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As actor, auteur and artist, Dennis Hopper is the iconic American cinematic rebel of the late 20th century. Honest, intense and boundary-smashing, his presence has enriched and transformed the Hollywood landscape. Over a month-long retrospective of both his most famous and infamous works -- along with lesser-known treasures -- the Cinefamily, in association with MOCA, celebrates this decades-spanning, wide-ranging career of searing performances and ambitiously idiosyncratic directorial efforts. This series features not only a brand-new restored 35mm print of Out of the Blue, but it also contains the first L.A. screening in ages of The American Dreamer (the impossibly rare vérité portrait of Hopper at the peak of his post-Easy Rider fame), and possibly the very first L.A. screening of Roland Klick's 1983 post-punk gem White Star in its original uncut version!

Series co-presented by MOCA and Cinespia


Watch the trailer for "Dennis Hopper: Wasn't Born To Follow"!

7/9 @ 7:30pm / Series: Dennis Hopper: Wasn't Born To Follow
Easy Rider
shown with
The American Dreamer
(w/ co-director L.M. Kit Carson in person!)
Easy Rider - 7:30pm
Both one of the great head films and one of the great American film paradigm-shifters, Dennis Hopper's directorial debut Easy Rider overflows with Great American Novel-like ambition. The film filters the hopes, dreams and (ultimately) downfall of an expansively minded generation through the twin biker avatars of a free-wheeling Old Glory-bedecked Peter Fonda and (the dark yin to Fonda's yang) a manic buckskin-clad Hopper riddled with exquisite paranoia and doubt. Freed from material complications by benefitting from the Big Score, our chrome cowboy anti-heroes ramble on with no frontier but their uncertain futures; their trail to true freedom snakes through Anasazi ruins, failing hippie communes, a Midwestern jail cell, gaudy whorehouses and the asphalt temple of the road. Produced for a pittance but grossing endless millions, Easy Rider was the film to show Hollywood its new way of operating (however brief it might have been), and to crown a new filmmaking aristocracy comprised of the socially-conscious and the chemically liberated. Featuring the first truly-realized rock and roll soundtrack, a breakout Oscar-nominated supporting turn from instant legend Jack Nicholson, and a slow-burn LSD nightmare to end all trip sequences, it's pure witches' brew.
Dir. Dennis Hopper, 1969, 35mm, 95 min.

The American Dreamer - 9:30pm
The wild, unexpected success of Easy Rider ushered in what is now seen as one of the most significant turning points in film history, making pathologically rebellious Dennis Hopper an unlikely King Of Hollywood for a day. Incredibly, that day was filmed -- and not just filmed, but captured by two innovative and inventive filmmakers. Co-directed by L.M. Kit Carson and Lawrence Schiller, The American Dreamer is many things: an insightful document of a complex artist in the midst of his creative process, a self-reflective exploration and explosion of vérité filmmaking tropes, and a playful and entertaining snapshot of the private life of one of Hollywood's most eccentric stars at the peak of his newly found fame. Hopper boldly allowed access to his crazy life in all its aspects: firing his rifles off in the desert, editing The Last Movie, stripping naked and walking through downtown Taos, New Mexico, pontificating about art and life, and holding forth guru-like to a room full of naked women. Fortuitously timed, fantastically made, and virtually unseen, The American Dreamer is the great '70s film doc you always wished existed. L.M. Kit Carson will be here in-person for the screening, and to share his voluminous Dennis Hopper stories!
Dirs. L.M. Kit Carson & Lawrence Schiller, 1971, 16mm, 90 min.

NOTE: Our show of The American Dreamer is a free screening, generously donated by the filmmakers and the Hopper estate -- however, guaranteed seating will be made available to ticketholders for our earlier screening of Easy Rider.

Watch the trailer for "Easy Rider"!


Watch an excerpt from "The American Dreamer"!


