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The killings attributed to the Manson Family are, in their essence, no different than crimes that happened on a daily basis in the 1960's.
MANSON FAMILY MOVIES is structured to resemble just that: home movies shot by members of the Manson Family. Although it shows the Family and their crimes in great detail, MANSON FAMILY MOVIES does not glorify them. With Manson Family Movies John Aes-Nihil has taken this material combined with the rumour that The Family also filmed re-enactments of their murders and produced a chillingly accurate portrayal of what these films may have been like. Family Movies was shot on scratchy 8mm film stock and is silent aside from the soundtrack which is a combination of Charlie's music, Aes-Nihil's band Beyond Joy and Evil which is of a similar folksy tone to Charlie's, and avant-garde electronics, backward voice loops & squealing sax during the more atmospheric parts.
The gritty home movie quality coupled with the flawless soundtrack adds so much realism to the film that it almost looks and feels like the real thing.
Seeing as the film is shot from the point-of-view of The Family recreating their crimes there is a sense of comedy here too - some members play two or three characters which infrequently leads to them being in drag, oftentimes the cast struggle to keep a straight face, particularly during the murder scenes, there are recurring in-jokes like Sharon Tate's black maid constantly reading Nietzsche, an amusing nod to Valley of the Dolls and a hilarious moment during Tate's prolonged murder scene when a discordant punk song suddenly erupts on the soundtrack entitled Die Bitch (courtesy of the Sloppy Titty Freaks). For those familiar with Manson’s oftentimes dark and intensely idiosyncratic folk music, Manson Family Movies plays like a genuine Mansonite musical. Although I cannot say I have read a single word written by southern sodomite playwright Tennessee Williams, I don’t think I have ever seen a bad film adapted from one of his works and I say that as someone who hates old school Hollywood as much as contemporary Hollywood. With the possible exception of Suddenly Last Summer, The Drift has to be auteur John Aes-Nihil’s most infectiously campy work to date. From the Pope of Aesthetic Nihilism himself - Jon Aes-Nihil - comes this bizarre reimagining of the Karpis-Barker gang saga. Shot on location at the Barker and Spahn Ranches and inspired by Roger Corman’s Bloody Mama, Aes-Nihil presents a deviant vision of the wild west laced with drunken transgressions and quadriplegic sex acts. The whole atmosphere of the film feels very much like a fucked-up home video, e.g - a bunch of friends get off their tits and decide to break out the camera and indulge in some play-acting. While John Aes-Nihil might owe an aesthetic debt to Tennessee Williams, Jack Smith, Andy Warhol, Paul Morrissey, and George Kuchar, contemporary arthouse trash auteurs like Harmony Korine (Gummo, Spring Breakers) and Giuseppe Andrews (Trailer Town, Period Piece) certainly owe the aesthetic nihilist a debt as well. Suddenly Last Summer is directed & adapted from Tennessee Williams' renowned play by underground filmmaker John Aes-Nihil (Manson Family Movies, The Ma Barker Story, The Roman Spring of Mrs.
I feared that Aes-Nihil could not possibly transcend the original Manson Family Movie but I was incorrect.
The John Aes-Nihil film Suddenly Last Summer channels the wake of the Titanic: recognizable chunks of Tennessee Williams' original text, plot, and cast bob and float on a soundtrack of malice. Organ music hums and whirs beneath Vaginal Davis, a big black man in a white dress humming along imposingly as Violet Venable (the mother of Sebastian, a dead young poet) and the organ swells and whines just as Jade Gordon, a white woman in a big black wig, swells and whines playing Catherine Holly, the distant cousin who was there to witness the young poet die.
Often the periphery of a given shot punctures what's being said or shown: in one sequence a chandelier crystal cuts down like a fang, in the extended opening sequence a boa sits coiled on Mrs. Vaginal Davis, a major Los Angeles drag star, singer, stage performer, and DVD artist, dominates and intimidates all competition in Jon Aes-Nihil's SUDDENLY LAST SUMMER: a send-up and shrewdly perverse examination of Tennessee Williams' short story of the same name. In fact, one of the riveting aspects of this movie is watching the co-stars waiting for their chance to get a word in edgewise, trying to find their way around the cue that Vaginal Davis failed to drop, and defending themselves against her more-than-physical upstaging. The choice of cannibalism for a subject has never been a lucky one for writers, and SUDDENLY LAST SUMMER was not Williams' only attempt to deal with it. Film adaptations of Tennessee Williams' plays can be trying, especially for those of us lucky enough to have seen a well-rendered stage production. And yet, miraculously, cult legend John Aes-Nihil re-articulates for film Williams' essential spirit and thanatos in this unexpected treasure.
