a highly-opinionated selection of things happening around town, and sometimes out of town. this month's page here.

sat. aug. 3

gentlemen prefer blondes @ oscars outdoors
the wizard of oz (1925) @ heritage square
little shop of horrors @ electric dusk drive-in
accattone, mamma roma @ ucla film archive
avanti popolo FREE 8:30 PM @ filmforum @ hollywood brazilian film fest @ spielberg @ egyptian
the dark crystal @ cinespia @ hollywood forever
shark toys, lamps FREE @ footsies
hasil adkins tribute @ skylight books
lawrence of arabia (70mm) @ aero
mazes and monsters 10 PM @ silent movie theater
hearkenings presents structural/materialist films 8 PM @ epfc
beyond the bounds: short films by wenhwa tsao FREE 3 PM @ la central library
the act of killing 1:00 3:00 5:00 PM @ downtown independent
shark toys, trotsky icepick @ ham & eggs tavern
bouquet, net shaker FREE @ international art objects
brannigan's law FREE @ tribal cafe


sun. aug. 4

pierrot le fou 8 PM @ cinerama dome
mishima: a life in four chapters 7 PM @ ucla film archive
the big fix (1978) 3:00 7:30 PM, the long goodbye (1974) 5:15 9:45 PM @ new beverly
avanti popolo FREE 5 PM @ hollywood brazilian film fest @ egyptian
good luck sweetheart FREE 5:30 PM @ hollywood brazilian film fest @ spielberg @ egyptian
durval records 8:30 PM @ hollywood brazilian film fest @ egyptian
wilde salome 5 PM, salome @ aero
the act of killing 3:45 PM @ silent movie theater
dragonslayer 10 PM @ silent movie theater
a serious man 2 PM @ autry
the act of killing 5:00 11:30 PM @ downtown independent
paul pescador: "1-9" FREE 7 PM @ silent movie theater
bouquet (9:30) @ pehrspace


mon. aug. 5

the canyons @ ucla film archive
the big fix (1978), the long goodbye (1974) @ new beverly
the act of killing 7:30 10:15 PM @ silent movie theater
the act of killing 3:00 5:30 PM @ downtown independent


tue. aug. 6

band of outsiders 8 PM @ arclight hollywood
mr. and mrs. smith (1941) FREE 1:30 PM @ skirball
german army, derek rogers @ los globos
the act of killing 4 PM @ silent movie theater
cinespia salon: a sublime frequencies celebration @ silent movie theater
broadway danny rose FREE 6 PM @ santa monica library ocean park branch
coogan's bluff FREE 6:30 PM @ santa monica library montana branch
the act of killing 2:00 4:30 PM @ downtown independent


wed. aug. 7

imitation of christ FREE @ hammer
the act of killing 4:45 10:15 PM @ silent movie theater
diary of a lost girl @ the silent treatment @ silent movie theater
the act of killing 3:00 5:30 10:00 PM @ downtown independent
levitation room @ m bar


thu. aug. 8

breathless 8 PM @ arclight hollywood
the abyss (cast & crew reunion) @ silent movie theater
lost & found film club 11:15 PM @ silent movie theater
american movie 8:30 PM, coven @ next weekend festival @ hollywood forever
robert nelson retrospective program #5 8 PM @ epfc
suddenly last summer FREE 2 PM @ north hollywood library
the act of killing 2:30 5:00 9:30 PM @ downtown independent
the renderers @ redwood bar


fri. aug. 9

safety last @ oscars outdoors
mia doi todd FREE (8:00) @ levitt pavilion (pasadena)
escape from new york MIDNIGHT @ nuart
death of a salesman @ ucla film archive
the battery MIDNIGHT @ silent movie theater
persepolis FREE 8 PM @ friday night flicks @ pershing square
cosmonauts, courtaud & bobtail, thee rain cats @ house show (pomona)
reyner banham loves los angeles FREE 8 PM @ epfc filmmobile @ location TBA
pig death machine 10:30 PM, mod fuck explosion, mommy mommy where's my brain @ jon moritsugu retrospective @ downtown independent
a teacher 9:45 PM @ next weekend festival @ sundance cinema 2
cutie and the boxer 10 PM @ next weekend festival @ sundance cinema 1
after hours, into the night @ new beverly
the act of killing 4:15 8:15 PM @ downtown independent

sat. aug. 10

white fence, jessica pratt @ troubadour
kingpin @ eat|see|hear @ paul revere middle school
monsoon wedding @ oscars outdoors
harold lloyd films @ silent salon @ villa aurora
the defiant ones, the wild one @ ucla film archive
salome 5:30 PM, wilde salome, salome @ egyptian
vertigo (70mm) @ aero
excalibur 10 PM @ silent movie theater
rolls 8 PM @ epfc
low movie (how to quit smoking) 7 PM @ downtown independent
pig death machine 9 PM, terminal usa, sleazy rider @ jon moritsugu retrospective @ downtown independent
heller keller @ the smell
back to the future FREE @ grand park
good willsmith (10:45), derek rogers (11:30) @ pehrspace
it felt like love 4 PM @ next weekend festival @ sundance cinema 2
12 o'clock boys 4:30 PM @ next weekend festival @ sundance cinema 1
blue caprice 10 PM @ next weekend festival @ sundance cinema 1
after hours 3:00 7:30 PM, into the night 5:00 9:35 PM @ new beverly
tapeheads MIDNIGHT @ new beverly
the act of killing 2:45 PM @ downtown independent


sun. aug. 11

the meditations @ los globos
spokenest FREE 5 PM @ permanent records
pig death machine 1:30 PM, fame whore, der elvis, pig death machine 7 PM @ jon moritsugu retrospective @ downtown independent
who killed cock robin? @ filmforum @ spielberg @ egyptian
a teacher 7 PM @ next weekend festival @ sundance cinema 1
cutie and the boxer @ next weekend festival @ hammer
it felt like love @ next weekend festival @ aero
12 o'clock boys @ next weekend festival @ moca grand
blue caprice 7 PM @ next weekend festival @ silent movie theater
american graffiti 2:50 7:30 PM, dazed & confused 5:10 9:50 PM @ new beverly
the act of killing 7 PM @ downtown independent


mon. aug. 12

pigsty, love meetings @ ucla film archive
no babies @ the smell
final cut: ladies and gentlemen @ everything is festival @ silent movie theater
rewind this! 10 PM @ everything is festival @ silent movie theater
ain't them bodies saints FREE (RSVP) 7 PM @ usc ray stark
pig death machine 10:30 PM, my degeneration, shorts @ jon moritsugu retrospective @ downtown independent
american graffiti, dazed & confused @ new beverly
the act of killing 5 PM @ downtown independent


tue. aug. 13

mondo public access 8 PM @ everything is festival @ silent movie theater
pig death machine 7 PM @ jon moritsugu retrospective @ downtown independent
drinking buddies FREE @ indie focus @ laemmle noho 7
westworld, the terminator @ new beverly


wed. aug. 14

cinefamily's most outrageous video games 8 PM @ everything is festival @ silent movie theater
pig death machine 9 PM, scumrock, shorts @ jon moritsugu retrospective @ downtown independent
westworld, the terminator @ new beverly
the act of killing 4:45 PM @ downtown independent


thu. aug. 15

the lady eve, sullivan's travels @ egyptian
comic relief zero @ everything is festival @ silent movie theater
dutch absurdism 8 PM @ epfc
baby doll FREE 2 PM @ north hollywood library
pig death machine 10 PM, hippy porn @ jon moritsugu retrospective @ downtown independent
adjust your tracking 8 PM @ meltdown
invasion of the body snatchers (1978), dead & buried @ new beverly


fri. aug. 16

born in east l.a. @ oscars outdoors
the shining MIDNIGHT @ nuart
generationalpictomusicapolis FREE 8 PM @ hammer
museum hours (time TBA) @ the royal
moonrise kingdom FREE 8:30 PM @ outdoor movies @ century city mall
the tenant, frantic @ egyptian
adjust your tracking @ spielberg @ egyptian
the agony and the ecstasy (70mm) @ aero
mike judge's "judgemental sampler" 10 PM @ everything is festival @ silent movie theater
the dragon lives again MIDNIGHT @ everything is festival @ silent movie theater
upsilon acrux (11:15) @ the colony (gardena)
colors FREE 8 PM @ epfc filmmobile @ location TBA
invasion of the body snatchers (1978), dead & buried @ new beverly
the act of killing 9:40 PM @ arena cinema


sat. aug. 17

rushmore @ oscars outdoors
the caine mutiny, home of the brave @ ucla film archive
lost boys, buffy the vampire slayer, interview with the vampire 7 PM-6 AM @ cinespia @ hollywood forever
tess @ egyptian
down to the sea in ships @ spielberg @ egyptian
all american high, fast times at ridgemont high @ aero
video variety show 2013 @ everything is festival @ silent movie theater
fateful findings MIDNIGHT @ everything is festival @ silent movie theater
lavender diamond FREE @ one colorado (pasadena)
heller keller @ pehrspace
moment trigger (3:00), w-h-i-t-e (7:45) FREE @ echo park rising @ lot 1 cafe
gap dream (4:40), pangea (5:30), the soft pack (6:20) FREE @ echo park rising @ taix (outdoor stage)
big search (6:30) FREE @ echo park rising @ taix (indoor stage)
brent weinbach (5:00) FREE @ echo park rising @ new california barbershop
the act of killing 9:40 PM @ arena cinema


sun. aug. 18

amelie 8 PM @ cinerama dome
the gospel according to matthew 7 PM @ ucla film archive
secret sixteen FREE 7 PM @ jumpcut cafe
rosemary's baby, repulsion @ egyptian
everything is vine... and so are you 1 PM @ everything is festival @ silent movie theater
an afternoon with andy orel and dino 3 PM @ everything is festival @ silent movie theater
the phynx 10 PM @ everything is festival @ silent movie theater
far from afghanistan @ filmforum @ spielberg @ egyptian
qui @ el cid
last night 3:10 7:30 PM, the road warrior 5:10 9:30 PM @ new beverly
mystic braves (5:30), nobunny (10:00) FREE @ echo park rising @ echoplex
corners (2:00) FREE @ echo park rising @ origami
thee rain cats (7:30), dirt dress (8:30) FREE @ echo park rising @ little joy
tomorrow's tulips (3:00), drinking flowers (7:00), froth (9:00) FREE @ echo park rising @ lolipop records
the act of killing 8:40 PM @ arena cinema


mon. aug. 19

corners FREE (RSVP) @ echo
last night, the road warrior @ new beverly


tue. aug. 20

opening night @ silent movie theater
two mules for sister sara FREE 6:30 PM @ santa monica library montana branch
the act of killing 9:30 PM @ arena cinema
telecaves @ mata


wed. aug. 21

la ricotta, oedipus rex, medea @ ucla film archive
kid @ aero
the act of killing 9:30 PM @ arena cinema
endless bummer @ lot 1 cafe


thu. aug. 22

black angels @ pappy & harriet's
nick waterhouse FREE @ santa monica pier
in the mood for love 8 PM @ arclight hollywood
ty segall, endless bummer @ center for the arts eagle rock
baraka (70mm) @ aero
karel doing: city symphonies 8 PM @ epfc
the night of the iguana FREE 2 PM @ north hollywood library
the rock and roll trailer show 10:15 PM @ silent movie theater
bleached FREE (RSVP) @ sonos studio


