The Girl Who Loves Roses Thursday March 30, 6 pm to 9 pm at Larrie, NY: free
Kelsey and Remy Bennett, granddaughters of Tony Bennett, are working artists, outspoken feminists, and curators of various exhibitions and art happenings. You might be saying to yourself, “Of course they are.” But that would be a jerk move, since the Bennett sisters take after their family patriarch, who is widely known as one of the nicest dudes in showbiz (the Daily Beast called him “one of the greatest living Americans” for his long history of service to just causes including “Nazi hunting” and participating in the 1965 Selma to Montgomery marches of the Civil Rights movement). Their approach to curating is ultra-inclusive and social justice-oriented, but it’s not motivated by self-congratulatory horn tootin’ and seems instead to come from an easy, natural inclination to do good work.
Mysterious live-installation by the Alamo (Photo: Anaka Kaundinya)
Ugh, the Tribeca Film Festival is up to something cool at Astor Place — but they won’t tell what! Sneaky fellows. What we do is know is that there are folks (volunteers? actors? unsuspecting people on their way to work taken hostage by the crew? sad!) wearing mirrored cubes on their heads and just… standing around near the Cube cube. They’re also being filmed, so our best guess is that it’s an empathy-generating live-installation for some sort of performance art film.
You know what’s cool about ancient Greek mythology? It looks good on almost anyone. Even 21st-century French people, as you’ll see in Christophe Honoré’s new film Metamorphoses. It’s actually based on a really old poem–but you already knew that by the film’s title right? Metamorphoses (the original) dates to about 8 AD when this Roman dude named Ovid fused bits from more than 250 existing Greek mythos together to create a pretty wacky piece of non-linear literature that defies the standard didactic, A-to-B tellings that were popular back then. Thankfully, Ovid’s story is every bit as riveting as the OG mythos, which are always chock-full gore, guts, adultery, betrayal and, of course, horny gods mingling with orgy-prone mortals.
Fet culture and cinema? I mean, duh, guys, they’re a match made in heaven– er, whichever circle of hell doms and bronies go to. (Dunno about you guys, but that’s where I’m hoping to end up, Lucifer willing). That’s why Cinekink NYC– which clears up any confusion by calling itself “the kinky film festival”– is popping off this week for its 14th year.
Dirty Little Billy Thursday March 9, 9:30 pm at Nitehawk: $16
Legends and lore of the Old West have been distorted so horrendously for modern entertainment purposes that what most people know about Billy the Kid they’ve learned from The Wild Wild West (arguably Will Smith’s greatest cinematic/symphonic achievement ever) and a National Geographic Channel reenactment where the infamous, down-n’dirty, sharp-shootin’ gunslinger is portrayed by a male-frickin’-model.
K: A Film About Prostitution Thursday March 14, 10 pm and Wednesday March 29, 7:30 pm at Spectacle: $5
“K” is just one film screening as part of Spectacle’s month of March series, Tricks of the Trade: True/False Portraits of Sex Work, which features four separate, cross-cultural, semi-fictional, but mostly very real portrayals of sex work. Shot in Budapest in 1989 by director György Dobra, the doc captures the world’s oldest profession– prostituáltakról in Hungarian (try saying that one ten times fast)– at a time of turmoil, when Communist Party-controlled governments and institutions across the Eastern Bloc were collapsing. Hungarians found themselves in an especially bizarre position because things in their country at least… were fairly calm during the transition to democracy.
In just a few short years drones have gone from novelty to nuisance, swarming local events and crashing into apartment buildings. But don’t pull out your old Little League bat just yet– drones can also be great tools for filmmakers. As any Casey Neistat fan can tell you, you can get some jaw-dropping shots with even a low-priced model, a smart phone, and some spare time.
Desire Will Set You Free Friday February 24 (7:30 pm), Saturday February 25 (5 pm), and Sunday February 26 (7:30 pm) at Spectacle: $5 (probz best to buy in advance)
Because it’s shot in the sort of bold, hyper-real HD-quality style that’s available to even low-budget filmmakers now, Desire Will Set You Free already feels too real from the POV of click-play. Which is funny, because filmmaker Yony Leyser (who stars as Ezra, an American expat) is celebrating the freewheeling, anything-goes Berlin of the twenty-teens (aka now), a place where weirdos, freaks, and artists can live out their fantasies, especially the sexy ones, which is all about negating the supposedly fixed norms of society and transgressing life as it was handed to us. Even the title, “Lust Macht Frei” in German, is the opposite of the infamous “Arbeit Macht Frei,” which appeared sometimes welded into iron gates at the entry point to Auschwitz and other Nazi death camps.
Berlin has been the place for your coolest friends to flock to over the last several years, and if you haven’t made the trip, “Desire” is definitely a great way to get acquainted with the city’s “hedonistic queer underground,” as Spectacle writes, and its nonstop, freaky deaky nightlife. The theater is hosting three screenings that serve as the film’s New York City premiere, and judging by the sparkly cast (Dev Hynes, Peaches, and Nina Hagen, among others), the promised “Q&A with special guests” is probably gonna be pretty great.
