Anthology Film Archives

DOCUMENTARY SERIES
Charles Franco Calabria MOMENT TO MOMENT (2010, 15 minutes, video)
Lea Mathiesen THE RENOVATION (2010, 18 minutes, video)
Ari Selinger FOLKS (2010, 30 minutes, video)

SHORT FILM PROGRAM
Amos Posner PERSPECTIVE (2010, 6 minutes, video)
Andrew Lee HOME AGAIN (2011, 10 minutes, video)
Ama Birch A PLUMBER’S TALE (2010, 16 minutes, video)
Lawrence Gray JOGGERS (2010, 24 minutes, video)

FEATURE PRESENTATION
David Winkfield
ANATOMY OF THE LONELY
2010, 80 minutes, video.

–Wednesday, June 1, Documentaries at 6:00, Short Film Program at 7:15, Feature Presentation at 8:30.

SPECIAL REVIVAL ENGAGEMENT! NEW 35MM PRINT!
With Linda Manz, Dennis Hopper, Sharon Ferrell, and Raymond Burr. Special thanks to John Alan Simon (Discovery Productions).
In tribute to the late, great Dennis Hopper, and on the occasion of the release of a new 35mm print, we present a week-long revival run of Hopper’s third feature film, OUT OF THE BLUE. Few filmmaking careers have begun as dramatically as Hopper’s, with his directorial debut, EASY RIDER, emerging immediately as a cultural phenomenon of the first order, and his second, THE LAST MOVIE, just as spectacularly self-destructing. Both have maintained reputations of near-mythic proportions, while the no-less-remarkable OUT OF THE BLUE has sadly languished in their shadow.
Though at first glance it seems relatively conventional, lacking the self-conscious, skin-deep avant-garde mannerisms of EASY RIDER or THE LAST MOVIE’s authentically experimental, mostly incoherent structure, OUT OF THE BLUE’s genuinely subversive and emotionally shattering nature sneaks up on you – it’s the most substantive and honest film of Hopper’s career. At the heart of the movie is the relationship between the tomboyish, punk-rock-fixated CeBe (DAYS OF HEAVEN’s Linda Manz, in an unforgettable, heartbreaking, but unflinchingly tough performance) and her father Don (Hopper), a frustrated, volatile, and ultimately terrifying figure. Along with CeBe’s stepmother, Kathy (Sharon Farrell), they constitute one of the most profoundly dysfunctional nuclear families ever depicted on-screen. As the extent of this dysfunction, and the monstrousness of the adult world, is gradually revealed, OUT OF THE BLUE becomes a shockingly frank and uncompromising portrait of a sick, corrupt society, and a deeply sad, resolutely unsentimental vision of wasted youth.

“Death-obsessed, self-absorbed, and continually unsettling, OUT OF THE BLUE is Hopper’s most brutal and accomplished movie, a hallucinatory family drama that employs one of the most florid metaphors for incest since Oedipus plucked his peepers.” –J. Hoberman, DENNIS HOPPER: FROM METHOD TO MADNESS

“In many ways it’s maybe my best film; people who hate it have a real problem. It’s better than Bertolucci’s LUNA, and it’s dealing with the same subject matter: drugs, incest, and, rather than opera, rock-and-roll. It’s about the society of North America; the family unit is falling apart. People who say all this doesn’t exist in this country, where have they been?” –Dennis Hopper

SPECIAL REVIVAL ENGAGEMENT! NEW 35MM PRINT!
With Linda Manz, Dennis Hopper, Sharon Ferrell, and Raymond Burr. Special thanks to John Alan Simon (Discovery Productions).
In tribute to the late, great Dennis Hopper, and on the occasion of the release of a new 35mm print, we present a week-long revival run of Hopper’s third feature film, OUT OF THE BLUE. Few filmmaking careers have begun as dramatically as Hopper’s, with his directorial debut, EASY RIDER, emerging immediately as a cultural phenomenon of the first order, and his second, THE LAST MOVIE, just as spectacularly self-destructing. Both have maintained reputations of near-mythic proportions, while the no-less-remarkable OUT OF THE BLUE has sadly languished in their shadow.
Though at first glance it seems relatively conventional, lacking the self-conscious, skin-deep avant-garde mannerisms of EASY RIDER or THE LAST MOVIE’s authentically experimental, mostly incoherent structure, OUT OF THE BLUE’s genuinely subversive and emotionally shattering nature sneaks up on you – it’s the most substantive and honest film of Hopper’s career. At the heart of the movie is the relationship between the tomboyish, punk-rock-fixated CeBe (DAYS OF HEAVEN’s Linda Manz, in an unforgettable, heartbreaking, but unflinchingly tough performance) and her father Don (Hopper), a frustrated, volatile, and ultimately terrifying figure. Along with CeBe’s stepmother, Kathy (Sharon Farrell), they constitute one of the most profoundly dysfunctional nuclear families ever depicted on-screen. As the extent of this dysfunction, and the monstrousness of the adult world, is gradually revealed, OUT OF THE BLUE becomes a shockingly frank and uncompromising portrait of a sick, corrupt society, and a deeply sad, resolutely unsentimental vision of wasted youth.

“Death-obsessed, self-absorbed, and continually unsettling, OUT OF THE BLUE is Hopper’s most brutal and accomplished movie, a hallucinatory family drama that employs one of the most florid metaphors for incest since Oedipus plucked his peepers.” –J. Hoberman, DENNIS HOPPER: FROM METHOD TO MADNESS

“In many ways it’s maybe my best film; people who hate it have a real problem. It’s better than Bertolucci’s LUNA, and it’s dealing with the same subject matter: drugs, incest, and, rather than opera, rock-and-roll. It’s about the society of North America; the family unit is falling apart. People who say all this doesn’t exist in this country, where have they been?” –Dennis Hopper

NEW/IMPROVED/INSTITUTIONAL/QUALITY
Anthology’s exhibition program encompasses many different categories of screenings each calendar – along with our theatrical premieres, thematic series, and auteur and actor retrospectives, we’re equally dedicated to presenting new or recent work by individual artists working at the vanguard of avant-garde/experimental/non-commercial cinema, encompassing filmmakers who are emerging, at their peak, or long-established but still prolific.
Each month we showcase at least one such program under the rubric NEW/IMPROVED/INSTITUTIONAL/QUALITY, an Owen Land-inspired title for a series that, after all, features new moving-image work, exhibited at a hallowed institution, and whose high quality we’re more than prepared to guarantee.
This calendar’s programs feature the work of Boston-based 16mm filmmaker Rebecca Meyers, Chinese found-footage documentarian Huang Weikai, and experimental animator and musician Martha Colburn.

JUNE:
MARTHA COLBURN & FRIENDS
With pianist Thollem McDonas (Edgetone Records) and drummer Greg Saunier (DEERHOOF).
This evening we will host experimental animator (and this calendar’s cover artist!) Martha Colburn for a special screening/performance, featuring a selection of her work from the past 17 years, including the NY Theatrical Premiere of her new film DOLLS VS. DICTATORS and the first screening on 35mm of TRIUMPH OF THE WILD (fresh from the 2011 Sundance Film Festival).
Martha is as active musically as she is cinematically, having collaborated with THE BOREDOMS, Jad Fair, Serj Tankian, the new group MUSICUM CONSORTIUM with Sean Lennon and Greg Saunier, and others. Tonight she’ll be joined for a live performance by pianist Thollem McDonas and drummer Greg Saunier.

“Painting, collage, found footage, music and research slug it out frame-by-frame; edited entirely in camera, her clamoring films plunge towards unreality with the conviction of Méliès…. The films resemble 24-frames-per-second tornados, atomizing rifts opened by cigarette advertising, pornography, television, cosmetic surgery, and, in MYTH LABS and TRIUMPH OF THE WILD, the language and landscape of political fantasy.” –CINEMA SCOPE

FIRST FILM IN X-TRO (1994, 5.5 minutes, 16mm)
FEATURE PRESENTATION (1994, 6 minutes, 16mm)
EVIL OF DRACULA (1997, 2 minutes, 16mm)
THERE’S A PERVERT IN OUR POOL! (1998, 2.5 minutes, 16mm)
SKELEHELLAVISION (2000-02, 8 minutes, 16mm)
COSMETIC EMERGENCY (2005, 8 minutes, 35mm)
DESTINY MANIFESTO (2006, 8 minutes, 16mm-to-video)
DON’T KILL THE WEATHERMAN! (2007, 5 minutes, 16mm-to-video)
TRIUMPH OF THE WILD (2008, 10 minutes, 16mm-to-video)
MYTH LABS (2008, 7.5 minutes, 16mm-to-video)
ONE AND ONE IS LIFE (2009, 4 minutes, 16mm-to-video)
JOIN THE FREEDOM FORCE (2009, 4 minutes, 16mm-to-video)
DOLLS VS. DICTATORS (2010, 11 minutes, 35mm)
Commissioned by the Museum of the Moving Image, NY, to inaugurate its new Video Screening Amphitheater, DOLLS VS. DICTATORS is based on Colburn’s photographs of the Museum’s unparalleled collection of dolls, toys, and other licensed merchandise.
Total running time: ca. 95 minutes.

