OUTSIDER SCIENCE & PERVERSIONIST ART: AN EVENING WITH NIETO

OUTSIDER SCIENCE AND PERVERSIONIST ART: AN EVENING WITH NIETO
Dir. Nieto, 2006 – 2016.
In French, Russian, and Spanish with English subtitles.

MONDAY, JULY 11 – 7:30 PM // Director in attendance!
FRIDAY, JULY 15 – 10:00 PM

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Inspired equally by the obscure South American Perversionist art movement, the pseudo-scientific tradition, and the latest technologies in manipulating the filmed image, Colombian-French artist Nieto operates in a dizzying expanded cinema where reality and artifice, experiment and provocation, and even film and performance collide in an elaborate personal mythos. For one night only, Nieto will take us deep into this startling universe. It may be up to us to find our ways back out afterwards.

Surely included will be his documentary following the efforts of an enterprising Japanese science team to move beyond classic projects to teach language to non-human primates, by teaching them, instead, the language of cinema. What else? Soviet experiments in animal resurrection, the musical properties of fleas on an ordinary cat, and the secret history of Perversionism, perhaps, as well as much more. Nieto, just off a major solo show of video installation and sculptural cinema in Paris, will be presenting key moments from over a decade of work, and there’s no telling what exactly might be included. All that is certain is that it will be impossible to forget. Or at least impossible to unsee.

GUEST FROM THE FUTURE MINISERIES

GUEST FROM THE FUTURE
Dir. Pavel Arsyonov
USSR, 1985

PART 1
WEDNESDAY, JULY 6 – 7:30 PM 
THURSDAY, JULY 21 – 5:00 PM
MONDAY, JULY 25 – 7:30 PM
THURSDAY, JULY 28 – 5:00 PM

PART 2
WEDNESDAY, JULY 6 – 10:00 PM 
THURSDAY, JULY 21 – 7:30 PM
MONDAY, JULY 25 – 10:00 PM
THURSDAY, JULY 28 – 7:30 PM

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A Young Pioneer (mandatory, Communist version of a Boy Scout) named Kolya is waylaid by his curiosity while on his way to pick up buttermilk. His concern for spilled cultured milk are soon replaced by a sense of wonder, as he time travels from the 1980s to a world of optically printed special effects, and beautifully Soviet era retro-future sci-fi sets. While exploring the future, he meets Alisa Seleznyeva who is being pursued by space pirates. Alisa attempts to evade the pirates by blending in as a schoolchild back in Kolya’s time. The series was wildly popular in the USSR and inspired loads of spin offs, including “Mystery Of The Third Planet”, as well as dirty, folksy versions of the theme song.

VOICE PORTRAITS: POETRY AND FILM OF MARCUS BERGNER & MYRIAM VAN IMSCHOOT

VOICE PORTRAITS: POETRY AND FILM OF MARCUS BERGNER & MYRIAM VAN IMSCHOOT 

FRIDAY, JULY 8 – 7:30 PM
// ONE NIGHT ONLY with directors in person!

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Spectacle Theater and Sarma join forces to present an evening that pairs screenings with live performance by Marcus Bergner (Australia) and Myriam Van Imschoot (Belgium). Vocal tangents and aberrant hosannas combine within sound poetry, experimental film and various forms of portraiture. In addition to films both digital and 16mm, Marcus Bergner and Myriam Van Imschoot will perform the sound poetry piece ‘Schloss Songs’.

This event is also the launch of ‘Family Mafia’, a voice portrait by Alessandro Bosetti of his friends Michelle Nagai, Kenta Nagai, DD Dorvillier and Sebastian Roux. This new radiophonic audio-piece is featured within the online sound poetry series Volume SP on Oral Site (oralsite.be). Surprise performance by special guest Kenta Nagai.

With thanks to Sarma/Oral Site for support, Joel Schlemowitz and Eric de Kuyper.

YODEL PORTRAIT DOREEN KUTZKE
Dir. Myriam Van Imschoot, 2015.
27 min.
In German with English subtitles.

In this portrait of Berlin based yodel queen Doreen Kutzke, yodel is a missile that can propel its charm beyond barriers, iron curtains and cultural stereotypes.

MUSICAL THREE LETTERS
Dir. Marcus Bergner 1989.
5 min.

