At ten o’clock on the evening of Saturday 26 July, as the lights dimmed inside a 159-seat auditorium inside Wrocław’s nine-screen Kino Nowe Horyzonty, the resounding ambience consisted of chatter, cheers, the clatter of glass bottles and that inimitable sea of punchy hisses as the capacity audience cracked open one beer can after another.
They’d come for a triple bill: Amir Shervan’s Samurai Cop (1989), Don Dohler’s Nightbeast (1982) and Arizal’s American Hunter (1990). Numbers had depleted and decibels had doubled by the time the lights came back on at around quarter-to-three the next morning. The marathon formed part of ‘Midnight Madness: VHS’, the late-night retrospective at New Horizons, western Poland’s excellent film festival, whose annual program also boasts some of the most dependable arthouse titles from the previous twelve months.
Had anybody been observing the scene of ordered anarchy that night, they may have