THURSDAY 1 - In the Club: 90s Electronic Music and Beyond
Programmed by: Addison Wood
If your weekends are marred by tinnitus and sore teeth, then boy do we have the series for you!
The new state-of-the-art sound system of the Max Palevsky Cinema will be pushed to its limits with In the Club, a look at all things electronic music 1995 and beyond. You want it? We got it! A Clockwork Orange themed bar rife with Scotland’s most loveable heroin addicts? Check. The Weeknd circa 2012 crooning to a packed house? Check. A reggaetón dance crew with pyromaniacal tendencies? Check. A gay BDSM club called the Rectum? Umm, weird you should ask, but yeah we got that too.
Here at Doc we won’t judge you for getting to bed early. You can get the best of 4 AM at 7 PM in the luxury and comfort of Ida Noyes Hall. We can’t always promise a good night, but it’ll sure be memorable.
Uncut Gems (2019)
Josh and Benny Safdie · 135m · DCP
Telling the tale of Howie Ratner (Adam Sandler), a Diamond District mogul who always defaults to ante, this Safdie Brothers joint will push your palm sweat into overdrive as Howie’s successive parlays become more outlandish than the last. With a cast including LaKeith Stanfield, The Weeknd, Kevin Garnett himself, and seemingly every 2010s New York character, Uncut Gems is a whirlwind of basketball, Passover, and tricked out Furbies. Come for Julia Fox, stay for Oneohtrix Poi—Daniel Lopatin.
7:00PM Thursday, October 5th
Danny Boyle · 93m · DCP
Cool Britannia’s heroin addiction comedy, Trainspotting takes the highs and lows of junkie Mark Renton (Ewan McGregor) and throws on a mountain of nightmarish pop culture that would give the Scottish Highlands an inferiority complex. Bringing the thick Scottish brogue of Irvine Welsh’s cult novel to the silver screen, Trainspotting invites you to dive into ‘80s Edinburgh—all to the tune of Iggy Pop, Goldie, Blur and Underworld (to name a few).
Gaspar Noé · 97m · DCP
Inverting the rape-revenge genre, Irréversible combines dizzying camerawork and a stomach-churning score by Daft Punk’s Thomas Bangalter. Infamously unwatchable, it dwells on the most base forms of hatred and disgust and makes us reckon with humanity’s id in the face of modernity. Noé’s tapestry of two men (Vincent Cassel, Albert Dupontel) avenging their lover (Monica Bellucci) is canonized and shunned for its onslaught of cruelty towards the viewer.
7:00PM Thursday, October 26th
When the Beat Drops (2018)
Jamal Sims · 85m · Digital
We all need an emotional boost after last week's pick. The one documentary to make it into this series, When the Beat Drops highlights the work of the Black and queer artists at the forefront of Atlanta’s bucking scene. Directed by choreographer Jamal Sims in a film only a dancer could make, When the Beat Drops is a propulsive showcase of contemporary underground dance and a powerful examination of the profound sacrifices artists make for their craft.
7:00PM Thursday, November 2nd
Strange Days (1995)
Kathryn Bigelow · 145m · 35mm
A Y2K cyberpunk thriller with Ralph Fiennes and Angela Bassett, directed by Kathryn Bigelow, based on a James Cameron story, with music by PJ Harvey– Strange Days must have been a smash hit! As it turns out, audiences were unprepared for the scathing commentary on Clinton-era racism and misogyny, and the uncanny predictions on technology. Seen as a hidden gem of ‘90s sci-fi maximalism, Strange Days has earned a reevaluation as a socially conscious, forward-thinking take on the near-future dystopia.
Millennium Mambo (2001)
Hou Hsiao-hsien · 119m · DCP
Weren’t satisfied by our last Y2K spectacular? Well, here’s Millennium Mambo, the more melancholy take on the new millennium and one of Hou Hsiao-Hsien’s finest works. In the spirit of films like Wong Kar-Wai’s Love Trilogy, Millennium Mambo captures the ennui of youth and lost time as it charts Vicky’s (Shu Qi) bygone time on the dance floor in a rapidly changing Taipei.
Pablo Larraín · 107m · DCP
We all need a little more experimental reggaetón in our lives. Ema captures the raw emotion of a bitter divorce and filters it through electrifying dance performances and an unhealthy dose of pyromania. Surreal and excruciatingly accurate, Pablo Larraín’s visually sumptuous return to Chilean cinema is led by the dynamism of Gael García Bernal and Mariana Di Girolamo—accompanied by an equally expressive score by fellow countryman Nicolás Jaar.