Category: Ongoing Series

BEST OF BEST OF SPECTACLE: YOU CALL THIS PROGRESS!?

Posted on by stepheno

YOU CALL THIS PROGRESS?!: THE MULTIPLE FUTURES TRILOGY
Dir. Alyce Wittenstein, 1986-1994
United States. TRT 100 min.

FILMMAKER IN PERSON SATURDAY, DECEMBER 6th.
$10 SPECIAL EVENT.

SATURDAY, DECEMBER 6 – 7:30 PM (Q&A w/ Alyce Wittenstein)
TUESDAY, DECEMBER 9 – 10 PM

TICKETS

Alyce Wittenstein has been called the “Queen of the New York Underground” and this December, Spectacle is pleased to play host to her and the films making up her MULTIPLE FUTURES trilogy. These films are jam packed with familiar faces, exquisite set pieces, snappy dialogue, and dazzling costumes.  Join us for these remarkable films in a celebration of science fiction, hilarity, character actors, and ghastly view of a not-too-distant world.

BETAVILLE
Dir. Alyce Wittenstein, 1986
United States. 20 min.

The first in what would come to be known as the MULTIPLE FUTURES trilogy, BETAVILLE – a post-modern nightmare – finds a down and out detective Coman Gettme (played by Wittenstein mainstay Steve Ostringer) returning to his hometown after a chance meeting with The Girl (Holly Adams). Once the two arrive in Gettme’s Cadillac things immediately go from bad to worse for this gumshoe when he learns, over a slice at Stromboli’s, that High Fashion is the new law in town. Gettme becomes obsessed with The Girl and is determined to meet back up with her and “save” her from the these fashionable fascists.

BETAVILLE kicks off the trilogy in a pitch perfect send up of the French New Wave and science fiction, and turns noir on it’s ear while (literally) running through some familiar parts of NYC. Holly Adams is nothing short of dynamite and Ostringer’s distinctive production design would lay the groundwork for the look of the films to come. Years before becoming Brewmaster at the Brooklyn Brewery, Garrett Oliver was co-producer on the film. The short would go on to be nominated for a number of awards at festivals and play all over the world – often (unsurprisingly) alongside Godard’s ALPHAVILLE.

“Most of the detective narrator dialogue is clever, the cinematography is excellent, and I liked the (sort of) industrial music and the song by the Singing Squirrels.” – Michael J. Weldon, Psychotronic Magazine #2, 1989.

NO SUCH THING AS GRAVITY
Dir. Alyce Wittenstein, 1989
United States. 40 min.

In the not too distant future the LaFont corporation has all but taken over Earth. The company has revolutionized all elements of style, beauty, education, and housing but in the process (progress?!) has shipped many of Earth’s more “useless” inhabitants to the mysterious man made planet – and the largest scale experiment in human history – known as Nova Terra. Two scientists – Kay Zorn (Holly Adams) and Albert Leenhardt (Steve Robinson) are about to receive a prestigious award for their work on the LaFont Facelifter when they learn that Nova Terra is disrupting the Earth’s gravitational pull and will soon collide if it’s not destroyed. A headstrong lawyer and Kay’s boyfriend – Adam Malkonian (a scenery chewing Nick Zedd) – mouths off to a judge (the incomparable Taylor Mead – RIP) while defending a human teacher and is ordered to be relocated to the doomed planet. After meeting with the ambassador of Nova Terra (Emmanuelle Chaulet of Eric Rohmer’s BOYFRIENDS AND GIRLFRIENDS), Malkonian learns that perhaps the LaFont Corporation hasn’t been entirely truthful about what really happens on Nova Terra and vows to stop the destruction.

Wittenstein’s first sync sound film is overflowing with amazing set pieces and incredible performances. Some scenes were shot at the New York Hall of Science – including an Ames room and a number of other dazzling optical illusions. Look out for cameos from Michael J. Anderson (TWIN PEAKS), Wittenstein’s father as the insidious Andreas LaFont, and the director herself on Nova Terra.

THE DEFLOWERING
Dir. Alyce Wittenstein, 1994
United States. 40 min.

“The crisis consists precisely in the fact that the old are dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.”
– Antonio Gramsci, PRISON NOTEBOOKS

The quote above opens Wittenstein’s third and final film – THE DEFLOWERING. Again featuring some of Wittenstein’s tried and true players – Holly Adams, Emmanuelle Chaulet, Taylor Mead, and more – the film concerns yet another evil corporation this time HUXLEY BIO-TECH and their means to sanitize/beautify this world of ours. This time Wittenstein (with Ostringer back on production design) takes the costuming helm as well.

The TIB (Total Immune Breakdown) virus has left the planet reeling and lethal allergic reaction are at an all time high. Huxley’s efforts to produce perfect, designer children that are immune to viruses have had the side effect of hyper-allergic reactions. Why isn’t anything being done about allergies? No one wants to fund it! With the mortality rate skyrocketing, can mankind bounce back and feel the soft caress of skin against skin ever again or will the line at the Holo-Memorial Funeral Home grow ever longer?

BEST OF BEST OF SPECTACLE

Posted on by mackenzie

THE SNOW WOMAN
aka Kaidan Yukijorô
dir. Tokuzô Tanaka, 1968.
Japan, 79 min.
In Japanese with English subtitles.

FRIDAY, MARCH 6 – MIDNIGHT
THURSDAY, MARCH 12 – 7:30 PM
SATURDAY, MARCH 21 – MIDNIGHT

TICKETS

The story of Yuki-Onna, the Snow Woman, who kills any man who sets his eyes upon her, is best-known to western audiences as one of the segments in Masaki Kobayashi’s 1965 portmanteau horror classic KWAIDAN. Made just three years later, Tokuzô Tanaka’s poetic and haunting feature-length interpretation adheres to the basic outline of the folk tale (which is also referenced in Kurosawa’s DREAMS), infusing it with added emotional depth and political subtext and one-upping Kobayashi’s version with some truly inspired and terrifying set-pieces.

