I’LL BE AROUND

I’LL BE AROUND
dir. Mike Cuenca, 2020
United States, 127 min
In English

TUESDAY, FEBRUARY 4 – 7:30 PM
SUNDAY, FEBRUARY 9 – 7 PM (w/Q&A)
WEDNESDAY, FEBRUARY 19 – 10 PM
MONDAY, FEBRUARY 24 – 10 PM

TICKETS
Q&A TICKETS

This day could change their lives … but it probably won’t.

Taking place over one day at a postpunk music festival, I’LL BE AROUND follows over a hundred struggling musicians as they navigate issues ranging from missing guitars to premature ejaculation to generation angst. A remarkably ambitious and expansive film, it’s filled with the freaks, geeks, divas, misfits, hangers-on, dreamers, and criminals that make up an indie music scene, all lovingly and colorfully drawn.

This Rockuary, Spectacle is proud to present the theatrical world premiere of the director’s cut of Mike Cuenca’s I’LL BE AROUND, featuring a Q&A with actor Joaquin Dominguez moderated by Emily Pierce after the Feb. 9 screening.

MASTERS OF SPANISH EXPLOITATION: PEDRO OLEA

By 1968, Spain saw a slight relaxation in the film censorship laws enforced under Francisco Franco’s dictatorship. This allowed films like THE HOUSE THAT SCREAMED (1969) and THE MARK OF THE WOLFMAN (1968) to be produced; the former, despite being cut in Spain, became the highest-grossing Spanish film of its time.

The success of these films marked the beginning of the golden age of Spanish B-movie horror, known as “Fantaterror” (a term coined by MARK OF THE WOLFMAN star Paul Naschy). In his essay Fantaterror: Gothic Monsters in the Golden Age of Spanish B-Movie Horror, 1968-80, Xavier Aldana Reyes writes that “Fantaterror was … the Spanish answer to the type of violent and titillating films that have come to be known as ‘exploitation cinema’ within the European and American contexts.” Some directors from this wave have garnered acclaim and renewed interest among genre enthusiasts, such as Jesús Franco, Amando de Ossorio, and Narciso Ibáñez Serrador. But many others remain largely unknown, like Pedro Olea.

Olea directed his first feature, the musical DAYS OF OLD COLOR, in 1968 before venturing into horror with arguably his most well-known film, THE FOREST OF THE WOLF (1970). Unlike many of his contemporaries, who relied on gore to frighten audiences, he adopted a more reserved and surreal Kafkaesque approach, partly to appease censors. In an interview with Nuestro Cine, Olea remarked that his horror was “more indirect, subterranean, more through the tone of the films than the concrete situations they reflect.” This thoughtful approach blends a foreboding atmosphere with themes of isolation and morality, evoking profound dread. That emphasis on nuance makes Olea a unique voice in Fantaterror.

This March, Spectacle proudly presents three of Olea’s best works: THE FOREST OF THE WOLF, THE HOUSE WITHOUT FRONTIERS (1972), and IT IS NOT GOOD FOR A MAN TO BE ALONE (1973).


THE FOREST OF THE WOLF
(EL BOSQUE DEL LOBO)
(THE ANCINES WOODS)
Dir. Pedro Olea, 1970
Spain, 90 min
In Spanish with English subtitles

MONDAY, FEBRUARY 3 – 7:30 PM
WEDNESDAY, FEBRUARY 12 – 10 PM
MONDAY, FEBRUARY 17 – 10 PM
FRIDAY, FEBRUARY 28 – 7:30 PM

TICKETS

Benito Freire is a peddler who roams from village to village, selling his wares and delivering messages. Convincing himself he is a werewolf, Benito lures unsuspecting victims into the woods under the pretense that they’re needed in neighboring villages, leaving their families none the wiser. The film is based on a novel by Carlos Martínez-Barbeito that loosely fictionalizes the exploits of Spain’s first serial killer, Manuel Blanco Romasanta, who claimed he was not responsible for his murders because he was a werewolf.

During production, Olea was forced to tone down the film’s violence and redact much of its religious iconography to appease censors, who still condemned it for its perceived anti-religious themes. Admiral Carrero Blanco even attempted to ban the movie following a private viewing, highlighting the contentious relationship between filmmakers and the Spanish state during this period. Despite the cuts, Olea masterfully crafts an eerie world steeped in superstition. The film has garnered renewed interest amid the folk horror resurgence of recent years, thanks to its woodland setting, themes of isolation and manipulation, and exploration of legend and religion.


THE HOUSE WITHOUT FRONTIERS
(LA CASA SIN FRONTERAS)
Dir. Pedro Olea, 1972
Spain, 92 min
In Spanish with English subtitles

FRIDAY, FEBRUARY 7 – MIDNIGHT
SATURDAY, FEBRUARY 15 – 5 PM
SUNDAY, FEBRUARY 23 – 5 PM
FRIDAY, FEBRUARY 28 – MIDNIGHT

TICKETS

After moving to Bilbao in search of work, Daniel is approached by a member of the elusive organization known as the House Without Frontiers and tasked with tracking down one of its deserters. If he fails, he will face “The Only Penalty.”

Even with its anti-totalitarian themes, THE HOUSE WITHOUT FRONTIERS managed to evade Spain’s stringent censorship and was released uncut just three years before the end of Franco’s dictatorship in 1975. This is particularly remarkable given the parallels between the House Without Frontiers and the real organization Opus Dei, explored in Jorge Pérez’s Confessional Cinema: Religion, Film, and Modernity in Spain’s Development Years, 1960-1975. Pérez writes: “These activities appear to echo the hard-line proselytizing that Opus Dei members are compelled to carry out and the harsh treatment of dissenters and dropouts.”

One possible reason THE HOUSE WITHOUT FRONTIERS escaped censorship was the decision to refrain from referencing Opus Dei in the marketing. Additionally, the censorship board didn’t believe the movie would have enough appeal to reach a wide audience, despite its (unsuccessful) campaign to be Spain’s submission for the Academy Award for Best Foreign Language Film. Unfortunately, this proved correct, as the film flopped and faded into obscurity. Even today, THE HOUSE WITHOUT FRONTIERS remains largely underseen, often overshadowed by thematically similar Italian films like SHORT NIGHT OF GLASS DOLLS (1971) and ALL THE COLORS OF THE DARK (1972). But with its haunting cinematography and strikingly decrepit locations in Bilbao, it deserves critical reexamination.


IT IS NOT GOOD FOR A MAN TO BE ALONE
(NO ES BUENO QUE EL HOMBRE ESTE SOLO)
Dir. Pedro Olea, 1973
Spain, 88 min
In Spanish with English subtitles

TUESDAY, FEBRUARY 4 – 10 PM
SUNDAY, FEBRUARY 9 – 5 PM
THURSDAY, FEBRUARY 20 – 10 PM
FRIDAY, FEBRUARY 28 – 10 PM

TICKETS

Martin loves his wife Elena very much. He combs her hair, cooks her meals, and never leaves her side. The only problem is that she’s a mannequin. When the neighbor’s daughter discovers this dark secret, Martin’s world begins collapsing. 

It’s no surprise that IT IS NOT GOOD FOR A MAN TO BE ALONE was shot down when submitted to censors, what with its critical commentary on the patriarchal structures of late Francoist society. During the early ’70s, more women joined the Spanish workforce and feminists fought for change. Olea’s thought-provoking narrative explores the complexities of loneliness and the construction of gender roles amid this transition to a more progressive future.

