(1980, 30 minutes, 16mm)
Starring Lydia Lunch & Joe Coleman
A noir mostly set in a bathroom stall and stairwell. A private dick trapped in a tight spot. A narrator searching for a way out of the story. Toilet humor and pulp fiction captured in colors like you’ve never seen.
Audacious. Outlandish. Subversive. Intense. Insane. These are just a few of the inadequate adjectives that fail to describe Manuel DeLanda’s fantastically disarming and deeply funny films. Known today as an author, teacher, and philosopher, DeLanda’s iconic celluloid works remain among the most innovative, abrasive, and hypnotic films produced in the 70s and early 80s. Raised in Mexico and transplanted to NYC, DeLanda, rather amazingly, created most of these films while still an undergraduate at the School of Visual Arts. Radically conceived and frantically edited, DeLanda’s energetic, semiotic cinema earned him instant acclaim in the international experimental film world. Unique among the films of their era (or of any other for that matter), DeLanda’s movies have a highbrow philosophical tinge, lowbrow wit, and punk rock style.
“An anarchist who studies analytical philosophy, DeLanda makes aggressive, wild movies that simultaneously leap all over the place and stand absolutely still. His punchy Dada-like stances have a certain built-in versatility insofar as they manage to defy The System while both embodying and benefiting from it. … DeLanda brings a certain Latin camp wit to his European theoretical models, from Wittgenstein to Deleuze and Guattari. A touch of the happy charlatan is similarly brought to his glitter punk credentials that hark back to such diverse Spanish-speaking surrealists as Arrabal, Buñuel, Dali, and Jodorowsky – although, unlike most of his predecessors, DeLanda prefers LSD and computers to the sacraments and anti-Christs of Catholicism in establishing the terms of his shock (and semi-mock) rebellion.”
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