FREE SCREENING!

Join SERUN Foundation and other affiliated groups including the Stop Cop City Dallas Coalition for a screening of the PBS FRONTLINE 1989 documentary, The Dallas Drug War, followed by a community discussion. Holiday beverages and snacks will be served. Bring a toy to donate to our gift drive for children who currently have loved ones incarcerated or in ICE detention.

PBS, 1989, USA, 56 mins

Frontline correspondent Bob Ray Sanders profiles the struggle of one neighborhood in Dallas, Texas, to combat the drugs and violence that threaten the lives of its citizens and the future of the community.

Free Screening!

Rita Baghdadi, 2022, Lebanon/US/UK, 80 min

Sirens intimately chronicles the lives and music of Slave to Sirens, a young all-female metal band whose burgeoning fame is set against the backdrop of the Lebanese revolution. Its members wrestle with friendship, sexuality, and destruction as their music serves as a refuge to Beirut’s youth culture. The complicated relationship and subsequent tense fallout of founders Lilas Mayassi and Shery Bechara threatens the very fabric of the band, but an even greater looming threat is Lebanon’s criminalization of homosexuality, and the devastating effects of the country’s political corruption. Yet despite their obvious challenges, the members of Slave to Sirens persist in trying to create a revolution of their own: living their truth.

Robert Fulton, various years, USA, 77 mins (total program)

Spacy is proud to present “Universe Synergy: Select Films by Robert Fulton” which includes four recently restored high definition digital master shorts from aerial cinematographer & experimental filmmaker Robert Fulton. Fulton approached filmmaking as an act of perception rather than representation. His works translate the precision of physical practice, the rhythms of sound, and the immateriality of light into a cinema of heightened awareness.

The four films presented are:

• Kata

• Chant

• Inca Light

• Reality’s Invisible

Recommended if You Like: Claudio Caldini, ethnographic documenting, aerial footage of nature landscapes, experimental cinema

Isiah Medina, 2025, Canada, 84 min

As he mulls over the budget for his new film, director-gangster Clem sends his artist cronies after an old comrade rumoured to be a leaker.

Devin Shears, 2024, Canada, 74 mins

“Told almost entirely without dialogue, this meditative character study follows Benjamin Turnbull as Harvey, a straight, fat man who discovers an opportunity to build new confidence in himself and his body when he learns about the chub subculture in the LGBTQ community and decides to submit a photograph of himself to a magazine's "Cherub of the Month" contest. “ — Nickel Festival

Screening includes:

• Magueyes - Rubén Gámez, 1962, Mexico, 9 min

• Yum, Yum, Yum! A Taste of the Cajun and Creole Cooking of Louisiana - Les Blank, Maureen Gosling, 1990, USA, 31 min

Spices move through trade, theft, and travel. Spiciness also catalyzes change on both culinary and cultural levels, and can represent moments/acts of resistance and the individuals who rise to occasions calling for liberation. Join Cookbook Lookbook for spicy installation, a double-feature screening of Magueyes (directed by Ruben Gámez) and Yum, Yum, Yum! A Taste of Cajun and Creole Cooking (directed by Les Blank), followed by casual tableside conversation.

CookBook LookBook is an artist collective that explores storytelling through food. We organize community events and installations across the U.S. with a focus on SPICE this year. In 2023, we were supported by a grant from The Andy Warhol Foundation for the Visual Arts. In 2025, our inaugural publication was acquired by the Watson Library at The Metropolitan Museum of Art in New York.

Melisa Gerecci will attend, along with multimedia offerings from this year's cohort. $8 screening includes popcorn with SPICE bar! 

• Agenda:

  • 6-6:15pm - Explore the installation

  • 6:15pm - Screening starts

  • 7pm - After-screening conversation and multi-media exploration around the table  

Los Magueyes is a Mexican experimental film without humans: agaves are the only protagonists of a cruel and ruthless battle. In this short film, war dialogues with the power of cinematographic representation, and landscape is far more than a passive backdrop.

