After a July of East German Sci-Fi, we offer two cool-down spy flicks from the DEFA Library. Don’t expect a lot of gun fights and sex – these stories are based on real events, especially the hyper-real.


dir. János Veiczi, 1963
GDR. 98 mins.
In German with English subtitles.

Nine months after Sean Connery sexed up the British spy business in DR. NO, East German studio DEFA put out a widely popular spy movie in the GDR. Unlike the Bond franchise, FOR EYES ONLY is a quiet noir that speaks to actual activities going on at the time. In the early 60s, the German border was not heavily fortified and spies of either persuasion crawled through pipes or made it through the woods.

This story centers on Hansen/Lorenz, a suave and slippery SS operative in the employ of Major Collins, one of many Americans in West Germany working in the business sector while reporting to the U.S. Military. Hansen is tasked with stealing a stash of paperwork and microfilm that details a plan to invade the East. Horst Hesse, on whom Hansen is based, was in fact a Stasi agent who infiltrated the U.S. Military Intelligence Division and uncovered the identities of over 500 Western spies in East Germany. The MID plan to invade, however, was never true – communist leaders enhanced Hesse’s story in order to justify building the wall.

It might go without saying that FOR EYES ONLY is a dense artifact that is at times hard to follow. There is some relief in nightclubs and gambling tables where spies talk to spies, spies are spied upon, and all kinds of miniature gadgetry is used. Though militarily powerful, Americans are either showboating failures or culturally ignorant in this film, most notably two lackey agents who put out a hit to a jazzy version of the “Battle Hymn of the Republic”.


dir. Helmut Dziuba, 1979
GDR. 94 mins.
In German with English subtitles.

Everybody wants a piece of Wolf Brandin, a talented electrical engineering PhD candidate and model East German citizen. The CIA are gathering intelligence on “Number 5”, who has a promising thesis on radio communications and takes frequent trips to the West side of Berlin. When he’s offered lucrative work for the CIA, he runs back to East Germany and informs the secret police. Rather than ridding himself of the problem, he is now a tool of both the Stasi and the CIA, forced to live a double life that takes a toll on his marriage and good nature. Despite these challenges, Brandin does not lose track of his allegiance to East Germany and is able to feed the CIA misinformation that enables the Berlin Wall to be built.


dir. Maria Augusta Ramos, 2018
140 mins. Brazil/Germany/Netherlands.
In Brazilian Portuguese with English subtitles.

SUNDAY, AUGUST 4 – 5 PM followed by remote Q&A with filmmaker Maria Augusta Ramos
(This event is $10.)


In August 2016, Dilma Rousseff – survivor of torture at the hands of the Brazilian dictatorship, the first female head of state in the country’s history, and hand-picked successor to the wildly popular (later imprisoned) president Luiz Inácio Lula da Silva – came under scrutiny from Brazil’s lower house of Congress after being accused of corruption and nepotism. Led by her longtime rival Michel Temer and the speaker of Brazil’s lower house of congress, Eduardo Cunha, the subsequent impeachment trial became a “parliamentary coup”, whereby right-wing factions sought to discredit the Rousseff administration to consolidate power in the Senate and refract media attention from their own conflicts of interest. (In his own right, Temer would be accused of corruption by Brazil’s Attorney General in 2017; Cunha himself had already been indicted for laundering millions for personal gain in concert with Petrobras, the country’s semi-public oil powerhouse, and would be imprisoned the same year.) Among the politicians who came out against Rousseff was Brazil’s current president Jair Bolsonaro, who dedicated his vote to Carlos Brilhante Ustra, the dictatorship-era colonel who supervised the unit where Rousseff had been imprisoned and tortured.

A veteran documentarian with a keen eye for the machinations of law, Maria Augusta Ramos embedded herself within Rousseff’s legal team to capture her country’s still-young democratic institutions shaken daily by obstructionism and revanchism. Was the Truth and Reconciliation process a sham? Did Rousseff really have the following she claimed among feminists? Would it all have been different if her reelection in 2014 hadn’t been contested by her enemies? How did anti-corruption become the focus of right-wing populists? Assembled from 450 hours of material shot during the impeachment proceedings, THE TRIAL is a dizzying, Kafkaesque and nailbiting portrayal of power politics by any means necessary.