Tickets - Easy Rider, $12 general admission/$8 MOCA members/free for Cinefamily members -- The American Dreamer - free (first come, first serve)

7/16 @ 7:30pm / Series: Dennis Hopper: Wasn't Born To Follow
Mad Dog Morgan
(w/ director Philippe Mora in person!)
shown with
Kid Blue
Mad Dog Morgan - 7:30pm
Vicious, beautiful, naturalistic, dreamlike -- Mad Dog Morgan, Phillipe Mora's western from Down Under, is one of the wildest, best-made examples from Australia’s golden age of filmmaking. The film is based on the deeply fascinating true account of the exploits of Dan Morgan, one of Australia’s most notorious outlaws and folk heroes, a working class Irish immigrant driven to desperate criminal extremes by the abusive colonial government. Mora manages to coach a blistering performance from Hopper, who was going through the most difficult, chemical-addled period of his life, and was banished from Hollywood after the turmoil over The Last Movie. Backed by stunning 'scope photography, the kind of enchanted vistas that seem to populate Australia's art films, and an excllent cast, Hopper's wounded animal instability has never been put to better use. He seems uniquely suited to play Mad Dog Morgan, whose mixture of vulnerability and madness leave you sympathetic for this wounded "mad dog" killer who must be put down. A great performance in a great movie. Philippe Mora will be here at the Cinefamily for a Q&A after the film, and to share his many Dennis Hopper stories!
Dir. Philippe Mora, 1976, 35mm, 99 min.

Kid Blue - 10:30pm
In the floppy-eared tradition of the '70s revisionist New Western, Kid Blue, directed by James Frawley (The Muppet Movie), is a gentle, yet dark depiction of a time in which shooters can't shoot straight, the government is crooked, the Indians are under the spell of firewater, and everything is dusty and dirty. Dennis Hopper stars as a bungling bank robber who seeks to "retire" in a small Texas town, but after a string of equally futzed job attempts, and the awful prospect of working in a factory, he looks to crime one last time to turn his fortunes around. The film gives us the most balanced and controlled Hopper performance from its era; displaying few eccentricities or outsized emotions, he's simply good here, and for a minute, you can imagine what it would've been like if Hopper had been just a working actor, rather than a bigger-than-life personality. As well, Kid Blue delivers the goods on classic Western pleasures: gorgeous 'scope cinematography, a rich nostalghic atmosphere, and actors (including not only the rare pairing of Ben Johnson and Warren Oates, but also Peter Boyle and M. Emmet Walsh) that are as warm and comforting as a shot of good whiskey.
Dir. James Frawley, 1973, 35mm, 100 min.

Watch the trailer for "Mad Dog Morgan"!


Tickets - $12 general admission/$8 MOCA members/free for Cinefamily members

7/23 @ 7:30pm / Series: Dennis Hopper: Wasn't Born To Follow
Night Tide
(restored 35mm print!)
shown with
Tracks
(w/ director Henry Jaglom in person!)

Night Tide - 7:30pm
Hopper has never been more innocent or likable than in Curtis Harrington's beatnik fairy tale Night Tide; a surprisingly sweet turn for those more familiar with Blue Velvet, or even Easy Rider. Playing a young lovelorn sailor, Hopper falls under the spell of a carnival mermaid named Mora who might also be a lunar-cycle killer in this eerie early 1960s black-and-white dark fantasy. Night Tide marked Hopper’s first starring role after seven years of playing wildly diverse film and TV parts, and his unusual charisma shines through clearly as he wanders the piers of Venice and Santa Monica, all under the sure hand of first-time director Curtis Harrington, whose art film instincts and occult interests (honed after collaborating with childhood friend Kenneth Anger) are firmly in evidence. This dreamy, spaced-out riff on Cat People (complete with a freaky score by the great David Raksin) is absurdly difficult to see on the big screen -- especially in this newly restored print by AMPAS -- so don’t miss your chance to see one of our favorite film mavericks just as he was getting his sea legs.
Dir. Curtis Harrington, 1961, 35mm, 84 min. (Night Tide was restored in 2008 by the Academy Film Archive with support from The Film Foundation and Curtis Harrington.)