A push and pull filmic puzzle using handwritten argot and found footage from 1930s Mexican musical.

THREAD OF VOICE
Dir. Marisa Stirpe, Frank Lovece, Michael Buckley and Marcus Bergner, 1993.
19mins.

Experimental documentary and self-portrait by the Australian sound poetry group Arf Arf.

MYRIAM VAN IMSCHOOT is the curator of Oral Site that hosts the series
Volume SP. She is a performance artist who usually engages the voice in her
work, whether installation, video or performance. She performs as a
vocalist for Alessandro Bosetti, Anne-Laure Pigache, etc. Her latest
projects engage forms of crying, waving, calling out, in tune with vocal
folklore or just by imitating the sounds of nature like in her last group
piece ‘What Nature Says’. Since 2014 she has been creating a cycle of sound
poems in a duo artist formation with Marcus Bergner.

MARCUS BERGNER is an artist living between Europe and Australia. He is a
long-term collaborator with the Australian sound poetry group Arf Arf and
recently co-ordinated the group’s online publication.

Kenta Nagai is a Japanese-born sound artist who has resided in the United States since 1990. After graduating conservatory, Nagai relocated himself to NYC and started playing his fretless guitar on the street, subway platforms, clubs, and galleries. In 2000, Nagai provided a sound score for DD Dorvillier’s solo dance performance “Handsome Execution of a Flower”. During that period, he met DD’s sister Michelle, who later became his wife. Nag has recently been working with NY choreographer Melanie Maar. He is the guitarist in composer Alessandro Bosseti’s power trio, Trophies.

HE HATED PIGEONS WITH LIVE SCORE BY AKIVA ZAMCHECK

HE HATED PIGEONS with Live Score by AKIVA ZAMCHECK
Dir. Ingrid Veninger, 2015.
Canada. 80 min.
In Spanish with English subtitles.

SATURDAY, JULY 2 – 7:30 PM // ONE NIGHT ONLY with Director and Musician Q+A after screening!

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pUNK Films presents HE HATED PIGEONS New York Premiere with Live Score by AKIVA ZAMCHECK.

A slow-burning odyssey about love and loss shot in Chile from the Atacama desert to Patagonia. Directed by “Canada’s DIY queen of filmmaking” Ingrid Veninger and starring newcomer Pedro Fontaine. Linked with the protagonist’s journey, every screening features an ever-changing live score by a local musician. Never recorded. Never Repeated. A one-time only event.

“HE HATED PIGEONS is a strikingly original road trip of the soul.” Matthew Lucas, The-Dispatch.com

“Bringing to mind the dreamy road trip of Jim Jarmusch’s DEAD MAN.” Spiro Economopoulos, MQFF

“A one-off bespoke experience which blends cinema and performance.” Wendy Ide, Screen International

PAPERTOWN COMPANY DOUBLE FEATURE

MONDAY, JUNE 20TH – 7:30 PM
ONE NIGHT ONLY!

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Spectacle is thrilled to collaborate with Papertown Company on an umnissable premiere event, featuring two Papertown videos – PAPERTOWN & COMPANY followed by PAPERTOWN LIVE – as well as an exclusive never-before-seen slideshow with original score, classic cartoons, and much more.

Papertown VHS features over a dozen original trailers – including Good Chinese, Street Fever, Mommy, Nandas, Dripper World, Crazy Spirit, Never Sit, Better Read Than Dead, Nuts!, Ignore Rock n Roll Heroes, Toad Style, Cheena, East Village Shoe Repair, Hank Wood and the Hammerheads, and Number 1 Chinese Food.

Papertown Company is a publisher of zines with an emphasis on easy-to-assemble cutout paper buildings, trains, planes, twin towers, police cars, elevated train lines, etc. The two shorts featured are based in this paper world, made entirely from the cut outs presented in the zines. For your enjoyment the events that happen in this world have been captured on video. A bonus feature of the Papertown Company videos are the trailers which include stop motion animation and commercials for Brooklyn based punk businesses and Brooklyn punk bands upcoming records.

RETINAL DISPLACEMENT & (COUNTER) INSURRECTIONS

[gfycat id=”CompetentBelatedAkitainu”]
TUESDAY, JUNE 14TH – 7:30 PM • $10
ONE NIGHT ONLY!

