idea of "jokes without punchlines" in a very amusing sequence).
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