AFS describes the central relationship in Gregg Araki’s 1987 feature debut as a “disorienting bisexual love triangle,” which is possibly the most Araki-ass phrase on Earth. Araki’s guerrilla filmmaking methods of shooting sans permit on his film-school standard Bolex results in kinetic kino – a style that’d follow the filmmaker into his reign as King New Queer Cinema. See this tale of artists dating artists and be blessed by a video intro from Queer Cinema: Lost & Found programmer Elizabeth Purchell. – James Scott
Jan. 22 & 30
