Author: lemkey

MAGGIE HADLEIGH-WEST

PLAYER HATING: A LOVE STORY
2003. 97 mins.
FRIDAY, JULY 27 – 7:30 PM
PLAYER HATING: A LOVE STORY follows Brooklyn rapper Half-a-Mill and his crew The Criminals, as they struggle to launch Milion, in an effort to attain money, success and recognition through music. PLAYER HATING delves intimately into the lives of young “thugs”, and takes the viewer into an underground world of poverty, alienation, gangs, violence and music that most audience members have an inkling of, but few rarely see—unless they’ve lived it.
“Player Hating– Someone else is about to shine, and you’ll do anything to keep that motherfucker from getting his cheese — it can be as subtle as negative flow (lyrics) or as extreme as trying to clap (shoot) him.”– Trent Bond, Half’s Manager and former NYPD Detective.

WAR ZONE
1998. 77 mins.

THURSDAY, JULY 26 – 7:30 PM

WAR ZONE is about sex, power and what happens when men—either knowingly or unknowingly—threaten a woman’s right to walk undisturbed on the streets. What exactly do catcalls, leers or a whole litany of other behaviors mean to a woman? And why do men engage in these behaviors? Shot all over the US, Hadleigh-West turns her camera on men in the same way that they turn their aggression on her. WAR ZONE is 76 minutes of explosive footage as the filmmaker places herself in very real danger by daring to ask the men on the streets why they are treating a complete stranger in a sexual way…

SICK TO DEATH
2017. 98 mins
SATURDAY, JULY 28 – 5 PM
SATURDAY JULY 28 – 7:30 PM
After drinking radioactive iodine to kill her overactive thyroid, Hadleigh-West catapults into illness only to run smack into the medical corruption that is shredding the fabric of American life.
In SICK TO DEATH!, Hadleigh-West exposes her own disturbing, yet determined, thirty-year struggle to regain her spiraling health. After seeing hundreds of doctors who either disregarded her symptoms, misdiagnosed or under treated her, Maggie discovers that her life-long thyroid problem was a fully understood medical issue as early as 1914, yet it’s been obscured by systemic medical corruption, pharmaceutical greed and physician negligence, leaving more than 750 million people sick and suffering world-wide.
Follow her as she brazenly uncovers the medical corruption and negligence that obscures medical practice – only to find yet another disturbing personal revelation. SICK TO DEATH! is both a call-to-action and a quirky film, which seeks to understand and change this disturbing medical reality.

SATANIC SVMMER 2

The Farmer’s Almanac predicts that Summer 2018 will be hot, muggy, and fully Satanic. These offerings dig deeper into the devil’s work than you might have thought possible. We have a direct line to the source, what can we say.
Happy Solstice to you, and welcome to the second installment of SATANIC SVMMER.

EVILSPEAK!
Dir. Eric Weston, 1981
USA, 97 min.
In English, no subs
TUESDAY, JULY 3 – 10 PM
FRIDAY, JULY 6 – MIDNIGHT
SATURDAY, JULY 14 – MIDNIGHT
SATURDAY, JULY 21 – 10 PM
WEDNESDAY, JULY 25 – 10 PM
Remember the little kid you used to pick on? Well, he’s a big boy now.
Clint Howard plays Stanley Coopersmith aka “Cooperdick”, a bullied orphan “welfare case” who’s sent off to Military School, where he’s bullied relentlessly by students and teachers alike. After finding a diary detailing satanic rituals, he uses his computer-skills to initiate a digital Black Mass to take vengeance on his tormentors.
If you want to see a bunch of men’s-rights-activists in training get offed, this is the movie for you. A satanic riff on a gender-bent Carrie you didn’t know you needed, screening in its uncut non-domestic form.

