Archive for July, 2010

Not Dylan But Monteiro

July 30, 2010

We write in our introduction to the films of João César Monteiro that he resembles Woody Allen and Nosferatu. However in the above photo, clearly taken during his youth, João looks much closer to Bob Dylan than Woody Allen.


July 30, 2010

This came in too late to get in our weekly e-news, but I still wanted to share:

The Puppet-o-Rama festival is coming up fast!  It is a comprehensive festival that offers workshops, performances and  talks all by amazing puppeteers!  It runs from Fri July 30th to Monday morning of August 2nd, and takes place at the Seattle University campus on Capitol Hill.  You can sign up for the whole shebang for $227, OR, you can sign up for one of the two full days for $100 (a pretty sweet deal considering the plethora of activities you get). Even more flexible, you can just show up for a string of open-to-the-public performances, for which you do not have to have a festival pass. These are $8 for kids and $10 for adults, and look totally awesome. Below is a list of all the performances that are open to the public and you can find descriptions of all of them here:

*Friday, July 30,  9:45pm: Puppet SLAM!   (adult audiences only)
*Saturday,  July 31, 1:00pm: Rogue Artists (  Ensemble “Frog Belly Rat Bone” (all ages)
*Saturday,  July 31, 7:30pm: Leonidas Kassapides  ( “Karaghiozis Saves the Economoy” (all ages, adult themes)
*Saturday,  July 31, 9:00pm: Mind of a Snail (  “Plasticity Now” (all ages, adult themes)
*Sunday,  August 1, 1:00pm: Peter Allen/Parasol Puppets (  “The Amazing Mysto’s Magic Show” (all ages)
*Sunday,  August 1, 4:00pm: Thistle Theatre (  “The Tale of Two Bad Mice” (all ages)
All tickets for public shows available through Brown Paper Tickets.

There is a special promotion where you can buy tickets to both of the Saturday night shows (Karaghiozis Saves the Economy and Plasticity Now) for $15! You will see this option on the Brown Paper Tickets website on your way to check out.
If you have any questions, contact Artistic Director Nick Hubbard at:

Yellow is the color of my true love’s walls, and floors…

July 29, 2010

Yellow is the color of my true love’s walls, and floors, and almost everything else in RECOLLECTIONS OF A YELLOW HOUSE, screening tomorrow and kicking off our 5 film tribute to cinema’s peverse poet laureate. Charlie Chaplin meets Dostoevksy’s Undergound Man in the figure of João de Deus, a natural-born tramp with a chip on his shoulder (and a thing for epaulets). This spindly, mangy hombre, with his cavernous cheeks and sunken eyes (oh yes, he is played by the writer-director Monteiro freakishly resembling both Woody Allen and Nosferatu!), his bedbugs and his mouth sores, is the curse of this landlady. What’s worse, he lusts after woman’s clarinet-playing daughter, both in and out of her marching-band uniform. Still, they share the same false pride and same wretched prison—not the boarding house but the body. With a dry humor reminiscent of the Czech New Wave and a visual sensuality that is distinctly Portugese, with dialogue and sound orchestrated to the touch of the image, Monteiro has given deadpan a new meaning. And he has created a picaresque tale for the antihero. By the end of the film, his João is a shell of his former shell and what is black humor has quietly metamorphosed into aggravated assault—not so much the tragedy as the persistance of a ridiculous man.  If you’re a Northwest Film Forum member the screening is free. Seriously don’t miss it!

Check out this lovely poster for DOG STAR MAN

July 29, 2010

Courtesy of The Sprocket Society.

Dog Star Man plays August 4 at 8pm. Read all about it here.

How’d you like to win tickets to see of Montreal LIVE in concert?

July 29, 2010

Come to any screening of of Montreal: Family Nouveau this weekend (with director Spenser Simrill in attendance!) for your chance to enter a raffle for tickets to the October 27 show at the Paramount.

STG Presents indie-rockers Of Montreal, with special guest Janelle Monae, live at The Paramount in Seattle on October 27th at 7:30pm. Tickets on sale now at The Paramount box office or online at

Enter to win in our lobby during all screenings of Of Montreal: Family Nouveau:

(Spenser Simrill, USA, 2010, DV, 45 min)

Seattle Premiere

Director In Attendance!

Friday, Jul 30 at 07:00PM
Friday, Jul 30 at 09:00PM
Saturday, Jul 31 at 07:00PM
Saturday, Jul 31 at 09:00PM
Sunday, Aug 01 at 07:00PM
Sunday, Aug 01 at 09:00PM

of Montreal: Family Nouveau follows the band’s 2009 European Tour, documenting their whimsical world of sacrificial pigs, dancefloor ninjas, late night karaoke and push-ups…lots of push-ups.
Screens with
Major Organ and the Adding Machine
(Joey Foreman, Eric Harris, USA, 2008, DVD, 26 min)

In this short film by Joey Foreman and Eric Harris (Olivia Tremor Control) a disgruntled interdimensional pastry chef sends two unwitting children on a desperate mission through time, space and the frozen foods isle with the mysterious bearded ones and an army of telephone poles in hot pursuit. Featuring musical and theatrical contributions from Jeff Mangum (watch for him in the lobster costume), Kevin Barnes, William Cullen Hart, Julian Koster, Andrew Rieger, Dixie Blood Moustache and many others.

