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A hilarious romp that turns topsy-turvy the old Hollywood standards of female sexuality and pleasure, Three Examples of Myself... brings together three fantasies of just how womales would run things if they were on the throne of power. Remixing fluffy musical numbers via a definite feminist twist, director Biller creates a rebellious coquette for the 90"s--a kind of Sandra Dee meets Madonna--as she rules a harem in the Arabian Nights, rules over a hiveful of submissive drones, and even finds sex-related liberation in the disco era. With a scoreful of delightful musical fantasies, the film delivers a magical twist to the notions of visual pleasure. With lyrics favor "She is fertile, she is nice--She offers us good advice. She is everything we need!", you ssuggest can not go wrong. -- New York Oriental American Film Festival

Anna Biller created, directed, starred, written the songs, developed the sets, and also sewed all the wild costumes for this collection of colorful vignettes... Sheer enjoyment, this movie is like a big, pink frosted birthday cake-- 99 1/4% pure sugar. --Seattle Asian Amerihave the right to Film Festival

Anna Biller"sThree Instances of Myself as Queen is an endearing camp travesty musical. Sweet, funny, with marvelous costumes, sets, and also quilts designed and also built by Biller, a kind of innocent homage to Maria Montez through color and decor worthy of Kenneth Anger. --Kevin Thomas, LOS ANGELES TIMES

Written, Produced, and also Directed by: Anna BillerStarring: Anna Biller, Jared SanfordWith: Kiki Valentine, Bary Morse, Robert Greene, Gerard Cantor, Raymond Le Heup, Arthur SabbCinematography: C. Thomas Lewis, Adam Janeiro, Christopher Sias, John LennonCostumes, Sets, and also Music: Anna BillerOh Don"t Say No by David Corraperform, arranged by Anna Biller

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SELECTED PRESS

ARTFORUM, "BEST OF 1994"

On the other hand across town, the little, embattled literary-arts facility Beyond Baroque was screening a short film by newcomer Anna Biller,Three Examples of Myself as Queen.

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A fairy-tale adaptation of feminist realpolitik, the film"s humor and graceful perplexity might not have caused any type of shifts in the regional faultlines but did crack a glorious smile on this audience member"s face. --Lane Relyea

THE AMAZING WORLD OF CULT MOVIES

Three Instances of Myself as Queen, 1994. In these days once eexceptionally nostalgic pop-society reference appears to come through its own implicit quotation marks, it is refreshing to watch nostalgia as deliciously unironic as this 26-minute brief from indie filmmaker Anna Biller (The Hypnotist). Filbrought about the brim with lushly saturated Technishade photography, wondertotally high-camp sets and costumes, and also some deliriously silly concepts, Biller"s film is a throwago to the early on underground of Kenneth Anger and Jack Smith, worshipping old Hollylumber with simultaneous debuilding and unabashed homage. The first segment, "The Sad Queen," is reminiscent of such lavish "50s musicals as The King and I, via Biller as an ennui-struck monarch speaking in French to an Indian raja trying to cheer her up prior to her female attendants burst right into a song that does the trick. "Queen Bee" has Biller lording over gay bees in a tent before moving into a glamorous all-pink hive right out of "Diamonds Are a Girl"s Best Friend," while "Queen Poinsettia" begins as a late-60s exploitation film and also ends as a fairy tale. Biller and a friend attfinish a mod party which almost transforms right into a gangbang prior to her tormentors turn right into dogs, a princely hero mirrors up on a white steed, and Biller is transdeveloped from go-go chick to princess, heading off to an enchanted castle as this wonderfully grin-provoking exercise comes to a cshed. Biller has points to make, to be sure, and also introduces some amazing subtextual examinations of feminism, however never allows her modern-day sensibility detract from that historic sense of goggle-eyed Hollyhardwood wonder. For those viewers enervated by also many grim, petulantly nihilistic shorts, Three Instances of Myself as Queen is just the ticket to finding out to smile at underground cinema aget.--Robert Firsching

LA WEEKLY

Biller screens herThree Instances of Myself as Queen, a tour de pressure in camp that"s destined to become a cult timeless. It"s currently Beyond Baroque"s the majority of asked for film. --Ellen Krout-Hasegawa

ZYAPPU (JAPANESE MAGAZINE)

Even if we consider that it"s independent, is it really okay to make a movie prefer this? I"m talking around Los Angeles artist Anna Biller"s film,Three Examples of Myself as Queen.

