01.10.2025
DEADBEAT AT DAWN (1988)
dir. Jim Van Bebber, 81 min. English languageIn the post industrial, urban decaying, gang infested wasteland of Dayton, Ohio, gang leader Goose, played by writer director Jim Van Bebber, seeks to leave a life of crime behind in search of greener pastures with his girlfriend Christy. While out doing one last deal to get the money he needs to start a new life, rival gang members break into his apartment and murder Christy, leaving Goose in a downward spiral. When his gang presents him with one last chance to make the money he needs, Goose will have to fight his way through every other deadbeat in Dayton if he wants to get out alive.
If the Soviet Union paid Hong Kong Category III film makers to craft an anti-American propaganda remake of THE WARRIORS it would probably look like DEADBEAT AT DAWN. Filmed on a shoestring budget using real life run down locations and no thought for safety, the film screams through action set pieces that are a hair away from criminality and character drama that plays out with overwhelming nihilism. The texture that Van Bebber creates is crusted with grit and grime, and his vision of the world is simultaneously hilariously cartoonish and crushingly anti-humanist. The rare gang film that depicts street crime as the coolest and vilest thing you can do to yourself.
08.10.2025
KNIFE+HEART (2018)
dir. Yann Gonzalez, 102 min. French language w/English subsParis, the summer of 1979: Everyone is having the très fun & sexy time except Anne (Vanessa Paradis), a low-budget adult entertainment producer, and Karl, a performer in Anne’s work who has just met with a grizzly end. Trying to reconcile with her former lover/editor Loïs and working with her loyal assistant/best friend Archibald to salvage their upcoming film, Anne struggles to separate fantasy from reality as a mysterious killer cuts a swathe through the adult underground of Paris.
Audience Note: This film contains high-impact violence and a depiction of sexual assault
The central figure of KNIFE+HEART is loosely based on Anne-Marie Tensi, pioneering producer of titles Jeux homosexuels and Les saliveuses from the “golden age” of French adult cinema. Gonzalez uses these heady, pre-HIV days of fast & loose filmmaking to explore a demi-monde of mingled pragmatism and sensuality where the lines between bodies and consciousness blur. Genuine care and community are disrupted by violent intruders from both outside and within in this passionate, perversely unreconstructed giallo.
15.10.2025
CRIME WAVE (1985)
dir. John Paizs, 80 min. English languageWriter/director/producer/leading man John Paizs, The Pride of Winnipeg, created a singular vision of half-realised creative dreams and childhood fears in CRIME WAVE. Steven (Paizs) is a quiet man, living above a family’s suburban garage and fighting a valiant nightly battle against writer’s block as he tries to find a middle for his “colour crime story” beginnings that always end in violent death. In an attempt to help, young daughter Kim (Eva Kovacs) sends Steven's rejected script pages to a mysterious benefactor- but when he sets out for a glamorous film career in Kansas, Steven is thrown into a surreal prairie world of menacing cowboys and small-town psychosis.
Equal parts brush-your-teeth PSA and portrait of rural horror CRIME WAVE was ahead of its time, a technicolor nightmare from the North about the agonies of trying to write something, anything, Oh God. A singular vision of silent comedy, bitter relatability and the creeping darkness at the edge of childhood memories, this 2K version of John Paizs’ masterpiece has been stunningly restored and signed off on by the director himself. If you’ve ever thought about trying to think about making movies or moving out of your parents’ house, this one’s for you.
22.10.2025
THE WOLF HOUSE (2018)
dir. Cristóbal León, Joaquin Cociña, 75 min. Spanish language w/English subsAn incredible achievement of stop-motion animation, THE WOLF HOUSE is a rich fantasy hiding a dark secret. Young María has been forced out of the isolated religious Colony she was raised in, fleeing to the relative security of a secluded woodland house- inhabited by a pair of talking pigs who she names Ana and Pedro. As reality shapes itself around her, María resists the temptations of the Wolf trying to lure her back to the Colony, but as food grows scarce and the woods begin to close in she realises she may have exchanged one cage for another.
Recalling the work of Jan Švankmajer, León and Cociña bring this disquieting fable to life with a kaleidoscope of materials- clay, puppets, everyday objects and papier-mâché all meshed in writhing life, constantly in motion. THE WOLF HOUSE uses ever-shifting perspectives to illustrate a particularly brutal period in Chilean history, filtered through the memories of a disintegrating psyche.
