#Nitehawk Cinemas

[fearsmagazine]

THE BROOKLYN HORROR FILM FESTIVAL Announces Full 2024 Program!

The Brooklyn Horror Film Festival (BHFF) announced the full program for its 2024 incarnation, running October 17-24 with all screenings held at Nitehawk Cinema’s Williamsburg and Prospect Park locations. Audiences are in for an unworldly lineup of films and events, including a special screening of Larry Fessenden’s HABIT with the Leviathan Award Ceremony, honoring his film career.

The Opening Night film is the NY premiere of DEAD MAIL from directors Joe DeBoer and Kyle McConaghy. The 2024 festival boasts the North American Premieres of exciting new films: Tiago Teixeira’s unsettling body horror film CUSTOM; a new documentary on horror at the turn of the millennium from Phillip Escott and Sarah Appleton, GENERATION TERROR; and New Zealand director Sasha Rainbow’s film GRAFTED.

The festival will feature the world premieres of Izzy Lee's first feature, HOUSE OF ASHES; the atmospheric ghost story, LILLY LIVES ALONE, and the queer sci-fi adventure PSYCHONAUT. The festival’s other spotlight titles include ANIMALE, the beautiful revenge-fantasy from French director Emma Benestan as the festival’s Centerpiece Film; and THE RULE OF JENNY PEN starring Geoffrey Rush and John Lithgow as the Closing Night Film.

The festival’s signature sidebar programs return, starting with FEAR IN FOCUS: SPAIN, which includes the North American premiere of EXORCISMO, a documentary that focuses on the violent and smutty film history of the post-Franco era of Spanish cinema; as well as retro screenings of VAMPYRES and THE BLOOD SPATTERED BRIDE on 35mm; which ties into the Vampire sidebar that features Abel Ferrara’s THE ADDICTION and a screening of the Spanish version of DRACULA with a live score from The Flushing Remonstrance. MISKATONIC INSTITUTE OF HORROR STUDIES will also return to host a special lecture by Dr. Leah Richards "Queer Vampires, Queer Liberation, Queer Futurity.

Festival badges are on sale now HERE and a limited amount of individual tickets go on sale this Friday, Sept. 20th at 12PM EST.

For more information, visit: Brooklynhorrorfest.com Facebook: facebook.com/brooklynhorror/ Twitter: http://twitter.com/brooklynhorror Instagram: http://instagram.com/brooklynhorrorfest

[ogradyfilm]

Recently Viewed: Door

[The following review contains SPOILERS; YOU HAVE BEEN WARNED!]

When I first discovered the existence of Banmei Takahashi’s Door earlier this year (via various clips shared by fan accounts on Twitter), it was love at first sight. Luckily, while the movie currently lacks official distribution in the United States, I didn’t need to wait very long at all to see it (compared to Angel’s Egg, A Page of Madness, and Samurai Wolf, anyway) thanks to the Brooklyn Horror Film Festival, which screened it just before midnight on Friday, October 13th—basically the ideal context in which to experience its unique brand of madness.

The premise is as brilliant as it is straightforward: an ordinary housewife—already fed up with cold callers and their seemingly unlimited access to her family’s personal information—aggressively turns away an especially persistent salesman, slamming the door on his fingers after he ignores her repeated protests and attempts to force his way into her apartment. Unfortunately, this moment of instinctive panic has severe repercussions, resulting in an excruciatingly tense game of cat-and-mouse as the slighted pamphlet pusher’s vengeful wrath gradually evolves into perverse sexual obsession.

It’s a captivatingly mundane flavor of terror, twisting a familiar, relatable scenario into an inescapable nightmare. There’s nothing particularly memorable or remarkable about the central villain. He has no elaborate costume or mask, no supernatural abilities or distinguishing features; unlike Jason Voorhees, Michael Myers, and Leatherface, he doesn’t even wield a signature weapon (though he is quite handy with the absurdly convenient electric chainsaw that he scavenges from the protagonist’s collection of otherwise run-of-the-mill home appliances). This anonymity is absolutely chilling; he effortlessly blends in with the crowd—average, unassuming, invisible. Indeed, his façade of superficial “normalcy” is far more insidious than any explicit display of insanity; he taunts his prey with idle banter, seamlessly transitioning between casual flirtation and thinly veiled threats.

