After Stuart S. Shapiro (creator and producer of the iconic 1980s art-variety show Night Flight and now Night Flight Plus) finished production on the releases of MONDO NEW YORK and COMEDY’S DIRTIEST DOZEN, he embarked on creating a series of VHS “video music magazines” each highlighting core music segments: Metal Head, Slammin Rap, Country Music, and Dance International. These VHS video magazines are “all time zone jewels” that captured music trends and pop culture for a brief window of time in the early 1990s.

DANCE INTERNATIONAL in particular focused on the emerging trends in electronic, hiphop, soul and R&B music – really, anything that wasn’t rock, country or jazz – and sourced content from the US and UK music scene. The series combined fresh interviews, music video premieres, fashion dossiers, original documentary featurettes and head-banging footage from concerts and dance floors around the world, anchored by groundbreaking proto-vaporwave (or “webcore”) interstitials with a punky attitude. While many of the faces and names in these tapes remain in the global pop pantheon, even more have been relegated to the margins of history – making DANCE INTERNATIONAL an invaluable time capsule of the clubs, the parties and the music industry at a moment of profound technological and sociological change.

To commemorate the 35th anniversary of DANCE INTERNATIONAL’s groundbreaking experiment in documenting youth culture – as well as that time of the year when temperatures rise, skin starts to show and people start packing in clubs – Spectacle is pleased to present all five surviving volumes, with Stuart S. Shapiro joining for in-person Q+As on May 20 and May 21.

DANCE INTERNATIONAL VOL. 1
prod. Stuart S. Shapiro and Adrian Workman, 1990
Worldwide. 59 mins.
In English.

FRIDAY, MAY 9 – MIDNIGHT
TUESDAY, MAY 20 – 7:30 PM followed by Q+A with Stuart Shapiro
THURSDAY, MAY 29 – 10 PM

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The inaugural edition of DANCE INTERNATIONAL kicks off with a heavy dose of primary-source footage of Italo Disco legends Black Box performing live at London Docklands Arena, joined by 808 State, Guru Josh, Daisy Dee, MC Tunes and others – personally shot on 3/4″ tape by Stuart S. Shapiro. Volume 1 also includes an interview with electronic legends Tommy Musto & Frankie Bones, mini-portraits of UK chanteuse Lisa Stansfield and Moses P. of Logic Records, and a mindblowing zoom-in on the overlap between hot rod racing and house music in the streets of Brooklyn, featuring drum-and-bass maestro Kraze (born Richard Jean Laurent) expounding in a dubious British accent.

“It’s really important to keep close to the basics. We are producing for the dance floor, to give the producers the chance to really DJ, and the really important part is that we can test our product before the release, in the club: see the reaction on the dance floor, could change the mix, and that’s really necessary for us. We have to handle artists, you have to time for that, so we can see what the future really is.” – Mattias Martinson, Co-Owner of Logic Records

DANCE INTERNATIONAL VOL. 2
prod. Stuart S. Shapiro and Adrian Workman, 1990
Worldwide. 58 mins.
In English.

SATURDAY, MAY 10 – MIDNIGHT
WEDNESDAY, MAY 21 – 7:30 PM followed by Q+A with Stuart Shapiro
FRIDAY, MAY 30 – 10 PM

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DANCE INTERNATIONAL’s kaleidoscopic approach is on further display in the second installment, which initially focuses on the fusion of rap, funk and house (featuring Mike G from the Jungle Brothers, Afrika Bambataa and UK producer “Dancin’” Danny D) before refracting outwards to depict something called “Hyperstyle for the 1990s” in a cyberpunk montage of web 1.0 interfaces, gyrating young bodies and a depiction of emergent Virtual Reality worthy of Barry Levinson’s classic Seattle erotic thriller DISCLOSURE (or the Aerosmith video for “Amazing”.) The centerpiece of the tape is a look at the notorious Outlaws parties founded by Vito Bruno, infamous for paying off NYPD officers, supplying musicians with drugs and, in 2020, unsuccessfully running for New York State Senate as a “law and order” Republican. Along the way there’s a 10th birthday party for i-D magazine, a deep dive into the escalation of dancehall reggae culture, an interview with acid house legend Baby Ford and an impassioned screed from Boy George against mainstream pop like Kylie Minogue (“we’re in need of another revolution, like punk”) and bemoaning record labels for liking Black music yet rarely signing Black musicians.