ALL THE COLORS OF THE DARK (Tutti i colori del buio)
Dir. Sergio Martino, 1972
USA, 94 min.
In Italian w english subs
MONDAY, JULY 2 – 10 PM
THURSDAY, JULY 12 – 10 PM
MONDAY, JULY 24 – 10 PM
They exist. They bear the Mark of the Devil inside them. They may be your neighbors. They may be your wife, husband, sweetheart. They may even be your children. Their time has come.
Fans of Your Vice is a Locked Room and Only I Have the Key, take note! Sergio Martino directs this Giallo-riff on satanic panic starring Edwige Fenech.
Jane (Fenech) lives in London with her boyfriend Richard. Her mother was murdered when she was young, she recently lost a baby in a car crash, and she’s plagued by nightmares of a knife-wielding man. Richard thinks that the cure is vitamins, while Jane’s sister recommends psychiatric help.
A new neighbor promises that if she participates in a Black Mass, all her fears will disappear, but instead it just seems to bring her nightmares to life. Is there any way out for her short of death or a living hell??

MESSIAH OF EVIL
Dir. Willard Huyck, Gloria Katz, 1973
USA, 90 min.
In English
SATURDAY, JULY 7 – MIDNIGHT
FRIDAY, JULY 20 – 10 PM
SATURDAY, JULY 28 – MIDNIGHT
SUNDAY, JULY 30 – 10 PM
They’re peering around buildings at night, and they’re waiting. They’re waiting for you. And they’ll take you one by one, and no one will hear you scream. No on will hear you SCREAM!
Co-directed by the husband and wife team behind the scripts for Indiana Jones and the Temple of Doom and Howard the Duck, this bad acid-trip of a zombie movie takes you into a Lovecraftian beach town where things are very, very off.
When Arletty stops hearing from her estranged father, an artist and painter living in the beach town of Point Dune, she makes a trip to see him despite his prior warnings to stay away.
Come and join the cult of the blood moon as we burn bonfires on the beach and wait for the arrival of the dark stranger. Featuring elaborate and eye popping production design by Jack Fisk (Badlands, Phantom of the Paradise) and a killer electronic score by Phillan Bishop (Kiss of the Tarantula).

LOST IN LIVING

LOST IN LIVING
Dir. Mary Trunk, 2013
USA, 113 min.
WEDNESDAY, JULY 11 – 7:30 PM
THURSDAY, JULY 19 – 10 PM
TUESDAY, JULY 24 – 7:30 PM
Behind the domestic curtain of motherhood, where the creative impulse can flourish or languish, are four women determined to make a go of it. LOST IN LIVING confronts the contradictions inherent in personal ambition and self-sacrifice, female friendship and mental isolation, big projects and dirty dishes.
Filmed over 7 years, LOST IN LIVING follows four remarkable women, all artists as well as mothers. Best friends Kristina, a filmmaker, and Caren, a painter, embark on a journey that takes them through difficult career choices, challenges in their friendship, turning 40, parenting struggles, rejection and acclaim for their work and a redefinition of their feminist ideals. Merrill and Margie, both with adult children and many years of child-rearing experience, recall their triumphs and mistakes. Merrill is a writer with three adult daughters. She published more than 25 books before deciding to quit altogether. Margie’s late-life success as a painter saves her from the deadening dullness of being a housewife and mother and the strains of an unhappy marriage. These four women’s stories illustrate the internally driven desire to explore their deeply held conflicts and passions. For them art competes with other passions in their lives and the richness of their lives enriches their art. Through intimate scenes, and in-depth interviews, the complex realities of family life unfold in this funny and poignant documentary film about the messy intersection of motherhood and artistic expression.

