Filmmaker Beth B accompanies the legendarily boundary-pushing No Wave musician and underground performance artist Lydia Lunch on her latest tour and, through interviews with her collaborators and Lunch herself, examines the qualities that have been present in her provocative and powerful art since the beginning.

After the disappearance of her two children, nightclub hostess Eileen Maloney (Suzy Amis, The Ballad of Little Jo) is confronted in her home by an aggressive police lieutenant (Fred Ward, Henry and June) who subjects her to a series of ruthless interrogations.

A troubled young woman hooks up with a money-crazed televangelist and becomes a rich, heavy-metal Christian rock star.

A one-minute video that compresses with an economy of time and textual editing a direct assault on the languages of hate and intolerance. 

A number of somber talking heads frankly describe their most personal and perverse attitudes on sex, violence and other family matters. 

Following three veterans and their grown children back to the land where they witnessed incredible carnage as soldiers, director Beth B investigates "what we pass on from one generation to the next" in the hope that the experience will help both fathers and children come to grips with the war and each other.

Hairspray, skin and eyeliner on full display as a gang of leather-clad, powerful women take over a traditionally male domain.

A stark portrait of women and their relationships to their bodies, oftentimes self-abnegating, the women speak about the binds that tie them to distorted perceptions of self. As a mirror image of our cultural pressures on women, the film challenges accepted views of truth and falsehood, reality and delusion, with an attentiveness to social and psychic history.

As an intense study of the physical, psychological and social breakdown of the human condition, the documentary questions a system that has lost its aspiration to reform while adding the television docudrama style of the late-20th century that drives our knowledge of accepted views of truth and morality. The video mixes historical newsreel footage of bizarre daredevils intercut with contemporary images of violence and television news footage about the real-life story of Eric Smith, a thirteen-year-old boy who killed a four-year-old child. He was tried as an adult and placed in prison instead of being put in a mental institution for treatment.

A half dozen men and women, each addressing the camera directly and alone, speak of their involvement with drugs.

In collaboration with legendary downtown performance artist/musician Lydia Lunch, Beth B creates a chilling yet poetic vision of despairing nihilism (literally, a "meditation on death"). In a hypnotic narrative, a beautiful young woman negotiates the banalities of life. In a mesmerizing voiceover which she composed, Lydia Lunch repeats "Annie get your gun," a warning of inevitable destruction.

Speaking to the entrapment we feel when caught in the violence of being attacked and of the attacker himself caught in the web of his own imagined powers and fears and eventual incarceration, the work exposes the perpetrators of violence by revealing their words and the words of their victims. The work creates a dialogue and intersection between the multiple characters as we enter into the experience of violence and the prisons that we live in from our own experiences of abuse and pain.

An exciting, playful and amusing psychological experiment in New York City in the mid-'90s. Bringing together a group of total strangers, locking them in a bedroom with cameras for five days, they were encouraged to act out their fantasies and desires. In this twisted version of Big Brother, the diverse group includes a black man, a white skinhead, a dominatrix, a dancer, a transexual and No Wave icon Lydia Lunch.

In this disturbing documentary about juvenile sex offenders, Beth B uses interviews with the offenders and with officials who work with them, on the subjects of sex, abuse, family and the legacy of abuse, to dismantle taboos. Exploring the challenges of integrating these youths back into society, she films a group which brings offenders and their victims face to face so they can try to reunite, understand what they did and how the act affected their victims. For the victims, forgiveness is probably the hardest way out from trauma.

An evocative portraits of people having orgasms, lingering on the silent classical face of ecstasy.

Intimate portraits of gay artists and drag performers talking about gender, identity, and all the fine lines around it. The film is an important reminder that for us today drag queen performances are accepted in the mainstream, however there was a time when it was strictly underground.

A man is tortured by his girlfriend and then locked inside a black box.

An exploration of social schizophrenia in which terrorists consult their mothers before planting bombs, and the head of the New York City bomb squad succumbs to his dominatrix.

The almost lyrical Letters to Dad, is a meditation on authority that superimposes the spectre of Jonestown over the relatively fresh faces of the parapunk art world; the film takes on a musical form - like a 20th-century ballad composed of subliminal behavior cues, advertising testimonials, and the text of the National Enquirer.

Set in a New York wasteland where some have accumulated great wealth and others live in desperate poverty having to turn to crime to survive. A “savage satire” full of violence and nihilism, this low budget Super 8 film embodies the period’s do-it-yourself ethos, as well as, the fusion of art, music and club culture at the heart of the downtown scene.

A Nietzschian parable on the fate of innocence, The Trap Door follows the mishaps of Jeremy (John Ahearn) as he is fired by his boss (Jenny Holzer), gets laughed out of court by Judge Gary Indiana, loses his girlfriend to sleazy Richard Prince, is hustled by prospective employer (Bill Rice) and mauled by predatory bird-women. Finally, he seeks the help of a shrink (the legendary Jack Smith) who turns out to be the most demented of all.

A film noirish atmosphere is created to show detective Lunch (a popular underground musician and poet) plow her way through the plans of a corporate businessman who seeks government defense contracts through real “corporate wars” and the manipulation of politicians.