The director’s visual style perfectly complements the suspenseful tone of the narrative. Early scenes almost resemble a slice-of-life domestic drama, characterized by flat compositions and lighting. As the conflict escalates, however, the warm, inviting interiors slowly warp and distort, becoming cramped, claustrophobic, hostile. Foreground elements (potted plants, sculptures, windows, doorways) isolate our heroine within the frame, emphasizing her vulnerability. Voyeuristic point-of-view shots serve a similar purpose, subliminally insinuating that true “safety” is an illusion: the sinister stalker could be lurking around any shadowy corner. The increasingly maximalist cinematography culminates in the film’s most iconic sequence: a prolonged overhead angle that follows the now totally unhinged maniac as he relentlessly pursues his quarry from room to room, utterly demolishing every obstacle in his path—splintering wood, shattering glass, and reducing drywall to dust.

Yet some of the movie’s most haunting images are significantly less spectacular than this climactic set piece. Takahashi understands the inherent value of patience, frequently locking down the camera and lingering on long, uninterrupted closeups of his lead actress simply reacting to suspicious offscreen noises—the echo of footsteps in the corridor, for example, or the telltale rattle of the deadbolt being tested. Keiko Takahashi’s face is breathtakingly expressive; her turbulent emotions are palpable, a violent maelstrom of anxiety, desperation, and paralyzing fear clearly evident in every twitch of her eye, every crease in her brow, every tear staining her cheek.

How thematically appropriate that Door—a story that explores such everyday horrors as rampant commercialism, predatory marketing, and the erosion of privacy—should be at its scariest when it embraces naturalism, minimalism, and subtlety.

[kenpiercemedia]

The Brooklyn Horror Film Festival Announces Full 2024 Program

The Press Release: The Brooklyn Horror Film Festival (BHFF) announces today the full program for its 2024 incarnation, running October 17-24 with all screenings held at Nitehawk Cinema’s Williamsburg and Prospect Park locations. Audiences are in for an unworldly lineup of films and events, including a special screening of Larry Fessenden’s HABIT with the Leviathan Award Ceremony, honoring his…

[for-hunger]

nothing but surrender- reference post

Information and references from my Hannibal/Will forcemasc fic, nothing but surrender. mostly for my own collection

Our couple

Hannibal

Will

non-passing

(post-haircut and more t)

Cultural/intellectual references

A little Wittgenstein

The Wile E. Coyote/Road Runner in psychoanalysis lecture is based on one I caught by this scholar

The Dracula erasure mentioned at Mix

Der Zauberberg, or The Magic Mountain, is a 1924 modernist masterpiece by Thomas Mann (best known by the gays for writing Death in Venice). I stole a bunch of Will's little speech about his mother from it

A big influence on my Hannibal perspective is In A Lonely Place by Dorothy B. Hughes, a noir about toxic masculinity from the POV of the killer

The prostate orgasm porn channel that Hannibal makes Will watch lmaooo

Will mentions checking out the MoMA PS1 Art Book Fair (archive) and Hannibal talks about a signing of Original Plumbing

Hannibal and Will's debate in Ch 7 is mostly informed by Feminism Against Cisness and the essay Hannibal cites, Is the Rectum a Grave?

The short ribs recipe that Hannibal makes in Ch 8 is from Start Here by Sohla El-Waylly (couldn't find it online but it's excellent, use a lot of anchovy and whatever meat you want (; )

This is not a book or anything, but some of Will's dialogue in Ch 8 was inspired by this post I saw on that t4t app by a user named onthehill: “I want to be with him. I want to be him. I want him to hold me. I want to have a body like his. I want him to love me. I think I could be loved if I was him. I want, want, want.”

