FOR PERVERTS ONLY: 3 BDSM/SW’ER-FOCUSED FILMS

Fetishes

Films that portray BDSM or sex work are often not made for people in the lifestyle or community. These three films stand out because they were in some form collaboratively made with people who were active in the lifestyle in the late 1990s. This series is intended for us: the femdoms, SWers, gay hustlers, sissies, sluts, masochists, foot freaks, submissive men… the list goes on. Enjoy the late ’90s fetish outfits, hot scenes, and general perversion!

<3 The March 16 screening of FETISHES is for SW’ers ONLY and FREE <3 The HUSTLER WHITE screening on the same day is FREE for SW’ers <3

Fetishes

FETISHES
dir. Nick Broomfield, 1996
United States, 84 minutes

MONDAY, MARCH 3 – 7:30 PM
TUESDAY, MARCH 11 – 7:30 PM
SUNDAY, MARCH 16 – 7:30 PM – FREE! SWers only!
FRIDAY, MARCH 21 – MIDNIGHT

TICKETS

Filmed at the storied, luxurious NYC S&M parlor Pandora’s Box, FETISHES explores in both a humorous and informative manner the full range of fetishes, from rubber and infantilism to asphyxiation and mummification. Clients pay upwards of $10,000 a night to submit to a mistress who creates highly elaborate role-playing scenarios designed to meet their specific desires. Doctor-and-nurse scenes, naked wrestling, bullwhipping, and more play out in diverse themed rooms, ranging from one styled after Versailles to an OR.

We will host a free screening only for SW’ers on Sunday, March 16!

Hustler White

HUSTLER WHITE
Dir. Bruce LaBruce and Rick Castro, 1996
United States, 79 minutes

WEDNESDAY, MARCH 5 – 10 PM
SATURDAY, MARCH 15 – MIDNIGHT
SUNDAY, MARCH 16 – 5 PM – FREE for SWers!
MONDAY, MARCH 24 – 7:30 PM

TICKETS

Bruce LaBruce teams up with photographer Rick Castro in a wild reimagining of SUNSET BOULEVARD set in the hot hustling scene of Santa Monica Boulevard in the ’90s. Lovelorn anthropologist Jurgen Anger (LaBruce) heads to LA to research hustling, but after spotting angel-faced Montgomery Ward (supermodel Tony Ward), he falls hopelessly in love. Featuring cameos by Ron Athey and Vaginal Davis, HUSTLER WHITE is a roller coaster ride of sex, money, depravity… and romance!

The Sunday, March 16 screening is free for SW’ers!

the life and death of bob flanagan, supermasochist

SICK: THE LIFE AND DEATH OF BOB FLANAGAN, SUPERMASOCHIST
Dir. Kirby Dick, 1997
United States, 92 minutes

FRIDAY, MARCH 7 – 7:30 PM
MONDAY, MARCH 17 – 10 PM
WEDNESDAY, MARCH 26 – 7:30 PM
SATURDAY, MARCH 29 – 10 PM

TICKETS

This internationally acclaimed documentary profiles comedian and performance artist Bob Flanagan, whose experiences with S&M helped him manage his painful experience living with cystic fibrosis. A deeply moving, often hilarious profile of one of the unique artists of this century, the film follows Flanagan’s strikingly singular art and life as he explores the limits of pain, sexuality, love, and death.

CW: This film contains documentation of terminal illness and death.

YAMAVICASCOPE: THE SHORT FILMS OF ISAO YAMADA

Since 1977, Isao Yamada, director of instant Spectacle classic I’VE HEARD THE AMMONITE MURMUR, has produced over a hundred experimental short film-poetries in a collection he calls Yamavicascope. These films emphasize the “non-digital optical sensation” produced by the 8mm (and occasionally 16mm) film with which they are shot and hand-edited by Yamada. This emphasis on materiality is seen throughout his artistic output, which includes paintings, manga, graphic design, and a calligraphic font known as “Yamada-moji,” which he uses for the titles and type in his films.

This March, Spectacle is honored to present a two-night Yamavicascope retrospective. These four programs, titled by Yamada himself, invite a career-spanning glimpse into the director’s “private films.”

Special thanks to Eiichi Aso, Yamavica Film, and YHI.

PROGRAM 1: NOSTALGIA, SADNESS, AND THE SEA

FRIDAY, MARCH 14 – 7:30 PM

TICKETS

Yamada was 21 years old when he joined the Tenjo Sajiki theater troupe, one of the most provocative forces in the emerging avant-garde angura scene, co-founded and led by Shuji Terayama. Yamada credits his relationship with Terayama and working on the art direction of his features as his awakening to film. Following this, Yamada co-founded the Gingagahou-sha Film Club in Sapporo with manga artist Yumekichi Minatotani. The works in this program make up some of Yamada’s earliest forays into film and introduce his first major collaborator in Minatotani.

