dirs. Horacio Maldonado and Gustavo Cova, 1988
72 mins. Argentina.
In Spanish with English subtitles.



SUNDAY, AUGUST 1 – 7:30pm at Rubulad Backyard

A group of students agree to be test subjects for American scientists for a new drug that allows people to share dreams. While on a trip to the countryside the students begin to be terrorized by a local punk gang, harassed at the gas station and later almost driven off the road. It turns out the trip is nothing but a dream being conducted at the Corman Labs research facility – but one of the students is beginning to control the dream and lead the rest in a much more macabre direction, putting them at risk of dying in their dream and potentially never waking up. With the scientists unable to help, it’s up to Pity (Ana María Pittaluga) to find out the grisly truth.

Produced as the thesis film for co-director Horacio Maldonado and Gustavo Coya’s studies at the Instituto de Arte Cinematográfico in Argentina, ALGUIEN TE ESTÁ MIRANDO presents the youthful energy of two filmmakers early in their career. Influenced by the American slasher films of the same decade, including sci-fi elements that will later seen in the post-internet boom film, along with future Latin American rock legends Soda Stereo as the soundtrack, ALGUIEN TE ESTÁ MIRANDO is a blend of B movie thriller and punk rock.

As a special treat ahead of SPECTOBER 2020, Spectacle is thrilled to present ALGUIEN TE ESTA MIRANDO in a gorgeous new 5K restoration courtesy of Gotika releasing. Programmed in collaboration with Anthony Chassi.


MONDAY, JULY 5 – 8PM EST only at The City Reliquary backyard



7 pm – Doors open, tunes by DJ Daniel DiMaggio (Home Blitz), refreshments
8 pm – Show begins, opening remarks, Spectacle trailers
8:35 pm – MORGAN’S CAKE

On the occasion of the post-Fourth of July comedown, Spectacle is pleased to present two classics of mondo Americana:

dir. Rick Schmidt, 1988
United States. 85 mins.

preceded by

dirs. Ant Farm & T.R. Uthco, 1975
United States. 23 mins.

Can one have their cake and eat it too? Such is the guiding quandary in Bay Area filmmaker Rick Schmidt’s fourth feature, MORGAN’S CAKE, a largely improvised coming-of-age movie filmed on a shoestring budget of $15,000. Morgan (played by Schmidt’s real-life son, Morgan Schmidt-Feng) is down on his luck and turning 18. His girlfriend is pregnant and his bohemian parents don’t offer much stability. He’s conflicted about registering for the draft and spends his time meandering around the city, chatting with an assortment of local eccentrics. What elevates an otherwise straightforward premise is the realness of the performances, from the substanial—e.g. Morgan’s father, played by wily video artist Willie Boy Walker, regaling his son with his true-life story of loading up on LSD to deliberately tank his army psych exam—to the minor, like street-casted San Franciscan denizens sounding off on their feelings about the draft. A breezy pace and natural warmth make this a “slice” of life that is funny, outlandish, and gently elegiac.

It’ll be preceded by what’s maybe the magnum opus of both Ant Farm and T.R. Uthco, two stalwart art collectives from the heyday of heady West coast performance. Funded in part by National Lampoon and the Dilexi Gallery’s Jim Newman, THE ETERNAL FRAME documents the two groups’ efforts to re-enact the assassination of John F. Kennedy, meticulously costuming and choreographing a shot-for-shot remake of the Zapruder film (then not so easy to track down) in front of spectators in Dealey Plaza. Done not merely out of irreverence or post-Watergate bicentennial fatigue, the performance probes media and simulation’s disquieting roles in producing political mythology. Asked at the end of the video “Who killed Kennedy?” T.R. Uthco’s Doug Hall replies, “Who cares? We all did.”



dir. Graham Mason, 2020
80 mins. United States.

SATURDAY, JUNE 26 – DUSK only at Brooklyn Army Terminal

In collaboration with our friends at Rooftop Films, Spectacle is thrilled to copresent the physical world premiere of Graham Mason’s INSPECTOR IKE.

After the conniving understudy of an avant-garde theater group knocks off the star actor, he finds himself in a high-stakes game of cat-and-mouse with Inspector Ike, New York City’s Greatest Police Detective.