SPECIAL REVIVAL ENGAGEMENT! NEW 35MM PRINT!
With Linda Manz, Dennis Hopper, Sharon Ferrell, and Raymond Burr. Special thanks to John Alan Simon (Discovery Productions).
In tribute to the late, great Dennis Hopper, and on the occasion of the release of a new 35mm print, we present a week-long revival run of Hopper’s third feature film, OUT OF THE BLUE. Few filmmaking careers have begun as dramatically as Hopper’s, with his directorial debut, EASY RIDER, emerging immediately as a cultural phenomenon of the first order, and his second, THE LAST MOVIE, just as spectacularly self-destructing. Both have maintained reputations of near-mythic proportions, while the no-less-remarkable OUT OF THE BLUE has sadly languished in their shadow.
Though at first glance it seems relatively conventional, lacking the self-conscious, skin-deep avant-garde mannerisms of EASY RIDER or THE LAST MOVIE’s authentically experimental, mostly incoherent structure, OUT OF THE BLUE’s genuinely subversive and emotionally shattering nature sneaks up on you – it’s the most substantive and honest film of Hopper’s career. At the heart of the movie is the relationship between the tomboyish, punk-rock-fixated CeBe (DAYS OF HEAVEN’s Linda Manz, in an unforgettable, heartbreaking, but unflinchingly tough performance) and her father Don (Hopper), a frustrated, volatile, and ultimately terrifying figure. Along with CeBe’s stepmother, Kathy (Sharon Farrell), they constitute one of the most profoundly dysfunctional nuclear families ever depicted on-screen. As the extent of this dysfunction, and the monstrousness of the adult world, is gradually revealed, OUT OF THE BLUE becomes a shockingly frank and uncompromising portrait of a sick, corrupt society, and a deeply sad, resolutely unsentimental vision of wasted youth.

“Death-obsessed, self-absorbed, and continually unsettling, OUT OF THE BLUE is Hopper’s most brutal and accomplished movie, a hallucinatory family drama that employs one of the most florid metaphors for incest since Oedipus plucked his peepers.” –J. Hoberman, DENNIS HOPPER: FROM METHOD TO MADNESS

“In many ways it’s maybe my best film; people who hate it have a real problem. It’s better than Bertolucci’s LUNA, and it’s dealing with the same subject matter: drugs, incest, and, rather than opera, rock-and-roll. It’s about the society of North America; the family unit is falling apart. People who say all this doesn’t exist in this country, where have they been?” –Dennis Hopper

HOLLIS FRAMPTON’S HAPAX LEGOMENA
“Hapax legomena are, literally, ‘things said once’. The scholarly jargon refers to those words that occur only a single time in the entire oeuvre of an author, or in a whole literature.” –H.F.

Hollis Frampton – photographer, theoretician, philosopher and, above all, filmmaker – is one of the towering figures of American avant-garde cinema, and his seven-part HAPAX LEGOMENA is arguably his greatest completed achievement. While its various parts can each stand alone, together they form a complex and quasi-symphonic whole – an enigmatic structuralist ‘autobiography’, a series of investigations into the possibilities of filmmaking, and a playful and dazzling encyclopedia of the cinema that is perhaps the closest thing avant-garde film has to Bach’s “Well-Tempered Clavier”. Puzzling, conceptually daring, and at times disarmingly comic, HAPAX LEGOMENA is one of the pinnacles of experimental film.

HAPAX LEGOMENA was recently preserved through a major cooperative effort funded by the National Film Preservation Foundation, and undertaken by MoMA, Anthology Film Archives, the New York University Moving Image Archiving and Preservation Program, and Bill Brand, professor in the NYU program and project conservator.

PROGRAM 1:
(nostalgia) (HAPAX LEGOMENA I)
1973, 36 minutes, 16mm, b&w.
POETIC JUSTICE (HAPAX LEGOMENA II)
1972, 31 minutes, 16mm, b&w, silent.
CRITICAL MASS (HAPAX LEGOMENA III)
1971, 26 minutes, 16mm, b&w.
Total running time: ca. 95 minutes.

HOLLIS FRAMPTON’S HAPAX LEGOMENA
“Hapax legomena are, literally, ‘things said once’. The scholarly jargon refers to those words that occur only a single time in the entire oeuvre of an author, or in a whole literature.” –H.F.

Hollis Frampton – photographer, theoretician, philosopher and, above all, filmmaker – is one of the towering figures of American avant-garde cinema, and his seven-part HAPAX LEGOMENA is arguably his greatest completed achievement. While its various parts can each stand alone, together they form a complex and quasi-symphonic whole – an enigmatic structuralist ‘autobiography’, a series of investigations into the possibilities of filmmaking, and a playful and dazzling encyclopedia of the cinema that is perhaps the closest thing avant-garde film has to Bach’s “Well-Tempered Clavier”. Puzzling, conceptually daring, and at times disarmingly comic, HAPAX LEGOMENA is one of the pinnacles of experimental film.

HAPAX LEGOMENA was recently preserved through a major cooperative effort funded by the National Film Preservation Foundation, and undertaken by MoMA, Anthology Film Archives, the New York University Moving Image Archiving and Preservation Program, and Bill Brand, professor in the NYU program and project conservator.

PROGRAM 2:
TRAVELING MATTE (HAPAX LEGOMENA IV)
1971, 34 minutes, 16mm, b&w, silent.
ORDINARY MATTER  (HAPAX LEGOMENA V)
1972, 36 minutes, 16mm, b&w, sound on CD.
REMOTE CONTROL (HAPAX LEGOMENA VI)
1972, 29 minutes, 16mm, b&w, silent.
SPECIAL EFFECTS (HAPAX LEGOMENA VII)
1972, 11 minutes, 16mm, b&w.
Total running time: ca. 115 minutes.

SPECIAL REVIVAL ENGAGEMENT! NEW 35MM PRINT!
With Linda Manz, Dennis Hopper, Sharon Ferrell, and Raymond Burr. Special thanks to John Alan Simon (Discovery Productions).
In tribute to the late, great Dennis Hopper, and on the occasion of the release of a new 35mm print, we present a week-long revival run of Hopper’s third feature film, OUT OF THE BLUE. Few filmmaking careers have begun as dramatically as Hopper’s, with his directorial debut, EASY RIDER, emerging immediately as a cultural phenomenon of the first order, and his second, THE LAST MOVIE, just as spectacularly self-destructing. Both have maintained reputations of near-mythic proportions, while the no-less-remarkable OUT OF THE BLUE has sadly languished in their shadow.
Though at first glance it seems relatively conventional, lacking the self-conscious, skin-deep avant-garde mannerisms of EASY RIDER or THE LAST MOVIE’s authentically experimental, mostly incoherent structure, OUT OF THE BLUE’s genuinely subversive and emotionally shattering nature sneaks up on you – it’s the most substantive and honest film of Hopper’s career. At the heart of the movie is the relationship between the tomboyish, punk-rock-fixated CeBe (DAYS OF HEAVEN’s Linda Manz, in an unforgettable, heartbreaking, but unflinchingly tough performance) and her father Don (Hopper), a frustrated, volatile, and ultimately terrifying figure. Along with CeBe’s stepmother, Kathy (Sharon Farrell), they constitute one of the most profoundly dysfunctional nuclear families ever depicted on-screen. As the extent of this dysfunction, and the monstrousness of the adult world, is gradually revealed, OUT OF THE BLUE becomes a shockingly frank and uncompromising portrait of a sick, corrupt society, and a deeply sad, resolutely unsentimental vision of wasted youth.

“Death-obsessed, self-absorbed, and continually unsettling, OUT OF THE BLUE is Hopper’s most brutal and accomplished movie, a hallucinatory family drama that employs one of the most florid metaphors for incest since Oedipus plucked his peepers.” –J. Hoberman, DENNIS HOPPER: FROM METHOD TO MADNESS

“In many ways it’s maybe my best film; people who hate it have a real problem. It’s better than Bertolucci’s LUNA, and it’s dealing with the same subject matter: drugs, incest, and, rather than opera, rock-and-roll. It’s about the society of North America; the family unit is falling apart. People who say all this doesn’t exist in this country, where have they been?” –Dennis Hopper

DOCUMENTARY SERIES
Tenzin Phuntsog
FOUR RIVERS
2010, 67 minutes, video.

SHORT FILM PROGRAM
Stefan Lukacs ZOMBIEFICATION (2010, 7 minutes, video)
Bryony McLachlan R.I.P. (2010, 5 minutes, video)
Muge Bayraktar TATLIYA HER ZAMAN YER VARDIRI (2010, 25 minutes, video)
Tony Gault FOUR CUBIC FEET OF SPACE (2010, 12 minutes, video)
Bob DeNatale TALES OF CREATION (2011, 14 minutes, video)
Mollie McKinley LOVEFISH (2010, 8 minutes, 16mm/video)

FEATURE PRESENTATION
Alex Meyers & Marc Maffei
THE ELECTROSCHEME
2010, 80 minutes, video.

–Tuesday, June 7, Documentaries at 6:00, Short Film Program at 7:30, Feature Presentation at 8:45.

SPECIAL REVIVAL ENGAGEMENT! NEW 35MM PRINT!
With Linda Manz, Dennis Hopper, Sharon Ferrell, and Raymond Burr. Special thanks to John Alan Simon (Discovery Productions).
In tribute to the late, great Dennis Hopper, and on the occasion of the release of a new 35mm print, we present a week-long revival run of Hopper’s third feature film, OUT OF THE BLUE. Few filmmaking careers have begun as dramatically as Hopper’s, with his directorial debut, EASY RIDER, emerging immediately as a cultural phenomenon of the first order, and his second, THE LAST MOVIE, just as spectacularly self-destructing. Both have maintained reputations of near-mythic proportions, while the no-less-remarkable OUT OF THE BLUE has sadly languished in their shadow.
Though at first glance it seems relatively conventional, lacking the self-conscious, skin-deep avant-garde mannerisms of EASY RIDER or THE LAST MOVIE’s authentically experimental, mostly incoherent structure, OUT OF THE BLUE’s genuinely subversive and emotionally shattering nature sneaks up on you – it’s the most substantive and honest film of Hopper’s career. At the heart of the movie is the relationship between the tomboyish, punk-rock-fixated CeBe (DAYS OF HEAVEN’s Linda Manz, in an unforgettable, heartbreaking, but unflinchingly tough performance) and her father Don (Hopper), a frustrated, volatile, and ultimately terrifying figure. Along with CeBe’s stepmother, Kathy (Sharon Farrell), they constitute one of the most profoundly dysfunctional nuclear families ever depicted on-screen. As the extent of this dysfunction, and the monstrousness of the adult world, is gradually revealed, OUT OF THE BLUE becomes a shockingly frank and uncompromising portrait of a sick, corrupt society, and a deeply sad, resolutely unsentimental vision of wasted youth.

