OPEN DOOM CRESCENDO
Dir. Terry Chiu, 2022
Canada. 175 min.

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SUNDAY, JULY 9 – 7:30PM
SUNDAY, JULY 23 – 7:30PM

GET TICKETS
FRIDAY, JULY 28 – 7:30PM w Q+A (This event is $10.)

In the destroyed present, the aggressively badass Keikei (Xinkun Dai) and her lackadaisical white-shirted pal Rev (Ging Yu Kei) wander the wasteland looking for their friend Spike (Matias Rittatore), in between running into the confrontational Lady Moondrift (Pei Yao Xu) and her Candy Ass Kickers (They kick candy ass!!!), or the deadly Psycho on The Radio – whose kill count is like into the 900s – with the promise that one day, they’ll get all the answers to their problems from the Embodiment of Angst.

Writer/Director Terry Chiu’s an open book. His fears, anxiety, humour and personality are splattered all over the epic 3-hour running time of OPEN DOOM CRESCENDO, but the greatest trick he pulls is balancing it all like a circus acrobat juggling ten chainsaws dipped in battery acid.

This isn’t merely stream-of-consciousness madness, or wackiness for the sake of it, but a well-thought-out (Every line is carefully scripted) piece that is also hilariously funny. Terry’s base style is ADULT SWIM meets SHINYA TSUKAMOTO, but he knows when to slow things down, to engross the viewer in his characters’ twisty philosophical musings, brilliantly clarified by Burnt-In Chinese/English subtitles, and a narrative gambit straight out of END OF EVANGELION, that puts the endeavour in a different emotional context, before the audience is bodyslammed with a climax worthy of a quadrillion dollar blockbuster (but with more cardboard). You may not get all the answers on the first viewing, but that’s part of the design.

“No one is making films like Terry Chiu, and his work deserves to be consumed by the world’s eyes, ears, and brain mush. It is criminal that his work has barely played anywhere. Where the hell is The Locarno Film Festival when you need them?”
– Justin Decloux, The Laser Blast Film Society / The Important Cinema Club

Join us this summer as we celebrate the darkness of film noir featuring Giuseppe Boccassini’s Experimental decoupage alongside two genre classics.

RAGTAG
dir. Giuseppe Boccassini, 2022
Germany, France, Italy, 84min
In English.

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SATURDAY JULY 22 – 7:30PM + Q&A
THURSDAY JULY 27 – 7:30PM +Q&A

“An atlas of film gestures and Pathosformel: the montage – better the disassembly – isolates moments from the narrative and separates bodies from events, opening up to the unthinkable and the invisible of film noir. Ragtag, thus, becomes an immense archive of the imaginary that, far from being sequential and historical, becomes intensive and organic: a film-experience beyond film as such.” – Federico Rossin, film historian.

RAGTAG is an expressionistic assemblage film following a chronological timeline mined from what French critics notoriously coined, film noir. The decoupage-based film accounts for 310 noir films, spanning from the early 1940s to the late 1950s while also including some foreign-made pictures that share an affinity with the genre. Boccassini’s experiment is as musical as it is daring; carefully assembled & labored on in a pulsing yet innovative way attuned to the delicateness of gestures, extreme close-ups, and the daring conceit of difference and repetition, recontextualizing the genre’s most memorable moments to enable a new way of seeing and experiencing.

THE CHASE
dir. Arthur Ripley, 1946
United States, 88min
In English.

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MONDAY, JULY 3 – 7:30PM
FRIDAY JULY 21 – 10:00PM

Arthur Ripley’s THE CHASE is an eerie blend of noir aesthetics and psychological tension exploring the limits of moral ambiguity and the pursuit of justice. Starring Peter Lorre & Steve Cochran as a pair of sadistic sociopaths alongside Robert Cummings (DIAL M FOR MUDER, SABOTEUR) as the newly hired chauffeur, THE CHASE is a fascinating and dreamlike subversion of the genre acting as a fitting pair to the expressionistic RAGTGAG.

KANSAS CITY CONFIDENTIAL
dir. Phil Karlson, 1952
United States, 99min
In English.

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SATURDAY, JULY 1 – 5PM
SATURDAY JULY 15 – 3PM

Phil Karlson’s classic film noir is a gritty anxiety-induced journey through a city cloaked in secrets. Hard-boiled and stylish and often referenced as a pinnacle to the genre, Karlson’s masterwork is an innovative and influential take on the heist film and a fitting anxiety-ridden companion to Boccassini’s RAGTAG.

