Ever wonder what a 50-minute public service announcement about aging in the United States might look like if it was commissioned by the Lutheran Society and directed by George Romero? In The Amusement Park, the recently rediscovered and restored 1973 film by the father of the zombie movie, ageism and classism run wild in an allegory on the plight of the elderly. Though not exactly a horror film, it’s decidedly horrific, following various older characters as they suffer abuse within a claustrophobic theme park.
One man can’t drive a go-cart because he fails an eye exam. An unreasonable, extensive list of criteria prevents most of the seniors from riding the roller coasters — “Must not fear the unknown,” “Must have income over $3,500,” “Must not SUFFER from dizziness, high blood pressure, diabetes.” The one “ride” that does welcome them masquerades as a fun house, but inside, a cluttered nursing home awaits. The film is a portrait of how the US has long been a punishingly difficult place to live for those at the margins of its winner-take-all, work-till-you-drop capitalist infrastructure. Once you don’t meet the rigid able-bodied, financially sound requirements, you’ll get conveniently dropped.
The Amusement Park is now available to stream on Shudder.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
Murch’s painted dust can be so tangible you feel compelled to wipe off the picture.
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The planned center will be named after Fred Rouse, a Black man who was lynched in the city of Fort Worth in 1921.
The researchers found that when eyes meet, certain areas of the brain start experiencing “neural firing.”
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From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
Every corner and crevice of Columbia University’s MFA Thesis show feels lived in, reflecting not just artists’ experience quarantining with their work, but also that of re-entering society.
Sprawling across the Joshua Tree region, nine site-specific works consider the ways in which people have relocated to the desert, destroying what came before them, and cultivating new life.