THE HANDS OF GOD with Alyson Levy Q&A


THE HANDS OF GOD

dir. Alyson Levy, 2003
22 min, USA

preceded by

HIGHWAY
dir. Sergei Dvortsevoy, 1999
57 min, Kazakhstan
In Kazakh with English subtitles

with

Clips from WONDER SHOWZEN
dir. PFFR, 2005-2007
~20 min, USA

THURSDAY, OCTOBER 3 – 7:30 PM  w/Alyson Levy in person for Q&A!
(This event is $10.)

ONLINE TICKETS       FACEBOOK EVENT

Circa 2003, THE HANDS OF GOD was devised by Alyson Levy and PFFR after coming across an advert for a Christian Puppetry Conference and receiving permission to film. Its zero frills situate its affect uncomfortably between dead-pan and reverent. At 22 minutes, it’s a concise and bittersweet portrait of the edges of art and faith.

Screening alongside are a selection of segments from MTV2’s WONDER SHOWZEN (2005-2007), the much-loved, frenetic parody of children’s educational shows, which was being developed by the group at roughly the same time, and HIGHWAY, Sergei Dvortsevoy’s contemplative study of a traveling family circus as they traverse post-Soviet Kazakhstan, an influence on Levy.

Alyson Levy is a member of the art collective / TV production company PFFR. For the collective, she wrote and produced TV series such as XAVIER: RENEGADE ANGEL (2007-2009) and THE HEART, SHE HOLLER (2011-2014). Levy will be in attendance to discuss the works.

BODY COUNTING WITH TIM RITTER


Hankering for a good old-fashioned slasher, but sick of all those slick production values and coherent plots? Look no further than Spectacle’s very special October retrospective of early Tim Ritter joints.

The offerings in this series were all written and directed by Ritter between the ages of 16 and 19, and boy does it show, as he delves into insecure white-male panic head on. If that sounds too serious or self aware, don’t worry, these SOV classics are neither of those things. They are a great deal of fun, though!




TRUTH OR DARE: A CRITICAL MADNESS
dir. Tim Ritter, 1986
87 mins. United States.

WEDNESDAY, OCTOBER 2 – 7:30 PM
TUESDAY, OCTOBER 8 – 10 PM

FRIDAY, OCTOBER 25 – 10 PM
WEDNESDAY, OCTOBER 30 – 7:30 PM

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Mike Strauber is just your average Joe, working a 9-to-5 to support his doting wife Sharon. That is, until he comes home early from work and catches her in the throes of passion with his best friend Jerry. Mike spirals into madness, hallucinating a new female companion who nudges him into some playful self mutilation and murder via a game of, you guessed it, Truth or Dare! The bodies begin to stack up quickly in increasingly unique ways, including a brief side-trip through a mental hospital and a golden mask for some reason.




KILLING SPREE
dir. Tim Ritter, 1987
88 mins. United States.

TUESDAY, OCTOBER 1 – 10 PM
SUNDAY, OCTOBER 6 – 5 PM
SATURDAY, OCTOBER 12 – 7:30 PM
WEDNESDAY, OCTOBER 30 – 10 PM

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What can you say about a film starring a man named Asbestos Felt? Not much.

Tom is convinced his wife is sleeping around on him, so he goes on a killing spree, offing anyone he suspects might be philandering with his her – but this time, the victims aren’t staying dead!

KILLING SPREE is essentially TRUTH OR DARE? turned to 11, trading in the same themes and paranoia as his previous feature but managing to go even more berserk, indulging in cheap porn-parody setups to kills as Tom reads sleazy short stories his wife has written and fantasizes himself into a murderous rage.

The best suburbia takedown this side of EDWARD SCISSORHANDS, with exterior locations so bland they’re dreamlike, and interiors so stylishly decorated and warped by neon lighting they become a nightmare. Also make sure to stick around for an end-credit-rap-recap that will truly blow your mind.

