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A man has been driven insane by church-sanctioned scientific experimentation which also causes him to be nearly impossible to kill. He is pursued to America by a priest where he embarks upon a killing spree while the priest tries to hunt him down and kill him.
Husband Yang Baiwan and his wife run a restaurant in the countryside. Yang misunderstands that his wife is cheating on him and he then devises a plan of revenge. On the night he carries out his plan, two unfortunate robbers and a random couple get involved by accident. The six originally unrelated people now have something to do with each other, which triggers a series of absurd and ridiculous accidents. And their fate is also changed …
Yang Fan and her husband, Yuan Yong, and Xiao Fang, a restaurant attendant, continued from night to day, and from the sun to a treacherous night. The stories that happened to each other are absurd but extremely sad. The three people were bound to each other but could not leave each other.
In a world where the Metaverse has become widely adopted, four couples go to ridiculous lengths to find true love in a virtual world. Love Virtually is a retro future satirical rom-com for the Metaverse era, blending live action and 3D animation as It explores and exposes the absurd reality of our world and where we are heading, while probing life’s deepest questions such as: How does a celebrity find someone who loves them for their true selves? Is it cheating if it’s in VR? and, Is it cheating if it’s with an AI?
Naz, a cynical and charismatic 20-something, has spent his entire life in tranquil O’ahu, Hawaiʻi, skateboarding with his friends and hosting a nightly radio show where he spotlights emerging musicians. When his girlfriend Sloane nabs the chance to move to bustling New York, Naz begins preparing for their big move, planning every detail down to his cat’s absurd flight plan. Even when dreaming about what life outside the island might look like, however, Naz wonders whether uprooting his world is the right decision, and if anywhere will ever really feel like home when he’s always been an eternal outsider.
Suddenly learning she is terminally ill, Se-yeon asks her husband, Jin-bong the absurd task of helping her find her first love, and he unwillingly joins her search. Along their journey, Se-yeon and Jin-bong are reminded of the most glittering, beautiful moments of their lives.
In her first live solo standup special, filmed in 2019, Kate Berlant performs an absurdist set, in an intimate space, shared not only with the audience but the mirror reflection of herself. Kate’s special distorts audience’s expectations to her comedy, while also exploring her clairvoyant connection to the crowd and her inability to stop performing.
Two low-level government workers follow orders from their absurd superiors.
Kate Berlant and John Early play celebrities reuniting after a public falling-out at a moderated TV event interspersed with absurdist sketches of varying characters, from strippers to a family of beavers.
Kurt Kunkle, a rideshare driver thirsty for followers, has figured out a deadly plan to go viral. As his disturbing livestream is absurdly embraced by the social media hellscape, a comedienne emerges as the only hope to stop this rampage.
Trapped in a world of perpetual fun and inter-species love ruled by a universal Mother, a teenage boy crosses the forbidden frontier to save his childhood sweetheart and find out where he really came from, as an absurd election leads to chaos and violence.
A group of friends reunite to play The Buddy Games, a wild assortment of absurd physical and mental challenges. In the process, they’ll heal old wounds, right past wrongs and figure out the true meaning of friendship…or die trying.
SF stripper Champagne White (multi-hyphenate talent D’Arcy Drollinger) is expecting her boyfriend Rod to pop the question; when he instead tells her of a secret plot involving booty bumps and the world’s largest retail store, it’s up to the intrepid ecdysiast to save the day. With a lo-fi ’70s exploitation film aesthetic and a John Waters-esque sense of the absurd and outrageous, Drollinger adapts his wildly successful stage show for the big screen, featuring extraordinary talent from the world of drag, including Alaska 5000 from RuPaul’s Drag Race.
After a robbery goes wrong, Frank and Vince break into a home when two kids mistake them for their babysitters. Hoping to make them fall asleep so they can make their getaway, Frank reads stories from a magic book that he stole during the robbery, taking them to the enchanted world of Arctic Friends. The two thieves have to endure the kid’s hijinks as they make various absurd attempts to escape.