IT IS NOT GOOD FOR A MAN TO BE ALONE wasn’t released until five years after its completion. While it was in limbo, LIFE SIZE, another film about a man obsessed with a mannequin, came out in Spain in 1974. LIFE SIZE’s popularity and notoriety overshadowed this one, but Olea’s film is more poignant and compelling.

ANTI-VALENTINES: RADIOACTIVE MASCULINITY

Every February, Spectacle throws a bone to the lonesome and heartsick to combat the nauseating pink-and-red onslaught of Cupid’s holiday. This year, we’re adding a sub(human)-series of films about men whose behavior is so egregious and intertwined with their clinical depression that they go beyond “toxic” to exclusion zone levels of danger. Frankly, these dudes suck. Yet we can’t help but perhaps empathize with them on a few points…


BAJO EN NICOTINA

BAJO EN NICOTINA
(LOW IN NICOTINE)
Dir. Raúl Artigot, 1984.
Spain. 79 min.
In Spanish with English subtitles.

WEDNESDAY, FEBRUARY 5 – 10 PM
THURSDAY, FEBRUARY 13 – 10 PM
FRIDAY, FEBRUARY 21 – 7:30 PM
SUNDAY, FEBRUARY 23 – 7:30 PM

BUY TICKETS

After Spectacle’s 2023 screenings of the ethereal Spanish folk horror classic EL MONTE DE LAS BRUJAS (THE WITCHES MOUNTAIN), we are pleased to present the return of Raúl Artigot to the goth bodega with the filmmaker’s final work, BAJO EN NICOTINA.

Based on the novel El ángel triste (“The Sad Angel”) by Spanish author, screenwriter, and film critic/academic Carlos Pérez Merinero, the film follows the life of Carlos, a cinephile whose ambition in life is limited to sitting in front of his television. With no other concerns than eating, shaving, and fornication, he’s happy to lead an insignificant life and eager to watch his movies in peace. His addiction to laziness and non-commitment is complicated by an overbearing girlfriend and the annoyingly loud tenants next door. What extreme measures will Carlos take to achieve tranquility with his TV set?

Special thanks to Alfred Giancarli and Cristina Fernández Álvarez for subtitle translation, and to Benjamin Pequet for technical assistance.


NATURAL ENEMIES

NATURAL ENEMIES
Dir. Jeff Kanew, 1979.
United States. 100 min.
In English.

WEDNESDAY, FEBRUARY 5 – 7:30 PM
SATURDAY, FEBRUARY 15 – 10 PM
FRIDAY, FEBRUARY 21 – 10 PM
WEDNESDAY, FEBRUARY 26 – 7:30 PM

BUY TICKETS

Hal Holbrook (ALL THE PRESIDENT’S MEN, RITUALS, FLETCH LIVES) stars as Paul Steward, a husband, father, and magazine editor living in Connecticut. He’s beyond depressed—stuck in a loveless marriage, unable to even recognize the three children he despises, and going through the motions at a job he no longer has any interest in. Full of anger and feeling ripped off by life, he finds a new obsession in a possible way out of his doldrums: murder-suiciding his whole family.

Unrelentingly bleak and cynical, NATURAL ENEMIES is based on the 1975 book of the same name by Julius Horwitz and directed by Jeff Kanew, who would go on to bring further nonconsensual sexual encounters to the screen in 1984’s REVENGE OF THE NERDS. Paul’s wife Miriam is played by Louise Fletcher, aka Nurse Ratched from ONE FLEW OVER THE CUCKOO’S NEST, here on the other side of the mental healthcare coin as a manic-depressive victim of shock treatment.

Shot on location in Connecticut and New York City, NATURAL ENEMIES pulls no punches in its depiction of the bridge-and-tunnel commuter’s depression. Unlike Kubrick’s sexier portrayal of an upper-class Manhattan marriage falling apart, there are no flashy metaphorical secret societies—just everyday malice and discontent. However, like in Kubrick’s film, there’s still some group sex.

THE BEST OF ME

THE BEST OF ME
Dir. Heather Landsman, 2024
United States, 89 min
In English

THURSDAY, FEBRUARY 6 – 10 PM
SATURDAY, FEBRUARY 15 – 7:30 PM w/Q&A (this event is $10)
SATURDAY, FEBRUARY 22 – MIDNIGHT

TICKETS

SPECIAL EVENT TICKETS

“Oddly enough, people get interested in a person like that. That would be the only reason why anyone would sit through dozens and dozens of hours of unedited home diaries.” – Ricardo López

In 1993, living in suburban Atlanta and working as an exterminator, young and alienated Ricardo López developed an all-consuming love for Icelandic experimental pop musician Björk. Over the next three years, López’s fixation would result in hundreds of diary entries, dozens of hours of home video footage, an assassination plot, and his eventual death by his own hand. Director Heather Landsman has crafted an eye-opening portrait of obsession taken to the edge. Landsman will be present for a post-screening Q&A following the Feb. 15th screening.

Special thanks to Sylvie Shamlian. Poster by Cris Hernandez.

CHILDHOOD DELUSIONS FILM FESTIVAL

SATURDAY, JANUARY 25 – 5 & 7:30 PM
ONE NIGHT ONLY – FILMMAKERS IN PERSON FOR Q+A!

BUY TICKETS

Childhood Delusions Film Festival, now in its third edition, is an NYC film festival for adults to showcase delusional films and videos they made as children. To celebrate the upcoming 2025 Childhood Delusions Film Festival (Sat Feb 8th), Spectacle is partnering with CDFF to present the festival’s universally acclaimed 1st and 2nd editions, featured in The New Yorker and Screen Slate.

Childhood Delusions Film Festival is a whirlwind, one-night celebration of childhood filmmaking and creativity, including montages of childhood home videos, claymation, music videos, delusional feature film attempts—and stuff that truly defies description.

The festival, created by Curtis Whitear, a documentary filmmaker and editor based in Brooklyn, and Co-Directed by Joe Soonthornsawad, a Brooklyn-based filmmaker and producer, invites people from all backgrounds to reconnect with their uninhibited creativity and experience collective childhood memories on the big screen.

SUNSET SEDUCTION

SUNSET SEDUCTION

SUNSET SEDUCTION
Dir. Charles de Agustin, 2024
United States. 45 min.
Contract terms unique for each presentation.

WEDNESDAY, JANUARY 15 – 7:30PM
FILM FOLLOWED BY DISCUSSION
$5 — NO ONE TURNED AWAY FOR LACK OF FUNDS

Access: The film has embedded audio description and open captioning. A discussion will follow the screening. There is one small step to enter Spectacle and the space is not wheelchair accessible. Please reach out at least one week in advance to request any accommodations and best efforts will be made to meet your needs.

BUY TICKETS

SUNSET SEDUCTION by Charles de Agustin, an evolving project centered on a 45-minute film alongside site-specific contracts and discussions, stars a liberal philanthropist yearning for his next fling with radical politics. 

