Author: spectacletheater

WALTZ VOL. 1 – BODY BASICS

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WALTZ VOL. 1 – Body Basics
dir. Matthew J. Hutchinson, 2017
USA, 65min

THURSDAY, FEBRUARY 16 – 7:30 PM
THURSDAY, FEBRUARY 16 – 10 PM
*ONE NIGHT ONLY!*

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Matthew J. Hutchinson, world-class fitness star is ready to share his lifetime of fitness secrets with you. Formulated by Matthew J. Hutchinson, WALTZ VOL. 1 – Body Basics is an easy-to-follow, intensive body-shaping program for both men and women. Hutchinson leads you through the regimen that’s perfect for your individual body type with his special brand of motivation.

This uplifting tape gives you a great low-impact 65-minute cardio workout as you lift those weights to such favorites as “ICE SKATING”, “CAROLINE”, and “HORSES + HORSES”! With enthusiasm and energy, Hutchinson will have you raising your hands and voice while you dance your way to better health, fitness, and weight-loss. So stretch and shake it out as “MUSCLES II” gets your body moving and blood flowing. Remember it’s not just about being the strongest; it’s about being the sexiest! “Jumpstart your sex life with your body!” – Matthew J. Hutchinson

Pre-order your copy of WALTZ VOL. 1 – Body Basics today** by calling our discreet private hotline 1–442–XXX–HUNK. CALL NOW!

*Disclaimer: Always consult your physician before beginning any exercise regimen. WALTZ VOL. 1 – Body Basics has not been evaluated by the FTC, FDA, or any other government agency. This information is not intended to diagnose, treat, cure, or prevent any disease. WALTZ VOL. 1 – Body Basics is presented as is, without warranty or guarantee of any kind.

MATCH CUTS PRESENTS: MARLON RIGGS’ TONGUES UNTIED

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TONGUES UNTIED
dir. Marlon Riggs, 1989.
USA, 55 min.
English.

MONDAY, JANUARY 23 – 7:30 PM
ONE NIGHT ONLY!

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Spectacle Theater is excited to collaborate with critical platform Match Cuts on a new series of screenings. Scroll down for more information on Match Cuts.

“Marlon Riggs’ essay film Tongues United gives voice to communities of black gay men, presenting their cultures and perspectives on the world as they confront racism, homophobia, and marginalization. It broke new artistic ground by mixing poetry (by Essex Hemphill and other artists), music, performance and Riggs’ autobiographical revelations. The film was embraced by black gay audiences for its authentic representation of style, and culture, as well its fierce response to oppression. It opened up opportunities for dialogue among and across communities.

Tongues Untied has been lauded by critics for its vision and its bold aesthetic advances, and vilified by anti-gay forces who used it to condemn government funding of the arts.It was even denounced from the floor of Congress.

‘Black men loving Black men is the revolutionary act’ is the rallying cry at the film’s end and after more than 20 years, Tongues United remains a celebrated vehicle for eloquent self-expression and liberation.”

Match Cuts is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore, and produced by Meg Murnane.

BEST OF SPECTACLE 2016

January 2017 at Spectacle is a curated selection of all the best in 2016 that you may have missed or need to see again. No need to pick and choose; all of the best is right here.



DoomedLovebannerDOOMED LOVE
Dir. Andrew Horn, 1984.
USA, 70 mins.

FRIDAY, JANUARY 6 – 7:30 PM
THURSDAY, JANUARY 12 – 10 PM
SATURDAY, JANUARY 21 – 10 PM

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Made in piecemeal payments while director Andrew Horn (THE NOMI SONG) was working as a graphic artist in Koch-era Manhattan, DOOMED LOVE is a delectable hunk of sunken downtown treasure ripe for rediscovery. Painter Bill Rice (SUBWAY RIDERS, THE VINEYARD) stars as Andre, an aging professor of romantic literature who decides, in the film’s doleful introductory passage, to commit suicide after losing the love of his life. Andre is tragicomically unsuccessful, but the attempt leads to a new acquaintance with a psychiatric nurse named Lois (Rosemary Moore), with whom he uncorks a kind of under-acknowledged romance of the soul. Whatever margins that once separated Andre’s work as an academic and his reasons for going on (or not) have completely dissolved; Rice’s monologues – scripted by the great playwright Jim Neu – set a tone of droll monotony and piercing repetition.

“Life goes on, so to speak:” Horn’s vignettes from Andre and Lois’ – trapped in a state of paralyzing reverie, and newly married to Bob (Allen Frame), respectively – play against jawdropping 2-D backdrops mounted in the Lower East Side’s Millennium Film Workshop where DOOMED LOVE was filmed. Amy Sillman and Pamela Wilson’s muslin and cardboard “sets” make Horn’s film a dourly sweet exercise in epic theatre, a self-reflexive essay on Western amativeness, buttressed by an sparkling minimalist score from Evan Lurie (of The Lounge Lizards.), with original songs by Lenny Pickett. Spectacle is pleased to resuscitate this no-wave classic for its first NYC repertory run in years-if-not-decades.



the_mansion_of_madness_bannLA MANSION DE LA LOCURA (THE MANSION OF MADNESS)
Dir. Juan López Moctezuma, 1973.
Mexico, 99 min.
In English

FRIDAY, JANUARY 6 – 10 PM
WEDNESDAY, JANUARY 11 – 7:30 PM
SUNDAY, JANUARY 22 – 5:00 PM

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Based on Poe’s story The System Of Doctor Tarr and Professor Fether, in which a reporter visits an asylum to discover the system by which the roles of the insane and the caregivers have become a bit muddled, we enter into a film where political satire and surrealist horror blend into a truly astonishing mixture, a place out of time where a man becomes a chicken, the body becomes a musical instrument, and nothing is ever as it seems. Director Juan Lopez Moctezuma (ALUCARDA, MARY MARY BLOODY MARY) was a member of Mexico’s Panic movement alongside Alejandro Jodorowski and Fernando Arrabal: the three worked together on FANDO Y LIS, which should give you some idea of what you’re in for. With a cast led by the great Claudio Brook (CRONOS, THE EXTERMINATING ANGEL) in a dual role as the mad Dr. Maillard as well as Raoul Fragonard, the film is as a dream, a ritual, a series of living tableaux. Describing the plot would be to cheapen the film, but it’s worth noting no less than Leonora Carrington served as art director. We are honored to present this film in its longest known cut, with the original English dialogue, miles from public domain cuts. Those expecting cheap horror will be disappointed; those expecting clarity will be confused, those with eyes to see will behold a revelation.



