Cinerevolt: Supermen of Malegaon (2008)

Sunday May 18, 2025, Supermen of Malegaon (2008) * doors open at 20:00 * intro & first film starts at 20:30.

The absurdity of the culture industry was on full display when last year ‘Superboys of Malegaon’ premiered at the Toronto international film festival. The film is a fictionalized reenactment of the life of Nasir Shaikh, an amateur filmmaker who 16 years before this fictionalization was shadowed by a film crew as he prepared for and produced his rendition of superman. In a city where most work grueling jobs at cotton looms, and the entertainment of the workers lies in hollywood and bollywood, Nasir puts everything on the line in order to make his own movies with and for his neighbors. The result, Supermen of Malegaon, is a heartwarming documentary about the creative process independent filmmaking, and overcoming adversity for the ludicrous end of one’s films.

The fact that the film industry would rehash this story into a polished film with no bite is reflective of the general state of film financing now. Rather than promote this existing documentary with it’s amateuristic style, the industry finances the creation of a spectral counterpart with none of the candidness, heart, or connection to real people and real lives. The film is a great launchpad for a discussion around art in capitalism, and film/entertainment in the context of the urban proletariat.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Can Dialectics Break Bricks Cinema: Hukkle (György Pálfi, 2002)

Sunday May 11, 2025, Can Dialectics Break Bricks Cinema: Hukkle * (Hiccup) * 2002 * by György Pálfi * 78 min * In Hungarian and Czech with English subtitles * doors open at 20:00 * intro & film start at 20:30.

This is a gorgeous little gem by Hungarian director György Pálfi. There is a small genre of films that is hugely neglected of movies that don’t rely much on dialogue. This has a bit of dialogue, but it’s minor and mostly inconsequential… for the most part it’s emerged into real life and nature. It’s a movie that steps back to see the bigger picture, and it makes most other cinema look incredibly fixated and narrow-minded in contrast.

In this journey we are tossed into a small countryside village in Hungary. In a seemingly random series of vignettes we see the entire environment unfold with all of its dynamics. Ants, an elderly man, a tree, a pig, an open field, a close-up of an ancient sewing machine, crickets… they are all more or less given the same importance. After all, they are all residents of this rural community. The movie drifts, and woven into this chain of events there is a story, but it’s a subtle one. In fact, it’s so minor you could even miss it perhaps. This is the kind of film that encourages you to open up, sharpen your perception and really see with your own eyes. The images are astonishing, and feel fresh… and the effect, in the end, is that you and your imagination are sent reeling.

The soundtrack likewise also tends to take the side of nature, in the sense that whenever human words are spoken tend to be smothered by the sounds of leaves crunching, birds singing, dogs barking and insects buzzing. The film can be seen as a deadpan comedy, a lyrical ode to pastoral life, and perhaps even the sinister presence beneath the surface of everyday life.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Movie Night: Fitzcarraldo (Werner Herzog, 1982)

Sunday April 27, 2025, Movie Night: Fitzcarraldo (Werner Herzog, 1982) * 158 minutes * in German with English subs * doors open at 20:00 * intro & film start at 20:30.

“Fitzcarraldo” is a 1982 West German epic drama adventure film directed by Werner Herzog, his fourth film in collaboration with Klaus Kinski. The story depicted in the film is based on real events in the life of Peruvian rubber baron Carlos Fermín Fitzcarraldo.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Cinerevolt, two films by Harun Farocki: The Inextinguishable Fire (1969) and Eine Sache, die sich versteht (1971)

Sunday April 20, 2025, Cinerevolt: 2 films by Harun Farocki, The Inextinguishable Fire (1969) and Eine Sache, die sich versteht (1971) * doors open at 20:00 * intro & first film starts at 20:30.
This month Cinerevolt returns to highlight the experimental and propagandistic work of German filmmaker Harun Farocki.

The Inextinguishable Fire (1969)

“When we show you pictures of napalm victims, you’ll shut your eyes. You’ll close your eyes to the pictures. Then you’ll close them to the memory. And then you’ll close your eyes to the facts.”

These words are spoken at the beginning of an agitprop film that can be viewed as a unique and remarkable development. Farocki refrains from making any sort of emotional appeal. His point of departure is the following: “When napalm is burning, it is too late to extinguish it. You have to fight napalm where it is produced: in the factories.”

