In the summer of 1950, photographer Hans Namuth asked Jackson Pollock if he could document him at work, and what became this short film follows the painter across his Springs, New York studio as he drips and flings paint onto canvas laid flat on the floor. Pollock narrates part of the film himself, describing his method as working from the four sides rather than an easel, and Namuth shoots through a sheet of glass with paint dripping directly onto the camera to put the viewer inside the process. Composer Morton Feldman's score runs under footage that treats the act of painting as the subject rather than the finished canvas. The film captures Pollock mid-career, before his death in a 1956 car crash, and remains one of the only extended visual records of how his drip paintings were actually made. It runs short but dense, built entirely from observation rather than commentary about his reputation.