SPECIAL EVENT TICKETS
FRIDAY, FRIDAY JULY 7 – 7:30PM + Remote Q&A with director Graeme Whifler!
(This event is $10.)

TICKETS HERE
WEDNESDAY JULY 12 – 10:00PM
FRIDAY JULY 21 – MIDNIGHT
TUESDAY JULY 25 – 10:00PM

DEADLY END (AKA NEIGHBORHOOD WATCH)
Dir. Graeme Whifler, 2005.
USA. 92 min.
In English.

Director Graeme Whifler, celebrated for his work with The Residents, DEVO, Sparks, and Oingo Boingo, is well-known for exploring unsettling and surreal concepts. More than a decade after co-writing the cult horror film Dr. Giggles with director Manny Coto, Whifler was compelled to revisit his original vision for the film, Mr. Giggles.

“Mr. Giggles bares only the vaguest similarity to the movie, Dr. Giggles. The character names and the notion of surgery are all that survived…”

Over a decade later, Whifler’s original concept was unleashed on the world as Deadly End, AKA Neighborhood Watch. Today, it is acknowledged as one of the most disturbing and sickening examples of underground horror cinema.

We are excited to host Graeme Whifler for a special remote Q&A at Spectacle this July, where he will delve into his creative process, his writing, and his legacy.

“Bob and Wendi Petersen thought they had found the perfect neighborhood on Wormwood Drive, but their new neighbor Adrien Trumbull has a dark secret. Despite his seemingly friendly demeanor, Adrien is deeply sick, with an obsession for self-mutilation and a love for poison. As Bob and Wendi accept Adrien’s gifts and friendship, they unknowingly open the door to a living nightmare. They soon discover that on Wormwood Drive, the night has eyes, and the neighbors are watching.”

Prefaced By:

SONGS FOR SWINGING LARVAE
Dir. Graeme Whifler, 1981.
USA. 6 min.

Part of a long line of music video collaborations between Ralph Records (home of The Residents) and Whifler, this short film for Renaldo & The Loaf was a sleeper hit on the late-nite MTV circuit before being quickly banned. See why for yourself in this eye-popping newly restored 16mm negative cut.

Titans of Spanish cinema director Vicente Aranda and actress Victoria Abril made 13 films together over the course of 40 years. This summer, Spectacle presents two of their steamiest noirs, Amantes and Intruso.

Both based on true crimes, Amantes and Intruso explore a frequent theme in the director’s work: the destructive potential of passion. Cool exteriors conceal seething desire. Repression breeds obsession. Obsession leads to death in two stories of doomed love triangles.

AMANTES
(Lovers)
Dir. Vicente Aranda, 1991
Spain. 101 min.
In Spanish with English subtitles

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SATURDAY, JULY 15 – 5:00PM
WEDNESDAY, JULY 19 – 7:30PM
SUNDAY, JULY 23 – 5:00PM

The year is 1955 and Paco (Jorge Sanz), a young man from a small town, moves to Madrid after being released from military service. While looking for work with the aim of marrying his girlfriend Trini (Maribel Verdú), he takes lodgings in the house of a widow (Victoria Abril), with whom he begins a torrid affair. Fueled by passion, obsession and greed, Paco and Luisa devise a plan to remove Trini from the picture.

Based on a true crime, Aranda sets the film in 1950s Francoist Spain, where repression, political and personal, is the order of the day. For her role as Luisa, the diabolical femme fatale at the center of Amantes, Victoria Abril would win a Golden Bear award for Best Actress in Berlin. The film builds steadily to its unavoidable finale, a heartbreaking and haunting scene of both tragedy and lyrical beauty, as the doomed love triangle breaks under the soft falling of Burgos snow.

