Saturday, 2 February 2013

November Screening: People Under The Stairs (Dir Wes Craven 1991)

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AppId is over the quota



“In every neighborhood there is one house that adults whisper about and children cross the street to avoid.”

This month film is Bob’s favourite; People Under The Stairs. About 10 years after releasing Swamp Thing, Wes Craven delivered this over the top urban myth. Everitt McGill and Wendy Robie from David Lynch’s Twin Peaks play the insane ma and pa who run the classic scary-looking house that’s every foster kids worst nightmare. For some reason this film reminds me of the Goonies….perhaps its the ending. Either way, Craven delivers social commentary, child abuse, incest, gimp suits, a very large dog, pant-wetting over the topness and best of all; kids outwitting crazy adults and I think we can all get behind that!

Join us at Bar303, Northcote on Tuesday 29th November at 7:30pm to catch the craziness, incest and gimp suits. As usual our membership fees are minimal: a 3 film pass will cost you $10 and a 12 film pass will only set you back $25.

See you then, maniacs!

Bob, Matt, Sam & Dave

February Screening: ‘The Burning’ (1981) and ‘Pieces’ (1982)

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Happy New Year, fellins!


Firstly, we would like to thank everybody who showed their support for the society during 2011; we appreciate you all very much and hope you enjoyed our demented program and all the subsequent sleepless nights endured. Don’t worry, there’ll be more of those to come in the year ahead!


Speaking of coming attractions, 2012 will see the Melbourne Horror Film Society making a few changes to its usual yearly line up of screenings. Firstly, we’ve decided to run our gatherings on a bi-monthly basis with the intention of making them more of an ‘event’ rather than a routine series of screenings. Furthermore, we will now be programing double features instead of standard single sessions, so more bang for your buck! And to add to the suspense (that’s right, we can hear you quivering in your boots) we will also keep these films a secret until official announcement through our various social networking platforms (i.e., Facebook, Twitter) so as to keep you all guessing what horrors will be unleashed upon your unsuspecting minds come movie night! We’ll also be treating you all to the chance for prizes and other ghastly goodies should you decide to join us in our frenzied nerdiness. And honestly, why wouldn’t you?


Thus, this would make for an opportune moment to unveil our first double feature for 2012!


Drum roll, please…


The Burning and Pieces take the cake!


Oh yes, February will see a deliciously nasty pairing of slasher classics take the screen, both famous and infamous titles in their own right. For those yet to have embraced their brilliance, the former showcases some of FX maestro Tom Savini’s finest work while the latter is perhaps the most insane Spanish-US stalker epic to ever be birthed from the minds of a cluelessly inept film crew. In plain English, they’re AWESOME.


Well, that’s enough gibberish from us for now! So please, mark down the date of February 28th in your diary and come on down to Bar303, Northcote from 7pm (yes, we’re starting half an hour earlier from now on to make time for two features) and enjoy a night of fine film, fine wine and even finer eclectic personalities.


See you then!


Bob, Matt, Sam & Dave

Meet the Members: Chris Dinh

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Most recognizable for his work in front of the camera with Wong Fu Productions (watch Psychic Roommates) Chris Dinh is a fixture on the new media filmmaker landscape, but he thinks of himself as more of a behind the scenes type. He’s a writer, actor, and occasional producer of web series and short films. His work includes the 2010 NBC Universal Short Cuts Film Festival winner Crush the Skull, co-written with writer/director, Viet Nguyen. We got a chance to discuss his role as the silent fourth member of Wong Fu Productions, writing “mediocre” pilot scripts, sandwiches and what makes The Newsroom so good. But first things first:


Courtney: What did you eat for lunch today?


Chris: I did not eat lunch today.


CJ: That’s fair. You’re a busy guy.


CD: I sometimes forget to eat lunch.


CJ: That’s ok. I do too sometimes. You’re a very, very busy person. And a lot of what I feel is happening—especially out there in LA—there’s this multihyphenate thing going on. Everyone out there is doing something else. So how do you order your hyphens? Are you an actor-writer-producer? A producer-writer-actor? What’s your hierarchy?