AN INCIDENT OF NIGHT
(スバルの夜)
Dir. Isao Yamada, 1977
Japan, 25 min

Yamada’s directorial debut and the first film released by the Gingagahou-sha Film Club.

NIGHT OF THE MILKY WAY RAILROAD
(銀河鉄道の夜)
Dir. Isao Yamada, 1982
Japan, 45 min

THE FAN OF SPIRAL SHELL
(巻貝の扇)
Dirs. Isao Yamada, Yumekichi Minatoya, 1983
Japan, 12 min

Yamada’s first film shot on 16mm.

SAD GADOLF
(悲しいガドルフ)
Dirs. Isao Yamada, Yumekichi Minatoya, 1984
Japan, 20 min

Total running time: 102 min

PROGRAM 2: WAYS OF REMEMBERING YOUR DREAMS

FRIDAY, MARCH 14 – 10:00 PM

TICKETS

This program features two more of Yamada’s collaborators: Hiroko Ishimaru (who stars in I’VE HEARD THE AMMONITE MURMUR) and Mizuho Kudo.

CRYSTAL
(水晶)
Dir. Isao Yamada, 1988
Japan, 12 min

THE CROWN OF DREAMS
(夢を冠に)
Dir. Isao Yamada, 1990
Japan, 16 min

THE DESCENDENT OF ANDROGYNOUS
(アンドロギュヌスの裔)
Dir. Isao Yamada, 1995
Japan, 25 min

FRAGMENTATION OF NIGHT
(夜のフラグメント)
Dir. Isao Yamada, 1996
Japan, 12 min

SWAMP
(沼)
Dir. Isao Yamada, 1999
Japan, 12 min

A STAR AND A PROPELLER
(星とプロペラ)
Dir. Isao Yamada, 2000
Japan, 13 min

Total running time: 90 min

PROGRAM 3: MARIONETTE FANTASIES

SATURDAY, MARCH 15 – 5:00 PM

TICKETS

フィルムの死が先か、「私」の死が先か、という状況にある。 (The situation is whether the death of 8mm film comes first, or the death of ’I’ comes first.) – Yamada (2017)

GIRL ORPHEE
(少女オルフェ)
Dir. Isao Yamada, 2001
Japan, 20 min

WINTER FLOWER
(逢魔ヶ時)
Dir. Isao Yamada, 2003
Japan, 15 min

FEEL
(そして彼女の手は優しく触れる)
Dir. Isao Yamada, 2004
Japan, 15 min

CHRYSANTHEMUM INSPIRATION
(Chrysanthemum綺想)
Dir. Isao Yamada, 2005
Japan, 20 min

WINTER HAS A DREAM
(白昼夢)
Dir. Isao Yamada, 2008
Japan, 20 min

Total running time: 90 min

PROGRAM 4: LIFE FLASHING BEFORE ONE’S EYES, AND FABLES

SATURDAY, MARCH 15 – 7:30 PM

TICKETS

DESPAIR ARABESQUE
(絶望アラベスク)
Dir. Isao Yamada, 2011
Japan, 34 min

REFLECTION
(Kioku)
Dir. Isao Yamada, 2014
Japan, 23 min

An official selection of the 61st International Short Film Festival Oberhausen.

APPARITION’S MOMENT
(幻視の一瞬)
Dir. Isao Yamada, 2017
Japan, 3 min

THE NIGHT OF COPERNICUS
(コペルニクスの夜)
Dir. Isao Yamada, 2020-21
Japan, 28 min

Total running time: 88 min

THE FUTURE HAS ALREADY HAPPENED: FOUR FILMS BY ANTERO ALLI

THE FUTURE HAS ALREADY HAPPENED - FOUR FILMS BY ANTERO ALLI

Born and raised in Finland, writer and astrologer Antero Alli spent most of his adult life in Portland, Oregon as a daring polymath in the underground performing arts. Making his name in experimental paratheater, Alli wrote, produced, and directed various works that toured the West Coast. He co-founded the Nomad VideoFilm Festival in 1992, and the next year he began making films of his own. When he passed in 2023, Alli left a legacy of 16 features and numerous music videos, shorts, and self-styled “videopoems” that mark him as one of the singular auteurs of the Pacific arthouse circuit.