Shigetomo, a master sculptor, and his apprentice Yosaku set out for the Mino Mountains to find the suitable wood from which to carve the Buddhist statue for the state temple. Caught in a blizzard, they take refuge in a hut, where the Snow Woman finds them asleep. She murders the sculptor but, struck by Yosaku’s “youth and beauty”, impulsively decides to spare him if he promises to never tell anybody what he witnessed. He returns safely to his village but soon falls in love with a new arrival named Yuki, who is really the Snow Woman disguised as a human.

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

MONDAY, MARCH 2 – 7:30 PM
FRIDAY, MARCH 13 – 10 PM
SATURDAY, MARCH 21 – 3 PM

TICKETS

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.

GAEA GIRLS
dir. Kim Longinotto & Jano Williams, 2000.
England/Japan, 106 min.
In Japanese with English subtitles.

TUESDAY, MARCH 3 – 7:30 PM
TUESDAY, MARCH 10 – 10 PM
SUNDAY, MARCH 22 – 7:30 PM

TICKETS

This fascinating film follows the physically grueling and mentally exhausting training regimen of several young wanna-be GAEA GIRLS, a group of Japanese women wrestlers who are just as violent as any member of the World Wrestling Federation. One recruit, Takeuchi, endures ritual humiliation not seen on screen since the boot camp sequences of FULL METAL JACKET.

“Longinotto and Williams’s ability to penetrate facades is remarkable. The filmmakers build their story in a way that’s more compelling and suspenseful than many narrative films.”        – Chicago Film Festival

Special thanks to Women Make Movies.

DIGITAL MAN
dir. Philip J. Roth, 1995
United States, 91 min.
In English.

SATURDAY, MARCH 7 – MIDNIGHT
THURSDAY, MARCH 12 – 10 PM
FRIDAY, MARCH 20 – 7:30 PM

TICKETS

Spectacle offers up this late-night cyberwar curio fielded from the pixelated precipice between Atari and THE MATRIX. Starring an Altmanesque corps of noteworthy surnames, Philip Roth’s DIGITAL MAN concerns a glitch in national security so cruel, it’d be divine if it weren’t so damn digital: a time-traveling supercyborg touches down in the small-town Southwest just in time to hijack an apocalypse’s worth of nuclear launch codes.

Fresh off a realm too insane in its violence and punishment for mere humans to enter, the Digital Man must be stopped—and it’s up to a motley crue of wisecracking heavyweights (some military experts, some shotgun-toting salt of the earth) to take him out, analog style. Tons and tons and tons and tons of fireball explosions (replete with slo-mo backflips and brutal, spaghetti-worthy shootouts) ensue, culminating in one night you can’t merely “attend” while on your laptop.

TURKISH PARANORMAL ACTIVITY
Dir. Hasan Karacadağ, 2012
Turkey, 119 min.

THURSDAY, MARCH 5 – 7:30 PM
FRIDAY, MARCH 20 – MIDNIGHT
TUESDAY, MARCH 31 – 7:30 PM

TICKETS

Though the seasoned Z-grade movie explorer is no doubt familiar with Turkey’s circa-1980 mockbusters like TURKISH STAR WARS, TURKISH WIZARD OF OZ, TURKISH E.T., TURKISH BATMAN, TURKISH STRAW DOGS, et al, one might believe this practice has been displaced by such contemporary arthouse darlings such as Nuri Bridge Ceylan, Rasit Celikezer, and Fatih Aiken. And yet it continues through the efforts of those such as Islamic Turkish horror filmmaker Hasan Karacadağ, who over the last decade has produced a steady stream of remarkably effective (and truly scary) unofficial horror remakes that unabashedly reinterpret hits from trend genres like J-horror, found footage, and torture porn via the The Quran — sort of like if Hollywood worshipped Allah instead of Mammon.

The plot of this one is simple: after a young woman experiences intensified sleepwalking episodes, her husband places cameras around the house to monitor her activity. As more unexplained, increasingly malevolent experiences occur during the night, including those which threaten their young daughters, the couple consult with a holy man and learn that they are being persecuted by the Quranic spirits of the Dabbe and Jinn — and may be under possession themselves. Because the PARANORMAL ACTIVITY films are so quintessentially formulaic, the well-studied, brazen appropriation of TURKISH PARANORMAL ACTIVITY renders it, at minimum, exactly as good as its North American counterparts (and, pleasantly, more gory). Only by framing its consumer-tech-steeped narrative in Islamic belief and folklore, it also presents a dialectic between tradition and modernization, portending grim consequences of secular living. The simple virtue of its existence amid a revitalized, international appreciation for Turkish arthouse cinema also suggests something of the country’s uneasy, unreconciled relationship to its history of exploitation cinema.

But maybe we’re over-explaining ourselves: TURKISH PARANORMAL ACTIVITY is totally awesome and scary as fuck.

 

BURNING FRAME: A Monthly Anarchist Film Series

Posted on by Ben Tuttle

CALLING ALL LEFTISTS! The past few years have been a whirlwind: exhausting, invigorating, and ripe with potential. It’s tremendously difficult, when in the thick of it, to pause, reflect, or even find a moment to catch a breath. Especially when “it” refers to the rise of fascism on a global scale, with any number of future cataclysms hovering just over the horizon. But we digress.

