the scene starts with a white room. A man walks over and the camera pans over to an upside down, floating, spinning chair. The man walks closer and the chair suddenly slices the man's throat.

A breed of humans with dangerously powerful telepathic abilities -- the scanners -- are being recruited by a corrupt police commander, John Forrester, in his crusade to take over the city.

After a man with extraordinary, and frighteningly destructive, telepathic abilities is nabbed by agents from a mysterious rogue corporation, he discovers he is far from the only possessor of such strange powers. Some of the other “scanners” have their minds set on world domination, while others are trying to stop them.

Tied to a chair and unable to scream for help, a man is gruesomely tortured for a dark, mysterious reason.

In The Chair (1975) the glaring white highlights on a freshly painted black chair rhyme with multicoloured feathers that fall and stick to the paint, caught by both paint and camera, while the chair itself nearly disappears into the deep blue background. One take, a little over 7 minutes in length is a black wooden chair slowly being rained upon by large multi-colored feathers. There is no sound. The piece is Zen like and meditative transporting the viewer into contentment as feathers gather on and around the chair.

The start of the film sets the tone. A tortured man looks as if he will castrate himself. Later he staggers aimlessly and bleeding heavily through the streets of a town that is just waking up. In parallel, the film shows the marital discussions of a couple, with the husband hiding behind the camera.

This is a film about a man without a face. His arms and legs, bound with ropes, the disabled man is still without even a shudder in a white room. A series of unusual scenes in this room expresses what lies between memories, nightmares, and violent images.

After Reese brings home an antique chair, a series of horrific events follow, leading him to question if it's a malevolent spirit the chair possesses or the darkness inside his own mind.

A man finds himself in a dystopian world overtaken by nazi chairs.

The silhouette of a man takes a few steps away from the camera, 'into' the image. His back is to the audience as he seemingly stares into the same view that we, the audience, see around him. There he stands, partially obscuring the image that is now projected over him. His body is almost still in contrast to the jerky, handheld footage which was filmed walking through what appears to be a cemetery. A second scene takes us down a long (underground?) corridor illuminated by strip lights. Throughout the film, the camera is in constant motion, penetrating forward, at times looking out from a moving vehicle. The sound we hear could simply be that of a running projector, but in combination with these murky images, a more ominous, foreboding atmosphere is implied.

Director: Jay Lee