'Billy Collier (Hayes) is an aspiring photographer in Los Angeles who has had little artistic success and much romantic frustration. He comes up with the idea of recreating iconic screen kisses from Hollywood movies (such as Burt Lancaster and Deborah Kerr's in From Here to Eternity) using drag queens in the female roles. While out for coffee with his roommate Georgiana (Lynn), he meets Gabriel (Rowe), the server. That night at a party, Billy's friend Perry (Ganoung) agrees to finance Billy's Screen Kiss project and Billy serendipitously runs into Gabriel. Billy recruits him to model and the two develop a friendship (although Gabriel says that he has a girlfriend in San Francisco).' read more on Wikipedia
Mark Lewis (Carl Boehm) meets a prostitute, covertly filming her with a camera hidden under his coat. Shown from the point-of-view of the camera viewfinder, tension builds as he follows the girl into her house, murders her and later watches the film in his den as the credits roll on the screen.
Lewis is a member of a film crew who aspires to become a film-maker himself. He works part-time photographing lurid pictures of women. He is a shy, reclusive young man who hardly ever socializes outside of his workplace. He lives in his father's house, leasing part of it and acting as the landlord, while posing as a tenant himself. Mark is fascinated by the boisterous family living downstairs and especially by Helen (Anna Massey), a vivacious sweet-natured young woman who pities him. A friendship deepens into a serious relationship between them.
Mark reveals to Helen through home movies taken by his father (played by director Powell in a cameo) that, as a child, he was used as a guinea pig for his father's psychological experiments in fear and the nervous system. Mark's father would study his son's reaction to various stimuli, such as lizards he put on his bed and would film the boy in all sorts of situations, even going as far as recording his son's reactions as he sat with his mother on her deathbed. He kept his son under constant watch and even wired all the rooms so that he could spy on him. The father's studies made his reputation as a psychologist.
Mark arranges with Vivian (Moira Shearer), a stand-in at the studio, to make a film after the set is closed. He kills her and stuffs her into a prop trunk. The body is discovered later by the horrified film crew. The police link the two murders and notice that each victim died with a look of utter terror on her face. They interview everyone on the set and become suspicious of Mark, who has his camera always running, always recording and who claims that he's making a documentary.
A psychiatrist, called to the set to console the upset star of the movie, chats with Mark and tells him that he is familiar with his father's work. The psychiatrist relates the details of the conversation to the police, noting that Mark had 'his father's eyes.'
Mark is tailed by the police who follow him to the building where he takes photographs of the pin-up model Milly (real-life glamour queen Pamela Green). Two versions of this scene were shot. The more risqué version is credited as being the first female nude scene in a major British feature (although even on the racier version, Milly only exposes one breast for a few seconds). Mark kills Milly and then returns home.
Helen, who is curious about Mark's films, finally runs one of them. She becomes visibly upset and frightened when he catches her. Mark reveals that he makes the movies so that he can capture the fear of his victims. He has mounted a round mirror atop his camera, so that he can capture the reactions of his victims as they see their impending deaths.
The police arrive and Mark realizes that he is finished. As he had planned from the very beginning, he impales himself with a knife attached to one of the camera's tripod legs, killing himself the same way he dispatched his victims, and with the camera running, providing the finale for his documentary. read more on Wikipedia
Rod Usher makes his entrance in a building decorated with the abject remains of dismantled corpses. A naked woman lies bound to a table, sliced in two by a huge pendulum-like blade. Rod is a professional crime scene photographer for as he puts it: "still life’s my art," a talent which ensures that he is frequently called upon the local authorities, led by Detective LeGrand to document the horrors of the baroque crime scenes which are apparently commonplace in Pittsburgh where Rod lives.
After arriving home at a semi-fancy row house, Rod works in his darkroom in the basement developing the photos when his work is interrupted by the appearance of a mysterious black cat, which has apparently been adopted by his live-in girlfriend Annabel. Rod and Annabel’s relationship is uncomfortably distant. Annabel is delicate, sensitive, and somewhat ethereal, while Rod is a rough, burly, brutish man who seem more at home with the gritty hyper-reality of crime scenes that he is with Annabel’s talk of witches and superstition. Annabel, in contrast to Rod, is a professional violinist who gives private lessons to local high school students who show up at the house after their school classes, and she even takes some of them on excursions to local opera houses to watch the arts of life.
