Category: Uncategorized

MATCH CUTS: REMEMBERING INNINIMOWIN AND SEX SPIRIT STRENGTH

REMEMBERING INNINIMOWIN
dir. Jules Koostachin, 2010.
USA, 76 min.
English/Cree with English Subtitles.

Remembering Inninimowin is a two-year long documentary film project on the personal journey of a Cree woman, the documentarist, as she starts to remember her first language, Inninimowin (Cree).

SEX SPIRIT STRENGTH
dir. Courtney Montour, 2015.
USA, 40 min.

TICKETS HERE

SEX SPIRIT STRENGTH follows Michael and Jack, two young Indigenous men, as they shed the stigma and shame associated with their sexual health and gender identity. Michael, a former addict who lived a high-risk lifestyle that left him with permanent scars, hopes his activism work will discourage other young people from going down the same path. Jack, a transgender gay man, is committed to bringing pride back to two-spirit identity through education and activism.

Text courtesy of the filmmakers

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.

IMAGE SPEAK


IMAGE SPEAK

“The essay’s innermost formal law is heresy. Through violations of the orthodoxy of thought, something in the object becomes visible which is orthodoxy’s secret and objective aim to keep invisible.” – Theodor Adorno

Does the moving image become an illustration of text, or is text created in response to footage? What does a process look like in which the text and image are being developed simultaneously? IMAGE SPEAK celebrates the world of essay films in which little hierarchical delineation between text and the moving image exists. As Timothy Corrigan writes in The History Of The Essay Film (2017) these are works that “do not create new forms of experimentation, realism, or narrative; they rethink existing ones as a dialogue of ideas.”

ONE NIGHT ONLY
THURSDAY, DECEMBER 14 AT 7:30 AND 10:00PM.

TICKETS HERE

Organized by Georgia Wall and Rachel James.

With works by:

At 7:30PM:

Su Friedrich – “Gently Down The Stream”

A film constructed from fourteen dreams taken from eight years’ worth of Friedrich’s journals. The text is scratched directly onto the film so that you hear your own voice as you read. The accompanying images of women, water, animals and saints were chosen for their indirect but potent correspondence to the text.

Alia Ayman – “Zuzu/Samia/1893”

A found footage piece that repurposes Egyptian belly dance films to ressurect Little Egypt, a stage name first used by dancers who travelled from Alexandria to perform at the 1893 Chicago World Fair.

Kevin Ritter – “Hell.”

Filmed entirely underground in the MTA system, ‘Hell’ is about evangelism and existential dread.

lili white – “A PHILADELPHIA STORY”

Based a true story about a rape that happened in Philadelphia Pennsylvania, sometime in the 1980’s

Morgan King – “in between”

An (inevitably flawed) exploration of dimensions and time through String Theory.

Rachel Lazar – “Stereo Moment”

It’s about leaving the doctor’s office feeling sicker than when you arrived.

At 10:00PM

Tony Cokes – Manifesto A

This is the first in Cokes non-consecutively produced series of promotional tapes for his conceptual band SWIPE. 3#, subtitled Manifesto A Track #1, introduces Cokes concern with the ideological apparatus that undergirds the music industry. The video takes up a song by Seth Price, which is itself the systematic recreation of an early electronic pop song by Kraftwerk.

Alex Schmidt – “The Spectrum”

A film about queerness, autism, and groups.

Jennifer Atalla – “CBT for OCD”

A spiritual walkabout through footage found from the net about life, death, technology, you, me?

Mia Ardito – The Burden of Evidence: (Notes For Tomorrow, Today) VOL. 1

(Random Access Memory) (Internal Harddrive) (External Device) (2013-2017)

Sam White – “Movements 1000”

about making something from what you have and are able to borrow

Sara O’Brien – “faster the current”

A short film about being there but not there and here but not fully.

Sonia de Jager – “Memory: A Hypothesis / Human Representation Machine, Human Representation-Machine, Human-Representation Machine, Human-Representation-Machine”

Whether abstractly or quite concretely: the human represents. And by representing the human becomes, in turn, represented. Identifying borders, hierarchies or degrees of freedom within the various systems implicated in (self-)representation may seem straightforward when the human body is understood as the locus of creativity. If we consider the human body’s technoculturally mediated experience the task becomes slightly more challenging: who or what enables and drives representation? This brief essay-film analyzes the human-representation-machinecontinuum as a platform for the evolution of cognitive feedback, considering this semiotechnological triad as a unified trinity.

Each program lasts about 1 hour.