“I have the old promoters, the new promoters, people who don’t even speak to each other working together, I have the Black promoters, the white promoters, the gay promoters, the rock promoters, the disco promoters… Tonight this sleazy little loading dock is gonna be the focal point of the entire music industry, of the entire world. It has that New York, decadent, horrible, rough, raw, raunchy feel to it and that’s what it’s supposed to be. All the fabulous people will be here.” – Vito Bruno

DANCE INTERNATIONAL VOL. 3
prod. Stuart S. Shapiro and Adrian Workman, 1990
Worldwide. 57 mins.
In English.

THURSDAY, MAY 15 – 10 PM
FRIDAY, MAY 23 – 10 PM
FRIDAY, MAY 30 – MIDNIGHT

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Volume 3 testifies to the series’ interest in music’s influence on other cultures worldwide: A profile of Tam Tam Records (featuring A Homeboy, A Hippie & A Funki Dredd) diagnoses the synthesis of “hardcore techno elements” with “hardcore guitar stabs” and rap, effectively X-raying the different styles dominating the charts in the UK at the time. In a piece about the loosening of restrictions on music in former Soviet bloc countries, British DJ Norman Jay ventures to Bratislava to guest-host an episode of the weekly radio show Soul Seduction. Six months after its opening, there’s a profile of the Black Market coffee shop/record store in Vienna – “the only place in town that exclusively features Black music, because there has been no place in Vienna to react on the spot to what’s happening all over the world.” (This also occasions a quick interview with Austria’s only rap group, the Bureaus.) There’s a fascinating interview with legendary fashion designer Michiko Koshino that focuses on the DJs who pick songs for her runway shows and her atelier (although the segment is scored to seminal porn/art group Enigma.)

“I really do think dance music, house music, club music, whatever you wanna call it, is gonna take the States by storm because a lot of kids that were into rap are now into dance music. As far as me being a very internationally known artist in Europe and not as big in America, it really doesn’t phase me that much because I know my time is coming. The first time I went over to Europe, the response to my performances were very good: people enjoyed me, people were receptive, I had a great time, and they just know how to party.” – Adeva

DANCE INTERNATIONAL VOL. 4
prod. Stuart S. Shapiro and Adrian Workman, 1991
Worldwide. 59 mins.
In English.

FRIDAY, MAY 16 – 10 PM
FRIDAY, MAY 23 – MIDNIGHT
SATURDAY, MAY 31 – 10 PM

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If you weren’t feeling ensconced in the Nineties already, DANCE INTERNATIONAL VOL. 4 features an in-depth profile of the short-lived Long Island rap posse ‘Young Black Teenagers” who enjoyed the support of Public Enemy producer (and Sound of Urban Listeners, or SOUL Records mastermind) Hank Shocklee – despite none of the members actually being Black. Ralph Tresvant gets an extensive interview about his first steps as a solo artist (and the wider misconceptions that hindered New Edition, with no shortage of veiled criticisms of their record label.) Also featured is an extended video for the 12” version of Gwen Guthrie’s “Ain’t Nothin’ Goin’ on but the Rent” and a short documentary wherein a group of singers tagged as the “Motown of the 90s” (Ceybil, Dee Dee Brave, D’borah) break down the renaissance in New Jersey soul.

“What is it in the nature of Man that makes us hate? And cheat? And steal? And kill? Why do people get off on bigotry, intolerance and racial intolerance? There’s something wrong with human nature! They put their hands in their pockets. It relieves their conscience. There’s something wrong with human nature! What is it that makes a man gaze down from his penthouse suite, watching those young children sleeping rough on the streets? All over the world, there’s something wrong with human nature…!” – Gary Clail

DANCE INTERNATIONAL VOL. 5
prod. Stuart S. Shapiro and Adrian Workman, 1991
Worldwide. 58 mins.
In English.