Most of Williams' plays are forced to endure distorted endings at the hands of Hollywood—and, on first viewing, Aes-Nihil's Suddenly seems to uphold the tradition. Aes-Nihil's film develops in reverse, from the psychosexually open-ended closing moments at a paid public beach, and is accompanied throughout by an ardent devotee's selection of George Wright phonograph recordings. The second installment in director John Aes-Nihil's Tennessee Williams trilogy stands proudly ostracized from all modern independent endeavors. The narrative centres on wealthy widow Violet Venable whose son Sebastian, a poet, has recently died while on vacation with his cousin Catharine.
Mention must be made of the soundtrack here, too, as it ranges from baroque organ music, free jazz saxophone and guitar to a high pitched drill-like effect that is explained away as the sounds of Mrs. Finally graduating from the nauseatingly nostalgic true grit of VHS to digital video, sub-underground archivist, historian, and auteur John Aes-Nihil (Manson Family Movies, The Dreamachine Exhibition) would eventually complete the second film in his proposed Tennessee Williams trilogy (following The Drift and the mysterious Boom), Suddenly Last Summer (2008). While I must admit that I discovered more delightful aesthetic debasement and diva derangement in director John Aes-Nihil’s previous Tennessee Williams adaptation The Drift (1989), Suddenly Last Summer still has enough post-postmodern trashcan camp to wet the panties of 101 attention-starved white trash tranny junkies from Southern California.
DREAMACHINE EXHIBITION AT CABARET VOLTAIRE ZURICH - The Dreamachine is a stroboscopic apparatus that when sat in front of with the eyes closed induces a hallucinogenic, hypnagogic state. The Dreamachine Exhibition documents the 2008 installation at Cabaret Voltaire in Zurich, birthplace of the Dada movement.
Afterwards we are taken on a tour of the actual exhibition which includes a video introduction to the Dreamachine by Dr.
For an 83 minute film purely documenting the Dreamachine Exhibition, this is surprisingly fascinating viewing.
The Dreamachine created in the early 1960s by artist Brion Gysin and mathematician Ian Sommerville is possibly the most effective of all the brain-wave simulators, which can create hallucinations and induced visions, without the use of drugs.
Though gruesome, multiple homicides and even serial murder were not new concepts at the time. Working without dialogue, Aes-Nihil attempts to bring a narrative structure to a collage of images that are both graphic and disorienting at times. In lieu of dialogue, Aes-Nihil will occasionally use crudely drawn title cards to convey character's speech.
Later on the truck was dumped and the majority of its contents given away, but Charlie kept one of the cameras. It seems kind of pointless to go into details here as I'm sure the majority of you reading this are well aware of the grisly facts. The film was shot a mere few years after the murders and uses all of the exact locations where the events happened.
Part of this feeling of authenticity is also due to the fact that the cast is made up of a rag-tag bunch of Aes-Nihil's hippie friends and people literally pulled off the street, some of whom were acquaintances of The Family - one of the actresses playing Squeaky pulled out of the film after shooting a few scenes because her apartment burned down and she suspected it was retaliation from Family members for starring in the film. Indeed, while occult guru Nikolas Schreck’s documentary Charles Manson Superstar (1989) probably provides the best and most objective look at Manson Christ and his crazy gals, Manson Family Movies is the most aggressively visceral and vicious look at the sordid story and thus makes for singular viewing (dis)pleasure that simultaneously manages to both trivialize the bloody beatnik events and aesthetically terrorize the viewer in an uncompromising fashion that one would expect from a mad man. It seems when Charlie was locked up as a youngster in the early ‘60s, Creepy took him under his wing and taught him to play the guitar. The Goddess Bunny is superb as the Barker matriarch, waving her shotgun around at random and egging her boys on. This is not a negative point in my opinion as it brings to mind the early films of auteurs such as Andy Warhol, John Waters and the Kuchar Brothers.
