THE NATIVE AND THE REFUGEE: PALESTINE, TURTLE ISLAND, AND SPACES OF EXCEPTION

The Native and the Refugee is a long-term multimedia project by Matt Peterson and Malek Rasamny profiling the terrains of the Indian reservation and the Palestinian refugee camp, “spaces of exception” that have become essential in the struggle for decolonization and indigenous autonomy. While the existence of such spaces is the result of settler-colonialism (albeit at different stages) and are repositories for its ongoing violence, they also open up new possibilities for resistance and for conceptualizing existence outside the boundaries of the nation-state.

Since 2014, Peterson and Rasamny have produced more than a dozen films, including the feature length Spaces of Exception, as well as a book, radio program, writings, and lectures. These works are not just documentation of modern life in reservations and refugee camps, but rather political collaborations and re-articulations of sovereignty and identity.


SPACES OF EXCEPTION
dir. Matt Peterson and Malek Rasamny, 2019
United States/Lebanon. 90 min.
In English, Arabic, Dine, and Kanienʼkéha with English subtitles.

SUNDAY, DECEMBER 3 – 5 PM ($10 w/ Q&A)
THURSDAY, DECEMBER 14 – 7:30 PM
WEDNESDAY, DECEMBER 20 – 7:30 PM ($10 w/ Q&A)
FRIDAY, DECEMBER 22 – 7:30PM ($10 w/ Q&A)

GET YOUR TICKETS!

Shot between 2014 to 2017, Spaces of Exception observes and juxtaposes the communities and struggles of the American Indian reservation and the Palestinian refugee camp. It visits reservations in Arizona, New Mexico, New York, and South Dakota, as well camps in Lebanon and the West Bank, “places defined by their historical and spiritual resistance” in order to “understand the conditions for life, community, and sovereignty.” The film compiles interviews with members of the American Indian Movement, the Mohawk Warrior Society, and Diné families resisting displacement on Black Mesa, as well as members of Fatah, Palestinian environmental and media activists, autonomous youth committees, and the families of political prisoners and martyrs.

While the histories are distinct, dispossession and loss unite these communities in solidarity, and the alternating stories highlight both their unique tragedies and their revolutionary commonalities. Mostly eschewing archival footage, Spaces of Exception showcases the present, in which each day lived is itself an act of resistance.


This program is a retrospective of short form work that spans the entire Native and the Refugee project, and includes films shot across Palestinian refugee camps in the West Bank and Lebanon, as well as from the Standing Rock movement. 

SUNDAY, DECEMBER 3 – 7:30 PM ($10 w/ Q&A)
TUESDAY, DECEMBER 12 – 10 PM
THURSDAY, DECEMBER 21 – 10 PM ($10 w/ Q&A)

GET YOUR TICKETS!

Featuring:

WE LOVE BEING LAKOTA
dir. Matt Peterson and Malek Rasamny, 2015
United States/Lebanon. 12 min.
In English.

THE WALLS OF BETHLEHEM
dir. Matt Peterson and Malek Rasamny, 2015
United States/Lebanon. 14 min.
In Arabic with English subtitles.

THE  WAY OF THE LONGHOUSE
dir. Matt Peterson and Malek Rasamny, 2015
United States/Lebanon. 12 min.
In English.

ALL MY RELATIONS 
dir. Matt Peterson and Malek Rasamny, 2016
United States/Lebanon. 15 min.
In English.

JENIN 
dir. Matt Peterson and Malek Rasamny, 2017
United States/Lebanon. 8 min.
In Arabic with English subtitles.

BEDDAWI 
dir. Matt Peterson and Malek Rasamny, 2017
United States/Lebanon. 6 min.
In Arabic with English subtitles.

BEDOUINS OF JERICHO
dir. Matt Peterson and Malek Rasamny, 2021
United States/Lebanon. 8 min.
In Arabic with English subtitles.

Total Run Time: 75 min.

