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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/stalker-1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Stalker<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">\"Perhaps it was in <em>Stalker<\/em> that I felt for the first time the need to indicate clearly and unequivocally the supreme value by which, as they say, man lives.\"  – Andrei Tarkovsky<br /> <br />One of the greatest films of all time – and perhaps the single greatest science fiction film – Andrei Tarkovsky’s <em>Stalker<\/em> has long been both a rarity and a touchstone. Smartly flipping a common trope of post–nuclear anxieties, the film follows three men – known simply as Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn), and Professor (Nikolai Grinko) – into a government–controlled lockdown zone in search of a room capable of granting its visitors’ innermost desires. With stunning visuals and almost impossible philosophical scope, Tarkovsky enshrouds religious allegory and political anxieties in quiet realism, constructing a dialogic meditation on art, faith, religion, and love. Thanks to a new restoration from Janus Films, this staple of the cinematic canon once again graces the big screen. <br /> <br />Dir. Andrei Tarkovsky, 1979, DCP, 161 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/4<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">4:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", "")
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/stalker-2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Stalker<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">\"Perhaps it was in <em>Stalker<\/em> that I felt for the first time the need to indicate clearly and unequivocally the supreme value by which, as they say, man lives.\"  – Andrei Tarkovsky<br /> <br />One of the greatest films of all time – and perhaps the single greatest science fiction film – Andrei Tarkovsky’s <em>Stalker<\/em> has long been both a rarity and a touchstone. Smartly flipping a common trope of post–nuclear anxieties, the film follows three men – known simply as Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn), and Professor (Nikolai Grinko) – into a government–controlled lockdown zone in search of a room capable of granting its visitors’ innermost desires. With stunning visuals and almost impossible philosophical scope, Tarkovsky enshrouds religious allegory and political anxieties in quiet realism, constructing a dialogic meditation on art, faith, religion, and love. Thanks to a new restoration from Janus Films, this staple of the cinematic canon once again graces the big screen. <br /> <br />Dir. Andrei Tarkovsky, 1979, DCP, 161 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/4<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">8:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", "")
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/stalker-3-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Stalker<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">\"Perhaps it was in <em>Stalker<\/em> that I felt for the first time the need to indicate clearly and unequivocally the supreme value by which, as they say, man lives.\"  – Andrei Tarkovsky<br /> <br />One of the greatest films of all time – and perhaps the single greatest science fiction film – Andrei Tarkovsky’s <em>Stalker<\/em> has long been both a rarity and a touchstone. Smartly flipping a common trope of post–nuclear anxieties, the film follows three men – known simply as Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn), and Professor (Nikolai Grinko) – into a government–controlled lockdown zone in search of a room capable of granting its visitors’ innermost desires. With stunning visuals and almost impossible philosophical scope, Tarkovsky enshrouds religious allegory and political anxieties in quiet realism, constructing a dialogic meditation on art, faith, religion, and love. Thanks to a new restoration from Janus Films, this staple of the cinematic canon once again graces the big screen. <br /> <br />Dir. Andrei Tarkovsky, 1979, DCP, 161 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/5<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/our-nixon-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Our Nixon<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">We love all things archival, and <em>Our Nixon<\/em>, with its deft blend of humor and historical reflection, is one of the very best feature–length found footage films we’ve yet seen. The time–honored tale of the Oval Office in the ‘60s and ‘70s has been covered from a wide swath of angles, but you’ve never seen it delivered with humanizing, penetrating reality until now. Painstakingly sculpted from tens of thousands of hours’ worth of unearthed Super–8 home movies shot by Richard Nixon’s closest aides, <em>Our Nixon<\/em> emerges as one of 2013’s most engaging dramedies, capturing both seismic, world–changing events, and previously invisible domestic tableaux. The raw materials of this unique and personal visual record, created by H.R. Haldeman, John Ehrlichman, and Dwight Chapin, were seized by the FBI during Watergate, filed away at the National Archives and forgotten for almost forty years. Obsessively documenting their experiences on film, these idealistic, dedicated young turks had no idea that just a few years later they’d all be in prison. They filmed because they thought that Nixon’s presidency would change the world forever — they were right.<br /> <br />Dir. Penny Lane, 2013, digital presentation, 84 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/6<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                                });     ecd.jq("#events-calendar-6Large").append('<span class="event-block" id="events-calendar-6-5545Large"><div class=\"test\" id=\"cal-series-title\">La Collectionneuse<\/div><a class=\"EC-tt-title-link EC-tt-post-link\" href=\"http://cinefamily.org/films/la-collectionneuse?time=past#moral-tales-the-bakery-girl-of-monceau-suzannes-career-at-zebulon\">Moral Tales: The Bakery Girl of Monceau & Suzanne’s Career at Zebulon<\/a><\/span>');
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/bakerygirl3-1600x900-c-default-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Moral Tales: The Bakery Girl of Monceau & Suzanne’s Career at Zebulon<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Co–presented by the French Film and TV Office<br /><br /><strong>This event will take place at Zebulon, located at 2478 Fletcher Dr, Los Angeles, CA 90039. Doors open at 7pm, show at 8pm.<\/strong><br /><br /><strong>After party with DJs Mark Wright and Jessica Hardy from Décadanse Soirée<\/strong><br /><br /><em>The Bakery Girl of Monceau<\/em> <br /> <br />A frustrated romantic of a law student is torn between Sylvie, a spectral art gallery assistant, and Jacqueline, a coarse bakery shopgirl. Rohmer finds ethereal, universal themes of lust within a few square blocks – summoning the power of cinema to render the everyday bustle of Paris a staging ground for an obsessive drama. The first Moral Tale is pure <em>Nouvelle Vague<\/em>: shot guerilla–style on 16mm in the back alleys of the 8th arrondissement, delectably local, and featuring narration by fellow film titan Bertrand Tavernier.<br /> <br />Dir. Éric Rohmer, 1963, digital presentation, 23 min.<br /><br /><em>Suzanne’s Career<\/em><br /> <br />Rohmer has a gift for spotlighting idiosyncratic behavior – the unpracticed snowflake–qualities of real people that are usually lost on–screen, beneath layers of dramatic training and self–awareness. In the Moral Tales\' second episode, Rohmer develops his effortless blend of a novelist\'s diary–style storytelling with naturalistic, acutely observed, and often contradictory human behavior. The result is raw and funny, tripping loosely around the lives of middle–class college students in a vivid time capsule of Paris\'s Latin Quarter in the early \'60s. The young unknowns who fill out <em>Suzanne\'s Career<\/em> really seem like college freshmen; babies in grown–up bodies opting for ill–conceived romances and failing their classes with the charming self–absorption of teenagers. <br /> <br />Dir. Éric Rohmer 1963, digital presentation, 54 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/6<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">8:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$5/free for members<\/span><\/div><\/div>')
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                                                                });     ecd.jq("#events-calendar-6Large").append('<span class="event-block" id="events-calendar-6-5537Large"><div class=\"test\" id=\"cal-series-title\">Fight the Power<\/div><a class=\"EC-tt-title-link EC-tt-post-link\" href=\"http://cinefamily.org/films/fight-the-power?time=past#8ball-tv\">8BALL TV featuring The Sixth Side of the Pentagon<\/a><\/span>');