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CYBERPUNK
Dir. Marianne Trench, 1990
USA. 60 min.

FRIDAY, JANUARY 6 – MIDNIGHT
SUNDAY, JANUARY 8 – 7:30PM
TUESDAY, JANUARY 24 – 7:30PM
FRIDAY, JANUARY 27 – MIDNIGHT

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Itself an artifact of the time and aesthetic being documented, CYBERPUNK is a fun, highly stylized sampler capturing its eponymous subculture still coalescing. Featuring interviews with William Gibson, Timothy Leary, founder of VPL Research/inventor of the Data Glove Jason Lanier, and encompassing musicians, animators, plastic surgeons, crafters, and self-proclaimed hackers, the movie shows and tells simultaneously with talking-head interviews overlaid and interspersed with then-cutting-edge CG animation and graphic effects. Reflecting the range of its subjects’ motivations, sometimes this is practical, masking coders casually chatting about illegal data access, and sometimes it’s purely for visual flair.

The documentary’s timing places it at a unique juncture – there’s talk of phone phreaking, VR potential and research, body modification, warez trading, database hacking, but no concrete mention of the internet as we know and use it today. AOL for DOS was released February 1991, Windows in 1992; CYBERPUNK just missed the radical breakthrough that was readily accessible dial-up, existing in a world where text-based intranets with node points were the closest equivalent. Of all people it’s a computer theorist outlining the blind spot most clearly; speaking to the (assumed) main fear of technology being how small and powerless it makes the average person feel and citing the military-industrial complex as example, the idea of complete personal connectivity and power doesn’t even occur. And yet the possibility is present in the film – one hacker tells how a 14-year-old poking around an AT&T database for kicks had the FBI knocking on his door after he’d inadvertently nudged a satellite out of orbit. In a present with unlimited texting on readily available handheld computers, it’s tempting to giggle at one hacker bragging “I make free phone calls…everywhere. You name it…Europe, Asia…..The United States…”, but hindsight’s 20/20 – CYBERPUNK is a snapshot of those excited for a future they nearly saw coming.



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CHEBARUSKA, GENA THE CROCODILE and SHAPOKLYAK
Dir. Eduard Uspensky, 1969, 1971, and 1974.
USSR, 69 min (total).

SATURDAY, JANUARY 7 – 5 PM
FRIDAY, JANUARY 13 – 10 PM
SATURDAY, JANUARY 21 – 7:30 PM
MONDAY, JANUARY 30 – 10 PM

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Just a regular story of a pipe-smoking, besuited Crocodile who posts a “seeking roommate” ad and pairs up with a unknown creature that came out of a crate of oranges. The friendship of Cheburaska and Krokodil Gena flourishes into connections with other lonely souls, and the misfits have adventures both poignant and adorably funny. Based on children’s stories by Uspensky, this puppet-animation from Soyuzmultfilm Studios had a wide appeal with kids growing up throughout the Soviet empire. It is something of a timeless artifact, having a foundation of subtle humor and painstaking craft. The crocodile has a lovely singing voice, and at the end of the third episode he croons: “even if giving up on the past is a bit sad, everything the best is still to come – like a carpet, like a carpet, a long road unrolls ahead”.



CHINA 9, LIBERTY 37
Dir. Monte Hellman, 1978.
Italy/Spain, 102 min.
In English.

SATURDAY, JANUARY 7 – 7:30 PM
WEDNESDAY, JANUARY 11 – 10 PM
TUESDAY, JANUARY 17 – 7:30 PM

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Fabio Testi plays Clayton Drumm, on his way to the gallows when he’s offered a chance to live in exchange for killing Matthew Sebanek (Warren Oates), a miner who refuses to sell his land to the railroad. The arrangement becomes complicated when Clayton and Matthew become friends, and more complicated still when Clayton and Matthew’s wife Cather (Jenny Auguttter), fall for each other. With the railroad’s gunmen hot their heels, enemies become friends, then enemies again, then uneasy friends again, then ambiguous frenemies in this western from Monte Hellman, director of TWO-LANE BLACKTOP, COCKFIGHTER, THE SHOOTING and RIDE IN THE WHIRLWIND. Featuring a rare acting role for WILD BUNCH director Sam Peckinpah.



SEVEN WOMEN SEVEN SINS
Dirs. various. 1987.
Various. 101 min.

SATURDAY, JANUARY 7 – 10 PM
FRIDAY, JANUARY 13 – 7:30 PM
MONDAY, JANUARY 16 – 10 PM

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As wide-ranging an omnibus film as there has ever been, a group of some of the most important international filmmakers of the last few decades – all of them female – take on each of the biblical vices. Bette Gordon, Chantal Akerman, VALIE EXPORT, Maxi Cohen, Laurence Gavron and more contribute a contemporary celluloid sin. The result is a thoroughly unpredictable introduction to each filmmaker’s work; encapsulating devious narratives and experimental collages, film and video.

Special thanks to Women Make Movies.



FANGS a.k.a. Anyab
Dir. Mohammed Shebl, 1981.
Egypt. 100 min.
In Arabic with English subtitles.

SATURDAY, JANUARY 7 – MIDNIGHT
FRIDAY, JANUARY 13 – MIDNIGHT
SATURDAY, JANUARY 21 – MIDNIGHT

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The Arab Spring and aftermath has yielded an accompanying wave of essential social realist film documents. But where, you ask, are all the Middle Eastern disco vampires now? Those occupied a special part of the early 80s — namely the exhilarating Egyptian ultra-camp triumph that is FANGS.