Join us, then, for a series that asks: if not now, when? Come for great works of radical political filmmaking, stay for the generative discussions, or even just to gossip and gripe. The hope isthat this forum for authentic representations of successes, defeats, and the messy work of political action, will be thrilling, edifying, and maybe even inspire your next organizing project. To butcher the title of a great film for the sake of a moderately applicable pun: “Throw away your dogma, rally in the cinema.”

SOVIET PROPAGANDA: ANIMATED SHORTS
Dir. Dziga Vertov, et al., 1924–55
USSR. 85 min

SATURDAY, OCTOBER 5 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

“From 1924 to perestroika the USSR produced 41 animated propaganda films. Their target was the new nation and their goal was to win over the hearts and minds of the Soviet people. Anti-American, Anti-British, Anti-German, Anti-Capitalist, Anti-Fascist, some of these films are as artistically beautiful as the great political posters made after the 1917 revolution which inspired Soviet animation… The films feature some astounding animation techniques from stop-motion to paper cutout animation to impressively intricate puppetry. Includes interviews with the directors and commentary by the leading Soviet film scholars.”

“The animated film was another weapon in the Totalitarian war of ideas. In a Soviet Union where over a hundred languages were spoken, moving pictures communicated ideas better than words. Animated cartoons were also ideal to teach small children. The influential power of film is undisputed, even here.”

Text by Glenn Erickson

MATCH CUTS PRESENTS: PAUL CHAN’S TIN DRUM TRILOGY (PRESALES SOLD OUT)

Posted on by spectacletheater

TIN DRUM TRILOGY
dir. Paul Chan, 2002-2005.
USA, 111 min.
English, Arabic, Chinese, English, French, German, Italian and Spanish.

TUESDAY, APRIL 4 – 7:00 PM–PRESALE TICKETS SOLD OUT
ARTIST IN ATTENDANCE

Spectacle Theater is excited to collaborate with critical platform Match Cuts on a new series of screenings. Scroll down for more information on Match Cuts.

“Each video in the series was made utilizing different experimental traditions, but with one consistent theme: that to love your enemy is to know you enemy… The Bush administration (in RE:_THE OPERATION), Iraqis (in BAGHDAD…), and the religious right living in red-state America (in Now promise now threat) are all perceived, rightly or wrongly, as enemies. The task of all three videos has been to make the friend/enemy distinction more difficult while at the same time giving a time-based critique of the political tragedy/farce that is our first five years of the twenty-first Century.” – Paul Chan

The TIN DRUM TRILOGY is comprised of:

RE:_THE OPERATION
2002, 27 min.

“Based on a set of drawings that depict George W. Bush’s administration as wounded soldiers in the war against terrorism, RE:THE_OPERATION explores the sexual and philosophical dynamics of war through the lives of the members as they physically engage each other and the “enemy”. Letters, notes, and digital snapshots “produced” by the members on their tour of duty become the basis of video portraits that articulate the neuroses and obsessions compelling them toward an infinite war. Part M*A*S*H*, part Three’s Company, part philosophical meditation, with a dash of character assassination thrown in.”

BAGHDAD IN NO PARTICULAR ORDER
2003, 51 min.

“BAGHDAD IN NO PARTICULAR ORDER is an ambient video essay of life in Baghdad before the invasion and occupation. Men dance, women draw and sufis sing as they await the coming of another war. In seven languages (Arabic, Chinese, English, French, German, Italian and Spanish).”

NOW PROMISE NOW THREAT
2005, 33 min.

“Now too late, he understood her. The heart that pumped out love, the mouth that spoke the Word, didn’t count.” – Toni Morrison, “Beloved”

“Part documentary, part visual manifesto, NOW PROMISE NOW THREAT uses Omaha, Nebraska (population 390,000, literally located in the middle of the U.S.) as a site and subject to follow the often unexpected lines connecting people, religion and politics in ‘red state’ America. An evangelical pastor opposes the mixing of church and state on religious grounds. An anti-abortion mother deplores the hypocrisy of the pro-life movement for being pro-war. A young man wants to die for his country so he can–at last–have a life worthy of living. Now promise now threat mixes interviews with locally produced footage and kidnapping videos from Iraq transformed into fields of undulating color to create a moving ‘apologia’ for the united red states of America.”

 

PAUL CHAN is an American artist, writer and publisher. His single channel videos, projections, animations and multimedia projects are influenced by outsider artists, playwrights, and philosophers such as Henry Darger, Samuel Beckett, Theodor W. Adorno, and Marquis de Sade. Paul Chan’s work concerns topics including geopolitics, globalization, and their responding political climates, war documentation, violence, deviance, and pornography, language, and new media.

Chan has exhibited his work at the Venice Biennale, the Whitney Biennial, documenta, the Serpentine Gallery, the Museum of Modern Art, the New Museum, and other institutions. Chan has also engaged in a variety of publishing projects, and, in 2010, founded the art and ebook publishing company Badlands Unlimited, based in New York. Chan’s essays and interviews have appeared in Artforum, Frieze, Flash Art, October, Tate, Parkett, Texte Zur Kunst, Bomb, and other magazines and journals.

MATCH CUTS is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore, and produced by Meg Murnane.

EPHEMERA: GIVE THANKS

Posted on by Taylor Adams


EPHEMERA: GIVE THANKS
Dir. VARIOUS. 1933 – 2009

SUNDAY, NOVEMBER 20 – 5:00PM
WEDNESDAY, NOVEMBER 23 – 7:30PM

GET YOUR TICKETS!