Special thanks to American Genre Film Archive.

CINAP θ CINATAS


CINAP θ CINATAS

dir. Darren Bauler, 2019
33 mins. United States.
In English, with portions in German and Spanish with dubious subtitles.

TUESDAY, OCTOBER 29 – 7:30 PM
ONE NIGHT ONLY!

“For I am possessed by evil. Forever a servant of the devil.”

It should be clear in 2019 that American culture is nothing but endlessly rehashing the later half of the 20th century, with senile politicians muttering about video games causing mass shootings and degenerate art fostering resentment against the Empire. As such, for the final installment of the CINAP CINATAS series, we present material from over fifty sources (many never before referenced in the series), from fake former Satanist/huckster Mike Warnke’s comedy albums to Matamoros crime scene footage taken by the El Paso sheriff’s department, from Evangelical outrage at the shirtless antics of His Royal Badness (rest in purple) to the dismal roots of Multiple Personality Disorder as Satanic Ritual Abuse to Deicide’s prank calls to talk radio “expert” Bob Larson, no burnout is left unheard, no stoner left unturned. For the first time ever, we are including illuminating/obscuriantist commentary from Dr. Barnard Euler, scholar of the uncanny. The film will commit with the sacrifice of an infant to Lucifer (weather permitting). NO REFUNDS.

Content warning: this program includes repeated and deliberate use of backmasking and binaural sound and strobe lighting — any patrons with proclivities to seizure are strongly encouraged not to put themselves in harm’s way. Repeated discussion of suicide, homicide, necrophilia, blasphemy, animal sacrifice, drug and alchohol abuse. Simulated sex acts.

THE 12TH ANNUAL IMAGINE SCIENCE FILM FESTIVAL

The Imagine Science Film Festival has been melding art and science in interdisciplinary hybrid programming since 2008. While the festival travels throughout New York City each year, we always save some of the most audacious memorable reconfigurations of scientific themes for Spectacle. This year, this will extend over three full programs of recovered memories, post-anthropocene flicker film, and dystopian data massage.




ISFF 2019 PROGRAM 1: SELF CARE, ALCHEMY, AND OTHER LIFE HACKS

dir. Various, 2016 – 2019
83 mins.

TUESDAY, OCTOBER 22 – 7:30 PM
ONE NIGHT ONLY!

ONLINE TICKETS

How do we preserve ourselves in uncertain times, when even body and identity may become commercially harvestable data and threats take on unpredictable forms? Our annual wide-ranging program of animation and experimental film explores all this and more. Watch for: unsettling sociologies of social media, unconventional conversations on health, technological history informing personal visions, and a literal preservation process in the frames of stop motion.

Freeze Frame (Soetkin Verstegen | 5 min | Belgium | 2019)
Shalva (Danna Windsor | 3 min | USA | 2018)
Slug Life (Sophie Koko Gate | 7 min | UK | 2018)
Las del Diente (Ana Perez Lopez | 5 min | USA | 2018)
The Desert (Ben Bigelow | 14 min | USA | 2018)
Reverie of the Puppets (Kathy Rose | 5 min | USA | 2018)
Pwdre Ser the rot of stars (Charlotte Pryce | 7 min | UK | 2018)
Cyanovisions (Tiare Ribeaux & Jody Stillwater | 14 min | USA | 2019)
iBooks (Odile Postic | 4 min | USA | 2018)
Call of Comfort (Brenda Lien | 9 min | Germany | 2018)
Your Last Day on Earth (Marc Martínez Jordán | 13 min | Spain | 2019)

Content Warning: Male genitals undergoing wax strip hair removal.




ISFF 2019 PROGRAM 2: MODERN HAUNTINGS

dir. Various, 2018
65 mins.

TUESDAY, OCTOBER 22 – 10 PM
ONE NIGHT ONLY! 

