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AWARD WINNING HORROR DOCUMENTARY NOW AVAILABLE
Robert A. "Bob" Burns is a significant name in horror film art direction for his work in the original Texas Chain Saw Massacre, The Hills Have Eyes, Re-Animator, The Howling. His props also appear in Poltergeist. From a young age he showed signs of being a genius and could create complex designs all in his head, draw detailed cartoons and create outrageous puns. In high school and college, he studied drama, which he later utilized in films including Confessions of a Serial Killer.
 
While attending the University of Texas he edited the Texas Ranger humor magazine and discovered Rondo Hatton, a former Tampa, Florida, sports reporter, who contracted acromegaly, a condition that caused his face, hands and feet to grow out of proportion to the rest of his body. It caused the former athlete and All-American kid to close himself off from the outside world until he met his second wife Mae. Together they went to Hollywood where Hatton became the Creeper in a series of films starting with the Sherlock Holmes story The Pearl of Death. He died of a heart attack brought on by his medical condition.
 
The documentary weaves together the stories of Burns and Hatton and delves into their horror filmographies and personal life stories. The Creeper becomes a metaphor for Burns' lifelong belief in his inner ugliness, a lack that left him unable to feel true love.
 
The film mixes interviews with archival film footage and rare video of Burns and the people he tried desperately to love. Along the way it examines vital touchstone films of the horror genre and tells the true stories of two of its important players.
 
To bring the characters of Rondo and Bob fully to life, scenes from Burns' and Hatton's lives have been recreated using actors.
"ISAAC"

2022 LITHUANIAN ACADEMY AWARD NOMINEE BEST FOREIGN LANGUAGE FILM

In 1941, a Lithuanian man kills his Jewish neigbor, Isaac, at the Lietukis garage massacre. Twenty-five years later in Soviet Lithuania, movie director Gediminas Gutauskas returns from the USA with a screenplay of a film that portrays, in details, the Lietukis garage massacre and describes a particular situation where Isaac was killed. The screenplay is later brought to the attention and investigated by the KGB. Why does a director, who once relocated to the USA, return to Soviet Lithuania? Why is his scenario so unusually historically accurate to the massacre, as though he would have witnessed it himself? Perhaps he knows someone who attended the massacre themselves? The aftermath of the murder returns many years later to cripple life and love. ISAAC is a trip into the past, and its rotting world, based on Isaac's rotten murder.
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