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/sixth-face-stop-the-war-hand-124x80.png\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">8BALL TV featuring The Sixth Side of the Pentagon<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">“If the five sides of the pentagon appear impregnable, attack the sixth side.” <br />–Zen Proverb<br /> <br />On October 27, 1967, tens of thousands of protesters gathered in Washington, D.C. for the Mobilization to End the War in Vietnam. It was the largest protest gathering yet – a motley band of liberals, radicals, hippies, and Yippies. Among the thousands, Chris Marker led a team of filmmakers who both bore witness to this historic event, and captured a cultural moment through which images and criticism transformed (in the words of protesters) into direct action. With Marker’s patented sincerity of vision and wry commentary, <em>Sixth Side<\/em> less analyzes the politics of a time, than it purveys the mark history makes on the present.<br /> <br />Five decades later, on the occasion of Donald Trump’s Inauguration, <a href=\"http://www.8balltv.club/\" title=\"8BALL TV\" target=\"_blank\">8BALL TV<\/a> was launched. As a global public access station committed to the proliferation of political and experimental filmmaking, 8BALL echoes the demands of the protestors Marker documented: engagement, unification, and community. In this tradition, 8BALL TV provides a platform where the voices of emerging and established filmmakers from around the globe can be heard. Join us for the first public screening of work from 8BALL TV contributors, as well as <em>Sixth Side<\/em>, as we look to engage with our history, our communities, and the screen in new ways.<br /> <br />This program is curated by and co–presented with <a href=\"http://www.fac–ts.co/\" title=\"FACTS\" target=\"_blank\">FACTS<\/a>.<br /> <br /><em>The Sixth Side of the Pentagon<\/em>, dir. Chris Marker, 1967, digibeta, 26 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/6<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Scum1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Scum<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Criminally under known in the US, maverick filmmaker Alan Clarke was a thick scar on the visage of Margaret Thatcher\'s Britain; concurrently hyperreal and surreal, Clarke\'s films were explosive, scathing investigations into the darkest underbellies of British society, and inspired a generation of filmmakers from Harmony Korine to Gus Van Sant. There may be no better film to introduce new fans to his work than his early masterpiece, <em>Scum<\/em>. Starring a young and dynamic Ray Winstone as Carlin, a new inmate in a “borstal” – a youth detention facility – this highly controversial landmark of British cinema was originally made for the BBC, but was banned for its graphic depictions of suicide, rape, riots, and racism, and continued to be relatively underseen in the US and UK alike, partially due to obscenity lawsuits filed against any television network or VHS company who dared pick it up. The film\'s violent immediacy culminates in Carlin\'s retaliation sequence: the camera absorbing him in one of Clarke\'s signature, haunting long–takes, as he exacts revenge with a pool ball–filled sock, seizes power, and declares \"I\'m the daddy now!\" <br /> <br />Dir. Alan Clarke, 1979, DCP, 96 min.<br /><\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/7<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/nasty-habits-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Nasty Habits<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Leave it to the British to deliver the sharpest skewering of American politics; Michael Lindsay–Hogg’s 1977 <em>Nasty Habits<\/em>, an adaptation of Muriel Spark’s <em>The Abbess of Crewe<\/em>, manages to gather both the absurdity of Watergate and the callousness of religious hypocrisy into the same satirical net by transposing our country\'s greatest scandal – at least until now – on to a power–play at a wealthy Philadelphia abbey. Glenda Jackson, in the “Nixon” role, anchors the piece with a finely–measured comedic performance, her arched–eyebrow scheming and erudite, with two–faced tyranny worthy of the best cinema villains. The rest of the cast, great female character performers filling out analogs for the Nixon administration, are equally possessed by the holy spirit of satire, relishing in the blasphemous fun of playing nuns breaking bad. With Geraldine Page, Sandy Dennis, Eli Wallach, and Rip Torn. <br /> <br />Dir. Michael Lindsay–Hogg, 1977, 35mm, 96 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/7<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:15 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/EvesLeaves001_0-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Eve\'s Leaves<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">With live accompaniment by <a href=\"http://www.cliffretallick.com/\" title=\"Cliff Retallick\" target=\"_blank\">Cliff Retallick <\/a><br /><br />After parting ways with Famous Players–Lasky (Paramount) in early 1925, famed director Cecil B. DeMille decided to try his own hand at playing studio boss, and began production on several films – including <em>Eve’s Leaves<\/em>. Based on the play by Harry Chapman Ford and directed by Paul Sloane, the film follows a sea captain who forces his daughter Eve (Leatrice Joy) to masquerade as a boy. Eve responds by provoking widespread mischief aboard her father’s tramp freighter (ironically named “The Garden of Eden”). While the plot is laden with melodrama, it is comedy that forms the true heart of this movie. William Boyd, who would later achieve greater fame as cowboy hero Hopalong Cassidy, is commendable as the object of Eve’s desire; but while their combined screen chemistry is palpable (as witnessed in the truly memorable “apple–kissing” scene), it is Joy’s ebullient performance that ultimately steals the show.<br /><br />Dir. Paul Sloane, 1926, 35mm, 75 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/8<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">2:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/La-Collectionneuse-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Moral Tales: La Collectionneuse<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Co–presented by the French Film and TV Office<br /><br />Witty, philosophical, erotic, and true to life, <em>La Collectionneuse<\/em> is like a dream–vision of the summer vacation in the south of France you never had. As contradictory, sensual, and sardonic as its languid heroes, the film throws a spotlight on small moments of romantic caprice or boredom, and practically heralds the new, bohemian style of dandyism as it emerged in the ’60s: voluntary unemployment, casual sex, avant–garde philosophy, pop music, and comic books. As he staged these gorgeous Côte d’Azur–set scenes, Rohmer obsessed himself with authenticity: visual artist Daniel Pommereulle plays himself and co–wrote the dialogue with the other two leads, and the filmmaker himself called around for collectors of insect noises to find the right species for Saint–Tropez in June.<br /><br />Though made third, <em>La Collectionneuse<\/em> was conceived of as Moral Tale number four; it was made with an exceptionally limited budget while Rohmer waited for Jean–Louis Trintignant to be available for <em>My Night at Maud<\/em>\'s.<br /><br />Dir. Éric Rohmer, 1967, DCP, 89 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/8<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">5:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Scum2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Scum<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Criminally under known in the US, maverick filmmaker Alan Clarke was a thick scar on the visage of Margaret Thatcher\'s Britain; concurrently hyperreal and surreal, Clarke\'s films were explosive, scathing investigations into the darkest underbellies of British society, and inspired a generation of filmmakers from Harmony Korine to Gus Van Sant. There may be no better film to introduce new fans to his work than his early masterpiece, <em>Scum<\/em>. Starring a young and dynamic Ray Winstone as Carlin, a new inmate in a “borstal” – a youth detention facility – this highly controversial landmark of British cinema was originally made for the BBC, but was banned for its graphic depictions of suicide, rape, riots, and racism, and continued to be relatively underseen in the US and UK alike, partially due to obscenity lawsuits filed against any television network or VHS company who dared pick it up. The film\'s violent immediacy culminates in Carlin\'s retaliation sequence: the camera absorbing him in one of Clarke\'s signature, haunting long–takes, as he exacts revenge with a pool ball–filled sock, seizes power, and declares \"I\'m the daddy now!\" <br /> <br />Dir. Alan Clarke, 1979, DCP, 96 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/8<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">8:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/06/FuneralParadeofRoses6-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Funeral Parade of Roses<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Long unavailable in the U.S., director Toshio Matsumoto’s shattering, kaleidoscopic masterpiece is one of the most subversive and intoxicating films of the late 1960s: a headlong dive into a dazzling, unseen Tokyo night–world of drag queen bars and fabulous divas, fueled by booze, drugs, fuzz guitars, performance art, and black mascara. No less than Stanley Kubrick cited the film as a direct influence on his own dystopian classic, <em>A Clockwork Orange<\/em>. An unknown club dancer at the time, transgender actor Peter (from Kurosawa’s <em>Ran<\/em>) gives an astonishing Edie Sedgwick/Warhol superstar–like performance as hot young thing Eddie, hostess at Bar Genet – where she’s ignited a violent love–triangle with reigning drag queen Leda (Osamu Ogasawara) for the attentions of club owner Gonda (played by Kurosawa regular Yoshio Tsuchiya, from <em>Seven Samurai<\/em> and <em>Yojimbo<\/em>). One of Japan’s leading experimental filmmakers, Matsumoto bends and distorts time here like Resnais in <em>Last Year at Marienbad<\/em>, freely mixing documentary interviews, Brechtian film–within–a–film asides, Oedipal premonitions of disaster, his own avant–garde shorts, and even on–screen cartoon balloons, into a dizzying whirl of image and sound.  