Steve Reich's "Come Out" and the story

Hannibal's Cape house, in my mind (might be a bonus chapter at some point)

Shea Stadium was a diy venue in Bushwick

Will is referencing Met performances of Aida, which famously include horses as well as a section titled "the Dance of the Moorish Slaves". He would, indeed, hate it.

I gave my tailor OC the most ridiculous name possible but in terms of style I was really just thinking of José Criales-Unzueta sorry for putting you in my fetish porn

David Bowie's Peter and the Wolf

Soundtrack

Locations

Nitehawk Cinema Williamsburg (bar)

Mood Ring

Mix Film Festival (RIP) (I think it still happens in, like, Berlin)

Prospect Park/Grand Army Plaza

Teatro alla Scala, Milan

[jgthirlwell]

01.16.25 Morricone Youth performed a live soundtrack to the original Mad Max film (1979) at Nitehawk Cinema in park Slope

[paytonmccartysimas]

On November 26th, my first book, One Step Short of Crazy: National Treasure and the Landscape of American Conspiracy Culture, is coming out via The Brooklyn Rail and Autonomedia! It's a deep dive into the complex ways Americans engage with conspiracy theory, from memes (like stealing the Declaration of Independence) to political violence (like storming the Capitol). I couldn't be prouder to be sharing this work!

[buzzdixonwriter]

It Took Me All Week To Become An Overnight Success [FICTOID]

Flying into JFK International, noted film director Nefelibata Jones leaned back in her luxurious first-class pod, swirling the champagne in her glass -- a real glass, none of that plastic crap they used in economy -- and pondered her next picture.

Fresh off the success of her megahit Soul With A View, the director of Possum Knocking and Gallstones And Bile among other well-known films, needed to come up with something before her meeting with the studio head in Brooklyn later that day.

They were converging on Nitehawk Cinema for a three-day retrospective of her earliest work, including The Screaming Spider, Apocalypse Clown, and Farm Flesh, her very first feature film.

///My very first official feature film///, she thought, remembering Pasquale's Stink and An Act Of Guido, two gay porn videos she directed under the nom du cinema “Ramh Guillotine” back in her film school days.

Soul With A View was a big-Big-BIG super-smash hit, an epic of the early days of disco, and the studio head wanted her to follow up with Soul With A View Part Two or even Soul With A View: The Early Years.

Nefelibata did not want to do that.  Throughout her career she tackled different challenges, from gender-bender sci-fi such as Brain Wreck to feminist body horror in With This Ring I See Thee Dead to neo-noir Western with A Tea Cup Full of Whiskey and even a Disney princess animated movie, The Getaway Cat.

No, I want something new, something different, something I never tried before.

Looking at the champagne in her glass, Nefelibata thought about her mother a hair stylist in Tacoma who scrimped and saved to get her into film school only to die in a tragic curling iron accident on the eve of her daughter’s graduation.

She never even got to see Farm Flesh, Nefelibata mused.  I sure as hell wasn’t going to show her Pasquale's Stink and An Act Of Guido!

(Ironically, Pasquale's Stink and An Act Of Guido were two of the studio head’s favorite porn videos, but he was unaware “Ramh Guillotine” was actually Nefelibata Jones.  If he did, he might have championed Pasquale's Stink:  A New Beginning or An Act Of Guido:  The Next Day since the original An Act Of Guido left so many unanswered questions.)

I could start the film with dad dumping mom to join a monastery – no, wait, can’t do that.  I used it in Fifteen Minute Boyfriend.

Okay, how about starting right after then, when she got arrested for drunk driving and crashing through the front doors of my grade school?

Nah, too similar to the plot of Barfly, Go Home.

Maybe pull a Tarantino, do the film in reverse, starting with her funeral – no, that’s how I opened Long After Tomorrow Is Over.  There’s my disastrous 6th birthday party -- too similar to the Esalen scene in Heart Like A Brick.  The weekend we painted the house?  Funny, but I did that in Wrestling Elephants.  The incident with the harmonica and the duck?  I got a trombone and a hippopotamus in High Heel Combat Boots, practically the same thing.