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Spectacle is pleased to welcome filmmaker and media philosopher Mitra Azar for a one-night-only presentation investigating how processes of gaze disembodiment/virtualization related to new technologies of vision can be addressed as an emerging political-aesthetic battlefield – marking new regimes of visibility and, in parallel, new regimes of truth.

Azar deploys a post-phenomenological approach to connect the use of POV in cinema to: mobile technologies documenting uprisings, Google gaze circuit (Google-based technologies of vision such as Google Maps, Google Car, Google360, Google Glass), drone technologies, virtual reality devices and neural network for robotic visions. His research investigates these processes as they pertain to subjectifation, de-subjectifation and trans-individuation, envisioning their social, aesthetic and political consequences.

MITRA AZAR is a self-described eclectic schizo-nomadic video-squatter and “ARTthropologist” with a background in aesthetic philosophy. He admits to be haunted by images and by the relational-performative-philosophical aspect of doing them. The idea of borders as fluid, flexible, amorphous entities – and the political role of art and digital technologies within the frame of an aesthetic of crisis and of mass events – have been the framework of his practice-based research.

SMASH TV Presents MEGAPLEX

SMASH TV Presents: MEGAPLEX
Edited by Brendan Shields & Ben Craw, 2016.
USA, 80 min.

THURSDAY, JUNE 2 – 7:30 PM // Ben Craw and Brendan Shields in person
THURSDAY, JUNE 2 – 10:00 PM // Ben Craw and Brendan Shields in person
WEDNESDAY, JUNE 29 – 7:30 PM

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EPILEPSY WARNING: This video has been identified to potentially trigger seizures for people with photosensitive epilepsy. For real. If you’re gonna have a seizure you’re gonna have a bad time.

Smash TV is back at Spectacle with their biggest and boldest video to date! Join Ben and Brendan on June 2nd as they present their latest epic VJ mix. Returning to their roots, MEGAPLEX is the long awaited followup to the critically acclaimed SKINEMAX. Once again showcasing a plethora of insane 80s and early 90s movies, it’s 80 minutes of meticulously arranged VJ madness.

Whereas SKINEMAX was a first attempt at an ambitious idea, this latest effort is much more fully realized, utilizing a myriad of editing and layering tricks picked up over the past 5 years. Deeper, darker, and definitely more bizarre. Borrowing from the Grindhouse tradition and from Tarantino’s more recent tribute, MEGAPLEX is a double feature that both members of Smash TV worked on independently.

TURBO, edited by Ben Craw, kicks things off by getting right in your face. A high octane tribute to 80s action flicks, robots, and break dancing. LOTS of break dancing.

Next up, BEYOND, edited by Brendan Shields, is a decidedly weirder affair. Featuring the most bizarre scenes from a number of science fiction and fantasy movies, it liberally utilizes layered video to deliver a hallucinatory experience.

As a palette cleanser in between, Smash TV is proud to present COMING ATTRACTIONS, a 15 minute collection of 8 vignettes editing together previously unexplored genres and styles.

All in all, this is an intense experience you’re unlikely to forget. It’s a cliched phrase at this point, but Smash TV guarantees you’ve never seen anything like this before!

DEATH & DAYDREAMS: WORKS BY ZOLTÁN HUSZÁRIK

Zoltán Huszárik is one of Hungary’s most celebrated and distinct filmmakers, yet his work has barely touched domestic soil. Spectacle hopes to change that with these screenings of Huszárik’s poetic masterpiece SZINDBÁD, along with three of his most his celebrated short films.

Raised by a widowed mother, Zoltán Huszárik spent his formative years in poverty and used his spare time for painting before getting his start in film at the influential Balázs Béla Studio in 1959. Huszárik’s first professional short ELÉGIA won him massive acclaim and is still considered a high-water mark for Hungarian experimental cinema.

Huszárik’s first feature SZINDBÁD was an adaptation of Hungarian surrealist author Gyula Krúdy’s short stories. Huszárik’s second (and final) feature-length film – a biopic of the Hungarian painter Tivadar Csontváry Kosztka – went through numerous production problems and became the most expensive Hungarian film at the time. Following its critical and commercial failure, Huszárik sank into depression and became an alcoholic. He committed suicide in 1981 at the age of 50.

