THE ABSENCE OF MILK IN THE MOUTHS OF THE LOST

THE ABSENCE OF MILK IN THE MOUTHS OF THE LOST
dir. Case Esparros, 2023
United States. 75 min.
In English.

SUNDAY, NOVEMBER 5 – 5 PM
WEDNESDAY, NOVEMBER 8 – 10 PM

GET TICKETS HERE!

“A single mother struggles with the grief of her missing child on the one-year anniversary of her disappearance, while her neighborhood milkman begins to feel a strong connection to her grief.”

Starring Hannah Weir, Amelie Fernandez, River Faught, and the infamous underground musician Gary Wilson as “The Milkman”. Featuring an original score from Aaron Dilloway (Wolf Eyes).

After a stunning New York Premiere and two sold out shows, THE ABSENCE OF MILK IN THE MOUTHS OF THE LOST will be returning to the Silver Spectacle Screen this November. Run, don’t walk to catch two more showings of this moving and alarming experimental feature.

“Esparros has created a world and mythology like no other. He’s operating entirely in his own lane.”Jon Moritsugu, Director

“Every so often the pulse of the underground gets resurrected, this is one of those moments,”John Waters, Director

“An inspiring work of mad genius that is as terrifying as it is uplifting.” – Lucé Tomlin-Brenner, Comedian

“like turning over a rock and finding nothing but diamonds and centipedes.”Dogfood Williams, Writer

A FOCUS ON VOLKER SPENGLER

On February 8th, 2020, the beloved and highly esteemed German actor Volker Spengler passed away, just eight days before his 81st birthday. Spengler not only left behind a mammoth legacy, including works with Rainer Werner Fassbinder, Christoph Schlingensief, and Ulrike Ottinger, but also touched the lives of countless artists, musicians, and actors around him.

Please join us this November at Spectacle for the NYC premiere of HIGHFALUTIN, an intimate documentary directed by Hans Broich, focusing on stories from those around Spengler who knew and loved him best. Included in FOCUS are two transgressive post-reunification films from the late artist Christoph Schlingensief that showcase Volker: THE GERMAN CHAINSAW MASSACRE and THE 120 DAYS OF BOTTROP.

Special thanks to SIXPACKFILM and FILMGALERIE 451.


HIGHFALUTIN
Dir. Hans Broich, 2021
Austria & Germany. 96 min.
German with English Subtitles.

SATURDAY, NOVEMBER 4 – 8 PM
TUESDAY, NOVEMBER 7 – 7:30 PM
THURSDAY, NOVEMBER 16 – 7:30 PM
TUESDAY, NOVEMBER 21 – 7:30 PM

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Told in collage of voices around a certain dinner table in Berlin’s Diener Tattersall, a series of collaborators join a discussion on the actor Volker Spengler. Detailing many anecdotes: large and small, adoring and frustrated. HIGHFALUTIN soon becomes as much an examination of those speaking as it is the one being spoken about.


THE GERMAN CHAINSAW MASSACRE
Dir. Christoph Schlingensief, 1990
Germany. 63 min.
German with English Subtitles.

SUNDAY, NOVEMBER 5 – 7:30 PM
TUESDAY, NOVEMBER 14 – 7:30 PM
SUNDAY, NOVEMBER 19 – 5 PM

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In 1990, a group of East Germans cross the border to visit the West. But their journey takes a turn for the wurst when they encounter a psychopathic cannibal family who plans to turn them into sausages. Filmed shortly after German reunification, THE GERMAN CHAINSAW MASSACRE combines B-Movie horror industrial spectacle with experimental political satire. This is the film that put Christoph Schlingensief on the map.

 

 


THE 120 DAYS OF BOTTROP
Dir. Christoph Schlingensief, 1997
Germany. 60 min.
German with English Subtitles.

MONDAY, NOVEMBER 6 – 10 PM
MONDAY, NOVEMBER 13 – 10 PM
SUNDAY, NOVEMBER 19 – 7:30 PM
MONDAY, NOVEMBER 27 – 10 PM

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A who’s-who of actors congregate together to create the last great piece of New German Film – A remake of the 1973 movie SALO, OR THE 120 DAYS OF SODOM. An endlessly referential piece of homage cinema disguised as a putrid Wateresque trash opus. Fassbinder this ain’t.

