Killer Films: OFFICE KILLER in 35mm 🎞️
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OFFICE KILLER in 35mm 🎞️
Renowned multimedia artist Cindy Sherman’s only theatrical feature is a genre-bending mix, described by Dahlia Schweitzer, author of “Cindy Sherman’s Office Killer: Another Kind of Monster” as “a comedy/horror/melodrama/noir/feminist statement/art piece.” Harshly reviewed on its initial release (by the New York Times, in particular) this malevolent satire has no sympathy for any of its careerist, white-collar characters and their manicured city ways. In the lead as a mousey psychopath, Carol Kane — in the third of her remarkable horror performances, after THE MAFU CAGE (1978) and WHEN A STRANGER CALLS (1979) — quietly eliminates a series of dismissive, patronizing superiors played by the likes of Rainer Werner Fassbinder favorite Barbara Sukowa and ex-“brat packer” Molly Ringwald. If Kane’s Dorine is a devilish stand-in for Sherman, as some have claimed, it is not simply because she arranges the rotting corpses in her basement like an art installation — it is also because she is fully in control of how others see her, and she is not content to be underestimated. (Note adapted from MoMA.) RATED R
Part of Killer Vision: 30 Years of Killer Films. For the full lineup visit: https://bit.ly/KillerFilmsAFI
Get Tickets
Renowned multimedia artist Cindy Sherman’s only theatrical feature is a genre-bending mix, described by Dahlia Schweitzer, author of “Cindy Sherman’s Office Killer: Another Kind of Monster” as “a comedy/horror/melodrama/noir/feminist statement/art piece.” Harshly reviewed on its initial release (by the New York Times, in particular) this malevolent satire has no sympathy for any of its careerist, white-collar characters and their manicured city ways. In the lead as a mousey psychopath, Carol Kane — in the third of her remarkable horror performances, after THE MAFU CAGE (1978) and WHEN A STRANGER CALLS (1979) — quietly eliminates a series of dismissive, patronizing superiors played by the likes of Rainer Werner Fassbinder favorite Barbara Sukowa and ex-“brat packer” Molly Ringwald. If Kane’s Dorine is a devilish stand-in for Sherman, as some have claimed, it is not simply because she arranges the rotting corpses in her basement like an art installation — it is also because she is fully in control of how others see her, and she is not content to be underestimated. (Note adapted from MoMA.) RATED R
Part of Killer Vision: 30 Years of Killer Films. For the full lineup visit: https://bit.ly/KillerFilmsAFI
Get Tickets
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