CONTEMPORARY

SAN SHAO YE DE JIAN 3D

SWORD MASTER 3D

Derek Yee, Hong Kong/China, 2016, 3D DCP, 108′

Hong Kong legends Derek Yee and Tsui Hark join forces for an epic reimagining of a Shaw Brothers classic Death Duel which launched Yee’s acting career in 1977, adapted from Gu Long’s wuxia novel The Third Master’s Sword. A return to the golden age of the martial arts genre, steeped in all its ethereal romance and whimsical self-irony, but retold in mind-blowing 3D format.

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BRAWL IN CELL BLOCK 99

S. Craig Zahler, USA, 2017, DCP, 132′

One word: epic. Bone Tomahawk came out of nowhere and was great, but master Zahler is upping the ante to unprecedented heights of badass awesomeness. Has to be seen to be believed. Bonus tracks: Udo Kier! Don Johnson! How about raging bull Vince Vaughn beating his car to a pulp with his bare fists? Yes, please! Encore!

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BAAHUBALI: THE BEGINNING

S. S. Rajamouli, India, 2015, DCP, 137’

Telugu cinema and the boundless imagination of S. S. Rajamouli present India’s most expensive film production to date. But underneath the film’s joyous bombastic abundance we can sense the mischievous grin of a seasoned and thoughtful filmmaker. Baahubali is a feast for the eyes, a heroic epic, war spectacle, love story and tollywood musical all rolled into one.

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BAAHUBALI 2: THE CONCLUSION

S. S. Rajamouli, India, 2017, DCP, 140′

Our favourite hero returns! Fearless warrior, devoted son and irresistible charmer, Baahu’s back to reclaim his throne and bring justice to his people. Gear up for a marathon double dose of the most sublime incarnation of film entertainment: Baahubaliiiii!

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HOMAGE: FABRICE DU WELZ

CALVAIRE

THE ORDEAL

Fabrice du Welz, Belgium/France/Luxemburg, 2004, 35mm, 88′

Sharing the gritty aesthetics and true grit of its ‘70s predecessors, from Deliverance to The Texas Chainsaw Massacre, du Welz’s feature debut is a brutal, but astute, unique and distinctly belgique take on survivalist urbanoia. A “final boy” stranded in the Belgian backwoods. A dark and twisted parable of need and desire.

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VINYAN

Fabrice du Welz, France/Belgium/UK/Australia, 2008, 35mm, 96′

A traumatized couple embark on a quest that will plunge them through paranoia and betrayal, ever deeper into an alien universe, a supernatural realm where the dead are never truly dead, and where nightmares, obsession and horrifying reality converge. A phantasmagorical, deeply unsettling and ominous sophomore feature from a highly original and intuitive genre auteur.

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Fabrice du Welz: Carte Blanche

MAYNILA SA MGA KUKO NG LIWANAG

MANILA IN THE CLAWS OF LIGHT

Lino Brocka, Philippines, 1975, DCP, 124′

One of the pinnacles of Filipino cinema, Lino Brocka’s starkly naturalistic and at the same time eerily dreamlike mixture of melodrama, neorelism and film noir, is a shattering portrait of innocence lost in the grip of a corrupt, exploitative and indifferent urban jungle. A masterpiece of world cinema.

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RETROSPECTIVE: NATURE GONE WILD

CREATURE FROM THE BLACK LAGOON 3D

Jack Arnold, USA, 1954, 3D DCP, 79’

The iconic Gill Man ushered in a new type of monster, perfectly blending Universal’s classic monster heritage with the sci-fi explosion of the 1950s. A thrilling underwater adventure. A tragic love story. A true creature-feature classic. Presented as it was originally released, in 3D!

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PHASE IV

Saul Bass, UK/USA, 1974, 16mm, 84’

The sole feature film by acclaimed graphic designer Saul Bass, the man behind the immortal title sequences from Preminger’s The Man with the Golden Arm to Hitchcock’s North by Northwest, Vertigo and Psycho, is a haunting and stylized curiosity, a meditative sci-fi experiment, deserving of its cult status. Rather than offering a cautionary tale about mankind vs. the species, Bass envisions a new evolutionary phase and proposes we merge.

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LA BÊTE

THE BEAST

Walerian Borowczyk, France, 1975, 35mm, 98′

Walerian Borowczyk’s infamous succès de scandale, one of the most notorious films of the 1970’s and the undisputed pinnacle of horrotica, saw the prominent Polish master of surrealist animation take the controversial throne of the French erotic avant-garde. Jabbing its satirical dagger into decadent aristocracy, degenerate clergy and the backlash of sexual repression, Boro’s penchant for fantasy, eroticism and carnal humour is off the leash!
+ SHORT FILM: QUEEN KONG

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QUEEN KONG

Monica Stambrini, Italy, 2016, DCP, 19′

Monica Stambrini’s modern-day horrotica, the perfect companion to Borowczyk’s La Bête, takes a woman’s vantage point and turns the manimal into a she-beast. This is a match made in heaven and hell!

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Focus: Ozploitation

LONG WEEKEND

Colin Eggleston, Australia, 1978, 35mm, 96′

A creepy, slow burning, and suspenseful eco-thriller about man’s mistreatment of nature and nature’s well-tuned collective revenge, Long Weekend is one of the finest examples of Australian exploitation of the ‘70s and ‘80s. An Ozploitation classic!

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Focus: Ozploitation

NOT QUITE HOLLYWOOD: THE WILD, UNTOLD STORY OF OZPLOITATION!

Mark Hartley, Australia/USA, 2008, 35mm, 103’

Jam packed with outrageous anecdotes, lessons in maverick filmmaking, a smattering of international names (including Ozploitation devotee Quentin Tarantino) and a genuine, infectious love of Aussie movies, Not Quite Hollywood is a fast moving journey through an unjustly forgotten cinematic era unashamedly packed full of pubes, boobs, tubes… and kung fu.

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ZOMBI 2

ZOMBIE FLESH EATERS

Lucio Fulci, Italy, 1979, 35mm, 91′

Grande maestro Lucio Fulci’s seminal gorefest takes the zombie back to its Caribbean cradle of black magic and voodoo, and delivers a barrage of splatter landmarks: the eye that meets the splinter, the underwater ballet between a zombie and a live shark. Accompanied by Fabio Frizzi’s cult score and designed by makeup legend Giannetto De Rossi, these are moments to be experienced on the big screen in glorious 35mm! And never to be forgotten again…

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