 

ANIME NO GOGO

ANIME NO GOGO
A bi-monthly, mystery Anime and OVA matinee.
SATURDAYS, 3 PM

Your Saturday – Elevated

The memories of sleeping in on Saturday and eating cereal in your pajamas in front of the screen no longer need to live in the past. Spectacle Theater is happy to indulge you with hand-picked mystery matinees of only the best OVA and Films from the Golden Age of Anime. Every other Saturday at 3 PM. Be sure to come comfy and bring your bowl, whatever that means to you.

DECADES OF DEBRIS (fka BENJI’S WORLD)

This fall, Spectacle embarks on a mission nearly ten years in the making: honoring the opinions of one Benjamin Pequet, the mild-mannered Belgian you may have seen sitting between two craft IPAs at your favorite (or least-favorite) screening. Of course Benjamin is not the only Spectacle diehard, but his years of loyal service and stubborn refusal to cross the patron-volunteer threshold have made him a kind of arbiter of taste (or human Richter scale) for Spectacle programming.

After months of feverish discussion with Benjamin, we’re thrilled to kick off this monthly carte blanche series with a special one-night Friday the 13th event honoring the enigmatic Twitch streamer and bricolage-r of the audiovisual unknown who calls himself FORGOTTEN_VCR.

Then, later in October, join Benjamin for two films by Soda Kazuhiro, building off of our 2019 retrospective: his breakout 2008 documentary MENTAL, followed by the little-screened sequel documentary ZERO. Both shows will be followed by a remote Q+A with Soda and his producer Kashiwagi Kiyoko, guided if not moderated by Benjamin Pequet.

AN EVENING WITH FORGOTTEN_VCR

FRIDAY, OCTOBER 13 – 7:30PM and 10PM followed by remote Q+A with FORGOTTEN_VCR
ONE NIGHT ONLY!

GET TICKETS HERE!

(These events are $10.)
Stay inside. Watch TV. 
 
The mysterious St. Louis, MO-based university professor FORGOTTEN_VCR (who prefers to just go by “VCR”) came to Benjamin Pequet’s attention during the COVID-19 lockdowns of spring/summer 2020, when he began showcasing original music videos (which cut an entire feature film down to fit a specific song) on his Twich stream, as well as homemade mixtapes drawing from abandoned VHSes. Here’s the thing: VCR edits his work entirely on VCR. Here’s how he explained it to PC Gamer in 2020: “When I have this VCR and you hear it and see the little icon that says ‘play’ and ‘stop’ and all that, it immediately makes it feel like ‘I have to be here. This is on a tape.’ It’s part of the look of the stream.”

Ninja cinema, fossilized technology, toy commercials, moment of impossible promise from the dawn of the computer age: it’s all here. For ONE NIGHT ONLY, join Benjamin on a brain-breaking odyssey into this misunderstood and much-neglected analog cosmos that is FORGOTTEN_VCR.

MENTAL
(精神)
dir. Soda Kazuhiro, production associate Kashiwagi Kiyoko . 2008.
135 mins. Japan.
In Japanese with English subtitles.

SATURDAY, OCTOBER 28 – 5 PM with Soda Kazuhiro and Kashiwagi Kiyoko for remote Q+A

ONE NIGHT ONLY!

(This event is $10.)

GET TICKETS HERE!

After being diagnosed with “burnout” at the end of too many grueling work weeks, Soda became fascinated by alternative means of mental health treatment. MENTAL is a portrait of an outpatient psychiatric clinic called Chorale Okayama, founded by one Dr. Masatomo Yamamoto – the protagonist of the film, an elderly doctor working for essentially nothing. Chorale Okayama serves people with incurable mental disorders, who Yamamoto essentially believes can be nevertheless helped by a sympathetic community of listeners.Soda structured MENTAL so that viewers would will feel like they’re stepping into the clinic just like he did for the first time, unaware of what he would find. It’s not the easiest film in his body of work to watch but is nevertheless an act of courage, looking beyond what the filmmaker calls “the invisible curtain” that separates the well from the unwell (a questionable dichotomy to begin with.) As Soda speaks with Yamamoto’s patients about their lives, struggles, hallucinations and dreams, MENTAL becomes an extraordinary cross-examination of taboo in Japan, to say nothing of the accumulated costs of trauma and, finally, the documentary form’s inherent potential for compassion.