Tracks - 9:30pm
In Henry Jaglom's Tracks, a most unique improvisational road picture set against the end of the Vietnam conflict, Dennis Hopper finds himself living out the frustrations of a shattered nation's worth of "upstanding people" in a role on the complete opposite end of the spectrum as Easy Rider's Billy. It's 1973, and Sgt. Jack Falen (Hopper) has returned to the U.S. in order to transport the body of a fallen war buddy cross-country. For an actor who was actually too old to be a hippie but too young to be part of The Greatest Generation, Hopper captures a man lost between two generational moralities, as his square and awkward soldier confronts effeminate swingers (including an oily Dean Stockwell) and tries to seduce hippie girls on an endless transcontinental train ride (on which almost the entire film takes place.) Within Jaglom's obsessively truth-seeking style, Hopper explores the two sides of his talent: the innocent, fragile rabbit whose psyche was crushed by the violence of Vietnam -- and the crazed Hopper full of demons, revealed as the train rolls on through a series of dream sequences, flashbacks, uncomfortable confrontations and a classic '70s fuck-you hallucinatory twist ending. Director Henry Jaglom and co-star Zack Norman will intro the film and participate in a Q&A after the screening!
Dir. Henry Jaglom, 1976, 35mm, 90 min.

Watch the trailer for "Night Tide"!


Watch the trailer for "Tracks"!


Tickets - $12 general admission/$8 MOCA members/free for Cinefamily members

7/25 @ 6:00pm / Series: Dennis Hopper: Wasn't Born To Follow
SPECIAL SUNDAY EVENT:
Dennis Hopper Triple Feature & BBQ:
Blue Velvet
shown with
Hoosiers
and
River's Edge

Blue Velvet - 6:00pm
"I am Frank Booth." - Dennis Hopper, to David Lynch, 1986

When most modern moviegoers hear the name Dennis Hopper, one explosive and devastating performance immediately leaps to mind above all others: that of "Frank Booth", easily David Lynch's most memorable villainous creation in a filmography full of them. Ejaculating violence and profanity with a toddler's joyous enthusiasm, Frank's viral nihilism is an oil slick of spiritual poison you can't take your eyes off, and in Blue Velvet, all pretense of Frank's motivation is absent as David Lynch's classic exploration of Manichean conflict, skinned in neo-noir mystery, blazes bare in the spotlight. Kyle McLachlan, playing the overly persistent schoolboy detective, seeks less to solve the "Mystery of the Severed Ear" than to eagerly sacrifice his small town innocence to the embrace of emotionally disintegrating nightclub singer Isabella Rosellini -- and lurking in the shadows, omnipresent and gravitational, is Dennis Hopper as the arrhythmic heart of the film, with fearless, sulphuric monologues and a righteous presence that remains truly unforgettable, even twenty-five years on.
Dir. David Lynch, 1986, 35mm, 120 min.

Hoosiers - 8:30pm
This tale of redemption set in the world of Midwest high school basketball stars Gene Hackman as a disgraced coach who is given a second chance at life both on and off the court. Considered by many as the gold standard of basketball pictures, Hoosiers' pastorial setting and abundance of earnest charm ably keep the "outsider inspirational teacher turns the kids around" plot from becoming "Backboard Jungle". Eager to work after becoming newly sober, Dennis Hopper leapt straight from Blue Velvet's Frank Booth into the part of Shooter, the alcoholic father of one of the team's players who knows "everything there is to know about the greatest game ever invented", whom Hackman appoints as his assistant coach. Garnering his only Oscar nomination for his role in this film, Hopper is great to watch, in a triumphant film that mirrors his triumphant return to an earned spotlight.
Dir. David Anspaugh, 1986, 35mm, 114 min.

