Films of Palestinian Resistance


This November, Spectacle is replacing our regular 3pm Sunday programming with a series of films connected to the history of Palestine and its people’s struggle for liberation. These films center the history of this nearly century-long conflict around issues of colonialism and resistance and provide context through a variety of archival sources as well as critical analysis from preeminent Palestinian scholar Edward Said. Notably, each of the films screening in November are all at least a decade old, yet their content is as relevant as ever.

This program will be followed by a continuation of the topic in December, when Spectacle will present a selection of more contemporary documentaries that demonstrate the continued severity of the situation in Palestine, along with some of the oldest-accessible feature length narrative fiction films from Arab and Palestinian filmmakers.

Due to the sudden need for this fundraising series, we are still in the process of finalizing the November titles and will announce them in the weeks leading up to each screening.

All proceeds will benefit relief organizations.

Palestine: Story of A Land
Dir. Simone Bitton, 1996
France, 120 min.
In French, Arabic, Hebrew and English w/ English subtitles.

A Mizrahi Jew born in Morocco, Simone Bitton’s career as a documentarian has invariably fixated on the the relationship between Muslims and Jews in the Holy Land. Her work has explored the policies that enable Palestine’s occlusion, and the poets and activists who live and die for its freedom. Palestine: Story of a Land is composed entirely of archival footage and newsreels, a narrated history of the nation from the 19th century to present day.

“If there are hostages in a school, does that mean you have the right to kill the whole school? That’s exactly the point: the lives of the Palestinian civilians are worth nothing, and the lives of the people who protect the Palestinian civilians are worth nothing. It’s very sad.”
-Simone Bitton

SUNDAY, NOVEMBER 26 – 2:30PM
$5 minimum donation.
TICKETS HERE
Proceeds to benefit Palestinian American Community Center and Islamic Relief USA.

past screenings:


THEY DO NOT
EXIST
(ليس لهم وجود)
dir. Mustafa Abu Ali, 1974
Palestinian Territories. 25 min.
In Arabic with English Subtitles.

“There was no such thing as Palestinians.” – Golda Meir
“There is no more Palestine. Finished.” – Moshe Dayan

A young girl in a refugee camp writes a letter to her brother, a guerrilla fighter in training. Bombs are dropped, the wounded are cared for and the dead are buried. A mother mourns the death of her son. Survivors recount their experiences. The founding film of the PLO’s revolutionary film unit, Mustafa Abu Ali’s They Do Not Exist powerfully asserts the irrefutable facts of Palestinian existence.

screening with

THE DREAM
(المنام)
dir. Mohammad Malas, 1987
Syria, 45 min.
In Arabic with English subtitles.

Mohammad Malas is a Syrian filmmaker who, after teaching philosophy at Damascus University in the 1960s, turned towards filmmaking. One of his first projects was the experimental documentary, The Dream. Shot between 1980-1981 in Palestinian refugee camps in Lebanon, the film features children, women, old people, and militants recollecting their dreams and nightmares in a beautiful and haunting portrait of an uprooted population communicating their interior worlds. In 1982, hundreds of people in the camps of Sabra and Shatila were massacred by Lebanese forces with the support of the Israeli military. Because of this, Malas did not finish the project until 1987. The Dream is as much about Palestinian statelessness as it is about the fragmented nature of Arab nationalism.

“I think I managed to formulate a view that differs totally from other Arab and foreign contemplations. The difference is mainly that I adopted the position of a neighbor, thus an Arab, and not that of a Palestinian. This led to me focusing rather on our mutual relations than on the conflict with Israel. The viewer might realize how I emphasized those nightmares which the Arabs caused in the lives of the Palestinians. My concern is to show how the Arab world is addressing the Palestinian cause: first, one wanted to use the Palestinian issue and when this was not possible anymore, one tried to harm it… The fight between Israelis and Palestinians is as licit as public, yet the Arab-Palestinian conflict remains an internal affair, it happens in secret.”
-Mohammad Malas, speaking at the 11th International Documentary Film Festival Munich 1996

screening with
JENIN, JENIN
(جنين, جنين)
dir. Mohammed Bakri, 2002
Israel, Palestinian Territories. 54 min.
In Arabic with English subtitles.

The Battle of Jenin was a ten day long skirmish that took place in the West Bank-located refugee camp of Jenin in April, 2002 during the Second Intifada. Throughout the course of the battle, IDF bulldozers demolished large portions of the densely populated camp, with journalists and human rights advocacy groups alleging a civilian massacre. Official Israeli estimates initially reported approximately 50 Palestinian casualties, while Palestinian authorities and Amnesty International estimate the death toll to have been in excess of 500. Following the battle, the Israeli government denied a UN fact-finding team access to the camp. 

