Partial inspiration for Zippy the Pinhead and eulogized by the NY Times as “a national treasure,” George Kuchar, with his twin brother, Mike, practically invented the campy, no-budget, anti-professional, tasteless, gender-bending underground style later embraced by John Waters and others. He made over 500 films in his career. Tonight we feature two of his best: The Devil’s Cleavage is a farcical send-up of Douglas Sirk-style melodramas, made “as if Sam Fuller and Sternberg had collaborated in shooting a script by Tennessee Williams and Russ Meyer” (Chuck Kleinhans, Jump Cut).

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George Takei doesn’t shy away from digging into his remarkable career and personal life in this delightful and incisive film. Takei and his husband, Brad, have become the poster couple for marriage equality, highlighting homophobia through television interviews and hilarious skits, many of which have gone viral and garnered widespread attention. Whether dishing on William Shatner or parodying the now-infamous comments made by Tim Hardaway, Takei proves time and again why his presence in popular culture remains as fresh and necessary as ever.

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A young woman runs towards a parked car. Inside is her secret lover. They embrace passionately. We’re at the beginning of the all-consuming love affair between Alejandra and her lover Maria. For Alejandra, Maria becomes an inspiration in her work. Younger and wilder, can Maria live up to Alejandra’s expectations, and does Maria really want a relationship? Beautifully shot in black and white, this is a sensual film with wry touches of humor.

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