Over the next several days, a strong antipathy grows between Rod and the mysterious cat, a situation worsened by Annabel’s excessive protection of it. Driven to distraction by the cat’s apparent hatred of him, Rod eventually strangles it during a photo shoot he has set up with the cat being the center of attention. Rod then uses the photos of him strangling the cat to post on the cover of his newest photography book titled Metropolitan Horrors, a lurid collection of his most revolting pictures. As Annabel begins to guess the truth about what has happened to her pet cat, the couple embarks on a series of violent arguments, one of which ends with Rod falling into an alcohol-induced sleep where he has a nightmare about participating in a Medieval Pagan festival where he is executed for the murder of the cat.
One day, when Annabel finally spots his book in a shop window, with the strangled body of her much-loved cat on the front cover, she immediatly arrives home and makes plans to leave Rod, who at that very moment is in a local bar drinking heavily. Rod becomes unnerved when the barmaid Eleanora gives him a stray black cat which is identical to Annabel’s own cat. Rod notices that the inky feline has an identical white marking on it’s chest (an obscure white patch which seems to resemble the shape of a gallows). Rod brings the cat home and sets about to kill the feline once and for all. But Annabel intervenes and comes to it’s rescue causing a confrontation which ends in her gruesome and gory death when Rod hacks her to death with a meat cleaver. After shaking off his suspicious next door neighbor and landlord, Mr. Pym, who arrives after hearing the argument, Rod assures him that nothing is wrong.
Confident that he can escape detection, Rod conceals the body behind a wall in the house and invents a story to explain Annabel’s disappearance to her music students, Betty and Christian, when they show up the next day for their violin lessons. But after a confrontation with Christian who expresses doubt and suspicion to Rod about his story of Annabel leaving him, he confides in Mr. and Mrs. Pym about his suspicions that Rod might have killed Annabel. When Annabel’s friend in New York keeps phoning the house to ask of her whereabouts, Rod becomes increasingly trapped by his own increasing elaborate web of lies. The situation is exacerbated by yet another appearance of the black cat. But this time, Rod ensures it’s death by slicing it in two with a saw, and disposes of it in a garbage dump.
The next day, Detective LeGrand arrives with his partner to question Rod about Annabel’s whereabouts. Despite their stern questioning, Rod is not phased by their questions. After looking around the house, the detectives leave, but immediately come back when an eerie, distorted mewing sound is heard echoing though one of the walls. Rod is handcuffed and the fake wall of that he put up is torn down and his crime scene is finally revealed. It reveals that the ever troublesome feline had given birth in Annabel’s tomb and its offspring are now feasting on the remains of their mistress. Not to be outdone, Rod grabs the pickaxe from LeGrand's partner and in seconds hacks apart both policemen. But handcuffed and in a panic, Rod tries to make his escape when his neighbors show up after nearing the commotion, pounding on the front door. Rod tries to make his escape from the house by climbing out a second floor window using a rope to tie around a tree in his backyard. But his plan fails when he gets tangled up in the rope and he slips, the rope tightening around his neck killing him. The black cat makes a final appearance and stares at the premonition sight that Rod had coming for him. read more on Wikipedia
What do you do after love at first sight? That's the question posed in this romantic comedy-drama set in Chicago. Darius Lovehall (Larenz Tate) is a poet who is giving a reading at the Sanctuary, an upscale night club presenting jazz and poetry to a bohemian clientele. Shortly before his set, he meets Nina Mosley (Nia Long), a gifted photographer who has just lost her job. They exchange small talk, and Darius makes his interest clear when he retitles a love poem A Blues For Nina. A mutual attraction is sparked between them, and Darius invites himself back to her place to persistently ask her out. read more on Wikipedia
'Sydney (or simply 'Syd'), age 24, is a woman who has her whole life mapped out in front of her. Living with longtime boyfriend James, and working her way up at the respected high-art photography magazine Frame, Syd has desires and frustrations that seem typical and manageable. But when a crack in her ceiling springs a leak and Syd finds herself knocking on the door of her upstairs neighbor, a chance meeting suddenly takes her on a new path.
