NEW CINEMA CLUB PRESENTS: IN FOCUS

SATURDAY, MARCH 28 = 7:30 PM w/ filmmaker for Q&A
ONE NIGHT ONLY!
(This screening is $10)

Like a kind of early career retrospective, In Focus presents an evening of work by a single filmmaker, an opportunity to explore the genesis and evolution of a new and unique voice in contemporary cinema. The filmmakers featured are always local and will be in attendance for a Q&A after the screening, led by New Cinema Club’s director of programming Tymon Brown.

The March edition of InFocus will focus on the work of Swetha Regunathan.

Swetha’s Bio
Swetha Regunathan is a writer and filmmaker based in NYC. Born in Pondicherry, India, she was brought to Montreal as a baby and grew up in Queens, New Jersey, and Mississippi. She holds a B.A. from Columbia University and a PhD in English Literature from Brown University. She has written for n+1, Guernica, and other publications. In 2009 she was nominated for a Pushcart Prize for Best American Essay. Swetha is currently an MFA candidate in the Graduate Film program at NYU Tisch School of the Arts. Swetha was the recipient of the Antonio Cirino Memorial Art Education Fellowship from the Rhode Island Foundation in 2015 and 2017. Her series THE ACADEMY was a finalist for the 2016 Sundance New Voices Lab, and her short HASIM OCTOBER was shortlisted for a 2017 Lexus Short Films award. The film also screened at the Indie Street Film Festival, Chicago South Asian Film Festival, New Cinema Club, and premiered on NoBudge in June 2019. Swetha produced IF THERE IS LIGHT, a short documentary about a family living in a shelter in NYC. The film was supported by Queen Latifah’s inaugural Queen Collective grant, in association with Tribeca Studios, and premiered at the 2019 Tribeca Film Festival. Her short script FOREVER TONIGHT won the 2019 BlueCat Screenplay Competition and was also a finalist for the  Showtime® Tony Cox Screenplay Competition. It is currently in post-production. Her next short, WIRE & CLOTH was awarded a 2019 Alfred P. Sloan production award and is currently in preproduction.

MILLENNIUM FILM WORKSHOP presents MEANS OF PRODUCTION: NEW ARTISTS’ CINEMA

SATORI
dir. Erica Schreiner, 2015.
USA. 93 min.
Silent w/ English subtitles.

WEDNESDAY, MARCH 25 – 7:30 PM w/ Q&A
ONE NIGHT ONLY!

ONLINE TICKETS            FACEBOOK EVENT 

Two years in the making, SATORI is a feature length art film created by New York-based video and performance artist Erica Schreiner. Shot on VHS, Schreiner performs before the camera while simultaneously operating it. She made the picture entirely by herself: writing, editing and acting.

Nightly, Satori gives birth to eggs and sells them in order to make enough money to survive so she can continue to make art. Satori becomes worn out and conflicted with the act of selling part of herself and discusses this and the many aspects of being an artist with her friends: an encouraging unicorn, the all-knowing goddess Isis and a very disagreeable Beta fish. Together they help Satori find a way into the Universe where she goes in search of meaning and answers about her existence as an artist.

SATORI was independently created and financed and is a visionary piece with an important message. Satori struggles to divide her time between cultivating her personal passion and working to make money for survival, within the system. Satori and the other magical characters contemplate the meaning of life, Satori’s experience, lack of privilege and opportunities, and the affect it has on her ability to create. She challenges the money system, at one point burning up all of her money because she was “starting to believe in the value of the stuff.” Satori ultimately finds her personal freedom outside the hierarchy of control, illustrated with anarchist themes and philosophical dialog.

SATORI is the first entry in MEANS OF PRODUCTION: NEW ARTISTS’ CINEMA presented by MILLENNIUM FILM WORKSHOP.

