When you’re out picking up groceries for the week, ever wonder what recipes the other shoppers have up their sleeves? If you shop at Trader Joe’s you’re probably too busy elbowing people out of the way and fighting over the last jar of coconut oil to really get a good look at your neighbors’ shopping lists. (Wait, does anyone handwrite those things anymore?) But if you live near the sleepy old-school Essex Street Market, you’ve surely got a little more time to poke around and wonder about the diverse cast of vendors and shoppers rubbing shoulders amid the fruit and vegetable sellers, Japanese specialty items and fancy cheeses. If there’s anywhere you’d shop to whip up something unique, it’s here.
Rooftop Films Premiere
Wednesday May 18 through August 2016
The summer al-fresco screening series turns 20 years old this season, which officially makes Rooftop Films a millennial– meaning they’re addicted to their phones, underemployed, over-entitled, and why don’t they just grow up already and chain themselves to a cubicle desk and support the only real man in this race Donald Trump? Did that sound curmudgeonly enough to come from the desk of David Brooks or something? I figure the only way to drive the olds out of a universally beloved series such as Rooftop Films is to convince them either that it will somehow induce diabetic reactions and/or edema or that, like Snapchat, it’s something that only Millennials would understand.
If you’ve ever walked by that outlaw biker clubhouse on Thames Street and wondered aloud, “What the hell is this doing in Bushwick?” keep in mind that, for one, you’re probably being watched by the Forbidden Ones’ on CCTV (um, don’t touch the bikes) and, two, the bikers are probably asking the same question, only they’re looking at you. So you could say that Uncle Meg’s new music video, which was shot inside the debaucherous members-only club in Bushwick, definitely qualifies as too real, even if it stars vampires and zombies from the cast of Michael Alig’s new film Vamp Bikers Tres.
Grrrl Germs: a Visual History of Riot Grrrl 1990-1997
Various screenings, now through Saturday May 28 at Spectacle: $5.
It’s been nearly 30 years since the Riot Grrrl movement challenged punks everywhere to reexamine their subculture, demanded “girls to the front” at shows, and delineated punk’s physical and intellectual spaces as welcoming to women, but also as zones that were for and by a diversity of voices. Riot Grrrl may have become the victim of sensationalism due to a desperately out-of-touch media trying to figure out what the hell was going on with these tattooed, pierced, and sex-crazed Gen Xers.
If you really, really wanted to, you could probably find ayahuasca right here in Brooklyn. We know you’d be “asking for a friend” and everything, but just keep in mind that artist Melanie Bonajo didn’t seem to have any trouble for her film on urban shamanism, Night Soil, and there’s at least one ayahuasquero – a spirit guide responsible for serving the hallucinogenic brew – based in Bushwick, a neighborhood where a certain “mixed-use community space” (that may or may not still exist) hosted ayahuasca ceremonies recently. Still, it’s not like you can approach your neighborhood drug dealer to hook you up with some of that especially potent jungle juice (one part Banisteriopsis caapi vine, one part Psychotria viridis leaves).
Thankfully, with the recent premiere of Icaros: a Vision at Tribeca Film Festival, we can satisfy our ayahuas-curiosity from a safe distance while getting a good look at both the indigenous tradition of ayahuasca tripping and what happens when Western ninnies leave behind their workout routines and compulsive internet consumption and start getting real.
If you were living downtown in 2013, you probably remember the strange suspended week of superstorm Sandy. Maybe you lined up at a pay phone, or held up your iPad at that weird 3G oasis on Houston Street, or scooped up half-melted ice cream at the deli, or drank warm beer with your neighbors on Halloween. The storm wreaked havoc downtown (and caused much more destruction in other areas of the city), but for many people in secure locations, it was also a respite from the constant stream of tweets, emails and phone calls, and a chance to reflect, reconnect, and maybe even hook up (just think of the many kids named “Sandy” nine months later).
Friday, April 29 through Thursday, May 5 at Nitehawk: $12
Is there anyone more punk than Patrick Stewart? Apparently there is, and it’s Patrick Stewart on a murderous rampage, hellbent on killing a little punk band for no apparent reason. Green Room might be the most bizarre combination of genres we’ve seen come together under one film in a long, long time. Fusing together snuff, Saw-like torture horror, teen drama, punk movies, and backwoods suspense, the film follows a punk band as they embark on a tour that takes them to some real hillbilly places.
Queens-born rapper Awkwafina (the alter-ego of Nora Lum) says she’s been doing some serious “hustling” in the last couple of years: recording an album, putting out an NYC guidebook, and making the big move to Greenpoint. She’s not there for the cute boutiques and charming scenery (after all, she made her fame with “NYC Bitche$”, in which she deftly buried an entire section of our humble Brooklyn borough for being overrun not just by transplants, but adult-baby transplants). Rather, she has a “rent control situation” weighing in her favor (“I’d live anywhere if it was cheap,” Lum told us last spring).
Taking a stance against nuclear weapons proliferation might not be as controversial as hating on vaccines– as we saw when Tribeca Film Festival announced it was pulling Vaxxed: From Cover-Up to Catastrophe, the doc made by a disgraced doctor that pushes the dubious theory linking autism to vaccines. But the filmmakers behind The Bomb (premiering Saturday, April 23) are nevertheless hoping t0 strike an equally urgent chord with festival audiences, even if they’re reluctant to call it an “activist” film.
“Well, it’s an immersive film and music experience. It’s a human story, too,” explained Smriti Keshari, one-half of the filmmaking team behind the immersive, multimedia documentary focused on the persistent threat of nuclear weapons. “It’s one that makes you realize just how powerful individuals can be when they care about something. I think all art is political if it’s a reflection of what’s happening around you.”
When aging hipsters pine after “the way things used to be” in Williamsburg, they’re usually talking about the free-spirited ’90s music and art scene or even the early 2000s when Williamsburg already was an indie darling, but didn’t yet have hotels, tourist mobs chasing the rainbow-bagel dream.
But what if you could wipe the streets clean and go back before even the days of Luxx and the Stinger, to see Williamsburg as it was in the 1980s? The music scene would have been the one on the street, with immigrant kids playing salsa and pop from boomboxes, hips moving in formation, or squaring off in a break dance competition. The neighborhood was also one of New York’s poorest during the high-crime 1980s, suffering drug problems and neglect. Keep Reading »
Soplo de Vida
Saturday April 9 and Saturday April 16, 10 pm at Spectacle: $5
Do you find yourself still watching new eppies of True Detective well into season two, ignoring the hammy dialogue and neverminding the complete void of character development that is Detective Colin Farrell? Do you often invoke the phrase, “It can’t rain all the time” with complete and utter sincerity only to be lol’d at by your friends who just don’t get it? Well, it’s likely you’re a fan of noir. It’s ok, friend, this is your safe place. But given all of the above, it’s likely you’ve had your way with the Hollywood stuff. Here’s a curveball– Soplo de Vida (“Breath of Life”) Colombian director Luis Ospina’s singular detour into noir. Too bad he only made one of these, because as it turns out, he’s rather good at it.
“I had opportunities that were way classier than this, and I thought I’d do this instead,” Jeremy Saulnier said of his new film, Green Room, during a preview screening at Nitehawk Cinema last night. His previous effort, Blue Ruin, was a critical darling, but when it came time for a follow-up, the Brooklyn director decided to make what he described self-deprecatingly as “a cruddy punk-rock murder movie.”