Author: lemkey

TALKS BACK PART 2

TALKS BACK (PT. 2)
Curated by Angela Washko
95 min
MONDAY, DECEMBER 18th
ONE NIGHT ONLY – 7:30PM & 10PM
ARTISTS IN ATTENDANCE

Talks Back is a screening program featuring video and performance-for-video works by women artists who have opted to move away from the limitations of gallery contexts and art world audiences and put themselves in conversation with television and cinema (and their audiences). Inspired by the possibilities offered by public access television, reality television and virtual environments, these artists bring new meaning to films, television programming, and multi-user digital spaces by inserting themselves into existing media narratives which don’t often include their perspectives. Through remixing their bodies into found footage or literally getting onto reality television programs, these artists assert the need for the narratives of intersectional feminists in the mainstream media we consume every day.

Artists in the program include Morehshin Allahyari, Ann Hirsch, Narcissister, Rachel Rampleman, Suzie Silver, Skawennati and Angela Washko.

Special thanks to the artists and curator.

FREEBIRD
Suzie Silver, 1993
11 min

“Suzie Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s “Freebird”, the infamous Southern rock anthem for an entire generation of 1970s male youth. In this spoof of straight mass culture, Silver flips ironically between roles; from a lesbian proudly proclaiming her sexuality at the Academy Awards, to an in-concert Coors-drinking Ronnie Van Zant, and, finally, to a black-lace lesbian lounge swinger celebrating the wild, colorful world of “out” visibility. Silver draws upon an amazing array of found footage and special effects to bend genders and genres with spectacular visual delight.” – SS

MILLIONAIRE WORTHY: HOME EDITION (A PRIMER)
Angela Washko, 2013
8 min

“Angela Washko explores metrics and seduction in this video work that presents audiences with a strategy for romantic success through data analysis of the Bravo television show Millionaire Matchmaker. The project was the primer video which ultimately led to a public access television show called ‘Millionaire Worthy TV’.

‘Millionaire Worthy’ began as a research project through which the artist watched all 72 of the existing episodes of Millionaire Matchmaker and analyzed exactly what values were being communicated to its viewership by making spreadsheets and graphs detailing what traits men on the show state that they are looking for in women, and what the host declares unacceptable about the women she denies opportunities to date these men. Performing as analyst and (un)qualified authority, Angela Washko attempts to embody Patti Stanger’s teachings…the impossibility of which is made clear by highly contradictory data.” – AW

TIMETRAVELLER™ EPISODE 1 & 2,
Skawennati 2008-2013
6 min & 9 min

“It is critical that Aboriginal people show up in The Future. Sepia-toned, historical images of silent, unnamed Indians are everywhere but rarely do we appear in future imaginaries, even our own. As a Mohawk woman, I believe that we need to visualize ourselves as full participants in the future in order to assume our appropriate role as active agents in the shaping of new mediums and new societies. At the moment, nothing can represent The Future better than a real-time, interactive, 3D space where fantastical people populate improbable architecture and fly, teleport, and telepathically communicate their thoughts and dreams. Second Life, the popular virtual world, is such a space. How do Indigenous people fit into such spaces? And, more importantly, what is our role in defining those spaces? TimeTraveller™ is a creative and critical intervention into such discussions. TimeTraveller™ is a 9-part machinima that tells the story of Hunter, an angry young Mohawk man living in the 22nd century. Despite his impressive range of traditional skills, Hunter is unable to find his way in an overcrowded, hyperconsumerist, technologized world. He decides to use his edutainment system, his TimeTraveller™, to learn about his heritage. Through a bizarre glitch in the system, he meets Karahkwenhawi, a young Mohawk woman from our present. Together they criss-cross time, and end up discovering the complexity of history, truth, and love.” – S