 

ZERO
(精神0)

dir. Soda Kazuhiro, production associate Kashiwagi Kiyoko. 2019.
128 mins. Japan.
In Japanese with English subtitles.
SATURDAY, OCTOBER 28 – 8PM followed by remote Q+A with Soda Kazuhiro and Kashiwagi Kiyoko
ONE NIGHT ONLY!
This event is $10.

GET TICKETS HERE!

At the age of 82, Dr. Yamamoto  is suddenly retiring from the clinical field, causing a lot of anxiety for many of his patients who have been relying on him as their lifeline for many years. Now he needs to spend time to care for his wife Yoshiko. In early spring, Dr. Yamamoto and Yoshiko embark on a new life, facing challenges they never faced before.

“Shooting Dr. Yamamoto, a self-described workaholic, I immediately felt that for him, mental healthcare was his life. His work defined who Masatomo Yamamoto was. It gave him a reason to live. And he was about to let that go. When Yamamoto becomes just a human being without a title or role as a doctor, how will he live? Being a workaholic myself, I was really curious. The path he is about to take is the one I will need to take one day. It is actually a universal path that many people must experience some day.

While I was shooting Yamamoto with such a point of view, another protagonist emerged: Yoshiko Yamamoto, his wife. The film turned out to be about the couple rather than the doctor. As a result, I unexpectedly made a film about ‘pure love.'” – Kazuhiro Soda

MYSTERY HALLOWEEN SCREENING

XXXXXXXX: XXX XXXXXXX XXXXXXX
dir. XXXX XXXXXX, 1993
83 mins. USA.
In English.

TUESDAY, OCTOBER 31 – 10 PM

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HAPPY HALLOWEEN, SPECTATOES!!!

Join us for a 1-time mystery screening of an early 90’s cult splatter masterpiece – currently in the process of a loving remaster, we couldn’t get access to the new version in time for our proper Spectober programming, but in celebration of the season, we’re bringing back the old VHS rip for a final spin, with the director’s blessing no less!

Bring a big ol bucket o candy and get ready for a head exploding bloodbath!

 

THE REDEEMER: SON OF SATAN

THE REDEEMER: SON OF SATAN aka CLASS REUNION MASSACRE
dir. Constantine S. Gochis, 1978
United States. 84 min.
In English.

SATURDAY, 10/21 – 7:30PM
FRIDAY, 10/27 – 10PM

BOTH SCREENINGS WILL BE FROM AN ORIGINAL 16MM PRINT! $10 TICKETS!

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If you have a craving for terror… come to the class reunion

Six people are trapped within the confines of their old high school during the 10th high school reunion with a psychotic, masked preacher who kills them off for their sinful lives they have made for themselves.

What to say about a regional horror film that opens with a fully clothed child walking out of a lake and getting onto a shuttle bus to a church?

Shot entirely in Staunton, Virginia, THE REDEEMER follows a crazed preacher who orchestrates a fake high school reunion for six sinful classmates (why not seven? we’ll never know), trapping them inside their abandoned old school and picking them off one by one in a series of elaborately staged (and variously costumed) kills – each victim very loosely, though sometimes not at all, connected with one of the seven (six?) deadly sins.

Easily one of the strangest proto-slashers to come out of the 70’s, THE REDEEMER, intentionally or not, manages to capture a rare, disturbingly dreamlike feel from start to finish that never lets up as we follow the preacher’s warped attempts at moral reasoning for each murder.

THE ABSENCE OF MILK IN THE MOUTHS OF THE LOST

THE ABSENCE OF MILK IN THE MOUTHS OF THE LOST
dir. Case Esparros, 2023
United States. 75 min.
In English.

SPECIAL EVENT

SUNDAY 10/8, 7:30 AND 10PM – TICKETS ARE $10

GET TICKETS HERE!

