Eric Mitchell
2021End of the Night
Keith McNally
Christopher Berger, Tom Bishop
In this black and white independent melodrama, Joe Belinsky (Eric Mitchell) doesn't know how to cope with his wife's pregnancy and his loss of an insurance agency job, and feels adrift. As a consequence of that, he takes a job working the counter of a low-cost, somewhat hip eatery, and meets a French girl with whom he has a brief affair. Though the affair ends, it has created an obsession in him - first with the French girl, and later with slim young women in general. All of them reject him, and he leaves his waiting job to prowl around for these inaccessible beauties. Meanwhile, his wife is having their baby.
End of the Night
Blank City
Celine Danhier
Amos Poe, Ann Magnuson
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.
Blank City
À vendre
Laetitia Masson
Sandrine Kiberlain, Sergio Castellitto
A Private detective is hired to trace a woman who ran away and disappeared on her wedding day. The movie follows him and recounts the story of her life through her eyes and the eyes of those interviewed by the detective.
For Sale
Permanent Vacation
Jim Jarmusch
Chris Parker, Leila Gastil
In downtown Manhattan, a twenty-something boy whose Father is not around and whose Mother is institutionalized, is a big Charlie Parker fan. He almost subconsciously searches for more meaning in his life and meets a few characters along the way.
Permanent Vacation
The Long Island Four
Anders Grafstrom
Eric Mitchell, David McDermott
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 Long Island Four
J'ai vu tuer Ben Barka
Saïd Smihi, Serge Le Péron
Charles Berling, Simon Abkarian
January 1966. In a Paris apartment, police discovered the corpse of Georges Figon, the man who broke the scandal of the Ben Barka affair and undermined Gaullist power. A year earlier, Figon, tired of dubious deals and petty scams, is looking for a juicy blow. Close to the "middle" since his years in prison, he was given a large mission: to produce a documentary about decolonization, written by Marguerite Duras and directed by Georges Franju, with the help of the famous Moroccan opponent Mehdi Ben Barka, hired as a historical consultant. This film project is a trap ...
I Saw Ben Barka Get Killed
Rome '78
James Nares
John Lurie, Lydia Lunch
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.
Rome '78
Triple Bogey on a Par Five Hole
Amos Poe
Eric Mitchell, Daisy Hall
The Levys, a glamorous couple, used to make their living robbing golfers, until they met their fatal handicap. Years later, scriptwriter Remy Gravelle decides to observe the Levy progeny as they sail endlessly round Manhattan in their luxury yacht.
Triple Bogey On A Par Five Hole
Underground U.S.A.
Eric Mitchell
Patti Astor, Rene Ricard
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.
Underground U.S.A.
