Can Dialectics Break Bricks Cinema: Medium Cool (Haskell Wexler, 1969)

Sunday 8 May 2022, Can Dialectics Break Bricks Cinema: Medium Cool (Haskell Wexler, 1969), 111 minutes. In English with English subtitles. Doors open at 20:00, film starts at 20:30.

This is Haskell Wexler’s legendary movie documenting the explosive course of events in America during the 60s. In 1968 Haskell Wexler was one of the world’s best cameramen, and he had lensed films like One Flew over the Cuckoo’s Nest. But the film industry was changing fast, and he became disillusioned with the commercialization of American cinema, so he decided to direct his own low-budget film about racism and the inherent violence in the US. His plan was to take a fictional story with actors, and mix it with documentary situations… and therefore blur the line between a feature film and documentary. He wanted to create a new kind of cinema, one that was more grounded in real everyday life.

His plan was to finish the film by taking his crew to the 1968 Democratic Convention in Chicago. This real-life event ended up turning into an apocalyptic “police riot”, with officers beating anyone they could get their hands on. Suddenly the director and the crew were engulfed in a fierce battle, with tear gas flying all around them… as they attempted to still film the actors amidst all the swinging police clubs.

Besides its innovative approach to filmmaking, the movie is also important as a sharp analysis of the mass media in general, and how it was being used to manipulate audience opinions. An incredible time capsule of the social unrest of the late 60s with a soundtrack by Mike Bloomfield (Dylan’s guitarist… Like a Rolling Stone), The Mothers of Invention (Zappa), and Love.

“A definitive document of the political tumult in late-1960s America.”

This will be a high-definition screening.

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

Rumble Fish (Francis Ford Coppola, 1983)

Sunday 24 April 2022, Rumble Fish (Francis Ford Coppola, 1983), 94 minutes. Doors open at 20:00, Film starts at 20:30.

Rusty James is the leader of a small, dying gang in an industrial town. He lives in the shadow of the memory of his absent, older brother — The Motorcycle Boy. His mother has left, his father drinks, school has no meaning for him and his relationships are shallow. He is drawn into one more gang fight and the events that follow begin to change his life.
Rumble Fish stands as the most realized fulfillment of Coppola’s aesthetic aims during this period of his career, and one of his very best films. It calls to mind many other works of art, cinematic and otherwise, yet its style is completely singular. But most remarkable, perhaps, is that through this filmic language, Coppola is able to grasp something that is not esoteric but simple and universal.
Rumble Fish is about growing up. It’s about grappling with your idols and the mythology of the past. It’s about facing the future, realizing that the youthful sense of invulnerability is an illusion. It’s about the finitude of time. It’s about recognizing the need to adjust your world view. There is no other film like it.

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: Kung Fu Master! (Agnès Varda, 1987)

Sunday 17 April 2022, Movie night: Kung Fu Master! (Agnès Varda, 1987), in French with English subtitles. Doors open at 20:00, Film starts at 20:30.

Made concurrently with Agnès Varda’s portrait of Jane Birkin, Jane B. par Agnès V., Kung-Fu Master! is a true family affair, achieving a sense of of lived-in intimacy by casting the actor’s real-life relatives, including daughters Charlotte Gainsbourg and Lou Doillon, as themselves. Varda and Birkin give the familiar theme of a misunderstood couple searching for a place where their love can survive a provocative twist in this daring romance, in which Birkin (who wrote the story that provided the inspiration for the film) plays a middle-aged woman involved with a fourteen-year-old, video game–obsessed boy (Varda’s son, Mathieu Demy). The taboo relationship plays out with supreme delicacy and restraint, as Varda transforms the explosive premise into a disarmingly tender portrait of a woman’s search for lost youth.

The only female director of the French New Wave, Agnès Varda has been called both the movement’s mother and its grandmother. The fact that some have felt the need to assign her a specifically feminine role, and the confusion over how to characterize that role, speak to just how unique her place in this hallowed cinematic movement—defined by such decidedly masculine artists as Jean-Luc Godard and François Truffaut—is. Varda not only made films during the nouvelle vague, she helped inspire it. Her self-funded debut, the fiction-documentary hybrid 1956’s La Pointe Courte is often considered the unofficial first New Wave film; when she made it, she had no professional cinema training (her early work included painting, sculpting, and photojournalism). Though not widely seen, the film got her commissions to make several documentaries in the late fifties. In 1962, she released the seminal nouvelle vague film Cléo from 5 to 7; a bold character study that avoids psychologizing, it announced her official arrival. Over the coming decades, Varda became a force in art cinema, conceiving many of her films as political and feminist statements, and using a radical objectivity to create her unforgettable characters. She describes her style as cinécriture (writing on film), and it can be seen in formally audacious fictions like Le bonheur and Vagabond as well as more ragged and revealing autobiographical documentaries like The Gleaners and I and The Beaches of Agnès.

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: Acción mutante (Álex de la Iglesia, 1993)

Sunday 2 April 2022, Can Dialectics Break Bricks Cinema: Acción mutante (Álex de la Iglesia, 1993), 97 minutes. In Spanish with English subtitles. Doors open at 20:00, film starts at 20:30.

This was the debut feature movie of director Alex de la Iglesia, who would later become a staple in Spanish cinema. It was produced by queer arthouse provocateur Pedro Almodóvar who went out on a limb to give this first time filmmaker a chance, a completely unknown cartoon-drawing geek with a punky attitude who had almost no filmmaking experience. Although Pedro was supposed to only produce it, he couldn’t keep himself from interfering with the creative side of the project—exactly the behaviour he despised in other overbearing producers that tried to control his own films. Pedro did however bring in his colourful entourage of off-beat celebrities to help out with the acting—for example, transgender legend Bibi Andersen, or the unforgettable bizarre-faced model Rosy de Palma.