This series will be devoted to showcasing works from overlooked and unknown American and International contemporary artists working in film and video, and pushing bounds beyond the limitations implied in those forms. Whether presenting intimate-scale epic by heretical artists re-interpreting the world as they see it on a no-string budget, or artists expanding vision via new tools of expression in the present and future age, Means of Production is about looking forward to a 21st century where economic and technological barriers are broken down, ushering in a new era of highly original cinematic handiwork.

The Millennium Film Workshop was founded in 1967 by a group of filmmakers with a vision to expand accessibility to the tools, ideas, and networks of filmmaking beyond the confines of institutions and corporate studios. Millennium has put on countless educational workshops and artist-hosted screenings, printed our renowned publication The Millennium Film Journal and served as a production hub kickstarting the careers of filmmakers such as Stan Brakhage, Todd Haynes, Yvonne Rainer, Carolee Schneeman, Michael Snow, Bruce Connor, Nick Zedd, Andy Warhol and Bruce Connor. It has played a large role in dismantling the monetary and educational barriers separating the art and craft of filmmaking from the general public.

https://www.millenniumfilm.org
http://www.mfj-online.org/

MUBI PRESENTS: THE TOXIC AVENGER


THE TOXIC AVENGER
dir. Lloyd Kaufman and Michael Herz, 1984
United States, 82 min.
In English.

WEDNESDAY, MARCH 4 – 7:30 PM w/ Lloyd Kaufman in person!
(This screening is $10)
FRIDAY MARCH 6 – MIDNIGHT

ONLINE TICKETS          FACEBOOK EVENT 

MUBI is excited to present these exclusive screenings to launch their new series dedicated to the infamous American independent production company Troma. Directed by the company’s founders, THE TOXIC AVENGER is an endlessly inspired oddity of a superhero movie—made long before the genre became rife with convention and impersonality.

THE TOXIC AVENGER is the first film in MUBI‘s series The Vulgar Disruptor: Troma Restored

Founded in 1974 by filmmakers Lloyd Kaufman and Michael Herz, the production-distribution company Troma has long been dedicated to realizing and releasing only the most transgressive of genre films. Troma is indisputably a landmark company in the American filmmaking landscape, upending all comfortable notions of both good and bad taste and high and low art.

MUBI celebrates their commitment to all things vulgar with this 6-film series which encompasses films across the company’s lifetime, starting with their initial runaway success of The Toxic Avenger through to what is surely the most gruesome adaptation of Romeo and Juliet ever realized, the aptly titled Tromeo & Juliet. From gross-out Shakespeare adaptations to a Nazi-hunting exploitation revenge flick, there’s something here for everyone.

THE TOXIC AVENGER will be available to stream on MUBI starting March 3. More info here.

MUBI is a curated streaming service. An ever-changing collection of hand-picked films. From new directors to award-winners. From everywhere on earth. Beautiful, interesting, incredible movies — a new one, every single day. Always thoughtfully selected. MUBI is available to watch in 190 countries. On any screen or device, anywhere.

FREE AT LAST: The Marriage Circle

New works are finally entering the public domain after a 20 year hiatus; come and celebrate the newly liberated films of 1924 with Spectacle!

THE MARRIAGE CIRCLE
dir. Ernst Lubitsch, 1924.
France. 85 min.
Silent with English intertitles

WEDNESDAY, MARCH 25 – 10 PM
SATURDAY, MARCH 28 – 10 PM

ONLINE TICKETS           FACEBOOK EVENT 

In this marital sex comedy, Lubitsch finds humor in the small conflicts and misunderstandings that arise in relationships. Lubitsch thought of The Marriage Circle as depicting “everyday people” who were “just a little bit bad and not too good.”

