Producer
In 1984, American heavy metal band Twisted Sister became a global sensation. For 30 years, they been synonymous with hairspray, women's clothing and tasteless album covers. Until now. Ten years ago, director Andrew Horn was granted access to the archives of Twisted Sister founder Jay French and in We are Twisted fucking Sister he explores the decade that preceded their breakthrough.
Writer
In 1984, American heavy metal band Twisted Sister became a global sensation. For 30 years, they been synonymous with hairspray, women's clothing and tasteless album covers. Until now. Ten years ago, director Andrew Horn was granted access to the archives of Twisted Sister founder Jay French and in We are Twisted fucking Sister he explores the decade that preceded their breakthrough.
Director
In 1984, American heavy metal band Twisted Sister became a global sensation. For 30 years, they been synonymous with hairspray, women's clothing and tasteless album covers. Until now. Ten years ago, director Andrew Horn was granted access to the archives of Twisted Sister founder Jay French and in We are Twisted fucking Sister he explores the decade that preceded their breakthrough.
Writer
Looks like an alien, sings like a diva - Klaus Nomi was one of the 1980s' most profoundly bizarre characters to emerge through rock music: a counter tenor who sang pop music like opera and brought opera to club audiences and made them like it. The Nomi Song is a film about fame, death, friendship, betrayal, opera, and the greatest New Wave rock star that never was!
Director
Looks like an alien, sings like a diva - Klaus Nomi was one of the 1980s' most profoundly bizarre characters to emerge through rock music: a counter tenor who sang pop music like opera and brought opera to club audiences and made them like it. The Nomi Song is a film about fame, death, friendship, betrayal, opera, and the greatest New Wave rock star that never was!
Producer
A look at Communist musicals that strove to be ideologically correct - and entertaining, besides.
Writer
A look at Communist musicals that strove to be ideologically correct - and entertaining, besides.
Writer
Not to be confused with Luc Besson's film of the same title from the same year. Documentarian Andrew Horn's second narrative feature.
Director
Not to be confused with Luc Besson's film of the same title from the same year. Documentarian Andrew Horn's second narrative feature.
Experimental feature about two young men trying to make a film.
Writer
“A witty send-up and a wise abstraction of the melodrama, combining elements of romantic mythology – songs, images, words and movements – to ask the question: where does myth end and life begin? Bill Rice ‘stars’ as a frustrated professor of romantic literature who reaches the end of his rope and resolves to be reunited with his deceased true love. When his attempt to hang himself fails, he finds renewed hope in the form of a nurse at his doctor’s office; newly married and still in love, she is nevertheless intrigued by his morbid romanticism. The action takes place on gigantic, expressionistic sets painted by artists Amy Sillman and Pamela Wilson; movements are exaggerated by being reduced to a minimum, and the dialogue, written by James Neu, calls up the romantic phraseology of the ages – from literature to TV – strung together into a musical refrain and set to Evan Lurie’s score.” –PACIFIC FILM ARCHIVE
Director
“A witty send-up and a wise abstraction of the melodrama, combining elements of romantic mythology – songs, images, words and movements – to ask the question: where does myth end and life begin? Bill Rice ‘stars’ as a frustrated professor of romantic literature who reaches the end of his rope and resolves to be reunited with his deceased true love. When his attempt to hang himself fails, he finds renewed hope in the form of a nurse at his doctor’s office; newly married and still in love, she is nevertheless intrigued by his morbid romanticism. The action takes place on gigantic, expressionistic sets painted by artists Amy Sillman and Pamela Wilson; movements are exaggerated by being reduced to a minimum, and the dialogue, written by James Neu, calls up the romantic phraseology of the ages – from literature to TV – strung together into a musical refrain and set to Evan Lurie’s score.” –PACIFIC FILM ARCHIVE
Producer
Scripted collaboratively with King and Brintzenhofe, the filmmakers created a cinedance that takes the viewer through the thresholds of dreaming, waking, and transcendental awareness, using real and painted images of the city, a 19th century attic and outer space. King’s voice recounts a dream of space without walls, a time of childhood and ecstacy. © 1981 Robyn Brentano, Andrew Horn, Kenneth King
Director
Scripted collaboratively with King and Brintzenhofe, the filmmakers created a cinedance that takes the viewer through the thresholds of dreaming, waking, and transcendental awareness, using real and painted images of the city, a 19th century attic and outer space. King’s voice recounts a dream of space without walls, a time of childhood and ecstacy. © 1981 Robyn Brentano, Andrew Horn, Kenneth King
Director
Andy De Groat dances inside "The Four Armed Cloud"--A sculpture by Leonore Tawney. Poetry by Christopher Knowles and "Sun Music" by Michael Galasso accompany the piece. 1979.
Director
Adapted from an obscure Guy de Maupassant novella, lifted from a paperback bought by Meaney as an undergrad for 99 cents. What’s evident is Horn’s fascination for squared-off blocking and choreography, including a glimpse at a performance of Orpheus and Eurydice in minature. Star Adam Macadam brought on other members of Charles Ludlam’s Ridiculous Theater Company, many of whom would return to work on DOOMED LOVE. Featuring ancient costumes on loan from the Metropolitan Opera (repurposed from early twentieth century productions of Tosca and La Traviata), ELAINE aspires to high gothic on a shoestring budget. Horn and Meaney shot at locations including the Morris-Jumel Mansion in Washington Heights, the Frick, and the Carnegie Hall Cinema, then operated by Sid Geffen and Jackie Raynal – the programmers responsible for hosting the first-ever New York City screenings of films by Marguerite Duras, an influence on the filmmakers (alongside Daniel Schmid, Douglas Sirk and Alain Resnais.)
Director
Shot at New York University, Horn’s wordless, mindblowing student film CHROMA might be the missing link between the avant-garde cinema of the 1970s and Horn’s later dance films to follow. The silhouettes of three dancers (red, green and blue) are played off one another while the grids and ladders of the modern metropolis – one feature that’s recognizable across almost every film made by Horn – crossfade and overtake the screen. CHROMA received a special award of merit from the Academy of Motion Picture arts and Sciences; on his CV, Horn described the film like this: “real images are manipulated through special effects and printing to create an artificial dreamscape.”