A lost “TV movie” from the 1970’s, INSPECTOR IKE is a warm-hearted satire, a celebration of detective serials, mixing visual gags, slapstick, gross food, and heartfelt emotion, featuring a rogue’s gallery of NYC’s best comedians carried out with a deadpan absurdist sensibility inspired by COLUMBO and THE NAKED GUN.

FRIDAY, JUNE 25 – 7:30 PM only at


The night before INSPECTOR IKE premieres via Rooftop Films, join us for a free streaming collection of short films made by and starring members of the INSPECTOR IKE team: Ikechukwu Ufomadu (@ikeminded), Matt Barats (@muttbubuts), Anthony Oberbeck (@anthonyoberbeck), Colin Burgess (@colinburgers), Alex Goldberg (@pleasegoeasy), Tynan Delong (@tynanwvhdelong), Ana Fabrega (@ana_fabrega) & more! The program includes (but is not limited to):

dir. Graham Mason,

dir. Doron Max Hagay,

dir. Grace Rex

dir. Alex Goldberg

dir. ?????????????????

dir. Doron Max Hagay

dir. Tynan Delong

GRAHAM MASON is a filmmaker based in Brooklyn. He recently directed a feature film comedy called Inspector Ike, produced by Factory 25 and BRIC Arts Media. It premiered at the Maryland Film Festival in 2020, won “Best Narrative Feature” at the New Orleans Film Festival, and will continue its festival run and come out wide in 2021. Graham has created three “SMALLS” shorts for Adult Swim, all of which were broadcast on air, and is currently producing The Dream, a 3-episode series directed by Alan Resnick, for FX’s CAKE. His short films and web series have been featured on IFC, Viceland, Vulture, Booooooom, NoBudge, The Eyeslicer, and Directors Notes, and he has received three Vimeo Staff Picks.


••• Previously scheduled for March 2020, this program was cut short due to the onset of the Covid-19 pandemic. A year later we are delighted to celebrate Anna Karina and revive this series for online streaming. Full program notes below. •••

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 paid 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 it 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.

dir. André Delvaux, 1971
France/Belgium/Weat Germany, 86 min.
In French with English Subtitles

MONDAY APRIL 19 – 7:30 PM EST only at
TUESDAY, APRIL 27 – 7:30 PM EST only at

“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.

dir. Andre Farwagi, 1970
France. 82 mins.
In French with English subtitles.

TUESDAY, APRIL 20 – 7:30 PM EST only at

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.

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

THURSDAY, APRIL 22 – 7:30 PM EST only at
FRIDAY, APRIL 30 – 7:30 PM EST only at

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.


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

FRIDAY, APRIL 23 – 7:30 PM EST only at
MONDAY, APRIL 26th – 7:30 PM EST only at

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.

dir. Tony Richardson, 1969
United Kingdom & France. 104 mins.
In English.

SUNDAY, APRIL 25 – 7:30 PM EST only at

Adapted from Vladimir Nabokov’s novel of the same name, 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 its 1969 release. Anna Karina shines in her all-English role as the charming irresistible seductress who cultivates something mysterious behind her delicate, wide eyes.

dir. Emidio Greco, 1974
Italy. 110 mins.
In Italian with English subtitles.

THURSDAY, APRIL 29 – 7:30 PM EST only at
Please note this stream will only appear to viewers based in the United States.

Adapted from the novella which inspired 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.



dir. Felipe Cazals, 1979
109 mins. Mexico.
In Spanish with English subtitles.

SATURDAY, MARCH 20 – 7:30 PM EST only at

Ten years after we showed his anti-anti-communism horror masterpiece CANOA, Spectacle is thrilled to host a one-off stream of Mexican master Felipe Cazals’ THE YEAR OF THE PLAGUE: a little-seen adaptation of Daniel Defoe’s A Journal of the Plague Year transposed to 1970s Mexico. Working from an original idea proposed by his friend Gabriel Garcia Marquez, Cazals uses the outbreak of a pandemic to diagnose the ills of Mexican society as he saw it: political corruption, snake-oil pundits on television, municipal apathy to the basic needs of lower-income citizens. The result is a bracing, terrifying vision of life out of junct 40 years ahead of coronavirus; we’re happy to show it in commemoration of the 12-month anniversary of Spectacle in exile.