Featuring breathtaking black–and–white cinematography by Tatsuo Suzuki that rivals the photographs of Robert Mapplethorpe, <em>Funeral Parade<\/em> offers a frank, openly erotic, and unapologetic portrait of an underground community of drag queens. A key work of the Japanese New Wave and of queer cinema, <em>Funeral Parade<\/em> has been beautifully restored in 4k from the original 35mm camera negative and sound elements for re–release by Cinelicious Pics and The Cinefamily.<br /><br />Dir. Toshio Matsumoto, 1969, DCP, 107 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/8<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/The-Trouble-With-Angels-Rosalind-Russell-1966-1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">The Trouble with Angels and Where Angels Go Trouble Follows double feature<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><strong>Join us for an opening reception on our back patio!<\/strong><br /><br /><strong>With an all nun DJ set by our promotions director/programmer Taylor Rowley (<a href=\"http://kxlu.com/\" title=\"KXLU\" target=\"_blank\">KXLU<\/a>\'s The Windmills of Your Mind)!<\/strong><br /><br />Based on the book <em>My Life with Mother Superior<\/em> by June Trahey, <em>The Trouble with Angels<\/em> was actress Ida Lupino’s last feature film in the director’s chair. The American counterpart to Britain’s <em>The Belles of St. Trinian’s<\/em>, Columbia’s massively successful 1966 comedy follows PG–rated bad girls Mary (a 20 year old Hayley Mills, fresh off her career as Disney’s number one child star) and her sidekick Rachel (June Harding in her first and sadly last film role) in a New England Catholic boarding school as they sneak cigarettes in the girl’s room, play hooky on Silent Sunday, and execute, as Mary would say, “scathingly brilliant” schemes to get under the skin of the sisters. These two handfuls are under the charge of an exasperated, eye–rolling Reverend Mother (played expertly by queen of the reaction shot Rosalind Russell,  of <em>Gypsy<\/em> and <em>Auntie Mame<\/em> fame) who leads a superfluity of subordinate nuns, including several played by character actresses who made careers out of donning the wimple and veil – Mary Wickes (<em>Sister Act 1 & 2<\/em>), Marge Redmond (<em>The Flying Nun<\/em>), and Portia Nelson (<em>The Sound of Music<\/em>).<br /><br />Featuring a titular theme song written and performed by psych–pop duo Boyce & Hart, the 1968 follow–up <em>Where Angels Go Trouble Follows!<\/em> has Rosalind Russell returning with a schoolbus full of new delinquent schoolgirls for a cross–country road trip as the sixties swing into full force. From peace rallies (“break bread not the peace!”) to psychedelic dance parties to biker pow–wows, young free–wheelin’ Sister George (Stella Stevens of <em>The Nutty Professor<\/em> fame) and Russell’s old–line Reverend Mother illustrate the generation gap between the old ways of the order and post–Vatican II in tumultuous modern America. <br /><br />Sometimes silly, often touching, and 100% sincere, to say we love these movies would be a (n)understatement!<br /><br /><em>The Trouble with Angels<\/em>, dir. Ida Lupino, 1966, 35mm, 112 min. <br /><em>Where Angels Go Trouble Follows!<\/em>, dir. James Neilson, 1968, 35mm, 93 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/9<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">2:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Scum3-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Scum<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Criminally under known in the US, maverick filmmaker Alan Clarke was a thick scar on the visage of Margaret Thatcher\'s Britain; concurrently hyperreal and surreal, Clarke\'s films were explosive, scathing investigations into the darkest underbellies of British society, and inspired a generation of filmmakers from Harmony Korine to Gus Van Sant. There may be no better film to introduce new fans to his work than his early masterpiece, <em>Scum<\/em>. Starring a young and dynamic Ray Winstone as Carlin, a new inmate in a “borstal” – a youth detention facility – this highly controversial landmark of British cinema was originally made for the BBC, but was banned for its graphic depictions of suicide, rape, riots, and racism, and continued to be relatively underseen in the US and UK alike, partially due to obscenity lawsuits filed against any television network or VHS company who dared pick it up. The film\'s violent immediacy culminates in Carlin\'s retaliation sequence: the camera absorbing him in one of Clarke\'s signature, haunting long–takes, as he exacts revenge with a pool ball–filled sock, seizes power, and declares \"I\'m the daddy now!\" <br /> <br />Dir. Alan Clarke, 1979, DCP, 96 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/9<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Scum6-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Scum <\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Criminally under known in the US, maverick filmmaker Alan Clarke was a thick scar on the visage of Margaret Thatcher\'s Britain; concurrently hyperreal and surreal, Clarke\'s films were explosive, scathing investigations into the darkest underbellies of British society, and inspired a generation of filmmakers from Harmony Korine to Gus Van Sant. There may be no better film to introduce new fans to his work than his early masterpiece, <em>Scum<\/em>. Starring a young and dynamic Ray Winstone as Carlin, a new inmate in a “borstal” – a youth detention facility – this highly controversial landmark of British cinema was originally made for the BBC, but was banned for its graphic depictions of suicide, rape, riots, and racism, and continued to be relatively underseen in the US and UK alike, partially due to obscenity lawsuits filed against any television network or VHS company who dared pick it up. The film\'s violent immediacy culminates in Carlin\'s retaliation sequence: the camera absorbing him in one of Clarke\'s signature, haunting long–takes, as he exacts revenge with a pool ball–filled sock, seizes power, and declares \"I\'m the daddy now!\" <br /> <br />Dir. Alan Clarke, 1979, DCP, 96 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/10<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/beauty-and-the-beast-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">The Doug Benson Movie Interruption: Beauty and the Beast<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">The next installment of Doug Benson’s Movie Interruption, where Doug and friends (who in the past have included everyone from Jon Hamm to Sarah Silverman and Zach Galifianakis) chill on the couches, mics in hand, and say whatever pops into their heads while a movie of their choosing unfolds on the screen. This month\'s pick is <em>Beauty and the Beast<\/em>!<br /><br />Dir. Bill Condon, 2017, DCP, 129 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/11<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$14/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Scum1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Scum<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Criminally under known in the US, maverick filmmaker Alan Clarke was a thick scar on the visage of Margaret Thatcher\'s Britain; concurrently hyperreal and surreal, Clarke\'s films were explosive, scathing investigations into the darkest underbellies of British society, and inspired a generation of filmmakers from Harmony Korine to Gus Van Sant. There may be no better film to introduce new fans to his work than his early masterpiece, <em>Scum<\/em>. Starring a young and dynamic Ray Winstone as Carlin, a new inmate in a “borstal” – a youth detention facility – this highly controversial landmark of British cinema was originally made for the BBC, but was banned for its graphic depictions of suicide, rape, riots, and racism, and continued to be relatively underseen in the US and UK alike, partially due to obscenity lawsuits filed against any television network or VHS company who dared pick it up. The film\'s violent immediacy culminates in Carlin\'s retaliation sequence: the camera absorbing him in one of Clarke\'s signature, haunting long–takes, as he exacts revenge with a pool ball–filled sock, seizes power, and declares \"I\'m the daddy now!\" <br /> <br />Dir. Alan Clarke, 1979, DCP, 96 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/11<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">11:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/stalker-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Stalker<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">\"Perhaps it was in <em>Stalker<\/em> that I felt for the first time the need to indicate clearly and unequivocally the supreme value by which, as they say, man lives.\"  – Andrei Tarkovsky<br /> <br />One of the greatest films of all time – and perhaps the single greatest science fiction film – Andrei Tarkovsky’s <em>Stalker<\/em> has long been both a rarity and a touchstone. Smartly flipping a common trope of post–nuclear anxieties, the film follows three men – known simply as Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn), and Professor (Nikolai Grinko) – into a government–controlled lockdown zone in search of a room capable of granting its visitors’ innermost desires. With stunning visuals and almost impossible philosophical scope, Tarkovsky enshrouds religious allegory and political anxieties in quiet realism, constructing a dialogic meditation on art, faith, religion, and love. Thanks to a new restoration from Janus Films, this staple of the cinematic canon once again graces the big screen. <br /> <br />Dir. Andrei Tarkovsky, 1979, DCP, 161 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/12<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", "")
