Evan Lurie

O filme centra-se no ano de 1964, quando o pintor e escultor suíço Alberto Giacometti convidou o crítico de arte e escritor norte-americano James Lord para posar para ele; este convite acabou sendo um dos retratos mais famosos do artista.

Um motorista de limusine despretensioso começa um romance enquanto seu melhor amigo enfrenta a dissolução de seu casamento.

New York's No Wave scene, recorded on Super-8mm, performing in a sparse downtown loft.

Affected by tragedy, a married couple decide to role play a blind date.

Pierre Beders (Steve Buscemi) é um conceituado jornalista de política. Quando é designado para entrevistar Katya (Sienna Miller), uma famosa e bela atriz de novelas, fica muito ofendido. Acostumado ao mundo da política mundial, ele tem de lidar com uma pessoa mais conhecida pelas fofocas nos tablóides do que pelo talento. Nesse choque de dois mundos, no entanto, os dois encontram uma conexão mais profunda.

After failing to find success as a writer in New York City, Jim slinks back to his family's home in the Midwest to lick his wounds. But his visit is quickly complicated when his angst spreads to his brother, Tim, who promptly decides to drive his car straight into a tree. Under the shadow of his sibling's injurious actions, Jim strikes up an unlikely friendship with Anika, whose centered small-town wisdom gradually rubs off on him.

Face Addict tells the story of a unique and unrepeatable experience, that of the artistic community in New York between the late '70s and early '80s, known as the downtown scene.

A documentarian decides to follow the career of New York actress Lisa Picard, believing she is on the brink of fame. Instead, he bears witness to Lisa's continued, humorous, struggles as an actress, as well as the conflict that arises when Lisa's best friend Tate hits it big with an off-Broadway one-man show.

Ruby Weaver (Marisa Tomei) tem um sério problema para achar o homem certo, tanto que tem um caixa com a fotografia de todos os seus ex-namorados. Sam Deed (Vincent D'Onofrio), seu atual namorado, parece ser diferente: é extremamente gentil e preocupado com ela. Porém algumas coisas com o tempo se revelam surpreendentes, assim ela conta para a sua analista, Maggie Ann Ford (Holland Taylor), detalhes sobre Sam. O mais mais espantoso é que Sam diz que é do futuro, de 2470 para ser mais exato, e que voltou no tempo para evitar ser processado pela morte da sua irmã, que ele jura para Ruby que foi acidental. Sam viu a foto de Ruby no século XXV quando pesquisava sobre mortes acidentais e acha que quando voltou ao passado foi uma feliz coincidência encontrá-la. Mas há uma notícia que não é boa, pois Ruby morrerá brevemente em um acidente.

Around 1940, New Yorker staff writer Joe Mitchell meets Joe Gould, a Greenwich Village character who cadges meals, drinks, and contributions to the Joe Gould Fund and who is writing a voluminous Oral History of the World, a record of 20,000 conversations he's overheard. Mitchell is fascinated with this Harvard grad and writes a 1942 piece about him, "Professor Seagull," bringing Gould some celebrity and an invitation to join the Greenwich Village Ravens, a poetry club he's often crashed. Gould's touchy, querulous personality and his frequent dropping in on Mitchell for hours of chat lead to a breakup, but the two Joes stay in touch until Gould's death and Mitchell's unveiling of the secret.

A lovely school teacher finds herself the victim of a scam artist - a garage owner who delights in ripping off his customers. Soon, she has two eager young men, her lizard-loving neighbour and his friend, on her side to help her exact revenge on the sleazy mechanic, who is the leader of a stolen car ring.

When Dorine Douglas' job as proofreader for Constant Consumer magazine is turned into an at-home position during a downsizing, she doesn't know how to cope. But after accidentally killing one of her co-workers, she discovers that murder can quench the loneliness of her home life, as a macabre office place forms in her basement, populated by dead co-workers.

Layin' Low is a 1996 film directed by Danny Leiner and stars Jeremy Piven.

Tommy, um jovem alcoólatra, envolve-se em confusões gratuitas e niilistas após ser demitido de seu emprego.

Um maníaco sexual e serial killer está à solta, mas equivocadamente a polícia suspeita de Loris (Roberto Benigni), um malandro de 5ª categoria que só rouba supermercados e vive dando uma de espertinho para não pagar suas contas. Jessica Rossetti (Nicoletta Braschi), uma policial, recebe a missão de, disfarçada, conhecer Loris e, orientada por Jolanda Taccone (Dominique Lavanant), um psicólogo da polícia, provoca sexualmente Loris de todas as formas para despertar o “monstro” que existe nele. Mas as coisas não acontecem conforme o planejado.

Sam é ordenado e gosta de privacidade. Such é apegado às longas noites e festas, enquanto Ellen é boêmia e busca sair de seu depressivo casamento. Eles dividem um quarto e devem encontrar uma maneira de viver juntos apesar de suas diferenças.

Good hearted but not very wordly-wise, Dante is happy driving the school bus for a group of mentally handicapped children, while feeling he is somehow missing out on life and love. So he is very excited when after nearly being knocked down by her car he meets Maria, who seems immediately enamoured of him. He is soon invited to her sumptuous Palermo villa, little suspecting that this is part of a plot. He bears an amazing likeness to Maria's stool-pigeon gangster husband and it would be convenient for them if the mobster, in the shape of Dante, was seen to be dead and buried.

In a seedy New Jersey nightclub, gossip turns to murder when the owner Pete hires exotic dancer Danny Lee, who starts up an affair with barfly Ralph, much to the chagrin of his bedridden wife, Luane.

Roberto Benigni é o diabo em pessoa. Com 400 anos de idade, ele está consado de sua monótona vida no inferno. Na busca de novos "ares", o pequeno e ingênuo diabo resolve encarnar-se em uma mulher gorda chamada Giuditta. Para ajudá-la, o padre provinciano Maurice (Walter Matthau) é chamado e realiza o exorcismo. Mas o maligo ser está relutante em retornar para "casa" e por isso, resolve esconder-se na igreja, decidido a atormentar a vida do pobre padre. Passando-se por seu sobrinho, este ser atrapalhado e falador passa a armar as maiores confusões, já que não conhece as malícias e os costumes do mundo dos homens.

Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes.

Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

A punk savage satire about a kidnapping.