Ethan Mass

When her teenagers head off to camp and her husband abruptly leaves her to begin a new family, Lila is left to her own curious and chaotic devices for a summer in her rural home in the Catskill mountains.

Immigrant residents of a “shift-bed” apartment in the heart of New York City’s Chinatown share their stories of personal and political upheaval. As the bed transforms into a stage, the film reveals the collective history of the Chinese in the United States through conversations, autobiographical monologues, and theatrical movement pieces. Shot in the kitchens, bedrooms, wedding halls, cafés, and mahjong parlors of Chinatown, this provocative hybrid documentary addresses issues of privacy, intimacy, and urban life.

THE LAST HAPPY DAY is an experimental documentary portrait of Sandor (Alexander) Lenard, a Hungarian medical doctor and a distant cousin of filmmaker Lynne Sachs. In 1938 Lenard, a writer with a Jewish background, fled the Nazis to a safe haven in Rome. Shortly thereafter, the U.S. Army Graves Registration Service hired Lenard to reconstruct the bones, small and large, of dead American soldiers. Eventually he found himself in remotest Brazil where he embarked on the translation of “Winnie the Pooh” into Latin, an eccentric task that catapulted him to brief world-wide fame. Sachs’ essay film uses personal letters, abstracted war imagery, home movies, interviews and a children’s performance to create an intimate meditation on the destructive power of war.

An involved behind-the-scenes documentary that focuses on the High Definition cameras used for the movie as well as intimate interviews with the cast and crew. It is a short featurette, but never fails to be interesting.

Cold, calculating, corrupt career cop Crazy Cave Man finds frequent fornicator Prof. Friend ferociously fellating furries.

A 16mm narrative short shot in New York with Nick Zedd and Warhol superstar Holly Woodlawn.

In 1986, filmmaker Maxi Cohen was one of seven women filmmakers commissioned by German television to interpret the Seven Deadly Sins. She was given the sin of “anger” and began by putting an advertisement in The Village Voice that read, “What makes you angry?” Along with fellow filmmaker Joel Gold, she recorded the conversations with the people who replied. This exploration lead to a heart-wrenching and emotional film that shows the complexity of anger and its origins. Thirty four years later, Anger continues to resonate, especially as health, economic and political turmoil place anger at the forefront.