fri. aug. 23

monty python and the holy grail MIDNIGHT @ nuart
magic 9:50 PM @ silent movie theater
black angels @ the observatory (santa ana)
blank tapes, mystic braves @ bootleg
kiss me deadly FREE 8 PM @ epfc filmmobile @ location TBA
weekend, daisies @ new beverly
ty segall FREE @ permanent records
bollywood's biggest films and voices FREE 8 PM @ machine


sat. aug. 24

the warriors @ eat|see|hear @ la trade tech
cinema paradiso @ oscars outdoors
charlie chaplin films @ silent salon @ villa aurora
back to the future @ cinespia @ hollywood forever
the master (70mm) @ aero
the keep MIDNIGHT @ silent movie theater
l.a. witch @ silverlake lounge
repo man MIDNIGHT @ downtown independent
weekend 3:40 7:30 PM, daisies 5:45 9:35 PM @ new beverly


sun. aug. 25

the canterbury tales, the arabian nights @ ucla film archive
citizen kane, the magnificent ambersons @ egyptian
dream boys @ part time punks @ echo
avant garde advertising films FREE 7 PM @ 7 dudley cinema @ beyond baroque
the keep 10:15 PM @ silent movie theater
enter the dragon 3:30 7:30 PM, the tattoo connection 5:30 9:30 PM @ new beverly
charles bradley FREE 5 PM @ amoeba


mon. aug. 26

sonny & the sunsets, mystic braves, blank tapes @ echo
enter the dragon, the tattoo connection @ new beverly


tue. aug. 27

pangea FREE @ origami vinyl
the beguiled FREE 6:30 PM @ santa monica library montana branch
corners, l.a. witch @ silverlake lounge
enter the dragon, the tattoo connection @ new beverly


wed. aug. 28

salo @ ucla film archive
moab FREE (RSVP) @ satellite


thu. aug. 29

animation freak-out night 8 PM @ epfc
a streetcar named desire FREE 2 PM @ north hollywood library
cinecon 49 classic film festival (all day) @ egyptian
sea lions @ harvard & stone
a foreign affair FREE (RSVP) 7 PM @ usc ray stark


fri. aug. 30

fight club MIDNIGHT @ nuart
the adventures of tintin FREE 8 PM @ friday night flicks @ pershing square
lifeforce (70mm) @ aero
souls for sale (w/ live musical accompaniment by lucky dragons) FREE 8 PM @ epfc filmmobile @ location TBA
jon brion @ largo
cinecon 49 classic film festival (all day) @ egyptian
whirr @ la cita
lawrence of belgravia @ don't knock the rock @ silent movie theater
autoluminescent 9:40 PM @ don't knock the rock @ silent movie theater
dirt dress, froth @ 2237 fargo st., echo park


sat. aug. 31

vertigo @ electric dusk drive-in
rushmore FREE 8 PM @ bike-in movies @ marsh park
it's a mad mad mad mad world (70mm) @ aero
highlights from the venice beach biennial 8 PM @ epfc
martin olson presents the adventure time encyclopaedia 8 PM @ stories books
cinecon 49 classic film festival (all day) @ egyptian
the graduate @ cinespia @ hollywood forever
our vinyl weighs a ton @ don't knock the rock @ silent movie theater


sun. sept. 1

those magnificent men in their flying machines (70mm) @ aero
exploding flowers, cruel summer, shark toys @ ham & eggs tavern
cinecon 49 classic film festival (all day) @ egyptian
the breakfast club @ cinespia @ hollywood forever
bayou maharajah: the tragic genius of james booker 4:30 PM @ don't knock the rock @ silent movie theater
levitation room @ m bar boyle heights


mon. sept. 2

cinecon 49 classic film festival (all day) @ egyptian
the shrills FREE @ echo


tue. sept. 3

paper moon FREE 6 PM @ santa monica library ocean park branch
frances ha @ new beverly
nickelodeon 1 PM @ lacma
final cut: ladies and gentlemen 7:45 @ silent movie theater
a teacher FREE (RSVP) 7 PM @ usc ray stark
the harder they come 8 PM @ arclight hollywood


wed. sept. 4

frances ha @ new beverly
the silent treatment: the talmadge sisters @ silent movie theater


thu. sept. 5

the princess bride @ silver lake picture show


fri. sept. 6

clueless MIDNIGHT @ nuart
fast times at ridgemont high FREE 8 PM @ friday night flicks @ pershing square
pather panchali 7 PM, aparajito @ ampas samuel goldwyn
hondo 7 PM @ 3D film expo @ egyptian
house of wax (1953) 9:30 PM @ 3D film expo @ egyptian


sat. sept. 7

back to school @ eat|see|hear @ santa monica high school
bwana devil 1:15 PM @ 3D film expo @ egyptian
european 3-d cinema 1935-1953 4:30 PM @ 3D film expo @ egyptian
creature from the black lagoon (1954) 7:15 PM @ 3D film expo @ egyptian
jaws 3-d 9:45 PM @ 3D film expo @ egyptian


sun. sept. 8

robinson crusoe (1946) 2 PM @ 3D film expo @ egyptian
miss sadie thompson 4:45 PM @ 3D film expo @ egyptian
dial m for murder 7 PM @ 3D film expo @ egyptian
the stewardesses 9:30 PM @ 3D film expo @ egyptian


mon. sept. 9

tobacco @ the echo
apur sansar @ ampas samuel goldwyn
psychedelic hesse FREE 6 PM @ documental @ unurban
pangea FREE @ bardot
phantom of the rue morgue 7 PM @ 3D film expo @ egyptian
jivaro 9:30 PM @ 3D film expo @ egyptian


tue. sept. 10

the mob 1 PM @ lacma
the glass web 7 PM @ 3D film expo @ egyptian
dangerous mission 9:45 PM @ 3D film expo @ egyptian


wed. sept. 11

julia holter @ first unitarian church
diamond wizard 1:15 PM @ 3D film expo @ egyptian
taza son of cochise 4:15 PM @ 3D film expo @ egyptian
kiss me katie 6:30 PM @ 3D film expo @ egyptian
the french line 9:45 PM @ 3D film expo @ egyptian


thu. sept. 12

godspeed! you black emperor @ fonda
white magic, body/head @ the echo
jimmy cliff FREE @ santa monica pier
inferno 7 PM @ 3D film expo @ egyptian
i the jury 9:30 PM @ 3D film expo @ egyptian


fri. sept. 13

night of the creeps MIDNIGHT @ nuart
election FREE 8 PM @ friday night flicks @ pershing square
the loons @ black eyed soul club @ satellite
bleeding rainbow (11:00) @ bootleg
wings of the hawk 3:30 PM @ 3D film expo @ egyptian
it came from outer space 7 PM @ 3D film expo @ egyptian
the mad magician 9:45 PM @ 3D film expo @ egyptian


sat. sept. 14

godspeed! you black emperor @ fox theater pomona
the breakfast club @ eat|see|hear @ la state historic park
e.t. FREE @ grand park
robot monster 3:30 PM @ 3D film expo @ egyptian
dragonfly squadron 6 PM @ 3D film expo @ egyptian
revenge of the creature 9 PM @ 3D film expo @ egyptian


sun. sept. 15

second chance 4:30 PM @ 3D film expo @ egyptian
money from home 6:45 PM @ 3D film expo @ egyptian
cease fire 9:45 PM @ 3D film expo @ egyptian


tue. sept. 17

twentieth century 1 PM @ lacma


thu. sept. 19

funk film nite FREE 7 PM @ subversive cinema @ the talking stick


sat. sept. 21

lee fields & the expressions, aloe blacc, etc @ beach ball fest @ santa monica pier
ship of fools @ ucla film archive


sun. sept. 22

u roy, soul syndicate, skatalites, etc @ beach ball fest @ santa monica pier
baroff & clark films FREE 7 PM @ 7 dudley cinema @ beyond baroque


fri. sept. 27

on the beach @ ucla film archive
clueless FREE 8 PM @ friday night flicks @ pershing square
woods @ center for the arts eagle rock
jon brion @ largo


sat. sept. 28

white fence, real estate, woods, etc @ woodsist desert festival @ pappy & harriet's


sun. sept. 29

high noon 7 PM @ ucla film archive


wed. oct. 2

jacco gardner, allah-las @ troubadour


sat. oct. 5

eagle rock music festival


sat. oct. 12

young frankenstein 7 PM @ electric dusk drive-in


sun. oct. 13

the rosalyns @ redwood bar


tue. oct. 15

king tuff @ echoplex


fri. oct. 18

quintron & miss pussycat @ satellite


sat. oct. 19

the mr. show experience, zach galifianakis, triumph the insult comic dog, etc @ festival supreme @ santa monica pier
beetlejuice 6:30 PM, poltergeist @ electric dusk drive-in


mon. oct. 21

goblin: giallo live, suspiria @ egyptian


tue. oct. 22

goblin: giallo live, deep red @ egyptian


wed. oct. 23

goblin: giallo live, tenebrae @ egyptian


thu. oct. 24

subversive cinema art films FREE 7 PM @ subversive cinema @ the talking stick


fri. oct. 25

fuzz @ satellite


sat. oct. 26

dusk-to-dawn horrorthon (films TBA) @ aero


sun. oct. 27

maxwell street revisited FREE 7 PM @ 7 dudley cinema @ beyond baroque


mon. oct. 28

the blow @ center for the arts eagle rock


thu. oct. 31

the phantom of the opera (w/ live organ accompaniment) 8 PM @ disney hall


thu. nov. 7

afi fest


fri. nov. 8

crocodiles @ echo
afi fest


sat. nov. 9

indiana jones and the raiders of the lost ark 7 PM @ electric dusk drive-in
afi fest


sun. nov. 10

afi fest


mon. nov. 11

experimental documentaries FREE 6 PM @ documental @ unurban
afi fest


tue. nov. 12

afi fest


wed. nov. 13

quasi @ echo
afi fest


thu. nov. 14

chris ware: writing the graphic landscape FREE @ fowler museum
afi fest


thu. nov. 21

subversive cinema experimental animation films FREE 7 PM @ subversive cinema @ the talking stick


sat. nov. 23

the breakfast club 6 PM, back to the future part ii @ electric dusk drive-in


sun. nov. 24

pop art films FREE 7 PM @ 7 dudley cinema @ beyond baroque


sat. nov. 30

three stooges big screen event 2:00 8:00 PM @ alex theatre


mon. dec. 9

pxl this festival FREE 7:00 9:00 PM @ documental @ unurban


sat. dec. 14

die hard 7 PM @ electric dusk drive-in


thu. dec. 19

metaphor as memory FREE @ 7 dudley cinema @ beyond baroque



WHAT IT IS:


Accattone (Italy, 1961)
Director Pier Paolo Pasolini had distinguished himself as a novelist known for depictions of life among prostitutes and thieves, when his similarly themed first feature appeared.  Concerning the ignominious misadventures of a pimp, bereft after his prostitute’s imprisonment, the film formally resembled neo-realist works of the time, except in its rapt focus on the underbelly of urban Italian life, rather than the promise of Italy’s postwar economic reforms.
Producer: Alfredo Bini. Screenwriter: Sergio Citti, P. Pasolini. Cinematographer: Tonino Delli Colli. Editor: Nino Baragli. Cast: Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi, Adriana Asti. 35mm, b/w, in Italian with English subtitles, 117 min.


