DEPTHS OF FIELD: RARE TAPES FROM EZTV

DEPTHS OF FIELD: RARE TAPES FROM EZTV

In 1979, Hollywood Reporter correspondent and aspiring filmmaker John Dorr made his first feature using nothing more than a Betamax VCR and a borrowed bank security camera and began a revolution. Within four years, he’d make three additional features and launch EZTV: a production co-op and first-of-its-kind “Video Gallery” with regular weekly programming akin to what we’d now call a microcinema. From more traditional narrative dramas, comedies, horror, erotica, and documentaries to an increasing emphasis on cutting-edge video, digital, and performance art, EZTV provided the space and equipment for independent artists of all stripes and backgrounds to realize their visions.

Designed as a companion to the series EZTV: Alternative Visions from West Hollywood (running at Anthology Film Archives from August 15th through the 20th), Depths of Field: Rare Tapes from EZTV offers a diverse sampling of the hundreds of in-house and outside productions that played at EZTV’s screening space during the first decade of its existence. From experimental narratives (Dreamland Court) and concert documentaries (D.U.I.: The Movie) to cyberpunk (Radio World), queer horror (Mantra), and new age comedies (The Case of the Missing Consciousness) and beyond, Depths of Field is a testament to the sheer breadth of work that graced EZTV’s CRTs and Videobeam projector.

Programmed and co-presented by Elizabeth Purchell and Hollywood Entertainment

Thank you: Michael J. Masucci, Ken Camp, James Williams, John Hays, Matthew Causey, Reg Oberlag, Dan Sallitt, Spike Stewart, Strawn Bovee, Pat Miller, Jackie Forsyte, Jessica G.Z., Erik Varho, Pascaline Morincome, Sibylle De Laurens, Gaspard Nectoux, Loni Shibuyama, ONE National Gay & Lesbian Archives Archives.

MISSING CONSCIOUSNESS

THE CASE OF THE MISSING CONSCIOUSNESS
Dir. John Dorr. 1980.
United States. 80 min.
In English.

FRIDAY, AUGUST 1 – 5:00 PM 
WEDNESDAY, AUGUST 13 – 10:00 PM 
THURSDAY, AUGUST 28 – 7:30 PM

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“John Dorr’s video s-f comedy stars Sheila Day and Strawn Bovee as rival women scientists in a brain research laboratory.” – L.A. Weekly

“ …I saw Serge Daney laugh again, at dawn, on the first of the eight days that would comprise the forty-ninth year of his life, when I recounted to him the plot of one of four videos by John Dorr, THE CASE OF THE MISSING CONSCIOUSNESS. The protagonist of this piece, played by Dorr himself, is pulled back and forth between two rival workers in a laboratory—both of them women—who perform experiments on him that are sometimes terrifying, sometimes absolutely loony, and sometimes both.

The next day, as the ambulance came to take Serge to the hospital, where his life would end, he found himself able to laugh once again at the strange similarity of what was happening to him then and the story I had told him the day before…” – Jean-Claude Biette, Cahiers du Cinema

DREAMLAND COURT

DREAMLAND COURT
Dir. Dale Herd and Barry Hall. 1983.
United States. 59 min.
In English.

SATURDAY, AUGUST 9 – 5:00 PM 
SUNDAY, AUGUST 24 – 5:00 PM 

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“Penelope Milford, Oscar-nominated for Best Supporting Actress in Coming Home, stars with Wynston Jones in this unusual story of two men and two women involved in a life of violence. Proceeding by interior monologues, experimental narrative shows us an inside-the-gut reality of people few of us would otherwise know. Described by LA poet Lewis MacAdams as a study of “Optimists in Hell.” Adapted from the novel by Dale Herd, who co-directed with Barry Hall. Produced by Beth Van de Water for Goliard Video at the Long Beach Museum of Art Video Annex. starring Mark Solomon and Susan Van Benthuysen.” – EZTV Guide

DUI: THE MOVIE

DUI: THE MOVIE
Dir. Spike Stewart and Cathleen Doyle. 1986.
United States. 80 min.
In English.

SATURDAY, AUGUST 2 – 10:00 PM 
FRIDAY, AUGUST 15 – 10:00 PM 
SATURDAY, AUGUST 23 – 10:00 PM 

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“A no-holds-barred look at the underground music scene in L.A. (circa 1982-85), directed by Spike Stewart. The bands preserved for posterity here include Severed Head in a Bag, Jon Wayne, Ugly Janitors of America, Three Day Stubble, Krew Kuts Klan, and Tequila Mockingbird.” – L.A. Weekly

“Begins where Penelope Spheeris’ Decline of Western Civilization left off…” – Los Angeles Times

ERIC BOGOSIAN’S FUNHOUSE!

