Andy Warhol's 1966 “sequel” to his Blow Job begins with a long static shot of Gregory Battcock looking bored; small movements of his head reframe the elegant tight close-up to make sun and shadow symmetrical on his face, or unbalance them again, while street noises expand the shot's implied space. Halfway through this 70-minute film, the camera pans down to reveal the back of another man's head. Zooms and more pans follow, yet each blocky, high-contrast composition has an assertive power characteristic of Warhol. Also on the program, and possessed of that same quality, is Mario Banana (No. 1) (1964), a four-minute shot of white-gloved drag queen Mario Montez eating a banana.