Made in response to the suppression of Palestinian media during and after the events, Mohammed Bakri’s harrowing and controversial documentary is composed only of Palestinian’s testimonies to their experiences. Upon its release, the film was temporarily banned in Israel on accusations of libel. Per Bakri’s lawyer, “Bakri doesn’t say anything in this film. The people who talk are those he filmed. So the residents of the refugee camp say things which sometimes are true and sometimes not. It’s a movie. It reflects the subjective understanding of the speakers.”

program trt: 124 min.


OUT OF PLACE: MEMORIES OF EDWARD SAID
dir. Makoto Satō, 2006
Japan. 138 min.
In English.

“I saw that people make their own history. That history is not like nature. It’s a human product. And I saw that we can make our own beginnings. That they are not given, they are acts of will.”
-Edward Said

This documentary traces Said’s childhood influences and celebrates his intellectual legacy, imaginatively blending his writings, home movies, and interviews with friends, family, and colleagues (among them Ilan Pappe, Elias Khoury, Azmi Bishara, Daniel Barenboim, Rashid Khalidi, Michel Warschawski, Noam Chomsky and Dan Rabinowitz).

Visiting the sites of his birthplace in Jerusalem, his boyhood homes in Lebanon and Cairo, and his New York City apartment, the film emphasizes Said’s sense of always feeling “out of place”—personally, geographically and linguistically—a theme he developed in his memoir, explaining how everyone, in a sense, is comprised of “multiple identities.”

The themes of reconciliation and coexistence that Said fought for throughout his life are further illuminated by a visit with a Palestinian family in a refugee camp in Syria and a family of Mizrahim (Arabic Jews) in Israel, a memorial conference held at Bir Zeit University on the West Bank, and scenes at other sites in Israel and the West Bank. 

OUT OF PLACE is thus both a fascinating biographical film on one of the most acclaimed cultural critics of the postwar world as well as an engaging examination of many of the cultural and political issues to which he devoted his life.
-Icarus Films

SUNDAY, NOVEMBER 11 – 2:30PM
$5 minimum donation.
TICKETS HERE
Proceeds to benefit Palestinian American Community Center and Islamic Relief USA.


INTRODUCTION TO THE END OF AN ARGUMENT
dir. Elia Suleiman, 1990
United States. 41 min.
In English and Arabic

Elia Suleiman’s radically-assembled collage documentary critiques orientalist representations of Arabic culture, focusing on the production of biased and harmful narratives surrounding the Palestinian struggle for liberation.

screening with


AL-NAKBA: THE PALESTINIAN CATASTROPHE 1948
dir. Benny Brunner & Alexandra Jansse, 1996
The Netherlands. 58 min.
In Arabic, English, and Hebrew.

Former IDF soldier and self-described “reformed Zionist” Benny Brunner adapts Israeli historian Benny Morris’ The Birth of the Palestinian Refugee Problem, 1947-1949 into a documentary detailing the mass expulsion of Palestinians from their homes during the creation of the state of Israel. Brunner’s documentary features interviews from refugees and veterans of Israeli paramilitary forces alike.

NOIRVEMBER IV

Wave adieu to somber autumn nights & join us in celebrating Noirvember, for our fourth installment, beginning at 5pm and continuing through shadow and fog, into the darkest hours of the evening.

This year’s slate attempts to investigate the diametrical range of the genre through its multitude of disguises. Starring Hollywood’s brightest stars in some of their most inconspicuous roles, this year we honor the b-film and all of its fruitful variations.

SATURDAY, NOVEMBER 18 – 5 PM – ????

FULL DAY PASS – $20
$5 per title (cash at the door)

Note: ONLY ADVANCED FULL DAY PASSES AVAILABLE ONLINE

TICKETS HERE


5:00pm – ??????? ??????? (1954)

We start things off with a Roger Corman produced (& co-conspired) cross-country noir set almost exclusively in broad daylight and starring a certain, woman in the window.

6:30pm –

???? ?????? (1946)

a neglected film noir under the disguise of melodrama starring the once upon time queen of the Warner Bros lot.

8:00pm –  ??????? ?? ???

an uncharacteristic break from the classical period of American film noir to explore a gritty poetic masterwork from Mexico’s golden age of cinema.

10:00pm – ??? ???????? ?????? (1946)

An under-seen moody film noir which updates a classic fairy-tale for the new york art scene of the 40’s, lensed by john alton.

12:00am – ????? ??? ? ???????? ???? (1948)

a sleepytime film noir/horror thriller starring the great Edward G. Robinson in what culminates into a poetic & surrealistic hazy dream.