“After all the elevated blood pressures regarding Basic Instinct and its allegedly graphic bisexual assignations, it’s a pleasure to report that Vicente Aranda’s Lovers, a 1991 movie from Spain, has a more palpable sexual charge than Sharon Stone and Michael Douglas could ever manage, is engrossing in a way the American film was not, and – crowning its achievement – is beautifully acted by one brilliant actress, Victoria Abril, and two excellent supporting performers, Jorge Sanz and Maribel Verdu.” -Rafael Navarro, Miami New Times, April 1992

“Vicente Aranda blatantly plays up the virgin/whore dichotomy between the two female characters but the women give nuanced performances that suggest undercurrents of complexity… Luisa (Abril) is a femme fatale of the old school and Abril throws herself wholeheartedly into the bad girl role in a performance that frequently segues between sensuality and a tightly coiled fury (often within the same sex scene).”  -Rebecca Naughton, Eye for Film

INTRUSO
(Intruder)
Dir. Vicente Aranda, 1993
Spain. 85 min.
In Spanish with English subtitles

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WEDNESDAY JULY 5 – 7:30PM
SATURDAY JULY 22 – 5:00PM
SUNDAY JULY 30 – 5:00PM

Luisa (Victoria Abril) spots her ex-husband, Angel (Arias), wandering about the city in complete destitution. She takes him into her house, where she lives with her present husband, Ramiro (Antonio Valero), a doctor, and two small children. Once ensconced in the house, the terminally ill Angel decides to wreak vengeance on Ramiro by reclaiming his ex-wife. -Variety

An underseen follow up to Amantes, Aranda returns to similar thematic and narrative territory with Intruso, a story of a woman torn between two husbands, in the gray and rainy setting of contemporary Santander. The cold winter light penetrates the family’s domestic enclave, and Director of Photography José Luis Alcaine renders the most intimate and intense interior scenes with steely brilliance and deep shadows. Abril is captivating again. Less a master manipulator and ace seductress than in Amantes, here she is the one possessed and obsessed, swept up in a past love re-emerged, in buried feelings reanimated, her performance brims over with desire, escaping her in tears and whispers.

“The twisted plotline highlights a sicko possessive love that makes one squirm, but not from anything that’s edifying. It’s just a squirmy pic.” – Dennis Schwartz, Dennis Schwartz Movies Reviews

“If this movie had been directed by Lars Von Trier, it would now be one of the jewels in the crown of his early filmography, but no, it is directed by an absolutely captivating, uncomfortable, risk-taking and sinister Vicente Aranda.” -Alex Caballero, Letterboxd

This July, as we find ourselves subjected to the annual bout of flag-waving fervor surrounding our country’s Independence Day, Spectacle Theater invites you to take part in an exploration of another side of American history. A history not written by its “victors”, as the adage goes, but by those at the fringes of our culture, lacking the visibility, political capital, or sheer amount of money needed to reach a wider audience. In the annals of American cinema, few filmmakers have so thoroughly embodied that distinct lack of characteristics more than self-proclaimed “schlockmeister”, Larry Buchanan.

Over the course of his career, Buchanan developed a reputation as a purveyor of low-budget sci-fi and horror, mostly intended for consumption at cheap drive-ins and on late-night television. A deeper dive into his work, though, shows a filmmaker with a deep fascination with American history and popular culture, underscored by a healthy contrarian perspective. Aside from his trademark sci-fi/horror schlock, Buchanan was probably best known for his streak of social issue films, biopics, and historical dramas that recontextualized real-life events in fantastical scenarios. His politics were often foregrounded in these works, which, when combined with his quick & dirty approach to production, resulted in films that ranged from the unintentionally radical— like a courtroom drama centered around Lee Harvey Oswald, produced and released less than six months after the Kennedy assassination— to the outright conspiratorial— like a musical biopic that implicates Richard Nixon in the deaths of multiple 60s musical icons.

Collectively, these films comprise a sort of alternate history of 20th-century America, one committed to exploring different dimensions of major historical events and figures that fall well outside of their traditional narratives. Whether dealing with Lee Harvey Oswald, Marilyn Monroe, or the Vietnam War, these are works that could only have been conceived of by a filmmaker in pursuit of his own specific idea of truth. This is America, through the eyes of Larry Buchanan.

DOWN ON US (aka BEYOND THE DOORS)
dir. Larry Buchanan, 1984
United States. 117 min.
In English.

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SUNDAY, JULY 2 – 5:00PM
TUESDAY JULY 11 – 7:30PM
WEDNESDAY JULY 19 – 10PM
MONDAY JULY 31 – 7:30PM

Hendrix. Joplin. Morrison. Some of the most iconic names in the history of American pop culture (and also Jim Morrison), whose lives were sadly cut short at the height of their popularity. To many, their deaths were seen as another in a long line of tragedies heralding the end of the late-1960s countercultural movement, drawing the Swinging Sixties to a definitive close. But to Larry Buchanan, these deaths taking place within a few short months of one another may have been more conspiracy than coincidence.

