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    Iconic Houston Nightclub

    Iconic Houston nightclub gets the movie treatment: Only-in-Montrose story to finally be told

    Elizabeth Rhodes
    Mar 2, 2015 | 2:55 pm

    For more than three decades, Numbers has been the go-to club for the different, the disaffected and those who simply love to dance. The venerable club on lower Westheimer continues to draw large crowds on Friday nights where '80s music rules and on Saturdays it features special events for those interested in underground hip-hop, electronic music and hardcore.

    Now, three Houstonians are determined to capture the club's illustrious history in a new film. Director Marcus Pontello, along with producers Jeromy Barber and James Templeton of Dinolion, recently launched a Kickstarter campaign to fund a documentary about the legendary Montrose nightclub and concert venue. The club has occupied its space at the corner of Westheimer and Mason St. since 1978 and, as Pontello says, "it's a fixture of the neighborhood."

    Given Numbers' 36-year history, there's a lot of ground to cover in their documentary, titled Friday I'm In Love after The Cure's 1992 hit.

    "It's a place that's always been a kind of come-as-you-are, 'be yourself' establishment. That's why Numbers is so great."

    "On a broad scope, we're trying to go through the journey of the building and the various stages the building has seen in terms of DJ's and music, because that's what brings people to Numbers, whether it's 1970s gay disco or new wave or goth industrial," Pontello says.

    "Beyond that, we're trying to highlight the people who were very much responsible for the various stages — the different owners, promoters and DJs who really have had a strong influence on the club. And past that, we want to hone in on stories from patrons who go to Numbers because they're accepted there.

    "It's a place that's always been a kind of come-as-you-are, 'be yourself' establishment. That's why Numbers is so great."

    All are welcome

    Repeated over and over — and with good reason — is the common sentiment that Numbers is an incredibly accepting place that's welcoming to absolutely anyone.

    "I've been finding that people of different generations and ages have had similar experiences," Pontello says of the interviews they've been conducting with patrons. "It's always the same kind of narrative. 'I went to Numbers because I wasn't accepted in the suburb I was living in,' — or even in other parts of Houston — 'so I found this kind of entryway into subculture.' It's pretty amazing."

    "What I think is interesting about Numbers is that Houston and Texas are traditionally very conservative," Barber notes. "There's definitely an arms-wide-open kind of community that congregates at Numbers. To this day, you'll go and see soccer moms and Midtown bros and goth queens and 60-year-old dominatrix slaves, all on the same dance floor."

    Passion project

    Barber describes Friday I'm in Love as a "passion project for three Houston kids," all of whom have experienced Numbers in different ways over the years.

    For the now 26-year-old Pontello, he's been frequenting the nightclub since he was a 15-year-old student at the High School for the Performing and Visual Arts. Although he didn't originally plan to make a film about Numbers, he says the project actually began two years ago as a hobby.

    "I was living in LA, going to school there, then New Orleans, so I spent time away from home — which is Houston — and in my time away I was always trying to find a place like Numbers in another city, but there just wasn't a place like it anywhere else. So I started traveling back and forth, starting to do research and interviews, really just out of curiosity.

    "(During interviews) so many people's first reactions are 'Oh, I went to Numbers,' and I ask if they have any really interesting stories and they say, 'Oh my god, you're bringing me back.' There are people who remember very specific details, but there are also people who haven't thought about it in 20 years or more. Our conversation starts and then they start remembering all these amazing memories."

    Pontello says he's found many former patrons through Facebook, specifically through Numbers' own page and a page called the Friends and Loyal Patrons of Numbers Nightclub. Additionally, the group has already interviewed some of the artists who left a strong impression on the club, including Andy Bell and Vince Clark of Erasure, Groovy Mann and Buzz McCoy of Thrill Kill Kult and Bliss Blood of Houston's The Pain Teens.

    "There's so many amazing things about Montrose that have just gone into the recesses of peoples minds," Pontello says."I feel like there's something about the spirit of the city, or maybe Montrose specifically, that runs the risk of being lost if stories like this don't get told."

    The Kickstarter

    "A big part of the conversation from the beginning was that we needed to raise money for this," says Barber, speaking of their Kickstarter campaign. "It actually took a long time to get us to the point where we were actually raising money."

    "I feel like there's something about the spirit of the city, or maybe Montrose specifically, that runs the risk of being lost if stories like this don't get told."