The premise — a young couple attempt to shelter from a storm at a creepy castle only to have their lives changed forever — may have been lifted straight from THE ROCKY HORROR PICTURE SHOW (along with the dance numbers, professorial framing device, and disembodied lips intro sequence). But however much director Mohammed Shebl may have worn his love of that cult icon on his sleeve, his ambitious and wildly imaginative attempt to transcribe it into contemporary 1981 Egypt makes for something wholly his own. Black magic, singing vampires in spangles, Egyptian pop cameos, awkward climbing Dracula sequence, implausible fog machine deployment, a shockingly banging original electrofunk soundtrack by the film’s co-writer (fleshed out with bizarre soundtrack cues lifted directly from American movies of the time), kinetic on-screen animation effects — it’s all here.


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GRUPO DE CALI: 1971–1978
Total running time: 68 minutes

SUNDAY, JANUARY 8 – 5 PM
MONDAY, JANUARY 16 – 7:30 PM
THURSDAY, JANUARY 26 – 10 PM

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OIGA, VEA!
aka See, Hear!
Co-directed by Carlos Mayolo.
1971. 27 min.

Made in the style of a straight-shooting As The World Turns… style mini-documentary, OIGA, VEA! serves as psychic exposé of Cali upon the arrival of the 6th annual Panamerican Games in 1971. Shooting with a handheld 16mm camera “borrowed” from Carlos Mayolo’s ad agency workplace, the film finds wobbly panoramas on spectacular assemblages, but always from the outside – an exteriority which defines itself fuller in the film’s cockeyed dissection of the Games’ pomp and circumstance. Rallies of military might serve only to demonstrate their planners’ unmistakable Cold War anxieties, and proprietary feats of infrastructural know-how – like a new railroad track, received by some shantytowns like manna from heaven – exposed for the limited-time-only publicity perks they are. Ospina and Mayolo steal glimpses at once officially decorative and incisively marginal; by the film’s end, the bitterness engendered by the project has been transferred in total from the shantytowns outside the Games’ encampment, and directly into the audience.

CALI: LA PELICULA
aka Cali: The Movie
1973. 13 min.

The frantic, colorful CALI DE PELICULA is antithesis to the sort of pedantic ‘misery porn’ Mayolo and Ospina would mock in AGARRANDO PUEBLO. Like a Mondo movie without the voiceover, Ospina and Mayolo frame bullfighting as silent slapstick, turn voyeuristic girl-watching ominous with a horror heartbeat, and capture life at street level, a pagan carnival churning by. Dancing, so vital to social life in the area, is shown in all its movement and color, but capturing faces without smiles or real joy – even enjoying themselves Cali’s citizens are cautious.

AGARRANDO PUEBLO
aka The Vampires of Poverty
Co-directed by Carlos Mayolo.
1978. 28 min.

This program concludes with AGARRANDO PUEBLO, widely recognized as the Group’s masterpiece. Mayolo and Ospina star as effigies of themselves, wielding Bolexes and Nagras on a mission to make the perfect cine de sobreprecio (“surcharge film”) for German television – skewering a then-commonplace of Colombian cinema dictated by the Committee for Quality Control, a government-supported bureau intended to help foster a national cinema but a de facto organ of censorship. Retitled THE VAMPIRES OF POVERTY in English, “Agarrando Pueblo” mistranslates a number of ways along the lines of “the clutching of poverty” and “the tricking of the people” – Ospina described it as a popular regional phrase at the time. The certainly film gives away as much (if not more) of its antiheroes’ sleazy postcolonial errand as it does the poverty they seek. Who is clutching whom? While the filmmakers are obviously the supposed vampires, the film is also explicit in the way their exposure to an impoverished zone gets their minds going about the potential windfall for their own careers (aided, inevitably, by a few lines of blow back at the hotel.)


The Fantasy of Deer Warrior
Dir. Ying Chang, 1961.
Taiwan, 87 min.
In Min Nan with English subtitles.

MONDAY, JANUARY 9 – 7:30PM
SATURDAY, JANUARY 14 – MIDNIGHT
FRIDAY, JANUARY 20 – MIDNIGHT
MONDAY, JANUARY 23 – 10:00PM

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THE FANTASY OF DEER WARRIOR is best described in this 2014 post over at Die, Danger, Die, Die, Kill!


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HE WALKED BY NIGHT
Dir. Alfred Werker (credited) and Anthony Mann (uncredited), 1948.
USA, 79 min.

MONDAY, JANUARY 9 – 10 PM
THURSDAY, JANUARY 26 – 7:30 PM
SUNDAY, JANUARY 29 – 5 PM

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The template for Dragnet and a direct inspiration for dozens of police procedurals, HE WALKED BY NIGHT is based on the story of Erwin “Machine Gun” Walker, a WWII vet who began a series of burglaries which resulted in multiple gunfights with police, leading to his arrest in 1946. That role is played in the film by a young Richard Basehart, whose ice-cold performance became his breakout role. Charming at times, brilliant at others, but with a deep sociopathic core, Basehart’s move from vet to safecracker to mad-dog killer prevents the docudrama angle from bogging down. Hunted down by Scott Brady (SHOTGUN SLADE, a million westerns, and a final role as the sheriff in GREMLINS!) and Roy Roberts (basically *every* tv show in the late 50s-60s), we get a look at the details of detective work more in line with Homicide/L&O/CSI than most films of the time, from false leads to confused witnesses.
It’s Alfred Werker’s name as director, but most film historians put the bulk of the work on the shoulders of Anthony Mann (EL CID, WINCHESTER ’73. THE FAR COUNTRY), and fans of his earlier docudramas RAW DEAL and T-MEN will be able to see his influence right away. Fans of LA noir will find a lot to love here, with a dramatic chase through the Los Angeles sewers (later a key location for the film THEM! among a million others), absolutely stunning lighting by cinematographer John Alton, and none other than Jack Webb as lab tech Lee Whitey. Overlooked by too many for too long as an early film with “promise”, HE WALKED BY NIGHT is actually as deeply tense, dark and ambiguous a noir as one could ask for. If that doesn’t sell you, note that chunks of this film were later used in the Lon Chaney Jr. sleeper creeper THE INDESTRUCTIBLE MAN!


mandico2-banner-aBertrand Mandico has outlined his filmmaking aims in his “Incoherence Manifesto”: artifice, irrationality, and the inherent magic of aging film stock and analog effects. But a certain affinity for genre, plot, and character, at least as starting points for distortion and unpredictable development, keeps most of his works oddly engaging. Take his most elaborate to date, Our Lady of the Hormones, in which two aging actresses take a long weekend in the countryside to practice their latest roles, but become side-tracked when they fall into a violent love triangle with a purring oozing organ discovered in the woods. Here the familiar, the imagined, and the wildly hallucinatory merge into a cinema resolutely true to its own logic alone.

