Jonas Mekas Movies

Elio Gelmini's Anger Me paints an enduring biographical portrait of Kenneth Anger, one of the most fascinating, controversial and brilliant cinematic artists of the past sixty years, and a veritable godfather of independent film. Raised in Tinseltown, Anger was a mere seven years old when he acted in his first motion picture (as the Changeling Prince in William Dieterle's 1936 version of A Midsummer Night's Dream). He turned to filmmaking as a young man, crafting a series of surrealistic, abstract short films, heavily laden with cryptic, multilayered imagery, including Rabbit's Moon (1950), The Inauguration of the Pleasure Dome (1954), Scorpio Rising (1964), Invocation of My Demon Brother (1969) and Lucifer Rising (1980). Though considered 'underground,' the works nonetheless impacted such contemporary mainstream directors as Martin Scorsese and David Lynch and have since become pillars of the American avant garde. Meanwhile, Anger acquired an enduring fascination with film history and Hollywood gossip, which led to two infamous books and turned him into a bestselling author: Hollywood Babylon (1976) and Hollywood Babylon 2 (1984). He also cultivated a network of acquaintances that included Warhol, Mekas, Ginsberg, Alfred Kinsey, Mick Jagger and everyone in-between. Gelmini pays homage to Anger via an extended monologue that finds the director discussing his life experiences, as well as the content and significance of his work ~ Nathan Southern, Rovi

Henry Geldzahler was one of the most important figures in 20th Century American art, even though he was not an artist himself. Geldzahler was a collector and historian who helped establish the role of artists such as Andy Warhol, Claes Oldenburg, George Segal, and Roy Lichtenstein within the canon of contemporary art with "New York Painting and Sculpture: 1940-1970," a groundbreaking show at New York City's Metropolitan Museum of Art which made the case for pop art while the gallery establishment was still favoring the more accepted but less accessible abstract expressionists. A passionate man who was a friend, confidante, and collaborator to many of the painters and sculptors he championed, Geldzahler assembled the "New York Painting and Sculpture" show himself, and while it caused no small amount of controversy at the time (especially among his colleagues at the MoMA), it established a consensus that the pop movement and its leading figures were here to stay, and Geldzahler continued to be a mover and shaker in the world of contemporary art until his death in 1994 at the age of 59. Who Gets to Call it Art? is a documentary which celebrates and chronicles Geldzahler's life and career and features interviews with a number of his friends and associates, including Andy Warhol, Frank Stella, Jasper Johns, Jonas Mekas, Larry Poons, John Chamberlain, and many more. ~ Mark Deming, Rovi

Maya Deren was one of the pioneering figures of avant-garde cinema in America and also a noted author, poet, anthropologist, and alternative cultural figure of the 1940s and 1950s. Born Eleanora Derenkovsky in 1917, her family fled Kiev in 1922 to avoid political and economic reprisals brought on by her father's association with Leon Trotsky. Settling in Syracuse, NY, the family shortened their name to Deren, and Eleanora developed a passionate interest in dance and literature. After receiving degrees in English Literature and Journalism, Deren relocated to Los Angeles, where she worked with the pioneering African-American choreographer Katherine Dunham and wrote an essay on "Religious Possession in Dancing." After marrying director Alexander Hackenschmied (aka Alexander Hammid), Deren bought a second-hand movie camera and made Meshes of the Afternoon, an award-winning and highly influential experimental film, the first of many she would direct. After adopting the name Maya (taken from the Buddha's mother), Deren traveled to Haiti, where she began work on a film about the Voudon (or Voodoo) religion, and with the assistance of Joseph Campbell, she wrote a pioneering book on the subject called Divine Horsemen: The Living Gods of Haiti. In the Mirror of Maya Deren is an ambitious documentary which examines the public and personal sides of Deren's life and work, including interviews with a number of friends and contemporaries, including Katherine Dunham, Stan Brakhage, Judith Malina, Alexander Hammid, and Jonas Mekas. The film also features an original score by noted experimental jazz composer John Zorn. ~ Mark Deming, Rovi

A documentary profile of filmmaker John Waters, Divine Trash focuses on the bad-taste pioneer's early years, especially his 1972 breakthrough Pink Flamingos, which turned the director of Mondo Trasho and Multiple Maniacs into the king of midnight movies thanks to word of mouth about the film's gleeful taboo-bashing -- and a distribution deal with the fledgling New Line Cinema. Interviews with filmmakers who both influenced Waters (Paul Morrissey, Herschell Gordon Lewis, Mike Kuchar, George Kuchar) and were influenced by him (Steve Buscemi, Jim Jarmusch, David O. Russell, Hal Hartley) are interspersed with copious behind-the-scenes footage from the making of Pink Flamingos, including the infamous doggy-doo scene. Through it all, the witty Waters provides commentary, recollections, and one-line quips. Pete Garey, owner of the film lab where Waters learned the technical side of moviemaking, recalls his first meetings with the youthful auteur. Mink Stole and other Dreamland Studios superstars reminisce about growing up in suburban Baltimore with Waters, who as a youngster loved car crashes, puppets, and clowns. The director's strait-laced parents reminisce about the financial support they provided for Pink Flamingos, which they have never seen. Neither has Frances Milstead, who looks back on the career of her late son, drag terrorist and Waters muse Divine. Divine and late "egg lady" Edith Massey crop up in various archival interviews and film clips. The man who played the "talking asshole" in Pink Flamingos also appears, albeit anonymously and disguised. Various film theorists and critics debate the merits and meaning of the Waters oeuvre, while Baltimore critic Don Walls and former Maryland film censor Mary Avara express their incredulity about the director's success. Divine Trash won the Filmmakers Trophy for Best Documentary at the 1998 Sundance Film Festival. Director Steve Yeager, a longtime friend of Waters, would go on to direct In Bad Taste: The John Waters Story and help Milstead write a book about her son. ~ Brian J. Dillard, Rovi

Evidently shot over a decade, this documentary portrait of Lithuanian-born filmmaker-poet Jonas Mekas examines his life and career as a director (The Brig, Guns of the Trees), film critic (Village Voice), film historian, magazine editor (Film Culture), teacher (NYU), film distributor (Film-Makers' Cooperative), and founder of Manhattan's leading avant-garde film showcase (Anthology Film Archives). Mekas had a significant influence on the New York avant-garde, as indicated in interview segments with Yoko Ono, Andy Warhol, Martin Scorsese, Allen Ginsberg, and others. Past films made by Mekas are seen in clips. German filmmaker Peter Sempel has chosen to assemble this profile in an oblique and elliptical manner not inappropriate for his unique subject. ~ Bhob Stewart, Rovi

Fans of avant-garde jazz and blues performance will appreciate this avant-garde documentary, which intersperses discussions with Fred Frith and his band with rehearsal and concert footage. From time to time the filmmakers indulge in a bit of jazz of their own, screening seemingly random images with a meaning and order which is known only to them. The musicians, who are never identified, are expert improvisationalists, and are prone to using whatever object is at hand in order to explore the limits of sound. Occasionally, the band members indulge in a bit of philosophizing for the camera, in one instance telling a Zen-inspired story about "one hand clapping." ~ Clarke Fountain, Rovi