Screening is on March 20th 8pm!

Alex Martinez Kondracke, 2014, USA, 86 min

Over the course of one epic night in LA, two musicians headed for a battle of the bands instead find car trouble, girl trouble and a vengeful ex-con.

Satellite screening showcasing selections from Film Diary NYC’s fourth festival year. FILM DIARY NYC programs experimental, autobiographical films that capture the personal history and daily experiences of the filmmaker. Through an annual festival and ongoing special events, they provide a platform for the most heartfelt but most overlooked cinema: diary films, home movies, and personal documentary. The films in this screening are:

• Dark Light by Gloria Chung, USA, 11 Min / Regarding the Sun, dead images, sound and etymologies. “The only thing left was the disease of images.”

• Remote Views by Alexis McCrimmon, USA, 15 Min / A televisual stream of consciousness assembled from archival footage set in the Black media explosion of the 1980s.

• Drag me, drop me, treat me like an object by Vega Royer-Gaspard, France, 7 Min / In her teenage bedroom, a young girl spends her days writing about her growing obsession for her classmate.

• Undercover by josh brainin, USA, 6 Min / A moment of connection and confusion unfolds through non-linear voiceovers and distorted, hand-processed super 8 film, questioning the stakes of staying hidden and what freedom means with-in masculinity and a self fragmented by repression.

• THUNDER by Sonnie Wooden, USA, 43 Min / A man who is experiencing the loss of a lover finds himself teetering on the edge of his own mortality.

Total runtime = 82 mins

Nature of Things presents this screening of Hud (1963) in conjunction of their exhibit, Minor Regional Novelist, at 3002A Commerce Street, in Deep Ellum (above the bookstore and publisher Deep Vellum) on Saturday, March 14, 2026 and run until May 23, 2026.

Martin Ritt, 1963, USA, 112 mins

Paul Newman is Hud, a young and arrogant cattle rancher in a existential battle over the future of the family ranch with his old-fashioned, stubborn father (Melvyn Douglas) and the impressionistic family member who idolizes them both.

Jon Moritsugu, USA, 1993, 60 min

Holly (Jenny Woo), Marvin (writer/director Jon Moritsugu), and Katzumi (Moritsugu again) are average Asian-American teenage siblings with not-so-average predilections for backstabbing, kinky sex, and drug-fueled freakouts. Neglected by their parents, the kids turn to outside “help” (including the scene-stealing Amy Davis, Moritsugu’s wife and longtime collaborator) in order to escape their bored existence. Naturally, this leads to gore killings, sex tapes, and the most hilarious phone conversations ever captured on 16mm film. A candy-colored hellscape that feels like an episode of STRANGERS WITH CANDY that was filmed by Dario Argento during a three-day acid bender, Jon Moritsugu's TERMINAL USA is a crucial piece of 1990s alternative cinema—smart, shocking, and one of the most deranged films to ever be funded by American taxpayers. This is the film HEATHERS wished it could be.

Tomás Pichardo-Espaillat, Dominican Republic, 2024, 81 min

Olivia, haunted by a past love that lives under her bed, trades flowers with it for comforting rain clouds. Barbara, rejected by Mauricio, escapes reality through fantastical stories. Mauricio, full of regrets, is swallowed by the earth. Ramon, smitten by Olivia, witnesses the growth of a strange plant mirroring her. The film surreally explores the enduring power of love's memory.

Lorena Alvarado, Venezuela, 2024, 67 mins

When a letter nestled deep inside her father’s library details the writing of an unknown author, the young, ambitious bibliophile Ena sets off to find his work. Is the fabled book real? Did the author even exist? Where most movies might use this to kick off a treasure hunt, Lost Chapters opens a door to Venezuela’s rich cultural history and troubled present. A master class in composition and sound design that leaves no detail to chance, Lorena Alvarado’s feature debut recalls the intellectual obsessiveness of Roberto Bolaño while achieving a remarkable sense of equanimity and emotional warmth from her real-life sister, father, and grandmother, whose on-screen naturalism never once lapses into mannerism. 

Alejo Moguillansky, Argentina, 2025, 106 min

A little girl and a blind man staring at a lake that blurs the limits of space. Two actors coming together as lovers to rehearse an old play in a southern country. Two old men living inside a rubbish bin in front of the Congress of that same southern country. A son in perpetual farewell with his aging mother, a blind pianist condemned to play Beethoven’s Moonlight, because it is the only piece she still remembers by heart. Two filmmakers, perhaps responsible for all of the above, shooting trains, moons, and devoting their time to an activity that no one knows if it still exists: cinema.