Yum, Yum, Yum! A Taste of the Cajun and Creole Cooking of Louisiana is a mouth-watering exploration of the cooking and other enthusiasms of French-speaking Louisiana. Features tangy music, and food by Marc Savoy, Paul Prudhomme, and other greats.

Special 10th anniversary screening!

Isiah Medina, 2015, Canada, 65 min

When one is unable to pay the bills, the electricity is cut. Once one can pay again, the digital appliances flash 88:88. While philosophical systems begin with the concept of nothing as a starting point for thinking, Isiah Medina’s feature debut uses ​“88:88” as a marker of the nothing (no thing) of poverty and the possibility of counting life anew. Medina’s film cuts together instances in the lives of friends and their experiences in love, science, art, and politics in order to see those lives outside of narrative, and to show that thinking is always both possible and necessary. Praised by philosophers, filmmakers, artists, mathematicians, and audiences around the world, 88:88 celebrates its 10th anniversary this year.

FREE SCREENING!

In collaboration with Oak Cliff Cultural Center, Visual AIDS Day With(out) Art 2025 is a free screening of a new video program titled "Meet Us Where We're At". This program features six new videos from international artists that highlight the experiences of people who use drugs and the intersection of harm reduction with the ongoing HIV crisis.

The program features new work by Camilo Tapia Flores, Camila Flores-Fernández, Hoàng Thái Anh, Kenneth Idongesit Usoro, José Luis Cortés, and Gustavo Vinagre & Vinicius Couto.

A day of mourning and action that uses art to respond to the ongoing HIV and AIDS crisis, Day With(out) Art encourages museums, universities, museums, and art institutions to present related programming on or around December 1, World AIDS Day. Because AIDS is not over!

Jocelyne Saab, 1985, France / Lebanon, 102 mins

Set amid the Lebanese Civil War, Saab’s fiction feature debut centers the unlikely bond formed between Karim, a forty-something painter, and Samar, a teenager who grew up in war-torn Beirut.

Madeline Mondell, 2025, USA, 25 min

A shot Run-Gun/ Gorilla Style film that’s a personal look into East Dallas from a born and raised East Dallas local artist with NO CAR. The first $5FLE$H Production. $20 admission ticket!

Schedule/Agenda 

• 1st Screening 7pm-8:30 On Loop

  • Cross talk and casual viewing encouraged 

  • 30 minute intermission 

• 2nd Screening 9-930

  • No cross talk, full viewing encouraged 

  • Q&A With Directors Madeline Mondell and Fauna Laurel 

• Live Set from Scarletien 10:15pm

FREE SCREENING!

Gillo Pontecorvo, 1979, Italy/Spain, 101 mins

Spain, 1973. Dictator Francisco Franco has ruled the country since 1939 with an iron fist; but he is now a very old and sick man. The future of the weakened regime is in danger. Admiral Carrero Blanco is his natural successor. The Basque terrorist gang ETA decides that he must die to prevent the dictatorship from continuing.

Monika Treut, 1988, West Germany, 84 mins

“An unusual search for romantic love”

Dorothee Müller (Ina Blum) is a German journalist researching an article about the nature of romantic love—something she desperately needs, given her dysfunctional relationships with former lover Heinz (Gad Klein) and brother Bruno (Marcelo Uriona). In the Oz of San Francisco, Dorothee finds exactly what she was looking for—and then some—thanks to the help of lesbian strip show barker Susie Sexpert (Susie Bright), drag king Ramona (Shelly Mars), and her mysteriously kinky neighbors (Cleo Dubois and Fakir Musafar). When Dorothy surfaces like a dazzled tourist on the wilder shores of the city’s thriving lesbian community, she has discovered her true sexuality…and left some illusions behind.

Part German Expressionist satire, part sapphic travelogue, Monika Treut’s Virgin Machine (Die Jungfrauenmaschine) is a seminal—and fiercely controversial—work of lesbian cinema.