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Scum2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Scum<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Criminally under known in the US, maverick filmmaker Alan Clarke was a thick scar on the visage of Margaret Thatcher\'s Britain; concurrently hyperreal and surreal, Clarke\'s films were explosive, scathing investigations into the darkest underbellies of British society, and inspired a generation of filmmakers from Harmony Korine to Gus Van Sant. There may be no better film to introduce new fans to his work than his early masterpiece, <em>Scum<\/em>. Starring a young and dynamic Ray Winstone as Carlin, a new inmate in a “borstal” – a youth detention facility – this highly controversial landmark of British cinema was originally made for the BBC, but was banned for its graphic depictions of suicide, rape, riots, and racism, and continued to be relatively underseen in the US and UK alike, partially due to obscenity lawsuits filed against any television network or VHS company who dared pick it up. The film\'s violent immediacy culminates in Carlin\'s retaliation sequence: the camera absorbing him in one of Clarke\'s signature, haunting long–takes, as he exacts revenge with a pool ball–filled sock, seizes power, and declares \"I\'m the daddy now!\" <br /> <br />Dir. Alan Clarke, 1979, DCP, 96 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/12<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:45 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                ecd.jq("#events-calendar-13-5534Large")
                                                        .attr("title", "")
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Scum3-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Scum<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Criminally under known in the US, maverick filmmaker Alan Clarke was a thick scar on the visage of Margaret Thatcher\'s Britain; concurrently hyperreal and surreal, Clarke\'s films were explosive, scathing investigations into the darkest underbellies of British society, and inspired a generation of filmmakers from Harmony Korine to Gus Van Sant. There may be no better film to introduce new fans to his work than his early masterpiece, <em>Scum<\/em>. Starring a young and dynamic Ray Winstone as Carlin, a new inmate in a “borstal” – a youth detention facility – this highly controversial landmark of British cinema was originally made for the BBC, but was banned for its graphic depictions of suicide, rape, riots, and racism, and continued to be relatively underseen in the US and UK alike, partially due to obscenity lawsuits filed against any television network or VHS company who dared pick it up. The film\'s violent immediacy culminates in Carlin\'s retaliation sequence: the camera absorbing him in one of Clarke\'s signature, haunting long–takes, as he exacts revenge with a pool ball–filled sock, seizes power, and declares \"I\'m the daddy now!\" <br /> <br />Dir. Alan Clarke, 1979, DCP, 96 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/13<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/06/Mystery-Meat-web-listing-question-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Mystery Meat #2<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">From Cinefamily’s very beginnings, one of our greatest loves has been the joy of discovery — the extreme curio factor — the “what the hell am I watching?!” feeling that envelops us like a cocoon whenever we stumble across celluloid of unknown artistic origins. Running Cinefamily brings a game of limitations, though — in particular, what we’re doing is intended for an “audience.” But what about the films made for no one? The ones we want to show “just because”? And what about the ones we’ve never even seen ourselves, but sound so out–there that we simply must screen them, just to find out  – films too difficult to parse from their flaws, too confusing, too challenging, or just too damn strange. It\'s all part of the fun.<br /><br />We don’t promise these films will be “good.” We offer them with no explanations, no justifications, and no apologies. And we won’t even tell you what they are. Welcome to Mystery Meat.<br /><br />Warning: These screenings are not for civilians.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/13<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">Free w/ RSVP<\/span><\/div><\/div>')
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                                                                });     ecd.jq("#events-calendar-14Large").append('<span class="event-block" id="events-calendar-14-5550Large"><div class=\"test\" id=\"cal-series-title\">Friday Night Frights<\/div><a class=\"EC-tt-title-link EC-tt-post-link\" href=\"http://cinefamily.org/films/friday-night-frights?time=past#death-line-aka-raw-meat-w-director-gary-sherman-in-person\">Death Line (aka Raw Meat, w/ Gary Sherman, David Ladd, Paul Maslansky, and Jay Kanter in person)<\/a><\/span>');
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/death_line7-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Death Line (aka Raw Meat, w/ Gary Sherman, David Ladd, Paul Maslansky, and Jay Kanter in person)<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><em>Restored director\'s cut!<\/em><br /><br />A good cannibal film is best when rare, and for many years there was none rarer than <em>Death Line<\/em>, or as it was known here in the states, <em>Raw Meat<\/em>. Thankfully, due to home video, horror fans have been able to discover Gary Sherman’s wondrously bleak and gruesome 70s shocker, finally unearthed from its subterranean depths. The set–up is absolutely brilliant – far beneath the London streets, in Victorian catacombs, the last of a lineage of cannibals (the terrifyingly feral Hugh Armstrong, in a role nearly played by Marlon Brando!) prowls for fresh meat, pursued by a police detective played by the great Donald Pleasance. Sherman masterfully milks his setting for suffocating claustrophobia and dread, climaxing in a stomach–wrenching, gore–shock of an ending that will burn itself into your mind forever... and possibly leave you with some unholy cravings of your own. Join us for this filmic feast in the rarest of presentations – on the big screen!<br /><br />Dir. Gary Sherman, 1972, DCP, 87 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/14<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$14/free for members<\/span><\/div><\/div>')
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                                                                });     ecd.jq("#events-calendar-15Large").append('<span class="event-block" id="events-calendar-15-5542Large"><div class=\"test\" id=\"cal-series-title\">La Collectionneuse<\/div><a class=\"EC-tt-title-link EC-tt-post-link\" href=\"http://cinefamily.org/films/la-collectionneuse?time=past#moral-tales-my-night-at-mauds\">Moral Tales: My Night at Maud’s<\/a><\/span>');
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/My-Night-at-Mauds-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Moral Tales: My Night at Maud’s<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Co–presented by the French Film and TV Office<br /><br />With a DJ set by <a href=\"https://www.facebook.com/jim.smith.1441\">Jim Smith<\/a> from <a href=\"http://www.thesmell.org/\">The Smell<\/a><br /><br /><em>My Night at Maud\'s<\/em> is one of those movies with truly great dialogue – the kind of late–night heart–to–hearting and waxing philosophical that you recognize more from life than from other movies. Deep–dives that wantonly break the \"sex/politics/religion\" rule and life–like skirmishes played out awkwardly via unspoken social cues will make you laugh or wince with recognition. Rohmer remains obsessively devoted to wrapping reality up in fiction, casting a Marxist to play a Marxist and intertwining his protagonist\'s romantic troubles with the writings of mathematician–philosopher Blaise Pascal. If that sounds pretentious and unromantic, Rohmer knows it – his specialty is in vain male heroes bumbling through tangled webs of self–deception. With the third (but fourth released) Moral Tale, the formula finally won him a breakout success, garnering praise at Cannes and even penetrating mainstream theaters in the U.S., where Rohmer landed his only Oscar nomination. It introduced Rohmer to America as the New Wave\'s most understated master – novelistic, quietly satirical, and a keen observer of the subtle beauty and absurdity of human behavior. <br /> <br />Dir. Éric Rohmer, 1969, 35mm, 110 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/15<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">5:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                                });     ecd.jq("#events-calendar-15Large").append('<span class="event-block" id="events-calendar-15-5598Large"><div class=\"test\" id=\"cal-series-title\">Brainfeeder Film Fest<\/div><a class=\"EC-tt-title-link EC-tt-post-link\" href=\"http://cinefamily.org/films/brainfeeder-film-fest?time=past#brainfeeder-monster-mash-featuring-umbilical-world-and-kuso\">Brainfeeder Monster Mash featuring Umbilical World and Kuso<\/a><\/span>');
