Feb
25
3:00 PM15:00

LIQUID SKY

US. 1982

DIE: S. TSUKERMAN

Invisible aliens in a tiny flying saucer come to Earth looking for heroin. They land on top of a New York apartment inhabited by a drug dealer and her female, androgynous, bisexual nymphomaniac lover, a fashion model. The aliens soon find the human pheromones created in the brain during orgasm preferable to heroin, and the model's casual sex partners begin to disappear.

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Feb
26
7:00 PM19:00

FANTOMAS

FR. 1964

DIR: A. HUNEBELLE

Criminal mastermind Fantômas, a man of a thousand faces, is unhappy with Fandor, a journalist whose written a fictive interview of him. He kidnaps Fandor, threatens to kill him, but first goes about ruining the journalist's reputation by committing a sensational crime in Fandor's guise. Hot on the trail is police Commissaire Juve, so Fantômas commits a crime looking like him. Soon, our intrepid heroes, Fandor and Juve, with the help of Fandor's girlfriend Hélène, are on the mastermind's trail, but who's in control?

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Feb
26
9:00 PM21:00

I, OLGA HEPNAROVA

CZ. 2016

DIR: P. KAZDA

"My verdict is: I, Olga Hepnarová, the victim of your bestiality, sentence you to death penalty." Those were the famous words of the 22-year-old mass murderer Olga Hepnarová, who in 1973 drove a truck into a group of innocent people in Prague.

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Feb
27
7:30 PM19:30

FEMALE YAKUZA TALE

JP. 1973

DIR: T. ISHII

Ocho gets abducted by a yakuza clan that uses a gang of women to smuggle drugs in their vaginas. Finding out that the kingpin had killed the last boss and abducted his daughter, Ocho joins forces with the drug mules against the clan.

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Feb
28
7:30 PM19:30

THE SHOUT

UK. 1978

DIR: J. SKOLIMOWSKI

A traveler by the name of Crossley forces himself upon a musician and his wife in a lonely part of Devon, and uses the aboriginal magic he has learned to displace his host.

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Feb
28
9:00 PM21:00

WOMAN IN CHAINS

FR. 1968

DIR: H. G. CLOUZOT

Stanislas Hassler blazes the development of modern art in his gallery, packed with works of surprising shapes, colours and textures, and where exhibitions turn into media events. He devotes his free time to photography in an apartment that highlights his sophisticated artistic tastes. But besides enlarged pictures of calligraphic samples, Stanislas is amassing a collection of photographs that reveal a disturbed character.

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Mar
2
10:00 PM22:00

TEOREMA

IT. 1968

DIR: P. P. PASOLINI

A strange visitor in a wealthy family. He seduces the maid, the son, the mother, the daughter and finally the father before leaving a few days after. After he's gone, none of them can continue living as they did.

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Mar
13
7:00 PM19:00

Miskatonic Institute of Horror Studies presents: SHIRLEY JACKSON'S WEIRD

This class is devoted to the work of the reclusive Vermont author whose brutal short story, “The Lottery,” still holds the record for the most letters of protest sent to The New Yorker for publishing it. Come along with instructor Kristopher Woofter as we walk through the haunted spaces of Jackson’s four major works: THE LOTTERY AND OTHER STORIES (1949), and her “uncanny house trilogy,” THE SUNDIAL (1958), THE HAUNTING OF HILL HOUSE (1959), and WE HAVE ALWAYS LIVED IN THE CASTLE (1962). A bestseller in her time, and a major influence on authors like Stephen King and Joyce Carol Oates, Jackson’s work has gone relatively unacknowledged by scholarship that relegates her to obscurity. Jackson’s body of work varied from domestic satire in her darkly humorous memoirs RAISING DEMONS and LIFE AMONG THE SAVAGES), to young-adult fiction (THE WITCHCRAFT OF SALEM VILLAGE), to uncanny psychological studies (THE ROAD THROUGH THE WALL, THE BIRD’S NEST), to her most popular work in the realm of horror and the weird.  This class brings Jackson back to acknowledge her place as one of America’s—and without question one of horror’s—greatest writers.

