Category: Uncategorized

100 YEARS OF JAPANESE ANIMATION

SATURDAY, JUNE 17th – 5:00 PM – FREE!
SATURDAY, JUNE 24th – 5:00 PM – FREE!

2017 marks a significant year for Japanese animated films, which were first publicly screened in the Land of the Rising Sun 100 years ago. This two-night only program celebrates the centennial of the anime industry with a hand-picked selection of rare shorts produced between 1917 and 1935 by pioneers such as Jun’ichi Kōuchi, Noburō Ōfuji and Sanae Yamamoto. Not many films survive from this period, as the 1923 Great Kanto Earthquake and WWII bombings destroyed numerous animation studios and theaters. But the surviving records boast an array of innovative techniques and styles, executed for entertainment, educational, and political purposes, and they laid the foundation for anime as we know it today. Curated and presented by Claire Voon.

BUMMING IN BEIJING

BUMMING IN BEIJING
( 流浪北京)
dir. Wu Wenguang, 1990
70 minutes.
In Mandarin with English subtitles.

WEDNESDAY, JUNE 21st – 7:30 PM – ONE NIGHT ONLY!

Introduced by Time Out Beijing Film Editor Aaron Fox-Lerner.

In 1990, Chinese documentaries were almost exclusively stodgy, didactic talking head affairs broadcast on state-run media. Then Wu Wenguang’s BUMMING IN BEIJING came out, kicking off an entire independent documentary scene in the country. Shot directly before and after the Tiananmen Square Massacre on cameras taken from a government TV station, BUMMING IN BEIJING follows five broke bohemians (including future art stars like Zhang Dali, long before they found fame) in grimy late 80s Beijing. Shot in a vérité style that would soon be adopted by a new generation of filmmakers, the movie includes an onscreen mental breakdown, a time-capsule view of the emergence of the country’s avant-garde, and proof that the hippest place in China used to be KFC.

“The prolonged moments of near silence in BUMMING IN BEIJING produce the aesthetic effect of outlasting the remembered roar of government tanks.” – Ernest Larsen, Art In America

Aaron Fox-Lerner is the Film editor for Time Out Beijing and Shanghai. His writing has appeared in The Los Angeles Review of Books, The PuritanBound Off, Indie Wire, and other publications.

SANTIAGO MITRE’S PAULINA


PAULINA
Santiago Mitre, 2015
Argentina/Brazil/France, 103 min.

NEW YORK THEATRICAL RELEASE

FRIDAY, JUNE 23 – 7:30 PM
SATURDAY, JUNE 24 – 10 PM
SUNDAY, JUNE 25 – 7:30 PM
MONDAY, JUNE 26 – 10 PM
TUESDAY, JUNE 27 – 7:30 PM
WEDNESDAY, JUNE 28 – 10 PM
THURSDAY, JUNE 29 – 7:30 PM

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Santiago Mitre’s PAULINA (an update of Daniel Tinayre’s La Patota) tells the story of a bright lawyer (Paulina, played by Dolores Fonzi) who leaves a promising career in the shadow of her politically-powerful father to work as a schoolteacher in a marginalized village in Argentina’s Northeast, on the border with Paraguay and Brazil.

After leaving Buenos Aires behind and moving to a rural area, it becomes clear to Paulina that her work is going to be challenging; she speaks no Guaraní and her teenage students artfully parry her attempts to lift them into political consciousness.

These uneasy encounters and subtly observed civics lessons echo disturbingly in the aftermath of a violent sexual assault by a group of young men. Paulina’s decisions in its wake, portrayed without judgment by Fonzi, mercilessly test her relationships and core beliefs.

Special thanks to Cinema Slate.

 

MISSING 🙈 LINKS

This Summer, in conjunction with Anthology Film Archives’ SIMIAN VÉRITÉ series across the water, Spectacle goes bananas with a selection of C-sides from the eternal struggle between primate and man – culminating in a shocker of a midnight that must be seen to be believed. This is MISSING LINKS: the high-chimpact series you didn’t know you needed.


