Coming Soon
HOLLYWOOD 90028
1973
Director
Christina Hornisher
Starring
Christopher Augustine
Jeannette Dilger
Dick Glass
Gayle Davis
Runtime
87 minutes
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Employed as a cameraman in a seedy porno operation, Mark (Christopher Augustine) spends his days separated from the shame and degradation by the camera he uses to record it. When he is confronted with the reality of an actual sexual encounter, without his camera for protection, he invariably strangles his partner during the lovemaking process. But then he meets a girl... and the nightmare begins!
The only feature film directed by Christina Hornisher, who also wrote the screenplay under the pseudonym Craig Hansen, HOLLYWOOD 90028 is dizzyingly confident. It reveals a directorial hand of great grace and ambition, and a writer-director with a lot to say - particularly about the underbelly of the industry in which she works. First a promising young film student from UCLA, then a historical enigma about whose later life little is known, Hornisher and her film offer a frustrating glimpse at a director of real talent and creativity from whom we never heard again. But now thanks to a new 4K restoration from Grindhouse Releasing, HOLLYWOOD 90028 is being rediscovered as a disturbing exploration of dashed dreams as well as a shocking example of how cheapie exploitation pictures can sometimes still be driven by more sophisticated ideas and stylish filmmaking.
“The short sell would be Jacques Demy’s MODEL SHOP meets TAXI DRIVER.” - Brian Sauer
“Serves as a spiritual bridge between Michael Powell’s PEEPING TOM and Steven Soderbergh’s SEX, LIES AND VIDEOTAPE.” - Mark Edward Heuck
“There’s an originality in this film that more polished movies should envy. HOLLYWOOD 90028 has a kind of dazzling, raw energy that is jaw-dropping, and this recent attention will hopefully see it receive its rightful place in horror film history.” - Alexandra Heller-Nicholas
“Sits somewhere at the intersection of LA PLAYS ITSELF and BLUE MONEY as one of the quintessential portraits of the grimier side of Hollywood in the early 70s. We’ve all seen this sort of story before, but what makes Christina Hornisher’s sole feature so fascinating is the way she constructs it, using stills, juxtapositions, opticals, and projections to both flesh out the vague narrative and make it feel crushingly claustrophobic. Remarkable - especially the final shot.” - Liz Purchell
The only feature film directed by Christina Hornisher, who also wrote the screenplay under the pseudonym Craig Hansen, HOLLYWOOD 90028 is dizzyingly confident. It reveals a directorial hand of great grace and ambition, and a writer-director with a lot to say - particularly about the underbelly of the industry in which she works. First a promising young film student from UCLA, then a historical enigma about whose later life little is known, Hornisher and her film offer a frustrating glimpse at a director of real talent and creativity from whom we never heard again. But now thanks to a new 4K restoration from Grindhouse Releasing, HOLLYWOOD 90028 is being rediscovered as a disturbing exploration of dashed dreams as well as a shocking example of how cheapie exploitation pictures can sometimes still be driven by more sophisticated ideas and stylish filmmaking.
“The short sell would be Jacques Demy’s MODEL SHOP meets TAXI DRIVER.” - Brian Sauer
“Serves as a spiritual bridge between Michael Powell’s PEEPING TOM and Steven Soderbergh’s SEX, LIES AND VIDEOTAPE.” - Mark Edward Heuck
“There’s an originality in this film that more polished movies should envy. HOLLYWOOD 90028 has a kind of dazzling, raw energy that is jaw-dropping, and this recent attention will hopefully see it receive its rightful place in horror film history.” - Alexandra Heller-Nicholas
“Sits somewhere at the intersection of LA PLAYS ITSELF and BLUE MONEY as one of the quintessential portraits of the grimier side of Hollywood in the early 70s. We’ve all seen this sort of story before, but what makes Christina Hornisher’s sole feature so fascinating is the way she constructs it, using stills, juxtapositions, opticals, and projections to both flesh out the vague narrative and make it feel crushingly claustrophobic. Remarkable - especially the final shot.” - Liz Purchell