What if it wasn’t booze or drugs that were responsible for these stars’ demise, but something much more nefarious? What if these were calculated killings, perhaps in response to their music’s message of peace & love actively turning youth culture against the Vietnam War? These questions form the basis of Buchanan’s late-career opus, which posits that the deaths of Jimi Hendrix, Janis Joplin, and Jim Morrison were not an accident, but part of a plot bigger than any of us could imagine, one that can be traced all the way back to that highest of offices held by the Trickiest of Dicks.

In true “schlockmeister” fashion, Buchanan had neither the time nor budget to license any actual music for the film, and instead relied on a series of (surprisingly good) original songs that he commissioned to sound like the work of their respective artists.

GOODBYE, NORMA JEAN
dir. Larry Buchanan, 1976
United States. 95 min.
In English.

GET TICKETS
SATURDAY, JULY 1 – 10:00PM
FRIDAY JULY 7 – MIDNIGHT
WEDNESDAY JULY 12 – 7:30PM
MONDAY JULY 17 – 10:00PM

Content warning: This film contains graphic depictions of sexual assault.

Norma Jean Baker is a poor munitions factory worker and aspiring actress in 1940s California. After striking up a relationship with a photographer who gives her the confidence she needs to overcome a traumatic past, she sets off for Hollywood to pursue her dream of stardom. Unfortunately for Norma Jean, the road to becoming Marilyn Monroe is fraught with abuse at the hands of every predatory producer and creepy casting director in town.

Leave it to Larry Buchanan to take the story of one of Hollywood’s most revered icons and turn it into a towering work of trash cinema. More BAD GIRLS GO TO HELL than BLONDE, Buchanan’s biopic is a bona fide roughie, depicting Norma Jean Baker’s (played by 70s centerfold, Misty Rowe) up-and-coming years as a waking nightmare of sexual violence and sleaze. Which is not to say that his take on Baker/Monroe isn’t still compelling. Considering this was the very first narrative film to depict the life of the world’s most famous sex symbol, Buchanan’s decision to make sex a dangerous, threatening constant in her life is a radical one, offsetting the film’s tawdriness by adding a layer of tragic irony throughout.

Even though the film focuses almost exclusively on Norma Jean’s pre-fame years, the film was still widely publicized as a Marilyn Monroe biopic, with Buchanan holding a nationwide lookalike contest to find the perfect “Marilyn” for his film. The contest was won by an unknown 21-year-old, Alexis Pederson, who supposedly turned down the part immediately after reading the script, leading Buchanan to offer the role to Rowe instead.

THE TRIAL OF LEE HARVEY OSWALD
dir. Larry Buchanan, 1964
United States. 98 min.
In English.

GET TICKETS
THURSDAY, JULY 6 – 7:30PM
SUNDAY JULY 9 – 5PM
FRIDAY, JULY 14 – 7:30PM
FRIDAY JULY 21 – 5PM

November 24, 1963: Lee Harvey Oswald, under arrest for the alleged assassination of President John F. Kennedy two days prior, is fatally shot in the basement of Dallas Police Headquarters by local nightclub owner, Jack Ruby.

April 22, 1964: “Lee Harvey Oswald” stands trial in front of a jury of his peers over the alleged assassination of President John F. Kennedy. YOU are the twelfth juror.

In the months immediately following Lee Harvey Oswald’s death, Larry Buchanan put together this legal procedural speculating how Oswald’s trial over John F. Kennedy’s assassination would have played out. Ironically, given the subject matter, this is arguably the least conspiracy-tinged (or maybe most, depending on how you look at it) of Buchanan’s historical fictions, positing the same theory later confirmed by the Warren Commission report that Oswald was the sole shooter.

Coincidentally, Texas-native Buchanan had crossed paths with Jack Ruby just a few years prior, while filming the 1961 mondo nudie, NAUGHTY DALLAS, parts of which were shot at Ruby’s nightclub. According to the director, at one point Ruby had even requested to be in the picture, which Buchanan refused for no other reason than, “I hated him, so he wasn’t.”