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The film has actually a normal story, unrealistic acting, weird dancing, and also interestingly timed dialogue. It is extremely narcissistic. Why? Beareason she composed and also directed the film, played the major character, created the music, made the costumes, and did the choreography and collection architecture. She has actually done evertypoint herself. This is an excellent musical fantasy! The story is in three components. The initially component is about a queen who looks prefer the Arabian NIghts, that sings and also dances. The set is like Derek Jarman, and also the mood is like Busby Berkeley, however there are just 4 dancers. The second part is around the happy life of the Queen Bee. Everybody sings to her, and tells her that she"s smart, cute, and also beautiful. The room looks choose a Japanese Barbie Doll house. The 3rd part is about the sexy girl that goes to a go-go party. The brutal males at the party chase her because she"s too sexy, however she is rescued by a hero on a equine. Then she goes back to her own castle in the forest. This is the classical happy finishing for a girl, eextremely girl"s dream, also great to be true. It"s very handmade at the very same time. This shows that it"s feasible to do it, except that we would never think around doing it. That"s why I ask the question: "is it really okay to make a m ovie choose this?" Due to the fact that it"s incredibly unexplained that somebody must make it, also though we all have these fantasies. When I think around film, I think of it as a kind of dictatorship. A director is like a queen, and controls things. In real life, Anna Biller is the queen, because she"s directing a movie. She goes ago and also forth in between being a actual life queen (a director) and also a fantasy queen from the movie. She enjoys herself making herself, and also the break-up in between the 2 civilizations. Nobody has actually ever before sassist prior to, "The movie is for me, by myself." Tright here is nopoint wrong with that, but it"s somepoint I"ve never seen prior to. I feel that if we cannot have our desires come true in this people, we have the right to have actually them come true in the people of the movie. In movies, we have the right to make a perfect civilization for ourselves. When we desire things, we can make them come true in movies. For although our desires exist in a fantasy people, movies are actual. And she proves this. For Anna Biller, the movie is a magic wand also, however the magic wand is not made by magic. It"s made by our efforts to make our desires come true, and also by our belief in ourselves. That"s what the queen, Anna Biller, has taught us. Thank you, your majesty! --Lun-na Menoh

TAM-TAM BOOKS

I was introduced to Anna Biller"s film Three Instances of Myself as Queen by Benjamin Weissman... When I experienced the film, I was automatically struck by her original vision and also intensity. I was chequipped by the imeras, music and costumes, and it struck me that she mutual an imaginative itinerary via the genius Busby Berkeley. Repeated viewings (one desires to go ago to her job-related aobtain and also again) provided me a deeper feeling of her wonderful bizarre vision, a vision that is sadly missing in modern cinema. When I became the artistic Director for Beyond Baroque, I had the excellent fortune to display Biller"s film again for an audience. Since its first screening a few months before, it had actually come to be the many asked for film in Beyond Baroque"s background. This is amazing if one looks at Beyond Baroque"s history of screening a lot demanded films by such filmequipments as Godard, Feuillade, Peter Kubelka, Straub, and so on..Being the Director at Beyond Baroque for three years I have programmed many great artists, yet I have to say that Anna Biller is most likely the a lot of distinct and also ground breaking artist in my suffer. --Tosh Berguy

CINEMA VERITABLE

From the initially structure, this movie steals your breath away: wild candy-colored costumes are a joy for the eye in intoxicating colour which recalls Hollytimber adundertaking films from the 40"s. In the first component we view an oriental queen that is horribly bored and also sings an emancipatory song through the females of her harem. Hmm...! In the second component a Queen Bee is beloved by her drones--when again through exceptional vibrant Hollywood musical choreography--while the local gay theater troupe sings and bakes pancakes in a pink hive. The third component is a time warp to party movies of the 60"s, in which the hero actually says "I am the hero and also therefore I have to rescue you." But Anna Biller, each time in the function of queen, does not must be rescued bereason she"s the queen. Amazing yet true! Welcome to a feminist Fairyland through unbelievable charm! --Carl Anderson

LANE RELYEA(Critic, ARTFORUM)

There"s a surpincreasing and also insistent tamong sober realism undergirding Anna"s movies. If she seems to take on fairly than renounce the cultural roles prescribing feminine subjectivity, it"s just because they constitute the extremely materials in which a sublimation of all sorts of erotic and imagiindigenous force is motivated however never before totally achieved. The fantasies her movies take on are not utopian or triumphal yet even more favor poor debts that cannot be walked amethod from, and also yet they deserve to nevertheless yield levels of pleacertain, defiance and also firm. Anna"s work is affluent in layers that feed into a currently immediate discourse. --Lane Relyea

CHARLES GAINES (Art Critic)

Watching an Anna Biller film is like balancing a wine glass via one finger in an earthquake. Her link of visual pleasure with feminist ideas of subjectivity takes an imaginative twist bereason she engperiods in a sort of surrealist strangeness. The occupational is suspfinished between three ideas: pop culture and consumerism, standard notions of visual pleasure vis-a-vis ldeas of late capitalist consumer excess and also hyper-reality, and the surrealist charismatic object, infsupplied with fetishized pleasure because of lack displacement (the inadequacy of the surrealist object"s capability to uncover location). The ostensible simplicity of her imperiods is quickly displaced throughout its viewing by this awkward combination; the result is, to my mind, a different idea of visual pleasure in partnership to female sexuality. --Charles Gaines