Ray rents a movie titled ray

A little kid stranded, growing up in a country town he hates. The locals reckon it's a paradise, but as far as he can see, the only interesting stuff happens to a guy the whole town dismisses as a loser... Ray.

Ray is a documentary short about the filmmaker's Grandad and his colourful life, from the post-war streets of the East End to the humble pavements of Basildon.

An oblique remake of Nicholas Ray’s On Dangerous Ground (1951), Ray’s Place follows Ray from his haunts in New York City to Binghamton where, exiled from Hollywood, he taught alongside members of the American avant-garde. Participating in both Hollywood’s golden age and the experimental cinema of the 1970s yet at home in neither, what is Ray’s place?

In this short film, our unemployed hero finds that getting that great job depends a lot on whom you choose to dance with at Ray's Male Heterosexual Dance Hall.

Ray used to be a sailor, but now he lives on the streets of Toronto. He dreams of getting back on the water and - in the ultimate achievement of the oblivion he craves - sailing away from it all.

No one could spin a yarn to make a sale like Ray Lum. Twenty years after their initial meeting, Bill Ferris returned home to Mississippi in the early ‘70s with a camera. The result reveals a look back at the colorful rhythms of Ray’s life—at home, at the auction, joking with strangers outside country stores— and provides a glimpse at Southern manhood, friendship and loss. Now nearly Ray’s age when they first filmed, Ferris has become a Grammy Award winning documentarian and renowned folklorist. Using never before seen 16mm footage and new animations, OKAY, MR. RAY is a short documentary film about how even the tallest tales help us keep the memory alive of the ones we love.

A guy named Ray tries to go to sleep and a sasquatch gets into funky business.

Rayday Film was shown projected in several 100-foot length parts from multiple projectors. The friends and family who featured in costume and character within - like Motler, the Word Killer who reflects Keens preference for action over thinking - performed similar actions in front of the screen. After a final performance in 1976, Keen spliced the parts together so it could be shown according to normal cinematic convention.