BENJAMIN CHRISTENSEN DEEP CUTS (w/ Live Scores by Jake Pepper)

BENJAMIN

One of the Danish film industry’s first actor-to-auteur-filmmaker pivots, Benjamin Christensen, is best known for his folk-horror proto-docudrama masterwork HÄXAN. Before helming such an earth-shattering project, Christensen sharpened his skills behind and in front of the camera through his partially owned production company, Dansk-Biograf Kompagnie. Following the scandalous success of HÄXAN, the Dutch director would take his talents overseas in a brief, sporadic but creative Hollywood stint.

We here at Spectacle, eternal devotees of our lord and savior HÄXAN, are ecstatic to screen two films, one from each period. Early Christensen will be represented by one of cinema’s primal examples of a psychological thriller —the 1916 dramatic photoplay BLIND JUSTICE. Meanwhile, for his Hollywood era, a wild early example of the “old dark house” horror subgenre– SEVEN FOOTPRINTS TO SATAN.

Both features will have a live score accompaniment from regular Spectacle music collaborator and local music scene legend Jake Pepper.

BLINDJUSTICE

BLIND JUSTICE
dir. Benjamin Christensen, 1916
Denmark. 100 min.
Silent with English intertitles.

WEDNESDAY, OCTOBER 28 – 7:30 PM
ONE NIGHT ONLY w/ Live Score by Jake Pepper

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A Dramatic Photoplay — A Powerful Drama of the Vengeance of Outraged Manhood Against the Society Whose Only God is the Law

Utilizing prose-heavy intertitles and stark gothic imagery, Benjamin Christensen would help develop the cinematic language for the abundant psychological thriller genre. Christensen helms the lead screen actor as our anti-hero Strong Henry, a convicted murder who’s journey in and out of prison forms the basis of our eerie tale.

This film has Russian hardcoded subtitles for its English intertitles

SEVENFOOTPRINTS

SEVEN FOOTPRINTS TO SATAN
dir. Benjamin Christensen, 1929
United States. 75 min.
Silent with English Intertitles.

SUNDAY, OCTOBER 25 – 7:30 PM
ONE NIGHT ONLY w/ Live Score by Jake Pepper

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Hilarity in Hades! Oh Boy! What a Kick!

A must watch for all horror film historians, SEVEN FOOTPRINTS TO SATAN follows the foibles of rich kid Jim Kirkham (Creighton Hale). His naive yearning for adventure and romantic interest for Eva (Thelma Todd) leads him into a spooky house situation that could very well be hosted by Satan himself!

–“wholly baffling from start to finish […] utterly moronic” – Variety

Jake Pepper currently plays guitar and provides vocals for Ace Bandage— the jam-heavy rock band based right here in Brooklyn. Their fondness for improvisation and vast knowledge of timbral music allows them to shift seamlessly through varied sonic palettes. Pepper also performed in Brooklyn synth punk outfit Future Punx.

ALIEN ZONE aka HOUSE OF THE DEAD

ALIENZONE

ALIEN ZONE aka HOUSE OF THE DEAD
Dir. Sharron Miller, 1978
United States. 80 min.
In English.

FRIDAY, OCTOBER 16 – MIDNIGHT
TUESDAY, OCTOBER 27 – 7:30 PM
THURSDAY, OCTOBER 29 – 10 PM (w/ Intro from critic & writer Jourdain Searles)

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Eventually we all must pass through the…ALIEN ZONE

A delightfully macabre entry in the age old tradition of horror anthologies and one of the first directed entirely by a woman. For what would be her directorial feature film debut, TV veteran Sharron Miller recruited broadcasting undergrads at Oklahoma State University with a modest budget of $685,000 and shot entirely within the rural state.

The overarching narrative linking these tales of terror consist of cheating fail-husband Talmudge (John Ericson) and his encounter with an ominous mortician and his mansion full of deceased bodies. The Mortician (Ivor Francis) begins to give insight into each corpse’s demise, resulting in stories full of anxieties around voyeuristic sadism, obsessive competition and most frightening of all… noisy children.

Those who haunt the hall of Spectacle invite you to bring your trick or treat spirit this Spectober for one of the grindhouse era’s most atmospheric and morbid gems.

Special thanks to AGFA.

SHRIEK SHOW XV

There are many traditions associated with Halloween but none are as resilient, or as brain-meltingly fun, as Spectacle’s annual SHRIEK SHOW (or SHRIEKSHOW, depending on the year, apparently).

