Watching porn in public is actually more silly and less creepy than you'd think it would be. At least that's the case with Bike Smut, the globetrotting, Portland-born "sex-positive, human-powered" film fest. The festival's mishmash of short, upbeat, feminist-friendly amateur pornos all revolve around bikes—and while they usually don't involve bike-fucking, per se, you'll likely never look at your saddle the same way. SARAH MIRK Clinton Street Theater.
Winner of best film, best actress, and eight other prizes at this year's Goya Awards, Blancanieves—"Snow White" in Spanish—is billed as "a tribute to silent films," but like most silent films, it's not actually silent; there's just no spoken dialogue. The soundtrack is exhilarating and makes the film as much about rhythm—the alternately lightning fast and seductively slow clapping, wrist twirling, and cape flourishing in flamenco and bullfighting—as it is about the perseverance of a seriously unlucky young woman. JEN KAGAN Living Room Theaters.
Czech That Film
See Film, this issue. Whitsell Auditorium.
The latest from underground director Antero Alli, featuring "crime, metaphysics, and amour fou." Director in attendance. Clinton Street Theater.
Whichever way you turn the movie, it catches some light: This way, the plight of millennials; that way, the stylistic nods to French New Wave. There's a whole trend piece to be written about the young female writers (star Greta Gerwig co-wrote the script) who are changing the way women are depicted in popular entertainment, and then there's parsing how this generous, optimistic film fits into the context of writer/director Noah Baumbach's previous work. What a tremendous relief it is to find a movie that acknowledges that women are interesting—that a woman can be the protagonist in a story that doesn't end in romance or a makeover, and that all the vitality and confusion and excitement of being young can be refracted just as well through a woman as a man. ALISON HALLETT Cinema 21.
A new, twice-monthly series featuring "must-see films for fans of garbage cinema." First up: blaxploitation films Coonskin (1975) and The Human Tornado (1976). Jack London Bar.
See review this issue. Various Theaters.
The Kings of Summer
See review this issue. Fox Tower 10.
Kung Fu Theater
1978's Seven Grandmasters on 35mm, "featuring multiple silver-haired villains with huge sideburns and maniacal laughter." Hollywood Theatre.
Now You See Me
STUDIO EXECUTIVE 1: Okay, let's get Mark Zuckerberg and Haymitch and a Franco brother and a hot girl to be badass con-men. STUDIO EXECUTIVE 2: WHAT?!?!?! Yes, please! The only thing that idea is missing is Morgan Freeman! And... magic tricks? SE1: Whoa, yeah, let's put Morgan Freeman in it! And sure, magic, okay whatever. Wait... maybe they can steal stuff with magic? Then maybe... the Hulk tries to stop them? SE2: Oh, shit yes! Wait. Can we add Batman's butler? I like Batman's butler. SE1: Sure! Okay. ELINOR JONES Various Theaters.
The Pit and the Pendulum
Fun for the whole family! Laurelhurst Theater.
See review this issue. Various Theaters.
Ginger-bearded Chris (Steve Oram) whisks Tina (Alice Lowe) away on "holiday" (that's what British people call "vacation") in his "caravan" (that's what British people call a "trailer"). The frumpy, sheltered Tina is flattered by Chris' attention, and despite his balding head and her awful jeans, there's palpable—and funny—sexual chemistry between the two. Chris claims he's working on a book, but in truth he hasn't written a single word. This doesn't seem to bother Tina, who takes on the mantle of his muse, a role she wears as proudly her homemade lingerie. When the two find the subject that inspires them both, Sightseers' wry, awkward humor turns uproariously brutal. I don't want to give away too much, as director Ben Wheatley (Kill List) lets Sightseers' events unfold in a wonderfully appalling way, but the dominos are set into motion when Chris backs the caravan over a fellow who'd earlier given him the finger. Whether that grisly death is an accident or not is one of the film's playful ambiguities; it's possible even Chris himself doesn't know. NED LANNAMANN Living Room Theaters.
True Crime Series
Two nights of "Oregon true crime cinema," with Portland Exposé (featuring a post-screening discussion with writer Phil Stanford, historian Robert C. Donnelly, and KBOO's Wade Hockett) and Without Evidence (Thurs June 13), with director Gill Dennis and co-screenwriter Phil Stanford in attendance. Mission Theater.
Twilight Zone! Twilight Zone! Twilight Zone!
A bunch of classic Twilight Zone episodes? Okay! Hollywood Theatre.
Violet & Daisy
Two "teenaged" assassins (you're not fooling anyone, Alexis Bledel) take on one last assignment before giving up the game entirely. But, quelle surprise, the gig goes horribly awry when a would-be victim (James Gandolfini) taps into the girls' daddy issues. Maybe Violet & Daisy will appeal into a few people's highly specific fetishes (teenaged girls jumping up and down on corpses? Is that a thing?), but on balance it's a tawdry, shitty Tarantino knockoff that botches its cutesy-assassin schtick by failing to understand that giving a girl a nun costume and a gun doesn't an interesting character make. ALISON HALLETT Fox Tower 10.
We Steal Secrets: The Story of WikiLeaks
See review this issue. Living Room Theaters.
Women's Edge Film Series
A "new collection of independent films for women and by women." This time: After the Rape: The Muktar Mai Story, a documentary about Pakistani anti-rape activist Muktar Mai. Clinton Street Theater.