CD: I would go writer-actor. I don’t really produce that much anymore. On the rare occasion I do, it’s writer-actor-producer. In that order.


CJ: Was producing time consuming? Was it just exhausting? What made you switch to two hyphens instead of three?


CD: Well I was only producing projects because when you believe in something so much, you just want to do whatever you can to help make it happen. Like Long-Cuu Phan’s This Will All Make Perfect Sense Someday or Ted Chung’s I.D. But once you put yourself out there with that title, people start coming to you to produce other stuff. That was never a goal of mine. You know what I mean? So I just decided that I didn’t want to have to turn anyone down. I think you should really reserve that title for people who really want to do it and know how to actually produce. I just recognized that it’s its own thing, and very hard to do.


CJ: How would you define a producer? For people, like me, for instance, who never quite fully understands what that means. How would you define what a producer does?


CD: You know, there are parts that even I don’t understand. But if you’ve talked to a producer, they would tell you that there are a number of different kinds of producers. Some that find the money, and have nothing to do with the physical producing part of the movie, and there are some on the ground level, day to day.


CJ: Someone who makes the sandwiches?


CD: Right. And a trait that they all have is that, they’re really good problem solvers. They have to put out fires and problem solve, and work with people.


CJ: That’s a good definition.


CD: Yeah. It’s basically, making sandwiches, and getting money.


CJ: Love it. So you have a writing partner, Viet Nguyen. What do you think goes into finding a good writing partner, and also, how do you and your partner manage workflow together?


CD: Have you ever played team sports?


CJ: Um, about ten seconds of fencing in high school. I don’t think that really counts.


CD: Well, I think a lot that comes into play. Number one, you have to like those people. Especially since you’ll spend so much time together. And then you have to have a system or style of communicating or a more complimentary style of communicating. And you know, it’s not too different from a romantic relationship, where communication and compromise and trust are the key components. Going back to the sports metaphor, there’s a lot of non verbal communicating… you don’t want someone that’s exactly like you either, because it doesn’t add all that much. You want someone who kind of gets you, but there’s also some resistance needed and a little bit of compromise that results in a really nice balance. Also someone who isn’t afraid to tell you that you suck. Which we all do from time to time. Viet tells me my ideas are not funny all the time. And he’s usually right. But then it makes me come back with a bunch of different versions. We find one that we both like and it ends up being the right choice.


CJ: And how long have you been working together?


CD: About three years.


CJ: You guys notably won the NBC Shortcuts film festival award for Crush the Skull. And I recently saw Things You Don’t Joke About. You guys seem to have this really great dark comedic sensibility. Umm… what are you trying to tell us, Chris?


CD: That’s good. That’s a good question.


CJ: Do you consider yourself a dark person?


CD: Well, when you look back at the more hurtful experiences in your life. They’re pretty funny.


CJ: Not funny in the moment, but definitely later on.


CD: There are certain things that come through in various childhood memories of mine. For example, when I was about 9 years old, my 6-year-old brother ran away to my grandmother’s house. It was only two houses away, but the point is that he just disappeared. The neighborhood kids told me that they saw a strange man kidnap him. I was devastated. I cried. I had these horrible images of what would happen to him. And then a few hours later my grandmother brings him back to our house. But I still had this fear that he might get kidnapped for real one day. So I ran these anti-kidnapping drills for him. For example, I would trap him in my mom’s car trunk until he could open it from the inside efficiently. I would just do that for hours. It’s hilarious. But it came from a dark place.


CJ: And it’s something to pull from.


CD: Yeah, and when I work with Wong Fu, I get to work on another end of the spectrum. And it’s nice to be able to do a full range of comedy.


CJ: It’s a good range. You have a nice range. Since we’re talking about Wong Fu Productions, are you the silent fourth member of Wong Fu Productions? People always ask about you in the comments pages on Youtube whenever you appear in one of their sketches or behind the scenes vlogs.


CD: Well, the relationship is that I’m a bit like a staff writer for Wong Fu. I enjoy doing sketches with them. But there are other people behind the scenes like Christine Chen, Sam Bay and a few others. But I think they ask about me because I show up more often than the others.