THE ACT OF KILLING
“I have not seen a film as powerful, surreal, and frightening in at least a decade — it is unprecedented in the history of cinema.” – Werner Herzog
In this chilling, inventive documentary (executive-produced by Errol Morris and Werner Herzog), we travel to the formerly war-ravaged Indonesia: a nation blanketed across the board with post-traumatic stress disorder, and where death squad leaders are bizarrely celebrated as heroes. As the filmmakers challenge survivors of the war — both the killers and the victims — to reenact their real-life horrors in the style of the American movies they love, the hallucinatory result is a cinematic fever dream: an unsettling journey deep into the imaginations of mass-murderers, and the shockingly banal regime of corruption and impunity they inhabit. Shaking audiences at the 2012 Toronto and Telluride Film Festivals, and winning an Audience Award at the 2013 Berlin International Film Festival, The Act of Killing is a must-see film that, as the Los Angeles Times says, “could well change how you view the documentary form.” Dirs. Joshua Oppenheimer, Christine Cynn & Anonymous, 2012, DCP, 115 min.


ADJUST YOUR TRACKING: THE UNTOLD STORY OF THE VHS COLLECTOR
2013, 84 min, USA, Dir: Dan M. Kinem, Levi Peretic
This entertaining documentary is for anyone who remembers scanning the shelves at the video store or seeing those late fee stickers. Shot to capture the look and feel of VHS, ADJUST YOUR TRACKING delves deep into the underground subculture of obsessives who still cherish a format most people throw in the trash. The horror/sci-fi collectors, curators and hoarders profiled here will look familiar to anyone who’s ever sought a “holy grail” item - even if the obscure object of your desire isn’t a videotape of TALES FROM THE QUADEAD ZONE. FILMMAKERS WILL BE IN ATTENDANCE!


AN AFTERNOON WITH ANDY, OREL, AND DINO
What could be more wholesome than spending your Sunday in Moralton with Orel Puppington, Clay, Bloberta, Rev. Putty and the rest of your favorite Moral Orel characters? Moral Orel, the mid-Aughts masterpiece from Dino Stamatopolous (creator of Mary Shelley’s Frankenhole and the new ADHD show High School USA!) — remains one of the Golden Age of Televised Animation’s crowning achievements, due to both its sharply brilliant satire and its beautiful stop-motion work. Don’t miss Dino, along with the reunited cast of Moral Orel as they perform table reads of two never-before-produced episodes in front of your eyes and ears, complete with a puppet show using the actual stop-motion figures! Special live guests include cast members Carolyn Lawrence, Scott Adsit, Britta Philips, K.K. Dodds, William Salyers, Jay Johnston, Joe Unger, and Q&A moderator Nick Wiedenfeld (ADHD).
Plus, as an added treat, Dino will reach into his video vault and take you back in time to his college years in Chicago, when he and his good friend Andy Dick teamed up to create a series of comedy sketches — shown here in all their glorious VHS beauty!


ALL AMERICAN HIGH
1987, Direct Cinema, 59 min, USA, Dir: Keva Rosenfeld
Director Keva Rosenfeld (TWENTY BUCKS) spent much of the 1984 school year roaming the halls of Torrance High with a camera to capture this fly-on-the-wall documentary. As narrator, Finnish exchange student Rikki Rauhala offers perspectives on such familiar teen rituals as proms and parties - and the occasionally frivolous approach to education here. Discussion following with directors Amy Heckerling and Keva Rosenfeld.


ANIMATION FREAK-OUT NIGHT
Won't you join Cosmo Segurson for an evening of strange and mind bending cartoons? Root beer floats will be served up as his collection of 16mm animation prints entertains you beyond belief. From the United States and around the world, some from the Film Center's own library, these cartoons are rare and well worth your attention. Did we mention Root Beer Floats?


AVANTI POPOLO
Through the recovery of found Super8mm footage captured by his brother during the 70's dictatorship, Andre tries to revive the memories of his father, who's been waiting for his missing son for over 30 years. Director: Michael Warhman, 72'.  West Coast Premiere.  Director will be present for Q&A.


BAROFF & CLARK FILMS
Michael Baroff Films (45 minutes, 2010-12) Baroff (in person) uses the camera much like a sketchbook to serendipitously record what attracts his attention while in public environments. These unscripted visual scenes, ambient sounds and overheard talk, in which he does not overtly intervene, are then minimally edited or montaged, to create a sense of context, meaning and affect. The individual videos can be viewed from a range of stylistic perspectives including abstract, scenic, narrative, meditative, or social commentary.
Jon Clark Films: Clark's (in person) SPECTRUM HUNTER (2012, 32m) - Discover a collection of haunted media, a benevolent tribe of new wave witches, a Goth teenager with real magic powers, a bizarre cult that inhabits abandoned malls, & much more. Clark's work deals with childhood, memory, the uncanny, and the obscure corners of popular culture. Referencing an early 90s aesthetic, influenced by laserdiscs, pogs, and dark allure of arcades, this film captures the ineffable fantasy in the mind of kids that dedicated their lives to these things. Also: Clark-directed animations and music videos (2008 3m).


THE BATTERY
“There are as many horror fans who loathe zombie movies as there are those who love them. Described as an ‘anti-zombie zombie movie’, ‘The Battery’ is the most reinvigorating take on this overworn subgenre I’ve seen in ages.” – Kier-La Janisse, Fangoria
Accomplished for a staggeringly low $6,000, writer/director Jeremy Gardner’s debut feature re-invents the post-apocalyptic zombie film through sheer simplicity. We follow two former baseball players, Ben (also Jeremy Gardner) and Mickey (Adam Cronheim), cutting an aimless path across a deserted post-zombiegeddon New England. Ben has embraced their feral, lawless, nomadic lifestyle — and Mickey clings to the hope of salvation, dreaming of a bed, a girl, and a safe place to live. Bleak, funny, disturbing, and inventive (like the best no-budget cinema) The Battery succeeds powerfully by turning its limitations into strengths — and in an era where the been-there-done-that cinematic zombie realm is now mostly judged on the quality of its SFX gore and makeup, The Battery is a subversive breath of fresh air.
Dir. Jeremy Gardner, 2012, digital presentation, 101 min.


BAYOU MAHARAJAH: THE TRAGIC GENIUS OF JAMES BOOKER
“Brilliant jazz pianist James Booker was known at various points in his career as the Black Liberace, the Ivory Emperor and Little Chopin — yet his incredible, tumultuous life has never received proper attention, until now. A brilliant pianist, his eccentricities and showmanship belied a life of struggle, prejudice, and isolation. Director Lily Keber’s portrait traces Booker’s life from his early years as a chart-topping child prodigy to the end, where he performed onstage in his underwear, dishing out drug-fueled conspiracy theories. Featuring interviews with the likes of Harry Connick Jr., Irma Thomas and Allen Toussaint, as well as a generous helping of archival footage, the film brings to life the unforgettable story of this amazing musician.” (Outfest) Filmmaker Lily Keber in person, Q&A moderated by music critic Chris Morris! Dir. Lily Keber, 2013, digital presentation, 90 min.


BEYOND THE BOUNDS: SHORT FILMS BY WENHWA TSAO
Professor Tsao is an award-winning filmmaker who was born and raised in Taiwan. Her short films have been screened in film festivals around the world, and she is a professor and director of graduate study in the Film & Video Department at Columbia College, Chicago. Three films will be shown:  Wonton, The tale of a young Chinese woman and her witty escape from an Immigration Customs raid; Arithmetic Lesson, the story of a seven-year-old Chinese American girl who defies and survives abuse from her au pair; and Towing, a female veteran's struggle to adjust to civilian life. On one fateful night, her war experiences come back to challenge her as she is forced to face a meaningless death. Coffee and refreshments will be served.


THE BIG FIX
Richard Dreyfuss plays Moses Wine, an ex-Sixties radical who pays the bills as a private eye. Wine is hired to stem a smear campaign against a popular political candidate. Gradually the plot thickens into a murder case, involving a hippie leader whose values, like Wine's, have been severely compromised over the years - and who plans to blow up a major LA freeway as a protest. Susan Anspach provides a great deal of dramatic (and sexual) tension as Wine's boss. Among the minor players are future stars Mandy Patinkin and F. Murray Abraham. The Big Fix was adapted by Roger L. Simon from his own novel. 1978, USA, 35mm, 108 minutes. 35th anniversary! Not available on DVD. Directed by Jeremy Kagan; written by Roger L. Simon; starring Richard Dreyfuss, Susan Anspach, Bonnie Bedelia, John Lithgow, Ofelia Medina, Nicolas Coster, F. Murray Abraham, Fritz Weaver; music by Bill Conti


BLUE CAPRICE
Blue Caprice is inspired by the Beltway sniper attacks during which two men, John Muhammed and Lee Malvo, conducted a siege of terror on the Washington, D.C., area. Their method: a series of random shootings in public places. Their weapon: a sniper rifle, fired from the trunk of a blue Chevrolet Caprice. The film investigates the genesis of those horrific events from the point of view of the two shooters, whose distorted father-son relationship facilitated their long and bloody journey across America.
Marked by captivating performances, lyrical camerawork, and a fractured structure, Blue Caprice documents the mechanisms that lead its subjects to embrace physical violence. Eschewing the conventional approach familiar to the genre, director Alexandre Moors utilizes a formidable cinematic lexicon to concoct a harrowing psychological exploration of the two cold-blooded killers that will make a forceful impact on audiences that remains long after the lights come up. 2012, 94 minutes, color, U.S.A.


BOLLYWOOD'S BIGGEST FILMS AND VOICES
The voices and films of Bollywood’s Golden Era. Film Music videos featuring Kishore, RD Burman, Rafi, Mukesh and more will be projected on the big screen, and then supplemented with live song performances, analysis, and historical/political insight by Rajen Sukhadia and Robin Sukhadia. All the mega stars will be given due attention. We promise gregarious song and dance, whimsical musical arrangements, gaudy colors, and extremely melodramatic love scenes...


CHARLES BRADLEY: SOUL OF AMERICA
Starting off on his 62nd birthday, Charles Bradley: Soul of America follows the extraordinary journey of singer Charles Bradley during the electrifying and transformative months leading up to the release of his debut album "No Time for Dreaming" which rocketed him from a hard life in the Brooklyn Housing Projects to Rolling Stone Magazine's top 50 albums of 2011.


CHARLIE CHAPLIN FILMS @ SILENT SALON
Four early Keystone films starring Charles Chaplin. Made in 1914, at the beginning of the legendary comedian’s career, all four were either directed or co-directed by him. Live accompaniment by Dean Mora on organ. “Mabel’s Married Life,” “The Rounders,” “The Masquerader” and “Dough and Dynamite.” Running time: 69 min.