SHAKMA
aka TERROR IN THE TOWER
dir. Tom Logan / Hugh Parks, 1990.
USA/UK, 101 min.

MONDAY, JUNE 5 – 10 PM
FRIDAY, JUNE 9 – 10 PM
WEDNESDAY, JUNE 14 – 10 PM
TUESDAY, JUNE 20 – 10 PM

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“The world’s most aggressive primate just got mad!”

What better time than 10pm on a weeknight for a failed experiment? Moments after using a power drill to graft a microchip onto a baboon’s heart, it’s Friday – and so a plucky group of horny and misguided researchers decide to go after-hours LARPing in the lab. Trouble is, the baboon has been flooded with steroidal enyzmes, and he’s out for revenge. Leading a sundry cast of lowercase-E expendables, Roddy McDowell lends simian blessings to a gruesome and hardheaded terror-jaunt equal parts “man vs. nature” and haunted house. But the real star is the indestructible SHAKMA, played by a small co mpany of real (and presumably authentically angry) baboons. Take it from us: this is one you do not want to miss.


O TRAPALHAO NO PLANATO DOS MACACOS
(aka BRAZILIAN PLANET OF THE APES)
Dir. J.B. Tanko, 1976
84 minutes. Brazil.
In Portuguese with English subtitles.

MONDAY, JUNE 5 – 7:30 PM
TUESDAY, JUNE 13 – 10 PM
FRIDAY, JUNE 16 – 7:30 PM
MONDAY, JUNE 19 – 10 PM
FRIDAY, JUNE 30 – 7:30 PM

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The title of this film translates to something like “the bumbling ones on the plateau of the apes”; indeed the film is but one of many in the 30+ title O TRAPALHAOES saga, which can be taken to mean “pranks”, “shenanigans” or “pratfalls” – in essence, anything that isn’t helping. Starring legendary Brazilian comedians Dedé Santana, Mussum and Didi Mocó, O TRAPALHAO NO PLANALTO DOS MACACOS’ is a surprisingly earnest (and indefatigably goofy) recreation of the original PLANET, wherein a band of idiot heroes end up “liberating” a simian populace that hates them – save for one comely philosopher-queen chimpanzee. (The old discourse about humanity’s true origins haunts PLANALTO just as intently as it does the priori APES movies.) The inevitable bloodbath that follows is leavened with low-budget tension, including over two dozen return-insert shots of the same clock strapped to a stick of dynamite during one ape leader’s speech, and a hidden bag of black pearls stowed near the hot air balloon our heroes need to return to Earth. (Or was it Earth all along?) Slather that over a sizzling psycho-novo soundtrack – replete with guitar loops that play against whole 20 minute set pieces – and trust us: you won’t want to miss this one.


A*P*E
Dir. Paul Leder, 1976
87 minutes. United States/South Korea.

TUESDAY, JUNE 20 – 7:30 PM
TUESDAY, JUNE 27 – 10 PM

THURSDAY, JUNE 29 – 10 PM

FIRST SCREENING WILL BE IN 2D.

GET YOUR TICKETS

Jack H. Harris also gave his impeccable imprimatur to this brain-breaking Korean KING KONG REMAKE cash-in (asterisks borrowed from M*A*S*H) about a 36 foot gorilla who goes berzerk on land after being forced to fall in love with Johanna Kerns (of GROWING PAINS fame.) Featuring spectacular battles with a great white shark and a mile-long serpent whose fiberglass just won’t quit, A*P*E* is the perfect refutation of the season’s fusillade of eyeball-flagellating pixel pumice. Thanks to our friends at Kino Lorber, Harris and Leder’s nonstop “How the hell does this actually exist?” viewing experience has been upgraded to three dimensions. Long before that pissed-off primate has flipped the bird to the nagging helicopter above (and thus, the audience ahead) you’ll be glad you believed us when we said: this is one of those you do not want to miss.