TUESDAY, JANUARY 10 – 7:30 PM
SUNDAY, JANUARY 15 – 7:30 PM
SATURDAY, JANUARY 28 – 10 PM

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DEPRESSIVE COP
2015, Scotland / France, 13 min.

A noir: on a remote Scottish island, a mask-visaged police officer helps a mother seek a vanished teen daughter. But both mother and daughter — or conceivably even all three principles — are played by Löwensohn, pointing the film into an absurdist maelstrom of eyes, sex, and confused identities. Genre conventions, here, provide just enough of a spine for film to mutate at will.

OUR LADY OF THE HORMONES
AKA Notre-Dame des Hormones 
2015, France, 31 min.

Two aging actresses take a long weekend in the countryside to practice their latest roles, but become side-tracked when they discover a purring oozing organ alone in the woods. This organism quickly becomes the object of their games and fascinations, and an inevitable love triangle develops. But among actresses, can even the grand guignol confrontation that awaits be taken at face value? Narrated by Michel Piccoli, whose words of explanation just add another layer to the increasing disorientation, and shot in dazzling color photography whereby every bit of artificial nature, human furniture, and deer-with-breasts explodes hallucinatorily onto the screen.

PREHISTORIC CABARET
2014, Iceland / France, 10 min

Somewhere in Iceland a surrealist, colonoscopic nightclub act offers a biological portal into the past.

SALAMMBÔ 
2014, France, 8 min

Against a stark and empty landscape a young women taunts one much older, through gorgeously overlaid 16mm film. Could these apparitions be those of memory, of her own past, or of something more arcane?

TRT: 62 minutes.


The Witch’s Mirror
Dir. Chano Urueta, 1962.
USA. 72 min.

TUESDAY, JANUARY 10 – 10 PM
WEDNESDAY, JANUARY 18 – 10 PM
SUNDAY, JANUARY 29 – 7:30 PM

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“A melody straight from hell!”

THE WITCH’S MIRROR is one of those films whose imagery will crawl deep into a crevice of your mind and live there forever. Every tempestuous night, billowing night gown and thick swell of fog will remind you of Sara and her goddaughter Elena. The film begins with the plight of Sara who through a pact with the devil has found out that her goddaughter will be murdered by her husband Eduardo. After pleading with the devil to intervene, she is told that destiny must run its course, but that doesn’t mean that Sara cannot avenge the death of her goddaughter.

THE WITCH’S MIRROR benefits from the talents of Carlos Enrique Taboada (THE BOOK OF STONE) and Alfredo Ruanova (THE CURSE OF NOSTRADAMUS) who both are prolific horror screenwriters, and the direction of Chano Urueta who is responsible for many other Gothic Horror films such as THE BRAINIAC (1961) and THE WITCH (1954). Their collaboration endues the film with a very soft nightmarish quality that resembles early surrealist film.

What makes THE WITCH’S MIRROR a unique entry into the Mexican Horror genre or for that matter the Horror genre in general is that unlike many other films concerning the occult there is no “rectifying” moral ending. An example is the 1962 film ESPIRITISM which tells the story of a woman who turns to the occult to help her family. By the end of the tale her alliance with the occult has caused the destruction of her family. Right before the end credits begin to roll the camera pans over to a closeup shot of Christ on the cross and a voiceover begins
to say that if this film can turn just one soul away from the occult the makers of the film have done their duty. Taking this into account it is absolutely fantastic that a
film like THE WITCH’S MIRROR exists. Throughout the entire film it is made very
clear that Sara and Elena are dealing with the devil. Whether favorable or unfavorable certain events take place and in the end both Sara and Elena are vindicated. There is absolutely no punishment element except for that individual who should be punished i.e. Elena’s husband. Long live the infernal powers!



GUEST FROM THE FUTURE
Dir. Pavel Arsyonov
USSR, 1985

SATURDAY, JANUARY 14 – 6PM-11PM
**SPECIAL EVENT! ALL EPISODES BACK TO BACK!**

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A Young Pioneer (mandatory, Communist version of a Boy Scout) named Kolya is waylaid by his curiosity while on his way to pick up buttermilk. His concern for spilled cultured milk are soon replaced by a sense of wonder, as he time travels from the 1980s to a world of optically printed special effects, and beautifully Soviet era retro-future sci-fi sets. While exploring the future, he meets Alisa Seleznyeva who is being pursued by space pirates. Alisa attempts to evade the pirates by blending in as a schoolchild back in Kolya’s time. The series was wildly popular in the USSR and inspired loads of spin offs, including “Mystery Of The Third Planet”, as well as dirty, folksy versions of the theme song.


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THE LITTLE MERMAID
aka Malá morská víla
Dir. Karel Kachyňa, 1976
Czechoslovakia, 86 min.
In Czech with English subtitles

BRAND NEW HD RESTORATION!