Opening the door to an uncharted world for Syd is Lucy Berliner, a renowned photographer, enchanting, elusive, and curiously retired. Now 40, Lucy lives with her once glamorous, heroin-addicted German girlfriend Greta, and plays host to a collection of hard-living party kids. Before Syd's caught her breath, she's caught Lucy's fascination and is drawn into the center of Lucy's strangely alluring life upstairs.
When Syd's bosses at Frame catch wind of her acquaintance with Lucy, they suddenly take interest in Syd and pressure her to bring Lucy to the magazine. Soon a working relationship develops between the two and a project is underway which promises a second chance for Lucy's career. But as Syd and Lucy's collaboration draws them closer together, their working relationship turns sexual and the lines between love and professionalism suddenly blur. As Syd slowly discovers the darker truths of Lucy's life on the edge, she is forced to confront her own hunger for recognition and the uncertain rewards of public esteem.' read more on Wikipedia
Set in a Baltimore neighborhood known for having the thickest local accent, Pecker tells the story of an unassuming 18-year-old who works in a sandwich shop and takes photos of his loving but peculiar family and friends on the side. Pecker (Edward Furlong), so named for his childhood habit of "pecking" at his food, stumbles into fame when his work is "discovered" by a savvy New York art dealer, Rorey Wheeler (Lili Taylor). Pecker's pictures—grainy, out-of-focus studies of unglamorous subjects—are far from professional, but they strike a chord with New York art collectors.
Unfortunately, instant over-exposure has its downside. Rorey's efforts to turn Pecker into an art sensation threaten to ruin the low-key lifestyle that was his inspiration. Pecker finds that his best friend Matt (Brendan Sexton III) can't even shoplift anymore now that Pecker's photographs have increased his profile. Shelley (Christina Ricci), Pecker's obsessive girlfriend who runs a laundromat, seems especially distressed when the press dub her a "stain goddess" and mistakes her good-natured "pin-up" poses for pornographic come-ons.
When his family is dubbed "culturally challenged" by an overzealous critic, they begin to feel the uncomfortable glare of stardom. Pecker's mother (Mary Kay Place) is no longer free to dispense fashion tips to the homeless clientèle at her thrift shop. Pecker's grandmother Memama (Jean Schertler) endures public ridicule when her experience with a talking statue of the Virgin Mary is exposed on the cover of a national art magazine. Tina (Martha Plimpton), Pecker's fag hag older sister, is fired from her job emceeing go-go dancing at a gay bar because Pecker's edgy photographs chronicle the sex practices of the club's patrons. Even Little Chrissy, his six-year-old sister, feels the pressure of celebrity when her eating disorder is exposed, bringing unwanted attention from nosy child welfare agencies. (She's mistakenly diagnosed with Attention-Deficit Hyperactivity Disorder and prescribed Ritalin.)
After Pecker's new-found fame disrupts his family's and friends' lives, Pecker turns the tables on the art world by refusing to participate in a scheduled show at the Whitney Museum of Art. Instead, he forces New York art collectors to come to Baltimore to see his latest photographs, which portray the same people who disparaged his family in an unflattering light. (One photo shows Patricia Hearst adjusting her breasts in a mirror.) read more on Wikipedia
'Laura Mars (Faye Dunaway) is a fashion photographer who specializes in stylized violence. In her luxurious Manhattan apartment, she has a nightmare that Doris Spencer (Meg Mundy) is viciously murdered with an ice pick, her eyeballs stabbed.
Laura wakes up and looks through a soon-to-be-published coffee table book of her photos called The Eyes of Mars, which Doris had edited. In it, there is a picture of Doris...identical to an image she had in the dream.
Laura calls Doris but she gets no answer. That evening, she attends a reception at the Elaine Cassell Gallery in SoHo for an exhibit of her work. A controversial figure, she is besieged by questions from reporters about whether her photos glorify violence and are demeaning to women. A handsome stranger (Tommy Lee Jones) questions the work as well.
The success of the exhibit is disrupted by the horrible news that Doris has been found dead, in the same manner that she was murdered in Laura's dream. Laura is informed of the dreadful news from her good friend and agent, Donald Phelps (Rene Auberjonois). Later, she hears that sales of her photographs increased as news of the killing spread.