A dinner party descends into sex, violence, and the absurd when one of the guests discovers something unexpected about what’s for dinner.
Celebrate the joy of a perfectly executed shot to the groin as Johnny Knoxville, Steve-O and the rest of the gang return alongside some newcomers for one final round of hilarious, wildly absurd and often dangerous displays of stunts and comedy.
A famous TV weatherman, Miguel Flores, becomes public enemy number one when he fails to predict a terrible hailstorm. He is forced out of the big city, Buenos Aires, fleeing the capital for his birthplace of Córdoba. The result will be a voyage of rediscovery that is as absurd as it is human
Star and Brandon, estranged brother and sister, are brought together after their mother’s recent death and her absurd final request to dispose of her ashes in the body of a whale. With no choice or face losing their much-needed inheritance – they embark on a road trip to San Antonio, Texas where they not only encounter adventure, but also encounter each other. Braking For Whales stars Tom Felton, Tammin Sursok, Wendi Mclendon-Covey, David Koechner, and Austin Swift.
Charting the rise and fall of three corrupt real estate agents who accumulate absurd wealth in no time but fall into a vortex of fraud, greed and drugs.
Javier is an obsessed artist who is grieving the end of a relationship. His sorrow comes as a combination of memories, instinct and denial, and the mourning’s harsh feelings will compromise his sense of reality. Surrounded by doubt, and subjected to several addictions, Javier fights to find peace – until his lattermost move take him to a surrealistic emotional purgatory. The absurdity in which Javier finds himself might be a way out of the pain, and his redemption to love and all endings. But first he needs to confront his demons and to take one last chance into the pleasures of the flesh.
Kurt Braunohler shines a light on the hidden absurdities of life, lending his self-effacing point of view to everything from the controversial to the mundane. He dives into the dregs of reality TV, gives damning praise to dogs for their boundless loyalty, and shares a plan to undermine white male privilege that might just be crazy enough to work.
In this absurdist satire, an awkward OCD physics genius and a hot ex-Catholic sorority girl wake up after blacking out Halloween night to discover they missed the evacuation of Earth. A mysterious agent pursues the feuding couple as they figure out how to work together to solve the recently entangled multi-verse and ultimately try to save humanity from AI.
Milan, Italy, 1967. Santo Russo, a boy of Calabrian origin, arrives north with his parents and younger brother to find better living conditions. Due to an absurd misunderstanding and his father’s contempt, Santo ends up in prison, where he gets a “true education.” In 1978, he and his friends Slim and Mario embark on a 15-year criminal career, a successful and ruthless spiral of robberies, kidnappings, murders and heroin smuggling.
The debut film of John Landis (The Blues Brothers, Animal House), who also wrote and starred in the low-budget comedy horror. A quiet suburb Southern California is being terrorized by a mysterious murderous monster living in a cave. As the bodies pile up — with incriminating banana peels always near by the crime scene — a group of teens stumble on the guilty party: a 20-million-year-old Schlockthropus, an ape-like creature with a sense of the absurd.
Barney Thomson, awkward, diffident, Glasgow barber, lives a life of desperate mediocrity and his uninteresting life is about to go from 0 to 60 in five seconds, as he enters the grotesque and comically absurd world of the serial killer.
An absurdist, surrealistic and shocking pitch-black comedy, which moves freely from nightmare to fantasy to hilariously deadpan humour as it muses on man’s perpetual inhumanity to man.
Three cowhands, between jobs, have the bad dumb luck to pitch night camp in the same valley as a cabin full of guys who just robbed a stagecoach and killed the guard. Come morning, a posse arrives, forms up along the ridge, and takes for granted that everyone down below is guilty–fit for either shooting to bits or hanging from a tree, whichever comes first. Precisely half of Ride in the Whirlwind’s 82 minutes is devoted to tapping the matter-of-fact, absurdist horror of that situation. In the remaining half, the two surviving cowpokes (Jack Nicholson and Cameron Mitchell) seek shelter at a farmhouse where they reluctantly threaten the farmer, accept breakfast from his wife, flirt with his daughter (Millie Perkins), play some checkers, and hope to remain undetected till nightfall.