In Vienna, two married couples intersect; the newly-married and in-love Brauns and the mismatched Stocks. The flapperish Mizzi Stock, unsatisfied with her husband’s subdued and formal manner and lack of attention, throws herself at the first man she runs into, who happens to be the new husband of her best friend Charlotte Braun. As Mizzi pursues Doctor Braun, who does his best to evade her, Charlotte begins to suspect that he’s interested in another woman. Doctor Braun’s partner sees his chance and takes the opportunity to woo the unreceptive Charlotte. Hoping to procure a divorce from his restless wife, Professor Stock hires a detective who uncovers Mizzi’s connection to Doctor Braun, threatening his otherwise happy marriage.

JANE: AN ABORTION SERVICE


JANE: AN ABORTION SERVICE

dir. Kate Kirtz and Nell Lundy, 1996
United States, 58 min.
In English.

FRIDAY, MARCH 27 – 7:30 PM
ONE NIGHT ONLY!
(This event is $10)

ONLINE TICKETS        FACEBOOK EVENT

100% of ticket sales will go to Access Reproductive Care – Southeast, an Atlanta-based service providing financial and logistical support for those in need of abortions in six southeastern states.

This fascinating political look at a little-known chapter in women’s history tells the story of “Jane”, the Chicago-based women’s health group who performed nearly 12,000 safe illegal abortions between 1969 and 1973 with no formal medical training.

Special thanks to Women Make Movies.

DO YOU KNOW WHERE YOUR GIRLS ARE?

Burning rubber? Taking names? Climbing the social ladders of the Brooklyn organized crime scene? These women (gasp) do it all. Alternating between the schlock and the subversive, the films included in this series are best enjoyed with your own clique of delinquents, punks and biker toughs.

Special thanks to byNWR, G.B. Jones, Vtape, and AGFA.



CHAINED GIRLS
dir. Joseph P. Marwa, 1965
United States, 65 min.
In English.

SATURDAY, MARCH 7 – 7:30 PM
WEDNESDAY, MARCH 11 – 10 PM
SUNDAY, MARCH 15 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

Presented by byNWR

In contemporary times, sleaze documentarian Marwa’s expose of the secret lives of New York lesbians plays best wryly and tongue-and-cheek (and occasionally laugh out loud). This anthropological oddity is shot verité-style on the Greenwich Village streets, drastically underexposed, an amateurish eventide tour of mid-60s New York with the mysterious Sapphics as our guide. byNWR’s recent incredible restoration preserves an unforgettable pre-Stonewall curio.

screening with

THE YO-YO GANG
dir. G.B. Jones, 1992
Canada, 30 min.
In English.

Flash forward thirty years, to queercore Toronto, where Fifth Column’s G.B. Jones unleashed the furiously gritty punk opus Yo-Yo Gang, following a turf war between the titular girl clique and their nemeses, The Skateboard Bitches.



TEENAGE GANG DEBS
dir. Sande N. Johnson, 1966
United States, 72 min.
In English.

FRIDAY, MARCH 6 – 10 PM
WEDNESDAY, MARCH 11 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

“No one’s gonna cut me up, pigface!” growls no-goodnik Terry (Diane Conti), fresh in Brooklyn from Manhattan and vying to wrest control of the Brooklyn-based Rebels. An operatic teen movie full of brawls on the open Brooklyn streets, Teenage Gang Debs has a rightful rep as one of the most fun films in its genre.



GIRL GANG
dir. Robert C. Derteno, 1954
United States, 64 min.
In  English.

MONDAY, MARCH 16 – 7:30 PM
MONDAY, MARCH 23 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

A prime cut of 1950s cautionary schlock, Girl Gang chronicles the downfall of a group of teens who fall under the drug-addled sway of gangster kingpin. Funded by roadshow maestro George Weiss, who also funded Ed Wood’s films as well as Chained Girls, this z-grade relic was rescued from obscurity by Something Weird.



SHE-DEVILS ON WHEELS
dir. Herschell Gordon Lewis, 1968
United States, 88 min.
In English.

FRIDAY, MARCH 6 – 7:30 PM
SUNDAY, MARCH 15 – 5 PM
WEDNESDAY, MARCH 18 -10 PM

ONLINE TICKETS        FACEBOOK EVENT

Presented by the America Genre Film Archive.