ONLINE TICKETS

As the night goes on, we’ll allow some of the phantoms banished by science back into the discourse. Here, the psychiatric myth of the “recovered memory” drives the Satanic Panic of the early 1980s, ghosts are reanimated by 3D scan, and information itself haunts deep water and the margins of international law.

Demonic (Pia Borg | 29 min | Australia | 2018)
Tropics (Mathilde Lavenne | 14 min | France / Mexico | 2018)
Cablestreet (Meredith Lackey | 22 min | USA | 2018)



ISFF 2019 PROGRAM 3: TWILIGHT GEOLOGIES
dir. Various, 2018-2019
85 mins.

WEDNESDAY, OCTOBER 23 – 7:30 PM

ONLINE TICKETS

Otherworldly mineral landscapes glisten and flicker, sunset throws vast shadows across the clouds, craters dream, and the entire anthropocene Earth shivers and collapses in a deathly shimmer. This program collects four brilliant experiments in light, landscape, and perception, harnessing the luminous photochemical mechanics of film and projection itself to heighten the experience of climactic celestial and earthly events. These are films that demand to be seen splashed large and in the total darkness of a cinema, in their full apocalyptic and regenerative power.

CW: Viewers should be advised that several films in this program make use of strobe effects.

Altiplano (Malena Szlam | 16 min | Chile/Argentina/Canada | 2018)
Umbra (Johannes Krell & Florian Fischer | 20 min | Germany | 2018)
It Has to Be Lived Once and Dreamed Twice (Rainer Kohlberger | 28 min | Austria | 2019)
Volcano: What Does a Lake Dream? (Diana Vidrascu | 21 min | France / Portugal | 2019)

THE DIGITAL NIGHTMARES OF DAMON PACKARD

Damon Packard’s films are a singular experience, a genre unto themselves in a way that few filmmakers can achieve. Working with low budgets and limitless ambition, Packard has crafted some of the most visceral, hilarious, and abrasive films of the last few decades. Littered with breakneck pop culture references, glitchy editing, nightmarish sound design, and mind-bending special effects, Packard’s films feel like the cinematic equivalent of a late-night panic attack.

This October, Spectacle is proud to present PART 1 of a small retrospective of his films, leading up to PART 2 in November with the ~New York Premiere~ of his new four-year-in-the-making magnum opus FATAL PULSE aka NIGHT PULSE aka UNTITLED YUPPIE THRILLER – which will screening alongside SPACEDISCO ONE, TALES OF THE VALLEY OF THE WIND, and FOXFUR. Throw your brain in a blender and tumble down the wormhole with us.



REFLECTIONS OF EVIL
dir. Damon Packard, 2002
137 mins. United States.

THURSDAY, OCTOBER 10 – 7:30 PM
FRIDAY,  OCTOBER 18 – 7:30 PM
MONDAY, OCTOBER 28 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

The plot ostensibly follows Julie, who died of a PCP overdose in the 70’s, as she searches from ‘beyond the ethers’ for her brother Bob (played by Packard himself), now an overweight watch-salesman on the streets of LA dying of sucrose intolerance. In actuality, we spend most of the run time with Bob, alternately sheepish and rage-filled, as he eats and pukes and screams his way through the hell of downtown LA.

Strangely prescient of many viral internet-comedy tics – “bad” filter effects, digital distortions, pitched voices, looping audio – think Tim and Eric but more explicitly terrifying, the film is essentially a two-hour-plus panic attack with comic relief. REFLECTIONS OF EVIL dives headlong into the trauma and terror of America in the early aughts, and features one of the best on-screen uses of ET and Universal Studios, in an unauthorized sequence that famously earned Packard a lifetime ban from the park.

This one will shatter your brain and leave you puking on the sidewalk with joy. Buckle up.



GRIZZLY REDUX
dir. Damon Packard, 2005
91 mins. United States.