CHICAGOLAND SHORTS VOL. 4

CHICAGOLAND SHORTS: VOLUME FOUR
Various Artists, 2014-2017
Dir. Various, 81 mins.
THURSDAY, JULY 12 – 7:30 PM
Chicagoland Shorts corrals the best of narrative, experimental, documentary, and observational short filmmaking on the Third Coast into a traveling anthology show that centers the work of gender non-conforming filmmakers and filmmakers of color. Now in its fourth iteration, this year’s program features an exciting array of subjects and styles, from sine waves to skates, songbirds to burgeoning Sapphic love. The filmmakers included here have screened at such august festivals as Rotterdam, Berlin, Sundance, and Tribeca – and we, at Spectacle, are honored to screen their work in collaboration with Full Spectrum Features for the fourth year in a row!
Distributed by Full Spectrum Features, Chicagoland Shorts: Volume Four is programmed by Raul Benitez, with curatorial work by Lori Felker, Anahita Ghazvinizadeh, and Sarah Rubin.
Solar Pulse
Dir. Dena Springer, 2014
Experimental, 3 mins.
Solar Pulse is an experimental film that abstracts images from real life with modular synthesizers.
4 Things to Remember
Dir. Hannah Kim, 2016
Narrative, 9 mins.
An unreliable voice(s) travels through association and uncertainty, struggling to remember details of their childhood and events unfolding around them.
The Lingerie Show
Dir. Laura Harrison, 2015
Animation, 8 mins.
Drug-addict Lorraine and her boyfriend Caesar are having a nightmarish 24 hours until Lorraine calls up her sister, CiCi, for help.
The Magic Hedge
Dir. Frederic Moffet, 2016
Documentary, 9 mins.
The Magic Hedge explores a bird sanctuary located on a former Cold War Nike missile site on the north side of Chicago.
Veracity
Dir. Seith Mann, 2015
Narrative, 19 mins.
A popular African American student, Olivia, is outed by her friends after she acts on feelings for a new girl at her high school.
On the Rink
Dir. Benjamin Buxton, 2017
Documentary, 8 mins.
There’s nothing like a good skate.
And You The Bell
Dir. Elisabeth Hogeman, 2017
Observational, 9 mins.
A woman carries out elements of a daily routine, moving back and forth between habit, memory, and hallucination.
Every Ghost Has An Orchestra
Dir. Shayna Connelly, 2017
Documentary, 7 mins.
Paranormal researcher and experimental composer Michael Esposito straddles the line between spiritual and material, asking the audience to reflect on our purpose, legacy and what our actions say about who we are.
Something to Move In
Dir. Latham Zearfoss, 2017
Experimental, 4 mins.
This musical manifesto remixes late 1960s political dialogue with modern dance to resuscitate a bygone revolutionary thrust.

EBONY IVORY AND JADE


EBONY, IVORY & JADE
(aka SHE-DEVILS IN CHAINS)
(aka AMERICAN BEAUTY HOSTAGES)
(aka FOXFIRE)
(aka FOXFORCE)
dir. Cirio Santiago, 1976
Philippines. 80 mins.
SATURDAY, JULY 7 – 10 PM
FRIDAY, JULY 13 – MIDNIGHT
FRIDAY, JULY 27 – MIDNIGHT
Bundled from disparate threads of history (specifically the 1972 Munich Olympic massacre and the Patty Hearst kidnapping) EBONY, IVORY & JADE is a thoroughly offensive work by 2018 standards – a brutal and yet, aside from its murky nightclub scenes, mercilessly watchable kung-fu blaxploitation combo from drive-in trash journeyman Cirio H. Santiago (T.N.T. JACKSON, the original EXPENDABLES, BLOODFIST 2050). It follows a team of Olympic gymnasts from the States who are kidnapped and sold into slavery by drug runners, as well as an intrepid and fed-up black detective who, with CIA supervision, flies out to Hong Kong in search of them. Beyond Manila’s resolute failure to stand in for Hong Kong, what’s intriguing is the film’s incipient anti-Americanism: Black Power gets multiple boosts from the porkrub-salty screenplay, and it’s later revealed the kidnapping was arranged by one of the athletes’ evil-ass WASP stepfathers.The action sequences are bone-crunching, while Santiago’s occasional lapse into arthouse formalism (against a backdrop of martial artists in formation, one routine exchange between characters becomes a single-take epiphany) keeps you on your toes – as do the endless plugs for Milo, a popular European malt beverage who either put up some of the cash for EBONY, IVORY & JADE or …
“I can’t believe I made eye contact with someone in the process of renting this movie.” – sllaw_hguorht, IMDB