CJ: Show up in front of the camera?


CD: Yeah. But I don’t mind. That’s kind of cool, “the silent fourth”. Like James Bond, has what’s his name. Q?


CJ: Q? You’d like to be Q?


CD: Yeah. Behind the scenes, kind of hidden, but he comes out every once in a while. But I like that. Phil, Wes and Ted are amazing guys. So I’ll take the compliment. I like what they do. What they stand for. And I really admire, and respect them. We’re doing some really, really exciting things at Wong Fu and I can’t wait to share it with everyone.


CJ: I know you can’t go into specifics with any deal you might have with NBC as a result of winning the short cuts film festival, but what do you think goes into a good script? Or, what’s your favorite thing on TV right now?


CD: Well I just got into The Newsroom. Have you seen it?


CJ: Yes!


CD: I just finished the last episode two nights ago. Jerry [Ying] and I also write together, and we’re always referencing It’s Always Sunny in Philadelphia. It’s a show where we don’t really care for the characters at all, but it still makes us laugh. I was kind of into Community for a while, and Modern Family. It’s sort of all over the place, but I’m pretty excited by these three for now. As to what goes into a good script, I wouldn’t know, because our scripts are mediocre.


CJ: Ugh, you’re so modest.


CD: I like comedies. Even Newsroom can be pretty funny.


CJ: Yeah it can be pretty hilarious.


CD: They even have the whole running into glass doors thing. We were actually having that conversation the other day, where we had some characters running into glass doors in our web series Away We Happened. And someone said “No, that’s too dumb”. Then I watched Newsroom, and they had this whole sequence where they were running into glass doors.


CJ: Exactly. It’s universally funny. Running into a glass door, pretty hilarious.


CD: Always funny no mater how many times you do it.


CJ: So how do you balance all of the projects that you’re apart of? Does it stress you out? Or do you like the pressure of having multiple things going?


CD: I think I’d rather not always have so much going on. But because that’s kind of like the standard now, everyone has like 5 or 8 or 10 things going on, you fall behind if you don’t. I would be nice to have one thing. But the pressure of knowing what everyone else is doing inspires me. It’s still a good pressure to have.


CJ: Is there anything else you want to shout out, or say is up coming, before we wrap up the interview?


CD: Just a shout out to you guys at the National Film Society, and thanks for your time.


CJ: Oh yeah! Not a problem. Thank you so much for doing this.


Follow Chris on Twitter @chrisdinh, and view his full filmography on IMDB.


Courtney Jones is a writer and book reviewer in Chicago(land). Follow her on Twitter @shymoxie.

Tagged as: actors, Asian American, Chris Dinh, Courtney Jones, filmmakers, Interviews, Wong Fu Productions

Meet the Members: Clarissa De Los Reyes

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Clarissa De Los Reyes is a woman of many talents. She’s a writer, director and a veteran cinematographer. Her short film Nanay was a featured short on the National Film Society channel. Here she discusses her process on that film, plus remembers the good ol’ days in NYU’s film school, where a certain other filmmaker we all know got his start.


Courtney: What’s your favorite aspect of filmmaking? I mean you are adept at so much, so what is your specific favorite?


Clarissa: My favorite is directing, and after directing, cinematography.


CJ: Wonderful. I know you went to film school with Stephen.


CDR: Yes.


CJ: So what’s the most invaluable thing you’ve learned from film school?


CDR: I think it’s working with other people. And the biggest advantage would be the networking. And also having that block of time to really focus on film. You’re going there for two or three years and you really have no time to do anything else. Like, take on a job, maybe in the summer, but really, you’re not doing anything else. You’re making films for a set amount of time, and it’s really great.


CJ: What’s something you’ve learned on set? Or during the post-production process? Something you didn’t necessarily gain from working in film school, or maybe you did, but something that was on the job practical experience, and helpful?


CDR: That’s kind of tough. Outside of film school, I really learned how to direct actors. And realizing that every actor is different. It’s funny because there was one time when I was directing my thesis, I specifically cast someone because she was very much like the character I had in mind. And when we went to filming she came to me and was like “Do you have some direction? How do you want me to play the character, etc.?” And to me, she was fine, her performance was great! It’s interesting because in school, you have all these exercises, where you break down the scene, and you direct your fellow classmates.