SATURDAY, MAY 17 – 10 PM
SATURDAY, MAY 24 – MIDNIGHT
SATURDAY, MAY 31 – MIDNIGHT

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Like its predecessors, the final DANCE INTERNATIONAL tape gestures towards a more liberated world, where people are able to enjoy music across genres, unburdened by the strictures of race, class and geography. There’s a fascinating study of Crystal Waters that digs into her encouragement by the Basement Boys, for whom she specifically wrote “Gypsy Woman (She’s Homeless) as well as her advocacy for queer pride and the destigmatization of AIDS. George Clinton gets a deep-dive interview in which he discusses a Mothership Connection feature film to be directed by HOUSE PARTY’s Reginald Hudlin – shelved, but in preproduction at the time. The final DANCE INTERNATIONAL segment is a black-and-white music video for a still-unreleased Massive Attack song called “Just a Matter of Time”, in which Robert del Naja, Grant Marshall, Andrew Vowles and Shara Nelson (who famously contributed vocals for “Unfinished Sympathy” and “Lately”) go searching for prodigal member Tricky – perhaps shelved because he left the group after Blue Lines.

“My theory in the studio is, do everything that other producers told you not to do. Everything they told you you can’t put on the record – put it on the record… But I’m preoccupied with extraterrestrial things. If something doesn’t happen pretty soon, we’re all gonna bore ourselves to death.” – George Clinton

THE DUMB GIRL OF PORTICI
dirs. Phillips Smalley and Lois Weber, 1916
United States, 115 min.
Silent with English intertitles.

SATURDAY, MAY 10 – 7:30 PM – ONE NIGHT ONLY! LIVE SCORE BY JAKE PEPPER AND ZACH KOEBER

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Spectacle is proud to present one of American cinema’s first true epics, with a new original score performed by esteemed local musicians Jake Pepper and Zach Koeber. 

With a production budget of $250K and based on the 1828 French opera La muette de Portici, THE DUMB GIRL OF PORTICI was Universal’s first blockbuster gamble, showcasing ballerina Anna Pavlova’s elegant dancing against the backdrop of a tragedy of star-crossed lovers. Pavlova plays Finella, our titular “dumb girl,” whose hopelessly romantic personality attracts a powerful Spanish duke (Wadsworth Harris). However, this affair complicates Finella’s relationship with her brother Masaniello (renowned silent filmmaker Rupert Julian), a determined fisherman slowly rallying the people toward revolution. 

Elevating melodrama to violent heights, THE DUMB GIRL OF PORTICI is one of the earliest examples of movie magic, with biblical images of public chaos and heavenly, spellbinding dance footage from Pavlova and company. The film originally screened with orchestral accompaniment; while we don’t necessarily have the space for a full symphonic group, we are pleased to work with two of the DIY music scene’s finest, Jake Pepper and Zach Koeber. Appearing for the first time at Spectacle, they’ll provide a music accompaniment to match the picture’s majestic presentation. 

…a crucial rediscovery—as are the art of Weber over all and, for that matter, the celebration of Pavlova’s single screen performance … Along with the specifics of their genius, “The Dumb Girl of Portici” is a welcome reminder that the history of cinema still belongs to the future.

—Richard Brody, The New Yorker

Jake Pepper and Zach Koeber make up half of Ace Bandage, the jam-heavy rock band based in Brooklyn. Their fondness of improvisation and vast knowledge of timbral music allows them to shift seamlessly through varied sonic palettes. Pepper also performed in Brooklyn synth punk outfit Future Punx, while Koeber got his start in the local scene as one-third of Archie Pelago, and he currently collaborates with deep house producer Max in the World. Both Jake and Zach have also guest DJ’d on the prestigious independent station The Lot Radio.

Special thanks to George Schmalz and Kino Lorber.

WINDOW ON YOUR PRESENT
dir. Cinqué Lee, 1988
60 mins. United States.
In English.