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso21-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Brainfeeder Monster Mash featuring Umbilical World and Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><strong>Co–presented by <a href=\"https://www.shudder.com/\" title=\"Shudder\" target=\"_blank\">Shudder<\/a> and <a href=\"http://worldwidefm.net/\" title=\"Worldwide FM\" target=\"_blank\">Worldwide FM<\/a><\/strong><br /><br /><strong>Flying Lotus in person!<\/strong><br /><br />Get ready for a funkadelic party apocalypse of an evening, as the Brainfeeder crew takes over Cinefamily all night long, with a cosmic monster mash–up of shorts, DJs and visuals, special guests, and sundry surprises – all in celebration of Flying Lotus/Captain Murphy/Steve\'s feature film debut, <strong><em>Kuso<\/em><\/strong>. Highlights will include <strong><em>Umbilical World<\/em><\/strong> (a compilation film comprised of David Firth\'s mind–bending animations), DJ sets by <strong>Zack Fox<\/strong> and <strong>PBDY<\/strong>, a live performance by <strong>Busdriver<\/strong>, the <em>Kuso<\/em> VR experience on the patio, and then, as the witching hour approaches, the movie monstrosity itself. <br /><br /><em>Kuso<\/em> is the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. <br /><br /><em>Umbilical World<\/em>, dir. David Firth.<br /><em>Kuso<\/em>, dir. Flying Lotus, 2017, DCP, 105 min.<br /><br /><strong>Event runs from 8pm to 2am, with FREE rolling admission.<\/strong> <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/15<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">8:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">Free w/ RSVP<\/span><\/div><\/div>')
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                                                                });     ecd.jq("#events-calendar-16Large").append('<span class="event-block" id="events-calendar-16-5591Large"><div class=\"test\" id=\"cal-series-title\">Nunday Funday<\/div><a class=\"EC-tt-title-link EC-tt-post-link\" href=\"http://cinefamily.org/films/nunday-funday?time=past#the-sound-of-music\">The Sound of Music<\/a><\/span>');
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/the-sound-of-musicjpg-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">The Sound of Music<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><strong>Preceded by a puppet show by <a href=\"http://www.bobbakermarionettetheater.com/\" title=\"The Bob Baker Marionette Theater\" target=\"_blank\">The Bob Baker Marionette Theater<\/a>!<\/strong><br /><br />\"No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion...It\'s my conviction that anyone who can\'t, on occasion, be sentimental about children, home or nature is sadly maladjusted.\" – Richard Rodgers<br /><br />It’s 1965. The tide–shifting political and countercultural revolution approacheth, as activists, mop–tops, and barefooted flower children play pied pipers to an ever–expanding consciousness. Warhol has directed 28 films...this year alone. And yet the highest grossing movie, of both the year and all time, is about a wide–eyed, plucky nun who warms the heart of a calloused widower, turning the lives and frowns of his family upside down as she brings them together through the power of song. 60s cinema’s fascination with Sisters of the Cloth’s exotic purity climbed to its most glorious heights with <em>The Sound of Music<\/em>. Audiences around the world fell in love with the fresh faced, glowing Julie Andrews and commanding Christopher Plummer, the sumptuous direction by Robert Wise, and the unforgettable–no–matter–how–you–try songs by Rodgers & Hammerstein. Though critics sneered and the hip dubbed it the epitome of squaredom, <em>Music<\/em>’s charm laid not in its obliviousness to a world in flux but its juxtaposition against it. As the shadow of WWII falls all around and the family sweetly sings that final “Edelweiss”, it’s easy to see them (through tear–filled eyes) as a symbol of kinship, love, and hope amidst chaos. Now in these sadly maladjusted times beset by darkness and snarkness, the honest emotion of <em>The Sound of Music<\/em> is more precious than ever. Warmth, kindness and, as its original tagline proclaimed, “The Happiest Sound in All the World!” These are a few of our favorite things, may they bloom and grow forever.<br /><br />Dir. Robert Wise, 1965, 35mm, 174 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/16<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">2:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                                });     ecd.jq("#events-calendar-16Large").append('<span class="event-block" id="events-calendar-16-5599Large"><div class=\"test\" id=\"cal-series-title\">Brainfeeder Film Fest<\/div><a class=\"EC-tt-title-link EC-tt-post-link\" href=\"http://cinefamily.org/films/brainfeeder-film-fest?time=past#show-tell-with-george-clinton-and-flying-lotus\">Show & Tell with George Clinton and Flying Lotus<\/a><\/span>');
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/georgeclinton-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Show & Tell with George Clinton and Flying Lotus<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><strong>Co–presented by <a href=\"https://www.shudder.com/\" title=\"Shudder\" target=\"_blank\">Shudder<\/a> and <a href=\"http://worldwidefm.net/\" title=\"Worldwide FM\" target=\"_blank\">Worldwide FM<\/a><\/strong><br /><br />Cinefamily Show & Tell invites artists, filmmakers, musicians, and other cultural heroes to divulge their deepest, darkest media obsessions by opening their closets, digging through their attics and plundering their garages to curate an evening of… whatever they want to share! For this edition, Flying Lotus will join one of his heroes and inspirations, as well as one of the stars of his feature film debut <em>Kuso<\/em>, Pharaoh of funkdom himself, Mr. George Fucking Clinton. That\'s right, a mothership is landing with a mother lode of goodness – they\'ll be discussing and sharing rare live performances, music videos, and more things to take our minds where our asses will follow.<br /><br /><strong><a href=\"https://70404.blackbaudhosting.com/70404/tickets?tab=2&txobjid=73da59a6–f4ae–4c4d–a2aa–761986c48a8d\" title=\"VIP Tickets\" target=\"_blank\">VIP Tickets<\/a> include priority seating. Purchase them <a href=\"https://70404.blackbaudhosting.com/70404/tickets?tab=2&txobjid=73da59a6–f4ae–4c4d–a2aa–761986c48a8d\" title=\"here\" target=\"_blank\">here<\/a>.<\/strong><\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/16<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$25 GA/$40 VIP<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/happiness-of-the-katakuris-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Happiness of the Katakuris & Tetsuo: The Iron Man with Flying Lotus in person!<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><strong>Co–presented by <a href=\"https://www.shudder.com/\" title=\"Shudder\" target=\"_blank\">Shudder<\/a> and <a href=\"http://worldwidefm.net/\" title=\"Worldwide FM\" target=\"_blank\">Worldwide FM<\/a><\/strong><br /><br />Double feature programmed and introduced by Flying Lotus!<br /><br /><strong><em>Happiness of the Katakuris<\/em><\/strong><br /><br />After a Jan Svankmajer–style opening involving a cupid–like homunculus, an evil teddy bear, and a hungry crow, we meet four generations of the Katakuris: husband and wife, their criminal son and divorcée daughter, her little girl, and the wife\'s father. In response to Japan\'s economic decline, the Katakuris have reinvented themselves as innkeepers at an out–of–the–way hotel. Sadly, their guests have a tendency to die from suicide and fatal accident, and the family has to bury the bodies to avoid the bad press. Meanwhile, the daughter of the family is being wooed by a con artist who claims to be either the offspring of royalty or a foreign spy. To make matters worse, an escaped murderer is on the loose, and the nearby volcano is rumbling ominously. Miike’s whatzit is the best family–musical–comedy–with–zombies– and–claymation–sequences ever made.<br /><br />Dir. Takashi Miike, 2001, 35mm, 113 min. <br /><br /><strong><em>Tetsuo: The Iron Man<\/em><\/strong><br /><br />With all the heavy clanks and insane visual thrumming of a <em>Metropolis<\/em> updated for the frenetic William Gibson age – crossed with the blazing sex–and–blood factor of a vintage Cronenberg nightmare – director Shinya Tsukamoto’s career–defining, blenderized vision finds a downtrodden salaryman mutating beyond belief into a half–man, half–machine freakazoid hellbent on destroying the metals worshipper who cursed him into a life of copper wires and motor oil mimosas.  Whereas <em>Godzilla<\/em> is a response to the proliferation of nuclear power (and its impact on the planet), <em>Tetsuo<\/em> is a direct satirization of what’s perhaps the more insidious scourge of Japan’s rapid industrialization, proliferation of waste, and dehumanization of its populace. Any cybernaut worth their salt would be crazy to miss it!<br /><br />Dir. Shinya Tsukamoto, 1989, digital presentation, 67 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/17<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$14/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/All_The_Presidents_Men-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">All the President\'s Men<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Part of our <a href=\"http://cinefamily.org/films/watergate–on–film\" title=\"Impeach the President: Watergate on Film\" target=\"_blank\">Impeach the President: Watergate on Film<\/a> series<br /><br />Greg Proops (one of the most mind–warpingly quick–draw improv comics on earth) records the latest episode of his monthly Film Club podcast live — and then it’s time for <em>All the President\'s Men<\/em>.<br /><br />Greg sez: The crowning achievement of Alan J. Pakula’s Paranoid trilogy (<em>Klute<\/em>, <em>Parallax View<\/em>). Two sexy reporters, (Robert Redford and his groovy 70’s hair and Dustin Hoffman playing it low–key with a mullet ) are thrown together by their gruff–but–lovable editor, (the gruff–but–lovable Jason Robards) to uncover mayhem, skullduggery, and corruption at the Imperial Nixon White House. Hellbent on the scoop, they press and lie and wheedle and have furtive secret meetings with anonymous sources played by a dazzling array of character actors in parlors and car parks. All evidence leads to one conclusion: the President is a spying, duplicitous, maniac surrounded by corrupt henchman. No one will be seated till someone is impeached. <br /><br />Dir. Alan J. Pakula, 1976, 35mm, 138 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/18<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/stalker-1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Stalker<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">\"Perhaps it was in <em>Stalker<\/em> that I felt for the first time the need to indicate clearly and unequivocally the supreme value by which, as they say, man lives.