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).

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

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.

Begins with a close-up of Edie Sedgwick powdering her face with a powder puff. She is wearing two different earrings and has been lit harshly from the right. She holds her hand up against the light, laughs, and says something to the camera. The camera then zooms out, showing her seated on a stool.

Velvet Underground's first public appearance.

The movie has a fixed point of view showing a bed with two characters on it, Sedgwick and Piserchio. Chuck Wein is heard speaking but is just out of view. Sedgwick is wearing a lace bra and panties, and Piserchio, wearing only jockey shorts, engage in flirting and light kissing. Wein asks Sedgwick questions seemingly designed to harass and annoy her. Piserchio is more or less a bystander not interacting with Wein. The dialogue seems created adlib and no conclusions are reached in the film. The only conceivable climax is when Sedgwick finally becomes so mad, she throws a glass ashtray at Wein, breaking it.

Andy directs Edie for a screen test.

... with real-life portraits of Jayne Mansfield, Frak O'Hara, Ruth Ford, Ned Rorem, Virgil Thomson, Claes Oldenburg, Roy Lichtenstein, William Burroughs, Andy Warhol, Rudy Gernreich, Jonas Mekas and others.

Model, film star, muse, socialite, icon. Edie Sedgwick was the very first "it" girl of the Andy Warhol Factory scene. The arc of her life traced the rise and fall of the 1960s recklessness. After being the toasted by the whole of New York City, Edie died alone of a drug overdose in California at the age of 28. She was both the harbinger of celebrity culture and someone who stood entirely outside of it, an artist who painted life, bravely and spontaneously, with her own hand.

In 1967, New York City is host to the Miss All-American Camp Beauty Pageant. This documentary takes a look behind the scenes, transporting the viewer into rehearsals and dressing rooms as the drag queen subculture prepares for this big national beauty contest. Jack/Sabrina is the mistress of ceremonies, and their protégé, Miss Harlow, is in the competition. But, as the pageant approaches, the glamorous contestants veer from camaraderie to tension.

Filmed in two thirty-three minute b/w segments with Warhol's Norelco camera, the film focuses on actress Edie Sedgwick. The two segments were spliced together on two separate reels of film creating a split screen with four close ups of the actress. Two of the images show Sedgwick speaking spontaneously into the camera, while the other two are of her speaking to someone off-screen, commenting on watching herself on television.

" adaptation of Anthony Burgess' a clockwork orange. staged in what seems to be a corner of Andy's Factory loft, where a knot of S&M kidnappers, languid dilettantes, plainclothesmen and JD's act out Burgess' fable of a thug's "cure" through mind control. The moralizing of Burgess' novel gets instantly burned away "

A young, jobless woman stays in bed, reads, talks on the phone, smokes cigarettes, makes fresh coffee, and tries on some clothes from a large wardrobe.

Fiction and documentary mingle in a freewheeling portrait of Susan Superstar, a New York celebrity on a drug-fueled downward slide that mirrors Edie Sedgwick’s own self-destructive spiral.

Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.