River's Edge - 11:00pm
"This is the best analytical film about a crime since The Onion Field and In Cold Blood." - Roger Ebert

With River's Edge, Dennis Hopper continued his streak of dead-on awesome post-Blue Velvet performances in his role as Feck, the emotionally shattered one-legged drug dealer who befriends a group of misfit kids in a terrible quandry. Set amongst a northern Californian high school milieu and expertly directed by Tim Hunter (writer of the '70s teen angst masterpiece Over The Edge), a beautifully frantic Crispin Glover leads a cast of post-Brat Pack up-and-comers (including Keanu Reeves and Ione Skye) who must deal with the emotional fallout of their friend having just nonchalantly raped and strangled his girlfriend, gone for some smokes and casually started bragging about the whole thing. It's all made seriously impactful by the cast's multi-faceted and unpredictable response to the tragedy. In a supporting yet essential role, Hopper gives his hollowed-out ex-biker the meaty gravitas that only an actor who's truly been to hell and back can convey, and he does so with surprising gentleness.

Dir. Tim Hunter, 1986, 35mm, 99 min.

Watch the trailer for "Blue Velvet"!


Watch the trailer for "Hoosiers"!


Watch the trailer for "River's Edge"!


Tickets - $12 general admission/$8 MOCA members/free for Cinefamily members

7/30 @ 8:00pm / Series: Dennis Hopper: Wasn't Born To Follow
Out Of The Blue
(brand-new restored 35mm print!)
shown with
White Star

Out Of The Blue - 8:00pm
After staying away from the director's chair for almost the entirety of the '70s, Dennis Hopper took up the reins again to help ensure that this devastating character study would be completed -- and in a magic act of happenstance, the film turned out to be possibly his best directorial effort. Days of Heaven’s Linda Manz will chill your soul as Cebe, a disaffected punk-worshipping teenager whose dad (Hopper) is in prison for a school bus accident (featured in the nightmarish opening scene) and whose mom is a worthless junkie. The closest cinematic equivalent to a Sex Pistols song (despite lifting its title from the Neil Young’s haunting "My My, Hey Hey," which plays often on the soundtrack), this harsh look at the ultimate dysfunctional family remains an unsung classic with a jolting ending that still packs a nasty punch. If anyone ever had doubts about Hopper as a director, this film quickly dispelled them and kicked off his second great wave behind the camera. Out Of The Blue star Linda Manz will be here at the Cinefamily in person for a Q&A after the film!
Dir. Dennis Hopper, 1980, 35mm, 93 min.

White Star - 10:00pm
If you're like us, you’ve often fantasized about a world in which a gold-chain-and-calculator-watch clad Dennis Hopper emits a frenzied tirade of obscenities, boozy nostalgic rock reminiscences about hanging with the Stones, Winston Churchill quotes, and futuristic prophesies before running over hardcore punks with his fur-upholstered car. Yearn no more! Made in 1981, whilst the synth-pop takeover in Germany was in full effect, White Star has Hopper playing a jive-talking has-been tour manager who vies to take his latest Tangerine Dream-like discovery straight to the top of the pops. For hardcore Hopperheads, this is the major discovery of our retrospective: Roland Klick's White Star is balls-out, mood-swingin', pure, unadulterated Hoppermania, and his performance is ultimately so awesomely unfiltered it seems it almost shouldn't exist. And since White Star has only previously been exhibited in the U.S. in a heavily reedited version called Let It Rock, it almost didn't for American viewers. One part bizarro European post-punk industry crackdown and three parts Hopper delirium avalanche, White Star is endlessly gratifying.
Dir. Roland Klick, 1983, DigiBeta, 92 min.

Watch the trailer for "Out Of The Blue"!


Watch the trailer for "White Star"!