Despite completing only two feature films and a handful of shorts, Huszárik left behind a deeply rich filmography that is still is still being discovered. In 2000, Hungarian film critics named SZINDBÁD one of the twelve best Hungarian films of all time in their ‘Budapest 12’ list, and his reputation as one of the great European directors continues to grow.

As far as we know, this will be the first time in over 40 years that SZINDBÁD has screened in the U.S. These will be the first U.S. screenings ever for Huszárik’s short films.

Working with The Hungarian National Film Archive, we are honored to present these high-definition restorations from one of world cinema’s most unsung auteurs.

Special thanks to The Hungarian National Film Archive.


SZINDBÁD
Dir. Zoltán Huszárik, 1971.
Hungary, 90 min.
In Hungarian with English subtitles.

FRIDAY, JUNE 10 – 10:00 PM
MONDAY, JUNE 13 – 10:00 PM
FRIDAY, JUNE 17 – 5:00 PM
SATURDAY, JUNE 25 – 7:30 PM

BRAND NEW HD RESTORATION!
FIRST U.S. SCREENINGS IN 40+ YEARS!

SZINDBÁD is a wildly sensuous reverie, justly regarded as one of the great movies of the Hungarian Sixties.” —J. Hoberman, The New York Review of Books

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A singular work of unparalleled, intoxicating beauty, SZINDBÁD is one of cinema’s greatest hidden gifts.

The titular character is a charming, dying casanova reflecting on his romantic escapades with various women. As he inches closer and closer to the oblivion, every past love ignites a different memory.

Driven more by atmosphere than a linear narrative, the film is told through a series of flashbacks that interweave and overlap in a gorgeous tapestry of colors, seasons, and moods. Utilizing his experimental film background, Huszárik creates something wholly original in narrative cinema that effectively predates the elliptical editing of Nicholas Roeg and the ornate visual romanticism of Terrence Malick. Indeed, the film is loaded with so much rich symbolism and lush imagery that it takes several viewings to unpack its mysteries and majesty.

Above everything, though, SZINDBÁD taps into a deeply romantic, deeply personal sensibility that simply envelops the viewer into its own unique universe.

The phrase ‘lost masterpiece’ tends to get thrown around a lot in repertory film circles, but we’re going to go out on a limb here and proclaim SZINDBÁD a lost masterpiece. We think you’ll agree. Hyperbole be damned.

“A unique experience unlike any other in modern cinema.” —Second Run

“To describe SZINDBÁD as one of the most beautiful films in cinema history only comes across as breathless hyperbole to those who haven’t yet seen…” —Michael Brooke, Sight & Sound

“Dazzling… employs a style of widescreen colour, rapid montage, and eroticism in early 20th-century settings with such unbridled abandon and originality that it’s hard to believe we could have been completely unaware of such a film in the ‘70s…” —Jonathan Rosenbaum

“There’s so many ideas that [Huszárik] was using that haven’t really been utilized by other filmmakers. How’d he get that sense of alchemy into a film and that magic? It’s quite rare to find that in films when you do get this sense of absolute wonder. Not just in terms of what you’re seeing on the screen, but also in terms of ‘Wow, this is what we can do. There’s still so far to go. And this was done in 1971.’ …When you watch the film, there’s no going back… it just changes the language for you. I know it sounds pretentious but… you can’t ignore what is on that film.” —Peter Strickland (THE DUKE OF BURGUNDY, BERBERIAN SOUND STUDIO)

 


THREE SHORT FILMS BY ZOLTÁN HUSZÁRIK
Dir. Zoltán Huszárik, 1965-1976.
Total running time: 51 min.

SATURDAY, JUNE 4 – 10:00 PM
WEDNESDAY, JUNE 15 – 10:00 PM
MONDAY, JUNE 20 – 10:00 PM
THURSDAY, JUNE 30 – 7:30 PM

BRAND NEW HD RESTORATIONS!
FIRST U.S. SCREENINGS EVER!

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As a complementary program to our SZINDBÁD screenings, we present three carefully chosen short films from Huszárik’s oeuvre, each reflecting the themes and aesthetics of his debut feature.

ELÉGIA
Dir. Zoltán Huszárik, 1965.
Hungary, 19 min.

Huszárik’s first professional short is a haunting allegory for the place of an animal in the modern world.

