Lovers Caught in a Dark Tide of Sinister Terror:
Restored 35mm Print of Curtis Harrington’s Night Tide

The Portage Theater – 4050 N. Milwaukee Ave – $5.00 per ticket
For the full schedule of classic film screenings at the Portage, please click here.

Wednesday, October 24th @ 7:30pm
Directed by Curtis Harrington • 1961
By the early ‘60s, Curtis Harrington had already studied with Josef von Sternberg, graduated from USC Film School, cofounded (with Kenneth Anger) the first artist’s film co-op, written perceptively about the history of horror cinema for Sight & Sound, and made a quartet of hazy and restless experimental shorts. He brought all this to bear upon his first feature, the independently produced Night Tide, inspired by the closing lines of Poe’s “Annabelle Lee.” Dewey-eyed Method wannabe and peripheral avant-garde mainstay Dennis Hopper stars as a depressed sailor who falls in love with self-professed mermaid Mora (Linda Lawson) who lives in an aquatic hippodrome in the most squalid corner of the Santa Monica Pier. As if normal adolescent sexual anxiety weren’t enough, just imagine irrepressible nightmares with your girlfriend as a killer octopus! The poetic Night Tide was originally dumped as double-bill fodder by American International Pictures after sitting on the shelf for two years. Now fully restored by the Academy Film Archive and the Film Foundation, Night Tide re-emerges as a uniquely resplendent psychodrama that rivals Touch of Evil and Southland Tales as the finest cinematic excavation of the half-conscious countercultural mecca of Venice, California. (KW)
84 min • American International Pictures • 35mm from the Academy Film Archive
Restored by the Academy Film Archive with support from The Film Foundation and Curtis Harrington
PLUS: an episode of “Diver Dan” (1961) – 16mm – 7 min


More of our kind of chills to follow on Sunday ….

Cinema Borealis • 1550 N. Milwaukee Ave, 4th Floor
Suggested Donation: $10


Sunday, October 28th @ 6:00pm & 8:30pm
Directed by Peter Weir • 1975
Better known in the US for more straightforward projects like Dead Poet’s Society and The Truman Show, Peter Weir led the Australian New Wave almost single-handedly with The Cars That Eat People, The Last Wave, and this film about three teenage schoolgirls and their schoolmistress who disappear at Hanging Rock. Echoing the adolescent tension and repression of Lindsay Anderson’s If…., Hanging Rock is similarly able to feel real and unreal, and Weir’s sense of minimalism (so unsellable it caused an American distributor to throw a coffee cup at the screen) doesn’t give any clues or comfort. Like Nicholas Roeg in Walkabout, Weir painted Australia as a land of mystery until Crocodile Dundee blew it all out of the water: the score sounds like a jet engine that may never take off, the camera’s lens is masked in a thin wedding veil and often washed out by the sun, and the girls will be lost forever. (JA)
107 min • The Australian Film Commission • 35mm from Janus Films

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