Mondo New York
1988·Documentary·1h 23m
7.0
★
A young woman wanders around New York City and stumbles across a number of strange characters and settings that represent the "underground" areas of the city. She sees stand up comedy in Central Park, a prostitution auction, a voodoo ceremony, an S&M club, and a number of very interesting performance artists. These are just a few of the sights and sounds of New York that she encounters.
Directed by Harvey Keith
underground
performance art
mondo
Trailer
IMDB
N/A
Where to Watch
Cast
Joey Arias
Fish Out Of Water / A Hard Days Night
Rick Aviles
Comic in Park
Joe Coleman
Professor Mambuzu
Karen Finley
Self
Phoebe Legere
Marilyn Monroe
Lydia Lunch
Prologue
Ann Magnuson
Poetry Reader
John Sex
Hustle With My Muscle
Shannah Laumeister Stern
Self
Veronica Vera
Rapping & Rocking
Annie Sprinkle
Rapping & Rocking
Popular Reviews
5 reviews
LambertoPRO
Ich hab das Gefühl der und die Simpsons Folge “Homer in New York” haben mir zum Thema alles gezeigt was ich wissen muss.
Ich hab das Gefühl der und die Simpsons Folge “Homer in New York” haben mir zum Thema alles gezeigt was ich wissen muss.
Sydney Salk
this is an extremely accurate depiction of life in nyc: walk around in cute outfit, see something insane you really shouldn’t have, get tf outta in there in silence before shit gets too real, repeat
this is an extremely accurate depiction of life in nyc: walk around in cute outfit, see something insane you really shouldn’t have, get tf outta in there in silence before shit gets too real, repeat
vilaney
10.0★ · 03/17/24
***"these slimy adolescents deserve no salvation... only the cleansing fires of red hot steel"
***
the seedy hellish industrialism of new york is laid bare and presented through the eyes of a (largely) unfazed perspective - how very new york! sex, drugs, and violence are intrinsic to the foundation of the great american experiment, and perhaps it is fitting that in nowhere else but new york city, where the architecture is faulty as fuck, that those foundational principles of debauchery reign freely... or do they? this also touches on the rampant gentrification in new york, and how those "freaks" facing subjugation are no longer even allowed to feel at home at the freakshow... "just when you thought it was safe to relax in the gutter..." the editing, directing, writing, etc are perfect! the performances from the myriad of performers reflect the multitudinous nature of the city perfectly - loved rick aviles's part sm, and as always i love john sex and ann magnuson. it feels alice in wonderland-esque, with how we follow an unassuming blonde girl comingling with the riffraff and the absurd - the queer - with such casualness and yet a sense of foreignness remains (without becoming a sans soleil type of fetishizing of a place). great soundtrack too, in fact this kind of feels like a musical (VERY the wiz coded) which i think really encapsulates the musicality of the city nicely - loved the marilyn monroe number!
sidenote: i think there's something to the symbol of a maimed or dead cockerel (which is not uncommon here). is it some form of powerplay? a semantic castration to performatively buy back the power of a man, once a child, ridden with castration anxiety? fragile masculinity? an affront to mother nature that allowed for a father to further the cycle of paradoxically self-destroying and self-aggrandizing patriarchy? idk maybe the edible is hitting a lil hard
***
the seedy hellish industrialism of new york is laid bare and presented through the eyes of a (largely) unfazed perspective - how very new york! sex, drugs, and violence are intrinsic to the foundation of the great american experiment, and perhaps it is fitting that in nowhere else but new york city, where the architecture is faulty as fuck, that those foundational principles of debauchery reign freely... or do they? this also touches on the rampant gentrification in new york, and how those "freaks" facing subjugation are no longer even allowed to feel at home at the freakshow... "just when you thought it was safe to relax in the gutter..." the editing, directing, writing, etc are perfect! the performances from the myriad of performers reflect the multitudinous nature of the city perfectly - loved rick aviles's part sm, and as always i love john sex and ann magnuson. it feels alice in wonderland-esque, with how we follow an unassuming blonde girl comingling with the riffraff and the absurd - the queer - with such casualness and yet a sense of foreignness remains (without becoming a sans soleil type of fetishizing of a place). great soundtrack too, in fact this kind of feels like a musical (VERY the wiz coded) which i think really encapsulates the musicality of the city nicely - loved the marilyn monroe number!