KOSTROV’S SEASONS: WINTER

Do not quench the Spirit.

Instead, test everything. Hold on to what is good.

Spectacle and UnionDocs present the third entry in KOSTROV’S SEASONS just in time for a year’s end hibernation. Those who have become acquainted with Vadim Kostrov’s evolving slow cinema and vérité styles across the last six months will find comforting company with familiar and new faces that make up the filmmaker’s world as Nizhny Tagil sheds a coat of beating orange for stark white. While stillness, isolation, and allusions to Russian state surveillance come with the snow, Kostrov’s friends and protagonists persevere in the zones of warmth and performance that they seek for themselves.

Alongside WINTER, the third in Kostrov’s still-to-be completed seasons cycle, Spectacle will screen the two follow-ups to the summer-set NARODNAYA with the equally loud and spirited AFTER NARODNAYA and COMET. Kostrov’s lesser known ADA AND MAXIM, a disarming and sincere hometown Satanist romance, will also receive much deserved attention.

In keeping with each iteration of this series, Kostrov will generously grace the theater (extra cozy now that our steam heating is kicking in) with conversation and insight during remote Q&As throughout December.


ЗИМА (WINTER)
dir. Vadim Kostrov, 2021
91 mins. Russia.
In Russian with English subtitles.

TICKETS HERE
FRIDAY, DECEMBER 1 – 7:30 PM ($10 w/Q&A)
THURSDAY, DECEMBER 7 – 7:30 PM
THURSDAY, DECEMBER 21 – 7:30 PM ($10 w/Q&A)

Kostrov’s third of four autobiographical seasons films undergoes a number of dramatic developments from its predecessors, both in the harsh change in tone of the Ural landscape and the upscale from miniDV to high resolution widescreen. The young Vadim, now a teenager, shelters from the winter in a repetitive interior purgatory of online Counter-Strike matches. When he does leave his home, he wanders a blanketed alien world, tagging graffiti where he can to plant seeds of color on the blank canvas that surrounds him.

ПОСЛЕ НАРОДНОЙ (AFTER NARODNAYA)
dir. Vadim Kostrov, 2021
107 mins. Russia.

TICKETS HERE
FRIDAY, DECEMBER 8 – 7:30 PM ($10 w/Q&A)
WEDNESDAY, DECEMBER 13 – 10 PM

A close-up survey of performances and interviews that check in on the massive ensemble that participated in opening the now-defunct Narodnaya gallery. Elegiac and nostalgic for a brief electric moment, AFTER NARODNAYA leaves open questions and hopes for sustaining a meaningful community on the outskirts.

KOMETA (COMET)
dir. Vadim Kostrov, 2020
121 mins. Russia.

TICKETS HERE
FRIDAY, DECEMBER 15 – 4 PM ($10 w/Q&A)
MONDAY, DECEMBER 18 – 7:30 PM

The Tagil rock band Lazy Comet hit the icy streets of Moscow for a set of performances, far from the garage gallery we first met them in. This concert doc and travelog is a triumphant endnote to Kostrov’s Narodnaya Trilogy and presents an intersection between the filmmaker’s home and his formative encounter with Muscovite art communities seen in LOFT-UNDERGROUND.

АДА И МАКСИМ (ADA AND MAXIM)
dir. Vadim Kostrov, 2021
81 mins. Russia.

TICKETS HERE
MONDAY, DECEMBER 4 – 10 PM
SUNDAY, DECEMBER 10 – 7:30 PM ($10 w/Q&A)
TUESDAY, DECEMBER 19 – 10 PM

A portrait of a low-key Satanist wedding shot in early 2020. The titular young couple speak candidly to the director’s wandering camera as their intimate celebration transitions into a contemplative night walk through the forested edges of Nizhny Tagil.

Presented in partnership with UnionDocs Center for Documentary Art. Special Thanks to Vadim Kostrov, Jenny Miller, Alex Derrick, and Mal de Mer Films.