WORKING GIRLS – A FILM BY LIZZIE BORDEN

SEX WORK IS WORK is an ongoing benefit series exploring sex work in film, programmed in protest of the SESTA/FOSTA law. All proceeds from this event will go to Lysistrata Mutual Care Collective and Fund.
WORKING GIRLS
Dir. by Lizzie Borden, 1986
USA, 93 min.
THURSDAY, JULY 19 – 7:30 PM
WITH Q and A!
THIS EVENT IS $10

ONLINE TICKETS HERE

WORKING GIRLS follows Molly (Louise Smith), through one long day working at an upscale brothel in Manhattan. She’s ambivalent about her job; she likes the flexibility it affords her, but the stigma associated with it wears her down, and she lies to her live-in girlfriend about what she does for a living. She’s also often at odds with her madam Lucy (Ellen McElduff), an uptight Southern belle who micromanages the brothel.
In preparation for the film, director Lizzie Borden (BORN IN FLAMES) spent six months interviewing sex workers about their working conditions and how they felt about their occupation. Informed by these experiences, WORKING GIRLS goes beyond the tired stereotypes of sex work in favor of a frank, nuanced, and often funny workplace drama that is relatable to anybody who’s ever had a job—even if navigating other people’s sexual quirks wasn’t part of it.

UNARIUS AT SPECTACLE

The Unarius Brotherhood were on a radical mission from the late-‘70s to the mid-‘80s: to spread their “interdimensional science of life” and the principles of reincarnation to the masses via some of most wildly inventive, waaaaay outside-the-box public access TV programming in America. Their cosmic leader, the exuberant septuagenarian Ruth Norman (aka Archangel Uriel), an advanced clairvoyant with a fondness for glittery dresses, rainbow capes and benevolent aliens, permanently altered the minds of tens of thousands across the country — from late-night stoners to seekers leaving behind their lives in order to move to El Cajon, CA, and join the cause.
As part of their outreach, the Unarians created elaborate psychodramatic “documentaries” for the purpose of spiritual healing: films of Uriel and the students channeling and re-enacting their previous lives together on Earth and other planets, no matter how debauched or outlandish — for spiritual healing. Utilizing otherworldly costumes and makeup, guerilla location-filming techniques, elaborate sets and ingenious no-budget special effects, this ambitious collective produced a legacy of some of the most mind-shattering, oddly uplifting gems of American outsider cinema. Bootlegged and coveted by collectors for decades, these films have rarely before been presented as works on the large screen.

WELCOME, SPACE BROTHERS!
THE FILMS AND PUBLIC ACCESS VIDEOS OF THE UNARIUS ACADEMY OF SCIENCE.


Unarius Workshop 1: Develop Your Creative and Clairvoyant Potential
SATURDAY, JULY 14 – 5PM
Enhance your creative and psychic abilities through your participation in an inspirational art workshop! This session, led by Unariuns Kevin & Tracey Kennedy, will help you to make the connection with your higher self and will focus on: What is your higher self? Where does inspiration come from? How do I overcome blocks and unleash my creative potential?

Film Program 1
Intro by Jodi Wille (Dir. The Source Family) and Q&A with Unariuns Kevin & Tracey Kennedy, Celeste and Jack Appel
SATURDAY, JULY 14 – 8 PM
* Documentary short “We Are Not Alone” (dir. Jodi Wille, 2016, 11 min)
* A mixtape of super-rare peak moments from the golden age of Unarius psychodramas. (edited by Tom Fitzgerald/EXP, 30 min)
* A new digital transfer of the Unarius 16mm masterwork THE ARRIVAL (dir. The Unariun Brotherhood and Prince Uriel, 1980, 50 min)
This first-of-its-kind film was made by Unarius in the late 1970s, with a very a low budget but achieving astonishing special effects involving the cosmos, spaceships, and interplanetary beings—long before CGI. THE ARRIVAL is a true story of the first contact with another world, reenacted by individuals reliving their past lives on the continent of Lemuria,162,000 years ago.