TUESDAY, OCTOBER 1 – 7:30 PM
SUNDAY, OCTOBER 6 – 7:30 PM
FRIDAY, OCTOBER 11 – 10 PM
SUNDAY, OCTOBER 20 – 5PM

ONLINE TICKETS       FACEBOOK EVENT

Damon Packard’s re-work of William Girdler’s JAWS rip-off GRIZZLY is truly a labor of love. Expanding on the original with alternate cuts, added footage, and an “enhanced” mix, Packard adds a huge dose of hilarity and gore – most notably with a much louder guttural bear groan every time the classic Bear-POV cam appears, making its unnoticed approach on helpless campers even more hilarious.

Whether you’re a fan of the original or a newcomer to GRIZZLY, you’ll find something to love here. Crack a cold one, sharpen your pencils and don your camo for this “extra scary” redux.



THE UNTITLED STAR WARS MOCKUMENTARY
dir. Damon Packard, 2003
45 mins. United States.

MONDAY, OCTOBER 7 – 10 PM
WEDNESDAY, OCTOBER 23 – 10 PM 
SUNDAY, OCTOBER 27 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

George Lucas and the STAR WARS prequels get raked over the coals for forty-five relentlessly hilarious minutes, using BTS production footage to expose the buffoonery that was Lucas’ attempt to bring his ‘immense vision’ (read: sell toys) to life. Packard inserts himself and a few cohorts into the madness that was production on EPISODE ONE: THE PHANTOM MENACE – a budget freak-out at the cost of CGI and a cult-initiation-chant at ILM studios (‘Digital characters rule. Digital characters rule.’) May the force be with you as you experience Lucas’ CGI-fueled nightmare through Packard’s eyes.

screening with

DAWN OF AN EVIL MILLENNIUM
dir. Damon Packard, 1988
20 mins. United States.

A fake-trailer for a non-existent 20 hour feature (“starring Jeff Bridges”), Damon’s first notable short film has all the trademarks that would come to mark Packard’s work – glitchy, manic editing, gross out sound effects + splatter effects, undead, aliens, LA street life – horror pastiche cranked to 11 and mutated into a twisted work of art. Think MAD MAX meets EVIL DEAD on PCP.

Clocking in at a mere 20 minutes that takes you to the ends of the universe and back, DAWN OF AN EVIL MILLENNIUM is sure to leave you wishing Netflix would dump Packard a bunch of money to create the full twelve-hour version we deserve.

ZACK NORMAN IS SAMMY IN CHIEF ZABU


“There are people through the decades who become regular fixtures in the pages of Variety – everyone from Al Jolson to Jimmy Durante to Michael Ovitz to Harvey Weinstein. But no one’s presence has been as constant as that of Zack Norman.”
Variety

🔥 NEIL COHEN & ZACK NORMAN (aka HOWARD ZUKER) IN PERSON ON OCTOBER 15 🔥
🔥  ZACK NORMAN (aka HOWARD ZUKER) IN PERSON ON OCTOBER 14 🔥
🔥 NEIL COHEN & ZACK NORMAN (aka HOWARD ZUKER) IN PERSON ON OCTOBER 15 🔥

Filmed in the dead center of Reagan’s second-term, CHIEF ZABU was conceived as as a send-up of the get-rich-quick American mentality of the yuppie ’80s, following a couple of loudmouths who get themselves into an ill-conceived real estate venture in the fictional Polynesian island nation of Tiburaku. Zack Norman (of SITTING DUCKS and Robert Downey’s AMERICA) co-stars—and co-directs under his the name Howard Zuker—alongside the legendary Allen Garfield and Allan Arbus. Filmed over a two-week period at Bard College’s campus with a small indie crew (lensed by Frank Prizzi, who also DPed for SLEEPWALK and LIVING IN OBLIVION), it also enlisted a 22-student fleet of Bard interns padding out the shoot. The shoestring budget was so ludicrously scrappy, the production was profiled in a special “film centennial” issue of Life magazine.

