A repressed artist receives ritual abuse from those who pass him as he paints portraits in the park. Gradually becoming more frustrated, anger builds up within the artist, leading him to embark upon a quest to gain revenge on all those who have humiliated him.

Zach, a gifted writer, devoted son, and life-partner to his boyfriend AJ, is as ambitious as he is impatient. Success in his business seems impossibly elusive after trying every avenue available to him, and without adequate funds to provide treatment for his increasingly ill mother, it seems like a miracle when Damien, an influential literary agent, expresses interest in taking Zach on as a client.

Using clips from classic horror films and contemporary interviews, this cable-TV documentary tries to separate truth from fable in discussing vampires and werewolves -- a task that often proves impossible. After noting that fear of the supernatural stems from mankind's basic terror involving darkness and awe of the moon, the film ticks off several documented cases of "actual" blood sucking and lycanthropy. Among those interviewed are weapons experts, scientists, sociologists, and movie buffs, as well as a few hardy souls who claim to be genuine Dracula and Wolfman clones. Originally slated to air during Halloween weekend in 2003, Fang vs. Fiction: The Real Underworld of Vampires and Werewolves was moved forward two months as an extended promotion for the upcoming theatrical feature Underworld, which, of course, dealt with the same terrifying subject matter. [Hal Erickson]

Relationship drama currently in post-production.

To be in Venice and see the architecture of New York, to perceive in a painting by Tintoretto the birth of animated images, to look at the burlesque Cretinetti as the ancestor of montage - so many shifts, displacements, and striking telescopings that Philippe-Alain Michaud proposes in this film dedicated to him. To follow this art historian, curator of the cinema collections at the Centre Pompidou, is to go from the oriental carpet to the film, or from the first fireworks to the cinema. And everywhere the animation of the images - projections of Antony McCall, or of Paul Sharits, Column without end of Brancusi, Pasolini's Accatone - everything moves! Under the tutelage of Aby Warburg, the great art historian of the early twentieth century, precursor of iconology and image comparison, to whom Philippe-Alain Michaud was the first in France to devote an important essay, eleven images are placed on the table to describe the singular journey of this art historian.