Tickets - $14/$10 MOCA members/free for Cinefamily members

7/31 @ 7:30pm / Series: Dennis Hopper: Wasn't Born To Follow
SPECIAL SATURDAY SCREENING:
The Last Movie
Following the massive reverberations of Easy Rider, Dennis Hopper had carte blanche and a $1 million budget to realize the project of his dreams. The result was The Last Movie, a beautifully raw folk symphony of cinematic romanticism -- and his most ambitious effort behind the camera. Hopper plays a movie stuntman who's working on the set of a Peruvian-shot, Hollywood-funded western. Then, he falls in love. Sound simple? It's not. Initially conceived and edited as a linear narrative, The Last Movie was obsessively retooled by a haunted Hopper for nearly an entire year, and what emerged was an epic, constantly-in-flux fever dream that lobotomized the Godardian ideals of fiction vs. reality, reality vs. reality, form vs. content, and everything between. Rightly eulogized in Europe upon release (and wrongly reviled in the U.S.), this mesmerizing film is both a benchmark and an epitaph for Hollywood’s unhinged hippies and their uncompromising home movies. You may be challenged, but you’ll never be bored by The Last Movie. L.M. Kit Carson (co-director of The American Dreamer), will be here to tell stories of the making of The Last Movie -- and join us on our backyard Spanish patio after the film, for the closing reception in honor of our Dennis Hopper retrospective!
Dir. Dennis Hopper, 1971, 35mm, 108 min.

Tickets - $12 general admission/$8 MOCA members/free for Cinefamily members

"I was sitting in the Hollywood Hawaiian Hotel
I was staring in my empty coffee cup
I was thinking that the gypsy wasn't lyin'
All the salty margaritas in Los Angeles
I'm gonna drink 'em up

And if California slides into the ocean
Like the mystics and statistics say it will
I predict this motel will be standing until I pay my bill

Don't the sun look angry through the trees
Don't the trees look like crucified thieves
Don't you feel like desperados under the eaves
Heaven help the one who leaves"


- Warren Zevon, "Desperadoes Under The Eaves"

8/6 @ 8:00pm / Series: L.A. Burnouts
The Long Goodbye
shown with
California Split
Nobody captures the smoggy, smoked-out hangover that is Los Angeles in never-ending Indian summer mode better than Robert Altman did in the '70s. With his shaggy ambling muse Elliot Gould along for the ride, Altman mapped the sun-burnt terrain with a bemused, amused accuracy that makes any L.A. stoner sigh with satisfaction. Whether it's with a post-party beer-and-cereal breakfast served by happy hookers in their Hollywood bungalow, or a late-night cat food run at an all-night supermarket, The Long Goodbye and California Split (two titles about the exit that'll never happen, 'cause we know no one ever leaves the Hotel California) both capture the rhythm and spirit of the moral exhaustion and dirtied dreamscapes that litter our lives in this city.

The Long Goodbye - 8:00pm
The Long Goodbye showcases Gould in the role of legendary gumshoe Philip Marlowe; in Altman’s vision, Marlowe is a man out of time, with an ethical code deeply at odds with a hedonistic 70’s L.A. culture. From the wonderful supporting performances by Sterling Hayden (as a drunken, Bukowski-like author), Henry Gibson and Mark Rydell, to the ingenious, illusion-shattering John Williams score, everything about the film is strange, sly and close to perfection.
Dir. Robert Altman, 1973, 35mm, 112 min.

California Split - 10:00pm
Elliot Gould and George Segal bounce wildly off one another in the loose and engaging California Split, Altman's exploration of compulsive gambling that ranks right among Nashville and McCabe & Mrs. Miller as one of his very finest works. Gould is the devil-may-care wild man, living on couches and a diet of cereal; Segal is a successful magazine publisher, the man with something to lose. Working with one of his most finely-tuned acting ensembles (including Bert Remsen, Gwen Welles and a very young Jeff Goldblum), Altman captures the sumptuously seedy side of the Southland without ever sacrificing the grace and dignity that these pool souls deserve. A feast of detail and subtle characterization, California Split is best experienced in the theater, where, like the gaming floor, you never really know what time of day it is.
Dir. Robert Altman, 1974, 35mm, 108 min.

Watch an excerpt from "The Long Goodbye"!


Watch an excerpt from "California Split"!


