Projector Gallery | Films and Talks

Films and Talks

Projector Gallery is dedicated to great movies and Art- come join us!

Coming Soon! Screening of Girl on the Bridge (La fille sur le pont) with Special Guest The Great Throwdini


Come see the most amazing knife throwing movie ever made.  Afterwords The Great Throwdini will be throwing knives and teach a lucky few how to do the same!!! An amazing evening, Food and Wine will be available.


Coming Soon: The Act of Killing

Joshua Oppenheimer working with his subjects

The relationship between cinema, trauma, and memory underlie this intense film.  The Act of Killing is a must for anyone interested in the ethics of documentary cinema.



Coming Soon: Film Discussion- with Kwyn Bader

Why I Love The Godfather!: Focus on Fredo with Kwyn Bader

Michael and Fredo
Michael and Fredo

Why I Love The Godfather!: Focus on Fredo with Kwyn Bader


I love The Godfather. I know I’m not alone. It’s the best gangster movie. It’s the best family film. It’s the most triumphant. The most tragic. The most tender. The most violent. The most noble. The most pathetic. The acting. The music. The direction. The cinematography. The writing. Pacino-Brando-Deniro-Rota-Coppola-Willis-Puzo-Coppola! Say it fast and say it again. Every time it’s on TV, every time I look up at my DVD shelf, it’s the offer I can’t refuse.


To me it’s so good, such a masterpiece, that even though it’s pretty dark stuff, watching it makes me feel like a million happy bucks. True story…a few years back, I planned my whole New Years Day as New Years Day with the Godfather. My wife’s cousin – who had never seen The Godfather and been shamed by me into committing the first day of her year to correcting this obvious personal defect – and I watched The Godfather and Godfather II back to back, with an intermission discussion session. Not only was my wife not upset, she agreed with me that her cousin needed Godfather detention and bought us cappacola salami, Italian bread and made us all an Italian meal while sitting and watching parts of it too…while regularly filling our glasses with chianti. She and I would break up some time later, but I assure you, it was not because of too much Godfather viewing. She was a very organized person, and I’m guessing as she made her plus/minus list about whether she thought we should stay together, that Godfather watching was sharpied in the all too short plus column.


But as much I love every single horrible little thing about The Godfather movies, one character who always gets me, who I literally walk around the streets of LA and New York feeling sorry for, who I stop with concern to think about while riding bikes on railtrails in the Catskills is the pathetic older brother Fredo played so masterfully by the genius John Cazale. When I was younger I was into Michael, but as I’ve gotten older and come to the less than comfortable realization that not only am I not going to conquer the world, but I’ll be lucky if I conquer my own stupidity, Fredo’s become my guy.


He’s one of the great characters in film, and he’s not a hero, he’s not successful, he’s not a leader, he’s not smart, he’s not a guy who takes destiny in his own hands and makes a new world by killing someone, in fact he’s a totally incapable individual  – in other words he’s the complete antithesis of everything American movies worship. And yet…he’s as good as it gets. He’s imperfect. He says the wrong thing. He’s gullible. He’s the heart that breaks Michael’s. He shows us how hollow and soul-less is our whole bad ass pathology and confidence in violent resolution. He brings the whole fucking house down. Michael’s who we want to be. He’s what we do. What we become. But Fredo, in a way we never want to admit…is who we are.


In Focus on Fredo, we’re going to celebrate the most powerful loser in the history of world cinema, investigating the guy who’s own brother ordered him to be shot through the back of his fishing hat and his arc through the two movies primarily from a writer’s POV. Watching clips from the films and paying attention to story structure, dialogue, and performance we’ll have a great time re-discovering why we just can’t get the guy who cried and screamed “Papa!”  out of our collective psyches. And in the process, hopefully, I’ll be able to offer some insights you haven’t yet gotten in a book or making-of doc that illuminate why Fredo might just be offering the most important unreceived secret message in the history of film. Yeah…I’m going to take it there. So put your caprese salad in your igloo and grab a jug of cheap chianti and come down to Projector Media so we can Focus on Fredo!