Made as the Palestine solidarity movement escalated in 2024, the film unfolds in essayistic fragments considering ideas of freedom, violence, and the seductive capture of revolutionary ideology. Nonprofit organizations—even those driven by equity, decolonization, abolition—are tied to an unsustainable infrastructure that consistently creeps toward establishment liberalism. Sunset Seduction revitalizes the spirit of INCITE’s The Revolution Will Not Be Funded (2007); emphasizes collective grassroots action in the popular imagination, which may include siphoning and subverting philanthropic resources, far beyond electoral politics and do-gooder grantmaking; and works toward a “more radical form of complicity” (Moten & Harney).

With influence from Faye R. Gleisser’s notion of “risk work” and histories of the contract as artistic intervention, a scene in the film explains that the artist will work with each exhibiting institution’s staff to enact a “genuine and disruptive act of treason against the socioeconomic interests of the ruling class” in order for the work to be presented, intending to materialize the particular responsibilities of cultural workers in the global north.

BEST OF SPECTACLE 2024

BEST OF SPECTACLE 2024

As is our annual tradition, Spectacle begins the New Year by looking back at the best programs and films of the previous year. In case you either missed them the first time around, need to see them again, or want to drag your friends to their next favorite flick. All January, we will be encoring our favorites as voted on by the collective of volunteers and our members. Become a member today for your eligibility to vote in the next BEST OF, and get excited for another year of programming from New York City’s best volunteer-run cinema operated in a former bodega.

The BEST OF SPECTACLE Class of 2024:


ORO PLATA MATA

ORO PLATA MATA
(GOLD, SILVER, DEATH)
Dir. Peque Gallaga, 1982.
Philippines. 194 min.
In Filipino with English subtitles.

SUNDAY, JANUARY 05 – 7:30 PM
THURSDAY, JANUARY 16 – 7:30 PM
FRIDAY, JANUARY 31 – 10:00 PM

BUY TICKETS

Regionally acclaimed director Peque Gallaga’s ORO, PLATA, MATA represents, in its first screening in the United States since 1983, an underseen gem of Filipino cinema. It is a film that elegantly charts the complexities and realities of Filipino class dynamics, masculinities and femininities in a thoroughly alive, brutal and passionate period piece following two land owning aristocratic families set just before and during the Japanese occupation of the country in WWII. With blood, gore, violence of reprehensible sorts, and possibly unsimulated sex scenes, this is maximalist unafraid-to-be-unrestrained-about-passions cinema, Filipino-style. Very possibly the late director’s, passing recently in 2020, magnum opus, along with the great SCORPIO NIGHTS (1985).

Special thanks to ABS-CBN, Sagip Pelikula, Leo Katigbak, Julie Galino, Enrico Po, Steve Macfarlane, Connor Burns, Liz Purchell, Brandon Tilghman, August Dunson, Wanggo Gallaga and Joel Torre.

Originally screened in April 2024.


RAVE MACBETH

RAVE MACBETH
Dir. Klaus Knoesel, 2001
Canada & Germany. 87 min.
In English

FRIDAY, JANUARY 03 – MIDNIGHT
SATURDAY, JANUARY 11 – 7:30 PM
WEDNESDAY, JANUARY 15 – 10:00 PM
TUESDAY, JANUARY 21 – 7:30 PM

BUY TICKETS | WATCH TRAILER

Rave King Dean employs his two closest men—Marcus and Troy—to supply the floor with the ecstasy they crave. Driven mad by their newly gifted enterprise, the two men soon find their PLUR lives crumble into a deadly feud, encouraged by intoxicating promises of power and glory by three mysterious rave witches.

Although the title of “First Digital Film” is still up for debate, RAVE MACBETH has a pretty valid claim to the throne—the first to be produced, filmed, and edited entirely in digital. What’s not up for debate is this: RAVE MACBETH is certainly the first all-digital Shakespeare adaptation set on the dancefloor, and we think that’s all that matters here. Please join us at Spectacle for an exciting new digital restoration of RAVE MACBETH, the heart-racing and body-moving technodelic tale of love, murder, and ecstasy that you never knew you needed.

Originally screened February 2024.


LOGISTICS

LOGISTICS
Dirs. Erika Magnusson and Daniel Andersson, 2012.
Sweden, Germany, Netherlands, Spain, China. 52,420 min.
Silent.

WILL BE STREAMING LIVE AND FOR FREE STARTING JANUARY 2ND AT 4PM EST

WATCH HERE!

“At the same time that André Bazin recognized cinema as ‘the instrumentality of a nonliving agent,’ he argued that it fulfilled a primordial human wish to preserve one’s likeness against the passage of time, the body of film standing in for the body of one’s material identity. For Hugo Münsterberg, photoplays reduplicated outside us the internal faculties of memory, imagination, and attention. For Epstein, film magnified for us. For Eisenstein, it shocked us. Theory throughout the celluloid era affirmed that all that was cinematic returned to us. Whatever commensurability must have been sustained to assure this mapping of viewer and image, however, appears to have slipped away in LOGISTICS, a film that, properly speaking, no human being can endure.” —Kyle Stine

Taking the meaning of slow cinema to its extreme at a runtime of 37 days and nights, LOGISTICS is as banal, unfathomable, and sublime to comprehend as global trade itself. The film outlines the reverse journey of a pedometer, from a warehouse in Sweden to a factory in China, the bulk of which is captured over a month from a fixed angle aboard the cargo vessel Elly Maersk –a member of the largest class of ships at the time of shooting. This raw real time transit is, of course, impossible to fully intake in a single sitting, or to appreciate as a lone spectator.

To screen LOGISTICS in any context requires an exercise of logistics itself, and thanks to the generosity and support of the filmmakers, Spectacle will showcase the film from a continuous stream on our website, beginning on January 2nd at 4pm EST and ending on February 6th.

You will have the opportunity to watch Elly Maersk’s two-day stoppage in Spain due to a dock workers’ strike and the Arab Spring, its subsequent hours-long passage through the Suez Canal, and many more moments numbly bland and staggeringly beautiful. We encourage you to do so alongside eating, bathing, commuting, working, shitting, and any other activities you may think of. Please use the stream’s chat feature to make new friends and catch them up on anything they may have missed.

Originally streamed in July 2024 as part of Heavy Metal Containers.


BLUE MOUNTAINS, OR UNBELIEVABLE STORY

BLUE MOUNTAINS, OR UNBELIEVABLE STORY
(ცისფერი მთები ანუ დაუჯერებელი ამბავი)
Dir. Eldar Shengelaia, 1983.
Georgia. 97 min.
In Georgian with English subtitles.

MONDAY, JANUARY 06 – 7:30 PM
TUESDAY, JANUARY 14 – 10:00 PM
FRIDAY, JANUARY 24 – 7:30 PM
THURSDAY, JANUARY 30 – 10:00 PM

BUY TICKETS

The film concerns a young writer, Soso, attempting to get his novel—the titular Blue Mountains—read by the editorial board of a state-run publishing company. His hopes are dashed in a comedy of errors as his attempts to have the manuscript reviewed are thwarted by everyone else’s preoccupations: chess games, lunches, vacation time, suspicious husbands, constant meetings, the vibrations from neighboring games of motoball (or is it the subway?), and most importantly, a painting of Greenland threatening to fall from its precarious perch.

Seasons pass as Soso’s visits to his publisher grow increasingly hectic and frustrating as he bounces from office to office, and nothing seems to progress or get done. Like the bureaucracy stifling Soso’s progress, where everyone is looking up at someone else to pass the buck to, the employees’ eyes are literally looking upward as the ceiling in the building cracks and plaster rains down upon them. Will they do anything to stop the impending doom? Or will their reliance on the system be their downfall?