Gore god Gordon Lewis gives girl gangs a go in this mean and nasty 1968 exploitation flick following the exploits of The Man-Eaters; biker chicks reigning over a Florida town. They race their bikes weekly on an airport tarmac, endowing the winner with “first pick from the stud line”. Shot in Miami (and reportedly starring actual motorcycle toughs), She-Devils is as colorful as exploitation films get.

WOMEN’S PUNK ART MAKING PARTIES

The word “collective” brings to mind infinite potentials — an unlimited number of practices towards horizontality within an artistic ecosystem. Some of these practices are more tenable than others, but throughout history activist-minded artists have collectivized in an effort to change what the economic, social and political model of making arts looks like. From West Berlin to DC, the Second Wave to riot grrrl, we present a cross-section of female artists coming together in times of political need.

Organized with Mary Billyou. Special thanks to Kristen Fitzpatrick, WMM, Filmmaker’s Co-op, K8 Hardy, Wynne Greenwood, Facets, and Meredith Drum.



WOMEN’S PUNK ART MAKING PARTY
Dir. Mary Billyou, 1996.
United States, 33 min.
In English.

SATURDAY, MARCH 21 – 7:30 PM w/director Mary Billyou in person
THURSDAY, MARCH 26 – 7:30 PM
SUNDAY, MARCH 29 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

A documentary in which a group of young women meet for an art-making party. Located at The Beehive Collective in Washington, DC, six individual episodes are loosely interspersed, allowing each participant a chance to represent themselves. Included: a feminist stripper preparing for work, a puppet show, and a music video.

screening with

SHE HAD HER GUN ALL READY
dir. Vivienne Dick, 1978.
United States, 28 min.
In English.

Vivienne Dick takes aim a reverence and power dynamics among women in one of her best known shorts, an 8mm Lower East Side-set psychodrama starring Lydia Lunch.

and

NEW REPORT ARTIST UNKNOWN
dir. K8 Hardy, Wynne Greenwood, 2006
United States, 16 min.
In English.

A collaborative project envisioning a news service in a post-feminist world, this comedic short features K8 Hardy (founder of the queer feminist art collective LTTR) and Wynne Greenwood (of Tracy and the Plastics) playing Henry Irigaray and Henry Stein-Acker-Hill, an anchor and roving correspondent for WKRH, a feminist TV news station whose tagline is “pregnant with information.”



THE ALL-AROUND REDUCED PERSONALITY
(aka DIE ALLSEITIG REDUZIERTE PERSÖNLICHKEIT)
dir. Helke Sander, 1979
Germany, 98 min.
In German with English subtitles.

WEDNESDAY, MARCH 4 – 10 PM
SATURDAY, MARCH 7 – 10 PM 
THURSDAY, MARCH 19 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

“Emancipation or not, you want to sell a story.”

Threatened by the increasing cost of living (not to mention of producing images), a women’s photography collective attempts to subvert a commission given to them by the politically and sexually repressive West German government. Drifting from private moments to Godardian accounting, urban survey to bureaucratic detentes, Sanders probes the possibility of reintegrating art into social space as a means of ending grey-on-grey capitalism and socialism, two sides of the same valueless coin.



UNDER THE PAVEMENT LIES THE STRAND
(aka UNTER DEM PFLASTER IST DER STRAND)
dir. Helma Sanders-Brahms, 1975
Germany, 99 min.
In German with English subtitles.

THURSDAY, MARCH 12 – 10 PM
WEDNESDAY, MARCH 18 – 7:30 PM
FRIDAY, MARCH 27 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

A sociological document on the working woman and abortion, an anti-matrimonial and anti-utopian communist manifesto, Unter dem Pflaster is an intimate chronicle of post-68 malaise and the growing schism between sexual and political revolutions. An illicit and ludic affair between two actors with a shared past in the student rebellions opens up onto the history of German revolution and fascism, the constraints of domestic monogamy and claustrophobia of private property, as they watch themselves become the very parents they mutinied against. Caught at a crux of early postmodernity, Sanders-Brahms pinpoints the exigency of a women’s movement in the stale husk of ’68 macho militancy and growing recuperation in post-Fordist women’s reformism.