FRIDAY, MAY 2 – 7:30 PM
SATURDAY, MAY 10 – 5 PM followed by Q+A with Cinque Lee, sound designer Stuart Argabright and cinematographer Leslie Mentel (ONE NIGHT ONLY!)
TUESDAY, MAY 13 – 7:30 PM
MONDAY, MAY 26 – 10 PM
SATURDAY, MAY 31 – 7:30 PM

GENERAL ADMISSION TICKETS

SPECIAL EVENT (Q&A) TICKETS

15 years after being released on DVD (and almost 40 years after it was shot), artist Cinqué Lee’s WINDOW ON YOUR PRESENT returns to the flaming S – this time, with Cinqué Lee in person for Q+A.

Collaborating with Jim Jarmusch on his directorial debut, Lee – who appeared in Jarmusch’s MYSTERY TRAIN and served as both cowriter and coproducer on his brother Spike’s CROOKLYN – gives us an unsettling dreamscape taking place in the rubble and ruins of a post-apocalyptic Brooklyn neighborhood.

WINDOW ON YOUR PRESENT creates a morbid and lonely atmosphere seen through the eyes of two protagonists, Europa and Lever. Surrounded around a colorless existence, the dialogue-free film shows us horrors of neglect, abuse, and dangerous lonesome through the eyes of this young couple while they search for something special outside of their dreary world.

Filmed on the cusp of the No Wave movement specific to New York filmmakers expanding outside of a small screening room on St. Mark’s Place, Lee leans into gritty and guerilla style filmmaking that movement is really known for. Between the visuals from cinematographer Leslie Mentel, the voiceover by Maria Pieneres, and the incredible jazz score by Spike and Cinqué’s father Bill Lee, this collaboration of artists makes WINDOW ON YOUR PRESENT feel less like a movie and moreso a collaborative work of art.

“Genetically much closer to maudit French literature than to mainstream American cinema, Cinqué Lee’s visually haunting 1980s post-apocalyptic narrative tone-poem should be regarded as a true underground classic!” – Jim Jarmusch

CONTENT WARNING: This film includes a scene of sexual assault.

STUART AGRABRIGHT is a veteran musician and composer known for his experimental and innovative work across various genres, including punk, post-punk, industrial, and electronic music. He is associated with the New York City music scene of the late 1970s and 1980s. He was influenced by hard rock, glam rock (like David Bowie), and then the emergence of punk (Sex Pistols, The Clash). Argabright moved to NYC, where he became part of an exciting and dynamic music scene where experimentation and the creation of new genres were common. Argabright has consistently explored new technologies and media in his work, reflecting on how they have shaped the perception of music and art across generations. He is interested in the evolution of media and its impact on culture. He’s described as a veteran “cyberpunk composer” for his interest in the intersection of technology and society in his music.

LESLIE MENTEL is a filmmaker and director known for work in music videos and documentaries, with a notable connection to the musician Q Lazzarus. Leslie directed the 1988 music video for “Goodbye Horses”, which is significant in the context of Q Lazzarus’s work and her reappearance in the public eye after a long absence; the video features Q Lazzarus, along with Bill Garvey and dancer Danny Z. Leslie also appears in the documentary “Goodbye Horses: The Many Lives of Q Lazzarus,” directed by Eva Aridjis Fuentes. The documentary delves into Q Lazzarus’s life, music, and mysterious disappearance. Mentel’s participation in the documentary highlights an ongoing contribution to preserving and sharing the story of this unique artist.

CINQUÉ LEE is a filmmaker, writer, and actor whose career began with Super 8mm films in high school and has grown into a body of work marked by bold, genre-defying storytelling. He made his directorial debut with WINDOW ON YOUR PRESENT, a black-and-white feature that has since become an underground classic. Throughout his career, Lee has collaborated with directors including Jim Jarmusch, Matthew Barney, Spike Lee, and William H. Macy, contributing to a diverse range of distinctive, often boundary-pushing film and performance projects. Lee’s most recent feature, A RARE GRAND ALIGNMENT, stars Gustaf Skarsgård, Roman Griffin Davis, and Kristofer Hivju. The film blends science fiction and psychological drama and was shot using an LED volume soundstage to create a vivid and emotionally charged visual world. The son of acclaimed jazz bassist and composer Bill Lee, Cinqué continues to be a singular voice in independent cinema.