The film’s popularized English title uses “unbelievable” to describe the story, whereas “improbable” or “incredible” may be a more apt translation. Considering this is Shengelaia’s last film before entering Georgian Parliament 6 years later, one can infer that his treatment by, and experience with, the bureaucracy of the Soviet film industry spurred this poison pen classic.

Originally screened in September 2024 as part of Shengelaia’s Georgia: The Films of Eldar Shengelaia.


PERFECT LIVES

PERFECT LIVES: AN OPERA FOR TELEVISION BY ROBERT ASHLEY
Dir. John Sanborn, 1983.
United States. 183 min.
In English.

THURSDAY, JANUARY 23 – 7:30 PM
SUNDAY, JANUARY 26 – 7:30 PM

BUY TICKETS

Spectacle is thrilled to present this series of screenings commemorating the 40th anniversary restoration of Robert Ashley’s seminal seven-part television opera, PERFECT LIVES. Commissioned by The Kitchen in 1978 and produced over the span of four years, the piece was adapted for television in 1983 in collaboration with video artist, John Sanborn. The resulting seven-episode series stands as one of the most unique and ambitious projects to in the history of broadcast television, intertwining spoken-word narratives, musical textures, and hypnotic analog video compositions to form what Ashley has described as a “comic opera about reincarnation”.

In a loose sense, the series follows lounge singer, “R” (Ashley), and his friend “The World’s Greatest Piano Player”, Buddy (“Blue” Gene Tyranny), as they hatch plans to commit the perfect crime (“metaphor for something philosophical”) alongside the son and daughter of the local sheriff, Isolde (Jill Kroesen) and “D” (David van Tieghem). Yet to say that Ashley’s opus is “about” one particular narrative or theme or even medium, would be a disservice to its beautifully digressive nature. Ashley’s narration, accompanied by Tyranny’s and Peter Gordon’s musical soundscapes, flows effortlessly between settings and subjects, sincerity and satire, to create a constantly unfolding image of 20th century Americana.

PERFECT LIVES has been been described as “the most influential music/theater/literary work of the 1980s”. A quintessentially “American” work of art, not just in its vernacular language and skewering of Midwestern ennui, but also in its television format— described in Fanfare as catered specifically to American attention spans— in which Ashley adopts similar editing techniques and effects used in commercials to appeal to the viewer’s subconscious association between the comforts of consumerism and the broadcast television format.

“What about the Bible? And the Koran? It doesn’t matter. We have PERFECT LIVES”
—John Cage

This program would not be possible without the generous support of Lovely Music and Performing Artservices.

Originally screened in February 2024.


SPIN

SPIN
Dir. Brian Springer, 1995
United States. 57 min.
In English.

THURSDAY, JANUARY 02 – 10:00 PM
MONDAY, JANUARY 06 – 10:00 PM
FRIDAY, JANUARY 10 – MIDNIGHT
SATURDAY, JANUARY 25 – 10:00 PM

BUY TICKETS | WATCH TRAILER

During the year leading up to the 1992 Presidential election, artist Brian Springer spent his time tuning into satellite feeds used by the campaigns and the television networks that were not intended for public consumption, but were available to those with the know-how and the technological means to intercept them. The footage collected and Springer’s commentary shine a light on the manipulative practices of mass media. Pulling the mask back on the insidious system that silences public debate and shuns anyone outside the inner circle of those manufacturing the news; politicians, journalists, spin doctors, and televangelists. It is truly a must see for any paranoiac.

SPIN’s revelations highlight the fact that the job of President is really more about presentation, look, and likeability than it is policy. And that it is more in line with the job description of an actor, or television host/personality. Seeing the entertainment-ification of the presidential election which we now cannot escape from. In addition to the main characters of the election, George Bush Sr., Bill Clinton, and even Al Gore and Larry King, SPIN also looks at the events of the Los Angeles Rodney King riots and its racist portrayal by the news media as well as the unsuccessful presidential bid by Larry Agran, who was ignored and excluded by the media despite his polling numbers.

Brian Springer is an artist, educator, and documentarian, working primarily in video, sound and performance. Springer has exhibited internationally, and taught at a number of institutions across the States.

Special thanks to Video Data Bank.
VDB logo

Originally screened in November 2024 as part of the Satellites of Cynicism: 2024 1992 Election Special.


SYLVIE

SYLVIE
Dir. Klaus Lemke, 1973.
Germany. 86 min.
In German with English subtitles.

SATURDAY, JANUARY 11 – MIDNIGHT
FRIDAY, JANUARY 17 – 7:30 PM
WEDNESDAY, JANUARY 22 – 10:00 PM
SUNDAY, JANUARY 26 – 5:00 PM

BUY TICKETS | WATCH TRAILER

World-class fashion model Sylvie’s nightmares are plagued by blazing plane wreckages. After falling asleep drunk in the cab of Munich taxi driver Paul, she awakens, beginning a torrid, impossible, ill-advised love affair with the scruff cabbie. She’s in love with him, he’s in love with the sea…Can anything good come of this?

Actress (and real life model/shaman) Sylvie Winter turns in a deeply-felt performance against the equally charismatic Paul Lys, and the on-screen connection they share rivals some of the greats. Klaus gives their chemistry room to flourish, set to the oft-repeated saccharine dulcets of the Stones’ “Back Street Girl”. Filled with plenty of “girl…him?” moments, this frenetic flick also boasts an all-time “New York” shot, one that you’ll never forget.

Originally screened in February 2024 as part of The Pope of Kitsch: Klaus Lemke.


THE OUTCASTS

THE OUTCASTS
Dir. Robert Wynne-Simmons, 1982.
Ireland. 95 min.
In English.

FRIDAY, JANUARY 10 – 7:30 PM
MONDAY, JANUARY 13 – 7:30 PM
TUESDAY, JANUARY 21 – 10:00 PM
WEDNESDAY, JANUARY 29 – 10:00 PM

BUY TICKETS | WATCH TRAILER

Spectacle is thrilled to host the United States premiere of a new restoration of Irish filmmaker Robert Wynne-Simmons’ long-unavailable gothic masterpiece THE OUTCASTS.

Rich in earthy pastoral detail, THE OUTCASTS is a slow-burning feminist film disguised as a piece of folk horror. Set in 1810, the film depicts a remote farming community which is thrown into crisis by the arrival of a charismatic, wandering fiddler named Scarf Michael (Mick Lally). Most enamored by him is Maura (Mary Ryan), the daughter of an impoverished farmer, noted and often ridiculed among the townsfolk for her slowness and shyness. Maura gravitates to Scarf against the wishes of her family and neighbors, and is soon suspected of practicing witchcraft in her own right. As she suffers scapegoating from her community for being “mad”, Maura pushed further to the margins.

Before making his directorial debut with THE OUTCASTS, Wynne-Simmons was one of the screenwriters on Piers Haggard’s infamous THE BLOOD ON SATAN’S CLAW (1971), a similarly windswept cult film steeped in mythology (albeit on the British, not Irish, countryside.) Seamus Corcoran’s telephoto cinematography and the unfakeable locations of Ireland lend THE OUTCASTS the quality of a 95-minute dream (or nightmare) sequence in the vein of McCABE & MRS. MILLER or PICNIC AT HANGING ROCK, like a fairy tale hazily remembered. Ultimately, THE OUTCASTS is an unsparing and mesmerizing parable of stigma, prejudice, faith and tradition, interrogating how and why people become monsters in the eyes of others.

