A pioneer in lo-fi weirdo cinema– Spectacle Theatre aptly calls it “psychedelic splatterpunk”– Charles Pinion is in the grand tradition of opportunistic exploitation filmmakers. An artist with a personal vision, Pinion has spent the last three decades sharing his fascinations by whatever means available. Be it the guise of a shot-on-video horror/skateboarding mashup (1988’s Twisted Issues), a wonderfully incomprehensible porno (Cornhole Armageddon), or his latest, the long-delayed 3-D goopfest American Mummy, one finds an oddly charmed career to be admired and repulsed by. This week, the cult comes alive in New York for “Pinion Armageddon,” a three-date event spanning the likes of Alamo Drafthouse, Cinema Village, and Superchief Gallery in Ridgewood, celebrating Pinion’s past and present. American Mummy is Pinion’s return to cinema, so the series’ curators are hoping to welcome him back with a bang.
