Rena Riffel’s new film, Astrid’s Self Portrait, is a work of surrealistic contemplation and abstract horror; and if you live in or near Los Angeles, you have a chance to check it out at a special screening to be introduced by Ms. Riffel herself.
Sound intriguing? You’ll find all the details below along with a link to purchase tickets.
From the Press Release:
Rack Focus at the American Cinematheque, in association with Women Underground and Etheria Film Night, is proud to present a special event screening of filmmaker Rena Riffel’s latest work, Astrid’s Self Portrait.
Riffel, known to the horror and genre community primarily for performances in films such as Mulholland Drive, Showgirls, and Candyman 3, has also made a strong presence as a director with unique voice and vision. Her previous directorial efforts include the exploitation masterpiece Trasharella and the much publicized Showgirls 2: Penny’s From Heaven.
With Astrid’s Self Portrait, Riffel unleashes her most artistic and personal work to date.
The screening, to held at 8pm on Friday, April 22nd, in the Speilberg Theatre within Hollywood’s iconic Egyptian Theatre (6712 Hollywood Boulevard), will feature an introduction from Riffel, who will be in attendance for the evening’s festivities.
Previously, a snippet from Astrid’s Self Portrait was screened at a horror shorts event in the fall, also hosted by Women Underground and Etheria Film Night, and the organizations couldn’t be happier to return to help Rena finally unveil the whole feature.
In this surreal film-within-a-film, Astrid Von Star (Riffel) attempts to make the greatest avant-garde film in history. Abruptly dismissed from her position as a top Hollywood film critic, Astrid calls on her sole surviving ex-husband (Gregory Heath) to be her personal cinematographer on the new film endeavor. As her passion overtakes her sanity, she reminisces about her seven tragically failed marriages and the unsolved mystery that made her a widow six times over. Delusions of grandeur are followed by a deadly nervous breakdown, but her abandoned footage earns critical acclaim after being discovered by a highly regarded professor (Philippe Mora), who re-edits Astrid’s film and develops an unhealthy obsession for her.