IN THE REALM OF RARE AND ANALOGOUS ACCIDENTS
Morehshin Allahyari, 2013
10 min

Side by Side; Searching for a relationship that defines the states of belonging; The space in the middle. Questioning the power of the image… the image that guides us. The image that lies. “Something is of course always lost when we get to see only one side. It is for the exact same reason that one must have the courage to confess the pain of the coma-like contrast of life and cinema. In this scenario, somehow we must put it all together to see the big picture; While in the state of unconsciousness, we are stuck at the thin edge of a screen where two worlds, two countries, and two cities separate for the sake of it. I feel helpless standing in the middle. In this chain of accidents, in this battle of guns and bombs, in the pile of my notes, thoughts, and nostalgic memories of Texas and Tehran, the world lacks trust in common sense.” -M

AIN’T NOTHING LIKE BEING FREE

AIN’T NOTHING LIKE BEING FREE
dir. John Meyer, 2016
USA, 49 min
TUESDAY, DECEMBER 5 – 10 PM
ONE NIGHT ONLY!

Ever find yourself wondering why Coney Island couldn’t have instead been a huge Jesus-themed theme park? Or why you even bother attending your “friend’s” “DJ set,” when you could just be spittin’ verses about life and freedom on the stoop with your real homies?

For just a moment, if you can, in that megalopolis-twisted mind of yours, try to imagine an America less convoluted, less distracted, and a maybe bit more free. For instance, instead of “soiled subway rat,” think “small disabled dog with wheels for legs.” Or perhaps instead of a city slickin’, cold brew wieldin’ hoser taking up sidewalk space, consider trading him in for an unlicensed Don Quixote faithfully hacking his way through dubious foliage with a dull machete. Try substituting your therapist and adderall prescription for some wisdom from a philosophical BBQ maverick and a rack of sweet baby back ribs. And while you’re stuck there again in L-train hell, deep down wouldn’t you rather be busting donuts in velvety mud on an ATV?

Well now that all our hot garbage is starting to freeze over, we invite you to clock out of your metropolitan nightmares for a meandering vacation in sunny, sultry Central Florida. Soak up the rays as a candid cast of soul-bearing tour guides show you a thing or two you won’t pick up in any hot yoga class. All shot in holy SVHS with a shaky hand and a heart of gold, ANLBF is a freewheeling, ingenuous portrait of contemporary America, living out its sometimes dreary, sometimes delighted dream in a seldom documented corner of this crazed country.

UNSINKABLE

UNSINKABLE: MY HEART WILL GO ON
dir. [Name of Director]
live score / video collage
TUESDAY, DECEMBER 19 – 7:30 AND 10:00 PM

Even after two decades, [year of blockbuster] blockbuster [name of blockbuster] remains indelibly etched into the collective consciousness. Originally released to breathless acclaim, 14 Oscar nominations, and 11 wins including Best Picture, and endlessly repeat theater visits by teenage viewers, the movie lingers in the memories of many, accompanied a deep-seated shame at knowing every note in “[title of canadian soundtrack pop hit]”.

Join us on the twentieth anniversary of [name of blockbuster]’s debut for a live reconstruction of [blockbusting director]’s unsinkable creation. With visual processing by Sleepy Peopl and an improvised score by Cyrus, [EVENT NAME] is a 30-minute voyage into the unknown, a wreckage that will go on and on.

Cyrus is Maggie Drew Brennan and members of Tar Of. Maggie is a city-based visual, audial dilettante. Tar Of play experimental pop and electronic textures, and recently discovered a shared past obsession with a certain cinematic experience.

Sleepy Peopl piece together live video projections from found and created materials and one of them has still never seen TITA–[film in question].

SWEET JAYNE: MANSFIELD 66/67 AND THE WILD WILD WORLD OF JAYNE MANSFIELD

MANSFIELD 66/67
Dir. P. David Ebersole and Todd Hughes, 2017.
USA. 85 min.
TUESDAY, DECEMBER 5 – 7:30 PM
SATURDAY, DECEMBER 9 – 10 PM *WITH DIRECTOR Q and A!*
SUNDAY, DECEMBER 10 – 5 PM
NYC Premiere!

