Riding Lonesome – ‘Lonesome Cowboys’

by Caden Mark Gardner Lonesome Cowboys was shot in the Arizona winter of 1968, a year before Easy Rider became the counterculture crossover hit to polarize America, months before Martin Luther King Jr. and Robert F. Kennedy were assassinated, and months before Andy Warhol survived an assassination attempt from the gun of Valerie Solanas. While Warhol did work on San Diego Surf with Paul Morrissey … Continue reading Riding Lonesome – ‘Lonesome Cowboys’

Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’

by Nel Dahl Low-budget horror cinema’s potential to unexpectedly reverse its initially mixed reception is epitomized by the strange afterlife of Paul Morrissey’s Andy Warhol-produced double feature, Flesh for Frankenstein (1973) and Blood for Dracula (1974). After nearly two decades of censored cuts and derision, the films received an unexpected tribute via Madonna’s “Deeper and Deeper” music video. Warhol star Udo Kier’s voice opens the … Continue reading Warhol and Morrissey’s Horror Double Feature – ‘Flesh for Frankenstein’ and ‘Blood for Dracula’

Red Sauce and Sugar Blues – ‘Andy Warhol Eats a Hamburger’

by Tobias Rosen In March, during the most stringent period of Germany’s lockdown, my partner decided to visit her parents for a week and leave me in our apartment in solitary confinement. I was secretly looking forward to a break from our increasingly unbearable habit of watching and being watched while eating. Each morning, our food routine would begin with an elaborate menu plan for … Continue reading Red Sauce and Sugar Blues – ‘Andy Warhol Eats a Hamburger’


by Ruairí McCann The kiss, that flashpoint of intimacy, communication, and the present tense, has been the subject of art since its prehistory. In Andy Warhol’s Kiss (1963-64), this subject’s ancient roots, straightforward prurience, and its potential for stimulating abstraction can be found in this early example of the artist forging a new cinema: one of ground-breaking casualness and a-causality. Originally conceived and screened as … Continue reading ‘Kiss’

‘Outer and Inner Space’

by paul a. As its title vaguely implies, Outer and Inner Space is primarily concerned with personal (inner) and public (outer) spheres of societal life — even as the film itself is sinuously situated between these two opposing ideologies and operates in something of an intermediate territory. It’s a title that also reinforces a stark cultural dichotomy, fueling a never-ending conflict fought since the inception … Continue reading ‘Outer and Inner Space’

Cannes 39/90/?

by Yoana Pavlova If the invention of cinema towards the end of the XIX century is the crowning achievement of man’s attempts to master reality, the XX century opens ground for a distinct fantasy: film festivals. The XIX-century tradition of world expositions – speeding up competition, sharpening the appetite for novelties, and projecting a bright image of the future – is slowly taken over by … Continue reading Cannes 39/90/?