THE HERETICS
dir. Joan Braderman, 2009
United States, 95 min.
In English.

TUESDAY, MARCH 3 -7:30 PM
SUNDAY, MARCH 29 – 5 PM

ONLINE TICKETS        FACEBOOK EVENT

Presented by Women Make Movies

Tracing the influence of the Women’s Movement’s Second Wave on art and life, THE HERETICS is the exhilarating inside story of the New York feminist art collective that produced “Heresies: A Feminist Publication on Art and Politics” (1977-92). On the road with her camera crew from New Mexico to Italy, Braderman reconnects with 28 other group members, including writer/critic Lucy Lippard, architect Susanna Torre, filmmaker Su Friedrich, and artists Ida Applebroog, Mary Miss, Miriam Schapiro, and Cecilia Vicuña. — WMM

“Upbeat and affirmative…The stories these women tell envision a radically different moment in art-world history, one in which questions of career and market are barely mentioned, and philosophical arguments are firmly grounded in street-level politics.” — Ed Halter, ARTFORUM



WOMANHOUSE
dir. Johanna Demetrakas, 1974
United States, 47 min.
In English.

MONDAY, MARCH 9 – 10 PM 
MONDAY, MARCH 23 – 7:30 PM 
THURSDAY, MARCH 26 – 10 PM 

ONLINE TICKETS        FACEBOOK EVENT

Presented by Women Make Movies

WOMANHOUSE is an historic documentary about one of the most important feminist cultural events of the 1970s. Judy Chicago (best-known as the creator of THE DINNER PARTY) and Miriam Shapiro rented an old Hollywood mansion and altered its interior through decor and set-pieces to “search out and reveal the female experience…the dreams and fantasies of women as they sewed, cooked, washed and ironed away their lives.”

screening with

TAKING RESIDENCE: A HISTORY OF AIR GALLERY
dir. Meredith Drum, 2012
United States, 16 min.
In English.

A short documentary about the first non-profit, all-women’s gallery in the U.S., AIR Gallery, founded in 1972 in downtown New York City. This documentary was made on the occasion of a history show about AIR at Fales Library and the Tracey / Barry Gallery at New York University.

CONTROL FREAKS

A trio of horror films about controlling, overbearing, downright awful children.



THE PIT
dir. Lew Lehman, 1981
Canada, 96 min
In English.

FRIDAY, MARCH 13 – 10 PM
SATURDAY, MARCH 21 – MIDNIGHT

ONLINE TICKETS        FACEBOOK EVENT

Left with a baby sitter, a bad boy with a teddy bear finds a pit with four hungry monsters.

The most cartoonish of the trilogy is also somehow, occasionally, the most unsettling. Jamie, as played by Sammy Snyders in his second-to-last credit (right behind ‘The Littlest Hobo’), is an obnoxious, cringey, and entirely too horny pre-teen with parents who coddle him and his ‘unique’ behavior as he burns through babysitters who can’t handle him. Oh, did we mention he also has a teddy bear who talks to him, and has also found a pit full of ‘friends’ in the woods?

Tonal shifts abound as Jamie’s increasing(ly uncomfortable) attraction to his new babysitter Sandy curdles into rage at her and everyone who’s ever bullied him. The less you know the better, but The Pit is certainly a ride worth taking.



THE CHILD
dir. Robert Voskanian, 1977
US, 82 min
In English.

SATURDAY, MARCH 7 – MIDNIGHT
FRIDAY, MARCH 13 – MIDNIGHT
MONDAY, MARCH 30 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

A 1930’s widower hires a governess for his daughter, who can summon zombies.

