Moondog

A homeless woman living in the tunnels below New York City survives on her own terms in the days leading up to a blizzard.

아르헨티나에서 가장 오랜 수감 기간을 기록한 실존 인물의 초상을 그린 범죄 드라마. 1970년대 초 아르헨티나, 어린 나이에 죄책감 없이 강력범죄를 저질렀다는 것 외에도 큰 눈동자와 금발의 곱슬머리를 가진 베이비 페이스로 엄청난 화제를 낳은 십 대 후반의 소년 카를로스는 수십 건의 살인과 강도 등으로 46년 형을 받는다.

Over the course of more than fifteen years, Clémenti films a series of intimate diaries, starting from daily encounters. In La deuxième femme, we see Bulle Ogier and Viva, Nico and Tina Aumont, Philippe Garrel and Udo Kier, a performance by Béjart, a piece by Marc’O, concerts by Bob Marley and Patti Smith (not always recognisable)... It’s like a maelstrom of psychedelic images that are passed through a particle accelerator.

Semi-autobiographical story of Conrad Rooks, who travels to France to undergo a drug-withdrawal cure. Flashbacks to the beginings of psychedelia in San Fran. Though initially confusing, as Rooks blends drug-illusion with reality, and cuts color with black-and-white and monochrome tinted shots, "Chappaqua" is conventionally constructed with a beginning, middle, and end.

A rare beatnik artifact of the early 1960s, one of only a few such films made before the hippies took over Hollywood. Low budget and in b&w, it's set in Greenwich Village, with what seems like a mostly improvised script. It begins as a late film noir crime tale involving a bank robbery where only one of a group of thieves escapes with his life, as well as $90,000 in loot. Injured and on the run, he hides in a local tour bus and is soon taken in by a group of bohemians who shoot him full of morphine to ease his pain and let him sleep it off on a mattress. Mason is the head beatnik. There's also the owner of both an upstairs coffeehouse and garret, where these beatniks hang out. They, in turn, bring the tourist trade in. Although the robbery is supposed to be the main focus of the plot, it quickly turns into more of a character study featuring these rebellious bon vivants and their odd lifestyle...

A pulsating city symphony of light, movement, and electronic music, transforming Times Square in the 1950s into what Hugo’s wife, the writer Anaïs Nin, called "an ephemeral flow of sensations.”