
Dilys

Cast

Cast

One of three films made as part of the multi-media project ‘Doem, Dood & Verderf’ (2017) by Mees Joachim, chronicling the most traumatic moments from three of their prior long-term relationships. This multi-media project took the form of twelve 100x65cm illustrations, 4 per relationship, an EP released as Pink Boah (Zalmroze in collaboration with Jerboah) and three experimental films backed by the three title tracks from the Pink Boah EP. Each of the three films is a self-projected character study, with the three relationships being depicted and acted out, by the artist and a placeholder model, through physical performance and touch. Visually it is most in line with the artist’s photographic series "The Gaze Upon The Male Gaze”, made for Sauce Magazine, with both the films and that photo series being highly sexploitative in nature.

One of three films made as part of the multi-media project ‘Doem, Dood & Verderf’ (2017) by Mees Joachim, chronicling the most traumatic moments from three of their prior long-term relationships. This multi-media project took the form of twelve 100x65cm illustrations, 4 per relationship, an EP released as Pink Boah (Zalmroze in collaboration with Jerboah) and three experimental films backed by the three title tracks from the Pink Boah EP. Each of the three films is a self-projected character study, with the three relationships being depicted and acted out, by the artist and a placeholder model, through physical performance and touch. Visually it is most in line with the artist’s photographic series "The Gaze Upon The Male Gaze”, made for Sauce Magazine, with both the films and that photo series being highly sexploitative in nature.

One of three films made as part of the multi-media project ‘Doem, Dood & Verderf’ (2017) by Mees Joachim, chronicling the most traumatic moments from three of their prior long-term relationships. This multi-media project took the form of twelve 100x65cm illustrations, 4 per relationship, an EP released as Pink Boah (Zalmroze in collaboration with Jerboah) and three experimental films backed by the three title tracks from the Pink Boah EP. Each of the three films is a self-projected character study, with the three relationships being depicted and acted out, by the artist and a placeholder model, through physical performance and touch. Visually it is most in line with the artist’s photographic series "The Gaze Upon The Male Gaze”, made for Sauce Magazine, with both the films and that photo series being highly sexploitative in nature.

In this Depression-era tale, Calef McKinney, traveling from Michigan to California, stops in Spooner, Missouri, where Lute hires him for odd jobs. Calef gets involved with Lute's niece, Hannah. But she's married to Sidney, a wife-beating drunk who hopes to inherit his uncle-in-law's money. Sidney and an eccentric preacher plot against Calef, who finds it difficult to conceal his mysterious past and his growing affection for Sidney's wife.

Within the decadent walls of the Frankenstein mansion, the Baron and his depraved assistant Otto have discovered the means of creating new life. As the Baron's laboratory begins to fill up with stitched body parts, the Baroness dallies with the randy new manservant and soon the decadent, permissive household is consumed by an outrageous, bizarre and hilarious combination of death and dismemberment.

Laurie and Hugh are a successful young couple who have just closed on a weekend home away from the city. Unbeknownst to them, the neighboring property contains the crumbling remains of a boarding school that was shuttered in the wake of an unspeakable massacre. The sole survivor of that massacre still resides in the ruins of the school, hiding from the world and wanting only to be left alone. When Laurie and Hugh's friends explore the property, they have no idea that they disturbed an emotionally-broken killing machine: The Blood Widow.

A girl arrives from London to visit her estranged relatives in a remote castle for the reading of her father's will. After a while she discovers that they are all in fact dead and her decision to live with them turns into a nightmare. Unable to leave she's drawn into a macabre underworld through visions of nude satanic rituals and her own impending sacrifice.