Almost the polar opposite of The Pit despite very similar synopses, The Child is a distinctly moodier and more serious affair. Alicianne is en route to her new job as the governess to a recently widowed man and his 11 year old daughter, Rosalie, when her car breaks down, leaving her to walk the rest of the way through the woods. On the way, she meets an old woman who warns her of strange happenings since the girl’s mother died, and it just gets weirder from there.

Manages to strike a tone somewhere between Bava and the dreamy weirdness of ‘Tombs of the Blind Dead’ – if woods, fog, and synth are your thing, look no further.



PATRICK
dir. Richard Franklin, 1978
Australia, 112 min
In English.

TUESDAY, MARCH 3 – 10 PM
SATURDAY, MARCH 21 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

A comatose hospital patient harasses and kills through his powers of telekinesis to claim his private nurse as his own.

Patrick follows the life of Patrick’s new nurse, who discovers he can communicate telepathically, as she moves through relationships in a script that’s aged surprisingly well. As his obsession grows, his possessiveness becomes more manic – not to mention his powers.

The classiest (and longest) entry in the series, Patrick was a crossover Ozploitation hit at the time of its release. Don’t let the length scare you – it’s a worthy Hitchockian slow-burn, plus telekinetic powers.

Directed by Richard Franklin (Road Games, Cloak & Dagger) and heavily referenced (read: ripped off) by Tarantino in a few Kill Bill sequences.

ANNA KARINA (1940-2019): A MEMORIAL – DEEP CUTS ONLY

On December 14th, 2019 the film community mourned the loss of the iconic actress, director, writer, and quintessential joie de vivre of the French New Wave, Anna Karina. While fellow movie-houses have been paying countless tributes to the Nouvelle Vague starlet with screenings of some of her most recognizable roles, at Spectacle we decided to memorialize one of our favorite silver-screen icons with the lesser known masterworks, which together along with the Godard films, forged a career that is singular in its breadth and intercontinental impact. Anna Karina who had become the symbol for cinematic revolution in 1960’s France had an instinctual command of style, beauty, and mystique that is present in all of her performances.

This series which selects films made from 1965-1974 is by no means absolute but serves to further illustrate Anna Karina’s worldwide reach and international stardom while highlighting some of her greatest works made outside the orbit of Jean-Luc Godard. Composed of four languages and produced with five countries, these films while uniquely different are unified by the dear Anna Karina, and it is to her charisma and ever-fascinating career that we dedicate this program of deep cuts and revivals.

Special thanks to: Greg Eggebeen, Cathérine Delvaux, Minerva Pictures, VITTO IT, Cinémathèque Royale de Belgique, and Universal Music.



LE SOLDATESSE
(aka The Camp Followers)
dir. Valerio Zurlini, 1965
Italian, 120 min.
In Italian and Greek with English subtitles

MONDAY, MARCH 9 – 7:30 PM
SUNDAY, MARCH 22 – 5 PM
MONDAY, MARCH 30 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

An intimate anti-war ensemble film about a group of prostitutes (led by Anna Karina & Marie Laforêt) who are being escorted through the treacherous mountains of Albania in order to service the Italian soldiers of World War II.

LE SOLDATESSE (aka, THE CAMP FOLLOWERS) is a Neo-Realist tour-de-force which demonstrates the futility of war and the magnitude of suffering through its black and white photography and its tragic inevitable conclusion. Filmed in a compositional mode evoking the lyricism of Antonioni, the film is also a delicate study on women camaraderie told through shared adversity and collective resistance.


ANNA
dir. Pierre Koralnik, 1967
France, 85 min.
In French with English subtitles.

SUNDAY, MARCH 1 – 7:30 PM
FRIDAY, MARCH 13 – 7:30 PM
TUESDAY, MARCH 17 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

A kaleidoscopic, energetic burst of bright colors, infectious musical numbers, and absurdly charming performances, ANNA, which played Spectacle in 2014, is a pop-art musical masterpiece that has been locked away for far too long.

