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Spectacle, 124 S 3rd Street, Brooklyn, NY (2026)

09/05/2026

WORKINGMAN’S DEATH
dir. Michael Glawogger, 2005
Austria/Germany. 122 min.
In English, Pashto, Yoruba, German, Igbo, Indonesian, Mandarin, and Russian.

TUESDAY, SEPTEMBER 7 – 7:30 PM
THURSDAY. SEPTEMBER 17 – 7:30 PM (w/ Intro by Dennis Lim)
SUNDAY, SEPTEMBER 20 – 5 PM

WORKINGMAN’S DEATH serves as both chronicle of a eulogy for modes of manual labor in the 20th century. Told in five chapters, it follows independent coal miners in Ukraine, Indonesian sulphur carriers near a volcano, Nigerian goat slaughterers at an open-air meat market (animal lovers be warned), Pakistani ship breakers, and Chinese steelworkers as they carry out their grueling duties amongst a fast evolving post-industrial landscape.

In the wake of NAFTA and the consolidation of world economic power, Glawogger considers the relationship of labor to personal worth, at a time — much like our own — when imperatives of growth dictated that human capital be measured in terms of output, and devalued through automation. Featuring an uncharacteristically restrained score from John Zorn and breathtaking Steadicam cinematography from Wolfgang Thaler, WORKINGMAN’S DEATH is one of the most accomplished and striking documentaries of the 21st century.

Notes on intro: Dennis Lim is a film critic, author, and artistic director of the New York Film Festival.

09/05/2026

HIMALA
(MIRACLE)
Dir. Ishmael Bernal, 1982.
Philippines. 124 min.
In Tagalog with English subtitles.

SUNDAY, SEPTEMBER 6 – 5 PM
SATURDAY, SEPTEMBER 12 – 10 PM
TUESDAY, SEPTEMBER 22 – 7:30 PM

When plain orphan Elsa (Nora Aunor) begins having visions of the Virgin Mary, the rest of the residents of her isolated village find themselves questioning their own beliefs and values. Soon, Elsa is healing people with a variety of ailments. As word of this phenomenon spreads, tourists, pilgrims, patients and a documentary filmmaker all arrive on a quest to partake in the miracle.

“Bernal himself described the film as ‘…not just the story of a couple of characters. It is also the story of a society. And that is Himala. What I show in Himala is the picture of a society that is ill. A society which has no recourse but to cling to apparitions and miracles. It is not important if there really was a miracle or not. What is important is the need of a people to believe.’” – ABS-CBN

“Web site users voted to award the late Filipino director Ishmael Bernal’s film the top prize in the CNN APSA Viewers Choice Award for Best Asia-Pacific Film of All Time, edging Akira Kurosawa’s acknowledged classic Seven Samurai into second place.” – Fei Phoon

09/05/2026

OPENING TONIGHT…

Soon, I realized the citizens are as vicious and self-involved as ever. And me, I wondered if I could perform such a spectacular su***de.

THE TIME WE KILLED Dir. Jennifer Reeves, 2004. United States. 94 mins. In English.

TONIGHT – 7:30PM (This event is $10.) FRIDAY, SEPTEMBER 25 – 7:30PM (This event is $10.)

Like The Unrecovered, Jennifer Reeves’s The Time We Killed is concerned, above all, with the psychic fallout of the attacks. While The Un recovered pursues a manic immediacy, Reeves numbly and associatively follows the reverberations of the day’s events as they lead into the Bush administration’s echo chamber of lies and jingoism conceived to justify the 2003 invasion of Iraq.
Robin is an agoraphobic writer, unable to leave her apartment for three years following the September 11 attacks. The film is a poetic, black-and-white collage of high-contrast images and similarly binary thinking; in constant voiceover Robin either ponders death or laments a past lust for life, evinced by her recollection of once-passionate but long since ended love affairs. In what could be considered a spiritual forebear to the anhedonic monologuing of Ottessa Moshgfegh’s My Year of Rest and Relaxation, Reeves condenses a certain posture of the post-9/11 national psyche into an amnesiac individual, one who is trying to remember—yet also willing to forget—how things might once have been.