In his vision statement, Alli said: “Each film made represents a personal dream coming true and a fulfillment of the dreams of those who join me. Filmmaking as a deep image river—flooding forth from an active dreamtime vortex where the personal awakens to the transpersonal through the lens of an insurrection of the Poetic Imagination.”

A determined opportunist, Alli’s entire filmography was produced in-house and self-distributed through Vertical Pool Productions, the collaborative art platform he created with his wife, musician Thia (Sylvi) Alli. With their budgets rarely exceeding $10,000, Alli’s films are explicitly irreverent concerning traditional Hollywood storytelling and lofty production garnish. The grainy DV-shot soliloquies dedicated to the countercultural scenes of Capitol Hill, Seattle, and Haight-Ashbury stand out firmly in an age of high-quality consumer-grade video recording technology.

In 2023, before Alli’s passing after a long battle with lymphoma, Spectacle screened his final film, BLUE FIRE, along with a virtual Q&A with the director. Now, we proudly present a posthumous retrospective of Alli’s finest works.

DRIVETIME

THE DRIVETIME
dir. Antero Alli, 1995
United States, 88 min.

WEDNESDAY, MARCH 5 – 7:30 PM
SATURDAY, MARCH 15 – 10 PM
FRIDAY, MARCH 21 – 10 PM

TICKETS

Flux is a techno-librarian assigned by government contract to travel back to 1999 to preserve video footage documenting police brutality against protesters and civilians in Seattle.

A self-styled “cyber-fi video” and a collaboration with astrologer, musician, and activist Rob Brezny, THE DRIVETIME is a true ’90s relic, part cyberpunk satirical drama and part lo-fi psychedelic essay film. Heavily inspired by early internet culture, THE DRIVETIME digitally paints a grim authoritative future (one all too familiar to our current reality) with humor, style, and hippie absurdism. It’s a hypnagogic time-traveling revolt that will bend the minds of even the most seasoned psychonauts.

One of the most chilling yet innovative cinematic essays on the flaws of today’s technology-obsessed society is Antero Alli’s THE DRIVETIME. This iconoclastic view of a future world projects a dazzling stream-of-consciousness skein of technical wizardry and provocative wordplay … THE DRIVETIME forces viewers to think about where our world is heading. This work should be seen by anyone who mistakenly believes that all’s calm and well in our little digital sphere.
—Phil Hall, Wired

Each screening will be accompanied by the short COLD FORCE.

HYSTERIA

HYSTERIA
dir. Antero Alli, 2002
United States, 81 min.

SATURDAY, MARCH 1 – 5 PM
SUNDAY, MARCH 9 – 5 PM (w/Q&A)
THURSDAY, MARCH 27 – 10 PM

TICKETS (GENERAL ADMISSION)

TICKETS (Q&A)

Ikar is a Croatian soldier whose Catholic faith reaches a breaking point during a vivid hallucination. As he tries to rebuild his life post-service in Oakland, his neighbors take an interest in him, changing the trajectory of all their lives.

Another collaboration, this time with lead actor Jakob Bokulich, as a response to the rising islamophobia in America post-9/11, HYSTERIA predates the five-alarm warnings rung by recent psychological faith smashes like Schrader’s FIRST REFORMED. Stunning in its dreamlike quality yet grounded by the chemistry between Anastasia Vega and Atosa Babaoff, who play the Iranian sisters who live next to Ikar, HYSTERIA is a chilling, surrealist fable about the perils of religious fundamentalism. Bokulich will join us for a Q&A after the March 9 screening.

Each screening will be accompanied by the short DRIVING MYSELF THERE.

SULPHUR

THE ALCHEMY OF SULPHUR
dir. Antero Alli, 2021
United States, 108 min.

FRIDAY, MARCH 7 – 10 PM
SATURDAY, MARCH 22 – 5 PM
MONDAY, MARCH 31 – 10 PM (w/virtual Q&A)

TICKETS (GENERAL ADMISSION)

TICKETS (Q&A)

While dealing with a tumultuous breakup, Hope writes herself into a short story as a character who falls in love with a tree scholar named Phineas. As she becomes enraptured in her fiction, unexpected real-world consequences occur.

Possibly Alli’s most intimate film, the micro-mystical romantic drama THE ALCHEMY OF SULPHUR explores the spectrum of human sexuality, creative writing as coping, and dendrology. Its galaxy-brained performance art parable about love and desire is highlighted by local Portland collage artist Douglas Allen, featured in a whirlwind dual role as Phineas and Keith, an asexual interpretive dancer who becomes drawn to Hope’s creative process. A true poetic example of late style, THE ALCHEMY OF SULPHUR reflects on what ignites our imaginations. A virtual Q&A with Allen will follow the March 31 screening.

