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Nudes: A Sketchbook (1974)
Character: N/A
"Curt McDowell's NUDES (A Sketchbook) is a paean to the filmmaker's closest friends: a series of portraits (beginning with one of George Kuchar) based on stylized, often graphically sexual interpretations of his or her personality. The portraits also, at times, represent Curt's own sexual interests as he projects them onto the lives of others. My favorites are 'Barbara', a Pre-Raphaelite vision of woman and 'Ainslie', a musical spoof on glamour. The filmmaker's point of view ranges from compulsively erotic to light-hearted and self-debunking. A broad reading of the term 'romantic' would probably best describe the spectrum of extreme, even outrageous, possibilities which Curt embraces in this sketchbook/film." - Karen Cooper, Film Forum
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Pornogra Follies (1970)
Character: N/A
Ted Davis is everyone's favorte Master of Ceremonies for the following performances: Peckernose Act, The Cooking and the Washing Act, Spin Your Little Clothes Off Act, Tea Break, The Spinning Nuns, Balancing Prick Act, The Dirty Hummers, Spanish Dancer Act, The Whora, Picking a Winner, The Poop Chute Act, Waiting and Worrying Nude Act, The Tapping Tennis, The Disappearing Milk and Sandwich Act, The Flower Magician, Fart Chorus, The Whirlwinds, The Paper Bags on the Heads Act, The Belly Dance, Cheek to Cheek, Head Job Act, Tweeting Prick Act, Fanny Dancer, Back Words Act, Betsy the Cussing Doll, And… The Singing Twat
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Dora Myrtle (1973)
Character: N/A
Ainslie Pryor in two miniature dramas, utilizing wind sound effects, canned laughter, and "I Love Lucy" lighting.
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A Passage to Wetness (1990)
Character: N/A
An island. A mountain. A City of Angels who scoop up the pellets dropped by other winged creatures.
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The Shadow Glass (1976)
Character: N/A
The Shadow Glass is roughly based on Ewers' 'Student of Prague'. It concerns a young man who, feeling incapable of surmounting the harsh realities of love and life, sends his reflection cut to procure and win for him the object of his desire. Rather than being his servant and slave, the reflection takes over and controls the life of the man. In frustration and anger the man kills his reflection in order to be set free. The reality of the situation is the reality of suicide. The entire film could be interpreted as taking place in a brief second–for as long as it takes pull the trigger.
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A Night with Gilda Peck (1974)
Character: N/A
A vehicle for the talented Mrs. Kathleen Hohalek, as the tenant of the Pyramid Penthouse, with George Kuchar and Bob Hohalek as the burglars, "Slug," and "Boom Boom," John Thomas as "the Copper" and Ainslie Pryor as "the maid."
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Fried Egg and Sadder Duck (1970)
Character: N/A
Fried Eggs, Ainslie Pryor, Ted Davis, and Sadder Ducks at their very best. A plotless, pointless, Potatoes Browning film.
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L.A. Screening Workshop (1988)
Character: N/A
George spends a week in Los Angeles on business and at eating engagements. “I eat in Beverly Hills and do my business behind closed doors for a change....”
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Wieners and Buns Musical (1972)
Character: Trixie
A musical about an unhappy couple and the man that stands between them. Preserved by the Academy Film Archive in 2015.
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Taboo: The Single and the LP (1980)
Character: Blue Magic
"Abner L. Fuqua clears his throat and I get mad and stand close to trains or cut my eyebrow off. Dorothy is Abner's wife. Abner can slap hard, like blue magic." - graffiti
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Confessions (1972)
Character: N/A
"Just as outrageous is Curt McDowell's CONFESSIONS. McDowell, a graduate student at San Francisco Art Institute, opens his film with a confession to his mother and father, listing in exhausting detail his sins of the flesh."
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Boggy Depot (1973)
Character: Lulu
A musical for the whole family. A rural operette starring Ainslie Pryor and Geore Kuchar, told through song and rhme.
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Peed Into the Wind (1972)
Character: N/A
An hour-long saga of Mick Terrific, rock 'n' roll star, and the cast of 50 he encounters on his search for "Mr. Wonderful." “PEED INTO THE WIND smears across the screen like one of those dirty underground comic books. It’s loaded with a lot of big scenes and unusual looking people that make this epic resemble a clogged toilet. Unfortunately, since several of the performers were not as loyal as Ainslie Pryor and John Thomas, the plot is difficult to follow but in no way hinders the sewer-like sequences. It’s quite enjoyable and possesses the releasing power of an enema.” –George Kuchar. Preserved by the Academy Film Archive in 2016.
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