This Week in New York Insider's Guide to Arts & Culture in New York City Since 2001


Clay Pigeon

Clay Pigeon interviews construction worker Mark Paris in One October

ONE OCTOBER (Rachel Shuman, 2017)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Thursday, October 4, 7:15

In October 2008, in the midst of the Barack Obama / John McCain presidential election and the mortgage crisis, filmmaker Rachel Shuman took to the streets of New York City with Clay Pigeon, host of The Dusty Show on WFMU, interviewing people as they made their way across Manhattan and other boroughs. The Boston-born, Beacon-based Shuman intended to capture a moment in time and not release the film until after Obama’s second term ended to see how life in the city changed. The result is One October, a kind of love letter to who we were, are, and will be. Inspired by Chris Marker’s 1963 film Le Joli Mai, in which the French director interviewed people on the streets of Paris, Shuman follows Pigeon, Radio Shack mini tape recorder in hand, as he wanders through Central Park, Harlem, Washington Square Park, the Lower East Side, Madison Square Park, the Financial District, the Brooklyn Bridge, Willets Point, Tompkins Square Park, and other locations, approaching a series of men and women who share fascinating details about their personal and professional lives; the Iowa-born Pigeon has an innate knack for quickly understanding his subjects, asking intuitive questions that often surprise them. He speaks with a former freelance photographer who now works construction to make more money for his family, an ambitious lawyer who wants to work at the UN, a mixed-race couple sitting on a bench, a woman railing against the gentrification of Harlem, and a homeless man who turns the tables on the soft-spoken Pigeon. “It’s always interesting to see how the random collection of souls falls together and how the next chapter bears fruit or lies fallow,” he says on his radio show.

In between interviews, cinematographer David Sampliner beautifully photographs trees, buildings, storefronts, statues, the Halloween Parade, political rallies, the Columbus Day Parade, a housing protest, the Blessing of the Animals at the Cathedral Church of St. John the Divine, birds flying across blue skies, Muslims praying at the end of Ramadan, and Jews performing the ritual of Tashlich, casting away their sins by throwing pieces of bread into the East River. The shots, which include classic New York restaurants as well as institutions that have since closed, are accompanied by a bittersweet score by Paul Brill, featuring cellist Dave Eggar. Director, editor, and producer Shuman (Negotiations) has created a loving warning about the future of a city that has been undergoing major changes since October 2008. Executive produced by three-time Oscar nominee Edward Norton, the hour-long One October is having a special October screening at Nitehawk Cinema as part of the “Representation” series, which highlights the scarcity of women directors in the industry; the film will be preceded by Jon Bunning’s fifteen-minute short The Tables, about Ping-Pong in Bryant Park, and followed by a Q&A with Shuman and WFMU host Amanda Nazario.


A TOUCH OF ZEN is a trippy journey toward enlightenment

King Hu’s A Touch of Zen is a trippy journey toward enlightenment

Film Society of Lincoln Center, Howard Gilman Theater
165 West 65th St. between Eighth Ave. & Broadway
Tuesday, October 2, 6:30
Festival runs through October 14

