Posts Tagged ‘Film’

Romeo, Romeo: Castellucci Film Screening and Discussion

Posted August 12th, 2014

castelluccifilmscreeningOn August 19, FringeArts wants you to come talk about Italian theater director Romeo Castellucci. We presented his On the concept of the face, regarding the Son of God as the centerpiece of last year’s festival. As part of the 2014 Presented Fringe, we’re offering The Four Seasons Restaurant.

If you saw one, or want to see the other, stop on by. We’re screening Castellucci excerpts, and Yale School of Drama professor Tom Sellar (who also edits the renowned performance journal Theater) will discuss things like: why does Castellucci use a NASA-recorded sound of a black hole? Are those police in that picture actually helping that guy? And why might women appear to cut of their tongues? I’m not sure if there will be free beer, but I’m guessing the evening should be mind-altering anyway.

RSVP here.

Romeo Castellucci Film Screening and Discussion with Tom Sellar
Tuesday, August 19
7:30 pm
140 N. Columbus Boulevard

–Nicholas Gilewicz

The Weekender: QFest, family friendly community disco, the mass appeal of sugar substitutes, and storming the Bastille with high-kicking ferocity

Posted July 12th, 2013
Who's Afraid of Vagina Wolf?

Who’s Afraid of Vagina Wolf?

See such born-to-be classics as Who’s Afraid of Vagina Wolf?, The Secret Disco Revolution,and Meth Head at the biggest queer film festival on the east coast, Philly’s QFest! The festival, kicking off Thursday, July 11th and exciting our filmic senses until July 22nd, is stocked with goodies from the cow hide-laden James Franco/Travis Matthews film Interior. Leather Bar. to the scintillating Pratibha Parmar documentary Alice Walker:Beauty in Truth. View the event shedule and venue map and make good choices!

Caili Quan, Billy Cannon and Richard Villaverde in Beautiful Decay, Photo by  Alexander Iziliae

Beautiful Decay, Photo by Alexander Iziliae

“Is it like, all classical?” a friend asks as we enter The Wilma Theater, 265 South Broad Street.  “No, it’s BalletX! Like the “Z“ in Zorro, the “X” clearly indicates that we are about to see edgy, cerebrally demanding contemporary ballet!” And that’s just what choreographer Nicolo Fonte and the BalletX company deliver in their Summer Series piece, Beautiful Decay. Running July 10th through the 14th with tickets ranging from $22 to $40, it is an enthrallingly impressive work The Philadelphia Inquirer pronounces as “too important to be unknown to Philadelphia ballet lovers.” (TIX)


ParkJam at Malcolm X

Strap up your workman’s boots and prepare to A-town stomp the chlorophyll out of West Philly’s outdoor discotheque, otherwise known as the spacious green at Malcolm X Park, running between 51st and 52nd Street and between Pine Street and Larchwood Avenue. On Saturday, July 13th from 2pm to 7pm, the green lends itself to ParkJam, a  Garden Community Association sponsored community dance party featuring co-presenter and Philly DJ Danophonic Dan, folk rock/golf enthusiast band HighKick, a moon bounce (!!), local artisans, food trucks, and community members and groups galore.


Tastier by Leslie Friedman

Ongoing until July 26th, Philadelphia printmaker and installation artist Leslie Friedman, explores the bodily and psychological effects of our culture’s strange sexual attraction to Coke ZeroTastier, showing at Space 1026, 1026 Arch Street, 2nd Floor specifically aims to stage interventions between Crystal Light lemonade packet suckers and art goers all over Philadelphia by drawing parallels to the allure of simulated pleasures and stripping sleek, sexy soft drink labels from bottles and replacing them with bright sugar-rushes of technicolored sex. Bring your own juice box.

Bearded Ladies, Bastille Day 2011

The Bearded Ladies, Bastille Day 2011

As we mourn the loss of Twinkies, we look to Marie Antoinette, patroness of good will and hope, as she cries “Let them eat Tastykake!” from atop Eastern State Penitentiary, 2027 Fairmount Avenue. All day Saturday, July 13th the Penitentiary will celebrate Bastille Day with discounted tour rates, the beheading of Antoinette, emcee Edith Piaf, French-themed menus at surrounding restaurants, and a slew of sobering, historically faithful theatrical performances including a visit from experimental cabaret group, The Bearded Ladies. Before you go, check out this instructional video on how to dance like a revolutionary. 

