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Depressed after losing his lover a long time ago, Andre visits a psychiatrist. While in the doctor's waiting room, he strikes up a friendship with Lois, the doctor's receptionist, and later with Lois' husband, Bob. Although the couple wants to help Andre recover from his depression, Andre finds himself unable to pull his life out of the past.
Not to be confused with Luc Besson's film of the same title from the same year. Documentarian Andrew Horn's second narrative feature.
In 1984, American heavy metal band Twisted Sister became a global sensation. For 30 years, they been synonymous with hairspray, women's clothing and tasteless album covers. Until now. Ten years ago, director Andrew Horn was granted access to the archives of Twisted Sister founder Jay French and he explores the decade that preceded their breakthrough.
Adapted from an obscure Guy de Maupassant novella, lifted from a paperback bought by Meaney as an undergrad for 99 cents. What’s evident is Horn’s fascination for squared-off blocking and choreography, including a glimpse at a performance of Orpheus and Eurydice in minature. Star Adam Macadam brought on other members of Charles Ludlam’s Ridiculous Theater Company, many of whom would return to work on DOOMED LOVE. Featuring ancient costumes on loan from the Metropolitan Opera (repurposed from early twentieth century productions of Tosca and La Traviata), ELAINE aspires to high gothic on a shoestring budget. Horn and Meaney shot at locations including the Morris-Jumel Mansion in Washington Heights, the Frick, and the Carnegie Hall Cinema, then operated by Sid Geffen and Jackie Raynal – the programmers responsible for hosting the first-ever New York City screenings of films by Marguerite Duras, an influence on the filmmakers (alongside Daniel Schmid, Douglas Sirk and Alain Resnais.)
Andy De Groat dances inside "The Four Armed Cloud"--A sculpture by Leonore Tawney. Poetry by Christopher Knowles and "Sun Music" by Michael Galasso accompany the piece. 1979.
Shot at New York University, Horn’s wordless, mindblowing student film CHROMA might be the missing link between the avant-garde cinema of the 1970s and Horn’s later dance films to follow. The silhouettes of three dancers (red, green and blue) are played off one another while the grids and ladders of the modern metropolis – one feature that’s recognizable across almost every film made by Horn – crossfade and overtake the screen. CHROMA received a special award of merit from the Academy of Motion Picture arts and Sciences; on his CV, Horn described the film like this: “real images are manipulated through special effects and printing to create an artificial dreamscape.”
Scripted collaboratively with King and Brintzenhofe, the filmmakers created a cinedance that takes the viewer through the thresholds of dreaming, waking, and transcendental awareness, using real and painted images of the city, a 19th century attic and outer space. King’s voice recounts a dream of space without walls, a time of childhood and ecstacy. © 1981 Robyn Brentano, Andrew Horn, Kenneth King
The series focuses on an eccentric motley crew that is the Smith family and their three housemates: Father, husband, and breadwinner Stan Smith; his better half housewife, Francine Smith; their college-aged daughter, Hayley Smith; and their high-school-aged son, Steve Smith. Outside of the Smith family, there are three additional main characters, including Hayley's boyfriend turned husband, Jeff Fischer; the family's man-in-a-goldfish-body pet, Klaus; and most notably the family's zany alien, Roger, who is "full of masquerades, brazenness, and shocking antics."
After many years spent at the “Cheers” bar, Frasier moves back home to Seattle to work as a radio psychiatrist after his policeman father gets shot in the hip on duty.
The Pritchett-Dunphy-Tucker clan is a wonderfully large and blended family. They give us an honest and often hilarious look into the sometimes warm, sometimes twisted, embrace of the modern family.