“Death-obsessed, self-absorbed, and continually unsettling, OUT OF THE BLUE is Hopper’s most brutal and accomplished movie, a hallucinatory family drama that employs one of the most florid metaphors for incest since Oedipus plucked his peepers.” –J. Hoberman, DENNIS HOPPER: FROM METHOD TO MADNESS

“In many ways it’s maybe my best film; people who hate it have a real problem. It’s better than Bertolucci’s LUNA, and it’s dealing with the same subject matter: drugs, incest, and, rather than opera, rock-and-roll. It’s about the society of North America; the family unit is falling apart. People who say all this doesn’t exist in this country, where have they been?” –Dennis Hopper

Daalder’s first feature was this surreal, nightmarish film in which a German man returns to post-war Amsterdam, where his brother died as a resistance hero, leaving behind a daughter. Along with several other tenuously connected characters the film’s protagonist almost immediately finds himself enmeshed in and threatened by the activities of a white slave ring in Tangiers, with dire consequences for his brother’s off-spring and his own good conscience. Co-written by future starchitect Rem Koolhaas, THE WHITE SLAVE is a bizarre mixture of dark comedy, sinister drama, paranoid fantasy, and erotic intrigue.
With:
1, 2, 3, RHAPSODY (1965, 15 minutes, 16mm-to-video)
Precocious teenagers write, direct, and star in their iconoclastic first film. They just happen to be future architect Rem Koolhaas, director Jan de Bont, TV personality Frans Bromet, software tycoon Samuel Meyering, and Rene Daalder.
Total running time: ca. 120 minutes.

SPECIAL REVIVAL ENGAGEMENT! NEW 35MM PRINT!
With Linda Manz, Dennis Hopper, Sharon Ferrell, and Raymond Burr. Special thanks to John Alan Simon (Discovery Productions).
In tribute to the late, great Dennis Hopper, and on the occasion of the release of a new 35mm print, we present a week-long revival run of Hopper’s third feature film, OUT OF THE BLUE. Few filmmaking careers have begun as dramatically as Hopper’s, with his directorial debut, EASY RIDER, emerging immediately as a cultural phenomenon of the first order, and his second, THE LAST MOVIE, just as spectacularly self-destructing. Both have maintained reputations of near-mythic proportions, while the no-less-remarkable OUT OF THE BLUE has sadly languished in their shadow.
Though at first glance it seems relatively conventional, lacking the self-conscious, skin-deep avant-garde mannerisms of EASY RIDER or THE LAST MOVIE’s authentically experimental, mostly incoherent structure, OUT OF THE BLUE’s genuinely subversive and emotionally shattering nature sneaks up on you – it’s the most substantive and honest film of Hopper’s career. At the heart of the movie is the relationship between the tomboyish, punk-rock-fixated CeBe (DAYS OF HEAVEN’s Linda Manz, in an unforgettable, heartbreaking, but unflinchingly tough performance) and her father Don (Hopper), a frustrated, volatile, and ultimately terrifying figure. Along with CeBe’s stepmother, Kathy (Sharon Farrell), they constitute one of the most profoundly dysfunctional nuclear families ever depicted on-screen. As the extent of this dysfunction, and the monstrousness of the adult world, is gradually revealed, OUT OF THE BLUE becomes a shockingly frank and uncompromising portrait of a sick, corrupt society, and a deeply sad, resolutely unsentimental vision of wasted youth.

“Death-obsessed, self-absorbed, and continually unsettling, OUT OF THE BLUE is Hopper’s most brutal and accomplished movie, a hallucinatory family drama that employs one of the most florid metaphors for incest since Oedipus plucked his peepers.” –J. Hoberman, DENNIS HOPPER: FROM METHOD TO MADNESS

“In many ways it’s maybe my best film; people who hate it have a real problem. It’s better than Bertolucci’s LUNA, and it’s dealing with the same subject matter: drugs, incest, and, rather than opera, rock-and-roll. It’s about the society of North America; the family unit is falling apart. People who say all this doesn’t exist in this country, where have they been?” –Dennis Hopper

With Tomata du Plenty.
Deliriously cramming 200 years of American mayhem into one post-apocalyptic punk-rock musical, Daalder’s anarchic, twisted history lesson stars Tomata du Plenty, of legendary L.A. punk band The Screamers, as the last man on Earth. A dazzling, non-stop collection of manic skits and ceaselessly inventive video experimentation, POPULATION: 1 also features appearances by members of Los Lobos, Vampira, the notorious El Duce, Fluxus artist Al Hansen and his Grammy-winning grandson Beck, among many others.
“A no-holds-barred assault. As if Frank Zappa and Hieronymus Bosch took angel dust together and created a nightmare.” –Michael Dare, L.A. WEEKLY
With:
JE MAINTIENDRAI (1973, 25 minutes, 16mm-to-video)
Daalder turns the tables on his Dutch friend and fellow filmmaker Frans Bromet as the down-on-his-luck Daalder makes a fictional B-movie sequel to plantation exploitation flick MANDINGO.
Total running time: ca. 105 minutes.

With Robert Carradine.
“One of the original teen-retaliation classics…. When a new student at Central High suffers abuse from local gang members and watches his fellow classmates endure similar and frequent humiliation, he takes matters into his own hands with an arsenal of weapons and explosives aimed at obliterating this social menace. Daalder cleverly avoids making a hero out of our vengeful protagonist; instead, we see his gradual mental deterioration as his retributive hand ceases to discriminate and the entire student body find themselves at his mercy.” –Kier-La Janisse, PACIFIC CINEMATHEQUE

“[O]ccasionally I would stagger home after seeing something truly strange and subversive, like Rene Daalder’s pointedly political analysis of revolution at a suburban high school.” –Dave Kehr, NEW YORK TIMES

SPECIAL REVIVAL ENGAGEMENT! NEW 35MM PRINT!
With Linda Manz, Dennis Hopper, Sharon Ferrell, and Raymond Burr. Special thanks to John Alan Simon (Discovery Productions).
In tribute to the late, great Dennis Hopper, and on the occasion of the release of a new 35mm print, we present a week-long revival run of Hopper’s third feature film, OUT OF THE BLUE. Few filmmaking careers have begun as dramatically as Hopper’s, with his directorial debut, EASY RIDER, emerging immediately as a cultural phenomenon of the first order, and his second, THE LAST MOVIE, just as spectacularly self-destructing. Both have maintained reputations of near-mythic proportions, while the no-less-remarkable OUT OF THE BLUE has sadly languished in their shadow.
Though at first glance it seems relatively conventional, lacking the self-conscious, skin-deep avant-garde mannerisms of EASY RIDER or THE LAST MOVIE’s authentically experimental, mostly incoherent structure, OUT OF THE BLUE’s genuinely subversive and emotionally shattering nature sneaks up on you – it’s the most substantive and honest film of Hopper’s career. At the heart of the movie is the relationship between the tomboyish, punk-rock-fixated CeBe (DAYS OF HEAVEN’s Linda Manz, in an unforgettable, heartbreaking, but unflinchingly tough performance) and her father Don (Hopper), a frustrated, volatile, and ultimately terrifying figure. Along with CeBe’s stepmother, Kathy (Sharon Farrell), they constitute one of the most profoundly dysfunctional nuclear families ever depicted on-screen. As the extent of this dysfunction, and the monstrousness of the adult world, is gradually revealed, OUT OF THE BLUE becomes a shockingly frank and uncompromising portrait of a sick, corrupt society, and a deeply sad, resolutely unsentimental vision of wasted youth.