But, you know, it’s almost psychological. And with actors it’s not just one point of attack. You really have to ask yourself, what does this person need? Really, sometimes, they just need to know that they’re doing fine, and that they are turning in a good performance for you.


CJ: Since you said that your second favorite part of filmmaking is cinematography, what advice do you have for aspiring cinematographers?


CDR: Be constantly working. Be on sets. Just keep learning. There’s so much to learn. It’s a pretty technical job. I won’t say I’m a technophobe, but I’m not as techie as some people are. And I find myself needing to learn more than I’m used to. So don’t be afraid of the technology.


CJ: Your film Nanay was a featured short on the National Film Society channel. Can you talk about your experience working on that film?


CDR: That was actually my first narrative short. It was the first short I did in film school. It was literally three months since I started film school. They gave us a 16mm camera rig, and they told us, “For the entire semester this is what you’re going to be shooting all your films with.” So for the first semester, we’re lugging around this monstrous thing around. When I think about it, it was exciting and nerve wracking at the same time. There was a lot of pressure. For the first time it was about showing people what you could really do. And that’s what it meant to me.


CJ: How did you break through that pressure?


CDR: At the end of the day. I worked with a very fun crew. It was just fun. At the end of the day people were goofing off and having fun. And too I always remembered what a friend told me. “It’s only a film.” And there were a lot of funny moments, while we were shooting. We had two babies, twins, and it was cold. One of the rules of shooting was that you couldn’t shoot indoors, you couldn’t use lights, and there couldn’t be any dialogue. It was very challenging. So it was one of the coldest days, ever. And we had these two babies, so we had to run back and forth to the car to keep them warm. And sometimes one was in a better mood than the other. But those were great days because it’s before we were jaded, and everyone was excited to make a film! There was excitement. They were good days!


CJ: What’s coming down the pipeline for you? What’s next?


CDR: In terms of writing/directing, I’m working on a longer version of my short Johnny love Delores, which has been showing at a few festivals.


CJ: Great! And congratulations.


CDR: Thank you!


Check out Clarissa on Facebook and IMDB.


Courtney Jones is a writer and book reviewer in Chicago(land). Follow her on Twitter @shymoxie.

Tagged as: Clarissa De Los Reyes, Courtney Jones, directing, film school, filmmakers, independent film, Interviews

Friday, 1 February 2013

Meet the Members: Issa Rae

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It’s been a busy and landmark year for internet phenomenon Issa Rae. She’s been featured on Totally Biased with Kamau Bell, producing and promoting her award winning series Awkward Black Girl, now in its second season on the I Am Other YouTube channel. She recently partnered with Shonda Rhimes (Grey’s Anatomy) and sold a sitcom to ABC. She even had the honor of sitting down with our very own Stephen and Patrick to discuss her success with Awkward Black Girl and love of Ryan Gosling:



This time, the ever-gracious and seriously funny Issa took time to speak with me for our own awkward meeting of the minds where we discuss earrings, writing, stereotypes, and the best ways to bust that gut.


Courtney Jones: You’re everywhere these days, The New York Times, Totally Biased, Rolling Stone, and CNN. You’re out there and people really seem to like you and what you’re doing. How do you self promote without it becoming tiresome to others?


Issa Rae: Yeah it’s hard. I wish I had the answer to that. I see that there’s this whole hipster thing happening where the less people who know about you, the more appreciated you are. The more people know, the more hated you are. It’s hard to try to find that balance. I am starting to see a shift, and I very much hate promoting myself, but when you’re online it’s something you have to do and I’ve gotten used to it. But I think it’s a matter of how it’s presented. People can always tell if it’s completely blatant self-promotion and nobody likes your content, or nobody likes you, then it’s hard to promote yourself. So, it’s helpful if you’re somewhat likable. So, I don’t know, I walk that line all the time. I don’t want to be obnoxious.


CJ: You are not at all! So tell me, where do you get your amazing earrings?


