The Monkey and the Engineer

SSS is composed from footage of movement improvised on the streets of pre-gentrified East Village by Sally Silvers, Pooh Kaye, Harry Shepperd, Lee Katz, Kumiko Kimoto, David Zambrano, Ginger Gillespie, Mark Dendy, and others, painstaking synched to music previously improvised for the project at Noise New York by Tom Cora (cello), Christian Marclay (turntables), and Zeena Parkins (harp). Beauty emerging from rubble. (Henry Hills)

An ironic New York City thriller involving a mafioso and a restless, witty lawyer.

Twenty-plus former students, colleagues, and admirers of Peter Hutton answered an invitation to shoot A Roll For Peter. The parameters were simple: shoot a single 100 feet roll of black and white 16mm film. They were then strung together with black film separating the rolls, as Peter often separated the single shots in his films.It is a series of pieces that speak to Peter’s strong contemplative aesthetic ethos. Each filmmaker has 2 and half minutes of screen time to commune with Peter’s memory, and the collected rolls will become more than the sum of their parts.

A sightseeing portrait of New York, with lively narration taking the viewer aboard the New York elevated and subway trains. Then the view from the windows becomes slightly abstracted, the voice of the commentator becomes uncertain. Featuring Joseph Cotten (credited 'Cotton') Virginia Nicholson Welles, John Becker and Edwin Denby.

I Was a Jewish Sex Worker is a humorous, no-holds-barred autobiographical film about the director’s former career as a sex worker and his relationship with his Jewish family. From graphic, erotic massages to a revealing interview with his grandmother, Roth tells a unique tale and explores themes of sexual wellness, connection and self-realization. Featuring guest appearances by German filmmaker Rosa von Praunheim and sexologist/performer Annie Sprinkle.

A greedy landlord wants to evict a bicycle shop from his property and replace it with a high-rent-paying art gallery. The environment-conscious owner of the bike shop outwits the avaricious landlord in a high-speed bike chase.

The crumbling beauty of a soon-to-be-demolished, impoverished Red Hook neighborhood in the mid-1970s is revealed to us moment by moment, structure by forgotten structure. The circuslike brass music suggests a public face of “a city in progress” while the addicts, thieves, and other lonely people are shown to us as the human cost: those who will be left out of that development.

A film-dance, shot on 16mm film in Long Island City, Queens, NY.

In the 1930's Sara Spencer Washington was a black woman millionaire who parlayed her line of hair and beauty products into international cosmetology schools which gave thousands of black women financial independence by owning their own salons.

"Hold On I'm Coming" Sung by Mr. Mahogany Plywood, Starring Mr. Fashion, Miss Kimberly Lewis, Miss Quiana, and Mr. Royston Scott. Costumes by Miss Mahogany Plywood. Executive producer Mr. Gérard Little. Camera and Editing by Mr. Jacob Burckhardt. Shot on the streets of New York and Tortilla Flats.

Night on the streets of New York. "Dawn enters the sunk city". A sonnet by Edwin Denby, who reads it and appears briefly in the distance. "old sixth ... the lunge of headlights ... the alive, the dead, answer, ask ..." — The Film-Makers' Cooperative