Mr. Devereaux is a powerful man. A man who handles billions of dollars every day. A man who controls the economic fate of nations. A man driven by a frenzied and unbridled sexual hunger. A ...
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Abel Ferrara headlines a film retrospective and a series of concerts in France dedicated to songs and music from his films. Preparations with his family and friends will form the material ... See full summary »
Director:
Abel Ferrara
Stars:
Mia Bablalis,
Anastasia Balan,
Laurent Bechad
A modern day Romeo & Juliet story is told in New York when an Italian boy and a Chinese girl become lovers, causing a tragic conflict between ethnic gangs.
Director:
Abel Ferrara
Stars:
James Russo,
Richard Panebianco,
Sari Chang
A screwball comedy centered on a Manhattan go-go dancing club, where a financial struggle between the owner, his accountant and his silent partner brother threatens the business's future.
Born in the Bronx and raised in upstate New York, Abel Ferrara started his professional film career on Mulberry Street in 1975. For the past year he's been living on the block, and the ... See full summary »
A debauched Hollywood movie actor tries to piece together one wild night in Miami years earlier which remains a drug-induced blur, and soon finds out that some questions about his past are best left unanswered.
Director:
Abel Ferrara
Stars:
Matthew Modine,
Claudia Schiffer,
Béatrice Dalle
With his crooked face and rough demeanor Abel Ferrara looks and acts like he could have been born in Naples, Italy, the subject and location of his raw and hyperreality film Naples Naples ... See full summary »
Mr. Devereaux is a powerful man. A man who handles billions of dollars every day. A man who controls the economic fate of nations. A man driven by a frenzied and unbridled sexual hunger. A man who dreamed of saving the world and who cannot save himself. A terrified man. A lost man.
When director Abel Ferrara received a letter from IFC Films, the US distributor, telling the filmmaker to deliver an R-rated version so that it could match the version to be released on Showtime during its pay TV window, the director was disgusted and refused to back down telling THR "Welcome to New York is not being distributed in the U.S. because of this company, IFC, which I'm totally disgusted with." He stated "They knew from day one when they bought this film that they had the final version and that it wasn't going to be changed." See more »
Goofs
When the Detectives are introduced, one is wearing an NYPD Detective Shield (badge), one a Sergeant's Shield. The Sergeant introduces himself to the hotel official as "Lieutenant Landano". Immediately after, he introduces himself to the housekeeper as "Sergeant Landano". See more »
Quotes
Devereaux:
Since childhood, I've been brainwashed. By my parents, my teachers.My teachers, my superiors at work.I'm lucky, I'm not a Christian.But I'd like to say this: When I die, I will kiss God's ass forever.I found my God.You.My first God? I didn't find it in a church, but in a classroom.It was idealism. What a magnificent God! To believe everything would be ok. I was in the temple that is university. First as a student, then as a professor. And I allowed myself to be wrapped in that hallowed light. ...
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Alternate Versions
In the US, the MPAA initially rated this NC-17 and required cuts of scenes of sexual assault to gain an 'R' rating, much to the disgust of the director, Abel Ferrara. See more »
What is this piece of work? An auteur film? A low-budged shock movie like "La Grande Bouffe" or "Baise-moi"? A porno? Whatever the case, this catastrophic film makes you wonder whether Abel Ferrara has really been directing movies for 40 years. Inconsistent characters, uneven editing and dialogue lines that are laughable at best and disturbingly weak at worst make this this movie a really painful experience, like a great romantic Austrian orchestral piece performed out of tune all the way through. The exhaustingly long and slow vampire of a film that is Welcome to New York begs the questions: has the production been rushed for some troubled reason(s)? is that why it backfires on all technical levels? did they use rehearsal footage? is that why the acting is so all over the place? There are, however, a few interesting moments here and there in the film: Depardieu's monologue towards the end of the film, the lighting reflected on Jacqueline Bisset during a quarrel in the couple's home cinema. They're only details, unfortunately, and they're not powerful enough to save the film from drowning. Abel Ferrara proves that being a "unique" artist doesn't make you a "competent" one and, most of all, that you can't always blame gaucherie on art.
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What is this piece of work? An auteur film? A low-budged shock movie like "La Grande Bouffe" or "Baise-moi"? A porno? Whatever the case, this catastrophic film makes you wonder whether Abel Ferrara has really been directing movies for 40 years. Inconsistent characters, uneven editing and dialogue lines that are laughable at best and disturbingly weak at worst make this this movie a really painful experience, like a great romantic Austrian orchestral piece performed out of tune all the way through. The exhaustingly long and slow vampire of a film that is Welcome to New York begs the questions: has the production been rushed for some troubled reason(s)? is that why it backfires on all technical levels? did they use rehearsal footage? is that why the acting is so all over the place? There are, however, a few interesting moments here and there in the film: Depardieu's monologue towards the end of the film, the lighting reflected on Jacqueline Bisset during a quarrel in the couple's home cinema. They're only details, unfortunately, and they're not powerful enough to save the film from drowning. Abel Ferrara proves that being a "unique" artist doesn't make you a "competent" one and, most of all, that you can't always blame gaucherie on art.