Sunday October 1 * 7pm * TICKETS

Double feature! Two films from RANDOM MAN EDITIONS, a small, independent press that materializes and distributes an array of uncategorizable gems culled from the depths of the web and clipped from the furthest branches of the visual culture tree. Promoting the overlooked, underrepresented, the hybridized and the fringe, our publications are collaborations between artist, publisher and friends and are not limited to any specific media or forms.

Psychology Today by Extreme Animals (2021, 30 minutes)

A group of children, in a found footage fragment I’ll armchair carbon-date to the late 1980s, sit slack-jawed and prone in front of a television. The flickering of the cathode ray bathes their faces in an angelic white light. They’re in jammies, piled together, lulled into a stupor at the eleventh hour of a slumber party in the basement of whoever’s mom and dad gives them unlimited screen time. The TV unfurls an endless auto-generating playlist of videos. Each has a wordy title rammed with keywords, a nod to the algorithmically-cued, computer-generated nightmare fuel that populates the darker waters of children’s YouTube. They flutter and decay at unimaginable speeds. It can only be an Extreme Animals joint.

Terminal USA by Jon Moritsugu (1993, 57 minutes)

Executive produced by James Schamus (former CEO of Focus Features, producer of “Brokeback Mountain” and “Crouching Tiger”) and shot in eyeball-scorching Panavision, this is Moritsugu’s asian freak-out magnum opus that shocked America when it was broadcast on television in the mid-90’s! The director himself plays twins (a drug-dealing bad-ass and a closeted math nerd) in a radically dysfunctional family that completely obliterates the noble myth of the “model minority.” "Jon Moritsugu turns the American sit-com family on its head with TERMINAL USA, a post-punk, psychedelic picnic brimming with wholesome depravity." VARIETY, David Rooney, 2-1994 "Funny, anarchic, provocative and exhilarating. Recalling the works of John Waters, Mr. Moritsugu’s films are wild and aggressively alternative without descending into easy nihilism." NEW YORK TIMES, Mike Hale, 6-17-2015