Beautiful new 4K restoration of this Japanese underground classic!
Long unavailable in the U.S., director Toshio Matsumoto’s shattering, kaleidoscopic masterpiece is one of the most subversive and intoxicating films of the late 1960s: a headlong dive into a dazzling, unseen Tokyo night-world of drag queen bars and fabulous divas, fueled by booze, drugs, fuzz guitars, performance art and black mascara.
One of Japan’s leading experimental filmmakers, Matsumoto bends and distorts time here like Resnais in LAST YEAR AT MARIENBAD, freely mixing documentary interviews, Brechtian film-within-a-film asides, Oedipal premonitions of disaster, his own avant-garde shorts, and even on-screen cartoon balloons, into a dizzying whirl of image + sound. Featuring breathtaking black-and-white cinematography by Tatsuo Suzuki that rivals the photographs of Robert Mapplethorpe, FUNERAL PARADE offers a frank, openly erotic and unapologetic portrait of an underground community of drag queens.
Whether laughing with drunken businessmen, eating ice cream with her girlfriends, or fighting in the streets with a local girl gang, Peter’s ravishing Eddie is something to behold. “She has bad manners, all she knows is coquetry,” complains her rival Leda – but in fact, Eddie’s bad manners are simply being too gorgeous for this world. Her stunning presence, in bell-bottom pants, black leather jacket and Brian Jones hair-do, is a direct threat to the social order, both in the Bar Genet and in the streets of Tokyo. A key work of the Japanese New Wave and of queer cinema, FUNERAL PARADE is being beautifully restored in 4k from the original 35mm camera negative and sound elements for re-release in 2017.
Tour-de-force: a term so overused that we need an undeniable acting performance to renew its meaning for cinema. Cate Blanchett has just given us one, going all-out in Manifesto. Already respected as one of the best actresses in film, Blanchett raises the bar even higher by playing 13 different roles in Manifesto, embodying some of the most influential and emotional artist manifestos in history.
The architect of this unique film idea is director Julian Rosefeldt, a veteran of intricate films and installations. In Manifesto, he uses the words from various twentieth century manifestos of artists, architects, and filmmakers for dialogue. With a gorgeous production utilizing sumptuous sets, outrageous locations scattered about Berlin and luscious cinematography that would make Baz Luhrmann proud, Rosefeldt puts Blanchett in the everyday world—as a housewife, a factory worker, or a TV anchor—declaring the words that have inspired whole art movements. Manifesto is entertaining while also asking us to question if these passionate statements still hold true and inspire us today. – Sundance. Written & Directed by Julian Rosefeldt, based on his art installation. Germany. In English. 2016. 95 mins.
“Critic’s Pick. Presented by the chameleonic actress Cate Blanchett. More than a performer, Ms. Blanchett is also a movie star, albeit a very particular caliber of movie star. Which is one of several reasons MANIFESTO works as well as it does in cinematic form. Sometimes brilliantly comedic…immaculate in every detail. The sound design, by Fabian Schmitt and Kuen-il Song, is particularly extraordinary. As an oblique examination and critique of political art and art history and their various interactions over the 20th century, MANIFESTO is both witty and provocative.” – Glenn Kenny, The New York Times
“Distinguished by a surprising lightness. Puckish humor. Blanchett soars.”
– Serena Donadoni, Village Voice
“What’s better than a great Cate Blanchett performance? Answer: 13 of them… A tribute to the art of Blanchett’s extraordinary screen chameleonism. Every single gesture and glance feels perfect. Pure genius.”
– David Fear, Rolling Stone
“It’s unlikely you’ll find a more playful and cinematic exploration of sincere critical themes”– Jordan Hoffman, Vanity Fair
Symbols of Resistance explores the history of the Chican@ Movement as it emerges in the 1970s with a focus on events in Colorado and Northern New Mexico. It focuses on the struggle for land, the student movement, and community struggles against police repression highlighting the significance of the Chicano@movement and its relevance to struggles for social justice today. 72 min. For more information www.freedomarchives.org
Acclaimed photographer Seifollah Samadian, a long-time collaborator with Abbas Kiarostami, turns years of behind-the-scenes footage shot during their close creative partnership into a beautiful, understated and inspiring tribute to this giant of cinema by simply allowing us to watch, without commentary, Kiarostami at work.
Directed by Seyfolah Samadian
2016 / 76 min
Persian with English Subtitles
In 35mm, uncut, from the Chicago Cinema Society’s rare Italian 98-minute print!
Rescued from a closed Italian cinema, the Chicago Cinema Society recently discovered a print of SUSPIRIA that not only runs for a full and uncut 98 minutes, but is also largely untouched, with strong color and minimal fading and wear. The Roxie is proud to be part of the tour of Argento’s masterpiece, and to bring SUSPIRIA the way it was meant to be seen to San Francisco.
Suzy (Jessica Harper) travels to Germany to attend ballet school. When she arrives, late on a stormy night, no one lets her in, and she sees Pat (Eva Axén), another student, fleeing from the school. When Pat reaches her apartment, she is murdered. The next day, Suzy is admitted to her new school, but has a difficult time settling in. She hears noises, and often feels ill. As more people die, Suzy uncovers the terrifying secret history of the place.
