“OK End Here” (1963) Running Time: 33 minutes
A day in the lives of a man and woman who live together in New York City. It is Sunday, a day without the distractions that keep people from facing each other and themselves.
“Conversations in Vermont” (1969) Running Time: 27 minutes
Frank visits and interviews his son and daughter Pablo and Andrea who live in the countryside. A film about past and present and the story of a father’s relationship with his two teenage children.
“S-8 Stones Footage From Exile on Main Street” (1971) Running Time: 8 minutes
A roll of super 8 film footage of the Stones wandering around the Bowery in NYC. Individual frames were later enlarged to create the Stones album cover for Exile on Main Street. Original outtake footage, unedited, black and white, silent.
“Moving Pictures” (1994) Running Time: 17 minutes
This silent work deals with Robert Frank’s transition from photography to film and his search for a ”solid form of expression.” Frank assembled his own photographs in temporal and spatial sequences: one is laid atop another, photo albums are flipped through; strips of prints are filmed with a slow and probing gaze.
“True Story” (2004/08) Running Time: 26 minutes
Speaking in voiceover, the artist narrates scenes shot in his homes in New York and Nova Scotia. His rambling commentary returns to familiar themes of memory, and the loss of friends and family members. Brief excerpts from earlier films are shown, along with Frank’s photographs, the art of his wife, June Leaf, and extraordinarily detailed letters written by his son, Pablo (1951″Ò1994). Alternately poignant, reflective, self-mocking, and angry, this candid autobiography reveals Frank’s late career preoccupations.
“Last Supper” (1992) Running Time: 49 minutes
In an empty lot in Harlem, an elite group of New Yorkers prepares for a book-signing party given in honor of a writer who never shows up. Local residents, dealing with the practicality of life, look on as the guests obsess about identity, status, and success. Finally, the writer’s fears and doubts are understood, with ironic implications.