THE 🙊
dir. ????? ??????, 200?
93 minutes. USA.
In American English.

SATURDAY, JUNE 24 – MIDNITE – ONE NIGHT ONLY!

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A loyal customer recently began querying us as to the worst film ever shown at Spectacle; some said (redacted) or (redacted), while memories of (redacted) or (redacted) were never far from our minds. No dreck connoisseur should miss the groundbreaking mystery feature (redacted) slated for June 24th. Directed by a leading man who was hot off a supporting role in one of the then-biggest franchises of all time, (redacted) concerns a hairy walker who summons another into his life during a long, hot New York City summer. For the writer/director/star it’s a triple-threatening debut that collapses boundaries between inscrutable Dada and the scorching animus of an incoming decade’s worth of toxic masculinity bro-comedies. And for the viewer? Trust us – you do not want to miss this one-time-only screening event.

MUTE RECORDS PRESENTS: CAN – NIGHT

THURSDAY, JUNE 15
TWO SCREENINGS, ONE NIGHT ONLY – 7:30 PM and 10 PM

7:30 PM – CAN – THE DOCUMENTARY
10 PM – CAN – THE DOCUMENTARY *and* CAN – FREE CONCERT

GET YOUR TICKETS (PLEASE NOTE THE SCREENING TIME OPTIONS)

Spectacle Theater is pleased to collaborate with Mute Records in launching a new collection of all the single releases by the one and only CAN, titled CAN – THE SINGLES.

This unique document is the first time the singles have been presented together and shows the breadth of their influential career, from well loved tracks like “Halleluwah,” “Vitamin C,” and “I Want More,” to more obscure singles such as “Silent Night” and “Turtles Have Short Legs.”

We will celebrate the music and legacy of CAN with two screenings of the out-of-print CAN – THE DOCUMENTARY. The 10 PM screening of DOCUMENTARY will include a bonus screening of the legendary CAN – FREE CONCERT.

MUTE RECORDS will be hosting this special night, with copies of THE SINGLES available a day before official release. They’ll also have free CAN posters for giveaway.

From nearly the beginning of the theater, CAN has held a special place in our collective hearts and programming history – from an early series devoted to CAN’s soundtrack work, to the screening of Roland Klick’s DEADLOCK as part of our Museum of Art and Design takeover. You can read an interview with Irmin Schmidt by Spectacle programmer emeritus Jon Dieringer here.

CAN – THE DOCUMENTARY
dir. Rudi Dolezal & Hannes Rossacher, 1999.
UK/AT, 87 min.
In English and German with English subtitles.

CAN – FREE CONCERT

dir. Peter Przygodda, 1972.
DE, 52 min.

BOLDER THAN A WITCH’S TIT: CINEMA OF DAME DARCY


TUESDAY, JUNE 6 – 10 PM
WEDNESDAY, JUNE 7 – 7:30 PM
TUESDAY, JUNE 13 – 7:30 PM
MONDAY, JUNE 19 – 10 PM

GET YOUR TICKETS!

 
Though best known for neo-Victorian comic series Meat Cake (RIP), Dame Darcy is a multitalented jane-of-all-trades carving a niche in the realms of music, cabaret, witchcraft, and film, as well as the world of fine art. Her path to the silver screen began while studying at the San Francisco Art Institute in the early 90’s under the late George Kuchar, where Darcy began acting and creating films of her own. As the years progressed, Darcy swept up friends left and right cranking out shorts, serials, and even a variety show that aired on New York Public Access from 1996-1999. Frequent collaborators included Lisa Hammer, Rachel Amodeo, Lisa Barnstone, and Joel Shlemowitz.