PETROL

PETROL
dir. Alena Lodkina, 2022
95 mins. Australia.
In English.

SUNDAY, NOVEMBER 26 – 7:30 PM followed by Q+A with filmmaker Alena Lodkina
(This event is $10.)
ONE NIGHT ONLY!

TICKETS

In the follow-up to her acclaimed debut STRANGE COLOURS, Alena Lodkina creates an enigmatic, wholly original magical coming-of-age story that doubles up as an existential mystery. Spectacle is thrilled to host Lodkina for a one-night only presentation of PETROL, followed by a discussion with the filmmaker.

While working on a deeply personal school project connected to her Russian heritage, an impressionable film student named Eva meets the a mercurial performance artist named Mia who quickly takes hold of her imagination.  As Eva moves in with Mia and their lives grow more and more entwined, Eva sets off on a surreal journey of awakening, haunted by dreams, fantasies and ghosts. Starring the exciting new talents Nathalie Morris and Hannah Lynch, set in contemporary Melbourne, PETROL is the story of a haunted friendship between two young women, and the discovery of the world and self through a strange bond.

(PETROL) delivers wry, pinpoint satire about the cultural realms that it inhabits… As the action advances, Lodkina sees Eva leaving behind the monumental but remote ideals of Dostoyevsky, Tolstoy, and Beethoven for an experiential idealism of travel, nature, exploration, and even fun. She winds the exquisite artistic and practical ironies of such exertions and discoveries into the substance of the film. Its ambiguities and its quizzical open-endedness is an open door to the cinematic future; I hope that it gets a regular commercial release, and I’m impatient for whatever Lodkina will do next.” – Richard Brody, The New Yorker

“Filmmaking is a kind of wizardry in PETROL. Lodkina uses the basic tools of montage and sound design to conjure spells, spook and hypnotize her characters, and summon impossible visions. Beyond its own form, the film contains a whole inventory of sorcery. It places ghosts, tea leaves, and Ouija alongside psychiatry, biology, and quantum physics as equally valid yet incomplete methods for making sense of the world.” – Julia Gunnison, Screen Slate

“Alternately whimsical and unsettling, PETROL is an entirely original vision, a film of moods as fluctuating as the weather, and a magical coming-of-age story that is also perhaps the tale of a haunting.” – New Directors New Films 2023

NIRVANA NIGHT

It doesn’t matter whether you’re a girl or a boy, a man or a child. Rich or poor, fat or thin. We can all agree on one thing:

Nirvana is the greatest band of all time.

On the eve of the 30th anniversary of the MTV Unplugged in New York concert, join Spectacle in a loving salute to Kurdt, Dave, Krist and even little Patty Smear.

FRIDAY, NOVEMBER 17 – 7:30 PM AND 10 PM –
ENCORE SHOW ADDED DUE TO EXCESS DEMAND

ONE NIGHT ONLY!
(This event is $10.)

TICKETS HERE

I HATE MYSELF AND I WANT TO DIE
dirs. Greg Eggebeen and Benjamin Shapiro, 2012-2023
65 mins. United States.

FIRST SCREENING IN 10 YEARS!

The biographical story of Nirvana told through the media detritus left in Kurt Cobain’s wake, I HATE MYSELF AND I WANT TO DIE was born out of the desire to do a music documentary without any consideration for major label record companies and royalty fees. IHMAIWTD is more than a clip show: it is an alternate, cost-effective model of documentary, collating ephemera to tell a linear story through the outside gaze of home video, lost practice footage, local news broadcasts, stoned TV interviews, insensitive true-crime shows, crushing live performances and more. These collected lenses reflect the lovers and leechers circling the bizarre and spectacular voyage of the unlikeliest band in the world.

First presented at Spectacle in 2012, this is the premiere of the 2023 version featuring new footage!

Followed by… a special screening of one of the most profound filmic artifacts left by this or any other band. Those present at the original 2012 screening can attest to its greatness- we dare not speak its name here.