Watching King Hu’s 1969 wuxia classic, A Touch of Zen, brings us back to the days of couching out with Kung Fu Theater on rainy Saturday afternoons. The highly influential three-plus-hour epic features an impossible-to-figure-out plot, a goofy romance, wicked-cool weaponry, an awesome Buddhist monk, a bloody massacre, and action scenes that clearly involve the overuse of trampolines. Still, it’s great fun, even if it is way too long. (The film, which was initially shown in two parts, earned a special technical prize at the 1975 Cannes Film Festival.) Shih Jun stars as Ku Shen Chai, a local calligrapher and scholar who is extremely curious when the mysterious Ouyang Nin (Tin Peng) suddenly show up in town. It turns out that Ouyang is after Miss Yang (Hsu Feng) to exact “justice” for the corrupt Eunuch Wei, who is out to kill her entire family. Hu (Come Drink with Me, Dragon Gate Inn) fills the film with long, poetic establishing shots of fields and the fort, using herky-jerky camera movements (that might or might not have been done on purpose) and throwing in an ultra-trippy psychedelic mountain scene that is about as 1960s as it gets. A Touch of Zen is ostensibly about Ku’s journey toward enlightenment, but it’s also about so much more, although we’re not completely sure what that is. The film is screening on October 2 at 6:30 as part of the fifty-sixth New York Film Festival’s Retrospective tribute to Pierre Rissient, Cannes film scout, publicist, producer, distributor, etc., who believed, “It is not enough to love a film. One must love it for the right reasons!” Rissient passed away in May at the age of eighty-one; the sidebar also includes such other films that Rissient championed as Lino Brocka’s Manila in the Claws of Light, Clint Eastwood’s Play Misty for Me, Fritz Lang’s House by the River, and Joseph Losey’s Time without Pity.


Documentary reveals the many sides of M.I.A.

Sundance-winning documentary reveals the many sides of musician and activist M.I.A.

MATANGA/MAYA/M.I.A. (Steve Loveridge, 2018)
IFC Center
323 Sixth Ave. at West Third St.
Opens Friday, September 28

In the mid-1990s, Steve Loveridge and Maya Arulpragasam met at St. Martin’s College and became friends. Over the last twenty years, Loveridge and Maya — better known as M.I.A. — have collaborated on songs and videos, leading up to the documentary Matangi/Maya/M.I.A., an intimate portrait of Arulpragasam, from her childhood days as Matangi in Sri Lanka, where her father was the founder of the Tamil Resistance Movement, to her teen years as Maya, a developing artist, and finally as M.I.A., the controversial music star and political activist who has released such albums as Arular, Kala, and 2016’s AIM, which she claimed would be her last. Maya has been filming herself since she was very young, and she opened up her vast archives to Loveridge, who sifted through nearly nine hundred hours of recordings to make his first film. Loveridge shows Maya working on her music, protesting for peace, and famously raising her middle finger while performing with Madonna at the Super Bowl. M.I.A. is a powerhouse onstage — I was blown away by an October 2007 concert at Terminal Five — but Loveridge reveals her more sensitive and vulnerable sides in addition to her fierce ambition and pride in who she is and where she is from. Matangi/Maya/M.I.A. is now playing at IFC Center; before attending several postscreening Q&As, Loveridge discussed the film with twi-ny, giving thoughtful, extremely honest, and provocative answers to questions about his friendship with Maya, his feelings about the music industry, and his future as a filmmaker.

twi-ny: What was it that first attracted you to Maya at art school?

Steve Loveridge: She was confident. I was very shy and I think she was much better at meeting people, finding ways to access different places. She took me on lots of adventures and made London seem like a playground.

Also, in our work — I think the other students and tutors on the course kind of looked down on pop culture — music videos, TV movies, mainstream film — but Maya and I, being a gay guy and a brown girl, maybe we saw more value and significance in what pop culture could mean and how it could reach and create change in the world because we had personal experience of it changing our ideas of ourselves, helping us have a vision of who we could become, and being a lifeline when we were teenagers and we didn’t have any people the same as us around to guide us in real life.

twi-ny: Could you tell back then that she was primed for international stardom?

sl: Yes. I think everybody’s got a story, everyone is interesting — but if you’re a poor person and don’t have a “way in” to the arts, or any connections, you have to have a special kind of confidence and robustness to go and knock on doors and ask to be let in, because no one’s going to do it for you. She had that. It took a while for her to find the right door, but she was looking for a way in every day.