A single mother struggles with the grief of her missing child on the one-year anniversary of her disappearance, while her neighborhood milkman begins to feel a strong connection to her grief.”

Starring Hannah Weir, Amelie Fernandez, River Faught, and the infamous underground musician Gary Wilson as “The Milkman”. Featuring an original score from Aaron Dilloway (Wolf Eyes).

On October 8th, please join us in welcoming director Case Esparros to Spectacle for the New York premiere of THE ABSENCE OF MILK IN THE MOUTHS OF THE LOST. Followed by a Q&A with moderator Charlotte Ercoli.

Fist Church Presents: THE FIST FRIGHT MARATHON

Kicking off SPECTOBER 2023, Spectacle Theater is thrilled to present the FIST FRIGHT marathon. Join us on Sunday, October 1st for an all-day installment of Fist Church, featuring SIX of the bone chilling-est, back breaking-est, vampire hopping-est kung fu and wuxia horror flicks we have to offer.

Tales of zombies, vampires, and all varieties of vengeful undead had been staples of Chinese folklore for centuries, but this type of jiangshi fiction rarely crossed over into the martial arts fare that anchored regional film industries throughout the 1960s and 70s. That changed in the early 1980s with the release of Sammo Hung’s hugely popular action-horror-comedy hybrid, ENCOUNTERS OF THE SPOOKY KIND, delivering top-tier action choreography while catering to audiences’ growing appetite for the type of horror and slasher fare coming in from abroad.

In the wake of its success, independent studios across the region leapt (hopped?) on the jiangshi trend. The decades that followed would see some of the wildest kung fu and wuxia concepts ever put to film, with witches & warlocks, hopping corpses. electrified skeletons, warrior spirits, necromancing ninjas, psychotic swordsmen, and infernal felines becoming common sights even beyond the Category-III circuit.

This mystery meat marathon of black belts and black magic kicks off Sunday, October 1st at NOON, and continues late into the evening. Tickets are $5 per screening, or you can grab a full day pass in advance for $20! Screening times and programming hints are below:

ADVANCE DAY PASSES ON SALE NOW!


12:00 PM

XXXX XX XXXXXX
dir. XXX XXXX, 1981
Hong Kong. 79 min.
In English (dubbed).

Our afternoon kicks off with a feature that tells everything you need to know about it with just its title…

A wickedly paced action-comedy from a former Shaw Bros. Studios mainstay, about a martial artist responsible for the imprisonment of a local criminal. The criminal soon returns, enlisting a Taoist priest to resurrect a gang of undead in an elaborate plot to get revenge on his captor.


1:30 PM

XXXX XX XXXX XXXXXX XXX XXXXX
dir. XXX XXXX, 1982
Hong Kong. 89 min.
In English (dubbed).

Our second feature is a companion-ish piece to the first, featuring much of the same cast but with amped-up choreography courtesy of the late Alan Chui.

Each year, during the seventh month of the lunar calendar, spirits of the dead are permitted to walk the Earth to seek out avenues to reincarnation. A young martial artist is visited upon by the ghost of his father, who claims he was killed by an evil wizard, setting our hero on a quest for revenge against the supernatural kung fu master. (Includes special guest appearance by Dracula!)


3:00 PM

XXX XXXX XXXXXX XX XXX XXXX XXXX
dir. XXXX XXX XXXX-XX, 1991
Hong Kong. 92 min.
In Cantonese with English subtitles.

We jump forward to the early 90s and a radically different horror movie landscape. One colored as much by the self-referential humor of JASON LIVES and EVIL DEAD as it was the jiangshi template set by ENCOUNTERS and the MR. VAMPIRE franchise.

From the director of one of most face-melting wuxia spectacles ever made comes this mystical martial arts gore-fest with a hard Cat-III rating. When a professor (and future global superstar) and his class are attacked by a vicious monster, the professor escapes only find himself blamed for the death and dismemberment of his students. As the corpses pile up, he realizes he must take matters into his own hands to track down the monster’s sinister origins.

Practical gore effects, jaw-dropping wire-fu stunt work, and an equally jaw-dropping amount of nudity combine for what may be the first bona fide kung fu trash-horror masterpiece.