Each screening will be accompanied by the short WITCH BURNING.

TRACER

TRACER
dir. Antero Alli, 2022
United States, 93 min.

SATURDAY, MARCH 8 – 10 PM
WEDNESDAY, MARCH 12 – 10 PM
TUESDAY, MARCH 18 – 7:30 PM (w/virtual Q&A)

TICKETS (GENERAL ADMISSION)

TICKETS (Q&A)

In the not-so-distant future, the Russian Mafia can enter the dream states of targets through skilled psychic agents known as Tracers. One Tracer (Douglas Allen) is tracking a gunrunner turned sailor who’s trying to bond with his son using the new designer drug C-9.

Alli uses a tech film noir to stage a postmodern postmortem on liberal democracy as we know it. Inspired by America’s cultural and political paranoia after the 2016 election and the attempted insurrection of January 2021, TRACER is an expressionistic snapshot of an empire’s funeral, more concerned with the interpersonal than gazing into the future. There will be a virtual Q&A with Allen after the March 18 screening.

Each screening will be accompanied by the short THE WORD WEIRD.

RIP ANTERO ALLI (1952-2023)

Special thanks to Thia (Sylvi) Alli.

THE JOURNEY

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THE JOURNEY
dir. Peter Watkins, 1987
Sweden, Canada, USA, Australia, New Zealand, USSR, Mexico, Japan, Scotland, Polynesia, Mozambique, Denmark, France, Norway, and West Germany, 873 min
In multiple languages with English subtitles.

TICKETS
Pricing: $20 for the whole film ($10/day) or $5 for each screening (available at the box office only)

SATURDAY, MARCH 29
Part 1 (eps. 1-3), approximately 140 min: 1:00-3:40
Part 2 (eps. 4-6), approximately 135 min: 4:00-6:15
Part 3 (eps. 7-9) approximately 135 min: 7:15-9:30

SUNDAY, MARCH 30
Part 4 (eps. 10-12), approximately 137 min: 1:00-3:15
Part 5 (eps. 13-15), approximately 150 min: 4:00 – 6:30
Part 6 (eps. 16-19), approximately 194 min: 7:30-10:45

Against a great evil, a small remedy does not produce a small result; it produces no result at all…

Long underseen due to its towering length and the density of its political ambitions, Peter Watkins’ 14 1/2-hour documentary THE JOURNEY is a powerful work of political philosophy. Originating as an anti-nuclear-war film and a followup to Watkins’ early film THE WAR GAME (1965), the project steadily grew to encompass a myriad of interconnected issues underpinning the poor state of human civilization.

Spread across 19 chapters that continually criss-cross the globe, THE JOURNEY is a provocative pedagogical tool that stands in stark contrast to the dominant hegemonic ideologies that define Watkins’ concept of the monoform. We’ll be presenting the entire film in one weekend, spread across two days, with series passes available in advance and individual tickets to each section available at the door.

The 14½ hours of The Journey are organized into an immense filmic weave that includes candid discussions with “ordinary people” from many countries; community dramatizations; a variety of forms of deconstructive analysis of conventional media practices; presentations of art works by others; portraits of people and places; and a wealth of specific information about the knot of contemporary issues that includes the world arms race and military expenditures in general, world hunger, the environment, gender politics, the relationship of the violent past and the present, and, especially, the role of the media and of modern educational systems with regard to international issues …

The more one fully attends to The Journey, the more the coherence of its vision becomes apparent. At first, the film seems to jump abruptly from one place and time to another, but by the end of the film, Watkins has made clear a belief that has been one of the foundations of all his work: that fundamentally, all places are simultaneously distinct and part of one place; all times are special and part of one time; all issues are important for themselves and as parts of a single, interlocking global issue. The Journey creates a cinematic space in which the viewer’s consciousness circles the earth continually, explores particular families and places, and discovers how each detail ultimately suggests the entire context within which it has meaning. […] Watkins’ film develops in the direction not of narrative climax and resolution, but of an expanded consciousness of the world …

—Scott MacDonald, “Avant-Garde Film Motion Studies”

L’OBSESSION TECHNIQUE: 16MM AND SUPER 8 FILM FROM LIGHT CONE + CJC + L’ETNA

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L’Obsession Technique is curated by MaLo Sutra Fish mostly from the catalogues of Light Cone and Collectif Jeune Cinéma, two major landmarks of the Paris experimental scene. It is the extended version of a program shown at Emerson College, centered either around personal technical obsessions and the work of film collectives (core subjects of MaLo’s practice). Showcasing filmmakers from L’Etna and L’Abominable, with a special tribute to Australia’s NanoLab, the common thread is technical play as an illustration of memory.