Buy tickets here:

http://www.miskatonic-nyc.com/events/shirley-jacksons-weird/

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Mar
16
8:00 PM20:00

VAMPIRE CLAY

Absurdity and gore ensue as a possessed pile of clay begins terrorizing students at an art school.

"One bonkers Japanese body horror flick." 
Dread Central 

"Best movie where people are eaten by a sculpture." 
The Verge 

All tickets include free beer (thanks to Coney Island Brewery, 21+ with ID, no exceptions.) Doors at 7:30 - show begins at 8:00. $12 Online/$14 at the Door.

Directed By: Soichi Umezawa
Country: Japan
Language: Japanese
Year: 2018
Runtime: 81min

Sponsored by: CONEY ISLAND BREWERY

Buy tickets here:

https://brooklynhorrorfest.ticketleap.com/vampire-clay-presented-by-coney-island-brewery/

 

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Feb
19
7:00 PM19:00

BLANCHE

FR. 1971

DIR: W. BOROWCZYK

Blanche is the young, pure, beautiful wife of the Master of the castle, in a secluded land. Every man is in love with her, including the King and his servant Bartolomeo, visiting the Master.

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Feb
15
7:30 PM19:30

LUXURE

FR. 1976

DIR: M. PECAS

Luxure aka Sweet Taste of Honey. Laure is heartbroken after her husband leaves her for another women. She checks into the resort hotel where they spent many happy moments, in order to kill herself. Her plans change after she overhears the lovemaking of a honeymoon couple in the next room, and her fantasies rekindle her passion.

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Feb
14
7:00 PM19:00

ADELHEID

CZ. 1970

DIR: F. VLACIL

In the aftermath of World War II, a former Czech soldier takes charge of a manor formerly owned by a German family. He falls in love with the daughter, who is now a maid, and is forced to confront the stress between his love and his conscience when he discovers her sheltering her German-soldier brother.

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Feb
13
7:00 PM19:00

Miskatonic Institute of Horror Studies presents: BLACK HORROR: REVOLUTIONARY ACT OF SUBVERTING THE WHITE GAZE

From Spencer Williams’ Son of Ingagi to Jordan Peele’s Get Out, the cinematic screen has consistently served as a site of subversion for filmmakers of the African diaspora. Through the camera’s lens, tales of hauntings, demonic possession, vampirism, and hoodoo rituals gone awry have become a celluloid metaphor for colonization and racism’s toll on the Black psyche. Within this space, expressions of Black embodiment and the Black experience are momentarily freed from the limitations the white gaze. The narrative shifts, allowing for the complexity and depth of Black identity and its subsequent anxieties, fears, and vulnerabilities to be examined outside the constraints of traditional tropes.

Whether it’s Blaxploitation classics like Blacula and Sugar Hill, or successors like Spike Lee’s Da Sweet Blood of Jesus and the aforementioned Get Out, Black horror films are a historically visual mode of resistance within a pervasively supremacist culture. Rather than being sacrificial lambs, wise sages, or saviors to non-POC protagonists, Black characters within this context determine their goals and desires in opposition to whiteness rather than their proximity to it.  William Crain’s Prince Mamuwalde becomes the immortal Blacula, Ben — the sole Black character depicted in George Romero’s cult classic Night of the Living Dead —becomes a hero. Jordan Peele’s Chris becomes a survivor. Within this narrative context, the off-screen script is flipped. The marginalized aren’t merely centered, they’re canonized.

This multimedia presentation will offer an immersive thematic overview of Black horror narratives while highlighting noteworthy films within the genre spanning the early 1900s to modern day. Select films will be paired with excerpts of literary, sociological, and philosophical texts to enhance students understanding of the cinematic genre and its radical roots. Through visual, cultural, and historical exploration, this presentation aims to examine and foster dialogue about what happens when subjection is subverted and what stories can be told when the white gaze is decentered.

Buy tickets here:

http://www.miskatonic-nyc.com/events/black-horror-the-revolutionary-act-of-subverting-the-white-gaze/

 

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