“Lucía Seles is the + selfless, absorbed and romantic with herself in the world and she doesn’t want to be treated = no director living or dead besides she’s a classical guitarist a graphomaniac better than ella fitzgerald when ef was alive and too many more things than anyone.”
– Lucía Seles’ director bio

Suis generis works of avant-garde comedy, Lucía Seles’ tennis tetralogy, HATE UNCHAINED, are a sight to behold. Filmed over a few days on prosumer cameras working from improvised scripts, the films operate in a language uniquely their own. Seles incorporates on-screen text-based poetry, verbal slapstick, a documentarian’s eye, compelling characters, stray camera mistakes, love triangles, and more into an DIY screwball stew that lands somewhere between The Office, Symbiopsychotaxiplasm, the work of El Pampero Cine, and Samuel Beckett. These are films that obey their own logic of dramatic storytelling, film aesthetics, and poetry to an often disorienting degree. During their premiere in Germany, no less than Ulrike Ottinger seemed to be baffled by Seles’ odd rhythms and unique potpourri of experimental techniques. We’re proud to host their New York premieres including a special conversation with Seles after the October 20th screening of SMOG IN YOUR HEART.

Focusing on the petty squabbles and romantic employees of a tennis complex on the outskirts of Buenos Aires, the series is best enjoyed by starting with SMOG IN YOUR HEART. Setting the stage for the interpersonal dynamics and romantic crushes of the five main characters, SMOG IN YOUR HEART establishes a screwball workplace dynamic that the next three films continually tease at and subvert through all sorts of absurdist detours. SATURDAYS DISORDERS, for example, sets half of its running time following a Kafkaesque pilgrimage around the suburbs of a small town, while TERMINAL YOUNG completely abandons the tennis complex for a roller rink where one of the characters is having a birthday party mainly filled with strangers.

SMOG IN YOUR HEART (Smog en tu corazón)
dir. Lucía Seles, 2022
Argentina. 112 min.
In Spanish with English subtitles

WEDNESDAY, OCTOBER 2 – 7:30PM
TUESDAY, OCTOBER 15 – 7:30PM
SATURDAY, OCTOBER 20 – 5PM FT Q&A
MONDAY, OCTOBER 28 – 7:30PM

TICKETS

Q&A TICKETS

“How difficult it is when a person owns a tennis complex and mixes that with his other feelings.”
– Lucía Seles’ synopsis

Five characters working at a tennis complex: the owner Manuel, a tennis teacher who only goes by the name La Tenista, new recruit Sergio from San Juan, shy manager Lujan, and a dopey accountant Aristegui. The series begins in a romantic-comedy vein, introducing the protagonists and quickly drawing up a love pentagon between them as they talk about Singing in the Rain and whether people with dark eyes can love people with light eyes. Tensions flare as they consider making a pilgrimage to the cathedral of the town of Lujan, but don’t actually invite Lujan. Less a romantic melodrama than an anarchic cinematic poem of disorder, desire, absurdity, futility, labor, and miscommunication; Seles sets the tone strong in the first film through a chaotic montage of dramatic tensions, visual gags, and textual poetry.

SATURDAYS DISORDERS (Sábados desordenados)
dir. Lucía Seles, 2022
Argentina. 97 min.
In Spanish with English subtitles

WEDNESDAY, OCTOBER 2 – 10PM
TUESDAY, OCTOBER 15 – 10PM
SUNDAY, OCTOBER 20 – 7:30PM
TUESDAY, OCTOBER 29 – 7:30PM

TICKETS

“Saturdays Disorders is a non-professional tennis final linked to a not-so-famous way of the cross, apart from the fact that loneliness is undoubtedly the virgin, the mother and the most beautiful sister of all plans every day of the week.”
– Lucía Seles’ synopsis

Taking a bizarre left-turn from Smog in Your Heart’s labyrinthine romantic entanglements, Saturdays Disorders plays like an extended riff on a late scene conversation in that prior film with Lujan traveling to the town of Lujan to undertake a pilgrimage of the lesser stations of the cross. A seemingly endless Kafkaesque journey through the suburbs of Lujan ensues while the tennis complex holds a tennis competition with only two entreats, Selena Prat (Seles herself, but credited as Selena Prat) and a friend of La Tenista’s father. Injuries, misunderstandings, fairground rides, puffy jackets, on-screen poetry, barking dogs, and some oddly achieved notes of comic futility ensue.

