(FILM) Verkita kaj direktita de Leslie Stevens kaj stelumantas William Shatner kaj Milos Milos, Incubus is the 1965 horror movie filmed entirely in Esperanto. Rumored to be cursed due to the grisly deaths that plagued its actors (including Milos Milos, who murdered his girlfriend and then committed suicide in 1966), the film disappeared for 30 years until a print was found in a theater in Paris in 1996. And now, thanks to Christopher Chase's Cinema of Transgression at ConWorks, you can see it on the big screen in its revival premiere! Shown with Julian Rothman's The Mask in 3-D (glasses will be provided). JASON PAGANO

Consolidated Works, 410 Terry Ave N, 860-5245, Thurs-Sun at 9:30, $7.


(COLLECTIVE MADNESS) There is a shitload of really exciting theater going on right now. Brand new theatrics like Dear Diane from the Typing Explosion, Stray by Heidi Schreck and Printer's Devil Theatre, Cities: Conversations in the Court of the Khan from UMO Ensemble, Keri Healey's Cherry Cherry Lemon at Annex Theatre, and In a Shallow Grave from Book-It; promising productions of existing work like Glen Berger's Great Men of Science, Nos. 21 & 22 at the Empty Space, Chay Yew's Porcelain from Northwest Asian American Theatre, Nicky Silver's Pterodactyls from Seattle Theatre Project, William Nicholson's Shadowlands from Fat Yeti Theater, and Donald Margulies' Pulitzer Prize-winning Dinner with Friends at ACT; and wild cards like Scot Augustson's Why? Why? Why? at Consolidated Works, the upcoming Erotica Project by Lillian Ann Slugocki and Erin Cressida Wilson from Left Coast Theatre, and D. W. Jacob's R. Buckminster Fuller: The History (and Mystery) of the Universe at Intiman. This list is far from complete. It will take weeks for all of this stuff to get reviewed; if you wait for critical anointment, you will miss something really, really great. This is the theater festival Seattle needs; get out and see something. NOW. BRET FETZER

See the theater calendar for whens, wheres, and how muches.


Karn Ensemble

(DANCE) There's something undeniably fleshy about Karn Junkinsmith's work. All dance is about the body and what the body can do--but Junkinsmith gets a little more, I don't know, meaty about it. It's not just things like the flash of nudity in Companions, her duet with a musician. It's a broader, all-enveloping eroticism, one that isn't limited simply to sex. Maybe it applies to the world in general: She refers to Spectacle for 6 and 1 as a dance "for seven performers and conspiratorial folding chairs." The last piece of this evening promises to be somewhat cooler: Snow is a "rumination on the infinite variety of geometry and mystery of snow crystals"--but it won't surprise me if I come out of it feeling a little more engaged with my body than when I went in. BRET FETZER

Velocity MainSpace Theater, 915 E Pine St, Second Floor, 546-8526. Fri-Sun at 8; $13. This weekend only.

Dr. Jean Kilbourne

(LECTURE) There you are watching Simpsons reruns, when a commercial comes on featuring a digitalized desert scene. The camera swoops around and lands on a woman, then backs away, and you see that the woman is happily trapped in a giant jar. What was the commercial selling? Who knows. What were the advertisers thinking? Dr. Jean Kilbourne can shed some light on that. Best known for the documentary Killing Us Softly, Kilbourne deftly deconstructs media images of women, and how alcohol and tobacco advertisers skillfully cater to stereotypes. Tonight she lectures on "The Naked Truth: Advertisers' Image of Women," a benefit for 911 Media's program for teenage girls. TRACI VOGEL

D.A.R. Hall, 800 E Roy, 682-6552, 7 pm, $15.


