“Hey, can I borrow your mother? My Aunt is coming for dinner and she’s always getting on my nerves.”
Landmark’s The Plaza Frontenac Theatre (210 Plaza Frontenac, in the Plaza Frontenac Shopping Center, Frontenac, MO, 63131) hosts RetroREPLAY Tuesdays. Tickets are only $7 and can be purchased in advance HERE.TheRetroREPLAYfor May 31st is Kathleen Turner in John Waters’ SERIAL MOM (1994). Showtimes ar 1pm and 7pm
A picture perfect middle class family is shocked when they find out that one of their neighbors is receiving obscene phone calls. The mom takes slights against her family very personally, and it turns out she is indeed the one harassing the neighbor. As other slights befall her beloved family, the body count begins to increase, and the police get closer to the truth, threatening the family’s picture perfect world.
The comedy documentary THE MYSTERY OF THE PINK FLAMINGO was an official selection at SXSW 2020 and will be available on VOD & all digital platforms on December 1st. The film, directed by Javier Polo, features John Waters, Eduardo Casanova, Allee Willis, and Rigo Pex.
Check out debut trailer:
An eccentric character employs unusual research efforts to reveal the true story behind the pink flamingo. Rigo will gather together bizarre theories and interpretations to discover the powerful influence that these birds have on our world.Featuring internet sensation Pink Lady, music guru Allee Willis, pop band Kero Kero Bonito and cult filmmaker John Waters.
The film features Rigo Pex, John Waters, Allee Willis, Eduardo Casanova, Kero, and Kero Bonito
Culture Shock, a traveling film series, presents John Waters’ 1988 cult classic HAIRSPRAY starring Divine, Ricki Lake and Debbie Harry August 31st at 7pm at the .ZACK (3224 Locust Blvd, St Louis, MO 63103). A Facebook invite can be found HERE. Tickets are $7 and can be purchased at the door or purchased in advance HERE. There will be a Divine Look-a-like contest and the winner will compete with the best Divine look-a-like when the documentary I AM DIVINE screens at the Mad Art Gallery in October
A spiritied teenager teaches 1962 Baltimore a thing or two about integration after landing a spot on a local TV dance show. Any movie where the fat girl steals the dreamy heart throb from the “perfect” skinny girl is a favorite. This movie is empowering to big girls everywhere, even if they do have to shop at the “Hefty Hideaway.” And personally, I think Rikki Lake was much more entertaining before she lost all the weight. When was the last time you saw her talk show or saw her in a movie? John Waters may have his critics, but he sure knows how to direct a good cult classic.
Culture Shock: a traveling film series is an ongoing fundraiser for Helping Kids Together. HKT puts on events and programs for young people that get them active and involved in the arts and culture.
FilmmakersCody Jarrett and Siouxzan Perry are raising funds through Kickstarter to complete their documentary TURA!,the Incredible True Life Story of Tura Satana, the Russ Meyer & Burlesque Superstar, Asian American Cinema Pioneer and Ultimate Self-Empowered Female. Read the We Are Movie Geeks tribute to Tura HERE
“TURA!” is the true life story of cult movie icon & burlesque dancer TURA SATANA, chopped straight from the pages of her handwritten memoir. Best known as the star of Russ Meyer’s classic film Faster, Pussycat! Kill! Kill!, Tura stunned 1960’s movie audiences as the sexy, dominant, fast-driving, karate-wielding lesbian gang leader Varla. Her groundbreaking look, attitude, and performance were all years ahead of their time and continue to influence everyone from Quentin Tarantino and Rob Zombie to John Waters and Dita Von Teese.
Still, Tura’s screen life was nothing compared to her real life. As a child, Tura was imprisoned at Japanese American WWII internment camp Manzanar. As a pre-teen, she was the victim of a brutal, racially-motivated gang rape. But instead of letting those early tragedies destroy her, Tura flipped it around, reinventing herself into a world famous burlesque dancer, Asian American cinema hero, and most importantly, the living definition of female self-empowerment.
