Tag Archives: John Waters

AFI FEST — KNIFE + HEART

“Each man kills the thing he loves… the coward does it with a kiss, the brave man with a sword.” — Oscar Wilde

The black-leather-masked murderer in Yann Gonzalez’s KNIFE + HEART—set in a gay porn milieu in late-1970s Paris—employs both methods.

With dialogue like “Okay, darlings, it’s business time; I want you all naked and stiffer than Giscard,” and a fluffer named Bouche d’or (“Mouth of Gold”), this psychosexual drama is a delicious heir to the camp exploits of John Waters and the thrillers of Brian De Palma.

The film stars Vanessa ParadisNicolas Maury, Kate Moran, Jonathan Genet, Khaled Alouach, Thomas Ducasse, Jacques Nolot, Romane BohringerBertrand Mandico, Jules Ritmanic, and Félix Maritaud.

Artist Simon Thiébaut and choreographer Ari de B (plus dancers) are also featured.

The film will premiere tonight in Hollywood at the AFI Fest, with an encore screening early tomorrow afternoon.

 

KNIFE + HEART

Friday, November 9, at 11:59 pm.

Saturday, November 10, at 12:15 pm.

Chinese Sixplex, 6950 Hollywood Boulevard, Los Angeles.

From top:

Vanessa Paradis and Nicolas Maury in Un couteau dans le cœur/Knife + Heart.

Paradis (center).

Félix Maritaud (left).

Paradis.

Image credit: Memento Films Distribution, France.

JOHN WATERS IN CONVERSATION

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John Waters, whose newest book is Make Trouble, is in town this weekend for a public conversation.

 

JOHN WATERS, Saturday, June 2, at 8 pm.

LUCKMAN FINE ARTS COMPLEX, Cal State L.A., 5151 State University Drive, Los Angeles.

luckmanarts.org/john-waters

Above: Terry Richardson, John Waters and Johnny Knoxville.

Below: Peter Hujar, John Waters (I), 1975.

© Peter Hujar Archive, courtesy Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco.

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GOLDIN’S BALLAD AT MOCA

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A digital presentation of Nan Goldin’s original 35mm slide installation THE BALLAD OF SEXUAL DEPENDENCY is on view at MOCA as part of the exhibition REAL WORLDS—BRASSAÏ, ARBUS, GOLDIN.

“Nan’s Bowery loft had no windows or else they were covered and this made her parties long, hilarious, dangerous events. You had no idea what time it was or how light the sky was getting out there. Her guests departed when they could ingest no more and some didn’t leave even then…

“I remember the first telephone conversation I ever had with Nan. ‘I’m among the missing today,’ she said, and hung up.” — Darryl Pinckney, from his essay in Goldin’s exhibition catalogue I’ll Be Your Mirror*

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NAN GOLDIN—THE BALLAD OF SEXUAL DEPENDENCY

REAL WORLDS—BRASSAÏ, ARBUS, GOLDIN, through September 3.

MOCA GRAND AVENUE, 250 South Grand Avenue, downtown Los Angeles.

moca.org/real-worlds-brassai-arbus-goldin

*See Hilton Als’ 2016 piece: newyorker.com/the-ballad-of-sexual-dependency

Nan GoldinThe Ballad of Sexual Dependency, from top:

John Waters and Cookie Mueller in Provincetown; Edwige Belmore in Edwige Behind the Bar at Evelyn’s New York City, 1985; Bruce Balboni and Philippe Marcade on the beach, Truro, MA, 1975.

Image credit: Nan Goldin and Matthew Marks Gallery.

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CLUB 57 AT MOMA — OPENING NIGHT

Eric Marciano—director of The Age of Insects and four other films in MoMA’s collection—reports from the opening night of the museum’s new exhibition CLUB 57: FILM, PERFORMANCE, AND ART IN THE EAST VILLAGE, 1978–1983:
 “The reception at MoMA was stunning! I know that we will never again see that group of people together in one place at one time: Andre DegasDavid IlkuJohn KellyDavid ByrneBianca BobChris TannerAlexa Hunter (Disturbed Furniture), Tessa ChuaBob CarrithersMarty AbrahamsAbel FerraraMichael HolmanScott Covert, Henny Garfunkel, Scott Wittman, Art Labriola, M. Henry Jones, John Waters, Tish & Snooky (Manic Panic), Kenny Scharf, MoMA curators Ron Magliozzi and Sophie Cavoulacos, and guest curators Ann Magnuson and John “Lypsinka” Epperson were among the many in attendance. (Ignacio Valero—who was covering the bike path attack downtown—and Bill Brovold were unable to attend*)
“MoMA went all out. Truly a deep dive into one of the great scenes that was occurring in tandem with other great scenes. The show reveals an energy and crazy intensity in the art—people expressing themselves in an analog era when it took time to do art. Such an eclectic group came to admire and celebrate the work and reminisce about those vibrant (and dangerous) days. The Lingerie Family painting from The Age of Insects is one of the seminal works, with a video of Frank Holliday‘s eye taking the place of the lost original.”
Two days before the opening, participating artist Richard Hambleton died at 65.
CLUB 57: FILM, PERFORMANCE, AND ART IN THE EAST VILLAGE, 1978–1983, through April 1.
MUSEUM OF MODERN ART, 11 West 53rd Street, New York City.
*Bill BrovoldVictoire Taittinger, and Barlo Perry starred in The Jimmy Donahue Story (1982), written and produced by Ignacio Valero and Eric Marciano, and directed by Marciano—a participating artist in the CLUB 57 show.
Ann Magnuson at Club 57, circa 1980. Photograph by Robert Carrithers.
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QUEERCORE AT REDCAT

John Waters, Kim Gordon, Kathleen Hanna, Bruce La Bruce, Dennis Cooper, Genesis P-Orridge, Peaches, Patty Schemel, Justin Vivian Bond, Silas Howard, Rick Castro, and many others give on-camera interviews in QUEERCORE: HOW TO PUNK A REVOLUTION, Yony Leyser’s new documentary screening this weekend at REDCAT. Archive footage features Beth Ditto, Hole, Bikini Kill, Gossip, Pansy Division, and Tribe 8.

This screening is presented by Outfest, and supported by the Goethe-Institut.

QUEERCORE: HOW TO PUNK A REVOLUTION , Saturday, July 15, at 5 pm.

REDCAT, Disney Hall, Music Center, downtown Los Angeles.

outfest.org

goethe.de/ins/us/en/ver.cfm?fuseaction=events.detail&event_id=21000097

Bikini Kill. Image credit: i-D-Vice.

​listen to an unreleased track from bikini kill’s legendary demo session
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