Dorothy Karen "Cookie" Mueller (March 2, 1949 – November 10, 1989) was an American actress and writer.
She is best know for starring in filmmaker John Waters' early films, including Multiple Maniacs (1970), Pink Flamingos (1972), Female Trouble (1974), and Desperate Living (1977).
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The life of internationally renowned artist and activist Nan Goldin is told through her slideshows, intimate interviews, ground-breaking photography, and rare footage of her personal fight to hold the Sackler family accountable for the overdose crisis.
From 1978 to 1982, Glenn O'Brien hosted a New York city public access cable TV show called TV Party. Co-hosted by Chris Stein, from Blondie, and directed by filmmaker Amos Poe, the hour long show took television where it had never gone before: to the edge of civility and "sub-realism" as Glenn would put it. Walter Steding and his TV Party "Orchestra" provided a musical accompaniment to the madness at hand, and many artists and musicians, from The Clash, Nile Rodgers, Jean-Michel Basquiat, David Bryne and Arto Lindsey were regular guests. It was the cocktail party that could be a political party. With 80 hours of disintegrating 3/4 inch videotape as a starting point, we tracked down the trend setting participants still living today and found out what they remember of the period and how the show influenced their lives. This, combined with clips from the orginal show, became the documentary "TV Party.
The film is a day in the life of a young artist, Jean-Michel Basquiat, who needs to raise money to reclaim the apartment from which he has been evicted. He wanders the downtown streets carrying a painting he hopes to sell, encountering friends, whose lives (and performances) we peek into.
Nan Goldin's slide show “The Ballad of Sexual Dependency” converted, mixed and screened as a film by the artist, portraying the American underground culture, the no wave scene, post-Stonewall gay subculture, among others.
A narcissistic runaway engages in a number of parasitic relationships amongst members of New York's waning punk scene.
Blessed with a keen sense of smell and cursed with a philandering pornographer husband, a parasitic mother, and a pair of delinquent children, the long-suffering Francine Fishpaw turns to the bottle as her life falls apart -- until deliverance appears in the form of a hunk named Todd Tomorrow.
A psychotic saxophone player lures victims to deserted spots with his music and then guns them down.
The Sunset Blvd. of underground cinema, and a suitably ambivalent retrospect on the star-game casualties of New York's upper depths, with Patti Astor statuesquely hysterical as a 20-year-old Norma Desmond, made up to recall Edie Sedgwick and surrounded by Warhol's lost children. We've been here before, but without the hindsight: a camera cruise along a hustler's meat-rack, kitchen-talk over cold canned spaghetti, Taylor Mead grimacing in a spastic dance, the silent stud a sullenly passive observer. Mitchell's ear for campy native wit and eye for figures in a loft-scape happily keep at bay the otherwise contagious NY ennui.