Akihiro Suzuki, 1999, Japan, 60 mins

Mostly seen on the gay pink circuit and recently restored by its director to its rightful place in the Japanese arthouse canon, Akihiro Suzuki's debut takes the death of a young gay porn performer named Takachi as its starting point. Looking for an Angel follows Shinpei and Reiko as they process their friend’s disappearance, their memories coalescing into a bold exploration of grief set against the backdrop of a nostalgic, blue-hued city shot in a variety of filmic formats. As the viewer begins to piece together Takachi’s story, laden with desire for another boy named Sorao, between the cities of Tokyo and Kochi (“where the boys look like angels”), a powerful free-associative beauty emerges from a unique work described by Suzuki himself as “neither straight, gay, queer, bisexual, asexual or pornographic, but [rather] anti-heterosexist” — a film completely free of dogma and convention.

Monika Treut & Elfi Mikesch, 1985, West Germany, 86 mins

“A ticket to a masochistic wonderland…”

Wanda (Mechthild Großmann) is a dominatrix who runs an S/M performance space in Hamburg where she stages elaborate sexual rituals for a discerning audience. Cruelty is her profession, but constructing traps for her lovers—including the lovelorn Gregor (Udo Kier), the naive and innocent Justine (Sheila McLaughlin), and the jaded Caren (Carola Regnier)—is her specialty. All know the rules of the game, but not all are willing to play their roles—but the show must go on… 

Inspired by the writings of the Baron Leopold von Sacher-Masoch, Monika Treut and Elfi Mikesch’s Seduction: The Cruel Woman (Verführung: Die grausame Frau) is a coolly sensual tribute to masochism and obsession in all of its forms, and a seminal work of lesbian cinema.

“Sex may just be a passing fad. The age of tenderness is over. What is being presented: the world of sadomasochistic symbols, the rhythm of suffering, the pleasure of torment.”
- Treut/Mikesch

“This is S/M by Avedon, outfits by Dior.” - Film Comment

Akihiro Suzuki, 1999, Japan, 60 mins

Mostly seen on the gay pink circuit and recently restored by its director to its rightful place in the Japanese arthouse canon, Akihiro Suzuki's debut takes the death of a young gay porn performer named Takachi as its starting point. Looking for an Angel follows Shinpei and Reiko as they process their friend’s disappearance, their memories coalescing into a bold exploration of grief set against the backdrop of a nostalgic, blue-hued city shot in a variety of filmic formats. As the viewer begins to piece together Takachi’s story, laden with desire for another boy named Sorao, between the cities of Tokyo and Kochi (“where the boys look like angels”), a powerful free-associative beauty emerges from a unique work described by Suzuki himself as “neither straight, gay, queer, bisexual, asexual or pornographic, but [rather] anti-heterosexist” — a film completely free of dogma and convention.

A double-billed evening on Wednesday, November 19th!

Nature of Things presents a screening of David Byrne’s TRUE STORIES and a ONE NIGHT ONLY exhibition titled “No Jugglers. No Mimes. No Musicians. No Rock Bands.” featuring artwork by Mia Ardito, Harrod Blank, Kristen Cochran, Casey Leone, and Willard “The Texas Kid” Watson!

This story takes place in Virgil, Texas. In fact, it is many stories. Ones you may have read about in the Weekly World News or other supermarket tabloids. And what if they were true? Maybe they are. One character is a country singer desperately seeking matrimony. Another character hasn’t left her bed since we don’t know when. One woman can’t help but lie about everything (she stole a spaceship). And everyone is ready to celebrate the State’s Sesquicentennial, which really does take place in 1986. True Story.

David Byrne, 1986, USA, 89 mins

Josh Heaps, United States, 2025, 73 mins

Sam, a young film student, discovers a USB detailing the life and career of forgotten Italian horror director Saturnino Barresi. As she begins to investigate his mysterious disappearance, Sam finds herself pulled into a violent conspiracy eerily similar to those of the films she adores.

Isao Fujisawa, 1974, Japan, 85min

Lost and nihilistic drifter Utamaro chances upon Giko, a female-presenting shoplifter who immediately catches his eye. One thing leads to another: the couple soon find themselves on the lam for murder. This provides for a delightful pretext to explore notions of societal malaise, free love and gender fluidity in a rapidly evolving 1970s Japan, as both Utamaro and Giko begin to know each other on the road by way of a variety of encounters, alternating between surrealistic, psychedelic and sexual.

