STARTS SEPT 4

Visionary director Jane Schoenbrun (I Saw the TV Glow) presents a new kind of horror remake in TEENAGE SEX AND DEATH AT CAMP MIASMA. Bursting with imagination and surreal wit, their latest genre-bending wonder affirms there’s no such thing as a guilty pleasure. After years of slapdash sequels and waning fandom, the Camp Miasma slasher franchise is due for resurrection. And one young director (Hannah Einbinder) is more than up to the task. But when she visits the original’s star, a now-reclusive actress (Gillian Anderson), the two women fall into a blood-soaked world of desire, fear, delirium — under threat from the spear-wielding Little Death. Winner of the Queer Palm, this transformative Cannes favorite leads its protagonists to true fulfillment, encouraging us to ask how we can reach our own.

FRIDAY, SEPTEMBER 4 --- 7:30pm

SATURDAY, SEPTEMBER 5 --- 5:15pm and 8pm

SUNDAY, SEPTEMBER 6 --- 4:15pm and 7pm

No ads - films begin at posted showtimes

SEPTEMBER 11 - 12

David Lynch described his stunning 1977 debut feature simply as “a dream of dark and troubling things”, but the unclassifiable ERASERHEAD is so much more: an expressionistic headtrip, a Grand Guignol nightmare, a pitch-black comedy of manners, and a deeply personal allegory about the (post-) nuclear family. With its mesmerizing black-and-white photography evocative sound design, and unforgettably enigmatic performance by Jack Nance, this visionary nocturnal odyssey continues to haunt American cinema like no other film. ERASERHEAD is both a lasting cult sensation and a work of extraordinary craft and beauty.

FRIDAY, SEPTEMBER 11 --- 7:30pm

SATURDAY, SEPTEMBER 12 --- 8pm

No ads - films begin at posted showtimes

SEPTEMBER 12 - 13

One of Robert Altman’s trademarks is the way he creates whole new worlds in his movies. That gift for populating new places is one of the richest treasures in POPEYE, Altman’s musical comedy adaptation, with a screenplay by Jules Feiffer, music by Harry Nilsson and starring the incomparable team of Robin Williams and Shelley Duvall. POPEYE remains true to its origin in the original comic page and classic cartoons of the 1930’s, but transposed into Altman’s own fantastic, beguiling ecosystem. All of his signature hallmarks—that teeming sense of community gathering habits, concern for social inequalities, and fondness for earnest, country-fried comic bits—are very much alive here. When it was first released in 1980 it was seen as too weird for kids and too naive for adults, but it has since been reconsidered and celebrated as the strange, wonderful, one-of-a-kind movie it is. If you haven’t seen POPEYE, please do yourself a favor and see it on the Pageant screen. If you have seen it, it’s time for another look.

SATURDAY, SEPTEMBER 12 --- 5:15pm

SUNDAY, SEPTEMBER 13 --- 4:15pm

No ads - films begin at posted showtimes

SEPTEMBER 18 - 19

PINK FLOYD THE WALL is absolutely one of the best of all rock music fiction films and seeing it now it looks even more daring than in did in 1982. Alan Parker’s brilliant adaptation of Roger Waters’ classic rock opera combines wickedly powerful animation with a surrealistic trip through the memory and hallucinations of sadly deranged rock star Pink (Bob Geldof) as he builds his metaphorical wall to cope with his trauma and alienation. Touching on authoritarianism, the agony of war, sex, childhood feelings of abandonment and the lifestyle of a rock star at the end of his rope, THE WALL is a raw, theatrical primal scream. This film will be played LOUD.

Showtimes TBA

SEPTEMBER 19 - 20

One of the bravest and most subversive comedies ever made, as nervy as it is hilarious, this screwball masterpiece from Ernst Lubitsch stars Jack Benny and, in her final screen appearance, Carole Lombard as husband-and-wife thespians in Nazi-occupied Warsaw who become caught up in a dangerous spy plot. TO BE OR NOT TO BE is a Hollywood film of the boldest black humor, which went into production right before the U.S. entered World War II. Lubitsch manages to brilliantly balance political satire, romance, slapstick, and wartime suspense in a comic high-wire act that has never been equaled. Beneath the laughter lies a fearless critique of authoritarianism, exposing the absurdity of tyranny by stripping it of its false grandeur, proof that comedy can be both hilarious and morally defiant. The film’s humor never trivializes the stakes; instead, it asserts that laughter itself can be a form of resistance.

Showtimes TBA