One of Andy Warhol's screen tests, focusing on an actor's face for 4-5 mins.

The film begins with a close-up of a table in a restaurant covered with a checkered cloth, in a composition that strongly suggests a still life. It lingers there for a long time before beginning a slow outward zoom. All the while we overhear poorly recorded snippets of conversation. We see hands move in and out of the frame, lifting glasses and tapping cigarettes. We recognise Edie Sedgwick by her signature dancer's tights and jewellery. The group discuss a recent trip to Tangier; the conversation returns frequently to past and upcoming travel. At one point, a whole, uncut pineapple is delivered to their table, despite the fact that they are in an Italian restaurant: it is not meant to be eaten, but to evoke the possibility of adventure in exotic, semi-imaginary lands.

“Andy Warhol called Marie Menken and Willard Maas ‘the last of the great bohemians,’ and, in 1965, made Bitch, his real-life parody of Edward Albee’s play Who’s Afraid of Virginia Woolf?, with Willard and Marie sitting on the couch in their living room, drunk and arguing on a Sunday afternoon. Unscripted, shot with a stationary camera in his signature home-movie documentary style, Warhol’s Bitch has never before been seen by the public—until now…” (Philip Gefter).

At a New York City restaurant, the patrons are men, nude but for a G-string, waited on by one woman, also clad in a G-string and a G-bestringed waiter.

The films were made between 1964 and 1966 at Warhol's Factory studio in New York City. Subjects were captured in stark relief by a strong key light, and filmed by Warhol with his stationary 16mm Bolex camera on silent, black and white, 100-foot rolls of film at 24 frames per second. The resulting two-and-a-half-minute film reels were then screened in 'slow motion' at 16 frames per second.

Or "Moe in Bondage" - The "Moe" of the title is the Velvet Underground's drummer, Maureen Tucker, whose band-mates have tied her to a chair and are now hanging around nibbling on sandwiches and pieces of fruit.

Mexican actress Lupe Vélez's final hours as she overdoses on Seconal.

Lou Reed, wearing a black turtleneck sweater and posed against a pale background, with a bright light sharply angled onto his face from the right, stares intently into the camera, his face, in tight close-up, filling the frame.

The Velvet Underground's first public appearance, filmed in Super 8 at a Psychiatrist's Convention, at the Delmonico Hotel, New York, January 14, 1966. Andy Warhol was invited to speak at the annual banquet of the New York Society for Clinical Psychiatry. He brought along the Velvets and other factory regulars.

Luna appears in one of Warhol’s famous screen tests. Contrary to Warhol’s preferred stasis, she acknowledges the camera with a series of smiles, winks, and suggestive facial expressions.

The artist and sculptor Niki de Saint Phalle is filmed against the sparkly background of the Factory. She looks elegant, solemn, and slightly sad. Her large-eyed gaze seems to avoid direct engagement with the camera; towards the end of the roll, she strokes her chin pensively.

Lou Reed faces the camera, posing with a large, partially unwrapped Hershey chocolate bar held up next to his face. He holds quite still throughout the film until, near the end of the roll, he blinks rapidly and tilts his head to the right.

Reel 24, Test #9

Reel 24, Test #8

A close-up of Lou Reed’s mouth, as he takes nine drags on a cigarette, smiles a couple of times, licks his lips, and grimaces. Made for projection behind the Velvet Underground in performance as part of the Exploding Plastic Inevitable multi-media presentation.

Begins with a close-up of Lou Reed’s eye; the camera then zooms out to a slightly broader view of his face. Toward the end he glances briefly away from the camera. Made for projection behind the Velvet Underground in performance as part of the Exploding Plastic Inevitable multi-media presentation.

1964 screen test of Herko running 4 minutes, 36 seconds in length.

Screen test by Andy Warhol with Dennis Hopper as the subject.

Billy Name screen test by Andy Warhol.

One of two(?) 1964 screen tests of Childs. Runs 4 minutes, 24 seconds in length