David Bim, Cuba/Spain, 2025, 74 min

Landi and Mercedes live in Cuba’s Zapata swamp, a biosphere reserve. To feed their sick child, Landi must secretly hunt crocodiles, leaving his wife and son behind for days on end. Amid social unrest and a global pandemic, To the West, in Zapata follows this loving family as they go to extreme lengths to survive, in a constant cycle of reunion and separation.

Joel Alfonso Vargas, 2025, USA, 101 min

Rico belongs to a tight-knit Dominican-American community in the Bronx. He is hustling his way through a carefree summer, selling bootleg “nutcracker” cocktails and chasing girls on the beach. But when circumstances arise that force his girlfriend Destiny to move in with his family, the small apartment becomes the stage for their messy, complicated love life. It is only a matter of time before they must face a sobering reality: they are growing up too fast in a city that waits for no one. Writer-director Joel Alfonso Vargas turns his hometown into the heartbeat of his debut feature film. Teaming up with talent cast on the streets, he and his two leading actors deliver an authentic, slice-of-life portrait of the Bronx. With grit and humour, he paints a tender portrait of the chaos and charm of urban living as well as the ups and downs of youthful abandon when life takes an unexpected turn.

Francisco Martins & José Antonio Garcia, Brazil, 1983, 103 min

Women’s football was banned in Brazil until 1979, and women were only able to form teams in 1983, the year ONDA NOVA was produced. Banned by the Brazilian dictatorship before its release and recently restored in 4K, the film brings together stories about the young players of the newly formed Gayvotas Football Club. With the support of players from the 80’s who were well-known for their political stances as well as their football, this erotic and anarchic comedy features cameos from Casagrande and others involved in the Brazilian struggle for democracy. Facing the many prejudices of a conservative society while navigating personal, romantic, and family dynamics, the team prepares for a symbolic international match.

Yamel Thompson, 2025, Mexico/Argentina 62 min

Yamel, a Mexican cinema student in Cuba, is randomly filming a stormy afternoon in Havana when Jans, an 18-year-old fisherman, walks across her frame and captures her attention. From that first recorded encounter, she, her camera and him become intertwined. As real emotions emerge, ethical questions appear. Why can’t she stop filming him?

Diego Soto, 2025, Chile, 78 min

Nieves runs a small recreational pool with her son. One summer, a biker falls in love with her, but the romance seems doomed. Everything changes with the arrival of a filmmaker, who decides to include both of them in her new movie. As they become film actors, the boundaries between fiction and their emotions will begin to blur.

Milagros Mumenthaler, 2025, Switzerland/Argentina, 104 mins

While on a work trip in Switzerland, where she’s being fêted for her storied fashion career, designer Lina (Isabel Aimé González Sola) plunges herself, without warning, into an icy winter lake. After surviving the shocking ordeal, Lina returns to her hometown of Buenos Aires, yet a transformation has taken place within her, and she finds it impossible to readjust to her former life as a wife, mother, and artist, distancing herself from her husband (Esteban Bigliardi) and career. Acclaimed Argentinean filmmaker Milagros Mumenthaler (Back to Stay) has constructed a compelling existential puzzle, a work of psychological interiority that, with its oblique narrative and complexly layered soundscape evoking a woman’s enigmatic dissociation, recalls the work of Lucrecia Martel and Todd Haynes, yet with its own singular emotional perspective and aesthetic sophistication.

FREE SCREENING!

René Cardona, 1968, Mexico, 80 min

When a mad scientist begins kidnapping wrestlers and extracting their spinal fluid to create a race of Gill Men, two cops call in Batwoman to investigate. But when her mission leaves the scientist horrifically scarred, he seeks revenge.

The M. Sisters, 2025, USA, 72 min

Two maladapted young women, both part of the same internet gore enthusiast community, formulate a plan to meet in person with the intent that one will kill the other, film the killing, and then sell the cameras that “watched” to unsuspecting customers online in the hopes of spurring on a “new era of death.” Inspired in equal parts by mumblecore, shot-on-video horror, and a deep unease formed by the internet’s mass syndication of violence, Divine Hammer is the debut feature by the M. Sisters, the multimedia duo of Hazel and Mae M.

Devon Daniel Green, 2025, USA, 63 min

In the near future, petty criminals are sentenced to act in art films in lieu of jail time. 10 years after that, groups of experimental theater students and clandestine filmmakers attempt to recreate an iconic “lost” film from this era, the mysterious, and possibly haunted. Shot with gear, locations and friends all borrowed and stolen, MID/EVIL TIMES is a broken kaleidoscope of SOV filmmaking, reflecting the horrors and joys of the creative act in a world overtly hostile towards free expression. Featuring a cast of familiar faces from the LA underground film scene, “Weener Kleener Soap”, and gratuitous Godard references, behold this evocation of the past and questionable conjuring of the future.