Many of my films involve humour, but unlike the earlier work Shepherd’s Delight attempts to confront the problem of humour head-on, referring directly (since a large part of the film is composed of jokes and their analysis) to the viewer’s perception of the film itself. The film is largely concerned with how context determines the reading of information. Since the film’s statements oscillate between the deadly serious (concentrating particularly on an examination of the more sinister aspects of humour) and the totally bogus, with no clearly defined points of changeover, the context is often ambiguous. Hopefully, this strategy undermines both the authority of the ‘serious’ statements and any predictable effect of the ‘jokes’. John Smith, 1984
You May Also Like
In the near future, when getting an abortion has once again become a criminal offense, Kara is confronted by a grim and brutal reality. Even though obvious dangers are at play, she seeks out the services of an illegal mobile abortion clinic. Once inside the meanders of this morbid clinic, she is confronted with the consequences of her painful decision. Not only are her life and freedom in danger, but Kara is unprepared to face the emotional repercussions that her decision will have on her and those around her.
Anna, an agency worker, takes her dog for a morning walk before doing her shopping. Searching through the discounted items, Anna wanders through the supermarket trying to find the most affordable necessities. As her groceries edge towards the checkout, her agency calls; she has lost her shift. What will she do? The Shift aims to capture the vulnerable condition of a temporary worker and to reveal the immediate consequences of the dangerously short and ever-present distance separating employment and poverty, security and tumult.
When you’re the #2 Bad Guy, your days are usually numbered.
The film “Hurricane on the Bayou” is about the wetlands of Louisiana before and after Hurricane Katrina.
A young criminal plans his first murder which will be carried out before an old man, his plan does not go as expected and takes a 180 degree turn.
When Jacob tells Jesus that his son, Lazarus, is dead, Jesus goes to his home to resurrect him. Only, this is the first time that Jesus has ever tried to bring back someone from the dead. You do not always get it right the first time. What follows is a gore-tastic nine minutes of Biblical splatter violence and comedy. Even our Lord and Savior goofs up once and a while. But he makes amends. Big time.
One by one, a flock of small birds perches on a telephone wire. Sitting close together has problems enough, and then comes along a large dopey bird that tries to join them. The birds of a feather can’t help but make fun of him – and their clique mentality proves embarrassing in the end.
A woman in an unknown town. As she walked through empty streets, she saw a strange personage, wearing the same hat and neckerchief, watching at her. The woman decided to follow the odd character. Then, the nightmare began.
A father teaches his son about the harsh realities of being a black man in a new and inventive way.
Angola Do You Hear Us? Voices from a Plantation Prison gives us a window into playwright Liza Jessie Petersonandapos;s performance in 2020 of her acclaimed play The Peculiar Patriot performed at Angola, the Louisiana State Penitentiary, …