29.10.2025
BRAIN DAMAGE (1988)
dir. Frank Henenlotter, 86 min. English languageYoung Brian has turned his slump around and made a new best friend; a blue, parasitic, slug-like creature of yore named Aylmer that deals him psychotropic drugs direct to the brain stem in exchange for a fresh supply of human brains. As his new friend’s supply and demands grow, Brian struggles to maintain appearances for his girlfriend and his brother as his nocturnal actives get more depraved and deadly, leading to an ever growing pile of bodies to go along with his trips that are beginning to blur the line between fantasy and reality that threatens to damn Brian’s body and soul in his search for just one more fix.
Grindhouse maestro Frank Henenlotter’s second genre masterwork, after BASKET CASE and before Pink Flamingo favourite FRANKENHOOKER, BRAIN DAMAGE is a tale of addiction and woe told with equal parts flair and sympathy. All of Henenlotter’s renowned talent for gore and grime is on display, along with an oddly touching emotional sensibility that brings a degree of credence to Aylmer’s influence on Brian and his willingness to act on his terms. Filmed guerilla style on the run down streets of old New York City, the film’s wonderful cinematography and brilliant effects work create a magical realism that informs the film’s textual dynamics without overpowering its genre sensibilities. The most fun you can have with drugs without doing them.
27.08.2025
RATS! (2024)
dir. Maxwell Nalevansky and Carl Fry, 85 min. English languageIn a distorted and surreal take on a small town in Texas in 2007, graffiti artist Raphael is arrested by the unhinged Officer Williams and sentenced to community service. His mother forces him to leave home and move in with his burnout cousin Matteo, who just so happens to be under investigation by the FBI for suspected possession of nuclear weapons as part of a plan to blow up Texas. Raphael now has to navigate around the long arm of the law, his mystifying cousin, and his small town full of maniacs if he ever hopes to get out with his skin and his sanity in one piece.
David Lynch’s BLUE VELVET crossed with a Municipal Waste music video and rendered with all the charm and sensibility of a Newgrounds flash animation. The stakes are comically high, the jokes and flamboyantly crude, and the pacing is frantic, all of which makes for uniquely modern and engrossing cinematic experience that presents a lyrical and loving look back on the dumbest, loudest, and angriest
perspective of the recent past. The supremely independent minded film makers skirt all the rules of the format to create a piece of extended sketch comedy that that’s brilliant blend of shaky improv and Zucker, Abrahams, and Zucker style precision gags that shocks and awes the audience up until the very end. Also features a cameo from Nicolas Cage’s weirdo Nu Metal son Weston!
30.04.2025
CEMETERY MAN (1994)
dir. Michele Soavi, 103 min. English languageFrancesco Dellamorte is the put upon caretaker of the small Italian town of Buffalora’s cemetery where he’s tasked with interring the dead and then re-interring them with prejudice if they rise from their graves, which the cemetery’s residents have a tendency to do. Dellamorte has only his addled amico Gnaghi to help him stem the tide of the undead, navigate the increasingly deranged townsfolk, and find his own place at the very edge of life.
Directed by Michele Soavi, who studied under greats like Dario Argento and Lucio Fulci, and based on a novel by Tiziano Sclavi, the famed author of comic series Dylan Dog, Cemetery Man (or as it was far better titled in Italy Dellamorte Dellamore) is a bitter farewell to the golden age of Italian horror cinema that breaks down its own narrative to examine the mechanics and appeals of the genre. Running the gamut of tones from slapstick comedy to overwhelmingly chilling existentialism, Soavi creates and then breaks though layer upon layer of iconography until all that’s left to combat is the very notion of symbolism in narrative construct. Featuring an incredible performance from a young Rupert Everett as Dellamorte, the film is a much lauded cult masterpiece that Martin Scorsese deemed one of the best Italian films of the 1990s.
Audience Note: This film contains a depiction of sexual violence
07.05.2025
VENUS IN FURS (1969)
dir. Jesús Franco, 86 min. English languageJazz musician Jimmy Logan is obsessed with the beautiful and mysterious Wanda, an obsession that doesn’t end when he finds Wanda’s corpse washed up on the beach. So begins Wanda’s tale of revenge as she stalks the men responsible for her death throughout planes of consciousness to deliver her deadly vengeance, all while Jimmy tries to put together the pieces of who she was in life and who she now is in death.
