Poor Little Rich Girl

Director: Andy Warhol

Institute History

  • 1994 Sundance Film Festival


A connoisseur of Hollywood, Andy Warhol had a fixation on movie stars and the magic kingdom. He understood its seductive appeal, yet remained deeply attracted to glamour and fame. Believing that films were about personalities and the better the personality the better the movie, he created the "Superstar Era." The brightest and fastest-burning superstar was Edie Sedgwick, a troubled and unstable socialite. Beautiful and chic. Sedgwick captivated Warhol, who saw her indisputable star Quality and brought her into the exciting world of avant-garde art. She. In turn, provided him entree into the world of high society

After her success in Vinyl, Sedgwick was elevated to a leading role in Poor Little Rich Girl, where she essentially played herself—a privileged, but unhappy, girl from an aristocratic world of governesses and boarding schools. Except for a few seconds, reel one is out of focus, creating a dreamy, impressionistic image. The film begins with her waking, unsure if it is day or night listening to the greatest hits of the Everly Brothers, Edie orders breakfast, smokes Cigarettes and exercises. In reel two, she comes into focus, talking with her Svengali, Chuck Wein, who is off-camera

Sedgwick, who died In 1971 of a barbiturate overdose at age twenty-eight, left behind a story as disturbing as her brief film career Her WASP background could not hide a life of anorexia, drug addiction and incest. Poor Little Rich Girl captures a time in American art when "glamorous young kids" (as Warhol called them) proved that films were about human personality.

Thursday Jan 21 Midnight
Egyptian Theatre

— Lois Vossen

Screening Details


As you use our Online Archives, please understand that the information presented from Festivals, Labs, and other activities is taken directly from official publications from each year. While this information is limited and doesn't necessarily represent the full list of participants (e.g. actors and crew), it is the list given to us by the main film/play/project contact at the time, based on the space restrictions of our publications. Each entry in the Online Archives is meant as a historical record of a particular film, play, or project at the time of its involvement with Sundance Institute. For this reason, we can only amend an entry if a name is misspelled, or if the entry does not correctly reflect the original publication. If you have questions or comments, please email [email protected]