MYSTERY MEAT

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


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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


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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.


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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.


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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.


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

SATURDAY, JULY 23 – 5:00 PM


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

SATURDAY, JULY 30 – 5:00 PM

JUNE MIDNIGHTS

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.

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.

“Y LA MALDICION TAMBIEN TE ALCANZARA A TI!” MEXICAN GOTHIC HORROR

Cinematic gothic horror was a fever dream of the 60s. Gothic horror also known as filone gotico is a sub genre of horror that exploits the atmosphere and many times the story lines of the gothic novels of the 1800s. Gothic horror produced ghosts in every corner of nearly every continent between 1954 and 1969. Gothic horror appeared in the United States in the form of the tv show Dark Shadows and AIP’s Edgar Allan Poe epics. In England Hammer Studios was churning out fog laden castles and vampire lovers of every persuasion. Paul Naschy was transforming into the wolf man in some dank crypt in Spain. Canada brought us the exotica infused show Strange Paradise. Mario Bava was burning beautiful witches in Italy. The love of luscious technicolor, spiderwebs, and velvet were the after effects of this strange malady.

This fever dream made its appearance in Mexico with the help of directors like Chano Urueta and screenwriters like Carlos Enrique Taboada. Films like THE WITCH’S MIRROR, THE VAMPIRE, and THE CURSE OF THE CRYING WOMAN are among some of the most beautiful and unique entries made to the gothic horror genre. What makes these films stand out amongst the flood of vampires and glistening velvet lined torture chambers is that they truly embody both the fantastic aspect and the ideas behind the gothic novels that inspired them. Gothic novels had very strong sentiments against church, state, and other oppressive forces. Mexican gothic horror films are replete with atheist and anti-patriarchal sentiments. The series “Y La Maldicion Tambien Te Alcanzara A Ti!” is a small sample of Mexico’s greatest entries to the gothic horror genre.


LA MALDICION DE LA LLORNA
Aka The Curse of the Crying Woman
Dir. Rafael Baledón, 1963.
Mexico, 80 min.
In Spanish with English subtitles.

SATURDAY, JUNE 4 – 7:30 PM
THURSDAY, JUNE 9 – 7:30 PM
SATURDAY, JUNE 25 – 10:00 PM

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“Soon, the blood will disappear from her veins…she won’t need it…”

The easiest way to explain LA MALDICION DE LA LLORNA is a Mexican take on Bava’s BLACK SUNDAY, and while that’s a bit *too* easy (and does Mexican horror a bit of a disservice), both films are packed with Gothic horror from the first scene. A ghostly woman with black eyes and three flesh-eating hounds sets upon a stagecoach with her knife-throwing thug, murdering everyone on board before we even get to the opening credits! Director Rafael Baledón (MUSEUM OF HORROR, THE SHE-WOLF, SWAMP OF LOST SOULS) gives us everything we could want from a film like this: secret passageways, deformed mutants, a cellar crypt where a dead body waits to rise, voodoo, solarized film, whippings and more, all set on a pitch-perfect decaying hacienda. Our witch, Rita Macedo (A BULLET FOR BILLY THE KID), commands this film, constantly plotting against her niece Rosita Arenas (who we’ll also see in EL ESPEJO DE LA BRUJA/THE WITCH’S MIRROR, playing this month!). Add a score filled with musical saws, organ stabs and pounding drums and every piece is in place for a film that deserves a better-known spot at the table of Gothic Horror. Late-night Creature Feature fans might know this film from the K. Gordon Murray dub, but as with every film in this series, we’re providing the original full-length cut in Spanish with English subs. Those of a delicate constitution: don’t come alone!


The Witch’s Mirror
Dir. Chano Urueta, 1962.
USA. 72 min.

SUNDAY, JUNE 5 – 5:00 PM
THURSDAY, JUNE 16 – 7:30 PM
FRIDAY, JUNE 24 – 5:00 PM

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“A melody straight from hell!”