“Gabo (Marquez) is known as the creator of magical realism, but there is no magic to this film. We inserted a plague to create a different reality, in order to reveal problems within society. What can change is the way authorities will react to a crisis of this nature. To hide the truth is a power move, essentially linking all forms of power together. The president must say whatever is convenient for private interests. The whole reason he is in power is to create a distorted reality. The president, the private interests—their form of reality becomes the official truth. To take the pandemic seriously would necessitate destroying preexisting forms of power.” – Felipe Cazals, Filmmaker Magazine


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 in collaboration with Mary Billyou. Special thanks to Women Make Movies, Filmmaker’s Co-op, Facets, K8 Hardy and Wynne Greenwood.

dir. Helma Sanders-Brahms, 1975
Germany. 99 mins.
In German with English subtitles.

WEDNESDAY, MARCH 10 – 7:30 PM EST only at

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.

dir. Mary Billyou, 1996.
US. 33 min.

TUESDAY, MARCH 16 – 7:30 PM EST only at

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.

playing with

dir. Vivienne Dick, 1978.
US. 28 min.

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

dirs. K8 Hardy and Wynne Greenwood, 2006
United States. 16 mins.

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.”

dir. Helke Sander, 1979
Germany. 98 mins.
In German with English subtitles.

MONDAY MARCH 22 – 7:30 PM EST only at
WEDNESDAY MARCH 31 – 7:30 PM EST only at

“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.

dir. Joan Braderman, 2009
United States. 95 mins.

FRIDAY, MARCH 19 – 8PM EST only at

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. — Women Make Movies

Presented in partnership with Women Make Movies.

“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

dir. Johanna Demetrakas, 1974
United States. 47 mins.

THURSDAY, MARCH 18 – 7:30 PM EST only at

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.”

Presented in partnership with Women Make Movies.

playing with

dir. Hermine Freed, 1972
United States. 11 mins.

Re-edited by filmmaker Mary Billyou, this film presents footage shot at A.I.R. Gallery’s first opening, shot by Hermine Freed. A.I.R. Gallery (Artists in Residence) is the first all-female artist-owned cooperative gallery in the United States. It was founded in 1972 with the objective of providing a professional and permanent exhibition space for women artists during a time in which the works shown at commercial galleries in New York City were almost exclusively by male artists.

dir. Meredith Drum, 2012
United States. 16 mins.
This documentary was made on the occasion of the fortieth anniversary of A.I.R. Gallery at Fales Library and the Tracey/Barry Gallery at New York University.


THURSDAY, APRIL 1 – 7 PM EST only at

Triple Canopy and Spectacle present And Besides, It’s True, an evening of screenings and discussion devoted to disinformation and rumor.

In the past year, we’ve desperately sought connection and copresence, whether through endless Zoom meetings or a riot at the capitol. Of course, these events are sorted into affiliations that are life-affirming or malign, the constant question in the time of social distancing and conspiracy theories being, “Why are you together?” Everyone is now both detective and skeptic: perhaps you didn’t see everything on the ground, and perhaps you’re being too credulous of someone’s online account. At the same time, this epistemology of paranoia and doubt is met with a frantic will to believe, which often devolves into casting for allegiances—the no-true-Scotsman fallacy writ large. (No true populist would ever sell Gamestock, no true constitutional patriot would actually storm the Senate chamber, no true revolutionary would cast aspersion on Xi Jinping Thought.) This contradiction of skepticism and belief is often presented as a deeply American, incredibly recent phenomenon—a framing that is both ahistorical and geographically myopic.

Considering the antecedents and global breadth of the present moment, the event will begin with a screening of Nathalie Magnan’s 1996 short film IL N’Y A PAS DE FUMEE SANS FEU, ET EN PLUS C’EST VRAI! (There’s No Smoke without Fire, and Besides, It’s True!). Magnan, a French media theoretician, translator, and filmmaker, was best known for her participation in early listservs and queer feminist mediajammer activism. Il n’y a pas de fumée sans feu, et en plus c’est vrai! is a dense refraction of the information landscape of the time that leapfrogs from French radio broadcasts to man-on-the-street prank interviews to clips from The Twilight Zone and Dr. Seuss’s World War II-era Private Snafu cartoons. Taxonomizing the symbols and stories of viral hearsay throughout human history, Magnan gives a portrait of le rumeur as both irresistible force and pre-internet manifestation of media literacy run amok.