Mark Freado unleashed Shriek Show upon an unsuspecting public in 2011 with seven gut-busting horror films back-to-back in a 14-hour marathon. Mark presided over nine years of Halloween carnage before passing the curse to Zach Fleming in 2020, and the marathon has continued almost every year since.

This year marks the fifteenth year of this beloved Spectacle tradition, so we wanted to celebrate by doing something nearly as crazy as the movies Shriek Show has inflicted upon audiences over the years: a three-day Shriek Show  marathon, playing one film from every previous edition. Mark and Zach have each delved back into their respective years to pick a favorite from every edition they programmed, and where possible we’ve dug up the original program text that accompanied each film when it first screened.

Fourteen years of regional oddities, shot-on-video nightmares, forgotten slashers, supernatural freakouts, bargain-bin monsters, and movies that probably should never have existed in the first place, dragged back onto the big screen for one long Halloween weekend.

We kick things off at 7 PM on Friday, October 30th with the very first film ever screened at Shriek Show, before working our way (almost) chronologically through fourteen years of the marathon.

FULL WEEKEND PASS

FRIDAY, OCTOBER 30TH
7 PM / 9 PM / 11 PM
$10 DAY PASS

SATURDAY, OCTOBER 31ST
NOON / 2 PM / 4 PM / 6 PM / 8 PM / 10 PM / MIDNIGHT
$25 DAY PASS

SUNDAY, NOVEMBER 1ST
3 PM / 5 PM / 7 PM / 9 PM
$15 DAY PASS

Individual tickets are $5 at the door.


DAY 1 – FRIDAY, OCTOBER 30TH


SHRIEK SHOW 1 – 7PM:
X XXXX XXX XXXXXX
Dir. XXXXXX XXXX, 1958
United States. 76min.
In English.

A tense and atmospheric descent into madness, X XXXX XXX XXXXXX is a lean, low budget treat with art direction that’s equal parts Man Ray and poverty row.  This film is a must for lovers of great B movies and creepy cemeteries!


SHRIEK SHOW 2 – 9PM:
XXXXXX XXXXX’X XXXX
Dir. XXX XXXXXXX, 1989
United States. 80min.
In English.

XXXXXX XXXXX’X XXXX began life as a student film before expanding into a feature. Made on a shoestring budget with a largely local cast and crew, it’s a wildly inventive example of late-’80s DIY horror, packed with handmade effects and surreal imagery.


SHRIEK SHOW 3 – 11PM:
XXX XXXXXXXXXXX
Dir. XXXX XXXXXXXXX, 1986
United States. 100min.
In English.

Someone once said “Texas regional horror is the best regional horror.” It’s a bold statement, but it would be difficult to disagree. With a close community pushing the boundaries in pretty much every aspect of the genre, the output is impressive to say the least. Bret McCormick made XXX XXXXXXXXXXX on Super-8 and edited it on 3/4″ and the result is a heartfelt, lo-fi, gut munching success. Disconnected sound, hallucinatory loops, chanting, droning, and a world of practical effects pepper this nightmarish vision of the Lone Star state.


DAY 2 – SATURDAY, OCTOBER 31ST


SHRIEK SHOW 4 – NOON
XXXXXX’X XXXXXXX: XXX XXXXXXX XXXXX
Dir. XXX XXXXX, 1989
United States. 83min.
In English.

This years entry is…well, something special indeed. With the Spectacle Shriek Show IV in full swing this will be the proverbial “third bowl of porridge” to your melted brain.


SHRIEK SHOW 6 – 2PM
XXXXXX XXXXX XX XXXXXXX X
Dir. XXXXXXX XXXXX, 1985
United States. 87min.
In English.

One of the most confusing and compelling homemade horror films ever made, future music video director XXXXXXX XXXXX’X debut feature film, shot over years on nights and weekends, is a delirious collage of oddball gore, ludicrous plot twists, and a general milieu of weirdness unlike anything else in cinema history. A head-scratcher of this magnitude hasn’t graced the Shriek Show screen since…well, probably last year!

 


SHRIEK SHOW 7 – 4PM
XXX XXXXXXXXXX
Dir. XXXXXXX XXXX XXXXXXXX, 1985
United States. 92min.
In English.