Thanksgiving is an American holiday celebrating two things – food and family. Okay, three things – food, family, and culturally whitewashing American history. EPHEMERA: GIVE THANKS showcases all of the above with a convergence of grocery tips, frustrating relatives, meal preparation and awkward historical reenactments. Like your sexist uncle waxing philosophical at the dinner table, GIVE THANKS uncomfortably reminds you though America’s social mores and attitudes have come a long way, there’s still so much further to go. Featuring a 70s decision on what to eat next framed as vitriolic political debate, a very nervous turkey serenaded by Liberace, so many condescending Dads, and the most disgusting 50s ‘salad’ recipe put to film (“Lime Jell-o with diced pineapple on watercress, topped with creamed cottage cheese, garnished with radish roses and carrot flowers!”).

Let us all bow our heads and be truly thankful this season for the visual bounty freely available to us in the modern age, and that these ephemeral treats have been spared the Memory Hole and dished up for our viewing pleasure.

 

Including selections from:

THOUGHT FOR FOOD
(Handy (Jam) Picture Service, 1933)

PICK OF THE POD
(Palmer (W.A.) & Company, 1939)

EARLY SETTLERS OF NEW ENGLAND (SALEM 1626-1629)
(Encyclopedia Britannica Films, 1940)

FOOD FOR FIGHTERS
(U.S. Office of War Information, 1943)

KITCHEN MAGIC (1948)
A Brighter Day In Your Kitchen
(Ray Waters, 1949)

LET’S TALK TURKEY
(Armour & Company, 1951)

A DAY OF THANKSGIVING
(Centron Corporation, 1951)

DINING TOGETHER
(Children’s Productions, 1951)

SOMEONE’S IN THE KITCHEN
(On Film, Inc., 1960s)

THE FOOD PLATFORM
(Directions Unlimited Film Corporation; Pyramid Films Inc., 1972)

Long Live La Familia – No Hay Nada En El Fridge
(New Mexico State University, 2009)

…and more!

DIMINISHED HORIZONS: TWO FOR THE ROAD

Posted on by smacfarlane

Just in time for fall’s trudge back to work, SPECTACLE presents a double dose of sun-soaked open roads from a past promising novelty and excitement with every detour. These films capture types of travel and vacation nearly extinct today, when airlines have ellipsed the country to coastal spots and a few destinations between, and efficiency’s eliminated small pleasures like roadside attractions and scenic views that made driving worth the effort. The two films present America as it was and as it wished to be seen: while EPHEMERA: SEE AMERICA! revels in the commercial side of travel films (and their attendant staginess), Rick Prelinger’s NO MORE ROAD TRIPS? offers the inverse, imposing no outside narrative on its home movies save for arranging them into a bicoastal journey. Come see America’s vast promise and dimmed hopes this September at SPECTACLE!

NO MORE ROAD TRIPS?
**W/ LIVE SCORE BY SULLEN PROSPECTOR**
Dir. Rick Prelinger, 2013.
USA. 70 minutes.

SATURDAY, SEPTEMBER 10 – 7:30PM & 10:00PM

GET YOUR TICKETS!

Rick Prelinger’s coast-to-coast compilation of “private views of the public land” takes us on a physical and temporal journey through America, captured by its own citizens enjoying their country. This is evidentiary cinema, which in Prelinger’s own words:
…privileges original documents, putting them before an audience whose appreciation of the evidence completes the film. I produce a portion of the film; the audience makes the rest. Right now, this happens through questions, answers and conversations in the dark. Indeed, it could happen by many means – tweeting, remixing, call and response.

In Spectacle’s case, we ask you to please join Sullen Prospector for a transcontinental journey across our great nation as Zach and Dan (formerly of Archie Pelago) perform live and inside the incredible mosaic of footage compiled in NO MORE ROAD TRIPS? Combining live saxophone, vocals, found sound and field recordings as well as choice selections of classic folk and ambient Americana, this live scoring effort will be predominantly improvised and reactionary as the film traverses a series of gorgeous and timeless recorded experiences of the American Road Trip. Emphasizing a balance of acoustics, electronics and sound design, the score will explore textural and rhythmic ideas as we hitch a few rides across this ol’ United States.


EPHEMERA: SEE AMERICA!
Dir. Various, 1939s-1970s.
USA. ~80 minutes.

SUNDAY, SEPTEMBER 4 – 5:00PM
MONDAY, SEPTEMBER 12 – 7:30PM
WEDNESDAY, SEPTEMBER 21 – 10:00PM

GET YOUR TICKETS!

Our monthly EPHEMERA program aims to present educational films from the post-war era without the usual ironic framing, letting the films’ genuine charm and dated sensibilities shine through on their own.

Stuck at work on another gorgeous day? Longing for better times and warmer climes but trapped in city grime? Hit the road (and by road I mean screen) with SEE AMERICA!, an optimistic trip across these United States.

Back before they were haunted by fear and a failing economy, Americans worked hard and played even harder. Vacations weren’t relaxation so much as tactical planning opportunities swayed by tourism boards, cotton corporations, car dealers and the Government itself. But the blatant commercialism was win-win: you and your family enjoyed the country’s cultural capital (state fairs, museums, historic points and cities) or natural beauty (parks, beaches, well-maintained highways), and the economy was bolstered for everyone!

Today’s sad state of affairs, with ‘staycations’, ‘long-term unemployment’ and the least stable leisure time for average Americans since labor laws were passed, leaves little time for relaxation, with less to enjoy the journey itself. Travel used to be half the fun, whether lounging on a cruise, enjoying a four-course seafood banquet on a luxurious modern jet, or just cruising down the highway in the family car. Nowadays cruises are floating plague ships, planes charge double for the privilege of cramming you in, and gas prices hike ever upward.

SEE AMERICA! looks back at a time when Americans’ commercial capitalism and can-do attitude were harnessed on both sides of the lens to entice and enjoy the land’s wondrous sites. Whether visiting a tax-built National Park or dangling a Route 66 tourist trap, there is genuine enjoyment surrounding the films. Selections include several home movies from the 40s and 50s, visits to newly-acquired commonwealth Puerto Rico, southwestern fashion shoots and tips on long car trips. Come SEE AMERICA! with us this September!

