MATCH CUTS PRESENTS: MIKE KELLEY’S DAY IS DONE


DAY IS DONE
dir. Mike Kelley, 2006.
USA, 169 min.
English.

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

DAY IS DONE is a carnivalesque opus, a genre-smashing epic in which vampires, dancing Goths, hillbillies, mimes and demons come together in a kind of subversive musical theater/variety revue. Running over two-and-a-half hours, this riotous theatrical spectacle unfolds as a series of episodes that form a loose, fractured narrative. The video comprises parts 2 through 32 of Kelley’s multi-faceted project Extracurricular Activity Projective Reconstructions, in which trauma, abuse and repressed memory are refracted through personal and mass-cultural experience. The source material is a series of high school yearbook photographs of “extracurricular activities,” specifically those that represent what Kelley has termed “socially accepted rituals of deviance.” Kelley then stages video narratives around these found images.

In DAY IS DONE, these restagings take the form of “folk entertainments” that Kelley memorably subverts. Featuring characters such as Motivational Vampire, Morose Ghoul and Devil/Barber, much of the action—antic song-and-dance numbers and dramatic scenes, with Satan as emcee—takes place in a generic school gymnasium and a wooded landscape.

Writes Kelley: “For this project, I limited myself to specific iconographic motifs taken from the following files: Religious Performances, Thugs, Dance, Hick and Hillbilly, Halloween and Goth, Satanic, Mimes, and Equestrian Events. Many of the source photographs are of people in costume singing or dancing, so the resulting tapes are generally music videos. In fact, I consider Day Is Done to be a kind of fractured feature-length musical…. The experience of viewing it is somewhat akin to channel-surfing on television.”

The video reconstructions were originally seen within an ambitious, sprawling exhibition of video/sculpture installations, photographs, sets, props and drawings at the Gagosian Gallery in New York in 2005; the videos were incorporated into 25 sculptural viewing stations. Writes Kelley, “My intention was to create a kind of spatialized filmic montage: a feature-length film made up of multiple simultaneous and sequential scenes playing in architectural space.”

– 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.

SCUM IN THE SUN PART TWO: JON MORITSUGU

Scummer’s not over til it’s over.




PIG DEATH MACHINE
dir. Jon Moritsugu, 2013
82 mins. United States.

*Preceded by the short MOMMY MOMMY WHERE’S MY BRAIN (1986)

FRIDAY, AUGUST 9 – 7:30 PM
SATURDAY, AUGUST 17 – MIDNIGHT
MONDAY, AUGUST 19 – 10 PM
WEDNESDAY, AUGUST 28 – 10 PM

ONLINE TICKETS       FACEBOOK EVENT

If you joined us for July’s selections, you know by now that Jon Moritsugu has a thing with meat, especially in raw form. In MOD FUCK EXPLOSION London walks through 800 pounds of the stuff, and MY DEGENERATION features a punk band sponsored by the beef industry. PIG DEATH MACHINE explores the supernatural power of rancid pork, which transforms the lives of two women who consume it. Amy Davis has a sudden spike in brain power, her IQ rising faster than temperatures in the New Mexico desert. Hannah Levbarg, a punk plant-lover, develops a psychic connection with the local flora that includes their screams for water and attention. This film was shot digitally, adding to the garish putridness of the whole operation. All of this is bookended by a mysterious pig-mask love affair, hinting at the origins of the shipment of magic meat.




FAME WHORE
dir. Jon Moritsugu, 1997
73 mins. United States.

*Preceded by the shorts BRAINDEAD (1987) and DER ELVIS (1988)

FRIDAY, AUGUST 2 – 10 PM
SATUDAY, AUGUST 17 – 7:30 PM
THURSDAY, AUGUST 22 – 7:30 PM
MONDAY, AUGUST 26 – 10 PM

ONLINE TICKETS       FACEBOOK EVENT

They say fame comes at a price. For the psychos found in the last gem of Moritsugu’s 16mm empire, that price is sanity. Told in triptych, FAME WORE examines three unrelated eccentrics lost in total delusion within their profession, all taking place on a day where each get smacked hard with reality checks that force consideration for saner perspectives.

