Ganja and Hess
Tell It Like It Is: Black Independents in New York, 1968 – 1986
February 6 - 21, 2015
Post-screening discussion with film scholar, filmmaker and distributor/preservationist Pearl Bowser; producer Chiz Schultz; and composer Sam Waymon on February 7
Introduction by Spike Lee on February 8
Recut for its U.S. release, Ganja and Hess, was first made available years later in its intended version by independent distributor Pearl Bowser, and, now restored, is considered a classic. Conceived as a vampire tale, Gunn’s film is a formally radical and deeply philosophical inquiry into passion and history.
Post-screening discussion with film scholar, filmmaker and distributor/preservationist Pearl Bowser; producer Chiz Schultz; and composer Sam Waymon on February 7
Introduction by Spike Lee on February 8
Screened at Cannes in 1973 before being recut against the filmmaker's wishes for its U.S. release, Ganja and Hess was first made available years later in its intended version by independent distributor Pearl Bowser, and, now restored, is considered a classic. Conceived as a vampire tale, Gunn’s film is a formally radical and deeply philosophical inquiry into passion and history. “A film that was ahead of its time in 1973, and quite frankly, is still very much so today… maybe the rest of world will eventually catch up.”—Tambay A. Obenson. With Marlene Clarke, Duane Jones, and music by Sam Waymon. Preserved by the Museum of Modern Art with support from the Film Foundation.
Da Sweet Blood of Jesus, Spike Lee's reinterpretation of Ganja and Hess, opens here February 13.
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