Particularly in the final scenes the melancholic country songs coalesce with the onscreen goings-on to make it all that much more powerful. This film is uniquely entertaining and possibly the director's most impressive work to date.

In the body of the film he's played by Lawrence Elbert, in a sequence that closes the movie the role is done by David Organisek.
Handling the talkathon role of Mrs Venable with supreme confidence (and memory), she takes quite seriously the role of a mother-in-law out to lobotomize her late son's wife, Catherine Holly – to prevent her from disclosing his use of them both as procurers - and his consequently being cannibalized.
Most martyred and long-suffering of these co-stars is the late Lance Loud (to whom the film is dedicated) who plays the less than enthusiastic Dr. Here, it is entirely unbelievable: and Jon Aes-Nihil, in hilariously dissecting its symbolism in Williams' story, is perhaps reminding us of the generally unbelievable material in Williams' opii, over and against their popularity. I attended the London premiere of a magnificent Suddenly, Last Summer production in 1999, with Sheila Gish as Mrs. It is, though, a subtle difference, and the subtlety is reinforced by an obvious aesthetic kinship. These theatre organ masterpieces are captivatingly well-suited, lending the film an effective means of time travel to a lost era of style, grit and fire, yet also an emotional resonance that protects this gem from the clutches of kitsch. Now, having never seen any of Williams’ original plays nor any of the numerous film and television adaptations myself, I can only judge his work from the interpretations of Mr. Vaginal Davis) is rather melancholy over the fact that her art-fag poet son Sebastian (portrayed by both Lawrence Elbert and David Organisek) will never write another poem again (during his short life, he would write a whopping single poem a year in between vacationing), but that does not stop her from being so disgustingly hateful as to plot to have her niece-in-law Catherine Holly (Jade Gordon) receive a lobotomy so as to hide the fact that her pretentious pansy progeny enjoyed engaging in mass orgies with dirty and uneducated proletarian boys. Indeed, while big and bombastic blacktress Vaginal Davis lacks the handicapped homo glamour of thee Goddess Bunny, he certainly lent a certain untamed energy to the role of Violet Venable that reminds one why Katharine Hepburn is one of the most absurdly annoying, uniquely unfeminine, and outrageously overrated queen bitches to be shat out the kosher gloryhole that is holy-wood. David Woodard and Christian Kracht (whose ode to the elegant aesthetics of Japanese toilets is most charming), Ma Sheela speaks about her art therapy with mental health patients incorporating the Dreamachine.
David Woodard, photo documentation of Ma Sheela and her patients interacting with the machine and some of their artworks, a preview of Jon Aes-Nihil’s upcoming documentary William S.
Admittedly the opening readings could be considered a little dry for home spectators, but once the exhibition is opened up things get more stimulating.
Burroughs, one of the three seminal writers of the Beat Generation (the other two being his friends Jack Kerouac and Allen Ginsberg), was born in St. The film is not silent, however, the soundtrack is compiled from the recordings of Manson and his Family members, lending a macabre authenticity to the proceedings. Just as your trip to the beach when you were nine is a part of your memory and an event that shaped your life, the Manson Family murders are part of the memory of America. The Family also allegedly owned three Super-8 cameras which they used to produce amateur porn films. Aes-Nihil's dedication and meticulous attention to detail here is beyond obsessive, right down to the precise spot where they dumped their bloody clothes after the Tate murders. Inspired by the supposed urban legend that Manson and his acidfreak pseudo-family had actually filmed their aberrant activities and even went so far as creating the murders for posterity, Manson Family Movies is an innately morally retarded no-budget piece of pathetically provocative celluloid shit that was shot on consumer grade 8mm film stock so as to give it an audaciously authentic essence as if one of the family members was sober enough to keep a camera rolling as the rest of the gang partied homicidally hard.
