The film is based on an interview in New York in 1993 between critic Solomon Volkov and poet Joseph Brodsky. Behind the scenes, the poet answers the questions of the journalist. The conversation, in the end, covers almost the entire life of Brodsky. We are faced with the dramatic story of a man who categorically refuses to dramatize it. The story of a poet who gained in full, but lost immeasurably more.

A 23-year-old man was tried for choosing poetry as his life's work. His poems and translations were professional. Many people thought so, but not literary officials. It was published sparingly. But in his place could be any talented or simply capable young man who chose the difficult path of serving the muses. Not only then, but now the young have a hard time. Who will take on the role of an arbitrator passing sentence: a poet is not a poet, an artist is not an artist? Maybe the artist has looked into the future, is incomprehensible to contemporaries, is not recognized by them, so what is to judge him?

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A cinematic portrait of the actress and performer Vija Armane.

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Peter J. Reilly interviews guests about tax related issues.

A interview with Roy Disney.

A bloody little short challenging today's views on body politics.

Filmed amidst the Arensberg collection at the Philadelphia Museum of Art, where 35 works by Marcel Duchamp are gathered, this 1956 NBC interview features the artist talking with James Johnson Sweeney, former director of the Guggenheim Museum. Duchamp describes his transition away from Impressionism toward a Cubist, and then post-Cubist, approach, providing commentary while standing before Nude Descending a Staircase (“I was not aware of Italian Futurism when I painted it”) and The Large Glass (“The two crackings are symmetrically arranged and there is… almost an intention there… a ready-made intention, in other words, that I respect and love.”). These concepts are paradoxically, although quite logically, articulated alongside his desire for “dryness” and mechanical precision. Viewers also gain insight into Duchamp’s thoughts on painting for an “ideal” public—a notion he clearly distinguishes from ivory-tower elitism.