Part sleazy sexploitation, part arthouse dreamscape, and part metaphysical slasher, Venus in Furs is arguably the incredibly prolific exploitation director Jess Franco’s most accessible and yet most daring work. Full of formal experimentation and elaborate staging, the film relishes in its genre credentials whilst at the same time using a cinematic language of suggestion and imposition to deliver its distinct flavour of erotic myopia. Allegedly spawned from a conversation between Franco and Jazz legend Chet Baker, with Franco trying to use the dreamlike quality of the film to mimic the fugue state Baker would enter during his solos, the film is a technicolor dream with location shoots in Rome, Marbella, Barcelona, and Istanbul. If you’ve never come across Jess Franco before, this is a great place to start.
14.05.2025
THE VISITOR (2024)
dir. Bruce LaBruce, 101 min. English languageStrobe Warning: Some scenes in this film have a strobing effect that may affect photosensitive viewers
A redux of martyr/hot guy catholic marxist Pier Paolo Pasolini’s incendiary 1968 film, the latest feature from provocateur Bruce LaBruce (Hustler White) is a fleshy exercise in joyous excess. The Visitor takes place mostly within a sterile London statement home, where a mysterious stranger upends the lives of a bourgeois family by having sex with all of them in a variety of escalating scenarios. As the games of seduction take over the familial ties unravel, leaving them adrift in a world without a moral centre. Yes it’s Teorema but not as we know it, pushing into funnier, stranger and more explicit territory with the cheeky charm and hey-let’s-put-on-a-show attitude that marks LaBruce’s best work.
And The Visitor is indeed some of his very best work, recontextualising his snarling DIY spirit into a new queer cinema landscape with an energy and freshness that makes the enactment of taboo desire a ludic and strangely safe space. There is commentary on post-colonial race fantasies as filtered through the fantasies of the kinds of people you see on Grand Designs, and a superliminal marxist bone to pick with the entirety of assimilationist culture— but above all else it’s a triumph of imagery and a good old fashioned porno with heart.
Audience Note: This film contains graphic content and unsimulated sex, among other things
21.05.2025
SAMURAI REINCARNATION (1981)
dir. Kinji Fukasaku, 122 min. Japanese language w/ English subtitlesAfter Christian rebel leader Amakusa Shiro is beheaded along with thousands of his followers, his anguished soul renounces God and turns to Satan to wreak his vengeance. Shiro is resurrected with dark powers to raise the dead, bringing back legendary figures from Japanese history and wooing a faction of Ninjas to help him overthrow the Tokugawa Shogunate and enforce a reign of chaos over the land. The only chance for salvation lies with the one eyed samurai Yagyu Jubei and a mystical sword capable of killing demons, but the challenge Jubei faces in wielding the sword to strike down his hellish foes is the greatest he’s ever faced.
Samurai Reincarnation is notable for being one of the few genre films to fully embrace Christian dogma for pulp ends, and as much as it is a thematic examination of the changing face of Japanese spiritualism it is primarily a vehicle for Japanese exploitation deity Kinji Fukasaku, director of Battle Royale and recent Pink Flamingo entry Black Lizard, to unleash some of the coolest mystical swordplay ever captured on film. With a cast led by action legend Sonny Chiba and featuring a young Kenji Sawada along a younger Hiroyki Sanada, along with Japanese Academy award winning art direction and Fukasaku’s masterful eye for violence, the film is an explosive and operatic tale of spiritual warfare with an intricate thematic tapestry that kills history and then brings it back to life.
24.05.2025
CASTRATION MOVIE ANTHOLOGY I: TRAPS (2024)
dir. Louise Weard, 275 min. English language with English subtitlesWhat if Berlin Alexanderplatz was set in the contemporary Pacific Northwest, and was also trans? Find out in the first volume of Louise Weard’s extraordinary Castration Movie Anthology: Traps. Chapter 1 of this 4.5 hour saga (it flies by trust me) centres on a young production assistant named Turner and his descent into inceldom, flowing into Chapter 2 in which Michaela "Traps" Sinclair, a Vancouver woman in trouble, and her friends navigate sex work, DIY transition and love. A freeform narrative anchored by the grounded interactions of fully developed three-dimensional characters and a vein of painful authenticity tempered with humour, Castration Movie is a film for our atomised times.