Resolutely, Farocki names names: the manufacturer is Dow Chemical, based in Midland, Michigan in the United States. Against backdrops suggesting the laboratories and offices of this corporation, the film then proceeds to educate us with an austerity reminiscent of Jean Marie Straub. Farocki’s development unfolds: “(1) A major corporation is like a construction set. It can be used to put together the whole world. (2) Because of the growing division of labor, many people no longer recognize the role they play in producing mass destruction. (3) That which is manufactured in the end is the product of the workers, students, and engineers.”

Eine Sache, die sich versteht (1971)

One thing that goes without saying is an educational film about a section of political economy. The subject matter of instruction is the concepts of use value, exchange value, commodity, labor power; they are intended to initiate the process of understanding the labor theory of value and the law of value, alienation and fetish.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Can Dialectics Break Bricks Cinema: The Visitor (Giulio Paradisi, 1979) + snacks and videogames LAG benefit

Sunday April 13, 2025, Can Dialectics Break Bricks Cinema: The Visitor * 1979 * Directed by Giulio Paradisi * 108 minutes * In English * doors open at 20:00 * intro & film start at 20:30.

This is a cult gem that was rediscovered a few years back and caused an uproar across the alternative cinema circuit in America. In the 1970s, before the sci-fi opera Star Wars ironed things out and set the standard, science fiction films were pretty wild, exploding in so many directions. From radical social commentary to hallucinogenic explorations of both outer space and the inner mind. The Visitor is an Italian film, shot in America, and looking back at it from today, one is simply dumbfounded. How the hell could this film ever be made?

This psychedelic sci-fi flick is so bizarre, so off the map, that I won’t even try to describe it. Its reckless journey, a number of different influences collide… from The Omen and The Exorcist to the excesses of Dario Argento, along with Hitchcock’s The Birds. From all accounts, the director Giulio Paradisi was a madman, and everyone who worked on the film, from the actors to the cameraman (Ennio Guarieri) and the scriptwriter (Lou Comici), had no idea what the movie was even about. It was shot in a frenzy of crazed ecstasy. In the end, the film is an audio-visual explosion, an “appealingly weird mish-mash of aliens, evil businessmen, and demonic children” which often treads on the cinematic explorations of Brian De Palma, Raúl Ruiz, and Chilean provocateur Alejandro Jodorowsky. What is really at work here is the stunning camera work and the choreography of the film, giving it an incredible style.

Even if the plot did make sense, most viewers probably forget it, caught up as they are in the movie’s astounding imagery. And the cast of actors is equally unbelievable. How did this director ever manage to assemble the legendary John Huston, Mel Ferrer, Glenn Ford, Shelley Winters, Franco Nero, Lance Henriksen, Joanne Nail and Sam Peckinpah to act in this insane cinematic cocktail?

This will be a high-definition screening of this cult sensation.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Movie Night: Aguirre, the Wrath of God (Werner Herzog, 1972)

Sunday March 30, 2025, Movie Night: Aguirre, the Wrath of God (Werner Herzog, 1972) * 94 minutes * In German with English Subtitles * doors open at 20:00 * intro & first film starts at 20:30.

In search of El Dorado, in the mid-16th century, a gold-crazed contingent of Spanish conquistadors goes deep into the Peruvian rain forest, lead by Pedro de Ursúa (famed Portuguese filmmaker Guerra), second-in-command Lope de Aguirre (Kinski), Brother Gaspar (Negro), a rotund nobleman Fernando de Guzmán (Berling), among others, two females, Inés (Rojo), Ursúa’s wife and Florés (Rivera), Aguirre’s teenage daughter, and many Indian slaves. Most of the time, the team steers their route on rafts, but comes in for successive adversities in the hands of the unfathomable nature mother, one raft trapped by an eddy among the rapids causes a horrific aftermath, just when Ursúa commands to abort the scouting mission and backtrack, Aguirre precipitates a mutiny, keeps a wounded Ursúa as prisoner and puts Guzmán on the throne as the emperor of the new kingdom, because he firmly believes, they will find the gold, then their mission continues.

Story-wise, the film is pretty garden-variety, and decidedly trimmed down to the nexus, Aguirre and co. are real historical personages, the expedition and mutiny are true happenings, but Herzog fictionalizes their journey en route and the grim wind-up. Barely landing their feet on solid soil, the conquistadors are singled out one by one by unseen enemies hidden in the forests through poisoned arrows, often proceeded by dead silence.

