16mm Cartoons: Raunchy, Sexy & Risqué Back in the 'pre-code' era of the 1920s and early 1930s, animated cartoons were made to entertain the adults in the audience. The results were often sexually suggestive, if not borderline explicit. Much later, with the long overdue relaxation of old censorship codes, independent and experimental animators of the 1960s and beyond became free to openly explore the raunchy and risqué once more. Salacious sexiness, lustful adultery, queerness, Peeping Toms, and other questionable—or perfectly human—adult behaviors were only some of the wonderfully 'vulgar' themes present in animated shorts made in both eras. The Roxy welcomes animation archivist and historian Tommy José Stathes to showcase a curated selection of these envelope-pushing cartoons of yesteryear. This 16mm presentation includes some of the most outrageous and hilarious examples he's found over the past 25 years of collecting vintage archival prints. The screening concludes with an infamous 1920s hardcore pornographic cartoon; clearly intended for a more mature audience. Our 90 minute film program includes an intermission and will be followed by a live Q&A session with Stathes. Suggested age: 18+ Roxy Cinema hereby presents our 13th 'Peculiar Puppets' retrospective of forgotten vintage short films featuring hand puppets, ventriloquist dolls, marionettes, and stop motion creatures—all filmed in the 1930s through the 1970s. This peculiar potpourri of unnamed surprises is programmed by early animation archivist and historian Tommy José Stathes, and prints are hand-selected from his personal 16mm film archive. Warning: You may find some of the offerings to be rather unsettling, and possibly even creepy! 90-minute film presentation includes an intermission and will be followed by a live Q&A session with Stathes.

Survivors of Marshall Islands nuclear tests relocate to rural America. Their descendants reveal lasting impacts of atomic weapons testing through personal accounts.

Oli becomes an outcast in her small Texas town when she gets pregnant at 15. As she seeks out the suddenly absent teenage father-to-be, Oli confronts the growing isolation from her community.

In the hope of a big score, two junkie couples team up to commit various drug robberies which go disastrously wrong, leading to dissent, violence, and murder.

An archive-driven exploration of the life, work, and legacy of iconic, pioneering lesbian filmmaker Barbara Hammer.

Wrestling with writers block for her first film, Bouchra, a queer Moroccan coyote living in NYC, starts having difficult yet overdue phone calls with her mother in Casablanca that begin influencing the project. Balancing the precarity of working as an artist in the United States, the rift in her identity between her two homes and an array of friendships and romantic interests, Bouchra’s emotional reckoning with her mother and herself becomes her path to expression. With a lived-in granularity and unmistakable visual style, BOUCHRA, the feature debut from acclaimed visual artists Meriem Bennani and Orian Barki (best known together from their 2020 web series 2 LIZARDS), is a singular portrait effortlessly towing the line between documentary, visual art and resonant family drama. Deeply felt, surprisingly sexy and formally adventurous, Bennani and Barki’s distinctive debut forges new ground that “will make it a classic of queer cinema for years to come.” (Next Best Picture).

After the parties, jobs, and hook-ups throughout their twenties and into their thirties, eight friends are trying to hold on to their group as they get older and life gets complicated. Over a series of dinners, the group deals with loyalty, loss, and an uncertain future as relationships shift and secrets are unraveled, with each dinner bringing its own dynamic shifting announcement of reconciliation, unexpected relationships, and betrayal. The city is crumbling, the climate is changing, and worries about the future of the world are making it hard for this group of friends to stay together. But they’ll come to realize everything would be much harder if they don’t.

