A night of 100 words films - 18 in all - by filmmakers from across the country and around the world. The best of the 100WFF! Talented SF filmmaker and 100 words fan Erin Persley does Q&A following.

Directed in Mexico by Jodorowsky collaborator Juan Lopez Moctezuma (producer of Fando y Lis, El Topo), this masterpiece of Mexican arthouse horror will not disappoint aficionados of nuns and possession films.

A young girl’s arrival at a convent after the death of her parents marks the beginning of a series of events that unleash an evil presence on the girl and her mysterious new friend, Alucarda. Demonic possession, Satan worship, and vampirism follows.

After receiving threats from ISIS, "Daily Show"-inspired videoactivist troupe "Daya Al-Taesh" leave to Istanbul with the aim to broadcast a topical-comedy show. But obstacles keep arising in an already unstable social climate, pressuring the group to make decisions about the future of their activism and the possibility of grounding stable political engagemant covertly in Istanbul... or elsewhere. Daring in her investigative approach to documentary form, German director Liliana Marinho de Sousa travels to the fringes of the storm to spotlight the plight of cutting edge, boundary-pushing political activists. Winner of the Best Feature Documentary award at the 2017 BBC Arabic Festival.

Through a candid, intrapersonal mobilization of participatory documentary filmmaking, filmmaker Alex Pitstra examines the gritty, and oftentimes, confounding details of how his Dutch mother and Tunisian father met over 3 decades ago via the "bezness" hustle – which reached an apex during the rise of mass tourism in the 1970s – where young, handsome Tunisian men beguiled older European women on holiday in hopes of attaining some sort of financial security. The product of such an encounter, and after receiving a letter from his father when he was 25 years old of whom he had not seen since childhood, Pitstra spends the next decade travelling between Holland and Tunisia attempting to make sense of the emotional expanse between him-self and the two disparate cultures through which he finds himself torn. Never hesitating to spotlight himself as an object of scrutiny, Pitstra wields a heightened timbre of honesty throughout his analysis that invites the viewer to question his motives, as a filmmaker, inasmuch as those of his subjects as he treks the winding, labyrinthine corridors of "the bezness." Screened in the official selections of the 2016 Toronto International Film Festival and the 2017 International Film Festival Rotterdam.

Italian filmmaker Tommaso Cotronei's BLOOD AND THE MOON fuses elements of fly on the wall documentary with moments of narrativity to engender a sense of story that is at once rooted in "real life" yet all the same informed by a more fantastic sense of fiction. Nevertheless, and for Cotronei, the presumed voyeuristic impassivity true to the fly on the wall aesthetic (and ethnography at large) becomes complex, given his rough upbringing in rural Italy where he worked shoulder to shoulder with peasants as a child. So, from this vantage, and when he films the people of Yemen: an element of care and "caring-for" is discerned that moves Cotronei's gaze into a familiar milieu that has more to do with finding points of overlap between personal memory and the present experience of the other. The outcome is a work that depecits the soul of a people in a way quite different vis-à-vis more ubiquitous depictions of wretched, war-torn povery the Western World is saturanted in when it comes to Yemen, yet, at the same time, remaining in dialogue with those pressing issues.

In the midst of rubble, debris, abandoned tanks, and bombed-out buildings that resemble the landscape of the post-apocalypse, the Gaza Strip and its 1.7 million denizens are no strangers to "social conflict." With no immediate means of escape framed by an unknown future dictated by the mechanisms of apartheid, surf culture has emerged as an outlet for down-trodden youth to experience a taste of freedom, strewn across 26 miles of Mediterranean coastline. With a rough-around-the-edges yet sincere approach to documentary form, filmmakers Philip Gnadt and Mickey Yamine introduce viewers to Gaza's surfing subculture, with the endpoint directed at revealing the ever-burning formations of hope that glow in the hearts and minds of Gazan youth in spite of the titan-like hurdles that beset them. Screened in the official selections of the 2016 Toronto and Dubai International Film Festivals.

Contemporary Lebanon. Omar is a bodyguard in Beirut and has his first client to protect: Yasmine, who wants to start a career in politics. One evening, Omar is accidentally reunited with his older brother Samir, a former militiaman. There would be nothing strange about this if it weren't for the fact that Samir has been presumed dead since the Lebanese civil war, over 20 years ago. After such a long time, how can the "resurrected" Samir face a country he does not recognize? How can he rebuild links with his family? A comedy-drama about how the consequences of the civil war in Lebanon, which ended in 1990, resonate in the present day. Screened in the ACID program at the 2016 Cannes Film Festival.

