Author: Spectacle

BOOK WARS

Posted on by Spectacle

BOOK WARS
dir. Jason Rosette, 2000.
79 mins. United States.

THURSDAY, OCTOBER 17 – 7:30 PM
ONE NIGHT ONLY!

Before Bloomberg completed Giuliani’s gentrification of the Village and before lap tops, smart phones and social media zapped our attention spans, a group of haggard but well-read men (and a few women) crowded the blocks of W4th St and 6th Avenue with scores of handsomely dilapidated tables of dusty and dog-eared used books. From a behind the table vantage point Book Wars (2000) captures the spirit of these open-air book markets while chronicling the turf wars the vendors fought with each other and their significantly greater adversaries of NYU, the NYPD and the Mayor’s office.

Book Thug Nation, which began as a street book table on W4th street in 2003, is celebrating its 10th year anniversary indoors (100 N3rd Street) the weekend of October 18-20. As part of the celebration they are screening BOOK WARS to pay homage to their predecessors and mentors.

PROPAGANDA MAGAZINE: The Videozines (1991-1994)

Posted on by Spectacle

THURSDAY, OCTOBER 17 – 10 PM
w/Fred H. Berger in person for Q&A, moderated by goth historian and DJ Andi Harriman
SATURDAY, OCTOBER 26 – 10 PM
w/introduction by author Deirdre Coyle
(These events are $10.)

THURSDAY, OCTOBER 31 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

From 1982 until the shuttering of its print publication in 2002, Propaganda Magazine was the resource for all things gothic. Beginning as a humble punk zine printed in downtown Manhattan copy shops by photographer Fred H. Berger, the magazine evolved with the whims and fancies of its creator, finding a massive audience when Berger was inspired to shift its focus to goth culture after a life-changing screening of THE HUNGER (1983). A prolific cinephile, Berger was further influenced by work such as THE NIGHT PORTER (1974), THE DEVILS (1971) and THE ROAD WARRIOR (1982).

While the magazine covered nightlife, music, and fashion, Berger followed through on his cinephilic inklings and produced, wrote and directed three companion “videozines” in the early 1990s. The videos starred Propaganda supermodels John Koviak, Scott Crawford and Tia Giles and sold around 20,000 VHS copies, as well as screening at parties and goth clubs such as Mother in NYC, Helter Skelter in Los Angeles, and House of Usher in San Francisco.

Loaded with iconic imagery, the tapes alternate between lush and stark, lo-fi and haute fashion, fetishistic and tongue-in-cheek. The Trilogy finds the gorgeous androgyne John Koviak roleplaying in a variety of historically fascist roles while suffering a crisis of conscience, Blood Countess depicts the noble serial killer Countess Elizabeth Báthory de Ecsed, and The Ritual is suitably pagan. The tapes are as follows:

Volume 1, The Trilogy (1991)
Volume 2, Blood Countess (1992)
Volume 3, The Ritual (1994)

Spectacle is excited to present new high definition transfers of the tapes from the surviving BetaSP dubs in collaboration with Fred Berger in a celebrative look back at the subculture that swept the eighties and its aesthetic evolution, from Siouxsie and the Banshees to the Cocteau Twins, from Victorian vampiria to shocking iconography to heroin chic queerness.

CONTENT WARNING: The first tape contains a scene featuring offensive iconography — namely, an actor is dressed as an SS officer in a scene that also depicts dead bodies. While the programmers and Spectacle understand that these symbols, both in the film and in broader goth and queercore culture of the time, are being used to subvert and strip them of their power, we would like to take a moment to restate our policy: under no circumstances will fascists ever be allowed or tolerated in our space.

BLACK GLOVES AND RAZORS

Posted on by Spectacle


BLACK GLOVES AND RAZORS
dir. Sam McKinlay, 1999.
Canada. 90 min.
Various.

SATURDAY, OCTOBER 5 – 10 PM
THURSDAY, OCTOBER 31 – 10 PM

This Spectober, we are “bloody” excited to present the legendary BLACK GLOVES AND RAZORS by Sam McKinlay (who some know of for his long-running harsh noise project THE RITA, as well as acquaintanceship with the BARRIER KULT skate horde). Originally published and distributed on videotape, then recordable digital video disc, we are stoked to perhaps hold the first cinematic presentation in our ever-constricting Williamsburg g0th bodega walls.

