A compilation of short films from experimental filmmaker James Fotopoulos spanning 2015–2021, including Beauty and the Beast, Orestes, Pinocchio and Faustus.

An adaptation of the 1886 musical “Alice in Wonderland: A Dream Play for Children” by Henry Saville Clark and Walter Slaughter. "James Fotopoulos’s adaptation of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass by way of Henry Saville Clark and Walter Slaughter’s 1886 musical Alice in Wonderland: A Dream Play for Children—is an extremely curious object in its own right, and its premiere New York screening is a must-see. If you doze through a few of its ninety-nine minutes, your dreams will be the better for it ... In terms of avant-garde genres, it could be classified, to borrow a term from P. Adams Sitney, as a trance film." - Amy Taubin, ArtForum

When filmmaker Chris Wilcha (The Target Shoots First) revisits the record store he worked at as a teenager in New Jersey, he finds the once-thriving bastion of music and weirdness from his youth slowly falling apart and out of touch with the times. Flipside documents his tragicomic attempt to revive the store while revisiting other documentary projects he has abandoned over the years. In the process, Wilcha captures This American Life icon Ira Glass in the midst of a creative rebirth, discovers the origin story of David Bowie’s ode to a New Jersey cable TV hero, and uncovers the unlikely connection between jazz photographer Herman Leonard and TV writer David Milch (Deadwood). This disparate collection of stories coheres into something strange and expansive—a moving meditation on music, work, and the sacrifices and satisfaction of trying to live a creative life.

Filled with sharp, clever dialogue and tongue in cheek humor, this Shakespeare-influenced girl gang/women in prison/action movie medley from exploitation director Jack Hill is a stone cold grindhouse classic! Lace (Robbie Lee), leader of inner-city girl gang the Dagger Debs, meets her match when newcomer Maggie (Joanne Nail) arrives in the neighborhood. After a stint in juvenile detention, the girls return to a gang war that leaves Lace in the hospital. Maggie takes control and joins forces with Muff (Marlene Clark) and her gang of militants to wage all-out war... but there’s a traitor in their midst!

Burst City is an explosive Molotov cocktail of dystopian sci-fi, Mad Max-style biker wars against yakuza gangsters and the police, and riotous performances from members of the real-life Japanese punk bands The Stalin, The Roosters, The Rockers and INU. In a derelict industrial wasteland on the outskirts of Tokyo, two rival punk bands and their unruly mobs of fans gather for a Battle of the Bands-style protest against the construction of a nuclear power plant, bringing them head to head with yakuza industrialists. This extraordinary celebration of Japan's punk music scene of the early 1980s from Sōgo Ishii (now known by the name of Gakuryū Ishii) is regularly cited as an early landmark in Japanese cyberpunk cinema.

Tetsuo (Hideki Takahashi, Fighting Elegy), a low-level yakuza is double-crossed by his boss and attacked. After his younger brother Kenji comes to his aid and kills Tetsuo's assailant, they flee to Manchuria where they risk coming under suspicion of rival gangs. Seijun Suzuki remains loyal to the conventions of the yakuza film, but Tattooed Life contains flashes of his later creative genius, including a final act of explosive visual excess that has become one of the director’s all-time classic scenes.

Suzi Q tells the incredible story of Suzi Quatro, who in 1973 became one of the first women to front a rock band, play an instrument, sing lead, write songs, and have international hits. She's inspired and paved the way for subsequent generations of female rockers including Blondie, The Runaways, The GoGo's, and beyond. Featuring interviews with Debbie Harry, Alice Cooper, Joan Jett and more.

Mondo Suburbia follows Zabrecky as he ventures beyond the manicured lawns and quiet cul-de-sacs to uncover strange neighbors, kooky rituals, and unexpected stories hiding in plain sight.

In The Lost Okoroshi, Abba T. Makama plays with different influences, from Nollywood to North American music videos, and the result is a surreal, visually eclectic film unlike any being produced by his contemporaries. But style never trumps substance, as beneath the formal play, Makama is probing pressing questions about modernity and masculinity that, when the laughter subsides, aren’t easily answered.