Younger fans of The Blair Witch Project may not realize that this kind of pseudodocumentary, usually minus the horror elements, was a staple of independent filmmaking during the 60s; Jim McBride’s first feature (David Holzman’s Diary), Shirley Clarke’s The Connection, and Peter Watkins’s early films (including The War Game and Privilege) all dealt potently with this form. This evocative 1969 feature by Milton Moses Ginsberg, a relatively late example, is particularly good at giving the impression that he’s using random footage, and it sometimes suggests Andy Warhol (the strobe cutting and unbridled behavior) and Michael Snow (a consistent camera angle). The entire movie is set in the living room of the Manhattan apartment of a onetime psychiatrist (Rip Torn), most of it shot with an allegedly hidden camera across from a sofa and mirror. The hero is idly filming his sexual encountersmany of them abortive, though in keeping with the period’s sexual politics, the women generally strip right away and he never gets further than his underpants. The scenes range from flirtations and kinky come-ons to orgies to marital squabbles. Torn, Sally Kirkland, and Viveca Lindfors are all terrific, and the music is by Jefferson Airplane. (JR)