Subsidised culture has been abolished!
Tegen de achtergrond van een stad waar moord en corruptie heerst, wordt een community arts filmproject door de regisseur gegijzeld. Zijn perverse binnenwereld krijgt geleidelijk de overhand op de film. De crew wordt daarin meegesleept.
Hoofdrol spelers: Dennis de Bel, Demetri Estdelacropolis, Peter Fengler, Frankie & Alice, Florian Cramer, Iris van Vliet en Joep van Lieshout als Bokito.
WORM, the Institute for Avantgardistic Recreation, has produced their first long-short film. Despite guidance from a watertight script, this community arts film project was quickly taken hostage by its director (Demetri Estdelacropolis). Estelacropolis’ perverse inner world gradually prevails over the film, resulting in a monumental clash of egos; with the cast and crew stuck in between.
Against the backdrop of a city – uncannily resembling Rotterdam – ruled by Natte Jan Timmermans (Eugene Büskens), subsidised culture has been abolished, and murder and corruption reign. A single autonomous zone, led by the cruel and eccentric artist Bokito (Joep van Lieshout), remains as the only place of interest left in the city. The ghost town’s remaining artists flock towards this zone, lured by the vague promise of creative freedom. Yet this freedom comes at a price as resources for its operation are gathered through criminal activities deployed via the internet, prostitution, murder, extortion and pornography.
Dennis (Dennis de Bel), a young aspiring artist looking for something he is not yet able to describe, is not the your run-of-the-mill artist who has previously entered Bokito’s kingdom. He is quickly recruited by Dolce (Peter Fengler), the zone’s head of programming and content. Through the seductive advances of the devious killer Umairis (Iris van Vliet). Dennis is sucked into an underlying shadow world. Meanwhile the film’s director, hooked on drugs and Bushmills, vigorously attempts to shoot porn scenes with Frankie & Alice (Frankie & Alice), X-rated stars originally hired by a pornologist (Florian Cramer) for research on the fields of ‘porn and art’. In this turmoil, the reality of the production and the fictive cinematic world becomes unrecognisably intertwined and culminate in a grand anti-climax.