Your Anonymous Godard

July 29, 2010

Volunteer BBQ photos posted

July 28, 2010






Female Trouble is the centerpiece of John Waters’ golden age

July 25, 2010

Playing July 23-29 at The Grand Illusion Cinema

John Waters has made a career out of skull-fucking suburban complacency (two cars, two kids, a mortgage, and the right shoes means everybody’s fine). His vision of the counter-culture is violent, grotesque, and abject. His vision of mainstream culture isn’t much different.

Waters’ early works, the ’70s era trinity of schlock-and-shock films Pink Flamingos (1972), Female Trouble (1974), and Desperate Living (1977), were designed to gross out pissed off hipsters during midnight screenings in Baltimore’s seedy underground scene, the exact disaffected outliers who inspired him. But even Waters couldn’t have imagined where it would all lead 35 years later. Though the infamous director is a bit more subtle these days, rest assured he’s as dangerous as ever (his new book, Role Models, is about the unseemly cadre who have created the beast with hollow eyes that somehow sparkle and a pencil mustache enhanced with Maybelline mascara). As much as we may long for the utterly insane bravado that infused the early films, we’d hate him if he was still doing it. It also means taking another look at the old movies is like meeting your first love again after 35 years (if your first love was a shit-eating prostitute with rotted teeth and a murderous streak).

For me, Female Trouble has always seemed like the little bear’s porridge: it’s just right, the centerpiece of the Waters âge d’or de déchets. While I love all three films, I find Pink Flamingos purposefully troublesome with little regard to, well, anything else. The gross-out factor becomes central, sensational, and self conscious. It’s Waters as the P.T. Barnum of wretch. Desperate Living is a bit untied, sliding into a nightmare landscape where, of course, anything can happen.

But Female Trouble is real. Sure, the gross stuff is there and it’s sensational and the characters are extreme, but the whole affair is more grounded in the real milieu of American disparity, anguish, and broken dreams, the world suburbia so vehemently denies. If Dawn Davenport had just received those damn cha cha heels for Christmas, everything might have ended differently (now that’s a disappointment WASPy folks can identify with). If Dawn Davenport hadn’t left home a troubled teenager and ridden in cars with strangers, everything might have ended differently. If Dawn Davenport hadn’t fallen in with the wrong crowd of tawdry faux elitists and faggy beauty shop fashionistas, everything might have ended differently. Female Trouble is a cautionary tale as old as the various incarnations of Goldilocks and the message is still about the crowd you hang with and the doors you open.

With Female Trouble, Waters either turns mainstream culture inside-out or fills it full of hot air, alternating between inversion and hyperbole as easily as I switch my Facebook profile picture. Some of us know for certain that it is us up there on the screen and we aren’t looking too pretty. Some of us are scared as hell this may, in fact, be the case. Regardless of how you come to Waters’ party, you’ll be a bit different as you leave (cowards and social ostriches who refuse to attend the soiree aren’t worthy of discussion).

I try to keep in mind that Waters never intended, or could have dreamed, that suburban kids would be watching these films in mundane 5,000 square foot McMansions as the millennium turned. On the contrary, these films were intended to be elaborate (and disgusting) in-jokes for the edgier members of American culture, the misfits and visionaries who found ’70s era middleclass life even more frightening (and disgusting) than anything Waters could dream up. Sadly, counter-culture denizens shouldn’t expect to keep art like this to themselves. The films of John Waters’ golden age of trash have most certainly seeped into the mainstream in 2010 and I’m sure John giggles every time he cashes a royalty check from a Broadway production or Netflix. However, even if we aren’t as shocked as we were the first time around, Female Trouble still packs a punch.

New: FilmPAC

July 24, 2010

Our friends at Washington Film Works invite the whole film community to attend this event, which is intended to draw attention to the need for legislative support for filmmaking in this state.

Members of the film community have come together to form FilmPAC, a political action committee designed to honor elected leaders who have a strong record of supporting film. With competitive election campaigns for House and Senate members in the fall, FilmPAC will be hosting an event in Seattle this August to show our support both philosophically and financially. This event will give our community the unique opportunity to show these elected officials how strong and committed the film community is here, and how much we appreciate what they do for us.

The event has a suggested contribution on the invitation, however your presence, and that of your 50 closest friends, is just as important. If you can’t afford $50 – come anyway and give what you can! It is critical that this event is packed with film industry members and supporters who can speak to the vibrancy and depth of the industry. Your presence is a reminder to our elected officials that their legislative support is noticed and appreciated.

Monday, August 2nd from 6:00 pm – 8:00 pm
2219 Fourth Avenue
(between Blanchard and Bell)

Movie Theater Memoirs

July 23, 2010

Going to the movies can change your life. Here’s 15 testimonials.