 

TISZTELET AZ ÖREGASSZONYOKNAK
Aka Homage to Old Ladies.
Dir. Zoltán Huszárik, 1971.
Hungary, 12 min.

Huszárik ventures into the old country and captures World War II widows as they go about their daily routines in quiet stoicism. Made the same year as SZINDBÁD, and featuring images strikingly similar to the film’s final scenes.

 

A PIACERE (TETSZÉS SZERINT)
Aka A piacere or As You Like It.
Dir. Zoltán Huszárik, 1976.
Hungary, 20 min.

A grave digger sleeps on top of a tombstone, and dreams a tapestry of death in all its forms. Perhaps the most devastating short film in Huszárik’s career.

WE STILL GOT POWER: THE FILMS OF DAVE MARKEY

WE STILL GOT POWER: THE FILMS OF DAVE MARKEY

David Markey has sustained a truly independent career in the shadow of Hollywood and against the backdrop of corporate America for over three decades. As a filmmaker, photographer and musician, Markey brings together underground music, experimental cinema and contemporary culture in a direct and insightful way. His body of work is also historically significant, representing a unique record of the punk scene in Southern California throughout the 1980’s and into the 1990’s. His indefatigable DIY aesthetic continues to drive him, as well as inspire a new generation of filmmakers, musicians and artists, and Spectacle is proud to present a selection of his films, from his earliest shorts to the 2008 festival favorite THE REINACTORS.


THE REINACTORS
Dir. Dave Markey, 2008.
USA. 96 min.
In English.

FRIDAY, JUNE 3 – 7:30 PM
TUESDAY, JUNE 7 – 10:00 PM
THURSDAY, JUNE 23 – 7:30 PM

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A documentary feature about the exploits and misadventures of film character impersonators and celebrity look-a-likes on Hollywood Boulevard over the span of a year. Freddy Krueger works alongside Superman, Marilyn Monroe, Shrek, Lucy, Batman, and Borat. Competing Chewbacca’s, Spidermen and Captain Jack Sparrow’s vie for a spot on the limited real estate of The Walk Of Fame. These street characters have big dreams of breaking into the big-time, in the meantime they forge a living one-dollar at a time, posing for photos with tourists. These characters are literally right out of the movies, yet the unforeseen drama of the people underneath the make-up threatens to eclipse the bizarre array of Hollywood film icons they appropriate. Director David Markey says, “THE REINACTORS plays like a great-depression era Hollywood classic retold for the new millennium. It’s also a film about the cutthroat nature backstage and behind the scenes of show business. An American Idol on crack, if you will.”


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!


BLAST OFF!
Dir. Dave Markey, 1997.
USA. 90 min.
In English and Japanese.

WEDNESDAY, JUNE 1 – 10:00 PM
FRIDAY, JUNE 17 – 10:00 PM
WEDNESDAY, JUNE 22 – 7:30 PM

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Travel the USA with Osaka Japan’s beloved Shonen Knife, and see the sights through their eyes and hear the band at their best. Dave Markey hits the road with the band on their 1997 US tour and documents an amazing assortment of concerts, record in-stores, plus tons of behind the scenes footage. Join Naoko Yamano, her sister Atsuko Yamano, and Michie Nakatani on stage and off, performing “Explosion”,”Wind Your Spring”, “E.S.P.”, “Fruits & Vegetables”, “Frogphobia”, “Buddha’s Face”, “Lazybone” & more. Watch them win over American fans, and play to the biggest audiences of their career stateside .


CUT SHORTS & MUSIC VIDEOS 1974–2004
Dir. Dave Markey, 1974–2004.
USA. Total running time: 90 min.
In English.

WEDNESDAY, JUNE 8 – 10:00 PM
SUNDAY, JUNE 26 – 5:00 PM

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Thurston Moore, Kim Gordon, Jordan Schwartz, Jennifer Schwartz, & Sofia Coppola.
Music by Devo, Ciccone Youth, Sonic Youth, The Shaggs, The Posies, Eyes Adrift, Oddio Gasser, Algebra Suicide, & Abby Travis.

