William S. Burroughs

After two years of filming, director Howard Brookner brought inventor and photographer Robert E. Fulton III a trunkful of William S. Burroughs footage to see if Fulton could edit his film. The result was a decidedly experimental 23-minute cut. The director was looking for a more narrative approach, so Fulton’s edit was never used.

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The life and work of Robert Frank—as a photographer and a filmmaker—are so intertwined that they're one in the same, and the vast amount of territory he's covered, from The Americans in 1958 up to the present, is intimately registered in his now-formidable body of artistic gestures. From the early '90s on, Frank has been making his films and videos with the brilliant editor Laura Israel, who has helped him to keep things homemade and preserve the illuminating spark of first contact between camera and people/places. Don't Blink is Israel's like-minded portrait of her friend and collaborator, a lively rummage sale of images and sounds and recollected passages and unfathomable losses and friendships that leaves us a fast and fleeting imprint of the life of the Swiss-born man who reinvented himself the American way, and is still standing on ground of his own making at the age of 90.

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Jon Aes-Nihil's experimental documentary about iconic Beat author William S. Burroughs' experiences using a stroboscopic device, known as the dream machine, which simulates the electric pulses of the human brain to elicit hallucinations and dream-like imagery while the user's eyes are closed.

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Thelema Now! host Frater Puck discusses William S. Burroughs, possession, synchronicities and chaos magick

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Peter Gidal’s starting point for his 16mm film was a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs. Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible’.

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Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible’

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Peter Gidal’s starting point for his 16mm film was a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs.

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For No Good Reason a film about Ralph Steadman. Johnny Depp guides the visually stunning journey, smashing narrative conventions, moving seamlessly from interview to animation and in the finest Gonzo tradition questions of witness and authenticity are challenged. Steadman's art is for the first time animated, including illustrations from Hunter S Thompson's Fear and Loathing in Las Vagas. Featuring Richard E Grant, Terry Gilliam, Bruce Robinson and with music from Slash, The All American Rejects, Jason Mraz, Crystal Castles, Ed Hardcourt and Beth Orton. A touching and at times funny film about honesty, friendship and the ambition driving an artist. This is a true record of the demise of the 20th Century counterculture and hipster dream with Ralph Steadman the last of the Gonzo visionaries.

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The Beat Hotel, a new film by Alan Govenar, goes deep into the legacy of the American Beats in Paris during the heady years between 1957 and 1963, when Allen Ginsberg, Peter Orlovsky and Gregory Corso fled the obscenity trials in the United States surrounding the publication of Ginsberg’s poem Howl. They took refuge in a cheap no-name hotel they had heard about at 9, Rue Git le Coeur and were soon joined by William Burroughs, Ian Somerville, Brion Gysin, and others from England and elsewhere in Europe, seeking out the “freedom” that the Latin Quarter of Paris might provide.

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An intimate, affecting portrait of the life and work of ground-breaking performance artist and music pioneer Genesis Breyer P-Orridge (Throbbing Gristle, Psychic TV +) and their wife and collaborator, Lady Jaye, centered around the daring sexual transformations the pair underwent for their 'Pandrogyne' project.

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Provides an insider's view of the groundbreaking, outrageous, creative juggernaut that was the band Ministry - during their world tour - as front man Al Jourgensen slips into drug addiction. Ministry made industrial rock mainstream, and along the way their music and take no prisoners lifestyle influenced the leaders of today's most important bands, many of whom are in the film.

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A riveting and emotional journey into the world of writer William S. Burroughs, a man considered as cold as an iceberg on a winter night.

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An exhaustive examination of cut-ups, the control machine, and the algebra of need figure in this epic found-footage adaptation of Burroughs’s 1964 novel, which pits Inspector Lee and the Nova Police against the Nova Mob: Sammy The Butcher, Green Tony, The Brown Artist, Jacky Blue Note, Izzy The Push, The Subliminal Kid, Uranian Willy, and Mr Bradly Mr Martin, alias The Ugly Spirit. Features unreleased readings by Burroughs and voiceovers by Proctor & Bergman of the Firesign Theatre on such topics as hot crab people, language as virus, tape recorder warfare, death dwarfs, and Hassan Sabbah: the Old Man of the Mountain. “Minutes to go. Souls rotten from their orgasm drugs, flesh shuddering from their nova ovens, prisoners of the earth to come out.” (via cinema.indiana.edu)

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In 1960, Brion Gysin invented the Dream Machine, a hypnotic light device with the power to induce hallucinations, drugless highs, and revolutionize human consciousness. It looks simple enough; a 100-watt light bulb, a motor, and a rotating cylinder with cutouts. Just sit in front of it, close your eyes, and wait for the visions to come. The Dream Machine enthralled mystics and freethinkers everywhere; Kurt Cobain had a dream machine, and William S. Burroughs thought it could be used to “storm the citadels of enlightenment.” With a custom-made Dream Machine in tow, director Nik Sheehan takes us on a journey into the life of Brion Gysin; his art, his complex ideas, and his friendships with some of the most eccentric counter-cultural icons. Taking the Dream Machine as the basis of its explorations, FLicKeR asks crucial questions about the nature of art and consciousness, and imagines a humanity liberated to explore its creativity in complete freedom.