CINEFAMILY'S MOST OUTRAGEOUS VIDEO GAMES
Plug in, put on your Power Glove and hold on to your heart capsules, because we’re blowing the dust off the craziest cartridges, most deranged discs and buggiest little-known consoles ever to jiggle your joysticks. Take a nostalgic stroll through an 8-bit wonderland of early gaming breakthroughs and experiments. Thrill to a montage of the outrageous kills that shocked a generation of parents. Cringe at the most uncomfortably “sexy” games this side of the uncanny valley, settle your score with infamous franchise fiascos like Moonwalker, Alf, and E.T., pig out on pixelated FMV failures and HFS cutscenes galore. Just don’t forget to bring your memory cards, because this show promises “extra lives” worth of excited entertainment. Then, after the show, join us in our upstairs gallery for the Island Of Misfit Video Games, where we’ll have a glitchy good time into the wee hours of the night with live consoles dishing out the weirdest of the weird for us to play together — so NintenDON’T miss out! Grab your tickets now, as they’ll be gone faster than you can say “UP UP DOWN DOWN LEFT RIGHT LEFT RIGHT A B B A!”


CINESPIA SALON: A SUBLIME FREQUENCIES CELEBRATION
A night celebrating one of the most unique record labels ever: Sublime Frequencies, a collective of explorers dedicated to exposing obscure sights and sounds from traditional urban and rural frontiers. For the past ten years, these cultural crate-diggers have routinely wowed us with wondrous transmissions from corners of the world seldom seen or heard, via film and video, field recordings, radio and shortwave transmissions, international folk and pop music, sound anomalies, and other forms of human and natural expression. Join us for this night of celebratory music, with their latest two films by label co-founder Hisham Mayet, hot tea and snacks on our backyard patio, Sublime Frequencies DJs spinning rare and beautiful tunes from around the world, and a live performance by “Alvarius B”, the alter ego of label co-founder Alan Bishop (of Sun City Girls!)
VOUDON GODS ON THE SLAVE COAST (World premiere!)
This film, shot during the country’s rich Vodoun celebrations, is an impressionistic lens on the myriad ceremonies that this rich and diverse culture has to offer. Showcasing intimate observations of a variety of Voodoo ceremonies: the cult of Sakpata (god of Pestilence and healing), Egoun dramas shrouded in magisterial costumes, and the Secret Police of the Zangbeto night watchmen, among other highlights. This will be the premiere screening of this visual feast. Dir. Hisham Mayet, 2012, digital presentation, 50 min.
THE DIVINE RIVER: CEREMONIAL PAGENTRY IN THE SAHEL
Highlights include intimate views of ecstatic dance in the painted houses of the island-dwelling Wogo; the seductive courtship rites and trance vocals of young Wodaabe men; a mesmeric Tuareg and Zarma duet for guitar and molo; Hausa griots enchanting with comsaa strings; Zarma spirit possession ceremonies; and heart-stopping footage of the Dogon mask ritual atop the Bandiagara Escarpment in the village of Endele. Dir. Hisham Mayet, 2012, digital presentation, 47 min.


COMIC RELIEF ZERO
Everything is Terrible! — the dumb-faced, narcissistic goof-troupe of found footage — are dishing out their very first stand-up comedy special: Comic Relief Zero. This special is the opposite of special, jam-packed with the most cringe-inducing set-ups and bomb-dropping punchlines ripped from their magnetic video tape time capsules. Today’s hottest ventriloquists, racists, prop comics, sexists, impersonators, homophobes, and talk show hosts wish this footage was still in the landfills, for the streets will run blue with these wanton wisecracks about women, fat people puns, and disability gags galore. Are you oppressed and underrepresented in society? Well then, watch out as we pull back the banana peel and take a head-first descent into the brick wall of our own mind. Plus, the fur-covered, glitter-smothered gang from EIT! will emcee the festivities, bringing all the costumed merriment that has made EIT! live shows (in)famous. Outrageously funny — and totally clean. Plus, legendary decades-spanning comic Tony Clifton will be here in person to lay waste to the audience as he introduces the show!


DEEP RED (PROFONDO ROSSO)
1975, 106 min, Italy, Dir: Dario Argento
From the opening with a child slashing someone and a bloody knife dropping to the floor, we're plunged into an ever-deepening pool of repressed terrors. David Hemmings is a pianist sucked into an undertow of escalating homicide after he witnesses the murder of psychic Macha Meril. One of Argento's most justly-famous gialli, where something as simple as a lizard writhing on the floor could represent a child's wounded psyche, bound some day to erupt in spectacular fits of murder. The dark and distinctive keyboard-rich soundtrack - the first by prog rockers Goblin - was a major hit in Italy. With Daria Nicolodi.


DIARY OF A LOST GIRL
There’s a reason the name Louise Brooks elicits sighs every time it’s mentioned at the Cinefamily: her ferocious charisma and otherworldly beauty cemented her status as an icon well before she retired from the silver screen, at the age of 32. From her comic role opposite W.C. Fields to multiple turns as troubled, willful heroines in the films of legendary German Expressionist auteur G.W. Pabst, Brooks shines as an actress capable of endless nuance and versatility — as she understood the impact both her inner and outer beauty could bring to the screen. Here, in her second and final collaboration with Pabst, Brooks gives a delicately restrained performance as the naive daughter of a prosperous pharmacist who stuns her clan by becoming pregnant. After being put through the repressive reform school ringer, she escapes to a brothel where she becomes liberated and lives for the moment with radiant physical abandon. Pabst’s escalating nightmares are heightened by Brooks’ sensitive portrayal of a truly lost girl whose hard-earned redemption is as beautiful a vision as the star herself. Dir. G.W. Pabst, 1929, 35mm, 116 min.


DOWN TO THE SEA IN SHIPS
1922, 83 min, USA, Dir: Elmer Clifton
Elmer Clifton directed this exciting and realistic saga of 19th century whaling, featuring an actual whale hunt captured on film. Shot on location in New Bedford, Massachusetts with locals in period costume as extras, the film stars Raymond McKee, Marguerite Courtot and, in her second film role, Clara Bow. With live piano accompaniment by Cliff Retallick. 8mm.


THE DRAGON LIVES AGAIN
Literal hundreds of imitators have tried to take the throne vacated by the late Bruce Lee (Bruce Li, Bruce Lo, Bruce Lei, etc.), and none of them compare to Bruce Leung and his hallucinatory The Dragon Lives Again. While this isn’t the only film that follows the afterlife of Bruce and his misadventures through Hell — it’s absolutely the best! The Dragon finds himself stuck in Hades, and in order to defend the King Of The Underworld’s throne he must fight (here goes!): Dracula, James Bond, The Man With No Name, The Exorcist, Emmanuelle, Zatoichi the Blind Swordsman, and even softcore sexpot Emmanuelle! “Since this is obviously too formidable of a lineup for even Lee to take on by himself he enlists the aid of fellow souls damned for eternity: Kwai Chang Caine, the One Armed Swordsman and that most accomplished martial artist of them all, Popeye. Yes, that’s right, Popeye. As in Popeye the Sailor Man, the cartoon character.” (Mark Johnston, Shocking Videos.) The Dragon Lives Again first hit the Cinefamily screen as a Everything Is Terrible presentation back in 2011 — and now, thanks to the tireless efforts of Austin’s American Genre Film Archive, we’re able to give this film an unbelievable 35mm screening!
Dir. Kei Law, 1977, 35mm, 90 min


DRAGONSLAYER (brand-new HD master!)
“Perhaps one of the most perfect creature designs ever made.” — Guillermo del Toro
“The best dragon ever put on film” — George R.R. Martin
Today one can barely imagine Disney and Paramount banding together to co-produce a realistic, adult-oriented fantasy film — but so it was in the grand sword and sorcery heyday of 1981, when Dragonslayer originally clawed its way into theaters. With stunning effects by ILM’s master Phil Tippett and his Empire Strikes Back team, Dragonslayer is truly all about the dragon: the absurdly well-named Vermithrax Pejorative. Easily the most elaborate flying terror of the pre-CG era, Dragonslayer combined practical effects, a hydraulic forty-foot dragon model, and sixteen stop-motion puppets to create one of the most realistic scaly beasts ever to blast into film history. As if that wasn’t enough, authentic locations and costuming, as well as a lush medieval score, elevate this tale of wizards and damsels to bonafide classic status. A dedicated covenant of followers lovingly waxed over Dragonslayer in the hazy VHS era — and now, it soars to us in a brand-new HD master, created especially for our shows of the film by Paramount!
Dir. Matthew Robbins, 1981, digital presentation, 108 min.


DURVAL RECORDS
Announcing the arrival of a fierce new filmmaker voice upon its release in 2002, this wickedly delicious music homage to the LP era, and vibrant 70s Brazilian sound scene, is about a middle-aged struggling record storeowner still living with his mother. 103'.


DUTCH ABSURDISM
The proximity of the famous Keystone studios to the Echo Park Film Center inspired Dutch experimental filmmaker Karel Doing to select a historical program of short experimental films from the Netherlands. The rough physical action and gags typical of the early Keystone films may have inspired some of the Dutch filmmakers. Their biting absurdism is often used as a critical tool towards small mindedness and false moralism. Be prepared for some unsettling works of art. Program includes Tulips by Wim van der Linden, Tarting Over by Paul de Nooijer, El Cardenalby Henri Plaat, Oot Oak Aas by Paul de Mol, De Blikvanger (The Eyecatcher) by Frederieke Jochems, Living by Frans Zwartjes, Touring Holland by Bicycle by Paul de Nooijer, Kano (Rood) [Canoe (Red)] by Jeroen Eisinga, and Backward by Erik Wesselo. All works on 16mm.


EVERYTHING IS VINE... AND SO ARE YOU
They say creativity often works best under strict limitations — and the meteoric output of Vine’s thousands of micro-auteurs might be the best 21st century example we’ve yet seen. We’ll be honest: Vine’s entire concept was a bit alien to us at first. Much like everyone else, our initial thoughts were firmly centered around “What could one possibly do with only six seconds of phone video?” Turns out the answer’s just about anything one can dream up, as evidenced by Vine’s rapid proliferation of genius stop-motion animation, haunting dream-like vignettes, headlong dives into total absurdity and other pourings forth from the collective Id. In the very first L.A. celebration of this sensational new medium, we explore the app’s best-of-the-best (and the strangest-of-the-strange) with special live guests Steve Agee, Adam Goldberg, James Urbaniak, Marlo Meekins and Ian Padgham, all newly-minted Vine specialists who’ll help us break down why exactly Vine is both so addictive and so vital to our cameraphone age.


Experimental Documentaries – Rare film clips incite new questions about Grierson's definition of documentary as "creative treatment of actuality." Probing the philosophies of documentarians, fresh insights will arise concerning stagings and reenactments, and the different viewpoints on degrees of involvement with the subjects. Vertov argued for presenting "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera). What is endemic to this genre and why? Wiseman calls docs "reality fiction, Alan King "actuality dramas," and Richard Leacock "historical fantasies." Why ? "I am for anyone who seeks the truth, but I part ways with them when they claimed they found it." - Bunuel. 