ERIC BOGOSIAN’S FUNHOUSE!
Dir. Lewis MacAdams. 1986.
United States. 80 min.
In English.

SUNDAY, AUGUST 10 – 7:30 PM 
THURSDAY, AUGUST 28 – 10:00 PM 

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“Eric Bogosian’s FunHouse is a terrifyingly hilarious, recklessly entertaining journey through the performer’s mind. Fundamentalist preachers, winos, exercise instructors, rednecks, disk-jockies, male strippers, street toughs, junkie-killers and ordinary Joes parade rapid-fire across the stage in an intense, intricately woven series of monologues that illuminate the nightmare side of the American dream.

Eric Bogosian’s FunHouse was recorded at the Matrix Theatre in Los Angeles, after two years of sold-out shows across America and Europe, the last two nights this pioneer performance piece was ever presented.” – EZTV Videocassettes

MANTRA

MANTRA
Dir. Ken Camp. 1993.
United States. 120 min.
In English.

FRIDAY, AUGUST 1 – MIDNIGHT 
WEDNESDAY, AUGUST 6 – 10:00 PM 
FRIDAY, AUGUST 22 – MIDNIGHT 
WEDNESDAY, AUGUST 27 – 10:00 PM 

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Kenny Martinez (Mike Gonzalez) is a Los Angeles-based conceptual artist who decides to set up a confessional telephone answering machine as part of his latest project. As the constant deluge of traumatic and obscene voicemails threatens to create a rift in Kenny’s relationship with his girlfriend, Jill (Regina Oh!), a bizarre serial killer (Glen Meadmore) begins using the hotline to menace the couple.

Inspired by artist Allan Bridge’s Apology Line project, Ken Camp’s Mantra is a queer shot-on-video “sexual thriller” that’s as shockingly outrageous as it is lyrically erotic. As the original poster proclaims, it’s “precisely the kind of picture that Dan Quayle—or GLAAD, for that matter—doesn’t want you to see!” New digital preservation from videomaker Ken Camp’s personal VHS copy.

WOMEN IN VIDEO

WOMEN IN VIDEO:

FRIDAY, AUGUST 8 – 7:30 PM 
FRIDAY, AUGUST 22 – 5:00 PM 
SATURDAY, AUGUST 30 – 5:00 PM 

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One of EZTV’s staple programs was a recurring showcase of works by female videomakers. For this program, we’ll present two of these—Lorrie Oshatz’s THE LAST SLUMBER PARTY and Susan Rogers’s GOOD GRIEF—plus John Dorr and Terry Mack Murphy’s early adaptation of Murphy’s play THE OTHER WOMAN starring EZTV founding member Strawn Bovee.

THE OTHER WOMAN
Dir. John Dorr and Terry Mack Murphy. 1982.
United States. 30 min.
In English.

“A biting comedy by LA playwright Terry Mack Murphy (whose work is currently being showcased by the Dejas Vu Theatre). An aspiring actress (Strawn Bovee) and her maid (Jamielle Stanley) get drunk together and critique the men in their lives; and we find that they have more in common than expected.” – EZTV Guide

THE SLUMBER PARTY
Dir. Lorrie Oshatz. 1985.
United States. 35 min.
In English.

“A caustic comedy about three women who hate men.” – EZTV Guide

GOOD GRIEF
Dir. Susan Rogers. 1983.
United States. 21 min.
In English.

“A painter (Lois Chiles) is killed in an auto accident, but continues to intrude on the life of her husband, who otherwise seems not sufficiently grieved. A video by Susan Rogers.” – EZTV Guide

POLLy PERVERSE STRIKES AGAIN!

POLLY PERVERSE STRIKES AGAIN!
Dir. Dan Sallitt. 1986.
United States. 98 min.
In English.

SUNDAY, AUGUST 3 – 7:30 
MONDAY, AUGUST 11 – 7:30 PM with Q&A ($10)
FRIDAY, AUGUST 29 – 10:00 PM 

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“Nick Huxley, thirtyish, is becoming successful in his chosen profession, lives with a woman he is fond of, is vaguely unhappy, and doesn’t know why. Out of his past comes Theresa, a social disease who sleeps with anything that moves and who has decided that she wants Nick back. Nick, who seems to have lived a very different sort of life once, is determined to banish Theresa and youthful folly from his conscious life. But neither Nick’s girlfriend Arliss, a modern spirit who believes in driving buried emotions out in the open, nor Theresa, who seems to have an unseen power on her side, is willing to let it go at that…” – Original press synopsis

RADIO WORLD

RADIO WORLD
Dir. Matthew Causey. 1983.
United States. 70 min.
In English.

