Clonetown 1974 to 1979: a terrorist defector named Charon sits on the edge of oblivion and commentates on the imminent putrification of an abducted car dealer.

An expanded version of the short, New York Story, in which we first see the arrival of the Loulou character in the big city, sharing a Soho apartment with three roommates, getting work as a film editor, and showing her previous movie Deux Fois at the Museum of Modern Art.

Jo and Agatha are lovers. Both have careers: the Brasilian-born Agatha is an attorney; Jo is a filmmaker, working hard to complete the shooting of a movie called, "Catalina."
Agatha may be seeing things: she's jealous, convinced Jo is having an affair with a man and follows her. But is it Jo she's following, or someone who looks like her? Jo is either too exhausted to pay much attention to Agatha or she's cleverly hiding her affair. We see some of "Catalina," with overtones of melodrama, and sometimes, when Agatha watches the shooting or looks at rushes with Jo, Agatha sees Jo in scenes of sex or violence instead of the lead actress. Can the two of them sort this out?

Rainer’s landmark film is a meditation on ambivalence that plays with cliché and the conventions of soap opera while telling the story of a woman whose sexual dissatisfaction masks an enormous anger.

Embodying Rainer’s aesthetic rigor and wit, the film combines fiction and documentary, script readings, dance snippets, still photos, and tableaux vivants to explore issues of power and gender that influence the emotional lives of her performers.