They Predicted the Future. We Didn’t Believe Them.

A prophetic trilogy returns to Brooklyn for a rare two-night engagement at Spectacle Theater.

Brooklyn, NY — What happens when films created as speculative satire start looking like dispatches from our present? MULTIPLE FUTURES, a trilogy spanning decades, returns to Brooklyn for two nights at Spectacle Theater — not as nostalgia, but as reconnaissance.

Originally conceived as surreal, paranoid exaggerations, the films now read like uncannily accurate reports from a world that has finally caught up to them.

BETAVILLE

A capitalist dystopia inside a city-state run entirely by fashion — predicting influencer culture before it existed.

“Betaville” imagines a world where every human choice is dictated by aesthetics, branding, and trend cycles enforced at the level of government. The city-state runs strictly on fashion dictates, treating non-conformity as a civic crime punished with social erasure.

What was once absurdist satire now resembles the monetized conformity and curated identities of Instagram culture.

NO SUCH THING AS GRAVITY

A Trump-like ‘CEO of the Earth.’ A trophy wife. Dissidents who refuse to consume products quietly shipped off-planet.

This film interrogates the fragile belief systems we cling to when the world stops behaving rationally. Its central figure — a charismatic, authoritarian “CEO of Earth” — governs through spectacle, denial, and commercialized nationalism.

Those who reject mandated products or state-approved narratives are not punished publicly — they’re transported to another planet and erased from the social order.

What once read as gonzo science fiction now resembles the complete takeover of government by billionaires, with dissent treated as a logistical inconvenience rather than a political act.

THE DEFLOWERING

Corporate secrecy, profit protection, and the absurd solutions created when fixing the problem costs more than hiding it.

“The Deflowering” unfolds in a world where corporations bury life-saving scientific discoveries — not to avoid public panic, but because acknowledging them would cut into profits.

Instead of funding medical research to cure out-of-control allergies, a campaign for mass defoliation is promoted as the cheaper solution. And rather than develop a cure for a disease that prevents people from touching each other, society adapts by wrapping itself in bubble wrap and pretending this makes sense.

What once played as surreal comedy now reads like a painfully recognizable study in corporate negligence, big lies for profit, and the bureaucratic absurdity that emerges when public health is subordinated to the bottom line.

A CINEMATIC SURVIVAL MAP FOR UNSTABLE TIMES

Seen together, the trilogy forms a single arc — a map not of where we were, but where we were headed. The films explore how art anticipates politics, how paranoia becomes prophecy, and why surreal storytelling remains the most honest way to describe an unraveling world.

Post-screening discussions follow both nights.

This isn’t nostalgia. This is reconnaissance.