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The End (Milton Moses Ginsberg, 2017)

Saturday, November 16, 2019 at 5:00 PM

$5
Online tickets not available

Saturday, November 16 - November 25

The End (Milton Moses Ginsberg, 2017)

124 S 3rd St, Brooklyn, NY 11249, USA

$5
Online tickets not available
THE END
Dir. Milton Moses Ginsberg, 2017
85 mins. United States.

SATURDAY, NOVEMBER 16 - 5 PM
FRIDAY, NOVEMBER 22 - 10 PM
MONDAY, NOVEMBER 25 - 10 PM

Several haunting questions have taken on a sudden immediacy: Is humanity facing extinction in this very century? Have we already turned corners from which there is no turning back? And do sci-fi films merely offer us distraction, or have they been accurately describing the end of our existence? THE END collects the most prescient clips from past and present sci-fi films – and asks members of the scientific and political communities to assess whether these fantasy films that have been entertaining us for decades have actually been correct in predicting our total demise as a species – and soon!

From BACK TOGETHER AGAIN: The Films of Milton Moses Ginsberg.

Hailed in cinephile circles for its audacity and economy, Milton Moses Ginsberg's 1969 debut COMING APART, starring Rip Torn, anticipated both the imminent porno chic mainstream of DEEP THROAT, and the rawness and transgression of '90s American independents.

Unfairly panned by Andrew Sarris, COMING APART nosedived in attendance after its first week, its static-camera faux-documentary intimacy presaging the zeitgeist by just a hair, and its subject matter, including mental illness, sexuality, and misogyny, too real for the nudie-cutie crowd. Its box office misfortune would follow Ginsberg for the remainder of his career, complicating the production of his 1973 follow-up THE WEREWOLF OF WASHINGTON; in 1975, he was diagnosed with non-Hodgkin's lymphoma. For the following decades, he would work in relative obscurity, primarily as a commercial editor for television—until the '90s, in which a Museum of Modern Art repertory screening of the debut drew renewed interest in Ginsberg leading to a favorable New York Times profile and a Kino Lorber distribution deal. Much like the trajectory of fellow traveller Mark Rappaport, Ginsberg would eventually return to moving image in the form of video-essays, made in a similarly minimal spirit as COMING APART, tackling issues such as mortality, end times, the history of noir, and more.

Now, as COMING APART celebrates a half-century, feted at Metrograph on the anniversary of its debut, Spectacle presents a retrospective of these post-debut works.
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