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Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27

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Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27 BAMcinématek presents Indie 80s, a comprehensive, 60+ film series highlighting the decade between 70s New Hollywood and the 90s indie boom, Jul 17—Aug 27 Co-presented by Cinema Conservancy The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/June 11, 2015—From Friday, July 17 through Thursday, August 27, BAMcinématek and Cinema Conservancy present Indie 80s, a sweeping survey of nearly 70 films from the rough-and-tumble early days of modern American independent cinema. An aesthetic and political rebuke to the greed-is-good culture of bloated blockbusters and the trumped-up monoculture of Reagan-era America, Indie 80s showcases acclaimed works like Jim Jarmusch’s Stranger Than Paradise (1984—Jul 18), David Lynch’s Blue Velvet (1986—Aug 8), and Steven Soderbergh’s sex, lies, and videotape (1989—Aug 14) alongside many lesser- known but equally accomplished works that struggled to find proper distribution in the era before studio classics divisions. Filmmakers including Ross McElwee, William Lustig, Rob Nilsson, and more will appear in person to discuss their work. Like the returning expatriate’s odyssey in Robert Kramer’s four-hour road movie Route One/USA (1989—Aug 16), a sampling of 80s indie cinema comprises an expansive journey through the less-traveled byways of America. From the wintry Twin Cities of the improvised, hilariously profane road trip Patti Rocks (1988—Aug 25) to the psychopath’s stark Chicago hunting grounds in John McNaughton’s Henry: Portrait of a Serial Killer (1986—Jul 29) to the muggy Keys of Florida in filmmaker Victor Nuñez’s eco-thriller A Flash of Green (1984—Aug 12), regional filmmakers’ cameras canvassed an America largely invisible to Hollywood. North Carolina’s Ross McElwee trains his camera on Southern womanhood in his droll dating memoir Sherman’s March (1986—Jul 19) and Pennsylvania’s irrepressible Tony Buba sings the steeltown blues in Lightning Over Braddock (1988—Jul 28). In and around Portland, Gus Van Sant crewed on Penny Allen’s amazing modern-day pot-farming western Paydirt (1981—Aug 5), then made his own debut with a headlong chronicle of unrequited lust, Mala Noche (1986—Jul 25). Then there’s Koch-era NYC: a dystopia exposed in Abel Ferrara’s notorious rape-revenge provocation Ms. 45 (1981—Aug 15), William Lustig’s urban-jungle nightmare Vigilante (1983— Jul 30), and Amos Poe’s synthesizers-and-spandex noir Alphabet City (1984—Aug 26), then redeemed in the inclusive visions of Sara Driver’s quirky Chinatown fantasy Sleepwalk (1986— Aug 26), Nancy Savoca’s intimate evocation of Morris Park Italian-Americans in True Love (1989—Aug 5), and Bill Sherwood’s look at love and friendship among gay men in the AIDS era, Parting Glances (1986—Aug 4). Diego Echevarria compiles affectionate character sketches of the Puerto Rican residents of an unrecognizably ungentrified Williamsburg in Los Sures (1984— Jul 26), while Charlie Ahearn makes actual graffiti artists and hip-hop pioneers the protagonists of Wild Style (1983—Aug 21). The abundance of major works by filmmakers of color was a breakthrough of the 80s indie cinema—films like Robert Townsend’s Hollywood Shuffle (1987—Jul 17), which opens the series; Bill Gunn’s avant-garde soap opera Personal Problems (1980—Aug 24); the recently rediscovered Losing Ground (1982—Jul 25) and Spike Lee’s She’s Gotta Have It (1986—Aug 23), both vivid portraits of intellectually and sexually liberated Black women; and, from the rich, UCLA-based “LA Rebellion” movement, the finely etched South Central slices of life, My Brother’s Wedding (1983—Aug 13), Ashes and Embers (1982—Aug 18), and Bless Their Little Hearts (1984— Aug 6). Before The Artist came Charles Lane’s silent Chaplin tribute Sidewalk Stories (1989—Jul 19), and before Catch Me If You Can there was the audacious Sundance prizewinner Chameleon Street (1990—Aug 27), starring director Wendell B. Harris, Jr. as a (real-life) con man for whom impersonation was a means of flouting racism. The series also showcases films focusing on ethnic and social groups previously underrepresented in cinema, such as the Chinese-American cabbies-cum-sleuths of Wayne Wang’s Chan Is Missing (1982— Aug 17), the gospel singers of Say Amen Somebody (1982—Aug 25), and the Guatemalan refugees of Gregory Nava’s immigrant epic El Norte (1983—Aug 11), as well as the radical historical figures celebrated in The Ballad of Gregorio Cortez (1982—Jul 