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Scorpio Rising
Scorpio Rising (Kenneth Anger, 1964)

    Scorpio Rising

    Kenneth Anger, USA, 1964, 27’

    One of the first openly gay filmmakers in the United States, the work of Kenneth Anger was crucial within the queer cinema movement. His films often mix homoeroticism with surrealism.

    Scorpio Rising is perhaps Anger’s best-known work. Set to the beats of 1960s pop music, the film follows a group of bikers and explores the occult, homosexuality, and Nazism. It also idolises rebellious public figures such as James Dean and Marlon Brando.

    Its 1963 premiere in New York did not go unnoticed: the American Nazi Party filed a lawsuit, and the Lutheran Church accused Anger of plagiarism. Nevertheless, critics hailed the film as a game-changer. It not only inspired a lot of music videos but also filmmakers such as Martin Scorsese and Nicolas Winding Refn.

    Bio Kenneth Anger

    American underground legend Kenneth Anger (1927-2023) produced almost forty experimental short films, nine of which in particular have been grouped together as the ‘Magick Lantern Cycle’. They are the basis of Anger’s reputation as one of the most influential independent filmmakers in cinema history. His films variously merge surrealism with the occult and contain elements of documentary, psychodrama, and spectacle. Anger himself has been described as “one of America’s first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self-implicating manner,” and his “role in rendering gay culture visi …
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    • This film was #8 in the “Greatest” Short Films of All Time 2025
      voted by Carmen Gray, Didi Cheeka, Tianyu Jiang, Sanchai Chotirosseranee, Veton Nurkollari, Kyle Turner, Andrew Reichel, Paul Landriau, Daniel Mattes, Nuno Rodrigues, Taryn Joffe, Koyo Yamashita, Sven Pötting, Bennett Glace, Christoffer Ode, Michiel Philippaerts, Jade Wiseman, Simone Bardoni
    experimental avant-garde queer

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    Following the Object to Its Logical Beginning

    Lynne Sachs, USA, 1987, 7’

    Like an animal in one of Eadweard Muybridge’s scientific photo experiments, five undramatic moments in a man’s life are observed by a woman. A study in visual obsession and a twist on the notion of the “gaze”.

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    The Motherfucker’s Birthday

    Saif Alsaegh, Iraq, USA, 2024, 6’

    Through dancing, The Motherfucker’s Birthday shows the evil of the dictator and the horror people endure under powerful political leaders. The film presents dancing, a universal and uniquely human activity often representing joy, with eerie footage of Saddam and his sons’ torture tools while they dance.

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    Herman@s (Les Adelphes)

    Hélène Alix Mourrier, France, 2021, 29’

    Mexico, October 2011. A mysterious dream gives birth to Cuco, a transgender latex pirate activist. This essayistic film follows their quest to create more recognition for the queer community.

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    Before Then

    Mengzhu Xue, China, Germany, 2024, 30’

    Every form of communication involves deciphering codes. In Before Then, Mengzhu Xue attempts to confess a secret in the form of a letter in English, which she writes out phonetically in Chinese, and asks her grandmother to read out loud.

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    Working Knowledge of Ritual

    Hannan Jones, Australia, 2023, 4’

    By interweaving esoteric texts and images, Working Knowledge of Ritual underscores the interconnectedness of spirituality and nature. The film muses on our energies alongside the natural world, inspired by the writings of Leonard Jones.

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    Scum Mutation

    Ov, France, 2020, 10’

    In this cyberpunk animation, four creatures wobble like marionettes in a black void. An alien power tries to subdue them; police voices strike as if they were truncheons, but these vulnerable bodies start to fight back.

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    elephantfish

    Meltse Van Coillie, Belgium, 2018, 27’

    A ship drifts in the middle of an endless sea. Aboard is a crew of five. They all cope with boredom — some by trying to overpower it; others by escaping into a parallel world guided by dreams.

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    Downside Up

    Tony Hill, United Kingdom, 1984, 18’

    With a single camera movement, this film explores humankind’s relationship to the ground. The viewpoint continuously changes. Places, objects, people, and events come in and out of focus. These observations gradually speed up and reveal a double-sided ground, flipping like a tossed coin, which then slows again to oscillate around the Earth’s edge.

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