2017 marks the 50th anniversary of Jayne Mansfield’s fatal and legendary car crash, yet we are still left to wonder: was her life spinning out of control in the last two years of her life, or…did the devil make her do it?

Known as the “Working Man’s Monroe” and the “smartest dumb blonde,” Jayne Mansfield was a taboo-taunting, bodacious babe with brains and maybe, just maybe…a sexy Satanist as well? P. David Ebersole and Todd Hughes (producers of Room 237) dive into Mansfield’s life and career, but especially her tumultuous final two years and her mysterious friendship with Church of Satan founder Anton LaVey. But this isn’t your regular bio-doc: expect some campy (yet educational) song and dance numbers amid the tornado of rumors and speculations as to whether or not Jayne’s death was actually caused by a malicious curse.

The film features interviews with the likes of John Waters, Tippi Hedren, Mamie Van Doren, and Kenneth Anger, who discuss the mark that Mansfield left, the ways in which she was ahead-of-her-time, and above all the mythology surrounding her life and untimely demise that made her such a fascinating figure in Hollywood Babylon.


THE WILD, WILD WORLD OF JAYNE MANSFIELD
Dir. Charles W. Broun, Jr., Joel Holt, and Arthur Knight, 1968.
USA. 99 min.
TUESDAY, DECEMBER 5 – 7:30 PM
SATURDAY, DECEMBER 15 – 7:30 PM
WEDNESDAY, DECEMBER 20 – 10 PM

An example of true exploitation (in more than just name/genre), THE WILD, WILD WORLD OF JAYNE MANSFIELD was filmed sporadically over four years before it was hastily released to capitalize off of the actress’ untimely and tragic death. It’s part travelogue and part nudie flick, an unstructured and uncomfortable compilation of Mansfield’s nude scenes from various films along with footage of her visiting the seedy and/or liberated underbellies of Europe and the U.S.: from Italian red light districts and massage parlors to topless bars in Los Angeles.

What may have begun as a tribute to Jayne’s libertine spirit doesn’t stick the landing. In fact, it trips and falls down when photos of the Mansfield’s horrendous car wreck appear on screen, juxtaposed with the cheeky travel footage throughout. An eerie voice-over of Mansfield (but actually spoken by a breathy yet clearly inauthentic imitator) puts a creepy cherry on top of this problematic pie.

DROID

DROID
dir. Philip O’Toole
USA, 1988

FRIDAY, DECEMBER 1 – MIDNIGHT
FRIDAY, DECEMBER 8 – 10 PM
SATURDAY, DECEMBER 9 – 5 PM

You take two porn films influenced by Blade Runner and Liquid Sky (CABARET: SIN and EMPIRE OF THE SENSES), combine ’em, remove the porn and you get DROID.

ALL FOR THE FANS

BACKSTAGE
Dir. Emmanuelle Bercot, 2005.
France, 112 mins.
In French with English subtitles.
SATURDAY, DECEMBER 2 – 5 PM
WEDNESDAY, DECEMBER 6 – 7:30 PM
WEDNESDAY, DECEMBER 13 – 10 PM

TICKETS HERE

An oddball forgotten gem of the oughts – but still relevant as ever in the age of tween internet fandom – European festival mainstay Emmanuelle Bercot’s most striking film is a knotty teen pop opera with emotional intensity set to a speaker-blowing high. The great Isild Le Besco, French cinema’s go-to for young queer hysteria, gives a fiercely committed performance as a high school girl hopelessly stanning for pop star Emmanuelle Seigner (The Ninth Gate, Venus in Fur). Their paths cross as the result of a bizarre MTV-style contest, and soon both women find their lives hopelessly entwined in a relationship of shifting power dynamics. Agnès Godard, cinematographer for Claire Denis, gives the film an edge that’s woozy, love-drunk, stark, and surreal.

