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When I was in my early 20s I worked at a video store called Limelight - the kind of place that had every Takashi Miike movie ever (including his children’s movies) but kept their lights on by stocking 5 copies of Pride and Prejudice. After that, I was lucky enough to get a K********a invite which allowed me to torrent deep cuts by Olivier Assayas, and prized .mp4s of Cameron Jamie’s movies. Maybe I just didn’t like leaving the house but I don’t think that 2005 - 2015 were great years to be going to the theater anyway. When I moved back to Vancouver I didn’t know many people so my sister suggested I volunteer at The Cinematheque, and it’s become one of my favorite places in the city. It’s basically got a lot of the same programming as The Metrograph minus a lot of the annoying pretensions of arthouse theaters that are… annoying. The Cinematheque even went through a redesign and it looks even better than it did before which never happens. Volunteers get to see whatever for free so sometimes I find myself there 4 times a week. Some of the most memorable screenings include Maborosi, The White Sheik, Even Dwarves Started Small, Caught By Night, Gun Crazy, and Out Of The Blue.
Dec 21, 2021
Related Recs
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Is this currently my favorite movie theater in NYC because they premiered my new film and hosted a complete retrospective of my work? Duh! But it’s deeper than that. Two years ago I was convinced the arthouse theatrical experience was doomed and that the future was ramshackle cine-clubs for a handful of scorched psychos. Turns out I was wrong. Things are back to normal and on any given night now there’s a surplus of amazing programming all across the city again. The biggest plot twist, though, was the rise of this posh, art deco, single screen theater beneath a fancy hotel in the heart of Tribeca as the new epicenter for contemporary indie cinema. While other venues floundered at first, the Roxy reopened with a bang, finally giving a theatrical run to Eugene Kotlyarenko’s Spree (which never got a proper theatrical release due to covid). Next thing I knew they gave Project Space 13 a run there too, despite not having played any festivals or any of that shit… and it was selling out! They’re doing the same for Betsey Brown’s Actors right now, which keeps getting extended. It’s been a while since I’ve seen a theater tap in this hard. Recent events with Abel Ferrara, the Ion Pack, Alex Ross Perry, and more have been unforgettable. Seeing ASAP Rocky hop on stage to freestyle with Abel after the Siberia premiere is one of my all time fondest memories there. It’s tight being able to see new films like The Scary of Sixty-First, Zola, or El Planeta balanced perfectly with rep fare like Screen Slate’s Bad Habits nun series and Sean Price Williams and Nick Pinkerton’s monthly ‘City Dudes.’ Head programmer Illyse Singer and her cohort Mitchell are heroes. Bonus points for being walking distance to the best new record store in town, Paradise of Replica.
Apr 7, 2022
It reminds me of how mubi used to be, they select one rare movie (documentaries, shorts, features new and old) per week with an essay about it. It's great if you want to build a habit of watching more movies, especially those that aren't widely known. And the best part: it's free!
Jan 13, 2025
at a local DIY cinema. An elderly man who volunteers there always gives the audience a quick intro to the film with the DVD case in his hand
The tickets are pay-what-you-can and the screen, sound, and programming are all great
I went with my friend with whom I usually hate-watch really bad 2010s dramas so it was nice to see a film that we actually love together
Dec 10, 2024
Top Recs from @asher-penn
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Eugene Kotlyarenko’s debut film 0’s & 1’s is still my favorite - and it’s heartwarming to know that it’s only been a decade after its premiere at a tiny Brooklyn theater that it’s finally getting the big screen screenings that it truly deserves. The simple story of a guy retracing his steps trying to find his lost computer - Slacker meets Dude Where’s My Car for the first generation of terminally online. But it’s the film’s relentless art direction that truly sets it apart - a multicam extravaganza framed within dozens of custom interfaces that rival both Hackers and The Net in channeling and elevating the aesthetics of the moment with painstakingly detailed easter eggs to be found on every fleeting frame. I’d also like to give a shout-out to We Are, my second favorite film by Eugene. Self-released almost a year ago, We Are is a continuation of his romantic comedies about breakups A Wonderful Cloud (2015) and Wobble Palace (2018) starring hapless losers mired in technological detritus - in this case, the employee of a pathetic virtual reality arcade. But unlike its predecessors We Are is Eugene’s most casual film to date, made with a whimsical looseness echoed in the character Stick’s XL tourist t-shirts and the soft soothing pace of his fidget spinner. It’s a funny movie, but it’s also sad… when Eugene breaks the 4th wall and slates a scene with Dasha, there is a self-accepting effortlessness that really feels like letting go. We Are is just a movie and that’s all it needs to be.
Dec 21, 2021
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I met Jon and Allie briefly at the Los Angeles Sex Magazine launch. They introduced themselves and volunteered to trade me copies of their respective debut novels, which they signed. I was happy to find that both their books were awesome and completely different and that the connective tissue between them seemed to be a love of writing and each other that made me want to become friends with them both.Talking to Delicious Tacos about Jon Lindsey’s Body High, he described it as the ultimate Al-Anon book ; the story of a protagonist, Leland that is perversely attracted to and desperately wants to save the self-destructive people in his life - his dead mother and step sister - as a way of avoid any sane behavior… And Leland’s unmanageability is psychotically inspired, as a legendarily fucked up series of situations of his own making unfold in front of him.By contrast, Allie Rowbottom’s Jello Girls is a relatively traditional memoir, where the family's history is directly intertwined to the economics of processed food, and the intergenerational curse it propels both in the mind and body. Given that the food in question is a pioneer in artificial nourishment the themes of cancer and eating disorders are uncannily poignant, especially as Rowbottom’s voice channels the dark irony of Karen Carpenter in her prose.
Dec 21, 2021
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Nymphet Alumni are a podcast devoted to analyzing the niche mainstream - cultural touchstones that didn’t necessarily die but instead morphed, rebranded, and shapeshifted into obsolescence, alongside contemporary trends that are almost too pervasive to identify. Sometimes these are brands (American Apparel, Oh Mighty), or platforms (Rookie, Tumblr), or social phenomena (Tik Tok Physiognomy, Nepotism Babies). Just because these subjects are massive in scale doesn’t make them easy to talk about, as the topics are so recent and fleeting that to subject them to thoughtful critical analysis feels too early or too late or just plain pointless- and maybe that’s the point. Listening to Alexi, Biz, and Sam’s compassionate and highly personal insights it’s clear that the ephemeral doesn’t arrive from - or exit into - the void.
Dec 21, 2021