Later on tonight, you might be brushing your teeth and instead of that familiar googly-eyed likeness staring back at you (everyone has that problem, right?) you’ll see nothing less than an animal abuser, or perhaps even a slave owner if you choose to be really honest with yourself. Your French bulldog Greg will suddenly seem like a sullen prisoner in that skin-tight raincoat you force him to wear on the reg, even when it’s a cloudless, sweltering 90-degree July day and he’s emitting piercing, parrot-like screams as he struggles to escape. And those Bob Evans sausage griddles you chased with a tall glass of heavy whipping cream for dinner? Well, your Wienerwurst Wednesday tradition might seem, suddenly, very disgusting.
Get ready this week for films that are at once fantastical and grounded in sometimes harsh reality. Our top picks include an art-house sci-fi film that says more about immigration than extra-terrestrials, one werewolf flick that proves the Scandinavians are masters of mixing the banality of small town life and horror, and more. Peep on.
It’s a great week for experimental weirdness. I’ve been on a kick since I saw Hard To Be A God a couple weeks back at Anthology, which definitely isn’t a movie for everyone. Like seriously, if you brought your grandmother to it, she’d probably keel over and die. So be warned. Attendees from the earlier screening exited the theater as I walked in and I heard one mutter, “Definitely not a first date movie.”
“Could you survive Brooklyn back in ’84?” That’s the question posed by a newly launched fundraiser for “Living Los Sures,” the interactive film project we first told you about last summer.
Living Los Sures, a collaborative work-in-progress documentary project by UnionDocs, is a multifaceted portrait of Williamsburg’s South Side that has been four years in the making. The ambitious project—selections of which are now on display at Fordham University’s Idliko Butler gallery—was inspired by Los Sures, Diego Echeverria’s 1984 feature documentary about the then-blighted Hispanic neighborhood. “Remarkably,” wrote Eleanor Mannikka of the film, “some hope and ambition and drive are still present in spite of the crime and grime that settles over the neighborhood like dust.”