“Now, for the first time, a collection of murder scenes from all your favorite Giallo films. More gloved stalkers and sharp objects than you can shake a stick at. The collection features scenes from many unreleased Italian thrillers including DEATH CARRIES A CANE, WHAT ARE THOSE STRANGE DROPS OF BLOOD ON THE BODY OF JENNIFER, SO SWEET SO DEAD, SEVEN MURDERS FOR SCOTLAND YARD, MURDER IN PARIS, REFLECTIONS IN BLACK, DEATH WALKS IN HIGH HEELS and many more (too many to list!). A must-have for fans of the genre and all its eccentricities.”

BLACK GLOVES AND RAZORS was assembled by McKinlay in the pre-ripper old ways – VCR-to-VCR editing, the nth-generation VHS dubs being practically the only way for fanatics to access these films at that time. The degradation of the analog video image is well-known to the obsessed of the era – a built-in harrowing grime-en-scene, the vaseline on the home viewing lens, the fever dream of time, distance, and pursuit, burned in deeper with every dub. You could slice the tape in half and count the rings. BLACK GLOVES AND RAZORS is a forensic exercise directed by a finessed methodical eye driving a coarse, brute hand –– an experience not quite that of the hyper-cadence narrative “supercuts” as we know today. The cadence of event and sensation is unrelenting and psychedelic; the original writeup mentions “eccentricities (of the genre)” –– a codeword for the vast ways in which a seemingly easily-read situation can explode into endless gush of sensation, thought and emotion, often after repeated exposure (and yes, something about true deep listening involved as key in the “harsh noise walls” left in the wake of McKinlay’s THE RITA).

The presentation of BLACK GLOVES AND RAZORS is the viewing of a relic lurking in the waters for many many years, swimming without an arc for many years more, wearing its scars and static as a necessity to stay on the move.

Please note: a lot of the material used in this work is incredibly violent and intense.

The original VHS sleeve by Kier-La Janisse was adapted for our banner graphics.

Patrick Wang’s A BREAD FACTORY

Posted on by Spectacle

Patrick Wang’s miraculous two-part feature A BREAD FACTORY has made theatrical rounds over the past year and change to rapturous acclaim. Spectacle is very excited to host A BREAD FACTORY for 3 special screenings in September leading up to the release of the blu-ray by Grasshopper Films, including multiple opportunities to watch the whole back-to-back. This is the story of a community arts center in the small (fictional) town of Checkford.

Patrick Wang is author of The Monologue Plays and Post Script. His films–In the Family, The Grief of Others, and A Bread Factory, Parts One and Two–have premiered at SXSW and Cannes and have been nominated for three Independent Spirit Awards.


A BREAD FACTORY
PART 1: FOR THE SAKE OF GOLD
dir. Patrick Wang, 2018
122 mins. United States.

SUNDAY, SEPTEMBER 1 – 5 PM with writer-director Patrick Wang in person for Q&A!
(This event is $10.)

SATURDAY, SEPTEMBER 21 – 5:00 PM
SUNDAY, SEPTEMBER 29 – 5 PM

ONLINE TICKETS       FACEBOOK EVENT

After 40 years of running The Bread Factory, Dorothea (Tyne Daly) and Greta (Elisabeth Henry) are suddenly fighting for survival when a celebrity couple—performance artists from China—come to Checkford and build an enormous complex down the street catapulting big changes in their small town.



A BREAD FACTORY
PART 2: WALK WITH ME FOR A WHILE
dir. Patrick Wang, 2018
120 mins. United States.

SUNDAY, SEPTEMBER 1 – 7:30 PM with Patrick Wang in person for Q&A!
(This event is $10.)

SATURDAY, SEPTEMBER 21 – 7:30 PM
SUNDAY, SEPTEMBER 29 – 7:30 PM

ONLINE TICKETS        FACEBOOK EVENT

At The Bread Factory, they rehearse the Greek play, Hecuba. But the real theatrics are outside the theater where the town has been invaded by bizarre tourists and mysterious tech start-up workers. There is a new normal in Checkford, if it is even really Checkford any longer.

