Jeff Webster

Movie - 1996, 2h 15m • as Assistant D.A. Lankler

The story of Valerie Solanas, a '60s radical who preached misandry in her "SCUM" manifesto. She wrote a screenplay for a film that she wanted Andy Warhol to produce, but he repeatedly ignored her. So she shot him.

Movie - 1995, 2h 15m • as Duncan

Alchemy, Webster says, is a magical process of transmuting ordinary materials into something of true merit (base metals into gold). And such is this story of a young, very intense, woman who 'sculpts' by placing in some kind of order into cigar boxes, little things, usually broken, that she finds here and there. So exciting is her work that she is able to go to a month long retreat where she is only asked to "do what you do without interruption." But there are interruptions, and not only at this retreat, but in other parts of her life as she tries to amalgamate who she is from what she discovers about herself.

Movie - 1998, 2h 15m • as Cyril Troy

A beautiful woman has spent a lifetime obsessing about a hit-and-run she caused years ago. She knows she struck something, but left the scene before determining what it was - and if it was alive. She's allowed this event has taken over her life, and now lives in near-isolation with an equally lonely man. When a stranger enters her life that may hold the key to her past, reality becomes stranger than nightmares, and memories cannot be trusted.

Movie - 1991, 2h 15m • as Cathy’s Brother The Detective

Featuring music instead of any dialogue and set in a near Kafkaesque future, this loose remake of The Cabinet of Dr. Caligari follows a bureaucrat whom mysterious Dr. Ramirez and his hideous sidekick want as their latest victim.

Movie - 1996, 2h 15m • as Edgar

Berenice is a meditation on a dream of lost plenitude, and its inversion into decay. The events depicted in the film concern the formation and dissolution of a utopian community in 1832, and the psychic and physical disintegration of two members of that community. In an allusion to the interiority of the main character, Berenice, whose flashbacks form the film’s narrating consciousness, the oblique and inward-turning fictive structure gives itself over to delirious visual asides. The film is partially adapted from the Edgar Allan Poe story of the same name. Additional primary sources used in constructing the film include texts by the 19th-century French utopian Charles Fourier and the collected letters from Brook Farm.