07.01.2026
MYSTICS IN BALI (1981)
dir. H. Tjut Djalil, 85 min. Indonesian Language w/ English SubtitlesAnthropologist Cathy Kean travels to Bali to write a book on local black magic customs where she encounters a mysterious cult that worships the “Léyak”, a mythological figure that manifests itself as a flying head with its entrails still attached. As Cathy’s investigation of the practices continues she becomes increasingly involved in the cult’s activities and mired in the black magic that she thought to observe, eventually becoming enslaved to the dark powers and wicked creatures at play.
One of the most internationally successful and well known Indonesian film productions of all time, MYSTICS IN BALI is a uniquely local slice of exploitation madness that is constantly threatening to rip itself apart at the seams with its own sheer manic energy. The effects work is grimy and pulpy, the plot is ridiculously complicated, and the performances are questionable in their diction but admirable in their involvement. In brief, a perfect recipe for some good time grindhouse.
14.01.2026
RIKI-OH: THE STORY OF RICKY (1991)
Dir. Lam Nai-Choi, 92 min. Cantonese Language w/ English SubtitlesIn the far flung future of 2001 young Ricky finds himself trapped in a privately run prison full of a motley crew of murderous hoodlums, Triad assassins, corrupt guards, and other assorted ne’er do wells. What none of these goons know is that Ricky is a near invulnerable martial artists who can figuratively and literally tear through any number of challengers sent his way, leading to a stunning series of confrontations between supernaturally gifted fighters that end in agonising deaths and geysers of blood.
A notoriously gory Hong Kong adaptation of a notoriously gory Japanese Manga that stretches the very limits of fight choreography as well as the very limits of the human form. The amount of gore that the film is able to elucidate is near unparalleled, and yet for all its sliminess it never loses the joviality that makes all of that violence as boyant and convivial as it is. The action set pieces here must be seen to be believed, and when paired up with the film’s adamant commitment to cruelty and its campy dialogue it makes for an exquisite combination of the silly and the sanguinary.
21.01.2026
MIYA MIYA FILM CLUB PRESENTS: FANGS (1981)
Dir. Mohamed Shebl, 103 min. Arabic Language w/ English SubtitlesPresented in conjunction with Miya Miya Film Club
When young lovers Ali and Mona’s car breaks down on the way to a party they’re lured to the castle of Count Dracula for his somewhat nefarious and somewhat unfocused purposes. What follows is a surreal journey into 1980s Egyptian social and political issues refracted through Hollywood movies, mostly co-ordinated dance numbers, and enough campy, homoerotic weirdness to fog the mind and delight the senses.
What starts as an Egyptian remake of THE ROCKY HORROR PICTURE SHOW that trades Dr. Frank-n-furter for a very groovy Count Dracula and stage musical numbers for hot servings of Arabic disco quickly devolves into a wide ranging pastiche of Hollywood set pieces that held together by a DIY production ethos and as much licensed (but absolutely not paid for) music as the film makers could get away with using.
28.01.2026
SONATINE (1993)
Dir. Takeshi Kitano, 94 min. Japanese Language w/ English SubtitlesIntroduced by Jean David Le Goullon
Aging Tokyo Yakuza Murakawa, played by writer and director Takeshi Kitano, is sent by his bosses to Okinawa to mediate a dispute between two other Yakuza clans. Upon arrival Murakawa and his men find the dispute is overblow and are ambushed, fleeing to a deserted beach shack where they spend their time fishing, joking, playing, and generally staving off the ever encroaching realisation of their own fates.
A pensive and sombre Yakuza film that combines the sudden crashing violence of the genre with a playfulness and humanity that’s not often found, SONATINE is arguably the finest film effort from legendary creative force Takeshi Kitano. Everything from the cinematography to the edit to the performances is executed with a poise and a technical mastery that imbue every slight action and moment of time wasting the protagonists undertake with a tension and drama that drives home its quiet peril.
04.02.2026
SlLIDE WHISLTE PRESENTS: YOKOHAMA BJ BLUES (1981)
dir. Eiichi Kudo, 112 min. Japanese Language w/ English SubtitlesPresented in conjunction with Ian Barr, former owner of Film Club
BJ is a local blues singer in Yokohama who ekes out a living playing in half empty bars and taking the occasional private detective job on the side. He finds himself caught between the auspices of the police and the tendrils of the Yakuza after he’s accused of the murder of his best friend, having to keep himself out of both of their grasps while solving the murder, all so he can get back to his true love of playing music.
Director Eiichi Kudo spent the ‘60s and ‘70s slowly building fame and recognition for his Gangster and Samurai action films before seeing in the ‘80s with YOKOHAMA BJ BLUES, a loose adaptation of Raymond Chandler’s THE LONG GOODBYE. In the vein of other neo-noir greats of the era the film is awash with an atmosphere of loneliness and rolling, hungover pacing, moving at a speed that draws the viewer in to ramble alongside BJ through the beautifully shot alleys and canals of Yokohama.
11.02.2026
MOVIEJUICE SHORTS COLLECTION (2025)
Dir. Daniel Tune, Aubrey Winslow & Jack Langford, Gabriel Bath, 120 min. English LanguageMovieJuice is an Adelaide-based film collective dedicated to the screening & distribution of alternative & experimental cinema. In addition to showcasing boundary-pushing movies and music, they also make their own awesome magnificent microbudget art! The Pink Flamingo Cinema is proud to present a triple feature of MovieJuice onscreen, with the filmmakers in attendance.
18.02.2026
UNDERGROUND FILM COLLECTIVE PRESENTS: DANGER DIABOLIK (1968)
Dir. Dir. Maria Bava, 100 min. Italian Language w/ English SubtitlesPresented in conjunction with the Underground Film Collective
Internationally renowned thief, party boy, and all rounder European rake Diabolik, along with his blonde bombshell lover Eva, pull off grand heist after grand heist from their high tech mountain abode. When the police and the mob team up to lure Diabolik into a trap with the biggest score of his life as the bait, he’ll have to use every one of skills as a master of disguise, an escape artist, a race car driver, a fighter, and a lover to make it out with the loot.
Italian horror maestro Maria Bava creates a perfect practical visualisation of European comic book style, replete with the slickness, bold colours, and questionable sexual politics of the source material. Bava does so much with so little visually and buffets that technical expertise with the powerful screen presences of John Phillip Law and Marisa Mell, who have to do nothing more than glower and make eyes at each other to immerse you in their crimes of passion, along with their regular crimes.
25.02.2026
BLONDE DEATH (1984)
Dir. James Robert Baker, 98 min. English Language w/ English SubtitlesEighteen year old Tammy turns up in Orange County on vacation with her hillbilly parents, where she promptly meets a boy and drags him around on a sightseeing trip of murder and mayhem that includes stabbings, shootings, sex, mass poisonings, and garden shear castrations. A seat of your pants thriller that also feels like it has no logical direction, where Tammy’s twisted tear of terror will end up, and if she’ll end up alive at the end of it, is anyone’s guess.
The sole feature directorial effort of notable writer and lunatic savant James Robert Baker, the film is a tirade against the middle American suburban superstructure that Baker rallied against in his works. You won’t find the serene photography of Malick’s BADLANDS here, instead a grainy and grimy shot on video immediacy that hits you over the head with the text before the actors try to hit you over the head for real. An angry, adolescent, and supremely queer scream of rage in to the void, and arguably one of the most quotable films we’ve ever shown.