MONDAY, AUGUST 11 – 10:00 PM 
MONDAY, AUGUST 25 – 10:00 PM 
SUNDAY, AUGUST 31 – 7:30 PM 

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“In the not-so-distant future of a de-volved high tech society, a group of displaced suburbanites take refuge in a ruined factory, attempting to fend off the sadistic X-police. A video by Matthew Causey. Mechanical/incendiary effects by Mark Pauline. Music: Joseph Jacobs.” – EZTV Guide. Cinematography by Peter Deming. New digital preservation from producer Reg Oberlag’s personal VHS copy.

TALES OF THE UNLIVING AND THE UNDEAD

TALES OF THE UNLIVING AND THE UNDEAD
Dir. Wallace Potts, Robert Hernandez, Samuel M. Oldham, John Hays. 1988
United States. 90 min.
In English with Spanish Subtitles.

SATURDAY, AUGUST 9 – MIDNIGHT 
THURSDAY, AUGUST 21 – 10:00 PM 
TUESDAY, AUGUST 26 – 10:00 PM 
SATURDAY, AUGUST 30 – MIDNIGHT 

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Assembled by the short-lived EZ FILMS, Tales of the Unliving and the Undead is an anthology composed of four short horror films and videos produced by EZTV members: Cheap Thrills by Wallace Potts (Le beau mec, Psycho Cop), an abridged version of Santa Ana Winds by Robert Hernandez, Into the Fire by Samuel M. Oldham, and Death Sentence by John Hays. Released only in South America, Tales of the Unliving and the Undead is a fascinating—and extremely rare—piece of shot-on-video horror history. Digitally preserved from an original Mexican VHS (with trailers and Spanish subtitles).

 

LOFI FUTURES – 3 CYBERPUNK TALES SHOT ON DV

CYBERPUNK DV SERIES

At the dawn of the millennium, a time when it was likely far more fun and creatively stimulating to speculate on “the future,” the Digital Video (DV) format became the most accessible and inexpensive way to shoot and record footage. This new, scrappy, consumer-grade form of filmmaking resulted in celebrated directors like Spike Lee, Richard Linklater, Danny Boyle, and of course, David Lynch, providing some of their more experimental and chilling works. As our own future grows more incomprehensible by the day, Spectacle is proud to screen these three fuzzy, hypnagogic visions from the early 2000s: RED COCKROACHES, TRAGOS, and TEENAGE HOOKER BECAME KILLING MACHINE IN DAEHAKRO.

RED COCKROACHES 2003, 2025

RED COCKROACHES
dir. Miguel Coyula, 2003
United States. 82 min.

WEDNESDAY, AUGUST 13 – 7:30 PM WITH Q&A 
SATURDAY, AUGUST 23 – 7:30 PM 
FRIDAY, AUGUST 29 – MIDNIGHT

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In what would be Miguel Coyula’s first feature production, RED COCKROACHES is a disturbing urban thriller made with a micro-modest budget of $2000. It’s the first in an auteurist trilogy stemming from Coyula’s transgressive approach to Cuban speculative fiction. Set in a near-future NYC plagued by acid rain and the invasive corporate rule of DNA21, Adam Zarrasky is just another awkward 20-something until his daily routine is upended by a lonely, beautiful woman on a subway platform. What begins like a scene out of a romantic comedy in this poisoned world quickly devolves, opening a hole of lost family secrets and unthinkable psychosexual horrors. Coyula develops a language of singular cinematic unease that must be seen to be believed – audiences will never look at ketchup the same way again. Featuring an in-person Q&A with director Miguel Coyula on August 13th!

CW: incest

Special Thanks to Alfredo Calvino, Miguel Coyula and Ross Snyder of Saturn’s Core

Undeniably inventive, visually stunning, a triumph of technology in the hands of a visionary
—Ronnie Scheib, Variety

TRAGOS

TRAGOS
dir. Antero Alli, 2000
United States. 105 min.

SATURDAY, AUGUST 2 – 7:30 PM 
TUESDAY, AUGUST 5 – 10:00 PM 
THURSDAY, AUGUST 14 – 10:00 PM
MONDAY, AUGUST 18 – 10:00 PM

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A CYBER NOIR WITCH HUNT

Following our retrospective on Antero Alli, we’re proud to screen another picture from his poetic imagination. TRAGOS continues in the footsteps of THE DRIVETIME and its anxious judgments towards the dial-up tech of the late 90s. Centered around a virtual reality server’s deadly potential after the mysterious death of technopagan Vivika (producer/art director/music composer Thia Alli), this shot-on-miniDV mystery was impressively produced in-house with a $7000 budget – further establishing Antero and Thia Alli as modest adepts in DIY narrative filmmaking.