This collection represents a sampling of 30 years of work (and life) from Los Angeles native independent filmmaker David Markey. From his beginnings as a pre-teen experimental film auteur to his music videos for major labels, “Cut Shorts” displays Markey’s unique and skewed view. From friends turned actors, to apartment buildings and alleyways turned backlot, a utilitarian surreal quality quickly surfaces. Certain masks, wigs, and actors appear throughout. The early work plays not unlike the music videos Markey would direct decades later (often shooting and editing himself.) Some are “Instant Films” conceived and shot within the same day. Others are warm-ups for feature films (DESPERATE TEENAGE LOVEDOLLS, LOVEDOLLS SUPERSTAR, and 1991 THE YEAR PUNK BROKE.)

Markey employs a frenetic documentary-style approach mixed with punk fiction on the dime (literally). Economic constrains don’t deter Dave’s creativity, but provide an aesthetic that weaves these 20 disparate pieces together. Fueled by the energy and brilliance of LA bands X, The Germs, Black Flag, Red Cross, and countless others, Markey feverishly produced these backyard films much like the Do-It-Yourself attitude found in punk zines and bands and a twisted sense of humor often at the expense of American Pop Culture.


THE SLOG MOVIE
Dir. Dave Markey, 1982.
USA. 53 min.
In English.

with DINE-O-MITE
Dir. Dave Markey,1976–77.
USA, 5 min.
In English.

and MOVIE OF MOVIES
Dir. Dave Markey, 1978–79.
USA. 24 min.
In English.

SUNDAY, JUNE 5 – 7:30 PM
THURSDAY, JUNE 16 – 5:00 PM
WEDNESDAY, JUNE 22 – 10:00 PM

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We Got Power Films presents David Markey’s 1981/’82 homespun Super 8 documentation of the Los Angeles/Orange County early 80’s hardcore punk scene. A unique look at an era, left of field even by it’s peers The Decline Of Western Civilization and Another State Of Mind. Like a fanzine on film, THE SLOG MOVIE has an intimate fan/backstage/on-stage feel. Markey shot this film while he was editing We Got Power fanzine and playing drums in Sin 34. Interviews, incredible live performances, and humorous interludes with Circle One, Symbol 6, Wasted Youth, Red Cross, TSOL, The Cheifs, Sin 34, Fear, Circle Jerks, and Henry Rollins, Chuck Dukowski, Robo & Dez Cadena (Black Flag) . See glimpses of scenesters such as Pat Smear and DOA’s Randy Rampage hanging out at Oki-Dogs; Jordan Schwartz as himself, Ted Nugent, & Nosferatu in a Black Flag skateboard commercial; gigs at the Whisky A Go-Go, Cuckoo’s Nest, Bards Apollo, Club 88, and the Santa Monica Pier. The DVD includes a gig flyer gallery and a running commentary from David Markey, Circle Jerks’ Keith Morris, the Minutemen’s Mike Watt, and We Got Power’s Jordan Schwartz. A history lesson from the So Cal early 80’s hardcore underground. See the Los Angeles Hardcore scene explode, and in retrospect connect the dots from 1981 to 1991, THE YEAR PUNK BROKE.


REALITY 86’D
Dir. Dave Markey, 1991.
USA. 63 min.
In English.

MONDAY, JUNE 6 – 10:00 PM
WEDNESDAY, JUNE 15 – 7:30 PM
FRIDAY, JUNE 24 – 7:30 PM

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Three bands and crew (a combined total of 13 individuals), 2 Dodge Ram extended cab vans, one equipment truck, one PA system traverse the continental US for six months. A road documentary shot from the inside of the last Black Flag tour ever (the 1986 “In My Head” US tour.) Greg Ginn along with Henry Rollins, Cel Revulta, and Anthony Martinez comprise the final line up of the band. Featuring behind the scenes proceedings and live performances from Black Flag, Painted Willie, and Gone (Ginn’s side project, then featuring Sim Cain and Andrew Weiss (later of the Rollins Band) . David Markey was along for the entire trip as the drummer / singer for Painted Willie (with Phil Newman & Vic Makauskas), documenting the six month tour with his Super-8 camera as it happened. Also features roadie Joe (Planet Joe) Cole, soundmen Davo Claasen and Dave “Ratman” Levine, and the tour manager who kept it all together, Mitch Bury. A crucial turning point in American underground rock. The end of the line for a trail blazing American band.

DeAUNDRA PEEK’S GREATEST HITS

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.