Originally made as the first color film for French TV, Anna Karina stars as a shy artist who is unknowingly photographed one day and soon becomes the obsession of an advertising executive (played by French New Wave stalwart Jean-Claude Brialy).The Yé-Yé music, scored and soundtracked by French pop icon Serge Gainsbourg (who also makes several on-screen appearances), is some of the most infectious and catchy work of his career, with Karina’s vocals shining throughout,.Anna Karina also reunited with key Godard personnel, including editor Françoise Collin (BAND OF OUTSIDERS, PIERROT LE FOU, 2 OR 3 THINGS I KNOW ABOUT HER) and DP Wally Kurant (MASCULINE FEMININE).

Impossible to resist, the film feels like a pitch-perfect melding of Godard’s A WOMAN IS A WOMAN and Demy’s THE UMBRELLAS OF CHERBOURG, with Karina’s adorable beauty and effervescent charm as the center of attention. And be on the lookout for a Marianne Faithfull cameo.The film was a hit on French television in the late 60s and received a brief Japanese theatrical run in the 90s, but has since vanished and, to the best of our knowledge, has never screened before in the US. Working with Universal Music, Spectacle is enthralled to once again revive this lost gem of 60s French cinema.



LAUGHTER IN THE DARK
dir. Tony Richardson, 1969
United Kingdom & France, 104 mins
In English

THURSDAY, MARCH 5 – 7:30 PM
TUESDAY, MARCH 10 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

Adapted from Vladamir Nabokov’s novel of the same, LAUGHTER IN THE DARK deals with the obsession of a middle-aged man (Nicol Williamson) and his younger cunning mistress Margot (Anna Karina)– think Scarlet Street meets the British new wave. Tony Richardson trades Nabokov’s 1930’s Berlin for the Swinging 60’s of London in this lustful thriller of deceit which was never released on home video and has rarely-screened since it’s 1969 release. Anna Karina shines in her all-english role as the charming irresistible seductress who cultivates something mysterious behind her delicate wide-eyes.


LE TEMPS DE MOURIR
(aka THE TIME TO DIE)
dir. Andre Farwagi, 1970
France, 82 min.
In French with English subtitles

MONDAY, MARCH 2 – 10 PM
THURSDAY, MARCH 12 – 7:30 PM
MONDAY, MARCH 24 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

A stylish, puzzling sci-fi mystery dealing with time travel and destiny, THE TIME TO DIE features loads of retro-cool technology futurisms and immaculate production design, but also manages to treat its subject matter with philosophical seriousness and respect. It supposes that the future is inevitable and the best we can do is hurl forwards towards our fated destiny.

RENDEZVOUS À BRAY
(aka APPOINTMENT IN BRAY)
dir. André Delvaux, 1971
France/Belgium/Weat Germany, 86 min.
In French with English Subtitles

SUNDAY, MARCH 1 – 5 PM
THURSDAY, MARCH 5 – 10 PM
MONDAY, MARCH 16 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

“As much as I revere some of the Belgian films of Chantal Akerman, if I had to choose only one Belgian film to take with me to a desert island, I’d have a pretty rough time forsaking this 1971 masterpiece by André Delvaux.” -Jonathan Rosenbaum

Paris 1917: a young pianist (Mathieu Carrière) receives a note from an old friend in the Air Force to join him at his lush country estate that happens to be close to the front lines of World War I. He arrives but his friend is nowhere to be found, with only the quiet, beautiful housekeeper (Anna Karina) present. While he spends days waiting for his friend’s arrival, his mind wanders to past events. At night, the mysterious woman appears again…

Based on a short story from surrealist Julien Gracq, Belgian auteur André Delvaux marries his trademark amalgam of fantasy and reality to Gracq’s shape-shifting text. Much like the film protagonist, Delvaux got his start by playing the piano to silent films in 1950s Brussels, and his musicality is on full display in the film’s sonata-like form, weaving variations of memories and moments into an ambiguous, intriguing mood piece. Cloaked in dense Gothic atmospheres and muted colors, RENDEZVOUS À BRAY gives off a melancholy, dream-like aura, subtle in approach but haunted by unspoken desires and half-imagined nostalgia.

