Heretic is composed from the outtakes of Joe Gibbons's no-budget feature The Genius, set to John Zorn's Naked City "soundtrack" album Heretic, and recomposed as a satire on Psychotherapy. Features original narration performed by Frank Snider. A study of editing and its relation to the mechanics of the brain, HERETIC initially poses as a preview to the Gibbons film which it then deconstructs and reforms into a satire on psychotherapy.

An autobiographical examination of the director's rape at gunpoint nine years prior.

Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude. She is naive, and he manipulates her into an affair that eventually is discovered. Years later, as the photographer is being investigated by the FBI, the adult woman remembers her first love as a case of herself watching the artist who watched her.

A ramshackle underground SF satire set and shot in the self-absorbed art world of lower Manhattan, written, produced, and directed by Joe Gibbons, who also plays one of the lead parts. Gibbons plays a mad scientist who's developed a technique for transferring personalities from one person's body to another; he becomes obsessed with an outlaw artist (played by performance artist Karen Finley) who destroys paintings in various galleries as a form of anarchist, anticapitalist protest.

Jennifer Montgomery tracks down three old friends (Joe Westmoreland, Lisa Cholodenko, and Todd Haynes) who borrowed and never returned pieces of her super-8 film equipment.

Martina plays on her own and with her mother, Jennifer talks, stock footage of flowers is talked over.

Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.

Like a generation of viewers, I was profoundly affected by Deliverance. But I have always been troubled by the hegemonic structures of gender proposed by Boorman and Dickey. Hence, my version is played by women: myself, Peggy Ahwesh, Jackie Goss, Su Friedrich, and Meredith Root, all experimental filmmakers who work as academics. While faithful to our respective male characters, we also play ourselves. -- Jennifer Montgomery