Long available in incomplete or full screen editions, Abel Ferrara's 1979 cult classic THE DRILLER KILLER here receives its definitive presentation. THE DRILLER KILLER stars Ferrara himself (under the pseudonym 'Jimmy Laine') as Reno Miller; an artist being driven mad by the pressures of New York life who takes to the streets and begins murdering derelicts with a power drill. Although Ferrara intended to make a film in the tradition of The Texas Chainsaw Massacre, the end result bore an even greater resemblance to Martin Scorsese's Taxi Driver. THE DRILLER KILLER is an indispensable addition to the collection of anyone interested in 1970s horror, the work of Abel Ferrara, or off-the-wall cinema.

When Hugo meets Myriam, a prostitute who picks up her clients on the Paris metro, he soon becomes obsessed with her sultry beauty and follows her to a flat owned by the mysterious Sara Sand, where he consummates his passion. Suddenly he finds the rules of the game have changed as Myriam is now in charge of his body and his soul. A macabre love poem from the Director of The Beast and Immoral Tales.

Serge is a hip and successful film director who leaves his pregnant wife to attend the annual advertising awards festival in Venice, and enters into a passionate affair with a young British woman. This sexy satire formed the background for one of the swinging sixties' most famous real-life romances. During the rehearsals for Pierre Grimblat's "Slogan", Serge Gainsbourg met the woman who would forever change his professional and personal life: Jane Birkin. They sang together for the first time on the film's theme-song, "The Slogan Song". After which, they recorded their version of "Je t'aime moi non plus". The song became a huge success and set the 70's on fire. Together, they lived out one of the most beautiful love stories.

An erotic drama about the impossible love between an older man and a young girl.It tells the controversial story of an architect, Roue Giulio Marengo, who is unhappy in his marriage, and starts a romance with the young and beautiful girl Florentine (Nastassja Kinski.) When he finds out thru his wife that she may be his daughter, he has to make a decision.

One of the great taboo-smashers of the late '60s, directed by Tinto Brass, featuring interracial affairs, anti-Vietnam statements, violence versus sex. ATTRACTION (NEROSUBIANCO) will stun anyone expecting a standard softcore European sex flick as released originally in the US thru Radley Metzger's Audubon Films under the title THE ARTFUL PENETRATION OF BARBARA, then brace yourself for a whirlwind trip with a married woman whose journey through the psychedelic English youth scene awakens her to the carnal offerings of an African-American man, all set to by a searing soundtrack by FREEDOM, a tripped-out group formed from the remnants of PROCAL HARUM. Nearly plotless and often improvised, this undiscovered cult film distinctive tone and editing scheme anticipated everything in the following year releases of Nicolas Roeg PERFORMANCE, Kubrick's A CLOCKWORK ORANGE to our current post-MTV mindsets. Attraction succeeds not just as a series of kick-ass psych-rock clips, but as an abstract, dazzling expression of cinematic art.

In this inspiring fantasy film, three children befriend a young Cambodian boy who dreams of returning home. When the children meet an eccentric railroad engineer (Mickey Rooney) with an abandoned steam locomotive, they hatch a plan to restore the train and embark on a wondrous journey to return the young boy to his family. Rarely seen outside of a brief theatrical run and a long out-of-print videocassette release, The Emperor of Peru returns to thrill families and art film buffs alike.

The Howl is a true surrealist cult classic, filled with eye-shattering imagery, visual jokes, impossible characters, riotous comedy, and punk rock music well before its time. A young bride escapes her wedding ceremony with a stranger and together they set off on an epic journey though increasingly bizarre lands. They encounter talking animals and mournful exhibitionists, converse with a discoursing rock, journey through a surrealist's psychedelic hotel, instigate a prison riot, escape from naked cannibals living in a tree and battle a wind-up midget dictator! The Howl challenges authority and convention in the true anarchist spirit of the 1960s. Filmmaker Tinto Brass, famous for his later erotica, here presents one of the greatest works of the era - along with A Clock Work Orange, a film he was asked to direct, but instead made The Howl; one of the strangest films ever! ..Warning: This film contains graphic content and may be upsetting and/or offensive to some people

Starring a seventeen-year-old beauty-contest winner, DEADLY SWEET is a most unusual crime story. In the film, a French actor finds his business contact lying murdered on the floor. Rather than call the police, he decides to protect the young woman at the scene and nail down the true killers, putting him on a collision course with the London underworld. DEADLY SWEET leads us through a mind-bending series of pop-art visuals by renowned erotic cartoonist Guido Crepax with split screens (and triple split screens) and the seductive rock score by Armando Trovajoli. Filmmaker Tinto Brass (who later gained fame for his soft-core erotic), wrote the screenplay in 1967, loosely adapted from a novel by Sergio Donati, as an outrageous attempt to turn the crime genre on its head. It can be said that with this film, Cinema Fumetti (comic-book movies) was invented prior to the more known DANGER: DIABOLIK and BARBARELLA.

Guernica is both a town that was leveled in a night of horror during World War II and an image, captured in paint by Pablo Picasso and on film by renegade surrealist Fernando Arrabal. The Guernica Tree is Arrabal's most unflinching and personal film. It is a testimony to the horrors of war, the absurd chaos of life turned upside down and the ache of love. The fictional town of Villa Romero is the set upon which the events of Spain's civil war play out. Villa Romero is home to Vandale (Mariangela Melato) a witch, count Cerralbo (Bento Urago) a powerless land baron, and his four sons. Three of Cerralbo's sons are ruthless sadists who pillage the countryside, but the fourth, Goya (ron Faber), is an artist challenging authority and the church. When Vandale and Goya fall in love they become embroiled in the chaos of war and more ever closer to the doom that awaits in Guernica. The Guernica Tree is a wrenching experience, a headlong exploration of war and humanity. It is a film of shocking power and brutal design and is not recommended for the faint of heart. This is Guernica as only Arrabal can show it.

Arrabal's second film; I WILL WALK LIKE A CRAZY HORSE (J'Irai Comme in Cheval Fou) forsakes the politcal allegory present in Viva La Muerte for a dramatic discovery of faith and organized religion. The story follows a man, Aden, who flees society after the death of his controlling mother. Out in the wilderness he encounters the beauty of nature, and under the tutelage of a hermit named Marvel, becomes a "normal homme." Aden falls desperately in love with Marvel, who can communicate with animals, the clouds, and the sun. Upon returning to civilization, Marvel in tow, Aden is more aware than ever of the hideous and hypocritical nature of human society. I WILL WALK LIKE A CRAZY HORSE has long been considred a masterpiece of surrealist film and stands as Arrabal's most delirious and devlish picture, and outrageous portrait of both other-wordly beauty and inner torment