TALKS BACK PART 2

TALKS BACK (PT. 2)
Curated by Angela Washko
95 min
MONDAY, DECEMBER 18th
ONE NIGHT ONLY – 7:30PM (WITH Q & A!) and at 10:00
ARTISTS IN ATTENDANCE

TICKETS HERE

Talks Back is a screening program featuring video and performance-for-video works by women artists who have opted to move away from the limitations of gallery contexts and art world audiences and put themselves in conversation with television and cinema (and their audiences). Inspired by the possibilities offered by public access television, reality television and virtual environments, these artists bring new meaning to films, television programming, and multi-user digital spaces by inserting themselves into existing media narratives which don’t often include their perspectives. Through remixing their bodies into found footage or literally getting onto reality television programs, these artists assert the need for the narratives of intersectional feminists in the mainstream media we consume every day.

Artists in the program include Morehshin Allahyari, Ann Hirsch, Narcissister, Rachel Rampleman, Suzie Silver, Skawennati and Angela Washko.

Special thanks to the artists and curator.

FREEBIRD
Suzie Silver, 1993
11 min

“Suzie Silver directs and performs all the roles in this raucous and hilarious music video rendition of Lynyrd Skynyrd’s “Freebird”, the infamous Southern rock anthem for an entire generation of 1970s male youth. In this spoof of straight mass culture, Silver flips ironically between roles; from a lesbian proudly proclaiming her sexuality at the Academy Awards, to an in-concert Coors-drinking Ronnie Van Zant, and, finally, to a black-lace lesbian lounge swinger celebrating the wild, colorful world of “out” visibility. Silver draws upon an amazing array of found footage and special effects to bend genders and genres with spectacular visual delight.” – SS

MILLIONAIRE WORTHY: HOME EDITION (A PRIMER)
Angela Washko, 2013
8 min

“Angela Washko explores metrics and seduction in this video work that presents audiences with a strategy for romantic success through data analysis of the Bravo television show Millionaire Matchmaker. The project was the primer video which ultimately led to a public access television show called ‘Millionaire Worthy TV’.

‘Millionaire Worthy’ began as a research project through which the artist watched all 72 of the existing episodes of Millionaire Matchmaker and analyzed exactly what values were being communicated to its viewership by making spreadsheets and graphs detailing what traits men on the show state that they are looking for in women, and what the host declares unacceptable about the women she denies opportunities to date these men. Performing as analyst and (un)qualified authority, Angela Washko attempts to embody Patti Stanger’s teachings…the impossibility of which is made clear by highly contradictory data.” – AW

TIMETRAVELLER™ EPISODE 1 & 2,
Skawennati 2008-2013
6 min & 9 min

“It is critical that Aboriginal people show up in The Future. Sepia-toned, historical images of silent, unnamed Indians are everywhere but rarely do we appear in future imaginaries, even our own. As a Mohawk woman, I believe that we need to visualize ourselves as full participants in the future in order to assume our appropriate role as active agents in the shaping of new mediums and new societies. At the moment, nothing can represent The Future better than a real-time, interactive, 3D space where fantastical people populate improbable architecture and fly, teleport, and telepathically communicate their thoughts and dreams. Second Life, the popular virtual world, is such a space. How do Indigenous people fit into such spaces? And, more importantly, what is our role in defining those spaces? TimeTraveller™ is a creative and critical intervention into such discussions. TimeTraveller™ is a 9-part machinima that tells the story of Hunter, an angry young Mohawk man living in the 22nd century. Despite his impressive range of traditional skills, Hunter is unable to find his way in an overcrowded, hyperconsumerist, technologized world. He decides to use his edutainment system, his TimeTraveller™, to learn about his heritage. Through a bizarre glitch in the system, he meets Karahkwenhawi, a young Mohawk woman from our present. Together they criss-cross time, and end up discovering the complexity of history, truth, and love.” – S

IN THE REALM OF RARE AND ANALOGOUS ACCIDENTS
Morehshin Allahyari, 2013
10 min

Side by Side; Searching for a relationship that defines the states of belonging; The space in the middle. Questioning the power of the image… the image that guides us. The image that lies. “Something is of course always lost when we get to see only one side. It is for the exact same reason that one must have the courage to confess the pain of the coma-like contrast of life and cinema. In this scenario, somehow we must put it all together to see the big picture; While in the state of unconsciousness, we are stuck at the thin edge of a screen where two worlds, two countries, and two cities separate for the sake of it. I feel helpless standing in the middle. In this chain of accidents, in this battle of guns and bombs, in the pile of my notes, thoughts, and nostalgic memories of Texas and Tehran, the world lacks trust in common sense.” -M

