Henry Jaglom’s 1971 drama follows Noah, a young woman drifting between present loneliness and childhood memory in New York City. Starring Tuesday Weld, Orson Welles, and Jack Nicholson, it uses fragmented editing, recurring motifs, and nostalgic music to evoke mental fragility without diagnosis. Culled from fifty hours of footage, it is a formally ambitious but divisive experiment in psychological portraiture — intimate, unresolved, and demanding of its viewer.
Jack Nicholson’s 1971 directorial debut, adapted from Jeremy Larner’s novel, follows a disillusioned college basketball star navigating affairs, draft anxiety, campus unrest, and a volatile roommate. Shot on location at the University of Oregon, it features committed performances from William Tepper, Karen Black, and Bruce Dern, with cinematography by Bill Butler and a sparse score by David Shire. Though critically divided and commercially obscure, it remains a singular artefact of early-70s American countercinema—uneven, urgent, and uninterested in tidy answers.