“Trust us, we’ll catch you.” These words precede each screening of the Trust Fall series, showcased in Oscarbate Film Collective’s custom-made trailers that delight in misdirection. Founded by seasoned Chicago film programmers John Dickson and Will Morris, Oscarbate has garnered a reputation for daring, eclectic, and boundary-pushing film programming. Their work challenges conventional ideas about cinema and invites audiences into a unique cinematic experience.
Oscarbate gained recognition with their Highs and Lows series at the Music Box Theatre. Highs and Lows cleverly juxtaposed films like American Pie (1999) with Maurice Pialat’s Graduate First (1978), Freddy Got Fingered (2001) with Lars von Trier’s The Idiots (1998), and their last pairing of 2024: Abel Ferrara’s Ms .45 (1981) with Jack Hill’s Coffy (1973). By combining such seemingly disparate films into double features, Oscarbate encouraged audiences to ponder the definitions of “high” and “low” art and confront their own biases about cinema. This commitment to fostering discourse through programming is emblematic of their ethos.
In addition to their shows at the Music Box, Oscarbate’s collaboration with boutique physical media label Severin Films spotlighted the extensive oeuvre of Spanish filmmaker Jesús Franco. With more than 200 films to his name, Franco’s work offers a wealth of material. Oscarbate’s touring series of his films, including a newly restored print of Dracula, Prisoner of Frankenstein (1972), has drawn audiences nationwide. The screening of this film at the Davis Theater in March 2024 marked a significant milestone for the collective, further cementing their place in the film programming landscape.
The seeds for Trust Fall were planted in May 2024 during a Davis screening of Michael Mann’s Collateral (2004), paired with a secret second film. The audience’s enthusiastic response to this blind pairing inspired Dickson and Morris to create a series built entirely around the thrill of the unknown. Trust Fall became a celebration of forgotten, -underappreciated, or rarely seen cinema, inviting audiences to take a leap of faith with
each screening.
“In a day and age where folks often seem to decide the quality of a film and their reaction to it before they ever step foot in the theater,” says Morris, “we strive to bring back the gleeful sense of discovery that drew so many of us to the world of film. That feeling of wandering around a city at night with friends and randomly deciding to see a movie with no consideration for what’s even playing is tragically lost and, we think, for the worst.”
Launching a secret film series poses challenges, but the dedication of Dickson and Morris along with their established reputation in Chicago’s film community allow for this aura of confidentiality and communal trust which has been instrumental in Trust Fall’s success. Both Dickson and Morris work tirelessly behind the scenes to secure film prints, edit trailers, and create promotional materials, all while juggling day jobs. Despite the logistical demands, they present themselves with ease and charm at screenings, even when faced with introducing a film without giving away its title. The shroud of mystery transforms every Trust Fall gathering into a shared journey. Attendees arrive with no idea what they’re about to watch and leave sworn to secrecy, perpetuating word-of-mouth buzz that continues to grow with each screening.
“We hold our audiences accountable to the special nature of this endeavor,” says Dickson, “because we want it to continue, and we don’t want people sharing the titles we screen on social media—we see it as, like, a special club for the city’s most adventurous filmgoers.”
He jokes, “We are currently working on installing one of those bootlegger doors with the sliding peepholes on the Davis Theater, accompanied by a special password.”
The magic of Trust Fall extends beyond the films themselves. Postscreening, Dickson and Morris linger in the theater lobby, sparking discussions about their film choices. Their encyclopedic knowledge of cinema and genuine passion for the medium fuel vibrant debates among attendees, whether they loved or loathed the film. Oscarbate’s openness to all opinions—combined with their belief in the subjectivity of art—ensures these conversations remain lively and inclusive. Their motto, “Trust us, we’ll catch you,” reflects their dedication to curating films with enthusiasm and care, fostering trust between programmers and their audience.
For skeptics wary of secret screenings, Oscarbate’s impressive programming track record provides reassurance. Outside of Trust Fall, the collective has presented an array of eclectic titles, including obscure gems like Scarecrow in a Garden of Cucumbers (1972), cult favorites such as The Mangler (1995) and Nosferatu the Vampyre (1979), and a mix of surprising selections like The Bridges of Madison County (1995), Crossroads (2002), Project X (1987), Golden Eighties (1986), O.C. and Stiggs (1987), and The Craft (1996). Oscarbate’s choices defy traditional boundaries between genres, encompassing exploitation cinema, world cinema, horror, Hong Kong action, supernatural romance, and more.
Trust Fall’s allure is further heightened by guest appearances from renowned film historians and authors. Recent events have featured Samm Deighan, editor of Revolution in 35mm: Political Violence and Resistance in Cinema From the Arthouse to the Grindhouse, 1960–1990; and Caden Gardner, coauthor of Corpses, Fools, and Monsters: The History and Future of Transness in Cinema. These guest speakers enrich the series, offering attendees deeper insights into the films and the contexts in which they were made. Oscarbate plans to expand their guest roster in 2025, ensuring the series continues to grow and evolve.
For their December film, Dickson and Morris warned audiences that their last selection of the year was reserved for more transgressive fare. After the screening, a few audience members told the programmers that the film didn’t appeal to them. Dickson and Morris were ready for a negative reaction, but they didn’t expect those same audience members to assure them they would be back next month. It’s proof that the communal spirit of cinema is still very much alive.
Trust Fall
Monthly, the Davis Theater, 4614 N. Lincoln
davistheater.com/special_events/trust-fall
instagram.com/oscarbatepod
This year promises to be a dynamic one for Oscarbate. Alongside Trust Fall, they plan to curate a variety of other series, including Terror Tuesdays and Weird Wednesdays at the Alamo Drafthouse in Wrigleyville, Bloody Brunch on Sundays at the Davis, and additional events at the Music Box. Their ongoing Jesús Franco tour will continue to introduce audiences to the filmmaker’s vast and varied body of work. For those who prefer to know what they’re watching ahead of time, these events provide ample opportunities. But for the adventurous, Trust Fall remains an irresistible invitation to dive headfirst into the unknown.
Whether showcasing overlooked classics, cult treasures, or the downright bizarre, the series dares audiences to embrace the unexpected. So, if you’re ready to take a leap into seldom-seen cinema, consider giving Trust Fall a try. Just remember: it’s a secret. And don’t tell them I told you.
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