{intermission}

HERE FOR YOU
Ann Hirsch, 2010
14 min

“In 2010 I was cast on the Vh1 reality dating series Frank the Entertainer…In a Basement Affair. I was one of fifteen female contestants vying for the heart of Frank “The Entertainer” Maresca, a thirty-year-old unemployed reality show mainstay, as we all lived in a house with Frank and his parents. I consider my time on the show a performance but I have also made work from the experience as well to recontextualize my experience for an art audience. Here For You combines footage from my reality TV experience, original video, and secret audio I captured during my in person audition. Edited to appear almost as a dream, this video explores the supposed sincerity that was assigned to my character during the show, questions the romantic nature of my relationship with Frank, and explores my mental state during the filming of the show and afterwards.” – AH

HOT LUNCH
Narcissister, 2009
4 min

“Narcissister employs a spectacle-rich approach to explorations of gender, racial identity, and sexuality. Humor, pop songs, elaborate costumes, contemporary dance, and her trademark mask are her tools in deconstructing stereotypical representations. Narcissister questions fetishism, particularly sexual fetishism, which is notorious in its fixing of racist and gendering stereotypes. Rather than abandon this contaminated site, Narcissister dives headlong into the muck, into the depths of the fantasy and fetish itself, to expose and deconstruct their power.” – N

UPSIDE DOWN ON AMERICA’S GOT TALENT
Narcissister, 2011
3 min

“People might ask, ‘Why is she interested in these low brow possibilities? Why is she diluting her work? What about the politics’ Is it possible to be strongly political and appear on these talent competitions? I think it’s radical that I would want my work to be seen on such a huge platform. If one aspires to show only in the art world, who is going to see their work? Elitist culture, people already in the know, who are already liberal. To be able to reach all kind of people- different classes, ages groups – feels righteous. And I’m protected by the mask. Narcissister can always only be a mirror of what’s around her.” – N

POISON (MY SISTER FUCKED BRET)
Rachel Rampleman, 2006
31 min

“Rachel Rampleman’s Poison (My Sister Fucked Bret) is a 30-minute video account of the artist’s younger sister Sarah’s early childhood introduction to, and later teenage interactions with, Bret Michaels – lead singer of ’80s hair-metal / glam-rock band Poison. With Poison music video clips interspersed throughout, a now (circa 2006) adult Sarah, living as the single mother of a toddler, shares her vivid and hilarious recollections of her multiple encounters with Bret, which eventually culminated in her spending a deeply unsatisfying weekend with the object of her decade-long obsession at his “cheesy” mansion in Tennessee. Shot solely and claustrophobically within Sarah’s 2006 Kentucky home, the stories relayed in this video convey in excruciating detail the experience of being a naïve and self-conscious adolescent in the suburban Midwest in the throes of total rock-idol worship, followed by the thrill and excitement, then ultimately the bittersweet disappointment, that actually getting to meet one’s idol can entail.” – RR

AIN’T NOTHING LIKE BEING FREE

AIN’T NOTHING LIKE BEING FREE
dir. John Meyer, 2016
USA, 49 min
TUESDAY, DECEMBER 5 – 10 PM
THURSDAY, DECEMBER 7 – 7:30 PM
SATURDAY, DECEMBER 9 – MIDNIGHT
WEDNESDAY, DECEMBER 13 – 7:30 PM

TICKETS HERE

Ever find yourself wondering why Coney Island couldn’t have instead been a huge Jesus-themed theme park? Or why you even bother attending your “friend’s” “DJ set,” when you could just be spittin’ verses about life and freedom on the stoop with your real homies?

For just a moment, if you can, in that megalopolis-twisted mind of yours, try to imagine an America less convoluted, less distracted, and a maybe bit more free. For instance, instead of “soiled subway rat,” think “small disabled dog with wheels for legs.” Or perhaps instead of a city slickin’, cold brew wieldin’ hoser taking up sidewalk space, consider trading him in for an unlicensed Don Quixote faithfully hacking his way through dubious foliage with a dull machete. Try substituting your therapist and adderall prescription for some wisdom from a philosophical BBQ maverick and a rack of sweet baby back ribs. And while you’re stuck there again in L-train hell, deep down wouldn’t you rather be busting donuts in velvety mud on an ATV?