AUGUST MIDNIGHTS

Posted on by smacfarlane

FRIDAY, AUGUST 5:  Aachi & Ssipak
SATURDAY, AUGUST 6:  He Walked By Night

FRIDAY, AUGUST 12:  Maneater
SATURDAY, AUGUST 13: Crying Freeman

FRIDAY, AUGUST 19:  He Walked By Night
SATURDAY, AUGUST 20:  Maneater

FRIDAY, AUGUST 26:  Crying Freeman
SATURDAY, AUGUST 27:  Aachi & Ssipak

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AACHI & SSIPAK
Dir. Jo Beom-jin, 2006.
South Korea, 88 min.

FRIDAY, AUGUST 5 – MIDNIGHT
SATURDAY, AUGUST 27 – MIDNIGHT

GET YOUR TICKETS!

Rude, but very smart and funny, with extremely fast-paced animation that’s slick and distinctive, Aachi & Ssipak (2006) follows its eponymous petty crooks as they try to get rich in a world where feces is money. Literally.

It’s an action “Buddy Movie” from another dimension—as if Gary Panter, Takeshi Miike and Paul Verhoeven collaborated on a Hope & Crosby flick: “The Road to Shit City.” Aachi is the short one, with more plans than brains, and Ssipak is the big, bald bruiser who thinks with his fists—and he’s fallen hopelessly in love with a wannabe-porn starlet, the very pneumatic Beauty (who’s much smarter than our heroes, and belongs next to Jessica Rabbit or Tex Avery’s Red Hot Riding Hood in the Sexy Cartoon Bombshell Hall of Fame). After her anal-chip is tampered with, Beauty becomes the “MacGuffin” of this movie, the object everyone will kill for.

It seems the rulers of the future need human excrement for both fuel and building materials, and in exchange for each dump, citizens with an implant get one delicious and mind-altering “juicybar.” But these yummy narco-popsicles are so addictive that some people are turned into blue mutant dwarves, the “Diaper Gang”—who cause chaos with their juicybar raids and demands to rule society. “Did they appreciate us for our crap!?!” bellows the megalomaniacal Diaper King rhetorically as he calls for rebellion.

A government that would stick ID-chips up people’s rectums would do anything to maintain power, and so have unleashed a sadistic and homicidal cyborg to enforce their draconian alimentary laws by slaughtering the Diaper Gang wantonly.

When sleazeball porno-producer Jimmy’s plan for Beauty’s “magical anus,” uh, backfires, all these forces are aimed at each other in a pulse-pounding climax that rips off—and totally improves on the coal-car chase from Indiana Jones and the Temple of Doom.

Obsessed with defecation but tasteful enough never to show any brown ploppies, Aachi & Ssipak is lysergic speedfreak anime for the mayhem crowd—that’s surprisingly good natured (when it’s not willfully gross or gory). The violence is so excessive and over-the-top, it is hilarious, but (thankfully) explicit scatological scenes are nowhere in sight—which in itself may be a socio-political comment as well… But the movie also has heart: the two hoods care about each other; Ssipak’s love of Beauty is genuine; pathetic Jimmy is funny but human; and even the grotesque Diaper Gang deserves some sympathy—they didn’t ask to be mutated and addicted.

Almost an exhausting movie, and overloaded with delightful eyeball kicks, Aachi & Ssipak is packed with multiple cultural references (including graffiti—keep your eyes open for “Neckface”!), but especially to action films: Structurally, the film is much like Robocop (plenty of rewarding “media blasts”), with tributes/spoofs of John Woo, Hitchcock and Terry Gilliam—as well as countless anime—littered throughout.

This South Korean production combines a tight and twisty script (equal to the best episodes of The Venture Bros. or The Simpsons), with exciting animation (characters look hand-drawn; and the backgrounds are a combo of CGI and hand-painted) to create a crazy, non-stop, almost sacrilegious meta-movie: “An animator isn’t a real director!” screams a character before kicking someone’s face in.

Aachi & Ssipak is hyperactive, but hardly incomprehensible—even when trying to read the subtitles and keep up with frenzied cartooning at the same time—and looks reallygood: The movie reportedly cost only $3.5 million—a low amount for an animated flick (Pixar’s Cars, also released in 2006, cost $120 million)—and every cent is on the screen. But aside from the anarchic 1970s work of Ralph Bakshi, it’s almost impossible to think of Pixar or any other U.S. animator making a film so, ummm, “earthy.”

Like all good B-movies, there’s a metaphorical political message here, but it’s surrounded by so much quasi-exploitative “good stuff,” that even action fans with one-track-minds will be satisfied.

Aachi & Ssipak is manic, unadulterated weirdness that deserves a massive cult following!

WARNING: If the synopsis didn’t give you a hint, this is not a movie for small children or easily-offended adults!

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HE WALKED BY NIGHT
Dir. Alfred Werker (credited) and Anthony Mann (uncredited), 1948.
USA, 79 min.