“Undermining the power of democratic institutions—that’s what Trump is trying to do now. In Brazil, when you impeach a president who hasn’t committed a crime, that is unconstitutional. You make this process appear pseudolegitimate when it is in fact a farce playing out in a theater of politics. The trial was a sham that has caused a certain crisis of legitimacy. They weakened democratic institutions in ways that have had unintended consequences; to eliminate an opponent, they undermined the very institutions that were legitimizing them. The recent elections in Brazil are a sign of how these institutions have stopped working. When they talk about upholding the Constitution . . . it’s empty performance. It’s an emotional, sensationalist gesture that feeds a nationalist and pseudopatriotic feeling, which is fascist. The trial was not about justice, it was not a search for truth. It was designed to make everything confusing and distorted. It’s just a downright lie. It’s exactly what Bolsonaro does, it’s what Trump does.” – Maria Augusta Ramos, interviewed by Nilo Couret in Film Quarterly

“Remarkable. Riveting. A crucial record of the travesty behind the impeachment hearings of Brazilian President Dilma Rousseff.”Variety

“THE TRIAL is horrifyingly prescient. It is a film about power, corruption and reality, one that captures the atmosphere of unease and chaos that seems to dominate our 24/7 news cycle…. Ramos, who mentions the traditions of Dutch documentary filmmaking as a major influence, similarly draws on the works some of the great Dutch painters. There’s the casual grandeur of Rembrandt, the focused order of Vermeer and the chaotic lines of Van Gogh in her work… The Trial is a perfect articulation for the current political climate around the world.”Little White Lies

“Under a veneer of legality and constitutionality, the process was one of bribery, blackmail and violence. Car Wash (Lava Jato), the biggest anti-corruption operation in history, somehow brought the country’s most corrupt individuals to power, as did its blueprint, Operation Clean Hands (Mani Pulite) in 1990s Italy… [THE TRIAL] manages to convey that despite Dilma not being implicated or charged in Lava Jato, it provided a pretext for her impeachment as if she was. Enabled by Rousseff-endorsed changes to the law intended to facilitate the pursuit of corruption, Lava Jato in turn damaged the economy so sharply that it provided another pretext, with the exacerbated recession and resulting unemployment used as auxiliary by supporters and corporate PR whenever doubt was cast upon the impeachment case itself.” Brasil Wire

studied documentary film in Amsterdam and has been a guest at festivals worldwide since the start of her career. Her films have received multiple awards. Her film Justice (2004) won the Grand Prix at the Swiss festival Visions du Réel and the Amnesty Award at CPH:DOX in Copenhagen, among other prizes. In 2007, her film Behave premiered at the Locarno Film Festival and was honoured with the FIPRESCI Award at DOK Leipzig and the Grand Prix at One World Int. Doc Festival in Prague. Her most recent film The Trial celebrated its world premiere in Panorama at the 2018 Berlinale, and also received the Grand Prix at Visions du Réel, Best Film at DocumentaMadrid, Best film by the Silvestre jury and the Audience Award at IndieLisboa and Best film at Buenos Aires Int. Doc Festival. In 2013, the Helsinki Foundation for Human Rights honoured Maria Ramos with the Marek Nowicki Prize for her examination of the subject human rights in film.

Special thanks to Grasshopper Film and Rodrigo Brandão (The Intercept).


WEDNESDAY, JULY 17th – 7:30 PM


dir. Creative Media Productions, 2000.
48 min. United States.
In English.

“From the suburban bleakness of Bakersfield, South California, KoRn have emerged as kings of Nu-metal. The opposition has been blown away with anger and angst-ridden blasts of down turned hip-core. KoRn are the voice of America’s angry young. The American dream has come of age, but it’s turned belly up and now lies bloated on a stagnant pool of lost ideals in this grisly nightmare. KoRn have given the finger to those who said rock and roll was dead. R U Ready?