Well now that all our hot garbage is starting to freeze over, we invite you to clock out of your metropolitan nightmares for a meandering vacation in sunny, sultry Central Florida. Soak up the rays as a candid cast of soul-bearing tour guides show you a thing or two you won’t pick up in any hot yoga class. All shot in holy SVHS with a shaky hand and a heart of gold, ANLBF is a freewheeling, ingenuous portrait of contemporary America, living out its sometimes dreary, sometimes delighted dream in a seldom documented corner of this crazed country.

UNSINKABLE

UNSINKABLE: MY HEART WILL GO ON
dir. [Name of Director]
live score / video collage
TUESDAY, DECEMBER 19 – 7:30 AND 10:00 PM

TICKETS HERE

Even after two decades, [year of blockbuster] blockbuster [name of blockbuster] remains indelibly etched into the collective consciousness. Originally released to breathless acclaim, 14 Oscar nominations, and 11 wins including Best Picture, and endlessly repeat theater visits by teenage viewers, the movie lingers in the memories of many, accompanied a deep-seated shame at knowing every note in “[title of canadian soundtrack pop hit]”.

Join us on the twentieth anniversary of [name of blockbuster]’s debut for a live reconstruction of [blockbusting director]’s unsinkable creation. With visual processing by Sleepy Peopl and an improvised score by Cyrus, [EVENT NAME] is a 30-minute voyage into the unknown, a wreckage that will go on and on.

Cyrus is Maggie Drew Brennan and members of Tar Of. Maggie is a city-based visual, audial dilettante. Tar Of play experimental pop and electronic textures, and recently discovered a shared past obsession with a certain cinematic experience.

Sleepy Peopl piece together live video projections from found and created materials and one of them has still never seen TITA–[film in question].

COME GET YA MANS: MANSFIELD 66/67 AND THE WILD WILD WORLD OF JAYNE MANSFIELD


MANSFIELD 66/67
Dir. P. David Ebersole and Todd Hughes, 2017.
USA. 85 min.
FRIDAY, DECEMBER 8 – 7:30 PM **Q&A**
SATURDAY, DECEMBER 9 – 10:00 PM
SUNDAY, DECEMBER 10 – 5:00 PM
NYC Premiere!

TICKETS HERE

2017 marks the 50th anniversary of Jayne Mansfield’s fatal and legendary car crash, yet we are still left to wonder: was her life spinning out of control in the last two years of her life, or…did the devil make her do it?

Known as the “Working Man’s Monroe” and the “smartest dumb blonde,” Jayne Mansfield was a taboo-taunting, bodacious babe with brains and maybe, just maybe…a sexy Satanist as well? P. David Ebersole and Todd Hughes (producers of Room 237) dive into Mansfield’s life and career, but especially her tumultuous final two years and her mysterious friendship with Church of Satan founder Anton LaVey. But this isn’t your regular bio-doc: expect some campy (yet educational) song and dance numbers amid the tornado of rumors and speculations as to whether or not Jayne’s death was actually caused by a malicious curse.

The film features interviews with the likes of John Waters, Tippi Hedren, Mamie Van Doren, and Kenneth Anger, who discuss the mark that Mansfield left, the ways in which she was ahead-of-her-time, and above all the mythology surrounding her life and untimely demise that made her such a fascinating figure in Hollywood Babylon.



THE WILD, WILD WORLD OF JAYNE MANSFIELD
Dir. Charles W. Broun, Jr., Joel Holt, and Arthur Knight, 1968.
USA. 99 min.
TUESDAY, DECEMBER 5 – 7:30 PM
MONDAY, DECEMBER 11 – 10 PM
FRIDAY, DECEMBER 15 – 7:30 PM
WEDNESDAY, DECEMBER 20 – 10 PM

TICKETS HERE

An example of true exploitation (in more than just name/genre), THE WILD, WILD WORLD OF JAYNE MANSFIELD was filmed sporadically over four years before it was hastily released to capitalize off of the actress’ untimely and tragic death. It’s part travelogue and part nudie flick, an unstructured and uncomfortable compilation of Mansfield’s nude scenes from various films along with footage of her visiting the seedy and/or liberated underbellies of Europe and the U.S.: from Italian red light districts and massage parlors to topless bars in Los Angeles.

What may have begun as a tribute to Jayne’s libertine spirit doesn’t stick the landing. In fact, it trips and falls down when photos of the Mansfield’s horrendous car wreck appear on screen, juxtaposed with the cheeky travel footage throughout. An eerie voice-over of Mansfield (but actually spoken by a breathy yet clearly inauthentic imitator) puts a creepy cherry on top of this problematic pie.