WEAK RANGERS
dir. Lucía Seles, 2022
Argentina. 126 min.
In Spanish with English subtitles

THURSDAY, OCTOBER 3 – 7:30PM
MONDAY, OCTOBER 7 – 7:30PM
WEDNESDAY, OCTOBER 16 – 7:30PM
THURSDAY, OCTOBER 24 – 7:30PM

TICKETS

“Neither the cold nor the storms can calm you down when you are faced with a new boss that you would not like.”
– Lucía Seles’ synopsis

The third film in the series showcases Seles’ most chaotic experimentation with time, see-sawing all over the place, simultaneously catching the same characters in various scenes through a relentless montage of poetic asides. La Tenista has taken over the complex, Lujan gets a haircut by Sergio, Manuel’s brother comes to visit (and wrestles him to the ground), and much more. The third film in the series shows Seles at her most rambling and discursive, working completely non-linearly in a disorienting montage of scenes truncated and intercut with each other so that the same characters often appear simultaneously in multiple instances of time. The result is something uniquely Seles’ own: a cubist-esque piece of freeform cinematic comedic poetry.

TERMINAL YOUNG
dir. Lucía Seles, 2023
Argentina. 128 min.
In Spanish with English subtitles

THURSDAY, OCTOBER 3 – 10PM
MONDAY, OCTOBER 7 – 10PM
WEDNESDAY, OCTOBER 16 – 10PM
THURSDAY, OCTOBER 24 – 10PM

TICKETS

“A light-eyed man who, thanks to his best friend, is an accountant at a tennis complex, rebels against the universe and himself and becomes an accountant at a flower shop.”
– Lucía Seles’ synopsis

Picking up a year after the first three films in the tetralogy, Terminal Young is set largely during Sergio’s birthday party at a roller rink. Organized by Sergio’s mom, the party is filled with random guests invited by Manuel including a real estate agent and a young blonde choir boy Manuel met at a terminal, nicknamed The Terminal Young. A mix of screwball tensions and awkward miscommunications, Seles finishes off her series in true style i.e. randomly, chaotically, irreverently, and hysterically. Do the romantic tensions established in Smog in Your Heart ever get resolved? Do the characters ever morph out of their bizarre and highly specific archetypes? Does Lujan ever make it to Lujan? See the movie and find out, but for anyone already keen to Seles’ relentless inventiveness, you may already know what sort of odd dramatic teases could be in store.

This collection of experimental shorts traces the systemic, oft-unseen echoes of history left through generational trauma, grief, colonialism, urban redevelopment, redlining, and displacement, and pays tribute to the individuals and communities that maintain and resist. Following the screening, artists Cameron A. Granger, Shala Miller, and Jard Lerebours will be present for an in-person discussion.

SATURDAY, OCTOBER 5 – 7:30PM FT Q&A

TICKETS

COCONUT
Dir. Jard Lerebours, 2022.
Jamaica, United States. 3 minutes.
In English.

To his mother’s homeland of Jamaica, a young man returns to pay last respects to the grandmother he called Two Mommy. COCONUT is a self-proclaimed “public declaration of love,” an experimental documentary and poetic remembrance of a matriarch and caretaker.

BEFORE I LET GO
Dir. Cameron A. Granger, 2023.
United States. 23 minutes.
In English.

Set in the fictional town of Bad City, 5 years after a giant monster attack leveled the city’s east side neighborhood, BEFORE I LET GO follows a documentary filmmaker’s experience covering the community’s recovery efforts. Awarded Best Experimental Film and Audience Award at the 2023 Blackstar Film Festival.

THE ECHO
Dir. Shala Miller, 2017.
United States. 8 minutes.
In English.

An ethnographic study of the relationship between Shala Miller and their mother (Ruby Clyde), specifically focused on the idea of trauma being passed in the blood.

HERE AND THERE ALONG THE ECHO
Dir. Cameron A. Granger, 2024.
United States. 27 minutes.
In English.

HERE AND THERE ALONG THE ECHO finds Granger and his community coming together once again to document and study the mysterious black holes plaguing Bad City, in hopes of finding a missing friend. Currently installed as part of Granger’s multidisciplinary exhibition, 9999, at Queens Museum, this screening will mark the film’s theatrical world premiere.

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Cameron A. Granger is Sandra’s son & came up in Cleveland, Ohio. Inspired by the rigorous archival & homemaking practices of his grandmother, Pearl, Granger uses his work as a means to quilt his communal and familial histories, into new, not just potential, but inevitable futures. He’s an alumni of Euclid public schools, Skowhegan School of Painting & Sculpture, and the Studio Museum in Harlem AIR program. He is currently an In Situ Artist Fellow at the Queens Museum.

Jard Lerebours (He/They) is a queer community oriented Jamaican-Haitian filmmaker, writer and curator who creates exploratory pieces in service of venerating his ancestors and putting image to theory. He is an active member of the Meerkat Media Artist Collective. Jard’s practice straddles the worlds of cinema and video art. He approaches filmmaking as a conversation between friends and family guided by their loving West Indian upbringing in Long Island.