16mm print courtesy of The Film-Makers’ Cooperative.

screening with THE SKY IS CLEAR AND BLUE TODAY Dir. Ricky D’Ambrose, 2019. United States. 16 mins. In English and German with English subtitles.

09/04/2026

THE HANG-UP Dir. John Hayes, 1969. US. 75 min. In English.

SATURDAY, SEPTEMBER 5 – 10 PM THURSDAY, SEPTEMBER 10 – 7:30 PM  TUESDAY, SEPTEMBER 15 – 10 PM FRIDAY, SEPTEMBER 18 – MIDNIGHT

| TICKETS AVAILABLE ON OUR WEBSITE |

It would be a crime to give away the brilliant bait-and-switch that opens The Hang-Up, so suffice to say that it quickly establishes the world of betrayals, con games and role reversals that Hayes’ film moves through.

After hard-nosed, q***r-hating vice cop Walsh (Glenn Ford look-alike Tony Vorno) raids a brothel, he offers to help young s*x worker Angel (Sharon Matt) get back on her feet. It doesn’t take long before his paternal instincts turn to lust, kicking off an affair with Angel that shatters his world of black-and-white morality. Before he knows it, Walsh finds himself blackmailed into a series of impossible decisions taking him far beyond the scope of the law.

Hayes’ cleverly plotted screenplay further destabilizes the reactionary cop’s identity with every twist and turn, offering an unsparing depiction of the psychology behind the violence of the state. Far from a moralistic tale of succumbing to temptation, Hayes approaches the film’s s*xual neuroses with his typical lack of distance or judgment – and with plenty of nudity.

09/03/2026

TOMORROW ‼️

WHORE’S GLORY
dir. Michael Glawogger, 2011
Austria/Germany. 110 min.
In Thai, Bengali, and Spanish.

FRIDAY, SEPTEMBER 4 – 7:30 PM (w/ Intro by Lucy "boot freak" )
TUESDAY, SEPTEMBER 15 – 7:30 PM
THURSDAY, SEPTEMBER 24 – 10 PM

part of MICHAEL GLAWOGGER'S "GLOBALIZATION" TRILOGY

TICKETS AND FULL PROGRAM DETAILS AVAILABLE ON OUR WEBSITE

Glawogger’s final completed film explores prostitution in three disparate semi-autonomous economic and religious zones: a brightly lit high-end brothel in Bangkok, a claustrophobic urban compound in Bangladesh, and a ghostly border-town motel in Mexico. The film vividly captures the often unseen daily rituals, transactions, and hierarchies of power that anchor these unique environments and the people who converge there.

Glawogger — who compensated his subjects financially for their participation in his film — blends his usual staged reenactments with visceral and often haunting interviews with s*x workers and their clients, making for a precarious mix that seems like the natural culmination of the approach he perfected over his career. Made over the course of four years, WHORE’S GLORY raises questions about both the historic portrayal of s*x work onscreen, and the inherent exploitative nature of filmmaking itself.

Notes on intro: Lucy Zentgraf is a Brooklyn-based writer, anthropologist, former s*x worker, and feminist organizer fighting for the liberation of q***r women.

