Patti Astor

미국 뉴욕 시의 이스트빌리지 예술 현장. 예술가 여럿이 등장하여 이야기를 펼치고 자신만의 예술을 선보이며 1980년대부터 2017년까지 광범위한 예술계를 영상에 함축적으로 풀어낸다. 이를 통해 우리는 예술계의 흐름을 자세히 살펴볼 수 있게 되고 예술계 속의 퀴어들이 지금까지 펼쳐온 활약을 볼 수 있다. 그중에서도 에이즈라는 질병의 위험 속에서 예술 현장에 대해 깊이 사유하는 이들을 집중하며 바라본다면 사고가 확장되는 것을 느낄 수 있을 것이다.

In the years before Ronald Reagan took office, Manhattan was in ruins. But true art has never come from comfort, and it was precisely those dire circumstances that inspired artists like Jim Jarmusch, Lizzy Borden, and Amos Poe to produce some of their best works. Taking their cues from punk rock and new wave music, these young maverick filmmakers confronted viewers with a stark reality that stood in powerful contrast to the escapist product being churned out by Hollywood.

Two go-go dancers, Lulu and Peaches, are framed for the murder of their employer by the real killer, sleazy gangster Vinnie. Picking up waitress Darlene along the way, the three are involved in wild car chases with cops as they head south to cross the border into Mexico, where they unexpectedly encounter Vinnie in a fleabag Mexican motel.

Two go-go dancers, Lulu and Peaches, are framed for the murder of their employer by the real killer, sleazy gangster Vinnie. Picking up waitress Darlene along the way, the three are involved in wild car chases with cops as they head south to cross the border into Mexico, where they unexpectedly encounter Vinnie in a fleabag Mexican motel.

When Elaine, an adventurous young woman from Germany, arrives in New York City, she sets out to be a famous writer. After a brief stint at a mundane job, Elaine falls on hard times and also becomes intrigued by a mysterious stranger named Lulu. Before long, Elaine gets roped into situations involving theft, murder and the mob. Can the beleaguered expatriate with big dreams turn her life around and steer clear of crime and chaos?

Legendary New York graffiti artist Lee Quinones plays the part of Zoro, the city's hottest and most elusive graffiti writer. The actual story of the movie concerns the tension between Zoro's passion for his art and his personal life, particularly his strained relationship with fellow artist Rose.

In this ostensible murder mystery, the genre elements are merely a pretext for the series of haunting (if inconclusive and only mildly erotic) homo-social encounters he stages. Starting with the familiar premise of the absent woman, so popular with Downtown filmmakers, Vogl drains his storytelling of any hints of noir stylization. Instead of nighttime scenes, slick streets, and dark alleys, he shoots documentary-style on the nondescript, sunlit streets of Brooklyn, Manhattan, and City Island in a manner that casually references the art-film angst of Michelangelo Antonioni.

Based on the true story of four Nazi saboteurs who infiltrated the US in 1942 and were quickly caught and executed, this 80-minute ode to America's irresistibly corruptive allure was the only underground feature by writer-director Anders Grafstrom. A Swedish art director who relocated to NYC, he created this grandiose No-Wave, Super-8 color-epic at the age of 23, only to die in a Mexican car accident a few months after completing the film.

The Sunset Blvd. of underground cinema, and a suitably ambivalent retrospect on the star-game casualties of New York's upper depths, with Patti Astor statuesquely hysterical as a 20-year-old Norma Desmond, made up to recall Edie Sedgwick and surrounded by Warhol's lost children. We've been here before, but without the hindsight: a camera cruise along a hustler's meat-rack, kitchen-talk over cold canned spaghetti, Taylor Mead grimacing in a spastic dance, the silent stud a sullenly passive observer. Mitchell's ear for campy native wit and eye for figures in a loft-scape happily keep at bay the otherwise contagious NY ennui.

Second feature film by the French-born director is a Bertolucci-style story of a bored, rich woman looking for romance and adventure. She meets an American G.I., dumps him, then falls for a Communist worker.

Nares mocks up Ancient Rome by shooting in faux-classical sites like Grant's Tomb and Tribeca's American Thread Building, where a decrepit penthouse loft with a peeling-paint dome serves as an echoey stand-in for the imperial palace. The latter location required ingenuity: Posing as potential renters, Nares and associates asked the manager to show them the apartment, then unlocked the windows on the way out; a few hours later, they broke back into the space, full cast and crew in tow, to shoot the necessary scenes.

Eric Mitchell's debut film, shot in Super 8, stars Mitchell, Anya Phillips, Patti Astor, and Duncan Smith among a crowd of hip "poseurs," talking sex, manners, and politics.

A French special op suffers an existential crisis as he wanders New York City in search of a mission and the requisite connections.

Stars Patti Astor as a waylaid heroine fending for herself in the wild, filmed guerilla style in Central Park.

Sketched loosely, the narrative of Poe's first feature is as scrappy and paper-thin as its protagonist Rico, a self-styled loner in New York City circa 1976 who longs to inhabit the "New Wave" scene of mid-60s Paris. In Rico's day-to-day life as an unsuccessful photographer, he wearily searches for authentic connection-- even as he spouts the most inauthentic prose imaginable.