Featuring incredible new interviews with John Waters, Dita Von Teese & more, and narrated by Margaret Cho, TURA! will be a fascinating, thrilling white-knuckle ride through the life and career of one of the most infamous “bad girls” in cinema history. TURA! also serves to finally place Tura Satana alongside Bruce Lee in the pantheon of the most influential Asian American performers the world has ever known.
The production of this film was Tura Satana’s deathbed wish. Help her, and the filmmakers, make it a reality. TURA! — Just do it!
(This film is the AUTHORIZED DOCUMENTARY Tura Satana personally initiated prior to her death, being produced by her estate and closest friends).
Despite her underground popularity and huge internet presence, Tura’s accomplishments and vast influence remain largely unrecognized. Tura fought long and hard for gains that others have since reaped the benefits from. It’s time to set the story straight! Tura didn’t just ‘open the door’ for modern Hollywood’s dominant leading ladies, she literally kicked that hole through the wall, blazing the path for others to follow. She deserves acknowledgement for that, and this film – created by those who knew and worked with her – gives her the respect and recognition she is long overdue. Tura’s “If I can do this, anyone can” attitude has inspired countless people in the past, and can now go on to inspire even more!
Once the film is completed (the filmmakers estimate a year or less), they will use all of the means at their disposal to find the best possible release and distribution for the film. That includes screening at key festivals, distributor screenings, and inclusion at international film markets. The filmmakers are very confident that the film will find wide release platforms, so all of their work will be shared with the world.
TURA! The Tura Satana Documentary
Starring: TURA SATANA Narrated by MARGARET CHO
Featuring Interviews with:
JOHN WATERS – Writer/Director, Hairspray, Pink Flamingos DITA VON TEESE – Burlesque Star, Fashion Designer MARGARET CHO – Actor, Comedian KITTEN NATIVIDAD – Beneath The Valley of the Ultra-Vixens SHANNON LEE – Producer, Daughter of Bruce Lee DAVID HENRY HWANG – Playwright, M. Butterfly ALLISON ANDERS – Director, Mi Vida Loca, Four Rooms . TED V. MIKELS – Director, Astro-Zombies, Doll Squad, Corpse GrindersLORI WILLIAMS – Actor, Faster, Pussycat! Kill! Kill!DENNIS BUSCH – Actor, Faster, Pussycat! Kill! Kill! PAMELA DES BARRES – Author SELENE LUNA – The Cho Show ERIC CHARMELO – Writer/Producer, Supernatural, Ringer Plus more all the time!
Meet the filmmakers!:
Cody Jarrett – Producer/Director
Cody Jarrett is a Los Angeles-based director, writer and producer. Initially a musician and actor whose Hollywood film career began with a role in 20th Century Fox’s The Adventures of Ford Fairlane, Cody’s feature directing credits include SUGAR BOXX (Showtime Networks, Entertainment One) and FROG-G-G! (Koch Distribution). SUGAR BOXX was also Tura Satana’s last film as an actress prior to her death.
Siouxzan Perry – Producer
Siouxzan was Tura’s long-time personal manager and confidant, as well as manager of numerous other “Russ Meyer” women. Siouxzan was granted all rights to Tura’s entertainment estate, likeness, and image upon Tura’s passing. She also possesses literally thousands of Tura’s belongings, including pictures, personal items, home movies, and more. Siouxzan is committed to Tura’s final wish of seeing this documentary produced.
For most of us in the United States, Helmut Berger is not someone who we are very familiar with. In Europe, however, most people know if his work, and his reputation for being unpredictable. Director Andreas Horvath submerges himself into Berger’s world in order to show us an intimate, uncensored look at the present life of a wounded man who once seemed to have it all in HELMUT BERGER, ACTOR.
WARNING: Trailer is NSFW, and shouldn’t be viewed by children.