Films of Palestinian Resistance


This November, Spectacle is replacing our regular 3pm Sunday programming with a series of films connected to the history of Palestine and its people’s struggle for liberation. These films center the history of this nearly century-long conflict around issues of colonialism and resistance and provide context through a variety of archival sources as well as critical analysis from preeminent Palestinian scholar Edward Said. Notably, each of the films screening in November are all at least a decade old, yet their content is as relevant as ever.

This program will be followed by a continuation of the topic in December, when Spectacle will present a selection of more contemporary documentaries that demonstrate the continued severity of the situation in Palestine, along with some of the oldest-accessible feature length narrative fiction films from Arab and Palestinian filmmakers.

Due to the sudden need for this fundraising series, we are still in the process of finalizing the November titles and will announce them in the weeks leading up to each screening.

All proceeds will benefit relief organizations.

Palestine: Story of A Land
Dir. Simone Bitton, 1996
France, 120 min.
In French, Arabic, Hebrew and English w/ English subtitles.

A Mizrahi Jew born in Morocco, Simone Bitton’s career as a documentarian has invariably fixated on the the relationship between Muslims and Jews in the Holy Land. Her work has explored the policies that enable Palestine’s occlusion, and the poets and activists who live and die for its freedom. Palestine: Story of a Land is composed entirely of archival footage and newsreels, a narrated history of the nation from the 19th century to present day.

“If there are hostages in a school, does that mean you have the right to kill the whole school? That’s exactly the point: the lives of the Palestinian civilians are worth nothing, and the lives of the people who protect the Palestinian civilians are worth nothing. It’s very sad.”
-Simone Bitton

SUNDAY, NOVEMBER 26 – 2:30PM
$5 minimum donation.
TICKETS HERE
Proceeds to benefit Palestinian American Community Center and Islamic Relief USA.

past screenings:


THEY DO NOT
EXIST
(ليس لهم وجود)
dir. Mustafa Abu Ali, 1974
Palestinian Territories. 25 min.
In Arabic with English Subtitles.

“There was no such thing as Palestinians.” – Golda Meir
“There is no more Palestine. Finished.” – Moshe Dayan

A young girl in a refugee camp writes a letter to her brother, a guerrilla fighter in training. Bombs are dropped, the wounded are cared for and the dead are buried. A mother mourns the death of her son. Survivors recount their experiences. The founding film of the PLO’s revolutionary film unit, Mustafa Abu Ali’s They Do Not Exist powerfully asserts the irrefutable facts of Palestinian existence.

screening with

THE DREAM
(المنام)
dir. Mohammad Malas, 1987
Syria, 45 min.
In Arabic with English subtitles.

Mohammad Malas is a Syrian filmmaker who, after teaching philosophy at Damascus University in the 1960s, turned towards filmmaking. One of his first projects was the experimental documentary, The Dream. Shot between 1980-1981 in Palestinian refugee camps in Lebanon, the film features children, women, old people, and militants recollecting their dreams and nightmares in a beautiful and haunting portrait of an uprooted population communicating their interior worlds. In 1982, hundreds of people in the camps of Sabra and Shatila were massacred by Lebanese forces with the support of the Israeli military. Because of this, Malas did not finish the project until 1987. The Dream is as much about Palestinian statelessness as it is about the fragmented nature of Arab nationalism.

“I think I managed to formulate a view that differs totally from other Arab and foreign contemplations. The difference is mainly that I adopted the position of a neighbor, thus an Arab, and not that of a Palestinian. This led to me focusing rather on our mutual relations than on the conflict with Israel. The viewer might realize how I emphasized those nightmares which the Arabs caused in the lives of the Palestinians. My concern is to show how the Arab world is addressing the Palestinian cause: first, one wanted to use the Palestinian issue and when this was not possible anymore, one tried to harm it… The fight between Israelis and Palestinians is as licit as public, yet the Arab-Palestinian conflict remains an internal affair, it happens in secret.”
-Mohammad Malas, speaking at the 11th International Documentary Film Festival Munich 1996

screening with
JENIN, JENIN
(جنين, جنين)
dir. Mohammed Bakri, 2002
Israel, Palestinian Territories. 54 min.
In Arabic with English subtitles.

