Street

Musician John Lurie knows nothing about fishing, but that doesn't stop him from embarking on fishing in exotic locations with friends.

Nares mocks up Ancient Rome by shooting in faux-classical sites including Tribeca's American Thread Building, where a decrepit penthouse loft with a peeling-paint dome serves as an echoey stand-in for the imperial palace. The latter location required ingenuity: Posing as potential renters, Nares and associates asked the manager to show them the apartment, then unlocked the windows on the way out; a few hours later, they broke back into the space, full cast and crew in tow, to shoot the necessary scenes.

An exploration of social schizophrenia in which terrorists consult their mothers before planting bombs, and the head of the New York City bomb squad succumbs to his dominatrix.

"Shortly after Amos went into home hospice he began filming ‘Adios’, a short film, compiled of 16mm and Super 8 footage, to premiere at his memorial, chronicling all the family and friends who have come to visit. Even Courtney our absolutely wonderful hospice nurse is in it. […] Only twice have we forgotten to film a visitor. Amos designated me the Director of Photography. Since I have to focus and shoot using my bad left eye the joke in our home is that it’s a film by a dying director and a blind DP." – Claudia Summers

How to play a melody? A magic moment, unrepeatable. Life is just a bowl of cherries. Film as art as life as film.

After Rome 78, Nares made a political documentary—a controversial 1980 video interview with an IRA member titled No Japs at My Funeral—but turned to other forms of art for much of the remaining decade, never realizing projects like a feature script he penned with Gary Indiana.

A pendulum swings among old NYC buildings.

"ARABIAN LIGHTS is the second of only two Super 8mm films deAk is known to have fully edited to completion, and the only work she produced outside the New York club scene. During an extended romantic holiday in Egypt in 1977 with Jamie (then James) Nares, the two young visual artists shared a movie camera and recorded intimate, carefree moments that deAk later edited into this unusual self-portrait. Tourism becomes performance art at legendary historic sites and across the bright desert landscapes as their budding romantic relationship plays out. The film was rarely screened during the period, and MoMA’s new digital preservation is drawn from deAk’s unique original Kodachrome print and a reel of assembled outtakes, both recently acquired for the Museum’s collection." — MoMA