A little backstory to get you in the proper head space: Berger had it made in the 70’s and 80’s. He was given his first film role by director Luchino Visconti in 1967, and things took off from there. He was leading a luxurious lifestyle with his, now lover, Visconti. Berger became a man about town, enjoying the finer things in life. When his partner died in 1976, Berger spiraled out of control. He had attempted suicide, and his abuse of drugs and alcohol began to overshadow his acting career. Still, he continued to work. Relationships continued with both men and women (he is an open bisexual), but the substance abuse never really stopped.
That brings us to the documentary. The filmmaker catches up with Berger, who is now in his early seventies and living on the outskirts of his hometown (Salzburg, Austria) in a small, cluttered apartment. The apartment itself is adorned with a combination of worn, expensive furniture, photographs, pornography, and trash.
He has a cleaning lady, Viola, basically looks after him. She does his laundry, brings him food, and even set up a small kitchen for him when he ripped his out and could no longer afford the re-model. A lot of what she does for him seems to come out of her own pocket. Over the course of the film, they interview her while she is cleaning up after all of his clutter, and she tells stories of his relationship with his mother, and how withdrawn from society he has become. Unless he is working, or on a trip, he rarely leaves his home. She paints a picture of the friends that he lost when his money dried up, and just how lonely and isolating celebrity can be. Honestly, this was a brilliant way to navigate the story, and add a stable element. You really could tell just how much she adored him, and how protective she was of him. She almost takes on a motherly role. Unfortunately, at the Q&A following the film we were informed that she passed away before seeing the film. She was on her way to Berger’s apartment with his laundry when she suffered a heart attack.
Warning (Again): This film is not suitable for young audiences due to crude language and sexual acts performed on-screen without being censored. John Waters called this “Maybe the best motion picture of the year is also the worst?” of 2015, if that gives you any clues…
Horvath endured a lot while capturing the film. Berger’s mood swings are unpredictable, and he would often lash out suddenly, even hitting Horvath at one point, and then trying to have him arrested on the street by spinning the tale. Instead, the police just put Berger in the backseat, and either gave him a ride back to his hotel, or arrested him. That part wasn’t entirely clear. The two fight quite a bit as well. Horvath is not afraid to yell back at Berger, and Berger seems to respond well to this. There are points where it’s unclear if Berger is acting for the camera, or being his true self. I guess you’ll have to figure that one out for yourselves.
The music and weird nature cut away scenes are used to guide the viewer through the film, and aid to the odd directions that the narrative takes. I don’t think all of them are incredibly necessary because the viewer has enough substance to form their own opinions, and feel the chaos going on without having the added intense, strange musical inserts as a guide. At the same time, it doesn’t hurt the film. I just found a few of the cutaways a bit too long. Often, when we are listening to he voice messages that Berger left for Horvath, they do closeups on various objects in his house, from tiger paintings to empty vodka bottles. That seems to fit a lot better.
As the film goes on, it’s clear that Berger is desperate for attention and intimacy. He leaves ridiculous messages to Horvath, taunting him, and calling him names. He treats him as if he is a peasant beneath him, often referring to his own celebrity. In the same conversation Berger often then flips, asking to give Horvath a blow job, and announcing that he has fallen in love with him. Then, he watches tv as if nothing has happened. Remember those sex acts that I referred to earlier? Throughout the film, Berger, on several occasions, pulls out his penis and begins masturbating in front of the camera and filmmaker.
SPOILER ALERT: If you don’t want to know how the film ends, stop reading.
The final scene will most likely make you uncomfortable, as will certain other parts of this film. In the final scene, Horvath captures Berger in a dim room masturbating, as he begs for Horvath to join him, or to just let him “hold it.” This last scene is incredibly long, and after constant begging for Horvath to at least pull down his pants so that he can “see it,” the lights come one, comments that Burt Lancaster has a “similar one” before reaching orgasm. Yes, you see the entire thing. The only thing we done see is if Horvath actually took his pants down or not, though judging by Berger’s comment, and the lights being turned on, I would assume that he did.