\"  – Andrei Tarkovsky<br /> <br />One of the greatest films of all time – and perhaps the single greatest science fiction film – Andrei Tarkovsky’s <em>Stalker<\/em> has long been both a rarity and a touchstone. Smartly flipping a common trope of post–nuclear anxieties, the film follows three men – known simply as Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn), and Professor (Nikolai Grinko) – into a government–controlled lockdown zone in search of a room capable of granting its visitors’ innermost desires. With stunning visuals and almost impossible philosophical scope, Tarkovsky enshrouds religious allegory and political anxieties in quiet realism, constructing a dialogic meditation on art, faith, religion, and love. Thanks to a new restoration from Janus Films, this staple of the cinematic canon once again graces the big screen. <br /> <br />Dir. Andrei Tarkovsky, 1979, DCP, 161 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/20<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/katakuris-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Happiness of the Katakuris <\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">After a Jan Svankmajer–style opening involving a cupid–like homunculus, an evil teddy bear, and a hungry crow, we meet four generations of the Katakuris: husband and wife, their criminal son and divorcée daughter, her little girl, and the wife\'s father. In response to Japan\'s economic decline, the Katakuris have reinvented themselves as innkeepers at an out–of–the–way hotel. Sadly, their guests have a tendency to die from suicide and fatal accident, and the family has to bury the bodies to avoid the bad press. Meanwhile, the daughter of the family is being wooed by a con artist who claims to be either the offspring of royalty or a foreign spy. To make matters worse, an escaped murderer is on the loose, and the nearby volcano is rumbling ominously. Miike\'s whatzit is the best family–musical–comedy–with–zombies–and–claymation–sequences ever made.<br /><br />Dir. Takashi Miike, 2001, 35mm, 113 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/21<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/night-of-the-creeps2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Night of the Creeps (with director Fred Dekker in person)<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><em>Director\'s cut!<\/em><br /><br />Though it was overlooked during the busy summer movie schedule of 1986, Fred Dekker’s <em>Night of the Creeps<\/em> has gone on to become a quintessential cult classic. A loving homage to the B movies of the 1950s, Dekker’s winningly gruesome horror comedy mashes up elements of atomic age sci–fi, Romero zombies, slashers, and 80s teen comedy, magically landing on a recipe for pure fun. Leads Jason Lively and Steve Marshall have a great rapport as best buds dealing with a campus infested with space slug–controlled zombie schoolmates, with B movie leading man Tom Atkins bringing the funny as the quipping alcoholic detective who finds himself caught up in the madness, leading to some of the film’s irresistibly quotable lines. A perfect summer movie, <em>Night of the Creeps<\/em> has proved highly influential, inspiring James Gunn’s pre–<em>Guardians of the Galaxy<\/em> creepfest, <em>Slither<\/em>. The good news is that we’re throwing a rare screening of the director’s cut with special guests... the bad news is that they’re dead!<br /><br />Dir. Fred Dekker, 1986, DCP, 88 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/21<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$14/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">“The grossest movie ever made.”  –The Verge<br /><br />“Those who walked out were completely right to do so... <em>Kuso<\/em> is destined to be legendary.”  –The Film Stage<br /><br />“I tried to warn folks.”  –Flying Lotus<br /><br />Get ready for <em>Kuso<\/em>, Steve Ellison aka Flying Lotus’ film debut, and the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. Only playing at midnight.<br /><br />Dir. Flying Lotus, 2017, DCP, 105 min.  <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/21<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/clairesknee-2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Moral Tales: Claire\'s Knee<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Co–presented by the French Film and TV Office<br /><br />\"Something close to a perfect film... <em>Claire\'s Knee<\/em> unfolds like an elegant fairy tale in a series of enchanted and enchanting encounters, on the lake, in gardens heavy with blossoms, in interiors that look like Vermeers... it is so funny and so moving, so immaculately realized, that almost any ordinary attempt to describe it must, I think, in some way diminish it,\" wrote <em>The New York Times<\/em>\' Vincent Canby in 1971. <br /> <br />Arguably Rohmer\'s masterpiece, the fifth installment of his Moral Tales sextuplet, <em>Claire\'s Knee<\/em>, traces the lustful pangs of Jérôme, a diplomat stationed at Lake Annecy in Western France, as he encounters and muses with Aurora, a wizened novelist, and two teenage girls. Unfolding in a novelistic, stream–of–consciousness style across July 1970, <em>Claire\'s Knee<\/em> achieves as close to pure heartbeat–editing as ever attempted in French cinema. The moody photography (Rohmer\'s second film in color) is utterly entrancing; the performances deftly subtle; the drama purely human. Canby placed the film within the company of <em>Intolerance<\/em>, <em>Rear Window<\/em>, and <em>My Darling Clementine<\/em> – works that not only attest to the power of the cinematic form, but could only exist because of it.<br /> <br />Dir. Éric Rohmer, 1970, 35mm, 105 min.<br /><br /><em>Print courtesy of the Institut Français. Special thanks to the Cultural services of the French Embassy.<\/em><\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/22<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">5:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/stalker-2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Stalker<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">\"Perhaps it was in <em>Stalker<\/em> that I felt for the first time the need to indicate clearly and unequivocally the supreme value by which, as they say, man lives.\"  – Andrei Tarkovsky<br /> <br />One of the greatest films of all time – and perhaps the single greatest science fiction film – Andrei Tarkovsky’s <em>Stalker<\/em> has long been both a rarity and a touchstone. Smartly flipping a common trope of post–nuclear anxieties, the film follows three men – known simply as Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn), and Professor (Nikolai Grinko) – into a government–controlled lockdown zone in search of a room capable of granting its visitors’ innermost desires. With stunning visuals and almost impossible philosophical scope, Tarkovsky enshrouds religious allegory and political anxieties in quiet realism, constructing a dialogic meditation on art, faith, religion, and love. Thanks to a new restoration from Janus Films, this staple of the cinematic canon once again graces the big screen. <br /> <br />Dir. Andrei Tarkovsky, 1979, DCP, 161 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/22<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">“The grossest movie ever made.” –The Verge<br /><br />“Those who walked out were completely right to do so... <em>Kuso<\/em> is destined to be legendary.” –The Film Stage<br /><br />“I tried to warn folks.” –Flying Lotus<br /><br />Get ready for <em>Kuso<\/em>, Steve Ellison aka Flying Lotus’ film debut, and the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. Only playing at midnight.<br /><br />Dir. Flying Lotus, 2017, DCP, 105 min.  <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/22<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/sister-act-2-DI-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Sister Act 2: Back in the Habit<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Most sequels go the way of <em>Breakin 2: Electric Boogaloo<\/em> or <em>Speed 2: Cruise Control<\/em>. Some, when you get that delicious alignment of talent, inspiration, and a dose of gonzo, take the <em>Gremlins 2: The New Batch<\/em> path. <em>Sister Act 2<\/em> – a strange, beautiful, hilarious movie – belongs in the latter category.<br /><br />It was a different world when the <em>Sister Act<\/em> franchise arrived in cinemas in the early 90\'s. We had no idea that Whoopi Goldberg would one day helm <em>The View<\/em>, while <em>Harry Potter<\/em>\'s Minerva McGonagal was just a twinkle in Maggie Smith\'s eye. Deloris (Whoopi)\'s singing career is soaring in Vegas, is recruited by Smith for a classic \"one last ride\" rejoin the nuns in rescuing a declining San Francisco public school from closure. Fish–out–of–water hijinks ensue, while a lurid batch of musical numbers – including arrangements of Marvin Gaye and Supremes tunes – are exemplary of the ambitious, entrepreneurial cinema of the era. Oh, and it also launched the careers of Lauryn Hill and Jennifer Love Hewitt! Director Bill Duke (who\'d helmed episodes of <em>Miami Vice<\/em> and a number of hard–boiled crime flicks, in between acting turns in <em>Car Wash<\/em> and <em>Predator<\/em>) notched a historical touchstone by being the first African American to helm a blockbuster sequel – and doing so with bravura style.<br /><br />Dir. Bill Duke, 1993, 35mm, 107 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/23<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">2:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                ecd.jq("#events-calendar-23-5561Large")