Steve Loveridge and M.I.A. at New York premiere of documentary at Film Society of Lincoln Center (photo by Sean DiSerio)

Steve Loveridge and M.I.A. at New York premiere of documentary at Film Society of Lincoln Center at New Directors/New Films festival (photo by Sean DiSerio)

twi-ny: Do you think it is easier or harder to make a documentary about someone you know so well?

sl: Ordinarily, I’d say it’s harder. I think objectivity is too difficult and I would question the wisdom of a friend making a film about a friend. But in this circumstance I feel like Maya, and her family, and the Tamil community were so jaded and mistrustful of the media and interviewers that this story had to be trusted to someone who had earned that trust on a personal level.

twi-ny: In the film, Maya says that she originally wanted to become a documentary filmmaker, and that is evidenced by how much footage she compiled over the years. Did she ever stray from being the subject and instead act like a director or editor? How involved in the process was she?

sl: It was vital from the outset that she wasn’t involved in the edit at all. Even though we’re friends, just to keep things clear, we got a lawyer and did a contract that said I had final cut and she wasn’t allowed into the edit suite. I think that’s amazing trust on her part — I would never ever let someone do that with my personal videos. Especially as she hadn’t watched most of them for years.

twi-ny: What was it like sifting through her archives?

sl: It was emotional and also very educational — I learnt a lot more about her family story. It also reminded me of why I became her friend in the first place.

twi-ny: Was there anything that she declared was off-limits?

sl: On a couple of the tapes she’s chatting to people about me when she’s in a bad mood, and it’s funny eavesdropping on conversations about you that people had fifteen years ago.

twi-ny: How many hours of footage was available?

sl: It was very difficult to deal with the amount of material. There was about seven hundred hours of vérité filming, one hundred of media archive of M.I.A., about thirty hours of performance. One of the hardest things was watching footage of her and talking about her all day and then also trying to maintain a friendship — it was too much, so we had to take a break from each other for a bit and not really talk much.

twi-ny: Regarding that, there were some issues between you, Maya, and her record label, leading to your posting that you “would rather die than work on this.” How did that all get settled? It certainly appears that you and M.I.A. are on good terms again, if there ever really were problems.

sl: Yeah, the problem wasn’t Maya (although I did think she coulda stepped in and helped me out a bit more — it’s hard for a little filmmaker to deal with Interscope, Roc Nation, and all these music industry people all on your own!).

The basic problem was that I worked on the film for a whole year in 2012, with it funded by Interscope, and then suddenly one day they just stopped the funding — but not in a professional, courteous way; they just didn’t pay their bills, stopped answering the phone, and left the production company just guessing. I got angry that Maya’s management weren’t interested in helping me sort the situation and we had a fight about it.

Part of the frustration was that in 2013, Sri Lanka was controversially chosen to host the Commonwealth Heads of Government Meeting, which felt like a real blow to the Sri Lankan Tamil community in their quest for some kind of accountability for the human rights abuses that had happened at the end of the civil war in 2009.

Maya was really, really keen to get the film out in some form that year, in case it helped raise awareness in some tiny way, so it was difficult feeling blocked by her own team.

In the end, the situation was resolved by scrapping the whole project with the record label. I went away and got a job, forgot about the movie for a year, and then in 2014 we found funding from Cinereach, a New York not-for-profit who had seen the trailer I leaked online and got in touch. We started again from scratch with a whole different approach. Making the film in the independent documentary space instead of from inside the music industry transformed it completely, and I was able to make a film that matched my vision.

So when Maya says the film took seven years, or ten years, like she keeps telling interviewers — it wasn’t all my fault! It really only took from 2014 to 2017, which apparently isn’t that bad for a feature doc, especially as I was a first-timer and had nearly nine hundred hours of material.

twi-ny: Are you fully satisfied with the final product? Is the Maya onscreen the Matangi/Maya/M.I.A. you’ve known for more than twenty years?

sl: I am. It’s definitely only about a certain aspect of her story — I focused on her cultural identity and how she negotiates being all these different things at once, and I think it does a good job at evoking what that feels like to be around. People describe the film as “messy in a good way,” and that’s how she feels. I left out all the gossipy relationship stuff with boyfriends, and it’s not really a traditional music doc in that there’s not much of her artistic process or output other than when it serves the identity narrative. But I feel like her music and art are out there and available for people to discover and dip into as much as they like.