Nefelibata scowled, draining her champagne as the flight banked gently into JFK.

If I’m going to repeat myself, wouldn’t it be better to look like I sold out and am just doing it for the money instead of losing my mojo?

The head of the studio waited for her outside the terminal in his limo.  They did the standard show biz laugh / hug / air kiss then as they climbed into the backseat he asked, “So…what have you got for me?”

“Soul With A View:  Electric Bugaloo Two.”

“I like it!”

  © Buzz Dixon

[brandonxdylan]

Indiewire has done a really nice write up about John McNaughton’s 1996 film Normal Life, highlighting the many reasons why it is kind of a low-key masterpiece, including Luke Perry’s incredible performance. This article is well worth a read, and if you haven’t seen Luke in Normal Life, do yourself a favour and check it out (in 35mm, if you happen to live in Brooklyn, where it’s playing as part of a McNaughton retrospective)!

[fadingsunsjvj]

Workers at Nitehawk Cinema Prospect Park Are Unionizing

https://jacobin.com/2024/02/nitehawk-movie-theater-workers-unionizing-brooklyn

[radiomurdock]

DESTROY ALL MONSTERS

Saturday, October 28th, 2023

11:00 AM @ Nitehawk Cinema Prospect Park

Buy Tickets Here

[andersonvision]

New York's premier horror festival is back with a demonic lineup set to haunt Brooklyn from October 12-19. The Brooklyn Horror Film Festival just announced the full program for its 2023 edition, holding screenings at Nitehawk Cinema's Williamsburg and Prospect Park locations. Horror hounds can expect an otherworldly mix of provocative premieres, celebrated genre masters, and spotlight honors for NYC legends. Opening night brings the world premiere of chilling relationship thriller Kill Your Lover from up-and-coming directors Alix Austin and Kier Siewert. BHFF 2023 Poster: Art by Adam Juresko BHFF will also debut three more highly-anticipated world premieres: Jaco Bouwer's Breathing In, Aimee Kuge's audacious Cannibal Mukbang, and Tyler Chipman's creepy The Shade. Rounding out the buzzy premieres is Pascal Plante's hotly-tipped Red Rooms as the Centerpiece Film and Jenn Wexler's '70s-set The Sacrifice Game as the Closing Night selection. In a major highlight, BHFF is inaugurating the Leviathan Award, which will go to revered NYC horror icon William Lustig at a special 35th anniversary screening of his cult classic Maniac Cop. Lustig will partake in a rare public audience Q&A after the screening. Beyond the premieres, standouts include new works from festival faves Larry Fessenden and the Adams Family along with acclaimed titles like Monolith, Ringu, and Sleep. BHFF's signature programs are also back, including LGBTQ and home invasion spotlights, a deep dive on Japanese horror, and midnight staff picks featuring stone-cold classics. With its finger firmly on the pulse of the latest boundary-pushing horror, BHFF 2023 promises to leave NYC audiences shaken. Don't miss the chance to catch these provocative premieres and celebrate horror history when the festival takes over Brooklyn this October!

[tavie]

4 toilet paper dispensers in one stall (at Nitehawk Cinema - Prospect Park) https://www.instagram.com/p/CrFSaPftkS1/?igshid=NGJjMDIxMWI=

[nycmovietheaters]

Nitehawk Cinema - Prospect Park

🗺 188 Prospect Park W, Brooklyn NY 11215

Reopened March 5, 2021.

🎟 https://nitehawkcinema.com/prospectpark/

Visited March 30, 2021

Assigned seating.

Temperature check at door.

Serving food to your theater seat during the film.

📽 Back to Table of Contents

[thedustyrebel]

See You On The Other Side

Nitehawk Cinema, Brooklyn More photos: Coronavirus

[jgthirlwell]

10.26.22 Morricone Youth performed their self-composed score to Alfred Hitchcock’s The Lodger at the Nitehawk Cinema in Williamsburg, Brooklyn.

[adventuresinandyland]

I went gone done did it and went to see this movie in theaters like i did 2,700 years ago