Screening Pathology (Or, Keep Your Friends Close): Post-Digital Feminisms, Isolated Intimacy & Collective Loneliness


ONE NIGHT ONLY!

FRIDAY, NOVEMBER 3 – 5 PM
TICKETS HERE

Join us as we take a deep dive into the darkest recesses of the internet. Together with film theorist Andrea Avidad, as well as filmmakers Gabrielle Stemmer and Gala Hernández, Spectacle Theater presents a one-night only investigation of despair and delusion on the internet.

Many films in recent years have tried to make a spectacle of outré online communities by emphasizing their idiosyncrasies. Such projects like FEELS GOOD MAN (2020) and QANON: THE SEARCH FOR Q (2022) have resulted in harmful portraitures of social outcasts, simultaneously catering to viewers’ fantasies about othered demographics and producing distinctly alien, rather than nuanced, representations of incels and similarly radicalized online users. Gabrielle Stemmer’s CLEAN WITH ME (AFTER DARK) and Gala Hernández’s THE MECHANICS OF FLUIDS both employ different means of characterizing the different online communities they choose to depict. Their approach balances structural analysis with compassion, producing a complex picture of the cultural catalysts and systemic pathways that allow these micro-cultures to form.

Our screening of these films will be preceded by a lecture courtesy of Film-Philosophy Award Recipient Andrea Avidad and followed by a remote Q&A with filmmakers Stemmer and Hernández.

CLEAN WITH ME (AFTER DARK)
dir. Gabrielle Stemmer, 2019
France. 21 min.
In English.

In recent years, women across America have recorded themselves cleaning their homes. Their videos have gained popularity online. Intrigued by this phenomenon, Gabrielle Stemmer investigates what inspires these women to document their domestic work in CLEAN WITH ME (AFTER DARK). Her desktop documentary about the viral videos slowly morphs into something unexpected over the course of its short runtime, untangling the many ways in which online customs disregard the plight of content producers.

LA MÉCANIQUE DES FLUIDES (THE MECHANICS OF FLUIDS)
dir. Gala Hernández López, 2022
France. 39 min.
In English.

THE MECHANICS OF FLUIDS charts its inquiry into incel culture around an elusive Reddit poet called AnathemicAnarchist. As the narrator scours the internet in search of AnathemicAnarchist following his sudden disappearance, she learns more about his online community and how it influenced his outlook on life. Using YouTube videos and computer-graphics, Hernández’s film embodies the look-and-feel of the field it explores. Her essayistic venture into the world of incel culture is both troubling and insightful; it reflects the mindset of a filmmaker fully consumed by their subject matter.

 

Special thanks to Andrea Avidad, Gala Hernández, Gabrielle Stemmer, and Emmanuel Precourt Senecal at La Fémis.

 

THREE BY DAVE WASCAVAGE

FUNGICIDE
dir. Dave Wascavage, 2002
United States. 84 min.
In English.

FRIDAY, NOVEMBER 3 – 10 PM
SATURDAY, NOVEMBER 11 – MIDNIGHT
TUESDAY, NOVEMBER 14 – 10 PM
SATURDAY, NOVEMBER 25 – MIDNIGHT

GET YOUR TICKETS!

“You don’t pick them… They pick YOU!”

Silas is a mad scientist with a terrible work-life balance. When his concerned parents send him on a retreat to a remote bed & breakfast in the woods, Silas accidentally unleashes his latest biological experiment on a small batch of mushrooms, causing them to mutate into giant feral fungi with a taste for human flesh.

Dave Wascavage’s debut feature pushes all the right buttons for a late-SOV horror classic, packed to the gills with irreverent humor, low-poly CGI, blood-soaked appendages, and even bloodier puppets. Acting as a one-man film crew (in the roles of director, co-writer, producer, DP, editor, (de)composer, and self-taught VFX artist), Wascavage spored no expense of his $142 budget, assembling a cast of mainly family and friends, and shooting the entire feature on a single portobello camcorder over the course of a weekend.

The film also contains some strong satirical undertones, poking fun at the self-absorbed, single-minded lifestyles embraced by the B&B’s other over-the-top residents: The hippie owner who champignons the benefits of natural living to a fault, the testosterone-addled pro wrestler who she suspects may be involved in some cremini-al drug activity, and the shady real estate agent who’s there to put his own morel-ly questionable schemes into play. It’s the type of no-budget schlock masterpiece that grows on you with each viewing.

SUBURBAN SASQUATCH
dir. Dave Wascavage, 2004
United States. 97 min.
In English.