5:00 PM

XXXXXXXX XXXXXX
dir. XX XX, 1992
Hong Kong. 91 min.
In Cantonese with English subtitles.

The star and main character of Hong Kong’s most beloved jiangshi series makes another John Munch-like foray into an entirely unrelated movie.

Western and Chinese vampire mythology collide in this story about a small-town Christian priest whose church is haunted by the evil vampire spirit of a priest who died there long ago. Together, he and a local Taoist priest must set aside their religious and cultural differences to stop the vampire from infecting the entire town.


7:00 PM

XXXXX XXXXXX
dir. XXX XXX-XXX, 1984
Hong Kong/Taiwan. 89 min.
In Mandarin with terrible English subtitles.

Our penultimate feature gets back to basics for a lean, mean piece of Taiwanese kung fu-horror mayhem.

An imperial bodyguard and a bounty hunter join forces to take down an evil Taoist mystic, well versed in an ancient and mysterious form of martial arts. They team up with a young boxer on her own quest for vengeance over the death of her father. Together, the three must use every skill at their disposal, human or demon, to defeat the wizard’s dark forces.


9:00 PM

XXX XXXX XXXXXX
dir. XXXXX XXXX, 1984
Hong Kong. 99 min.
In Mandarin with English subtitles.

Our evening concludes with the crown jewel of our marathon: A late career masterpiece by a longtime industry titan.

A loose retelling of the tale of Faust, the film follows a young martial artist who journeys to the underworld where he sells his soul to the devil in exchange for demonic powers. He hopes to use his powers to save his friend and claim revenge for (you guessed it) the death of his father, but little does he know that with great power comes a great, insatiable thirst for blood.

Stellar choreography, superb practical effects, a host of familiar faces, and a healthy dose of experimentation make for a fitting culmination to one of the greatest, most prolific careers in Hong Kong film history. A criminally underseen must-watch for fans of horror, kung fu, jiangshi, wuxia, and everything in between.

COLLAGE HORREUR

As our dear bodega is serenaded in shrieks and showered in gore this SPECTOBER, we are excited to exhume COLLAGE HORREUR, an accompanying series of contemporary experimental horror films that reanimate, reuse, and remix found materials to summon novel sensations and dreadful meta-epiphanies from the genre.

In the case of Péter Lichter and Bori Máté’s THE PHILOSOPHY OF HORROR, celluloid itself becomes the object of both bodily and psychic slaughter as a pair of iconic horror film prints are brutalized into nightmarish abstraction. Aristotelis Maragkos’ THE TIMEKEEPERS OF ETERNITY takes a similarly hands-on approach through the volatile manipulation of a cosmic horror miniseries that has been entirely printed and re-edited on paper. Charlie Shackleton’s FEAR ITSELF sees the filmmaker’s grasp of the video essay form stitch together a daunting and diverse filmography to reflect upon the complications of horror film connoisseurship.

Preceding THE PHILOSOPHY OF HORROR will be two vampiric shorts by the Croatian collage animation maestro Dalibor Barić: the upbeat and bloodthirsty THE HORROR OF DRACULA and ALL CATACOMBS ARE GRAY, an interpretation of Sheridan Le Fanu’s sapphic 19th century novella CARMILLA. Barić’s sonic reworking of TWILIGHT ZONE clips paired with comic book cutouts, MY GAME OF LONGING, will also play before THE TIMEKEEPERS OF ETERNITY. For the non-Q&A screenings of FEAR ITSELF, audiences will have a chance to see Ben Rivers’ short film TERROR! as another complementary meditation on the joys of being afraid.

Alongside remote Q&As with many of these filmmakers, the local found sound DJ duo, Vampÿrates, will climb aboard the theater on Friday the 13th for a special one-night performance to sink their fangs into the willing eyes and ears of spectators through the wee hours.

THE PHILOSOPHY OF HORROR: A SYMPHONY OF FILM THEORY
dirs. Péter Lichter and Bori Máté, 2020
60 mins. Hungary.

WEDNESDAY, OCTOBER 4 – 10 PM
MONDAY, OCTOBER 9 – 10 PM
WEDNESDAY, OCTOBER 18 – 7:30 PM
SATURDAY, OCTOBER 28 – 3 PM FEATURING REMOTE DIRECTOR Q&A / THIS EVENT IS $10

GET YOUR TICKETS!
GET TICKETS FOR DIRECTOR Q&A SCREENING HERE!

