Carl Linder

Professor Bruno Volpi spots some strange paintings on a cliff. He sends for Professor Zovek to help him discover its meaning. Zovek uses his powers to figure the writings are a warning that a cosmic tragedy is going to happen. Their fears prove to be true when a fire ball falls from the skies causing the ressurrection of the dead as zombies, craving for human flesh.

16mm, color, silent

"I think of SKIN as my first really lyrical film. It was a joy to make. I was fascinated by the pure, natural colors of flower..." - CL

"If THE DEVIL IS DEAD is a requiem for man becoming mutant[…] GORGEOUS is quite the opposite. It is a celebration of the freedoms from sexual and spiritual hang-ups that modern man is trying to win for himself--a flowing loose outgoing film which continually, as SKIN did (as most of Linder's films have done), relates men to nature... it's a work that seems buoyed on hope." - Richard Whitehall, L.A. Free Press, Dec. 26, 1969

A beautiful film-portrait of a young girl/woman who bears a striking resemblance to Nico.

A phantasmagoric exploration into the violence we house within ourselves.

"One extraordinary audio-visual event is the face of a girl apparently enjoying orgasm while on the soundtrack we hear a horse-race announcer. Later a microscopic close-up of a lizard's skin is contrasted with a girl's hand in a net glove... This is an impressive movie, as much for what it reveals about ourselves, as about Linder." - Gene Youngblood, L.A. Free Press, May 24, 1968

"Womancock has a rippling surreality to it, using montage-collage cinema, superimposing images within the frame and juxtaposing pieces of film and snips of music and talk to make statements about women." - LA Free Press

"This film treats masturbation as a kind of religious ritual; it shows self-love, the passion of the self--the close, fine line between pleasure and pain. This is an extremely graphic and explicit film, recommended for mature audiences." - CL

Overflow is the conclusion of the beautiful cycle of work begun in The Devil is Dead. The microscopic intensity of the earlier films is replaced in Overflow by a telescopic overview of the earlier work.