One of the most “obscure FMV game” movies ever made!
–Evan Pincus, LB

an outsider art miracle
–erik reeds, LB

TEENAGE HOOKER BECAME KILLING MACHINE IN DAEHAKRO

TEENAGE HOOKER BECAME KILLING MACHINE IN DAEHAKRO
dir. Nam Ki-woong, 2000
South Korea. 60 min.

SATURDAY, AUGUST 2 – MIDNIGHT 
FRIDAY, AUGUST 8 – MIDNIGHT 
TUESDAY, AUGUST 19 – 10:00PM
SATURDAY, AUGUST 23 – MIDNIGHT 

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With a translated title that’s as blunt and direct as it gets, TEENAGE HOOKER BECAME KILLING MACHINE IN DAEHAKRO is classic grindhouse sleaze distilled through a Y2K aesthetic. Lee So-woon stars in her first and only film role as a teenage girl given a second chance at life through brutal reconstruction. These new gifts propel her into a vengeful murder spree as she hunts for the perverse teacher (Kim Dae-tong) who killed her. Director Nam Ki-woong wore several hats when he made this picture, and his glowing DV cinematography paired with an entrancing trip-hop influenced score results in what might just be the coziest splatter movie in film history. Spectacle is proud to unleash one of the more operatic examples in extreme cinema to a new generation of tech-infused, bloodthirsty, sophisticated sickos.

The absolute garishness of early digital video pushed to its limit. I honestly kind of love this.
–COBRARocky, LB

One of those rare films who seems to be constant[ly] reinventing its forms, it remains one of the great found objects of the 00’s.
–Felipe Furtado, LB

Special Thanks to Youngin Lee and Kim Dohee of INDIESTORY INC.

 

THE GHOSTS OF VALERI RUBINCHIK

This July, Spectacle invites you to experience two films from Valeri Rubinchik in all their gothic glory. A Belarusian director from the twilight years of the USSR, Rubinchik was an exemplar of the more lyrical Soviet counterargument to Hollywood blockbuster films. This is likely the reason that his films have until recently gone largely unseen since their initial release. The two films presented, THE SAVAGE HUNT OF KING STAKH and THE APOSTATE, showcase Rubinchik’s mastery over atmosphere and the psyche. Weaving together massive tableaus, complex camera work, and nonlinear editing, Rubinchik’s two films offer a fresh look at horror and sci-fi from behind the iron curtain.

 
SAVAGE HUNT OF KING STAKH

THE SAVAGE HUNT OF KING STAKH
Dir. Valeri Rubinchik, 1980
Belarus. 134 min.

SUNDAY, JULY 6 – 5 PM 
MONDAY, JULY 14 – 7:30 PM 
WEDNESDAY, JULY 23 – 7:30 PM
THURSDAY, JULY 31 – 7:30 PM

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This is a horrible, damned house.

Welcome to Marsh Firs, the gothic mansion at the center of a bloody folktale that a young ethnographer has come to collect. Shortly after his arrival, the erudite skeptic finds himself an unwitting witness to the Wild Hunt, a trope common in Eastern European folklore, lead by the ghost of a vengeful nobleman killed at the mansion while there as a guest hundreds of years prior. But the Wild Hunt may be the least of his worries during his stay with the estate’s unstable mistress who unveils more about her family’s past and the menagerie of ghosts that haunt them.

A rare contribution to the horror genre from Soviet cinema, THE SAVAGE HUNT OF KING STAKH was recently restored by Deaf Crocodile in 2023. Leave your jump-scares at home and settle in for the horrors of paranoia and psychological torture.

 
THE APOSTATE

THE APOSTATE
Dir. Valeri Rubinchik, 1987
Belarus. 163 min.

SUNDAY, JULY 6 – 7:00 PM 
THURSDAY, JULY 17 – 7:00 PM 
MONDAY, JULY 21 – 7:00 PM

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A scientist develops a method to clone living material. Before long, the government steps in to weaponize this discovery for their own gain. Five genetically identical presidents later, the implications of such technology have already spiraled out of control. Arguing with yourself, facing your own mortality, and questioning who you are have rarely been more literal.

It’s easy to see THE APOSTATE as a commentary on a country at odds with itself, a fracturing of identity, in the wake of the recent relaxations from perestroika two years prior. Rubinchik’s vision of the future isn’t exactly optimistic. A sense of doom, a mood suffused throughout Rubinchik’s late works, hangs over the film as earthquakes shake interiors, sea levels rise, and horse and carriages ride past imposing brutalist architecture.