To tell Andy’s story, you must also tell the story of Andy’s women: beautiful, fashionable, often tragic, and Edie Sedgwick crucial among them.
‘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 […]
Vested Interest – ‘My Hustler’
by Luise Mörke “I could introduce you to people… interesting people,” Ed Hood’s character in My Hustler (1965) promises the object of his desire (Paul America) in exchange […]
‘Vinyl’
by Will Sloan It’s cliché to observe that Andy Warhol’s filmography resembles the evolution of cinema itself. Warhol begins, as did Edison and Lumière, with silent films that […]
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 […]
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 […]
Dogme Year Zero: The Blue Hour
The last movie I saw screened theatrically was Alfred Hitchcock’s Shadow of a Doubt, on a 35mm print, March 9th, at New York City’s Film Forum.
Dogme Year Zero: The Filmmaker’s Co-op
by paul a. Since the start of November, I’ve been part of a special film club of sorts: one hosted weekly at the Filmmakers Co-op in New York, […]
Dogme Year Zero: Microphones in 2020
by Ruairí McCann Knowing no one understands these songs,I try to sing them clearer.Even though no one has ever asked:”What does Mount Eerie mean?”I have tried to repeatedly […]
Dogme Year Zero: Topographies of Adolescence
In early October, an email reached me. ‘Comrades of the Kino’, the first line addressed its recipients.