Opening with Manson strumming his guitar and subsequently carnally manhandling Sadie Mae Glutz, Manson Family Movies ultimately takes an abridged fragmented approach to cinematically telling the torrid tale of the life and times of the Manson Family. In addition to receiving critical acclaim from such great queer auteur filmmakers as Kenneth Anger and John Waters, Manson Family Movies also received perverse praise from unhinged underground filmmaker George Kuchar, who stated personally to director Aes-Nihil, “I remember your film very well and it looked SCARY! Stone has no idea that her life will ultimately take a tragic turn for the worse after becoming the more than willing pawn of a male prostitute puppet and his tranny pimp puppet-master. It's hard not to see the whole thing in one sitting but once you're caught in that web of decorated decadence it's impossible to budge the buttocks toward more saccharine seating,” The Drift is certainly the cinematic equivalent of a sleazy mass market romantic page-turner as found in the porn collection of Werner Schroeter. She even has a somewhat touching scene with her aged mother who gives a heartfelt plea for daughter to go on the straight and narrow.
There is the signature obsession to detail that is typical of an Aes-nihil production but here it's transmuted into a kind of voyeuristic case study. Sugar circles her like a smiling pilot fish – listening as she proposes he perform a lobotomy on Catherine. Hansen is Diane Arbus-real – the role's any pretense to something other than artifice a pretense in itself. The story grows progressively stranger with each passing scene, and those who are familiar with the original play will be awe-striken by Aes-Nihil's extraordinary vision of the cast. Sugar injects Catharine with truth serum, the fantastic reality of Sebastian’s death finally comes out and all illusions are shattered. Despite (or more likely because of) sounding slightly schizophrenic, a very effective score.
As is revealed in gay gossipy detail, twink sodomite Seb used to use his cousin Catherine as a means to lure men and since she knows he is a homo who died via ritualistic cannibalism, Mrs. After watching Suddenly Last Summer back-to-back with Mankiewicz’s dark 1959 melodrama starring Hepburn and Elizabeth Taylor, I can safely say that Aes-Nihil did an innately iconoclastic job reducing a Hollywood classic to the level of an off-off-off-Broadway drag show that would even make gay gutter-auteur Andy Milligan gawk in abject disgust. David Woodard, who, after corresponding with Burroughs in the ‘90s tweaked and perfected the Dreamachine, subsequently constructing models for celebrities such as Kurt Cobain and Iggy Pop. Burroughs and the Dreamachine, and a darkroom housing the machine where observers are able to experience it for themselves. Burroughs (Junkie, Naked Lunch) introduced it to a wider audience in the 1980s it became a phenomenon in the underground scene, and was re-introduced by Dr.David Woodard in the 1990s when he started re-creating the Dreamachines.
Louis, Missouri, on February 5, 1914, to the son of the founder of the Burroughs Adding Machine Co.
Much like it's films, Hollywood's most famous murders were tailored perfectly for public consumption.
The lack of dialogue creates a problem for viewers unfamiliar with some of the subtle details of the case. Indeed, shot silently and featuring not a single line of audible dialogue, Manson Family Movies certainly feels like a home movie from hyper-hedonistic hippie hell and a work that seems like it was filmed by a spastic speed addict for his own aimless brain dead amusement.
Stone (1950), which was also adapted by José Quintero in 1961 as a British production starring Vivien Leigh and a rather young Warren Beatty and later adapted in 2003 by Robert Allan Ackerman as a TV movie starring Helen Mirren and Anne Bancroft. Starring a humungous he-heroine who is literally twice the height of her friends and two real-life rivals, the Goddess Bunny and the Cosmic Danielle aka Cosmic Daniel, playing cinematic rivals, The Drift is undeniably equipped with an unhinged universe that delicately defiles the viewer’s soul with egomaniacal tranny glamour.
Also, like Manson Family Movies, The Ma Barker Story was also partly filmed at the Spahn Ranch (as well as Barker Ranch) where the so-called Manson Family lived and engaged in lecherous LSD-fueled orgies. While Ma Barker is portrayed as a mad matriarch of sorts in Aes-Nihil’s The Ma Barker Story, she is also depicted as an intrinsically inept individual who cannot even bother to fry a single egg for her sons.
Jason Majik as Catherine's handsome brother twirls his tennis racket as if drilling a hole in the camera.
He is several times crushed against Ms Davis' bosoms to prevent him from opening his yap, and on one occasion has to remind her of her own lines. Venable to have become, this is after all a movie, and a well-paced Vaginal grows increasingly ghastly as the narrative unfolds—strong work on her part, as on the enigmatic director's.
