Special Events-March 2017

HyperNormalisation (encore!)

HyperNormalisation-5
3/21/2017 - 7:30PM

“Those in power in society – the politicians, the journalists, the experts – maintain their power by telling us stories about the world. Those stories tell us what is true and what is false, what is right and wrong, and what is real – and what is illusion. But there come times when these stories begin to break down. And people start to distrust those in power – and their definition of what is real and what is fake. At that point you enter the Zone. HyperNormalisation tells the story of how we got to this place. It is also about the new systems of power that we cannot see – because we are trapped inside the Zone.” -Adam Curtis

Adam Curtis’s acclaimed 2016 BBC documentary tells a story that begins in 1975 in New York and Damascus, and ends with today’s world. Curtis masterfully edits found footage to investigate how, at a time of confusing and inexplicable world events, politicians and other power brokers construct new realities.

Dir. Adam Curtis, 2016, DCP, 166 min.

Starship Troopers (encore!)

starship troopers
3/20/2017 - 10:40PM

With this incredibly constructed 1997 sci-fi saga, mad Dutch auteur Paul Verhoeven wraps up his gonzo dystopian triptych that began with Robocop and carried through into Total Recall. In many ways, Starship Troopers is the most devastatingly satirical of the three, using Robert Heinlein’s straightforward ‘50s novel as a jumping off point to gleefully skewer our conflict-minded, gung-ho culture. “[A] ruthlessly funny and keenly self-aware sendup of right-wing militarism. The fact that it was and continues to be taken at face value speaks to the very vapidity the movie skewers.” — Calum Marsh, The Atlantic

Dir. Paul Verhoeven, 1997, 35mm, 129 min.

The Passenger (encore!)

the passenger_1
3/20/2017 - 7:30PM

Amongst the vast red bleakness of hellish Saharan Africa, the grey architectural wonders of Barcelona and the lush greens of London, Antonioni’s trademark visual mastery of exploring man’s emotional relationship to his environment expands to a global scale in The Passenger. In the director’s final flirtation with Hollywood, Jack Nicholson drops all vestiges of his “ultimate movie star” persona, losing himself completely in a perfectly rendered feature-length slo-mo scream of despair, as he bounces from country to country, acquiring the beautiful Maria Schneider (Last Tango In Paris) as an erstwhile companion along the way to his impeccably-photographed oblivion. Reducing suspense to a minimum, Antonioni has crafted a curious and satisfying take on the “international political thriller”, transforming a typical genre exercise into a subdued, sublime travelogue of existential crisis.

Dir. Michelangelo Antonioni, 1975, 35mm, 126 min.

Namour (with director Heidi Saman in person!)

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3/15/2017 - 7:30PM

Winner of LA Film Festival’s LA Muse Award

Heidi Saman’s directorial debut follows a young Egyptian-American stuck with a job in the quintessentially-LA valet parking industry. Amidst the economic collapse of 2008 and familial pressures, Steven Bassem negotiates middle-class anxiety and the conflicting pressures of assimilation, via Saman’s astute “fusion of stark alienation and deadpan humor” (The Hollywood Reporter).

Dir. Heidi Saman, 2016, DCP, 80 min.

Fraud (Encore w/ director Dean Fleischer-Camp in person!)

Fraud_4
3/14/2017 - 10:30PM

A great feat of editing, Fraud follows a working class family in pursuit of the contemporary, ultra-capitalist American Dream… or so it seems. With an impressionistic meta-narrative constructed from one family’s 100+ hours of confessional YouTube uploads, Fleischer-Camp’s succinct piece revels in the slippery relation between fact and fantasy on the World Wide Web. Composed entirely of found-footage, Fraud challenges the bounds of both documentary and narrative at every turn, suggesting that perhaps, it’s neither.

Dir. Dean Fleischer-Camp, 2016, DCP, 52 min.

Watch the trailer!