An unsung behemoth of American horror, XXX XXXXXXXXXXX encompasses many if not all the elements that make up what a true “Spectacle” movie is. Filmmaker XXXXXXX XXXX XXXXXXXX (who worked under the pseudonym David Michael Hillman) blends a stop motion, claustrophobia, homemade sets, and great characters into an impressive DIY terror slurry.


SHRIEK SHOW 8 – 6PM
XXXXX XXXXXX XXXX XXXXXXX XX XXXX
Dir. XXXXXXXX XXXXXXXX, 1995
Japan. 62min.
In Japanese with English Subtitles.

Another entry in this year’s Shriek Shows XIII lineup that almost never was – XXXXX XXXXXX XXXX XXXXXXX XX XXXX was made in 1995, edited in 2005, finished in 2009, and not released until 2012. Clocking in at just over an hour, XXXXX XXXXXX XXXX XXXXXXX XX XXXX doesn’t waste any time getting to the bleeding heart of the matter. Although it’s often compared to 1977’s HOUSE or described as “the Japanese EVIL DEAD,” the film manages to subvert all expectations and take viewers on a ride unlike anything they’ve ever seen. Truly one of a kind.


SHRIEK SHOW 9 – 8PM
XXXXXXXXXX XX X XXXXXXX XXXXX
Dir. XXXXXX XXXXXXXXX, 1981
United States. 99min.
In English.

A mental patient named George Tatum (played by a turned-up-to-11 Baird Stafford) is on the loose and fueled by nightmares of his childhood trauma and an unstoppable bloodlust George leaves a trail bodies in his wake on a coastline rampage with his former doctor and investigators hot on his tail. Meanwhile down in Florida, single mom Susan Temper has her hands full with one of her brood. Young CJ is a menace – acting out, pulling pranks on his siblings, and generally causing his poor mother to tear her hair out. Susan gets a night out of the house for a date leaving her kids with a babysitter. Things go from bad to worse on the homefront as creepy phone calls escalate into a home invasion and a devastating ending that has to be seen to be believed.


SHRIEK SHOW 10 – 10PM
XXXXXXXX: XXXXXXX XXXXXXX
Dir. XXXX XXXXXX, 1993
United States. 90min.
In English.

Shriek Show X closesd 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!


 

SHRIEK SHOW 5 – Midnight
XXXXXXXX
Dir. XXXX X. XXXXX, 1982
United States. 94min.
In English. 

Cynthia looks great and has a pentagram on her forehead and there’s a lot of blood drinking and people in cages. Also some other truly sadistic and harrowing shit goes down. The film is based on XXXXX’X novel of the same name and was followed by a sequel– XXXXXXXX 2–many moons later. DO NOT MISS THIS ONE.

CONTENT WARNING: SEXUAL VIOLENCE


DAY 3 – SUNDAY, NOVEMBER 1ST


SHRIEK SHOW 11 – 3PM
XXXX XXXXX XX XXXXXXXXXX
Dir. XXXXXXX XXXXX, 1989
Italy. 90min.
In Italian with English Subtitles.

One of dozens of made-for-TV schlock gems by one of Italy’s most prolific horror directors – fans of our MADE FOR ITALIAN TV series from a few many years ago (or any of the GHOST HOUSE / LA CASA series), take note!


SHRIEK SHOW 12 – 5PM
XX XXXX XXXX XXXXX
Dir.XXXXX XXXXXX, 1999
United States. 80min.
In English.

A New England shot-on-mini-DV gem featuring vampires, angels, demons, incredible t-shirts and the best possum appearance in cinema history. Think FROM DUSK TIL DAWN made with the budget and enthusiasm level of a backyard wrestling video (the new blu-ray release features an archival blooper reel titled “scenes that hurt”), unhinged lore drops, and some of the best and most inventive gore no-money can buy.

 


SHRIEK SHOW 13 – 8PM
XXXX XXXXXXXXX
Dir. XXXXXX XXXXXXXX, 1979
Mexico. 98min.
In Spanish with English Subtitles.

Steeped in steadily building dread, this Mexican horror film from the late 70s is full of surprises, not to mention a knockout of an ending. Not to be missed.


SHRIEK SHOW 14 – 10PM
XXXXX
Dir. XXX XXXXX, 1974
United States. 80min.
In English.

A snake collector lures residents of a small town to his snake ranch.

SMART GIRL

SMART GIRL
Dir. Hannah Crane, 2026.
United States. 35 min.
In English.