In the spirit of previous collaborations with filmmakers like Lev and Whitney, Nuotama Bodomo and James Edmonds, Spectacle invites Seattle-born filmmaker KERSTI JAN WERDAL to join us for two nights this April. The first program on April 18th is a presentation of short-to-medium-length works spanning the last ten years, culminating in the New York City premiere of her latest short, TEST PIECE; the second, on April 19 is the New York City premiere of Werdal’s feature debut LAKE FOREST PARK.

WORK 2017-25
dir. Kersti Jan Werdal, 2017-2025
80 min. In English.
United States.

FRIDAY, APRIL 18 – 7:30 PM followed by a discussion with Kersti Jan Werdal moderated by film curator Inney Prakash

ONE NIGHT ONLY!

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This program of selected short films demonstrates the evolution over the past decade of Kersti Jan Werdal’s mastery of film form, her eye for composition, her historical fascinations and the interdisciplinary nature of her overall approach to cinema. WORK 2017-2025 spans documentary, reenactment, essay and dance films, culminating in the juxtaposition of 2017’s CEDAR ROSE (which forms a perfect complement with Werdal’s haunting debut feature LAKE FOREST PARK due to its use of archival material and its Pacific Northwestern locale) and her latest film TEST PIECE.

“Spending hours and hours over large stretches of time with objects, ephemera, photographs, and artworks which encompass a person’s life, I began to consider the concept of an archive, and how the elusive slippery elements of memory can be imposed upon materials and live on once the person has passed. As the archive takes shape, what’s required is a person or institution making a choice of what is kept or discarded, reflecting and informing a history which can be accurate to that history or not. I feel this is similarly tied to field-work, and the role of the anthropologist, which is impossibly problematic. Things are left out, often one or just a handful of viewpoints are reflected, and what’s left is something which many present as objective, which is in truth, inherently subjective. I feel this is also why I tend to avoid the term documentary, I’m not sure it exists, or rather – if the term holds the same meaning that it used to. I’m always considering this when making and think it’s partially why archival materials wind up in my work.” – Kersti Jan Werdal, interview with the Grand Cinema

SLOW SHAPES
2017. 12 min.

Shot in Manhattan, Brittany Bailey uses sidewalks and roadside monuments as a proxy for a stage, or dance studio. Her body creates improvised shapes utilizing the negative space between limbs, concrete, vehicles, and locals walking to where they are going.

PROMENADE
2018. 15 min.

PROMENADE is an observational portrait of dancer-choreographer Brittany Bailey, as she prepares to debut a new work at Judson Memorial Church. The film engages with archival possibility, while interrogating if or how performance, a live time based medium, may be represented in the memory of moving image.

I CANNOT NOW RECALL
2023. 15 min.

In I CANNOT NOW RECALL, Kersti Jan Werdal guides the viewer through a selection of Yvonne Rainer’s dreams, chosen by the filmmaker from a collection of Rainer’s journals archived at The Getty Museum. Constellated first through Werdal’s selections, and then refracted through the readings of a street-cast filmed in LA High Memorial Park, Rainer’s dreams appear as nodes on an anxious psychic ecosystem. As the material distills from private reflection into script into performance, what emerges is a vital interchange between desire and disquiet. References to the medium of film seem to further entangle the relationship between filmmaker and subject, as well as the relationship between film and viewer. Joined by doubles and guides, in unfinished buildings and the depths of outer space, the dreamer explores her subconscious with a probing appetite for expansion and wholeness – but who the dreamer is exactly remains an open question.

CEDAR ROSE
2017. 8 min.