DROID

DROID
dir. Philip O’Toole
USA, 1988

FRIDAY, DECEMBER 1 – MIDNIGHT
FRIDAY, DECEMBER 8 – 10 PM
SATURDAY, DECEMBER 9 – 5 PM

For anyone who found BLADE RUNNER 2049’s perfume-ad gloss just a little too savory, DROID offers up a smokey, neon underworld of trashy dive bars, virginal sex robots, and trombone masturbation. Though it masqueraded as a sci-fi feature directed by “Peter Williams” upon its VHS release, the film is actually entirely comprised of footage form two hardcore porn films by Philip O’Toole, CABARET SIN (1987) and EMPIRE OF THE SINS (1988), but with anything explicit excised. Influenced by the likes of CAFE FLESH and LIQUID SKY, and with a plot lifted wholesale from BLADE RUNNER, DROID is some admirably audacious future sleaze even as it trips all over itself to cut to disguise the fact that it originated purely as a vehicle for sex, repeatedly cutting to some totally inexplicable images along the way.

The (discernible) story takes place in a future LA overrun by leather-clad, depraved police robots called Reformers. A human cop named Taylor, brought in for one last job and somehow sounding even more hungover and world-weary than Harrison Ford in his expository voicover, is pitted against them in the search for a stolen “decoder” (“where is the dee-coder?” Taylor frequently barks). Between the film’s countless lounge act interludes, there’s a perfectly enjoyable Vangelis-knockoff synth score credited to the grammatically suspect “Cinema Symphony’s.”

 

ALL FOR THE FANS

BACKSTAGE
Dir. Emmanuelle Bercot, 2005.
France, 112 mins.
In French with English subtitles.
SATURDAY, DECEMBER 2 – 5 PM
WEDNESDAY, DECEMBER 6 – 7:30 PM
WEDNESDAY, DECEMBER 13 – 10 PM
SATURDAY, DECEMBER 16 – 10 PM

TICKETS HERE

An oddball forgotten gem of the oughts – but still relevant as ever in the age of tween internet fandom – European festival mainstay Emmanuelle Bercot’s most striking film is a knotty teen pop opera with emotional intensity set to a speaker-blowing high. The great Isild Le Besco, French cinema’s go-to for young queer hysteria, gives a fiercely committed performance as a high school girl hopelessly stanning for pop star Emmanuelle Seigner (The Ninth Gate, Venus in Fur). Their paths cross as the result of a bizarre MTV-style contest, and soon both women find their lives hopelessly entwined in a relationship of shifting power dynamics. Agnès Godard, cinematographer for Claire Denis, gives the film an edge that’s woozy, love-drunk, stark, and surreal.

DER FAN
aka Trance.
Dir. Eckhart Schmidt, 1982.
Germany, 89 min.
In German with English subtitles.
WEDNESDAY, DECEMBER 6 – 10 PM
SATURDAY, DECEMBER 9 – 7:30 PM
FRIDAY, DECEMBER 15 – 10 PM
WEDNESDAY, DECEMBER 20 – 7:30 PM

TICKETS HERE

In the wake of films like CHRISTIANE F., studies of displaced, dysfunctional German youth were a dime a dozen. However, the forerunner in the sweepstakes for the most memorable and disturbing entry would have to be DER FAN.
Like every other teenager in school, Simone has a crush on a rock star. When her idol, the lead singer ‘R’, comes to town to make a television appearance Simone is gripped by a trance-like state, leaving school, friends and parents behind her. However, when Simone comes to realize the shallow nature of the ‘glamorous’ music industry and of ‘R’ himself, she plans a calculated, ritualistic and bloody revenge on her obsession.

An unsettling blend of new wave pop culture, adolescent angst, and full-blooded horror, this nasty little art house shocker caught more than a few unsuspecting viewers off guard and earned a bit of a cult following in the process. Imagine a John Hughes film with Michael Haneke in the driver’s seat and you’re getting close…

HITS FROM THE BONGOS

THE FLOWER THIEF
dir. Ron Rice, 1960
59 min, USA
In English
FRIDAY, DECEMBER 1 – 10 PM
SUNDAY, DECEMBER 3 – 5 PM
FRIDAY, DECEMBER 8 – MIDNIGHT
SATURDAY, DECEMBER 16 – 07:30 PM

TICKETS HERE

Special thanks to the Filmmakers Coop!

