DFW premiere! With post-screening virtual Q&A featuring director Charles Roxburgh and actor Matt Farley!

Charles Roxburgh, 2025, USA, 95 min

Set in the town of Medialight in New England, local resident Reggie (Chris Peterson) discovers a magic rock that allows him to stop time. He uses this for mundane purposes like beating his friends at chess, but all goes awry when he accidentally learns water can turn evil when time is stopped. These magic powers were well known to the ancient Pilgrims but have been forgotten. As evil puddles spread through the town, William (Matt Farley), and expert in Pilgrimic Studies Dr. Jeff Tessin (Kevin McGee) have to work to save humanity from this menace.

FREE SCREENING!

Dariush Mehrjui, 1969, Iran, 105 min.

This milestone of the Iranian New Wave portrays, with heartbreaking intensity, the themes of solitude and obsession in the story of a poor villager (unforgettably played by Ezzatolah Entezami) whose only source of joy and livelihood is his cow. When the cow is mysteriously killed one night, the metamorphosis begins. Based on short stories by psychiatrist Gholam-Hossein Sa’edi, The Cow was smuggled to the Venice Film Festival in defiance of an export ban, where it was almost immediately and internationally recognized as a masterpiece.

Roy Power, Adam Weiner, 2023, USA, 80 min

'ART DEALERS' is a unique hybrid-genre concert film starring the musician and rock 'n' roll performance artist Low Cut Connie, depicting a stunning 3-show run in 2022 New York City. The concert is set against 5 years of documentary footage that explores the struggle, frustrations, and humor of living a working class "art life" in modern America.

Govindan Aravindan, 1979, India, 90 min

Govindan Aravindan’s fourth feature is one of the great achievements of the Parallel Cinema, of which Aravindan was a key member—a movement which also included such masters as Satyajit Ray and Ritwik Ghatak. A poetic work informed by folklore and early cinema alike, Kummatty tells the tale of a trickster “bogeyman” who descends upon a village in Malabar year after year, drawing children whom he transforms into animals through sorcery.

Post-screening virtual Q&A with author Will Sloan whose new book Ed Wood: Made in Hollywood, USA is out now via OR Books.

Ed Wood, USA, 1953, 65 min

“A rich amalgam of film noir, the manipulative authority of the medical profession, and the power of sexuality.” — Bright Lights Film Journal

Thoughtful, surreal, and daring, GLEN OR GLENDA is the infamous directorial debut from Ed Wood (PLAN 9 FROM OUTER SPACE). Glen (played by Ed himself) has a secret which could destroy a happily-ever-after with his lady, for how can she handle another woman in Glen’s life? And what will she do when she finds out Glen is the other woman? And what in the world is Bela Lugosi going on about when he says, “PULL THE STRINGS?!” As we re-examine our cinematic past, GLEN OR GLENDA emerges as the world’s first trans-centric movie—though as it predates contemporary terminology, its characters are not technically definied within the movie as “trans." GLEN OR GLENDA is not only rock-solid history—it’s deeply touching as well.

Lina Wertmüller, 1975, Italy, 115 mins // FREE SCREENING!

In 1930s Italy, Pasqualino (Giancarlo Giannini), a low-level Sicilian thug, kills a man who disgraced his sister. Pasqualino pleads insanity and manages to escape imprisonment by joining the military, but he decides to go AWOL when things get too heavy. Unfortunately, he soon finds himself stuck in a concentration camp. There, Pasqualino vows to do anything in order to survive -- even if that means seducing an obese, female German camp commandant (Shirley Stoler) or ratting out his own pals.

Alphonse Puthren, 2015, India, 156 min

While a man's first love turns out to be a disappointment, a college lecturer, rekindles his love interest; his romantic journey takes him through several stages, helping him find his purpose

Black Alliance for Peace is hosting this screening that will also include a post-screening discussion afterwards. FREE SCREENING!

Juel Taylor, 2023, USA, 122 mins

A series of eerie events thrusts an unlikely trio onto the trail of a nefarious government conspiracy in this pulpy mystery caper.

Lina Wertmüller, 1972, Italy, 121 min // FREE SCREENING!

Mimi (Giancarlo Giannini) is a Sicilian dockworker who inadvertently becomes embroiled in an increasingly complicated array of personal conflicts. When he loses his job after voting against a Mafia kingpin in an allegedly secret election, Mimi leaves his wife to find new work. He moves to Turin, where he engages in an affair with a Communist organizer. Soon Mimi finds himself juggling two demanding relationships while plotting to take revenge against the corrupt forces that ruined his life.

