From: Patrick Friel (email suppressed)
Date: Mon Oct 18 2010 - 23:01:34 PDT
Išm mistaken about U.S. Premiere. Too rushed and not enough research.
Apologies to those who screened already!!
On 10/19/10 12:38 AM, "Patrick Friel" <email suppressed> wrote:
> Oh, itšs Chicago. Sorry.
> On 10/19/10 12:18 AM, "Patrick Friel" <email suppressed> wrote:
>> White Light Cinema and The Music Box Theatre Present
>> The U.S. Premiere of Bruce LaBrucešs Controversial Film
>> L.A. ZOMBIE
>> Tuesday, October 26, 2010 10:00pm
>> At the Music Box Theatre (3737 N. Southport Ave.)
>> Queer film auteur Bruce LaBruce (No Skin Off My Ass, Super 8 12, Hustler
>> White, Otto; Or, Up with Dead People) raises the stakes for art porn with his
>> controversial new film L.A. ZOMBIE. It has enthralled and disgusted audiences
>> in equal measure at the Locarno Film Festival and the Toronto International
>> Film Festival and was officially banned (refused governmental
>> classification), but still secretly screened, in Australia.
>> LaBrucešs gay zombie horror porn is all of those things, but it is also
>> experimental in form, often lyrical in tone, and has an underlying social
>> message for those who want to find it.
>> ŗLetšs get a few things out of the way. L.A. Zombie is a hardcore gay porn
>> film. There are numerous scenes of men having graphic sex shot in the manner
>> of pornography, not art film erotica. The film also continues Bruce LaBrucešs
>> longstanding love affair with genre, with plenty of low-tech, half-eaten
>> corpses, lots of spurting blood and a most unusually-shaped zombie penis that
>> dominates the filmšs psycho-sexual world. Fair warning?
>> But L.A. Zombie is very much an art film, too. In fact, it is one of the most
>> poignant films about dashed expectations and the ennui of poverty I can
>> recall by a Canadian filmmaker. Its tone in some ways recalls LaBrucešs
>> revelatory first film, No Skin Off My Ass, but trades in LaBrucešs
>> hairdresser persona for a more fractured narrative gaze, a perspective borne
>> from the city itself and reminiscent of Jacques Rivettešs Paris nous
>> appartient. This sets L.A. Zombie far apart from LaBrucešs last ten years of
>> hardcore work, which has tended to strike a satirical, confrontational tone,
>> perhaps most notably in his agitprop phenomenon The Raspberry Reich.
>> Aesthetically, L.A. Zombie is a most unusual hybrid. Although LaBruce has
>> been working in digital video since starting to make more sexually explicit
>> work, he had yet to achieve the same cinematographic impact of the stunning
>> black-and-white photography of Super 8 1/2 or the seventies underground
>> aesthetic of Hustler White. L.A. Zombie changes that. LaBruce uses the
>> digital medium to stretch the Los Angeles landscape, using its endless
>> sunsets and radioactive, yellow glow to create an uneasy tone of penniless
>> decadence. Long shots are held for maximum imaginative power and the film
>> plays out in near silence. In many respects, L.A. Zombie feels like an update
>> of and tribute to Joe Gagešs revolutionary late-seventies gay porn trilogy,
>> which, in my mind, is among the finest set of films made in any genre.˛ (Noah
>> Cowan, Toronto International Film Festival)
>> L.A. ZOMBIE
>> (2010, 63 minutes festival version, Video)
>> Directed by Bruce LaBruce
>> Official website:
>> This screening is co-presented by White Light Cinema and the Music Box
>> The screening takes place Tuesday, October 26 at 10:00pm at the Music Box,
>> 3737 N. Southport Ave.
>> Admission: $9.25
>> www.whitelightcinema.com <http://www.whitelightcinema.com>
>> www.musicboxtheatre.com <http://www.musicboxtheatre.com>
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