Donald Lyons

Instructed by Warhol to write a vehicle for Edie Sedgwick in a “completely white” setting, scenarist Ronald Tavel created one of Warhol’s most iconic films. Here a group of performers of all stripes – the sink and litter basket receive equal billing to the human actors – are forced into Warhol and Tavel’s cruelly comical theatre of the absurd. Inside this cramped domestic space, boredom, confusion and a sense of existential dread hang heavy in the air. Warhol and Tavel transform the modern 1960s kitchen – replete with the latest gadgets and conveniences – into a chaotic laboratory for self-creation and interpersonal conflict.

Lacking a formal narrative, Warhol's mammoth film follows various residents of the Chelsea Hotel in 1966 New York City. The film was intended to be screened via dual projector set-up.

A melange of casual talking, food fights, and folk singing. The film includes Eric Andersen with his guitar, singing his lines, and leading Edie Sedgwick and her friends in unscripted sing-alongs of popular songs including "Puff the Magic Dragon" and "The Battle Hymn of the Republic".

Edie Sedgwick hanging out at her apartment with Ondine and others in an alcohol and amphetamine–fueled talkfest.