Tickets - $10

8/10 @ 8:00pm / Series: L.A. Burnouts
SPECIAL TUESDAY SCREENING:
Night Moves
shown with
Cutter's Way

Night Moves - 8:00pm
"Night Moves, which memorably reunites Hackman with Bonnie And Clyde director Arthur Penn, reinvigorates and deepens the fading detective genre by plopping its complicated gumshoe down in a sun-soaked, sexually uninhibited Watergate-era morass of murder, cynicism, and moral ambiguity. A dogged P.I. in a world with little concern for law or order, Hackman is sent by a boozy failed actress to find her free-spirited runaway daughter, who is played with a beguiling mixture of fresh-faced innocence and nuclear sexuality by a young Melanie Griffith. A man in the throes of a profound mid-life crisis, Hackman finds Griffith without much trouble, but the film is ultimately more concerned with the perilous condition of Hackman's soul and divided psyche than his success or failure at solving mysteries. Filled with shadows both literal and figurative, Night Moves elegantly combines the hard-edged pessimism, crackling banter, and all-consuming darkness of classic noir with the paranoia and bitterness that characterizes so much '70s cinema." -- Nathan Rabin, A.V. Club
Dir. Arthur Penn, 1975, 35mm, 100 min.

Cutter's Way - 10:00pm
"Cutter’s Way, a crime drama of strange stripe, cements Jeff Bridges’ metamorphosis into the quintessential California golden boy – disaffected, disconnected and caught up in mechanics beyond his understanding. The "Way" of the title is that of Bridges’ friend Cutter (John Heard) a permanently drunk Vietnam War veteran who won’t let Bone walk away from a mysterious murder that Bridges unwittingly witnesses. Director Ivan Passer turns his Southern California locations into sun-dappled canvases clouded over by deceit and doubt; here’s a defeatist sense shrouding the beautiful beaches, a feeling that the freewheeling '70s are over, and the ugly, rapacious Reagan era is cranking into full gear. Perhaps that’s the purpose of Cutter’s Way, to show folks essentially waking up from a hangover, unwilling to admit that it’s time to grow up, and afraid to confront the direction in which their world is going." -- Apollo Movie Guide
Dir. Ivan Passer, 1981, 35mm, 105 min.

Watch the trailer for "Night Moves"!


Watch an excerpt from "Cutter's Way"!


Tickets - $10

8/20 @ 8:00pm / Series: L.A. Burnouts
Model Shop
shown with
Play It As It Lays

Model Shop - 8:00pm
It was only a matter of time before the call of Hollywood's dream factory ensnared French director Jacques Demy, that lover of old musicals and stylized fantasies. What Columbia Studios may not have know, is that Demy's other great love was Robert Bresson, and when he wasn't making glorious Technicolor romances like The Umbrellas of Cherbourg, he was delivering coolly detached, 2 A.M.-of-the-soul art films. Guess which kind of film his stay in Los Angeles inspired? Turning his camera on the sun-bleached, pop culture-drenched local andscape and playing down his usual style, Demy gives us a 24-hour period as experienced by George, a layabout soon-to-be Vietnam draftee whose girl, car and Venice pad are about to become a memory. Enter a mysterious French woman (Anouk Aimée) he spies driving down a Hollywood boulevard that captures his imagination; entranced, he trails her from Malibu to Beverly Hills, Santa Monica and back again, in the blind hope of some kind of real human connection. Long considered a "lost" Demy project, Model Shop's camerawork and art direction are never less than faultless, its soundtrack (courtesy of local band Spirit) is a total jewel of the period -- and its generous footage of L.A. circa '69 is now a treasure trove unto itself.
Dir. Jacques Demy, 1969, 35mm, 97 min.

