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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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