The Battle of Jenin was a ten day long skirmish that took place in the West Bank-located refugee camp of Jenin in April, 2002 during the Second Intifada. Throughout the course of the battle, IDF bulldozers demolished large portions of the densely populated camp, with journalists and human rights advocacy groups alleging a civilian massacre. Official Israeli estimates initially reported approximately 50 Palestinian casualties, while Palestinian authorities and Amnesty International estimate the death toll to have been in excess of 500. Following the battle, the Israeli government denied a UN fact-finding team access to the camp. 

Made in response to the suppression of Palestinian media during and after the events, Mohammed Bakri’s harrowing and controversial documentary is composed only of Palestinian’s testimonies to their experiences. Upon its release, the film was temporarily banned in Israel on accusations of libel. Per Bakri’s lawyer, “Bakri doesn’t say anything in this film. The people who talk are those he filmed. So the residents of the refugee camp say things which sometimes are true and sometimes not. It’s a movie. It reflects the subjective understanding of the speakers.”

program trt: 124 min.


OUT OF PLACE: MEMORIES OF EDWARD SAID
dir. Makoto Satō, 2006
Japan. 138 min.
In English.

“I saw that people make their own history. That history is not like nature. It’s a human product. And I saw that we can make our own beginnings. That they are not given, they are acts of will.”
-Edward Said

This documentary traces Said’s childhood influences and celebrates his intellectual legacy, imaginatively blending his writings, home movies, and interviews with friends, family, and colleagues (among them Ilan Pappe, Elias Khoury, Azmi Bishara, Daniel Barenboim, Rashid Khalidi, Michel Warschawski, Noam Chomsky and Dan Rabinowitz).

Visiting the sites of his birthplace in Jerusalem, his boyhood homes in Lebanon and Cairo, and his New York City apartment, the film emphasizes Said’s sense of always feeling “out of place”—personally, geographically and linguistically—a theme he developed in his memoir, explaining how everyone, in a sense, is comprised of “multiple identities.”

The themes of reconciliation and coexistence that Said fought for throughout his life are further illuminated by a visit with a Palestinian family in a refugee camp in Syria and a family of Mizrahim (Arabic Jews) in Israel, a memorial conference held at Bir Zeit University on the West Bank, and scenes at other sites in Israel and the West Bank. 

OUT OF PLACE is thus both a fascinating biographical film on one of the most acclaimed cultural critics of the postwar world as well as an engaging examination of many of the cultural and political issues to which he devoted his life.
-Icarus Films

SUNDAY, NOVEMBER 11 – 2:30PM
$5 minimum donation.
TICKETS HERE
Proceeds to benefit Palestinian American Community Center and Islamic Relief USA.


INTRODUCTION TO THE END OF AN ARGUMENT
dir. Elia Suleiman, 1990
United States. 41 min.
In English and Arabic

Elia Suleiman’s radically-assembled collage documentary critiques orientalist representations of Arabic culture, focusing on the production of biased and harmful narratives surrounding the Palestinian struggle for liberation.

screening with


AL-NAKBA: THE PALESTINIAN CATASTROPHE 1948
dir. Benny Brunner & Alexandra Jansse, 1996
The Netherlands. 58 min.
In Arabic, English, and Hebrew.

Former IDF soldier and self-described “reformed Zionist” Benny Brunner adapts Israeli historian Benny Morris’ The Birth of the Palestinian Refugee Problem, 1947-1949 into a documentary detailing the mass expulsion of Palestinians from their homes during the creation of the state of Israel. Brunner’s documentary features interviews from refugees and veterans of Israeli paramilitary forces alike.