Spend a relaxing Sunday afternoon entranced by ornately costumed body rolls and globally infused instrumentals. For $12 on July 14th at 7:30pm, World Cafe Live, 3025 Walnut Street provides the scene for ANIMUS- Philadelphia’s Belly Dance Spectacular. Musical ensemble ANIMUS brings its culturally diverse musical concepts and traditions–Greek, Blues, Middle Eastern, Jazz, Spanish, Funk, Latin, Rock, Indian, Jewish Klezmer, and African and tosses the norm amongst the reverberations of emotional rhythmic energy. (TIX)

–Maya Beale

Philly Fringe Vital Stats: Martine Pelletier of the Film Fringe Tour

Posted August 15th, 2012

Film Fringe Tour is in Scotland right now, strutting its reels at the Edinburgh Festival Fringe. Even fitted with international features that include Runaway, filmed in Bangladesh, and Viette, which explores the divide between a first-generation American and her Vietnamese parents, one real draw is local. The Prep School Negro is a feature-length film by André Robert Lee, and explores the consequences of elite education: as a 14-year-old growing up in a low-income Philly neighborhood, Lee receives a scholarship to attend Germantown Friends School. Soon he finds himself sharing classrooms with children of the city’s wealthiest (and whitest) families, while feeling increasingly ousted by his neighborhood allies. Watch a preview below:

[youtube http://www.youtube.com/watch?v=8c14sWbuTw8&w=560&h=315]

After the jump: One of the tour’s producers Martine Pelletier Vital Stats’d us.

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Why Philadelphia Rules: David Lynch Edition

Posted July 23rd, 2012

“I always say my greatest inspiration came from the city of Philadelphia, Pennsylvania. So many reasons, the mood of the place, the architecture, what I saw and heard and felt. It was very magical, but laced with a deep tormenting fear and sickness. And I ate many steak sandwiches there.”

I Like America and America Likes Me: A Meditation on Performance and Violence

Posted July 22nd, 2012

“When you’ve begun to think like a gun / the days of the year are already gone.”
—John Cale, “Gun”

“John Kennedy shot John Wilkes Booth in the heart. Booth went to a farm bleeding. He ate a live cow. Kennedy found him and shot him with Kotex. He shot him in the Goddamn fucking empty American heart. He shot him with McGeorge Bundy. He shot him with Arthur Schlesinger. He shot him with miracles and master plans. He shot him with everything. Everything has 13 or 26 or 89 letters. Kennedy, Booth, Oswald, Ruby and Lincoln are all dead.”
—Bill Hutton, A History of America

In 1974, Joesph Beuys came to New York and spent three days living with a coyote in the Rene Block gallery. Beuys titled his performance Coyote: I Like America and America Likes Me. Of the show, Beuys, ambivalent about the United States and its role in global warfare and perpetuation of violence, said, “I wanted to isolate myself, insulate myself, see nothing of America other than the coyote.”

Beuys fashioned himself a mystic, a shaman, and he hoped in some way to commune with what, perhaps, he saw as the spirit of America, the coyote, the spirit with which Americans themselves were (and are) at war. According to David Levi Strauss, Beuys “engaged the coyote in a dialogue to get to ‘the psychological trauma point of the United States’ energy constellation; namely, the schism between native intelligence and European mechanistic, materialistic, and positivistic values.” The investigation has been framed as one of artistic authority. But in its connection to the United states, the question regards authority more broadly.

Aspects of this schism pervade United States culture. The coyote is reviled by ranchers, for example, as an agent of chaos; but we also laud the coyote for its freedom to roam the United States heartland, and in some way, respect its ability to resist and adapt to our attempts to exterminate it. This tension—between what we understand (and desire) as pure freedom and what we accept (or inflict) as order—undergirds how we think about what it means to be American. And that includes how we think about our gunmen.

After the jump: the duplicity of terror, and getting free.

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