Play It As It Lays - 10:00pm
The killer quote in this killer 1972 adaptation of the Joan Didion classic of American existentialism is this: “We’ve been out there where nothing is.” Spoken by a closeted, suicidal, kept-man movie producer played by Anthony Perkins, is Didion (via Mommie Dearest and The Swimmer director Frank Perry) talking about Hollywood? Bleak California deserts? Bleaker California souls? The real answer can be found in the eyes of a ragingly beautiful Tuesday Weld as her acting career, marriage and sanity are stripped away by the force of the meaninglessness swirling all around her. Photographed by Blade Runner cameraman Jordan Cronenweth in exhilarating early 70’s experimental mode, the film is a sun-shot, shattered mirror held up to exactly the place, in the heart of American society, where the nothing lies.
Dir. Frank Perry, 1972, 35mm, 99 min.

Tickets - $10

8/27 @ 8:00pm / Series: L.A. Burnouts
Cisco Pike
shown with
Dusty & Sweets McGee

Cisco Pike - 8:00pm
Kris Kristofferson makes his leading man debut in this heavenly slice of dark, laid-back '70s storytelling that effortlessly captures the pulse of L.A. in the post-Summer Of Love "what do we do now?" era. A sexily dejected Kristofferson plays Cisco Pike, a faded rock star and ex-con armed only with a squint, stagger, boots and perfectly tousled locks. His dreams of a better life are dashed when a frighteningly high-strung crooked cop (played brilliantly by Gene Hackman) blackmails Cisco; he must sell a briefcase full of hash in just 48 hours, or go back to jail. This plot device allosw for an incredible zoologicical survey of stoner Los Angeles, as Kris is forced to crawl over every corner of the Thomas Guide, revisiting contacts more interested in his dope connections than his new songs. The film is one long glorious, casual unveiling of all manner of flaky Venice chicks, rich scenesters, music industry weirdos, and scene-stealing counterculture denizens of all kinds--including Tex-Mex musician Doug Sahm, Joy Bang, Antonio “Huggy Bear” Fargas, Warhol superstar Viva, and Harry Dean Stanton in a role so perfect that we wished a spin-off film could've been created just for him.
Dir. Bill L. Norton, 1971, 35mm, 95 min.

Dusty And Sweets McGee - 10:00pm
Maverick auteur Floyd Mutrux made his feature debut with this extremely stark quasi-documentary look at the L.A. drug scene, constructed around a series of hazy, interlocking vignettes featuring real-life junkies playing themselves, and a supporting cast comprised of "real" actors -- meaning the pushers didn’t want to be seen on camera. Mutrux and his crew follow this motley assortment of users and hustlers as they go through semi-scripted daily routines of scoring and wasting away the hours until their next fix: Kit turns tricks to support his habit; Tip is a self-proclaimed "everyday card-carrying dope fiend"; and Dusty and Sweets are a thirty-something couple whose strained relationship is defined by their shared dependence on heroin; The rawness and grit is well-captured by cameraman William Fraker (who also plays one of the upper-ech suppliers), and though it features enough on-screen vein-popping to make any audience wince, the film's languid, melancholy mood captures the narcotic allure of Los Angeles in an utterly convincing and compelling way.
Dir. Floyd Mutrux, 1971, 35mm, 92 min.

Watch an excerpt from "Dusty and Sweets McGee"!


Tickets - $10

SPECIAL TUESDAY EVENT:
Ciao Manhattan
(co-director David Weisman and cast members in person!)

Description coming soon...

9/03 @ 8:00pm / Series: The Films of Jacques Tati
Playtime
Description coming soon...

Watch an excerpt from "Playtime"!


Tickets - $10

9/10 @ 8:00pm / Series: The Films of Jacques Tati
Jour De Fete
shown with
Tati Shorts

Description coming soon...

Watch an excerpt from "Jour De Fete"!


Tickets - $10

9/17 @ 8:00pm / Series: The Films of Jacques Tati
Trafic
shown with
Parade

Description coming soon...

Watch an excerpt from "Trafic"!


Tickets - $10

9/24 @ 8:00pm / Series: The Films of Jacques Tati
Mon Oncle
shown with
M. Hulot's Holiday

Description coming soon...

Watch an excerpt from "Mon Oncle"!


Watch an excerpt of Terry Jones (Monty Python) proclaiming his love for "M. Hulot's Holiday"!


Tickets - $10

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