Fame Whore (1997)
Winner of "Best Feature" and "Festival Choice" Awards at the New York Underground Film Festival, FAME WHORE is director Jon Moritsugu's fifth and funniest film. It features a horny tennis pro (Peter Friedrich), bong-tokin' trust-fund princess (Amy Davis), and deluded dog luver (Victor of Aquitaine). Shot in 16mm in San Francisco and completed in 1997, this digitally remastered movie includes on its soundtrack: Dub Narcotic Sound System, Emily's Sassy Lime, Angry Samoans, Mel Davis, Dixieland, Barbara Manning, No No Boy, Kat Thaxton, and Budderball. 70 minutes. 


Far From Afghanistan
Los Angeles Premiere! 
Filmforum is delighted to host the Los Angeles premiere of a remarkable omnibus film from five extraordinary filmmakers. Unabashedly political filmmakers, but all of whom bring the constant spirit of invention and exploration in their works, all coming together to create a waork exploring the deep involvement of the United States in Afghanistan.  We’re delighted to have Minda Martin and Travis Wilkerson back for the second time each this year.
An omnibus film by five American filmmakers and a collective of young Afghan media journalists, Far From Afghanistan forms a mosaic of cinematic approaches to take a critical look at the longest overseas war in U.S. history. Inspired by the 1967 collaborative film Loin Du Vietnam (Far from Vietnam), Far From Afghanistan likewise unites a variety of filmmakers, cinematographers, editors and technicians in the international effort to redirect U.S. policy away from military and political intervention toward true humanitarian and developmental care-giving as invited.
“...something of a definitive statement on a runaway global disaster.” - Michael Atkinson, The Boston Phoenix
“...brilliant, poetic and cold as it should be.  I was blown away by it, and by the relentlessness of its exploration.” - Fanny Howe


FATEFUL FINDINGS
One film above all others rocked last year’s edition of the annual Austin, TX ritual Butt-Numb-A-Thon — and to everyone’s surprise, it was neither mega-budget superhero fodder, nor routine genre exercise. We’re talking about the third out-of-left-field film from writer/producer/director/star Neil Breen, whose quixotic cinematic journey Cinefamily’s been charting with active interest since his first unique foray. Outside the confines of the Hollywood dream factory, and outside the norms of traditional storytelling, Breen’s growing body of work (Double Down, I Am Here….Now, and now, Fateful Findings) bears an abundance of heart, melding the traditions of hard sci-fi, covert action thriller, tender romance and phantasmagorical fantasy into a single streamlined style unmistakably his alone. Here, Breen plays a man working through childhood traumas as he maintains success both as an author and as the world’s greatest computer hacker. As befits Breen’s career-spanning thesis about abuse of power, and the havoc it wreaks on the average citizen, his hero also uncovers devastating secrets hidden behind the curtains of government and Big Business. Seize the chance to catch Breen fever with us, as we give you the L.A. premiere of Fateful Findings, with Neil in person!
Dir. Neil Breen, 2012, digital presentation, approx. 90 min.


FINAL CUT: LADIES AND GENTLEMEN
A giddy found-footage shot heard ‘round the world! For years, we’ve been waiting for an intrepid soul to craft an entirely narrative feature comprised of images and sounds from other feature films — and Final Cut – Ladies And Gentlemen, the culmination of three years’ worth of editing by visionary Hungarian director György Pàlfi (Taxidermia), is nothing short of astonishing. With the totality of the moviegoing experience as its subject, Final Cut juggles clips from over 450 of the greatest films of all time, and bends deep reserves of movie tricks, tropes and triumphs into a single flowing arc. Iconic characters are raised through childhood, fall in love, go to war, marry — and as we jump from Marilyn Monroe to Jackie Chan, from Ozu to Lynch, from the Twenties to the Millenium and back again, we bask in the unity of our shared mythos. Whether you take it in as either an immersive art piece or the all-time highlight reel of your dreams, Final Cut taps directly into the cinematic subconscious with a sensitivity sure to captivate casual movie buffs and hardcore cineastes in equal measure.
Dir. György Pálfi, 2012, digital presentation, 84 min.


A FOREIGN AFFAIR
Writer/director Billy Wilder (in collaboration with producer/writer Charles Brackett) earned his first critical condemnation with A Foreign Affair. Reviewers accused Wilder (as they would so often in the future) of moral bankruptcy, challenging him to prove what could possibly be funny about the Nazi war guilt, the bombed-out city of Berlin, the postwar European black market or attempted suicide. All of these elements are in A Foreign Affair, and all are very funny. John Lund is an American army captain carrying on a casual affair with Berlin songstress Marlene Dietrich, who accepts Lund's attentions so long as there are contraband cigarettes and nylons added to the bargain. Iowa congresswoman Jean Arthur is sent as part of an American fact-finding delegation to Berlin, and Lund is compelled to clean up his act--or at least pretend to. Despite her initial shock at the corruption all around her, straitlaced Arthur eventually falls for Lund, but Dietrich has been at this game a lot longer.


Generationalpictomusicapolis
A celebration of collaborative music and art making, this courtyard soiree features the ramshackle psych-folk of Devin Gary & Ross (Devin Flynn, Gary Panter, Ross Goldstein, joined tonight by Kramer of Bongwater and Shimmy-Disc fame), the barely amplified feel-good vibes of Sun Foot (Ron Burns, Chris Johanson, Brian Mumford) and surprise guests that promise the best in local experimental punk. Limited-edition, collaboratively made posters available for purchase.


Goblin: Giallo Live
Playing Los Angeles for the first time in their 40 year history, Goblin will perform a full, live set pulled from their most iconic scores, including: Dario Argento's giallo classics Suspiria, Tenebrae, and Deep Red, and George A. Romero's seminal Dawn of the Dead. Immediately following Goblin's performance will be a 35mm screening of Argento's SUSPIRIA. Immediately following Goblin's performance on 10/22 will be an incredibly rare 35mm screening of Argento's 1975 masterpiece, Deep Red. Immediately following Goblin's performance on 10/23 will be a screening of Argento's TENEBRAE. The line up for this tour will include original members since 1975 Claudio Simonetti and Maurizio Guarini (keyboards) and Massimo Morante (guitar). The band is rounded out by drummer Titta Tani and bassist Bruno Previtali that joined in 2010.


GOOD LUCK, SWEETHEART
In richly contrasting black & white cinematography, and infused with a sensual music ballad soundtrack thrusting the quest of Love Lost & Found narrative, a 30 year-old aristocrat envisions a woman who might pierce through his repressed identity. Director will be present for Q&A. 95’.


The Gospel According to Matthew (Il Vangelo secondo Matteo) (Italy/France, 1964)
Director Pier Paolo Pasolini’s technically faithful adaptation of the apostle’s text posits a loving and divine Christ, but with an emphasis on his connection to mankind and participation in the human journey.  Typifying the filmmaker’s lifelong and complicated fascination with Christian tradition, here he locates compelling grace in Christ’s story, which in other quarters might be associated with restrictions of authentic spirituality.
Producer: Alfredo Bini. Screenwriter: Pier Paolo Pasolini.  Based on “The Gospel According to Saint Matthew,” published by Pro Civitate Cristiana, Assisi. Cinematographer: Tonino Delli Colli. Editor: Nino Baragli. Cast: Enrique Irazoqui, Margherita Caruso, Susanna Pasolini, Marcello Morante, Mario Socrate. 35mm, b/w, in Italian with English subtitles, 137 min.


HAROLD LLOYD FILMS @ SILENT SALON
Four films starring ingenious comedian Harold Lloyd, an icon of the silent film era. Live accompaniment by organ artist Christoph Bull. “Young Mr. Jazz” (1919), “The Big Idea” (1918), “Never Weaken” (1921) and “Number, Please?” (1920). Running time: 70 min.


HEARKENINGS PRESENTS STRUCTURAL/MATERIALIST FILMS
In the 1970s, the rigors of structural film were taken to an unprecedented extreme by the artists of the London Film-maker's Co-operative. Foremost among them was Peter Gidal, whose severe aesthetic was matched by a cantankerous polemicism in his theoretical writings. He argued in his essays that it was politically necessary to resist narrative, and attempted in his films to foreground the ideological processes of film viewing. Though this project may not have realized its utopian ambitions, the questions raised by Gidal et al. about the politics of film form remain relevant and necessary. Featuring: Room Film 1973(Peter Gidal, 1973, 16mm, 54min) and Shepherd's Bush (Mike Legget, 1971, 16mm, 15min)


HIGHLIGHTS FROM THE VENICE BEACH BIENNIAL
Celebrate the end of summer with a program of highlights from the Venice Beach Biennial. Including the films of AnitRa Menning, Isabell Spengler, Haruko Tanaka and others. Full program to be announced, curated by Kate Brown and Monique van Genderen. 


Imitation of Christ
A beautiful misfit grievously damaged by drugs (Patrick Tilden-Close) is the central figure of Andy Warhol’s Imitation of Christ. The young man’s parents (Brigid Polk and Ondine) shoot amphetamines in bed while arguing about their son, who constantly talks to himself yet makes little sense, and whose girlfriend (Andrea Feldman) is something of a problem child herself. During moments of calm, the family maid (Nico) reads aloud from the young man’s favorite book, De imitatione Christi by Thomas à Kempis. (1967, Dir. A. Warhol, 16 mm, 105 min.)


IT FELT LIKE LOVE
Fourteen-year-old Lila is experiencing an ennui-filled Brooklyn summer. She awkwardly wears a Kabuki-esque mask of sunscreen at the beach and plays third wheel to Chiara, her more experienced friend, and Chiara’s boyfriend, Patrick. Determined to have a love interest of her own, a bravado-filled Lila pursues Sammy, a tough but handsome older boy. Though Sammy doesn’t respond to her overtures, he doesn’t reject her either, and Lila—unable to resist spinning delusional fables of a relationship with him—manipulates herself deeper into his world. When her desperation and posturing carry her too far into unfamiliar territory, her inexperience is exposed, and she is forced to confront reality.
In this film shot from Lila’s point of view and constructed with precise—sometimes startling—imagery and intimate moments, first-time feature writer/director Eliza Hittman confidently constructs a viewing experience that is completely subjective. Bolstered by a perfectly modulated lead performance from Gina Piersanti, It Felt Like Love unflinchingly reveals some of the rawest moments of girlhood in an authentic story of burgeoning identity and sexual awakening. 2013, 82 minutes, color, U.S.A.


IT’S A GIFT
1934, Universal, 73 min, USA, Dir: Norman Z. McLeod
Considered by some to be the Great Man’s greatest film, this short, sweet W.C. Fields vehicle is little more than a series of zany sketches loosely tied to his desire to move to California and grow oranges. Includes the legendary "Mr. Muckle" and "Carl LaFong" scenes, as well as the hanging mirror and sleeping porch routines. Jean Rouverol, who co-wrote THE FIRST TIME, plays Fields’ daughter.