SATURDAY, NOVEMBER 4 – 10 PM
TUESDAY, NOVEMBER 7 – 10 PM
THURSDAY, NOVEMBER 16 – 10 PM
SATURDAY, NOVEMBER 25 – 10 PM

GET YOUR TICKETS!

“He’s out of the woods… And into your neighborhood!”

When a giant, bloodthirsty Bigfoot goes on a killing spree through a sprawling suburban neighborhood, it’s up to a couple of park rangers and mystical Native American warrior to put an end to the ‘Squatch’s limb-ripping rampage.

Dave Wascavage pulled out all the stops for his follow-up to FUNGICIDE, upping his production budget from $142 to, we suspect, something in the ballpark of $200. Before you go accusing him of selling out, though, bear in mind that every penny of that shows up on screen in the form of upgraded effects, countless ripped limbs, and its titular character (voiced by Wascavage, himself) in all its hairy humanoid splendor. The embodiment of nature’s fight back against uncontrolled suburban sprawl.

TARTARUS
dir. Dave Wascavage, 2005
United States. 77 min.
In English.

SATURDAY, NOVEMBER 4 – MIDNIGHT
FRIDAY, NOVEMBER 10 – 5 PM
WEDNESDAY, NOVEMBER 15 – 10 PM
WEDNESDAY, NOVEMBER 29 – 10 PM

GET YOUR TICKETS!

“Where madness and death live.”

While FUNGICIDE is an unabashedly good-bad SOV horror flick, Wascavage proves he’s more than a master of schlock with his follow up TARTARUS.

It loosely follows one man’s slow descent into madness (or journey through hell) but to summarize this film would not do it justice. A largely one-man show, Tartarus toggles back and forth between gonzo torture at the hands of an alien (or demon?) on a ramshackle spaceship, and John’s evil escapades in life prior to endless torture.

Tartarus is a singular experience, hard to describe and wholly immersive in ways feature films with infinitely higher budgets can only dream of achieving – as one Spectacle volunteer put it, “look past the no-fi aesthetics and dogshit cgi and what you’re left with is just some genuinely excellent visual storytelling. This vortex of an anti-narrative, dragging you down deeper and deeper into its oneiric alien hellscape before spitting you out at the same place you started, now rendered entirely unfamiliar. Truly don’t even know if there’s anything I can reasonably compare it to. Maybe BAD GIRLS GO TO HELL by way of EVENT HORIZON? De sade by way of Heaven’s Gate? Felt like an unholy act just watching it. Already dying to revisit it.”

KILLER KIDS

The killer kids sub-genre began with the release of the 1956 movie THE BAD SEED and secured its place in the horror canon with CHILDREN OF THE DAMNED four years later. Although the sub-genre never had a definitive golden age, killer children have been a staple in horror cinema for the last seventy years, with notable booms after the success of THE OMEN (1976) and PET SEMATARY (1989).

Perhaps unsurprisingly, since these films frequently break the unwritten rule of not killing children on screen, the killer kids sub-genre is canonically bleak. Parents and adults must decide whether to cross the mortal threshold or let the villains survive. Either way, the audience can expect a nihilistic ending rife with moral compromise.

This November, Spectacle invites you to experience three killer kid movies, SUFFER LITTLE CHILDREN (1983), WHO CAN KILL A CHILD? (1976) and MUMSY, NANNY, SONNY AND GIRLY (1970).


SUFFER, LITTLE CHILDREN
dir. Alan Briggs, 1983
United Kingdom. 74 min.
In English.

FRIDAY, NOVEMBER 3 – 11:55PM
FRIDAY, NOVEMBER 10 – 10 PM
MONDAY, NOVEMBER 13 – 7:30 PM
FRIDAY, NOVEMBER 24 – 11:55PM
MONDAY, NOVEMBER 27 – 7:30 PM

GET YOUR TICKETS!

A mute child arrives at a children’s home and starts terrorizing the other children with her demonic powers.

Written by producer Meg Shanks (who also owned the school that supplied the movie’s child actors), SUFFER, LITTLE CHILDREN is one of the most unforgettable and immersive shot-on-video horror movies in existence. Combining exploitive “true crime” elements with a hallucinatory aesthetic, the movie purports to be a “recreation” of supernatural events that took place in August 1984 at an orphanage in Surrey, England. Whether or not these events are true is a moot point. Banned during the UK’s Video Nasty witch hunt and previously only available via VHS bootlegs, SUFFER, LITTLE CHILDREN is a true bludgeon to the brain — now fully uncut and uncensored for the first time ever.


