Dirk van Sloten

@dirkvansloten.com

212 Followers 143 Following

Writer. Director. Editor. Independent filmmaker with a feature and a bunch of shorts to my name. I run two film discussion clubs, dabble in darkroom photography, and also known as Horror Dirk. Cathedral City, CA. 🎥

Will Sampson as Taylor in Poltergeist II.

Photograph of vegan Peruvian friend rice.

Black and white portrait photograph of Alfred Hitchcock in formal attire, wearing a suit and tie. The professional studio photo shows him in a three-quarter view against a softly blurred background, with dramatic lighting creating defined shadows across his face.

Book cover and title page of Robert Bloch’s PSYCHO.

Movie poster of the German film The Baader Meinhof Complex

Meme of a green forest with the text: BETTER THAN ANY DATA CENTER

Book cover for "Deviant" by Harold Schechter. Cream background with bold black sans-serif title text. Below the title: smaller text reading "The Shocking True Story of Ed Gein, the Original 'Psycho'". A horizontal graphic of two red-toned eyes with a grainy, distorted halftone effect appears in the center. Author name in large black sans-serif at the bottom.

Black and white portrait photograph of Alan Turing, circa 1950s, wearing a tweed jacket and tie

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A high-contrast graphic with a dark silhouette of a girl with voluminous curly hair against a deep red background, her hair backlit with fiery orange. Bold yellow text at the bottom reads: “No one cares for you a smidge / When you’re in an orphanage!”

Promotional poster for The Boroughs, a Netflix sci-fi series. Six cast members stand against a dramatic sunset sky over a mid-century modern suburban neighborhood. Center and foreground: Alfred Molina (as Sam) and Geena Davis (as Renee). To their left: Denis O’Hare and Alfre Woodard (as Judy). To their right: Clarke Peters (as Art) and Bill Pullman. Looming behind them all is a glowing, otherworldly silhouette with two bright blue eyes. The title “The Boroughs” is displayed in large script lettering. A tagline at the top reads: “The Executive Producers of Stranger Things invite you to a new community.” Premiere date shown: Only on Netflix, 21 May.

Movie poster for Compliance (2012), directed by Craig Zobel. A young blonde woman looks upward with a distressed expression against a muted, yellowish wall. The title “COMPLIANCE” appears in large white letters across the center. The poster is covered with pull quotes from critics praising the film, including reviews from Variety, Time Out NY, and The Onion AV Club. A tagline at the top reads “Inspired by True Events.” Rated R. Distributed by Magnolia Pictures.

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A muscular man dressed as President Camacho from the film Idiocracy, wearing a white tank top printed with the Presidential Seal, American flag pants, a USA headband, red-white-and-blue wristbands, and a long straight wig. He is grinning broadly while cracking open a can of Brawndo, seated on an ornate throne-like chair against a dramatic red-curtained backdrop.

“Virginia Madsen as Helen Lyle in Candyman (1992), seated at a desk in front of a chalkboard, a CRT computer monitor glowing blue beside her. She wears a black turtleneck and looks intently off-camera.”

Movie poster for Bound (1996, directed by the Wachowskis). Two women in black clothing pose against a dark background strung with clotheslines hung with dollar bills. The woman on the left stands with her back to the camera, glancing over her shoulder; the woman on the right leans forward, gripping the clothesline. Large yellow-green block lettering reads “BOUND” across the bottom half of the poster. Cast names Jennifer Tilly, Gina Gershon, and Joe Pantoliano appear above the title. The tagline reads: “Violet and Corky are making laundry day a very big deal.” Credits at the bottom list the Wachowskis as writers and directors, with production by Dino De Laurentiis Company and Spelling Films, distributed by Gramercy Pictures. Rated R.

Still frame from movie: Arnold Schwarzenegger as the T-800, shirtless and imposing, faces down three punk gang members in a grimy, industrial setting: Bill Paxton as the Punk Leader, Brian Thompson as a Punk, and a third gang member. The confrontation is the T-800’s first scene after arriving from the future.

Roddy Piper as Nada in John Carpenter’s They Live — a scruffy blond man in a plaid flannel shirt slowly pulls a pair of dark sunglasses down his nose, peering over the frames with wide, intense eyes. He stands by a newsstand, shelves of comic books and paperback books visible behind him.

Black and white photograph of a pair of bare feet suspended above a dark pedestal, the legs bound with leather straps and enveloped in dense, web-like threads that cascade downward onto the surface below. Shot against a dark, textured background.

Black and white photograph of Karin Spaink seated in a wheelchair on a sunny tree-lined path, wearing a dark lace-trimmed slip dress with feather accessories at her shoulder and wrist, her head tilted back with a relaxed, confident expression. A forearm crutch rests behind her. The photo has a candid, artistic quality.

Gene Wilder as Willy Wonka

Two young men give thumbs-up gestures inside a library, surrounded by shelves of books. One wears a leopard-print beret and tie-dye shirt; the other wears a backwards yellow baseball cap and olive jacket. This is a still shot from the 1987 film Summer School. On the right is Dean Cameron as “Chainsaw” and on the left is Gary Riley as Dave.

Three men in business casual attire — loosened ties, dress shirts, slacks — destroy a printer in an open field. One man delivers a high kick, another raises a baseball bat, and a third approaches from behind. The printer lies on the ground, already partially dismantled. Overcast sky and sparse trees fill the background.

Black and white portrait photograph of James Baldwin, arms crossed, holding a cigarette, with a direct, intense gaze at the camera. Bold orange text overlaid reads: “I can’t believe what you say because I see what you do.” — James Baldwin

Promotional poster for the 2006 film Idiocracy. Against a bright yellow background, a bewildered-looking man in a grey t-shirt (printed with a red “no brain” symbol — a brain inside a circle-slash) stands with his arms outstretched in a shrug. Behind and below him, a reverse-evolution sequence shows silhouettes progressing from hunched early hominids to modern human — and then back again. The title “IDIOCRACY” is printed in large, distressed black block letters on the left.