Michael M. Bilandic
The movie follows Nate, an emerging performance artist, who finally gets a coveted show at a Manhattan gallery, but right when he begins his provocative piece, the entire city shuts down for COVID-19. Unswayed, he locks himself in the white cube space to continue his performance for an audience of none. As tensions flare outside, the gallery hires private security to watch over him and his art. Over the course of one night, two armed guards and Nate argue about everything, reveal their darkest secrets, and prepare for the worst.
A rollerblading drug dealer runs into trouble when one of his customers dies.
A young man disappears amid talk of violence and demagoguery, leaving behind an obscure cache of letters, postcards, and notebooks.
Aspiring but less than ambitious photographer Nate clumsily navigates the New York City art world in a post-grad haze, waiting for his breakthrough project to fall into his lap. During a drug-fueled wormhole through the annals of YouTube, Nate discovers his next subjects when an arbitrary click lands him on a crude music video by the Young Torture Killaz—an Insane Clown Posse knock-off group of jaded Delaware teens with a lot to scream about—and the inspiration (and exploitation) flows
New York Tunez, an all techno record store, is going under. The owner, Keith, a down and out trance DJ, struggles to cope with the changing cultural climate. In a final effort to save the store he organizes a rave. Unfortunately, 2009 is a far cry from the early '90's.
Born in the Bronx and raised in upstate New York, Abel Ferrara started his professional film career on Mulberry Street in 1975. For the past year he's been living on the block, and the feast of San Gennaro is the subject of his new film. While he has used this location for a few of his features, this time it's the star of the film.
