This fly-on-the-wall documentary follows the Rolling Stones on their 1972 North American Tour, their first return to the States since the tragedy at Altamont.

Based on an incident in the life of Beat icon Neal Cassady and his wife, the painter Carolyn, the film tells the story of a railway brakeman whose wife invites a respected bishop over for dinner. However, the brakeman's Bohemian friends crash the party, with comic results. Pull My Daisy is a film that typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from the third act of his play, Beat Generation; Kerouac also provided improvised narration.

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

Julius Orlovsky, after spending years in a New York mental hospital, emerges catatonic and must rely on his brother Peter, who lives with poet Allen Ginsberg. When Julius wanders off in the middle of filming, Frank hires and actor (Joseph Chaikin) to play the character and begins a fictional version of his psychological portrait. Then, as suddenly as he vanished, Julius turns up in an institution where he and Peter must face their relationship.

An egg-sorting woman shrugs off even the appearance of Christ. From Isaak Babel story.

“Tell the truth and shame the devil”: Robert Frank had turned 80 when he set out to make True Story, repurposing still photographs, home movies, and excerpts of completed films to reflect on memory and resilience. Moments of delight (a lobster claw and wiggling toes silhouetted against the sky) brush against moments of melancholy (the camera drifting across one of his son Pablo’s tortured collage letters written in microscript: “He wanted to say everything, he wanted to get rid of his loneliness…”); an inventory of enfeeblement (“swollen toes, nails falling out, gum disease, itching, irregular heartbeat”) gives way to an image of steadfastness (the crotch of a old tree stump propping up another tree). — Museum of Modern Art

Simple objects, photographs, and events prompt Frank to self-conscious rumination. From his homes in New York and Nova Scotia and on visits to friends, the artist contemplates his relationships, the anniversary of his daughter's death, his son's mental illness, and his work.

The protagonists’ astounding verbal gymnastics and often incomprehensible interactions tend to descend into nonsense, and with the syncopated rhythm of its action and dialogue, this film is reminiscent of the playful and parodying elements of the Beat fantasy Pull My Daisy. The interweaving of documentary and fiction with the syncopated rhythm of its action and dialogue presents an absurd buzz of activity reminiscent of Beckett’s abstract comic grotesque.

O.K. End Here is Frank’s 1963 short film about inertia in a modern relationship. The film alternates between semidocumentary scenes and shots composed with rigid formality, and appears to have been directly influenced by the French Nouvelle Vague and Michelangelo Antonioni’s films.

In Fall of 1971, artist Robert Frank came to Rochester, NY to conduct a course on filmmaking at the recently established alternative art school, Visual Studies Workshop. By the time he came to Rochester, Frank had made seven films and was in production on the autobiographical fiction About Me: A Musical while preparing to shoot the controversial Rolling Stones documentary Cocksucker Blues. In need of money to shoot his next film, Frank proposed a non-traditional course to friend Nathan Lyons, suggesting the students work together to make their own movie with Frank acting as more of a collaborator than an instructor. Frank’s approach to working with the group of six students was simple: load up a camera and start shooting the world around you, including yourselves. The resulting 38 minute film is a valuable portrait of a creative collaboration between artists, and a stimulating document of what Frank refers to as ‘the chaos of the present.’