Please note: because this is an Italian-language print, we will be “soft subtitling” the print, projecting digital subtitles below the print. There can be issues with timing with soft subtitles, but we feel that this is the best way to get SUSPIRIA onscreen.
Director Catalina Aguilar Mastretta IN PERSON for Q&A after the film!
On the surface, the young and beautiful Clara Barron (Karla Souza) seems to have everything- a great job as an OB-GYN; a great house in LA; and a big fun-loving Mexican family. But, the one thing Clara doesn’t have figured out is her love life. Pressured by a family wedding in Mexico, Clara asks a co-worker to pose as her boyfriend for the weekend festivities – only to be caught by surprise when her ex-boyfriend (and family favorite) suddenly shows up after disappearing from her life completely. Torn, Clara must decide between going back to the past or open her heart to new and unexpected possibilities. In an adventure full of laughter, she learns that sometimes it takes the whole crazy family to help you find crazy love.
Directed by Catalina Aguilar Mastretta. Starring Karla Souza. 102 min. Mexico. DCP. In Spanish with English subtitles. Original title: Todos Queremos a Alguien.
“A Sci-Fi sexual drama that will blow your mind” -Birth. Movies. Death.
“Amat Escalante’s The Untamed variously dazzled, horrified, shocked, and, in the case of some very nervous viewers, tickled the Venice Film Festival when it played in competition,” Jonathan Romney (Film Comment) wrote in a dispatch from Venice last fall. Spinning a surreal story of marital disfunction and a sexual frenzy-inducing extraterrestrial life form, The Untamed brings the director of brutally realist festival fare like Heli into decidedly new territory.
Winner: Best Director, Venice Film Fetival
Young mother Alejandra is a working housewife, raising two boys with husband Angel in a small city. Her brother Fabian works as a nurse in a local hospital. Their provincial lives are upset with the arrival of mysterious Veronica. Sex and love can be fragile in certain regions where strong family values, hypocrisy, homophobia, and male chauvinism exist. Veronica convinces them that in the nearby woods, inside an isolated cabin, dwells something not of this world that could be the answer to all of their problems. Something whose force they cannot resist and with whom they must make peace or suffer its wrath.
Directed by Amat Escalante. Written by Amat Escalante and Gibrán Portela. Mexico /Denmark/ France/ Germany/ Norway/ Switzerland. 2016. 100 min. DCP. In Spanish with English subtitles.
Gentrification, displacement, and the Bay Area housing crisis are the focus of short films and a panel of powerful speakers who will inform and inspire!
Following our program of short films, the Coalition on Homelessness’ Homeless Speakers Bureau will discuss the present day housing challenges facing San Francisco. The Homeless Speakers Bureau is a group of powerful speakers who have all experienced homelessness, and are therefore experts on the crisis.
For decades, the Coalition on Homelessness has developed the leadership skills of homeless San Franciscans to forge true solutions to the housing crisis and beat back mean-spirited attacks against them.
Rare 16mm films from the collection of Barry Siegel features the greats in Rock N’ Roll
ROOTS OF ROCK N’ ROLL traces part of the history of rock from Rhythm and Blues of the ‘40’s to early Rock ‘N Roll pioneers of the 50’s thru the British Invasion of the 60’s.
Musical artists include Louie Jordan, The Flamingos, Bill Haley and his Comets, Little Richard, The Treniers, Elvis Presley (plus a parade of Elvis wannabes trying to out-perform the King on a TV show from 1956 called “Country Music Caravan”), Johnny Burnette, The Beach Boys, James Brown, The Dave Clark Five, Rolling Stones, and the Beatles performing live in London in 1964. Included is a rare newsreel of a Beatles record burning in 1966 after John Lennon commented that they were more popular than Jesus. (He later stressed that he was only remarking on how other people viewed and popularized the band.)
Lightening up 180 degrees since his last appearance here at the Roxie, Bruno Dumont (HADEWIJCH, HUMANITÉ, THE LIFE OF JESUS) returns to 16th Street determined to wipe that scowl off your face.
The bourgeois and extremely eccentric Van Peteghem family—among them Juliette Binoche, Fabrice Luchini, and Valeria Bruni Tedeschi—have settled in for another summer at their cliff-top villa overlooking the picturesque Slack Bay. Their leisurely rhythm of sunbathing and seaside constitutionals is soon interrupted by the arrival of two bumbling inspectors (à la Keystone Kops) investigating a string of tourists gone missing . As the macabre mysteries mount and love blossoms between the family’s genderqueer teen and the son of a local fisherman, Binoche and company ratchet the slapstick up to eleven. It’s no wonder director Bruno Dumont cites Peter Sellers, Monty Python, and Laurel and Hardy as cinematic influences for his delightful foray into winking, absurdist farce. France. Germany. French with English subtitiles. Aspect Ratio: 2.39:1. 2017. 122 mins.
“Everyone seems to have drunk their bodyweight in absinthe.”
— Peter Bradshaw, The Guardian “Sublimely deranged.” — Nigel Andrews, Financial Times “The boldest and freest of recent genre mashups. Raises conflicts of class, character, and gender into off-kilter legend.” — Richard Brody, The New Yorker “A work of madcap inspiration.” — Jordan Cronk, Film Comment