[Frameworks] Bruce LaBruce's L.A. ZOMBIE screening October 26

[Patrick Friel]

Oh, it¹s Chicago.  Sorry.


On 10/19/10 12:18 AM, "Patrick Friel" <patrick.friel at att.net> wrote:

>  
> White Light Cinema and The Music Box Theatre Present
> The U.S. Premiere of Bruce LaBruce¹s Controversial Film
> L.A. ZOMBIE
>  
> Tuesday, October 26, 2010 ­ 10:00pm
> At the Music Box Theatre (3737 N. Southport Ave.)
>  
>  
> Queer film auteur Bruce LaBruce (No Skin Off My Ass, Super 8 1Ž2, Hustler White,
> Otto; Or, Up with Dead People) raises the stakes for art porn with his
> controversial new film L.A. ZOMBIE. It has enthralled and disgusted audiences
> in equal measure at the Locarno Film Festival and the Toronto International
> Film Festival and was officially banned (refused governmental classification),
> but still secretly screened, in Australia.
>  
> LaBruce¹s gay zombie horror porn is all of those things, but it is also
> experimental in form, often lyrical in tone, and has an underlying social
> message for those who want to find it.
>  
>  
> ³Let¹s get a few things out of the way. L.A. Zombie is a hardcore gay porn
> film. There are numerous scenes of men having graphic sex shot in the manner
> of pornography, not art film erotica. The film also continues Bruce LaBruce¹s
> longstanding love affair with genre, with plenty of low-tech, half-eaten
> corpses, lots of spurting blood and a most unusually-shaped zombie penis that
> dominates the film¹s psycho-sexual world. Fair warning?
>  
> But L.A. Zombie is very much an art film, too. In fact, it is one of the most
> poignant films about dashed expectations and the ennui of poverty I can recall
> by a Canadian filmmaker. Its tone in some ways recalls LaBruce¹s revelatory
> first film, No Skin Off My Ass, but trades in LaBruce¹s hairdresser persona
> for a more fractured narrative gaze, a perspective borne from the city itself
> and reminiscent of Jacques Rivette¹s Paris nous appartient. This sets L.A.
> Zombie far apart from LaBruce¹s last ten years of hardcore work, which has
> tended to strike a satirical, confrontational tone, perhaps most notably in
> his agitprop phenomenon The Raspberry Reich.
>  
> Aesthetically, L.A. Zombie is a most unusual hybrid. Although LaBruce has been
> working in digital video since starting to make more sexually explicit work,
> he had yet to achieve the same cinematographic impact of the stunning
> black-and-white photography of Super 8 1/2 or the seventies underground
> aesthetic of Hustler White. L.A. Zombie changes that. LaBruce uses the digital
> medium to stretch the Los Angeles landscape, using its endless sunsets and
> radioactive, yellow glow to create an uneasy tone of penniless decadence. Long
> shots are held for maximum imaginative power and the film plays out in near
> silence. In many respects, L.A. Zombie feels like an update of and tribute to
> Joe Gage¹s revolutionary late-seventies gay porn trilogy, which, in my mind,
> is among the finest set of films made in any genre.² (Noah Cowan, Toronto
> International Film Festival)
>  
>  
> L.A. ZOMBIE 
> (2010, 63 minutes ­ festival version, Video)
> Directed by Bruce LaBruce
>  
>  
> Official website:
> http://www.lazombie.com/
>  
>  
>  
> This screening is co-presented by White Light Cinema and the Music Box Theatre
>  
> The screening takes place Tuesday, October 26 at 10:00pm at the Music Box,
> 3737 N. Southport Ave.
>  
> Admission: $9.25
>  
> www.whitelightcinema.com <http://www.whitelightcinema.com>
>  
> www.musicboxtheatre.com <http://www.musicboxtheatre.com>
> 
> 
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