Friday, September 24, 2021

Today's Events

Film Show Times
  • Thu - Sun 4PM & 7PM
  • Watch some titles anytime online!
  • 206 5th Avenue SE
  • Olympia, WA 98501
  • map | 360.754.6670

All Freakin’ Night

Midnight Saturday, November 10th thru Sunday Morning

All Freakin’ Night:

OFS members/Students (With I.D.) $10; Non-members $15

Eastside Big Tom, official food sponsor of All Freakin’ Night, is not only renting a food truck for the very first time…he’s parking it in front of the Historic Capitol Theater…ALL NIGHT LONG! Proceeds will be donated to the Olympia Film Festival, so eat up! The menu includes burgers, fries, breakfast sandwiches, and more!






Thanks to our sponsors of All Freakin’ Night, The Stranger & Eastside Big Tom!


In Order of Appearance:

Santa Sangre

Santa Sangre
1989 / Mexico/Italy / 123 min / 35mm

Director: Alejandro Jodorowsky Cast: Axel Jodorowsky, Blanca Guerra, Sabrina Dennison, Guy Stockwell Print Source: Academy Film Archive

From Chilean surrealist Alejandro Jodorowsky (El Topo, The Holy Mountain and Italian horror producer Claudio Argento (Dawn of the Dead, Suspiria) comes this bizarre tale of love, passion, obsession, and revenge. Hallucinatory, grotesque, beautiful, and musical, the story follows Fenix (Axel Jodorowsky), a boy who grows up in a circus and witnesses the horrible mutilation of his religiously devout mother. After some time in a mental hospital, Fenix is called home to act as his mother’s murderous handym

an. A picturesque Mexican setting filled with religious iconography is bolstered by the colorful cast of circus performers, tattooed contortionists, little people, clowns, pimps, magicians, mimes, bodybuilders, druggies, and a very ill elephant. This is what might have happened if Fellini had attempted to make a triumphantly sleazy slasher movie. Yet despite the persistent weirdness and the well-earned NC-17 rating, Santa Sangre remains one of Jodorowsky’s most straightforward and accessible films, and is a deft blend of slasher horror, poetic surrealism, melancholy longing, and pitch black humor. Visually stunning and hauntingly scored by composer Simon Boswell, we are proud to open All Freakin’ Night with the only existing uncensored print of this modern masterwork.

Night Train to Terror

1985 / USA / 98 min / 35mm
Directors: John Carr, Phillip Marshak, Tom McGowan, Jay Schlossberg-Cohen, Greg C. Talas
Cast: John Phillip Law, Cameron Mitchell, Eva Hesse Print Source: American Genre Film Archive

Night Train to Terror is an unholy mess of an anthology film, cobbled together from three abandoned projects and filled to the brim with what-the-fuckery. The bonkers editing and continuity are whiplash inducing, but this is really just a showcas

e for bizarre handmade special effects, dozens (dozens!!) of breasts, a painfully catchy earworm of a theme song, and a “oh hey, it’s that guy” cast of B-movie actors. The wrap around story features God and the Devil riding a train with the most ’80s of ’80s new wave bands – hair teased, legs warmed, shoulders padded, and dancing their hearts out to three full performances of the number one single in bizarroworld “Everybody’s Got Somethin’ to Do (Everybody But You!)”. ALL ABOARD!!
Driller Killer
Driller Killer

1979 / USA / 96 min / 35mm

Director: Abel Ferrara Cast: Jimmy Laine, Carolyn Marz, Baybi Day, D.A. Metrov Print Source: Harry Guerro

“THIS FILM SHOULD BE PLAYED LOUD”. So begins this prime slice of NY sleaze, one of the original video nasties, a grimy bloodsoaked shocker banned in the UK until 2002! A bohemian painter (director Abel Ferrara, acting under the pseudonym Jimmy Laine) loses his mind. His needy roommates, an increasingly agitating punk band playing downstairs, and financial pressures from his art dealer lead him to snap and take to the streets armed with a nasty piece of machinery. Ferrara’s official debut film(following his “unofficial” debut, a porn flick called Nine Lives of a Wet Pussy) is filled with elemental trademarks from his later films (Ms. 45, Bad Lieutenant, etc.): Catholic iconography, eyebrow-raising transgression, gritty urban night locations (late 70’s NY – think Maniac meets Taxi Driver), and scenes of extreme violence. Dark and grisly, this is a must see for gorehounds and horror freaks. The tagline says it all: “There are those that kill violently.”

Mo, The Boxer's Omen

Mo, The Boxer’s Omen

1983 / Hong Kong / Cantonese, Mandarin w/ English Subtitles/ 99 min / 35mm
Director: Chih-Hung Kuei Cast: Somjai Boomsong, Tien-Chu Chin, Phillip Kao Print Source: American Genre Film Archive

It’s a story as old as time: Man travels to Thailand to hunt down the boxer who crippled his brother and, upon discovering that he’s supernaturally linked to an immortal monk, battles evil wizards who gain strength by eating, regurgitating, and then re-eating chicken anuses. Prepare for your jaw to hit the floor. This is some of the weirdest nightmarish imagery ever burn

ed into celluloid! Filled with disgusting and

surreal set pieces, Mo is your one-stop shop for laser beam wizard battles, an army of reanimated alligator skulls, bursting bubble gum skin, expanding murderous neck veins, a dessicated bat set on fire by Sanskrit, an evil Buddha morphing into a naked dancing witch, and a levitating alien head that hatches from a psychedelic egg. You may never be the same again!


1977 / USA / 85 min / 35mm
Director: David Lynch Cast: Jack Nance, Charlotte Stewart, Laurel Near, Jack Fisk, Jennifer Lynch Print Source: Absurda

The original midnight movie, David Lynch’s 1977 debut film is a surrealist body horror/ black comedy nightmare set within desolate industrial wasteland, in which an oddlycoiffed man is left to care for his deformed monster baby. The stark black and white photography barely contains the nervous energy of the brilliant sound design, which is sonically obtrusive and unnerving to say the least. Boasting hallucinatory Grand Guignol comedy, an array of creepy and intense side characters, dark ambient organ music, dreams, hallucinations, umbilical cords and, of course, a lady in a radiator, this is a film that must be seen in a dark theater, on a very large screen, with the sound turned up high. In heaven, everything is fine.

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