Peter Emmanuel Goldman’s rarely screened debut, an underappreciated landmark of the New American Cinema, chronicles the lives of twenty-somethings adrift in New York City, finding tremendous pathos in the smallest moments: a furtive glance across a museum gallery, girls putting on makeup, a stroll beneath the pulsing lights of Times Square marquees. Composed with a lo-fi purity and bereft of diegetic sound, its shadowy images of youthful flaneurs are paired with evocatively hand-painted title cards and a dynamic soundtrack drawn from the artist’s LPs that, when combined, conjure up a ballad of sexual dependency like none other. —Gene Youngblood, Los Angeles Free Press
Goldman : "The city is the villain. It opresses, alienates, starves and drives its people with its polluted air, emasculated sunlight, lack of space and uncaring, headlong pace. Frustrated life-appetites can only be appeased, often at the expense of anything approaching fulfilment and joy. Sex is grasped; erotic competion is scarcely glimpsed. 'Negation', 'loneliness', 'despair' - these describe the darkness of the City in which the characters glow with indomitable truth and inscribe the screen with living reality."