MaLo is a member of L’Etna who often collaborates with Boston’s AgX Film Collective.

SATURDAY, MARCH 1 – 7:30 PM

TICKETS

this little light of mine

THIS LITTLE LIGHT OF MINE
Dir. MaLo Sutra Fish, 2020
France, 8 min
8mm to digital

Shot in Super 8 Ektachrome and using the codes of experimental cinema, this short evokes the four stages a person undergoes when having a tonic-clonic seizure, one of the most violent experiences the body can inflict upon itself.

the following images never happened

THE FOLLOWING IMAGES NEVER HAPPENED
Dir. Noé Grenier, 2022
France, 7 min
Digital

This found-footage short is based on the 35mm trailer for Jan de Bont’s 1996 action film TWISTER. It imagines a fictional collective hallucination at a Canadian drive-in screening of the film on May 22, 1996 that was cancelled due to a tornado alert. The urban legend goes that patrons actually watched the film until the real-life storm interrupted the fictional one. The director recreates in a subjective, fragmentary way the memory of images never projected and never seen, yet eerily familiar.

decadentia

DECADENTIA
Dir. Guillaume Anglard, 2024
France, 10 min
8mm to digital

Like an archive, DECADENTIA surveys the remains of an unknown civilization in a post-apocalyptic landscape.

crossing

CROSSING
Dir. Richard Tuohy, 2016
Australia, 11 min
16mm

Across the sea, across the street. Cross-processed images of fraught neighbours Korea and Japan in a pointillist sea of grain.

self-portrait with bag

SELF-PORTRAIT WITH BAG
Dir. Dianna Barrie, 2020-21
Australia, 6 min
16mm

A cameraless portrait of the artist. Super 8 cartridges were placed in a black cotton bag, and the film was advanced via a hand crank. The tiny gaps in the fabric create innumerable pinholes through which Barrie is glimpsed.

mue(s)

MUE(S)
Dir. Frédérique Menant, 2015
France, 11 min
16mm

I’ve crossed the solstices.

In the shadows, a breath.

Under the skin, a passage.

Molting is an unspeakable experience.

When the molt detaches, it opens up a tiny space, from self to self, where the image trembles.

terminus for you

TERMINUS FOR YOU
Nicolas Rey, 1996
France, 10 min
16mm

The strange journey of passengers in the Paris metro. A moving walkway takes them from one platform to another, from one line to another, and from one destination to the next. What do we actually see?

aesthetic memory

AESTHETIC MEMORY
Dir. Isao Yamada, 1988
Japan, 8 min
8mm to digital

Part of his practice to this day, Isao Yamada is usually found walking around with a Super 8 camera. This is part of his series Instant Daily Film Sketches.

When walking with Yamada, I sense his toughness as a walker, and he has a unique attentiveness to every object, so when Yamada finds something interesting or beautiful, he stops and looks at it endlessly. But he also switches his attention quickly… This unique tempo, a mixture of concentration and openness to reality, and his distinctive behaviour that seems to seek a world which is quite different from the immediate reality, is intriguing… You could say that it’s all about a journey, but this collection of works might particularly put you in the mood for ‘Yes, it actually is.’—Higashi Yoichi

DOOM BOOM: BOLLYWOOD HORROR FROM THE RAMSAY BROTHERS

DOOM BOOM: BOLLYWOOD HORROR FROM THE RAMSAY BROTHERS

Like transmissions from another planet: re-animated ghosts and/or corpses stalk swimsuit-clad women (usually wearing one-pieces) and their singing paramours. The most familiar parts of these movies resemble (and are, uh, directly influenced by) American horror movies like The Exorcist, The Omen, The Evil Dead, and A Nightmare on Elm Street. But only parts: Doom Boom horror movies are mostly concerned with romantic angst, shirtless he-man punching, and cross-generational, parents-just-don’t-understand miscommunication. Eventually, shaman-like tantriks are called in to vanquish hulking vampire/zombie-types with big foreheads and splotchy monster make-up. And then everybody gets married and/or respects their elders. — Simon Abrams, Fangoria

Every Ramsay movie ends with the monster exploding. Every single one. — Grady Hendrix, Film Comment

The history of horror in Indian cinema hinges on a single scene in 1970’s EK NANHI MUNI LADKI THI, a box office bomb produced by Mumbai electronics shop owner turned would-be film impresario F.U. Ramsay. When his sons Tulsi and Shyam visited the theater where the film was playing, they noticed something weird: Throngs of audience members would pay the ushers a handful of change to be let into the empty auditorium to watch one specific scene. In it, star Prithviraj Kapoor breaks into a museum, protected by armor and disguised by a grotesque mask and black cape. He looks “just like Dracula,” Tulsi recalled in a 2012 interview, and his armor repels police bullets, making him unkillable, “like a ghost. A monster.”