Powered by the seven stringed sound monsters Munky and Head, and backed by skin pounder David Silvera’s hip hop ravaged beats, KoRn are driven to the rock’s very edge. The percussion power of Fieldy’s bass and Jonathan Davis’ twisted lyrics probe life’s scar tissue and put a finger in the wound.

This uncensored, unauthorized program is a slammin’ six pak of a biography which tells the KoRn story like it is. They have many imitators, but still they are Kings!”description from back of VHS

“Korn: R-U Ready contains exclusive footage as well as original music by Jshaw and Scat.” – Rxtten Txmatxes

Various reviews from Amazxn.cxm –

“I am a HUGE KoRn fan, so you can only imagine how POed I was when I saw this. The video doesn’t even have the band, except for one part, which is 1/2 a mile away from the band. Plus, the host tries to be tough and cool by cursing, but he ends looking like a total jack-ass. I would only recommend this to the most die-hard KoRn fan who wants everything, and I mean EVERYTHING, anyone else should just leave this DVD on the shelves and boycott it.” – Pete

“This unauthorized dvd has NO band footage, NO interviews with the band and NOT ONE video. It was all interviews with fans and clips of people outside shows. I found it to be choppy, repititive and pieced together like a jigsaw puzzle. It is as if someone had clips of korn and put it together themselves.” – Daniel J. Hagerman

“Honestly guys, all this DVD is, is some punk trying to swear as much as he can cuz he’s trying to be cool, as soon as the DVD starts the guy is standing there screaming ‘ARE YOU READY? I SAID ARE YOU READY?’” – Matt

“I tell you, this video is a disgrace to the koRn name.” – wc

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.


FRIDAY, JULY 20 – 7:30 PM:
with No Evil Eye creators Rooney Elmi and Ingrid Raphael in person for Q&A with Nuotama Bodomo and Sahal Hassan (THIS EVENT IS $10)

MONDAY, JULY 22 – 7:30 PM


Frustrated by the lack of multicultural, leftist film spaces in Central Ohio, local political organizers and ‘zinesters Rooney Elmi and Ingrid Raphael decided to co-create NO EVIL EYE, a radical micro-cinema that aims to redefine the creative and social parameters of non-metropolitan film scenes. By curating an eclectic mix of films from up-and-coming and emerging filmmakers with a mission to represent their respective audiences and build a healthy counterculture.

No Evil Eye’s inaugural film program, Sequence 01, explores the theme of diasporic reckoning through landscapes, legacy, and memory. This curated edition forms a lyrical mediation on race, class, and migration that mirrors the growing immigrant community and changing landscape in New York City

NEE is actively spearheading a physical space that fosters the union between the personal and the political with the great hope of igniting a radical imagination around the moving image by promoting a realistic yet utopian vision of cinema as a space of socio-political possibilities.

dir. Sahal Hassan, 2018
4 mins.

A meditation on public space and public memory in the shadow of chattel slavery.

dir. Natasha Woods, 2018
11 mins.

Tracing a mother’s journey from Brazil to Iowa for a better life analogous to the makers’ return to Iowa after leaving for more opportunity. A documented attempt to understand relationships of personhood, memory, life, and death.

dir. Miko Revereza, 2017
5 mins.

The insecurities and pent-up emotions of an Filipino immigrant in the USA give way to political ruminations and critical commentaries on the colonization of the mind by the American Dream.

dir. Claudia Owusu, 2018
3 mins.

A reflection on what’s like for the immigrant to finally return home, the weight of a dual identity, and lastly, how home receives the immigrant’s return.

dir. Weeda Azim, 2016
2 mins.

A long-distance telephone call from Canada to Afghanistan remedies misplaced cultural nostalgia and soothes the pain of war in this avant-garde short.

dir. Rosine Mbakam, 2017
20 mins.

In our only narrative short of the program, Cameroonian-Belgian filmmaker, Rosine Mbakam profiles an African woman, played by Bwanga Pilipili, facing a grueling interrogation at a European airport.

dir. Nuotama Bodomo, 2014
14 mins.

Zambians try to make it to the moon in the 1960s.

Design by Sarah Z. Mamo / Concept by No Evil Eye. 