“A major new work by a singular American artist. A Bread Factory has an immense cast, a deliberate pace and thematic ambition to spare — but it also has a ground-level, plain-spoken modesty that renders it hypnotic. Critic’s Pick!” — Bilge Ebiri, The New York Times

“My favorite film of the year by far. As of this writing, I’ve seen both parts three times. With each viewing, I notice new things and am more moved by the characters… This film is miraculous, and we are lucky to have it.” — Matt Zoller Seitz, RogerEbert.com

“A richly absorbing portrait of a community theater at a crossroads. A wondrously moving, thoughtful and inventive new movie. Wang is an unusually gifted and criminally undersung talent.” — Justin Chang, LA Times

“Endlessly warm, playful and lovable… Suggests the work of Richard Linklater, Christopher Guest, Robert Altman and Edward Yang. The film is utterly singular, though, the kind of work that will become a point of comparison itself.” — Alan Scherstuhl, LA Weekly

TESSA HUGHES-FREELAND: Selected Video And Film Works, 1981-2013

Posted on by Spectacle

TESSA HUGHES-FREELAND is a filmmaker, curator, and writer— a crucial downtown denizen by way of England, a scintillating vestige from the heady days of Danceteria and Club 57, and still one of the best we’ve got. Landing in the city in 1980 and beginning her film work with a super-8 camera gifted from David Wojnarowicz, her work spans four decades, tracing a unique arc that rubs elbows with many of the canonical figures and movements of NYC underground film culture. No Wave Cinema turns to Cinema of Transgression; expanded cinema bleeds into ‘multimedia’; the East Village descends and the underground breaks—Hughes-Freeland was there, camera in hand. Shifting in style and sensibility, ranging from 8mm scuzz to experimental documentary to elegiac film-portrait, her work in aggregate is difficult to summarize, better seen than described. Certain themes run through—sexuality, voyeurism, ritual, dream, and decay.

Spectacle is honored to host Tessa for two evenings in September screening and discussing her work. This series looks ahead to her solo exhibition at Howl! Happening titled Tessa Hughes-Freeland: Passed and Present, featuring multiple projections, an “interactive kaleidoscope,” sculptural fans, and the debut of her forthcoming, recently completed LOST MOVIE/THE BUG.


PROGRAM ONE (1981-1986)

FRIDAY, SEPTEMBER 6 – 7:30 PM with Tessa Hughes-Freeland in person for Q&A!
(This event is $10.)

TUESDAY, SEPTEMBER 10 – 10 PM
MONDAY, SEPTEMBER 16 – 7:30 PM
THURSDAY, SEPTEMBER 26 – 10 PM

ONLINE TICKETS         FACEBOOK EVENT

Comprised of shorts ranging from 1981 to 1986, these films can be seen as collectively documenting the East Village prior to its unceremonious death in 1985 (as declared by her husband Carlo McCormick in a eulogy in the East Village Eye). Contained here are dispatches from downtown culture including footage of graffiti culture, the experimental Butoh group Poppo, and a verité portrait of topless go-go dancers from Tribeca club Baby Doll Lounge. Also seen are delirious collage of found-footage, performance by Butthole Surfers, freshly signed to Touch and Go, and filmic evidence of the infamous 1985 Richmond, Virginia exhibition that featured downtown artists Wojnarowicz, Marilyn Minter, Luis Frangella, and more painting naughty murals while on acid.

BABY DOLL
1981. 3 mins.

JOKER
1983. 3 mins.

GRAFFITI HALL OF FAME
1983. 9 mins.

POPPO I 1984. 10 mins.

RHONDA GOES TO HOLLYWOOD
1985. 24 mins.

THE VIRGINIA TRIPPING FILM (Korean version)
1985. 8 mins.

BUTTHOLE SURFERS FILM
1986. 17 mins.

Total runtime: 74 mins


PROGRAM TWO (1987-2013)

SATURDAY, SEPTEMBER 14 – 7:30 PM with Tessa Hughes-Freeland in person for Q&A!
(This event is $10.)

MONDAY, SEPTEMBER 16 – 10 PM
THURSDAY, SEPTEMBER 26 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

Spanning 1986 to 2013, these heterogeneous shorts include a scandalous and indelible duo with Tommy Turner, featuring dead rats as metaphor for dope; a kaleidoscopic collaboration with downtown rock art-bruts the Workdogs; a Bataille adaptation with Annabel Lee; a tongue-in-cheek mythological parable with Holly Adams; and break-beat driven sojourns through appropriated and found footage, with nods to the verve of the live multiple projections of yore. It’s fitting that the most recent piece, HIPPIE HOME MOVIE, made for an exhibition on the Catskills, takes up as one of its themes the spectre of hippies and the counterculture—a loaded note to end on, for sure!

RAT TRAP
dirs. Tessa Hughes-Freeland and Tommy Turner
1986. 12 mins.

