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| Aaron Brookner | Self | |
| John Giorno | Self | |
| Jim Jarmusch | Self | |
| Tom DiCillo | Self | |
| Elaine Brookner | Self | |
| James Grauerholz | Self | |
| Stewart Meyer | Self | |
| Brad Gooch | Self | |
| Hisami Kuroiwa | Self | |
| Sara Driver | Self | |
| Robert Wilson | Self | |
| Lindsay Law | Self | |
| Frédéric Mitterrand | Self | |
| Kim Massee | Self | |
| Richard Shone | Self | |
| Darryl Pinckney | Self | |
| Paula Court | Self | |
| Laurie Anderson | Self | |
| Howard Brookner | Self | |
| William S. Burroughs | Self | |
| John Cage | Self | |
| Lucien Carr | Self | |
| Matt Dillon | Self | |
| Allen Ginsberg | Self | |
| Philip Glass | Self |
| Director/Choreographer |
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| Producer |
Sara Driver
Patricia Finneran |
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| Writer/Composer |
Aaron Brookner
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| Cinematography |
Gregg de Domenico
André Döbert |
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| Music |
Jozef van Wissem
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When Howard Brookner lost his life to AIDS in 1989, the 35-year-old director had completed two feature documentaries and was in post-production on his narrative debut, Bloodhounds of Broadway. Twenty-five years later, his nephew, Aaron, sets out on a quest to find the lost negative of Burroughs: The Movie, his uncle's critically-acclaimed portrait of legendary author William S. Burroughs. When Aaron uncovers Howard's extensive archive in Burroughs’ bunker, it not only revives the film for a new generation, but also opens a vibrant window on New York City’s creative culture from the 1970s and ‘80s, and inspires a wide-ranging exploration of his beloved uncle's legacy. |
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