One story follows that of Jody George (Peter Friedrich)—a ruthless bro whose blessed tennis prowess has earned him the #1 rank in the field worldwide. But once rumors spreading through the newspapers put his straightness into question, his several investors begin to drop him one by one, throwing him on a infantile rampage in his SF hotel suite. Another tale peers into the office of a milquetoast animal lover (Victor of Aquitaine) whose dignity is continuously trampled on at his New Jersey dog adoption agency. All the intensely bottled up repression and isolation naturally lead him to manifest an imaginary friend (a sauced St. Bernard who offers half-hearted advice).

But frankly it’s Amy Davis who steals the show as the true Fame Whore, Sophie: a seriously talentless, bong ripping New Yorker, who lives in a business suit but can’t seem to file her own taxes. Tormenting her unnecessary personal assistant, J (Jason Rail), with endless self-obsessed and hyper-judgmental confab while her headshots go unautographed, Sophie’s fate unlikely holds fame and glory, but rather a doomed personal esteem, void of substance or meaning.




SCUMROCK
dir. Jon Moritsugu, 2002
79 mins. United States.

*Preceded by the shorts CRACK (1999) and SLEAZY RIDER (1988)

TUESDAY, AUGUST 6 – 10 PM
SATURDAY, AUGUST 17 – 10 PM
TUESDAY, AUGUST 20 – 10 PM

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Youth is forever fading, but sleaze will never die… In this departure from celluloid, Moritsugu and Davis probe at juvenescence on its deathbed, as a cast of all too familiar drifting personalities tussle with not just the imminent death of their 20s, but the existential perils of preserving creative and offbeat livelihoods in the face of daunting adulthood, chilling reality, and personal failure.

Trashing and thrashing through the streets of a yet to be tech gentri-fried San Franciscan milieu, a no-budget underground filmmaker (sound familiar?) writhes his precarious sanity in order to hopefully yield a cinematic opus, while on a vaguely non-linear beaten course, a pissed miscreant (none other than Amy Davis) fumes and flounders to stubbornly keep her lowly punk band from being swallowed into the abyss of obscurity (and not the cool kind either).

Pressing on the perishability of the proverbial salad days, SCUMROCK is a tenderly relevant meditation for the aging hipster with chronic slacker-depression, which should inspire all of us to ask ourselves “What do I have to show for all my avant-gardness?”




MOD FUCK EXPLOSION
Dir. Jon Moritsugu, 1994
67 min. USA

SUNDAY, AUGUST 25 – 7:30 PM **Q&A WITH DESI DEL VALLE [M16]**
SUNDAY, AUGUST 25 – 10 PM **PHONE Q&A WITH JON MORITSUGU & AMY DAVIS**
SATURDAY, AUGUST 31 – 7:30 PM **Q&A WITH CINEMATOGRAPHER TODD VEROW**
SATURDAY, AUGUST 31 – 10 PM **PHONE Q&A WITH JON MORITSUGU & AMY DAVIS*

ALL SCREENINGS ON 16MM!
*THIS EVENT IS $10*

ONLINE TICKETS       FACEBOOK EVENT

The Nipponese bikers have leather jackets and London, a broken-family blonde, wants a leather jacket more than anything. Her sister Nasty has one, but she’s a post-Quaalude comic artist and won’t give it up. London’s brother is a dumb wannabe mod, clinging to a style that is just nativism with thick-framed glasses. Top Mod Madball sums up their situation with a joke:

“Why did Hitler kill himself?”

“To get to the other side!”

All London has to do is party with the bikers and tell Kazumi that he has a great bod, but instead she’s in love with death-obsessed M-16. Cleopatra, the supernatural succubus and queen of feces, tries to give London some T-R-U-T-H but she won’t hear it! Everything is leading in a fucked-up, not-knowing-how-to-fuck direction not to mention the ultimate showdown between the pale mods and a powerful biker gang.

DOUBLE THE PUPI, DOUBLE THE FUN



THE HOUSE WITH THE LAUGHING WINDOWS
(LA CASA DALLE FINESTRE CHE RIDONO)
dir. Pupi Avati, 1976
110 mins. Italy.
In Italian with English subtitles.