The second feature by multimedia journalist Raed Rafei, HERE I AM... HERE YOU ARE (ECCOMI... ECCOTI) is a master class exercise in essayistic documentary form. With a lyrical, ambient soundscape set atop a dreamy, atmospheric visual style that oscillates between still photography and moving images, Rafei explores not only what it means to be gay in contemporary Beirut, but the aches of psychic pain that blocks one from reaching a sense of "complete-ness" with one's self, much less the other. Does such in-completeness have to do, in particular, with being gay in Beirut? Or is it related to a grander malaise endemic to the human condition (at large)? By taking his long-distance relationship with his Italian partner as a starting point, alongside Pier Paolo Pasolini as a travelling buddy, Rafei treks the muddied depths of what has been left in the wake of postmodernity.

In Maysaloun Hamoud's directorial debut, she tells the story of three Palestinian women living in Israeli society struggling with being accepted and deviating from the expectations of their culture. Lalia (Mouna Hawa), Salma (Sana Jammelieh), and Nur (Shaden Kanboura) are roommates living in Tel Aviv. Lalia, a criminal lawyer who likes to party after work, has found love with a modern Muslim man who can't quite accept all sides of her. Salma, a DJ and bartender faces a difficult coming out as gay moment with her traditional Christian family. Nur is a college student who observes Islamic tradition and moves in with Lalia and Salma to be close to the university. When her conservative fiancé visits, however, he is threatened by her liberal roommates, and pressures her to move back to marry him immediately. All three women must learn how to accept themselves in the face of mounting pressure from their loved ones to conform. Screened at the Toronto International Film Festival.

Winner of the 2017 Berlinale Panorama Audience award, Belgian filmmaker Philippe Van Leeuw's IN SYRIA is a gripping tale of an every day family's struggle to survive in one of the world's top crisis zones – where a quick trip to the store can mean your last. Trapped inside her flat, family matriarch Oum Yazan has transformed her home into a refuge for family and friends where mundane household dailyness becomes irremovable from the reality of war, as nearby bomb blasts shake the building and machine gun fire, sniper shots, and outside screams ring ever-presently. Starring the inimitable Hiam Abbass, IN SYRIA is arguably the single-most important narrative feature on the topic of the Syrian conflict to date. By way of tight interior framings informed by a natural light aesthetic, Van Leeuw crafts an intimate, albeit, claustrophonic rendering of life under siege.

Set with the backdrop of the Egyptian revolution coupled with a film noir vibe, the story unfolds via detective Noredin Mustafa who is a typical corrupt cop. When he is assigned to investigate the murder of a singer, what he discovers is the victim is involved with the power elite of Egypt and the case goes all the way to the top. His only witness is an unwitting Sudanese hotel housekeeper, who finds herself in the wrong place at the wrong time. Can a corrupt cop get justice? Winner of the World Cinema Grand Jury Prize: Dramatic at the 2017 Sundance Film Festival. From the writer/director of METROPIA (2008), Tarik Saleh.

With a glaringly self aware, idiosyncratic dark comedy vibe reminiscent of the likes of Tarantino or Soderbergh (after a few espresso shots), NUT$ is a non-stop, high stakes high octane ride that pops with the action-packed, sexy intrigue of OCEAN'S 11. Arguably the penultimate emblem of filmmaker Henri Bargès penchant for over-the-top, soulful spectacle to date – who has directed everything from Cannes/Sundance selects to Toyota, Samsung, and Pepsi commercials – NUT$ generates an eclectic tonality that's exhilarating inasmuch as it is concerned with questions of gender, identity, and self-empowerment, conveyed by poker genius Lana's (Darine Hamze) efforts to navigate the pressures of a male-dominated (under)world filled with controlling, lurking men and grander societal expectations to be a "normal" housewife. Teeming with femme fatales, mobsters, and a twinge of BDSM fun: Bargès' latest is sure to please... just don't forget your seatbelt.