Sometimes people can't tell the difference between fighting and fucking. 01. Dog Cook 02. The Actress 03. Jade's Interlude 04. A Girl for Each One of My 05. The Baby 06. Dad's Trying 07. Gun Shop 08. Encore Amore 09. Emotional Businessman/Techno Lust 10. Luna Park Freestyle 11. Swim Coach 12. The Pharmacy

Early twenties Iris (Jillian Frank) and Palmer (Avalon Fast) never left their hometown. They work at the same restaurant, share the same bed, and both have a habit of drinking and driving. They run into Levi (Ethan Hawksworth), a guy they used to know. They spend time with him and his cousin, Phoenix (Henri Gillespi), in cars, backyards, and other people's bedrooms. When Levi shares a dream he had with Iris, things change between the four of them. The reality of the summer becomes faded, the parties die. The four end in a field of unified confusion.

FULL SCREEN: A CONTEMPORARY MUSIC VIDEO SHOWCASE 55 min screening followed by 20min Q&A A screening of 13 contemporary music videos by Gucci Mane, Mitski, Jihyo, Shenseea, Harto Fallion, Lip Critic, EXE, RADA, Kellen Kennedy, bad midi, Threshhold and Chandramathi. Followed by Q&A Presented by Hype Chateau Directors Medet Noel Paul Oliver Shore and Kevin von Puttkammer Dallae C Jasmine Johnson Colter Fellows NikGL2 Jacob Ace Aguilar Gabi Benak Reverie Reid Ackerman Cast Gucci Mane Mitski Jihyo Shenseea Harto Fallion RADA Lip Critic EXE Chandramathi Kellen Kennedy black midi Reverie Cicada

With only the plan of moving in together after high school, two unusually devious friends seek direction in life. As a mere gag, they respond to a man's newspaper ad for a date, only to find it will greatly complicate their lives.

After her divisive debut feature, Anne, an up-and-coming filmmaker, sets out to make her sophomore film, In Memory of Anne Heche. However things quickly take a turn for the worse as scenes go awry, actors drop out, and Anne’s prickly friendship with her lead actress becomes increasingly toxic.

Three successive family Thanksgiving dinners mark time for Hannah (Mia Farrow), her younger sisters Lee (Barbara Hershey) and Holly (Dianne Wiest) and the men in their lives. Lee is having an affair with Hannah's husband, Elliot (Michael Caine), and trying to end her Svengali-like romance with artist Frederick (Max von Sydow). Holly is frustrated by her lack of career fulfillment and her increasing dependence on Hannah's largesse, while being courted by the hypochondriac Mickey (Woody Allen).

Three young friends wander through Madrid over 24 hours, tangled in rivalry and fragile masculinity. Obsessed with an older woman who teases and rejects them, they face encounters that push them to the edge—a raw portrait of youth lost between desire and emotional violence.

In the Hand of Dante follows the parallel lives of a New York author (Nick Tosches) in the 21st century who embarks on a violent journey after he is recruited by a mafia don to steal Italian poet Dante Alighieri’s The Divine Comedy written in the poet’s own hand, and Dante in the 14th century seeking inspiration to write his most important work – each man unknowingly connected through time and their obsessive quest for love, beauty, and the divine.

The female metal band 'JUMP SCARE' retreat to a remote cabin to write their next album only to be terrorized by the family of cannibals next door.

When a vigilante crew targeting online predators sparks a war with a rival gang that's a twisted cult, New York City descends into a chaotic fever dream of violence, revenge, and survival.

In the early 1930s, painter Leonora Carrington, a rebel against social expectations, joins the surrealist movement and its iconic figures like André Breton and Salvador Dalí in Paris. A whirlwind love affair with artist Max Ernst confronts her with her inner demons. During the war, Leonora flees to Mexico and finally empowers herself. Today Leonora Carrington is one of the highest selling female painters worldwide, next to Frida Kahlo and Georgia O’Keeffe.

A philosophy professor (Seret Scott) prides herself on being liberal but is jealous of her artist husband's (Bill Gunn) gorgeous model (Maritza Rivera).