Laura gets a call from Elaine (Rose Gregorio), the owner of the gallery...who's all business and who talks Laura into going on with a shoot the next day. Unbeknownst to Laura, Elaine has been having an affair with Laura's ex-husband, Michael (Raul Julia).
The shoot in Columbus Circle starts off well. The whole thing is being overseen by Bert (Steve Marachuk), a representative from the ad agency. Donald is on hand, as are two of her favorite models, Lulu (Darlanne Fluegel) and Michele (Lisa Taylor). Typical of her layouts, Laura has the models dressed in sexy lingerie and engaged in a catfight...posed against the backdrop of a car wreck and burning vehicles.
Suddenly, Laura gets a psychic vision. As with her previous nightmare, it is in the first person. This time, it is Elaine who is in danger.
Laura stops shooting and tells Donald she's feeling dizzy. Heading downtown towards Elaine's apartment, Laura's taxicab stalls in traffic and she decides to walk the rest of the way.
But another vision comes to her. She sees Elaine murdered, punctured in the eye like Doris and then thrown down a flight of stairs just outside her apartment.
She runs towards Elaine's building but it's too late. The place is swarming with onlookers and police officers. When one cop tries to stop her from going into the building, Laura tells him she saw what happened.
Naturally, the police believe they may have a witness. Detective Sergeant Sal Volpe (Frank Adonis) questions her but he's perplexed when Laura can't describe the killer and especially when she tells him she was actually "a few blocks away."
Still, Sergeant Volpe is interested in this lead and Laura is taken to the precinct for a statement. Some of the other people who knew Elaine are there too. In addition, Laura's driver Tommy Ludlow (Brad Dourif), is also questioned. Tommy, who carries a switchblade and has an arrest record, is immediately under suspicion.
Laura recognizes Lieutenant John Neville as the handsome stranger from the gallery. He belittles her statement but even Laura understands how preposterous her "eyewitness account" sounds to others. Lt. Neville shows her a copy of her book that has a tear over the cover photo of Laura, directly over an eye. Laura tells him she has seen it before, in a nightmare.
Lt. Neville then shows her photographs of unsolved murders that mirror those that are in her book. Laura says that she began to have images of violence about two years before, around the time when the earlier crimes were committed.
They go to Elaine's apartment and Neville asks Laura to help identify some male clothing that's hanging in a closet. She recognizes them as belonging to her ex-husband and is surprised because she thought he had been living in San Francisco.
"Michael couldn't kill anyone," Laura says. Lt. Neville accompanies Laura back to her residence and gives her his card. She is to call him anytime.
Inside her apartment, Laura is startled by Michael...who still has a set of keys and is now avoiding the police. He says he is innocent with regard to Elaine's murder and is tacky enough to say that she had been his best "meal ticket." Laura gives him 50 bucks to leave her alone. The guy is clearly a loser.
Donald and Tommy pick Laura up to take her to her studio for her next shoot. It's located in a huge warehouse on a Manhattan pier. In the car, Tommy confesses to his boss that he did time in prison for armed robbery and assault with a deadly weapon.
The news doesn't faze Laura. However, she seems surprised that Donald hired Tommy knowing about his arrest history and yet he failed to tell her.
Left alone to do some prep work, Laura has another vision. But this time, she is the one being stalked. She runs out of her office and through the mostly deserted warehouse, screaming for Donald. He comes to her aid and Laura tells him she saw the killer looking at her.
There isn't time to get too hysterical. The shoot is to begin. With throbbing music in the background, Laura gets down to work. She sets up a shot in which a male model lays dead by a pool, while Lulu stands over him holding a gun. The imagery is too much for Laura. She starts to see some of her previous psychic death visions in her head and she cannot continue.
Lt. Neville is there and he tries to comfort Laura by suggesting that she's overworked. In turn, she attempts to show him what she "sees" by having him look through the lens of a video camera.
In answer to Laura's question about why the killer is terrorizing her, Neville offers the theory that the person could be someone who is jealous of her success or who feels that her work "is promoting porno and decadence and he has a mission to clean up the world."
Her security will be doubled and she's advised to stay indoors as often as possible. Later, Lulu and Michele are brought into the stationhouse to see if they've received any threats. While developing some photos, Laura has yet another psychic moment. The two beautiful models are both murdered in the apartment they share, which, of course, actually occurs. And it's somebody they know because Lulu let the perpetrator inside.