At the time of its release, THE OUTCASTS was the first fully Irish-funded film in over half a century. Spectacle is honored to host the United States premiere of the new 2K digital restoration by the Irish Film Archive for IFI’s Digital Restoration Project, painstakingly scanned from original 35mm negatives (which were, themselves, printed from blown-up 16mm film.) The restoration was funded by Screen Ireland/Fís Éireann with further support from Association des Cinémathèques Européennes (ACE) and EU Creative Europe MEDIA programme.

Special thanks to Robert Wynne-Simmons, Eleanor Melinn and Sunniva O’Flynn (Irish Film Institute), and Dennis Bartok and Craig Rogers (Deaf Crocodile).

Originally screened in October 2024.


GOIN’ ACROSS THE MOUNTAINS: THE FOLK MUSIC OF APPALACHIA

GOIN’ ACROSS THE MOUNTAINS: THE FOLK MUSIC OF APPALACHIA

THURSDAY, JANUARY 02 – 7:30 PM
SUNDAY, JANUARY 05 – 5:00 PM
MONDAY, JANUARY 20 – 7:30 PM
TUESDAY, JANUARY 28 – 7:30 PM

BUY TICKETS | WATCH TRAILER

The Appalachian region of America stretches from northern Alabama to central New York and is home to countless artistic traditions, from quilting to clog dancing, dulcimer crafting to wood flute carving. Centuries of crisis, beginning with the displacement of native communities by white settlers, then the Civil War, industrialization and the labor struggles that followed, to the present-day opioid epidemic and rustbelt economic policies, have formed stories and traditions that are at once isolated from, yet central to, the broader history of the United States. In the two documentaries BLUEGRASS ROOTS and APPALACHIAN JOURNEY , Spectacle presents a sampling of these stories, traditions and ways of life found in the hills to the West.

BLUEGRASS ROOTS
Dir. David Hoffman, 1965
United States. 44 min.
In English.

In his first film, David Hoffman traversed the Blue Ridge Mountains, searching for and documenting the unique musical tradition of American Appalachia. Guided by the folklorist Bascom Lunsford and his wife Nellie, we are introduced to banjo pickers, dulcimer slappers, clog-shoed steppers and moonshining yodelers. In contrast to the Alan Lomax documentary, Hoffman is a one-man crew, shooting on 16mm film and opting to let his guides conduct the interviews.

APPALACHIAN JOURNEY
Dir. Mike Dibb, Mark Kidel, Alan Lomax, 1990
United States. 56 min.
In English.

In this short documentary originally produced for television, Alan Lomax delves into the culture of Appalachia, demonstrating his deep knowledge of instrumentation, folk art and American anthropology. While mostly focusing on the musical traditions of the region, Lomax also turns his attention towards broader socio-economic issues such as prohibition, strip-mining and land theft, first from indigenous peoples and now those living in the mountains in the twentieth century. A quarter decade separates Hoffman and Lomax’s films. As a result, APPALACHIAN JOURNEY is able to document the effects of economic decline in the last few years before the opioid crisis began its decades long devastation of the region.

Originally screened in February 2024.


NEKO-MIMI

NEKO-MIMI
(猫耳)
Dir. Jun Kurosawa, 1993.
Japan. 80 min.
In Japanese with English subtitles and English intertitles.

SATURDAY, JANUARY 04 – MIDNIGHT
MONDAY, JANUARY 13 – 10:00 PM
SUNDAY, JANUARY 19 – 5:00 PM
FRIDAY, JANUARY 31 – 7:30 PM

BUY TICKETS | WATCH TRAILER

“Why this farce, day after day?”

NEKO-MIMI is the only feature-length directorial effort of by the prolific experimental filmmaker Jun Kurosawa (b. 1964), who also acts as cinematographer, editor, co-writer, and composer. Kurosawa set out to create “the most beautiful cinema crystal” that would remain after eliminating the usual things that make a narrative film “work”: “human emotions, time, space, and montage.”

The film begins with excerpts from Samuel Beckett’s ENDGAME and continues in the same absurdist and apocalyptic vein: Think E. Elias Merhige’s BEGOTTEN by way of Alan Schneider and Beckett’s FILM, but with lush color photography and a characteristic Kurosawa soundscape that undulates between drones, choral passages, field recordings and harsh noise (reminiscent of his one-time collaborator Merzbow).

NEKO-MIMI, which translates to “cat ear,” is the dreamlike tale of three girls and a boy whose existences are spent playing games in a space resembling the ruins of a laboratory. Endless repetitions distort their senses of past, present, or future. They playfully toy with a body, dissecting its eyeballs and other parts. Surrounded by cameras, photographs, film, and projectors, the subjects embrace their surveillance, predicting our present panopticon.

Rarely seen outside of Japan since being presented at the 1993 International Film Festival Rotterdam, Spectacle is excited to present NEKO-MIMI in a recent digital restoration from a 16mm print.

Special thanks to Kraut Film.

Originally screened March 2024.


SHOWGIRLS 2

SHOWGIRLS 2: PENNY’S FROM HEAVEN (THE CUT)
Dir. Rena Riffel, 2011.
United States. 100 min.
In English.

THURSDAY, JANUARY 09 – 10:00 PM
SATURDAY, JANUARY 11 – 10:00 PM
SATURDAY, JANUARY 25 – MIDNIGHT

BUY TICKETS

Reprising her role from the Paul Verhoeven 1995 trashsterpiece, Rena Riffel stars as Penny in a “satirical parody project” intent on both pleasing and confusing fans of Rena’s work. A wholly unholy fusion of SHOWGIRLS’ high camp and MULHOLLAND DRIVE’S nightmarish heartache.

After originally debuting at Spectacle in 2013, we are happy to reintroduce SHOWGIRLS 2 to a completely new generation of filmgoers in a completely new way in a completely new cut, with completely new footage never seen before! For all Rena Riffel completionists!

Originally screened in July as part of the series Rena Riffel: A True Artist.


MISTER DESIGNER

MISTER DESIGNER
(Господин оформитель)
Dir. Oleg Teptsov, 1987.
Soviet Union. 103 min.
In Russian with English subtitles.

TUESDAY, JANUARY 7 – 10:00 PM
FRIDAY, JANUARY 17 – 10:00 PM
FRIDAY, JANUARY 24 – MIDNIGHT
WEDNESDAY, JANUARY 29 – 7:30 PM

BUY TICKETS

Set in the last days of tsarist Russia, MISTER DESIGNER traces the meticulously choreographed decline of a St. Petersburg aesthete determined to realize his defining masterwork while navigating an unhealthy fixation on mannequins. The execution of the film mirrors the baroque inclinations of the protagonist, lingering on meticulously composed tableaux vivant staged in lavish aristocratic interiors, frequently stalling the languid action to present confounding allegories in the form of expressionist dance interludes.

Originally screened in December 2023 as part of the series Late Soviet Symbolism: A Bloc-gothic Double Feature.


