Casandra Stark

In the years before Ronald Reagan took office, Manhattan was in ruins. But true art has never come from comfort, and it was precisely those dire circumstances that inspired artists like Jim Jarmusch, Lizzy Borden, and Amos Poe to produce some of their best works. Taking their cues from punk rock and new wave music, these young maverick filmmakers confronted viewers with a stark reality that stood in powerful contrast to the escapist product being churned out by Hollywood.

Oddballs dancing, leering at camera, guy shaving a nontraditional part of his body and man ripping his own throat out, woman stabbing herself to death.

A junkie wakes up on the streets and walks around, seeing a woman dressed in all white and a heroin addict shooting up.

The apparent strangeness of two sisters becomes easily understood as they wreak appropriate revenge on one of their abusive husbands, by tying him up and imprisoning him on their rooftop. They slowly descend into madness as Stark wraps her head in bandages and paints her face white while clutching a baby doll.

Experimental film consisting of images of young women handling automatic handguns and rifles.

Casandra and Natz pose as a couple locked in a domestic dispute documenting the futility of human relationships and the pointlessness of love.

"Death of an Arabian Woman" (1991) originally 16mm, color, 12 min. With music by Motherhead Bug. Harkening back to her use of Catholic imagery in "Dead on my Arm," this film positions Stark as a wanderer, able to create life and in the company of religious prophets. The film is shot in Napoli and New York. "The Anarchists" with music by Missing Foundation and Menace Dement "Parades of Crazy" originally super-8, color and b/w with music by The Trees. Incorporates several processions from both Italy and New York revealing them as cathartic and transformative experiences.

No Wave film.