WEDNESDAY, OCTOBER 7 – 7:30 PM (Q+A moderated by Kalila Holt)
THURSDAY, OCTOBER 8 – 10 PM (Q+A moderated by Kathy Del Beccaro)
FRIDAY, OCTOBER 9 – 7:30 PM (Q+A moderated by Rachel Coster)

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Spectacle presents the New York premiere of SMART GIRL, a very personal documentary from Hannah Lynn Crane. All screenings include Q&As with the filmmaker and “cast.”

In an attempt to one-up her smart sister, Hannah Lynn Crane copies her by writing a book. When she finds out her friend Barbara from Scrabble Group used to write romance novels, she enlists her help. Together they start brainstorming a daring age-gap romance novel, but when Barbara mysteriously disappears right before tackling the sex scenes, Hannah is left to her own devices. She falls down a dangerously addictive, GILF-riddled path to learn what being smart actually means.

preceded by

MARATHON GIRL
Dir. Hannah Crane, 2023.
United States. 21 min.
In English.

Hannah Lynn Crane embarks on a journey to achieve a lifelong dream: run a marathon.

XFR Collective Presents: NUGGETS FROM THE MONDAY/WEDNESDAY/FRIDAY VIDEO CLUB

XFR Collective Presents: NUGGETS FROM THE MONDAY/WEDNESDAY/FRIDAY VIDEO CLUB

WEDNESDAY, SEPTEMBER 23 – 7:30 PM

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Over its history, the NYC-based non-profit a/v preservation group XFR Collective has undertaken many projects, but none as ambitious as Alan W. Moore’s collection of nearly 900 tapes centered on the Monday/Wednesday/Friday Video Club. Active from 1986-2000, the collection includes works associated with Collaborative Projects, Inc. and Potato Wolf, many of which aired on public access Cable Channel D and other local venues. Now, after eight years of dedicated effort, this extensive collection of video tapes has been cataloged, digitized, and shipped to The Wisconsin Center for Film and Theater Research for safe keeping.

XFR scoured the entire collection to find you the juiciest nuggets of experimental video. Come celebrate the completion of this massive project and watch some extremely rare and seriously underseen art videos from New York’s underground.

EEK ORK ORK VOL. II: A SHOWCASE OF COSMIC ANIMATION

EEK ORK ORK VOL. II: A SHOWCASE OF COSMIC ANIMATION

This Fall, Spectacle Theater is proud to present two films by Beny Tchaicovsky. Experience a groundbreaking visual journey into the origins of 3D animation. Rather than traditional narratives, Tchaicovsky’s feature animations build immersive, breathing worlds where archaic symbols meet digital technology. His pioneering works explore the intersections of technology, consciousness, and art. “Cyberscape” and “Caught Between Worlds” merge futuristic digital architecture, surreal non-linear landscapes, and deeply atmospheric soundscapes.

 
CYBERSCAPE: A COMPUTER ANIMATION VISION, Aug 2026

CYBERSCAPE: A COMPUTER ANIMATION VISION
Dir. Beny Tchaicovsky, 1997.
United States. 60 min.

FRIDAY, SEPTEMBER 4 – 10PM
FRIDAY, SEPTEMBER 18 – 7:30PM

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A surreal historical chronicle of human evolution, moving from the primordial “Garden of Eden” to quantum mechanics.

Caught Between Worlds, Aug 2026

CAUGHT BETWEEN WORLDS
Dir. Beny Tchaicovsky, 2001.
United States. 50 min.

THURSDAY, SEPTEMBER 10 – 10PM
FRIDAY, SEPTEMBER 25 – MIDNIGHT

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A visual and sonic meditation on navigating the spaces between ordinary reality and metaphysical realms.

FUNERAL SINIESTRO

FUNERAL SINIESTRO
(SINISTER FUNERAL)
dir. Jairo Pinilla, 1977
103 mins. Colombia.
In Spanish with English subtitles.

TUESDAY, SEPTEMBER 1 — 7:30 PM
FRIDAY, SEPTEMBER 4 — 5 PM
MONDAY, SEPTEMBER 21 — 10 PM
WEDNESDAY, SEPTEMBER 30 — 7:30 PM

TICKETS

In keeping with our long tradition of exhibiting Latin American genre cinema, Spectacle is excited to premiere the new 2K restoration of Colombian horror master Jairo Pinilla’s debut feature FUNERAL SINIESTRO, in collaboration with Petroglyph Media.