CANICHE

CANICHE
(POODLE)
Dir. Bigas Luna, 1979.
Spain. 90 min.
In Spanish with English subtitles

FRIDAY, JANUARY 03 – 7:30 PM
WEDNESDAY, JANUARY 08 – 7:30 PM
BUY TICKETS

WEDNESDAY, JANUARY 22 – 7:30 PM, with Q&A with Santiago Fouz Hernández (Professor Durham University and author of forthcoming book The Films of Bigas Luna), this event is $10
BUY Q&A TICKETS

Brother and sister Bernardo (Ángel Jové) and Eloisa (Consol Tura) lead a cloistered existence in a crumbling Catalan mansion where they subsist on the charity of their wealthy aunt as they await the inheritance they’ll receive from her death. They lavish their attention and affection on their pet poodle Dany, sublimating erotic desires onto their canine companion. Dany is the witness to and the victim of their downward spiral of debasement, which only accelerates as their financial fortunes grow.

Bigas Luna’s odyssey of the perverse continues in CANICHE, a provocative and perturbing dissection of the incestuous, cannibalistic and bestial bourgeoisie.

“…[CANICHE is] the spiritual sister of the John Waters films FEMALE TROUBLE (1974) and DESPERATE LIVING (1977). The first three Bigas Luna films are just as corrosive, free-spirited and punk as Waters’ films from the seventies; they seduce us with a dirty realism -very pop- which turns beautiful and causes Stendhal syndrome.”
—Xavi Sánchez Pons

 

The

Special thanks to Santiago Fouz-Hernández, Carolina Sanabria and Casilda García López.

Originally screened in April 2024 as part of The Early Obsessions of Bigas Luna.


SCRAP VESSEL

SCRAP VESSEL
Dir. Jason Byrne, 2009.
United States, Singapore, Bangladesh, India. 51 min.
In English, Mandarin, Bangla, and Hindi with English intertitles.

FRIDAY, JANUARY 10 – 10:00 PM
TUESDAY, JANUARY 28 – 10:00 PM

BUY TICKETS

SUNDAY, JANUARY 19 – 7:30 PM, with Director Q&A, this event is $10
BUY Q&A TICKETS

SCRAP VESSEL details the death and memories of a haunted Chinese coal freighter ship named Hupohai (formerly the Bulk Promotor during the start of its life in Norway) during its terminal passage from Singapore to the scrap yards of Bangladesh. Shot on 16mm that was rephotographed repeatedly to generate deep grainy contrasts, Byrne creates a fragmentary visual diary of his exploration of the near-derelict behemoth, where he and the crew uncover an archive of photographs, music tapes, and film reels left behind by Hupohai’s former residents. While the the trip to Chittagong may recall the conclusion to Peter Hutton’s 2007 AT SEA, Byrne shot SCRAP VESSEL three and half years prior and spent the subsequent years figuring out how to assemble its footage. The result is starkly unique in its sombre, gothic qualities, elevated by Albert Ortega’s ambient score.

Jason Byrne will be tele-present for a virtual Q&A following the 7:30pm screening on Sunday, January 19th.

Originally screened in July 2024 as part of Heavy Metal Containers.


THE POSSESSED

THE POSSESSED
(AKA LA DONNA DEL LAGO)
(AKA THE LADY OF THE LAKE)
Dirs. Luigi Bazzoni and Franco Rossellini, 1965.
Italy. 94 min.
In Italian with English subtitles.

FRIDAY, JANUARY 03 – 10:00 PM
SUNDAY, JANUARY 12 – 5:00 PM
MONDAY, JANUARY 20 – 10:00 PM

BUY TICKETS | WATCH TRAILER

Upon returning to a sleepy lakeside town, a writer learns that the woman he had been infatuated with has died by suicide. Devastated by the news, he investigates her death and soon discovers a dark secret.

Bazzoni’s first feature-length film, THE POSSESSED, is a mastery of slow-burn mystery and suspense. The film delivers classic Noir tropes – a sad investigator, a mysterious woman, and a dead body – with flashes of excessive violence and a hint of the supernatural, foreshadowing the future of Giallo.

Thematically and tonally similar to Bazoni’s later film LE ORME, THE POSSESSED plunges the audience into a familiar tale of deception and self-doubt. Whereas LE ORME relied on color to create the film’s dream-like aesthetic, Bazzoni shot THE POSSESSED in black and white. The cinematography gives THE POSSESSED a haunted quality that accentuates the ominous atmosphere, resulting in a tone closer to a nightmare than a dream.

Originally screened in March 2024 as part of the series The Masters of Italian Exploitation: Luigi Bazzoni.


THE LANCELOT LINK, SECRET CHIMP

THE LANCELOT LINK, SECRET CHIMP

SATURDAY, JANUARY 18 – 3PM TO MIDNIGHT
$5 PER SCREENING or $25 FOR FULL-DAY PASS

BUY DAY PASS

For those unfamiliar with LANCELOT LINK, SECRET CHIMP (1970), it is a televisual James Bond spoof with a cast composed entirely of chimpanzees. Over the course of 17 episodes, we follow the top agents at the Agency to Prevent Evil (APE): Lancelot Link and Mata Hairi. Under the leadership of Commander Darwin, they are tasked with saving the planet from falling into the hands of Baron Von Butcher, the nefarious ape behind the Criminal Headquarters for the Underworld Master Plan (CHUMP).

On January 18, 2025, we will be kicking off our LANCELOT LINK, SECRET CHIMP marathon at 3 PM. We will present two episodes per hour until the grand finale at 11pm. Episode synopses and estimated start times can be found here.

Originally screened in April 2024.


DEAD MOUNTAINEER’S HOTEL

DEAD MOUNTAINEER’S HOTEL
(HUKKUNUD ALPINISTI HOTELL)
Dir. Grigori Kromanov, 1979.
Estonia. 84 min.
In Estonian with English subtitles.

TUESDAY, JANUARY 07 – 7:30 PM
FRIDAY, JANUARY 24 – 10:00 PM
THURSDAY, JANUARY 30 – 7:30 PM

BUY TICKETS

Returning to Spectacle after 12 years, DEAD MOUNTAINEER’S HOTEL is a sleek blend of thriller, noir, and science fiction based on the Strugatsky brothers’ novel of the same name. Opening with a winding upward mountain drive, we meet Inspector Peter Glebsky en route to respond to an anonymous tip at an isolated hotel in the Alps. Though all seems well upon arrival, he opts to stay the night and finds himself trapped by an avalanche with his bizarre fellow guests. It soon becomes clear that everything is not as it seems.

The hotel itself is a marvel of modern architecture in black and neon set sharply against bright, pristine snow, while its interior brings to mind the unforgettable and deeply ’70s mise-en-scene of cult classics like MESSIAH OF EVIL. The score by pioneering Estonian synth programmer and prog rocker Sven Grünberg, composed on an EMS Synthi 100, is an ethereal auditory dreamscape.

Special thanks to the Estonian Film Institute.

Originally screened in April 2024 as part of the series Synthesizer Cinema.


HAMBURGER DAD

HAMBURGER DAD
Dir. Kevin Clarke, Wil Long, 2003.
United States. 52 min.
In English.

WEDNESDAY, JANUARY 08 – 10:00 PM
FRIDAY, JANUARY 17 – MIDNIGHT
MONDAY, JANUARY 27 – 10:00 PM

BUY TICKETS | WATCH TRAILER

Harold Davis wakes up one day to find he has become a hamburger; a Kafkaesque predicament which upends his life at home and at work, stresses family bonds and places him in constant danger of being devoured. Produced for practically no money and shot on Hi-8 analog video in the summer of 2003 by lifelong friends Kevin Clarke and Wil Long, HAMBURGER DAD is a delightfully goofy and unexpectedly touching father-son road movie.

