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A Ma Soeur! is a provocative and shocking drama about sibling rivalry, family discord and relationships. Elena is 15, beautiful and flirtatious. Her less confident sister, Anais, is 12, and constantly eats. On holiday, Elena meets a young Italian student who is determined to seduce her. Anais is forced to watch in silence, conspiring with the lovers, but harbouring jealousy and similar desires. Their actions, however, have unforeseen tragic consequences for the whole family.

As a young girl in Japan, Nagiko's father paints characters on her face, and her aunt reads to her from "The Pillow Book", the diary of a 10th-century lady-in-waiting. Nagiko grows up, obsessed with books, papers, and writing on bodies, and her sexual odyssey (and the creation of her own Pillow Book) is a "parfait mélange" of classical Japanese, modern Chinese, and Western film images.

Ken Park focuses on several teenagers and their tormented home lives. Shawn seems to be the most conventional. Tate is brimming with psychotic rage; Claude is habitually harassed by his brutish father and coddled, rather uncomfortably, by his enormously pregnant mother. Peaches looks after her devoutly religious father, but yearns for freedom. They're all rather tight, or so they claim. But they spend precious little time together and none of them seems to know much about one another's family lives. This bizarre dichotomy underscores their alienation # the result of suburban ennui, a teenager's inherent sense of melodrama, and the disturbing nature of their home environments.

A young girl whose father is an ex-convict and whose mother is a junkie finds it difficult to conform and tries to find comfort in a quirky combination of Elvis and the punk scene.

A nearly wordless visual narrative intercuts two main stories and a couple of minor ones. A woman, perhaps the Madonna, brings forth her baby to a crowd of intrusive paparazzi; she tries to flee them. Two men who are lovers marry and are arrested by the powers that be. The men are mocked and pilloried, tarred, feathered, and beaten. Loose in this contemporary world of electrical-power transmission lines is also Jesus. The elements, particularly fire and water, content with political power, which is intolerant and murderous.

After the death of his mother, the epileptic Aden flees to the desert in order to avoid any police questioning, as they believe that he was responsible for his mother's death. It is in there that Aden meets the savage yet noble Marvel. They are like two sides of the same character. While the two men bond over their travels, Aden tries to convince him that civilization is much more desirable than the wilderness, although Marvel appears to disagree. During all of this the police continue their relentless pursuit of Aden.

Charles drifts through politics, religion and psychoanalysis, rejecting them all. Once he realises the depth of his disgust with the moral and physical decline of the society he lives in, he decides that suicide is the only option...

A Baltimore sandwich shop employee becomes an overnight sensation when a photographer's photos he's taken of his weird family become the latest rage in the art world.

Constructing this film through random scenes, director Harmony Korine abruptly jettisoned any sort of narrative plot, so here we go: Solomon and Tummler are two bored teenage boys who live in Xenia, Ohio. A few years ago, a tornado swept through it, destroying more than half the town and killing the same amount, including Solomon's father. The film, from there, chronicles the anti-social adventures these two boys have. These include sniffing glue, killing cats, having sex, riding dirtbikes, listening to black metal, and meeting a cavalcade of quirky, bizarre, and scary people. These include a man who pimps his mentally ill wife to our anti-heroes, three sisters who play with their cat and practice becoming strippers, a black midget fending off the sexual advances of a troubled man (played by the director Harmony Korine), a 12-year-old gay transvestite who is also a cat killer, Solomon's mother who seems to be the only glimpse of sanity, two foul-mouthed six-year olds, and most importantly, a nymphlike skateboarder who walks around town wearing pink rabbit ears.

Identical twins Oliver and Oswald Deuce lose their wives in a car crash caused by a white swan. The brothers, who are zoologists, become obsessed with the death and decay of animals. They both have a relationship with Alba, the driver of the crashed car, who loses first one leg then the other. When Alba dies, the twins film their own death.

