Robert Frank s significant contribution to photography in the mid-twentieth century is unquestionable. His book, The Americans, is arguably the most important American photography publication of the post-World War II period, and his photography has spawned numerous disciples, as well as a rich critical literature. However, at the very moment Frank achieved the status of a  star at the end of the 1950s, he abandoned traditional still photography to become a filmmaker. He eventually returned to photography in the 1970s, but Frank, as a filmmaker, has remained a well-kept secret for almost four decades. Robert Frank The Complete Film Works fills a long overdue gap by presenting every one of Frank's more than 25 films and videos, some of them classics of the New American Cinema of the 1950s and 60s. Pull My Daisy  28 minutes  1959 Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from the third act of a stage play he never finished entitled Beat Generation. Kerouac also provided improvised narration and the stars included Allen Ginsberg, Gregory Corso, Alice Neel and Pablo, Frank s then-infant son. Daisy tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. However, the brakeman s bohemian friends crash the party, with comic results. The Sin of Jesus  37 minutes  1961 The Sin of Jesus is the story of Isaac Babel, a woman on a chicken farm who spends her days working at an eggsorting machine.  I m the only woman here. She talks to herself as she works, lost in the monotony of human existence. She counts the passing days in the same way she counts eggs. Even extraordinary events, such as the appearance of Jesus Christ in the barn, go under the stream of this melancholy solipsism. Me and My Brother  91 minutes  1965-1968 Me and My Brother seems to be a rather artless-film-within-a-film being shown at a rundown movie theater. This was Frank s first feature-length film work and it celebrates the return of the poetic essay as assemblage, the affirmation of the underground as a wild cinematic analysis in the form of collage.