This is a sort of sci-fi horror film, but one with a lot of low-budget imagination. The film plunges us into a world in the future, a fully European paradise where everyone is beautiful and glamorous. But unrest is festering in this future Eden, when society is confronted with an uprising of terrorists battling for the rights of ugly people. This movie was a game-changer in many ways. Since there were no Spanish special effects crews back in the early 90s, some had to be brought in from France. Since director Alex de la Iglesia was busy as a comic book illustrator, he brought that entire zaniness into his futuristic vision. With its wild set decors, bizarre futuristic costumes, bold cinematography, and a dynamite concept, this flick splashed into the counterculture scene in Spain, breaking the doors open for a new kind of cinema. It was an intoxicating cinematic cocktail—equal parts comic book, sci-fi, black comedy, and a colourful version of steampunk. The punchy theme song is by Def Con Dos, one of the earliest hip hop duos in Spanish history.

This will be a high-definition screening.

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

Jaffa, the Orange’s Clockwork (Eyal Sivan, 2009)

Sunday 27 March 2022, Movie night: Jaffa, the Orange’s Clockwork (Eyal Sivan, 2009), 86 minutes, English subtitles. Doors open at 20:00, Film starts at 20:30.

In deconstructing the world famous ‘Jaffa oranges’ brand and probing its iconographic history director, Eyal Sivan delves into orientalist fantasies of the Holy Land and the Zionist promise of a “desert” that colonists would be bringing to “bloom”. Sivan uses photographic and filmic archives, poems and paintings, to narrate the history that goes back to a once economically thriving Arab Jaffa, whose prolific and profit-generating orange groves attracted local and neighboring labor in droves for picking, packaging and export. After the Nakba and the expulsion of the Palestinian population, the Israeli state rebranded ‘Jaffa’ as a symbol of an Arab-free Israel. Sivan interviews historians, political analysts and workers, retracing how an orange harvest, once the site of a cooperation, transformed gradually into a symbol of the escalating conflict and war.

Eyal Sivan, is a documentary filmmaker and theoretician based in Paris. Born in 1964 in Haifa Israel and grow up in Jerusalem. After exercising as a professional photographer in Tel-Aviv, he leaves Israel in 1985 and settled in Paris. Since he is sharing is time between Europe and Israel. Known for his controversial films, Sivan directed more than 10 worldwide awarded political documentaries and produced many others. His cinematographic body of work was shown and awarded various prizes in prestigious festivals. Beside worldwide theatrical releases and TV broadcasts, Sivan’s films are regularly exhibit in major art shows around the world. He publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc.
Presently Sivan in an Honorary Fellow at Univerty of Exeter UK, he is teaching at the Master in Film at the Netherlands Film Academy in Amsterdam and he is member of the editorial board of the Paris based publishing house La Fabrique Editions.
http://eyalsivan.info/

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: Die endlose Nacht (Will Tremper, 1963)

Sunday 20 March 2022, Can Dialectics Break Bricks Cinema: Die endlose Nacht (Will Tremper, 1963), 83 minutes. In German with English subtitles. Doors open at 20:00, film starts at 20:30.

There is thick fog over Berlin-Tempelhof Airport, and an announcement is made that all flights to West Germany are canceled. Since the airport is in East Germany, many people are not allowed outside and so they are left stranded, hoping in the morning things will clear up.

This film follows six of the people who are caught up in the building, walking aimlessly through the near empty airport. The film is made up of their encounters, and their attempts to make something interesting happen. In some ways, it has a bit of the mood of the pandemic and all the lockdowns… suddenly thrown into a void, a bit lost, with plenty of time to kill, and not knowing how long it will take.

The people who are drifting around are from both sides of the Iron Curtain, and therefore meeting each other for the first time, both suspicious of the other side. To further this East-West connection, the theme song is a tune by the Andrzej Trzaskowskí Quintet, a wicked Polish jazz band featuring the vocals of Wanda Warska.

This will be a high-definition screening.

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

The Watermelon Woman (Cheryl Dunye, 1996)

Sunday 13 March 2022, Movie night: The Watermelon Woman (Cheryl Dunye, 1996), 90 minutes. Doors open at 20:00, Film starts at 20:30.

Romantic comedy-drama staring Dunye as Cheryl, a young black lesbian working a day job in a video store while trying to make a film about a black actress from the 1930s known for playing the stereotypical “mammy” roles relegated to black actresses during the period. The Watermelon Woman was the first feature film directed by a black lesbian and is considered a landmark in New Queer Cinema. In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being “culturally, historically, or aesthetically significant”.

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

Black & White Movie Night: Stranger Than Paradise (Jim Jarmush, 1984)

Sunday 6 March 2022, Black & White Movie Night: Stranger Than Paradise (Jim Jarmusch, 1984), 89 minutes. Doors open at 20:00, Film starts at 20:30.

Masterpiece of modern independent cinema, this film is a black-and-white absurdist deadpan comedy starring jazz musician John Lurie, former Sonic Youth drummer-turned-actor Richard Edson, and Hungarian-born actress and violinist Eszter Balint. It features a minimalist plot in which the main character, Willie, is visited by Eva, his cousin from Hungary. Eva stays with him for ten days before going to Cleveland. Willie and his friend Eddie go to Cleveland to visit her, and the three then take a trip to Florida. The film is shot entirely in single long takes with no standard coverage.

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