29) and John Sayles’ Matewan (1987—Jul 27). Rejected by PBS for its uncomfortable candor, the revelatory Seventeen (1983—Aug 7) examines the complexities of interracial relationships among Muncie, IN teenagers, while Who Killed Vincent Chin? (1987—Aug 19)—a demise-of-the-automotive-industry companion piece to Michael Moore’s Roger & Me (1989—Aug 22)—exposes the racism surrounding the brutal killing of a Chinese-American auto worker. Other underseen films include Alan Rudolph’s futuristic rain-and-neon fugue Trouble in Mind (1985—Jul 22); Joyce Chopra’s sensuous, enigmatic Joyce Carol Oates adaptation Smooth Talk (1985—Jul 23); Beth B and Scott B’s underground conspiracy thriller Vortex (1982—Aug 10), starring Lydia Lunch; Jon Jost’s marital meltdown Bell Diamond (1986—Aug 3), disarmingly performed by non-professional actors; and separate entries from the directors of the classic Northern Lights (1978): John Hanson’s Wildrose (1984—Jul 21), an unvarnished look at a Minnesota blue-collar worker (Lisa Eichhorn) who faces sexism at home and at work, and Rob Nilsson’s intense Heat and Sunlight (1987—Jul 20), starring the director as a photographer who cracks up following a break-up. Also screening are outsider horror franchise favorites Evil Dead (1981—Aug 21), Day of the Dead (1985—Aug 7), and Nightmare on Elm Street; (1984—Jul 24); documentaries from Errol Morris, Jonathan Demme, and Penelope Spheeris; the feature debuts of Hal Hartley and the Coen Brothers; and much more. For press information, please contact Lisa Thomas at 718.724.8023 / [email protected] Hannah Thomas at 718.724.8002 / [email protected] Michael Lieberman / Film Presence at 646.415.9158 / [email protected] Indie 80s Schedule Fri, Jul 17 2, 4:30, 7, 9:30pm: Hollywood Shuffle Sat, Jul 18 2, 7pm: Stranger Than Paradise 4:30, 9:30pm: The Decline of Western Civilization Part II: The Metal Years Sun, Jul 19 2, 4:30pm*: Sidewalk Stories 7pm: Sherman’s March Mon, Jul 20 5, 7:30pm*: Heat and Sunlight Tue, Jul 21 5, 9:45pm: Poto and Cabengo 7pm*: Wildrose Wed, Jul 22 5, 9:30pm: Gap-Toothed Women + In Heaven There Is No Beer? 7pm: Trouble in Mind Thu, Jul 23 5, 7:30pm*: Smooth Talk Fri, Jul 24 2, 7pm: River's Edge 4:30, 9:30pm: A Nightmare on Elm Street Sat, Jul 25 2, 7pm: Losing Ground 4:30, 9:30pm: Mala Noche Sun, Jul 26 2, 6:30pm: Los Sures 4, 8:15pm: The Thin Blue Line Mon, Jul 27 7:30pm*: Matewan Tue, Jul 28 7, 9:30pm: Lightning Over Braddock Wed, Jul 29 7pm: The Ballad of Gregorio Cortez 9:30pm: Henry: Portrait of a Serial Killer Thu, Jul 30 4:30, 9:30pm*: Vigilante 7pm: Blank Generation Mon, Aug 3 7pm*: Will 9:30pm: Bell Diamond Tue, Aug 4 7:30, 9:30pm: Parting Glances Wed, Aug 5 4:30, 9:30pm: True Love 7pm: Paydirt Thu, Aug 6 7, 9:30pm: Bless Their Little Hearts Fri, Aug 7 2, 4:30, 10pm: Day of the Dead 7pm*: Seventeen Sat, Aug 8 2, 7pm: Blood Simple 4:30, 9:30pm: Blue Velvet Sun, Aug 9 2, 7pm: Swimming to Cambodia 4, 9pm: Let’s Get Lost Mon, Aug 10 7pm*: Landlord Blues 9:30pm: Vortex Tue, Aug 11 7:30pm: El Norte Wed, Aug 12 7pm: Willie 9pm: Flash of Green Thu, Aug 13 7, 9:30pm: My Brother’s Wedding Fri, Aug 14 2, 7pm: sex, lies, and videotape 4:30, 9:30pm: This Is Spinal Tap Sat, Aug 15 2, 6:30pm: The Unbelievable Truth 4:15, 9pm: Ms. 45 Sun, Aug 16 2, 9:15pm: The Cosmic Eye 4pm: Route One/USA Mon, Aug 17 7:30, 9:30pm: Chan is Missing Tue, Aug 18 7pm: The Ties That Bind 8:30pm: Ashes and Embers Wed, Aug 19 7pm: My Degeneration 8:30pm: Who Killed Vincent Chin? Fri, Aug 21 2, 4:30, 9:30pm: Evil Dead 7pm: Wild Style Sat, Aug 22 2, 7pm: Roger and Me 4:30, 9:30pm: My Dinner with Andre Sun, Aug 23 2, 7, 9:30pm: She’s Gotta Have It 4:30pm: St. Clair Bourne Program Mon, Aug 24 7:30pm*: Personal Problems Tue, Aug 25 4:30, 7pm: Say Amen Somebody 9:30pm: Patti Rocks Wed, Aug 26 7pm*: Sleepwalk 9:30pm: Alphabet City Thu, Aug 27 7pm: Chameleon Street *Filmmaker in person Film Descriptions All films in 35mm unless otherwise noted. Alphabet City (1984) 85min Directed by Amos Poe. With Vincent Spano, Michael Winslow, Kate Vernon. Nineeteen-year-old Johnny (Spano) is an East Village drug kingpin with the white Pontiac Firebird to prove it. But when he decides to go straight, he finds that the mob that made him isn’t going to let him off that easily. Punk filmmaker Amos Poe crafts a luridly expressionistic gangster saga set amidst the neon- splashed mean streets of the Lower East Side. The echt-80s, synthpop soundtrack is by Chic’s Nile Rodgers. Wed, Aug 26 at 9:30pm Ashes and Embers (1982) 120min Directed by Haile Gerima. With John Anderson, Evelyn A.
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