Chelsea Girls (1966)

In Andy Warhol's and Paul Morrissey's experimental, underground, widescreen avante-garde film - a three-and-one-quarter hour epic composed of twelve 33-minute unedited and separate film reels projected together (side-by-side); the rambling, improvised, non-narrative movie was characterized by both b/w and color, split-screens, and alternating soundtracks, and advertised with a striking poster image better than the film itself:

• the setting - individuals in different rooms of the Hotel Chelsea in NYC, including:
  - blonde Nico (Herself) in a kitchen primping in front of a hand mirror and trimming her bangs
  - Ondine (Robert Olivo), an angry, violent, talkative, and flamboyant, speed-freak homosexual-acting Lenny Bruce-like character with a heavy accent who was self-proclaimed as the Pope of Greenwich Village while accepting the sexual confessions of Ingrid Superstar (Herself) and leaning on a sofa next to her, and later delivering aggressive slaps during a beserk outrage
  - Brigid Polk/Berlin (Herself), a loud, heavy-set amphetamine-injecting and pill-popping lesbian answering phone calls from clients, and having her hairstyle adjusted by a homosexual
  - a half-nude male in his underwear on a bed shown attention by both a stuttering balding middle-aged homosexual and a female
  - interaction between sadistic, verbally-assaultive, harsh, deep-voiced lesbian Hanoi Hannah (Mary Woronov) and ditzy International Velvet (Susan Bottomly)
  - a singing transvestite drag queen (Mario Montez) with heavy mascara
  - black-hatted Mother (Marie Mencken) with a tirade of criticism against her misbehaving son
  - LSD-stoned Eric Emerson (Himself) delivering a hippie monologue
  - Nico crying while colorful lights were cast across her face, and the camera zoomed in and out
• the characters - many Warhol Superstars including Nico, Ondine, Brigid Berlin, Gerard Malanga, Mario Montez, Ingrid Superstar, and International Velvet, and Mary Woronov as Hanoi Hannah