They Live (encore!)

they live1
3/12/2017 - 8PM

With a pre-screening set by DJ Nadie

Upon its original 1988 release, John Carpenter’s Reagan era screed They Live went largely unsung; sure, smallish audiences thrilled to “Rowdy” Roddy Piper and Keith David’s endless knock-down, drag-out alley fight, and the general message of non-conformity was well received among the Carpenter-converted. But no one anticipated the film’s ever-building cult status, or how prescient it would be thirty years later. Chilling images of Carpenter’s skull-faced aliens and the film’s ominous slogans have inspired numerous artists (not the least of which is street artist/activist Shepard Fairey); to say that They Live has had a cultural impact beyond its initial release is something of an understatement. There is no horror movie more appropriate for our current political times, so it only seems fitting to revisit this masterful cinematic metaphor, and once again OBEY!

Dir. John Carpenter, 1988, 35mm, 93 min.

Watch the trailer!

Fraud (Encore w/ director Dean Fleischer-Camp in person!)

Fraud_byDeanFleischerCamp_2
3/12/2017 - 5PM

A great feat of editing, Fraud follows a working class family in pursuit of the contemporary, ultra-capitalist American Dream… or so it seems. With an impressionistic meta-narrative constructed from one family’s 100+ hours of confessional YouTube uploads, Fleischer-Camp’s succinct piece revels in the slippery relation between fact and fantasy on the World Wide Web. Composed entirely of found-footage, Fraud challenges the bounds of both documentary and narrative at every turn, suggesting that perhaps, it’s neither.

Dir. Dean Fleischer-Camp, 2016, DCP, 52 min.

Watch the trailer!

They Live (encore!)

Roddy-Piper
3/11/2017 - 9PM

Upon its original 1988 release, John Carpenter’s Reagan era screed They Live went largely unsung; sure, smallish audiences thrilled to “Rowdy” Roddy Piper and Keith David’s endless knock-down, drag-out alley fight, and the general message of non-conformity was well received among the Carpenter-converted. But no one anticipated the film’s ever-building cult status, or how prescient it would be thirty years later. Chilling images of Carpenter’s skull-faced aliens and the film’s ominous slogans have inspired numerous artists (not the least of which is street artist/activist Shepard Fairey); to say that They Live has had a cultural impact beyond its initial release is something of an understatement. There is no horror movie more appropriate for our current political times, so it only seems fitting to revisit this masterful cinematic metaphor, and once again OBEY!

Dir. John Carpenter, 1988, 35mm, 93 min.

Watch the trailer!

Fraud (w/ director Dean Fleischer-Camp & Nathan Fielder in person!)

fraud_bydeanfleischercamp_h_2017
3/9/2017 - 7:30PM

Followed by Q&A a with director Dean Fleischer-Camp, moderated by Nathan Fielder (Nathan for You)

A great feat of editing, Fraud follows a working class family in pursuit of the contemporary, ultra-capitalist American Dream… or so it seems. With an impressionistic meta-narrative constructed from one family’s 100+ hours of confessional YouTube uploads, Fleischer-Camp’s succinct piece revels in the slippery relation between fact and fantasy on the World Wide Web. Composed entirely of found-footage, Fraud challenges the bounds of both documentary and narrative at every turn, suggesting that perhaps, it’s neither.

Dir. Dean Fleischer-Camp, 2016, DCP, 52 min.

Watch the trailer!

ECSTATIC TRANCE: A Live Cinema Performance of Music Rituals by Vincent Moon + Priscilla Telmon (Off-site at the Bob Baker Marionette Theater)

xavante
3/9/2017 - 7:30PM

Co-presented by Zebulon and the Bob Baker Marionette Theater

This event will take place off-site, at the Bob Baker Marionette Theater

Vincent Moon and Priscilla Telmon in-person for a cineperformance featuring live music and mixing of videos they have shot around the world under the label Petites Planètes. Focusing on rituals and spiritual ceremonies that contain a musical component, the evening will include a preview of their new Brazil project: Híbridos. Moon took the music world by storm with his “Take Away Show” videos with bands such as Beirut and the Arcade Fire, and has perfected his signature style in recent years working with his partner Prisclla Telmon, focusing on ethnographic sound – often around indigenous communities. Includes a marionette performance and reception with artists to follow. Co-presented with Zebulon and introduced by Steve Holmgren and Franny Alfano.

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