Following Magnan’s film, artists Paige K. B. and Tiffany Sia will each give presentations of found footage and media clips, tracing the distribution of psy-ops, censored messages, and subversive appeals through such varied networks as Twitter Live and The David Letterman Show. K. B. will consider the comedic angle of American manifestations of LARPing as reality, from Andy Kaufman to QAnon; Sia will examine the Rashomoning of Hong Kong protest footage and its legal implications.

The screening will be followed by a discussion with K. B. and Sia, alongside Triple Canopy senior editor Matthew Shen Goodman and Spectacle volunteer Steve Macfarlane.

PAIGE K.B. is an artist, writer, and erstwhile editor from Los Angeles. She has been an editor at Artforum and Garage, and her writing has been published in numerous magazines and books since 2013. Her recent exhibitions include an illegal installation at 13 East 31st Street and a legal one at the Canal Street Research Association, a space run by the group Shanzhai Lyric. She is currently assembling a body of work for Documenta 13.

TIFFANY SIA is an artist, filmmaker, writer, and founder of Speculative Place, a project space in Hong Kong. She is the author of Salty Wet 咸濕 (Inpatient Press, 2019) the book-length sequel, Too Salty Too Wet 更咸更濕 (Speculative Place, 2021), which serves as the basis for her exhibition “Slippery When Wet” at Artists Space. Sia is the director of the short, experimental film NEVER REST/UNREST (2020), which has screened at Berwick Film & Media Arts Festival and will have its North American premiere at MoMA Documentary Fortnight. She is also part of Home Cooking, an artist collective founded by Asad Raza, and contributes to the group’s performance and reading series Hell Is a Timeline.

This event would not be possible without the support of De la Mule au Web and Antre-Peaux for permission to screen IL N’Y A PAS DE FUMEE SANS FEU, ET EN PLUS C’EST VRAI!. In lieu of a ticket charge, attendees are encouraged to make a donation in Magnan’s honor to SOS Mediterranee.



Like Shriek Show, but frozen.

Don’t let the holidays get you down – cozy up with Spectacle for 12+ hours of cozy, wintery, Holiday-adjacent murder and mayhem.

12PM – MOVIE #1 – ?????? ???????

Kicking things off is an early 70’s weirdo horror-sci fi mashup featuring two extremely recognizable icons of horror on a nightmare train hurtling through Manchuria.

1:45PM – MOVIE #2 – ???? ??????

Next up, a short trip to Scandinavia. A glam rock band heads to a ski resort to film a music video when an avalanche traps them in the resort. Like a very-80’s The Hills Have Eyes, but dumber and snowbound.

3:30PM – MOVIE #3 – ???? ?? ????? AKA “?????? ?”

Continuing the longstanding Italian tradition of sequels that have nothing to do with their predecessors, our third offering is a snowed out riff on Black Sunday – bad dubs, adult teens, blind priests, styrofoam snow – a real treat.

5:15PM – MOVIE #4 – ???????????

A moody Canadian offering from the early 80’s, our fourth film follows three skiers who stumble into an abandoned (but still mysteriously heated) mountain resort. A slow creeper with plenty of mood to burn, pour a steaming cup of hot cocoa and bundle up for this chiller.

7PM – MOVIE #5 – ??????????

A woman on the run, a snowy cabin, a dorky bio-scientist and mutated lizards – what could go wrong? Equal parts “witty” banter and creature splatter, plus an extremely 90’s knock-off-pop soundtrack by ‘Plan 9’, this New Zealand shot oddity is sure to please.

8:45PM – MOVIE #6 – ????????

Buckle up, because we’re headed back to Canada. A genuinely chilling early 80’s slasher with a large cast of potential suspects and victims, the less said about this one the better.

10:30PM – MOVIE #7 – ???????????

Feeling spooked? Rinse your brain off with this absolute disaster, a no-budget labor of love from Massachusetts, shot over the course of 6 years on three types of film stock for $10,000. Home brewed splatter and stop motion FX abound, plus a ripping lo-fi synth score.

Content warning: early 90’s homophobia, ignorant appropriation of Native American myths and culture

12AM – MOVIE #8 – ??? ??????