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/serie-noire-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Série noire <\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Patrick Dewaere, one of the most talented French comic actors of the 70s, may have the saddest face in cinema. Known in the US mainly for his terrific performances in Bertrand Blier’s hit absurdist comedies <em>Going Places<\/em> and <em>Get Out Your Handkerchiefs<\/em>, Dewaere was a human “Pierrot” (the iconic sad clown of French theatre and Italian <em>Commedia dell\'arte<\/em>) who found a neurotic humor in his own very real fragility; tragically, Dewaere\'s own battles with depression culminated in his eventual suicide in 1982. This makes <em>Série noire<\/em> one of the most simultaneously emotionally affecting and tragic of Jim Thompson’s adaptations (by Georges Perec, no less). In the Thompson cavalcade of misanthropists, nihilists, and misogynists, one feels Dewaere’s desperation to be a hero, as he ends up just another pathetic sucker, impotent against the fates and destined to be eaten by bigger and smarter fish, with no morals, instead of few. A rare screening on 35mm of an overlooked gem.<br /><br />Dir. Alain Corneau, 1979, 35mm, 111 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/23<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">5:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso3-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">“The grossest movie ever made.” –The Verge<br /><br />“Those who walked out were completely right to do so... <em>Kuso<\/em> is destined to be legendary.” –The Film Stage<br /><br />“I tried to warn folks.” –Flying Lotus<br /><br />Get ready for <em>Kuso<\/em>, Steve Ellison aka Flying Lotus’ film debut, and the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. Only playing at midnight.<br /><br />Dir. Flying Lotus, 2017, DCP, 105 min.  <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/23<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/stalker-3-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Stalker<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">\"Perhaps it was in <em>Stalker<\/em> that I felt for the first time the need to indicate clearly and unequivocally the supreme value by which, as they say, man lives.\"  – Andrei Tarkovsky<br /> <br />One of the greatest films of all time – and perhaps the single greatest science fiction film – Andrei Tarkovsky’s <em>Stalker<\/em> has long been both a rarity and a touchstone. Smartly flipping a common trope of post–nuclear anxieties, the film follows three men – known simply as Stalker (Aleksandr Kaydanovskiy), Writer (Anatoliy Solonitsyn), and Professor (Nikolai Grinko) – into a government–controlled lockdown zone in search of a room capable of granting its visitors’ innermost desires. With stunning visuals and almost impossible philosophical scope, Tarkovsky enshrouds religious allegory and political anxieties in quiet realism, constructing a dialogic meditation on art, faith, religion, and love. Thanks to a new restoration from Janus Films, this staple of the cinematic canon once again graces the big screen. <br /> <br />Dir. Andrei Tarkovsky, 1979, DCP, 161 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/24<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">8:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">“The grossest movie ever made.” –The Verge<br /><br />“Those who walked out were completely right to do so... <em>Kuso<\/em> is destined to be legendary.” –The Film Stage<br /><br />“I tried to warn folks.” –Flying Lotus<br /><br />Get ready for <em>Kuso<\/em>, Steve Ellison aka Flying Lotus’ film debut, and the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. Only playing at midnight.<br /><br />Dir. Flying Lotus, 2017, DCP, 105 min.  <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/24<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/mask-of-the-phantasm1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Batmanimation: A History of Batman in Cartoons feat. Batman: Mask of the Phantasm<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><em>Co–presented by <a href=\"https://www.warnerarchive.com/\" title=\"Warner Archive\" target=\"_blank\">Warner Archive<\/a> in celebration of Batman: Mask of the Phantasm\'s Blu–ray release!<\/em><br /><br />Ask any Batman fan what they consider the definitive take on the caped crusader, and 9 out of 10 will name Bruce Timm’s groundbreaking <em>Batman: The Animated Series<\/em>. At its peak in 1992, the team of Timm and Eric Radomski brought the series’ beautifully realized noir aesthetic to the big screen with the feature–length <em>Batman: Mask of the Phantasm<\/em>, delivering what is now held up as a canonical and essential Batman story. Series regulars Kevin Conroy and Mark Hamill (who would have imagined Luke Skywalker would make for the ideal Joker?) carry over their impeccable voice over work, aided by superlative character voices Stacy Keach, Dana Delaney , Abe Vigoda, Hart Bochner and Dick Miller, bringing to life the story of Batman’s psychologically–charged showdown with a terrifying new enemy, Phantasm. And if being treated to what is arguably the best big screen Batman isn’t enough, famed animation historian and regular Cinefamily guest curator Jerry Beck will be presenting clips from the award–winning series along with the Dark Knight’s other cartoon outings and conducting a lively lecture on his storied history in the animated medium. To the Batcave, aka Cinefamily!<br /><br />Dirs. Bruce Timm & Eric Radomski, 1992, 35mm, 76 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/25<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$14/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso2-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">“The grossest movie ever made.” –The Verge<br /><br />“Those who walked out were completely right to do so... <em>Kuso<\/em> is destined to be legendary.” –The Film Stage<br /><br />“I tried to warn folks.” –Flying Lotus<br /><br />Get ready for <em>Kuso<\/em>, Steve Ellison aka Flying Lotus’ film debut, and the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. Only playing at midnight.<br /><br />Dir. Flying Lotus, 2017, DCP, 105 min.  <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/25<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso3-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">“The grossest movie ever made.” –The Verge<br /><br />“Those who walked out were completely right to do so... <em>Kuso<\/em> is destined to be legendary.” –The Film Stage<br /><br />“I tried to warn folks.” –Flying Lotus<br /><br />Get ready for <em>Kuso<\/em>, Steve Ellison aka Flying Lotus’ film debut, and the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. Only playing at midnight.<br /><br />Dir. Flying Lotus, 2017, DCP, 105 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/26<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/theUNTAMED-Still1-RuthRamos-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">The Untamed<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">With a DJ set by the <a href=\"https://www.chulitavinylclub.com/\" title=\"Chulita Vinyl Club\" target=\"_blank\">Chulita Vinyl Club <\/a><br /><br />Take a healthy dose of sexually charged interpersonal drama, mix in some Lovecraft by way of Zulawski’s <em>Possession<\/em> and stew in a broth of  Mexican mysticism and you have Amat Escalante’s <em>The Untamed<\/em>. Following up his critical darling <em>Heli<\/em>, Escalante, a supernova among Mexico City’s new wave of rising star directors, has a flawless sense of tone, deftly balancing the light and dark of his character’s explosive personal lives with shocking cosmic weirdness, body horror, and graphic sex. In exploring the interplay between machismo, homophobia and closeted homosexuality, as framed in Latin culture, the film becomes both a literal and metaphorical monster movie, its tentacled, pleasure–offering creature a corporeal manifestation of the characters\' tortured quest for satisfaction of both body and spirit. More than mere provocation, Escalante\'s vision is every bit as honest as it is horrifying and beautiful, a bold cinematic voice that is sure to find an international audience.<br /><br />Dir. Amat Escalante, 2016, DCP, 100 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/27<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/TheWall-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Pink Floyd: The Wall (Off-site at The Standard Hollywood)<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><strong>This event will take place at <a href=\"http://www.standardhotels.com/la/happenings/the–wall–2017\" title=\"The Standard Hollywood\" target=\"_blank\">The Standard Hollywood<\/a>, 8300 Sunset Blvd, West Hollywood, CA 90069. Screening begins at 8:30pm; early arrival suggested.<\/strong><br /> <br />Holy shit, ‘Floyd fans – if you’ve never seen <em>Pink Floyd: The Wall<\/em>, now’s the time to take the pill; as the film is more than a video album, more than a rock operetta, more than the sticky makeout party known as Laser Floyd at the Science Center. Director Alan Parker takes classic–rock–giant Pink Floyd’s eleventh (and most contentious) studio album and adds dimension after visual dimension to its iconic composition, slowly revealing the plummeting and heartbreaking internal depths of <em>The Wall<\/em>’s unexplored stories.