Much like earlier Spectacle favorite THE GOLDEN TRIANGLE, FUNERAL SINIESTRO is told from the perspective of a child, this time Isabel (Constanza Rincón), the adopted stepdaughter of an evil landowner named Lucrecia (Derly Diaz), in the forests outside Bogota. Incensed by the fact this young girl is entitled to half of what her late husband left behind, Lucrecia tries to get rid of Isabel in a variety of ways; Isabel’s reciprocal attempts to find help outside their unhappily shared hacienda escalate things, leading to a struggle between life and death.

Steeped in Catholic macabre and inspired by the filmmaker’s experience of witnessing a dead body as a child, FUNERAL SINIESTRO is widely considered the first ever horror film from Colombia. While Pinilla is sometimes dismissively referred to as “the Ed Wood of Colombia”, the film is played entirely straight, a horror thriller that works just as well as a meditation on grief and isolation. Whatever FUNERAL SINIESTRO might lack in production value, it more than makes up for in slow-burn psychological intensity, aided immensely by the performances of Rincón and Diaz (alongside the filmmaker himself in a supporting role.) It builds to an unnerving final act that channels the spirits of Poe and Lovecraft, a must-watch for fans of ALICE, SWEET ALICE or LA RESIDENCIA.

 

 

MICHAEL GLAWOGGER’S “GLOBALIZATION” TRILOGY

Michael Glawogger’s 2014 death, from malaria, at age 54 cut off one of the most singular and accomplished voices in world documentary cinema at the height of its powers. Glawogger categorized his filmmaking as “the opposite of direct cinema,” roundly rejecting the idea that any sort of objective reality could be captured under the observation of a camera. Instead, working closely with cinematographer Wolfgang Thaler and editor Monika Willi, he reenacted and staged events with his subjects, creating an elevated reality in a unique cinematic language that anticipated the work of later filmmakers like Joshua Oppenheimer.

A protege of fellow Austrian Ulrich Seidl, Glawogger was occasionally painted with the brush of “provocateur,” but his deep empathy, humor, and relentless curiosity guides his films even through the most challenging subject matter. His “Globalization Trilogy” is a triptych of documentaries loosely dealing with the effects of shifting economic markets and modernization on some of the world’s most disenfranchised workers — though Glawogger disliked the “Globalization” framing, eschewing academic detachment to emphasize his audience and subjects’ shared humanity. In each of these films, Glawogger avoids ethnographic trappings by placing his protagonists center stage, never trivializing or overtly romanticizing them even as they experience some of the harshest conditions imaginable.

Glawogger contracted his fatal illness in Liberia, where he was shooting what would be his final film. He kept a production diary, in which, three days before his untimely death, he wrote what would turn out to be a fitting eulogy:

“When he was still a child, he used to think: But the world is so big. – He could not imagine how, for example, a wanted criminal should not be able to hide anywhere where he could not be found. … It was not for he himself had committed a crime nor did he intend to. But the possibility of disappearing was alluring and comforting in its abstractness. Then he would lead his life somewhere else, with a different routine, different trouble, and a different sense of time. With some venturous pain and lots of unimagined luck.”

MEGACITIES
dir. Michael Glawogger, 1998
Austria/Switzerland. 94 min.
In English, Hindi, Russian, and Spanish.

FRIDAY, SEPTEMBER 11 – 10 PM
WEDNESDAY, SEPTEMBER 16 – 7:30 PM
TUESDAY, SEPTEMBER 22 – 10 PM

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Glawogger’s first major feature documentary, in which his style is already fully crystalized, almost seems like the anti-KOYAANIQATSI. MEGACITIES explores twelve separate narratives throughout four of the world’s largest cities: Mumbai, Mexico City, New York City, and Moscow.

From a man sewing film strips together by hand, to teen pickpockets, to a street hustler caught in the middle of the Giuliani-fication of Times Square, MEGACITIES documents how human beings improvise to survive in the face of urban poverty, providing a fascinating portrait of global ecosystems at the turn of the century.

WORKINGMAN’S DEATH
dir. Michael Glawogger, 2005
Austria/Germany. 122 min.
In English, Pashto, Yoruba, German, Igbo, Indonesian, Mandarin, and Russian.