IR: Thank you for noticing!


CJ: They’re fantastic.


IR: Thank you. Sometimes I buy them. Sometimes they’re given to me. But I also have this amazing stylist friend. We went to high school together. His name is Chris, but he goes by Seth Brundel. He’s hooked me up with some amazing earrings.


CJ: Well, they look amazing. I just cut off my hair so I’m constantly looking for more earrings.


IR: Yes! It’s so essential. They’re ornamental.


CJ: Exactly. They draw the interest of the eye. Moving on, I recently read this quote from John Cho saying that stereotypes continue to evolve, and that minorities have to be ever cautious to updated stereotypes. What do you think about that? What do creators have to do to evade creating reactionary stereotypes to the older more staid ones?


IR: I think they just have to create things that are true to one’s self. The more that you try to create something that you’re not familiar with, the more tainted and obviously contrived it is. So I think that’s an issue. Even with this archetype of Awkward Black Girl, it wouldn’t work if I didn’t feel awkward, or if I was trying to write for someone else. So it’s essential to really write from a place you know. I’m very big on that. Write what you know.


CJ: Congratulations are in order on selling your sitcom to ABC with Shonda Rhimes. That’s a huge step, leap, really, and you have a lot of people cheering for you. So in light of that being a really good job, Jay the protagonist of Awkward Black Girl hates her job. Have you ever had a really bad job? What was the worst job you’ve ever had?


IR: Several. The worst job I ever had was simultaneously the worst and the best job I ever had. I was the docent at an exhibit for African American history. It was awesome because I got to learn a lot more about my history and it was an amazing exhibit. But it sucked because I worked with certain people who just didn’t get along; black people promoting black culture, who kind of hated each other. They put me in the slave ship section. It was the most depressing section in the world. I would have to spew these slave facts all the time and be all serious, and it was dark and cold. It was the worst. I spent my day in a cave. I actually spoofed the job in one of our latest videos.


CJ: That was really, really hilarious. So do you prefer to be in front of the camera or behind it? We talk a lot about multi-hyphenates. It seems like the era of the multi-hyphenate. What do you prefer? Director/Producer/Actor? How do you define yourself? Or do you define yourself?


IR: I don’t. I like it to shift, and I find myself giving a different answer every time. I think at the end of the day I love what comes easiest to me, and the most natural. Sometimes I feel like I just want to write and I can’t do it justice through acting. I definitely love directing, either way. I’m always directing something, if it’s my vision. But then there are days where I love to be directed. I love to be directed as an actress to be someone else, to really try to immerse myself in a different character. But I’m always learning, on every end. Learning how to be a good producer, better director, better actress. Anything that allows me to better myself, I love.


CJ: So you mentioned working with people you didn’t get along with while you worked on a slave ship exhibit. What’s it like to work with close friends and family members? I know you worked with your brother on your web series Fly Guys Present the F Word. Do you have any advice for people working with people they’re close with?


IR: Do it if you can. If you feel like you have a great relationship with your friends where there’s a mutual respect and they don’t mind you telling them what to do and you guys communicate well, then work with you friends. If you don’t, then don’t work with them, same with family. My brother and I working on this other web series, we have a great relationship, but we definitely had a falling out several times, like brothers and sisters do. But then the advantage of being family in our case is that they forgive you and move on. I think it really just depends on the type of person you are. How comfortable you feel expressing yourself, because that is key. You’re always going to have to be open and speak your mind in working with people in general.


CJ: What’s one question you’re tired of people asking, and one question you wish people would ask you?


IR: These questions are awesome, FYI. The question I’m definitely tired of is, “how and why did I create Awkward Black Girl.” I think I hate that question with a passion now. I wish people would ask more fun questions, like these, more questions about my personality. I wish more people would also ask more questions about the cast and the people who are involved in making ABG what it is.



CJ: Well on that note, can you tell me more about the “Bust That Gut” video and how amazing it is? Literally that song is stuck in my head all the time.


IR: You have no idea how happy Ricky Woznichak, who plays Temp Jerry, would be to hear that.