<br /><br />Following young Pink through a childhood of turmoil and hostility, <em>The Wall<\/em> is a visually rich yet morally devoid bildungsroman of mounting anxiety, as Pink struggles for connection and expression in an uncaring, violent world. Written by Roger Waters, based on the life of rock ‘n roll’s arguable persephone Syd Barrett, and rife with psychedelia, the film hypnotizes us deeply into the psychological sub–terrains of a soul’s disconnection from society – in only the way Waters can be our Virgil. With animation by Gerald Scarfe that brings an interplanar breadth to this sludgy, woeful musical epic of postwar algos, Waters has crafted a crucial forewarning – perhaps now more relevant than ever – of the psychosis of a human kept behind a wall.<br /><br />Dir. Alan Parker, 1983, digital presentation, 95 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/27<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">8:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">Free w/ RSVP<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/kuso1-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Kuso<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">With a set by <a href=\"https://www.facebook.com/mishkakxlu/\" title=\"DJ Mishka\" target=\"_blank\">DJ Mishka<\/a> and <a href=\"https://www.harleyastorga.com/\" title=\"DJ Harley\" target=\"_blank\">DJ Harley<\/a> (<a href=\"http://kxlu.com/\" title=\"KXLU\" target=\"_blank\">KXLU<\/a>).<br /><br />“The grossest movie ever made.” –The Verge<br /><br />“Those who walked out were completely right to do so... <em>Kuso<\/em> is destined to be legendary.” –The Film Stage<br /><br />“I tried to warn folks.” –Flying Lotus<br /><br />Get ready for <em>Kuso<\/em>, Steve Ellison aka Flying Lotus’ film debut, and the latest entry in midnight movie history – a challenging, perverse, free–jazz, body horror psycho–scape of epic and disgusting proportions. In a series of sketches featuring a cast of funkadelic freakazoids and comic maniacs – from George Clinton to Tim Heidecker and Hannibal Buress – and with animations by Newgrounds pioneer David Firth, <em>Kuso<\/em> is a visual feast – just a rotting, putrid, and otherworldly one that that would make Matthew Barney queasy. Only playing at midnight.<br /><br />Dir. Flying Lotus, 2017, DCP, 105 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/27<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/image-9abe4a93-ad99-4650-b406-f64f18c65fa7-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Step (Free sneak peek with special guests!)<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><strong>Presented by Women of Cinefamily<\/strong><br /><br /><strong>With special guests Blessin Giraldo, Cori Grainger, Tayla Solomon, Gari \"Coach G\" McIntyre, and Paula Dofat in person!<\/strong><br /><br />\"You mess with my sisters and you mess with me!\" That\'s the chant of the \"Lethal Ladies\" of the Baltimore Leadership School for Young Women, the all–girls high school competitive step dance team that is about to rock your world and move you to tears, in the most inspiring documentary of the year. These young women are part of the founding class of a non–profit college prep school – whose stated goal is that EVERY participant be accepted to and graduate from college; for many of the girls, they will be the first in their family to do so. Amanda Lipitz\'s <em>Step<\/em> brings you along on their journey, skillfully interweaving the tales of three girls in particular, in this uplifting tribute to the world\'s greatest moms, sisterhood, and the indomitable spirit of young girls when they stick together.<br /><br />Dir. Amanda Lipitz, 2017, DCP, 83 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/28<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:30 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">Free w/ RSVP<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/Freaks-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">Friday Night Frights: Freaks<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Presented by <a href=\"http://cinefamily.org/films/friday–night–frights/\" title=\"Friday Night Frights\" target=\"_blank\">Friday Night Frights<\/a><br /><br />A whole generation of midnight moviegoers and cult film fans were weaned on this most disturbing of visions, and the true feather in the horror hat of Tod Browning (director of <em>Dracula<\/em>). Browning employed real “sideshow professionals” to tell this tale of betrayal and murder in the world of carnival freakshows. Here the freaks take center stage, and the result is startling, provocative and wholly sympathetic to its titular creatures. From cavorting microcephalic “pinheads” to a limbless human torso slithering under a carnival wagon en route to a murder, <em>Freaks<\/em> packs a wallop that still holds up even in our cynical, seen–it–all times. <br /><br />Dir. Tod Browning, 1932, 35mm, 64 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/28<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">MIDNITE<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/SisterCorita-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">From Convent to Counterculture: Sister Corita and Inquiring Nuns<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\"><em>Co–presented by <a href=\"http://corita.org/\" title=\"Corita Art Center\" target=\"_blank\">Corita Art Center<\/a><\/em><br /><br /><strong>Join us for a closing reception on our patio featuring a gallery show of works by Sister Corita Kent!<\/strong><br /><br />\"I think maybe one of the most important rules about looking at films that I can think of is that you should never blink, that you should really keep your eyes straight on the film and never miss anything.\" – Sister Corita Kent<br /><br />Baylis Glascock\'s 1967 documentary <em>We Have No Art<\/em> opens with these instructions from radical artist–teacher–nun Sister Corita, whose politically and spiritually–charged silkscreens were often compared to Andy Warhol\'s, and continues to explore her progressive teaching methods and ideas at the former Immaculate Heart College in Los Angeles. Paired with Glascock\'s <em>Mary’s Day<\/em> 1964, which documents Corita\'s experiment in contemporizing the traditional springtime ceremony with Pop Art, the two films stand in clear admiration of the unorthodox nun, whose experimental practices attracted such luminaries as Charles & Ray Eames, Alfred Hitchcock, John Cage, and Buckminster Fuller to teach alongside her.<br /><br />Echoing Jean Roach and Edgar Morin’s seminal documentary <em>Chronicle of a Summer<\/em>, Gordon Quinn and Gerald Temaner\'s <em>Inquiring Nuns<\/em> wants to know \"Are you happy?\"  Set to a Philip Glass score (his first for film!), this simple but disarming question is repeated over and over again by two wide–eyed young Sisters as they roam the streets of Vietnam War–era Chicago, approaching everyone from Sunday morning churchgoers to legendary comedian Stepin Fetchit to members of psych–rock duo \"The Bubblegum Orgy.\" The responses they receive range from rational to philosophical to frankly sexual, but what\'s most striking about this 1968 time capsule is the recurring humanistic desire for a more peaceful planet.<br /><br /><br /><em>We Have No Art<\/em>, dir. Baylis Glascock, 1968, 16mm, 26 min.<br /><em>Mary’s Day<\/em>, dir. Baylis Glascock, 1964, digital presentation, 12 min.<br /><em>Inquiring Nuns<\/em>, dirs. Gordon Quinn and Gerald Temaner, 1968, 16mm, 66 min.<\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/30<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">7:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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                                                        .attr("title", '<div class=\"bubble-wrap-top\"><div class=\"EC-tt-still\"><img class=\"EC-tt-thumb\" src=\"http://cinefamily.org/wp-content/uploads/2017/07/theUNTAMED-Still1-RuthRamos-124x80.jpg\"><\/div><div class=\"EC-tt-title\"><span class=\"EC-tt-data EC-tt-title-data\">The Untamed<\/span><\/div><\/div><div class=\"bubble-wrap-middle\"><div class=\"EC-tt-description\"><span class=\"EC-tt-data EC-tt-description-data\">Take a healthy dose of sexually charged interpersonal drama, mix in some Lovecraft by way of Zulawski’s <em>Possession<\/em> and stew in a broth of  Mexican mysticism and you have Amat Escalante’s <em>The Untamed<\/em>. Following up his critical darling <em>Heli<\/em>, Escalante, a supernova among Mexico City’s new wave of rising star directors, has a flawless sense of tone, deftly balancing the light and dark of his character’s explosive personal lives with shocking cosmic weirdness, body horror, and graphic sex. In exploring the interplay between machismo, homophobia and closeted homosexuality, as framed in Latin culture, the film becomes both a literal and metaphorical monster movie, its tentacled, pleasure–offering creature a corporeal manifestation of the characters\' tortured quest for satisfaction of both body and spirit. More than mere provocation, Escalante\'s vision is every bit as honest as it is horrifying and beautiful, a bold cinematic voice that is sure to find an international audience.<br /><br />Dir. Amat Escalante, 2016, DCP, 100 min. <\/span><\/div><\/div><div class=\"bubble-wrap-bottom\"><div class=\"EC-tt-startdate\"><span class=\"EC-tt-data EC-tt-startdate-data\">7/30<\/span><\/div><div class=\"EC-tt-starttime\"><span class=\"EC-tt-data EC-tt-starttime-data\">10:00 PM<\/span><\/div><div class=\"EC-tt-ticketPrice\"><span class=\"EC-tt-data EC-tt-ticketPrice-data\">$12/free for members<\/span><\/div><\/div>')
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