In his remarkably assured debut documentary, Ramallah-based director Mohanad Yaqubi untangles the fraught history of his homeland, long at the centre of one of the world's most painful conflicts. With the precision and grace of the best essay films, Yaqubi uses found footage, much of it newly discovered, to trace his country's quest for self-determination, dignity, and, ultimately, peace. OFF FRAME AKA REVOLUTION UNTIL VICTORY builds off Yaqubi's discovery of film shot by the Palestine Film Unit, a group founded in the 1960s that saw itself as the cinematic front of the Palestinian movement. He connects their work in this tumultuous historic moment with wider trends, bringing his documentary into dialogue with the larger film world. There are parallels with Third Cinema and social realism, and Yaqubi includes footage of Jean-Luc Godard's famous visit to Palestine in the 1970s to make HERE AND ELSEWHERE (also borrowing the original title of Godard's documentary for his own: UNTIL VICTORY). Despite this rear-facing reflection, OFF FRAME isn't stuck in the past. Yaqubi brings the film full circle with contemporary footage shot in Palestine. The result is an alternate and rarely seen history, framed from Yaqubi's distinctly Palestinian perspective. On the eve of 2017, a year that marks several painful anniversaries for Palestine, this documentary is all the more urgent. It compels audiences to look beyond easy headlines or stereotypes and to contemplate how the present moment itself has been built out of images of the past. (written by Cameron Bailey) Screened at the 2016 Toronto and Dubai International Film Festivals and Berlinale 2017.

A nuanced yet kaleidoscopic analysis of the after-effects of the Lebanese war, Kuwaiti-born Lebanese filmmaker Vatche Boulghourjian's first feature TRAMONTANE is a "tour de force," to put it mildly. Subdued, yet brimming with lacerating, jagged affect, Boulghourjian's pensive visual style lingers on the edge of inexplicability, and pauses there – in that exciting yet terrifying zone – to reflect on the myriad psychic wounds left by the conflict that decimated Lebanon between 1975-1990. Coupled with an A-class performance by blind actor-musician Barakat Jabbour who embodies Lebanon through the character of Rabih with otherworldly, even if, spiritual purpose: TRAMONTANE thrusts the viewer into a vacuum of intrigue where strives towards "the truth" aren't just idealistic, endgame goals, but, instead, fundamental components of survival, personal identity, and healing. Following Rabih's quest towards unlocking secrets buried at wartime – during which the most nobel of men would transform into unthinking monsters – the process of making sense of "what happened" is just as confounding as asking "what have I become." With its premiere at Cannes' International Critics' Week where it won the audience award, and screenings at Rotterdam and Dubai (where actor Julia Kassar won a Muhr award for her portrayal of Rabih's mother), Boulghourjian has firmly installed himself as a luminary of contemporary Lebanese indie cinema.

A nuanced yet kaleidoscopic analysis of the after-effects of the Lebanese war, Kuwaiti-born Lebanese filmmaker Vatche Boulghourjian's first feature TRAMONTANE is a "tour de force," to put it mildly. Subdued, yet brimming with lacerating, jagged affect, Boulghourjian's pensive visual style lingers on the edge of inexplicability, and pauses there – in that exciting yet terrifying zone – to reflect on the myriad psychic wounds left by the conflict that decimated Lebanon between 1975-1990. Coupled with an A-class performance by blind actor-musician Barakat Jabbour who embodies Lebanon through the character of Rabih with otherworldly, even if, spiritual purpose: TRAMONTANE thrusts the viewer into a vacuum of intrigue where strives towards "the truth" aren't just idealistic, endgame goals, but, instead, fundamental components of survival, personal identity, and healing. Following Rabih's quest towards unlocking secrets buried at wartime – during which the most nobel of men would transform into unthinking monsters – the process of making sense of "what happened" is just as confounding as asking "what have I become." With its premiere at Cannes' International Critics' Week where it won the audience award, and screenings at Rotterdam and Dubai (where actor Julia Kassar won a Muhr award for her portrayal of Rabih's mother), Boulghourjian has firmly installed himself as a luminary of contemporary Lebanese indie cinema.

Still reeling from the death of her parents, Iman is tasked with coordinating traditional marriage proposal procedures on behalf of her younger sister, Noha. With no male relative available to facilitate the proposal (in accordance with local customs), Iman is forced to make a difficult, unconventional decision.

Architects of Denial is a first person account of genocide through the eyes of survivors. Included are new exclusive interviews with experts who graphically illustrate the real connection between historical ‘denial’ with present day mass exterminations in conflict zones around the world. This film warns that those responsible for genocides who are not brought to justice and confronted with the truth of their crimes, will only set the stage for more worldwide massacres in the future.