And so it was that the seven Ramsay brothers, already admirers of the likes of Hammer productions, trained themselves as filmmakers and founded a horror empire. Ramsay movies were very much a family affair. Tulsi and Shyam directed from Kumar’s scripts, Kiran recorded the sound, Keshu designed the lighting, Gangu served as cinematographer, Arjun edited, and their mother Kishni and their wives did makeup and craft services.

Beginning with India’s first zombie movie, DO GAZ ZAMEEN KE NEECHE (1972), Ramsay films were popular with rural audiences, similar to the regional success of many independent and low-budget horror films in America during the pre-multiplex days. PURANA MANDIR was the second-highest-grossing Indian film of 1984, sparking a host of copycats, the so-called “Doom Boom.” This both cemented horror’s place in Bollywood history and risked oversaturation, especially for a genre considered low-rent and disreputable by higher-caste urban audiences and the industry elite. “No stars, no cars” was a Ramsay refrain — their casts of inexperienced ingenues and weathered B-movie hams got to set by bus and often wore their own clothes, which tended to preppy sportswear.

These films were, to say the least, resourceful. The Ramsays picked locations (not infrequently recycled between productions) that took advantage of the landscape of rural Mahabaleshwar, with its ruined colonial-era villas, creepy woods, and dungeon sets dressed up with cobwebs, taxidermied animal heads, and random/scary wall art. Interesting camera angles, lighting gels, and smoke machines made low-cost contributions to a supernatural Bava-esque atmosphere.

The films draw from universal horror grammar. Characters sport awesomely ’80s chest thatches and blowouts, and they make terrible, terrible decisions. Plots and creatures were aggressively ripped off from classic and contemporary American creature features, from coffin-dwelling vampires to girls glowing with the sickly aura of demonic possession, with a locally specific emphasis on marriage plots and family-first morals. The monster dwelling in an old house stood an equal chance of being vanquished by a crucifix or an om. These films invariably boast a classic masala mix of song and dance, broad and often offensive comic relief, amateur fight scenes, and (almost entirely chaste) romance. More campy than scary, the Ramsays’ best films are nevertheless inspiring for their craft, imagination, and enthusiasm — all on crystal-clear display in the 2023 digital restorations by Pete Tombs for a Mondo Macabro Blu-Ray release.

Programmed in collaboration with Simon Abrams.

VEERANA

VEERANA
(Deserted Place)
dir. Shyam and Tulsi Ramsay, 1988
India, 140 mins
In Hindi with English subs

SATURDAY, MARCH 1 – MIDNIGHT
MONDAY, MARCH 10 – 7 PM
TUESDAY, MARCH 25 – 10 PM

TICKETS

A “uniquely surreal possession movie” (Grady Hendrix, Film Comment) starring the model Jasmin in her only significant film role as a young woman possessed by a seductress demon who (in a typical Ramsay touch) is introduced and vanquished in the pre-credits sequence before returning to torment a new generation. Perhaps the pinnacle of the Ramsays’ art, Veerana features their groddiest monster makeup and most sinister servants, with setpieces drawing alternately from arcane religious superstition and meta-modern references to horror masters like Hitchcock (comically) and Hooper (plagiaristically).

PURANI HAVELI

PURANI HAVELI
(The Old Mansion)
dir. Shyam and Tulsi Ramsay, 1989
India, 145 mins
In Hindi with English subs

TUESDAY, MARCH 4 – 10 PM
THURSDAY, MARCH 13 – 7 PM
SATURDAY, MARCH 22 – 10 PM

TICKETS

Anita, whose parents were killed when they stopped for a quickie in an abandoned mansion, is all grown up and wants to marry lowly fashion photographer Sunil. But her auntie and uncle have a plan to steal her inheritance that involves moving her and her entire entourage into a haunted house — by coincidence, the very one where her parents died. Anita, her suitors, and her gal pals are duly menaced by terrifying visions of a hairy beast who lives in the basement, a menacing but extremely slow-moving suit of armor that no one seems able to simply run away from, and a strange old man who wanders the grounds moaning dire warnings that everyone mostly ignores (even after their peers have started to die mysteriously). Plus: A subplot about a dangerous and romantic bandit king (and lover of Donna Summer) who bears a striking resemblance to the crew’s portly homophobic servant.

