Friday Night Weird
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Friday Night Weird is a weekly cult film series at the Boedecker Theater of the Dairy Arts Center and we’re here to make Boulder weird again by providing curated access to some the best new and classic genre films and a proper theater experience to enjoy them in.
Difficult protagonists and goat heads
June FNWeird: AGFA-Fest
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Midnight 101 - straight from midnight screenings and drive in theaters, the films that make up the foundation of FNWeird.
Carnage! Terror! Banana skins! The previously unseen first film of director John Landis! Shot over twelve days on a micro-budget, SCHLOCK launched the careers of both Landis and legendary SFX artist Rick Baker (MEN IN BLACK, VIDEODROME). An uproarious pastiche of monster movies, packed to the gills with irreverent humor and biting satire, SCHLOCK is the outrageous missing link between the creature features of yesteryear and its creators’ subsequent celebrated careers.
The Bird With the Crystal Plumage
Masters of the Weird - celebrating the directors who have elevated the art form of genre films. Dario Argento is often referred to as the "Italian Hitchcock," a master of suspense, style, and melodrama at the forefront of the subgenre of giallo.
Sam (Tony Musante, WE OWN THE NIGHT) is an American writer living in Rome, and witnesses a brutal attack on a woman (Eva Renzi, FUNERAL IN BERLIN) in a modern art gallery. Powerless to help, he grows increasingly obsessed with the incident. Convinced he saw something that night which holds the key to identifying the maniac terrorising Rome, Sam launches his own investigation parallel to that of the police, heedless of the danger to him and his girlfriend (Suzy Kendall, SPASMO.) A staggeringly assured first feature, CRYSTAL PLUMAGE establishes the key traits that defines Argento’s filmography, including lavish visuals and a flare for wildly inventive / brutal scenes of violence. With sumptuous cinematography by Vittorio Storaro (Apocalypse Now) and a seductive Ennio Morricone score, this landmark film has never looked or sounded better in this new, restored edition.
Art House - genre film is too often cast aside as low art, but there is a long tradition of independent cinemas introducing audiences to underground cinema through a combination of low and high brow programming in the same night. FNWeird: Art House salutes the high brow films that dare to be f#$%ing weird.
Joyous, hilarious, and otherworldly are but a few ways to describe this liquid narrative from Leos Carax: creator of LOVERS ON THE BRIDGE, BOY MEETS GIRL, MAUVAIS SANG and POLA X. In the performance(s) of a lifetime, regular Carax collaborator Denis Lavant is an amorphous Actor on a chameleonic mission to inhabit a variety of public roles: a bag lady, an assassin, a sewer-dwelling freakazoid, a heated lover and much more. Chauffeured around Paris by Edith Scob (EYES WITHOUT A FACE), Lavant commits to each character so thoroughly, and engages you so quickly with each swap that it’s impossible to predict what comes next. Essential 21st-century viewing.
Female Prisoner Scorpion: Jailhouse 41
Weird, Weird World - The Spaghetti Western is Italy's answer to the American Cowboy Western which in turn, is America's Answer to the Japanese Samurai film - the world is fascinated by genre film. Internationally, celebrated directors have been much less discouraged to delve into genre film epsecially when it comes to horror and exploitation movies. Japan has traditionally been a leader in pushing the boundaries of even the most underground cinema.
The fan favorite of the Female Prisoner Scorpion series, “Jailhouse 41 finds our deadly heroine taking her first chance at escape. She and six other female prisoners embark on a crazed rampage through a ghost town. The battered past of the women is revealed through a pop-art prism of kabuki theatre influences and frenzied baroque camerawork, as they trade surreal acts of sadistic vengeance with their pursuers and the men who fall in their path. Highly stylized even for the standards of this exceptional franchise, Shunya Ito gives free reign to his experimental tendencies, offering a brutally compelling film that’s haunting and intoxicating in equal measure.”