Deriving its name from Noël Carroll’s seminal book on the poetics of horror, Lichter and Máté use excerpts from the text as framing devices to move from scholarly taxonomy to visceral affect as a pair of film prints are cut, scratched, painted, overlapped, and recombined to a point of mesmerizing and indecipherable grisliness. The victims of choice? A certain 80’s classic concerning a vengeful monster that kills teenagers in their dreams, and its sequel.

Screening with:

THE HORROR OF DRACULA
dir. Dalibor Barić, 2010
5 mins. Croatia.

ALL CATACOMBS ARE GRAY
dir. Dalibor Barić, 2013
20 mins. Croatia.

THE TIMEKEEPERS OF ETERNITY
dir. Aristotelis Maragkos, 2021
64 mins. Greece.
In English.

MONDAY, OCTOBER 9 – 7:30 PM
SATURDAY, OCTOBER 21 – 3 PM FEATURING REMOTE DIRECTOR Q&A / THIS EVENT IS $10
THURSDAY, OCTOBER 26 – 10 PM

GET YOUR TICKETS!
GET TICKETS FOR DIRECTOR Q&A SCREENING HERE!

In a painstaking process that calls to mind the Library of Congress Paper Print Film Collection (an initiative that ended up giving many films an afterlife beyond their initial celluloid deaths), Maragkos printed each frame of a 3-hour 1995 miniseries adaptation of a novella by the world’s most famous horror writer onto black and white paper to then rephotograph them back into motion with many artistic liberties taken along the way. Visible crinkles, cuts, and tears inflicted on the paper images create both dramatic emphasis and nihilistic resonance as ten passengers aboard a night-time flight awaken to realize everyone aboard has vanished.

Screening with:

MY GAME OF LONGING
dir. Dalibor Barić, 2013
10 mins. Croatia.

FEAR ITSELF
dir. Charlie Shackleton, 2015
88 mins. United Kingdom.

SATURDAY, OCTOBER 7 – 3 PM FEATURING REMOTE DIRECTOR Q&A / THIS EVENT IS $10
TUESDAY, OCTOBER 10 – 7:30 PM
TUESDAY, OCTOBER 17 – 7:30 PM
FRIDAY, OCTOBER 27 – 5 PM

GET YOUR TICKETS!
GET TICKETS FOR DIRECTOR Q&A SCREENING HERE!

Recovering from the grief of a lost sibling, a woman in voice-over reflects on her paradoxical repulsion and fixation with viewing horror films in seclusion. Shackleton’s visual track takes us through a century-spanning tour of the genre, eclectically sampling hundreds of well-known and obscure gems from around the world. While its essayistic qualities are squared confidently in the foreground, FEAR ITSELF never lets intellectualizing overcome an ever-present sense of impending fright.

Screening with:

TERROR!
dir. Ben Rivers, 2007
24 mins. United Kingdom.

ONE NIGHT ONLY! FRIDAY, 10/13 AT MIDNIGHT

GET TICKETS HERE!

“Featuring, our music videos & video music, stolen treasures & unburied graves,
detournèd objects & cultural corpses, including:

BELA LUGOSI’S DEAD,
DAHLIA NOIR,
BIOMUTANTEN,
HEART OF (SHATTERED) GLASS,
VAMPYR/BLOOD,
ULTRAVIOLET CATASTROPHE,
& LES VAMPIRES (in inverse~reverse~negative).

With these (ab)original works by Vampÿrates, aka, Richard Sylvarnes & Bradley Eros.”

Special thanks to Mackenzie Lukenbill, Nate Dorr, the Vampÿrates, and Wouter Jansen.