SUNDAY, JANUARY 15 – 5 PM
SATURDAY, JANUARY 21 – 5 PM
FRIDAY, JANUARY 27 – 10 PM

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Two daughters of the Sea King are playing in the depths of the sea – the little mermaid and her elder sister. The Sea King has just sunk a ship as a birthday gift for his elder daughter. The little mermaid rescues a prince from drowning and falls for him. She makes a trade with an evil sorceress: her voice for a chance to live on land…

Featuring a captivating orchestral / electronic score, psychedelic swirls, and tech assists from Czech New Wave regulars like cinematographer Jaroslav Kucera (DAISIES, MORGIANA, FRUITS OF PARADISE), editor Miroslav Hájek (LOVES OF A BLONDE, THE FIREMAN’S BALL) and set decorator Ester Krumbachová (VALERIE & HER WEEK OF WONDERS), Karel Kachyna’s adaptation of Hans C. Anderson’s classic is a vision that could’ve only come from 70s Czechoslovakia.


SZINDBÁD
Dir. Zoltán Huszárik, 1971.
Hungary, 90 min.
In Hungarian with English subtitles.

WEDNESDAY, JANUARY 18 – 7:30 PM
SUNDAY, JANUARY 22 – 7:30 PM
MONDAY, JANUARY 30 – 7:30 PM

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SZINDBÁD is a wildly sensuous reverie, justly regarded as one of the great movies of the Hungarian Sixties.” —J. Hoberman, The New York Review of Books

A singular work of unparalleled, intoxicating beauty, SZINDBÁD is one of cinema’s greatest hidden gifts.

The titular character is a charming, dying casanova reflecting on his romantic escapades with various women. As he inches closer and closer to the oblivion, every past love ignites a different memory.

Driven more by atmosphere than a linear narrative, the film is told through a series of flashbacks that interweave and overlap in a gorgeous tapestry of colors, seasons, and moods. Utilizing his experimental film background, Huszárik creates something wholly original in narrative cinema that effectively predates the elliptical editing of Nicholas Roeg and the ornate visual romanticism of Terrence Malick. Indeed, the film is loaded with so much rich symbolism and lush imagery that it takes several viewings to unpack its mysteries and majesty.

Above everything, though, SZINDBÁD taps into a deeply romantic, deeply personal sensibility that simply envelops the viewer into its own unique universe.

The phrase ‘lost masterpiece’ tends to get thrown around a lot in repertory film circles, but we’re going to go out on a limb here and proclaim SZINDBÁD a lost masterpiece. We think you’ll agree. Hyperbole be damned.



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FEHÉRLÓFIA (SON OF THE WHITE MARE)
Dir. Marcell Jankovics, 1981
Hungary. 81 min.
In Hungarian with English subtitles.

TUESDAY, JANUARY 17 – 10 PM
SATURDAY, JANUARY 28 – 5 PM
TUESDAY, JANUARY 31 – 10 PM

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A glorious work of unparalleled brilliance, FEHÉRLÓFIA melds ancient legends of the Steppe people into a kaleidoscopic rumination on the cyclical nature of time and space. Originally combining several existing folktales on time’s recurrence, Jankovics was forced to write an original story after his first script was deemed anti-Marxist (according to Marxism, time is irreversible). Raised hidden by his mare mother in the World Tree, immensely strong Fehérlófia must venture forth to find the Underworld’s entrance and, with his brothers’ help, defeat the dragons who seized power from the ancient Forefather and Progenitrix. The constantly morphing concentric images, looping back on and mirroring each other, perfectly fit a film dedicated to the early nomads. Only the second film to come out of Pannónia Studios, FEHÉRLÓFIA is a masterwork of color and story.



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PURPLE RAIN: TERROR BEYOND BELIEF
dir. John Wiese, 2014.
USA, 90 min.
English

FRIDAY JANUARY 27 – 7:30 PM

Having brought to our audience such spectacular single-work détournements like THE SHINING FORWARDS AND BACKWARDS and TOUGH GUYS, we are now pleased to premiere Los Angeles-based artist John Wiese’s 2014 effort PURPLE RAIN: TERROR BEYOND BELIEF.

Described by Wiese himself as “a new edit of PURPLE RAIN where Prince murders Apollonia and gets away with it,” PR:TBB shines a darker shade of purple on the “greatest music movie of them all.” If “Darling Nikki” was all it took for Tipper Gore to start the PMRC, one wonders what PR:TBB might have done for the MPAA.

Unlike other works of appropriation which selectively reorganize “bites” into a new decontexualized construct, PR:TBB pushes an existing, diegetic act of violence a few cinematic degrees further, and then lets the third act play through (albeit without Apollonia’s presence). This is PURPLE RAIN as you have seen it before (yet not).

BIO:
An artist and composer living in Los Angeles, John Wiese is a highly respected figure, both in contemporary sound art as well as the international experimental music underground. Wiese is also known for his influential grind/noisecore band Sissy Spacek, extreme electronics unit LHD, and for numerous collaborations. He is also an accomplished visual and graphic artist, with a long list of international exhibitions and printed materials.

www.john-wiese.com



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DON’T LET THE DEVIL IN (NY Premiere!)
dir. Courtney Fathom Sell, 2016
80 min, USA
In English

SATURDAY, JANUARY 28 – MIDNIGHT

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https://www.youtube.com/watch?v=CAr9eiiSqf0)

After suffering a miscarriage, Newlyweds John and Samantha Harris relocate from New York City to a small Appalachian town where they become wrapped up in a nightmarish tapestry of evil.

Sell’s film eschews conventional genre and instead hops gleefully around – owing as much to the backwoods horrors of last years standout MIDNIGHT as it does to Satanic Panic mainstays like ROSEMARY’S BABY. Aided by the rolling hills and picturesque backdrop of rural West Virginia, the film lures the viewer into an expansive wilderness and then manages to trap you in it. Also featuring Ed Wood/Mark Pirro player Conrad Brooks!


AUDRE’S REVENGE SHORTS

Audre’s Revenge is a collective of creatives, determined to promote visibility of QTIPOC in the Sci-Fi and Horror Universe. We hope to create a space to network film makers, writers, actors and artists, to inspire timeless and important work.
our website is www.audresrevengefilm.com

FRIDAY, JANUARY 20 – 10PM
**ONE NIGHT ONLY!**

GET YOUR TICKETS!

flesh_bannerFLESH
dir. Monika Estrella Negra,15 min.
2016.

