Tina L'Hotsky

Barbie rentre des courses. Elle sort ses courses du sac et déballe une petite poupée Barbie. Elle fait frire la poupée Barbie et la mange.

A woman, Nadja, searches for her sister's murderer. This search goes through differing moments of reality, or unreality, that overlap within facets of a broken-up time sense. In this emulation of film noir, the investigative structure does not create suspense; the dialectic murderer/victim does not exist. The crime is fabricated bit by bit, like the staging of a spectacle, and it is in the traditional tools of seduction (the spiked heels) that the weapons will be hidden. Ultimately, the crime Nadja achieves makes her neither a triumphant heroine nor a victim.

Based on the true story of four Nazi saboteurs who infiltrated the US in 1942 and were quickly caught and executed, this 80-minute ode to America's irresistibly corruptive allure was the only underground feature by writer-director Anders Grafstrom. A Swedish art director who relocated to NYC, he created this grandiose No-Wave, Super-8 color-epic at the age of 23, only to die in a Mexican car accident a few months after completing the film.

Le chef d'un gang de motards s'arrête dans une petite ville de Floride alors qu'il est en route pour une course à Daytona.

Stars Patti Astor as a waylaid heroine fending for herself in the wild, filmed guerilla style in Central Park.