Perhaps in an act of life imitating art, the production was subjected to its own comedy of errors, toiling for well over a year to find a distributor and eventually languishing after its would-be acquirer declared bankruptcy mere weeks before its planned premiere. But the story didn’t end there: the film achieved an unexpected second life as a running gag on MST3K, its hosts echoing the long-running page-3 ad ran in Variety for three years—”Zack Norman is Sammy in CHIEF ZABU”—every time a newspaper is shown on screen.

In October 2016, the political ascendancy of a certain real estate tycoon who rose to prominence in Reagan’s America—and whose own conquests had been a literal inspiration the film—motivated Norman and producer Neil Cohen to dust the film off, showing the film as a series of road show screenings across the US. Its influence is slowly but surely paying off: if you’re ever at Ft. Lauderdale tiki bar The Mai-Kai, you can order a rum speciality drink called “The Chief Zabu.” Indeed, it’s probably worth a revival—it’s a handsome 73 minute character-driven comedy, carried not only by its heavies Garfield and Arbus, but by Zack Norman’s gabby, desperate, puppy dog comedic ingenuity.

Norman, a real estate mogul in his non-celluloid life, is an actor, stand up comedian, and film financier (under pseudonym Howard Zuker), whose industriousness helped fund Spaghetti westerns, cult lesbian vampire film DAUGHTERS OF THE DARK, Peter Davis’s epochal Vietnam documentary HEARTS AND MINDS, and many of the films of Henry Jaglom. In honor of his forthcoming appearance at Spectacle and decades-long dedication to the seventh art, we also show selections from his on-screen career—the early ’80s buddy comedy SITTING DUCKS; the much-maligned Robert Downey Sr. film AMERICA; Henry Jaglom’s film festival send-up FESTIVAL IN CANNES; and a very odd, porno-chic parody of JAWS titled GUMS, directed by Robert J. Kaplan (director of the Holly Woodlawn midnight SCARECROW IN A GARDEN OF CUCUMBERS) and starring Brother Theodore .

🔥 ZACK NORMAN (aka HOWARD ZUKER) IN PERSON ON OCTOBER 14 🔥
🔥 NEIL COHEN & ZACK NORMAN (aka HOWARD ZUKER) IN PERSON ON OCTOBER 15 🔥
🔥 ZACK NORMAN (aka HOWARD ZUKER) IN PERSON ON OCTOBER 14 🔥

 




CHIEF ZABU
dirs. Howard Zuker and Neil Cohen, 1988/2016
73 mins. United States.

TUESDAY, OCTOBER 15 – 7:30 and 10PM
w/Zack Norman (aka Howard Zuker) and Neil Cohen in person for Q&As!
(These screenings are $10.)

SATURDAY, OCTOBER 26 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

The storied 1988 feature from Howard Zuker (Zack Norman’s film financier alter ego) and Neil Cohen, a fast-talking duo who met during the production of Robert Downey Sr.’s AMERICA. Finally resurfacing in a post-Trump America, it’s a romp on a shoestring, featuring appearances from heavies like Allan Arbus (GREASER’S PALACE, M*A*S*H), Allen Garfield (NASHVILLE, BEVERLY HILLS COP II), Norman himself, and Marianna Hill (THE GODFATHER PART II).




FESTIVAL IN CANNES
dir. Henry Jaglom, 2001
100 mins. United States.

WEDNESDAY, OCTOBER 9 – 7:30 PM
SUNDAY, OCTOBER 13 – 5 PM
MONDAY, OCTOBER 21 – 7:30 PM
SUNDAY, OCTOBER 27 – 5 PM

ONLINE TICKETS       FACEBOOK EVENT

Henry Jaglom’s early 2000s highlight, Festival In Cannes is both a love-letter and a denunciation of the Riviera’s most-coveted Croisette. In typical Jaglom style, the spotlight is set upon a wispy ensemble cast as they drift through Hollywood’s most seductive landscape, exchanging deceits and searching for meaning. Featuring Peter Bogdanovich, as well as glimpses of Faye Dunaway, Jeff Goldblum, and Holly Hunter.