It can also be said, without a moment of hesitation, that this is the only Tennessee Williams film adaptation to combines the erractic sounds of Pharaoh Sanders and George Wright.
Sugar (aka Cukrowicz) endeavouring to convince him to perform a lobotomy on her niece in an attempt to stop her spreading the scandalous circumstances of her son’s death. Vaginal Davis as his run-on monologues, screaming fits, wardrobe choices and scenery-chewing performance is just jaw-dropping and ultimately makes the film what it is.

Mankiewicz’s 1959 Hollywood adaptation of the same name starring Elizabeth Taylor and Katharine Hepburn, as well as the 1993 BBC Great Performances TV play starring Maggie Smith, Rob Lowe, and Natasha Richardson. William Burroughs had long been an advocate of the machine and helped it gain more widespread attention. In this document filmmaker and photographer Jon Aes-Nihil, films Woodard and Burroughs at LACMA, Los Angeles, California (1996, featuring Allen Ginsberg and Leonardo DiCaprio), the Nova Convention, Lawrence, Kansas (1996) and visits Burroughs at his home(1997), recording the last footage of him, in a conversation on drugs and government policies, 6 months prior to his passing. He grew up in patrician surroundings and attended private school in Los Alamos, New Mexico, chosen due to the climate as he suffered from sinus trouble (the school was later used to house the Manhattan Project during World War II)). Aes-Nihil uses a blend of concrete facts (to which he brings a high level of detail) and urban legends surrounding the crime, which are shown in gloriously exploitive sequences. This is clearly a film for devotees of the crime, as an intimate knowledge of it is all but required to follow the film closely.
Aes-Nihil's film shows the murders as an event that transcends a mere crime story and instead a crucial event in shaping society after the sixties. Needless to say, with its combination of paraplegic, Amazonian, and Latino trannies, as well as no-budget camcorder aesthetic and classical European architecture, The Drift is easily the most innately absurdist, aesthetically repugnant, and melodramatically preposterous take on a Tennessee Williams work that I have ever seen.
Daring enough to utilize a polio-crippled tranny in the role of malevolent matriarch whose immorality and lack of daintiness is only transcended by her superlatively sickening sexual voraciousness with The Ma Barker Story, Aes-Nihil has even managed to one-up German dandy Werner Schroeter (Eika Katappa, Willow Springs) in terms of cinematically immortalizing the most ungodly idiosyncratic diva the world has ever seen.
The combined talents of director and superstar performance is almost too much for the film to contain.
The Goddess Bunny has rarely looked so manly as she does in her white wimple playing Sister Felicity, Catherine's guardian. Jade Gordon sedately handles the role of Catherine Holly, managing to capture the seductive look and postures of Liz Taylor (who essayed the part in the unsuccessful Hollywood version) minus Taylor's histrionics. Cult Epics presents on the Centennial of Burroughs Birth “In the Dreamachine” for the first time on DVD.
Playing opposite her as the villain was Charles Manson, a larger-than-life character that seemed to embody the worst aspects of the permissive sixties culture. Probably the most ambitious and oddly obsessive cinematic attempt to recreate an infamous true crime case, Manson Family Movies was shot at the actual locations of the events leading up to, and including, the flower-power-exterminating Tate-LaBianca murders (including the very spot where the hippie killer dropped the bloody clothing of Sharon Tate and her fellow victims). Being a deluded Zen Buddhist, homo hippie Hinman does not even put up a fight and even goes so far as peacefully handing a weapon to one of his deranged torturers. The physical and emotional intensity of Davis is channeled into the Tennessee Williams adaptation resulting in a conceptual implosion.
Gordon also cleverly integrates her real-life patience into the character's near crushing circumstance. Holly (lapsed Warhol superstar Bibbe Hansen, who is probably best known as the mother of musician Beck) and greedy philistine brother George Holly (Jason Majik) stand to receive $500,000 from Mrs.
Conservative America was distrustful of the youth movement, and Charles Manson's very existence confirmed all of their fears. A mischievously merry and wantonly witchy Mansonite jamboree movie, Manson Family Movies features gay negro drag queen maids reading Nietzsche, three different (non)actresses playing Susan Atkins aka Sadie Mae Glutz, degenerate hippie bastards in Nazi helmets sieg heiling the police, and a hip and happening neo-völkisch hillbilly folk soundtrack by Mr. Manson also pays a visit to the Hinman home and cuts the drug dealer’s ear with a sword.