“Death-obsessed, self-absorbed, and continually unsettling, OUT OF THE BLUE is Hopper’s most brutal and accomplished movie, a hallucinatory family drama that employs one of the most florid metaphors for incest since Oedipus plucked his peepers.” –J. Hoberman, DENNIS HOPPER: FROM METHOD TO MADNESS

“In many ways it’s maybe my best film; people who hate it have a real problem. It’s better than Bertolucci’s LUNA, and it’s dealing with the same subject matter: drugs, incest, and, rather than opera, rock-and-roll. It’s about the society of North America; the family unit is falling apart. People who say all this doesn’t exist in this country, where have they been?” –Dennis Hopper

With Balthazar Getty, Tchéky Karyo, Alice Krige, and Laura Harris.
In Daalder’s mind-blowing ecological sci-fi film, the Earth’s ozone layer has been destroyed, leaving the planet a parched wasteland. Driven indoors, people carry on as if nothing has happened. In this grim context, one teenage boy strives to be a regular kid, but fate has other things in mind for him, thanks to a visionary-scientist father who turns their home into a laboratory for his experiments with accelerated evolution, and to the boy’s discovery of his own very special powers.
“Shot on HD video…HABITAT is a florid feast of effects that turns Daalder’s petri dish of a film into a strangely compelling experiment in terror. As Symes’s garden of Eden becomes a living horticultural hell, the nuclear family fuses with the primordial slime that has absorbed their home (and hopefully their mortgage). HABITAT reminds us it’s not easy being green.” –Steve Seid, PACIFIC FILM ARCHIVE

NEW YORK THEATRICAL PREMIERE RUN!
Presented with the Robert Flaherty Film Seminar, as part of their ‘Flaherty On the Road’ Initiative.
Special thanks to Mary Kerr (Flaherty Seminar), Steve Holmgren (Union Docs), Mai Meksawan (Extra Virgin), Thai Artists Alliance, and Asian Media Rights.
In Uruphong Raksasad’s ravishing documentary/fiction hybrid, two rural families, facing the seizure of their lands, come together to work the same rice paddy for a season, using pre-industrial farming methods. The title is, of course, ironic. The film shows a vanishing utopia that in reality is already essentially extinct: the plot of land was rented for the shoot, with Uruphong hiring locals to play the farmers. The serenely beautiful imagery – golden fields, time-lapse skies – bespeaks a nostalgia for a simpler time, but AGRARIAN UTOPIA is also clear-sighted and tough-minded in its assessment of the present-day economic and political realities that have transformed Thailand’s agricultural community – among other things, the film provides a partial back-story for the recent clashes in Bangkok between the Thai government and the red-shirt protesters.

“The magical, sustaining forces of the land collide with the all-pervasive march of globalization in this remarkable, visually stunning film. … The son of farmers, Uruphong offers an intimate vision of the Thai countryside, where what is on display is not just a way of life, but also the force of nature itself. The film’s astonishing cinematography and time-lapse images capture the sublimity of electrical storms, morning mist, and gathering winds, and present a glimpse of what a utopian agrarian world could truly look like.” –Chi-Hui Yang, SAN FRANCISCO ASIAN AMERICAN FILM FESTIVAL

“While AGRARIAN UTOPIA may seem unusually humble in its scope, the clarity and depth of its vision is tremendous, offering both the hardship and the unsentimentalized joys of daily life.” –Genevieve Yue, SENSES OF CINEMA

With Robert Carradine.
“One of the original teen-retaliation classics…. When a new student at Central High suffers abuse from local gang members and watches his fellow classmates endure similar and frequent humiliation, he takes matters into his own hands with an arsenal of weapons and explosives aimed at obliterating this social menace. Daalder cleverly avoids making a hero out of our vengeful protagonist; instead, we see his gradual mental deterioration as his retributive hand ceases to discriminate and the entire student body find themselves at his mercy.” –Kier-La Janisse, PACIFIC CINEMATHEQUE

“[O]ccasionally I would stagger home after seeing something truly strange and subversive, like Rene Daalder’s pointedly political analysis of revolution at a suburban high school.” –Dave Kehr, NEW YORK TIMES

With Patrick McGoohan, Amanda Plummer, and Emmanuelle Vaugier.
Patrick McGoohan inverts his character from THE PRISONER as the psychiatrist in charge of an insane asylum where he has combined the inmates into a group mind, sharing each other’s psychoses, sexualities, and talents. Like HABITAT, Daalder’s other foray into conceptually provocative sci-fi/horror filmmaking, HYSTERIA looks at first glance like a typical low-grade genre film, but it has far more on its mind than most, revealing itself to be a highly suggestive reflection on individual vs. group consciousness, power, control, and freedom.

NEW YORK THEATRICAL PREMIERE RUN!
Presented with the Robert Flaherty Film Seminar, as part of their ‘Flaherty On the Road’ Initiative.
Special thanks to Mary Kerr (Flaherty Seminar), Steve Holmgren (Union Docs), Mai Meksawan (Extra Virgin), Thai Artists Alliance, and Asian Media Rights.
In Uruphong Raksasad’s ravishing documentary/fiction hybrid, two rural families, facing the seizure of their lands, come together to work the same rice paddy for a season, using pre-industrial farming methods. The title is, of course, ironic. The film shows a vanishing utopia that in reality is already essentially extinct: the plot of land was rented for the shoot, with Uruphong hiring locals to play the farmers. The serenely beautiful imagery – golden fields, time-lapse skies – bespeaks a nostalgia for a simpler time, but AGRARIAN UTOPIA is also clear-sighted and tough-minded in its assessment of the present-day economic and political realities that have transformed Thailand’s agricultural community – among other things, the film provides a partial back-story for the recent clashes in Bangkok between the Thai government and the red-shirt protesters.

“The magical, sustaining forces of the land collide with the all-pervasive march of globalization in this remarkable, visually stunning film. … The son of farmers, Uruphong offers an intimate vision of the Thai countryside, where what is on display is not just a way of life, but also the force of nature itself. The film’s astonishing cinematography and time-lapse images capture the sublimity of electrical storms, morning mist, and gathering winds, and present a glimpse of what a utopian agrarian world could truly look like.” –Chi-Hui Yang, SAN FRANCISCO ASIAN AMERICAN FILM FESTIVAL

“While AGRARIAN UTOPIA may seem unusually humble in its scope, the clarity and depth of its vision is tremendous, offering both the hardship and the unsentimentalized joys of daily life.” –Genevieve Yue, SENSES OF CINEMA

A film about the life and work of Dutch/Californian conceptual artist Bas Jan Ader, who in 1975 disappeared under mysterious circumstances at sea in the smallest boat ever to cross the Atlantic. As seen through the eyes of fellow emigrant Daalder, the documentary becomes a sweeping overview of contemporary art films as well as an epic saga of the transformative powers of the ocean. Featuring artists Tacita Dean, Rodney Graham, Marcel Broodthaers, Ger van Elk, Charles Ray, Wim T. Schippers, Chris Burden, Fiona Tan, Pipilotti Rist, and many others.
Plus: we will be screening a selection of films by Bas Jan Ader, including:
I’M TOO SAD TO TELL YOU (1970, 3.5 minutes, 16mm-to-video)
NIGHTFALL (1971, 4 minutes, 16mm-to-video)
Total running time: ca. 90 minutes.

With Robert Carradine.
“One of the original teen-retaliation classics…. When a new student at Central High suffers abuse from local gang members and watches his fellow classmates endure similar and frequent humiliation, he takes matters into his own hands with an arsenal of weapons and explosives aimed at obliterating this social menace. Daalder cleverly avoids making a hero out of our vengeful protagonist; instead, we see his gradual mental deterioration as his retributive hand ceases to discriminate and the entire student body find themselves at his mercy.” –Kier-La Janisse, PACIFIC CINEMATHEQUE

“[O]ccasionally I would stagger home after seeing something truly strange and subversive, like Rene Daalder’s pointedly political analysis of revolution at a suburban high school.” –Dave Kehr, NEW YORK TIMES

With Tomata du Plenty.
Deliriously cramming 200 years of American mayhem into one post-apocalyptic punk-rock musical, Daalder’s anarchic, twisted history lesson stars Tomata du Plenty, of legendary L.A. punk band The Screamers, as the last man on Earth. A dazzling, non-stop collection of manic skits and ceaselessly inventive video experimentation, POPULATION: 1 also features appearances by members of Los Lobos, Vampira, the notorious El Duce, Fluxus artist Al Hansen and his Grammy-winning grandson Beck, among many others.
“A no-holds-barred assault. As if Frank Zappa and Hieronymus Bosch took angel dust together and created a nightmare.” –Michael Dare, L.A. WEEKLY
With:
JE MAINTIENDRAI (1973, 25 minutes, 16mm-to-video)
Daalder turns the tables on his Dutch friend and fellow filmmaker Frans Bromet as the down-on-his-luck Daalder makes a fictional B-movie sequel to plantation exploitation flick MANDINGO.
Total running time: ca. 105 minutes.

NEW YORK THEATRICAL PREMIERE RUN!
Presented with the Robert Flaherty Film Seminar, as part of their ‘Flaherty On the Road’ Initiative.
Special thanks to Mary Kerr (Flaherty Seminar), Steve Holmgren (Union Docs), Mai Meksawan (Extra Virgin), Thai Artists Alliance, and Asian Media Rights.
In Uruphong Raksasad’s ravishing documentary/fiction hybrid, two rural families, facing the seizure of their lands, come together to work the same rice paddy for a season, using pre-industrial farming methods. The title is, of course, ironic. The film shows a vanishing utopia that in reality is already essentially extinct: the plot of land was rented for the shoot, with Uruphong hiring locals to play the farmers. The serenely beautiful imagery – golden fields, time-lapse skies – bespeaks a nostalgia for a simpler time, but AGRARIAN UTOPIA is also clear-sighted and tough-minded in its assessment of the present-day economic and political realities that have transformed Thailand’s agricultural community – among other things, the film provides a partial back-story for the recent clashes in Bangkok between the Thai government and the red-shirt protesters.

