Bibbe Hansen

A remarkable walk through the life and work of the French artist Marcel Duchamp (1887-1968), one of the most important creators of the 20th century, revolutionary of arts, aesthetics and pop culture.

New York, post 9/11: Armed with a home video camera and no script, the director delves into the private lives of four women artists and transgender activists from the city’s underground subculture, filming their lives over a period of 10 years. Little by little, their testimonies reveal fragments of their pasts, their experiences and their struggles for an identity of their own. A series of revelations transform the viewer from feeling like an intruder to being invested in their destinies.

Versión moderna, poética y humorística de "Las mil y una noches". En ella se narra la historia de la familia disfuncional de Aladdin, que vive en una ciudad típica estadounidense liderada por un sultán corrupto. Su hija, por otro lado, es una decadente celebridad.

Takes an in-depth look at the lives and times of the people who hung out with Andy Warhol and "worked" at the Silver Factory during the Sixties, making it all click as a new counter-culture arose and began to exert its influence throughout the arts.

Dr. Vaginal Davis gives what John Water's describes as "phenomenal" and what George Kuchar calls "a riveting" performance as Mrs. Venable, the obsessed, upset mother of the dead sea poet Sebastian. Beset with an en masse visit from her late husband's relatives, which include Mrs. Holly, George Holly as the mercenary son, Katherine Holly as Sebastian's set upon companion, Sister Felicity, the Nurse/Nun of who's performance Ronald Tavel states "another scene stealer using understatement" and Dr. Sugar brought in to "cut that HIDEOUS STORY out of her head" by Mrs. Venable. A psycho-sexual catharsis ensues when Katherine is given sodium pentothal and reveals what really happened SUDDENLY LAST SUMMER!

From the experience of a transvestite from Los Angeles, the A. shows how race and sexuality are closely intertwined. Through the malleability of the disguised identity, the A. shows an inspired philosophy of Gramsci on the practice considered as subculture field.

Un ingeniero americano, es enviado a Londres para ayudar a desmantelar el Puente y ser transportado a Arizona. Allí conoce a una mujer, Olivia, junto con un grupo, que protesta por la idea de llevarse el puente del lugar.Años más tarde, vuelve al lugar y reconoce a Olivia en plena calle, pero la chica que cree haber visto, poco tiene que ver con la que conoció años atrás, ya que esta en realidad es una psicópata asesina.

An epic portrait of the New York avant-garde art scene of the 60s.

The films were made between 1964 and 1966 at Warhol's Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second. The resulting two-and-a-half-minute film reels were then screened in 'slow motion' at 16 frames per second.

The film begins with a close-up of a table in a restaurant covered with a checkered cloth, in a composition that strongly suggests a still life. It lingers there for a long time before beginning a slow outward zoom. All the while we overhear poorly recorded snippets of conversation. We see hands move in and out of the frame, lifting glasses and tapping cigarettes. We recognise Edie Sedgwick by her signature dancer's tights and jewellery. The group discuss a recent trip to Tangier; the conversation returns frequently to past and upcoming travel. At one point, a whole, uncut pineapple is delivered to their table, despite the fact that they are in an Italian restaurant: it is not meant to be eaten, but to evoke the possibility of adventure in exotic, semi-imaginary lands.

Screen Test of Bibbe Hansen at age 15.

Inspired by Bibbe Hansen's experiences in a juvenile detention center.