JANE GONE
1987. 7 mins.

DIRTY
dirs. Tessa Hughes-Freeland and Annabel Lee
1993. 16 mins.

NYMPHOMANIA
dirs. Tessa Hughes-Freeland and Holly Adams
1994. 10 mins.

WATCH OUT!
2007. 3 mins.

GIFT
2010. 6 mins.

INSTINCT
2010. 12 mins.

KIND
2013. 1 min.

HIPPIE HOME MOVIE
2013. 3 mins.

Total runtime: 70 mins

MATCH CUTS PRESENTS: RAINER WERNER FASSBINDER’S WORLD ON A WIRE

Posted on by Spectacle

WORLD ON A WIRE
(WELT AM DRAHT)
dir. Rainer Werner Fassbinder, 1973.
205 mins. Germany.
In German with English subtitles.

WEDNESDAY, SEPTEMBER 18th – 7:30 PM & 10 PM
ONE NIGHT ONLY w/introduction by Dennis Roberts

PART I – 7:30 PM (100 min.)
PART II – 10 PM (105 min.)

ONLINE TICKETS       FACEBOOK EVENT

WORLD ON A WIRE is a 1973 science fiction television serial, starring Klaus Löwitsch and directed by Rainer Werner Fassbinder. Shot in 16mm, it was made for German television and originally aired in 1973, as a two-part miniseries. It was based on the novel SIMULACRON-3 by Daniel F. Galouye. An adaptation of the Fassbinder version was presented as the play WORLD OF WIRES, directed by Jay Scheib, in 2012. Its focus is not on action, but on sophistic and philosophic aspects of the human mind, simulation, and the role of scientific research. A theatrical remake entitled THE THIRTEENTH FLOOR featuring Vincent D’Onofrio was released in 1999.

DENNIS ROBERTS is the Director of Creative Technology at The Bosco, a company he helped found. He’s also a futurist, hobbyist game designer, and founder of the New York Experiential Meetup. He’s working on his first book, TRIALS OF TOMORROW, a collection of speculative fiction. In a past life, he directed music videos, some of which you can find on this site, www.dennisroberts.com.

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

THE 1ST ANNUAL TREDICI BACCI FILM FESTIVAL

Posted on by Spectacle


Tredici Bacci, New York’s premier 15-piece soundtrack-pop orchestra, draws a great deal of inspiration from the grand tradition of Italian film, specifically the luxe, mondo B-movies made circa 1960-80. The Tredici Bacci Film Fest—curated by the group’s bandleader and composer, Simon Hanes—will celebrate this incredible era by showing some of the epoch’s greatest (if lesser known) films. Supplementing these screenings, the group will supply intermittent musical performance plus delicious Italian food and beverage.

$10 gets you a “day pass”, i.e. a three-course meal of delicious Italo schlock. Tickets for individual screenings will be sold as capacity permits for $5.

DAY 1 – SATURDAY, SEPTEMBER 7TH

ONLINE TICKETS $10 for all day!!

5:00PM:

CHECK TO THE QUEEN
Dir. Pasquale Festa Campanile, 1969
99 min, Italy
With sausage/salami plate and beverage

Exactly how does one describe the indescribable? From the outside, “Check To The Queen” looks like a simple, classic, Italian psychosexual drama. It is only when we peek beneath the mantle that we find an extravagant, glorious, completely over the top film – A deranged composite of garish colors, speed zooms, jump cuts, and criminally thick mascara levels. Replete with sets and costumes that make Breakfast At Tiffany’s look like THX 1138, fevered pseudo-arabian dream sequences, and – for some reason – a terrifying mechanical horse that teeters on the edge of the uncanny valley, “Check To The Queen” is a rare example of style creating substance, of glitz and glamour generating genius. Keep an ear out for piccioni’s lurid score – at times psychedelic, at others almost horrifyingly bland – always just what the scene needs.

7:30 PM:

THE SEDUCERS/TOP SENSATION
Dir. Ottavia Alessi, 1969
99 min, Italy
With pasta with pesto, salad

A sex worker, a virgin pyromaniac, an opium-addicted, pan-sexual helicopter mom and a couple of good old fashioned swingers, all hanging out on a fancy boat, which happens to be well stocked with dynamite and sporting a state of the art closed-circuit camera system. What on earth could go wrong!? And more importantly, who ends up sleeping with who? The answers may, or may not, surprise you. Did I mention they stop on an island full of goats for awhile? This is one of those films that – by todays standards – should never have never been made, and yet it stands as an interesting and enlivening document, evidence of what filmmakers must have thought the general public wanted to see. To this day, it needs to be seen to be believed, if only for the scene of Edwidge Fenech in sailor’s garb, hand feeding a small goat.