sidenote: i think there's something to the symbol of a maimed or dead cockerel (which is not uncommon here). is it some form of powerplay? a semantic castration to performatively buy back the power of a man, once a child, ridden with castration anxiety? fragile masculinity? an affront to mother nature that allowed for a father to further the cycle of paradoxically self-destroying and self-aggrandizing patriarchy? idk maybe the edible is hitting a lil hard
***"these slimy adolescents deserve no salvation... only the cleansing fires of red hot steel"
***
the seedy hellish industrialism of new york is laid bare and presented through the eyes of a (largely) unfazed perspective - how very new york! sex, drugs, and violence are intrinsic to the foundation of the great american experiment, and perhaps it is fitting that in nowhere else but new york city, where the architecture is faulty as fuck, that those foundational principles of debauchery reign freely... or do they? this also touches on the rampant gentrification in new york, and how those "freaks" facing subjugation are no longer even allowed to feel at home at the freakshow... "just when you thought it was safe to relax in the gutter..." the editing, directing, writing, etc are perfect! the performances from the myriad of performers reflect the multitudinous nature of the city perfectly - loved rick aviles's part sm, and as always i love john sex and ann magnuson. it feels alice in wonderland-esque, with how we follow an unassuming blonde girl comingling with the riffraff and the absurd - the queer - with such casualness and yet a sense of foreignness remains (without becoming a sans soleil type of fetishizing of a place). great soundtrack too, in fact this kind of feels like a musical (VERY the wiz coded) which i think really encapsulates the musicality of the city nicely - loved the marilyn monroe number!
sidenote: i think there's something to the symbol of a maimed or dead cockerel (which is not uncommon here). is it some form of powerplay? a semantic castration to performatively buy back the power of a man, once a child, ridden with castration anxiety? fragile masculinity? an affront to mother nature that allowed for a father to further the cycle of paradoxically self-destroying and self-aggrandizing patriarchy? idk maybe the edible is hitting a lil hard
***
the seedy hellish industrialism of new york is laid bare and presented through the eyes of a (largely) unfazed perspective - how very new york! sex, drugs, and violence are intrinsic to the foundation of the great american experiment, and perhaps it is fitting that in nowhere else but new york city, where the architecture is faulty as fuck, that those foundational principles of debauchery reign freely... or do they? this also touches on the rampant gentrification in new york, and how those "freaks" facing subjugation are no longer even allowed to feel at home at the freakshow... "just when you thought it was safe to relax in the gutter..." the editing, directing, writing, etc are perfect! the performances from the myriad of performers reflect the multitudinous nature of the city perfectly - loved rick aviles's part sm, and as always i love john sex and ann magnuson. it feels alice in wonderland-esque, with how we follow an unassuming blonde girl comingling with the riffraff and the absurd - the queer - with such casualness and yet a sense of foreignness remains (without becoming a sans soleil type of fetishizing of a place). great soundtrack too, in fact this kind of feels like a musical (VERY the wiz coded) which i think really encapsulates the musicality of the city nicely - loved the marilyn monroe number!
sidenote: i think there's something to the symbol of a maimed or dead cockerel (which is not uncommon here). is it some form of powerplay? a semantic castration to performatively buy back the power of a man, once a child, ridden with castration anxiety? fragile masculinity? an affront to mother nature that allowed for a father to further the cycle of paradoxically self-destroying and self-aggrandizing patriarchy? idk maybe the edible is hitting a lil hard
vilaney
10.0★ · 04/14/26
e
5.0★ · 05/27/25