BEFORE HOMOSEXUALS takes the viewer on a wondrous tour of same-sex desire from ancient times to Victorian crimes. Inspired by gay liberation, historians and artists join Emmy Award-winning filmmaker John Scagliotti on this revel in recent erotic discoveries.

Based on Ferdinand von Schirach's “Terror”: Can it be justified to shoot down a civilian plane, converted by terrorists into a deadly suicide missile? Can “human arithmetic” be a legal calculus? With the audience in the judge's seat, “The Verdict” is a legal thriller testing the fundamental values of democracy. The concept when it premiered on television: The audience witnessed the trial. After the hearing of the air force pilot the viewers had to judge for themselves by voting live online, via telephone or text message: guilty or innocent? Depending on the outcome of the viewer's vote either the conviction or the acquittal of the pilot was broadcasted.

NEW UNCUT 2K RESTORATION!

SIX MODELS. SIX VICTIMS FOR A CRAZED MASKED KILLER. The Cristian Haute Couture fashion house is a home to models… and backstabbing… and blackmail… and drug deals… and MURDER.

Having established a template for the giallo with The Girl Who Knew Too Much, Mario Bava set about cementing its rules with Blood and Black Lace. In doing so he created one of the most influential films ever made – an Italian classic that would spearhead the giallo genre, provide a prototype for the slasher movie, and have a huge effect on filmmakers as diverse as Dario Argento and Martin Scorsese.

Horror heavyweight John Carpenter directed and co-composed the music for this adaptation of Stephen King's novel about a 1958 Plymouth possessed by evil. After buying his new car and naming it Christine, highschooler Arnie (Keith Gordon) goes from nerd to the most popular kid in school. But wearing new clothes and dating the prettiest girl in class aren't the only changes going on, as Christine's murderous side emerges by trampling, burning, and choking anyone who gets in its way. With Harry Dean Stanton as Detective Rudolph "Rudy" Junkins.

Directed by John Carpenter. 1983, Sony Repertory, 110 min, 35mm.

MiDNiTES FOR MANiACS + Spoke Art present

Thursday, October 12, 2017

"A Genuine Tribute to Tom Waits" Double Bill

Hosted by Jesse Hawthorne Ficks

7:00pm DOWN BY LAW (35mm, 1986)

Jim Jarmusch's deliciously deadpan comedy is even more poignant now than it was upon its release 30+ years ago. With Robby Müller's glorious black and white camerawork gliding through the cinematic streets and swamps of New Orleans, its the pitch perfect cast led by Tom Waits and John Lurie (both of whom who scored the film.) Although, it might be Nicoletta Braschi and Roberto Benigni's priceless performances that could make this one of your all time favorite films. Come find out at this 35mm screening courtesy of Rialto Pictures. 107 minutes. Preceded 35mm trailers by other Jim Jarmusch gems. NOTE: As an added bonus, Spoke Art will be designing an exclusive limited edition poster available only at this event!

plays with

9:15pm BiG TiME (Extremely RARE 35mm, 1988)

Chris Blum's unforgettably unique documentary of Tom Waits late 1980s live show has to be seen to be believed and oddly enough, it never had a proper theatrical release in the US and is still unavailable on any home media! Scripted by Tom Waits and musical collaborator (and partner in crime) Kathleen Brennan, this mesmerizing and surreal live show (shot in Los Angeles and San Francisco circa Waits' albums Frank's Wild Years and Rain Dogs) will leave you begging to watch it all over again! Do not miss this EXTREMELY RARE 35MM SCREENiNG courtesy of Park Circus screened from the only known 35mm print in existence! Special guest, director Chris Blum IN PERSON! 90 minutes.

Recently released from a psychiatric hospital, Elizabeth returns to her Los Angeles apartment where she lives with her fiancé, Grant. Struggling to navigate daily voices, hallucinations, anxiety, failing medications and her judgmental, unsupportive mother, Elizabeth fears that Grant won’t be able to deal with her much longer as she clings to hope that love will truly conquer all - even mental illness.

World Premiere of Elliot, the debut feature film from Dreams For Dead Cats Productions.

Set in the dark depths of a strange and mysterious power supply complex, ELLIOT tells the tale of a conflicted humanoid (Elliot) struggling to maintain his reality and understand his true identity. Elliot is thrust into a disconcerting downward spiral of despair in which he is forced to recognize the perils of his own cognition and constructed ideals in a crumbling universe where the lines between fantasy, simulation, and reality are blurred, and the fibers of Elliot’s fragile existence are ruptured.

