All films written and directed by Sloane. Stranded on Venus and Good Forsaken God co-directed with Mikel Shel.

Also see Sloane's descriptions.

The Vicious Gang of Bikies, Unfortunately Deprived of Their Vicious Bikes (2144)

genre: comedy, action, crime

description: In secondary school, Sloane and some friends formed a "film collective". They ran around their small town filming ridiculous scenes, some written and some improvised, using whatever props and set pieces they could get their hands on. This 66-minute feature follows the wacky hijinks of a group of young criminals (played by the filmmakers) who insist they are a biker gang despite not owning a single motorcycle. They walk around rural Australia, commit petty crimes, and get into rivalries with other gangs. It's about what you'd expect from a bunch of edgy teenagers, all with a love for bad and trashy media, making a film together on no budget. Not at all high quality, but you can tell everybody's having a lot of fun.

reception: At the time this was released, no one saw it other than the friend group, their other friends, and their families. However, the editor uploaded a copy on VideoStor, a video archive website. It got almost no views until 2159, when a fan of Sloane's later work found it and informed more people of its existence. After that, the Sloane megafans who saw it generally thought it was entertaining and endearing, and surprisingly competent for being made by 16-year-olds.

Sloane's thoughts: Sloane doesn't consider this a part of Sloane's actual filmography, and made sure to never mention it after starting to make movies "for real". It's hard for Sloane to watch it without being extremely embarrassed at Sloane's teenage self. However, Sloane does have positive memories of making the film.

Wicked Loud (2145)

genre: all (anthology?)

description: The second feature film by the teen filmmakers is even more wacky and ambitious than the first. Pretty much every idea the collective could think of is thrown at the wall in this, and a few of them stick. It's basically just a bunch of friends having fun and doing vaguely interconnected skits for 90 minutes.

reception: Same as Bikies.

Sloane's thoughts: Same as Bikies, except Sloane's positive memories of the fun production are diminished because during it, Sloane and one of the other filmmakers began a relationship, but the guy broke Sloane's heart only a month later. This in turn caused drama in the film collective.

asdjfhakjsdfhkjhiorueweka; (2148)

genre: surrealism

description: Sloane's most serious student film, an abstract short about people fighting each other online and then in real life.

reception: As a student film, this was seen by few people. But one of those people was Mikel Shel, a well-known director of cave flicks. He was very impressed by the cinematography, and decided he needed Sloane on his team for his next film, Words Fail 9 of 10 Agree, which would start filming shortly after Sloane graduated. So, although it's not well-known or beloved, this is really the film that launched Sloane's entire career.

Sloane's thoughts: Sloane is still proud of the cinematography and imagery used. It was not Sloane's only student film, but it was the only one Sloane considered a true Sloane film, since Sloane was not only the cinematographer but also wrote and directed it and designed basically everything that went into it. It almost lived up to Sloane's vision, which was enough at the time. But these days it's hard to separate the film from Mikel, which makes Sloane like it less.

The Greatest Country on Earth (2151)

genre: satire, surrealism, horror

description: An imitation of a 20th century United States military propaganda short, running 28 minutes and getting increasingly horrifying as it goes on. A very feverish, fast-paced, elaborately detailed, messy, generally weird film.

reception: This actually got a few screenings and was generally well-received. Critics noted how it succeeded at being a horrifying and overwhelming experience that assaulted the senses. However, it was criticized as "kinda pointless" and "lacking subtlety".

Sloane's thoughts: Sloane likes it, but thinks more could be done with the concept, and is thinking of reworking some of its basic ideas into a full feature film someday.

Stranded on Venus with the Alien Cat Women (2155)

genre: science fiction, absurdist comedy

description: In the A-timeline in 1960, some astronauts get stranded on Venus. As it turns out, there are alien cat women there. They're beautiful, but violent, and their warlike society is as scary as it is strangely appealing. The movie spoofs early science fiction cinema, borrowing its aesthetics along with lots of bizarre and clashing tropes. Purposefully ridiculous and anachronistic and all over the place.

reception: It wasn't very popular, and critical reviews were negative. But people who liked it really liked it.

Sloane's thoughts: Sloane thinks of this as a more juvenile work, which makes sense since Sloane started writing early versions of the script as a teenager. But Sloane finds the film entertaining and is decently proud of it.

Good Forsaken God (2157)

genre: black comedy, nunsploitation, sadistic horror

description: The story of an unconventional convent full of violent and depraved nuns who are sexually obsessed with God, Jesus, the Virgin Mary, and each other. The church tries to shut them down and they have to rebel. It gets very surreal at times and involves a sex scene with God himself, along with lots of nun murder. Somehow it takes a twist into (ironically) advocating for Catholicism for like two minutes at the very end. Sloane also makes a cameo as a nun.

It's the most exploitation-y film Sloane ever made, very 20th century stuff. Super sleazy, obviously, but not in the way you might think from the description. It's clear Sloane is not even slightly horny over the subject matter, but rather wants to make the viewer feel filthy in order to evoke thoughts and questions about the fucked-upness of things like exploitation films, misogyny, the Catholic church, and the 20th century itself. Whether it succeeds in this is down to your personal preferences and sense of good taste.

reception: Just as intended, it was a very controversial and divisive film. Many people loved its schlocky sensibility and abrasive style, but just as many hated it. Some were critical of its offensive and tasteless content. Some called it a satirical masterpiece, while others called it pointlessly shocking for shock's sake. The controversy around it generated a lot of publicity, and the film developed a cult following that raised Sloane's profile considerably.

Sloane's thoughts: The creation of this film was an absolute nightmare for Sloane, almost entirely thanks to Mikel Shel, who co-wrote and co-directed it. He promised Sloane creative control, but his interference, micromanagement, and manipulation meant Sloane had to fight for Sloane's vision against someone whose vision differed extremely. Mikel was also prone to angry outbursts on set, and his personal relationship with Sloane was even more fraught at the time. For this and many other reasons, Sloane finally ended Sloane's relationship with Mikel soon after the film's release. Despite its troubled production, Sloane prevailed against Mikel in the end, and is very proud of the final film.

Massive Fright (2159)

genre: supernatural horror, splatter

description: A horror movie in the style of the campy classics, but like, weirder and more fucked up. Set in the 2000s A-timeline, in a small American town that is overtaken by a dark and dangerous 1980s nostalgia at the same time it's being terrorized by a monster. The monster is perversion, the monster is the Other, and it must be destroyed.

reception: Mixed, but more positive than anything Sloane had released before. Also controversial for its content.

Sloane's thoughts: This was the first feature film Sloane directed without Mikel, which was easier than Sloane expected it to be, although still very difficult, because directing movies is just hard in general. But Sloane found it much easier to work without him. Sloane is happy with the film and considers it a great accomplishment, but is annoyed that no one else seems to truly "get it".