09/02/2026

A SPECK IN THE WATER⁣
(NUNAL SA TUBIG)⁣
Dir. Ishmael Bernal, 1976.⁣
Philippines. 118 min.⁣
In Tagalog with English subtitles.⁣
⁣
THURSDAY, SEPTEMBER 3 – 7:30 PM⁣
SATURDAY, SEPTEMBER 19 – 10 PM⁣
FRIDAY, SEPTEMBER 25 – 5 PM⁣
⁣
This film has hardcoded Japanese subtitles due to the 2K restoration being based off the sole extant 35mm print.⁣
⁣
In the impoverished village of Santa Fe, some investors capitalize on fish pens growing bangus (milkfish) under the care of Mang Pedro (Ruben Rustia). But for some mysterious reason, the fish are dying. To save the situation, they decide to salt the fish and dry them under the sun. Benjamin (George Estregan), who owns a boat that shuttles passengers to town, has a regular passenger Chedeng (Daria Ramirez), who is going to be a midwife soon. Chedeng has a close friend and neighbor, Maria (Elizabeth Oropesa), but unknown to each other, they are both having an affair with Benjamin. When Maria becomes pregnant, she becomes Chedeng’s first patient and a disastrous situation that ends in tragedy ensues.⁣
⁣
“A Speck in the Water reappears as one of the most personal early works by Bernal, when he was most assured and daring in his innovative style. Today, it looks like a forgotten masterpiece, but at the time of release, the film was very unevenly received by local film critics. Some of them said it was ‘un-Filipino,’ and even [that it looked] ‘French!’ However, as one sharp critic, Hernando, wrote: ‘Nunal sa Tubig is so well crafted, complex, sharp, and to a certain degree, abstruse, that the film requires complete concentration and openness to a new film concept, and, whenever necessary, a willingness to see it again.’” – Max Tessier

09/01/2026

ADVENTURES OF A SECRET KIDD: THE MASS HALLUCINATION OF KENN KWEDER
Dirs. John Hutelmyer & Rob Nicolaides, 2015.
USA. 93 min.
In English.

TUESDAY, SEPTEMBER 1 – 10PM
WEDNESDAY, SEPTEMBER 2 – 7:30PM
WEDNESDAY, SEPTEMBER 9 – 10PM
FRIDAY, SEPTEMBER 25 – 10PM

ADVENTURES OF A SECRET KIDD: THE MASS HALLUCINATION OF KENN KWEDER follows the life and career of Kenn Kweder, a Philadelphia-based singer-songwriter and beloved local legend. Once a rising star in the 70’s with major label attention, Hutelmyer’s film provides an intimate look into a rock star who never got that big break, but continues to live the rock and roll dream decades later.

Never sell out, never censor yourself, and never stop sharing your music with the world. Citing influences such as Leonard Cohen and Lou Reed, Kenn’s music honestly expresses life in Philly, whether his songs are about he**in use, the crack epidemic, or the joy of watching 76ers legend Manute Bol play basketball.

Kenn’s story will resonate with any artist who has pursued their craft not for money, clout, or fame, but because they have something to say. This film doesn’t shy away from the brutal reality of living as a working artist in America, highlighting financial instability, substance abuse, and the decline of industrial cities. In an era where music culture is dominated by the progeny of the rich and famous, Kenn’s perseverance and uncompromising artistry is a testament to the power of creating your own platform.

Come and join the mass hallucination!

09/01/2026

FUNERAL SINIESTRO
(SINISTER FUNERAL)
dir. Jairo Pinilla, 1977
103 mins. Colombia.
In Spanish with English subtitles.

TUESDAY, SEPTEMBER 1 — 7:30 PM
FRIDAY, SEPTEMBER 4 — 5 PM
MONDAY, SEPTEMBER 21 — 10 PM
WEDNESDAY, SEPTEMBER 30 — 7:30 PM

In keeping with our long tradition of exhibiting Latin American genre cinema, Spectacle is excited to premiere the new 2K restoration of Colombian horror master Jairo Pinilla’s debut feature FUNERAL SINIESTRO, in collaboration with Petroglyph Media.

Much like earlier Spectacle favorite THE GOLDEN TRIANGLE, FUNERAL SINIESTRO is told from the perspective of a child, this time Isabel (Constanza Rincón), the adopted stepdaughter of an evil landowner named Lucrecia (Derly Diaz), in the forests outside Bogota. Incensed by the fact this young girl is entitled to half of what her late husband left behind, Lucrecia tries to get rid of Isabel in a variety of ways; Isabel’s reciprocal attempts to find help outside their unhappily shared hacienda escalate things, leading to a struggle between life and death.