BURNING FRAME: A Monthly Anarchist Film Series

Acts and Intermissions
Abigail Child, 2016
58 mins, USA

TUESDAY, JULY 23 – 7:30 PM

“Never so relevant as now: a history of protest for fair wages, free speech and birth control. In the early 20th century, Emma Goldman was viewed as the Most Dangerous Woman Alive and her legacy continues. She believed in the anarchistic ideal of individualism and ultimately, non-violence, yet she also felt beauty, art, fun itself, were part of the freedoms for which she was fighting. This conflict between revolutionary purity and personal freedom underlines the continuing conflict between law and justice, and foregrounds Goldman’s strong feminist stance. Blending archive, contemporary observational views, re-enactment and text, the overlapping of present and past events expand narrative dimensions. ACTS & INTERMISSIONS looks at core issues of our times, inequalities most starkly in play in the past but that don’t go away in the present. Whereas the despots of the 20th century wore uniforms, the despots of the 21st wear suits.”

Poster by Ian Thomas!


dir. Various. 78 minutes.

TUESDAY, JULY 30 – 7:30 PM w/Chicagoland programmer Raul Benitez in person for Q&A!
(This event is $10.)


Established in 2015, Chicagoland Shorts is Full Spectrum Features’ annual touring short film collection that highlights the incredible diversity of The Windy City and its surrounding communities. Featuring the best of women, people of color, and LGBTQ+ filmmakers, this traveling anthology has screened across Cook County and nationally from Seattle to New York. The artists in our collections are diverse, prolific, genre-bending, and quintessentially Chicago.

The fifth volume of Full Spectrum Features’ Chicagoland Shorts anthology offers a look into different worlds, with films spanning genres of narrative, experimental, and docu-fantasy, the collection will take you from an 8-year-old’s nightmares to the last remaining freed slave settlement. Artists in our collection include a Sundance Documentary Fellow, a Fulbright-García Robles Foundation Award recipient, and a Cannes award-winning director.

dir. Ashley Thompson
16 mins.

Two estranged sisters return to the suburbs of Chicago ten months after their father’s sudden death to clean out their childhood home.

dir. Marisa Tolomeo. 5 mins.

Hannah narrates her nightmares, while her family argues on who’s to blame for her creepy internet searches.

dir. Jennifer Boles. 9 mins.

An immersive archival film about the limits of visual knowledge and the webs of power and violence behind our desires to see, contain, and consume the ocean.

dir. Jiayi Chen & Cameron Worden. 3 mins.

A trip to Florida spurs taxonomical speculation.

dir. Meredeith Leich. 7 mins.

A surreal exploration of a melting glacier in Peru and an altered future in Chicago, weaving together 3D animation, satellite imagery, archival NASA footage, and speculative math about climate and snow.

dir. Lonnie Edwards. 12 mins.

Told through live performance, dance and spoken word, Exodus looks into how the Great Migration gave birth to many artists that influenced and empowered black culture.

dir. Sebastián Pinzón Silva. 25 mins.

Guided by motifs of life and death, PALENQUE is an ode to a small town that has greatly contributed to the collective memory of Colombia: San Basilio de Palenque, the first town in the Americas to have broken free from European domination.

Chicagoland Shorts Vol. 5 was curated by Raul Benitez (Comfort Station), Emily Eddy (Onion City) and Melika Bass (Creature Companion) and includes the latest films by acclaimed local filmmakers as well as debut works by emerging voices.

Full Spectrum Features is a Chicago-based 501(c)(3) nonprofitorganization committed to increasing diversity in themedia arts by producing, exhibiting, and supporting the work of women, LGBTQ, and minority filmmakers.


dir. Matthew Thurber, 2019
75 mins. United States.

SATURDAY, JULY 27 – 7:30 PM w/Matthew Thurber in person for Q&A
(This event is $10.)


Shot on 16mm film, Matthew Thurber’s FLEEGIX is a science-fiction film set on Earth, although some of the population have become convinced that they are in fact living on the planet Mars. The film investigates the nature of belief systems which overlap, co-exist, and create conflict in any human society. Its subject is the nature of reality. It takes place in a recognizable world of parks, parking lots, gas stations and video stores, which makes the episodes stranger and more tangible. It does not create a fantasy world: the extraordinary is mapped onto a recognizable landscape.