DER FAN
aka Trance.
Dir. Eckhart Schmidt, 1982.
Germany, 89 min.
In German with English subtitles.
WEDNESDAY, DECEMBER 6 – 10 PM
SATURDAY, DECEMBER 9 – 7:30 PM
FRIDAY, DECEMBER 15 – 10 PM
WEDNESDAY, DECEMBER 20 – 7:30 PM

TICKETS HERE

In the wake of films like CHRISTIANE F., studies of displaced, dysfunctional German youth were a dime a dozen. However, the forerunner in the sweepstakes for the most memorable and disturbing entry would have to be DER FAN.
Like every other teenager in school, Simone has a crush on a rock star. When her idol, the lead singer ‘R’, comes to town to make a television appearance Simone is gripped by a trance-like state, leaving school, friends and parents behind her. However, when Simone comes to realize the shallow nature of the ‘glamorous’ music industry and of ‘R’ himself, she plans a calculated, ritualistic and bloody revenge on her obsession.

An unsettling blend of new wave pop culture, adolescent angst, and full-blooded horror, this nasty little art house shocker caught more than a few unsuspecting viewers off guard and earned a bit of a cult following in the process. Imagine a John Hughes film with Michael Haneke in the driver’s seat and you’re getting close…

THE FLOWER THIEF

THE FLOWER THIEF
dir. Ron Rice, 1960
59 min, USA
In English
FRIDAY, DECEMBER 1 – 10 PM
SUNDAY, DECEMBER 3 – 5 PM
FRIDAY, DECEMBER 8 – MIDNIGHT

Special thanks to the Filmmakers Coop!

TICKETS HERE

Spectacle favorite Taylor Mead (NO SUCH THING AS GRAVITY, CANDY AND DADDY) stars in Ron Rice’s ode to meandering afternoons – THE FLOWER THIEF.

Mead wanders around the city getting in scrapes with kids, literally stopping to smell the flowers, and eventually kidnapped by cowboys all set atop the grain of surplus 16mm film – rumored to be leftover from the army’s ariel-machine-gun-camera stock.

Rice and Mead met in sunny/smokey San Francisco and together, sometimes along with Jack Smith, made a number of dharma-bum/beat pics before Rice’s untimely death at only 29. Parker Tyler compared Rice’s romps to that of the Marx Brothers. In a perfect summation Light Industry’s Ed Halter quips – “Today, Mead’s Flower Thief uniform—tight hoodie, button-down shirt, three-stripe tennis shoes, and beat-up jeans—can be seen on many an L-train habitué, en route to neo-Bowery facsimilies of post-war cafés, and so the parody has been reversed; such are our own meticulous restorations of the fantasies of other people’s youth.”

THE FALLS: TRIBUTE TO CHRIS KNUDSEN

THE FALLS
dir. Peter Greenaway, 1980
UK, 195 min
SATURDAY, DECEMBER 2 – 8:00 PM *SCREENING AND TRIBUTE*
SUNDAY, DECEMBER 17 – 5 PM

TICKETS HERE

Earlier this year, the Spectacle family lost one of our volunteers, Chris Knudsen. When he started volunteering with us, one of the first things Chris shared was his love of Peter Greenaway’s films; he even had the tattoo based on A Zed and Two Noughts to prove it.
This December, we’ll be re-presenting the first film that Chris helped us program: Greenaway’s The Falls. We hope you’ll join us to pay tribute to our dear friend.

“A sprawling science fiction microbudget epic, Peter Greenaway’s THE FALLS is one of the more successful experimental features in accessibility and one that lasts 3 plus hours to boot. Known as Peter Greenaway’s favorite film of his own work, THE FALLS goes through a catalog of 92 individuals whose last name starts with the word “Fall” that were victimized by an event known as the VUE or the Violent Unknown Event. It’s told in a deadpan mock documentary style with numerous narrators, has a strange narrative current that somehow ties these characters together, can be seen as a mutated sequel to Alfred Hitchcock’s THE BIRDS, and boasts a playful score from Michael Nyman to wrap it all together.

