Tetris Documentary Screening & Games at the Theater


Saturday, April 19 at 6:15pm - 11:30pm

Join PIGSquad and Pixel Arts in a free screening of Ecstasy of Order: The Tetris Masters & playing videogames on a theater screen to celebrate PIGSquad's 3-year anniversary!

6:15pm: Play Tetris
7pm: Movie Screening – Ecstasy of Order
9pm: More games – Tetris Attack, Hard Lander, and ?

For more about the film, visit:
http://watch.ecstasyoforder.com/

"Tetris. We’ve all played it, rotating the pieces (“tetrominoes”) and dropping them in the perfect place, or despairing as we discover a piece won’t fit. You may have even joked about “mastering” the game during a stint of unemployment, or as a child, before you could afford any other Game Boy cartridges. But what about the people who’ve truly mastered Tetris? Where are the Kasparovs and Fischers, the great champions who’ve dedicated their minds to solving its deepest puzzles?"

Alfred Hitchcock's Rebecca

Manderlay

Manderlay

The movie Rebecca is not about Rebecca. We’re showing it this weekend at the 5th Ave. Cinema. Hitchcock’s first American film, and the only film of his to win a Best Picture Oscar, is a psychosexual drama in the same league as his later movies Vertigo and Marnie. But while those two films feel thoroughly modern, Rebecca is played to a gothic level not common in Hitchcock’s American movies. The house where most of the key events take place, Manderlay, is a large and foreboding mansion masquerading as a friendly home. It has entire wings that are closed off. The militantly secretive staff of two dozen is headed by a severe and expressionless woman named Mrs. Danvers. Manderlay feels like a sprawling environment waiting to be filled by a sprawling presence, but it is missing something: it is missing Rebecca de Winter. And Rebecca is dead.

 The film begins with the line “I dreamt I went to Manderlay again.” This is the voice of our hero, unnamed, although she is played by Joan Fontaine. She is only referred to by name once she is married and rechristened the new Mrs. De Winter, but her first name is never mentioned. Early in the film she falls in, accidentally, with Maxim de Winter, a brooding and temperamental man played by Laurence Olivier. They meet in Monte Carlo, but return to Britain, and to Manderlay, as husband and wife. Their arrival at Manderlay is less than welcoming, owing more to the odd and transitional nature of the household. Mrs. Danvers seems to have taken the role Rebecca de Winter used to fill, and the intrusion of the new Mrs. de Winter, who is so obviously not Rebecca, threatens to tear down the whole household.

the new Mrs. de Winter, and Mrs. Danvers

the new Mrs. de Winter, and Mrs. Danvers

Meanwhile, the relationship between the new Mrs. de Winter and Maxim seems to take flits and starts, as more is revealed about Maxim’s relationship with his newly dead wife. Hitchcock takes full advantage of the dark and moody surroundings as these events play out, though a few surprising scenes take place in court, and on long drives between town and Manderlay. In these scenes the director’s love of faces is obvious, though the Manderlay interiors are sometimes static long shots that take in the entirety of the room through deep focus. The static nature of the interiors plays against a few more expressive shots, including a couple well-timed POV shots, and some operatic flourishes at key emotional moments (like the very end). But it is what is most fascinating about Hitchcock’s expressive camera is that in Rebecca it is largely absent. Same for his sexually implicit punning and jokes, although Mrs. Danvers is called Danny by a few, adding to her gender ambiguity and the sexual intrigue. That said, there is a restraint to this film that is very British, and Hitchcock’s later indulgences with camera movement and sexual inference make it feel a bit tame in comparison. Yet when you compare Rebecca to the four films that followed it, where you’ll see Hitchcock experimenting with different genres and the American studios’ star power to moderate success, it’s not until 1943’s Shadow of a Doubt that Hitchcock makes a movie as assured and well-told as Rebecca.