Steeped in Catholic macabre and inspired by the filmmaker’s experience of witnessing a dead body as a child, FUNERAL SINIESTRO is widely considered the first ever horror film from Colombia. While Pinilla is sometimes dismissively referred to as “the Ed Wood of Colombia”, the film is played entirely straight, a horror thriller that works just as well as a meditation on grief and isolation. Whatever FUNERAL SINIESTRO might lack in production value, it more than makes up for in slow-burn psychological intensity, aided immensely by the performances of Rincón and Diaz (alongside the filmmaker himself in a supporting role.) It builds to an unnerving final act that channels the spirits of Poe and Lovecraft, a must-watch for fans of ALICE, SWEET ALICE or LA RESIDENCIA.

08/31/2026

MICHAEL GLAWOGGER’S “GLOBALIZATION” TRILOGY

Michael Glawogger’s 2014 death, from malaria, at age 54 cut off one of the most singular and accomplished voices in world documentary cinema at the height of its powers. Glawogger categorized his filmmaking as “the opposite of direct cinema,” roundly rejecting the idea that any sort of objective reality could be captured under the observation of a camera. Instead, working closely with cinematographer Wolfgang Thaler and editor Monika Willi, he reenacted and staged events with his subjects, creating an elevated reality in a unique cinematic language that anticipated the work of later filmmakers like Joshua Oppenheimer.

A protege of fellow Austrian Ulrich Seidl, Glawogger was occasionally painted with the brush of “provocateur,” but his deep empathy, humor, and relentless curiosity guides his films even through the most challenging subject matter. His “Globalization Trilogy” is a triptych of documentaries loosely dealing with the effects of shifting economic markets and modernization on some of the world’s most disenfranchised workers — though Glawogger disliked the “Globalization” framing, eschewing academic detachment to emphasize his audience and subjects’ shared humanity. In each of these films, Glawogger avoids ethnographic trappings by placing his protagonists center stage, never trivializing or overtly romanticizing them even as they experience some of the harshest conditions imaginable.

MEGACITIES
dir. Michael Glawogger, 1998 Austria and Switzerland In English, Hindi, Russian, and Spanish.

Fri September 11th at 10PM. Wednesday September 16th at 7:30PM. Tuesday September 22nd at 10PM.

Glawogger’s first major feature documentary, in which his style is already fully crystalized, almost seems like the anti-KOYAANIQATSI. MEGACITIES explores twelve separate narratives throughout four of the world’s largest cities: Mumbai, Mexico City, New York City, and Moscow.

From a man sewing film strips together by hand, to teen pickpockets, to a street hustler caught in the middle of the Giuliani-fication of Times Square, MEGACITIES documents how human beings improvise to survive in the face of urban poverty, providing a fas

08/31/2026

EEK ORK ORK VOL. II: A SHOWCASE OF COSMIC ANIMATION

This Fall, Spectacle Theater is proud to present two films by Beny Tchaicovsky. Experience a groundbreaking visual journey into the origins of 3D animation. Rather than traditional narratives, Tchaicovsky’s feature animations build immersive, breathing worlds where archaic symbols meet digital technology. His pioneering works explore the intersections of technology, consciousness, and art. “Cyberscape” and “Caught Between Worlds” merge futuristic digital architecture, surreal non-linear landscapes, and deeply atmospheric soundscapes.

CYBERSCAPE: A COMPUTER ANIMATION VISION Dir. Beny Tchaicovsky, 1997. United States. 60 min.

FRIDAY, SEPTEMBER 4 – 10PM FRIDAY, SEPTEMBER 18 – 7:30PM

A surreal historical chronicle of human evolution, moving from the primordial “Garden of Eden” to quantum mechanics.

CAUGHT BETWEEN WORLDS Dir. Beny Tchaicovsky, 2001. United States. 50 min.

THURSDAY, SEPTEMBER 10 – 10PM FRIDAY, SEPTEMBER 25 – 12PM

A visual and sonic meditation on navigating the spaces between ordinary reality and metaphysical realms.

Spectacle

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