George Kuchar
1942 - 2011Planet of the Vamps
George Kuchar
Devendra Banhart, Damen Corrado
This science fiction adventure centers on the interaction between a crew of Earthmen and their seduction by the love-hungry Amazons of the red planet, Mars. The tale is brought to life with all the opulence that an $800 budget can produce and the young cast of non-actors live up to their fullest foibles as the plot thickens with a mix of romance and wartime action intertwined with a musical number or two. The ambitions were high and the necklines low in this effects-laden tribute to pulp fiction fantasy and intergalactic intercourse.
Planet of the Vamps
Metropolitan Monologues
George Kuchar
George Kuchar, Stella Kuchar
The New York City summer is fueled by the sultry emanations of hot air that tumble off the tongues of potential thespians as they attempt to decipher the gastric guesswork embedded in the prose of the pre-production process. The video camera flits across the boroughs of NYC in a splash-dash sojourn of sumptuous banquets and bohemian bombast, while the down-to-earth wisdom of the seeing impaired helps to guide the protagonist into detours of wisdom befitting his putrid project. A theatrical play incubates in the balding head of the videomaker and as its presence makes itself felt among the various victims of his vision, we share with them the horror of advancing age and the descriptive diatribes toward the destiny of the decrepit damned.
Metropolitan Monologues
Lust for Ecstasy
George Kuchar
Dick Chambermaid, Galib Cohn
“LUST FOR ECSTASY is my most ambitious attempt since my last film…. I wrote many of the pungent scenes on the D train, and when I arrived on the set I ripped them up and let my emotional whims make chopped meat out of the performances and the story…. Yes, LUST FOR ECSTASY is my subconscious, my own naked lusts that sweep across the screen in 8mm and color with full fidelity sound.” – George Kuchar
Lust for Ecstasy
The Mammal Palace
George Kuchar
Suzette Harris, Zelda Keiser
The movie takes a rather negative look at things despite the fact that it was shot in reversal film. It depicts the turbulent relationships of disturbed individuals existing on various levels of an apartment house. Donna Kerness and her husband Hopeton Morris are lurid together and they are also pretty lurid when they're alone.
The Mammal Palace
Galaxie
Gregory J. Markopoulos
Parker Tyler, Storm De Hirsch
In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests.
Galaxie
George Kuchar: The Comedy of the Underground
Gustavo Vazquez, David Hallinger
Curt McDowell, George Kuchar
A documentary portrait of filmmaker George Kuchar conducting a tour of his apartment where he displays memorabilia and his toys which were used for props.
George Kuchar: The Comedy of the Underground
Video Album 5: The Thursday People
George Kuchar
George Kuchar, Mike Kuchar
The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary. “An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”
Video Album 5: The Thursday People
The Asphalt Ribbon
George Kuchar
I remember the first day of class, George brought in that column from the Utah Herald Star, the ode to the truck driver, by Dan Armstrong (?), and read it aloud to us, with feeling, selling the concept. Hilarious! Then we quickly got down to business and watched THE THING by Howard Hawks. He owned as print, of course. Stu and I shine in the roadhouse performance sequence. Rig Rock never sounded better. —Mitch McNeil
The Asphalt Ribbon