TUESDAY, SEPTEMBER 7 – 7:30 PM
THURSDAY. SEPTEMBER 17 – 7:30 PM (w/ Intro by Dennis Lim)
SUNDAY, SEPTEMBER 20 – 5 PM

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WORKINGMAN’S DEATH serves as both chronicle of a eulogy for modes of manual labor in the 20th century. Told in five chapters, it follows independent coal miners in Ukraine, Indonesian sulphur carriers near a volcano, Nigerian goat slaughterers at an open-air meat market (animal lovers be warned), Pakistani ship breakers, and Chinese steelworkers as they carry out their grueling duties amongst a fast evolving post-industrial landscape.

In the wake of NAFTA and the consolidation of world economic power, Glawogger considers the relationship of labor to personal worth, at a time — much like our own — when imperatives of growth dictated that human capital be measured in terms of output, and devalued through automation. Featuring an uncharacteristically restrained score from John Zorn and breathtaking Steadicam cinematography from Wolfgang Thaler, WORKINGMAN’S DEATH is one of the most accomplished and striking documentaries of the 21st century.

Notes on intro: Dennis Lim is a film critic, author, and artistic director of the New York Film Festival.

WHORE’S GLORY
dir. Michael Glawogger, 2011
Austria/Germany. 110 min.
In Thai, Bengali, and Spanish.

FRIDAY, SEPTEMBER 4 – 7:30 PM (w/ Intro by Lucy Zentgraf)
TUESDAY, SEPTEMBER 15 – 7:30 PM
THURSDAY, SEPTEMBER 24 – 10 PM

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Glawogger’s final completed film explores prostitution in three disparate semi-autonomous economic and religious zones: a brightly lit high-end brothel in Bangkok, a claustrophobic urban compound in Bangladesh, and a ghostly border-town motel in Mexico. The film vividly captures the often unseen daily rituals, transactions, and hierarchies of power that anchor these unique environments and the people who converge there.

Glawogger — who compensated his subjects financially for their participation in his film — blends his usual staged reenactments with visceral and often haunting interviews with sex workers and their clients, making for a precarious mix that seems like the natural culmination of the approach he perfected over his career. Made over the course of four years, WHORE’S GLORY raises questions about both the historic portrayal of sex work onscreen, and the inherent exploitative nature of filmmaking itself.

Notes on intro: Lucy Zentgraf is a Brooklyn-based writer, anthropologist, former sex worker, and feminist organizer fighting for the liberation of queer women. 

 

ADVENTURES OF A SECRET KIDD: THE MASS HALLUCINATION OF KENN KWEDER

Kenn Kweder, 09/2026

ADVENTURES OF A SECRET KIDD: THE MASS HALLUCINATION OF KENN KWEDER
Dirs. John Hutelmyer & Rob Nicolaides, 2015.
USA. 93 min.
In English.

TUESDAY, SEPTEMBER 1 – 10 PM
WEDNESDAY, SEPTEMBER 2 – 7:30 PM
WEDNESDAY, SEPTEMBER 9 – 10 PM
FRIDAY, SEPTEMBER 25 – 10 PM

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ADVENTURES OF A SECRET KIDD: THE MASS HALLUCINATION OF KENN KWEDER follows the life and career of Kenn Kweder, a Philadelphia-based singer-songwriter and beloved local legend. Once a rising star in the 70’s with major label attention, Hutelmyer’s film provides an intimate look into a rock star who never got that big break, but continues to live the rock and roll dream decades later.

Never sell out, never censor yourself, and never stop sharing your music with the world. Citing influences such as Leonard Cohen and Lou Reed, Kenn’s music honestly expresses life in Philly, whether his songs are about heroin use, the crack epidemic, or the joy of watching 76ers legend Manute Bol play basketball.

Kenn’s story will resonate with any artist who has pursued their craft not for money, clout, or fame, but because they have something to say. This film doesn’t shy away from the brutal reality of living as a working artist in America, highlighting financial instability, substance abuse, and the decline of industrial cities. In an era where music culture is dominated by the progeny of the rich and famous, Kenn’s perseverance and uncompromising artistry is a testament to the power of creating your own platform.

Come and join the mass hallucination!

REHEARSAL BEHAVIOR: CINEDANCE ON 16MM

Rehearsal Behavior Banner, 09/2026

Rehearsal Behavior is a screening series tracing a capacious lineage of choreographic moving-image works: From the dance-for-film pioneers of the 1940s–60s, to experimental video of the late 1970s, ’80s, and ’90s, to contemporary acts of self-expression through direct camera performance.