BANDH DARWAZA

BANDH DARWAZA
(Closed Door)
dir. Shyam and Tulsi Ramsay, 1990
India, 145 mins
In Hindi with English subs

SUNDAY, MARCH 2 – 5 PM
FRIDAY, MARCH 7 – MIDNIGHT
TUESDAY, MARCH 11 – 10 PM
TUESDAY, MARCH 18 – 10 PM

TICKETS

In their 1984 breakthrough hit PURANA MANDIR, the Ramsays found their monster in Anirudh Agarwal, a six-foot-five civil engineer with a pituitary tumor and a face seemingly carved out of granite. “They didn’t even need to put make-up on me,” he would reflect to the BBC. Agarwal returns here for his other great Ramsay monster role: a caped and fanged bat demon fed a steady diet of maidens by a coven of familiars. Like all Dracula stories, BANDH DARWAZA is a meditation on taboo desire and repression, much of it given over to a love triangle between a temptress (promised to the demon before her conception by her infertile mother) and the couple she tries to come between, even intruding on their love duets.

HalluCinoGeNnN: TWO FILMS FROM ANDREY ISKANOV

Artist and actor Andrey Iskanov was born in 1976 in the climatically brutal Russian town of Khabarovsk, 20 miles from the Chinese border. There he cut his teeth in medicine, where his love of photography developed into an award-winning career in advertising and filmmaking. His fascination with the human body no doubt influenced his HalluCinoGeNnN series, some of the most brain-bending psychedelic industrial horror from Russia’s Extreme East.

This March, join us for a mind-melting presentation of two HalluCinoGeNnN titles: cyberpunk freakout thriller NAILS and VISIONS OF SUFFERING, a truly soul-crushing exercise in pain and ecstasy. Only at Spectacle!

NAILS
(ГВОЗДИ)
Dir. Andrey Iskanov, 2003
Russia, 62 min
In Russian with English subs

MONDAY, MARCH 3 – 10 PM
FRIDAY, MARCH 14 – MIDNIGHT
SUNDAY, MARCH 23 – 7:30 PM
SATURDAY, MARCH 29 – MIDNIGHT

TICKETS

Experiencing increasingly agonizing headaches and frightening voices, an unnamed hitman turns to the only relief he hasn’t tried: hammering nine-inch nails into his skull. His self-trepanation colorizes his black-and-white Siberian world, causing vivid hallucinations and torturous waking nightmares. Fighting tooth and nail for his sanity, our hero soon learns that the only way out of Hell is through.

Iskanov’s directorial debut and the beginning of the HalluCinoGeNnN series, NAILS is one tight-n-tense cerebral hell ride, THE MATRIX for edgy self-surgery enthusiasts or TETSUO: THE IRON MAN with a lobotomy.

VISIONS OF SUFFERING (FINAL DIRECTOR’S CUT)
(ГВИДЕНИЯ УЖАСОВ)
Dir. Andrey Iskanov, 2006
Russia, 85 min
In Russian with English subs

SATURDAY, MARCH 8 – MIDNIGHT
THURSDAY, MARCH 13 – 10 PM
WEDNESDAY, MARCH 19 – 10 PM
FRIDAY, MARCH 28 – MIDNIGHT

TICKETS

A man experiencing disturbing phone calls receives a visit from a Don-Quixote-quoting telephone repairman. His arrival shatters the barrier between reality and nightmare, unleashing a series of vampires, succubi, and demonic forces into existence.

The second film in the HalluCinoGeNnN series, VISIONS OF SUFFERING is the experimental art horror equivalent of falling victim to a gas leak while also becoming a victim of fashion inside an abandoned Hot Topic. Originally released as a two-hour cut in 2006 and reconstituted in 2016, Iskanov’s final director’s cut boosts the ick factor into the stratosphere while completely reimagining Hell on Earth. Don’t eat beforehand.

WARNING: EXPLICIT VIOLENCE, UNSIMULATED SEX, AND CADAVERS THROUGHOUT! YOU HAVE BEEN WARNED!

CHILDREN OF THE STONES

CHILDREN OF THE STONES

CHILDREN OF THE STONES
Dir. Peter Graham Scott, 1977
United Kingdom, 174 min
In English

THURSDAY, MARCH 20 – 7:30 PM
FRIDAY, MARCH 28 – 7:30 PM

TICKETS
Advance tickets are sold out, but additional seats may be made available at the door for standby customers.

