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Currently On Sale
On Sale: 2008 Archive
FCS: Captain Ahab
Robert Gavaldón
Never Apologize
Revolutionary Romantic
YFF: L.I.E.
IN: Judge & General
FCS: The Deal
Kawakita
Gr. Scr.: Fields of Fuel
Dominique Delouche
SE: Four Hands
GS: The Cat and...
YFF: American Teen
Slovenian Cinema
SE: Magic Lantern
William Holden
SE: Jazz on a...
Satoshi Kon
IN: Critical Condition
HRW Collection
Human Rights Watch
Gr. Scr.: Biùtiful...
New Italian Cinema
YFF: Judy Berlin
Israel @ 60
Charles Boyer
Gr. Scr.: Nausicaä
Jennifer Jones
SE: Robert Frank
SE: Jerry Schatzberg
SE: Joachim Trier
1968: Intl. Perspective
Romanian Cinema
Met: La Fille du Régiment
SE: Ned Rorem
GS: The Kid Brother
YFF: Le Boucher
Gr. Scr.: Mountaintop...
IN: Phyllis and Harold
NYAFF 2008
SE: Dreams...
SE: On the Street
Met: La Bohème
ND/NF Classics 2008
Program Overview
Clerks
Dogma
Welcome...Dollhouse
Storytelling
My Brother’s Wedding
To Sleep with Anger
Clean, Shaven
Keane
The Living End
Totally F***ed Up
Gr. Scr.: Garbage...
Met: Tristan und Isolde
Thorold Dickinson
Met: Peter Grimes
Infernal Machines
Rendez-Vous 2008
Green Screens: Flow:...
Met: Manon Lescaut
YFF: Harold and Maude
Film Comment Selects
IN: From the Ground Up
SE: Two Laws
GS: Chang: A Story...
Envisioning Russia
YFF: The Ice Storm
NYJFF 2008
Celebrate Alex Corti
NYJFF JM Screens
Met: Macbeth
SE: City of Men
DOC 2008
Met: Hänsel and Gretel
On Sale: 2007 Archive
On Sale: 2006 Archive
On Sale: 2005 Archive
Archive 2005 - To April
Archive 2004 - WRT
Archive 2003 - WRT
Archive 2002 - WRT
Archive 2001 - WRT
Archive 2000 - WRT
Archive 1999 - WRT
Archive 1998 - WRT
Archive 1997 - WRT
Archive 1996 - WRT
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“Two horny gay guys, both HIV-positive, hit the road. The Living End is underground cinema resurrected west of the Rockies. Like the flashing neon on a cheap motel, The Living End is rude, colorful, and missing some letters––which is not surprising considering it was made on virtually no money, the considerable talent and invention of its director/writer/photographer/editor, and everyone’s energy and anger. Whether Gregg Araki’s third L.A. feature is read as a wild love story or a defiant romance, it certainly takes a combative position against victimization by either society or disease.”
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Fri Apr 4: 1
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