Truthfully, the version of the film screened then, at Toronto’s Festival of Festivals (precursor to TIFF), is the same one that led critic Jay Scott to proclaim, “If the great Canadian comedy ever gets made, John Paizs might be the one to make it.”Īs far as distributor’s demands, John may ultimately have pre-empted them, but he didn’t even sign Crime Wave‘s ill-fated deal until the following year. After that “disastrous” first screening, the story often goes, distributors demanded Paizs reshoot the end of his debut feature, which he did, ensuring its status as the Great Canadian Cult Comedy.
The story of Crime Wave‘s premiere – on Friday 13th September, 1985 – has taken on quasi-mythical status.
And, crucially, this particular print contained Crime Wave‘s original ending. John Paizs allowed us to ship the original 16mm print of his film, unprojected since its fateful festival debut in 1985, from Winnipeg to New York. Thankfully, the stars aligned, spectacularly so (pun not intended). We’ve screened Crime Wave many, many times, and because of that and because we love Spectacle so much, we were keen to do something particularly special. Originally presented online in August 2020 (everywhere except North America), the headliners of our programme are three features – Guy Maddin’s Cowards Bend the Knee (with Ela Orleans’ re-score), Dave Barber and Kevin Nikkel’s documentary Tales from the Winnipeg Film Group and John Paizs’ seminal Crime Wave, in its 2K restoration. We went there at the invitation of Spectacle Theater, the legendary microcinema/”goth bodega” situated in Williamsburg (see the 2020 roundtable we hosted with Caroline Golum, Isaac Hoff & Garrett Linn of Spectacle here). The New York premiere of the film on Friday, August 12 will be followed by an in-person Q&A with the director, moderated by Josh Siegel, Curator of Film at the Museum of Modern Art (MoMA) and a member of Cinema Tropical’s board of directors.In December 2021, we took our Tales from Winnipeg programme to Brooklyn, NYC. In If I Were the Winter Itself, which had its world premiere at the Rotterdam Film Festival and stars Clara Trucco, Rafael Federman, Martín Shanly, and Laila Maltz, four friends meet on a remote estate to create a cinematic re-enactment of three iconic works that embodied the social and artistic revolution of 50 years ago. Widely seen as one of the most promising and important festival-circuit debuts of 2012, Leones has been as hard to track down in the interceding decade as it is to parse-a macabre and insinuating forest fable drawn up in sinuous, long Steadicam takes that betray the spontaneity and energy of its teenage cast and precociously assured director.
Spectacle theater full#
She worked as a full faculty professor at Universidad del cine, Buenos Aires. She works as professor for NYU and as an assistant professor of Boris Groys. Her work is represented by Ruth Benzacar gallery and has been featured in venues like Fondation Pernod Ricard, San Jose Museum, OCAT, Tabacalera, Kadist, Istanbul Biennial and KW. She has also an MFA in Visual Arts from NYU and MFA in Visual Arts from Universidad Torcuato Di Tella.
Spectacle theater series#
The series will run August 5 - 30 in Brooklyn, New York City.Ī filmmaker, visual artist, and a professor, Jazmín López graduated from the Universidad del Cine in Buenos Aires. Spectacle Theater will present a retrospective series of Argentine director Jazmín López screening her two feature films: Leones / Lions (2012) and If I Were the Winter Itself / Si yo fuera el invierno mismo (2020) in its New York premiere.
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