60s-70s Cult

Men sent their own way await heroin in Leach's apartment.

A struggling writer dumps a pregnant dancer for a well-off socialite. Later, he realizes his true feelings and opts to make amends.

A gang of Nazi bikers prepares for a race as sexual, sadistic, and occult images are cut together.

In an industrial area, unstable Giuliana attempts to cope with life by starting an affair with a co-worker at the plant her husband manages.

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.

The film depicts the first band practice of The Velvet Underground and Nico at the Factory in New York in January 1966, and is essentially one long loose improvisation.

Unrepentant ladies' man Alfie Elkins gradually begins to understand the consequences of his lifestyle in 1960s London.

The "Angels", a San Pedro motorcycle gang, party their way through the Coachella Valley while searching for a bike stolen from them by Mexicans, clashing with police along the way.

A fashion photographer unknowingly captures a death on film after following two lovers in a park.

Documentary covering Bob Dylan's 1965 tour of England, which includes appearances by Joan Baez and Donovan.

Turn on, Tune in, Drop out! 5 psychedelic short films, broadcast on the French/German tv channel "arte" on 2007-07-16 Length: 47 min. 1. "Be-In" USA 1967, 7 min. Director and writer: Jerry Abrams; music: Blue Cheer (unreleased track) Captures the spirit and essence of the great San Francisco Human Be-In of January 14, 1967. Ten thousand people imbued with peace, love and euphoria. Set to hard rock such as only San Francisco blues can produce. "Be-In" features footage of Allen Ginsberg, Lawrence Ferlinghetti, Timothy Leary, Michael McClure, Lenore Kandel and The Grateful Dead. 2. "Beatles Electronique" USA 1966-69, 3 min. Directors and writers: Nam June Paik, Jud Yalkut; music: Kenneth Lerner (unreleased) "Beatles Electronique" is a mesmerizing improvisation that reveals Paik's early engagement with the manipulation of pop cultural material. Against a looped electronic soundtrack, images of the Beatles from "A Hard Day's Night" and performing at Shea Stadium are transformed into an eerily hypnotic study. 3. "San Francisco" Great Britain 1967/68, 15 min. Director and writer: Anthony Stern; music: Pink Floyd - Interstellar Overdrive (unreleased version, recorded at Thompson Private Recording Studios on 31 October 1966 (or there about)) Anthony Stern's "San Francisco" could be described as a city film and allied with Jean Vigo's "A Propos de Nice" (France, 1930) and Walther Ruttman's "Berlin: die Sinfonie der Großstadt" (Berlin: Symphony of a City, Germany, 1927). (...) The music that accompanies the film is occasionally synched to various San Franciscan musicians - march bands, street musicians, bands on stage - it was, however, recorded in London (...) and was played by The Pink Floyd. The track, 'Interstellar Overdrive', at first drives the film, the flickering and flashing images matching the music's propulsive beat. Later, as the music calms, our attention is led more explicitly to the images. Now the rapid cutting decreases and the film concentrates on a house and the ritualistic occult activity contained therein. (...) These changes in music and image create a focus point and then, as the music returns triumphantly to its original pattern, a grand finale. The use of 'Interstellar Overdrive' came about through an intermix of relations between Stern, The Pink Floyd's Syd Barrett, and filmmaker Peter Whitehead. All three had lived in Cambridge and all three had had painting exhibitions in the same upper room of the Lion and Lamb pub in the village of Milton. Stern later worked on several Whitehead films, including "Tonite Lets All Make Love in London" (1967) and, through his friendship with Barrett, succeeded in bringing the three together again in London. This lead to the use of 'Interstellar Overdrive' in both "Tonite" and then in "San Francisco". William Fowler. 4. "Andy Warhol's Exploding Plastic Inevitable" USA/Great Britain 1967, 12 min. Director and writer: Ronald Nameth; music: The Velvet Underground (unreleased live versions) 5. "Eyetoon" USA 1967/68, 8 min. Director and writer: Jerry Abrams; music: David Litwin, Different Fur Trading Co (unreleased) "The sea, tranquil and violent, is the ultimate symbol for Jerry Abrams' 'EYETOON' and the ultimate equivalent to making love - his concern in this short and visually dazzling film. Abrams contrasts the rushing faces of New York and a highway juggernaut with the peaceful joining of bodies in a Gjon Mili-like stroboscopic sequence - always with a burbling, flashing maelstrom of emotions underlying and double-exposing with the bodies. It is visually lovely, technically first-rate and impossible to ignore. The graphic sex is economically handled." - John L. Wasserman, San Francisco Chronicle "The film 'EYETOON' would seem to be the perfect synthesis of the metaphysical, spiritual and sexual feelings of a sensitive experimental filmmaker." - Reverend Earl Shagley

At a New York City restaurant, the patrons are men, nude but for a G-string, waited on by one woman, also clad in a G-string (played by Viva) and a G-bestringed (bestrung?) waiter. Some of the "nude" patrons leave the establishment, their places taken by new customers, also nearly in the buff. There are numerous in-camera jump cuts (known as 'strobe cuts') and the camera weaves around a bit. The waiter and waitress move from table to table, talking to the customers. Taylor Mead sits smirking at the fountain, where eventually he partakes in a long conversation with Viva about her Catholic childhood. Viva, the waitress if not the actual person, seemingly is obsessed with the subject of lascivious priests. There is more strobe cutting and at one point, Viva turns to the camera and asks that it be turned off. The camera is turned off and, after an interlude, is turned back on again, after which Viva continues with her monologue. More patrons arrive while others go, perhaps thinking -- if not speaking -- of Michelangelo.

A disillusioned TV-commercial director is guided by his friend through an LSD trip, during which he evaluates his identity and his relationships with women.

Peter Whitehead's disjointed Swinging London documentary, subtitled "A Pop Concerto," comprises a number of different "movements," each depicting a different theme underscored by music.

A nonconformist San Francisco cop is determined to find the underworld kingpin who killed the witness under his protection.

Professor Oscar Collins becomes obsessed with model Penny Lane and her boyfriend, drilling holes in their chaotic apartment and engaging in daydreams and delusions.

When three coeds discover that the campus Casanova is dating them all at once, they lock him up in an attic and take turns having sex with him... to drain the stud of his potency.

A young man gains significant political influence as the leader of a counterculture rock band with his rallying cry of voting rights for teenagers.

In this allegorical story, a revolution led by pupil Mick Travis takes place at an old established private school in England.

While The Rolling Stones rehearse "Sympathy for the Devil" in the studio, Godard reflects on 1968 society, politics and culture through five different vignettes.

An aging horror star contemplates retirement amid the modern culture of random violence, while a disturbed young gun collector embarks on an unprovoked killing spree.

A deaf runaway is taken in by a psychedelic band while searching for her missing brother in San Francisco's Haight-Ashbury hippie district.

Two bikers head from L.A. to New Orleans through the open country and desert lands, and along the way they meet a man who bridges a counter-culture gap of which they had been unaware.

Viva and Louis Waldon spend an idyllic afternoon together in an apartment in New York City.

A TV news reporter finds himself becoming personally involved in the violence that erupts around the 1968 Democratic National Convention.