Viva

1967 (made in 2015) presents newly found and digitized silent 16mm films from the 1960s in the form of a four-part composition portraying a cast of artists, writers, musicians and actors who made up the bohemian underground of that time. The film recasts the essence of a scene whose participants have since been idealized as celebrities or else forgotten.

Reviewing home videos, filmmaker Paula Gaitán constructs a curious narrative about her youth while talking to her children. A filmic note in the form of an essay based on material made in Super 8. "Of which there are no limits, and full of affection and imagination", says the author.

Drama - - Demian Gabriel, Nicole LaLiberte, Viva

Reel-to-reel video by Michel Auder, recorded 1971, edited 2009. Features Auder's former wife Viva.

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.

The Feature does not reconcile fact and fiction; instead, it blurs the definitions seemingly represented by the film’s two clearly demarcated registers: that of the archival footage and that of the new, theatrical material. In his guise as “Michel Auder,” living a fulsome and extravagant life, replete with beautiful women and a rock-cut pool overlooking Los Angeles, the art world is revealed as a sham, and his character exhibits a repulsive narcissism. And yet, when caught in quiet moments, something poignant emerges—a glimmer of truth that rebels against the entire endeavour. Or maybe, that’s what makes The Feature.

Filmmaker Jonas Mekas films 160 underground film people over four decades.

A look into the many lives of Christa Päffgen, otherwise known as Nico; from cutie German mädchen to the first of the supermodels, to glamorous diva of the Velvet Underground, to cult item, junkie and hag. Many faces for the same woman, whom, you realize, just couldn't bring herself to care enough to live.

파일럿이 꿈인 찰스는 비행학교 시험에서 떨어지자 실의에 빠진다. 여름방학을 맞아 시골의 별장으로 간 찰스는 자동차 사고로 얼굴 및 전신의 반이 흉칙하게 일그러진 전직 교사 저스틴을 만나게되고 그에게 개인교습을 청한다. 둘은 함께 공부하며 친해지는데...

Documentary on Andy Warhol's cinema of the sixties, made for Channel 4 in association with The Factory, MOMA and the Whitney Museum of Art and in collaboration with Simon Field.

The first major profile of the American Pop Art cult leader after his death in 1987 covers the whole of his life and work through interviews, clips from his films, and conversations with his family and superstar friends. Andy Warhol, the son of poor Czech immigrants, grew up in the industrial slums of Pittsburgh while dreaming of Hollywood stars. He went on to become a star himself.

‘프리 재즈’를 통해 미국 뿐 아니라 세계적으로 큰 인기를 누린 재즈 뮤지션 오네트 콜먼(1930~2015)의 삶을 다룬 다큐멘터리. 셜리 클락은 인터뷰, 공연 기록 영상, 뮤직 비디오 등 다양한 자료를 한자리에 모아 오네트 콜먼이 걸어온 발자취를 다양한 관점에서 조망한다. 셜리 클락이 연출한 마지막 작품.

멕시코와 미국의 접경 지역 부근, 텍사스주의 어느 황량한 마을에 탈진한 듯 보이는 한 남자가 걸어온다. 그의 이름은 트래비스. 의식을 잃은 트래비스의 소지품에서 월트란 이름을 발견한 의사는 연락을 취하게 되고, 캘리포니아주 로스앤젤레스에서 살던 동생 월트가 형인 트래비스를 데리러 온다. 4년 만에 소식을 접한 월트는 병원에서 말 없이 사라진 형을 바로 찾아내지만, 형은 계속 침묵으로만 일관한다. 그동안 형의 아들인 헌터를 맡아 기르던 월터와 그의 아내 앤은 헌터가 트래비스를 아버지로 인정할 수 있게 최선을 다하지만, 다른 한편으로는 기른 정에 얽매여 헌터를 잃게 되진 않을까 우려한다. 월트는 형이 텍사스에서 헌터의 엄마, 제인과 살다가 왜 갑자기 헤어지게 됐는지 털어놓지 않자 답답해하고, 트래비스는 앤으로부터 제인이 헌터에게 매달 정기적으로 송금해오는데, 휴스턴의 한 은행을 이용하고 있다는 애기를 듣고 직접 찾아보기로 결심하는데..

