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Our Rainer Werner Fassbinder series continues at the Trylon! When Fox (Fassbinder) wins the lottery, he finds himself with some new friends that have very expensive tastes. Fassbinder begins his tale with a cliched premise and turns it into a fascinating and devastating expose of betrayal, greed and friendship.

Fox and His Friends screens at the Trylon Friday and Saturday at 7:00 and 9:15; and Sunday at 5:00 and 7:15. You can purchase tickets here.

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The Blob was all set to run amok in the Pioneers and Soldier Memorial Cemetery last week, but its appearance was cancelled due to rain.

Hey, you didn’t think it was gone for good, did you?  The Blob is back on Wednesday, September 17!  It creeps, it oozes, it’s hungry for human flesh! Steve McQueen and his fellow teenagers are the only ones who can stop it.  But how?

This movie  is great fun, an almost archetypal sci-fi movie from the 50′s. The weather is going to be perfect, and best of all this screening benefits our special venue, the Pioneers and Soldier Memorial Cemetery  (it’s the cemetery at the corner of Lake and Cedar in Minneapolis). The gates open at 5:30 pm and the show begins at dusk.

 

Can you witness the horror of The Blob without covering your eyes?  Let’s find out! You can purchase tickets here.

 

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Set in San Francisco in 1985, Test is a portrait of Frankie, a shy young dancer caught in the anxiety and fear of the AIDS crisis. A sensitive study that captures the tense atmosphere in which the HIV test became available and men were faced with knowing, but not being able to change their fates. Starring Scott Marlowe, Matthew Risch and Kristoffer Cusick. Written and directed by Chris Mason Johnson.

 

“As Frankie, Mr. Marlowe delivers a quiet, moving performance of such subtlety and truthfulness that you almost feel that you are living his life.” — Stephen Holden, The New York Times.

Test screens Monday, September 15 and Tuesday, September 16,  7:00 and 9:00 at the Trylon. You can purchase tickets here.

 

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Review by Fernando F. Croce

The satirical thrust is The Blue Angel, also perhaps Nabokov’s “Ode to a Model,” whipped up by Rainer Werner Fassbinder into something like the greatest women-in-prison movie. Cats on a darkened staircase comprise the opening tableau, the camera pulls back to contemplate the studio-boudoir-dungeon where Petra (the phenomenal Margit Carstensen) is roused from slumber like a vampiress. A high-fashion doyenne, she presides imperiously from her bed, dictates a letter to a certain “Herr Mankiewicz” (“There are circumstances between heaven and earth…”), and grabs her silent servant (Irm Herrmann) for a terse pas de deux scored to The Platters, neither one looking at the other. “Easy to pity, hard to understand,” she says, the motto of a tough woman ruthlessly controlling hard-won space. (A naked Bacchus dominates the billboard-sized Poussin mural in the background, the phallocracy of the outside world petrified but always looming.) Yet Petra’s hauteur is little more than the sum of her wigs and façades, all it takes is rejection from her plebeian Galatea (Hanna Schygulla) for it to unravel. An audience of limbless, staring mannequins savors the spectacle: “That’s how oppression comes, quite automatically.” Relationships to Fassbinder are waltzes of power shifts and eclipses, life’s “codes of behavior” are laid bare as the frozen, flattened poses of melodrama. His characters spear each other with words only to beg for forgiveness, weep through blank visages, laugh raucously without the slightest hint of mirth. Throughout, Michael Ballhaus’ camera languidly circles and zooms, pinning actors to cluttered décor in one hyper-concentrated composition after another. Sprawled on the wasteland of a terrycloth rug, clutching a doll and a bottle of gin, Petra is Medusa brought to her knees, spitting fire at friends and family. “My daughter loves a girl,” mutters her dazed mother. “How peculiar.” A frigid hothouse in four acts and one epilogue, the equal of the best of Losey or Duras. The crushed tea set of the bourgeoisie yields to a throb of Verdi, “The Great Pretender” trumpets a working-class insurrection, then lights out. With Katrin Schaade, Eva Mattes, and Gisela Fackeldey.

–Fernando F. Croce

This review originally appeared on the film blog Cinepassion, and is reprinted by permission.

The Bitter Tears of Petra Von Kant runs Friday and Saturday, September 12 and 13 at 7:00 and 9:30, and Sunday, September 14 at 5:00 and 7:30. You can purchase tickets here.

 

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UPDATE: Due to inclement weather, this event has been rescheduled for Wednesday, September 17.

 

Review by Trylon volunteer Ben Schmidt

 

At some point in our country’s history, some people were paid to sit in a room and work out what to do if we encounter an alien life form. I’ve not read this document, but I’m fairly certain it does not begin with:

 

Reach down and pick up the nearest stick. Poke and prod the life form until it cracks open, hopefully revealing a small, gelatinous blob. It has? Go ahead and push said stick inside of life form (i.e., The Blob) until it is determined to eat both you and the rest of your species.

 

That, after a surprisingly groovy song, is how The Blob begins, and it sets the tone for the rest of this enjoyable classic.

 

It should be noted that the Blob itself is only one of two aliens in play. Steve McQueen exists on an entirely separate planet from everything else in this film. While the rest of the cast manages to, mostly, deliver their lines, McQueen manages to oddly convey great depth of character. In a movie about a man-eating blob. It’s fun to watch.

 

Seriously folks, come for the lovely, 50s drive-in vibe, stay for all the fun, funky moments:

 

Does the smoke captured behind McQueen during a pivotal close up mean he was holding a cig behind his back during the shot? (Probably, yes.)

 

Is it wonderful to see extras smiling and laughing as they run for their lives from a movie theater? (Surprisingly, yes.)

 

And honestly, are some of the Blob effects really damned great as it glops beneath doors and gloops through air vents? (Super-duper yes.)

 

So grab a stick friends. And probe The Blob until it opens itself up to you.

 

Then probe deeper.

 

Then act surprised when it won’t let you go.

 

As an Explorer, Ben hopes to one day visit the old oak tree at the end of Petaluma. Because it’s his dream, he can touch it if he wants.

 

The Blob screens at, and as a benefit for, the Pioneers and Soldiers Cemetery in Minneapolis.  The cemetery is located at the corner of Lake and Cedar in Minneapolis. The movie begins at dusk, and you can purchase tickets here.