twi-ny: Do you have a favorite song/album/video of hers?

sl: “The Message” is great, on her third album [Maya] — whoever wrote that is a genius. [Ed. note: The song was cowritten by Loveridge with Sugu Arulpragasam, Maya’s brother.] But my favorite is always “Galang” because it was the first thing. When the record label sent us the first pressing, it was so exciting holding a vinyl record in my hand that she’d actually made, and then doing the video with all her stencil artwork in it and seeing it on YouTube, it felt like some kind of validation and like the world was suddenly opening up for us.

twi-ny: This is your first feature documentary; do you plan on making more films in the future?

sl: Maybe — I’d certainly never sign up for something again where I only get paid based on hitting certain stages; making this film has crippled my personal finances, and it’s going to be hard to ever contemplate doing that again! I honestly sometimes feel like filmmaking is really only for rich people. But I love stories and storytelling and maybe I’ve learnt enough about the things that slowed this project down to not make the same mistakes again and I could do it in a way that can work for me creatively and financially.


Emma Stone in the film THE FAVOURITE. (photo by Yorgos Lanthimos. © 2018 Twentieth Century Fox Film Corporation All Rights Reserved)

Yorgos Lanthimos’s The Favourite opens the fifty-sixth annual New York Film Festival (photo by Yorgos Lanthimos / © 2018 Twentieth Century Fox Film Corporation / All Rights Reserved)

Film Society of Lincoln Center, Walter Reade Theater, Elinor Bunin Munroe Film Center, Alice Tully Hall
West 65th St. between Broadway & Amsterdam Ave.
September 28 - October 14

The fifty-sixth annual New York Film Festival is under way, consisting of more than two weeks of international shorts, features, documentaries, experimental works, and immersive, interactive virtual reality presentations. There are documentaries about Roger Ailes, Steve Bannon, Carmine Street Guitars, Maria Callas, the Memphis Belle, Bill Cunningham, and Watergate; retrospective tributes to Dan Talbot and Pierre Rissient; talks with Claire Denis, Alfonso Cuarón, Alice Rohrwacher, Errol Morris, Jia Zhangke, Mariano Llinás, Willem Dafoe, Morgan Neville, Frederick Wiseman, and Ed Lachman; revivals of such films as Edgar G. Ulmer’s Detour, Mikhail Kalatozov’s I Am Cuba, and Ronald Neame’s Tunes of Glory; and postscreening Q&As with Jodie Foster, Michael Almereyda, Richard Thompson, Alex Gibney, Elizabeth Holtzman, Lesley Stahl, Emma Stone, Julian Schnabel, Joel and Ethan Coen, Laetitia Casta, Elisabeth Moss, Eric Stoltz, Robert Pattinson, Olivier Assayas, Tamara Jenkins, Vincent Lacoste, Carey Mulligan, Jake Gyllenhaal, and many others. Below is a list of at least one highlight per day; keep checking twi-ny for reviews and further information.

Saturday, September 29
Special Events: The Other Side of the Wind (Orson Welles, 2018), Alice Tully Hall, $25, 2:15

Sunday, September 30
Revivals: Enamorada (Emilio Fernández, 1946), Howard Gilman Theater, $17, 12 noon

Charles Ferguson documentary takes  a new look at Watergate break-in and its aftermath

Charles Ferguson documentary takes a new look at Watergate break-in and its aftermath

Monday, October 1
Free Events — NYFF Live: In Conversation with Frederick Wiseman, moderated by Kent Jones, EBM Amphitheater, free, 7:00

Tuesday, October 2
Retrospective: A Touch of Zen (King Hu, 1971/75), Howard Gilman Theater, $17, 6:30

Wednesday, October 3
Talks — On Cinema: Claire Denis, Walter Reade Theater, $25, 6:00