“In CEDAR ROSE, Werdal’s approach provides a productive space in which a forgotten language and archive is presented as it is, without being explained or argued. Werdal allows for this dark margin of the archive, as Trond Ludemo describes it, this gap, in her bold decision of only having archival footage of the seemingly mundane language course coupled with her observational shots of the land the tribe was erased from, bearing the weight of landscape and the consequences and effects of accelerated technology and capitalism. However, Werdal does not explain this approach, and so there is a respect to the culture as it is and was through the opacity Werdal allows it in her film.” – Lucy Kerr

TEST PIECE
2025. 19 min.

Kersti Jan Werdal’s TEST PIECE dismantles cinematic conventions through a disjunctive, non-narrative layering of images, sounds, and text. From an archer in a natural landscape to a theatrical dark void where sounds are described rather than heard, and finally to a diverse collection of source texts narrated in a park, TEST PIECE constructs a dynamic and evolving cinematic space that invites viewers to critically engage with the film’s conceptual and intellectual potential. 

LAKE FOREST PARK
dir. Kersti Jan Werdal, 2021
60 mins. United States.
In English.

SATURDAY, APRIL 19 – 5 PM followed by a discussion with Kersti Jan Werdal moderated by filmmaker Lucy Kerr

ONE NIGHT ONLY!

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Kersti Jan Werdal’s official synopsis for LAKE FOREST PARK is deceptively simple, calling it “a coming-of-age story about a group of friends dealing with the secret of a classmate’s death.”

Understated and enigmatic, LAKE FOREST PARK accepts the mystery of everyday life in its fragmented and observational approach. The film’s empty spaces, damp greenery and austere beauty perfectly capture the environment of the film’s Washington state locale, to say nothing of the real-life Lake Forest Park – a suburb just north of Seattle (and, crucially, the filmmaker’s hometown.)

LAKE FOREST PARK is set in the early 21st century; Werdal told an interviewer she was drawn to the era’s lack of social media, and the fact that “Escape and connection had to be accessed through other modes.” But only the closest of watchers will register that context, as Werdal’s bigger project suffuses the eternal ups and downs of the classic American adolescent experience with a palpable sense of melancholy. If not for that undercurrent of mourning – and the filmmaker’s clear fascination with human behavior, down to minute details worked out beautifully with her teenage cast – LAKE FOREST PARK would deserve serious praise as a master class in Pacific Northwestern minimalism (or so-called “slow cinema”.) Beyond that, Werdal’s film is a haunting meditation on grief, and one of the most exciting feature debuts of the decade thus far.

“With LAKE FOREST PARK, I thought of Western music, the first five minutes before the title being the epigraph and the final scene as the coda: ‘a reverberation of something already heard’…. There are certain things I gravitate towards in the edit, such as inconclusive endings, steering away from any fabricated drama, and leaning into restraint rather than spelling out what is happening or why to the audience. I’d prefer the viewer have more agency rather than dictate how they should feel. I’d like the viewer to participate, rather than sit passively.” – Kersti Jan Werdal, interview with the Grand Cinema

“LAKE FOREST PARK was photographed on 16mm film, giving it the patina of an aged object (the lovely grain patterns and warm tone here are a far cry from the flat, hard edges and cool colors of much current digital photography). Quite simply, it’s a beautiful object to look at… A very fine film from an exciting young filmmaker.” – Daniel Gorman, In Review Online

“If Gus Van Sant can be seen as an influence, this film is arguably the inverse of his PARANOID PARK, wherein a fictitious story was lent legitimacy through the application of a form of documentary realism. Here, a documentary subject is realised through a fiction film method. Closer to reinterpretation than recreation, the film becomes a fabrication responding to reality.” – Matt Turner, nonlinearities

screening with

NIGHT RUN
dir. Kersti Jan Werdal, 2023
4 mins. United States.

Memory of a night.

INNEY PRAKASH, a film curator and critic originally from Detroit, Michigan, is the founder and director of Prismatic Ground, an avant-garde film festival in New York City. His previous roles include Co-Director of Programming at Maysles Documentary Center and Curatorial Lead for the San Diego Asian Film Festival. Prakash has also contributed to festivals like Sundance and SXSW. His writings have appeared in Filmmaker Magazine, Film Comment, and several other platforms, reflecting his deep engagement with the film community. He is presently the Film Curator at Asia Society NYC.