Spectacle is pleased to present a collection motley as the Dame herself, featuring REST IN PEACE, APPLE BLOSSOMS, selections from TURN OF THE CENTURY, various odds, a few ends (and beginnings). Join us as we host this roving gang of friends and family throughout the month of June, and be sure to join us on the 19th when this program coincides and collides with Darcy’s birthday celebration!

 

REST IN PEACE
Dir. Rachel Amodeo, 1991
USA, 13 min.

APPLE BLOSSOMS
Dir. Lisa Barnstone, 2001
USA, 2 min.

TURN OF THE CENTURY (SELECTIONS)
Dir. Lisa Hammer, 1996-1999, USA.

DAME DARCY: A FILM PORTRAIT
Dir. Joel Schlemowitz, 2007, USA, 5 min.

RISQUE REVELRY
Dir. E. Steven Fried, 1996
USA, 3 min.

EXCERPT(S) FROM “78RPM”
Dir. Joel Schlemowitz, 2015
USA, 10 min.

DARK SKY FILMS PART TWO: JUNE

DEATHGASM
dir. Jason Lei Howden, 2015
86 min, New Zealand

WEDNESDAY, JUNE 7 – 10 PM
MONDAY, JUNE 12 – 10 PM
SUNDAY, JUNE 18 – 7:30 PM

GET YOUR TICKETS HERE!

High School is Hell! Metal-thrashing Brodie is an outcast in a sea of jocks and cheerleaders until he meets a kindred spirit in fellow metalhead Zakk. After starting their own band, Brodie and Zakk’s resentment of the suburban wasteland leads them to a mysterious piece of sheet music said to grant Ultimate Power to whoever plays it. But the music also summons an ancient evil entity known as Aeloth The Blind One, who threatens to tear apart existence itself. Their classmates and family become inhabited by demonic forces, tearing out their own eyes and turning into psychotic murderers… and this is only the beginning!

It’s up to Brodie, Zakk and their group of friends to stop a force of pure evil from devouring all of mankind. A blood-soaked and hilarious horror comedy, DEATHGASM features an amazing original soundtrack of fist-banging metal and practical effects to satisfy metalheads and splatter fans alike. DEATHGASM will gush bodily fluids, rain limbs and tickle your funny bone, before tearing it out and giving you a stiff beating with it.



WE ARE STILL HERE
dir. Ted Geoghegan, 2015
84 Min, USA


SUNDAY, JUNE 4 – 5 PM
FRIDAY, JUNE 9 – 7:30 PM
THURSDAY, JUNE 22 – 7:30 PM
MONDAY, JUNE 26 – 7:30 PM

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After their teenage son is killed in a car crash, Paul (Andrew Sensenig) and Anne (Barbara Crampton) move to the quiet New England countryside to try to start a new life for themselves. But the grieving couple unknowingly becomes the prey of a family of vengeful spirits that reside in their new home, and before long they discover that the seemingly peaceful town they’ve moved into is hiding a terrifyingly dark secret. Now they must find a way to overcome their sorrow and fight back against both the living and dead as the malicious ghosts threaten to pull their souls – and the soul of their lost son – into hell with them. Co-starring Larry Fessenden and Lisa Marie, writer-director Ted Geoghegan’s WE ARE STILL HERE is a tense, frightening, and thoroughly haunting modern ghost story.



STARRY EYES
dir. Kevin Kolsch & Dennis Widmyer, 2014
98 Min, USA

THURSDAY, JUNE 8 – 10 PM
MONDAY, JUNE 12 – 7:30 PM
SUNDAY, JUNE 18 – 5 PM
WEDNESDAY, JUNE 21 – 10 PM

GET YOUR TICKETS HERE!

Determined to make it as an actress in Hollywood, Sarah Walker spends her days working a dead-end job, enduring petty friendships and going on countless casting calls in hopes of catching her big break.

After a series of strange auditions, Sarah lands the leading role in a new film from a mysterious production company. But with this opportunity comes bizarre ramifications that will transform her both mentally and physically into something beautiful… and altogether terrifying.

