Susan Tyrrell

The Life of Sean DeLear is a vibrantly multi-faceted, buoyantly propulsive documentary portrait of this irresistibly charismatic one-off — sketched in celebratory but commendably clear-eyed style by writer-director Markus Zizenbacher. There can be very few people better qualified to do justice to this particular tale. Zizenbacher befriended DeLear — born Anthony Robertson in Simi Valley, an obscure California backwater — after the latter relocated to Vienna in the early 2010s.

On the outskirts of Austin, 10-year-old Annie tears around on her BMX bike, hurls dough at cars, and smashes things up with her baseball bat. Her father, a goat-farmer-cum-demolition-derby driver, does little parenting. Annie has no friends her age, so her daily routine is filled with solitary mischief. Playing in the woods one day, she hears a woman’s plaintive call for help from an abandoned well. Though Annie feels driven to visit the well daily, she is unsure about how to deal with the woman’s plight.

Monty is a bodybuilder. His gym is the very heart of his existence. He is aggressively male, outrageously narcissistic and a bigot. Sharing this strange world is Monty's cerebral and emotionally wounded younger brother, Bertin. One stormy day, the brothers' bizarre but settled lives are suddenly disrupted by the unexpected arrival of Lilith, a Catholic nun collecting contributions for an unusual cause. Lilith's arrival is the catalyst required to generate a momentous change in Bertin's relationship with his brother: a change that results in the astonishing and gruesome downfall of the vainglorious Monty.

A quirky anthology, consisting of four separate short films connected by host segments. The first one, BOOGIE WITH THE UNDEAD, has an all girl rock band booked to play a gig in a town overrun by flesh-eating zombies. In the second one, THE DEVIL'S DUE AT MIDNIGHT, a coven of beautiful witches conjure up Brad Dourif as The Devil, and endures the inept attacks of witch killer Ken Foree. In the first long segment, HER MORBID DESIRES, an actress gets the lead role in a vampire movie, only to discover that starlets are being murdered on the set. The other long segment, CRY OF THE MUMMY, has the reincarnated mummy, formerly the last Pharaoh of the 4th Dynasty, looking to sue the movie studios because he can't get work as a mummy. His new lawyer offers to represent him as an agent, but the mummy will only work in film if he can direct.

A nation wracked with civil war and social unrest anticipates a giant charity concert, organized by deceptive promoter Uncle Sweetheart, who plans on raking in huge sums for himself from the event. Headlining is legendary musician Jack Fate, whose prison time is cut short with Sweetheart's help. Meanwhile, journalist Tom Friend investigates the corrupt concert and sets out to unmask the truth to the public.

An introvert relieves the tedium of caring for his invalid mother by spying on his neighbor.

A tight-knit group of thirty-somethings -- gay, lesbian and straight -- struggle to live, love and stay friends in modern-day Los Angeles as circumstances conspire to tear them apart.

A sinister seductress vows to destroy a suburban family.

A rock-n-roll sex comedy about a young girl who will do anything to become a rock star, working in an LA domination parlor to support herself.

Japan in Paris in L.A. centres on Saeki Yuzo, an early twentieth-century Japanese artist who makes a pilgrimage to Paris to seek his artistic fortunes, only to find that ethnic and cultural differences stand in his way. Around this narrative, the Yonemotos construct a multi-layered and self-reflexive work in which strategies of disjunction and contradiction are key. Employing heightened theatricality, experimental narrative strategies and archival footage, the film proposes a complex meditation on issues of modernity, representation, ethnocentrism and identity.