You may be asking yourselves “Why would he do that?” Well, the only reason that I can think of is that Berger had finally let his guard down, and was in a vulnerable state, and Horvath decided to give him something in return… a piece of his vulnerability. It really was a natural way for the film to end. It’s the very first time you look into his eyes and know that he is being himself.
HELMUT BERGER, ACTOR is both interesting and uncomfortable to watch at the same time. Still, it’s worth checking out… if you are of age.
John Waters (of PINK FLAMINGOS and HAIRSPRAY fame) was last in town October of 2008 to perform his This Filthy World one-man show at the Sheldon Concert Hall and Art Galleries.We Are Movie Geeks is thrilled to report that the ‘Prince of Puke’ will be returning to the Sheldon to perform an unforgettable night of holiday mischief with his critically acclaimed one man show, A John Waters Christmas: Holier & Dirtier, on December 3rd beginning at 8pm. Waters pokes fun at the holiday season with adult-appropriate humor, effectively “putting the X in Xmas,” developing a show for the open minded and slightly left-of-center audience.
The cult classic, Baltimore-born filmmaker began his Hollywood success with now Broadway classic, Hairspray, in 1988. Claiming his playful nicknames “Pope of Trash” and “Prince of Puke,” he maintains his image through his filmmaking and his personal presentation. Regarded as a shocking entertainer, John Waters carefully chooses his material and exploits it through a dirty lens. “It’s my obsession with Christmas: what I want for Christmas, what you should want, how to handle every holiday disaster,” Waters says. His rapid-fire monologue explores and explodes the traditional holiday rituals and traditions as he shares his religious fanaticism for Santa Claus, and an unhealthy love of real life holiday horror stories. Delving into his passion for lunatic exploitation Christmas movies and the unhealthy urge to remake all his own films into seasonal children’s classics, “The Pope of Trash” will give you a Joyeux Noel like no other.
Attention all cinephiles of the creepy and the grotesque, the controversial and the bizarre, have I found a film for you. I recently stumbled upon the trailer for EXCISION, an official selection of the 2012 Sundance and Fantasia film festivals. Written and directed by Richard Bates, Jr. this movie looks down right out of it’s mind awesome, but it’s not one for the easily squeamish or offended, as this trailer will certainly illustrate. Speaking of which, this trailer is far from being “safe for work” so be advised. Watch and relish in the indie iridescence of in your face gore, sex, and complete teenage craziness…
Synopsis: A disturbed and delusional high school student with aspirations of a career in medicine goes to extremes to earn the approval of her controlling mother.
Jim Jarmusch, Debbie Harry, Steve Buscemi, John Lurie, Fab 5 Freddy, Thurston Moore, Richard Kern, Lydia Lunch, Amos Poe, Eric Mitchell, James Nares, Maripol, Ann Magnuson, James Chance, Beth B, Scott B and John Waters
A Film By
Opening at the IFC Center in New York on Friday, April 6
Before there was HD there was Super 8. Before Independent film there was Underground Cinema. And before New York there was…well, New York. Once upon a pre-Facebook time, before creative communities became virtual and viral, cultural movements were firmly grounded in geography. And the undisputed center of American – some would say international – art and film was New York City. In particular, downtown Manhattan in the late 1970’s and 80’s was the anchor of vanguard filmmaking.
BLANK CITY tells the long-overdue tale of the motley crew of renegade filmmakers that emerged from an economically bankrupt and dangerous period of New York History. It’s a fascinating look at the way this misfit cinema used the deserted, bombed-out Lower East Side landscapes to craft daring works that would go on to profoundly influence Independent Film today. Unlike the much-celebrated punk music scene, this era’s thrilling and confrontational underground film movement has never before been chronicled.