While dealing drugs on the side, Gonda operates the Genet, a gay bar in Tokyo where he has hired a stable of transvestites to service the customers. The madame or lead "girl" of the bar is Leda, an older, old fashioned geisha-styled transvestite with who Gonda lives and is in a relationship. Arguably, the most popular of the girls working at the bar now is Eddie, a younger, modern transvestite. Like Leda, Eddie lives openly as a woman. Eddie's troubled life includes her father having deserted the family when she was a child, and having had a difficult relationship with her mother following, she who mocked Eddie's ability to be the man the of the family. Gonda enters into a sexual relationship with Eddie, who he promises to make madame of the bar, replacing Leda in both facets of his life, with Eddie having threatened to quit otherwise. While Leda suspects what Gonda and Eddie are up to, Gonda tells Leda what she wants to hear, much as he tells Eddie what she wants to hear. As this triangle plays itself out, what actually happens is affected by a joint history between Gonda and Eddie of which they are unaware. This film teeters between fiction and non-fiction as a secondary story is Eddie's friendship with a group of counter-culturalists, including filmmaker Guevara, whose making of a movie mirrors the making of this film. That balance tips into non-fiction as the actual actors in this and Guevara's movie talk about issues covered in this film, such as drug use, and sexuality, especially transvestism as the transvestite characters are played by real life transvestites.

The story of Joe [Dallesandro] and his lover-protector, Holly [Woodlawn], who is something to behold, a comic book Mother Courage who fancies herself as Marlene Dietrich but sounds more like Phil Silvers. Joe and Holly try to make a go of things in their Lower East Side basement, from which Holly goes forth from time to time to cruise the Fillmore East and to scavenge garbage cans, while Joe's journeys are in search of real junk... Trash is true-blue movie-making, funny and vivid.--Vincent Canby, The New York Times. Written and directed by Paul Morrissey, "presented" by Andy Warhol.

The eccentric professor Oscar Collins lives completely secluded in his chaotic apartment. When a model (Penny Lane) and her photographer boyfriend move in next to him, he becomes fascinated with her. He drills holes in the walls and ceiling and peeps on her day and night. He loses himself in daydreams and delusions.

Paul Groves (Peter Fonda), a television commercial director, is in the midst of a personality crisis. His wife Sally (Susan Strasberg) has left him and he seeks the help of his friend John (Bruce Dern), a self-styled guru who's an advocate of LSD. Paul asks John to be the guide on his first "trip". John takes Paul to a "freak-out" at his friend Max's (Dennis Hopper) pad. Splitting the scene, they score some acid from Max and return to John's split-level pad with an indoor/outdoor pool. Paul experiences visions of sex, death, strobe lights, flowers, dancing girls, witches, hooded riders, a torture chamber, and a dwarf. He panics but John tells him to "go with it, man." Would you trust John?

Since a road accident left him with serious facial and bodily scarring, a former TV scientist has become obsessed by the marriage of motor-car technology with what he sees as the raw sexuality of car-crash victims. The scientist, along with a crash victim he has recently befriended, sets about performing a series of sexual acts in a variety of motor vehicles, either with other crash victims or with prostitutes whom they contort into the shape of trapped corpses. Ultimately, the scientist craves a suicidal union of blood, semen, and engine coolant, a union with which he becomes dangerously obsessed.

For more than a month, eating only powered sugar, a woman tries to deal with a breakup: she paints her room twice, removes the furniture, writes and rewrites a letter to her lover, clarifying all she had said. She spreads the pages on the floor. She lies down and waits. Finally, her sugar eaten, she is hungry and leaves. She flags down a truck; she and the trucker drive through the dark, stopping at a diner and bars. He asks for a hand job, she complies. He talks about his wife, children, and sex life. She arrives at the flat of her lover, a woman, who tells her she cannot stay. She says she is hungry, so her lover feeds her then allows her to stay the night. They make love.

After racing in New Hampshire, the lonely motorcycle racer Bud Clay drives his van in a five-day journey to California for the next race. Along his trip, he meets fans, a lonely women, and prostitutes, but he leaves them since he is actually pining for the woman he loves, Daisy. He goes to her house and leaves a note telling where he is lodged. Out of the blue, Daisy appears in his hotel room and soon he learns the reason of why he can't find her.

A day in the life of several prostitutes in an upscale Manhattan whore house. The film is a stark portrayal of the women prostitutes, the male customers and the motivations of both. Watch as the madam manipulates her "girls". Watch as she answers the phone by saying "Hello John, what's new and different?" Watch as the "johns" try to manipulate the "girls". Part nudie exploitation, part sociological thesis.