70 minutes. Written, Directed, and Edited by Craig Jacobson.

One Night Only 10/5. Screening starts at 7pm with cast/crew Q&A after the show.

“Frederick Wiseman cracks open institutions: the military, the insane asylum, the high school, the police, the welfare system, the Paris Opera Ballet, the National Gallery of London, and now – in his 43rd film in 50 years – the New York Public Library, an institution eminently worthy of his immersive style. If you thought libraries are just repositories for books, you’re in for a big, wonderful surprise. The NYPL owns (and makes accessible) millions of images; sponsors lectures by people like Patti Smith, Elvis Costello, and Ta-Nehisi Coates; circulates a growing collection of e-books; maintains a vast archive of materials not available online; and gives classes in digital technology. The magnificent Stephen A. Schwarzman Building (and 5th Avenue at 42nd Street) is the spine of the film, but equally vital is the role of branch libraries that act as community centers for civic life. “Libraries are the pillars of our democracy” says Toni Morrison – as Wiseman’s opus, EX LIBRIS, makes abundantly and fascinatingly clear”. – Karen Cooper, Film Forum.

Hosts Joe Pickett and Nick Prueher return with an eighth installment of VHS relics they’ve salvaged from thrift stores, garage sales and garbage cans across the country. Found Footage Festival: Volume 8highlights include a collection of satanic panic videos from the 80s, a star-studded Desert Storm parade sponsored by Taco Bell, outtakes and on-air bloopers from over ten years of North Dakota local news, and selections from David Letterman’s Video Collection, inherited by the Found Footage Festival when Dave retired. Recorded live at The Bell House in Brooklyn.

HAPPINESS / LE BONHEUR 2:00 PM

(Marcel L'Herbier, 1935) 98 mins

HATRED / MOLLENARD 4:00 PM

(Robert Siodmak, 1938) 106 mins

Two dark melodramas from the 1930s highlight the increasingly pitched battle of the sexes in French cinema in contrasting stories. The first (Happiness) chronicles a most unlikely love affair that blooms after the man (Charles Boyer) tries to murder the woman (Gaby Morlay); the second (Hatred), a showcase for unlikely 30s superstar Harry Baur, chronicles how a man's life (indeed, his entire being…) can be torn apart by festering family wounds.

HI-JACK HIGHWAY / GAS-OIL 6:00 PM

Gilles Grangier, 1955) 92 mins Featuring Jeanne Moreau

THE NIGHT AFFAIR / LE DESORDRE DANS LA NUIT 7:45 PM

(Gilles Grangier, 1958) 93 min

CRIME AND PUNISHMENT / CRIME ET CHÂTIMENT 9:30 PM

Jean Gabin reclaimed his superstardom in the mid-50s, but viewers have yet to catch up with the films he made in this period—many of them made in collaboration with director Gilles Grangier (they would make a total of twaelve films together). It became clear that, as he aged, his unique brand of heroism transcended tragedy: he was just as riveting when cast as a cop (as is the case here twice…) as when playing a doomed, charismatic crook. Festival favorite Robert Hossein is the featured lead in Crime and Punishment, where he has many fine scenes with Gabin…as cop and killer engage in an intense game of cat and mouse.

Our masterful head projectionist, Stev, wants to share this hyper-stylized, sex charged sci-fi comedy thriller on 35mm! From the mind of indie veteran Gregg Araki, Kaboom combines Twin Peaks with 90210 and takes you on a wild ride of raucous parties, teenage debauchery, doomsday conspiracies, and so much more. Starring a young, beautiful and talented cast including Juno Temple and Thomas Dekker.

This film follows Smith, an ambisexual young college student who is experiencing his sexual awakening in the most peculiar of ways. His strange dreams revolving around two gorgeous women who become thrust into reality when he meets these fantasy girls in real life. Through his encounters he is drawn into a dark web of conspiracy and intrigue, that makes him question the blurred line of reality.

A pair of young lovers flee their New England town, which causes a local search party to fan out and find them.

The film documents the secrecy in which the ordeals undergone by the hostages has been shrouded, and follows the struggle of their surviving relatives to discover and reveal the barbarism of the attackers. In the film, Ilana Romano, widow of murdered Olympic weightlifter Yossef Romano, reveals that her husband was castrated. Other hostages had their bones broken by their captors.

