Europe’s longest-running Nicolas Cage Film Festival returns to Glasgow
Matchbox Cineclub present Cage-a-rama 2: Cage Uncaged, a two-day film festival celebrating the wild, weird world of Nicolas Cage. Europe’s longest running Nic Cage film festival returns on Saturday 5th and Sunday 6th of January 2019, to the Centre of Contemporary Arts, Glasgow.
Cage-a-rama 2: Cage Uncaged fully unleashes the wild side of Cage with eightfilms, classic and brand-new, featuring the Oscar-winner’s most iconic meltdowns, freak-outs and outbursts. The festival also features a range of bonus content, including Cage’s 55th Birthday Brunch + Quiz and Going Full Cage, a live event hosted by Tara Judah (Watershed Cinema producer) and Ti Singh (Bristol Bad Film Club founder and author).
The full programme will be announced on Wednesday 24/10.
Programmer Sean Welsh says, “People flew in from across Europe to attend the first, sell-out Cage-a-rama in January 2018. We wanted to raise the stakes with this sequel, so Cage-a-rama 2: Cage Uncaged is going to be an even more intense experience for fans. Last year, our campaign to #BringCage2Glasgow netted his official stand-in, Marco Kyris, so this year we’re upping our game to get him.”
Weekend passes for Cage-a-rama 2: Cage Uncaged are on sale now in our online shop. Limited day passes and single tickets will be on sale Friday 26/10.
Sign up to Matchbox Cineclub’s mailing list to get updates on Cage-a-rama and more: eepurl.com/duX1R9.
A mind-bending predecessor to the modern mash-up, The Movie Orgy (1968) is also the Rosetta Stone for Joe Dante’s oeuvre and a must-experience for movie fans and cinephiles alike.
Before Gremlins, before The Howling, before he started his career cutting trailers for Roger Corman, Joe Dante hosted the 7.5 hour All Night Once In A Lifetime Atomic Movie Orgy. An ever-evolving edit, it was a communal experience – a mind-bending predecessor to the modern mash-up with no definitive version. Matchbox Cineclub programmer Sean Welsh charts the evolution of The Movie Orgy through five key dates.
October 9th 1965, The Playboy Theater, Chicago
The first screening of An Evening With Batman and Robin, one of two key inspirations for The Movie Orgy. The other was Susan Sontag’s Notes on “Camp” (1964), which popularised the term and inspired the repackaging of the 1943 Batman serial as a single 4.5-hour programme. Audiences laughed at its phony climaxes, marveled at its blatant xenophobia, and it began touring college towns. When Dante caught it, at the World Theater in Philadelphia, he was particularly struck by the camaraderie of the crowd, who “came out into the lobby as if they’d just gotten off a sinking ship.”
Early 1966, Philadelphia College of Art, Philadelphia
Inspired, Dante, a second year student but already a programmer at PCA, decided to host his own Camp Movie Night. The exact date is lost to history, but Dante and collaborator Jon Davison rented the only complete serial available on 16mm in Philadelphia, The Phantom Creeps (1939). They stretched it to seven hours with serials, clips, ads, industrial films and cartoons from their 16mm collections. Its success meant several follow-ups, each a step towards what would shortly become The Movie Orgy, then variously The Movie Orgy 2, The Movie Orgy Strikes Back, Son of the Movie Orgy, Escape to Movie Orgy and Son of Movie Orgy Rides Again.
March 8th 1970, Filmore East, New York
Although 1968 is commonly held as the term “The Movie Orgy” was first used for Dante and Davison’s project, the performance that film archivist and Orgy expert David Neary describes as “the most important Movie Orgy of all” came in 1970. 1970 was peak Movie Orgy for the pair, who employed dueling projectors (tipping their hats to Andy Warhol’s Chelsea Girls). Davison’s would show various features – in lieu of new serials – and Dante’s would interject, drawing on his panoply of 16mm weirdness. They took their cues from the audience, so no two screenings were alike. Press coverage of the Filmore Orgy drew the attention of Schlitz Beer, who sponsored Orgies to tour colleges for years. But when the new material the Orgy drew upon to keep it alive began itself to be infected with self-referential camp, it was time to call it a day. Dante, already in Hollywood, sold syndication rights for “The Video Orgy” to be screened on college campuses’ closed circuit TV networks.
April 22nd 2008, New Beverly Cinema, Los Angeles
The grand finale of Dante’s Inferno, a two-week retrospective at LA’s legendary rep cinema. Joining the scores of curious film fans were Davison, Allan Arkush, Bill Hader, Edgar Wright and Quentin Tarantino. Dante enjoined the crowd to move about, go outside, have a smoke, grab a pizza and wander back in. The Movie Orgy was always intended as a movie to be walked out on. But the director was curious to if it would play – have any relevance – after years in his vault. It brought the house down.
September 9th 2018, The Old Hairdressers, Glasgow
We’re screening the digital version Dante made for the New Beverly (not the 90min “UK cut” previously screened in London). It’s 4.5 hours long, the official Movie Orgy, “distilled, recaptured and re-curated”, according to archivist David Neary. It’s not the full, wild 16mm experience, of course, but there’s also no Blu Ray coming. “It’s more like a concert in a way,” Dante says, “It’s something that you really have to be there for.”