SATURDAY, AUGUST 6 – MIDNIGHT
FRIDAY, AUGUST 19 – MIDNIGHT

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The template for Dragnet and a direct inspiration for dozens of police procedurals, HE WALKED BY NIGHT is based on the story of Erwin “Machine Gun” Walker, a WWII vet who began a series of burglaries which resulted in multiple gunfights with police, leading to his arrest in 1946. That role is played in the film by a young Richard Basehart, whose ice-cold performance became his breakout role. Charming at times, brilliant at others, but with a deep sociopathic core, Basehart’s move from vet to safecracker to mad-dog killer prevents the docudrama angle from bogging down. Hunted down by Scott Brady (SHOTGUN SLADE, a million westerns, and a final role as the sheriff in GREMLINS!) and Roy Roberts (basically *every* tv show in the late 50s-60s), we get a look at the details of detective work more in line with Homicide/L&O/CSI than most films of the time, from false leads to confused witnesses.
It’s Alfred Werker’s name as director, but most film historians put the bulk of the work on the shoulders of Anthony Mann (EL CID, WINCHESTER ’73. THE FAR COUNTRY), and fans of his earlier docudramas RAW DEAL and T-MEN will be able to see his influence right away. Fans of LA noir will find a lot to love here, with a dramatic chase through the Los Angeles sewers (later a key location for the film THEM! among a million others), absolutely stunning lighting by cinematographer John Alton, and none other than Jack Webb as lab tech Lee Whitey. Overlooked by too many for too long as an early film with “promise”, HE WALKED BY NIGHT is actually as deeply tense, dark and ambiguous a noir as one could ask for. If that doesn’t sell you, note that chunks of this film were later used in the Lon Chaney Jr. sleeper creeper THE INDESTRUCTIBLE MAN!



CRYING FREEMAN
Dir. Christophe Gans, 1995
USA, 102 min.

SATURDAY, AUGUST 13 – MIDNIGHT
FRIDAY, AUGUST 26  – MIDNIGHT

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Adapted from the classic manga by Kazuo Koike and Ryoichi Ikegami and featuring one of the proudest VANCOUVER, B.C. title cards in cinema history, CRYING FREEMAN stars Mark Dacascos as its nominal assassin, a weepy and beautiful slab of a man whose chiseled contours do not go unnoticed by Thomas Burstyn’s wide-canvas cinematography. Working on behalf of “the sons of the dragons”, Freeman exists as a myth haunting Yakuza apparatchiks from night to night, while his romance with a murder witness on their list named Emu (Julie Condra) takes up a significant portion of the movie’s runtime. This being the directorial debut of the man who would go on to direct 2001’s needlessly pizzazz-freighted BROTHERHOOD OF THE WOLF, CRYING FREEMAN abides over the decades for the scope and poignancy of its big-budget aspirations.

What separates CRYING FREEMAN from other comic adaptations of the late pre-digital cinema epoch is Gans’ piercing command of comic-worthy tableaux, Patrick O’Hearn’s remarkably icy orchestral score, and the film’s otherwise whistle-inducing musculature of production design. The hideous CGI dragons bracketing the opening credits barely taste at what CRYING FREEMAN is able to accomplish on a budget approximately one-sixth that of, say, David Fincher’s SE7EN. Long before you’ve seen a bourbon fireball spewed from one man’s mouth into another’s face over an executive-suite sized table in almost Marilyn Minter-worthy slow motion, you’ll know (or hazily remember) Gans’ insane fugue-state John Woo knockoff for the sublimity that it truly is.

SPACE: THE F∞KED-UP FRONTIER

Posted on by smacfarlane

SPACE: THE F∞KED-UP FRONTIER
Dir. Various.
70 min.
FRIDAY, JULY 8 – MIDNIGHT
WEDNESDAY, JULY 20 – 7:30 PM ** 47th anniversary of the faking of the moon landing! **

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SPACE: THE F∞KED-UP FRONTIER!!!!
Get HIGH with this show!

Weren’t we supposed to have astronauts on Mars by now?
Where is the space wheel?
How come the U.S. and Russia don’t have domed cities all across the moon?

Well, it looks that, in regards to the so-called “Conquest of Space,” we sure fucked up.
Mankind’s attempts to touch infinity have all failed, like legendary Icarus, and the mud of the earth will forever be our home, the stars perpetually out of reach. Even the shuttle program is dead, and all R&D is now conducted by plutocrats seeking to save themselves when our sad and pathetic Earth is finally, completely poisoned.

From genuine NASA footage to slick computer graphics to crude claymation, this series of shorts, created to celebrate the 47th Anniversary of the Faking of the Moon Landing, examines the stellar beauty just out of our reach, as well as casting a cosmic eye on the awful behavior humans are sure to take with them into the galactic void. For roughly 70 minutes, 25 short films take the viewer out of this world, sometimes calming the soul—and other times disturbing it.

See the planets dance!
See spaceships fight black holes—and lose!
See humans and aliens interact—poorly!
See how far the IRS will actually go!
See Patti Smith’s secrets about flying saucer!
See more eyeball kicks than stars in the galaxy!
See more things in Heaven and Earth and Mars than are dreamt of in your philosophies!

A show that will blast you off–
It is SPACE: THE F∞KED-UP FRONTIER!!!

MYSTERY MEAT

Posted on by smacfarlane

Mystery Meat is a weekly secret screening program handpicked by a different Spectacle volunteer. Each week, follow the clues and see if you can discern what’s on the menu. Programming will range from bizarro science fiction jazz westerns and museum installations of grandparents eating fruit off of dead people, to a varied selection of lost television episodes about a kid in the woods with only a jetpack to survive. It could really be anything, but since it’s Spectacle, it’s probably the most amazing thing you’ve ever seen.

SATURDAYS @ 5:00 PM

???????? ?? ????
Dir. ???? ????????

Featuring set designs by the legendary Annie Sprinkle, this marionette showcase from one of porn’s most celebrated auteurs would make even Matt Stone and Trey Parker blush.

SATURDAY, AUGUST 20 – 5:00 PM

?????? ?????
Dir. ????? ???????, 198?.

SATURDAY, AUGUST 6 – 5:00 PM

An 80s feminist classics in which a group of repressed women rose up and destroyed patriarchy in silent solidarity.

?????? ?????
Dir. ????? ???????, ????.