“The magical, sustaining forces of the land collide with the all-pervasive march of globalization in this remarkable, visually stunning film. … The son of farmers, Uruphong offers an intimate vision of the Thai countryside, where what is on display is not just a way of life, but also the force of nature itself. The film’s astonishing cinematography and time-lapse images capture the sublimity of electrical storms, morning mist, and gathering winds, and present a glimpse of what a utopian agrarian world could truly look like.” –Chi-Hui Yang, SAN FRANCISCO ASIAN AMERICAN FILM FESTIVAL

“While AGRARIAN UTOPIA may seem unusually humble in its scope, the clarity and depth of its vision is tremendous, offering both the hardship and the unsentimentalized joys of daily life.” –Genevieve Yue, SENSES OF CINEMA

In his latest film, Daalder shuttles back and forth between the 60s and the modern world of cyberspace. A group of students at UC, Santa Cruz wants to unlock the archive of the famous counterculture icon Timothy Leary for the Internet generation. The film alternates archival footage with new material that documents the students’ own psychedelic re-evaluation of reality, while demonstrating that Dr. Leary’s ideas about mind expansion, life extension, the digital future, and space migration still seem to have a hold on contemporary youth.
Plus: a selection of short films made for SPACE COLLECTIVE.ORG, a creative online research platform founded by Daalder, and described as a site “where forward thinking individuals share information and ideas about possible futures within our lifetimes.”

With Robert Carradine.
“One of the original teen-retaliation classics…. When a new student at Central High suffers abuse from local gang members and watches his fellow classmates endure similar and frequent humiliation, he takes matters into his own hands with an arsenal of weapons and explosives aimed at obliterating this social menace. Daalder cleverly avoids making a hero out of our vengeful protagonist; instead, we see his gradual mental deterioration as his retributive hand ceases to discriminate and the entire student body find themselves at his mercy.” –Kier-La Janisse, PACIFIC CINEMATHEQUE

“[O]ccasionally I would stagger home after seeing something truly strange and subversive, like Rene Daalder’s pointedly political analysis of revolution at a suburban high school.” –Dave Kehr, NEW YORK TIMES

Daalder’s first feature was this surreal, nightmarish film in which a German man returns to post-war Amsterdam, where his brother died as a resistance hero, leaving behind a daughter. Along with several other tenuously connected characters the film’s protagonist almost immediately finds himself enmeshed in and threatened by the activities of a white slave ring in Tangiers, with dire consequences for his brother’s off-spring and his own good conscience. Co-written by future starchitect Rem Koolhaas, THE WHITE SLAVE is a bizarre mixture of dark comedy, sinister drama, paranoid fantasy, and erotic intrigue.
With:
1, 2, 3, RHAPSODY (1965, 15 minutes, 16mm-to-video)
Precocious teenagers write, direct, and star in their iconoclastic first film. They just happen to be future architect Rem Koolhaas, director Jan de Bont, TV personality Frans Bromet, software tycoon Samuel Meyering, and Rene Daalder.
Total running time: ca. 120 minutes.

NEW YORK THEATRICAL PREMIERE RUN!
Presented with the Robert Flaherty Film Seminar, as part of their ‘Flaherty On the Road’ Initiative.
Special thanks to Mary Kerr (Flaherty Seminar), Steve Holmgren (Union Docs), Mai Meksawan (Extra Virgin), Thai Artists Alliance, and Asian Media Rights.
In Uruphong Raksasad’s ravishing documentary/fiction hybrid, two rural families, facing the seizure of their lands, come together to work the same rice paddy for a season, using pre-industrial farming methods. The title is, of course, ironic. The film shows a vanishing utopia that in reality is already essentially extinct: the plot of land was rented for the shoot, with Uruphong hiring locals to play the farmers. The serenely beautiful imagery – golden fields, time-lapse skies – bespeaks a nostalgia for a simpler time, but AGRARIAN UTOPIA is also clear-sighted and tough-minded in its assessment of the present-day economic and political realities that have transformed Thailand’s agricultural community – among other things, the film provides a partial back-story for the recent clashes in Bangkok between the Thai government and the red-shirt protesters.

“The magical, sustaining forces of the land collide with the all-pervasive march of globalization in this remarkable, visually stunning film. … The son of farmers, Uruphong offers an intimate vision of the Thai countryside, where what is on display is not just a way of life, but also the force of nature itself. The film’s astonishing cinematography and time-lapse images capture the sublimity of electrical storms, morning mist, and gathering winds, and present a glimpse of what a utopian agrarian world could truly look like.” –Chi-Hui Yang, SAN FRANCISCO ASIAN AMERICAN FILM FESTIVAL

“While AGRARIAN UTOPIA may seem unusually humble in its scope, the clarity and depth of its vision is tremendous, offering both the hardship and the unsentimentalized joys of daily life.” –Genevieve Yue, SENSES OF CINEMA

SPECIAL NYC SCREENING
Special Guests in Attendance!
2011 marks the 50th anniversary of the 7th Flaherty Seminar, which took place in Barranquitas, Puerto Rico, and was curated by Dorothy Olson. To commemorate the occasion, FLAHERTY NYC is partnering with Cinema Tropical and the Puerto Rico Film Society to present a special program celebrating the great tradition of non-fiction filmmaking in the Caribbean island and its ties to the Flaherty Seminar. The program will feature the screening of a recent film representative of the current reemergence of documentary filmmaking in Puerto Rico, with special guests in attendance. Check the Flaherty’s website for updated information: www.flahertyseminar.org.

DOCUMENTARY SERIES
Cevin Soling
JOHN FRUM, HE WILL COME
2010, 86 minutes, video.

SHORT FILM PROGRAM
Jeff Martin THE SERPENT AND THE SHADOW (2010, 6 minutes, video)
Ted Marcus INFERUM (2010, 7 minutes, video)
Henry Rembert ORBITING DELIRIUM (2010, 10 minutes, video)
Kevin Lonano CARNY (2010, 11 minutes, video)
Hiro Super MOZZMAN EPISODE 3 (2010, 12 minutes, video)
Jeff Zorrilla THE LANGUAGE OF THE FOX (2010, 13 minutes, video)

FEATURE PRESENTATION
Mike Bruce
TREASURE OF THE BLACK JAGUAR
2010, 92 minutes, video.

–Tuesday, June 14, Documentaries at 6:00, Short Film Program at 7:45, Feature Presentation at 9:00.

NEW YORK THEATRICAL PREMIERE RUN!
Presented with the Robert Flaherty Film Seminar, as part of their ‘Flaherty On the Road’ Initiative.
Special thanks to Mary Kerr (Flaherty Seminar), Steve Holmgren (Union Docs), Mai Meksawan (Extra Virgin), Thai Artists Alliance, and Asian Media Rights.
In Uruphong Raksasad’s ravishing documentary/fiction hybrid, two rural families, facing the seizure of their lands, come together to work the same rice paddy for a season, using pre-industrial farming methods. The title is, of course, ironic. The film shows a vanishing utopia that in reality is already essentially extinct: the plot of land was rented for the shoot, with Uruphong hiring locals to play the farmers. The serenely beautiful imagery – golden fields, time-lapse skies – bespeaks a nostalgia for a simpler time, but AGRARIAN UTOPIA is also clear-sighted and tough-minded in its assessment of the present-day economic and political realities that have transformed Thailand’s agricultural community – among other things, the film provides a partial back-story for the recent clashes in Bangkok between the Thai government and the red-shirt protesters.

“The magical, sustaining forces of the land collide with the all-pervasive march of globalization in this remarkable, visually stunning film. … The son of farmers, Uruphong offers an intimate vision of the Thai countryside, where what is on display is not just a way of life, but also the force of nature itself. The film’s astonishing cinematography and time-lapse images capture the sublimity of electrical storms, morning mist, and gathering winds, and present a glimpse of what a utopian agrarian world could truly look like.” –Chi-Hui Yang, SAN FRANCISCO ASIAN AMERICAN FILM FESTIVAL

“While AGRARIAN UTOPIA may seem unusually humble in its scope, the clarity and depth of its vision is tremendous, offering both the hardship and the unsentimentalized joys of daily life.” –Genevieve Yue, SENSES OF CINEMA

DOCUMENTARY SERIES
Terri Hanlon
MERINGUE DIPLOMACY
2010, 57 minutes, video.

SPECIAL PROGRAM
THE WOMEN’S FILMMAKER GROUP AND ‘EYE:AM’ PRESENT ‘ANOTHER EXPERIMENT BY WOMEN’
Curated by Lili White.
Ellen Lake CALL & RESPONSE (4 minutes, 16mm)
Cara Marisa Deleon OPAL (4 minutes, video)
Baba Hillman TILL THERE WAS YOU (8 minutes, 8mm)
Wendy Weinberg NEVER TOO LATE (7 minutes, video)
Melissa Bruno ORGASMATIQUE, DRAMATIQUE, HORROR (3 minutes, video)
Ariane Loze DINNER FOR 4 (7 minutes, video)
Hilda Daniel PRICKTIE (1 minute, video)
Hilda Daniel SEGMENT (1 minute, video)
Syni Pappa HONEY BED (4 minutes, Super8mm-to-video)
Jelena Maksimovic MILLING THE LIGHTS (16 minutes, video)

SHORT FILM PROGRAM
Nehir Tuna 18 (2010, 11 minutes, 16mm)
Brian Poth GLEECLIPSE (2010, 15 minutes, video)
Kiel Scott THE ROE EFFECT (2009, 19 minutes, video)
Michael Polak DEATH OF A NATION (2010, 25 minutes, 35mm)

FEATURE PRESENTATION
Natasha Mendonca JAN VILLA (2010, 20 minutes, 16mm)
&
Sonali Gulati
I AM
2010, 71 minutes, 16mm.

–Wednesday, June 15, Documentaries at 6:00, Women’s Filmmaker Group at 7:15, Short Film Program at 8:30, Feature Presentation at 9:45.