NOIRVEMBER IV

Wave adieu to somber autumn nights & join us in celebrating Noirvember, for our fourth installment, beginning at 5pm and continuing through shadow and fog, into the darkest hours of the evening.

This year’s slate attempts to investigate the diametrical range of the genre through its multitude of disguises. Starring Hollywood’s brightest stars in some of their most inconspicuous roles, this year we honor the b-film and all of its fruitful variations.

SATURDAY, NOVEMBER 18 – 5 PM – ????

FULL DAY PASS – $20
$5 per title (cash at the door)

Note: ONLY ADVANCED FULL DAY PASSES AVAILABLE ONLINE

TICKETS HERE


5:00pm – ??????? ??????? (1954)

We start things off with a Roger Corman produced (& co-conspired) cross-country noir set almost exclusively in broad daylight and starring a certain, woman in the window.

6:30pm –

???? ?????? (1946)

a neglected film noir under the disguise of melodrama starring the once upon time queen of the Warner Bros lot.

8:00pm –  ??????? ?? ???

an uncharacteristic break from the classical period of American film noir to explore a gritty poetic masterwork from Mexico’s golden age of cinema.

10:00pm – ??? ???????? ?????? (1946)

An under-seen moody film noir which updates a classic fairy-tale for the new york art scene of the 40’s, lensed by john alton.

12:00am – ????? ??? ? ???????? ???? (1948)

a sleepytime film noir/horror thriller starring the great Edward G. Robinson in what culminates into a poetic & surrealistic hazy dream.

Screening Pathology (Or, Keep Your Friends Close): Post-Digital Feminisms, Isolated Intimacy & Collective Loneliness


ONE NIGHT ONLY!

FRIDAY, NOVEMBER 3 – 5 PM
TICKETS HERE

Join us as we take a deep dive into the darkest recesses of the internet. Together with film theorist Andrea Avidad, as well as filmmakers Gabrielle Stemmer and Gala Hernández, Spectacle Theater presents a one-night only investigation of despair and delusion on the internet.

Many films in recent years have tried to make a spectacle of outré online communities by emphasizing their idiosyncrasies. Such projects like FEELS GOOD MAN (2020) and QANON: THE SEARCH FOR Q (2022) have resulted in harmful portraitures of social outcasts, simultaneously catering to viewers’ fantasies about othered demographics and producing distinctly alien, rather than nuanced, representations of incels and similarly radicalized online users. Gabrielle Stemmer’s CLEAN WITH ME (AFTER DARK) and Gala Hernández’s THE MECHANICS OF FLUIDS both employ different means of characterizing the different online communities they choose to depict. Their approach balances structural analysis with compassion, producing a complex picture of the cultural catalysts and systemic pathways that allow these micro-cultures to form.

Our screening of these films will be preceded by a lecture courtesy of Film-Philosophy Award Recipient Andrea Avidad and followed by a remote Q&A with filmmakers Stemmer and Hernández.

CLEAN WITH ME (AFTER DARK)
dir. Gabrielle Stemmer, 2019
France. 21 min.
In English.

In recent years, women across America have recorded themselves cleaning their homes. Their videos have gained popularity online. Intrigued by this phenomenon, Gabrielle Stemmer investigates what inspires these women to document their domestic work in CLEAN WITH ME (AFTER DARK). Her desktop documentary about the viral videos slowly morphs into something unexpected over the course of its short runtime, untangling the many ways in which online customs disregard the plight of content producers.

LA MÉCANIQUE DES FLUIDES (THE MECHANICS OF FLUIDS)
dir. Gala Hernández López, 2022
France. 39 min.
In English.

