Sometimes you encounter a movie late at night. A movie you didn’t even know existed before. And you discover that the movie had basically disappeared for 30 years. Cindy Sherman’s Office Killer was supposed to be the first in a series of low budget art house horror movies. It premiered at the Toronto International Film Festival’s Midnight Madness program in 1997. It was picked up by Miramax, released in a limited run of art house theaters and then it just disappeared.
The journey from unfair to unjust is a twisted maze, one littered with false starts and dead ends; it’s also, significantly, the journey undertaken in Labyrinth, from childhood to adulthood, powerlessness to power.
At Asian Movie Pulse, friend of the Gutter Earl Jackson writes about gay male fantasy in Vietnamese film: “The English title for Hot boy nổi loạn (Vũ Ngọc Đãng, 2011), ‘Lost in Paradise,’ reflects the protagonist’s fantasy of Ho Chi Minh City as an chance to live as […]
Chelsea Rialto Studios’ Ray Faiola has released the short curtain call epilogue from the original pre-code release of Tod Browning’s Dracula starring Béla Lugosi. “This is the actual footage of the Edward Van Sloan curtain speech from the end of Dracula. The picture came from a 16mm SILENT […]
“During the past 20 years I know that my compulsion to understand death was much greater than just an obsession. My dreams have dictated my mission. But now it is time to witness the final moment, to discover the circle that forever repeats itself. The end of the […]
At The Movie Sleuth, the Gutter’s own Michelle Kisner writes about Kazuo Hara’s Extreme Private Eros: Love Song 1974 (Japan, 1974). “In his autobiography Camera Obtrusa, Kazuo Hara speaks candidly about his obsession with pulling out and filming the most intimate parts of a person. He is not […]
The Cultural Gutter 