An experimental and humorous rainy day romp involving director Wakefield Poole's beloved Warhol Marilyns, his boyfriend Peter Fisk, Julia Child and the kitchen sink (literally and figuratively). The film creates whimsy by incorporating household film footage, pop culture references from TV, and Poole's eclectic and sometimes campy use of music.
A popular high school hunk Johnny takes a late-night dip with cute loner Ben. Fifteen years later, these two men — who haven’t seen each other since a late-night tryst in high school — bump into each other unexpectedly.
Both original and incredibly romantic, Redwoods tells the story of an already-partnered man whose love is tested when a mysterious drifter passes through his small Northern California town.
This engaged reading of the urban black riots of the 1960s references Guy Debord’s Situationist text, “The Decline and Fall of the Spectacle-Commodity Economy,” Internationale Situationniste #10 (March 1966).
In this meditation on contemporary race relations, two black men discuss in voiceover certain “casual” events in life and cinema that are unnoticed or discounted by whites—gestures, hesitations, stares, off-the-cuff remarks, jokes—details of an ideology of repressed racism.
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.
Jai, the orphaned boy adopted by the Monkey Man, helps missionary Charity Jones bring an organ to a friendly tribe, but they are captured by hostile natives.
Leyla and Murat are two artists who go from success to success on stage and on set. The only thing that overshadows their love is Leyla's ex-boyfriend, who is pursuing her.