This may sound like an insular, inside-baseball trip but if you’re alive in 2025 and have tried to find human connection there’s something here for you. It’s also extremely centred around the kind of people who have contemplated surgery and/or know what transmaxxing means, so if you’ve ever sat awkwardly in the living room of a toxic poly t4t throuple while waiting to buy gear it may have special resonance for you. This is not a compromise or diminishment of experiences in the pursuit of a relatable, accessible story: Weard has located something so ephemeral and specific that if you watch it with the right kind of eyes it may realign you.
Audience Note: This film contains graphic content and unsimulated sex, among other things
05.02.2025
HARD TICKET TO HAWAII (1987)
dir. Andy Sidaris, 96 min. English languagePut down that Uzi and get into the hot tub, it’s an Andy Sidaris movie. Undercover agent Donna (Donna Spier, Miss March 1984) and pilot Taryn (Hope Marie Carlton, Miss July 1985) are in tropical Hawaii when they discover a ring of murderous traffickers and something something diamond smuggling? Not important, but the crooks try to take out the babes with a variety of insane explosives and there’s a deadly genetically-engineered snake on the loose, so Donna calls in her hunk boyfriend (Ridge from The Bold and the Beautiful) and his himbo buddy to help the gals take care of business.
Director-husband Andy and producer-wife Amy Sidaris’ second film in their Bullets, Bombs and Babes trilogy has all of those things, and so much more. Every mode of transportation, every form of weaponry, every possible excuse for someone to take their shirt off are all packed into 96 nonstop minutes. Trashy, funny, playful and strangely exhilarating— if you’ve never seen Hard Ticket to Hawaii with a crowd then you haven’t truly lived.
12.02.2025
THE LIVING END (1992)
dir. Gregg Araki, 85 min. English languageBalancing the crippling ennui of the end of the world with an endearing solidarity and genuinely radical political affect, The Living End is perhaps Gregg Araki’s most unsung work. Coming before his defining Teenage Apocalypse trilogy, it follows two HIV-positive young men going on a death spiral road trip across the United states to find oblivion. Extremely frank depictions of violence and sex are intermingled with Araki’s frank analysis of the moral implications of his characters nihilism create a film that’s as driven by pretence and posturing as it is critical of them.
What shines through between the low budget stylistic affect, the almost intentionally severed dialogue, and the notably choppy edit is Araki’s willingness to create true organic contact with the characters and their dispassionate positions on their own increasingly out of control lives. The ethos of ‘BE GAY DO CRIMES’ has perhaps never been more neatly elucidated on the screen as it is here, driven by the Punk ethos and a righteous fury at the system that are deeply affecting and incredibly enjoyable to experience.
19.02.2025
FASTER PUSSYCAT! KILL! KILL! (1965)
dir. Russ Meyer, 84 min. English languageThe masterpiece of exploitation auteur Russ Meyer, Faster, Pussycat! Kill! Kill! is a fast and furious trip to the dark heart of America. Go-go dancers and maybe lovers Varla, Rosie, and Billie have ditched the club to race their sports cars across the weltering California salt flats, killing with abandon and kidnapping a young woman along the way. The dames hatch a plan to rob the isolated desert ranch of an old man and his beefcake sons, but vicious in-fighting and inability to control their desires may be their undoing.
John Waters called this “beyond a doubt, the best movie ever made” and who are we to argue. It’s certainly one of the most iconic thanks to the dynamite stars: the bewitching (and IRL witch) Haji, girl-next-door bikini model Lori Williams and the one and only reform-school dropout and nightclub superstar Tura Satana. Not all of Meyers’ works can cross over to a contemporary audience, but this one goes beyond camp and cult into grindhouse transcendence.
26.02.2025
MIAMI CONNECTION (1987)
dir. Y.K Kim, 86 min. English languageA feature length advertisement for Taekwondo made by an Orlando, Florida instructor that languished in obscurity for nearly three decades before being inadvertently discovered in an unmarked film canister purchased on eBay and re-released to wild acclaim. The story behind the making of Miami Connection is almost as wild as the plot of the film itself, which involves a new wave band of Taekwondo practitioner orphans who run afoul of a biker gang and a separate gang of ninjas who also ride motorcycles that are both vying for control of the Miami cocaine trade.
This is the best kind of good bad film, one made with purely honest intentions combined with a technical incompetence that results in inexplicably deranged stylistic choices that the film treats with absolute severity. All the fun of independent low budget cinema combined with the ridiculous flair of late ‘80s fashion, the influence of the era’s Ninja craze, an editing format that can best be described as concussed, an incredible amount of memorably ludicrous dialogues, and a genuinely boppin’ synth driven soundtrack.