WHO CAN KILL A CHILD? 
dir. Narciso Ibáñez Serrador. 1976.
Spain. 102 mins.
In English and Spanish.

THURSDAY, NOVEMBER 2 – 10 PM
FRIDAY, NOVEMBER 10 – 7:30 PM
FRIDAY, NOVEMBER 17 – 11:55PM
WEDNESDAY, NOVEMBER 29 – 7:30 PM

GET YOUR TICKETS!

English tourists Tom and Beth take a trip to the remote island of Almanzora off the Spanish coast. They discover there are no adults on the island, only children.

WHO CAN KILL A CHILD? was riddled with distribution problems. In an attempt to sell the movie, producers renamed it multiple times for different regions, including CHILDREN OF THE CORN TORTILLA and TRAPPED. Luckily, the film withstood the test of time and eventually became a cult classic. The film was remade in 2012 as COME OUT AND PLAY.

For this presentation, Spectacle will be showing THE ISLAND OF THE DAMNED cut of the movie. This version was the original release in the US, without the opening ten minutes of child murder documentary footage.


MUMSY, NANNY, SONNY AND GIRLY
dir. Freddie Francis. 1970.
United Kingdom. 102 mins.
In English.

WEDNESDAY, NOVEMBER 1 – 10 PM
FRIDAY, NOVEMBER 10 – 11:55PM
MONDAY, NOVEMBER 20 – 10 PM
THURSDAY, NOVEMBER 30 – 10 PM

GET YOUR TICKETS!

Mumsy, Nanny, Sonny and Girly kidnap men and dub them their new friends. These new friends are forced to participate in an elaborate role-playing game, and if they refuse, they are put on trial and “sent to the angels.”

An oddity in the killer kids subgenre, MUMSY, NANNY, SONNY AND GIRLY, deals with young adults role-playing as children. The film is tonally and thematically similar to Jack Hill’s SPIDER BABY (1967), asphyxiating the audience in an unrelenting nightmare of madness and anxiety.

Director Freddy Francis was inspired to write MUMSY, NANNY, SONNY AND GIRLY after visiting the famous Hammer Horror filming location Oakley Court. Francis shot the exteriors of Oakley Court for the film but wished he could have showcased the interiors.

Upon release, MUMSY, NANNY, SONNY AND GIRLY sparked a moral panic in the UK. The press misinterpreted the film as having incestuous undertones, which led theaters to refuse to show it. Luckily, producers rebranded the film as GIRLY and sold it to a US market with moderate success.

MISSION DRIFT

MISSION DRIFT
dir. Charles de Agustin, 2023
USA. 13 mins.
In English with audio description and open captioning.
ASL interpreter available upon request.

WEDNESDAY, NOVEMBER 8 — 7:30 PM
VIDEO FOLLOWED BY OPEN DISCUSSION WITH FILMMAKER, GUESTS AND AUDIENCE
$5 SUGGESTED — NO ONE TURNED AWAY FOR LACK OF FUNDS

TICKETS HERE

Arts workers and their accomplices are invited to join us for a screening and open discussion around Mission Drift, a new film by Charles de Agustin, at Spectacle Theater on Wednesday, November 8, 2023, at 7:30pm.

MISSION DRIFT follows a nonprofit art gallery worker who tries to stay afloat when a horny sadomasochistic philanthropist infiltrates the organization. An experimental essay film tinged with noir and fantasy, the work is driven by research into the sparse history of federal US arts funding since the 1930s and more recent universal basic income trials. The film’s tragic narrative takes aim at how seductive philanthropy can be and points toward the need to constantly reinvent strategies against mechanisms of capture. Various formal strategies in the work also intend to explore the relationships between accessibility, complicity, precarity, and cinema.

Its medium described as “video and discussion,” MISSION DRIFT may only be publicly presented if it is followed by a robust audience discussion on the issues at hand. All guests will be essential parts of the conversation with artist Charles de Agustin, Spectacle volunteers and other guests, rooted in all of our experiences of working in the arts alongside the hosting institution’s specific context. The aim is to expose untapped potential for organizing through the arts, considering what relationship art should have with the state, philanthropy, labor, and social justice today.

Free copies will be provided of a zine of Emily Apter’s essay “The Politics of Cum,” released by Cine Móvil. Inspired by the film, the zine breaks down the artistic and political limitations of NPIC, written with the insider perspective of an arts worker.

Please note that the discussion audio will be recorded, though only an anonymized —with names and other identifying details deleted— text transcript will be used for the artist’s future research purposes.

 

BONI: THE WELCOMING FIRE


BONI: the welcoming fire ぼに〜迎火
dir. Masaki Hosokawa, 2020
75 mins. Japan.
In Japanese with English subtitles.