SITTING DUCKS
Dir. Henry Jaglom, 1980
90 mins. United States.

FRIDAY, OCTOBER 4 – 7:30 PM
MONDAY, OCTOBER 14 – 7:30 PM w/ZACK NORMAN in PERSON for Q&A!

ONLINE TICKETS       FACEBOOK EVENT

Initially shown in May as part of our Jaglom ’80s series EMOTION TIME, SITTING DUCKS has Zack Norman and Michael Emil as neurotic petty criminals en route to Central America, caught up in a romantic carousel. An envoy of the eighties: self-help morphs into opportunism, the American landscape becomes a string of motels and strip-malls—the perfect pre-game for CHIEF ZABU.



AMERICA
(aka MOONBEAM)
dir. Robert Downey Sr., 1986
83 mins. United States.

THURSDAY, OCTOBER 3 – 10 PM
WEDNESDAY, OCTOBER 9 – 10 PM
MONDAY, OCTOBER 14 – 10 PM w/ZACK NORMAN in person for Q&A!
SUNDAY, OCTOBER 20 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

AMERICA (aka MOONBEAM) was filmed in 1982, released in 1986, and then rarely screened or talked about up. Featuring an ensemble of idiosyncratic newsman led by Zack Norman (an action reporter fashioning a woman’s dress), MOONBEAM, an arguable precursor to Adam McKay’s ANCHORMAN, is a puzzling offbeat relic from the clown Prince of cinematic crime himself. At times unquestionably funny, and at others frustratingly insensitive, Downey Sr’s absurdist satire tells the story of a local news station who accidentally “beams” its transmission to the moon. You kind of need to see it to believe it—and even then, good luck figuring out what to make of it.


GUMS
dir. Robert J Kaplan, 1976
70 mins. United States.

FRIDAY, OCTOBER 4 – MIDNIGHT
THURSDAY, OCTOBER 10 – 10 PM
FRIDAY, OCTOBER  18 – 10 PM
MONDAY, OCTOBER 21 – 10 PM

ONLINE TICKETS       FACEBOOK EVENT

An endlessly odd relic from the age of porno chic, GUMS stars comedian and metaphysician Brother Theodore in a ribald, bad taste parody of JAWS. From Robert J. Kaplan, director of the Holly Woodlawn midnight classic SCARECROW IN A GARDEN OF CUCUMBERS.

BOOK WARS

BOOK WARS
dir. Jason Rosette, 2000.
79 mins. United States.

THURSDAY, OCTOBER 17 – 7:30 PM
ONE NIGHT ONLY!

Before Bloomberg completed Giuliani’s gentrification of the Village and before lap tops, smart phones and social media zapped our attention spans, a group of haggard but well-read men (and a few women) crowded the blocks of W4th St and 6th Avenue with scores of handsomely dilapidated tables of dusty and dog-eared used books. From a behind the table vantage point Book Wars (2000) captures the spirit of these open-air book markets while chronicling the turf wars the vendors fought with each other and their significantly greater adversaries of NYU, the NYPD and the Mayor’s office.

Book Thug Nation, which began as a street book table on W4th street in 2003, is celebrating its 10th year anniversary indoors (100 N3rd Street) the weekend of October 18-20. As part of the celebration they are screening BOOK WARS to pay homage to their predecessors and mentors.

PROPAGANDA MAGAZINE: The Videozines (1991-1994)

THURSDAY, OCTOBER 17 – 10 PM
w/Fred H. Berger in person for Q&A, moderated by goth historian and DJ Andi Harriman
SATURDAY, OCTOBER 26 – 10 PM
w/introduction by author Deirdre Coyle
(These events are $10.)