SATURDAY, AUGUST 3 – 7:30 PM
THURSDAY, AUGUST 8 – 10 PM
MONDAY, AUGUST 12 – 7:30 PM
TUESDAY, AUGUST 27 – 7:30 PM

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Stefano, a young painter, is sent to a rural town to restore a fresco depicting the execution of Saint Sebastian begun by a local artist who committed suicide before its completion. As Stefano dives into the work, he finds himself drawn deeper into the strange web of stories surrounding the original artist and his more sinister proclivities.

Regarded by some as one of the best giallos ever made (including, ugh, Eli Roth), THE HOUSE WITH THE LAUGHING WINDOWS has mood for days, favoring a long, slow burn and a more naturalistic approach over the lurid colors and psychedelic freakouts of genre masters like Argento and Bava.

What it lacks in standard bonkers giallo fare (the body count is relatively low, and the “sex scenes” are almost laughably chaste for the genre), it more than makes up for in pure dread, building a thick mood of uncertainty and paranoia, leading up to a shockingly strong ending.



ZEDER (REVENGE OF THE DEAD)

Dir. Pupi Avati, 1983
100 mins. Italy.
In Italian with English subtitles.

SATURDAY, AUGUST 3 – 10 PM
FRIDAY, AUGUST 9 – MIDNIGHT
FRIDAY, AUGUST 23 – MIDNIGHT
TUESDAY, AUGUST 27 – 10 PM

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The story follows a novelist (also named Stefano) who discovers the writings of a scientist named Zeder still legible in the ream of an old typewriter. He slowly becomes obsessed with the details of his research at the mention of something known as the ‘K-zone’, a specific area of land that has the power to return the dead to life.

Marketed in the US as REVENGE OF THE DEAD, ZEDER is a heady slow-burn freakout, grossly underseen given the number of things that have lifted from it (looking at you, Pet Semetary). Don’t expect your average schlocky zombie thriller, but a more unique blend of and riff on sci-fi zombie-mystery-and-giallo tropes.

LONG WEEKEND


LONG WEEKEND
dir. Colin Eggleston, 1978
97 mins. Australia.

SATURDAY, AUGUST 3 – MIDNIGHT
SATURDAY, AUGUST 10 – MIDNIGHT
FRIDAY, AUGUST 23 – 10 PM
FRIDAY, AUGUST 30 – MIDNIGHT

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“Their crime was against nature. Nature found them guilty.”

Given the crushing heat waves and our full throttle race to planet-death, it seems as good a time as any to give LONG WEEKEND another look. Safe to say its aged entirely too well.

Peter and Marcia are going through a bit of a rough patch, so the natural solve is, of course, go camping. Marcia wanted to go away for the weekend with their good friends, but Peter is set on a long weekend of camping on a remote beach. Thinly buried resentments quickly bubble to the surface as they take out their frustrations on the natural world around them in increasingly egregious ways.

One of the best when nature attacks films ever made, it has some of the spirit of Daphne du Maurier’s original short story of THE BIRDS, diving full on into the existential dread of man’s ignorance and impotence in the face of nature’s wrath.

PAYDAY


PAYDAY
dir. Daryl Duke, 1973
100 mins. United States.

FRIDAY, AUGUST 2 – 7:30 PM
THURSDAY, AUGUST 15 – 7:30 PM
SUNDAY, AUGUST 18 – 7:30 PM
SATURDAY, AUGUST 31 – MIDNIGHT

ONLINE TICKETS       FACEBOOK EVENT

“If you can’t smoke it, drink it, spend it, or love it… Forget it.”

While it’s not possible to honor the passing of every fallen hero of ours at 124 South 3rd Street, we’re thrilled to salute the departed Elmore Rual “Rip Torn” Jr. (1931-2019) by shining a light on one of his absolute greatest performances, as Maury Dann – a hellraising honeydripper outrunning his past one 95-mile-per-hour at a time in the underrated 1973 drama PAYDAY, directed by Daryl Duke (who made the phenomenal THE SILENT PARTNER a few years later, with Elliot Gould and Donald Sutherland.)

