Amos Poe

  • Amos Poe – Alphabet City (1984)

    1981-1990Amos PoeCrimeDramaUSA

    This stylishly photographed drama is set in the Lower East Side area known as “Alphabet City.” There 19-year-oldJohnny has become a drug lord in charge of the neighborhood gangs and pushers. Unfortunately, he too has a boss and when he asks Johnny to burn down the tenement building that houses his mother and sister, the boy refuses and decides to go straight for the sake of his wife and child. This doesn’t set well with his boss who sends gangsters out to kill him. Of course, the gangsters have to catch Johnny first.Read More »

  • Amos Poe – Subway Riders (1981)

    1981-1990Amos PoeArthouseThrillerUSA


    Subway Riders is an epic NoWave/NY noir-melodrama,
    in which a nocturnal saxophonist morphs into a bewitching
    serial killer. With transcendant performances by John Lurie,
    Cookie Mueller, Glenn O’ Brien, Robbie Coltrane, Bill Rice,
    Charli Kaleina, Emilio Cubera and Susan Tyrrell, it captures
    the colorful junkie landscape of downtown Manhattan in the
    late 70’s with fearless bravado.

    – Amos Poe-
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  • Amos Poe – The Foreigner (1978)

    1971-1980Amos PoeArthouseThrillerUSA

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    Underground filmmaker Amos Poe (“Blank Generation”) wrote and directed this punk-flavored thriller about a terrorist agent whose mission in New York exposes him to constant danger and a bizarre array of friends and enemies. Eric Mitchell, Patti Astor star, with appearances by The Cramps and Debbie Harry.Read More »

  • Amos Poe – Unmade Beds (1976)

    1971-1980Amos PoeArthouseExperimentalUSA


    “The three films—Unmade Beds, The Foreigner and Subway Riders—represent a kind of trilogy. The first is a European film made in New York City, a reinvention of the nouvelle vague in the context of New York. I wanted to start where Godard started, to go back to basics: innocence, romanticism, bohemianism, all the things that made up New York City for me at that time. It is the story of an artist: a medium, an ego, and a changed society. He thinks his camera is a gun, he thinks he is Belmondo, and he thinks New York is Paris. His fate is therefore doomed. So when Godard and his pals at the Cinemateque saw Sirk, Hawks, et cetera, they tried to make films like that—but they failed. Instead they created the New Wave. My attempt created a kind of New Wave in New York.”
    Amos Poe, 1982
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