The film is inspired by and loosely adapted from on a Y/A novel by Daniel Pinkwater and Alan Mendelsohn called The Boy From Mars, in which alienated high school students Leonard and Alan escape boredom through developing telepathic powers and learn to travel to other dimensions overlapping their own. Matthew Thurber received permission from the authors to make a film that is a creative interpretation of their book.

FLEEGIX includes both live action, stop motion and hand drawn animated segments. The appearance of animation in the narrative is to illustrate propaganda, such as depictions of newsworthy events on Mars. This film is an organism that grows and continues to develop a web of connected motifs and ideas. FLEEGIX is constructed through the accumulation of short scenes that echo and lead into each other, making connections across time and space. It is a a “Fairy story” whose construction resembles a role-playing game, rather than a simulation of standard motion picture narrative. At the heart of the film is the question as to how Fleegix, a beverage enjoyed by Martians, is manufactured. The film details further conflict among New York Martians who express themselves in animated movement, and the Hand Shadow Punks of Baltimore, who represent a pre-cinematic faction. The film proposes various absurd answers to this question, and the dispute takes on symbolic and mythological proportions.

MATTHEW THURBER‘s unpredictable practice has included: Mining the Moon, a full length musical play; Moon Tube, a week of movies each made in a single day; an olfactory performance, dressed as a giant nose; Mouse Maze, a mosaic labyrinth installed in an elementary school; Terpinwoe, choreographed noise dance about a carrot-based economy; an interactive novel employing Handwriting Analysis. As Ambergris and in other ensembles he has performed at the Serpentine Gallery in London, the Hammer Museum, the Fumetto Festival, Abrons Art Center, and in an eyeglass store. He co-founded Tomato House, an art gallery in operation from 2012-2015, with Rebecca Bird. Finally he is the author of 1-800-MICE, INFOMANIACS, and Art Comic.

Thurber resides in Baltimore, MD where he is working on animated and live action film projects, illustration, and comics. He is the operator of Mrs. William Horsley, a mobile theater devoted to creating works of narrative experimentation and scientific investigation using puppetry. Thurber curates the Sweet16 Cinema Club, a film series dedicated to watching films on film.


SATURDAY, JULY 13th – 7:30 PM w/discussion moderated by Sadie Benning & 10PM w/discussion moderated by Owen Kline
(These screenings are $10.)


Spectacle is pleased to invite Uruguayan-born, NYC-based filmmaker and musician  Juan Wauters to the space for a one-night-only screening of recent short-form video works. ROMANE, JUIN 2016 builds a video portrait of the titular Romane, a 19-year-old postal service worker, living in a small village in France as she goes through her daily chores. BOLERO URUGUAY, DIC 2017 is a montage of images collected in Wauters’ homeland set to the tune of Maurice Ravel’s classic orchestral piece “Bolero”. Both videos portray life at its own pace; driven by curiosity, Wauters’ camera stares at people living their lives.

Having spent years in Jackson Heights, quotidian observation of people in their day-to-day environments has become central to Wauters’ life and artistic practice. This will be the first public screening of Wauters’ short films (which will include a few extra surprises) in New York, and Wauters will be in attendance for a discussion following the films.

Programmed in collaboration with Steve Holmgren and David Powell Steine. Special thanks to Captured Tracks, and Ivonne Sheen for Spanish translation.

SADIE BENNING is an American artist based in Brooklyn, New York. Benning’s work has been exhibited internationally since 1990. Over the last three decades, Benning’s work has taken the form of video, music, and more recently mixed-media works that trouble the distinctions between painting, photography, drawing and sculpture.

OWEN KLINE is a New York based film maker and cinema connoisseur. He is an actor, writer and director, known for THE SQUID AND THE WHALE (2005) and FOWL PLAY (2013), the later featuring Juan Wauters. Kline is currently in the final stages of completing his new film, TWO AGAINST NATURE.

