Film of Jack Smith's apartment starring Penny Arcade before it was reposed by the "evil landlords."

Part of Andy Warhol's Screen Tests series. Filmmaker and performance artist Jack Smith.

When Jill Godmilow’s documentary Roy Cohn/Jack Smith premiered at the 1994 Toronto International Film Festival, the number of AIDS-related deaths was reaching an all-time high in the United States (over 270,000). In New York City, the epicenter of the AIDS epidemic, many artists and filmmakers were grappling with the disease. While Broadway was hosting the second part of Tony Kushner’s award-winning play Angels in America, downtown New Yorkers were fondly recalling another recent production, Ron Vawter’s one-man show Roy Cohn/Jack Smith, in which the actor, who died of AIDS in April 1994, performed two monologues, first as Cohn, the conservative lawyer, and secondly, as Smith, the flamboyant experimental filmmaker—both of whom died of AIDS-related causes in the late 1980s.

In this entrancing documentary on performance artist, photographer and underground filmmaker Jack Smith, photographs and rare clips of Smith's performances and films punctuate interviews with artists, critics, friends and foes to create an engaging portrait of the artist. Widely known for his banned queer erotica film Flaming Creatures, Smith was an innovator and firebrand who influenced artists such as Andy Warhol and John Waters.

A remake of Jack Smith's 1969 film, Song for Rent.

In October 1984, peformance artist/filmmaker extraordinaire, Jack Smith was coaxed out of his New York apartment for a five night run of performances held at the Funnel Experimental Film Theatre in Toronto, Canada. The performance, entitled: “Brassieres of Uranus” consisted of a number of local artists on stage creating brassieres out of plastic flowerpots. The event culminated on Halloween with the finale “Dance of the Sacred Foundation Application” performed to the music of the Seven Veils. This footage is one of the few remaining film documents of this memorable event.

Recorded during the initial run of the Obie Award-winning ROY COHN/JACK SMITH, this video documents the seminal performance piece as it was first seen by New York audiences. In its first half, Ron Vawter, following a script by Gary Indiana, conjures an after-dinner speech as it might have been delivered by notorious right wing political figure and closeted gay man Roy Cohn, as he addresses “The American Association for the Protection of the Family”. In its second half, Vawter re-emerges on stage in flamboyant costume as fiercely queer performance art pioneer, Jack Smith. Together, the two portraits present a complex, incisive, and discomforting view of queer identities as they collide with American culture. – Anthology Film Archives

Andy Warhol film.

In his essay film, Jerry Tartaglia, longtime archivist and restorer of the film estate of queer New York underground, experimental film, and performance legend Jack Smith, deals less with Smith’s life than with his work, analyzing Smith’s aesthetic idiosyncrasies in 21 thematic chapters. It's a film essay about the artist’s work, rather than a documentary about his life. An unmediated vision of Jack Smith, an invitation to join him in his lost paradise.

Filmmaker Alan Smithee finds himself the unwilling puppet of a potentially bad big budget action film, for which he proceeds to steal the reels, and leaves the cast and crew in a frenzy.

The story begins in 1917 with Stan and Ollie being drafted into the U.S. Army to fight in World War I. While in the Army, the pair befriend a man named Eddie Smith, who is killed by the enemy during a battle. After the war is over, Stan and Ollie venture to New York City, where they begin a quest to reunite Eddie's little daughter with her rightful family. The task proves both monumental and problematic as the boys discover just how many people in New York have the last name Smith.