THE MECHANICS OF FLUIDS charts its inquiry into incel culture around an elusive Reddit poet called AnathemicAnarchist. As the narrator scours the internet in search of AnathemicAnarchist following his sudden disappearance, she learns more about his online community and how it influenced his outlook on life. Using YouTube videos and computer-graphics, Hernández’s film embodies the look-and-feel of the field it explores. Her essayistic venture into the world of incel culture is both troubling and insightful; it reflects the mindset of a filmmaker fully consumed by their subject matter.

 

Special thanks to Andrea Avidad, Gala Hernández, Gabrielle Stemmer, and Emmanuel Precourt Senecal at La Fémis.

 

KILLER KIDS

The killer kids sub-genre began with the release of the 1956 movie THE BAD SEED and secured its place in the horror canon with CHILDREN OF THE DAMNED four years later. Although the sub-genre never had a definitive golden age, killer children have been a staple in horror cinema for the last seventy years, with notable booms after the success of THE OMEN (1976) and PET SEMATARY (1989).

Perhaps unsurprisingly, since these films frequently break the unwritten rule of not killing children on screen, the killer kids sub-genre is canonically bleak. Parents and adults must decide whether to cross the mortal threshold or let the villains survive. Either way, the audience can expect a nihilistic ending rife with moral compromise.

This November, Spectacle invites you to experience three killer kid movies, SUFFER LITTLE CHILDREN (1983), WHO CAN KILL A CHILD? (1976) and MUMSY, NANNY, SONNY AND GIRLY (1970).


SUFFER, LITTLE CHILDREN
dir. Alan Briggs, 1983
United Kingdom. 74 min.
In English.

FRIDAY, NOVEMBER 3 – 11:55PM
FRIDAY, NOVEMBER 10 – 10 PM
MONDAY, NOVEMBER 13 – 7:30 PM
FRIDAY, NOVEMBER 24 – 11:55PM
MONDAY, NOVEMBER 27 – 7:30 PM

GET YOUR TICKETS!

A mute child arrives at a children’s home and starts terrorizing the other children with her demonic powers.

Written by producer Meg Shanks (who also owned the school that supplied the movie’s child actors), SUFFER, LITTLE CHILDREN is one of the most unforgettable and immersive shot-on-video horror movies in existence. Combining exploitive “true crime” elements with a hallucinatory aesthetic, the movie purports to be a “recreation” of supernatural events that took place in August 1984 at an orphanage in Surrey, England. Whether or not these events are true is a moot point. Banned during the UK’s Video Nasty witch hunt and previously only available via VHS bootlegs, SUFFER, LITTLE CHILDREN is a true bludgeon to the brain — now fully uncut and uncensored for the first time ever.


WHO CAN KILL A CHILD? 
dir. Narciso Ibáñez Serrador. 1976.
Spain. 102 mins.
In English and Spanish.

THURSDAY, NOVEMBER 2 – 10 PM
FRIDAY, NOVEMBER 10 – 7:30 PM
FRIDAY, NOVEMBER 17 – 11:55PM
WEDNESDAY, NOVEMBER 29 – 7:30 PM

GET YOUR TICKETS!

English tourists Tom and Beth take a trip to the remote island of Almanzora off the Spanish coast. They discover there are no adults on the island, only children.

WHO CAN KILL A CHILD? was riddled with distribution problems. In an attempt to sell the movie, producers renamed it multiple times for different regions, including CHILDREN OF THE CORN TORTILLA and TRAPPED. Luckily, the film withstood the test of time and eventually became a cult classic. The film was remade in 2012 as COME OUT AND PLAY.

For this presentation, Spectacle will be showing THE ISLAND OF THE DAMNED cut of the movie. This version was the original release in the US, without the opening ten minutes of child murder documentary footage.


MUMSY, NANNY, SONNY AND GIRLY
dir. Freddie Francis. 1970.
United Kingdom. 102 mins.
In English.

WEDNESDAY, NOVEMBER 1 – 10 PM
FRIDAY, NOVEMBER 10 – 11:55PM
MONDAY, NOVEMBER 20 – 10 PM
THURSDAY, NOVEMBER 30 – 10 PM

GET YOUR TICKETS!

