Richard Bedford

Eddie and Michael are two 16-year-old gay friends from Liverpool. Berated by his father for his camp behavior, Eddie runs away from his Liverpool home and joins Michael, a streetwise hustler, who is also on the run.

Basado en la novela de MacInnes, que retrató la crónica social y musical del Londres de finales de 1958.

Jazzin' for Blue Jean is a 20-minute short film featuring David Bowie and directed by Julien Temple. It was created to promote Bowie's single "Blue Jean" in 1984 and released as a video single. The film depicts the adventures of the socially incompetent Vic (played by Bowie) as he tries to win the affections of a beautiful girl by claiming to personally know her favorite rock star, Screaming Lord Byron (also played by Bowie).

Bernard Fripp is told by his doctor that he has only 30 minutes left to live. This sets Bernard bumbling off on a mission to live his final minutes to the fullest.

Ha pasado el tiempo y los protagonistas de "The Rocky Horror Picture Show" están casados, pero su matrimonio está en crisis. Por ello participan en el concurso en donde en un principio asistían de público, convirtiéndose en protagonistas de una especie de Reality Show, en el que mediante una serie de experimentos llevados a cabo por una especie de científico loco, harán que la pareja vuelva a ser feliz.

The film depicts a 'super roadie' who fights evil orange jumpsuit-wearing bouncers stopping a rock and roll crowd from having a good time. He then falls foul of an evil wench who seduces and cuts his hair in order to take away his strength.

Julien Temple's wartime documentary parody "Punk Can Take It" (1979) - a theatrically released promo for the UK Subs, complete with narration by BBC voice-over veteran John Snagge - paints a glorious picture of England in a punk rock "identity crisis". Punk morale was higher than ever before. Punks were fused together not by fear, but by a surging spirit of revenge, immortality, and the courage never to submit or yield. This proved that punk won't go away and that punks themselves are becoming younger and nastier everyday. They have no time for the precarious thrills of nostalgia nor for its trivial rules.

The ART WE DESERVE is an film essay by Richard Cork about the gulf between minority art and mass culture. Examining the public’s preference for bland mass reproduction pictures which are traditional in style and ‘look nice’, the modern artist’s tendency to create an insular, inward-looking art for an educated elite and the media’s unwillingness to take modern art seriously, the film argues that the sense of alienation between artist and the public is largely the result of a class-divided society.

Happenings in a small Irish traveling circus.