Manic and mechanical, THE FALLS keeps you in focus with its absurdities and allows you to to solve the encyclopedic mystery with comic redundancies and run-ons. Indulgent in the best way possible, it’s truly mad in execution and in thought.” – CK

Special thanks to Zeitgeist Films.

And here is the poster for the original screening, it is a beauty:
The Falls poster

DON’T KILL THE ARTIST: THE FILMS OF ANDREAS TROEGER

FRIDAY, NOVEMBER 17 – 10 PM **WITH DIRECTOR Q AND A!!**
TUESDAY, NOVEMBER 28 – 7:30 PM

GET YOUR TICKETS!


LIFEPAK
12 Min. 16mm
B&W, 1990

A night with an ambulance crew. A race between life and death.
“Lifepak” was chosen as one of ten works for the German Short Film Award.



PATH

13 Min. 16mm
B&W, 1991

A fixed brain is cut into slices like a ripe pineapple. Heads are opened and guts are prepared for the post-mortem examination. The preparator opens a body and a young female doctor dissects a fetus. The comments in the film are like guards, which lead you through the images. Early in their careers, the pathology workers reported having extreme fascination and at the same time emotional difficulty with their vocation. In many cases they lost their friend and were labeled “butchers” as a result of their chosen profession. The film gives a precise and clinical look behind the iron doors of a pathology lab. The pictures are shocking. They touch deep-set fears.


KILL THE ARTIST
40 Min. DV
Color, 2007

KILL THE ARTIST is a documentary about artists who got into trouble with the law because of their art-works.

Mike Diana was indicted in his home state of Florida for indecency. He was charged with three counts of obscenity in 1994, spent time in prison and was not allowed to draw for three years. In 2003, after fleeing to New York, Mike showed his artwork in a secret exhibition in Brooklyn. Diana says of the experience: “In a way it was almost flattering that they would feel so strongly. I felt that my artwork must have been effective.

In the film Richard Kern says, “We wanted it to be as hard as possible. The only restriction we had was, who would do what we wanted to be done.”

While in the western world violent life like re-enactments of rape and death on film thrive, investigative Journalist and author Yaron Svoray, explains in the film that the reality of sex crimes show how cheap life really can be. His investigation of snuff-movies leads him into the war in Bosnia. As Svoray explains: “Eventually two or three girls are pulled into a classroom and there is a communal rape. When it’s finished, one of the guys just says, ‘kill the bitches.’”

Kill The Artist reveals the extreme measures lawmakers and critics go through to censure avant-garde artists who walk the fine line between art, perversion, religion and devious sexual behavior.

Using never before seen footage along with rare films from Richard Kern, Nick Zedd and German filmmakers Jörg Buttgereit and Olaf Ittenbach, Kill The Artist takes a look at the ultimate power play – Sex and Death.


Indie Beat Presents: DRIFTWOOD

DRIFTWOOD
dir. Paul Taylor, 2016
75 min, USA
FRIDAY, NOVEMBER 10 – 7:30 PM

In this dialogue-free film, a young woman washes ashore and is taken in by a stranger. As she convalesces in his remote cabin, the boundaries between guardian and captor merge, forming an unlikely household.

WINNER
Grand Jury Prize -Slamdance Film Festival 2016
Programmer Award – Virginia Film Festival 2016
Excellence in the Art of Filmmaking – Tallgrass Film Festival 2016

OFFICIAL SELECTION
American Film Festival (Poland)
Cucalorus Film Festival
Columbus International Film Festival
Microwave Cinema

STARRING
Joslyn Jensen
Paul C Kelly
Michael Fentin