NEW YORK THEATRICAL PREMIERE RUN!
Presented with the Robert Flaherty Film Seminar, as part of their ‘Flaherty On the Road’ Initiative.
Special thanks to Mary Kerr (Flaherty Seminar), Steve Holmgren (Union Docs), Mai Meksawan (Extra Virgin), Thai Artists Alliance, and Asian Media Rights.
In Uruphong Raksasad’s ravishing documentary/fiction hybrid, two rural families, facing the seizure of their lands, come together to work the same rice paddy for a season, using pre-industrial farming methods. The title is, of course, ironic. The film shows a vanishing utopia that in reality is already essentially extinct: the plot of land was rented for the shoot, with Uruphong hiring locals to play the farmers. The serenely beautiful imagery – golden fields, time-lapse skies – bespeaks a nostalgia for a simpler time, but AGRARIAN UTOPIA is also clear-sighted and tough-minded in its assessment of the present-day economic and political realities that have transformed Thailand’s agricultural community – among other things, the film provides a partial back-story for the recent clashes in Bangkok between the Thai government and the red-shirt protesters.

“The magical, sustaining forces of the land collide with the all-pervasive march of globalization in this remarkable, visually stunning film. … The son of farmers, Uruphong offers an intimate vision of the Thai countryside, where what is on display is not just a way of life, but also the force of nature itself. The film’s astonishing cinematography and time-lapse images capture the sublimity of electrical storms, morning mist, and gathering winds, and present a glimpse of what a utopian agrarian world could truly look like.” –Chi-Hui Yang, SAN FRANCISCO ASIAN AMERICAN FILM FESTIVAL

“While AGRARIAN UTOPIA may seem unusually humble in its scope, the clarity and depth of its vision is tremendous, offering both the hardship and the unsentimentalized joys of daily life.” –Genevieve Yue, SENSES OF CINEMA

NEW YORK THEATRICAL PREMIERE RUN!
Presented with the Robert Flaherty Film Seminar, as part of their ‘Flaherty On the Road’ Initiative.
Special thanks to Mary Kerr (Flaherty Seminar), Steve Holmgren (Union Docs), Mai Meksawan (Extra Virgin), Thai Artists Alliance, and Asian Media Rights.
In Uruphong Raksasad’s ravishing documentary/fiction hybrid, two rural families, facing the seizure of their lands, come together to work the same rice paddy for a season, using pre-industrial farming methods. The title is, of course, ironic. The film shows a vanishing utopia that in reality is already essentially extinct: the plot of land was rented for the shoot, with Uruphong hiring locals to play the farmers. The serenely beautiful imagery – golden fields, time-lapse skies – bespeaks a nostalgia for a simpler time, but AGRARIAN UTOPIA is also clear-sighted and tough-minded in its assessment of the present-day economic and political realities that have transformed Thailand’s agricultural community – among other things, the film provides a partial back-story for the recent clashes in Bangkok between the Thai government and the red-shirt protesters.

“The magical, sustaining forces of the land collide with the all-pervasive march of globalization in this remarkable, visually stunning film. … The son of farmers, Uruphong offers an intimate vision of the Thai countryside, where what is on display is not just a way of life, but also the force of nature itself. The film’s astonishing cinematography and time-lapse images capture the sublimity of electrical storms, morning mist, and gathering winds, and present a glimpse of what a utopian agrarian world could truly look like.” –Chi-Hui Yang, SAN FRANCISCO ASIAN AMERICAN FILM FESTIVAL

“While AGRARIAN UTOPIA may seem unusually humble in its scope, the clarity and depth of its vision is tremendous, offering both the hardship and the unsentimentalized joys of daily life.” –Genevieve Yue, SENSES OF CINEMA

FIREWORKS (1947, 20 min, 35mm, b&w)
RABBIT’S MOON (1950-70, 15 min, 35mm)
EAUX D’ARTIFICE (1953, 13 min, 16mm)
KUSTOM KAR KOMMANDOS (1965, 3 min, 16mm)
SCORPIO RISING (1963, 30 min, 35mm)
Poetry, psychodrama, and the occult meet in these timeless works by one of the pioneers of the American avant-garde film.
Total running time: ca. 85 min.

NEW YORK THEATRICAL PREMIERE RUN!
Filmmaker Jacqueline Caux has spent the last decade exploring and documenting the work of many towering figures of avant-garde music and dance, with films focusing on composers Luc Ferrari and La Monte Young, and modern dance pioneer Anna Halprin, among others. These documentaries have established her as a perceptive, patient, and skillful cinematic portraitist. Now, with her new film, THE COLORS OF THE PRISM, THE MECHANICS OF TIME, she has pulled out all the stops and broadened her scope to survey a whole musical era, the period of bold and momentous experimentation in American music and dance that produced such visionary artists as La Monte Young, Terry Riley, Philip Glass, Meredith Monk, Steve Reich, Pauline Oliveros, and Gavin Bryars, all of whom appear here. In part an indirect tribute to the filmmaker’s late husband, Daniel Caux, a musicologist, essayist, activist, promoter, and friend of many of the composers included here, COLORS OF THE PRISM reflects both Daniel and Jacqueline Caux’s deep commitment to avant-garde music, as well as their interest in its intersections with popular music (a connection embodied by the film’s inclusion of Detroit techno musician and DJ Richie Hawtin, aka Plastikman). Boasting a plethora of invaluable footage showing each composer at work and in conversation, this is an elegant and generous portrait of one of the most important musical movements of our time.

With Frank Zappa, Ringo Starr, Theodore Bikel, and Keith Moon.
“Scene after scene, 200 MOTELS is a synthetic, psychedelic, kaleidoscopic burlesque of representation and facsimile swirling with wailing guitar air sculptures and modern dance, lewd yet jocular humor, winks to VanDerBeek collage animation, Warholian pop-art repetition and Claes Oldenburg’s art replicas of the mundane, references to Mephisto, Kubrick’s 2001: A SPACE ODYSSEY, Brecht/Weill’s MAHAGONNY, and a parody of Schoenberg’s atonal PIERROT LUNAIRE, all stuck together with a gob of spit in the face of peace and love, pre-dating The Sex Pistols by six years.” – Chris Tenzis, PDX FILM

With William Finley, Jessica Harper, and Paul Williams. Archival print courtesy of 20th Century Fox.
“William Finley is the idealistic young composer who is robbed of his music, busted for drugs, and sent to Sing Sing, all at the instigation of Swan (creepy Paul Williams), the entrepreneur of Death Records, who has made a pact with the Devil for eternal youth. The composer escapes from prison, is maimed by a record-pressing machine, and becomes the Phantom, who haunts Swan’s new rock place, the Paradise, where the girl he loves (Jessica Harper) becomes a star. This mixture of THE PHANTOM OF THE OPERA and Faust isn’t enough for De Palma. He heaps on layers of acid-rock satire and parodies of THE CABINET OF DR. CALIGARI, THE HUNCHBACK OF NOTRE DAME, PSYCHO, and THE PICTURE OF DORIAN GRAY – and the impacted plots actually function for him. The film is a one-of-a-kind entertainment, with a kinetic, breakneck wit.” –Pauline Kael, THE NEW YORKER

With Gene Wilder and Bob Fosse.
A stranded aviator befriends an intergalactic tot in the desert. Directed by Stanley Donen with a screenplay and lyrics by Alan Jay Lerner and Frederick Lowe, the film’s standout songs include shy Fox Gene Wilder’s “Closer and Closer and Closer” and Bob Fosse’s Kevorkian-themed “Snake in the Grass” (an evident template for Michael Jackson’s THRILLER-era moves). Donen’s adaptation of the 1943 novella maintains the visual style of Antoine de Saint-Exupéry’s original illustrations and the understated poignancy of his writing. Will the same be true for the 3-D animated remake now in production by the creators of KUNG FU PANDA?

OUT OF BOUNDARIES – ANNA HALPRIN
2004, 53 minutes, video.
Caux chronicles the major breakthroughs and innovations of postmodern dance pioneer Anna Halprin through conversations with the choreographer, numerous clips from rehearsals and performances, and rare archival footage from the mid-fifties to the present.
&
WHO SAYS I HAVE TO DANCE IN A THEATER?
2006, 50 minutes, video.
In her second film about Anna Halprin, Caux documents the choreographer as she develops pieces intended to take place in natural landscapes and other non-traditional environments.
Total running time: ca. 105 minutes.

With Burt Reynolds, Cybill Shepherd, and Madeline Kahn. Archival print courtesy of 20th Century Fox.
Fresh off his highly successful features of the early 70s (THE LAST PICTURE SHOW, WHAT’S UP DOC?, and PAPER MOON), Bogdanovich decided to try his hand at the Hollywood musical. Despite featuring Burt Reynolds and Cybill Shepherd, the music of Cole Porter, and sumptuous production values, it was a box office failure, not least of all because of Bogdanovich’s daring decision to record the songs live on-set, despite his stars’ lack of polished musical talent. As a result the film is rarely revived – but it’s nevertheless a fascinating experiment, one Bogdanovich continues to proclaim a personal favorite among his films. These extremely rare screenings are not to be missed!

NEW YORK THEATRICAL PREMIERE RUN!
Filmmaker Jacqueline Caux has spent the last decade exploring and documenting the work of many towering figures of avant-garde music and dance, with films focusing on composers Luc Ferrari and La Monte Young, and modern dance pioneer Anna Halprin, among others. These documentaries have established her as a perceptive, patient, and skillful cinematic portraitist. Now, with her new film, THE COLORS OF THE PRISM, THE MECHANICS OF TIME, she has pulled out all the stops and broadened her scope to survey a whole musical era, the period of bold and momentous experimentation in American music and dance that produced such visionary artists as La Monte Young, Terry Riley, Philip Glass, Meredith Monk, Steve Reich, Pauline Oliveros, and Gavin Bryars, all of whom appear here. In part an indirect tribute to the filmmaker’s late husband, Daniel Caux, a musicologist, essayist, activist, promoter, and friend of many of the composers included here, COLORS OF THE PRISM reflects both Daniel and Jacqueline Caux’s deep commitment to avant-garde music, as well as their interest in its intersections with popular music (a connection embodied by the film’s inclusion of Detroit techno musician and DJ Richie Hawtin, aka Plastikman). Boasting a plethora of invaluable footage showing each composer at work and in conversation, this is an elegant and generous portrait of one of the most important musical movements of our time.