13.11.2024
TRASH HUMPERS (2009)
dir. Harmony Korine, 78 min. English languageA take on found footage that wasn’t supposed to be found, a home movie made by amoral outcasts for an unspeakable audience. No real narrative to speak of but a series of vignettes as the titular Trash Humpers (played and shot (on VHS) by Korine, his wife and some friends) roam the alleys and backlots of Nashville on a spree of antisocial behaviour: drunkenness, disturbing rituals, vandalism, lewd acts with garbage bins, and murder. Are they driven by their own personal desires, or simply acting in rebellion to societal norms? None of these questions will be answered but you will see someone fuck a tree.
This is Korine’s most polarising film, one that can be read as a reach for the same authenticity-at-all-costs ethos that is the lived reality of the Humpers. Without the pathos of Julian Donkey Boy or the carefully curated antifashion aesthetics of Gummo it’s just a movie about horrible people doing horrible things, but what Trash Humpers does have is a highly specific texture putting contemporary VHS nostalgia to shame. It’s also extremely funny and at times frightening, accessing the creeping fear of nighttime excursions turned bad-weird and the certainty that somewhere out there people are getting incredible kicks from things we'll never know.
20.11.2024
BLACK LIZARD (1968)
dir. Kinji Fukasaku, 86 min. Japanese with Eng subsDecadence, glamour and passionate pulp from the director of Battle Royale and Battle Without Honor and Humanity. Based on the novel by Ranpo Edogawa, Black Lizard follows the exploits of beutiful super criminal Mme. Midorikawa (Akihiro Miwa) in her quest for love and jewlery at all costs. Kidnapping, double crossing, ingenious disguises, human statues and great gowns, beautiful gowns.
The screenplay was adapted from Ranpo by author, attempted coup leader and problematic queer icon Yukio Mishima, who was an admirer of Miwa’s legendary drag performances in the underground Tokyo scene (Mishima pops up in a small role, shirtless as usual). It features his favourite obsessions of eros/thanatos and unrequited love, given the melodramatic verve he learned in Kabuki and Noh dramas. Miwa was the only person he could imagine playing this role and he was absolutely right: she is a mesmerising presence and a true star.
27.11.2024
FROM BEYOND (1986)
dir. Stuart Gordon, 85 min. English language.Lust meets Lovecraft in this psychosexually charged and Giallo inspired goopy classic. The creative team that unleashed Re-Animator re-assembled the following year for another searingly modern and luridly pulpy adaptation of one of famed horror writer H.P Lovecraft’s stories. When Doctor Crawford Tillinghast (Jeffrey Combs) is institutionalised after being found next his bosses recently decapitated corpse it’s up to Doctor Katherine McMichaels (Barbara Crampton) to venture in to an attic laboratory and grapple with the Resonator, an otherworldly device that connects the human mind to an other world.
An exploration of the brain both inside and outside the body, the film is an incredible mixture of charged character drama and astoundingly composed gore cinema awash in flowing glossy colours and burning bisexual lighting. Barbara Crampton, usually relegated to supporting roles, has her first true star making turn here as the lead, commanding her wills and wiles in to a performance that transcends an already transcendent film.
04.12.2024
THE TEXAS CHAINSAW MASSACRE 2 (1986)
dir. Tobe Hooper, 100 min. English languageAll at once more jovial and comedic and more gruesome and intense than its predecessor, Tobe Hooper’s Sequel to his 1974 masterwork is a strangely balanced piece that manages to maintain the rawness and unconscious social commentary whilst reeking of a distinctly 1980s excess. The film is a ride through a dilapidated funhouse, metaphorically and literally, with a distinctly adolescent charm that delivers its big characters and bigger set pieces with honest intention to entertain.
In between the wonderfully operatic performances, most notably from Bill Moseley as the indelible Chop Top Sawyer and wonderfully affected Texas Ranger played by a wonderfully affected Dennis Hopper, and imagery so flagrant it feels like self parody is a truly human understanding of violence that creates a wonderful contrasting tone that keeps the film nothing short of riveting as it explodes with colour and movement within the frame. Definitely one to fry the nerves, din the ears, scorch the eyes, and burn the brain. DOG WILL HUNT