Directed by French newcomer Céline Danhier, BLANK CITY captures the idiosyncratic, explosive energy of the “No Wave Cinema” and “Cinema of Transgression” movements. Stark and provocative, the films drew name and inspiration from the French New Wave; as well as Film Noir, and the works of Andy Warhol and John Waters. Filmmakers such as Jim Jarmusch, Eric Mitchell, Beth B, Charlie Ahear, Lizzie Borden and Amos Poe showcased the city’s vibrant grit and bore witness to the rising East Village art and rock scenes and the birth of hip hop. Short, long, color or black-and-white, their stripped-down films portrayed themes of alienation and dissonance with a raw and genuine spirit, at times with deadpan humor blurring the lines between fiction and reality.
You’ve probably never heard of George Kuchar or his twin brother Miek. Even though they have hundreds of directing credits between them (George has 215 alone), their names are as lost to the general public as a ship that has entered into the Bermuda Triangle. Yet, despite this unfamiliarity in the minds of general film audiences, the works of the Kuchar brothers have inspired filmmakers like John Waters, Guy Maddin, Atom Egoyan and Buck Henry.
The documentary film ‘It Came From Kuchar’ is a celebration of their life, work and inspiration. Director Jennifer Kroot works in all the angles spending equal amounts of time on each of these three aspects. We see interviews she conducted with George and Mike as they discuss their lives, their childhood, and the relationships they each had with their mother. We see interviews with filmmakers, critics, and film historians alike as they discuss the ways the Kuchar Brothers have influenced the media of film. These are spliced with actual scenes from various Kuchar films, films that a majority of the public has never seen. With titles like ‘Hold Me While I’m Naked,’ ‘The Devil’s Cleavage,’ and ‘Sins of the Fleshapoids,’ you can clearly see why the Kuchar Brothers never made it into the big leagues.
But, unlike ‘Anvil!,’ ‘It Came From Kuchar’ is never about George or Mike’s frustrations and inabilities to become mainstream film directors. They each have a passion for filmmaking, and they have no regrets for the paths they have chosen. In fact, George, to this day, continues to direct films with the help of the San Francisco Art Institute. George has taught a film class there since 1971, and he continues to utalize the institute and his students in helping him create his later films. Kroot’s documentary also follows the production of George’s latest film, ‘The Fury of Frau Frankenstein,’ and hearing his students/crew talk about George’s work ethic is both humorous and heartfelt.
And that, more than anything, is what ‘It Came From Kuchar’ is all about. It is a heartwarming depiction of twin brother filmmakers whose passion for the medium outweigh their artistic abilities. Their films don’t look polished. They hardly look complete. But none of that matters. George makes the films he wants to make, and, without a studio backing him or standing in his way, he is able to do just that.
One negative about Kroot’s documentary is the way Mike seems to be shortchanged, particularly in the directing pair’s later years. Much of the film follows George. It stands to reason, seeing as how George, with 215 directing credits to Mike’s 17, is the much more prolific of the two. However, the moments featuring both George and Mike under one roof are smile-inducing.
There are several stand-out interview moments in ‘It Came From Kuchar.’ So many times Kroot will be speaking with George and Mike at different locales about a similar subject, and she edits the conversations in such a way that it appears each brother is finishing the others sentences. Whether it is through a gifted level of editing or the two brothers are that finely tuned to each other remains to be seen. Regardless, these moments serve as emotional backbone to the depiction of the Kuchar Brothers’ life outside of film.
‘It Came From Kuchar’ is a wonderful documentary that brings to light a film movement not seen by many but that influenced hundreds. The Kuchar Brothers were and still are pioneers in the underground film movement, and Kroot’s documentary is a heartwarming look at everything they have accomplished and everything they stand for.
[Expanding the John Waters landscape across St. Louis, Grand Center is proud to present, This Filthy World, Waters’ one-man show at the Sheldon Concert Hall. In his own bawdy style, Waters’ will share his transformational journey fron the king of bad taste to the toast of Hollywood and Broadway.] — MetroMix