In an Italian seaside town, young Titta gets into trouble with his friends and watches various local eccentrics as they engage in often absurd behavior. Frequently clashing with his stern father and defended by his doting mother, Titta witnesses the actions of a wide range of characters, from his extended family to Fascist loyalists to sensual women, with certain moments shifting into fantastical scenarios.
A story about bravery, self-sacrifice and human dignity put on trial by the merciless power of nature. A young pilot is fired from military air force after disobeying an absurd order. He gets a job as a co-pilot with a civil airline. Being brutally honest and direct, he is not on best terms with his new colleagues. During a flight to Asia his crew receives a distress message from a volcanic island and makes a decision to attempt a rescue mission. Will it be a success? Will they survive the disaster? They have a single chance to find that out: by being a team and sticking up for one another.
Hopeless romantic Matt (Brandon W. Jones) decides it’s time to pop the big question to his girlfriend, Alexis (Cassi Thomson). Before the big evening he practices his proposal on his best friend, Liz (Christa B. Allen). Matt believes if he follows the rules of all of his favorite romantic comedies he’s guaranteed a “Yes!” To Matt’s dismay, Alexis gently rejects him stating he’s only interested in the idea of being in love and not a real relationship. After this unexpected disaster, Matt binge watches one rom-com after another and comes up with plan to win Alexis back. Though Liz thinks Matt’s plan is absurd she agrees to be his wingman. The operation to rekindle his relationship appears to be working only for Matt to face the reality that he and Alexis may have grown apart and his heart belongs elsewhere.
A romantic couple get more than they expected after the husband’s experiments with penis-enlargement cream go awry. Wait, this is not a porn story. Rather, it is an absurd science-fiction movie that features a curious new species, the Dickshark. In some ways this story asks the same questions that Mary Shelly did when she wrote “Frankenstein.”
Stand-up veteran Deon Cole dazzles the crowd with his sharp jokes and easy charm in his first hour-long special. He pontificates on subjects ranging from the endless uses for plastic bags to how he knows he’s aging to why we’ll never have another black president. Cole’s observations about race, society, and everyday life are often absurd and always intelligent.
The Coen Brothers tell the story of a absurd yet likable family with an unproductive couple as the focal point. The couple has gotten themselves into some trouble while kidnapping a baby and give Hollywood one of the most memorable chase scenes to date.
Brian Cohen is an average young Jewish man, but through a series of ridiculous events, he gains a reputation as the Messiah. When he’s not dodging his followers or being scolded by his shrill mother, the hapless Brian has to contend with the pompous Pontius Pilate and acronym-obsessed members of a separatist movement. Rife with Monty Python’s signature absurdity, the tale finds Brian’s life paralleling Biblical lore, albeit with many more laughs.
Zia, distraught over breaking up with his girlfriend, decides to end it all. Unfortunately, he discovers that there is no real ending, only a run-down afterlife that is strikingly similar to his old one, just a bit worse. Discovering that his ex-girlfriend has also “offed” herself, he sets out on a road trip, with his Russian rocker friend, to find her. Their journey takes them through an absurd purgatory where they discover that being dead doesn’t mean you have to stop livin’!
Jep Gambardella has seduced his way through the lavish nightlife of Rome for decades, but after his 65th birthday and a shock from the past, Jep looks past the nightclubs and parties to find a timeless landscape of absurd, exquisite beauty.
Bad People is a dark comedy feature film that begs us to laugh at the absurdity that is all around us: crack smoking politicians, prostitutes turned reality stars, religious charlatans, sex obsessed online dating, elitist parents, infidelity, and political correctness. Told through the lens of several short stories, the film examines the hysterical dark side that permeates our society today.
Simple conversations engender complicated human interactions. The first in Eric Rohmer’s Four Seasons series, Conte de printemps (A Tale In Springtime) is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter’s already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel’s attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no ‘proper’ way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.