10:00 PM:

KILL! KILL! KILL! KILL!
Dir. Romain Grey, 1971
113 min, Italy/France/West Germany/Spain
With chocolate cake or something


DAY 2 – SUNDAY, SEPTEMBER 8 

ONLINE TICKETS $10 for all day!!

5:00 PM:

MONDO CANDIDO
Dir. Gualtiero Jacopetti & Franco Prosperi, 1975
107 min, Italy
With bruschetta and beverage

The word “Mondo” doesn’t get thrown around a lot these days, probably for good reason. Like “Gonzo”, “Mondo” is a descriptor best tied to a specific moment – in filmmaking, particularly the late 60s and early 70s, when Italian directors were pioneering exciting new ways to disgust, shock, and occasionally titillate audiences by showing them very fake gore and violence while promising them it was real. This trend led to a great many cinematic travesties – but none which stick out of the Mondo lineage as conspicuously as Mondo Candido – a frenetic, blatantly anachronistic and gloriously stupid retelling of Voltaire’s Candide. Galloping where ever it likes, this disfigured romp, a lovechild between Federico Fellini and Ken Russel, shakes the viewer out of normal complacency by reminding us that just because anything can happen in the world of film, doesn’t mean it always should.

7:30 PM: 

THE TREASURE OF SAN GENNARO
Dir. Dino Risi, 1966
104 min, Italy
With Pizza!

All you really need to know is that its 1966 in Naples and a bunch of handsome, stylish crooks (including an American!) want to steal some religious treasure. A classic Italian heist! You’re gonna get fast, tiny cars! hyperanimated conversation! Catholic guilt! Shouting! Mafia Stuff! Maybe some adultery? I can’t remember. In any case, it’s a non stop cinematic romp of people smoking cigarettes and looking incredible. All perfectly supported by Armando Trovajoli’s bright, mandolin heavy score. If ever I were in a situation where I had to convince someone to watch this movie, I would sit them down, look them dead in the eye and say “trust me, you’re gonna like this move” one hundred times.

10:00 PM: 

THE 10TH VICTIM
Dir. Elio Petri
93 min, Italy
With … zeppole and… limoncello?!

Every once in awhile, a movie comes along that just makes you say “Yes.” A movie that has everything your heart and mind has ever desired in a movie, wether or not you even knew it yet. For some people, that movie is “Lassie” – for some, its “Free Willy” – and for others, its “Babe: Pig In The City.” But for me, that movie is Elio Petri’s Sextopyian (a word i just made up) masterpiece “The 10th Victim”. Why? There’s no point in trying to explain with the brevity needed for this blurb, but I promise once you watch it, you’ll understand. Set in a future only Italians in 1965 could ever imagine, THE 10th VICTIM” confronts everyone’s favorite topics – humans hunting humans, jazz, and post-modern interior design. Piccioni hits it out of the park again on this one with his utterly manic, glistening score.

I HAVE THE RIGHT TO LIVE: A Film Noir Double Bill

Posted on by Spectacle


YOU ONLY LIVE ONCE
dir. Fritz Lang, 1937
86 mins. United States.

TUESDAY, SEPTEMBER 3 – 7:30 PM
SUNDAY, SEPTEMBER 15 – 5 PM
TUESDAY, SEPTEMBER 24 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

Fritz Lang’s 1937 YOU ONLY LIVE ONCE (his third film after fleeing Nazi Germany, and just his second American movie) is a complex social melodrama, tightly disguised as a bleak noir about star-crossed lovers on the run. Henry Fonda stars as Eddie Taylor, a jailbird who’s just been released from prison (for the third time) with desperate hopes to finally turn his life around. Unfortunately for Taylor, Lang’s fatalistic noir unravels as a thorough critique of an American judicial system that consistently sets its subjects up for failure. In a country that imprisons more people per capita than any other in the world, Lang’s social protest film is as poignant today as it was when James Baldwin praised it in 1976. With expressive black & white cinematography and a harrowing performance from Sylvia Sidney, YOU ONLY LIVE ONCE is a remarkable career achievement and as James Baldwin reminds us, Lang “never succeeded quite so brilliantly.”