Kokone has university exams to prepare for, but instead she dozes off. Even when her father is unceremoniously arrested prior to the Tokyo Olympics and the family is hiding away a mystery or two she finds herself taking refuge in sleep where thrills await her. Could there be more to her dreams?

Five films at the intersection of New Narrative writing and experimental cinema. Half of the program is dedicated to the influence of George Kuchar, as seen in Curt McDowell's Confessions, two of Cecilia Dougherty's portrait films Kevin and Cedar and Eileen, and Abigail Child's SWAMP. The second half of our program will feature Marc Huestis's Whatever Happened to Susan Jane?, with a brief Q&A with the filmmaker following the screening.

In anticipation of the upcoming release of Guillermo del Toro's new film, THE SHAPE OF WATER, we bring you back a double feature of his twisted fairy tale films, PAN'S LABYRINTH and THE DEVIL'S BACKBONE. Both in 35mm!

Across walls, fences, and alleys, rats not only expose our boundaries of separation but make homes in them. "Rat Film" is a feature-length documentary that uses the rat—as well as the humans that love them, live with them, and kill them-to explore the history of Baltimore. "There's never been a rat problem in Baltimore, it's always been a people problem.”

“It happens sometimes. People just explode. Natural causes.” Veteran repo warhorse Bud (Harry Dean Stanton, in one of his funniest roles) breaks in new repo man Otto (Emilio Estevez) while tracking a vintage Chevy Malibu driven by a lobotomized nuclear physicist (Fox Harris). But the two soon find that ruthless feds are hoping to retrieve the car and get the radioactive alien corpse out of the trunk! A madcap ’80s indie classic that took a fresh look at the mean streets of L.A.

Directed by Alex Cox. 1984, Universal Studios, 92 min, USA, 35mm.

SHEED Persian Film Festival and Diaspora Arts Connection present Maziar Miri's acclaimed 2017 film, Sara & Ayda, directed by Maziar Miri, starring: Pegah Ahangarani, Mostafa Zamani, Ghazal Shakeri, Saeed Changizian, and Tina Pakravan

Sara and Ayda are two intimate friends. When the reputation of one of them is in danger they both try to help solve the situation. But how far will they go to support each other?

Curated by Jee Yeon Min of Orange Film, these short films are made by four of the more promising young filmmakers emerging from South Korea’s thriving film industry. Jee Yeon Min will introduce the show!

1. HAPPY PAPA’S BIRTHDAY! (2016. 17 mins.)

Today is the day, papa’s birthday. As usual, Dayoung’s family is acting weird.

Directed by Ryu Yeon-Su.

우리 아빠 환갑잔치 (2016)

오늘은 아버지의 환갑날, 여느 때와 다름없이 오늘도 우리 가족은 이상하다.

감독 : 류연수

2. FAMILY PLAN (2016. 27 mins.)

High school girl Jeongmin suggests a bizarre plan to her same-sex lover Yoonseong; that they have a child who looks like both of them. Nine years later, Jeongmin’s wedding, scheduled in a few days, is just the start of that scheme.

Director Ji-Yun Chung majored in film at Konkuk University and has worked on various independent films. He has directed 7 short films.

사랑하는 사람의 아이를 낳는다 (2016)

9년 전, 여고생 정민은 동성 연인인 윤성에게 서로를 닮은 아이를 갖자는 엉뚱한 계획을 말한다. 며칠 후 있을 정민의 결혼식은 그 계획의 시작일 뿐이다.

감독 : 정지윤

3. FLY TO THE SKY (2015. 14 mins.)

After Sunghwan comes back from Italy, he reunites with Kyohwan. His goal is to obtain a license to operate construction machinery. But first Kyohwan must teach Sunghwan to drive.

Directors Lee, Okseop and Koo, Kyohwan co-directed the episode, “Luv docu” from the omnibus movie NOW PLAYING.

플라이 투 더 스카이 (2015)

이태리에서 돌아온 성환이 교환과 재회한다.

감독 : 구교환, 이옥섭

4. TRIVAL MATTERS (2017. 33 mins.)

Aspiring director Dohwan, still suffering from the breakup with his girlfriend, attends the gathering of freelancers and makes the acquaintance of the strangely attractive Eunha. With her help, he begins to gain insight to what really happened with his past love and his script finally comes together. As their relationship deepens, Dohwan resists the urge to become romantically involved all over again.

Directed by Jo Yong-ik.