Thursday, October 4
Retrospective: Mother India (Mehboob Khan, 1957), Howard Gilman Theater, $17, 6:30

Friday, October 5
Projections: Your Face (Tsai Ming-liang, 2018), Howard Gilman Theater, $17, 4:30

Saturday, October 6
Talks — Directors Dialogues: Alfonso Cuarón, Walter Reade Theater, free, 2:30

Sunday, October 7
Talks — Film Comment Live: Filmmakers Talk, with Louis Garrel, Jodie Mack, Alex Ross Perry, and Albert Serra, EBM Amphitheater, free, 7:00

Monday, October 8
Special Events: An Afternoon with Barry Jenkins, in Conversation with Darryl Pinkney, Alice Tully Hall, $25, 12 noon

Tuesday, October 9
Retrospective: My Dinner with André (Louis Malle, 1981), Howard Gilman Theater, $17, 6:30

Wednesday, October 10
Retrospective: The American Friend (Wim Wenders, 1977), Howard Gilman Theater, 6:30

Thursday, October 11
Convergence: iNK Stories – Fire Escape: An Interactive VR Series (Navid Khonsari, 2018), followed by a Q&A, EBM Amphitheater, 6:00 & 7:30

Friday, October 12
Convergence: Virtual Reality Documentary Program, featuring My Africa (David Allen, 2018), narrated by Lupita Nyong’o, The Drummer (Ana Kler, 2017), and the world premiere of Hope Amongst the Haze (Tiffany Hill, 2018), EBM Amphitheater, $10, 4:00 & 6:00

Saturday, October 13
Spotlight on Documentary — Divide and Conquer: The Story of Roger Ailes (Alexis Bloom, 2018), Howard Gilman Theater, $25, 2:45

Sunday, October 14
Special Events: The Wild Pear Tree (Nuri Bilge Ceylan, 2018), Francesca Beale Theater, $25, 12 noon


306 Hollywood

Siblings Elan and Jonathan Bogarín use a dollhouse re-creation of their beloved grandmother’s home in excavating her life in 306 Hollywood

306 HOLLYWOOD (Elan and Jonathan Bogarín, 2018)
Quad Cinema
34 West 13th St. between Fifth & Sixth Aves.
Opens Friday, September 28

Psychoanalysts Sigmund Freud and Carl Jung both used the metaphor of a house to represent the whole of a person and his or her psyche. Siblings Elan and Jonathan Bogarín explore that concept in 306 Hollywood, an imaginative documentary in which they seek to define who their beloved late grandmother was — and where she is after her death. In 2011, Annette Ontell passed away at the age of ninety-three. In her will, she left her home of sixty-seven years, a relatively basic suburban house at 306 Hollywood Ave. in Hillside, New Jersey, to Elan and Jonathan, who at first were encouraged by their mother, Marilyn Ontell, to sell it. But after funeral director Sherry Anthony tells the siblings that it is believed that following a death, the soul of the deceased hovers around its home for nearly a year, they changed their mind. “You have eleven months to make your grandmother tangible again,” she explains. And the Bogaríns take that time to turn the house into an archaeological dig, excavating through physical items that spur memories of the past to celebrate the life of their beloved grandmother. “As far as we knew, the house was her world,” Jonathan says. “When you lose someone you love, you start to look for new ways to understand the world,” Elan adds.

306 Hollywood

Imaginative documentary by her grandchildren explores the life and times of Annette Ontell