An avant-garde horror mash-up that follows a Black woman’s journey in destroying harmful habits. Internalized racism, misogyny and eurocentrism are topics discussed in this fast-paced ‘horror short’.


clarasrage_banner2‘LA RABIA DE CLARA’ (Clara’s Rage)
dir. Michelle Garza, 20 min.
2016. In Spanish w/ English subtitles.

After getting bitten by a rabid dog, Clara must stay locked in the small cabin where she lives with her mother and husband for days. While the town is assaulted by a pack of savage dogs, Clara’s seclusion causes her a growing desire for freedom. To escape, she will have to overcome her family’s fear and determination to protect her.


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‘feralchild’
dir. Maya Lori, 9 min
2015.

A study of two young girls who embrace isolation and undomestication in an abandoned home.

THE END OF THE WORLD IS ONLY THE END OF A WORLD: A Tribute To Clark Fitzgerald

All proceeds from these screenings will be donated in Clark’s name to #StandWithStandingRock

unclearholocaust-banner UNCLEAR HOLOCAUST
Detourned by The Anti-Banality Union, 2011
65 mins. U.SS.A.
Amerikan with some Arabic.
Everything is legally protected under the Fair Use Clause of the Copyright Act of 1976

THURSDAY, DECEMBER 8 – 7:30 PM

Unclear Holocaust is a feature-length autopsy of Hollywood’s New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics.

“A Terrorist film collective hijacks the U.S. propaganda apparatus and detonates it over New York. Everything is obliterated and the world celebrates. Through fifty studio event-movies abstracted of all demokratic variation, we see the Cinema as it really is; an unequivocal annihilation, the auto-genocidal mass fantasy of a megalomaniacally depressed First World. Every screen is lifted and bares the obscene underside of all these images. Movements of character and narrative burst into pure and mechanically perfect propulsions of a psychotic camera from which all this violence emanates. The Mise-En-Scene becomes an inventory of the dominant visual-auditory arsenal, enumerating and measuring the power of every weapon available to the Spectacle. Utilizing them all with paradigmatic rigor, the Hollywood-Military complex launches an endless pre-emptive attack on its own shadow, the Terrorist. And, as in all encounters between doubles, the former ends up joyously suiciding itself.” -A.B.U. Communique #1

Followed by a shorts program:
10/1/11: UNTITLED TARU DOCUMENT Trailer, 1:32 min.
May Day and NYC General Strike Trailers, 8 min.
Hitler Reacts to Occupy Wall Street, 4 min.
A Resolution, 6:09 min.
Woody Allen on How to Handle Nazis, 0:32 min.

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POLICE MORTALITY
Assembled by the Anti-Banality Union, 2013
66 mins. U.SS.A.
Everything is legally protected under the Fair Use Clause of the Copyright Act of 1976

THURSDAY, DECEMBER 8 – 10:00 PM

Do you ever try to imagine the last crime?
Suspect that Robocop is the 99%?
Or wish that the pigs would off themselves, so you don’t have to?

Leave it to Hollywood and the Anti-Banality Union, in POLICE MORTALITY, the vengeful follow-up to last year’s 9/11 bonanza UNCLEAR HOLOCAUST.

Police Mortality is a partisan mashup of over 120 Hollywood popcorn films about, you guessed it, COPS! The result? One feature-length, schizophrenic supercut about police violence and breaking the news, Michael Bay’s penchant for property destruction and the filmic unconscious, among other things.

After a veteran detective commits suicide, it is up to the homicide squad to turn it into a murder… Then the uniforms start piling up. Strikes, occupations, and riots ensue, and society begins to crumble… finally! Can the force prevent itself from imploding? Will it be more Rambo than Dirty Harry? Is this movie actually a documentary?

“A Keystone Kops flick for the Christopher Dorner era… Like no cop movie — and every cop movie — you’ve ever seen.” -The New Inquiry

“The cop film to end all cop films — literally.” -Vice

Every generation has a defining moment. This is ours. This is war. One hell of a war. Civil War.
This is where the law stops… and Police Mortality starts.
Anything is possible. Nothing is forbidden.
The end is just the beginning.
Welcome to a world without rules.
Just remember — when the theater goes dark… don’t call the cops.

Starring: Will Smith, Bruce Willis, Denzel Washington, Sylvester Stallone, Clint Eastwood, Morgan Freeman, Arnold Schwarzenegger, Samuel L. Jackson, Richard Gere, Kurt Russell, Keanu Reeves, Brad Pitt, Paul Newman, Jim Belushi, Mickey Rourke, Mel Gibson, Danny Glover, Robert Deniro, Al Pacino, Peter Weller, James Woods, James Gandolfini, Robert Blake, George C. Scott, Tupac Shakur, Charlie Sheen, Reginald Veljohnson, Black Militants, Bill Clinton, The Student Movement, The FBI, The KKK, Lenin, Marx, Michael Bloomberg, Bane, The 99%, and many more.

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MATCH CUTS PRESENTS: ZACHARIAS KUNUK’S ATANARJUAT: THE FAST RUNNER

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dir. Zacharias Kunuk, 2001.
USA, 174 min.
Inuktitut, with English subtitles

WEDNESDAY, DECEMBER 14 – 8PM
ONE NIGHT ONLY!

GET YOUR TICKETS!

Spectacle Theater is excited to collaborate with critical platform Match Cuts on a new series of screenings.

Match Cuts Presents was established with the mission of programming underrepresented masterworks, with First Nations and Decolonial cinema, amongst others, at its heart. ATANARJUAT THE FAST RUNNER is not only the first feature film made by an Inuit filmmaker (entirely spoken in Inuktitut, and shot on location in Igloolik) but, it’s the first movie made by an indigenous filmmaker about an indigenous way of life that’s completely independent of non-indigenous people or references.

Evil in the form of an unknown shaman divides a small community of nomadic Inuit, upsetting its balance and spirit.

Twenty years pass. Two brothers emerge to challenge the evil order: Amaqjuaq, the Strong One, and Atanarjuat, the Fast Runner. Atanarjuat wins the hand of the lovely Atuat away from the boastful son of the camp leader, Oki, who vows to get even. Oki ambushes the brothers in their sleep, killing Amaqjuaq, as Atanarjuat miraculously escapes running naked over the spring sea ice.

