The classic cinematic triangle becomes something else again in Beauty #2: an action-packed stillness of implied eyeline matches, a "vortex of controlling gazes" (J. Hoberman). Edie Sedgwick and Gino Piserchio lie on a bed in a half-hearted, oft-interrupted attempt at lovemaking while, offscreen, Chuck Wein interrupts with bullying interrogations from behind the omniscient unmoving camera. What is heard is funny and sad by turns and what is seen becomes a witty play of surfaces. Warhol fashioned his Factory on the Hollywood "Dream Factory" of the thirties and then created superstars in whom he could reveal all the tristesse of stardom, and whom he could taunt for their vanity. In 1965 Warhol already had deconstructed the narrative, and mercilessly. In his film on Castro's sister Juana, members of the cast sit as if posing for a family portrait and proceed to dish out this portrait with delicious venom. Marie Menken's Juanita is indomitable, despite the fact that she can't recite one palabra of Spanish. The rest of the cast is altogether earnest (which is important) and the film, altogether hilarious.