The film that put Martin Scorsese on the map, 1973’s Mean Streets sees the director finding his voice, establishing the vernacular for future street-level crime films and starting a thematic through-line that leads to his 1990 gangster masterpiece Goodfellas. A story about a young street hood (Harvey Keitel) wrestling his Mafia aspirations against his deeply entrenched Catholicism while trying to keep his volatile buddy (Robert De Niro) out of trouble, Mean Streets feels authentic and deeply personal, clearly drawn from Scorsese’s Little Italy upbringing. Even more remarkable is the maturity of the filmmaking; nary a word is wasted, no moment without meaning, a clarity of vision aided by flawless, character-rich performances and a gritty, transformative execution. With David Proval and Amy Robinson.

In the classic Greek tragedy, a snake bites Eurydice on her wedding day, and her new husband, Orpheus, travels to the Underworld to bring her back. Virgilio Villoresi's expressionistic adaptation of the tale is based on Dino Buzzati's 1969 Poema a fumetti, Italy' s first graphic novel. The film is a modern reimagining with an aesthetic untethered from reality: a kaleidoscopic journey through time and place, reflecting on art, love, mystery, eroticism, melancholy, life, and death.

Follows a wealthy New York City teenager who, eager to impress his activist crush, follows an online connection to Texas where he believes he can stop an act of extreme violence.

Two young female serial killers take refuge in an abandoned warehouse to plot their next move. As one struggles with her role as the de facto leader, the other strives to prove her devotion as a follower.

This entirely African American-conceived and produced ensemble drama is the result of a collaboration of a pair of pioneering Black artists: writer Ishmael Reed and filmmaker Bill Gunn, who wrote and directed the underground classic Ganja & Hess and wrote the screenplay for Hal Ashby's The Landlord. Originally intended to air on public television in 1980, it went unseen for decades; the original tapes have been carefully restored by Kino Lorber and the film is now available in its full-length version for the very first time!

In 2006, To Catch a Predator host Chris Hansen sets out to make television history.

A punk tour de force through an actor’s sex dreams as she grapples with her character’s eroticism. The filmmaker plays everyone, including a dog, and wears gender and nudity as a costume—a whole new meaning to “go f**k yourself.” Atom Egoyan calls it: “A stunning hall of mirrors about identity, sex and art. This is a unique film full of incredible performances by ONE brilliant actress with truly impressive range. A major achievement.”

Male nurse Benigno (Javier Cámara) becomes infatuated with a complete stranger when he watches dancer Alicia (Leonor Watling) practicing from the anonymity of his apartment. After being injured in a car accident, Alicia is brought to a nearby hospital, where Benigno serendipitously happens to be her caregiver. When wounded bullfighter Lydia (Rosario Flores) is brought into the same ward, her companion, writer Marco (Darío Grandinetti), begins to bond with Benigno.

From writer-producer-director Todd Field comes TÁR, starring Cate Blanchett as Lydia Tár, the groundbreaking conductor of a major German Orchestra. We meet Tár at the height of her career, as she’s preparing both a book launch and a much-anticipated live performance of Mahler’s Fifth Symphony. Over the ensuing weeks, her life unravels in a singularly modern way. The result is a searing examination of power and its impact and durability in today’s society.

Winner of the Palme d’Or at the 1997 Cannes Film Festival, Iranian auteur Abbas Kiarostami’s _Taste of Cherry_ is an emotionally complex meditation on life and death. Middle-aged Mr. Badii (Homayoun Ershadi) drives through the hilly outskirts of Tehran—searching for someone to rescue or bury him.

Morris Mishkin is an elderly Jewish tailor plagued by hard times who prays to God for help and receives it in the person of a most unusual angel named Levine, a young, black, Jewish hustler from somewhere between Harlem and Heaven.

A young artist is commissioned by the wife of a wealthy landowner to make a series of drawings of the estate while her husband is away.