But can he ever escape the cycle of vengeance left behind?

ATANARJUAT THE FAST RUNNER is based on an ancient Inuit legend, set in the Arctic at the dawn of the first millennium. For countless generations, Igloolik elders have kept the legend of Atanarjuat alive through oral history to teach young Inuit the dangers of setting personal desire above the needs of the group.

ATANARJUAT THE FAST RUNNER demystifies the exotic, otherworldly aboriginal stereotype by telling a powerful, universal story – a drama set in motion by conflicts and emotions that have surfaced in virtually every culture known to humankind.

“When missionaries came,” explains director Zacharias Kunuk, “they proclaimed shamanism was the devil’s work. But they didn’t look into what the shamans felt, or how they gave life to the dying, visited the dead, found trails over land and underground or took to flight through the air. When the missionaries forced their religion on us, storytelling and drum dancing were almost banned. Our film is one way of bringing back lost traditions. I have never witnessed shamanism. I have only heard about it. One way of making it visible is to film it.”

Match Cuts is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore, and produced by Meg Murnane.

THE METHOD

the-method-bannerTHE METHOD
dir. Michela Monte, 16 min.
USA, 2016

THURSDAY, DECEMBER 15 – 7:30PM *Q&A WITH BROOKLYN LEGAL SERVICES*

GET YOUR TICKETS!

Living in Brooklyn has become an act of resistance, as working-class New Yorkers continue to be pushed out of their homes by real estate developments and landlords who strategically withhold repairs, heat, or hot water. The most successful technique to combat rights infringement is the coordinated work of residents, legal aids and community organizers. This short film documents residents in South Williamsburg, home to some of the largest rent spikes in the city, as they implement “The Method” to saving the neighborhood. After the film, members of Brooklyn Legal Services will explain their services, answer questions, and facilitate conversation. This film was made with the help and continued support of Los Sures (Southside United), St Nicks Alliance, The Peoples Fire House, and the office of Council Member Antonio Reynoso.

NO FREE ZONE: Two Films By Stephanie Black

This March, Spectacle presents a diptych of blistering econo-graphic deep dives by celebrated documentarian Stephanie Black. H-2 WORKER profiles migrant laborers flown from Jamaica to Florida to cut sugarcane, at the behest of big-box food manufacturers taking advantage of the extranational economy. LIFE AND DEBT, the more famous of the two, returns to Jamaica to methodically dissect Clinton-era loan policies and import/export subsidies, while pitting the island nation’s jawdropping poverty against its tourist-friendly image. Black – whose career originated in environmental activism – has clearly cultivated a unique relationship to the island nation, and yet these are anything but grass-is-greener reaffirmations of exotic stereotypes. Instead, her films show us the Caribbean we know, deep down, we’ve been seeing all along: a mirage of paradise operated by an elite few, kept for the foreign dollars of a few more.

DVDs of both H-2 Worker and Life and Debt will be available for purchase at Spectacle during this series. 

H-2 WORKER
dir. Stephanie Black, 1990
USA/Jamaica. 70 mins.

WEDNESDAY, MARCH 9 – 10:00 PM
TUESDAY, MARCH 15 – 7:30 PM
THURSDAY, MARCH 24 – 7:30 PM – ONE NIGHT ONLY ON 16MM FILM Q&A with filmmaker Stephanie Black
SUNDAY, MARCH 27 – 5:00 PM 

PURCHASE TICKETS HERE

GRAND JURY PRIZE WINNER – 1990 SUNDANCE FILM FESTIVAL

Shot guerilla-style over the course of two years, H-2 WORKER is an unmissable document of pre-NAFTA neoliberalism, made at a time when over ten thousand Jamaican men per year were coming to toil in the sugarcane fields of Florida. (The filmmaker herself appears with her back to the camera, when the crew is not-so-subtly advised to cease shooting at one of the company stores where laborers can buy snacks, toothpaste, etc.) Aided by legendary cinematographer Mayrse Alberti (Creed, Crumb), H-2 WORKER captures a microcosm of indentured servitude: dimly lit dormitories, dusk-to-dawn shifts, brutal deductions in pay from both the sugar company side (and upon remittance to Jamaica.)

While the beyond-cheap labor is defended by sundry American executives as a lucky break for Jamaica’s depressed economy – the opposite of a “handout” – cane harvesters inevitably begin organizing for the purposes of work stoppage. With heartbreaking snatches from letters written by the workers to their families back home, Black’s debut exposé wears its advocating spirit on its sleeve, brazenly appealing for a change in the status quo in classic advocacy-doc style. The H-2 program was ultimately disbanded after a fifty-million-dollar class-action lawsuit, but the film’s contemporary pertinence speaks for itself: the wages offered these men are paltry to the point of destitution, but they’re working a job with no real claimants on the U.S. side. Sound familiar?

“H-2 WORKER does not pretend to offer any answers, but it solidly frames issues about the economy, employment and the treatment of workers who seem just steps away from slavery.” – Caryn James, The New York Times

LIFE AND DEBT
dir. Stephanie Black, 2001
USA/Jamaica. 80 mins.

MONDAY, MARCH 7 – 7:30 PM
TUESDAY MARCH 15 – 10:00 PM
THURSDAY, MARCH 24 – 10:00 PM
WEDNESDAY, MARCH 30 – 10:00 PM

PURCHASE TICKETS HERE

“Every native of every place is a potential tourist, and every tourist is a native of somewhere. Every native would like to find a way out. Every native would like a rest. Every native would like a tour. But some natives – most natives in the world – cannot go anywhere. They’re too poor to escape the realities of their lives, and they’re too poor to live properly in the place where they live – which is the very place that you, the tourist, want to go.”