Originally screened in June 2024.


FUNKY FOREST: THE FIRST CONTACT

FUNKY FOREST: THE FIRST CONTACT
Dirs. Katsushito Ishii, Hajime Ishimine, and Shunichirô Miki, 2005.
Japan, 150 min.
In Japanese with English subtitles.

THURSDAY, JANUARY 09 – 7:00 PM
SUNDAY, JANUARY 12 – 7:30 PM

BUY TICKETS | WATCH TRAILER

21 episodes. 2 “Sides.” One film like no other.

This WTF classic will make you laugh, cringe, and marvel at the breadth of imagination packed into one feature film. From the hilariously mundane to the unbelievably weird, every moment of this film is unexpected. A trio of directors (Ishii, Ishimine, and Miki) infuse this film with a “funky” musicality and beige mid-aughts vibes. Segments include legends such as Evangelion creator Hideaki Anno, Susumu Terajima and Tadanobu Asano (Ichi the Killer himself!). Come to your favorite microcinema and check out the best sketch comedy movie of the 21st century!

Originally screened in June 2024.


SHUSUKE KANEKO’S GAMERA TRILOGY

GAMERA: GUARDIAN OF THE UNIVERSE
(ガメラ 大怪獣空中決戦)
Dir. Kaneko Shūsuke, 1995.
Japan. 95 min.
In Japanese with English subtitles.

SATURDAY, JANUARY 4 – 5 PM
BUY TICKETS

GAMERA 2: ATTACK OF LEGION
(ガメラ2 レギオン襲来)
Dir. Kaneko Shūsuke, 1996.
Japan. 100 min.
In Japanese with English subtitles.

SATURDAY, JANUARY 4 – 7:30 PM
BUY TICKETS

GAMERA 3: REVENGE OF IRIS
(ガメラ3 邪神覚醒)
Dir. Kaneko Shūsuke, 1999.
Japan. 108 min.
In Japanese with English subtitles.

SATURDAY, JANUARY 4 – 10 PM
BUY TICKETS

2024 marked a full decade since the release of Gareth Edwards’ attempt to memory-wipe Dean Devlin and Roland Emmerich’s misbegotten GODZILLA (1998). And despite being curiously stiff and overburdened by an ensemble of screaming A-listers, Edwards’ GODZILLA was successful enough to trigger further reexhumations like KONG: SKULL ISLAND, APE VS. MECHA APE, PACIFIC RIM, THE LAKE and 2025 ARMAGEDDON, while Japanese audiences were blessed with SHIN GODZILLA in 2016 and GODZILLA MINUS ONE in 2023, both of which took the radioactive reptile seriously in discretely breathtaking ways.

But even if kaiju season has returned to the world of cinema, the DARK KNIGHT-ification of Godzilla seems to have hit a wall in the Legendary/Warner Brothers “Monsterverse”, as each of those movies tend to feature their version of “Godzilla” onscreen for about fifteen minutes or less. Thus, it feels like a strange blessing that Gamera – giant firebreathing turtle, friend to children worldwide, and Godzilla’s most formidable competitor outside the Toho constellation of monsters – is yet to receive a full CGI makeover or, worse yet, American “reboot”. (To commemorate the half-centennial of Gamera’s debut in 1965, Gamera’s rightsholders did commission a quite promising trailer from filmmaker Katsuhito Ishii, but pulled the plug on the project thereafter.)

For these reasons, it feels like a better time than ever to reexamine the trilogy of Gamera films made by Shūsuke Kaneko between 1994 and 1999, glorious remnants of the late pre-digital era of kaiju cinema regarded by fans as some of the greatest monster films ever made.

Originally screened in September 2024.


THE TIME THAT REMAINS

THE TIME THAT REMAINS
(فيلم الزمن الباقي كامل)
Dir. Elia Suleiman, 2009.
France, Belgium, Italy, United Kingdom, United Arab Emirates, Palestine, Israel. 109 min.
In Arabic and Hebrew, with English subtitles.

TUESDAY, JANUARY 14 – 7:30 PM
MONDAY, JANUARY 27 – 7:30 PM

BUY TICKETS

Elia Suleiman’s semi-autobiographical film is, per the director’s own words, “a family portrait and a social portrait” of Palestinian life in the decades following the Arab-Israeli war of 1948. The film casually mounts its drama as a succession of anecdotes which gather into gently traced narrative strands that detail the history of a family and their neighbors living through the second half of a century of tumult. Suleiman, who appears, wordlessly, in the latter half of the film, has often seen his films compared to those of Jacques Tati and Buster Keaton. The comparisons are apt, as his mild-mannered presence, ordered mise-en-scene, and laconic realism pull forth the blackly-comic absurdity of life under occupation.

Suleiman has referred to his presence in the film as a sort of “wingless angel” offering a neutralized gaze, but this is not to say the film is without deep currents of melancholy or anger. These feelings are profoundly present, evinced through the exhausting accumulation of injustice and violence, staged upon a landscape of such striking beauty that it can be difficult to imagine it could sustain such suffering.

Early in the film, a Palestinian man standing before a brigade of Israeli soldiers, concedes his life to his dignity. Before putting the gun to his head, he proclaims:
“I want no life if we’re not respected in our land. If our words are not heard echoing around the world, I shall carry my soul in my palm, tossing it into the cavern of death. Either a life to gladden the hearts of friends, or a death to torture the hearts of foes.”

Originally screened in December 2023 as part of the series You Killed Me and I Forgot to Die: Films of Palestinian Dignity.


EEK EEK ORK: A SHOWCASE OF INTERNATIONAL COSMIC ANIMATION

CATHEDRAL OF NEW EMOTIONS

CATHEDRAL OF NEW EMOTIONS
Dir. Helmut Herbst, 2006
Germany. 58 min.
In German with English subtitles.

TUESDAY, DECEMBER 3 – 7:30 PM
SATURDAY, DECEMBER 7 – 10 PM
THURSDAY, DECEMBER 12 – 10 PM
FRIDAY, DECEMBER 20 – 10 PM

ADVANCE TICKETS

THE CATHEDRAL OF NEW EMOTIONS (DIE KATHEDRALE DER NEUEN GEFÜHLE) – 2006, Cinegrafik, 60 min. Dir. Helmut Herbst. On a shortlist with Eiichi Yamamoto’s BELLADONNA OF SADNESS and René Laloux’s FANTASTIC PLANET as one of the most surreal, psychedelic and truly cosmic animated features ever made, German director Helmut Herbst’s utterly insane THE CATHEDRAL OF NEW EMOTIONS follows a commune of Berlin stoners and intellectuals who get set adrift in space in 1972 in a packing container clutched in a giant flying hand. Various space flotsam smashes into the windshield – enormous insects, Mighty Mouse, a Bird Man from “Flash Gordon” – while hypnotic Krautrock drones in the background moaning “Where am I??”, and a naked man bounces up and down off a massive red pepper. So begins our descent down the psychotic rabbit hole of CATHEDRAL, a true hallucinogenic Space Freakout if there ever was one: imagine Ralph Bakshi animating an R-rated version of John Carpenter’s DARK STAR. The movie’s genesis is equally strange: apparently based on a 1974 film by Herbst called “Die phantastische Welt des Matthew Madson,” CATHEDRAL was eventually finished after a decades-long gestation in 2006. One of the rarest and most obscure tiles in world animation.