Having achieved a measure of fame with a minor hit single, Dann’s life is a string of saloon gigs and one-night stands, propelled by bourbon and propped up by pills; while he’s making arguable headway in the music business, his problems keep piling up on the margins. His manager McGinty (Michael C. Gwyne) and girlfriend Mayleen (Ahna Capri), both long-suffering, bear witness to his bouts of rage and capriciousness, yet stay the course from one Alabama tussle to the next. Dann is certainly a character the performatively woke film critics of 2019 would call “unsympathetic”, yet Torn’s signature tortured charisma makes it make sense: in this decrepit economy of also-rans, hangers-on and the earnestly pure of heart, Maury is the most exciting thing anybody’s got going on.

Not for the faint of stomach, PAYDAY spans 36 hours in the life of a man who can’t stop hurting others (or himself), a classic story rendered in unforgettable Alabama texture. Produced by pioneering rock critic Ralph Gleason, with songs written by Shel Silverstein and an endlessly quotable screenplay by the great novelist Don Carpenter (Hard Rain Falling), PAYDAY never got a proper national release despite widespread critical acclaim; it’s exactly the kind of offbeat 70s slice-of-life cinema that attracted the interest of restless, status-quo bucking artists like Rip Torn. “You only pass through life once… Might as well be in a Cadillac.

“PAYDAY holds you in fascination. The totality of Rip Torn’s inspiring portrait is overwhelming.” – Judith Crist, New York Magazine

“Brilliant. Impressive. Awesome. Extraordinary.” The New York Times

“PAYDAY is a great fucking movie.” – Nick Tosches, Creem

Special thanks to the Saul Zaentz Company.

MUBI PRESENTS: JAMILIA

MUBI PRESENTS: JAMILIA
dir. Aminatou Echard, 2018
84 mins. Kyrgistan/Russia.
In Kyrgyz with English subtitles.

THURSDAY, AUGUST 1 – 7:30 PM
MONDAY, AUGUST 5 – 10 PM
WEDNESDAY, AUGUST 7 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

MUBI presents Aminatou Echard’s lovely documentary, which compassionately uses a literary classic as a cultural passkey to allow women to talk about their feelings, frustrations, and hopes of love in Kyrgyzstan. Filmed in the diary-like warmth of Super 8, this is a remarkably intimate encounter with perspectives too often unheard.

Jamilia is the heroine of the classic Kyrgyz novel about a young woman who, having been forced to marry, fled with her lover. Fifty years later, the director meets several generations of Kyrgyz women, resulting in portraits reflecting both the novel’s candor and the strength of today’s Jamilias.

JAMILIA is available to stream exclusively on MUBI as part of their ongoing Undiscovered series. Watch here.

A message from MUBI’s curators:

“We discovered Aminatou Echard’s documentary Jamilia at the Berlin International Film Festival and were completely smitten. Here was a film that tackled a challenging subject—the marginalized voices of Kyrgyz women in a conservative and frequently repressive society—with an approach that was intimate, compassionate, and open-minded. Watching it felt like being embraced. Using Chinghiz Aitmatov’s classic 1958 novel Jamilia—widely known throughout Kyrgyzstan—as a discussion topic, Echard provided a way for these women to express their personal feelings about love, marriage, and personal liberty through the lens of a famous literary heroine.

In a country where the kidnapping and forced marriages of women are still common, speaking about desire, romance, and happiness is still often considered taboo. Aitmatov’s Jamilia provides an emblematic character for women to admire, long to be, and emulate—or even reject as immoral. By varying the ages of its subjects, the film is remarkably able to offer insight into female perspectives that arc from the era of the USSR, when female literacy was widespread, into the post-Soviet present, when such literacy is shrinking. This scope may be large, but Echard’s style is one of individual character and warmth. Shooting on beautiful and grainy Super 8 film, and weaving between portraiture and anecdotal details of each woman’s life, the film has the personal touch of a diary film. And it is by separating the soundtrack of women’s voices from the images—which was partially a production necessity that allowed the director greater access into Kyrgyz households—that we are allowed to imaginatively roam between the fictional Jamilia, what women see in her, and how they see themselves.”