SATURDAY, AUGUST 13 – 5:00 PM

Directed by a slumming horror maestro and VERY loosely based on a short story from the King of noir adaptations, this made-for-TV thriller’s goofy premise alone is worth the price of entry. All hell breaks loose in a college town when a cursed Aztec cape makes its way into undergrad hands. A shy wallflower unwittingly sews it into a dress for a dance, turning all who wear it into violent murder machines. Featuring a belle of 90s oddball TV, a Spaghetti Western staple, and a multifaceted star pigeonholed by his most famous role.

??? ???????
Dir. ??????? ????????, 19??.

SATURDAY, JULY 16 – 5:00 PM

A string of brutal murders in Washington, DC’s Georgetown neighborhood and the sudden appearance of a colleague long thought dead lead a nearly retired detective into a hellish vision of a demonic world within our own in this contemplative, atmospheric yet mostly unpopular sequel to one of the most critically acclaimed movies of all time, directed by the original film’s author.

?????? ?????
Dir. ????? ???????, 19??.

SATURDAY, JULY 23 – 5:00 PM

?????? ?????
Dir. ????? ???????, 19??.

SATURDAY, JULY 30 – 5:00 PM

JUNE MIDNIGHTS

Posted on by smacfarlane

FRIDAY, JUNE 3: Wild Beasts
SATURDAY, JUNE 4: Shakma

FRIDAY, JUNE 10: Desperate Teenage Lovedolls
SATURDAY, JUNE 11: Lovedolls Superstar

FRIDAY, JUNE 17: Inseminoid
SATURDAY, JUNE 18: Embryo

FRIDAY, JUNE 24: Wild Beasts
SATURDAY, JUNE 25: DeAundra Peek’s Greatest Hits

WILD BEASTS
Aka Belve Feroci
Dir. Franco Prosperi, 1984.
Italy, 92 min.

FRIDAY, JUNE 3 – MIDNIGHT
FRIDAY, JUNE 24 – MIDNIGHT

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Cahiers du Cinema founder Andre Bazin theorized that montage allowed for homogenous barriers between images, allowing (or perhaps begging) viewers to suspend their notions of disbelief. As an example, he cited the match-cuts between a little boy and a lion in the jungle in an “otherwise mediocre English film” called WHERE NO VULTURES FLY, wherein the distance was suddenly ruptured in a wide-focus master that included both parties in the frame. This question gets a thorough shellacking in WILD BEASTS, a singularly disgusting tale of widespread animal revenge directed by none other than Franco “GOODBYE UNCLE TOM” Prosperi.

WILD BEASTS takes place in a nameless dystopia not so different from any big city today – although the camera goes to a hell of a lot of work to avoid identifying this metropolis as Frankfurt, which is obviously is. Hypercapitalism metes inequality out with remorseless exactitude; Prosperi sees it trickling down the most powerless denizens of any city, the animals held hostage by zookeepers. When a mysterious pile of angel dust-loaded syringes find their way into the city’s sewer water, the prisoners erupt into bloody, pithy, skull-crushing revolution.

Not for the faint (or reasonably healthy, really) of heart, Prosperi’s film is the Mr. Hyde to ROAR’s Dr. Jekyll, which is to say it’s no easier to watch animals suffer in service of a whack-ass international coproduction than a washed-up Hollywood vanity project. Good luck taking the film’s disclaimer that “no animals were harmed in the making of this production” at face value; that said, WILD BEASTS is a thrill ride more for its fakery than its realism. One sequence where two lovers in a parked car are overtaken by lysergic mutant rats becomes a master class in giallo staging far more disgusting than David Lynch’s Dinkins-era anti-rat PSAs for the City of New York, while the inevitable death-embrace of a deranged dog and his bewildered master takes way long to happen to register as anything other than hilarious.

SHAKMA
Aka Terror in the Tower
Dir. Tom Logan / Hugh Parks, 1990.
USA/UK, 101 min.

SATURDAY, JUNE 4 – MIDNIGHT

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“The world’s most aggressive primate just got mad!”

What better time than midnight for a failed experiment? Moments after using a power drill to graft a microchip onto a baboon’s heart, it’s Friday – and so a plucky group of horny and misguided researchers decide to go after-hours LARPing in the lab. Trouble is, the baboon’s heart has been flooded with steroidal enyzmes, and he’s out for revenge.

Leading a sundry cast of lowercase-E expendables, Roddy McDowell lends simian blessings to a gruesome and hardheaded terror-jaunt equal parts “man vs. nature” and haunted house. But the real star is the indestructible SHAKMA, played by a small company of real (and presumably authentically angry) baboons.

DESPERATE TEENAGE LOVEDOLLS
Dir. Dave Markey, 1984.
USA. 50 min.
In English.

FRIDAY, JUNE 10 – MIDNIGHT
TUESDAY, JUNE 21 – 10:00 PM

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“In the way good punk music inspires you to form a band, David Markey’s DESPERATE TEENAGE LOVEDOLLS makes it seem easy and fun to make your own movie.” —L.A. Weekly

DESPERATE TEENAGE LOVEDOLLS was received as an instant cult classic when first released on the Los Angeles punk underground in 1984. Since then, the no budget super 8 film has gained international and aboveground praise. Bunny, Kitty, & Patch (Hilary Rubens, Jennifer Schwartz, & Janet Housden) are three teenage runaways who form the hottest all-girl band of all-time, The Lovedolls. Their meteoric rise to the top from a drug addled street life in Hollywood comes not without a price, thanks to sleazy rock manager, Johnny Tremaine (Steve McDonald). Rival all-girl gang The She Devils and their leader Tanya Hearst (Tracy Lea) have it in for our heroes, as do annoying mothers and psyche ward doctors. The film also features Jeff McDonald, Phil Newman, Vicki Peterson, Annette Zilinskas & Dez Cadena. Directed by David Markey, the saga is continued in the 1986 sequel LOVEDOLLS SUPERSTAR.