THE SON OF THE STARS

THE SON OF THE STARS
Dir. Mircea Toia & Călin Cazan, 1988
Romania. 78 min.
In Romanian with English subtitles.

WEDNESDAY, DECEMBER 4 – 7:30 PM
SATURDAY, DECEMBER 7 – MIDNIGHT (with filmmaker Q&A)
THURSDAY, DECEMBER 12 – 7:30 PM
SATURDAY, DECEMBER 21 – 10 PM

ADVANCE TICKETS

SPECIAL EVENT TICKETS (12/7)

From the Romanian animators behind DELTA SPACE MISSION, THE SON OF THE STARS is an even more wildly ambitious and surreal outer space adventure, a mid-1980s mash-up of THE EMPIRE STRIKES BACK, ALIEN and Edgar Rice Burroughs’s Tarzan. In the year 6470, a husband and wife team of explorers receive a mysterious distress signal from a female astronaut who disappeared decades earlier. They leave their son, Dan, on board their ship while they go searching for the missing woman — but fate intervenes, crash-landing the ship on a jungle-like planet populated by bulbous, telekinetic aliens and eerie stone gardens of frozen space creatures.

RAT SUMMER: VISIONS OF A RODENT APOCALYPSE

RAT SUMMER

Rats: Harmless memes you send to your high school friends to prove how New York you are or evil harbingers of doom that precipitate the inevitable downfall of the human race and destruction of our planet? Spectacle will finally put the question to rest with two wildly different visions of a not too distant apocalypse ushered in by our rodent overlords. Winter may be here, but RAT SUMMER is just heating up!

RATS: NIGHT OF TERROR

RATS: NIGHT OF TERROR
Dir. Bruno Mattei, 1984
Italy/France. 96 mins.
In Italian with English subtitles.

THURSDAY, DECEMBER 5 – 10 PM
SUNDAY, DECEMBER 8 – 7:30 PM
FRIDAY, DECEMBER 13 – 7:30 PM
WEDNESDAY, DECEMBER 18 – 10 PM
FRIDAY, DECEMBER 20 – MIDNIGHT

ADVANCE TICKETS

In a post-apocalyptic wasteland, a group of bikers are trapped underground searching for any means of sustenance when they stumble upon a mysterious abandoned village. While finding food and shelter, the human wastoids also unearth more insidious company…hordes of mutated, bloodthirsty rats with a taste for human flesh intent on ripping them to shreds.

From Italian schlock master Bruno Mattei (ZOMBI 3, NIGHT KILLER), Rats Night of Terror brings a level of surprising deference to it’s unique Mad Max meets Phase IV by setup that many genre films from the era lack. Shot by Franco Delli Colli (camera assistant on THE LEOPARD!) and utilizing sets from Once Upon a Time in America, RNOT creates a dreamy, enveloping, and uniquely claustrophobic world that shares just as much DNA with Rod Serling as it does with Lucio Fulci, and features an ending that with leave you SCRATCHING your head in bewilderment.

RAT SCRATCH FEVER

RAT SCRATCH FEVER
Dir. Jeff Leroy, 2011
United States. 95 mins.
In English.

WEDNESDAY, DECEMBER 4 – 10 PM
TUESDAY, DECEMBER 10 – 7:30 PM
FRIDAY, DECEMBER 13 – 10 PM
MONDAY, DECEMBER 16 – 10 PM
SATURDAY, DECEMBER 21 – MIDNIGHT

ADVANCE TICKETS

On a volcanic planet, the lone survivor of a space mission is infected by giant mutant space rats. Returning to earth, she begins to wreak havoc and spread her rodent strain. Only the mysterious Dr. Steele and man of action Jake Walsh can team up to stop her, but is it too late?

Prodigious auteur of numerous low-budget genre classics, Jeff Leroy (CREEPIES, GIANTESS ATTACK) forms a unique hellscape blending practical effects, puppetry, and budget-conscious CGI along with some truly epic performances (Randal Malone channeling his best Dr. Moreau-era Brando) and creates a film that reads like a Vaporwave Prometheus with a healthy dose of giant rodents thrown in for good measure. Fresh off a successful one night engagement at Nitehawk, Spectacle is proud to host this limited run of a new cult classic, graciously provided by VISUAL VENGEANCE!

WEEKNIGHTS

WEEKNIGHTS

WEEKNIGHTS
Dir. Alfred Giancarli, 2023
United States. 68 min.
In English.

MONDAY, DECEMBER 16 – 7:30 PM (Q&A moderated by Will Bricca)
TUESDAY, DECEMBER 17 – 7:30 PM (Q&A moderated by Josafat Concepcion)
WEDNESDAY, DECEMBER 18 – 7:30 PM (Q&A moderated by Caroline Golum)
THURSDAY, DECEMBER 19 – 7:30 PM (Q&A moderated by Ted Schaefer)
FRIDAY, DECEMBER 20 – 7:30 PM (Q&A moderated by Joshua Bogatin)
SATURDAY, DECEMBER 21 – 7:30 PM (Q&A moderated by Anthony Versaci)
SUNDAY, DECEMBER 22 – 7:30 PM (Q&A moderated by Dan Scanlon)

(All screenings are $10)

ADVANCE TICKETS

This December, Spectacle is thrilled to present the premiere theatrical run of Alfred Giancarli’s WEEKNIGHTS. Following its premiere at the South Carolina Underground Film Festival in 2023 where it won the award for Best Feature Film, Giancarli now brings his potent mediation on urban isolation to our screen for a week-long engagement.

The film follows three individuals working various graveyard shifts around a deserted urban college campus as they try to make it through another long and lonely night on the job. Through a series of fixed shots, the viewer partakes in their nightly responsibilities and rituals, underscoring the feeling of solitude imparted by the lateness of the hour, lack of human interaction, and nature of the work itself– The type critical to the function of such a place yet that often goes entirely unseen or unappreciated by its daytime inhabitants.

Giancarli draws from a rich pedigree of avant-garde filmmakers, from Tsai Ming-Liang and Gus van Sant to James Benning to Larry Gottheim, whose work is grounded in the interplay between time and location. WEEKNIGHTS is a film shaped as much by the intangibilities and rhythms of the environment captured as by its own scripted elements; one that ascribes new meaning to the psychogeographic adage that one cannot truly know a place before knowing its ghosts via the more economically-minded framework of labor seen versus unseen.

Join us the week of December 16th to December 22nd for a week-long run of the film, featuring Q&As with the filmmaker following each screening.

“Through lingering shots, [WEEKNIGHTS] captures the quiet isolation of graveyard shifts, empty spaces, and mundane routines. The film meditates on loneliness and the surreal atmosphere that descends on familiar places after dark.
— Charlie Sanders, Festival Programming Director, Sidewalk Film Festival

“WEEKNIGHTS distinguishes itself through its sharp sense of place and by how it captures the distinct rhythms of its environment. The film’s overall melancholy resonates, but in its own way, it acts as a tribute to its (and my) Bronx neighborhood.”
— aversaci, Letterboxd