From the producer of Cheap Thrills and Jodorowsky’s Dune, Dennis Widmyer & Kevin Kolsch’s STARRY EYES is an occult tale of ambition, possession, and the true cost of fame.

“If David Lynch and David Cronenberg came together to craft a gory, psychological mindbender, it might be Starry Eyes.” – Time

JUNE MIDNIGHTS

At the Goth Bodega, MIDNIGHT is a state of mind.


MUTANT WAR (aka: MUTANT MEN WANT PRETTY WOMEN)
dir. Bret Piper, 1988
92 min, USA

FRIDAY, JUNE 9 – MIDNIGHT
FRIDAY, JUNE 16 – MIDNIGHT

GET YOUR TICKETS!

Harry Trent (Matt Mitler) returns in the sequel to GALAXY DESTROYER that we threatened you with last month. After his defeat of the Pigmen (spoiler alert) the Earths remaining humans have accidentally rendered it a treacherous wasteland. Harry and his team rove the dangerous terrain doing “hero stuff” and eventually set out to free a cavalcade of enslaved humans from (if you can believe it) evil mutants. Midnight movie stalwart Cameron Mitchell (RAW FORCE, FRANKENSTEIN ISLAND, HOLLYWOOD COP) joins the cast this time around as Reinhart Rex. More melting heads, stop motion spacecraft, and tripped out visuals than you can shake a stick at. (No sticks allowed in the theater.)

Once again Pipers love of practical effects shines through in a film that could have potentially gone on to influence such snarky superhero fare as GUARDIANS OF THE GALAXY and the Fallout game series. Hard to say. One thing’s for certain, you don’t wanna miss this one.


ARE YOU NOT ENTERTAINED? A SUMMER SERIES

We know them by a few different terms: peplum films, sword and sandal films, neo-mythology historical epics. Call it what you will, the genre takes historical/mythological/biblical stories, fills them with as much cast-of-thousands epicness as they can afford for epic battle scenes and high melodrama. Mastered by the Italians, they’ve long been overlooked and ridiculed despite Hollywood aping this basic model every single summer. No more! Not on our watch! Behold in awe: ARE YOU NOT ENTERTAINED?

NEFERTITI, QUEEN OF THE NILE (Nefertite, regina del Nilo)
Dir. Fernando Cerchio
Italy, 1961

SATURDAY, JUNE 3 – MIDNIGHT
SATURDAY, JUNE 10 – 7:30 PM
THURSDAY JUNE 22 – 10 PM (“Midnight-light”)

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It all starts so simply: in ancient Egypt, Tumos the sculptor (the great Edmund Purdom! PIECES! THE FIFTH CORD!) is in love with priestess-to-be Tenet (Jeanne Crain of STATE FAIR and LEAVE HER TO HEAVEN). Simple, right? Not when high priest Bekanon is set on keeping them apart! Did I mention Bekanon is played by Vincent Price? VINCENT PRICE! Bekanon splits up the couple, throwing Tenet in prison and condemning Tumos, who flees to the desert to gather help and hear revelations of the future. Meanwhile, Bekanon tells Tenet that he’s…her FATHER, and so gives her the name by which history would know her…NEFERTITI, QUEEN OF THE NILE!

That’s just the start: from here we have double-crosses, prophecies, lion maulings, the destruction of false idols and, perhaps most importantly, plenty of sardonic Price monologues. Director Fernando Cerchio was well-prepared for this kind of historical spectacle, having directed CLEOPATRA’S DAUGHTER and GODDESS OF LOVE earlier, and all of his stars make the most of the larger-than-life drama. Sword and sandal fans expecting something like the Firesign Theatre’s HERCULES’ BIG ARMS might hope for two hours of swordfights, but while there’s action aplenty it’s much more of a historical epic.