Working with Delvaux’s daughter, we’re honored to re-introduce this classic of Belgium cinema.



L’INVENZIONE DI MOREL
(aka MOREL’S INVENTION)
dir. Emidio Greco, 1974
Italian, 110 mins.
In Italian with English Subtitles

MONDAY, MARCH 2 – 10 PM
THURSDAY, MARCH 19 – 7:30 PM
TUESDAY, MARCH 31 – 10 PM

ONLINE TICKETS        FACEBOOK EVENT

Adapted from the novella which inspired the LAST YEAR AT MARIENBAD, Emidio Greco’s MOREL’S INVENTION is a chilling slow-burning metaphysical oddity serving as a meditation on time, mortality, and the cinema itself. Starring Anna Karina as Faustine, a sort-of fellini-esque femme-enigma who is forever lost in the island’s haunting secrets of art-deco, socialite costume, and jazz.

OM-DAR-B-DAR


OM-DAR-B-DAR

dir. Kamal Swaroop, 1988.
India. 101 min.
In Hindi with English subtitles.

FRIDAY, MARCH 20 – 7:30 PM
TUESDAY, MARCH 24 – 7:30 PM
MONDAY, MARCH 30 – 7:30 PM

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Absurdist epic OM DAR-B-DAR is a pure outsider invention in Indian cinema, a shot at romance, religion, and commerce from the rocky hills of the northern province Rajasthan. The film showed at the Berlin film festival in 1988, but was instantly condemned to obscurity back at home where censors slapped it with an “adult” rating, assuring that it would never reach theaters. Were they befuddled by its barrage of nonsense, non-sequitur, and dream? Or did they find something overwhelmingly subversive in a film with such broad, if jumbled, satiric targets, complete dismissal of Indian filmmaking norms, and hero who, perhaps inspired by tadpoles refusing to metamorphose into frogs, inadvertently starts a religion and leads a mass revolt of suspended breath.

The film follows a family of iconoclasts. Father Babuji, after losing his job in a government office for issuing counterfeit Brahmin caste certificates to beggars, takes up astrology and calls his son Om to evade name-based astrological time-of-death predictions. Gayatri, the elder child is an independent unmarried 30-year-old who sits in the men’s section at the cinema and wonders if women will soon be climbing Everest without need of men. She eventually accepts the romantic overtures of layabout Jagadish because they request the same pop song on the radio and he attempts a love spell with a lock of her hair, but exercises her sexual agency in a hilariously Freudian anti-love scene. Om, for his part, runs away from home and leads the plot into a mass of convolutions involving a curse, a shoe filled with diamonds, and a few inadvertent miracles. Soon his ability to seemingly manifest wealth and hold his breath underwater, like the tadpoles of his biology classes, attracts religious followers, documentary filmmakers, and marketing personnel from PROMISE toothpaste.

It’s in the nature of this wild, often rigorously inexplicable film that sowing confusion takes on a renegade significance, and no two synopses written for it ever seem to describe the same story. Which you can take to mean that I’m able to provide only a smattering of its anarchic charms and mysteries in my own. For the rest, you’ll have to see it.

After 25 years in the wilderness, the film was at last restored and released to theaters in 2014. Director Kamal Swaroop, after a series of documentaries, has plans for a new feature. While this is all great news, in light of present events, it is worth noting that dissenting and minority voices are most important in their time, not buried for a quarter of a century to be safely lauded only much later.

CW: Contains some unnecessary frog violence.