CJ: He’s hilarious.


IR: Yes! He really, really is. He’s so funny, and so enthusiastic about life and being apart of this show. The video was all his idea. He came up with the concept, and came up with the song after hearing “Climax” on the radio one day. We had them all improvise their lines that episode (“The Jingle”). He came in and was like, “I heard the most perfect song on the radio, you guys. And I’m going to base the jingle off of it.” And I said, “All right, do you.” So literally them getting up to perform it in the office, nobody could keep a straight face, because it was the perfect combination of people to perform that song. Then Shea [William Vanderpoort], who directs the show, he directed the video. And I had no idea they were going to go all out with it, because my vision, and thank God they didn’t go with it, was to do a really bootleg, homemade video, which they still did, but it was much better.


CJ: One of the YouTube comments on the video was that it reminded them of an MIA video. And I was like this is exactly what I thought of when I saw it for the first time. It’s incredible.


IR: That’s so funny, because they were so excited about that comment as well.


CJ: So I know you’ve been changing and expanding your cast and crew as you’ve been going along. Can you tell me a little about that process of choosing people for your team?


IR: Well, for the most part the crew has increased. For season two in the crew we kept the same people on board, then we’ve been able to bring more people on, script supervisor, extra camera men, things like that. The crew is amazing. Every time someone visits the set, either an interviewer, or an extra, they realize that and appreciate the crew’s dynamic. Because they all love being there and work so hard. They’re really efficient, and it’s a really fun environment on set. On that end, I couldn’t be happier with who we have. And then for the cast, anybody who joins walks into a family set. Sadly we have lost some, because life happens, and this isn’t anybody’s full time job. So we have to work around some of those people. When people have to travel for work or things like that, and it does affect the story. Which sucks. Like, Germy Patty [Kiki J. Harris], for instance, is a consultant. She has a legitimate job that she has to travel for during the week. And sometimes we have to nix certain story lines to accommodate schedules. So that’s the biggest challenge of Awkward Black Girl.


CJ: Yeah, but to fair, that’s like any film or TV show. They’re always working around the schedules of busy working actors. So I don’t feel like it hurts or negatively impacts your show. And when your staff and the people behind the scenes know what they’re doing, then it’s something that can easily be overcome. I think you do that very well.


IR: Thank you.


CJ: One last question. You’re really great about giving shout outs and props to people you’re fascinated by, like Stan Lee and Felicia Day in your latest Ratchet Piece Theater video. Is there anyone else you’d like to mention that’s up and coming or people whose work you enjoy or inspires you?


IR: Yeah. I’d love to give a shout out to Black and Sexy TV. They’re really, really awesome, and I admire what they’re doing. I’ve been following them for a while, even before I created ABG. I saw A Good Day to be Black and Sexy. Al Thompson is another person who’s been getting a lot of press recently, but you don’t get to see a lot of his work. His series is launching in the fall. But he’s done so much in the digital space, and I really admire his work ethic, because he’s always working on something new and the production quality of his stuff is amazing. Really, I love anybody who had the courage to just start. I’m watching a lot of web series, like The Unwritten Rules is a good one. I have also got to shout out the Got 2 B Real Diva Variety Show cracks me the fuck up any time I see it. The woman who writes that chooses to remain anonymous. Anyone who refuses to come out the woodwork and admit “Hey, I’m the genius behind this” is really admirable. She’s hilarious.


CJ: That’s awesome. I’ll have to check it out. Well thank you so much. I really, really appreciate you doing this.


IR: Thank you! Thanks for these awesome questions.


To keep up with Issa’s upcoming projects visit her website, issarae.com, follow her on Twitter, @issarae, or check out her YouTube channel here.


Courtney Jones is a writer and book reviewer in Chicago(land). Follow her on Twitter @shymoxie.

Tagged as: Awkward Black Girl, Courtney Jones, Issa Rae, Shonda Rhimes, web series, YouTube

2nd annual National Film Society Awards announced

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Romance of indie filmmaker Dave Boyle "Daylight Savings" leads the National Film Society Awards this year with 3 nominations for actors Goh Nakamura, yes-Ming Chen and Michael Idemoto. Previous Boyle's film "Surrogate Valentine" swept nearly the year last NFS Awards, winning best actress, best supporting actress, best actor and best film. The barrel man statuette only "substitution" failed at home went to favorite NFS Ryan Gosling for his role of leading smoldering in the drive.