Haydn Keenan, 1983, Australia, 94 min

Middle-class Karli (Tracy Mann, Hard Knocks), alcoholic Jane (Vera Plevnik, Monkey Grip), unemployed Jackie (Julie Barry, Hell Hole), and square Ellen (Moira MacLaine-Cross, Tender Hooks) are four friends living together and barely scraping by in suburban Sydney. But when Karli’s father offers her a little money and a one-way ticket to New York, she finally sees a way out of her dead-end life—that is, until the money goes missing, kickstarting a final night out on the town that none of them will ever forget. 

With a screenplay written by and based on the lives of two of its stars, performances from local Sydney bands Pel Mel and the Dynamic Hepnotics, and supporting appearances by a handful of beloved Ozploitation regulars—including David Argue (BMX Bandits) and Hugh Keays-Byrne (Mad Max)—Haydn Keenan’s debut feature Going Down is an underseen landmark of Australian cinema and a vivid portrait of Sydney in the early 80s. Existing somewhere between Susan Seidelman’s Smithereens and Juliet Berto and Jean-Henri Roger’s Neige in its depictions of the thrills and dangers of urban life, Going Down is a visceral testament to friendship and making it at any cost.

Ingmar Bergman, Sweden, 1958, 101 min

Ingmar Bergman's The Magician (Ansiktet) is an engaging, brilliantly conceived tale of deceit from one of cinema’s premier illusionists. Max von Sydow stars as Dr. Vogler, a nineteenth-century traveling mesmerist and peddler of potions whose magic is put to the test in Stockholm by the cruel, eminently rational royal medical adviser Dr. Vergérus. The result is a diabolically clever battle of wits that’s both frightening and funny, shot in rich, gorgeously gothic black and white.

Sacha Guitry, France, 1936, 81 min

Considered Sacha Guitry’s masterpiece, this fleet, witty picaresque about a gambler and petty thief is a whimsical delight. Guitry himself stars as the tricheur looking back fondly on a life of crime, which he narrates with an effervescence matched by that of the film's skillful editing and cinematography. With its rapid storytelling and novel use of voice-over, The Story of a Cheat has influenced filmmakers from Orson Welles to François Truffaut.

Robert Bresson, France, 1983, 84 min

In his ruthlessly clear-eyed final film, French master Robert Bresson pushed his unique blend of spiritual rumination and formal rigor to a new level of astringency. Transposing a Tolstoy novella to contemporary Paris, L’argent follows a counterfeit bill as it originates as a prop in a schoolboy prank, then circulates like a virus among the corrupt and the virtuous alike before landing with a young truck driver and leading him to incarceration and violence. With brutal economy, Bresson constructs his unforgiving vision of original sin out of starkly perceived details, rooting his characters in a dehumanizing material world that withholds any hope of transcendence.

Mani Ratnam, India, 1995, 141 min

A Hindu man and a Muslim woman fall in love in a small village and move to Mumbai, where they have two children. However, growing religious tensions and erupting riots threaten to tear the family apart.

Kinji Fukasaku, 1968, Japan, 86 min

“A master criminal, the Black Lizard (played by drag and cabaret legend Akihiro Miwa), plots a masterful kidnapping scheme in order to obtain that magnificent Star of Egypt jewels. That’s class, and wait until you see her psychedelic crime layer!

BLACK LIZARD is a gender-annihilating Diabolik-esque with eye-popping costumes and sets, based on a screenplay by Yukio Mishima, who appears as a human statue in the film, from a story by Rampo Edogawa!” — Church of Film

Wendell B. Harris Jr., 1990, USA, 94 min

Winner of the Grand Jury Prize at the 1990 Sundance Film Festival—yet criminally underseen for over three decades—Chameleon Street recounts the improbable but true story of Michigan con man Douglas Street, the titular “chameleon” who successfully impersonated his way up the socioeconomic ladder by posing as a magazine reporter, an Ivy League student, a respected surgeon, and a corporate lawyer. Elevated by a dexterous performance and daring direction from multi-hyphenate actor-writer-director Wendell B. Harris Jr., the film pins a lens on race, class and performance in American identity, which has lost none of its relevance. At once piercingly funny and aesthetically mischievous, Chameleon Street is a “lost masterpiece of Black American cinema” (BFI) long overdue to take its rightful place in the independent film canon.

Kinji Fukasaku, 1968, Japan, 86 min

“A master criminal, the Black Lizard (played by drag and cabaret legend Akihiro Miwa), plots a masterful kidnapping scheme in order to obtain that magnificent Star of Egypt jewels. That’s class, and wait until you see her psychedelic crime layer!