영화감독 프리드리히는 리스본에서 "세계가 멸망한 날(Day the World Ended)"(로저 코먼, 1955)의 리메이크 작업을 진행하던 중 제작비가 다 떨어져 잠시 촬영을 중지한다. 미국에 있는 제작사의 연락을 기다리는 동안 프리드리히는 스태프들과 무료한 시간을 보내며 도시 곳곳을 돌아다닌다. 1982년 베니스영화제 황금사자상 수상.

The film is a series of interviews with various well-known film actresses, including Jenny Agutter, Maria Schneider, and Jane Fonda. The title, which is borrowed from a 1958 film with the same name by Marc Allegret, refers to the sense the actresses have of what is expected of them by the film industry.

This TV documentary was made for the UK BBC TV "Arena" strand in 1981, and shows some of the colourful residents of and people connected with the New York Chelsea Hotel. Some highlights include Andy Warhol and William Burroughs having dinner; Quentin Crisp pontificating in a blue rinse hairdo on his balcony and Nico forgetting what she is talking about halfway through a dour rendition of "Chelsea Girls". A number of lesser-known characters also appear, linked together by a tour guide walking around the building and some sub-Shining sequences of a child cycling round the landings on a rickety tricycle. (IMDb)

갑작스런 이상 기류에 휘말려 과학자의 집에 추락한 Flash와 Melody. 우연곡절 끝에 이상한 별에 도착한 그들은 그곳의병사들에게 체포되어 고문을 당하게 되고 Flash는 우연히 그곳의 공주로인해 죽음의 위기를 모면하게 된다. 공주의 유혹속 에 빠진 Flash는 그녀와 함께 여행을 떠나다 공주의 옛애인으로 부터 결투 신청을 받아 생사를 건 싸움을 벌이게 된다. 한편 Mwlody는 Flash가 죽은 줄만 알고 그곳의 독재자와 결혼을 하게 된다.

헤라클레스는 지하실에 있는 신비한 문을 열고 또다른 차원으로 이동한 후 사랑과 죽음을 넘나드는 기괴한 모험을 벌인다. 실사와 애니메이션의 혼합, 괴상한 분장의 캐릭터들, 비관습적 플롯 진행을 과감히 시도한 리처드 엘프만의 데뷔작. 개봉 당시 흑백으로 공개됐지만 2008년에 다시 칼라로 만들었다. 감독의 동생인 대니 엘프만의 음악감독 데뷔작이기도 하다. (2019 시네바캉스 서울)

"Chronicles of the Present Times" - An experimental trilogy comprising 'Visa De Censure No.X', 'Livre De Famille' and 'Anima Mundi'. New Old flows together footage from more than a decade of his wandering between scenes, sets, and drugs, an accelerated world tour through various iterations of the counterculture.

Michel Auder’s Jesus – in which underground NY artists and Warhol superstars openly discuss their beliefs. Jesus – which premiered as a screening at The Kitchen in 1980 – mixes documentary elements such as footage of evangelical TV programs, books, cartoons, paintings, and other Jesus related imagery – with performances including Taylor Mead as a priest in the West Village and Florence Lambert playing a crucified Jesus. Also, intercut throughout are surprisingly candid interviews with Auder’s friends, family, and people he approaches on New York City streets about their faith and relationship to the world’s most famous person. Among those interviewed are Diego Cortez, Jackie Curtis, Gerard Malanga, Alice Neel (Andrew Neel’s grandmother), Larry Rivers, and Viva.

In 1969 Michel Auder began a series of video diaries that chronicled the art scene in downtown New York. In Chelsea Girls with Andy Warhol, Auder captures revealing moments in Warhol's public and private life: the opening of the 1970 Whitney Museum retrospective, a party held at John Lennon and Yoko Ono's home, a heated telephone conversation between Warhol, Viva and Brigid Berlin, and an illuminating interview conducted with Larry Rivers, the grandfather of Pop Art, following the publication of The Philosophy of Andy Warhol in 1975. The issue of money is a consistent topic of conversation with Viva, who after departing the Factory in 1969 sent Warhol a series of threatening letters demanding money.

