Mexico 68: Rojo Amanecer


On October 2nd, 2018, the 50th Anniversary of the Tlatelolco Massacre in Mexico City, we present a screening of the 1989 film Rojo Amanecer (Red Dawn) by Jorge Fons followed by an open discussion.

"It still shocks me how many people haven't seen Rojo Amanecer (1989) directed by Jorge Fonsa. I'm even more shocked by how many people in the US don't really know the full tragedy or scope of the Plaza de Tlatelolco Masacre which happened on Oct. 2, 1968. This 1990 Silver Ariel Award-winning Mexican film is quite gripping and unapologetic in its fictional though nonetheless graphic portrayal of the violence and emotional toll the massacre took on the tenants of the Plaza de Tlateloclo apartments where the massacre and following sweeps by Mexican soldiers took place. The film watches like a brutal piece of theater set within the small government apartment unit of one family stuck between the crossfires of political resistance and history." —Jose Luis Benavides

This is the first in a two-part series responding to the Tlatelolco Massacre programmed by Jose Luis Benavides as part of the ongoing series Sin Cinta Previa. More info here.

by Jorge Fonsa
1989, digital projection, 99 min


Cincuenta años, y ¿qué ha cambiado?


Cincuenta años, y ¿qué ha cambiado?
(Fifty years, and what has changed?)

50th Anniversary of the Tlatelolco Massacre

"In this screening we seek a vision of a better world where the Tlatelolco Masacre never happened, or better yet, never dared to occur. In these works we might envision a new plain of existence where the pain of the Mexican to the Colombian, Peruvian to Chicanx, and all Latinx subjectivities will be fully witnessed so no other massacre, not one more disappearance, not a single more bus full of indigenous sons or daughters vanishes into the flames of corruption, collusion or obfuscation. These videos relinquish the cactus, the forest, the machete, the palm of her hand, and the eye as offerings to those we may never see again. That the souls of those lost throughout our many battles for voice may bless us with their fury and move us to continue our boisterous fight against every past, present, and future indignation against our peoples.

We commune here with our all our ancestors, all our dead, in full pride of our indigeneity and our African roots. How do we cope with and comprehend the centuries of colonial violence transformed into state sponsored and state sanctioned aggressions against our motherlands and peoples, aquí y allá? How do we reconcile or heal from the constant flow of traumas? The video works presented here address these questions and raise new ones in our quest for new truths. This screening constitutes a collective celebration wrought from anguish. Featuring video works by: Lorena Barrera Enciso, Tamara Becerra Valdez, Ximena Cuevas, Daniel Haddad, Noé Martínez, Giselle Mira-Diaz, Nancy D. Sánchez, Victoria Santa Cruz, and María Sosa."
—Jose Luis Benavides

This is the second screening in a two-part series responding to the Tlatelolco Massacre programmed by Jose Luis Benavides as part of the ongoing series Sin Cinta Previa. More info here.

Digital projections
Total run time: ~114min


American Ego: Shock Corridor


Part 1: Unbridled Ambition

This is the first in a five-part series entitled AMERICAN EGO in which we invite the audience to view this selection of Classical Hollywood cinema with a critical eye to its preconceptions and depictions of success. 

"Reporter Johnny Barrett (Peter Breck) wants to win a Pulitzer Prize, and he’ll do whatever it takes, even clandestinely negotiating a diagnosis of insanity to get access to a scoop. He has himself committed to a mental hospital to investigate an unsolved murder. As he closes in on the killer, sanity slips from his tenuous grasp when he is confronted with a black man who believes he's the Grand Dragon of the Ku Klux Klan, a nuclear physicist who has regressed to the mental age of six, and a number of other strange inmates, all of whom have been transformed into the people they dislike the most. This film engages in commentary on racism, mental health and other controversial issues in 1960s America and features audacious photography by Stanley Cortez. Samuel Fuller masterfully charts the uneasy terrain between sanity and madness."

Program notes and program by Ashley Cooper.

Ashley Cooper is a Location Coordinator for film and TV productions based in Chicago. She is a cinephile who has a passion for classic American cinema.

by Samuel Fuller
1963, digital projection, 101 min


Violent Civilization



These films first screened in the program Violent Civilization curated by Dessane Lopez Cassell as a part of the FLAHERTY NYC: AFTERMATH at Anthology Film Archives on 10/1/18. Co-presented with The Flaherty, we are grateful to have it travel to Chicago!

'“Violent Civilization” considers the settler-colonial state as living, breathing, and thoroughly contemporary matter. Eschewing the tendency to historicize the oppression and displacement of indigenous communities in the United States, the films presented here by Adam and re-contextualize contemporary native identity. Based on the ancient Anishinaabe Seven Fires Prophecy which both predates and predicts the arrival of Europeans, INAATE/SE/ [it shines a certain way. to a certain place./it flies. falls./] blends documentary, narrative, and experimental elements to explore the resonance of the prophecy through generations in their specific Ojibway community in Michigan’s Upper Peninsula. Reflecting on the innate violence of museum archives and the relegation of human beings to artifacts, THE VIOLENCE OF A CIVILIZATION WITHOUT SECRETS considers the case––and consequences––of the “discovery” of the “Kennewick Man,” a prehistoric Paleo-American man whose remains were found in Kennewick, Washington, in 1996."––Dessane Lopez Cassell

The screenings will be followed by a discussion with the director.

by Adam Khalil, Zack Khalil, and Jackson Polys
2017, digital projection, 10 min

INAATE/SE/ [it shines 
a certain way. to a certain place./it flies. falls./].
by Adam Khalil and Zack Khalil
2016, digital projection, 68 min

Adam Shingwak Khalil (Ojibway) is a filmmaker and artist. His practice attempts to subvert traditional forms of ethnography through humor, relation, and transgression. Adam's work has been exhibited at UnionDocs, e-flux, Maysles Cinema, Microscope Gallery (New York), Museo ExTeresa Arte Actual (Mexico City), Spektrum (Berlin), Trailer Gallery (Sweden), Carnival of eCreativity (Bombay), and Fine Art Film Festival Szolnok (Hungary). Khalil is a UnionDocs Collaborative Fellow and Gates Millennium Scholar. In 2011 he graduated from the Film and Electronic Arts program at Bard College.


Don't Look Now


Marketed as a "psychic thriller", Don't Look Now has perhaps become more well known for a sex scene that pushed boundaries in 1973 than the many elements that make it so unique in the horror genre: an uncompromising meditation on a couple's experience of grief, a chimeric soundscape, an experimental approach to editing (and its connections to foresight), and large-scale use of Venice as an evolving theater-maze through which psychic fantoms perturb our protagonists.

"Donald Sutherland and Julie Christie mesmerize as a married couple on an extended trip to Venice following a family tragedy. While in that elegantly decaying city, they have a series of inexplicable, terrifying, and increasingly dangerous experiences. A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural, as renowned for its innovative editing and haunting cinematography as its naturalistic eroticism and unforgettable climax and denouement, one of the great endings in horror history."––Criterion Collection

by Nicholas Roeg
1973, digital projection, 110 min