Unarius Workshop 2: Healing Through Psychodrama
SUNDAY, JULY 15 – 5PM
Learn the spiritual techniques of the Unariuns to heal your past-life traumas by creating and filming your own psychodramas. Have you lived before? How can you break through creative blocks? How do you remember your past lives? These and other questions will be answered during this intense and liberating workshop. Led by Unariuns Celeste and Jack Appel, Kevin and Tracey Kennedy.

Film Program 2
Intro by Jodi Wille (Dir. The Source Family) and Q&A with Unariuns Kevin & Tracey Kennedy, Celeste and Jack Appel
SUNDAY, JULY 15 – 8PM
Intro by Thalia Mavros from The Front and Q&A with Unariuns Kevin & Tracey Kennedy, Celeste and Jack Appel
* Documentary short “We Are Not Alone” (dir. Jodi Wille, 2016, 11 min)
* A collection of rare and unreleased TV appearances and public access performances (30 min)
* A VISIT TO THE UNDERGROUND CITIES OF MARS (dir. The Unarian Brotherhood, 1977, 40 min)
Take a psychic voyage and see for yourself the underground cities of Mars! Our neighbors on Mars have developed a peaceful lifestyle that is technologically and spiritually far in advance of our own. This amazing film, completed before the Viking lander’s photographs revealed what appear to be the remains of an ancient civilization on the surface of Mars, portrays beautiful underground cities. Discover how the Martians learned to live in peace and harmony!

PROOF OF EXISTENCE: THE FILMS OF ELIO PETRI

One of the better Oscar-acceptances was by Elio Petri, who said he was too busy working on another film and sent Leslie Caron to accept it with no prepared statement. Meanwhile, he was in the middle of THE WORKING CLASS GOES TO HEAVEN, with Gian Maria Volonté on set, complaining that the script went against the Communist Party and getting into fist fights with students. The film itself would go on to piss off the radical Italian left and tie for the Grand Prize at Cannes.
Petri studied with the neo-realists, but his films do not dwell on portraits: instead, they show how individual psychologies conflict with their social and political world. The contents of an individual are in high contrast: what contains a person is constantly trying to burst out and inflict some damage on the social and economic strictures. What makes a character is not that they play out a minor drama or undergo a personal change, but that they rip at the contradictions in their physical world, and in doing so, truly exist. Petri called these “dialectical films” – those that showed the tension and contradictions of life rather than mere representations. They are not only intense, but also cunning, desperate, funny, and strange.


L’ASSASSINO (THE LADY KILLER OF ROME, or THE ASSASSIN)
Dir. Elio Petri, 1961
Italy, 95 min.
In Italian with English subtitles
This is Petri’s feature film debut, starring real-life lady killer Marcello Mastroianni as Alfredo Martelli, the key suspect in the murder of a wealthy older woman. He is subsequently sequestered and endlessly questioned by an inspector, who not only probes Martelli’s relationship to the dead woman but also his general moral turpitude. Censors had many issues with how the film portrayed police authority (including a scene where policemen did not wipe their feet before entering a home), but Petri is equally taking shots at the young men of new wave cinema. The loud jazz soundtrack plays like a joke, and Martelli’s lack of integrity and passion is a critique of a generation. Petri comes from a different perspective, and this film defines how his films will stand apart from the art of his time.


PROPERTY IS NO LONGER A THEFT (LA PROPRIETÀ NON È PIÙ UN FURTO)
Dir. Elio Petri, 1973
Italy, 126 min.
In Italian with English subtitles
This is a stark and theatrical film that circles around two opposing characters: The Butcher, a rapacious capitalist, and Total, a self-proclaimed “Mandrakin Marxist”. Flavio Bucci is Total, a low-level accountant with the look of a hangdog-Stallone and a physical allergy to paper money. Ugo Tognazzi is The Butcher (recognizable from LA GRAND BOUFFE), a spokesperson for the potency of wealth and the wisdom of fully insuring your property. Total claims to steal only what he needs, but he has a psychological need to infuriate The Butcher with petty theft.
Ennio Morricone’s subtle score is accompanied by groans and conjugations of the verbs “to be” and “to have”, to an effect that is not as existential as it is surreal. Total summarizes the point: “I would like to be and to have, which is impossible. Property is longer a theft… it’s a disease.”


