Container #17 An Untitled and Perfectly-Legal Coming of Age Parody screening

Otherwise known as our secret screening.

Hello. Thank you once again for joining us.

Tonight’s Screening:
An Untitled and Perfectly-Legal Coming of Age Parody, ???, 2022, 92m
7pm Tuesday 25 April at The Elizabeth Picture Theatre
It’s a secret screening. Apparently it’s polite not to say too much about this screening but we can cut and paste a few quotes from people we’ve been working with.

“time-honoured tradition of bootleg cinema like “Superstar” by Todd Haynes and fiercely-queer midnight movies a la “Pink Flamingos”

“infamous harlequin”

“Punk as fuck, painstakingly autobiographical, deeply nerdy, psychotically hilarious, and surprisingly tearjerking”

Unrated 15+

With thanks to director Vera Drew who will also be introducing the film.

Presented in partnership with Static Vision.

Upcoming Screenings:
25 April: An Untitled and Perfectly-Legal Coming of Age Parody (with Static Vision and with the filmmaker Vera Drew in person)
9 May: Ben Rivers’ Urthworks
23 May: Recent 16mm films retrieved from NYC (in partnership with Artist Film Workshop and pictured above with Ross Meckfessel’s The Air of the Earth in Your Lungs.)

Cannes 2023 Lineup:
This year’s Cannes lineup has been released and we’re finally starting to see major titles emerge. (Notebook have the easiest versions to read for Cannes proper and Quinzaine.)
What seems to be largely missing are any unknown meteorites that could surprise or unsettles us. It’s likely that the latest films from Martin Scorsese, Nuri Bilge Ceylon, Wes Anderson or Jessica Hausner will be great or worthwhile, but at this point in their mid or late careers, the outline of their future works is fairly clear.

Titles that have a decent chance of proving us wrong include:
Jonathan Glazer’s The Zone of Interest. Though adapted from a Martin Amis novel, considering how radically changed Under the Skin ( 2013) was from its original novel it could go in any direction.
Kleber Mendonça Filho’s Pictures of Ghosts, an atypical essay on Brazil’s cinemas .(Filho is currently Brazil’s most interesting filmmaker and yet through quirks of fate not one of his films has been presented here. We really should do a retrospective of his work. At some point.)
Victor Erice’s To Close One Eyes. The first feature from Erice in thirty years and only his fourth after the astonishing Children of the Beehive (1973), The South (1983) and The Quince Tree Sun (1992).
Bertrand Mandico’s She is Conann. Mandico’s last film After Blue (2021) stunned us with its extravagant imagery and oddly literal conceptual ideas for the first half hour and then left us exhausted by the end of its two-hours. It could go anywhere.
Molly Manning’s Walker and Sean Price Williams’ The Sweet East. Two key US indie Cinematographers coming through with their feature debuts.

Cannes usually has a few late additions so hopefully long anticipated titles by Lisandro Alonso, Betrand Bonello, Bruno Dumont or Miguel Gomes belatedly appear.***
*** As of this morning, Cannes has added Lisandro Alonso’s long awaited Eureka (pictured above), along with an unexpected feature from Amat Escalante (The Untamed 2016) and a new short from Pedro Costa!

Thank you. We look forward to catching you tonight for our secret screening of some sort of well regarded film that plays on key intellectual property with director Vera Drew in attendance. Then in a fortnight’s time we’ll be presenting Urthworks—a trilogy of science fiction shorts by Ben Rivers and written in collaboration with science fiction author Mark von Schlegell. An odd collection of speculative fiction ethnographies that we’ve been looking forward to presenting for quite a while.