Warhol superstar and icon of sixties bohemia Edie Sedgwick delivers her final performance in this semiautobiographical look at the price of fame. Fiction and documentary—including snippets from Sedgwick’s own audio dairies—mingle in a freewheeling portrait of Susan Superstar (Sedgwick), a New York celebrity on a drug-fueled downward slide that mirrors Sedgwick’s own self-destructive spiral. Released after her death from an overdose of barbiturates, CIAO! MANHATTAN endures as a testament to Sedgwick’s unique magnetism and as a haunting elegy for the counterculture she embodied.

앨런은 아내에게 이혼을 당한 소심한 성격의 인물이다. 그의 친구인 딕과 그의 아내 린다는 앨런에게 여러 여자들을 소개시켜 보지만 앨런은 결국 린다와 사랑에 빠지고 만다.

A down on his luck former drug dealer is forced by a corrupt LAPD policeman to sell 100 kilos of confiscated marijuana in one weekend.

With a rambling, unstructured style that echoes Andy Warhol’s own approach to filmmaking, this documentary profiles his career, showing him to be a brilliant manipulator, dedicated voyeur and person of astute commercial judgment.

The Chronicles capture the natural and cultural beauty of Morocco from its ancient walled villages to its nomadic caravans. Music comes from everywhere. Edited almost thirty years apart, the two Chronicles together are a study in Auder's approach to his memories. The footage is all from the same trip that was a family vacation. Considering Chronicles/Morocco, 1971 a construct of emotional convenience unfaithful to memory, Auder decided to supplement the first version with a fuller account. The two works feature almost entirely different footage. There are, however, sections where one can see where Auder has omitted Viva. The star of the 1971 version is a young Moroccan Adonis who appoints himself tour-guide for a group of Europeans including Michel. The camera follows his charming antics as he flaunts his nubile body and rather blunt but effective skills as a hunter.

A surreal and disturbing distillation of Western Civilization, Necropolis is the unhinged vision of Italian director Franco Brocani. Pierre Clémenti is Attila the Hun, naked and on horseback, while Warhol superstar Viva is a drunken and abusive Countess Bathory. A pop pastiche for the psychedelic generation, Necropolis features a soundtrack by Gavin Bryars.

Documentary portrait of Henri Langlois, co-founder of the Cinémathèque Française.

Cleopatra situates itself in the same relationship to Hollywood as the Warhol/Morrisey films of the period. It corresponds to Joseph Mankiewicz's 1963 Cleopatra, starring Elizabeth Taylor and Richard Burton which Auder's cast watched and used as the starting point for scene by scene improvisation Auder drew his cast from Warhol's ensemble – including not only Viva and Louis Waldon, but also Taylor Mead, Ondine, Andrea Feldman, Gerard Melanga and others.

"The question is, it is either going to be a stoned age or a new Stone Age" - Louis Brigante

Warhol Superstars Viva and Louis Waldon are the main subjects of Auder’s first film with synched sound, Keeping Busy (1969), which was billed as “a film novel about what they did to keep busy.”

Three actors in Hollywood live and love together. A director comes from New York to make a movie about actors and Hollywood.

Viva and Louis Waldon spend an idyllic afternoon together in an apartment in New York City.

텍사스에서 접시 닦기를 하던 조는 돈을 벌고자 뉴욕에 카우보이 차림으로 나타난다. 그가 가진 것이라곤 몸뚱이 하나뿐. 돈이 있어 보이는 여인에게 추파를 던졌으나 어쩐지 걸려들지 않는다. 실패를 거듭한 끝에 겨우 나이 많은 여인 캐스를 만나 호텔로 향한다. 그러나 그녀는 창부였고 오히려 조는 돈을 뜯긴다. 자포자기하여 바에서 술을 마시고 있는 조에게 랏소가 다가와 듣고선 매니저를 주선해 주겠다며 사기를 친다. 결국 호텔에서도 쫓겨난 조는 돈을 받으러 랏소의 아파트를 찾아가지만 병에 걸린 랏소를 보며 묘한 우정을 느낀다. 도시 생활에 지쳐버린 존은 병들어 죽어가는 랏초의 소원대로 따뜻한 마이애미로 떠나기로 하는데...