With Liza Minnelli and Robert De Niro.
“Scorsese’s tribute/parody/critique of the MGM musical is a razor sharp dissection of both meeting-cute romances and rags-to-riches biopics, as it charts the traumatic love affair between irresponsible but charming jazz saxophonist De Niro (dubbed by George Auld) and mainstream singer Minnelli. On an emotional level, the film is a powerhouse, offering some of the most convincingly painful rows ever shot; as a depiction of changes in American music and the entertainment world, it is accurate and evocative; and as a commentary on showbiz films, it’s a stunner, sounding echoes of Minnelli’s own mother [Judy Garland]’s movies and career.” –Geoff Andrew, TIME OUT FILM GUIDE

With Diana Ross, Michael Jackson, Lena Horne, and Richard Pryor.
With the climactic Emerald City number shot on location at the World Trade Center, featuring 400 dancers, 1,200 costumes, and a grand synthesis of disco and Busby Berkeley, Sidney Lumet’s adaptation of the 1975 Broadway hit was one of the most expensive movie musicals ever produced (and a lavish flop). Dorothy (Diana Ross), the Scarecrow (Michael Jackson), Tin Man (Nipsey Russell), and Lion (Ted Ross) journey through an endearingly dated dystopian vision of New York-as-Oz, where the Cyclone encircles the Chrysler Building and subway platforms come to menacing life. Screenwriter Joel Schumacher and Ross, both adherents of the Human Potential Movement, ensured that Dorothy’s yellow-brick road to enlightenment fit the New Age doctrine of self-actualization.

WHEN ANNA HALPRIN AND LA MONTE YOUNG BROUGHT THE HOUSE DOWN
2006, 22 minutes, video.
An important interview with La Monte Young – with archives and photos of Anna Halprin – in which he discusses the crucial place of Anna Halprin as a pioneer of the Post-Modern Dance, but also as a major artist of the 20th century.
&
THE CYCLES OF THE MENTAL MACHINE
2007, 57 minutes, video.
Chronicles the musical legacy of Detroit, where the great tradition of blues, gospel, jazz, and Motown R&B has never died, and where techno has risen from the rubble to conquer the world. Guiding us through these ‘cycles’ is the voice of the Electrifying Mojo, legendary DJ, poet of ‘The Mental Machine’, and spiritual mentor of techno.
Total running time: ca. 85 minutes.

With P.J. Soles, Mary Woronov, Paul Bartel, and Joey/Johnny/Dee Dee Ramone.
As new principal Miss Togar says, “The minute there’s not a teacher in the room the entire school erupts into a shameless display of adolescent abandon!” Initially conceived by Roger Corman as DISCO HIGH SCHOOL, Alan Arkush rejiggered the project for the Ramones, who wrote “Rock ‘n’ Roll High School” and “I Want You Around” for the soundtrack. (Dee Dee complained that Arkush made them look “like Martians.”)
“Underneath its chipper, anything-for-a-laugh grin, ROCK ‘N’ ROLL is as subversive as teen movies get, with an ending that, for all its absurdity, is still surprisingly shocking. It’s hard to imagine a similar conclusion being shot today.” –Zack Handlen, THE ONION

NEW YORK THEATRICAL PREMIERE RUN!
Filmmaker Jacqueline Caux has spent the last decade exploring and documenting the work of many towering figures of avant-garde music and dance, with films focusing on composers Luc Ferrari and La Monte Young, and modern dance pioneer Anna Halprin, among others. These documentaries have established her as a perceptive, patient, and skillful cinematic portraitist. Now, with her new film, THE COLORS OF THE PRISM, THE MECHANICS OF TIME, she has pulled out all the stops and broadened her scope to survey a whole musical era, the period of bold and momentous experimentation in American music and dance that produced such visionary artists as La Monte Young, Terry Riley, Philip Glass, Meredith Monk, Steve Reich, Pauline Oliveros, and Gavin Bryars, all of whom appear here. In part an indirect tribute to the filmmaker’s late husband, Daniel Caux, a musicologist, essayist, activist, promoter, and friend of many of the composers included here, COLORS OF THE PRISM reflects both Daniel and Jacqueline Caux’s deep commitment to avant-garde music, as well as their interest in its intersections with popular music (a connection embodied by the film’s inclusion of Detroit techno musician and DJ Richie Hawtin, aka Plastikman). Boasting a plethora of invaluable footage showing each composer at work and in conversation, this is an elegant and generous portrait of one of the most important musical movements of our time.

With Roy Scheider and Jessica Lange.
“It’s showtime!” You can almost hear Roy Scheider’s arteries hardening as he plays Joe Gideon, the autobiographical stand-in for choreographer-director Bob Fosse, who imagines his own death as a grand production number in this poison-pen love letter to show business. A steady diet of pharmaceuticals, booze, and Alka Seltzer fuels Gideon through mass-auditions, dance studio, editing booth, and sexual assignations. Fosse’s subject here is attrition – lithe young up-and-comers glide everywhere around the decrepit Gideon, as the insistent tick-tick of the beat on the bravura “On Broadway” sounds the countdown to collapse.

With Steve Martin, Bernadette Peters, and Christopher Walken.
“The most emotional movie musical I have ever seen.” –Pauline Kael
Dennis Potter’s Depression-set 1978 BBC miniseries introduced a Brechtian concept of the author’s own invention: characters break from their ostensible reality to lip-synch to period recordings. The American version, from Potter’s own script, counterbalances the concept’s cynicism with the song-and-dance razmatazz of director Ross. Steve Martin’s unhappily married traveling sheet-music salesman seduces small-town schoolteacher Bernadette Peters, who becomes the complicit co-star of his daydreams (in one stunning scene, they supplant Astaire and Rogers on a movie screen). Juxtaposing the mass-market fantasies of Hollywood and Tin Pin Alley to naked human desperation, PENNIES never cheapens the medium’s emotional power. Accordion Man Vernel Bagneris’s dancing to the title song is “voluptuously masochistic” (Kael), and the strip-tease pickup of Chris Walken’s prancing pimp is a classic of cabaret irony.

NEW YORK THEATRICAL PREMIERE RUN!
Filmmaker Jacqueline Caux has spent the last decade exploring and documenting the work of many towering figures of avant-garde music and dance, with films focusing on composers Luc Ferrari and La Monte Young, and modern dance pioneer Anna Halprin, among others. These documentaries have established her as a perceptive, patient, and skillful cinematic portraitist. Now, with her new film, THE COLORS OF THE PRISM, THE MECHANICS OF TIME, she has pulled out all the stops and broadened her scope to survey a whole musical era, the period of bold and momentous experimentation in American music and dance that produced such visionary artists as La Monte Young, Terry Riley, Philip Glass, Meredith Monk, Steve Reich, Pauline Oliveros, and Gavin Bryars, all of whom appear here. In part an indirect tribute to the filmmaker’s late husband, Daniel Caux, a musicologist, essayist, activist, promoter, and friend of many of the composers included here, COLORS OF THE PRISM reflects both Daniel and Jacqueline Caux’s deep commitment to avant-garde music, as well as their interest in its intersections with popular music (a connection embodied by the film’s inclusion of Detroit techno musician and DJ Richie Hawtin, aka Plastikman). Boasting a plethora of invaluable footage showing each composer at work and in conversation, this is an elegant and generous portrait of one of the most important musical movements of our time.

With Frank Zappa, Ringo Starr, Theodore Bikel, and Keith Moon.
“Scene after scene, 200 MOTELS is a synthetic, psychedelic, kaleidoscopic burlesque of representation and facsimile swirling with wailing guitar air sculptures and modern dance, lewd yet jocular humor, winks to VanDerBeek collage animation, Warholian pop-art repetition and Claes Oldenburg’s art replicas of the mundane, references to Mephisto, Kubrick’s 2001: A SPACE ODYSSEY, Brecht/Weill’s MAHAGONNY, and a parody of Schoenberg’s atonal PIERROT LUNAIRE, all stuck together with a gob of spit in the face of peace and love, pre-dating The Sex Pistols by six years.” – Chris Tenzis, PDX FILM

With Liza Minnelli and Robert De Niro.
“Scorsese’s tribute/parody/critique of the MGM musical is a razor sharp dissection of both meeting-cute romances and rags-to-riches biopics, as it charts the traumatic love affair between irresponsible but charming jazz saxophonist De Niro (dubbed by George Auld) and mainstream singer Minnelli. On an emotional level, the film is a powerhouse, offering some of the most convincingly painful rows ever shot; as a depiction of changes in American music and the entertainment world, it is accurate and evocative; and as a commentary on showbiz films, it’s a stunner, sounding echoes of Minnelli’s own mother [Judy Garland]’s movies and career.” –Geoff Andrew, TIME OUT FILM GUIDE

NEW YORK THEATRICAL PREMIERE RUN!
Filmmaker Jacqueline Caux has spent the last decade exploring and documenting the work of many towering figures of avant-garde music and dance, with films focusing on composers Luc Ferrari and La Monte Young, and modern dance pioneer Anna Halprin, among others. These documentaries have established her as a perceptive, patient, and skillful cinematic portraitist. Now, with her new film, THE COLORS OF THE PRISM, THE MECHANICS OF TIME, she has pulled out all the stops and broadened her scope to survey a whole musical era, the period of bold and momentous experimentation in American music and dance that produced such visionary artists as La Monte Young, Terry Riley, Philip Glass, Meredith Monk, Steve Reich, Pauline Oliveros, and Gavin Bryars, all of whom appear here. In part an indirect tribute to the filmmaker’s late husband, Daniel Caux, a musicologist, essayist, activist, promoter, and friend of many of the composers included here, COLORS OF THE PRISM reflects both Daniel and Jacqueline Caux’s deep commitment to avant-garde music, as well as their interest in its intersections with popular music (a connection embodied by the film’s inclusion of Detroit techno musician and DJ Richie Hawtin, aka Plastikman). Boasting a plethora of invaluable footage showing each composer at work and in conversation, this is an elegant and generous portrait of one of the most important musical movements of our time.