MONDAY, NOVEMBER 6 – 7:30 PM
SUNDAY, NOVEMBER 12 – 5 PM
FRIDAY, NOVEMBER 24 – 10 PM
TUESDAY, NOVEMBER 28 – 7:30 PM

TICKETS HERE

Shot on location in 2020 and long overdue for a stateside release, Masaki Hosokawa’s BONI: the welcoming fire is a hybrid feature that blends allegory and documentary. An ethno-fiction emerges from focal points of traditional song and dance as part of Tokushima, Japan’s annual Bon festival— when beloved spirits return once a year. The film is a story of blissful reunion and memory unaware.

LAST MOVIES


“Last Movies raises the status of the film programme to that of monumental funerary artwork.”
— Gareth Evans (Adjunct Curator of Moving Image, Whitechapel Gallery)

A durational moving-image experience, film program and parallel publication (Tenement Press, 2023) by Stanley Schtinter, Last Movies remaps the century of cinema according to the final films watched by a selection of its icons, giving an audience the opportunity to see what those who no longer see last saw.

Last Movies is a single-day, multi-venue screening presented in conjunction with Nitehawk Cinema and Light Industry. On November 4, Spectacle will host an afternoon screening of the last film watched by writer Franz Kafka (d. 1924), alongside a compilation of last scenes viewed by 20th-century luminaries as they drew their final breaths.

THE KID
Dir. Charlie Chaplin, 1921
60 mins. USA.
Silent with English intertitles.

SATURDAY, NOVEMBER 4 – 3PM (Tickets for this event will be $10)
SCREENING ON 16mm with LIVE SCORE by DAN ARNÉS and ERIK GUNDEL

TICKETS HERE

“That’s a very energetic, work-obsessed man. There burns in his eyes the flame of despair at the unchangeable condition of the oppressed, yet he does not capitulate to it. Despite the white face and the black eyebrows, he’s not a sentimental Pierrot, nor is he some snarling critic. Chaplin is a technician. He’s the man of a machine world, in which most of his fellow men no longer command the requisite emotional and mental equipment to make the life allotted to them really their own. They do not have the imagination. As a dental technician makes false teeth, so he manufactures aids to the imagination. That’s what his films are. That’s what films in general are.” – Franz Kafka on Charlie Chaplin, from Gustav Janouch’s 1971 memoir “Conversations with Kafka.”

Chaplin’s heartwarming story of a street urchin and his down-and-out protector was the last movie Franz Kafka watched before his death in 1924 from tuberculosis. Where and how he came to watch this 1921 tear-jerker is unclear, but Kafka’s well-documented fondness for Chaplin and his tragic screen persona leaves much to consider.

Screening with:

EXCERPTS FROM LAST MOVIES
Dir. Various
37 mins. USA.

Working from curator Stanley Schtinter’s meticulous list of LAST MOVIES, this cinematic prayer for the dead brings together a rapid-fire succession of final films seen by some of the 20th century’s most luminary figures.

Boris Vian (d. 1959)
I Spit on Your Grave (Michel Gast, 1959 [heart attack during the first minutes of the film’s premiere]) *5m screened*

Sergio Leone (d. 1989)
I Want to Live! (Robert Wise, 1958 [heart attack while watching on television]) 120m *30m screened*

Stanley Kubrick (d. 1999)
Eyes Wide Shut Trailer (Stanley Kubrick, 1999) 1m

COLLAGE NOIR


“It is important that your investigation ends with the question, rather than the answer.”

Mopping up the carnage left by last month’s SPECTOBER, Spectacle is following up its COLLAGE HORREUR series with COLLAGE NOIR, a selection of brooding, introspective, and nihilistic experimental capers and detective films befitting our annual NOIR-VEMBER marathon and in no short supply of trench coats, cigarette smoke, window shades, urban decay, thievery, betrayal, infidelity, fatalistic monologues, and murder.

Following up on last month’s screening and discussion of THE PHILOSOPHY OF HORROR, Hungarian filmmaker Péter Lichter returns with the North American premiere of THE MYSTERIOUS AFFAIR AT STYLES, an Agatha Christie adaptation exploding with a phantasmic suturing of early cinema and desktop documentary. Screening with Lichter’s feature is the crime novel and noir film fantasia EXTERIOR NIGHT by Mark Rappaport, who was the subject of a Spectacle retro in 2018. 

Croatian animator Dalibor Barić, whose collage horror shorts graced the theater in October, also returns with ACCIDENTAL LUXURIANCE OF THE TRANSLUCENT WATERY REBUS. Barić’s first feature is a psycho-spelunking paranoic ego-fuck that fuses noir and sci-fi into an experience that can be described in short hand as ALPHAVILLE on DMT. 