This screening presents an interrelated grouping of foundational 16mm Cinedance experiments spanning from 1941 to 1973. Featured artists inspire, reference, and collaborate with one another, evidencing the accumulative effect of intergenerational exchange on the lineage of this hybrid form.

Rehearsal Behavior takes its title from a phrase of Rainer’s own coining as a choreographer in the early ‘70s. The phrase juxtaposed the generative looseness of the rehearsal space with the staunch hierarchy of directed live performance, as dancers’ spontaneous responses deliberately reshaped the work and, in the process, pushed toward a more democratic social structure.

Rehearsal Behavior runs from September 18-21. This screening at Spectacle, guest programmed by Charlotte Strange and Andrea Torres, is complemented by two screenings at e-flux (9/17, 7:00pm and 9/19, 3:00pm), and other venues to be announced.

SUNDAY, SEPTEMBER 20 – 7:30 PM

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INTROSPECTION
Dir. Sara Kathryn Arledge, 1941-46
United States. 6 min.
16mm

Commonly described as the first abstract dance film made in the United States, Introspection depicts layered fragments of dancers’ bodies as they move in a void-like, black performance space. Arledge was a talented abstract painter and illustrator as well as filmmaker; the artist uses her camera, production techniques including color gels, and editing to abstract the dancers’ figures, treating them as compositional elements within the moving frame. Of her approach to filmmaking, Arledge said: “My plan was to extend the nature of painting to include time.” Production on Introspection paused while most of the crew was drafted during World War II, finally completed after the war’s formal conclusion. 

NINE VARIATIONS ON A DANCE THEME
Dir. Hilary Harris, 1967
United States. 13 min.
16mm

Harris deftly wields his camera to depict dancer Bettie de Jong, a longtime member of the Paul Taylor Dance Company, repeatedly performing a single dance movement. Slow pan shots encircle de Jong’s body as she spins from a standing position to the floor and back, generating an intimate view of her performance accessible by camera alone. Harris and de Jong shot the piece across twenty-five filming sessions over the course of one year, reflective of Harris’s expertise as an early innovator of time-lapse photography. A documentary filmmaker by trade, Harris collaborated with Amy Greenfield as a cinematographer on numerous pieces including Element (1973) and Tides (1982). 

ELEMENT
Dir. Amy Greenfield, 1973
United States. 12 min.
16mm

In Element, dancer, choreographer, and filmmaker Amy Greenfield performs undulating movements in a bed of clay-like mud. The piece represents an early iteration of Greenfield’s filmic and choreographic investigations into the entanglements between womanhood, the human form, and nature, which would develop throughout her career. The mud at once highlights the contours of Greenfield’s figure as protruding areas glisten in the sun, and at other points makes her body indistinguishable from its surroundings. Greenfield’s choreography accentuates the physicality of the mud, displaying a powerful sensuality while treating the landscape as an animate dance partner. Avoiding purely romantic notions of the power of nature, Element hints at the capacity of ecological forces to enact violence while taking up the mantle of representing a woman’s body in pleasure and struggle. Element is the cinematic counterpart of Greenfield’s later work Tides (1982), also filmed by Hilary Harris, which draws from Maya Deren’s script for the unfilmed passages of Ritual in Transfigured Time (1946). 

RITUAL IN TRANSFIGURED TIME
Dir. Maya Deren, 1946
United States. 15 min.
16mm

Like much of Deren’s work, Ritual in Transfigured Time meditates on the temporality of movement. Dancer Rita Christiani drifts into an apartment where Maya Deren winds wool around her hands as the film’s innovative editing slows the gesture into something incantatory. While Anaïs Nin looks on from the doorway, Christiani gathers the yarn into a ball, until, with a gust of wind, Deren vanishes. At a crowded party, frames freeze and shots recur in hypnotic repetition as Christiani, veiled in black, threads her way past a beckoning crowd until she embraces Frank Westbrook. Outdoors, amongst a garden’s Greco-Roman ruins and statues and blue skies, they dance. He begins chasing her in leaping strides, then her as Deren, until he catches her. Deren wades into the sea as the film dissolves into negative, transfiguring the black mourning veil into bridal white.

For Deren, ritual and dance were one and the same, each seeking the realization of its purpose through the exercise of form. Dreamlike and foreboding, Deren stages a meditation on control and surrender, on what she called the “deference of personality in possessed states of being.”