LOVEDOLLS SUPERSTAR
Dir. Dave Markey, 1986.
USA. 90 min.
In English.

SATURDAY, JUNE 11 – MIDNIGHT
SUNDAY, JUNE 19 – 7:30 PM

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The 2004 restored Directors Cut of the 1986 sequel to DESPERATE TEENAGE LOVEDOLLS, LOVEDOLLS SUPERSTAR which features the return of the beloved all-girl band The Lovedolls from their untimely demise. Patch Kelley (Janet Housden) is now Patch Christ, the leader of a religious cult who rescues Kitty Karryall (Jennifer Schwartz) from a boozy, wasted life. They recruit Sunset Boulevard hooker Alexandria “Cheetah” Axethrasher (Kim Pilkington) to replace the murdered Bunny Tremelo (Hilary Rubens). Rainbow Tremaine (Steven McDonald), from the Freedom School in New Mexico ventures to Hollywood only to discover his twin brother Johnny committed suicide after taking The Lovedolls to the top. Tracy Lea also returns, portraying the mother of She Devils’ slain leader Tanya Hearst, Patricia Ann Cloverfield. Meanwhile obsessed fanatic Carl Celery (Jeff McDonald) lives in his own world of Lovedoll worship, only to carry out an assassination of Brews Springstien (Jordan Schwartz). With special guest appearances by Vicki Peterson (Bangles), Jello Biafra (Dead Kennedys) & Sky Saxon (The Seeds). With major rocking by Redd Kross, Sonic Youth, Meat Puppets, Dead Kennedys, & more! You can’t kill a Lovedoll, babe… because Superstars never die!

INSEMINOID
aka Horror Planet.
Dir. Norman Warren, 1981
United Kingdom/Hong Kong. 91 min.
In English.

FRIDAY, JUNE 17 – MIDNIGHT

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“A silent, lifeless world. Until they broke open the underground chamber and discovered in the most vile way imaginable that the planet was not truly dead. That a sleeping life form had been waiting for millennia, needing only a chance to breed before escaping to spread like a foul, devouring disease into the lifeblood of the universe. And to breed it needs the bodies of those who had disturbed it.”

Many minutes watching Norman J. Warren and Run Run Shaw’s space hell gorefest INSEMINOID are spent on the film’s outside, ooh-ing and aah-ing at the breathtaking scope and variety of its (inevitably low-budget) production design and perspicacious use of (all-analog!) lens flare. A crack squad of space archaeologists touch down on a hellish planet of red rock; a member of their crew named Sandy (Judy Geeson) is raped and impregnated by an alien, which overtakes her personality and results in a slasher-style killing spree among the remaining crew. With its agonizingly redundant screenplay and extensive ensemble cast, INSEMINOID is like a sooty cardboard cutout of ALIEN (perhaps by way of ROSEMARY’S BABY): bland, hoary and post-dystopian in its misogyny, Warren’s film is perhaps a misbegotten filmic premonition of the “Sex Colony” coda of Christopher Nolan’s INTERSTELLAR…

EMBRYO
aka Created to Kill.
Dir. Ralph Nelson, 1976.
USA. 99 min.

SATURDAY, JUNE 18 – MIDNIGHT

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“The film you are about to see is not all science fiction. It is based upon medical technology which currently exists for fetal growth outside the womb. It could be a possibility tomorrow…or today.”
 —Charles R. Brinkmen III, M.D.

Directed by Ralph Nelson (CHARLY, THE WILBY CONSPIRACY), the 1976 sci-trag EMBYRO is a gracefully clunky work of genteel schlock, built on a plot premise of ridiculously bad taste – perfect viewing for America’s favorite patriarchy-themed weekend. Rock Hudson stars as Holliston, a woebegone geneticist who hits a pregnant dog with his car while driving drunk in a downpour. Holliston takes it upon himself to save the injured animal by removing a fetus and using its tissue to keep the mother alive. Emboldened by this discovery, he repeats the experiment with a human embryo – and his “daughter” Victoria ages from there to a beauty-paegant worthy Barbara Carrera in mere days. Soon, however, Victoria begins to see Holliston as a threat, and must take action to preserve her youth and beauty…

DeAUNDRA PEEK’S GREATEST HITS
Dir. Dick Richards, 1988-2004.
USA, 93 minutes.
In English.

FRIDAY, JUNE 10 – 7:30 PM
SATURDAY, JUNE 25 – MIDNIGHT
THURSDAY, JUNE 30 – 10:00 PM

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DeAundra Peek (Rosser Shymanski) was the first of a long line of singing sisters featured regularly on Atlanta public access television to break apart from her kin and garner her own exclusive public television show. Produced by FUNTONE USA (producers of RuPaul’s earliest film and music ventures), the character of DeAundra is a perpetual sixteen-year-old musical prodigy and teenage southern belle broadcasting weekly from the community room at Odum’s All-Doublewide Mobile Homes Court in Palmetto, Georgia and featuring DeAundra’s favorite songs, original music videos, fashion tips, community news and recipes, and providing a broadcasting platform for the era’s queer entertainers.

Beginning broadcast in 1988, the DeAundra Peek’s Teenage Music Club show would come to see several different permutations and name changes over the years, until it ended broadcast in 2004, but not before seeing a stage show, a string of musical singles, two commercially released music video compilation tapes, and a feature in the Whitney Museum of American Art. Accessing the FUNTONE archives, we will be presenting a curated retrospective of the DeAundra Peek Teenage Music Club though its various iterations to provide a capsular look at an artist’s legacy in queer public access television.