Bright Eyes

(MUSIC) It would be counterintuitive for Conor Oberst of Bright Eyes to write from a vantage point that isn't introspective and personal, because, as anyone who has seen and heard him perform knows, the process is obviously very emotional. He's the kind of singer who needs a state of ecstatic tragedy in order to truly deliver--a grand, addled onstage performer, whose entire body trembles as he beats blood into his fingertips against his guitar, or hunches over a keyboard. His voice fills up venues like a young Tom Waits by way of early Sinéad O'Connor. Though Oberst usually plays with a team of excellent musicians, Bright Eyes is truly his project. This is a show that must be seen, and felt, to be understood. JEFF DeROCHE

Showbox, 1426 First Ave, 628-3151, 6 pm, $10.

David Sedaris

(FUNNIEST WRITER ALIVE) It seems like it was only yesterday that David Sedaris was at the Paramount, tearing up the stage with fellow NPR alum Sarah Vowell. (Actually, it was Monday, April 30, a day that will live forever in majestic beauty.) Anyway, the infallibly hilarious Sedaris is coming back for a trio of appearances celebrating the paperback release of the best-selling Me Talk Pretty One Day. Two today (at University Bookstore and Bailey/Coy Books), one tomorrow (at Elliott Bay Books). All three of 'em sure to be packed houses, so get there early. DAVID SCHMADER

Sat: University Bookstore, 4326 University Way NE, 634-3400, noon, free; Bailey/Coy Books, 414 Broadway E, 323-8842, 3 pm, free. Sun: Elliott Bay Books, 101 S Main, 624-6600, 5:30 pm, free.


Ghost World

(FILM) Terry Zwigoff's film Ghost World, based on the Dan Clowes comic, opens with a blue-tinted tracking shot at dusk. The camera floats by the open windows of an apartment building. In every window a scene is being played out, involving characters both grotesque and empathetic. In the last window frame, we see Enid (played by Thora Birch) rocking out to East Indian pop music. The sequence is a perfect parallel to the narrative of comics, and a nice entry into this hybrid film. Lovers of the comic original will be entranced by its strange transference to the screen and by the insidery comix references throughout; those who have never heard of Clowes will have to settle for what amounts to a finely written teeny-bopper flick with a Harriet the Spy plotline, a radiantly glowering main character, and the pleasures of Steve Buscemi. TRACI VOGEL

Egyptian, 801 E Pine St, 323-4978, 1:45 pm, $8. Also Sat June 16, 9:30 pm.


The Chamber Strings

(LIVE MUSIC) Perhaps best known for his work with the Rosehips and Epic Soundtracks, Kevin Junior is bringing his catch-all, retro pop project the Chamber Strings to the Breakroom. Wearing their influences like badges of honor--bluesy like the Stones, layered like the Beatles--the Chamber Strings write bright, addictive, near-perfect pop songs. Though they're not breaking any new ground, these roots are tried and very true. JEFF DeROCHE

Breakroom, 1325 E Madison, 297-2786, 9 pm, $6.



(ART) Few artists around here are funnier or weirder or more talented than Jesse Paul Miller. He's unmatched in making something out of nothing--whether it's discarded technology, other people's photographs, his own drawings and paintings, even leftover food. Miller is one of those people who thinks in all directions at once, but winds up making perfect sense--if you're open to it. And if at times the something-from-nothing is unfathomable, his process is still mesmerizing. How did he get there? What's the difference between garbage and creation? Where does industry end and art begin? No answers provided, but lots of possibilities from our own local Duchamp. EMILY HALL

Howard House, 2017 Second Ave, 256-6399. Through July 28. Opening reception Sat June 16, 6-8 pm.



(ART) Annette Cohn and Florine Falk are lively and familiar faces around the Bellevue Art Museum, where they've been volunteers for a long time. We could say familiar face--Annette and Florine are identical twins--but the longer you look at two things that seem to be the same, the more their differences emerge. This is the premise that artist Wendy Hanson uses as a point of departure for a series of multimedia installations on the twins' own turf. Hanson examines basic questions of identity and experience, how deep the similarities and differences run. EMILY HALL

Bellevue Art Museum, 510 Bellevue Way NE, 425-519-0770. Artist talk at 7 pm, free with admission. Through Oct 14.