For those that enjoyed Manson Family Movies, contemporary punk artist Raymond Pettibon’s somewhat inferior shot-on-VHS epic of lo-fi video-art-filth The Book of Manson (1989) also makes for mandatory viewing. Indeed, as a nation that has the largest and richest film industry yet has only managed to sire outmoded genres like westerns by artisans (as opposed to artists) like John Ford, America is quite lucky it has even been able to produce an innately iconoclastic filmmaker like John Aes-Nihil who, with The Ma Barker Story and his other films, has managed to destroy what American cinema is all about and do it on a budget probably lower than Roger Corman paid a single film extra for a day’s work. Venable as a reward for her lobotomy, Catherine really has very little choice about whether a piece of her grey matter will be drilled out of her thick skull or not. A decidedly deranged depiction of demented man-divas of the physically and emotionally misbegotten sort, The Drift is the sickly sassy tale of a famous theater star who quits acting for her billionaire industrialist hubby, only for said billionaire industrialist hubby to die shortly after and leave her a widow and the prey of her scheming shebitch friends. A honkey home-video from anti-Hollywood Hades, The Ma Barker Story pisses on American celluloid wet dreams with the venomously vicious yet glamorous and campy vengeance of 2000 bottom-feeding Mansonite acidhead freaks. Bibbe Hansen (who appeared in Warhol movies at age 13) plays the mercenary Mrs Holly and Jason Majik enacts her equally mercenary son, George. Vaginal's Performance is Phenomenal!” in what could not have been a more apt endorsement. Meanwhile, a black tranny maid (The Cosmic Ray) religiously reads from Friedrich Nietzsche’s posthumously released tome The Will to Power and carefully dusts a LP soundtrack for Valley of the Dolls (1967) starring Sharon Tate.
A divinely nightmarish and nihilistic work from the apocalyptic aristocratic gutter, The Drift depicts everything that is repellant about the bombastic bourgeois bitches, albeit portrayed by poor tranny proletarians. Indeed, the black tranny is Tate’s maid and the shemale spade also force-reads excerpts of The Will to Power to the bimbo-like babe as if her life depends on it. In a bit role as the nurse Miss Foxhill gingerly engineering Vaginal in a wheelchair, The Goddess Freya encapsulates what is so funny about all the performances. Of course, the Manson family eventually pays an unexpected visit to the Tate-Polanski home and they slaughter all the inhabitants of the house, but not before making macabre jokes about the fact the actress is pregnant and her baby will die a violent death as well. A pounding melodramatic score, humorously injected with the cries of flesh-eating birds, is provided by George Wright and Pharoah Sanders. In what is easily the most artful and transcendental scene of Manson Family Movies, Charlie is lovingly crucified by his family in a scene rivaling the campy crucifixion from The Devils (1971) directed by Ken Russell. Sugar learns that Saint Sebastian was a scheming sodomite who took his cousin to Europe and treated her to a lavish vacation of decadence, but whose generosity was merely a ploy to con his relative into carrying out dirty deeds for him.
Indeed, Sebastian forced his little cousin to wear scandalous curve-exposing bathing suits to capture the attention of young men, so he could later defile them. Stone is nowhere near as talented of an actor as a handsome hustler named Paulo (Michael Kleats), who makes the lonely widow fall under his spell. Before using Catherine to procure prole peckers, Seb the sod also used his unwitting mother, who never in a million years would consider that her little baby boy was a debauched boy-buggerer.
I mean, scandal can ruin a name and in this town it will drive you down faster than the Titanic,” Mrs.
In what is a retardedly melodramatic scene, Ma Barker has a flashback of her mother's speech while dying a grizzly and agonizing death.
Stone is my ultimate number #1 thrill” and, indeed, with the help of her underling Paulo, she manages to get pornographic footage of Mrs. Pathologically lovelorn and suffering from the worse fate a woman can meet, a ruined reputation, Mrs. Smith wanders around the European countryside like a ghost searching vainly for some sort of intangible love.

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