An influential (in it's time),inventive 30 minute black and white short that examined an 'Ed TV' like idea way before others did. A woman has her life secretly filmed, edited and shown to a laughing audience each week. Far more surreal and stylized than the features and TV shows that later used this concept, it's stylish, a lot of fun and effectively creepy. On the other hand, the acting is amateurish, production values nonexistent, and the post dubbed sound is pretty awful. But somehow, that homemade quality sort of works with the story. Worth seeing if you have any interest in the semi-experimental late 60s cinema that combined what would have been sleaze with far more artistic aspirations (Brian DePalma, Bartel, and many others were part of this art/exploitation film trend).

Death Race 2000 director Paul Bartel's debut feature is this short film. Its about a young woman whose life is disastrous - crap job, annoying mother, useless boyfriend, etc. To make matters worse wherever she goes, she gets the feeling she's being watched. Well, it turns out she's right! As her every move is being surreptitiously filmed and then edited together and shown weekly at the Secret Cinema where the audience can laugh at her expense. This is a pretty effective bit of strangeness and is definitely worth 30mins of your time.

Secretary Jane (a solid and sympathetic performance by Amy Vane) suspects that not only is her life being secretly filmed by others, but also that the resultant movies are being watched by various friends and acquaintances at clandestine screenings.

Writer/director Paul Bartel does an expert job of exploring a dark edgy line in urban paranoia, makes neat use of New York City locations, and maintains a zippy pace throughout. Moreover, the basic premise about modern forms of voyeurism and technology intruding on one's privacy remains timely and topical even today, as confirmed by the popularity of all these so-called "reality" TV shows. The fine acting by the capable cast keeps things humming, with especially stand-out contributions from Connie Ellison as the ambitious Helen, Gordon Felio as overbearing boss Mr. Troppogrosso, and Barry Dennen as a condescending kook psychiatrist. Fred Wellington's sharp and dynamic hand-held cinematography provides a crackling kinetic buzz while the jaunty score by The Rusty Nails evokes the peppy vibe of vintage silent comedy reels. A nifty precursor to "The Truman Show," it's essential viewing for Bartel fans.