NIGHTFALL
dir. Jacques Tourneur, 1957
79 mins. United States.

TUESDAY, SEPTEMBER 3 – 10 PM
SUNDAY, SEPTEMBER 15 – 7:30 PM
TUESDAY, SEPTEMBER 24 – 10 PM

ONLINE TICKETS       FACEBOOK EVENT

Working with classic film noir genre tropes (a suitcase filled with money, an innocent man being accused, a snowy day in Wyoming?), Tourneur’s late-period noir is a poetic thriller that becomes increasingly difficult to pin down with its suspenseful flashback structure and vividly set sun-filled exteriors. Released nine years after his noir masterpiece OUT OF THE PAST and photographed by film noir legend Burnett Guffey (IN A LONELY PLACE, THE RECKLESS MOMENT), NIGHTFALL tells the story of an artist (Aldo Ray) who desperately tries to prove his innocence for a murder and robbery he didn’t commit. The slow-burning thriller culminates in an epic final scene, worth noting due to its striking resemblance to a Coen Brothers movie whose location is just north of Tourneur’s Teton County exterior (oh geez).

Carlos Gonzalez’s ANTENNA TO GOD w/filmmaker Q&A

Posted on by Spectacle

ANTENNA TO GOD
dir. Carlos Gonzalez, 2019.
United States. 105 min.
In English.

FRIDAY, SEPTEMBER 27 – 7:30 PM
ONE NIGHT ONLY w/filmmaker Carlos Gonzalez in person for Q&A!
(This event is $10.)

ONLINE TICKETS       FACEBOOK EVENT

ANTENNA TO GOD is a shot-on-video psycho-drama/mystery/comedy concerning a young hotshot journalist who gets involved with a strange local chiropractor, while researching her next piece. As her personality begins to shift more and more in resemblance to a deceased night club singer, her editor tries to unravel the real story behind the cracks. As he probes various characters associated within the fragmented story he finds himself pulled ever deeper into a thickening narrative stew that may overtake him completely.

CARLOS GONZELZ lives and works in Providence, RI. He is a comic book artist with several publications (Test Tube, Scab County, Gates of Plasma) released through Floating World Comics. He makes underground music as Russian Tsarlag, as well as crude, story-driven analog home videos. His last feature length video (FORGOTTEN WORLD) was released by Pleasure Editions in 2017 on VHS and digital.

PERSISTENCE OF VISION: The Films of Suzan Pitt

Posted on by Spectacle

Join us in celebrating the life of legendary animator and artist Suzan Pitt (1943 – 2019) in this small survey of some of her greatest animated films, spanning across the length of her 30+ year career as one of America’s most innovative voices in experimental animation. These works, beginning with her first major hand-painted animation and cult-classic ASPARAGUS and ending with her final 20+ minute work, EL DOCTOR, track the extraordinary artist across time as she uses her unique voice to interrogate different stages in life. From the youthful mysteries of the creative process to the philosophical conundrums of death and dying, these films reflect Pitt’s evolution not only as an animator and artist but as a person grappling with the passage of time and the mysteries each phase of life brings. This shorts program will be followed by a documentary on Pitt’s life and work, PERSISTENCE OF VISION, directed by Blue and Laura Kraning, which grants unparalleled access and insight into the process and personality of this singular artist. Stick around at the later screening to catch a bonus show of Pitt’s last short film, PINBALL.

Special thanks to Blue and Laura Kraning.

FRIDAY, SEPTEMBER 6 – 10 PM
SATURDAY, SEPTEMBER 14 – 10 PM
THURSDAY, SEPTEMBER 19 – 7:30 PM
WEDNESDAY, SEPTEMBER 25 – 7:30 PM

ONLINE TICKETS       FACEBOOK EVENT

ASPARAGUS
dir. Suzan Pitt. 1979
20 mins. New York City.
In English.

JOY STREET
dir. Suzan Pitt. 1995
24 mins. Mexico, Guatemala, and the USA.
In English.

EL DOCTOR
dir. Suzan Pitt. 2006
23 mins. Mexico and Los Angeles.
In English.

PERSISTENCE OF VISION
dir. Blue and Laura Kraning. 2006
33 mins. Los Angeles.
In English.

*BONUS SCREENING — AFTER FINAL SHOW*

PINBALL
dir. Suzan Pitt. 2013
7 mins. New Mexico.
In English.