JUAN WAUTERS has covered a lot of ground in the past few years, both artistically and geographically. The New York-based, Latin-American artist has been traveling Latin America extensively, taking time to pause and rethink his life, his art and his career after releasing two critically acclaimed albums on Captured Tracks: 2014’s N.A.P.: North American Poetry and 2015’s Who Me? Wauters originally planned to record his next album while traveling, seeking a break from his life in New York City, the city he has called home since moving from Montevideo in 2002. He settled in Mexico City in 2017 to focus on writing. However, shortly after, he was offered a role in an independent film being shot in Argentina. Never one to turn down a creative opportunity, Wauters packed up his 100 pound mobile recording studio into two suitcases and took off to Buenos Aires. When filming was complete, Wauters wound up writing and recording all over Latin America — from Argentina, Uruguay, Peru, and Chile to Mexico and Puerto Rico — seeking collaboration at every stop with local musicians who embody the traditions and energies specific to each region.

Puerto Rico was one of his first destinations. At a restaurant on the way to Charco Azul in Guavate – a natural swimming hole – Wauters heard a duo playing boleros, music he has been familiar with since his early childhood, but had never experienced in its original context. Those boleros would inspire the repeating melody that makes up the infectious love song, “Guapa.” Later, Mexico City was to become the home of “A Volar,” a beautiful, buoyant track about dreaming wildly that features multiple musicians that Wauters met in Garibaldi, a popular square in Mexico City where musicians for hire gather. Later, he would trek to Buenos Aires, Santiago and Montevideo, creating music and incorporating local traditions into his idiosyncratic, captivating yarns.

Until this point in his career, most of his songs had been sung in English, but revisiting his Latin roots inspired him to record songs in his native tongue. Thus, Wauters gives us the wonderful La Onda de Juan Pablo, the world of Juan Pablo Wauters. Wauters now calls Far Rockaway home, when he is not on the road making music or movies.

Juan Wauters: la vida a través de los ojos de Juan

SÁBADO, 13 DE JULIO – 7:30 pm con discusión moderada por Sadie Benning & 10PM con discusión moderada por Owen Kline
(Estas proyecciones cuestan $10).

Spectacle se complace en invitar al cineasta y músico uruguayo, establecido en la Ciudad de Nueva York, Juan Wauters, para una única proyección de sus últimos trabajos en video de formato corto .

ROMANE, JUIN 2016 – construye un retrato en video de Romane, una trabajadora de 19 años de edad del servicio postal, quien vive en un pequeño pueblo de Francia mientras realiza sus tareas diarias.

BOLERO URUGUAY, DIC 2017 es un montaje de imágenes recopiladas en la tierra natal de Wauters, acompañadas de la melodía de la clásica pieza orquestal “Bolero” de Maurice Ravel. Ambos videos retratan la vida a su propio ritmo; conducido por la curiosidad, la cámara de Wauters mira a las personas que viven sus vidas.

El haber pasado años en Jackson Heights y la observación cotidiana de personas en sus entornos cotidianos, se han convertido en un aspecto central de la vida y la práctica artística de Wauters. Esta será la primera proyección pública de los cortometrajes de Wauters en Nueva York, y Wauters estará presente para una discusión posterior a las películas.

Programado en colaboración con Steve Holmgren y David Powell Steine. Agradecimientos especiales a Captured Tracks.

SADIE BENNING es una artista estadounidense que vive en Brooklyn, Nueva York. El trabajo de Benning ha sido exhibido internacionalmente desde 1990. Durante las últimas tres décadas, el trabajo de Benning ha tomado la forma de video, música y, más recientemente, trabajos en medios mixtos que complican las distinciones entre pintura, fotografía, dibujo y escultura.

OWEN KLINE es un cineasta y conocedor del cine con sede en Nueva York. Es un actor, escritor y director, conocido por THE SQUID AND WHALE (2005) y FOWL PLAY (2013), el último con la participación de Juan Wauters. Kline se encuentra actualmente en las etapas finales de completar su nueva película, TWO AGAINST NATURE.