This vernal equinox, Spectacle is chuffed to present the TV folk horror phenomenon CHILDREN OF THE STONES. Unleashed on an unsuspecting British audience by Welsh network HTV in 1977, it’s often described as the scariest children’s series ever made.

Peter Demin stars as Matthew Brake, a boy accompanying his astrophysicist father Adam Brake (Gareth Thomas) to the sleepy English village of Milbury to study the local stone circle. But from the start, something is not quite right. After strange interactions with the locals, father and son meet Mayor Hendrick (masterfully played by Scottish character actor Iain Cuthbertson), who knows an awful lot about astrophysics for a civil servant. What secrets are Hendrick and his cohort hiding, and what do they have to do with the stones?

A maze of multiple timelines, ley lines, pagan folklore, and a dissonant, cacophonous musical score of wailing voices converge into a mystery that will have you on your toes until the final title crawl. It’s pretty phantasmagorical.

All seven episodes will be played in succession, with a 15-minute intermission between episodes 4 and 5.

THE HEIRLOOM

THE HEIRLOOM
Dir. Ben Petrie, 2024
Canada, 87 min
In English

Preceded by:
HER FRIEND ADAM
Dir. Ben Petrie, 2016
Canada, 17 min
In English

FRIDAY, MARCH 21 – 7:30 PM w/Q&A moderated by Matt Johnson
SATURDAY, MARCH 22 – 7:30 PM w/Q&A moderated by Charlotte Wells
SUNDAY, MARCH 23 – 5:00 PM w/Q&A moderated by Veronika Slowikowska
MONDAY, MARCH 24 – 10:00 PM w/Q&A moderated by Nate Wilson
TUESDAY, MARCH 25 – 7:30 PM w/Q&A moderated by Jay Giampietro
WEDNESDAY, MARCH 26 – 10:00 PM w/Q&A moderated by Zach Clark
THURSDAY, MARCH 27 – 7:30 PM w/Q&A moderated by Mary Neely

TICKETS (all events will be $10)

Inspiration seizes a desperate filmmaker after he and his girlfriend adopt Milly, a traumatized rescue dog.

Combining dry wit, neuroticism, and disorienting experimentation, THE HEIRLOOM has something for everyone who has ever taken in a dog, been in a long-term relationship, or made a movie. In particular, it scrutinizes the purported irreconcilability of domesticity with creative passion. Petrie describes THE HEIRLOOM as a “psycho-therapeutic reenactment” of what he and his wife (rising star Grace Glowicki, co-starring here) went through adopting a rescue dog. Both leads are gripping, not to mention the fantastic work of Cheers as Milly.

Following its international premiere at the 2024 International Film Festival Rotterdam, Spectacle is thrilled to welcome Canadian filmmaker Ben Petrie for the U.S. premiere of his first feature. He’s returning to Spectacle after appearing as an actor in THE ALL GOLDEN, which played at the theater in 2023.

Throughout the weeklong run of THE HEIRLOOM, the filmmaker will be present each night for in-person Q&As with various moderators, including Matt Johnson (BLACKBERRY, THE DIRTIES) and Charlotte Wells (AFTERSUN).

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MICROCINEMA SOLIDARITY: VIDEO REVELATIONS FROM VISUAL STUDIES WORKSHOP

MICROCINEMA SOLIDARITY: Video Revelations from Visual Studies Workshop
dir. Various, 1971-1975
United States, 75 min
In English

SATURDAY, FEBRUARY 22 – 5 PM

TICKETS (this event is $10)

Presented by Tara Merenda Nelson, VSW Curator.

Visual Studies Workshop (VSW) is a nonprofit artist space, audiovisual archive, and microcinema founded in 1969 in Rochester, NY with a mission to support the makers and interpreters of images. Critically interested in the role images play in society, VSW became a repository for discarded media deemed unusable or obsolete by larger institutions and has provided unrestricted access to artists interested in the creative reuse of archives.

Most tapes in the collection originate from artists, activists, citizen journalists, and public access programming from Central and Western New York, as well as significant early experimental artists’ video productions. VSW has worked to preserve the most unique—and endangered—tapes in this library.

This screening will present recently preserved tapes highlighting the vibrant, largely unseen history of video art and activism in New York State. Pulling from the archive of video collective Portable Channel, which operated between 1971-1986, the selections include homemade experiments with the electronic image by artists Steina and Woody Vasulkas, a Videofreex party (where everyone is using PortaPacks), and coverage of the 1971 Attica uprising.