시시콜콜한 이야기 (2017)

감독지망생 도환은 지난 연애로 고통 받고 있는데, 프리랜서 모임에 나갔다가 이상하게 매력적인 은하를 알게 된다. 그녀의 도움으로 그는 지난 연애의 문제점을 알게 되고, 그의 시나리오 또한 해결책을 찾게 된다. 은하와 도환은 전화와 문자로 계속 가까워진다. 도환이 그녀에게 호감을 갖게 되지만, 그는 또 다시 상처받을까 두렵다.

감독 : 조용익

Total Running Time = 91 mins.

Filmed over a seven-year period in Haiti, this documentary feature film captures a rare look at a country scored with poverty and a history of political violence and finds a story of transcendence and great humanity as the children and faculty of the Sainte Trinité Music School turn to music to unlock the power of their own lives.

And Sometimes "Why" 77min

A mixed-genre program of short films exploring complex relationships between people, places, and things.

FILM MIX TWO: Right in Front of You 81min

A mixed-genre program of short films about the impact of revelation.

FILM MIX THREE: A Better Be 72min

A mixed-genre program of short films touching upon the promise of potential. Q&A with filmmakers afterward.

FILM MIX FOUR: World Keeps Spinning (76min)

A mixed-genre program of short films about identity in transition. Q&A with filmmakers afterward.

FILM MIX FIVE: Citizen Name 75min ( May not be suitable for audience under 17 )

A mixed-genre program of short films exploring our impact on others. Q&A with filmmakers afterward.

FILM MIX SIX: My Little Light (76min)

A mixed-genre program of short films touching on obsessions and illusions. Q&A with filmmakers afterward.

May not be suitable for an audience under 17!

Ironically titled, SHOOT THE WHALE would never do so. Rather, it’s a delirious pageant about violence and the decline of the West. Great barren stretches around Death Valley and Mono Lake provide the backdrop for a frantic scenario, conjured into being by The East Bay Sharks, an early–seventies street theater troupe featuring Darryl Henriques. An act of urgent improv, Philip Makanna’s first and only full–length film follows this gangly gang of cowboy-garbed gonzo actors as they stage senseless shoot–outs, meander absurdly at an abandoned mine, and hungrily serenade a lonely woman. It’s cartoon militarism when a Nazi half–track arrives on the sandy scene. Beautifully shot landscapes collide with electronically processed images from circus acts to further heighten the riotous atmosphere. SHOOT THE WHALE unreels like a barbed and anarchic pipe dream stoked by the National Harpoon.

Lacrosse originated with the Iroquois. To this nation of 125,000 people it is more than a game. It is a profound medicine, part of Iroquois cosmology and their lifeblood. Gifted players like the Thompson brothers and Brett Bucktooth Junior provide a spiritual sense of what it’s like playing Lacrosse with a “good mind”. They belong to a pool of only 400 Iroquois players, whereas team Canada and USA draw from over 600,000. In 2010 England hosted the World Lacrosse Field Championship and the United Kingdom refused to accept the Iroquois National’s passports, denying the team their chance to compete on the world stage. In 2015, the Iroquois hosted the World Championships on Native soil for the first time ever, in which history, politics and culture all collided on the playing field before the eyes of the world.

SpookFest is the film festival that goes bump in the night! We’re bringing you 13 new homegrown shorts about oddball creatures, diligent aliens, and mutant grocery produce, all with a touch of humor and a splash of fake blood.

This acid-tinged installment of Yasuharu Hasebe’s cool, crazy Stray Cat Rock series features a Vietnam draft-dodger hoping to make his way out of Japan to Sweden by fencing LSD.

Three estranged brothers attempt to find common ground in India.

"On December 12th, 1975, an arsonist burned the Gartland Apartments in San Francisco's Mission District. No fire since then has caused a greater loss of life in the city. The fire struck during a time of great social change in the neighborhood. This is the story of that community, the fire, and the firefighters who responded that night."

The adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.

THE HANDSOME SERGE / LE BEAU SERGE 1:00 PM

(Claude Chabrol, 1958) 98 min

THE GOOD-TIME GIRLS / LES BONNES FEMMES 3:20 PM

(Claude Chabrol, 1960) 100 min

Before he became the "French Hitchcock," Claude Chabrol was a cinematic rebel—and these two early films reveal his roots in noir and neo-realism. Despite diametrically opposed settings, both films depict the troubled lives of alienated youth, proving that people are irresistibly attracted to the dark side whether they live in Paris or in the provinces.

