A comic drama about a time in the near future when citizens are happy to be property traded on the stock exchange.

Two policemen interrupt a secret ceremony: a woman being disembowelled at the bottom of a garden to let out her inner beauty. This situation is presented in a variety of ways and all possibilities are explored.

Ricky is a young man who takes care of his sick mother. His father hovers at the edge of the picture, so Ricky provides for himself and his mom through prostitution, running errands, and acting as a caregiver for a blind man. Through the course of the film, Ricky befriends Janey, a young woman he finds beaten by her ex-boyfriend, and Trenn, a mysterious young man in trouble with the law. The three of them navigate a dark and confusing world. It uses many of the actors who have come to constitute the Dar A Luz company, including Tony Torn, Tom Fitzpatrick, Juliana Francis, and Tom Pearl. It will disappoint those who approach it looking for a film analogue of the “faster and louder” aesthetic that critics have used to characterize much of Abdoh’s stage work. The Blind Owl does use a variety of techniques reminiscent of his stage direction, giving it an unusual theatricality.

A woman with an oddly hairy belly gives birth to a pair of hands in Marie Losier’s giddily inventive "portrait" of filmmaker Guy Maddin, done as a collaboration between the two iconoclasts. A longtime fan of Maddin, Losier (best known for other inventive portraits of underground film icons like Tony Conrad and George Kuchar) hoped to document him as well; "I hate my voice and face," Maddin replied, and sent her Super-8 footage of his hands instead. Losier interwove the footage into her own distinct tale, shot like a surrealist 1920s silent film. A must for fans of Losier, Maddin and ingenious cinema in general, MANUELLE LABOR was completed for the Berlin Film Festival (where Maddin was the guest of honor). - Jason Sanders A collaboration film by Marie Losier and Guy Maddin. Two sisters, five brothers, a doctor and two nurses and the miraculous birth of a pair of hands, but whose hands?

"The theater is about sex." At least according to Richard Foreman, the father of the Ontological Hysterical Theater. THE ONTOLOGICAL COWBOY documents Foreman’s invocation of the "manifest destiny" of the avant-garde theater, King Cowboy Rufus strolling down off San Juan Hill with a sigh, waving his handkerchief. Foreman plays himself, and the cast pantomimes his preoccupations. If "the cast and crew suffer alike," it’s all for a good cause: the violent rebirth of the American theater, with Foreman as its midwife.