    The project's Kickstarter campaign has raised more than $31,000 as of March 2— inching closer to the $40,000 goal with only a few days remaining (the completion deadline is 9 p.m. on Friday, March 6). Depending on the donation amount, backers can score goodies like exclusive posters, T-shirts and even VIP tickets to the film's premiere.

    (UPDATE: As of March 4, the group has exceeded their goal and has raised $41,096 with one day of fundraising left.)

    With an expected completion date of fall 2016, Barber not only wants to host local screenings but also plans to send Friday I'm In Love to film festivals, specifically South by Southwest, given that the film's subject matter revolves around music subculture in Texas.

    "Our goal is to document the film, to document Numbers, to make that a real thing that happens," Barber says. "Send the film out to festivals so that more people know about this place, because it's still a place that exists and it's a people can come visit. And that's exciting. Maybe it drives a little bit of tourism, maybe it'll bring some people out of the woodwork, even from within the area, who've never experienced Numbers. At the end of it, it just documents the story, it's sort of like a preservational piece.

    "The culture of this super-accepting place is at the heart of the story. And it's an awesome story. It's an awesome story about Numbers, an awesome story about Houston, an awesome story of the last 36 years, and that's amazing."

    The dance floor at Numbers is always covered in dancing patrons, lasers and disco lights, especially on a Friday night.

    Numbers interior lights disco ball
    Photo courtesy of Dinolion
    The dance floor at Numbers is always covered in dancing patrons, lasers and disco lights, especially on a Friday night.
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    Movie Review

    Over-the-top acting and incoherent plot drag down Her Private Hell

    Alex Bentley
    Jul 23, 2026 | 3:00 pm
    Sophie Thatcher in Her Private Hell
    Photo courtesy of Neon
    Sophie Thatcher in Her Private Hell.

    Danish filmmaker Nicolas Winding Refn is not someone who plays nice with the general film world. His 2011 film Drive introduced him to American audiences in a big way, but that pulsating thriller was followed up with artier films like Only God Forgives and The Neon Demon that eschewed coherent plots in favor of moody, atmospheric pieces.

    Winding Refn, who hasn’t made a feature film in 10 years, has gone fully down the rabbit hole with Her Private Hell. Taking place in a liminal space that kind of resembles Earth but also feels like someone’s dreams/nightmares, the film focuses on Elle (Sophie Thatcher), an actor currently starring in a sci-fi film. Staying at a hotel with newcomer Hunter (Kristine Froseth), the two bond over their shared passion and the legend of Elle’s father, Johnny Thunders (Dougray Scott), who’s now married to Elle’s friend Dominique (Havana Rose Liu).

    After spending a good amount of (mostly incomprehensible) time with that group, Refn introduces Private K (Charles Melton), who seems to be living in post-World War II Japan. He is looking for his daughter, who might have been taken by a mysterious figure known as “Leatherman,” and he will stop at nothing to find her, fighting whoever stands in his way.

    It becomes clear almost right away that Winding Refn has no desire to engage in traditional storytelling in this film. The main characters wander through neon-drenched streets and buildings, which are often surrounded by a mist that is referred to on multiple occasions but never explained. Everyone speaks as if in a constant state of wonderment, and there are many moments where it’s unclear if events are actually happening, part of a movie-within-a-movie, or something else entirely.

    Unlike his previous films, Winding Refn has taken the characters in this film completely out of the real world, with every scene taking place in a sparsely decorated room or street that is obviously a movie set. While there are moments where this decision really works, especially the striking first shot of a human-like figure mixed in with a cityscape and clouds, most of the time it only adds to the stilted nature of the film as a whole.

    In fact, the entire movie has the feel of an avant-garde theater exercise. Every actor seems to be trying to outdo the others with awkward performances and out-sized reactions. Two very specific characters make appearances in both sides of the story for seemingly no reason other than to inject their weirdness into both spaces. The shocking violence that crops up on occasion would have more of an impact if it was related to anything intelligible.

    Thatcher (Companion) and Liu (Tuner) are among the young stars who have had breakout moments in recent years, but neither of them is served well by this hot mess of a movie. They, along with Melton, still demonstrate the talent they possess, but the oddity of the film weighs them down. Scott makes an impression for all the wrong reasons, while Froseth is called upon to play a character who might as well not be there at all.

    If there’s any kind of message that Winding Refn was trying to convey with Her Private Hell, it’s lost among the flashing lights, overload of pink, and jewel-like structures. Filmmakers who try to make art for art’s sake have a place in the world, but this film too often feels like people are making things up as they go, with no real goal in mind.

    ---

    Her Private Hell opens in theaters on July 24.

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