We are also delighted to be hosting the work of collage film pioneer Lewis Klahr with his 1963-set crime feature THE PETTIFOGGER, preceded by two shorts: the black and white ENGRAM SEPALS projected on 16mm and the world premiere of THIN RAIN.

As in October, each filmmaker will be tele-present for remote Q&As throughout the month.


THE MYSTERIOUS AFFAIR AT STYLES
dir. Péter Lichter, 2022
65 mins. Hungary.
In Hungarian with English subtitles.

SATURDAY, NOVEMBER 4 – 5 PM ($10 w/Q&A)
SUNDAY, NOVEMBER 12 – 7:30 PM
SATURDAY, NOVEMBER 25 – 7:30 PM
TUESDAY, NOVEMBER 28 – 10 PM

TICKETS HERE

Undoubtedly the better of the two films featuring detective Hercule Poirot to screen in the United States this year, Lichter’s latest foray in appropriation filmmaking adapts Agatha Christie’s 1920 murder mystery of the same name through a combination of intermedial elements such as classic silent and early sound films, video games, Excel spreadsheets, Google street views, and other software tools. The result is a dizzying black and white array of overlapping split-screens that simultaneously reconfigure a century’s worth of analog and computational visual artifacts. At times overwhelming by design, this retelling of Poirot’s first case never obscures the grisliness or wit of Christie’s tale.

Lichter will be joining us again for a remote Q&A on Saturday, November 4 after the 5pm screening.

Screening with:

EXTERIOR NIGHT
dir. Mark Rappaport, 1993
36 mins. United States.

A hard-boiled melodrama, EXTERIOR NIGHT is an ironic and sentimental ode to the intoxications of film noir. Shot in color over black and white backdrops from studio classics such as THE BIG SLEEP and STRANGERS ON A TRAIN, a young man explores his dreams to unravel an inter-generational mystery surrounding the death of his elusive gumshoe-turned-mystery novelist grandfather, Biff (David Patrick Kelly).

THE PETTIFOGGER
dir. Lewis Klahr, 2011
65 mins. United States.

SATURDAY, NOVEMBER 11 – 7:30 PM ($10 w/Q&A)
TUESDAY, NOVEMBER 21 – 10 PM
FRIDAY, NOVEMBER 24 – 7:30 PM

TICKETS HERE

“A year in the life of an American gambler and con man circa 1963. A diaristic montage full of glimpses, glances, decaying ephemera and elliptical narrative. An abstract crime film and, like many other crime films involving larceny, a sensorial exploration of the virulence of unfettered capitalism. An impressionistic collage film culled from a wide variety of image and sound sources that fully exploits the hieroglyphic essence of cutouts to ponder what appropriation and stealing have in common. Definitely the longest continuous film I’ve ever created.” —Lewis Klahr

Preceding each screening of the PETTIFOGGER are two of the filmmaker’s other noir-inflected shorts, ENGRAM SEPALS and THIN RAIN, which will receive its world premiere on Saturday, November 11th. This screening will be followed by a remote Q&A moderated by curator, critic, and filmmaker Paul Attard. 

Screening with:

ENGRAM SEPALS
2000. United States.
6 mins. 16mm.

“The dead body remembers. The Tibetan book of the dead meets film noir. An elliptical narrative of adultery and corporate espionage set to a score by Morton Feldman and shot in high contrast B&W. There’s a glimpse of Eternity in those deep, luminous blacks. The title film is from my feature length series ENGRAM SEPALS (Melodramas 1994-2000) which traces a history of American intoxication from World War 2 to the 1970’s.” —Lewis Klahr

THIN RAIN
2023. United States.
15 mins. 

An amnesiac noir and city symphony, Klahr’s first black and white film in almost a decade, contemplates inner and outer voids; an opaque consciousness and the decaying civilization it finds itself within. The film’s trench-coated protagonist is a walking shadow, a lonely silhouette that traverses painted and photographed cityscapes of 20th century New York City. The impressions and atmospheres invoked recall the late Peter B. Hutton’s NEW YORK PORTRAIT, to whom the film is dedicated.

ACCIDENTAL LUXURIANCE OF THE TRANSLUCENT WATERY REBUS
dir. Dalibor Barić, 2020
81 mins. Croatia.
In Croatian with English subtitles.

