Bedeviled by insomnia, Mekas turns to the company of friends to get him through long, dark nights of the soul—his loose model here is One Thousand and One Nights, with good, convivial conversation seen as more than a pleasure, but a lifeline. The “guests” include a bevy of figures across a wide range of artistic disciplines: Marina Abramović pines semi-seriously for a housewife’s life; the architect Raimund Abraham calls for the abolition of the word “artist;” and, in a radically telescoped sequence, Harmony Korine is seen in a flash before and after marriage and fatherhood. There are old friends (Yoko Ono, Patti Smith), friends who will never be old (Amy Winehouse, seen on a studio visit), and departed friends recalled from out of the past (Antonin Artaud, Jack Kerouac). It is an artfully artless movie, its roughshod style typical of Mekas’ work after transitioning to digital video, and a melancholy one, though punctuated by fits of joy, lifted wine glasses, and homemade intertitles proclaiming “Praise Allah.”