Elan and Jonathan use re-creations, home movies, family photographs, and filmed interviews they made with Annette, a fashion designer who was married to an accountant named Herman, every year from 2001 to 2011, in which she honestly and entertainingly shares her thoughts about her long life, including discussions of death. The siblings, who employ a visual sense of humor and magical realism akin to that of a Wes Anderson movie combined with the documentary style of Chantal Akerman and Agnès Varda, speak with their mother, Annette’s daughter, Marilyn Ontell, as well as fashion conservator Nicole Bloomfield; Rockefeller archivist Robert Clark; Biblioteca Casanatense librarian Isabella Ceccopieri and director Rita Fioravanti; archaeologist Jan Gadeyne; and MIT physicist and novelist Alan Lightman, who all offer views about interpreting physical and psychological aspects of a person’s life, from items they collected to papers they saved to the clothes they wore. Two of the most compelling scenes involve clothing; Elan and Jonathan film their grandmother trying to put on dresses, with the help of her daughter, that she made more than half a century before. Annette sits in a chair in her bra and panties, her aging body mostly exposed to the camera, as she insists she won’t fit into the chic clothes. Later, Bloomfield performs a forensics-like investigation on the dresses, offering yet more information about Annette.

Elan and Jonathan also have a precise miniature version of the house made by Rick Maccione of Dollhouse Mansions and often film inside it, playing with the scale of history, time, and memory and the role of the camera in recording the past. “It was plain to me that the house represented a kind of image of the psyche,” Jung wrote. But as Jonathan notes at one point, “Grandma’s house isn’t a home anymore. It’s a ruin.” And finally, Lightman asks, “Where is she?,” declaring that question to be the “great mystery of existence.” After watching 306 Hollywood, which the Bogaríns directed, produced with Judit Stalter, edited with Nyneve Laura Minnear and composer Troy Herion, and photographed with Alejandro Mejía, you’ll have a very clear picture of who Annette Ontell was — and you’ll wonder about who your own late relatives were, in addition to where they might be at this very moment. The Sundance hit opens September 28 at the Quad, which will host numerous postscreening Q&As with the filmmakers, Herion, Mejía, and such organizations as POV, the Wassaic Project, New York Women in Film & Television, Cinema Tropical, and WeCroak.


Richard Jenkins, Frances McDormand, and Brad Pitt star in the Coen brothers Burn After Reading

Richard Jenkins, Frances McDormand, and Brad Pitt star in the Coen brothers’ Burn After Reading

BURN AFTER READING (Joel & Ethan Coen, 2008)
Nitehawk Cinema
136 Metropolitan Ave. between Berry St. & Wythe Ave.
Monday, September 24, 7:00

After delighting audiences with such outstanding indie fare as Blood Simple (1984), Fargo (1996), and O Brother, Where Art Thou? (2000), brothers Joel and Ethan Coen hit a midcareer slump with the mediocre The Man Who Wasn’t There (2001), the much-maligned Intolerable Cruelty (2003), and the just plain awful remake of The Ladykillers (2004). It was three years before they released their next film, the Oscar-winning monster hit No Country for Old Men. In 2008 they toned things down again with the slight but entertaining Burn After Reading. John Malkovich is hysterical as Osborne Cox, an angry, bitter, foul-mouthed CIA agent who loses his job and decides to write a tell-all memoir, which bizarrely ends up in the hands of a pair of bumbling idiots, Chad Feldheimer (an extremely funny Brad Pitt) and Linda Litzke (Frances McDormand). Linda really wants to get a whole bunch of plastic surgery done, so she plans on squeezing a lot of money out of old Mr. Cox, who has no patience for anyone other than himself. Throw in a cold-as-ice wife (Tilda Swinton), a philandering G-man (George Clooney), a Russian ambassador named after Severn Darden’s character in The President’s Analyst, a stellar cast that also includes Richard Jenkins, J. K. Simmons, David Rasche, Elizabeth Marvel, and Dermot Mulroney, and some shocking violence and — well, we’ve told you too much already. Burn After Reading might not be grade-A Coen brothers, but it’s still a worthwhile endeavor from two of America’s most ingenious filmmakers. The movie, which asks the question “The Russians? Are you sure?,” is screening at Nitehawk on September 24 as part of the “Booze & Books” series and will be followed by a Q&A with Film Comment contributor and Harpers digital editor Violet Lucca and Adam Nayman, author of the new book The Coen Brothers: This Book Really Ties the Films Together. In addition, Nitehawk will be serving a special cocktail for the event, the Krapotkin.