THURSDAY, NOVEMBER 2 – 7:30 PM
SATURDAY, NOVEMBER 11 – 10 PM
SATURDAY, NOVEMBER 25 – 5 PM ($10 w/Q&A)
THURSDAY, NOVEMBER 30 – 7:30 PM

TICKETS HERE

Barić’s first feature-length animated film is the abstract chronicle of a couple, pencil-pusher Martin and conceptual artist Sara, as they attempt to break out of a future dystopian surveillance state. At their heels is the ambivalent Inspector Ambroz, who pushes the case forward despite a mounting existential crisis. Relentlessly polychromatic and hallucinatory, the film’s modulated, fragmented images and cryptic voice over narrations recall the often murky and worryingly uncanny qualities of AI-generated art. In line with noir’s signature pessimism, REBUS imagines a world where the deepest recesses of the human mind have all been thoroughly externalized and everything rendered predictable. A hope granted in viewing the film is that at least some creativity can be found from excavating the cultural wastes.

Special thanks to the enormous generosity of Dalibor Barić, Lewis Klahr, and Péter Lichter. Additional thanks to Paul Attard and Nate Dorr.

 

 

 

 

 

 

 

ARMENIA IN POST-PANIC: The Films of Maria Saakyan

Independent Armenia—living in the perpetual limbo of post-soviet Asia—hasn’t been able to escape an identity defined by past atrocities and aggressions suffered. Today’s generations are left reconciling the uneasy present they’ve been handed while dreaming of a future that doesn’t seem to exist. Young musicians in the budding scene in Yerevan have coined a genre that describes this suffocating state of being that also seeks to resist against the odds: Post-Panic. If ever there were a filmmaker to embody the Post-Panic spirit, it’s the late Maria Saakyan, whose premature passing in early-2018 left us mourning yet another lost Armenian future.

With tensions rising in the region yet again and another genocide of Armenians threatening, Spectacle presents this COVID-delayed retrospective of some of Maria’s films, all of which embody a rather materialist hope against a more existential dread.

From her early shorts to the (few) features she was able to make, a consistently haunting ethereality seeps in the muted tones of her images, exploring a matter-of-fact type of depression that finds comfort in objects and the body. Occasionally surreal, her work subtly confronts the disappointments of generations past, never forgetting their hardships all the while. Though Saakyan draws from the soviet masters that came before (Tarkovsky, Paradjanov, et al.), she was able to develop a raw yet pointed style that cements her as perhaps the most important Armenian filmmaker since Don Askarian.

Spectacle would like to share a few organizations that are accepting donations in light of the ongoing and escalating aggressions in the disputed region of Nagorno-Karabakh. Any help provided to the affected indigenous Armenians is deeply appreciated. *linktree/orgs to come*


MAYAK (LIGHTHOUSE)
(Маяк)
dir. Maria Saakyan, 2006
Armenia/Russia. 78 min.
In Russian with English subtitles.

WEDNESDAY, NOVEMBER 1 – 7:30 PM
THURSDAY, NOVEMBER 9 – 7:30 PM
SATURDAY, NOVEMBER 11 – 5 PM
MONDAY, NOVEMBER 20 – 7:30 PM

TICKETS HERE

Saakyan’s MAYAK tells a distinctly Hayq (and unfortunately very timely) tale of living through a one-sided war. A young woman, Lena, attempts to convince her grandparents to escape to Russia, only to find herself trapped by invading forces. And yet, life goes on. What does it mean to live—and be alive—in this existence? Gorgeous, somber images, object comfort, and a tragically accepted melancholy coalesce into the defining text of Maria’s style, also the first Armenian feature to be completed by a woman.


I’M GOING TO CHANGE MY NAME (ALAVERDI)
(Это не я)
dir. Maria Saakyan, 2012
Armenia/Russia. 103 min.
In Russian with English subtitles.

FRIDAY, NOVEMBER 3 – 7:30 PM
THURSDAY, NOVEMBER 9 – 10 PM
WEDNESDAY, NOVEMBER 15 – 7:30 PM
SUNDAY, NOVEMBER 26 – 5 PM

TICKETS HERE

Set in the small North Armenian town of Alaverdi, I’M GOING TO CHANGE MY NAME sees the neglected, aimless, isolated 14-year-old Evridika experiencing the first extremes of adolescent emotion as she frequents the chat rooms of an online “suicide club” and grows closer to one of its mysterious members. Partially based on the nine-part song ‘Sharakan’ (which Evridika’s absent mother is also touring with her choir), partially based on disoriented fragments of Eurydice’s imprisonment and Oedopis’ tragedy, Maria’s haunted film examines youth’s connection to reality through screens and lo-fi cell phone footage. A quintessential film in the “depression as boredom” canon, is it possible to exist if no one sees you? If no one touches you?