Dante Basco and KevJumba charming buddy comedy "Hang Loose," latest impenetrable film of PT Anderson "The Master", and Sundance Michael Mohan rom - com "Save the Date" each scored 2 appointments.

KevJumba and Dante Basco in Hang Loose.KevJumba and Dante Basco to Hang Loose.

You are looking to build on the success of the gala last year, we have added two new categories this year for "Best Duo" and "best documentary film". It's part of our push continues to have the national society of the Film to become a serious actor to come award season. Who knows, maybe Hollywood will actually start by sending us the DVD screeners next year? It would be great.

The fans have started to vote for their favorite candidates on YouTube and so far nominated best actress Michelle Krusiec has dominated all votes with his loyal fans. Michelle heavy campaign via Facebook and Twitter, it looks like it could lead to his first win of the gun man.

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The 2nd annual National Film Society Awards will be broadcast exclusively on YouTube of NFS mid-February hoping to steal the thunder of The Oscars.

See the full list of nominees below.

BEST SUPPORTING ACTOR FEMALE
Michelle Krusiec, "stories of sunset the Sun»
Teresa Michelle Lee, "crumbs".
Berenice Marlohe, "Skyfall".

BEST SUPPORTING ACTOR MALE
Dante Basco, "Hang Loose".
Scoot McNairy, "Argo" & "kill slowly".
Michael Idemoto, "Daylight Savings".

BEST ACTRESS
Marion Cotillard, "rust and bone".
Lizzy Caplan, "Save the Date".
Yes-Ming Chen, "Daylight Savings".

BEST ACTOR
Joaquin Phoenix, "the master."
Mark Duplass, "safety not guaranteed".
Goh Nakamura, "Daylight Savings".

BEST DUO
Dante Basco & KevJumba, "Hang Loose".
Channing Tatum & Jonah Hill, "21 Jump Street".
Joaquin Phoenix & Philip Seymour Hoffman, "the master."

BEST DOCUMENTARY
"We are legion: the history of the hacktivists.
"Give Up tomorrow"
"Tagged: the Asian American movement".

BEST FILM
"Sleepwalking with me."
"Save the Date".
"Argo".
"I'm a ghost".
"The Avengers".

Tagged as: National Film Society Awards, awards NFS

April Screening: ‘C.H.U.D’ (1984) & ‘The Stuff’ (1985)

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AppId is over the quota

We’re proud to announce that April 24th is MUTATION NIGHT!

That’s right, the atrocities bestowed by man upon the earth and their effect on us are some of the most terrifying known to science. And what better platform to exploit these fears than the horror genre!

First up we will be screening the wonderfully titled 1984 cult classic C.H.U.D (that’s Cannibalistic Humanoid Underground Dwellers for those of you who are curious), a terrific little B-movie that’s garnered quite the loyal following in the years since its arguably flaccid theatrical release. An awesome cast (including John Heard and Daniel Stern), gritty NYC setting, charming rubbery creatures and a firmly tongue-in-cheek approach make this often unseen flick a true keeper.

We will then close the night with Larry Cohen’s similarly obscure 1985 midnight movie The Stuff! The bonkers little film tells the tale of a mysterious goo that oozes from the earth and is sneakily packaged and sold to the public as a new taste sensation, all the while slowly turning the population into brain dead zombies! This is easily one of Cohen’s most underrated – and gooey! – efforts to date.

In addition to the above gems we’ll also have some nifty giveaways in tow and other gnarly nonsense to keep us all amused. Oh, and they serve booze at the bar too!

So what the hell are you waiting for, fellins? Mark down the date and exorcise all your plans – Bar303 and its horrific inhabitants await you on April 24th at 7pm!

$10 for an annual membership to the best horror film society in Melbourne or a gold coin donation at the door.

- Bob, Matt, Sam & Dave