The sole feature film directed by Isao Fujisawa, who learned his craft as an assistant director to Hiroshi Teshigahara on New Wave classics such as Woman in the Dunes and The Face of Another, Bye Bye Love is a deeply personal reckoning with sexual identity. Bridging the distance between Pierrot le fou, Bonnie and Clyde and Funeral Parade of Roses with an impeccable sense of style, splashes of Godardian color as well as strong anti-imperialist and existentialist themes, this iconic jishu eiga (self-produced film) was long thought lost until recently shepherded towards restoration by director and programmer Akihiro Suzuki. A new landmark of Japanese queer cinema, it is now distributed in North America for the very first time in 50 years.

FREE SCREENING!

Gillo Pontecorvo Italy, 1966, 121 mins

One of the most influential political films in history, The Battle of Algiers, by Gillo Pontecorvo, vividly re-creates a key year in the tumultuous Algerian struggle for independence from the occupying French in the 1950s. As violence escalates on both sides, children shoot soldiers at point-blank range, women plant bombs in cafés, and French soldiers resort to torture to break the will of the insurgents. Shot on the streets of Algiers in documentary style, the film is a case study in modern warfare, with its terrorist attacks and the brutal techniques used to combat them. Pontecorvo’s tour de force has astonishing relevance today.

DSA North Texas has been standing with SBWU workers for years, and today they’re gearing up to fight for a fair contract like never before! On November 6th, come sit with them and watch Partners, the story of the struggle so far! Plus: hear from Dallas SBWU guest-starring and talking about the fight here in Dallas!

NOVEMBER 6TH & DOORS OPEN 6:30 PM

PLEASE RSVP TO THIS LINK: https://actionnetwork.org/events/partners-movie-screening-and-sbwu-strike-fund-fundraiser

$5-10 ENTRY TOWARDS STARBUCKS WORKERS UNITED STRIKE FUND

Director Marlene “Mo” Morris will be in attendance for a post-discussion Q&A! $6 admission.

Marlene Morris, 2024, USA, 64 mins

When the Trump administration abruptly threatens to deport 700,000 fellow Dreamers – the charismatic attorney and DACA recipient Luis Cortes Romero fights back, co-piloting an A-Team of lawyers who takes their case all the way to the Supreme Court, making the Luis the first undocumented immigrant to argue before the nation’s highest court.

Nobuhiko Obayashi, 1977, Japan, 88 min

How to describe Nobuhiko Obayashi’s indescribable 1977 movie House (Hausu)? As a psychedelic ghost tale? A stream-of-consciousness bedtime story? An episode of Scooby-Doo as directed by Mario Bava? Any of the above will do for this hallucinatory head trip about a schoolgirl who travels with six classmates to her ailing aunt’s creaky country home and comes face-to-face with evil spirits, a demonic house cat, a bloodthirsty piano, and other ghoulish visions, all realized by Obayashi via mattes, animation, and collage effects. Equally absurd and nightmarish, House might have been beamed to Earth from some other planet.

George Romero, 1968, USA, 96 mins

A man and his sister visit a graveyard to pay their respects, when a crazed man appears and attacks them. The sister escapes to an isolated house nearby and finds out the horrible truth: that the dead are walking, and are hungry. 

Robert Wiene, 1920, USA, 74 mins

At a carnival in Germany, Francis (Friedrich Feher) and his friend Alan (Rudolf Lettinger) encounter the crazed Dr. Caligari (Werner Krauss). The men see Caligari showing off his somnambulist, Cesare (Conrad Veidt), a hypnotized man who the doctor claims can see into the future. Shockingly, Cesare then predicts Alan’s death, and by morning his chilling prophecy has come true — making Cesare the prime suspect. However, is Cesare guilty, or is the doctor controlling him?

Considered by many to be the first true horror film, The Cabinet of Dr. Caligari (1920) not only holds that title, but exists as the quintessential definitive piece of German expressionist cinema.