Narrated by Jamaica Kincaid (reworking the second-person narration of her 1988 classic A Small Place), Black’s breakout 2001 documentary interrogates the power structures imposed by the Bretton Woods organizations on so-called “developing” economies, and the psychological chasm that separates a nation’s exported reputation from reality on the ground. LIFE AND DEBT investigates International Monetary Fund levers in agonizing detail: “structural adjustments” designed to keep Jamaica’s post-colonial government in permanent debt, brutal export subsidies on agriculture, and loopholes for American fashion companies – many of whom are directly namechecked in the film, via first-hand testimonies from textile workers, paid an infinitesimal wage by American standards.

Not unlike the reggae-intensive soundtrack (featuring tracks by Peter Tosh, Buju Banton, Sizzla and the Marleys), the film finds melancholy drenched in beauty. While it’s a tired trope to call a film’s cinematography “sumptuous”, Black and her team of cinematographers (including Malik Sayeed) use their 35mm palette to sharply play Jamaica’s endemic lushness against itself, interrogating tropical tourist desire as its own system of imaging and control. Arguably the most rigorous dissection of postcolonial economic policy ever committed to film, LIFE AND DEBT is a penetrating critique of what the “New World Order” actually means for millions, and a sober-eyed ode to a culture in embattled flux.

“In Stephanie Black’s devastating, artful, and intelligent documentary, Jamaican farmers tell of the downward spiral of one livelihood after another: Cheap American-imported powdered milk usurps the local dairy supply, Chiquita squashes Jamaican banana farmers, Idaho potatoes nudge out regionally grown crops.” – Lenora Todaro, The Village Voice

“After the structural adjustments, the cuts in public expenditure, the removal of tariffs on imports, the privatisations and devaluations, Jamaica is still plagued by financial crisis. Development plans have been abandoned as the vision of independence recedes. LIFE AND DEBT is a very powerful weapon in the arsenal of the global movement for a more equitable economic order.” – Linton Kwesi Johnson, The Guardian

F IS FOR FRAME

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ONE NIGHT ONLY – WITH LIVE PERFORMANCE
SATURDAY, MARCH 12 – 7:30 and 10:00PM

PURCHASE TICKETS HERE

“I’m a female Charlie Chaplin, I could have made slapstick comedy. I’m thinking more and more about acting again, in my films. My body in a movie is very important, it says something by itself, it has the weight of the Real. I can’t have actresses playing my clumsiness.” – Chantal Akerman

F is for Frame features a series of short video works by artists who use the camera to reframe, unframe, and construct feminists performances and identities. The artists use their bodies in a number of ways, ranging from minimal cameos and the use of childhood home video footage to staged performances created for the camera. Dialoguing with the history of feminist artists who positioned their bodies as sites for production and political intervention, the range of selected videos create a constellation of contemporary feminist strategies produced by and for the camera.

curated by bottom.

bottom is Millie Kapp & Georgia Wall’s curatorial project. F IS FOR FRAME is their second curatorial endeavor. bottom will be introducing the evening with a live interview generated from platonic lyfe partnership.

    ARTISTS AND WORKS:

Basma Alsharif
we began by measuring distance (excerpt) 3:30

Maliea Croy
You Go Girl 4:48

Mary Helena Clark
Palms 8:23

EJ Hill
Girl 2:52

Rachel James
How to make work that messes up temporality and puts you beside yourself while making a process 7:49

Anne Kunsmiller
on chopping wood, or something, while dying in the wood, or else 8:11

Marissa Perel
If you are the desert, i’ll be the sea 4:47

Alex Schmidt
Adults with Braces: Trude Donovan 5:00

Colin Self
AVIDDIVA (excerpt) 5:59

Martine Syms
Notes on Gesture 10:27

Lili White
I: SNAKEFOOT 5:22

LIFESTYLE PORN, PT. II

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still from O FANTASMA, directed by João Pedro Rodrigues

LIFESTYLE PORN PT. II
Special thanks to João Pedro Rodrigues, Joaquim Sapinho, and Rosa Films.

TUESDAY, FEBRUARY 9 – 8:00 PM

PURCHASE TICKETS HERE

Curated by Gabriel Abrantes, Alexander Carver, Benjamin Crotty and Daniel Schmidt, LIFESTYLE PORN, PART II is a rejoinder to a program of short queer films screened at Light Industry (LIFESTYLE PORN, PART I) from the last 60 years, marking a shift in the cinematic stylizations of homoeroticism from the guise of criminal marginality to bourgeois “lifestyle” fetishism.

The Spectacle program features LE MURA DI SANA, a short film made in Yemen by Pier Paolo Pasolini as an appeal to UNESCO, against what he perceived to be the corrupting forces of global economic development. Pasolini’s films and activism alike championed a certain romanticization of poverty and the “pre-modern” lifestyle as vitalist and sexually liberated, as a viable alternative to the repressive architecture of the burgeoning global-capitalist world of rampant consumerism and mono-culture. Whereas modern subcultural lifestyles have often exploited and have been exploited by cinematic form to various political ends, Pasolini sought to politicize the entirety of the developing world in service of his cinematic, aesthetic and personal anti-modernist politics.

The feature presentation is O FANTASMA, by contemporary Portuguese filmmaker João Pedro Rodrigues: a meditation on the alienated sexual encounters of a Lisbon garbage collector whose obsessions are the film’s sole subject. Here the refuse of the fully modernized city becomes the debased medium through which the protagonist’s burgeoning sexual fetishisms arise. Rodrigues’ ‘Fantasma’ can be seen as the ghost of Pasolini’s eccentric idealisms.

Structured as a “before and after” of ‘Late Capitalism’, the program will begin with a radical Marxist’s direct political appeal to curb capitalistic destruction of the “good life”, and thus to preserve and valorize the perceived innocence of pre-modern sexual freedoms and political naiveté. The “after” of these fantasies are imaged in O FANTASMA as the vast landfill of Lisbon – a monument to the rotting detritus of consumer culture that has displaced Pasolini’s unalienated innocence.

Friends with Benefits, a retrospective of works by Abrantes, Carver, Crotty, and Schmidt, will run at the Film Society of Lincoln Center from February 5-11. LIFESTYLE PORN, PART I plays Light Industry on Tuesday, February 2nd.