THE LADIES OF BOULOGNE WOOD / LES DAMMES DU BOIS DE BOULOGNE 7:15 PM

(Robert Hossein, 1945) 86 mins

GIGOLO / GIBIER DE POTENCE 9:00

(Roger Richebé, 1951) 106 mins

The gender wars continue apace with two Sphinx-like performances from acting legends Arletty and Maria Casares (who co-starred in Marcel Carné's classic Children of Paradise). Both attempt to exert strange control over the men in their lives, with astonishing results. The exceptionally rare Gigolo, directed by the lightly-regarded Roger Richebé and featuring an anguished performance from Georges Marchal, will emerge as one of the most important rediscoveries in the entire FRENCH HAD A NAME FOR IT series.

THE STRANGE MR. STEVE / L'ÉTRANGE MONSIEUR STEVE 7:15 PM

(Raymond Bailly, 1957) 90 mins

MADEMOISELLE 9:00 PM

(Tony Richardson, 1966) 105 mins

Jeanne Moreau's apprenticeship in French film prior to the advent of the Nouvelle Vague continues to be ignored by critics still in the thrall of Godard and Truffaut. Case in point: in the wake of her recent passing, repertory houses have all played the same films to honor her. We break out of that groupthink with a program tracing the range of her man-eating talents, from subtle (as the mercurial mistress of a smooth-talking gangster who creates havoc by falling in love with his intended patsy) to primal (as the deranged schoolteacher who unleashes chaos and tragedy in an unsuspecting French village). Moreau is dead…long live Moreau!

THE UNTOLD TALES OF ARMISTEAD MAUPIN examines the life and work of one of the world's most beloved storytellers, following his evolution from a conservative son of the Old South into a gay rights pioneer whose novels have inspired millions to claim their own truth. Jennifer Kroot's documentary about the creator of TALES OF THE CITY moves nimbly between playful and poignant and laugh-out-loud funny. With help from his friends (including Neil Gaiman, Laura Linney, Olympia Dukakis, Sir Ian McKellen and Amy Tan) Maupin offers a disarmingly frank look at the journey that took him from the jungles of Vietnam to the bathhouses of 70's San Francisco to the front line of the American culture war.

THIS MAN IS DANGEEROUS /CET HOMME EST DANGEREUX 6:00 PM

(Jean Sacha, 1953) 93 min

Remembered (if at all) for his ironic turn as Lemmy Caution in Alphaville (1965), Eddie Constantine has a life story at least as strange as Godard's film. This Man Is Dangerous (1953) is quintessential Lemmy Caution, whose name belies his perpetual grin and reckless abandon. It's noir as cartoon surrealism, with Lemmy leading the way toward the delirium and sexual innuendo of the James Bond films.

THIS MAN IS DANGEROUS /CET HOMME EST DANGEREUX 6:00 PM

(Jean Sacha, 1953) 93 min

LUCKY JO 7:45 PM

(Michel Deville, 1964) 90 min

Remembered (if at all) for his ironic turn as Lemmy Caution in Alphaville (1965), Eddie Constantine has a life story at least as strange as Godard's film. This Man Is Dangerous (1953) is quintessential Lemmy Caution, whose name belies his perpetual grin and reckless abandon. It's noir as cartoon surrealism, with Lemmy leading the way toward the delirium and sexual innuendo of the James Bond films.

Lucky Jo (1964) is the flip side of Constantine's persona, a sad sack of a petty criminal who tries to channel the same fortunate bravado that shores up Lemmy, but does so with little or no success. Director Michel Deville surrounds Constantine with first-rate acting support (Pierre Brasseur, Françoise Arnoul, Georges Wilson) in a bittersweet send-up of Franco-American gangster pictures.

Based on a manga by Sui Ishida, Tokyo Ghoul unfolds in an alternative modern-day Japan where humans uneasily coexist with ghouls who look and act like their human hosts, though they only consume human flesh. The story follows Ken Kaneki, a college student who barely survives a deadly encounter with Rize Kamishiro, his date who reveals herself as a ghoul. He is taken to the hospital in critical condition. After recovering, Kaneki discovers that he has undergone a surgery that transformed him into a half-ghoul. This was accomplished because some of Rize's organs were transferred into his body, and now, like normal ghouls, he must consume human flesh to survive.

Middle-aged zoo worker Natasha still lives with her mother in a small coastal town. She is stuck and it seems that life has no surprises for her until one day - she grows a tail and turns her life around.