KAREL DOING: CITY SYMPHONIES
The films, performances and installations of Karel Doing deal with elusive subjects such as music, rhythm, poetry, death, history and memory. He works together with composers, musicians, performers, and dancers. His films relate to the experimental film tradition and beyond. He combines documentary techniques, found footage, and visual story telling resulting in a style of his own. Recurring themes in his work are: the relation between the cinematic image and music, the city as an organism, intercultural dialogue, and motion picture film as a material with a specific expression and vocabulary. He lives and works in London and Rotterdam. For this program he presents three of his city symphony works. Images of a moving city (2001, 35mm on video) is a documentary poem about the city of Rotterdam, observing the people, roads, and buildings that jointly determine the atmosphere of a continually changing multicultural city. Liquidator (2010, 35mm on video) uses an optical printer to transform a badly deteriorated print of Willy Mullens commercial city branding film Haarlem from 1922. Palindrome Series (2013, 16mm double projection) is a series of 5 short palindrome films made at no.w.here lab in London, using a black and white processing machine, a step printer, and ostensible useless materials (paper cut-outs, artificial hair, discarded negatives, old newspapers). Karel Doing is EPFC’s August international artist-in-residence!


THE KEEP
Ridiculously rare U.K. 35mm print! As much a foundational aesthetic document of Michael Mann’s early career as Thief or Miami Vice, the revisionist WWII thriller The Keep brims with ambition and panache, and is blanketed by one of Tangerine Dream’s best-ever pulsing film soundtracks. This hypnotic, deeply strange historical/sci-fi hybrid is an ominous portrait of Nazis who enlist an ailing Jewish historian (Ian McKellen) to prevent a Golem-like demon from busting out of its ancient fortress — while a the arrival of mysterious, paranormal stranger (Scott Glenn) may possibly signal an even greater foe. From one angle, The Keep uses as a launching point Raiders of the Lost Ark’s horror climax to imbue its WWII milieu with a sense of gathering extraterrestrial dread, while from another, it simultaneously falls in line with contemporary technological and political parables such as Blade Runner and Brazil. An impossibly dense, wildly unique entry in Mann’s filmography, The Keep has still never been released on DVD in any country — making this a quite rare opportunity to take in this visually stunning ‘80s genre mashup.
Dir. Michael Mann, 1983, 35mm, 96 min. (Archival print courtesy of the British Film Institute)


KID
2012, Cinéart, 90 min, Belgium, Dir: Fien Troch
Writer-director Fien Troch’s third feature offers a clear-eyed look at the power - and limitations - of children’s resilience in the face of trauma. On a rural Flanders farm, a single mother struggles to raise her two boys; the family has been on the verge of financial ruin since the woman’s husband abandoned them. After a disastrous turn of events, the youngsters move in with their aunt and uncle. Elder son Billy tries to adjust, but being torn away from his mother hits the 7-year-old Kid (Bent Simons) particularly hard. The Grand Jury Prize winner at this year’s Aubagne International Film Festival, KID is a heartbreaking film about loss, family and the struggle for hope amidst hardship. In Dutch with English subtitles. Belgian beer reception following the screening.


La Ricotta (Italy/France, 1963)
Directed by Pier Paolo Pasolini
A segment from the anthology film RO.GO.PA.G, director Pier Paolo Pasolini’s absurdist scenario concerns a staging of the Passion Play, in which a poor extra, addicted to curd cheese, is cast as the Savior and perishes due to the indifference of others assembled; an oblique reference by Pasolini to the bankrupt ostentation of the Church.
Producer: Alberto Barsanti, Alfredo Bini, Angelo Rizzoli. Screenwriter: Pier Paolo Pasolini. Cinematographer: Tonino Delli Colli. Editor: Nino Baragli. Cast: Orson Welles, Mario Cipriani, Laura Betti, Edmonda Aldini, Vittorio La Paglia. 35mm, b/w and color, in Italian with English subtitles, 35 min.


LAWRENCE OF BELGRAVIA
For the first time, fans of dreamy ‘80s U.K. indie pop can finally know the true story of Lawrence, the enigmatic bandleader of brilliant cult outfits Felt, Denim and Go-Kart Mozart. Having only screened in L.A. once before, and still without a video release of any kind, this DKTR festival opener might be your only chance to catch this film for some time to come! “At the start, the eponymous subject looks into the camera and asks: ‘Are you ready, Paul?’ It’s a question never truly answered, as director Paul Kelly indeed may not have been ready to embark on a film which ended up taking eight years to make. But Kelly chooses not to focus on Lawrence’s many ups and downs, allowing a minimal number of images of methadone, notices of eviction and arrest warrants to stand as evidence of a life unravelling. Instead, he mounts a deeply personal investigation into what makes Lawrence tick, a portrait of someone who cares little for everyday things, but instead obsesses about his art as a musician to exclusion of practically everything else. A funny, sad, insightful and refreshingly honest meditation on the mundanities and the mythology of rock and pop.” (Nicholas Abrahams, The Quietus) Dir. Paul Kelly, 2011, digital presentation, 86 min.


Love Meetings (Comizi d'amore) (Italy, 1964)
Filmmaker Pier Paolo Pasolini himself conducts interviews in cinéma vérité style, inquiring of Italians in various locations about their attitudes toward sexuality.  The resulting film paints an alarming portrait of the Italian psyche, and reveals an incisive Pasolini in search of a disappointing truth.
Producer: Alfredo Bini. Screenwriter: Pier Paolo Pasolini. Cinematographer: Mario Bernardo, Tonino Delli Colli. Editor: Nino Baragli. 35mm, b/w, in Italian with English subtitles, 90 min.


LOW MOVIE (How To Quit Smoking)
This film follows the entire career of iconic band Low and their relationship with director Philip Harder. For twenty years they made music videos and short films together, filming on ice, in railroad yards, and in rapidly disintegrating rooms.  1 hr. 13 min.


MAGIC
There is nothing more truly terrifying than the dead, soulless gaze of a ventriloquist dummy, and in the pantheon of dummy horror, 1978's Magic remains the big-screen standard-bearer. Ever since 1945’s Dead of Night, stories of malevolent dummies have been a consistently effective means of creeping out viewers simply by having a dummy slowly turns its head or speak of its own accord — but Magic has more on its mind. Directed by Richard Attenborough (whose follow-up film was the bone-shattering Gandhi), and starring a young Anthony Hopkins as the madness-descending ventriloquist “Corky”, Magic takes the inherently creepy motif and turns it into a study of derangement worthy of Hitchcock’s Psycho. Rounding out the cast are Burgess Meredith as Corky’s long-suffering agent, and Ann-Margret as Corky’s soon-to-be-suffering girlfriend, but the real star of the show here is “Fats”: a cartoonish, unsettling carved Hopkins facsimile with a strangulated voice reminiscent of the Cryptkeeper. With its unrelenting creepiness and slow-burn suspense, Magic is a chillfest for the ages — so don your coattails, top hat and best monocle and join us, dummy!
Dir. Richard Attenborough, 1978, 35mm, 107 min.


Mamma Roma (Italy, 1962)
Directed by Pier Paolo Pasolini
A longtime prostitute attempting a second go at life reunites with her teenage son who has been raised in the country.  Her hopes fade when, upon learning of her past, the disillusioned son drifts to a life of petty theft, whereupon his mother’s former pimp reappears, demanding she return to her old life.  Filmmaker Pier Paolo Pasolini’s compassionate tale posits an Italian society mired in intractable social breakdown.
Producer: Alfredo Bini. Screenwriter: Pier Paolo Pasolini. Cinematographer: Tonino Delli Colli. Editor: Nino Baragli. Cast: Anna Magnani, Franco Citti, Ettore Garofolo, Silvana Corsini, Luisa Loiano. 35mm, b/w, in Italian with English subtitles, 111 min.


MAXWELL STREET REVISITED - Jazz historian Sherwin Dunner (in person) host an evening of inspired music films. Bargains and blues could be found on any Sunday at the biggest, brassiest open air street market in America which thrived for over 100 years before it was paved over for the University of Illinois at Chicago expansion in 1994. We'll be showing AND THIS IS FREE (1963, 50 minutes), the groundbreaking cinema verite film which captures Chicago's Maxwell Street market in full glory on a typical Sunday – a vibrant mix of blues and gospel singers, hustlers, pitchmen, pushcart vendors and preachers. Shoppers could find great deals, but also were prime for fleecing. With a sly wink, one of the stores even chose the name “Cheat You Fair.” We'll also see MAXWELL STREET - A LIVING MEMORY (2002, 30m) on Maxwell Street from the perspective of the Jewish merchants who worked there, found footage and a photo slide show. Plus live blues music.


MAZES AND MONSTERS
Starring a brash, emotional 26-year old Tom Hanks in his first big role, Mazes & Monsters is a monolith of cultural misunderstanding, full of so much campy goodness that you’ll need a bag of holding to contain all the comedy gold found therein. Created at the peak of D&D’s popularity amidst a media firestorm of accusations that the game promoted satanism and suicide, this made-for-TV movie drew upon on a wildly inaccurate newspaper story about a college student who allegedly disappeared into subterranean tunnels under live-action D&D-related circumstances. Anyway you roll your die, this anti-roleplay scare film will sustain your laughter long enough to reduce you to a shambling mound. With a sensationalized “afterschool special” mentality permeating both the film’s bizarre hallucination sequences and outrageous acting choices, Mazes & Monsters is deliriously content in its depiction of its mentally stunted “maze controllers,” the hopelessly (and hilariously) tormented young souls with an inability to separate reality from the sinister world of RPGs. Prepare to level up, as Mazes & Monsters casts a 9th level charm spell on your tuchus. Dir. Steven Hilliard Stern, 1982, analog presentation, 100 min.


Medea (Italy/France/Germany, 1969)
Directed by Pier Paolo Pasolini
Medea, the wife of legendary hero Jason, thrown over by him for a more politically expedient marriage in a new land, exacts revenge, murdering Jason’s children and issuing curses from the flames of her destruction.  Director Pier Paolo Pasolini frames the classical tragedy as a commentary on a clash of cultures, and the dangers inherent in abandoning a way of life, metaphorizing his key critique of post-WWII Italy.
Producer: Franco Rossellini, Maria Cicogna. Screenwriter: P. Pasolini, based on Euripides’ tragedy. Cinematographer: Ennio Guarnieri. Editor: Nino Baragli. Cast: Maria Callas, Massimo Girotti, Laurent Terzieff, Giuseppe Gentile, Margareth Clémenti. 35mm, color, in Italian with English subtitles, 110 min.


METAPHOR AS MEMORY - Gerry Fialka probes McLuhan and Chris Marker, who said "I remember the images I filmed. They have substituted themselves for my memory. They are my memory - the act of remembering is not the opposite of forgetting." "All active media are metaphors in their power to translate experience into new forms...what is a meta phor?" - McLuhan. "Remember to forget" - James Joyce.  


MIKE JUDGE'S "JUDGEMENTAL SAMPLER"
While the name Mike Judge has long been synonymous with comedy genius and game-changing animation, few have given him his due as a titan of found footage collecting, and we’re honored to help rectify this gross injustice. Join us as we kneel humbly before the beloved creator of Office Space, Idiocracy, and King of the Hill for a rare public screening of his “Judgemental Sampler,” the legendary mixtape of found footage madness circulated amongst Mike’s closest friends for years. In every subtly edited clip, the personality that spawned Beavis and Butt-head clearly shines through, busting guts and blowing minds with the trademark Judge blend of cultural satire. Mike Judge in person!


