Emile de Antonio

Painters Painting: The New York Art Scene 1940-1970 is a 1972 documentary directed by Emile de Antonio. It covers American art movements from abstract expressionism to pop art through conversations with artists in their studios. Artists appearing in the film include Willem de Kooning, Jasper Johns, Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Frank Stella, Barnett Newman, Hans Hofmann, Jules Olitski, Philip Pavia, Larry Poons, Robert Motherwell, and Kenneth Noland.

Presents an intimate view of four decades of the Swiss-born artist Robert Frank who has had an extraordinary influence on contemporary photography and filmmaking. This documentary which examines his life through his films and photographs, includes interviews with many of his collaborators and contemporaries. Written, directed and edited by Philip Brookman, Amy Brookman

A mediocre musician goes on the road in search of the world's greatest guitar maker.

Celebrated documentary filmmaker Emile DeAntonio discusses his comtempt for J Edgar Hoover, the Federal Bureau of Investigation (FBI), and American political intolerance in general.

A documentary about the Weathermen, founded as a militant faction of the Students for a Democratic Society (SDS), who fought to overthrow the U.S. government during the 1960s and 1970s. The film consists of interviews with members of the group after they went underground and footage of the anti-war and civil rights protests of the time. It was directed by Emile de Antonio, Haskell Wexler and Mary Lampson, later subpoenaed by the Federal Bureau of Investigation in an attempt to confiscate the film footage in order to gain information that would help them arrest the Weathermen.

With a rambling, unstructured style that echoes Andy Warhol’s own approach to filmmaking, this documentary profiles his career, showing him to be a brilliant manipulator, dedicated voyeur and person of astute commercial judgment.

At age 73, writer and melancholy master of the bon mot, Quentin Crisp (1908-1999), became an Englishman in New York. Nossiter's camera follows Crisp about the streets of Manhattan, where Crisp seems very much at home, wearing eye shadow, appearing on a makeshift stage, making and repeating wry observations, talking to John Hurt (who played Crisp in the autobiographical TV movie, "The Naked Civil Servant"), and dining with friends. Others who know Crisp comment on him, on his life as an openly gay man with an effeminate manner, and on his place in the history of gays' social struggle. The portrait that emerges is of one wit and of suffering.