With the dough it takes to make one of the rehashed gazillion dollar shoot ‘em ups that flopped at the box office this summer (it was nicer outside anyway), Gregg Araki could theoretically make Three Bewildered People In The Night several thousand times, even if you adjust for 1987 money. As it turns out once was enough. His no-budget portrait of three West Village artists was as refreshingly open in its fluid sexuality as claustrophobically confined by its murky lighting and landscapes. The film slow-launched Araki to a pioneer role in the New Queer Cinema. And though his films probably cost more now than a single sequence of a muscle car exploding in flames, he still keeps it weird and candidly queer. The Museum of Arts and Design (MAD) is screening a retrospective of Araki’s career that kicks off [next] Thursday and Friday, respectively, with The Living End and Three Bewildered People In The Night. On September 28, Araki his bad self will lead an intimate master class. We’ll be partnering with MAD to curate some music and other happenings at Ace Hotel New York soon. More on that later.