Mumsy, Nanny, Sonny and Girly kidnap men and dub them their new friends. These new friends are forced to participate in an elaborate role-playing game, and if they refuse, they are put on trial and “sent to the angels.”

An oddity in the killer kids subgenre, MUMSY, NANNY, SONNY AND GIRLY, deals with young adults role-playing as children. The film is tonally and thematically similar to Jack Hill’s SPIDER BABY (1967), asphyxiating the audience in an unrelenting nightmare of madness and anxiety.

Director Freddy Francis was inspired to write MUMSY, NANNY, SONNY AND GIRLY after visiting the famous Hammer Horror filming location Oakley Court. Francis shot the exteriors of Oakley Court for the film but wished he could have showcased the interiors.

Upon release, MUMSY, NANNY, SONNY AND GIRLY sparked a moral panic in the UK. The press misinterpreted the film as having incestuous undertones, which led theaters to refuse to show it. Luckily, producers rebranded the film as GIRLY and sold it to a US market with moderate success.

MISSION DRIFT

MISSION DRIFT
dir. Charles de Agustin, 2023
USA. 13 mins.
In English with audio description and open captioning.
ASL interpreter available upon request.

WEDNESDAY, NOVEMBER 8 — 7:30 PM
VIDEO FOLLOWED BY OPEN DISCUSSION WITH FILMMAKER, GUESTS AND AUDIENCE
$5 SUGGESTED — NO ONE TURNED AWAY FOR LACK OF FUNDS

TICKETS HERE

Arts workers and their accomplices are invited to join us for a screening and open discussion around Mission Drift, a new film by Charles de Agustin, at Spectacle Theater on Wednesday, November 8, 2023, at 7:30pm.

MISSION DRIFT follows a nonprofit art gallery worker who tries to stay afloat when a horny sadomasochistic philanthropist infiltrates the organization. An experimental essay film tinged with noir and fantasy, the work is driven by research into the sparse history of federal US arts funding since the 1930s and more recent universal basic income trials. The film’s tragic narrative takes aim at how seductive philanthropy can be and points toward the need to constantly reinvent strategies against mechanisms of capture. Various formal strategies in the work also intend to explore the relationships between accessibility, complicity, precarity, and cinema.

Its medium described as “video and discussion,” MISSION DRIFT may only be publicly presented if it is followed by a robust audience discussion on the issues at hand. All guests will be essential parts of the conversation with artist Charles de Agustin, Spectacle volunteers and other guests, rooted in all of our experiences of working in the arts alongside the hosting institution’s specific context. The aim is to expose untapped potential for organizing through the arts, considering what relationship art should have with the state, philanthropy, labor, and social justice today.

Free copies will be provided of a zine of Emily Apter’s essay “The Politics of Cum,” released by Cine Móvil. Inspired by the film, the zine breaks down the artistic and political limitations of NPIC, written with the insider perspective of an arts worker.

Please note that the discussion audio will be recorded, though only an anonymized —with names and other identifying details deleted— text transcript will be used for the artist’s future research purposes.

 

BONI: THE WELCOMING FIRE


BONI: the welcoming fire ぼに〜迎火
dir. Masaki Hosokawa, 2020
75 mins. Japan.
In Japanese with English subtitles.

MONDAY, NOVEMBER 6 – 7:30 PM
SUNDAY, NOVEMBER 12 – 5 PM
FRIDAY, NOVEMBER 24 – 10 PM
TUESDAY, NOVEMBER 28 – 7:30 PM

TICKETS HERE

Shot on location in 2020 and long overdue for a stateside release, Masaki Hosokawa’s BONI: the welcoming fire is a hybrid feature that blends allegory and documentary. An ethno-fiction emerges from focal points of traditional song and dance as part of Tokushima, Japan’s annual Bon festival— when beloved spirits return once a year. The film is a story of blissful reunion and memory unaware.