However, in Herzog’s method, the suspense and dreadfulness is toned down by his dispassionate temperament, which would be made into great play in his equally robust documentary track record. Merely watchful and often centering on Kinski’s distinctively fierce and emotive visage, the camera expends more time perusing the biome’s vista (the ship snagged on top of a tree is a coup de maître of the then young filmmaker, flagging up its powerful metaphoric impact and ludic whimsy) than engaging in the narrative proceedings as their ill-fated destiny lurking ahead, until the final majestic 360-degree twirling shot sending the megalomaniac stranded with numerous skittish monkeys on the raft, paranoid, bereft and dream-dashed.

In any fair sense, the film is less potent as a character analysis of an outrageous madman than a gorgeous landscape porn, utterly otherworldly for those outsiders, but Kinski still hounds you with his muted aggro, lunacy and repugnance (by dint of Herzog’s tactful maneuver, who deliberately lets Kinski rip in his more frenetic performance, but saves the actual shots for the moments when he is abated or simply worn out), which would go beyond the pale in Fitzcarraldo, but here, the final impression is much more balanced and nuanced.

One cannot finish the review without mentioning the acclaimed score composed by the West German avant-garde band Popol Vuh, it is unearthly but not intrusive, a bespoke incident music which leaves its repercussions long after the film reaches its finish-line.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

Cinerevolt: Here and Elsewhere (Anne-Marie Miéville, Jean-Pierre Gorin, Jean-Luc Godard, 1976)

Sunday March 23, 2025, Cinerevolt: Here and Elsewhere (Anne-Marie Miéville, Jean-Pierre Gorin, Jean-Luc Godard, 1976) * 53 minutes * In German with English Subtitles * doors open at 20:00 * intro & first film starts at 20:30.

Commissioned by the Arab League to produce a film on the Palestinian Revolution, Godard and Gorin’s plans were upended by the Black September. Godard, now working with Miéville, transformed the original footage into a scathing self-critique—paralleling the lives of a French and a Palestinian family.

Film night at Joe’s Garage, cozy cinema! Free entrance. You want to screen a movie, let us know: joe [at] lists [dot] squat [dot] net

This Jungo Life (David Fedele, 2024)

Sunday March 16, 2025, This Jungo Life, a film by David Fedele and the Jungo of Rabat * 2024 * 78 minutes * with English subtitles * door opens at 20:00 * intro & film start at 20:30 * free entrance.

This Jungo Life, a film by David Fedele and the Jungo of Rabat * 2024 * 78 minutes * with English subtitles. Door opens at 20:00 * intro & film start at 20:30 * free entrance

This Jungo Life is a collaboration between filmmaker David Fedele, and a group of young refugees and asylum seekers from Sudan and South Sudan, who are living and sleeping rough on the streets of Morocco. They call themselves “Jungo” – A name traditionally given to seasonal agricultural workers from Sudan, which is now also adopted by refugees, asylum seekers and migrants on the road. Most have arrived in Morocco since 2020, forced to flee violence and instability in Libya, and unable to return home due to ongoing war and conflict. They are drawn to the capital city of Rabat, seeking to claim asylum with the UNHCR (United Nations High Commissioner for Refugees) and be granted refugee status. Most also dream of entering Europe, crossing the heavily militarised fences into the Spanish cities of Sebta (Ceuta) or Melilla, European enclaves on the African continent. This Jungo Life seeks to tell their story from the inside …. unfiltered, with authenticity and without sensationalism. A story of resilience in the face of suffering.

Synopsis – This Jungo Life takes us inside the lives of young refugees and asylum seekers from Sudan, living on the streets of Morocco. This Jungo Life takes us deep inside the hidden lives of young refugees and asylum seekers from Sudan and South Sudan, living and sleeping rough on the streets of Morocco; forced to flee violence and instability in Libya, and unable to return home due to ongoing war and conflict. Produced in collaboration with the refugees themselves, and filmed entirely using mobile phones, this film offers unique and intimate access, providing a raw and unfiltered glimpse into the human spirit and innate drive for survival, as they fight for a better life for themselves and the families they left behind.

This Jungo Life is filmmaker David Fedele’s third in a trilogy of films exploring issues related to refugees, asylum seekers and migration between the African and European continents. Like all of David’s previous films, This Jungo Life has been independently produced and self-funded, outside the system of conventional film production and funding.

https://thisjungolife.com/
https://david-fedele.com/ […Lees verder]