Spectacle favorite Taylor Mead (NO SUCH THING AS GRAVITY, CANDY AND DADDY) stars in Ron Rice’s ode to meandering afternoons – THE FLOWER THIEF.

Mead wanders around the city getting in scrapes with kids, literally stopping to smell the flowers, and eventually kidnapped by cowboys all set atop the grain of surplus 16mm film – rumored to be leftover from the army’s ariel-machine-gun-camera stock.

Rice and Mead met in sunny/smokey San Francisco and together, sometimes along with Jack Smith, made a number of dharma-bum/beat pics before Rice’s untimely death at only 29. Parker Tyler compared Rice’s romps to that of the Marx Brothers. In a perfect summation Light Industry’s Ed Halter quips – “Today, Mead’s Flower Thief uniform—tight hoodie, button-down shirt, three-stripe tennis shoes, and beat-up jeans—can be seen on many an L-train habitué, en route to neo-Bowery facsimilies of post-war cafés, and so the parody has been reversed; such are our own meticulous restorations of the fantasies of other people’s youth.”



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A BUCKET OF BLOOD
Roger Corman, 1959.
USA, 66 min.

MONDAY, DECEMBER 4 – 7:30 PM
SUNDAY, DECEMBER 10 – 7:30 PM
FRIDAY, DECEMBER 15 – MIDNIGHT

TICKETS HERE

“Life is an obscure hobo, bumming a ride on the omnibus of art.”

Chump janitor Walter Paisley spends all day surrounded by beatniks, jazz musicians, artists and their groupies at hip coffee shop The Yellow Door. He desperately aspires to the life of an artist, but hasn’t got an ounce of talent. What he does have is an accidentally dead cat, a lump of clay, and a vague idea…. When Walter’s new ‘sculpture’ makes him an overnight sensation, all the rats come out of the woodwork to get a piece of the action, and Walter’s forced to find more ‘subjects’ for his art. It’s a fast-paced Corman classic that manages sympathy for its hapless murderer while skewering the art world around him.



BEAT GIRL banner
BEAT GIRL
AKA Wild For Kicks
Dir. Edmund T. Gréville, 1960
UK, 85 min.

SUNDAY, DECEMBER 3 – 7:30 PM
THURSDAY, DECEMBER 7 – 10:00 PM
TUESDAY, DECEMBER 12 – 10:00 PM
SATURDAY, DECEMBER 16 – MIDNIGHT

TICKETS HERE

Beat goes to England in this over-the-top tale of a poor little rich girl rebelling against her wealthy dad’s remarriage. Why does the local stripper seem to recognize her new stepmom? Will the strip-club owner (played with oily perfection by Christopher Lee) get his hands on the young wildcat? Are drinking and fighting really for squares? With plenty of music, kicks, and nihilism for the disillusioned kids who survived the Blitz.

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Beat Girl 2

THE FALLS: TRIBUTE TO CHRIS KNUDSEN

THE FALLS
dir. Peter Greenaway, 1980
UK, 195 min
SATURDAY, DECEMBER 2 – 8:00 PM *SCREENING AND TRIBUTE*
SUNDAY, DECEMBER 17 – 5 PM

TICKETS HERE

Earlier this year, the Spectacle family lost one of our volunteers, Chris Knudsen. When he started volunteering with us, one of the first things Chris shared was his love of Peter Greenaway’s films; he even had the tattoo based on A Zed and Two Noughts to prove it.
This December, we’ll be re-presenting the first film that Chris helped us program: Greenaway’s The Falls. We hope you’ll join us to pay tribute to our dear friend.

“A sprawling science fiction microbudget epic, Peter Greenaway’s THE FALLS is one of the more successful experimental features in accessibility and one that lasts 3 plus hours to boot. Known as Peter Greenaway’s favorite film of his own work, THE FALLS goes through a catalog of 92 individuals whose last name starts with the word “Fall” that were victimized by an event known as the VUE or the Violent Unknown Event. It’s told in a deadpan mock documentary style with numerous narrators, has a strange narrative current that somehow ties these characters together, can be seen as a mutated sequel to Alfred Hitchcock’s THE BIRDS, and boasts a playful score from Michael Nyman to wrap it all together.

Manic and mechanical, THE FALLS keeps you in focus with its absurdities and allows you to to solve the encyclopedic mystery with comic redundancies and run-ons. Indulgent in the best way possible, it’s truly mad in execution and in thought.” – CK

Special thanks to Zeitgeist Films.

And here is the poster for the original screening, it is a beauty:
The Falls poster