Here's this month's indie screenings for the air conditioner chasing moviegoer who wants to beat the heat and one-size-fits-all blockbuster boredom.
One week starting June 22
In Summer 1993, writer/director Carla Simon shares the early years of her life. Her mother passed away when she was a young kid, and she was adopted by her aunt and uncle. The transition from a bustling city to her new family's more bucolic lifestyle is a difficult one for the her.
Summer 1993 is all about nostalgia and digging for specific memories: summer light through a window, the smell of a parent’s car, the tension on a road trip, the little things that stick out and stick with us. Simon aims to discover the deep, crazy, and random memories that end up defining us.
The Spook Who Sat by the Door (1969)
June 10-12, 7 p.m. $8
The Spook Who Sat by the Door is based on a spy novel of the same name written by Sam Greenlee. The story follows a black CIA agent who plays the part of the happy token before forming a paramilitary of young black men, teaching them spy tactics in order to wage guerrilla warfare on the white government. Greenlee’s book, based on the real-life first black CIA agent Dan Freeman, was denied by American publishers until finally being printed in the UK.
The FBI pulled the movie from screens during its original 1969 run, making this a very rare screening.
The black spy, played by Lawrence Cook, is smooth, smart, well educated, and trained. He speaks of freedom and social revolution, and wreaks havoc while attacking white government agents. It's all shot in 60’s style, which looks awesome.
June 15, one week
Nancy, starring Andrea Riseborough in the titular role, is about a woman who believes she is the missing girl that, 30 years later, two parents are still looking for. After reaching out to meet the parents, they wait the three or so business days it takes to complete a DNA test.
In that time, her mother, her friend, and the parents (played Ann Dowd, John Leguizamo, and Steve Buscemi and J. Smith Cameron) do their best to decipher Nancy’s intentions. With her stone countenance, Riseborough delivers deadpan and creepy stillness mixed with incredibly expressive sorrow and cathartic release. Here she looks to be joining the ranks of her top-flight character actor costars.
In Nancy, Riseborough revs this ability mixes emotional distance with symptoms of psychosis and the creepily-off makings of a sinnister sicko. Therein lies the suspense of this psychological thriller.
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