Best in Show
Friday, May 27, 7:30 pm at Fort Greene Park: FREE
To promote the impending opening of the first NYC Alamo Drafthouse in Downtown Brooklyn, the boozy Austin-based cinema (and direct competitor of our beloved Nitehawk, we might add) is hosting three free screenings at Fort Greene Park starting this week. They’re all family-friendly, for sure (which means you’ll have to get your R-rated full-frontal and cigarette-smoking kicks elsewhere), but actually only two of the screenings are worth going to– that is, if you have a dignified hair left on your body. You’re guaranteed to literally never get laid again if you go see the third screening, Finding Nemo– but if you’re willing to take that risk anyway, it’s happening Friday, June 10, 7:30 pm to 10:30 pm, and I wish you the best of luck.
It was kind of ironic when the sold-out, sneak-peek screening of Weiner sputtered out, turning into a glitchy, hallucinatory version of itself at Rooftop Films’ Industry City screening last week. While everyone else seemed to be weathering the drizzle just fine, the projector wasn’t so resilient.
The great giver of free things, House of Vans, has announced they’re teaming up with Rooftop Films (the latter just dropped their 20th-anniversary summer programming) for two undeniably sick events happening next week. The super group of summertime chill times are calling the almost back-to-back affairs “cinematic music events,” and for the low, low price of $0 you too can see two music-centric documentaries followed by performances from Danny Brown, The Casualties, and more. It’s all happening at House of Vans. Read on for more deets.
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.
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.”
It’s been nearly a decade since Lee Tesche, guitarist for the Atlanta-rooted band Algiers (whose brain-jostling blend of gospel and hardcore punk has been sort of blowing up since the band release their self-titled debut last spring) convinced a longtime idol, Brendan Canty of Fugazi, that his hometown music scene was worth documenting. Canty, along with his collaborator Christoph Green, had been working on an episodic rock-documentary series for the past few years, Burn to Shine, a stripped-down take on various music scenes across the country. And Tesche wasn’t wrong in thinking it was high time they came to Atlanta. The doc captures bands like Deerhunter and Black Lips at the moment before they blew up big, as well as veterans like Shannon Wright, who went on to stake out even wider renown.
But Volume 6, shot in 2007, became something of a time capsule, after it failed to see an official release when Canty, Green, and many of the bands they had filmed, ran up against the collapse of the DVD industry and advent of YouTube mid-way through the project. Finally, almost ten years later, Burn to Shine 6: Atlanta is seeing a proper premiere as Algiers has set out on an East Coast mini-tour, playing music and screening Tesche’s portion of the series along the way. Tonight marks the band’s New York City stop, when they’ll be playing Le Poisson Rouge (along with Savak) following an 8 pm screening of the new BTS installment.
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.
River of Grass
Friday March 11 through Thursday March 17 at IFC Center: $14
Director Kelly Reichardt’s first film, River of Grass, has been digitally restored and reissued so that it can finally get the love it deserves. The filmmaker is keen on letting landscapes dictate her characters’ (usually bizarre) states of mind. Reichardt’s 2010 Western drama, Meek’s Cutoff, was soooo Oregon Trail: it’s about a family that’s doing the covered wagon thing and find themselves lost in a desert with dwindling supplies– as the travelers grow increasingly thirsty, they begin to look more and more at home in the arid, harsh wilds of the desert. River of Grass is infused with a different kind of darkness, one that’s bitingly funny, which makes sense– the film is set in Southern Florida and the Florida Everglades, after all. We’re also not surprised that the wilds of Florida lend for a much wackier story than we saw with Meek’s.
Dog Star Man
Saturday, March 5, 7:30 pm at Anthology Film Archives: $9
Stan Brakhage’s series of several short films shot and released sequentially during the first half of the 1960s are what make up the 78 extremely dense minutes of Dog Star Man, screening as part of Anthology’s Essential Cinema program. In spite of its brevity, the film is often described as epic, grueling, and intense. And, you know, trippy. You know what to do before going to the theater. (Just please don’t do it in the bathroom of Biang noodles down the street, it wasn’t at all pleasant explaining to the servers that no, I wasn’t smoking jazz grass in the bathroom, actually I had a vaporizer back at the table.) And, I know it’s easy to mix them up, but go for the chiller strains– trust, you’ll need to keep your cool after your brain melts into you popcorn bucket.
Saturday February 27, 7 pm at Anthology Film Archives: $10
This trailer might be en Español, but if we’re going by Trump definitions of “American” this 1972 film is about as American as it gets, for better and for worse. Presented at Anthology in all its grainy 35mm glory, Unholy Rollers is not only 100 percent English-language cinema, but it also features battling broads, busty babes, and roller derby dames behaving badly, satisfying our inalienable right as taxpaying Americans to see hot girls beat each other up.