This 1979 sci-fi-tinged horror film is a Cronenberg classic, and Anthology is screening it this weekend as part of its Canadian classics series, Gimme Shelter: Hollywood North.In part,The Brood is exactly what we’ve come to expect from the filmmaker’s own “body horror” sub-genre obsession– blood, guts,– but the film puts even more weight on what’s in some ways a much spooky psycho-thriller-style of horror storytelling that recalls The Shining (and, sure, stylistically the two movies feel cut from the same cloth too).
At the center of the film is a woman, Samantha Eggar, who is deemed psychologically unstable and pursues experimental treatment by a doctor who believes that dramatic physical changes in the body’s chemistry can eradicate mental illness. Meanwhile, Eggar’s ex-husband steps in to take care of their daughter, and promptly pursues full custody. She might be far away, geographically and mentally, but Eggar knows what’s up, and her treatment has the terrifying consequence of enabling her to undertake “the spawning of a brood of murderous mutant children who act on [her] rages.”
Cronenberg wasn’t just guessing, either– he was actually in the middle of his own messy divorce and custody battle when the film was under development. Anthology writes that the director has called The Brood “my version of Kramer vs Kramer, while noting that that film’s ‘happy ending’ was a million miles away” from his own take on the process of unraveling a marriage.
Hey! The Oscars are coming up. I bet you, like myself, could care less. Like, really, why would anyone wanna spend their Sunday evening (Friday February 26 at 5:30 PST) watching a bloated film industry hand out a bunch of little gold alien man statues to a film literally called La La Land in an awkward display of “Hey! Look at us! Seriously, we aren’t racist”? The award ceremony (and really, any mainstream award ceremony) has so little to do with our day-to-day lives that it’s barely worth kvetching about. And yet here we are…
Thankfully, the Metrograph has put together an alternative program hosted by TVTV, a “guerrilla video”-making collective that got its start in San Fransisco way back in 1972,”– like, long before it was full of the dregs of humanity (i.e. tech bros). Consisting of tape from the 1976 award ceremonies, when Lily Tomlin was nominated for Best Supporting Actress for her roll in Nashville, TVTV put together this
“close-up look at Hollywood’s annual awards ceremony that mixes intimate behind-the-scenes views with deadpan comedy, featuring [Tomlin] as a mousy homemaker watching the Oscars in her suburban home.”
Harlan County, U.S.A. Friday February 17 through Wednesday February 22 at The Metrograph: $15
Lately we’e seen some pretty intense and protracted protest movements fighting it out against the seemingly impossible-to-topple Powers That Be, and in some cases actually succeeding in their effort (or lasting much longer than anyone could have guessed).
Flashback to 1974, Southeastern Kentucky: a group of coalminers and their families organized against the Eastover Coal Company– one of those Coal Country corporate machines that own whole towns and everything in it. If you want to hear more about what it was like to be a director embedded in such a massive strike, be sure to go tonight at 7 pm for a special Q+A with the filmmaker Barbara Kopple. Because this film takes place in Appalachia, it would be absolutely criminal to proceed without a banjo, so the night includes a live performance by Appalachian musician Jack Morris, whose father David Morris was featured in the film’s soundtrack.
The Lure Friday February 10 through Thursday February 16 at IFC Center: $14
This beautifully shot, futuro nightlife fantasy flick is sort of like a glammed-up, femme-fatale version of Splash, only the mermaids here are hardly damsels in distress. These sister mermaids are flesh-eating fish people with vampy tendencies. They have the same power to entrance and, well, lure that sirens are supposed to have, but that somehow American imaginings have left out (Puritans, ughhh). I guess it took some Catholic guilt and Polish imagination to get this darkened-disco retelling of The Little Mermaid off the ground. IFC writes, “One sister falls for a human, and as the bonds of sisterhood are tested, the lines between love and survival get blurred.”
Scrubbers Friday February 3 (10 pm), Thursday Feb 13, (7:30 pm) Monday Feb 20 (10 p), and Sunday Feb 26 (5 pm) at Spectacle: $5
“Punk” is maybe one of the most confused, contradictory, and misunderstood terms, like, ever. For some people it’s a lifestyle, a fashion statement, or a style of music, for others its Liberty Spikes and an ever-present leather jacket with pins and patches and even more spikes. In its simplest form it’s an immediately recognizable baditude, and boy do these ladies at an all-girls borstal (the British school system for juvenile delinquents) know a thing or two about punk.
Purple Rain: Terror Beyond Belief Friday January 27, 7:30 pm at Spectacle: $5 always
Ok, so I might be outing myself as a giant lame by admitting this but, until I came across this mind-blowing feature presentation, I had no idea that “détournement” is actually, like, its own thing. Basically, that’s just a fancy word for (re)appropriated movies that have been drastically altered and yet retain some of the original characteristics of their source films which tend to be instantly recognizable classics. The result is a chunky, weird-tasting at first, but then loveably gritty combination of parody/homage, familiar/totally alien, nostalgic/apocalyptic– or post-modern upchuck that could trick your grandma and scare the kids. In other words, it’s very punk.