Seadrift is based on a story The Shadow Over Innsmouth by H.P. Lovecraft, and was shot partially in Marblehead Mass. Each section represents a synthesis of the various aspects and moods of the story. The sum total of the fragments expresses the atmosphere of the whole.

The Shadow Glass is roughly based on Ewers' 'Student of Prague'. It concerns a young man who, feeling incapable of surmounting the harsh realities of love and life, sends his reflection cut to procure and win for him the object of his desire. Rather than being his servant and slave, the reflection takes over and controls the life of the man. In frustration and anger the man kills his reflection in order to be set free. The reality of the situation is the reality of suicide. The entire film could be interpreted as taking place in a brief second–for as long as it takes pull the trigger.

"A film counterpointing the hard reality of the present with the fantastic actuality or imagining of the idyllic past. This is best realized in the halting transition from the journey through time back to the watery one that evoked." –Ken Kelman

Portrait of siblings George and Mike Kuchar, who have made a name for themselves in the US underground scene with low-budget films.

"Curt McDowell's NUDES (A Sketchbook) is a paean to the filmmaker's closest friends: a series of portraits (beginning with one of George Kuchar) based on stylized, often graphically sexual interpretations of his or her personality. The portraits also, at times, represent Curt's own sexual interests as he projects them onto the lives of others. My favorites are 'Barbara', a Pre-Raphaelite vision of woman and 'Ainslie', a musical spoof on glamour. The filmmaker's point of view ranges from compulsively erotic to light-hearted and self-debunking. A broad reading of the term 'romantic' would probably best describe the spectrum of extreme, even outrageous, possibilities which Curt embraces in this sketchbook/film." - Karen Cooper, Film Forum

An hour-long saga of Mick Terrific, rock 'n' roll star, and the cast of 50 he encounters on his search for "Mr. Wonderful." “PEED INTO THE WIND smears across the screen like one of those dirty underground comic books. It’s loaded with a lot of big scenes and unusual looking people that make this epic resemble a clogged toilet. Unfortunately, since several of the performers were not as loyal as Ainslie Pryor and John Thomas, the plot is difficult to follow but in no way hinders the sewer-like sequences. It’s quite enjoyable and possesses the releasing power of an enema.” –George Kuchar. Preserved by the Academy Film Archive in 2016.

A visit with the inimitable Mike Kuchar.

Return to the House of Pain documents my walking through the turf and sludge of the Big Apple and many worm holes... I chomp my way back west and gnaw on all that sinks stomachward and beyond in vertiginous aching.

In March and April of 1966, Markopoulos created this filmic portrait of writers and artists from his New York circle, including Parker Tyler, W. H. Auden, Jasper Johns, Susan Sontag, Storm De Hirsch, Jonas Mekas, Allen Ginsberg, and George and Mike Kuchar, most observed in their homes or studios. Filmed in vibrant color, Galaxie pulses with life. It is a masterpiece of in-camera composition and editing, and stands as a vibrant response to Andy Warhol's contemporary Screen Tests. Preserved by the Academy Film Archive in 2001.

A rare behind-the-scenes view of the exploding New York “underground” in the late sixities, a turbulent time and place that was to change American culture forever. A German TV crew, led by journalist Gideon Bachmann, explores the epicenter of the sixties revolution in art, music, poetry and film and interviews the main players in the “New American Cinema,” that was born on the streets of New York. Against a backdrop of cultural upheaval in all of the arts and growing political agitation against the Vietnam War, Bachman interviews the most prominent figures in “underground film,” including Jonas Mekas, Shirley Clarke, the Kuchar Brothers and Bruce Connor, and visits the most notorious location in the New York art world of the era - Andy Warhol’s Factory - to conduct an interview with the genius of Pop Art himself.