Shala Miller, also known as Freddie June when they sing, was born and raised in Cleveland, Ohio by two southerners named Al and Ruby. At around the age of 10 or 11, Miller discovered quietude, the kind you’re sort of pushed into, and then was fooled into thinking that this is where they should stay put. Since then, Miller has been trying to find their way out, and find their way into an understanding of themself and their history, using photography, video, film, writing and singing as an aid in this process.

That’s right Halloweeners, it’s already time for another edition of Spectacle’s storied SHRIEK SHOW MARATHON ! For the 13th almost-consecutive year in a row, we bring you ~12 hours of gut-bursting brain-splattering genre madness from around the world.

This year we’re bringing you seven (7) mystery-titles from noon-through-midnight – expect roughly 15-30 minute breaks between titles, give or take.

BYO seat cushions + barf bags, sickos !

SATURDAY, OCTOBER 26 – NOON THROUGH ~1:30AM

TICKETS

12PM – XXXXXX XXXXXXXX
dir. XXXXXXXX XXXXX, 1972
In Italian with English subtitles
95 min.

We kick off the Shriek Show proceedings with this gothic Italian gem that follows a group of hippies who stumble across a black mass ritual at a seemingly abandoned castle in the countryside, featuring killer synths and paint-red blood.

2PM – XX. XXXXX, XX. XXXX
dir. XXXXXXX XXXXX, 1976
In English
85 min.

Our second film of the ‘thon is an overlooked blaxploitation classic that should be mentioned in the same breath as Blacula (even if the title is a misnomer of its protagonist). To say more would give it away, but it’s worth noting that, despite some of the campy trappings, this film offers a dour look at how awful America was and continues to be.

4PM – XXX XXXX XXXXXX XXXXXXXX XXXXXXXX
dir. XXXXXX XXXXXX, 1980
In English
95 min.

One of the most legendary and underseen horror films of the 80s – shot on super 8mm for a reported budget of $500 by a then-teenager, this thing packs a wild amount of ambition and guts into its not so modest runtime packed with tropes and references and wild accents from a place that shall not be named lest we reveal the title.

6:00PM -XXXXXXXXXXX
dir. XXXXX XXX XXXXXXX, XXXXX XXXXXX
In Dutch with English subtitles.
60 min.

A nasty short one from the Netherlands is up next – follows a recently bereaved man as he starts seeing a woman who may or may not be a necrophiliac.

8:00PM – XXXX XXXXXXXXX
dir. XXXXXX XXXXXXXX, 1979
In Spanish with English subtitles.
86 min.

The most legitimately scary film of the day is up next – steeped in steadily building dread, this Mexican horror film from the late 70s is full of surprises, not to mention a knockout of an ending. Not to be missed.

10:00PM – XXXX XX XXX XXXXX
dir. XXXXXXX X. XXXX, 1991
78 min.
In English.

Filmed in the dusty outskirts and suburbs of Las Vegas, our 10pm feature feels like a sneakily ultra-gory after school special. The setup is simple – two kids dig up a gargoyle statue (while cutting school, no less) – a strange man appears and tells them to leave it because it contains ‘the essence of evil’, so they bring it home.

A perfect garbage gem in a sea of bland SOV offerings from the dustbin of the 90s. Do not miss this!

WARNING : BRIEF MOMENTS OF STROBE EFFECTS

MIDNIGHT – XXX XXXXX XXXX XXXXXXXX
dir. XXXX XXXXXXX, XXXX XXXXXXX, 2000
In English
70 min.

Closing out the marathon, we have an early aughts entry from one of the most prolific no-budget filmmaking duos in SOV history.

A famous horror novelist with writer’s block rents a haunted house while seeking inspiration for his newest novel – a psychotic blast of dream-fueled chaos ensues, as the filmmakers use this conceit to throw everything and the kitchen sink at the digital wall.

If this doesn’t clear out what’s left of your cranium, nothing will.

Michael J. Murphy was one of the most prolific and under-seen British genre filmmakers of the last several decades, churning out dozens of 16mm no-budget feats of ingenuity with an unabashed love for the medium.

This July, Spectacle is proud to present two of his fantasy films, AVALON and ATLANTIS, made in consecutive years with overlapping cast members (many of whom pop up across his extensive filmography).

Look out for more Michael J. Murphy miniseries in the not-too-distant future!

AVALON
dir. Michael J. Murphy, 1989
UK. 80 min.
In English.

SATURDAY, JULY 6 – 3PM
FRIDAY, JULY 12 – 7:30PM
TUESDAY, JULY 16 – 10PM
MONDAY, JULY 29 – 10PM
GET YOUR TICKETS!

A time of strength against evil.

The adventure begins when Owen, a travelling swordsman, rescues a woman from some Druids. He offers to help track down her lover who has been enslaved by the evil Morgana. They set off on their quest, accompanied by Keiran, a cowardly thief.