BLACK LIZARD is a gender-annihilating Diabolik-esque with eye-popping costumes and sets, based on a screenplay by Yukio Mishima, who appears as a human statue in the film, from a story by Rampo Edogawa!” — Church of Film

Gorman Bechard, 1984, USA, 84 min

Featuring a live virtual post-screening Q&A with director Gorman Bechard!

Alicia has been receiving strange phone calls in which loud and ghastly sounds echo through the receiver. Her relationship with her boyfriend, Mike, has hit a dead end and Alicia fears he's having an affair with her twin sister, Barbara Ann. And all the while, a psychotic slasher is murdering young women with the police powerless to stop him. But then Alicia meets kind and nerdy Franklin. Will he be the man she's been searching for, or will his own dark secrets destroy their newfound happiness. Gorman Bechard's (PSYCHOS IN LOVE) directorial debut, DISCONNECTED is a low budget, regional slasher oddity that subverts genre expectations, leading to a brutal and unsettling finale.

Yalcy is a Dallas based DJ & producer that also runs the DFW based record label Innasection.

Music Time is a class in which you will:

• Collaborate with a community of like-minded individuals

• Cultivate a sustainable creative practice

• Develop skills and knowledge in music production, Ableton and mixing

• Make some cool music

Class is Sunday, April 27th from 2-5pm. $30 admission to this class!

M. Woods, USA, 2020, 75 min

Following the screening will be an in-person Q&A with M. Woods.

BODY PROP is an avant-garde essay film and attack against the ontology of white imperialism. Made of mostly hand-processed super 8 film, 16mm, and archival video. The piece, in five movements, takes on the subject of the Body as a prop, as a body politic, as a simulation, and as a necropolitical expense, creating a “Cadaver Decomposition Island” of discarded scraps of Super 8 and archival material reveal the shadow of US nihilism within the advanced stage of hyperreality.

Combining original manifestoes (in the style of Situationism) with excerpts of Jean Baudrillard’s A System of Objects, Sartre’s Being and Nothingness and other treatises on phenomenological existentialism, Biblical passages from Genesis and Ecclesiastes, impeachment transcripts, Beloved by Toni Morrison, the speeches of Malcolm X, YouTube news archives, and dozens of other texts in conversation in a tumult of signs, oscillating in a trance between attempting to situate within and disassociate from the Body Prop. The cinema itself is a Body Prop - simultaneously full and devoid of feeling and sensory. Featuring an original score composed of Hip-Hop beats and experimental soundscapes created by director M Woods.

Warning: Body Prop contains accounts and representations of racism, violence, sex, and nudity. Parts of this work are based in actual events. Some parts contain fast edits and strobing imagery and that may negatively impact those viewers with epilepsy and other light-sensitive disorders.

Mayabazar, a new monthly series spotlight the best of Indian cinema, presents their inaugural screening!

Maneesh Sharma, 2010, India, 140 mins

Shruti (Anushka Sharma), girl in her 20's, focused, determined as well ambitious. Bittoo (Ranveer Singh), on the other hand, has no real aim in life. They become partners in their very own “Wedding planning ka bijness”. Together, their friendship and business, enters the ups and downs of the lavish Delhi weddings and while trying to find themselves, Shruti and Bittoo discover each other.

Heiny Srour, Lebanon/Palestine, 1984, 90 min

Leila, a young Lebanese woman living in London, travels back in time through 20th century Lebanon and Palestine. Leila and the Wolves brings together documentary elements and evocations of Arab mythology. For several years, Srour captured images in often dangerous locations, combining them with archive films to reconstruct conventional historical narratives. Focusing on the often neglected political and social contributions of women, the film brings a feminist, but ironic perspective on the region's conflicted colonial past.

Heiny Srour, France/Lebanon/Oman/UK, 1974, 64 min

In the late 60s, Dhofar rose up against the British-backed Sultanate of Oman, in a democratic, Leninist guerrilla movement. Director Heiny Srour and her team crossed 500 miles of desert and mountains by foot, under bombardment by the British Royal Air Force, to reach the conflict zone and capture this rare record of a now mostly forgotten war.

Justin Decloux, 2017, USA, 76 min

Featuring a live virtual post-screening Q&A with director Justin Decloux!

Lily, an insomniac filmmaker who is facing a crippling creative block, begins to hear a sinister scream outside her window every night. Convinced that she must find a way to help the person that is screaming, Lily heads into the darkness of her neighbourhood and meets Hannah, a veteran scream hunter, obsessed with putting a stop to the nightly occurrence. The women join forces to solve the bloodcurdling mystery and quickly discover that its true source may be an otherworldly threat that is driving its victims into madness - and Lily and Hannah are next.