After their funeral, a mourner, who blames her for the deaths of the women, confronts Laura. Neville takes her for a walk in the woods and they kiss. Clearly, they are falling for each other. After they make love, Neville gives Laura a handgun for added defense.
It's Donald's birthday and all his friends attend a party in his apartment. Everybody has a grand time, except for Tommy - who's told to come back for his boss in an hour. During the celebration, Laura receives a call from Michael. He's in Brooklyn and he says he is suicidal.
There's a patrol car outside and Laura doesn't want to lead them to her ex. So she comes up with a plan. Donald dresses up in drag by wearing some of her clothing. The cops follow him, giving Laura the opportunity to give them the slip.
Unfortunately, the killer is watching Donald as well. Followed back to his building, Donald is murdered in the elevator. Blocks away, Laura sees it happen and crashes her car.
Again, Neville comforts her in her apartment. The doorbell disrupts the coziness of the moment. It's Sgt. Volpe. There's a break in the case and Neville is needed. A search is underway in Tommy's home and the police have found photos of Laura's models taken at various shoots all over the place.
Tommy is nearby and calls his apartment. He speaks with Neville and asks to see him alone. The officers pretend to leave and Tommy returns to his flat. He proclaims his innocence and explains to Neville where he was the night before. Neville produces a piece of evidence: a playing card from a deck that belongs to Tommy. It was found in the elevator under Donald's body.
Sgt. Volpe appears and Tommy makes a run for it. On his way out of the building, he stabs an officer who tries to stop him. A chase through the streets of Hell's Kitchen ensues and Tommy is shot dead.
Laura hears that the case has been wrapped up. Neville tells her to pack her bags because he wants to take her away.
He arrives at her building and finds Michael in the elevator. Just then, Laura has a terrifying vision. She sees a struggle between two men and one of them is killed. And even more frightening, the killer is headed towards her apartment. The nightmare isn't over.
As Laura is about to call the police, someone breaks into her apartment through a window. It's Lt. Neville. He tells her that Tommy is dead and begins to go into the background of Tommy's life to explain why he committed murder. But something is not right. Laura knows some of Tommy's life story and Neville isn't making sense.
Neville continues, explaining that Tommy's father slashed his mother's throat in front of the child for being a prostitute. But suddenly he begins to talk in the first person. "I sat there and watched the blood dry on her face until it was just about the color of your hair," he tells Laura. The real killer stands before her. "I'm the one you want," he says.
Laura runs to her bedroom and picks up the phone but Neville is right behind her. As he is about to stab her with an ice pick, she tells him that she loves him and then reaches for the gun. In a daze, Neville strikes the image of himself in a mirror.
He approaches Laura and pleads with her to kill him. She's reluctant to pull the trigger so Neville takes her hands and helps her do it. Shot at point-blank range, Neville drops to the ground and Laura calls the authorities.'
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She is happy to see her piece of work in the show has been sold
We see the title of the work "What Is Boris Barking At?" and sold sticker
Her gallerist tells her the name of the buyer and that he buys for some big art collectors. He has bought her art for $24000
Later Annie is seen in her studio creating a new piece of art
She carefully lowers down the box you will stick your hand in to feel the piece of work
Annie Laird makes sculptures inside boxes, you stick your hand in the box and as the character Annie Laird herself says "cop a feel". They are essentially sensory feel boxes
Annie Laird (Demi Moore) is a sculptor who lives in New York with her son Oliver (Joseph Gordon-Levitt). Annie works a day job as a data entry clerk. Oliver has a crush on Annie's friend Juliet (Anne Heche) who has a son named Jesse (Brett Barsky).
Annie is selected to be one of the jurors in the trial of mob boss Louie Boffano (Tony Lo Bianco) who is accused of ordering the murders of Salvador Riggio and Salvador's grandson Thomas Riggio (Joseph Perrino).
Annie soon meets a man named Mark Cordell (Alec Baldwin). After Mark buys some of Annie's artwork, he wines and dines her, and then Annie discovers that Mark is better known as "The Teacher" - he's Louie's enforcer, and the material perpetrator of the hit job for which Louie is being prosecuted. Mark tells Annie to convince the jury to acquit Louie, or else Oliver, Juliet, and Jesse will all die.'
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