THE WITCH’S MIRROR is one of those films whose imagery will crawl deep into a crevice of your mind and live there forever. Every tempestuous night, billowing night gown and thick swell of fog will remind you of Sara and her goddaughter Elena. The film begins with the plight of Sara who through a pact with the devil has found out that her goddaughter will be murdered by her husband Eduardo. After pleading with the devil to intervene, she is told that destiny must run its course, but that doesn’t mean that Sara cannot avenge the death of her goddaughter.

THE WITCH’S MIRROR benefits from the talents of Carlos Enrique Taboada (THE BOOK OF STONE) and Alfredo Ruanova (THE CURSE OF NOSTRADAMUS) who both are prolific horror screenwriters, and the direction of Chano Urueta who is responsible for many other Gothic Horror films such as THE BRAINIAC (1961) and THE WITCH (1954). Their collaboration endues the film with a very soft nightmarish quality that resembles early surrealist film.

What makes THE WITCH’S MIRROR a unique entry into the Mexican Horror genre or for that matter the Horror genre in general is that unlike many other films concerning the occult there is no “rectifying” moral ending. An example is the 1962 film ESPIRITISM which tells the story of a woman who turns to the occult to help her family. By the end of the tale her alliance with the occult has caused the destruction of her family. Right before the end credits begin to roll the camera pans over to a closeup shot of Christ on the cross and a voiceover begins
to say that if this film can turn just one soul away from the occult the makers of the film have done their duty. Taking this into account it is absolutely fantastic that a
film like THE WITCH’S MIRROR exists. Throughout the entire film it is made very
clear that Sara and Elena are dealing with the devil. Whether favorable or unfavorable certain events take place and in the end both Sara and Elena are vindicated. There is absolutely no punishment element except for that individual who should be punished i.e. Elena’s husband. Long live the infernal powers!


EL VAMPIRO
Aka The Vampire
Dir. Fernando Méndez, 1957.
Mexico, 83 min.
In Spanish with English subtitles.

THURSDAY, JUNE 9 – 10:00 PM
TUESDAY, JUNE 14 – 10:00 PM
TUESDAY, JUNE 28 – 7:30 PM

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It is the silent, hypnotic stare that begins EL VAMPIRO, a film that comes a year before Hammer’s first take on the vampire tale with HORROR OF DRACULA, two films definitely worth comparison: German Robles is every bit up to par with Christopher Lee in icy cold command. We’re no more than a minute and change into this film before our vampire Duval sinks his fangs into a victim through a cloud of trilling strings: we’re definitely in high gothic style, and director Fernando Mendez (THE BLACK PIT OF DR. M, THE LIVING COFFIN) brings elements of noir, heavy melodrama and a beautifully decrepit mansion…to tell any more would be to tell too much. Some of you may have seen the K. Gordon Murray versions of this film, but we’re showing it uncut, in Spanish with English subs, and for those of you who have never seen it and long to spend these thick summer months walking moonlit corridors and desecrating graves, you’re in for a treat.

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.

THREE SISTERS

THREE SISTERS
Aka Sanzimei.
Dir. Wang Bing, 2012.
China. 153 min.
In Chinese with English subtitles.

WEDNESDAY, JUNE 8 – 7:00 PM
TUESDAY, JUNE 21 – 7:00 PM
SUNDAY, JUNE 26 – 7:30 PM

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One of the most recognized Chinese independent filmmaker, Wang Bing has demonstrated a penchant for making unsually long and yet unfailingly captivating and critical documentaries (e.g. WEST OF THE TRACKS, CRUDE OIL, MAN WITH NO NAME). In THREE SISTERS, a work of pure direct cinema, Wang’s camera follows the lives of Yingying (10), Zhenzhen (6), and Fenfen (4) in a rural village in Western China. Abandoned by their mother, the three young sisters live in extreme poverty and squalor alone as their father find work in a nearby city. With the patience like that of an ethnographer and the keen eyes of a seasoned artist for finding beauty and dignity even in the most destitute places, Wang Bing delivers a nuanced portrait of the poor and powerless in rural China as well as a harsh critique of the post-90s economic policies that left them behind.

THREE SISTERS is screening concurrently with the NYC theatrical premiere of Wang Bing’s 2013 documentary, ‘TIL MADNESS DO US PART (Feng Ai), at Anthology Film Archives.

Special thanks to Icarus Films.