“Code 8 is an electrifying film featuring ordinary people with powers in a tough world. It’s a gritty and realistic take that’s a nice change of pace in the superhero genre.” John Nguyen / Nerd Reactor
Based on his pioneering work in the recent book High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies, author and podcaster Erik Davis will explore the phenomenon of occult revivals, comparing and contrasting some of the factors that made the early 1970s and the late 2010s hotbeds of occultism, witchcraft, and visionary experience. Featuring films by visual artists Dustin Wong and Amanda Siegel.
For Litquake 2019, Erik Davis spoke with RU Sirius about the politics of high weirdness, then and now.
High Weirdness By Mail by Ivan Stang
This hysterical hobbyist’s guide belongs in every hip library. Coot cat Reverend Ivan Stang, high holy of the Church of the SubGenius, has compiled a bestiary of American creeps and crazies so that you can write to them and receive mail that is weird, horrible, wonderfully absurd, or a combination of all three.
Memory: The Origins of Alien is a 2019 documentary film that traces the origin of Ridley Scott’s Alien franchise. Directed and written by Alexandre O. Philippe, it focuses on the idea that film is “a collective art form – not just the wider circle of writers, performers and technicians beyond the director, but in the case of the truly great films, serendipitous access to a deeper collective unconscious …”, tracing the connections from H. P. Lovecraft to Francis Bacon to the Greek Furies. (wiki) / imdb / rt
“The Universe of Keith Haring“, one of the most popular and significant artists of the 20th century, whose mantra was “Art is for everyone!” features interviews and archival footage of Fab 5 Freddy, Jeffrey Deitch, Kim Hastreiter, Grace Jones, Madonna, Yoko Ono, David LaChapelle, Kenny Scharf, Carlo McCormick, Andy Warhol, Ann Magnuson, Tony Shafrazi, and Junior Vasquez. Audio excerpts from original interviews with Keith Haring were conducted by Haring’s biographer John Gruen. (rt)
The Universe of Keith Haring is a 2008 documentary by the filmmaker Christina Clausen.
.. it’s POETIC UNDERSTANDING AND JUSTIFIABLE HATE. It’s July 4 on the top of the Empire State Building after reading an ART SIN BOY mimeograph at Club 57 watching fireworks and thinking about the smile exchanged on the street and nothing but a second glance and lots of dreaming. … It’s letting records skip for ten minutes and thinking it’s beautiful. … IT’S LISTENING TO OTHER POETS AT CLUB 57, TALKING TO POETS, BEING A POET AT CLUB 57. It’s painting on ST MARK’S outside of STROMBOLI PIZZA.
… IT’S DREAMS OF FALLING INTO WARM WATER HOLE WITH EXOTIC FISH CREATURE AND ENOUGH LIGHT TO SEE EVERYTHING.
it’s painting on walls in the suburbs.. IT’S FINDING OUT THE SPACE AGE BEGAN IN 1958. … it’s pornographic pictures and blue feathers.
Freaks is a 2018 American-Canadian science fiction thriller film directed, written and produced by Zach Lipovsky and Adam B. Stein. It stars Emile Hirsch, Bruce Dern, Grace Park, Amanda Crew, and Lexy Kolker, who was seven years old at the time of filming.
The film tells the story of a 7-year-old girl named Chloe (Kolker) who is locked in an abandoned house by her disturbed father (Hirsch). The mysterious Mr. Snowcone (Dern) convinces her to escape for his own suspicious reasons. (wiki)
A promotional poster for the film features a street sign with a one eye logo and a phone number to call to report “abnormal activity”. The number is 1-800-517-5890 and when called, a recorded message with a woman’s voice would say, “Thank you for calling the abnormal defense hotline, provided by the Department of Homeland Security.” The recorded message at first urged others to be on the lookout for “freaks” and it said that you can leave a message to report any abnormal activity from freaks. A few days later, the recorded message was changed to warn others to stay away from an upcoming San Diego Comic Con “free underground prescreening of Freaks” on July 18, 2019.
“Pontypool” was produced as both a motion picture, and as a radio play. Both versions of “Pontypool” were influenced by Orson Welles‘ infamous radio production of “The War of the Worlds.” The radio play was broadcast on the BBC’s Art & Culture section of their World Service website. It is approximately 58 minutes long, as opposed to the film’s running time of 95 minutes.