Set in the world of King Arthur and Merlin, AVALON is wildly ambitious and committed to its premise. Despite the clear budgetary limitations, it manages to transcend into something genuinely absorbing, many lesser parts transmuted into a greater whole through sheer passion. Featuring home-brew matte paintings, stop motion animation, and a slew of other ingenious effects, AVALON is a ride well worth taking for any fantasy fan.

ATLANTIS
dir. Michael J. Murphy, 1990
UK. 80 min.
In English.

SATURDAY, JULY 6 – 5PM
MONDAY, JULY 8 – 10PM
THURSDAY, JULY 18 – 10PM
WEDNESDAY, JULY 24 – 7:30PM
GET YOUR TICKETS!

When a raiding party from the city of Atlantis kidnaps a man and his two daughters for slavery, he contrives to bring about the destruction of the ruling class utilizing the powers of the mysterious crystal child.

Like AVALON but without the pre-existing mythological world of King Arthur to slot into, ATLANTIS is another wildly ambitious, if convoluted, entry in the Michael J. Murphy micro-cinematic cannon. Some might be tempted to say its reach exceeds its grasp, but this programmer would argue otherwise – the limited means combined with a flat refusal of any irony has a uniquely transportive effect.

The sets are covered in paper mache and nylon, unventilated basements turned into caverns and gladiatorial rings, the score is mostly a haunting Casio drone – what more could you want from a movie this scrappy?

Both films screened from new remasters courtesy of Powerhouse Films Ltd.

ENTROPIYA
(энтропия)
dir. Maria Saakyan, 2012
Russia. 76 min.
In Russian with English subtitles.

TUESDAY, DECEMBER 5 – 7:30 PM
THURSDAY, DECEMBER 14 – 10 PM
SATURDAY, DECEMBER 23 – 10 PM

TICKETS HERE

Saakyan’s final film is a steep departure from her previous forays into arthouse cinema. Experimental, largely improvised and featuring a cast of Russian stars/influencers playing satirical versions of their tabloid personas, ENTROPIYA (Entropy) prophesizes the end of the world, and it will in fact be televised. Heavily influenced by Russia’s Dom-2—the self-proclaimed “longest running and most popular show in the world”—also Russia’s answer to the hit reality show Big Brother, which has been on the air longer—the film finds the young, wild cast holding out in an abandoned house and awaiting the apocalypse.

Gone is the subtlety of Maria’s past films; ENTROPIYA is at war with the Arthouse. “At some point I came to exactly this feeling…Arthouse cinema, of course, can be poetic and beautiful, but it is boring.” the late Saakyan surmised, in complete opposition to her own past work. How will this film be received in the west? “It will be incomprehensible to the European viewer.”

For context, meet the players, most of whom play themselves(?):

KSENIYA SOBCHAK is the real-life host of Dom-2, the reality show in which the film is heavily based upon. Shortly after the film’s release in 2012, she left behind host-duties of the show and began a career in politics, culminating in her presidential candidacy in 2018, wherein she opposed Vladimir Putin in the general election, garnering 1.4% of the vote.

VALERIYA GAY GERMANIKA is a director with a number of films under her belt, as well as a popular yet controversial 2010 series entitled Shkola (school), which depicts the “true nature of schooling in Russia,” to many public and political figures’ chagrin.

DIANA DELL in her own words: “I’m a risky person, I ride a motorcycle, and sometimes I shoot.” She caught the big-screen acting bug while playing a small role in an Italian film and has since found herself gracing tabloids as the mysterious star who enjoys her solitude, who believes feminism to be a “relic of the past”, and who unequivocally loves animals. In a brief aside in an interview in 2012, Masha stated “By the way, it’s been proven that if you don’t mix foods and eat in bowls, you won’t gain weight at all.”

DANILA POLYAKOV is a model who burned bright and fast in the 2000’s. Gliding across global runways, Danila’s debaucherous antics in the public eye culminated in an ebb to his career by the time ENTROPIYA was filmed. Russia’s distinct hate for anything queer also did Polyakov—who would occasionally don drag in Russian suburbs—no favors.

YEVGENI TSYGANOV, who plays “Veggie”, is an actor from Russia’s “New Generation”. Simultaneously the straight man and the most blatant character of the bunch, Tsyganov boasts one of the tamer lifestyles of the cast. All that to say, he was in a band once…

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Screening as the last film in our “Post-Panic” series showcasing Saakyan’s filmography, this is one of the stranger instances of a final film. If the post-panic genre focuses on youth’s stolen future, relentlessly haunted past, and their suffocating struggle in the present, ENTROPIYA and its relation to Maria is a true praxis of revolt. It screens in Brooklyn this December at the goth bodega.