Charles Ludlam

Lupe

José Rodriguez-Soltero

Mario Montez, Salvador Cruz

The film — a mix of music, colors, abstract scenes and little dialogue — is based loosely on the life and death of Mexican-American actress Lupe Velez. The music, far more than mere background, borders on serving as the film’s narrative and ranges from classical to contemporary pop music.

Doomed Love

Andrew Horn

William Rice, Black-Eyed Susan

Depressed after losing his lover a long time ago, Andre visits a psychiatrist. While in the doctor's waiting room, he strikes up a friendship with Lois, the doctor's receptionist, and later with Lois' husband, Bob. Although the couple wants to help Andre recover from his depression, Andre finds himself unable to pull his life out of the past.

Pink Narcissus

James Bidgood

Don Brooks, Bobby Kendall

An outrageous erotic poem focusing on the daydreams of a beautiful boy sex worker who, from the seclusion of his ultra-kitsch apartment, conceives a series of interlinked narcissistic fantasies populated by matadors, dancing boys, slaves and leather-clad bikers.

Impostors

Mark Rappaport

Peter Evans, Ellen McElduff

One of Mark Rappaport's later narratives (which won the Gold Hugo for Best First Feature at the Chicago International Film Festival in 1979), Impostors is an off-kilter comedy/mystery focused on two magicians trying to find Egyptian jewels, their promiscuous assistant, and a man who loves the assistant.

The Big Easy

Jim McBride

Dennis Quaid, Ellen Barkin

Remy McSwain is a New Orleans police lieutenant who investigates the murder of a local mobster. His investigation leads him to suspect that fellow members of the police force may be involved.

Underground and Emigrants

Rosa von Praunheim

Fernando Arrabal, Lee Breuer

In this film, outspokenly homosexual filmmaker Rosa von Praunheim has documented his encounters with friends in the New York "underground" arts movement, the better-known of whom are William Burroughs (who says nothing for the camera), Andy Warhol (seen in the distance) and Fernando Arrabal (who is interviewed in Spanish). The emigrants named in the title are notable Germans who left the country before World War II, such as Greta Keller and Grete Mosheim. Reviewers at the time of the film's release considered it to have been a sort of paid vacation for the filmmaker rather than a serious effort. (Clarke Fountain, Rovi)

The Sorrows of Dolores

Charles Ludlam

Black-Eyed Susan, John Brockmeyer

Film recounts the madcap tale of sweet Dolores who, after being tortured by her sadistic mother, is thrown into the harsh city environs, innocent and alone. Chased by villains, abducted into white slavery, and ravaged by monstrous beasts, Dolores spirals deep into the underworld unable to find redemption.

Museum of Wax

Charles Ludlam

The black-and-white, silent short, Museum of Wax (1981-1987), is the more classically structured of Ludlam’s recovered films. Fluently adopting a silent-era cinematic language, the vaudevillian narrative follows an escaped prisoner (Ludlam) who seeks refuge in a Coney Island wax museum. The set-up is a clever ploy to involve the rows of wax puppets (and boxes of celebrity heads) in a whimsical deracination of gender conventions.