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Lacking a formal narrative, Warhol's art house classic follows various residents of the Chelsea Hotel in 1966 New York City, presented in a split screen with a single audio track in conjunction with one side of screen.

Watch as the life of a leader of a menacing group of deviants explodes in a spectacle of debauchery. Accidentally filmed from beginning to end, on purpose.

In the aftermath of an emotional shock, a ruthless high-class manager faces her own abyss, becomes pervaded by a sensory spirit and undertakes a purifying voyage.

A fateful collision intertwines two women's lives, unleashing a series of surreal and unsettling events. Their paths cross amid bizarre encounters, religious visions, and peculiar medical procedures, forever altering their realities.

Two prisoners in complete isolation, separated by the thick brick walls, and desperately in need of human contact, devise a most unusual kind of communication.

A ultra-realistic depiction of life in a Marine Corps brig (or jail) at a camp in Japan in 1957. Marine prisoners are awakened and put through work details for the course of a single day, submitting in the course of it to extremely harsh and shocking physical and mental degradation and abuse.

A depressed woman, Barbara, is on the verge of suicide while a man she meets in a church and a married couple try to convince her that life is worth living.

In a rare excursion beyond Andy Warhol's New York base, this home-movie-ish lark features an unlikely Tarzan, wandering around Los Angeles in search of his Jane.

Filmmaker Jonas Mekas creates an elegiac diary of a trip to his home country of Lithuania.

An experimental short film in which a copy of an interview is shown on a monitor next to the live interview creating the illusion that the two are talking to each other.

Prometheus engages in repeated scenes of bisexuality in this independent feature from the New York underground.

A mysterious 20-minute short of surreal, dream-like imagery open to many interpretations.

This film consists of alternating black and white frames.

A woman suspects that someone has clandestinely been filming her life and that her friends and acquaintences are seeing the movies in secret screenings.

Bruce Baillie's Mr. Hayashi might be thought of as a putative East Coast story transformed by a West Coast sensibility. The narrative, slight as it is, mounts a social critique of sorts, involving the difficulty the title character, a Japanese gardener, has finding work that pays adequately. But the beauty of Baillie's black-and-white photography, the misty lusciousness of the landscapes he chooses to photograph, and the powerful silence of Mr. Hayashi's figure within them make the viewer forget all about economics and ethnicity. The shots remind us of Sung scrolls of fields and mountain peaks, where the human figure is dwarfed in the middle distance. Rather than a study of unemployment, the film becomes a study of nested layers of stillness and serenity.

Idylls of the beats in the Beat Generation scene of San Francisco's North Beach.

A film poem; a zither plays. A woman lies naked in bed. A man removes his clothes, joins her, and they kiss. Images fill the frame, at first still lifes of common objects: a door knob, glasses, a cactus, a lamp. Then simple actions: a drawer pulled out, a letter mailed. On the soundtrack, with the music, the man and woman comment about mundane things - unconnected phrases. The actions on screen slowly become more rapid and forceful: a bird in a cage flitting about, water boiling, a drill bit biting into wood; the dialogue has stopped. Sheets on a line blow in the wind; a subway train shoots by. The images slow. Voices of the man and woman, off-screen, return. We see them lying side by side.

The pioneer of the American diary film presents footage of his avant garde colleague shot between 1963 and 1990.

Intercourse between two people who never appear on the screen at the same time. An exploration of sex and male/female identities.

My ten year correspondence with serial killer Aileen Wuornos leads to an intimate and mesmerizing interview on Florida's death row. Also features Penny Arcade, Lydia Lunch and Nan Goldin. "I had the life as Aileen Wuornos. Why did I end up on the stages of the world, rather than on death row?" : Penny Arcade, ex-Andy Warhol superstar. Aileen was executed in October 2002 at Florida's State Prison.

Now available on DVD, "END OF THE ART WORLD" explored the most famous 1960's artists in New York City -- Warhol, Rauschenberg, Johns, Lichtenstein and others -- on 16mm film, ending in a "Bang!" as the Metropolitan Museum of Art and New York "exploded" in a visual montage that included sayings from the Black Panthers' Minister of Culture, angry examples of Nancy Spero's "Artaud" series, a violin case full of mock dynamite planted in Henry Geldzahler's office by a young performance artist, a count-down from Jasper Johns' number series, and Warhol's silk-screens of an atom bomb. Includes the only 16mm film footage shot at Warhol's opening at the Whitney Museum, surrounded by his superstars; Robert Rauschenberg at work in his studio, making cardboard collages; Michael Snow discussing "Wavelength" in the studio where he shot it, while experimenting with some of the elements used in his art; and other art world scenes of 1970-71. The DVD re-release also features the director's commentary and four additional short films, including "Nancy Spero: A Conversation with the Artist"

A young man sets out for an aimless stroll by tram from the center to the outskirts of Prague.

An short film which captures various activities with a watermelon while set to a catchy tune.

"Damned If You Don't is a real prize. Beautifully shot in black and white, it blends conventional narrative technique with impressionistic camerawork, symbols and voicovers to create an intimate study of sexual expression and repression. It begins with footage from a stylish old potboiler about an isolated convent, whose tale of passions leashed and unleashed provides the leitmotif for a young lesbian who watches it and the lonely nun she pursues and seduces. As the two women's lives come closer to joining, voiceovers from the biography of a 16th century lesbian nun and the reminiscences of a woman's closeted romances at a Catholic school flesh out the theme. When the two women finally meet and make love, the woman's careful unwrapping of the nun's complicated prison of clothing is both foreplay and liberating metaphor. The film is as hypnotic as a dream."