— Daniel Kasman, Director of Content at MUBI

MUBI is a curated online cinema, streaming hand-picked award-winning, classic, and cult films from around the globe. Every day, MUBI’s film experts present a new film and you have 30 days to watch it. Whether it’s an acclaimed masterpiece, a gem fresh from the world’s greatest film festivals, or a beloved classic, there are always 30 beautiful hand-picked films to discover.

THIS MAGNIFICENT CAKE

THIS MAGNIFICENT CAKE!
dir. Marc James Roels & Ema de Swaef, 2018
44 mins. Belgium.
In Dutch, French, Aka, and Malinke with English subtitles.

FRIDAY, AUGUST 16 – 7:30 PM
THURSDAY, AUGUST 29 – 10 PM

ONLINE TICKETS       FACEBOOK EVENT

An official selection at Cannes Directors’ Fortnight, Toronto International Film Festival and Telluride Film Festival, THIS MAGNIFICENT CAKE! (CE MAGNIFIQUE GÂTEAU!) is an unforgettable work of stopmotion animation exploring the bitter milieu of Belgium-occupied Congo.

In the late 19th century, keen to compete with other European imperial powers on the continent, King Leopold II of Belgium proclaimed, “I do not want to miss a good chance of getting us a slice of this magnificent African cake.” The subsequent occupation of the Congo would come to attract a contingent of servants, merchants and miscellaneous bourgeois driven by everything from insatiable greed to existential fear. From the intimate stories of these characters — many of whom pass through a luxury hotel in the middle of the jungle – emerges a greater narrative concerning the imperialist mentality.

In a film by turns surreal, darkly comic and brutal, directors Marc James Roels and Emma de Swaef ultimately turn their critical gaze on the colonists themselves in a work of stunning, mysterious beauty.

Presented by GKIDS.

playing with:
THE BURDEN
Niki Lindroth von Bahr, 2017
14 min., Swedish w/ English subs

OH WILLY…
Marc James Roels & Emma de Swaef, 2012,
17 min., No dialogue

Festivals and Awards: Quinzaine des Réalisateurs – Cannes 2018, Telluride Film Festival – 2018, TIFF – Special Jury Mention, Annecy Animation Film Festival, Animafest Zagreb – Best Feature Film Grand Prix, Ottawa Animation Film Festival – Feature Grand Prix

FROM THE DEFA LIBRARY: SPIES IN BERLIN

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




FOR EYES ONLY

(STRENG GEHEIM)
dir. János Veiczi, 1963
GDR. 98 mins.
In German with English subtitles.

THURSDAY, AUGUST 1 – 10 PM
SATURDAY, AUGUST 10 – 7:30 PM
THURSDAY, AUGUST 15 – 10 PM
SUNDAY, AUGUST 25 – 5 PM

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This spy 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 that details a plan to invade the East. Horst Hesse, the model for Hansen’s character, 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 U.S. plan to invade, however, was never true – communist leaders oversold Hesse’s story in order to justify building the wall.

FOR EYES ONLY is a dense artifact that is at times hard to follow, mostly due to the lack of gun violence and explosions. There is some relief in nightclubs 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”.




CODED MESSAGE FOR THE BOSS

(CHIFFRIERT AN CHEF – AUSFALL NR. 5)
dir. Helmut Dziuba, 1979
GDR. 94 mins.
In German with English subtitles.

THURSDAY, AUGUST 8 – 7:30 PM
FRIDAY, AUGUST 16 – 10 PM
MONDAY, AUGUST 26 – 7:30 PM

ONLINE TICKETS      FACEBOOK EVENT 

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.

THE TRIAL

THE TRIAL
(O PROCESSO)
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
NEW YORK CITY PREMIERE – ONE NIGHT ONLY!
(This event is $10.)

ONLINE TICKETS       FACEBOOK EVENT

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

MARIA AUGUSTA RAMOS
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).

MATCH CUTS PRESENTS: KORN: R-U READY (UNAUTHORIZED)


WEDNESDAY, JULY 17th – 7:30 PM
ONE NIGHT ONLY!

ONLINE TICKETS      FACEBOOK EVENT

KORN: R-U READY (UNAUTHORIZED)
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.