THURSDAY, OCTOBER 31 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

From 1982 until the shuttering of its print publication in 2002, Propaganda Magazine was the resource for all things gothic. Beginning as a humble punk zine printed in downtown Manhattan copy shops by photographer Fred H. Berger, the magazine evolved with the whims and fancies of its creator, finding a massive audience when Berger was inspired to shift its focus to goth culture after a life-changing screening of THE HUNGER (1983). A prolific cinephile, Berger was further influenced by work such as THE NIGHT PORTER (1974), THE DEVILS (1971) and THE ROAD WARRIOR (1982).

While the magazine covered nightlife, music, and fashion, Berger followed through on his cinephilic inklings and produced, wrote and directed three companion “videozines” in the early 1990s. The videos starred Propaganda supermodels John Koviak, Scott Crawford and Tia Giles and sold around 20,000 VHS copies, as well as screening at parties and goth clubs such as Mother in NYC, Helter Skelter in Los Angeles, and House of Usher in San Francisco.

Loaded with iconic imagery, the tapes alternate between lush and stark, lo-fi and haute fashion, fetishistic and tongue-in-cheek. The Trilogy finds the gorgeous androgyne John Koviak roleplaying in a variety of historically fascist roles while suffering a crisis of conscience, Blood Countess depicts the noble serial killer Countess Elizabeth Báthory de Ecsed, and The Ritual is suitably pagan. The tapes are as follows:

Volume 1, The Trilogy (1991)
Volume 2, Blood Countess (1992)
Volume 3, The Ritual (1994)

Spectacle is excited to present new high definition transfers of the tapes from the surviving BetaSP dubs in collaboration with Fred Berger in a celebrative look back at the subculture that swept the eighties and its aesthetic evolution, from Siouxsie and the Banshees to the Cocteau Twins, from Victorian vampiria to shocking iconography to heroin chic queerness.

CONTENT WARNING: The first tape contains a scene featuring offensive iconography — namely, an actor is dressed as an SS officer in a scene that also depicts dead bodies. While the programmers and Spectacle understand that these symbols, both in the film and in broader goth and queercore culture of the time, are being used to subvert and strip them of their power, we would like to take a moment to restate our policy: under no circumstances will fascists ever be allowed or tolerated in our space.

BLACK GLOVES AND RAZORS


BLACK GLOVES AND RAZORS

dir. Sam McKinlay, 1999.
Canada. 90 min.
Various.

SATURDAY, OCTOBER 5 – 10 PM
THURSDAY, OCTOBER 31 – 10 PM

This Spectober, we are “bloody” excited to present the legendary BLACK GLOVES AND RAZORS by Sam McKinlay (who some know of for his long-running harsh noise project THE RITA, as well as acquaintanceship with the BARRIER KULT skate horde). Originally published and distributed on videotape, then recordable digital video disc, we are stoked to perhaps hold the first cinematic presentation in our ever-constricting Williamsburg g0th bodega walls.

“Now, for the first time, a collection of murder scenes from all your favorite Giallo films. More gloved stalkers and sharp objects than you can shake a stick at. The collection features scenes from many unreleased Italian thrillers including DEATH CARRIES A CANE, WHAT ARE THOSE STRANGE DROPS OF BLOOD ON THE BODY OF JENNIFER, SO SWEET SO DEAD, SEVEN MURDERS FOR SCOTLAND YARD, MURDER IN PARIS, REFLECTIONS IN BLACK, DEATH WALKS IN HIGH HEELS and many more (too many to list!). A must-have for fans of the genre and all its eccentricities.”

