ARREBATO
RAPTURE
1979, 105 min, Spain, Dir: Iván Zulueta

This brooding cult masterpiece focuses on drug-addicted Madrid director José Sirgado (Eusebio Poncela), who is trying to finish his vampire movie when he gets a package from fellow filmmaker Pedro P. (Will More); the audiovisual materials it contains lead José on a one-way trip down a hallucinatory rabbit hole. Co-starring Almodóvar favorite Cecilia Roth, ARREBATO is loaded with symbolism, and one of the few films to truly capture the mesmerizing nature of cinema.


MEDEA
1969, Unzéro Films, 110 min, Italy/France/West Germany, Dir: Pier Paolo Pasolini

Two year after OEDIPUS REX, Pasolini returned to ancient Greek mythology, adapting all the famous trappings of Jason, his Argonauts and the golden fleece. In this version, Jason returns to Greece with the sorceress, Medea, unaware that she will not be accepted in his society. Once the king banishes her, her true powers are revealed as she plots her violent revenge. Legendary opera singer Maria Callas plays the titular role in her sole feature performance.


THE JUNIPER TREE
1990, Arbelos Films, 78 min, Iceland, Dir: Nietzchka Keene

An unsung talent in her lifetime, director Nietzchka Keene’s stark, stunning debut feature is loosely based on a Brothers Grimm fairy tale of the same name, and stars Björk in her first screen performance. Set in medieval Iceland, THE JUNIPER TREE follows Margit (Björk) and her older sister, Katla (Bryndis Petra Bragadottir), as they flee for safety after their mother is burned to death for witchcraft. Finding shelter and protection with Johan (Valdimar Orn Fygenring), and his resentful young son, Jonas (Geirlaug Sunna Pormar), the sisters help form an impromptu family unit that’s soon strained by Katla’s burgeoning sorcery. Photographed entirely on location in spectacular black-and-white by Randy Sellars, this deeply atmospheric film is a potent allegory for misogyny and its attendant tragedies, and a major rediscovery for art house audiences. “Distinctive, ambitious, and genuinely poetic.” – Los Angeles Times.


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