Mishima: A Life in Four Chapters (1985)
In-person: director Paul Schrader.
Writer-director Paul Schrader’s dazzling bravura biopic of infamous Japanese author Yukio Mishima is a masterpiece of psychological depth and literary adaptation.  One of the most important Japanese artists of the 20th century, Mishima was obsessed with the aesthetic transformation of the body and reality as the ultimate expression of the artist’s will.  Schrader weaves together scenes from Mishima’s novels and life, culminating in the author’s ritualistic suicide, to create one of the best American films of the 1980s.  
Warner Bros. Producer: George Lucas, Francis Ford Coppola, Mata Yamamoto, Tom Luddy. Based on the novels “Temple of the Golden Pavilion,” “Kyoko’s House” and “Runaway Horses” by Yukio Mishima. Screenwriter: Paul Schrader, Leonard Schrader, Chieko Schrader. Cinematographer: John Bailey.  Editor: Michael Chandler, Tomoyo Oshima. Cast: Ken Ogata, Naoko Otani, Yasosuke Bando, Kenji Sawada, Toshiyuki Nagashima.  35mm, color, 121 min.


MOD FUCK EXPLOSION
From the fevered mind of Jon Moritsugu comes the punkoid masterwork Mod Fuck Explosion. This is a relentless cinematic onslaught of blonde teenage posturing, Japanese biker freak-outs, backstabbing mods, pretty poseurs, petty crimes, and a soundtrack featuring the unspoiled tuneage of Unrest, American Soul Spiders, Karyo Tengoku and more!
Winner of "Best Feature" Award at the 1995 New York Underground Film Festival, and "Best Feature" at the 1996 Honolulu Underground Film Festival. Mod Fuck Explosion was shot in glorious 16mm color negative in San Francisco, Fall 1992. 70 minutes.  Written, Directed & Produced by Jon Moritsugu. Starring Amy Davis, Desi Del Valle, Victor of Aquitaine


MONDO PUBLIC ACCESS (feat. live performances by David Liebe Hart, Francine Dancer & Harvey Sid Fisher!)
The people have spoken — and what they’re saying is weird! Once upon a time, before YouTube, remote control renegades itching to scratch the underbelly of the idiot box needed to look no further than their local listings for those two hallowed words — “public access” — to know that their cable bill dollars were hard at work. Join us for one of our signature Cinefamily mondo mixes, featuring the titans of the community-based tube: expect potty-mouthed psychics, lip-synching divas, confessional call-in chaos, psychedelic pranksters, greenscreen fallout, and, of course, clinically insane people with their pets — all getting down and doing their thing in our living room. Scrambling cable boxes and brains alike, these extraordinary ordinary people made legendary non-commercial television in the untamed wilderness of the airwaves. Who said the FCC never did you any favors? We’ll also salute the public access heroes that made Hollywood proud, with LIVE APPEARANCES by David Liebe Hart, Francine Dancer and Harvey Sid Fisher!
includes: BEAUTY DAY
Canada’s most ahead-of-his-time public access artiste — and the man who literally broke his neck for ratings — is the subject of Beauty Day, the life-affirming doc on a mad genius-turned-viral-smash-hit. “What motivates someone to snort eggs through their nostrils, ski off a rooftop or attempt to remove a swimming pool cover through the most reckless method imaginable? Welcome to the mind of Ralph Zavadil, better known by his fans as ‘Cap’n Video’. Years before Jackass, Tom Green and the YouTube era of instant fame, Zavadil’s 1990s cable access TV show brought him notoriety — but the self-produced program was abruptly cancelled after an unfortunate Easter stunt involving chocolate, an obese rabbit and cute puppies. Blending vintage video footage of Zavadil’s stunts with his present attempts to stage an anniversary special, filmmaker Jay Cheel delivers a Herzog-inspired adventure of a pioneer living life on the edge, filled with humour, heart and its share of bodily fluids.” — Alex Rogalski, Hot Docs
Dir. Jay Cheel, 2011, digital presentation, 92 min.


MY DEGENERATION
Jon Moritsugu gained his notoriety in the late-1980's with MY DEGENERATION, his very first feature. Raw, visceral, and ultra-entertaining, MY DEGENERATION is the perfect entry point to this director's grand vision and fever dreams. See why ROGER EBERT walked out after 7 minutes at Sundance, then stay the other 63- IF YOU DARE. (70 min)


Oedipus Rex (Edipo Re) (Italy/Morocco, 1967)
Director Pier Paolo Pasolini’s lyrical telling of the classical tragedy has a strangely personal quality, in its intricate construction of its doomed hero’s subjectivity, and his abject fall upon learning that he has not outrun his terrible destiny.  Modern episodes of a mother giving birth in Fascist Italy complete the director’s suggestion that Oedipus’ inheritance of doom is also his own.
Producer: Alfredo Bini. Screenwriter: Pier Paolo Pasolini. Cinematographer: Giuseppe Ruzzolini. Editor: Nino Baragli. Cast: Silvana Mangano, Franco Citti, Alida Valli, Carmelo Bene, Julian Beck. 35mm, color, in Italian with English subtitles, 104 min.


OUR VINYL WEIGHS A TON
This impossible metropolis of ours is damned lucky to have as part of its indigenous arsenal a crown jewel like Stones Throw Records. Founded almost twenty years ago by Chris Manak (better known to hip-hop heads around the world as Peanut Butter Wolf), this avant-garde record label has taken more chances and fearlessly crossed more genres than any other of its kind — and, thanks to filmmaker Jeff Broadway (Cure For Pain: The Mark Sandman Story), is finally getting to reveal its storied history. Featuring original music by Madlib, and drawing on live concert footage, never-before-seen archival material, inner-circle home video and photographs and in-depth interviews with such Stones Throw staples as Peanut Butter Wolf, Madlib, MF DOOM, Mayer Hawthorne and Dam-Funk, Our Vinyl Weighs A Ton delves deep into the label’s enigmatic artists, history, culture and global following. Director Jeff Broadway & special guests in person, Q&A moderated by music writer Jeff Weiss! Dir. Jeff Broadway, 2013, digital presentation, 94 min.


PAUL PESCADOR: "1-9"
Over the course of three years, Pescador has created nine short experimental films. Each film focuses on the re-staging of personal and physical trauma through stop-motion animation of everyday household materials in domestic settings. For the first time, Pescador will screen all nine parts as a single full-length film. The various components explore different filmic genres: suspense, romance, comedy, musical, and family melodrama. Functioning like individual episodes, each film exists within its own autonomous narrative while building and responding to one another. 1-9 explores the relationship between numbers and social relationships: 1 stands for the individual, 2 is a couple, 3 is the smallest group, etc. Pescador uses different personal relationships as subject matter, from romantic partners to immediate family to casual strangers. The films explores awkward moments that occur when individuals interact with one another in a tone that is both humorous and melodramatic.   
Accompanying the screening is a publication which will include two interviews with Paul Pescador, one with Dilcia Barrera and one with Paul Soto. 


THE PHYNX
Patton Oswalt’s long been the kind of smart, passionate filmic crate-digger we love to hang with — and he’s back in our house to present what’s possibly the first 35mm screening in forty years of The Phynx: a most curious curio from the death throes of old-school Hollywood, back when it was desperately clutching for the post-Easy Rider youth market. Pop quiz: name the movie that stars Richard Pryor, Colonel Sanders and Busby Berkeley all in the same 90 minutes? This bubblegum pop parody/sub-Get Smart Albanian spy caper/world’s record attempt for most cameos in a single flick very quickly came and went, with no home video release on any format until just a few months ago. The Phynx is not just an avalanche of cameo porn — it’s a cameo porno holocaust, with crusty stars of yesteryear crammed in next to Baby Boomer hepcats, and, yes, even the real-life KFC maven. Weirder than it has any right to be, and with a sick sense of lysergic humor that only other Hollywood bombs like Skidoo could quasi-pull off, The Phynx is a theatrical experience Seventies civilians were simply unprepared for (and we’re not too sure we’re yet prepared for it today either!) Dir. Lee H. Katzin, 1970, 35mm, 81 min.


PIG DEATH MACHINE
Amy Davis is a nerdy, yet doornail-dumb hottie who eats undercooked, parasite-laden pink piggy and is transformed into a dangerous genius. Across town, a punky-buxom-botanist eats the same meaty treat and ends up endowed with the supernatural ability to "hear" her specimens. This is a fable about ENVY and the sickness that comes from getting exactly what you wish. Pig Death Machine is a sic-fi/psych-horror/screwball ride of chaotic, day-glo fever dreams and glitter-dusted nightmares, shot in the stunning wilds of New Mexico and featuring the music of Deerhoof, Dirty Beaches, Polvo, and industrial legend Monte Cazazza (Throbbing Gristle). Directed by Jon Moritsugu. Written and Produced by Jon Moritsugu and Amy Davis. Starring Amy Davis, Hannah Levbarg, Victor of Aquitaine. 83 minutes.


Pigsty (Porcile) (France/Italy, 1969)
Directed by Pier Paolo Pasolini
In this two-part work from director Pier Paolo Pasolini, the human tendency to degradation is explored.  A man is forced to cannibalism and comes to love it; another, facing blackmail over his son’s sexual predilection for pigs, finds common ground with the blackmailer: a Nazi.
Producer: Gian Vittorio Baldi. Screenwriter: Pier Paolo Pasolini. Cinematographer: Tonino Delli Colli, Armando Nannuzzi, Giuseppe Ruzzolini. Editor: Nino Baragli.  Cast: Pierre Clémenti, Jean-Pierre Léaud, Alberto Lionello, Ugo Tognazzi, Anne Wiazemsky. 35mm, color, in Italian with English subtitles, 98 min.


PXL THIS FESTIVAL
23rd annual festival features films made with the Fisher-Price PXL 2000 toy camcorder. PXL THIS is one of the longest running film festivals in the entertainment capital of the world. Celebrating "cinema povera" moving image art, it evokes Marcel Duchamp's axiom "Poor tools require better skills." Pixelators from across the globe hoick up inventive approaches to the unassuming throw-away of consumer culture. These low-tech hi-jinx films come through loud and clear by reframing a new cinema language. "If movies offer an escape from everyday life, Pixelvision is the Houdini of the film world." - SF Weekly.  


REWIND THIS!
“You couldn’t ask for much more than this — a must-see for all cinephiles that came of age during the VHS era” – Cory Everett, Indiewire
“A passionate geek doc that not only follows the life and death of the videocassette, but also the amazingly complex backstory of how it became a format for the ages — transforming from afterthought into obsession. Interspersed with endearing insight into the lives of countless modern-day VHS collectors and enthusiasts, this stand-up-and-cheer industrial underdog story sheds light on why geeks and everymen alike can’t stop thinking about those temperamental plastic black cases that gave us so many hours of home entertainment. From Japanese tape innovators and the VHS/Beta war, to American schlockmeisters and the legions of fans who still love them, this is the tale of those daring souls who took cinema out of the theatre and brought it permanently into our homes. Featuring intimate, enlightening, and often hilarious interviews with Frank Henenlotter, Jason Eisener, Atom Egoyan, Charles Band, Cassandra Peterson, Mamoru Oshii, Mike Vraney, Lloyd Kaufman, Roy Frumkes and many more!” — Ted Geoghegan, Fantastia Fest. Schedules permitting, director Josh Johnson and members of the filmmaking team will be here in person for a Q&A after the film!
Dir. Josh Johnson, 2013, digital presentation, 94 min.