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A chronological account of the influential late 1970s English rock band.

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A look at the life and work of American publisher Barney Rosset, who struggled to bring controversial works like "Tropic of Cancer" and "Naked Lunch" to publication.

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A portrait of the American Beat Generation writer William S. Burroughs (1914-1997) based on never-before-seen footage from his visit to Denmark in October 1983, and from his later years in Lawrence, Kansas. After having spent more than a quarter of a century outside of the United States, in Mexico, Tangier, Paris and London, Burroughs returned to New York in 1974. Shortly after, he began touring and reading his work to new generations of readers and thus establishing himself as a cult figure. The film focuses on Burroughs' unique talent as a performer, and on his later work, especially what is known as The Last Trilogy. In addition to the historic footage there are new interviews with friends and colleagues.

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An abstract exploration of the number 10.

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A look at the mystique of road movies, combining interviews, film clips, music, photography, literature and a narrative storyline featuring Paul Rudd and Tom McCarthy.

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A documentary about the film, I am Curious-Yellow (1967), and how it made it into the USA and changed film in USA forever by breaking the USA Obscenity Codes.

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John McNaughton's spotlight on George Condo and his art. The film, which follows the progress of Condo's large-scale oil painting Big Red over the course of one year, features an appearance by Allen Ginsberg, as well as footage of Condo collaborating with William S. Burroughs on paintings the two made together at Burroughs' Kansas home in the mid-1990s.

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Portland, 1988. Filmmaker Gus Van Sant shoots Drugstore Cowboy, the project that will bring he and his collaborators a formidable burst of mainstream attention. Starring Matt Dillon, Kelly Lynch, and Heather Graham, the film follows a roving quartet of drug addicts — and, consequently, drug thieves, especially from the businesses of the title — who wash up in Portland's then-gritty Pearl District. A death among their own spooks the leader of the pack into trying to clean up, and an encounter with a sepulchral junkie priest does its part to convince him further. Or maybe we should call him a Junkie priest, portrayed as he is by a controversial cameo from writer William S. Burroughs. "I'm going back to the old days," Burroughs says of his role early in the above documentary on the making of Drugstore Cowboy. "The old days when they used to give people morphine in jail. The old days before the methadone programs."

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One of the most enigmatic artists of the 20th century, writer, composer and wanderer Paul Bowles (1910-1999) is profiled by a filmmaker who has been obsessed with his genius since age nineteen. Set against the dramatic landscape of North Africa, the mystery of Bowles (famed author of The Sheltering Sky) begins to unravel in Jennifer Baichwal's poetic and moving Let It Come Down: The Life of Paul Bowles. Rare, candid interviews with the reclusive Bowles--at home in Tangier, as well as in New York during an extraordinary final reunion with Allen Ginsberg and William Burroughs--are intercut with conflicting views of his supporters and detractors. At the time in his mid-eighties, Bowles speaks with unprecedented candor about his work, his controversial private life and his relationships with Gertrude Stein, Tennessee Williams, Truman Capote, the Beats, and his wife and fellow author Jane Bowles.

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Traces the Beats from Allen Ginsberg and Jack Kerouac's meeting in 1944 at Columbia University to the deaths of Ginsberg and William S. Burroughs in 1997. Three actors provide dramatic interpretations of the work of these three writers, and the film chronicles their friendships, their arrival into American consciousness, their travels, frequent parodies, Kerouac's death, and Ginsberg's politicization. Their movement connects with bebop, John Cage's music, abstract expressionism, and living theater. In recent interviews, Ginsberg, Burroughs, Kesey, Ferlinghetti, Mailer, Jerry Garcia, Tom Hayden, Gary Snyder, Ed Sanders, and others measure the Beats' meaning and impact.

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New Year's Eve takes on new meaning when the Devil, Jesus Christ, and Christ's assistant Magdalena discuss and debate the End of the World.

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The great Beat Generation experiments took place in Tangier, the Moroccan city where William Burroughs, Brion Gysin, and the Moroccan painter Hamri taught Jack Kerouac, Timothy Leary, and Allen Ginsberg how to live outside the law. This DVD features one of the last interviews with Burroughs and previously unseen vintage footage of him in his prime during the 50s and early 60s.

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A disturbingly organic-looking figure speaks to us of life, politics and death as the symbol of the common man toils away. Written and narrated by William S. Burroughs.

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A girl born with enormous thumbs in the repressive era of the 1950s learns to turn her quirks into assets.

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A collage of Derek Jarman's super 8 footage spanning over 20 years.

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Visionary, radical, spiritual seeker, renowned poet, founding member of a major literary movement, champion of human rights, Buddhist, political activist and teacher. Extensive archival footage, interviews, and home movies cover Allen Ginsberg's life, activism, and influence on American culture through the Beat era, the 1960s, and beyond.

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