THE WORKING CLASS GOES TO HEAVEN (LA CLASSE OPERAIA VA IN PARADISO)
Dir. Elio Petri, 1971.
Italy, 125 min.
In Italian with English subtitles
In some ways, this is an inverted reprise of Petri’s INVESTIGATION OF A CITIZEN ABOVE SUSPICION, the Oscar-winner from 1970. Gian Maria Volonté returns as the main character, this time a wound-up factory worker rather than high strung police detective. Morricone creates another essential score, sometimes drowned out by relentless yelling and clanging of factory machines. The factory was in no way staged: many of the workers in the film are not actors but employees.
Lulu Massa (Volonté) proves to be more of a hot-head than a working-class hero. Petri’s depiction of factory organizing is brutally honest: the factory gates are plagued with megaphone-toting students who bark slogans and annoy the workers. But a transformation occurs when Lulu loses a finger in a cutting machine and channels his new anger into support for a factory-wide strike. The “Italian miracle” was only achievable when workers did 15 hours worth of work in 8, and did so as a point of pride. When this ethos breaks, its power and determination seeks a different outlet.


THE 10TH VICTIM (LA DECIMA VITTIMA)
Dir. Elio Petri, 1965
Italy, 93 min.
ONE NIGHT ONLY: SATURDAY JULY 28th – 10 PM
“The rules of the big hunt are quite easy. Rule #1: Each member is obliged to undertake ten hunts, five as the hunter, five as the victim. Rule #2: The hunter shall know all about his victim – name, address, habits too. Rule #3: The victim shall not be told who his hunter is: he must find out – and kill him.”
Don’t be mislead by the pronouns in those rules: Caroline Meredith (Ursula Andress) is a skilled killer and needs to kill one more person to finish the game. She wants to do it in grand style and needs to get it on camera to fulfill a lucrative sponsorship deal with the Ming Tea Company. All in all it is a truly mod affair: bold colors, mod concept, mod clothes, and furniture that is enviably mid-century mod. This is an unusual entry in the Petri canon – it’s some super-hip sci-fi within a critical social concept, and it’s great.


ELIO PETRI: NOTES ON A FILMMAKER (ELIO PETRI: APPUNTI SU UN AUTORE)
dir. Federico Bach, Nicola Guarneri, et al.
2005, 70 min.
In various languages, English subtitles
“–What am I then? I come from a working class family, poor, if not abjectly poor. I instinctively chose to side with the workers. Circumstances led me to become a filmmaker. Which circumstances? The hundreds and thousands of films I saw and loved. The fact that the poor become boxers, or popular musicians, or filmmakers. The fact that film was, in those days, a popular art form.” – Elio Petri
This straightforward documentary winds through Petri’s career, guided by interviews with actors, directors, critics, and collaborators – including his widow Paola. It’s an excellent introduction to Petri’s films as well as their intersections with financial supporters, the public, and the broader political context. Ennio Morricone tells a story of Petri putting the wrong score to a film as a prank, which even in the retelling is deeply emotional.
Big thanks to filmmaker Nicola Guarneri, who will be available for a Q and A (DATES TBA)

MUBI PRESENTS: CASA ROSHELL


MUBI SPECIAL DISCOVERIES: CASA ROSHELL
dir. Camila José Donoso, 2017
71 minutes, Mexico/Chile
WEDNESDAY, JUNE 13 – 7:30pm
SCREENING ADDED: TUESDAY, JUNE 26 – 7:30pm

ONLINE TICKETS HERE

Music plays, drinks are served and the last boundaries are suspended: those between man and woman, gay, straight and bi, past and present, reality and fiction…

