In August of 1949, Life Magazine ran a banner headline that begged the question: “Jackson Pollock: Is he the greatest living painter in the United States?” The film is a look back into the life of an extraordinary man, a man who has fittingly been called “an artist dedicated to concealment, a celebrity who nobody knew.” As he struggled with self-doubt, engaging in a lonely tug-of-war between needing to express himself and wanting to shut the world out, Pollock began a downward spiral.

Three stories happening in New York. The first, by Scorsese, is about a painter who creates his works helped by high volume music and an attractive assistant; second, by Coppola, is about a rich and bold 12 years old who helps her separated parents to reconciliate; third, by Allen, is a witty piece of comedy about the impossibility of getting rid of the son’s role.