
Christine, a repressed young woman, works selling tickets at a Times Square adult theater. She watches the men who come to view the women on screen, and becomes increasingly fascinated—and eventually obsessed—with the pornography and the enigmatic wealthy patrons who frequent the venue, as she delves deeper into the hidden world behind the screen.
Does Variety have end credit scenes?
No!
Variety does not have end credit scenes. You can leave when the credits roll.
See current US streaming, rental, and purchase options for Variety (1983) via JustWatch.
Explore the complete cast of Variety, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Nan Goldin
Nan

Richard M. Davidson
Louie

Will Patton
Mark

Mark Boone Junior
Business Manager / Porn Customer

Spalding Gray
Voice on answering machine (voice)

Luis Guzmán
Jose

Cookie Mueller
Woman in Bar

Suzanne Fletcher
Woman in Bar

Peter Rizzo
Driver

Lee Tucker
Projectionist

Norma Rodriguez
Woman in Bar

Sally Rodwell
Woman in Bar

Peyton Smith
Woman in Bar

April Andres
Woman in Bar

Peyton Green
Woman in Bar

Norma Angelica Rodriguez
Woman in Bar

Usharbudh Arya
Relaxation Tape (voice)
Discover where to watch Variety online, including streaming platforms, rental options, and official sources. Compare reviews, ratings, and in-depth movie information across sites like IMDb, TMDb, Wikipedia or JustWatch.
Read the complete plot summary of Variety, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Christine, an aspiring author, is desperate for a steady job, hoping a new gig might spark ideas and stories. Her friend Nan, Nan Goldin, hints that the Variety, a porn theater in Times Square, is hiring as a ticket-taker. Christine seizes the opportunity and begins to see the films playing there, her curiosity growing with each screening and the world they reveal.
Her boyfriend, Will Patton Mark, an investigative journalist, is concerned and confused about her new interest. He tries to understand what draws Christine to the theater and the people who inhabit that corner of the city, even as their relationship tightens around this unsettled curiosity.
At the Variety, Christine meets a wealthy patron, Richard M. Davidson Louie, with whom she spontaneously decides to go on a date. The encounter is electric and opaque, mixing glamour with an undercurrent of secrecy that she cannot quite place. When Louie abruptly leaves, Christine follows him in a cab, watching as he meets a mysterious man and slips into an atmosphere she hadn’t anticipated.
Back home, Christine shares her suspicions with Mark that Louie might be connected to some kind of mafia operation, a theory that adds fuel to her growing fixation. The more she dives into Louie’s world, the more she becomes consumed by her own awakening sexuality and the need to understand what lies beneath the surface of his polished facade.
Her pursuit leads her north to Asbury Park, New Jersey, where she sneaks into Louie’s hotel room and steals a pornographic magazine, a bold act that marks a turning point in her obsession. The boundary between admiration and possession blurs as she digs deeper, seeking a confrontation, a truth, or a meeting that would confirm her theories and satisfy her craving for clarity.
Ultimately, Christine’s fixation and desire push her toward a dramatic, unsettling climax, leaving her with a choice that could redefine her sense of self. The film closes on a final, enigmatic image: an empty intersection at Fulton and South Street, where Christine has instructed Louie to meet her, a stark line between pursuit and consequence that lingers long after the screen fades.

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