Official Selection: Berlin, Queer Lisboa, Rio de Janeiro, Art of the Real

“Tucked away, rejecting the norms of the outside world, lies the mesmerizing Casa Roshell, a place where gender rules do not apply, and men can transform into women without being judged or discriminated against. Director Camila José Donoso’s eye-opening documentary tells their story…a candid, inspiring and insightful exploration of how different things could be if the outside world looked at masculinity and femininity in a new light.” —The Upcoming

MUBI is a curated online cinema, streaming hand-picked award-winning, classic, and cult films from around the globe. Every day, MUBI’s film experts present a new film and you have 30 days to watch it. Whether it’s an acclaimed masterpiece, a gem fresh from the world’s greatest film festivals, or a beloved classic, there are always 30 beautiful hand-picked films to discover.

ARANDARAMA: THE EARLY FILMS OF VICENTE ARANDA



FATA/MORGANA (Left Handed Fate)
dir. Vincente Aranda, 1966
Spain, 84 min.
In Spanish with English hardsubs
MONDAY, JUNE 4 – 7:30 PM
TUESDAY, JUNE 12 – 10 PM
SUNDAY, JUNE 24 – 5 PM
THURSDAY, JUNE 28 – 10 PM

ONLINE TICKETS HERE

A comix/fumetti inspired film in line with Spectacle fave BABA YAGA and DEADLY SWEET, we enter a world of victims and killers and nothing besides. A strong giallo influence is pulled like taffy into a story that reaches Henry Stephen Keeler-style absurdity as Aranda, in his first film, piles on a parade of bizarre hitmen, garishly disguised spies, demented police officers and a faceless killer always waiting in the dark for our heroine Gim (Teresa Gimpera). Crackling with youthful energy, it’s a film for fans of pulpy paperbacks who want as many twists as possible.



LAS CRUELES (The Exquisite Cadaver)
dir. Vincente Aranda, 1969
108 min, Spain.
In dubbed English./h5>
TUESDAY, JUNE 5 – 7:30 PM
MONDAY, JUNE 18 – 7:30 PM
SUNDAY, JUNE 24 – 7:30 PM

ONLINE TICKETS HERE

“You must know that I am dying under the weight of my sorrow.”

Aranda blurs the line between thriller and horror with plenty of modernist touches and a deep melancholy in LAS CRUELES, or The Exquisite Cadaver. Our protagonist, a pulp publisher straight out of a Jess Franco film, receives a package containing a human hand, a hand , beginning a descent into guilt and madness that defies a simple plot synopsis. Filled with astonishing scenes shot with a near-architectural coolness, it’s a meditation on suicide, a tightly-plotted mystery and a sullen psychedelic reflection on the endless battle of the sexes. It also contains the greatest turtle funeral scene you will ever see!




THE PEOPLE WHO OWN THE DARK (Último deseo)
Dir. Leon Klimovsky, 1976
Spain/Italy, 78 min.
In dubbed English.
SUNDAY, JUNE 3 – 7:30 PM
SATURDAY, JUNE 9 – 10 PM
THURSDAY, JUNE 28 – 7:30 PM

ONLINE TICKETS HERE

Vincente Aranda co-wrote the script for this post-apocalyptic take on The Castle Of The Red Death/I Am Legend, as a group of military and financial leaders spend a nuclear strike partying in an old castle. Director Leon Klimovsky (known to Spectacle midnighters from WEREWOLF SHADOW and VENGEANCE OF THE ZOMBIES) takes over the director’s seat for this one, and it’s no shock Paul Naschy is along with him, along with familiar faces Maria Perschy, Nadiuska and Alberto de Mendoza engaging in creepy rituals and various decadence. The group has to go to town to get supplies, only to find the town is not as empty as they guessed…Aranda’s script brings a particularly strange series of shocks to the story, moving toward one of the most what the fuck endings you’ll ever see!


And Coming in July… LA NOVIA ENSANGRENTADA (The Blood Spattered Bride)