Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.

Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.

Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.

Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.

A fragment from an unfinished project by Peggy Ahwesh.

Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.

A quartet of crack addicts in Miami sit around, while outside, the biggest hurricane of the century is about to hit. The Pixelvision camera roams restlessly through the apartment, focusing nervously on the tiniest details, but never staying in any one spot for very long. Meanwhile, the addicts engage in desultory conversation, or make phone calls, or tell stories about their past experiences.

Peggy Ahwesh re-edits and optically prints a Super 8 stag loop, rarifying the degraded images into an abstract stained-glass mosaic. From a clumsy and heavy-handed pornographic film of the seventies that bad storage conditions have deteriorated over time, Peggy Ahwesh uses the alterations and the mold of the film to emphasize the sensuality of the scenes. It produces a newborn, beautiful film, powerful, erotic, and disarming at a time.

Martina plays on her own and with her mother, Jennifer talks, stock footage of flowers is talked over.

Lara Croft, the virtual girl-doll of the late 20th century, is recast as a triad of her personas: the alien, the orphan, and the clone in this work based on appropriated footage from the game Tomb Raider.