John Landis’s Schlock will be shown at the Alamo Drafthouse in Brooklyn and Yonkers for Art House Theater Day

SCHLOCK (John Landis, 1973)
Alamo Drafthouse Downtown Brooklyn
445 Albee Square West
Sunday, September 23, 9:30

We New Yorkers are spoiled with a plethora of art-house cinemas showing old favorites, undiscovered gems, American indies, foreign films, and just about anything else ever put on celluloid. Even so, the third annual Art House Theater Day, taking place at nearly one hundred venues around the country and in Canada, holds a neat surprise here in the city. On September 23, the Alamo Drafthouse theaters in downtown Brooklyn and Yonkers will be showing a new 4K restoration of Schlock, John Landis’s schlocky first film, a horror comedy shot in twelve days for a mere sixty grand when he was only twenty-one. “Hi, I’m John Landis, and you’re about to watch Schlock. I’m sorry,” the writer-director explains in the intro on the DVD. But he need not apologize, as Schlock is stupid fun. In a small town in the Southern California suburbs (Agoura), the so-called Banana Massacre has resulted in the brutal death of more than two hundred people so far, all found with banana peels in their vicinity. Weirdo detective Sgt. Wino (Saul Kahan, who also took the production stills) is on the case, sure that there will be more killings; he’s not exactly getting the best of help from his team of cops, which includes the klutzy Ivan and the hapless Officer Gillis (Richard Gillis).


John Landis not only wrote and directed Schlock but plays the adventurous Schlockthropus

The story is being covered by smooth-talking local news anchor Joe Putzman (Eric Allison), a well-groomed gentleman who never misses an opportunity to hype upcoming programs on the station, most prominently the fake movie See You Next Wednesday. While much of the public is frightened, others are curious or think they are immune to the threat of violence, not the best choice made by a group of alliterative teens, Billy (Gene Fox), Betty (Susan Weiser), Bobby (assistant director Jonathan A. Flint), and Barbara (Amy Schireson), who really shouldn’t go near that hole. Scientific expert Professor Shlibovitz (E. G. Harty) believes the murderer might just be the missing link in the mammalian chain. And Mindy (Eliza Garrett, who played Brunella in Landis’s Animal House and has been married to Eric Roberts since 1992), a sweet and innocent young blind woman in love with Cal (Charles Villiers), becomes friends with the twenty-million-year-old Schlockthropus, thinking he is a big dog. While some scenes are just plain silly, others are smart and funny, in particular the vending machine episode.

Schlock is a giddy homage to the horror film and motion pictures themselves, with direct and indirect references to King Kong, The Blob, Godzilla, Frankenstein, and 2001: A Space Odyssey, along with a large dose of Woody Allen and even Rod Serling. It’s a hit-or-miss smorgasbord of goofy moments that serves as a forerunner to such later Landis flicks as Kentucky Fried Movie, The Blues Brothers, Trading Places. An American Werewolf in London, and Into the Night. The film was shot by Emmy-winning cinematographer Bob Collins, with cheesy music by David Gibson and editing by executive producer George Folsey Jr., who went on to cut many Landis movies (and Michael Jackson’s “Thriller” video) as well as Hostel and Hot Tub Time Machine. It’s also one of special effects guru and seven-time Oscar winner Rick Baker’s first films — and yes, that is none other than Landis himself in the ape suit, portraying Schlockthropus. “It’s bad, and appropriately named,” Landis says in a trailer for a post-Animal House rerelease of the film, apparently done without Landis’s approval and retitled The Banana Monster. A movie that could only be made by someone in love with movies, the restored Schlock is screening Sunday night at 9:30 at the Alamo Drafthouse in Brooklyn and at 10:00 in Yonkers; the Yonkers Alamo is also showing Jim Cummings’s SXSW Grand Jury winner Thunder Road, which is named after the Bruce Springsteen song, on Sunday at 4:30 as part of Art House Theater Day.