Joe Dante’s The Movie Orgy screens at The Old Hairdressers, Sunday 9th September
Matchbox Cineclub team with Remakesploitation and Neon Harbor to tour Turkish Star Wars 2K around the UK for Scalarama 2018.
When you become a fan of cult film, or maybe a person for whom films naturally become a cult, three things happen – first, you go deeper and deeper down the rabbit hole looking for stranger and more unusual films. Second, your affinity multiplies with curiosity to make you want to find out as much as you can about them. Thirdly, you want to share what you’ve found with as many people as possible.
Turkish Star Wars is the perfect film in that regard. Most people know it from terribly subtitled clips drawn from fourth generation VHS dubs. Its strangeness and its audacity, coupled with the absurdity of the supposed dialogue, will hook anyone’s attention. That version of Turkish Star Wars was one of the first films Matchbox Cineclub screened, and Turkish Remakesploitation one of the first topics I wrote about seriously – because I wanted to know just what the fuck was going on with these films.
Meanwhile, Ed Glaser and Iain Robert Smith separately pursued their passion for cult film inexorably toward Turkish Star Wars. It makes me very happy that our curiosity about incredibly strange films has brought us to the point that we can share the best possible version of Turkish Star Wars and tell people the incredible story behind it.
Notorious for the ways in which director Çetin İnanç edited footage from Star Wars into his own film, along with music from Raiders of the Lost Ark and Flash Gordon, Dünyayı Kurtaran Adam (1982) is the “holy grail” of remakesploitation cinema. The Man Who Saves the World revolves around two Turkish space pilots who crash-land on a desert planet enslaved by an evil wizard. Memorable sequences involve the heroes battling robots inspired by Battlestar Galactica and Forbidden Planet – plus mummies, skeletons, and multi-coloured yetis. Another sees them in starfighter “cockpits,” wearing motorcycle helmets, as footage from the Star Wars Death Star battle is projected behind them.
For many years, the film circulated only in those low-resolution bootleg copies, but in 2016 a 35mm print of the film was discovered, and a 2K digital scan has been made so that the world can finally see the film the way it was intended. Because of the obvious rights issues around the film, there are currently no plans for a home DVD/Blu-Ray release so this Scalarama tour is the only way to see this new 2K version of Turkish Star Wars. Get yr tickets before they sell out!
It’s with a very heavy heart that we have to announce the postponement of KeanuCon 2018 until 27th +28th April 2019.
Due to the GSA fire and CCA Glasgow‘s subsequent closure, it’s not possible for us to hold KeanuCon on the original dates, and the next workable dates for CCA (and for us, due to Cage-a-rama 2 in January) are in 2019, which we are glad to confirm.
All our efforts to find a suitable alternative location have sadly failed. Although we did come extremely close, trust that we worked very hard to exhaust all the possibilities.
We hope you’ll accept our apologies and realise we are as gutted as anyone to have to postpone KeanuCon. We had the line-up and a lot of the supporting programme locked-in and we were so excited to share it with you. The date change *does* have some positive implications for the programming and for other aspects of the weekend, but that will become clear in due course – ASAP. KeanuCon will be even more awesome for the date change, we promise.
On a more positive note, we still be taking part in the Scalarama Glasgow 2018 programme this September, with these events and at least one more TBA:
We had such a great time with Jaws 3D at Nice N Sleazy that we’re returning with Friday 13th Part III – in 3D! What will henceforth be known as the World’s Greatest 3D Film Club presents the second sequel to the horror classic, in classic red/blue 3D, on Wednesday 25th July.
Jason Voorhees dons the hockey mask for the first time in this classic sequel. Time Magazine’s review said, “The way the eyeball of one of Jason’s victims pops out of his skull and seems to sail over the audience’s head is alone worth buying a ticket and putting on funny glasses.” YES.
Now you can see Friday 13th Part III (Steve Miner, 1982) as it was always meant to be seen – on a summer’s night in the basement of NICE N SLEAZY, through flimsy cardboard glasses. Our £3 ticket price includes a free pair of red/blue anaglyph 3D glasses.
Friday 13th Part III – in 3D! screens at Nice N Sleazy, Wednesday 25th July
Filmed at a landlocked water park, it’s been described as “a terrible, stupid movie that is easily the lowest point in the Jaws series and arguably one of the worst atrocities mankind has ever visited upon itself.”
The second Jaws sequel started life as a parody, to be directed by Joe Dante (Piranha), with a script entitled Jaws 3, People 0. The studio ultimately decided a spoof was the wrong way to go, and Jaws 3D was…the right way to go? Ultimately, they recruited Manimal himself, Simon MacCorkindale, Marty McFly’s mom, Lea Thompson, the mom from My So-Called Life, Bess Armstrong and Dennis Quaid, by all accounts the highest he’s ever been (off his tits on coke in “every frame”), for what may be the worst film in the franchise.
And now you can see it as it was always meant to be seen – on a summer’s night in the basement of NICE N SLEAZY, through flimsy cardboard glasses.
Jaws 3D – in 3D! screens at Nice N Sleazy, Saturday 7th July.