PHANTASMAGORIA
Dir. Cosmotropia de Xam, 2017
70 min, Germany/Poland/USA (in English and German with English Subtitles)


SATURDAY, JUNE 10 – 10PM
SATURDAY, JUNE 17 – 7:30 PM (If your bedtime is 9, this is the MIDNIGHT for you!)
FRIDAY, JUNE 30 – MIDNIGHT

GET YOUR TICKETS!

US Radio KRAK reporter Diane Cooper travels to Europe to investigate strange occurrences with people becoming delusional in a small town. After mysterious encounters with a local girl, dreams and reality begin to melt into one.

From Cosmotropia de Xam, the enigmatic and brilliant creative force behind Mater Suspiria Vision and Phantasma Disques, comes Phantasmagoria, a gory, psychedelic tribute to 70s Euro-Horror, Underground and Art films, filmed at the original locations of David Lynch’s Inland Empire in Lodz, Poland.



ISLAND OF THE FISHMEN
aka SCREAMERS
aka SOMETHING WAITS IN THE DARK
aka L’ISOLA DEGLI UOMINI PESCE
dir. Sergio Martino, 1975
98 minutes. Italy.
In English.

FRIDAY, JUNE 23 – MIDNIGHT

“BE WARNED: You will see a man turned inside-out!”

We are thrilled to invite beloved Italian filmmaker Sergio Martino (of YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY, and HANDS OF STEEL) to Spectacle for a summertime screening of ISLAND OF THE FISHMEN (also known as SOMETHING WAITS IN THE DARK, and reedited/rereleased in the States as SCREAMERS): a tale-of-terror period piece concerning a shipful of swarthy convicts who break free and attempt to colonize a remote tropical island. Little do they realize, the atoll is overrun with the horrifying/nominal fishmen, victims of experimentation at the hands of a plummy Dr. Moreau type played by Joseph “CITIZEN KANE” Cotten. What ensues is a Lovecraftian sike-out as gnarly and ludicrous as it is astonishing to witness, chock with lush Atlantan locales, an impeccable ensemble of hang-wrung performances and dotted in an ensemble of rubbery aquatic murderers kept just out of frame until Martino’s shattering final 40 or so minutes. You already don’t want to miss this one!

TAMAGO NO FUKKATSU: A DREAM WHERE EGGS ARE SEEN

TENSHI NO TAMAGO (ANGEL’S EGG)
Dir. Mamoru Oshii
Japan, 1985. 71 min.

SATURDAY JUNE 3 – 7:30 PM AND 10 PM
ONE. NIGHT. ONLY. 

GET YOUR TICKETS HERE!

Mamoru Oshii’s opaque, allegorical masterpiece ANGEL’S EGG comes to Spectacle for one night only. This film will be showed in its entirety with a live score by Brooklyn drone outfit TELAH, whose Heaven’s Gate namesake points to another pocket of ill-fated religiosity.

A co-production by two anime legends given near-complete creative freedom, this languid, abyssal meditation on belief and doubt is their most personal work. Oshii (Ghost In The Shell, Urusei Yatsura) contemplated seminary school before focusing on writing; shortly before ANGEL’S EGG went into production, he lost his faith. Though he claims not to know what the film is about, its mournful tone and heavy use of Christian imagery reflect his personal crisis. Slowly unspooling with long takes and sparse dialogue, the film is carried by, and perfectly suits, the gorgeous imagery of co-writer Yoshitaka Amano (Vampire Hunter D, Final Fantasy series). His rich, florid work was flattened in other productions due to budget constraints, but here, amid blotchy watercolor skies and inked backgrounds, his hand is directly seen.

