Thursday April 25
• 6:30pm music / 7pm film

PLEASE NOTE: FILMS BEGIN AT POSTED SHOWTIMES

Special one night only event! Filmmakers in person for intro and post film Q and A and local acoustic roots musicians THE FAMILY BAND will play a live pre-show set starting at 6:30! Co-presented with KZFR. All seats $10 a benefit for the PAGEANT THEATER!

OPEN COUNTRY is a journey into the roots of American Country music. Although one wouldn’t realize it from listening to today’s pop Country-Western radio stations, country music has been anything but a rightwing soundtrack. To the contrary, the roots of Country and Western lie firmly in classic American traditions of resistance to capital and defense of the right of workers, poor farmers, and the dispossessed to live their lives in dignity and freedom. OPEN COUNTRY repositions country music into its rightful place as a people’s music. Featuring interviews with Billy Bragg, Mat Callahan, Hazel Dickens, Roxanne Dunbar-Ortiz, Jon Langford, Utah Phillips, Pete Seeger and many more.

Friday April 26
• 7pm
Saturday April 27
• 6:15pm
Sunday April 28
• 4:15pm

PLEASE NOTE: FILMS BEGIN AT POSTED SHOWTIMES

Return engagement for one of our absolute favorite films of the year! Hirayama seems utterly content with his simple life as a cleaner of toilets in Tokyo. Outside of his very structured everyday routine he enjoys his passion for music and for books. And he loves trees and takes photos of them. A series of unexpected encounters gradually reveal more of his past. A deeply moving and poetic reflection on finding beauty in the everyday world around us. Led by a remarkable Kôji Yakusho performance (Cannes Best Actor winner), PERFECT DAYS is a perfectly uplifting film of extraordinary subtlety and beauty and adds a quietly soaring gem to director Wim Wenders' estimable filmography.

Saturday April 27
• 9pm
Sunday April 28
• 7pm

PLEASE NOTE: FILMS BEGIN AT POSTED SHOWTIMES

For this icily erotic fusion of flesh and machine, David Cronenberg adapted J. G. Ballard’s future-shock novel of the 1970s into one of the most singular and provocative films of the 1990s. A traffic collision involving a disaffected commercial producer, James (James Spader), and an enigmatic doctor, Helen (Holly Hunter), brings them, along with James’s wife, Catherine (Deborah Kara Unger, in a sublimely detached performance), together in a crucible of blood and broken glass—and it’s not long before they are all initiated into a kinky, death-obsessed underworld of sadomasochistic car-crash fetishists for whom twisted metal and scar tissue are the ultimate turn-ons. Controversial from the moment it premiered at Cannes—where it won a Special Jury Prize “for originality, for daring, and for audacity”—Crash has since taken its place as a key text of late-twentieth-century cinema, a disturbingly seductive treatise on the relationships between humanity and technology, sex and violence, that is as unsettling as it is mesmerizing.