Positano is an island of the Amalfi Coast that Neptune would have, according to legend, created for the love of a nymph. Perched on the rocks of the island, the house of Frédéric Pardo and Tina Aumont became in 1968 a meeting place for the underground community. Pierre Clémenti stays there for a while and makes images of dazzling sensuality. Beyond Pierre Clémenti's intimate love of these faces and bodies often naked in this Mediterranean landscape, the film reveals the moving beauty of a utopia where living together could still be achieved in a territory of sharing and permanent creation. Flow of perceptions of consciousness, visual impressions, physical impregnations, the work of Pierre Clémenti is an ode to sensuality and "life-cinema".

Trapianto heralds the end of utopia, the death of that underground, but is also the best prologue in Necropolis, which is not by chance found alive. It 's a film that establishes the passage of rolling between two friends, and Brocani Schifano, shared the same passions, and from living the cinema as a challenge urgent and vital, suspended between dream and action.

A political filmmaker finds himself in Long Island for a weekend where he finds himself entangled with a high-living, jet set crowd. At first it is exciting, but soon he finds himself disillusioned by their shallowness.

Five lonesome cowboys get all hot and bothered at home on the range after confronting Ramona Alvarez and her nurse.

Viva and Taylor Mead are a married couple renting an extra beach-house to a group of surfers sent to them by a Mr. Morrissey of La Jolla Realty. Their daughter, Ingrid Superstar, is pregnant and on the hunt for a husband. Mr. Mead, who is gay, tries to pawn her off to one of the surfers. Meanwhile, Viva wants a divorce from her boy-crazy hubby, who wants a surfer of his own. Tom, a surfer, is inveigled by Mr. Mead to urinate on him. In a close-up, Mr. Mead receives Tom's offering ecstatically, after which he comments, "I'm a real surfer now."

Ondine is a gay man attempting to re-adjust his sexuality via various encounters with different women. After trying his luck with three women, Ondine becomes a background character in a sequence in which a group of Latin American men, calling themselves The Bananas, engage in a food fight. Ondine then engages in a wrestling match with Joe Dallesandro, who is married to Brigid Berlin.

“The film flickers through a millennium of culture as it would appear to a tourist. It is an intense film, yet there is an incredible wealth of information surprisingly accessible. Aside from the exciting experience itself, the breakneck history lesson is a reminder that the mind can move in lightning steps: The plodding way information is typically presented is an insult to mental capability.” - Bartlett Naylor

Between the French La Nouvelle Vague and the Italian Neorealismo, Europe had been undergoing a continuous cinema transformation since the 1950s, while the ailing American studio system groaned under its own weight and inertia. New Hollywood had arrived with Bonnie and Clyde in 1967, and already by 1968 it was changing how Hollywood thought and acted. The student film scene was getting ready to explode, and it knew it.

Photographed entirely in color, Four Stars was projected in its complete length of nearly 25 hours (allowing for projection overlap of the 35-minute reels) only once, at the Film-Makers' Cinematheque in the basement of the now-demolished Wurlitzer Building at 125 West 41st Street in New York City. The imagery in the film is dense, wearying and beautiful, but ultimately hard to decipher, for, in contrast to his earlier, and more famous film Chelsea Girls, made in 1966, Warhol directed that two reels be screened simultaneously on top of each other on a single screen, rather than side-by-side.

At a New York City restaurant, the patrons are men, nude but for a G-string, waited on by one woman, also clad in a G-string and a G-bestringed waiter.

Joe Spencer, a member of a motorcycle gang, is taking a shower. After his bout with personal hygiene, Joe encounters Andy Warhol's "superstars," who engage him in conversation. The superstars crack jokes he doesn't understand and continually correct his poor pronunciation in an attempt to deflate his machismo. In response to these provocations, Joe becomes more obscene and more boasting, but ultimately, he cannot compete with the put-downs that are part of the put-on performances of the Warhol superstars, who prevail over him in the end.

"Tub Girls" features Warhol superstar Viva lying in a bathtub with different people of both sexes, including Brigid Berlin (as Brigid Polk), who appeared fully clothed in the tub.