ROBERT NELSON RETROSPECTIVE PROGRAM #5: David King, The Moblèd Queen, and the Oak of the Golden Dream
The fifth (and final, for now) in a series of tribute screenings to the late, great Robert Nelson (1930–2012).  The program will feature Nelson’s Ann Arbor Best of the Festival winner and epic swansong Hauling Toto Big (1997), as well as four lesser-known shorts, including Deep Westurn, Special Warning, King David, and Hamlet Act. All works shown on 16mm, with an introduction by Mark Toscano.


THE ROCK AND ROLL TRAILER SHOW
The Who, Dylan, Elvis, The Beatles, Bowie, Talking Heads, animated hard rock, hip-hop-sploitation, rockabilly gunslingers, new wave noir, prog pomposity, three-chord poses and more — all on film, in one big rock ‘n roll coming-attractions mixtape. Tonight’s show (part of a continuing program presented by the Academy Film Archive, home of the largest 35mm trailer collection in the world) gives you a four-on-the-floor selection of the wildest and most artful rock-related pre-show entertainment from the last several decades — many of which haven’t been seen since they originally screened in theaters. From Hollywood’s take on psychedelia to killer concert docs, coming-of-age croonfests, and hard rock horror, the sights and sounds of these three-minute throwbacks will make you want to get the band back together. This will pretty much be the only time EVER that all these fantastic and rare trailers will be gathered in one place on 35mm — so all fans of music movies should make this show a priority!


ROLLS (1971) BY ROBERT HUOT
Painter, filmmaker, and dairy farmer Robert Huot made a series of landmark diary pieces beginning in 1970, spanning different media (including painting) throughout the decade, but ROLLS (1971) stands as one of his very greatest. Hailed by critic Scott MacDonald as an astonishing work that was “unlike any I’d seen to that point, an aggressively personal film shot with formal rigor and elegance and organized into an ingenious structure,” ROLLS (1971) is extremely rarely seen, and a major work of the American personal film movement. Rolls (1971) by Robert Huot, 1971, 16mm, b/w & color, silent, 97 minutes. We will be screening Huot’s personal 16mm print. No one under 18 admitted.


SALOMÉ
2013, Salome Productions, 78 min, USA, Dir: Al Pacino
The story of a princess who lived in the time of Jesus. Salomé is in love with prophet John the Baptist, whom her stepfather, King Herod, has imprisoned in a well for heresy. But her love is spurned, and after the king drunkenly promises the princess anything she wants in exchange for an erotically charged dance, Salomé puts Herod in a terrible position by demanding the head of John the Baptist - the only man the king fears. "SALOMÉ is my attempt to merge play and film. The mediums can collide and my hope is to have them unify so that you're seeing pure theater on film. To make that hybrid effective has been my goal; to have the more naturalistic photogenic qualities of film complement the language-driven essence of theater." - Al Pacino.  NOTE: at the August 10th screening, SALOME will begin at 5:30 PM; at 7:30 PM WILDE SALOME will be shown; the Q&A with Mr. Pacino will follow WILDE SALOME; after the Q&A SALOME will be projected again for those who cannot arrive at 5:30 PM.


SHIP OF FOOLS
Directed by Stanley Kramer
1933: A German cruise ship bound from Mexico to Bremerhaven hosts a menagerie of passengers of various classes and nationalities, whose self-absorption, indifference and obliviousness depict humanity as easy prey for the coming havoc of European Fascism.  From disaffected ship’s doctor Oskar Werner to dissipated socialite Vivien Leigh, all sail blithely into danger, in this wryly observed, star-studded, allegorical drama.
Columbia Pictures. Producer: Stanley Kramer. Based on the novel by Katherine Anne Porter. Screenwriter: Abby Mann. Cinematographer: Ernest Laszlo. Editor: Robert C. Jones. Cast: Vivien Leigh, Simone Signoret, José Ferrer, Lee Marvin, BarBara Luna.  35mm, b/w, 149 min.   In-person: BarBara Luna and Karen Sharpe Kramer. 


A TEACHER
Diana, a young, attractive teacher at a suburban Texas high school, is well-liked by her students and colleagues. Her life seems to be following the status quo, but in reality she’s having a secret affair with her student Eric. She confides in no one but him, reveling in the teenage terrain of sexting and backseat quickies. Even when the risk of discovery looms over their relationship, her investment in the fantasy remains stronger than reality. Unable to control herself, she heads down a reckless path of self-destruction.
The subject of a teacher-student affair may be tabloid fodder, but writer/director Hannah Fidell resists sensationalism or the temptation to pathologize her protagonist. At its core, Diana’s affair with her student is the manifestation of her avoidance of responsibility, and the film lets us in on her internal struggle. With bold vision, Fidell uses highly controlled pacing, silky camera movements, and a tense percussive sound aesthetic to free her narrative from the confines of convention, while a fascinating performance by Lindsay Burdge transports us into Diana’s head space, where her unabated obsession lives. 2013, 75 minutes, color, U.S.A.


TENEBRAE
1982, 110 min, Italy, Dir: Dario Argento
Dario Argento's mastery of the giallo is clear in this stylish thriller, which is among the writer-director's most violent - and erotic. In Rome to promote his new novel, a murder mystery writer (Anthony Franciosa) learns that his work has inspired a serial slasher who targets women. As the author teams with the police to find the killer, the blood flows as freely as the plot twists in this oft-censored "video nasty," which includes some of Argento's most dazzling set pieces. Goblin keyboardist Claudio Simonetti, guitarist Massimo Morante and bassist Fabio Pignatelli reunited to create the suspenseful soundtrack. With John Saxon and Daria Nicolodi.


TESS
1979, Janus Films, 186 min, France, UK, Dir: Roman Polanski
Dedicated to his late wife, director Roman Polanski’s adaptation of Thomas Hardy's Tess of the d'Urbervilles is both luminous and tinted with sorrow. Nastassja Kinski stars in the title role as a Victorian-era farm girl, tragically caught between a lustful aristocrat (Leigh Lawson) and the man who really loves her (Peter Firth). Nominated for six Academy Awards, the film won Oscars for Best Art Direction, Costume Design and Cinematography.


12 O'CLOCK BOYS
Pug, a 13-year-old living on a dangerous westside block, has one goal in mind: to join the 12 O’Clock Boys, the notorious dirt bike gang of Baltimore. Converging from all parts of the inner city, they invade the streets, performing tricks to crowds of onlookers and clashing with police, who are forbidden to chase the bikes for fear of endangering the public. Pug looks to the pack for mentorship, spurred by their dangerous lifestyle.
Lotfy Nathan’s pulse-pounding documentary captures a contemporary biker film on the streets of one of the most economically depressed cities in the United States. Within the electrifying pack of bikers, Lotfy focuses his camera on the charismatic and rebellious Pug who is forced to grow up quickly after a loss in his family. Following Pug through these pivotal years, 12 O'Clock Boys puts you in the front seat of the roller coaster that is adolescence. 2013, 75 minutes, color, U.S.A.


VIDEO VARIETY SHOW 2013
One of the very reasons Everything Is Festival! was born: it’s a found footage fantasia, a collage of collages, a seaside video clambake where the weather’s fine and the beached medical waste is at a minimum! In this compendium of newly compiled works, it’s the next eye-searing installment from Rob Schrab’s Found Crap, sneak preview excerpts from Cinefamily’s forthcoming original show The Most Outrageous Moments In Acting, and Everything Is Terrible!’s musical monstrosity Everything Is Terrible! Is Getting A Bad Rap:
EVERYTHING IS TERRIBLE IS GETTING A BAD RAP
Can we B real 4 a second? Everything Is Terrible! is here to say, and they like fake rap in every way! Everyone knows rap music is best when performed by white people, usually when they’re promoting reasonably priced hammed-burgers — so doesn’t it make sense to (at long last) witness and celebrate the REAL birth of hip-hop? To prove that they’re still ‘with it’ and ‘urban,’ EIT!’s Ghoul Skool and Robotkid have taken the entire history of the co-opting of cool, and bashed it all together into one continuous mix that will not only please your earballs, but also your eyelobes. We’re talking kids rappin’ ’bout stamps, and claymation doughboys spittin’ rhymes ’bout crescent rolls. And you’d never in a billion years think old ladies can rap — but they totally can. This new mix is an experience that flows so well, by the time it’s all over you’ll probably never want listen to music ever again, for various reasons. And it don’t stop — WORD!


Who Killed Cock Robin?
Filmmaker Travis Wilkerson in person! 
"Wilkerson's triumphant follow-up to 2002's rousing – if ultimately somewhat hectoring – An Injury To One, Who Killed Cock Robin? again concerns itself with the economic woes of the film-maker's Montana home-town, Butte. But whereas Injury examined historical events in a largely documentary style, Cock Robin relates modern-day goings-on in a "fictional" format. That said, Wilkerson's ambitious drama has an appealingly rough-edged, experimental air: the actors (and only three have significant roles) seem to be playing variations on themselves; many scenes have a loose, improvisational feel; screen-filling captions keep us updated on the passage of time and the fluctuating price of copper (upon which the town's prosperity now depends). The focus is mainly on Barrett (Barrett Miller), a rangy, tattooed twenty-something struggling to make ends meet via a series of dead-end jobs. He spends much of his spare time drinking beer, debating local and global political issues with his best friend Dylan (Dylan Wilkerson) and/or his landlord Charlie (Charlie Parr), although his relationship with both men comes under severe strain when Barrett's financial woes worsen and he falls foul of the law.
Wilkerson observes the lad's decline with a certain sympathetic distance, implicitly linking it with the misfortunes of Butte (town and resident share initials), and by extension the whole of the USA (and its "moral, social decay.) Barrett finds solace in the example of rebels from previous generations – sustaining himself, in one especially searing scene, with a rendition of union-martyr anthem 'Joe Hill.' But it's left up to the audience to decide to what extent Barrett is victim of economic and political circumstance, or a ragingly self-pitying, self-dramatizing author of his own misfortunes. Wilkerson shifts between various film formats (including what looks like a very grainy form of 8mm) to create a deceptively casual but cumulatively vivid portrait of an individual and his environment. As with Injury, he makes particularly imaginative and stirring use of music throughout, from the opening performance (by Charlie) of the "title track" to the astonishing, extended scene that forms the film's climax..." Neil Young, Jigsaw Lounge. Preceded by National Archive Vol. 1.


WILDE SALOMÉ
2011, Salome Productions, 95 min, USA, Dir: Al Pacino
This filmic collage captures the highs and lows of presenting a challenging work by one of the greatest writers of the 20th century, Oscar Wilde. Staging the play live in Los Angeles, director Al Pacino tackles its problems and issues and helps discover a new star, Jessica Chastain, in the title role of SALOMÉ. Pacino also grapples with Wilde’s need to express something utterly different from anything he had written before, and with finding a way to make a movie of the entire event. An unusual, revealing and avant-garde journey into the light and heart of Oscar Wilde's masterwork.