Bressane's second London film, shot in six days in his apartment. "I had seen the French avant-garde films of the 1920's and naturally the title cites Breton. But underneath it can also be read in many ways. It is a cinema that is invented on the spur of the moment, like you invent an instrument to play music and then abandon it. This film came out like an improvisation, a total risk. It is a deconstruction of meaning but not in the analytical, intellectual sense. I have always tried to lose myself with my films. There is no trace of American or French underground cinema. If anything, it is the idea of home movies, there were many ideas for digital films long before digital film existed. This film made itself, it was like a jazz improvisation. Amor Louco is a lost object, it doesn't speak any language, it has no signs, no letters, no captions. And in the scene where the cataract is cut with the razor blade, it was the adventure of the film itself that was put to the test".
A sexual reverie unfolds over the course of one ethereal night. Characters wander through an erotic maze of love and lust, blurring the lines between wet dream and lucid nightmare as a macabre, erotic stage performance sends a ripple of lustful desires through its audience and performers.
A production company begins casting for its next feature, and an up-and-coming actress named Rose tries to manipulate her filmmaker boyfriend, Alex, into giving her a screen test.
The main protagonist is a young fellow who tries to live his life within 30 frames. He's a person suitable for any atmosphere, which makes him different from the rest.
A teenage boy plays truant from school, and spends the day riding around the town and the deserted beach on his bicycle, letting his mind wander as he imagines he is the only person in the world.
David Sumner, a mild-mannered academic from the United States, marries Amy, an Englishwoman. In order to escape a hectic stateside lifestyle, David and his wife relocate to the small town in rural Cornwall where Amy was raised.
The film tells the story of Murat's struggle to rescue his brother Yusuf from a drug gang. Murat is left disabled while trying to save the lives of workers in an accident at his factory.
This period compilation of documentaries shot with a Portapak camera from the early era of video experimentation offers an immediate view of the independent New York art scene (concerts and theater perfomances on the streets and in the clubs of downtown).
In 1634 France, charismatic Father Urbain Grandier becomes the target of a sexually obsessed nun’s witchcraft accusations, which corrupt church and state officials are all too happy to exploit.