Freezing out the marathon is an undersung Christmas horrorshow from the mid-80’s that follows a woman haunted by an occult object left by the previous tenant of her apartment. Directed by one of New York’s most prolific and underrated exploitation filmmakers, this freakout is on par with Fulci’s best, with huge dollops of sleaze and ooze to slide us into the holidays – and a Happy New Year.


Calling all film-noir enthusiasts, distressed delinquents, and seasoned double crossers! Bid the bleak month of November farewell with eight back-to-back b-films lost and buried to the shadows of yesteryear.

Meditate through the darkest depths of desperation for 12-hours straight as we indulge in the disillusioned dream-states of the film noir era.

Starring: Joan Bennett, Frank Sinatra, Mickey Rooney, Ella Raines, Sterling Hayden, Ed Begley, Helen Walker, Angela Lansbury, Peter Lorre, Barbara Bates, Erich Von Stroheim, & More!

Streaming for free at

Donations of all kinds are supported and encouraged!

12:00pm: MOVIE #1
?????? ??????? (AKA “??? ????”)

Kicking things off with a sophisticated double-con lensed by the master of film noir, John Alton.

1:30pm: MOVIE #2

Small-town noir that also functions as an anti-romance and court-room melodrama.

3:30pm: MOVIE #3
??? ?? ????? (AKA “???”)

Expressionist psycho-sexual horror-hybrid

4:30pm: MOVIE #4

Quintessential film-noir for all you disillusioned dreamers

6:00pmz: MOVIE #5

Featuring Hollywood heavyweights as assassins, tough guys, and pacifists

7:30pm: MOVIE #6

An ruthless hidden gem scripted by the legendary creator of the classic American anthology show *** ******** ****

9:00pm: MOVIE #7

Early costume-noir from the master of melodrama

10:45p: MOVIE #8
??? ???? ????????

A fitting closing statement: Classic b-movie fare starring the chiaroscuro auteur as a misanthropic vaudevillian

SHRIEK SHOW X (2010-????)


Well, hell, if it isn’t Halloween already. This year has been absolute dogshit by pretty much every measurable standard, but we’re not letting that stop THE SHRIEK SHOW!

Spectacle’s 10th annual SHRIEK SHOW will be presented on our Twitch channel from noon through midnight. All mystery meat, all day long. All showtimes EST.

MOVIE #1 – 12PM

A black and white late Sixties ghost thriller to kick things off. Originally conceived as the pilot of a show that didn’t get picked up, this moody shocker follows a paranormal investigator and a woman who’s convinced she’s going to be buried alive.

MOVIE #2 – 1:30 PM

An Italian vampire-adjacent chiller from the early 70’s… creepy dolls, pale Europeans and gothic horror abound!

MOVIE #3 – 3:15 PM

A Shaw-flavored early 80’s folk horror tale of betrayal and revenge featuring maggots, exploding boils, snakes, decapitations, flying heads, and much more!

MOVIE #4 – 5PM 

A long-short film from the early Nineties about a fraternity’s hazing ritual gone awry on the night of their campus Halloween celebration.

MOVIE #5 – 6PM

A telenovela on crack, this Mexican feature was filmed and initially shelved in the late Sixties, only to be unearthed and fleshed out with freshly shot horror scenes in the early Eighties before being released on TV and video. A hazy mindfuck of a film featuring every trope in the book (plus a heavy dose of melodrama.)

MOVIE #6 – 7:30 PM

Regional horror at its finest: we’re screening the special director’s cut of a late Eighties Texas horror gem about two people caught in the Lovecraftian curse of a strange house.

MOVIE #7 – 9:45 PM

Another long-short (40 minutes) – this one from Japan, a shot-on-video gross-out fest from the mid-80’s. Expect blood, guts, tentacles, and some really terrible rubber-slithering-sounds. Not for the faint of heart!

MOVIE #8 – 10:35 PM

Shriek Show X closes out with an early Nineties low budget “vampire flick”. Shot on 8mm for about $5k over the course of 2-3 years, this independent gorefest claims “the most exploding heads in a horror film ever” – and they’re not wrong. Also featuring a kickass heavy metal soundtrack and some of the best home-brewed FX ever committed to celluloid!