JUAN WAUTERS ha cubierto mucho territorio en los últimos años, tanto artística como geográficamente. El artista latinoamericano con base en Nueva York ha viajado extensivamente por América Latina, tomándose su tiempo para pausar y reconsiderar su vida después de lanzar dos álbumes aclamados por la crítica en Captured Tracks: 2014’s N.A.P.: North American Poetry and 2015’s Who Me? Wauters originalmente planeó grabar su próximo álbum mientras viajaba por la ciudad de Nueva York, la ciudad a la que llama su hogar después de mudarse de Montevideo en 2002. Se estableció en la Ciudad de México en 2017, para concentrarse en la escritura. Sin embargo, poco después, se le ofreció un papel en una película independiente que se filmó en Argentina. No pudo rechazar una oportunidad creativa, así Wauters empacó su estudio móvil de 100 libras en dos maletas y se fue a Buenos Aires. Cuando el rodaje terminó, Wauters continuó escribiendo y grabando a lo largo de Latinoamérica — desde Argentina, Uruguay, Perú y Chile hasta México y Puerto Rico — buscando en cada parada, colaboración con músicos locales que encarnan las tradiciones y la energía específica de cada región.

Puerto Rico fue uno de sus primeros destinos. En un restaurante de camino al Charco Azul en Guavate — un agujero natural para nadar — Wauters escuchó a un dúo tocando boleros, música con la que está familiarizado desde su infancia, pero que nunca había experimentado en su contexto original. Esos boleros inspirarían la melodía repetitiva que conforma la canción de amor infecciosa, “Guapa”. Más tarde, la Ciudad de México se convertirá en el hogar de “A Volar”, una pista hermosa y boyante, sobre soñar salvajemente, la cual cuenta con la participación de múltiples músicos que Wuaters conoció en Garibaldi, una plaza popular en la Ciudad de México donde se reúnen músicos de contrato. Luego, viajaría a Buenos Aires, Santiago y Montevideo, creando música e incorporando las tradiciones locales en sus idiosincrásicas y cautivadoras creaciones.

Hasta este punto en su carrera, la mayoría de sus canciones se interpretaron en inglés, pero el revisitar sus raíces latinas, lo inspiró para grabar canciones en su lengua materna. Así, Wauters nos regala la maravillosa La Onda de Juan Pablo, el mundo de Juan Pablo Wauters. Wauters ahora llama a Far Rockaway su hogar, cuando no está haciendo música o películas en el camino.


Dir. Bert L. Dragin, 1988
USA, 86 min



After the Leave-it-to-Beaver-esque Cates family inherits the old mansion of a deranged stage actor from a dead uncle, they happily decide to pack up and move, sight unseen. Upon arrival they find a gang of street-punks squatting at the deserted (and possibly haunted) house, and they don’t want to leave.

Tonally all over the place, TWICE DEAD ping-pongs from slapstick comedy to gross-out horror to unrequited teen-romance and back again. Features a chase scene with a hearse, exploding mirrors, suicide by cop, and at least one mid-orgasm death by electrocution.


“It’s hard being a human, but being a common person in China is even more difficult.” – UP THE YANGTZE

Who gets left behind in the name of progress? In these two documentaries, low-income people struggle to stay afloat in the midst of China’s rapid economic growth and bold technological endeavors. In STREET LIFE, director Zhao Dayong offers a vérité portrait of migrants from rural China living in Shanghai who occupy Nanjing Street, an upscale shopping district, collecting and selling recyclables. In UP THE YANGTZE, directed by Yung Chang, a teenaged girl whose home will soon be flooded by the impending Three Gorges Dam finds herself working on a cruise ship offering tours of the river that will soon swallow all she knows. With these two films, the directors offer portraits of people who have no other option but to make way for progress- to bend to its will and hope that the future will be kinder.

Dir. Zhao Dayong, 2006
China, 98 mins.
In Mandarin with English subtitles.

MONDAY, JULY 1 – 7:30 PM
SUNDAY, JULY 21 – 7:30 PM


“I just wanna cry. So what!”

Zhao Dayong’s first nonfiction film is a colorful and honest portrait of a group of migrants who live and work on Nanjing Road, an upscale shopping district in Shanghai, collecting and selling recyclables. There’s “Big Fatty,” the wise fool who sings poems and rhymes referencing Chinese literature and politics; Ah Qiao, the dishonest entrepreneur who purchases cans off the other migrants; and “Black Skin”- the anti-hero of the story, whose innocence and hard-working nature leaves him susceptible to attack. After Ah Qiao betrays him, Black Skin spirals into apathy and insanity.

