October – Art Horror

Wednesday, October 3 – CLO 110 @ 6:30pm

Suspiria

1977 – Italy – Directed by Dario Argento

“[Argento’s] films are dreamlike acts of impressionistic fear, encountered as one might a childhood nightmare or a flesh and blood incarnation of a Grimm fairy tale. The subject here is witchcraft, and you’d be a fool to expect stable logic to be guiding the proceedings; rather, it’s a fractured experience at the hands of evil. Be grateful the pieces come together as readily as they do. The Goblins’ carnivalesque, tribal score amplifies the horror like the roar of fire leading to a hellmouth, and saturated, bold color schemes permit an otherworldly tone, like fantasy come to life. The spare parts of haunted house archetypes are tongue in cheek, but the film also exercises an immediately perpetual choke hold on the senses. Blood spills like crimson strokes, the tearing of flesh hurts as much as it looks unreal, and things go bump in the night. It’s nestled amongst the highest water marks of the horror genre” – The Projection Booth




Wednesday, October 10 – CLO 110 @ 6:30pm

Peeping Tom

1960 – UK – Directed by Michael Powell

“Reviled and fetishized, Michael Powell’s undeniable—if unsavory—classic was the original first-person horror film. Released in Britain barely a month before Psycho had its American premiere, Powell’s serial-killer saga is no less perverse and perhaps even more disturbing. If Powell lacks Hitchcock’s ruthless direction of the audience, he’s more luridly fanciful and blatantly self-reflexive in constructing his infernal machine. Peeping Tom exerts an awful fascination, as well it might. This is the movie that puts the sin in cinephilia. Although subsequently championed by Martin Scorsese and recycled by Brian De Palma, the story of a crazed amateur filmmaker who (literally) uses his camera to torture and murder the women he photographs, effectively ended Powell’s directorial career.” — The Village Voice




Thursday, October 18 – CLO 110 @ 6:30pm

The Exorcist

1974 – USA – Directed by William Friedkin

“Some movies aren’t just movies. They’re closer to voodoo — they channel currents larger and more powerful than themselves. The audiences that lined up to see The Exorcist in the late winter and early spring of 1974 were drawn by a primal desire to get shocked and prodded in a way that they’d never been shocked and prodded before. The picture was marketed as a deeply solemn ”religious” hex horror movie, complete with catechismal mutterings and a showdown between good and evil, but the word of mouth told the true story. The pea-soup vomit! The pee on the floor! Scary? As hell. But this, make no mistake, was also a blasphemous, eruptive freak show, less Rosemary’s Baby than a supernatural Lolita’s Revenge as imagined by the Marquis de Sade.” — Owen Gleiberman




Wednesday, October 24 – CLO 110 @ 6:30pm

The Iron Rose

1973 – France – Directed by Jean Rollin

“The Iron Rose is a weird haunted graveyard piece that follows two young would-be lover who become trapped in a cemetery after dark, when the locking of the gates transforms the pathways into an inescapable maze. There are no monsters here, no vampires or predators, and the only ghosts are by suggestion. The Girl first resists the idea of a tryst in a graveyard and only grudgingly follows The Boy into the marble orchard. But as night falls and Rollin’s atmospheric night shooting transforms the familiar imagery of crypts and gravestones (he shot the film on location in Amiens Cemetery in Arras, France) into a weirdly beautiful world of stone totems and old ruins being recalled into the earth, the girl’s fright turns to a serenity that terrifies the boy. ‘Don’t worry,’ she says soothingly, ‘The dead are our friends.'” — Parallax View