imdb wrote:
From 1978 to 1982 Glenn O’Brien hosted an insane punk rock New York City 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 Stedin and his band provided a musical accompaniment to the madness at hand, and many artists and musicians, from Jean-Michael Basquiat to David Byrne to Arto Lindsay were regular guests. It was the cocktail party that could be a political party.

TV.Party.The.Documentary.2005.DVDRip.x264.mkv

General
Container:	Matroska
Runtime:	1h 34mn
Size:	2.06 GiB
DXVA:	Compatible
Minimum settings:	Met
Video
Codec:	x264
Resolution:	680x504
Aspect ratio:	4:3
Frame rate:	29.970 fps
Bit rate:	2 669 kb/s
Audio
English 2.0ch AC-3 @ 448 kb/s

https://nitro.download/view/F3999F184F52E76/TV.Party.The.Documentary.2005.DVDRip.x264.mkv

Language(s):English
Subtitles:None

The post Danny Vinik – TV Party (2005) first appeared on Cinema of the World.

Quote:
Jean-Michel Basquiat shot to fame in the early ‘80s as a painter with bright strong flashes of color, streaks of black, jagged, oddly angled heads and crossed-out words, then died of a heroin overdose at age 27. His story has been told many times before—in Glenn O’Brien’s loosely crafted 1981 fiction film Downtown 81 (aka New York Beat) about a Village artist struggling to pay the bills; in Julian Schnabel’s 1996 film Basquiat, with Jeffrey Wright’s alternately shambling and alert performance in the lead; and in at least seven books, including Phoebe Hoban’s journalistic 1998 biography Basquiat: A Quick Killing in Art. Now he is the subject of friend Tamra Davis’s documentary Jean-Michel Basquiat: The Radiant Child, which announces its intentions to uphold its subject’s legacy from the title onward.

The film is framed inside and between an interview Davis filmed with Basquiat a few years before he died, a neat structuring device that allows him to speak for himself. But Basquiat also proves inarticulate on many points (clamming up about what his work means, for instance), and so the movie intercedes on his behalf. Beginning and ending with the Langston Hughes poem “Genius Child” (choice line: “Nobody loves a genius child”), the film offers an image of Basquiat as perpetually misunderstood, discarded, and tormented. Much of this seems fair; for instance, the film rightly points out the irony of how Basquiat’s status as a black artist in a predominately white scene, which partly helped him make him famous, soon became an easy label—and one, furthermore, which he despised.

Yet the film’s salvation effort feels ironic. It would be absurd to say that any one book or film could present the true Basquiat, but in attempting to rescue Basquiat from other peoples’ labels, the film also applies its own radiant genius child label to him. Example: The film shows us many of Basquiat’s paintings (I didn’t count, but at least a hundred), often zooming into or out of them while music or voiceover plays on the soundtrack. It’s true that film is not painting, and that a moving art has to do something with a static art to make it its own, but what happens with Davis’s approach is that the viewer gets a brief introductory flavor of Basquiat’s art without having the time to consider it (I even wrote down many paintings’ names to look up online later). You see the paintings and hear people praise them, without the space to consider them in between.

Unlike many recent documentaries, though, which drown their subjects in platitudes, the movie does mix in actual biographical and critical material with its praise; you are instructed and informed on the life. But the quick painting shots do represent the film’s light brushstroke approach: a mention of Basquiat’s increasing heroin habit late in life, but little about his earlier drug use; anecdotes about his desire to please his father, but polite looks past alleged childhood abuse. The radiant child had some dark places, darker than the movie seems willing to admit. The film’s a decent introduction to a man who walked the world of SoHo, CBGB, and Andy Warhol’s final days, but the more you know going into the movie, the more you sense it leaving out.

Tamra Davis - (2010) Jean-Michel Basquiat, The Radiant Child.mkv

General
Container:  	Matroska
Runtime: 	1h 33mn
Size: 	1.48 GiB
Video
Codec: 	x264
Resolution: 	716x480 ~> 853x480
Aspect ratio:  	16:9
Frame rate: 	29.970 fps
Bit rate: 	2 056 Kbps
BPP: 	0.200
Audio
#1:  	English 2.0ch AC-3 @ 224 Kbps

https://nitro.download/view/A815F41C4F539AE/Tamra_Davis_-_(2010)_Jean-Michel_Basquiat,_The_Radiant_Child.mkv

Language(s):English
Subtitles:English

The post Tamra Davis – Jean-Michel Basquiat: The Radiant Child (2010) first appeared on Cinema of the World.

Quote:
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. He finally manages to sell his painting to a wealthy female admirer, but he’s paid by check. Low on cash, he spends the evening wandering from club to club, looking for a beautiful girl he had met earlier, so he’ll have a place to spend the night. Downtown 81 not only captures one of the most interesting and lively artists of the twentieth century as he is poised for fame, but it is a slice of life from one of the most exciting periods in American culture, with the emergence of new wave music, new painting, hip hop and graffiti. — Sujit R. Varma

2.18GB | 1h 11m | 1022×576 | mkv

https://nitro.download/view/09BFFFA89E0F989/New.York.Beat.Movie.AKA.Downtown.81.2000.576p.BluRay.x264-HANDJOB.mkv

Language:English
Subtitles:English

The post Edo Bertoglio – Downtown 81 AKA New York Beat Movie [+commentary] (1981) first appeared on Cinema of the World.