KETCHUM ON THE SCREEN

Born Dallas Mayr in Livingston, New Jersey, Jack Ketchum arrived on the horror scene with his debut novel Off Season in 1981. Off Season, an updating of the Sawney Beane story, drew the outrage of the Village Voice, which publicly scolded the novel’s publisher for printing violent pornography. Over the next 37 years, until his death in 2018, he would write over 20 novels and novellas, five of which have been adapted for the silver screen. A protégé of horror writer Robert Bloch, Ketchum’s novels eschewed the supernatural for unflinching and unsettling studies of man’s capacity for evil, often drawing on true crime for inspiration. While never failing to deliver the genre goods, weaving provocative scenarios pushing the boundaries of the macabre and twisted tales of sex, murder and torture for hardened extreme horror gore-hounds, Ketchum’s writing distinguishes itself from that of his Splatterpunk contemporaries for its sobriety, restraint and empathy which lend a tragic and mournful tone to the carnage.

THE LOST
dir. Chris Sivertson, 2006
United States. 119 min.
In English.

THURSDAY, 10/5 – 7:30 PM
FRIDAY, 10/20 – 7:30 PM
TUESDAY, 10/24 – 7:30 PM

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Once upon a time, a boy named Ray Pye put crushed beer cans in his boots to make himself taller.

These words open both Jack Ketchum’s novel and Chris Sivertson’s cinematic adaptation of THE LOST, introducing us to Ray Pye, a teenage psychopath played with narcissistic glee and murderous male fragility by Marc Senter. Jack Ketchum drew his inspiration for the character of Ray Pye from the real life convicted serial killer Charles Schmid and Senter’s interpretation is a nightmare vision of suburban rot and everyday evil.

When 19-year-old Ray, with the help of his two lackey friends, murders two innocent campers for kicks, he becomes the target of Detective Charles Schilling. Unable to gather enough evidence to bring charges, four years pass, but Schilling won’t give up the chase. When Katherine Wallace, a seductive and mysterious new girl arrives in town, Ray’s reign of power is challenged and his wall of secrecy begins to crumble, leading to an explosive violent finale.

“The narrative moves along at a slow grind, taking its time developing each of the characters and their unsettling relationships. But it works and the threads all come together with a truly savage and unforgettable finale… THE LOST is a triumph of independent cinema – a bold novel turned equally bold film that will haunt you for a very long time.” – Dread Central

“Far more unsettlingly savage than many horror thrillers… undeniably fascinating and deadly serious from start to finish” – Variety

THE WOMAN
dir. Lucky McKee, 2011
United States. 101 min.
In English.

THURSDAY, 10/12 – 10 PM
FRIDAY, 10/20 – 10 PM
MONDAY, 10/23 – 10 PM

GET YOUR TICKETS!

The last survivor of a cannibalistic cave-dwelling clan from Ketchum’s earlier work OFFSPRING is hunted and captured by a country lawyer in THE WOMAN, co-written by Ketchum with the film’s director Lucky McKee (MAY, ALL CHEERLEADERS DIE). Imprisoning the eponymous feral woman (Pollyanna Mcintosh, returning in a powerhouse performance) in the family’s cellar, the all-American dad (a loathsome Sean Bridges) commences a program of domestication, attempting to tame the ferocious female while turning his family into accomplices to her subjugation . THE WOMAN is an unbearably tense, gruesome, provocative and disturbing experience, whose scenes of cotidian domestic abuse will haunt and outrage the viewer as much as its scenes of savage animalistic violence.

“THE WOMAN picks right up where 2009’s OFFSPRING (also an adaptation of a Jack Ketchum book) left off. It’s a totally different beast though, and it is as much infused with Ketchum’s DNA as it is with McKee’s. That should come as no surprise at all since they collaborated on both the book and the screenplay. Ketchum’s predilection for tales of the inherent savagery in man, and McKee’s for the role women play in our patriarchal society, come to a head in the brutal and visceral masterpiece they created together.

What differentiates both adaptations, though, is that, unlike OFFSPRING, THE WOMAN plays with the notion of who the real monsters are. Now, “the savages are not the monsters” might seem like a tired cliché, and to a certain extent it is, but in the hands of McKee and Ketchum it becomes fresh, even poignant, and regains its status as an uncomfortable universal truth. This becomes even more true to the extent that THE WOMAN is not so much about the divide between civilization and savagery as it is about how men try to “civilize” women or to expel the savagery perceived within them.”  -Simon Cogen, Horror HomeRoom