In the dystopian post-war ”United Korea,” mutated mermen called Omegas are society’s outcasts–-exploited as cheap labor in an ecologically decimated, water-poor landscape. As one of these pariahs dies of over-exertion, he tasks a colleague (Goh-woo) with finding his daughter Mia (Yeon Yeji) hiding among humans, so she may receive his fin in a rite of passing. Meanwhile, Sujin (Kim Pureum), a young civil servant, begins doubting the state’s ideology as she pursues the Omega for her own purposes. With The Fin, director Park Syeyoung (The Fifth Thoracic Vertebra) emerges with a unique eye for artful, experimental genre cinema. This vision of societal collapse unfolds as a formalist’s fever dream pitched between Guy Maddin and Konstantin Lopushansky, pushing the boundaries of digital cinema with expressionistic, richly saturated images, capturing the contours of post-industrial decay, in an impressive feat of worldbuilding. A potent critique of xenophobia and South Korea’s reckless economic growth despite dawning ecological, economic and geopolitical challenges, The Fin reinvigorates South Korean independent cinema, light years ahead of its more formulaic tendencies.

Reed is stuck in a dead-end job with a boss who treats him like a servant. After a meltdown at work, he flees to his parents' place in Arizona. He spends his days floating in the pool while his parents persuade him to get his life back on track. Instead, he hires Tess, an escort, to take care of him for a week. Together, they plunge into a chaotic journey to nowhere fast.

At the age of twenty-nine, Elgar Enders "runs away" from home. This running away consists of buying a building in a black ghetto in the Park Slope section of Brooklyn. Initially, his intention is to evict the black tenants and convert the building into a posh flat. But Elgar is not one to be bound by yesterday's urges, and soon he has other thoughts on his mind.

Sofia works as a location scout for a TV pilot filming in New York City. It’s her job to find the homes, businesses, and exteriors where the show will be filmed. Driving around the city's different neighborhoods, she enters the private spaces of strangers to photograph their cozy apartments and eclectic shops, stepping into the fabric of their lives while trying to satisfy the demands of her erratic employers. Over a day filled with these encounters, Sofia witnesses moments of curiosity, vulnerability, and quiet tension until her work takes a sudden, personal turn. Drawing from her own experience as a location scout, writer-director Paula González-Nasser captures the poetry and costs of being a young creative. Her celebrated directorial debut The Scout crafts a contemplative exploration of urban disconnection, following one woman's journey through other people's worlds as she struggles to find her own.

Webworm Presents: Tickled's 10 Year Anniversary It's been 10 years since Tickled came out, and director David Farrier is bringing his documentary back to where the story started: New York. Two screenings, each featuring a unique post-film Q&A with Farrier and guests from the world of Tickled. What's happened since the film premiered at Sundance in 2016? What happened with those lawsuits? What happened to those millions of tickling dollars? Come join us, as Tickled turns 10.

A sergeant, returned from Vietnam to accompany a comrade’s body for burial, is crossing America by train. Haunted by hallucinations of terror, the soldier becomes involved with various passengers, actual and imagined.

TRIPOLAR THE MOVIE is a biting satire disguised as a stoner comedy set in the heart of Brooklyn. Rife with John Waters-style humor, the story follows a washed-up 50-something mother and her daughter's 20-something friends who are willing to do anything to make a film. But when a movie exec greenlights their project, they begin to conspire against one another in a parody of life in modern America. As Hunter S. Thompson said: “When the going gets weird, the weird turn professional.” Winner, Best Narrative Feature at the 2025 Chicago Underground Film Festival and called “…the best film at BAFICI, possibly of the year" by BAFICI programmer Agustín Masaedo. NY Premiere.

Rachel doesn't realize she has grown up in captivity working for an advertising agency where her job is to assess Mommy 6.0, her favorite pop star in the whole entire world.

Thirty-four days before she’s sent to prison, notorious Silicon Valley founder Elizabeth Holmes invites a skeptical film crew to document her every move. What begins as an intimate portrait of an enigmatic felon becomes a mind-bending three-year journey into the abyss. From boundary-pushing directors Nathan Fielder and Lance Oppenheim comes You Can See Everything.