|8:30PM||Live Burlesque & Bondage performance by Lulu Kramer and Tombstone with live cello accompaniment by Brent Arnold|
|11:30PM||After Party sponsored by New Amsterdam Spirits|
on the roof
220 36th Street, Brooklyn, New York, 11232
D, N, R to 36 St
When a mild-mannered Japanese mattress salesman joins a hidden, mysterious S&M club that specializes in surprising its clients in public and applying sadistic, sexual torture in any place at any time he soon realizes the price for pleasure may be too high. Courtesy of Drafthouse Films.
R100 (Hitoshi Matsumoto | 94 min.)
Nao Ohmori (star of Takashi Miike's Ichi the Killer) plays Takafumi Katayama, a mild-mannered father who escapes the pressures of daily life by joining a mysterious S&M club, where the dominatrixes visit clients in real-life settings. While at first the rough treatment and humiliation he receives from leather-clad women in cafés and restaurants is enjoyable, Takafumi soon realizes that he's opened a door that cannot be closed. Unable to end his relationship with the club, he finds himself pursued by a gang of ruthless mistresses, each with a very unique talent. Takafumi must either find a way to turn the tables, or walk even further down this dark yet sexy path.
A massive star in Japan, director Hitoshi Matsumoto has bewildered and delighted Midnight Madness audiences twice before, with Big Man Japan and Symbol, each time one-upping himself in terms of both strangeness and imagination. With R100, he returns with a distinctive take on the sex comedy. You may be thinking, “How weird and complicated can a BDSM movie be?” Well, this defies definition and laughs in the face of conventions. Partway through the film the narrative stops and cuts to an official Japanese censorship committee – also watching the movie – who are just as confused as you will be. The director soon appears as a 100-year-old version of himself, refusing to change anything and forcing the committee to brand his work unsuitable for anyone under 100 years of age; hence the title.
With a cast of uniquely skilled dominatrices (Queen of Voices, Queen of Saliva, Queen of Eating People Whole), absurd meta-experiences, and a storyline that can only be described as crazy, until it gets really crazy, Matsumoto’s film rises above its zaniness with a surprising abundance of pathos. Whether or not you’re into sadomasochism isn’t the question. What you should be asking yourself is, “Are you ready for an experience you’ll never forget?”
Lulu is a musical theater kid gone goth. Model, actress, burlesque performer, fetishist.
Tombstone is a long-time kinkster and an experienced rope artist and bondage top. To Tombstone bondage is about the connection between himself and his partner. "Those moments are ours," he says. The beauty the observer beholds is the culmination of that energy in a unique artwork of rope and flesh.
Tombstone has had a life-long interest in bondage, starting with innocent childhood play and then progressing to more sexual iterations through his teenage years, which eventually led him to experiment with it extensively in his adult life. In his late twenties, inspired by images from various rope sites, he began emulating the work of rope artists such as Jim Weathers and John Willie, which eventually led him to the worlds of Shibari and Kinbaku. Taking bits and pieces from every style he admired, learning the techniques that interested him and the structures he found visually appealing, he has crafted his own style of bondage which emphasizes the melding of form and function.
Brent Arnold uses the cello and a battery of experimental electronics to create songs that are both cinematic and intimate. He approaches his instrument with a wildly unorthodox approach, using guitar-like fingerpicking and elements of Arabic, Persian, and African music.
He has worked with Reggie Watts, The Antlers, Filastine, Dave Malloy, Modest Mouse, DJ/Rupture, Eyvind Kang, and Jherek Bischoff, among many others. Brent studied the cello with Walter Gray of the Kronos Quartet and legendary jazz violinist Michael White.