The story takes place in perpetual twilight. A man watches a mechanical sun descend onto a blasted landscape. A pale young girl leaves her observatory shelter, carefully guarding a large egg. Amid decaying baroque architecture crusted with Lovecraftian amphibians, the two meet. The man, possibly a soldier, wonders about the egg’s contents; she believes the egg contains something precious, he points out the egg will have to break for them to find out. They become uneasy companions wandering the shadowy city. Each might be a facet of the other, an unstable duality doomed to clash. In a rare burst of dialogue, the man tells a story of Noah’s dove that never returned to the ark. The uncertainty of the bird’s fate haunts him, and seems to haunt the entire city, as ghostly men attempt to catch enormous fish phantoms in the streets. The man’s curiosity and girl’s conviction about the egg increase, as both ask, and obliquely seek their answer to – ‘who are you?’

TELAH is a drone noise group consisting of musicians Matt Ortega, Jeff Widner, and Evan Gill Smith. Their music privileges tone and texture; it’s not quite science fiction, but not quite prayer either. More like staring at a thing you assume is a shrub in a place you assume is an ashram on a planet you assume isn’t the same planet you’ve always been on.

MATCH CUTS PRESENTS: CHARLES ATLAS & DOUGLAS DUNN

TUESDAY JUNE 6TH – 7:30 PM

ONE NIGHT ONLY

ATLAS AND DUNN IN PERSON

SOLD OUT

MATCH CUTS and Spectacle Theater present two works from the long-running collaboration between artist Charles Atlas and choreographer Douglas Dunn.

(photo of Douglas Dunn by Shelia O’Neal)

THE MYTH OF THE MODERN DANCE

dir. Charles Atlas, 1990.
USA, 26 min.

Collaborating with choreographer Douglas Dunn, Atlas uses anthropological text, satirical movement, and vividly colored chroma-keyed backgrounds in an episodic, often humorous look at the evolution of modern dance.

SECRET OF THE WATERFALL
dir. Charles Atlas, 1983.
USA, 29 min.

The confluence of words and movement propels this multi-layered collaboration by Atlas, choreographer Douglas Dunn, and poets Anne Waldman and Reed Bye. Dunn’s athletic choreography is performed to the rhythms, cadences, and associative meanings of the poets’ “cascade of words,” which function as music. Atlas introduces narrative references, ironically staging the dance in unexpected locations, including domestic interiors and vehicles. In a self-referential deconstruction that punctures the theatrical illusion, the poets are seen reading their texts and interacting as self-conscious performers within the dance. Atlas and his collaborators intersect the language of words with the language of the body.

Text courtesy of Electronic Arts Intermix.

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.

CHARLES ATLAS is one of the premier interpreters of dance, theater and performance on video. Working in film, video, installation, theater and performance for four decades, he has created works for screen, stage, gallery, and television. A pioneer in the development of media-dance, he transforms this genre into a provocative and ironic collusion of narrative and fictional modes with performance documentary. He has collaborated with international performers and choreographers, including Merce Cunningham, Michael Clark, Leigh Bowery, John Kelly, Karole Armitage and Bill Irwin.

DOUGLAS DUNN is an American postmodernist dancer and choreographer. He is considered a highly eclectic and minimalist postmodern choreographer, who uses humor, props, and text in his dances. In New York, Dunn began working with Yvonne Rainer and was a dancer with her company from 1968-1970. After completion of his studies with the Merce Cunningham studio, he was accepted into their professional company as a dancer from 1969-1973. In 1970 he became a member of the avant-garde improvisational group the The Grand Union until 1976. Dunn premiered his professional company, Douglas Dunn and Dancers, in 1976, where he served as artistic director. He was commissioned by various companies to choreograph works including the Paris Opera Ballet, Groupe de Recherche Choréographique de l’Opéra de Paris, Grande Ballet de Bordeaux, New Dance Ensemble of Minneapolis, Walker Art Center (Minneapolis), Repertory Dance Theater (Salt Lake City), Ballet Théâtre Francais de Nancy, Institute for Contemporary Art (Boston), Perth Institute of Contemporary Art (Australia), and Portland State University (Oregon).