Welcome to Come, which depicts a somewhat mysterious transformation of the image in the course of a single zoom, was my only film to achieve a small measure of "popularity," with a short write up in Variety and prints purchased by several film teachers who still show it today.
CREMASTER 2 is rendered as a gothic Western that introduces conflict into the system. On the biological level it corresponds to the phase of fetal development during which sexual division begins.
Under the starlight, a boy and a girl are running. A thunderstorm breaks out, trees are shattered, and a rain of silver needles turned into hair floats through the air.
Refashioning the original intention of footage lifted from an online animated news outlet, The Falling Sky is a cautionary tale about the inexplicable sea and the tumultuous sky—a poetic tour through the dense landscape of recent news in a recap of human foibles, follies and crises that are increasingly out of alignment with the forces of nature.
CREMASTER 3 is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence.
Two young boys, play hooky from school in order to explore an ultramodern world's fair. They take in the many marvelous scientific and industrial exhibits, obtain literature, eat food, and generally run amok.
Humanity finds a mysterious object buried beneath the lunar surface and sets off to find its origins with the help of HAL 9000, the world's most advanced super computer.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.