The Driller Killer is a 1979 black comedy slasher film directed by Abel Ferrara and starring Ferrara (credited as Jimmy Laine), Carolyn Marz, Baybi Day, and Harry Schultz. The plot concerns Reno Miller, a struggling artist in New York City, turning insane from stress and killing derelicts with a power drill. When the film was released on video cassette in 1982, its graphic packaging drew complaints which landed the release on a list of "video nasties" that were banned in the United Kingdom under the Video Recordings Act 1984. An edited version was later granted an 18 certificate and released in 1999, and a full uncut version was approved by the BBFC in November 2002. On 10 June 2010 it was re-released as video on demand (VOD). The film is now in the public domain. Plot Artist Reno Miller (Abel Ferrara) and his girlfriend Carol enter a small Catholic church, where he approaches an elderly bearded man (revealed as Reno's estranged derelict father) kneeling at the pulpit. The derelict seizes Reno's hand, causing him and Carol to flee from the church. Unknown to Reno, his father slipped him a piece of paper requesting a meeting with him. Reno denies knowing who the homeless man was. Later at his apartment, Reno receives a large Con-Ed electricity bill, and a phone bill, both of which, along with his monthly apartment's rental fee, Reno cannot pay. He shares the apartment with Carol, a former flight attendant, and her drug-addicted lover Pamela, in a derelict-filled neighborhood in Union Square. Reno visits Dalton, an art gallery owner, and tells him that he is currently painting a masterpiece. Reno asks for a week's extension and a $500 loan to cover the rent. However, Dalton refuses, saying that he has already lent enough money to Reno. However, if Reno finishes a satisfactory painting in one week, Dalton will buy it for the agreed amount. The following day, a No Wave band named the Roosters begin practising their music in a nearby apartment, which makes Reno unnerved and frustrated. At 2:00 in the morning while painting, Reno becomes increasingly agitated by the Roosters' music. After seeing a vision of his own image saturated in blood, Reno walks the streets in the dark. He sees an elderly homeless man sleeping in a garbage-strewn alley, seizes him and begins ranting. Reno ducks into the alley with the man, where they