BLACK GLOVES AND RAZORS was assembled by McKinlay in the pre-ripper old ways – VCR-to-VCR editing, the nth-generation VHS dubs being practically the only way for fanatics to access these films at that time. The degradation of the analog video image is well-known to the obsessed of the era – a built-in harrowing grime-en-scene, the vaseline on the home viewing lens, the fever dream of time, distance, and pursuit, burned in deeper with every dub. You could slice the tape in half and count the rings. BLACK GLOVES AND RAZORS is a forensic exercise directed by a finessed methodical eye driving a coarse, brute hand –– an experience not quite that of the hyper-cadence narrative “supercuts” as we know today. The cadence of event and sensation is unrelenting and psychedelic; the original writeup mentions “eccentricities (of the genre)” –– a codeword for the vast ways in which a seemingly easily-read situation can explode into endless gush of sensation, thought and emotion, often after repeated exposure (and yes, something about true deep listening involved as key in the “harsh noise walls” left in the wake of McKinlay’s THE RITA).

The presentation of BLACK GLOVES AND RAZORS is the viewing of a relic lurking in the waters for many many years, swimming without an arc for many years more, wearing its scars and static as a necessity to stay on the move.

Please note: a lot of the material used in this work is incredibly violent and intense.

The original VHS sleeve by Kier-La Janisse was adapted for our banner graphics.

Patrick Wang’s A BREAD FACTORY

Patrick Wang’s miraculous two-part feature A BREAD FACTORY has made theatrical rounds over the past year and change to rapturous acclaim. Spectacle is very excited to host A BREAD FACTORY for 3 special screenings in September leading up to the release of the blu-ray by Grasshopper Films, including multiple opportunities to watch the whole back-to-back. This is the story of a community arts center in the small (fictional) town of Checkford.

Patrick Wang is author of The Monologue Plays and Post Script. His films–In the FamilyThe Grief of Others, and A Bread Factory, Parts One and Two–have premiered at SXSW and Cannes and have been nominated for three Independent Spirit Awards.


A BREAD FACTORY
PART 1: FOR THE SAKE OF GOLD
dir. Patrick Wang, 2018
122 mins. United States.

SUNDAY, SEPTEMBER 1 – 5 PM with writer-director Patrick Wang in person for Q&A!
(This event is $10.)

SATURDAY, SEPTEMBER 21 – 5:00 PM
SUNDAY, SEPTEMBER 29 – 5 PM

ONLINE TICKETS       FACEBOOK EVENT

After 40 years of running The Bread Factory, Dorothea (Tyne Daly) and Greta (Elisabeth Henry) are suddenly fighting for survival when a celebrity couple—performance artists from China—come to Checkford and build an enormous complex down the street catapulting big changes in their small town.



A BREAD FACTORY
PART 2: WALK WITH ME FOR A WHILE
dir. Patrick Wang, 2018
120 mins. United States.

SUNDAY, SEPTEMBER 1 – 7:30 PM with Patrick Wang in person for Q&A!
(This event is $10.)

SATURDAY, SEPTEMBER 21 – 7:30 PM
SUNDAY, SEPTEMBER 29 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

At The Bread Factory, they rehearse the Greek play, Hecuba. But the real theatrics are outside the theater where the town has been invaded by bizarre tourists and mysterious tech start-up workers. There is a new normal in Checkford, if it is even really Checkford any longer.

“A major new work by a singular American artist. A Bread Factory has an immense cast, a deliberate pace and thematic ambition to spare — but it also has a ground-level, plain-spoken modesty that renders it hypnotic. Critic’s Pick!”Bilge Ebiri, The New York Times

“My favorite film of the year by far. As of this writing, I’ve seen both parts three times. With each viewing, I notice new things and am more moved by the characters… This film is miraculous, and we are lucky to have it.”Matt Zoller Seitz, RogerEbert.com

“A richly absorbing portrait of a community theater at a crossroads. A wondrously moving, thoughtful and inventive new movie. Wang is an unusually gifted and criminally undersung talent.”Justin Chang, LA Times

“Endlessly warm, playful and lovable… Suggests the work of Richard Linklater, Christopher Guest, Robert Altman and Edward Yang. The film is utterly singular, though, the kind of work that will become a point of comparison itself.”Alan Scherstuhl, LA Weekly