LUCY KERR is a filmmaker, artist, and choreographer from Texas and currently based in New York. She was named one of the 25 New Faces of Independent Film in Filmmaker Magazine in 2022. Her debut feature film, FAMILY PORTRAIT, garnered her the Boccalino d’Oro for Best Director at Locarno Film festival, the Best Director Award from Black Canvas Film Festival, the Best Picture, Best Actress, and the Best Artistic Contribution Awards from Hainan Island International Film Festival. The film made its theatrical premiere at Metrograph after making its world premiere at Locarno Film Festival and screening at festivals including Chicago International Film Festival, El Gouna Film Festival, American Film Festival, among others. Kerr’s short films have screened at IFFRotterdam, FIDMarseille, San Sebastian International Film Festival, DocLisboa, and others.

KERSTI JAN WERDAL is a filmmaker whose work centers around collective memory, hidden cultural truths, and place. Demanding the audience take a direct role while viewing, she typically situates specific plot-points opaque, and prefers to pivot away from the expository. Her films focus on off-screen sound and framing of the subject to tell a story, while often working within a structuralist form. 

Her films have shown at IDFA, Camden International Film Festival, Prismatic Ground, Pesaro International Festival, Festival Ecrã, Blum & Poe, Galerie Allen, Anthology Film Archives, Northwest Film Forum, and Metrograph.

Werdal has also collaborated as Editor on films made by other Directors. These works have screened at MoMA, Dokufest International, Visions du Reel, Metrograph, and Ji.hlava. 

She received her BFA from Columbia University in Sociocultural Anthropology and Art History, as well as an MFA in Film/Video from California Institute of the Arts.

Presently, she is in pre-production for her next film, to be shot in Italy this Summer.

SALLY & JESS
dir. John Wintergate, 1989
United States. 94 mins.
In English.

SATURDAY, APRIL 12 – 5pm – ONE NIGHT ONLY!

TICKETS

Spectacle is thrilled to collaborate with our friends from Filmmuseum Boise on a rare screening of SALLY & JESS, John Wintergate’s little-seen (and Idaho-shot) followup to the infamous BOARDINGHOUSE.

A “family film” in content and production, SALLY & JESS is John Wintergate’s unreleased follow-up to BOARDINGHOUSE, his noted 1982 SOV feature. Filmed in 1989 in McCall, Idaho, the film follows the titular brother and sister (played by Wintergate’s children, Shanti and Kodey) as they navigate the fallout of their parents’ (Wintergate and his wife, Kalassu) deaths, fleeing from foster care while a child murderer operates in the area.

Less a horror film than an adventure film with some peril (a specialty of the Mouse House once upon a time) the film is at its best when it’s focused on the Wintergate family spending time together and with friends. It uses the big skies and nearby swaths of forest to make the movie feel larger than its budget. The close knit nature of the small town, pop. 2000, where it was made manifests on screen as actual community resources assemble to aid in the fictional search for the runaways.

SALLY & JESS is a snapshot of a time before the 90s boom turned “indie film” into a cottage industry where you follow every book and manual, trying your best to pass for legitimate studio product, hoping to be rise within reach of the brass ring and cash in on the promise of fame and acclaim, when making an independent movie could simply be a novelty, made for the hell of it, something you show to your friends, and then years later reminisce, “remember when they made that movie in town? What a time that was.”

“Idaho sees a lot of filmmaking among the locals, but not a lot of filmgoing. Until recently, the only repertory screenings run would be the yearly reruns of the usual franchise titles. Filmmuseum Boise (and its earlier iterations) was started to fill the void in film programming. If the only way to view a film I would see in NYC is to run it myself, then I guess that’s what I gotta do. I am very pleased to flip things around in this case and bring an Idaho film to the city.” – Alex Hansen, founder + curator of Filmmuseum Boise