“These beggars and litter-collectors exist as invisible and forgotten shadows of Shanghai, moving in a sort of parallel reality but strictly linked to the same boom that excites the city. It is just the other side of the capitalist coin, the extreme poverty of the periphery juxtaposed with the growing wealth of the center, adopting the same capitalist strategies for surviving in a dramatic, grotesque fashion.” – Sara Beretta, “A Mad Dance on Shanghai Streets: Zhao Dayong’s Street Life”

After graduating from China’s Lu Xun Art Academy in 1992, Zhao Dayong worked for a number of years as a professional artist and advertising director, first in Beijing and later in Guangzhou. In 1997, he founded Guangzhou Dake, a design company. He was also founding editor of Culture & Morals, a now deceased journal for the contemporary arts in China. Zhao began exploring the medium of digital video in 2002. His first documentary film, STREET LIFE, premiered at Austria’s Viennale in October 2006. Zhao’s second documentary film, GHOST TOWN, a collage of stories that take place in the former government seat of Zhiziluo in remote northwestern Yunnan province, premiered at the New York Film Festival in 2009. His first fiction feature, THE HIGH LIFE, premiered at the Hong Kong International Film Festival in 2010, winning both the FIPRESCI Award and the Silver Digital Award. THE HIGH LIFE made its European premiere in the main competition at the Mannheim-Heidelberg International Film Festival in November 2010, where it won both the Werner Fassbinder Prize and the FIPRESCI Jury Prize.

Dir. Yung Chang, 2008
China, 94 mins.
In Mandarin with English subtitles.

SUNDAY, JULY 14 – 7:30 PM


“Everywhere there are reminders of progress and sacrifice.”

The Three Gorges Dam, the largest power station in the world in terms of installed capacity, spans the Yangtze River, the largest and most revered river in Asia. It’s named for the three gorges it flooded, the Qutang, Wu Xia, and Xiling, which stretch for 124 miles and were renowned for their scenic beauty. Reportedly 1.3 million people (and up to 2 million) living in 1,500 cities, towns, and villages along the river were displaced as a result of its implementation.

In 2007, before the waters rose completely, 16 year old Yu Shui sets off from her impoverished family and their riverside home to work on a Yangtze river cruise called Farewell Cruises, offering a final glimpse of the Yangtze to wealthy tourists before the waters rise. Her parents, illiterate farmers, are saddened by having to send their daughter off to work instead of allowing her to continue her studies. Yu Shui suddenly has a new English name, Cindy, and is thrust into a whole new world where she must cater to wealthy foreigners on their vacations. Along with Yu Shui is Chen Bo Yu, or “Jerry,” an only child from a middle-class family who, with far less to lose, takes his job far less seriously. As Yu Shui struggles to navigate the modern world, her family seeks higher ground.

“It’s a tender and profound portrait of unwieldy, mass-scale modernization at work, a process multifaceted enough to include Yu Shui’s dawning optimism, Chen Bo Yu’s dispiriting setbacks, and a cheery tourist rendition of “My Bonnie Lies Over the Ocean” that also serves as a lament for tradition’s demise.” -Nick Schager, Slant

Yung Chang is the director of UP THE YANGTZE (沿江而上), CHINA HEAVYWEIGHT (千錘百鍊), and THE FRUIT HUNTERS. He is currently completing a screenplay for his first dramatic feature, Eggplant (茄子), and in post-production for a feature documentary about Robert Fisk, the controversial Middle East correspondent, co-produced by the National Film Board of Canada. His latest, Gatekeeper, is on the festival circuit and streaming on Field of Vision, Laura Poitras’ curated online film unit. Chang is the recipient of the Don Haig Award, the Yolande and Pierre Perrault Award, and the Guggenheim Emerging Artist Award. He is a member of the Directors Guild of Canada. In 2013, he was invited to become a member of the Academy of Motion Picture Arts and Sciences, the organization behind the Academy Awards / Oscars®.