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When I was in my early 20s I worked at a video store called Limelight - the kind of place that had every Takashi Miike movie ever (including his children’s movies) but kept their lights on by stocking 5 copies of Pride and Prejudice. After that, I was lucky enough to get a K********a invite which allowed me to torrent deep cuts by Olivier Assayas, and prized .mp4s of Cameron Jamie’s movies. Maybe I just didn’t like leaving the house but I don’t think that 2005 - 2015 were great years to be going to the theater anyway. When I moved back to Vancouver I didn’t know many people so my sister suggested I volunteer at The Cinematheque, and it’s become one of my favorite places in the city. It’s basically got a lot of the same programming as The Metrograph minus a lot of the annoying pretensions of arthouse theaters that are… annoying. The Cinematheque even went through a redesign and it looks even better than it did before which never happens. Volunteers get to see whatever for free so sometimes I find myself there 4 times a week. Some of the most memorable screenings include Maborosi, The White Sheik, Even Dwarves Started Small, Caught By Night, Gun Crazy, and Out Of The Blue.
Dec 21, 2021
Related Recs
I’ve referenced my favourite independent movie theatre on here a couple of times, but I feel so passionately that it needs its own spot.
This theatre is so awesome. I don’t even have any photos of their vintage movie memorabilia in their concession booth or the comfy couches on the upper floor. Since my boyfriend has been gone I’ve been going here at least once a week. Sometimes with a friend, often alone. For a membership price of $16 I save $4 on each ticket, it’s insane.
I can always be confident I will like the movie if I go to the Mayfair. They sometimes have newer additions, but only the really good ones. They’re hosting a John-Luc Godard month in July and I know it’ll be life changing.
5d ago
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Is this currently my favorite movie theater in NYC because they premiered my new film and hosted a complete retrospective of my work? Duh! But it’s deeper than that. Two years ago I was convinced the arthouse theatrical experience was doomed and that the future was ramshackle cine-clubs for a handful of scorched psychos. Turns out I was wrong. Things are back to normal and on any given night now there’s a surplus of amazing programming all across the city again. The biggest plot twist, though, was the rise of this posh, art deco, single screen theater beneath a fancy hotel in the heart of Tribeca as the new epicenter for contemporary indie cinema. While other venues floundered at first, the Roxy reopened with a bang, finally giving a theatrical run to Eugene Kotlyarenko’s Spree (which never got a proper theatrical release due to covid). Next thing I knew they gave Project Space 13 a run there too, despite not having played any festivals or any of that shit… and it was selling out! They’re doing the same for Betsey Brown’s Actors right now, which keeps getting extended. It’s been a while since I’ve seen a theater tap in this hard. Recent events with Abel Ferrara, the Ion Pack, Alex Ross Perry, and more have been unforgettable. Seeing ASAP Rocky hop on stage to freestyle with Abel after the Siberia premiere is one of my all time fondest memories there. It’s tight being able to see new films like The Scary of Sixty-First, Zola, or El Planeta balanced perfectly with rep fare like Screen Slate’s Bad Habits nun series and Sean Price Williams and Nick Pinkerton’s monthly ‘City Dudes.’ Head programmer Illyse Singer and her cohort Mitchell are heroes. Bonus points for being walking distance to the best new record store in town, Paradise of Replica.
Apr 7, 2022
It reminds me of how mubi used to be, they select one rare movie (documentaries, shorts, features new and old) per week with an essay about it. It's great if you want to build a habit of watching more movies, especially those that aren't widely known. And the best part: it's free!
Jan 13, 2025
Top Recs from @asher-penn
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Eugene Kotlyarenko’s debut film 0’s & 1’s is still my favorite - and it’s heartwarming to know that it’s only been a decade after its premiere at a tiny Brooklyn theater that it’s finally getting the big screen screenings that it truly deserves. The simple story of a guy retracing his steps trying to find his lost computer - Slacker meets Dude Where’s My Car for the first generation of terminally online. But it’s the film’s relentless art direction that truly sets it apart - a multicam extravaganza framed within dozens of custom interfaces that rival both Hackers and The Net in channeling and elevating the aesthetics of the moment with painstakingly detailed easter eggs to be found on every fleeting frame. I’d also like to give a shout-out to We Are, my second favorite film by Eugene. Self-released almost a year ago, We Are is a continuation of his romantic comedies about breakups A Wonderful Cloud (2015) and Wobble Palace (2018) starring hapless losers mired in technological detritus - in this case, the employee of a pathetic virtual reality arcade. But unlike its predecessors We Are is Eugene’s most casual film to date, made with a whimsical looseness echoed in the character Stick’s XL tourist t-shirts and the soft soothing pace of his fidget spinner. It’s a funny movie, but it’s also sad… when Eugene breaks the 4th wall and slates a scene with Dasha, there is a self-accepting effortlessness that really feels like letting go. We Are is just a movie and that’s all it needs to be.
Dec 21, 2021
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They say that the best design is no design, and I can’t think of a better example than No Frills, a low-cost supermarket chain in Canada that since the late ’70s has been easily recognized for its iconic simple in-house branding. Operating on the premise that making graphic design decisions is a major unnecessary expense No Frills follows a strict style guide of Pantone Yellow C combined with large bold Helvetica Neue 75 for all its interiors and packaging: pickles, dark chocolate, hummus, evaporated milk, olive oil all get the same point-blank treatment. The closest I’ve ever seen to this aesthetic is on that TV show Lost where all the food comes from The Dharma Initiative. Walking down their aisles can feel dystopian and autistic but also timelessly chic - a ridiculous marketing concept leaned into with a commitment that I hope they never abandon.
Dec 21, 2021
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From what I can tell, artist Jeffrey Scudder is the only post-internet artist to figure out Tik-Tok, with his Whistelgraph project recently hitting 2 Million followers. Whistlegraphs are tiny songs that are performed through drawing, where the sonic and visual gestures synch up poetically - kind of like a haiku that you animate in real-time - that for the past two years have been performed in videos by Scudder alongside artists Camille Klein and Alex Freundlich. Pioneers in their own experimental artform, Whistlegraph seems to be channeling a lot of things at the same time - If I were to free-associate I’d say it feels spiritually connected to Brendan Fowler and Odwalla88 and Tori Kudo, but also Josh Smith and David O’Reilly and Susan Cianciolo - not that any of their devoted fans would know or care about that stuff. Their audience is predominantly between the ages of 8-17, and the most comprehensive interview with Whistlegraph to date was done by a 13-year-old superfan named Perry. Watching Perry perform “Butterfly Cosplayer” with glee makes me wonder if the current iteration of Whistlegraph is just the beginning and that the most exciting manifestations of this art form will be found in generations to come.
Dec 21, 2021