The film traces Sam McKinlayâs early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstractionâfrom the cheap effects of old monster movie makeup to the âmasksâ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Francoâs Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).