With Burt Reynolds, Cybill Shepherd, and Madeline Kahn. Archival print courtesy of 20th Century Fox.
Fresh off his highly successful features of the early 70s (THE LAST PICTURE SHOW, WHAT’S UP DOC?, and PAPER MOON), Bogdanovich decided to try his hand at the Hollywood musical. Despite featuring Burt Reynolds and Cybill Shepherd, the music of Cole Porter, and sumptuous production values, it was a box office failure, not least of all because of Bogdanovich’s daring decision to record the songs live on-set, despite his stars’ lack of polished musical talent. As a result the film is rarely revived – but it’s nevertheless a fascinating experiment, one Bogdanovich continues to proclaim a personal favorite among his films. These extremely rare screenings are not to be missed!

With Roy Scheider and Jessica Lange.
“It’s showtime!” You can almost hear Roy Scheider’s arteries hardening as he plays Joe Gideon, the autobiographical stand-in for choreographer-director Bob Fosse, who imagines his own death as a grand production number in this poison-pen love letter to show business. A steady diet of pharmaceuticals, booze, and Alka Seltzer fuels Gideon through mass-auditions, dance studio, editing booth, and sexual assignations. Fosse’s subject here is attrition – lithe young up-and-comers glide everywhere around the decrepit Gideon, as the insistent tick-tick of the beat on the bravura “On Broadway” sounds the countdown to collapse.

NEW YORK THEATRICAL PREMIERE RUN!
Filmmaker Jacqueline Caux has spent the last decade exploring and documenting the work of many towering figures of avant-garde music and dance, with films focusing on composers Luc Ferrari and La Monte Young, and modern dance pioneer Anna Halprin, among others. These documentaries have established her as a perceptive, patient, and skillful cinematic portraitist. Now, with her new film, THE COLORS OF THE PRISM, THE MECHANICS OF TIME, she has pulled out all the stops and broadened her scope to survey a whole musical era, the period of bold and momentous experimentation in American music and dance that produced such visionary artists as La Monte Young, Terry Riley, Philip Glass, Meredith Monk, Steve Reich, Pauline Oliveros, and Gavin Bryars, all of whom appear here. In part an indirect tribute to the filmmaker’s late husband, Daniel Caux, a musicologist, essayist, activist, promoter, and friend of many of the composers included here, COLORS OF THE PRISM reflects both Daniel and Jacqueline Caux’s deep commitment to avant-garde music, as well as their interest in its intersections with popular music (a connection embodied by the film’s inclusion of Detroit techno musician and DJ Richie Hawtin, aka Plastikman). Boasting a plethora of invaluable footage showing each composer at work and in conversation, this is an elegant and generous portrait of one of the most important musical movements of our time.

With Gene Wilder and Bob Fosse.
A stranded aviator befriends an intergalactic tot in the desert. Directed by Stanley Donen with a screenplay and lyrics by Alan Jay Lerner and Frederick Lowe, the film’s standout songs include shy Fox Gene Wilder’s “Closer and Closer and Closer” and Bob Fosse’s Kevorkian-themed “Snake in the Grass” (an evident template for Michael Jackson’s THRILLER-era moves). Donen’s adaptation of the 1943 novella maintains the visual style of Antoine de Saint-Exupéry’s original illustrations and the understated poignancy of his writing. Will the same be true for the 3-D animated remake now in production by the creators of KUNG FU PANDA?

With Diana Ross, Michael Jackson, Lena Horne, and Richard Pryor.
With the climactic Emerald City number shot on location at the World Trade Center, featuring 400 dancers, 1,200 costumes, and a grand synthesis of disco and Busby Berkeley, Sidney Lumet’s adaptation of the 1975 Broadway hit was one of the most expensive movie musicals ever produced (and a lavish flop). Dorothy (Diana Ross), the Scarecrow (Michael Jackson), Tin Man (Nipsey Russell), and Lion (Ted Ross) journey through an endearingly dated dystopian vision of New York-as-Oz, where the Cyclone encircles the Chrysler Building and subway platforms come to menacing life. Screenwriter Joel Schumacher and Ross, both adherents of the Human Potential Movement, ensured that Dorothy’s yellow-brick road to enlightenment fit the New Age doctrine of self-actualization.

NEW YORK THEATRICAL PREMIERE RUN!
Filmmaker Jacqueline Caux has spent the last decade exploring and documenting the work of many towering figures of avant-garde music and dance, with films focusing on composers Luc Ferrari and La Monte Young, and modern dance pioneer Anna Halprin, among others. These documentaries have established her as a perceptive, patient, and skillful cinematic portraitist. Now, with her new film, THE COLORS OF THE PRISM, THE MECHANICS OF TIME, she has pulled out all the stops and broadened her scope to survey a whole musical era, the period of bold and momentous experimentation in American music and dance that produced such visionary artists as La Monte Young, Terry Riley, Philip Glass, Meredith Monk, Steve Reich, Pauline Oliveros, and Gavin Bryars, all of whom appear here. In part an indirect tribute to the filmmaker’s late husband, Daniel Caux, a musicologist, essayist, activist, promoter, and friend of many of the composers included here, COLORS OF THE PRISM reflects both Daniel and Jacqueline Caux’s deep commitment to avant-garde music, as well as their interest in its intersections with popular music (a connection embodied by the film’s inclusion of Detroit techno musician and DJ Richie Hawtin, aka Plastikman). Boasting a plethora of invaluable footage showing each composer at work and in conversation, this is an elegant and generous portrait of one of the most important musical movements of our time.

With Steve Martin, Bernadette Peters, and Christopher Walken.
“The most emotional movie musical I have ever seen.” –Pauline Kael
Dennis Potter’s Depression-set 1978 BBC miniseries introduced a Brechtian concept of the author’s own invention: characters break from their ostensible reality to lip-synch to period recordings. The American version, from Potter’s own script, counterbalances the concept’s cynicism with the song-and-dance razmatazz of director Ross. Steve Martin’s unhappily married traveling sheet-music salesman seduces small-town schoolteacher Bernadette Peters, who becomes the complicit co-star of his daydreams (in one stunning scene, they supplant Astaire and Rogers on a movie screen). Juxtaposing the mass-market fantasies of Hollywood and Tin Pin Alley to naked human desperation, PENNIES never cheapens the medium’s emotional power. Accordion Man Vernel Bagneris’s dancing to the title song is “voluptuously masochistic” (Kael), and the strip-tease pickup of Chris Walken’s prancing pimp is a classic of cabaret irony.

Taking place at Anthology from June 24-26, The Bicycle Film Festival is a celebration of bicycles through film, art, and music. Anthology Film Archives is the birthplace of the Bicycle Film Festival and has been its home in New York for the past 11 years. Now in over 25 cities worldwide, there is nothing like the BFF.
For more info, please visit: www.bicyclefilmfestival.com

With William Finley, Jessica Harper, and Paul Williams. Archival print courtesy of 20th Century Fox.
“William Finley is the idealistic young composer who is robbed of his music, busted for drugs, and sent to Sing Sing, all at the instigation of Swan (creepy Paul Williams), the entrepreneur of Death Records, who has made a pact with the Devil for eternal youth. The composer escapes from prison, is maimed by a record-pressing machine, and becomes the Phantom, who haunts Swan’s new rock place, the Paradise, where the girl he loves (Jessica Harper) becomes a star. This mixture of THE PHANTOM OF THE OPERA and Faust isn’t enough for De Palma. He heaps on layers of acid-rock satire and parodies of THE CABINET OF DR. CALIGARI, THE HUNCHBACK OF NOTRE DAME, PSYCHO, and THE PICTURE OF DORIAN GRAY – and the impacted plots actually function for him. The film is a one-of-a-kind entertainment, with a kinetic, breakneck wit.” –Pauline Kael, THE NEW YORKER

With P.J. Soles, Mary Woronov, Paul Bartel, and Joey/Johnny/Dee Dee Ramone.
As new principal Miss Togar says, “The minute there’s not a teacher in the room the entire school erupts into a shameless display of adolescent abandon!” Initially conceived by Roger Corman as DISCO HIGH SCHOOL, Alan Arkush rejiggered the project for the Ramones, who wrote “Rock ‘n’ Roll High School” and “I Want You Around” for the soundtrack. (Dee Dee complained that Arkush made them look “like Martians.”)
“Underneath its chipper, anything-for-a-laugh grin, ROCK ‘N’ ROLL is as subversive as teen movies get, with an ending that, for all its absurdity, is still surprisingly shocking. It’s hard to imagine a similar conclusion being shot today.” –Zack Handlen, THE ONION

Taking place at Anthology from June 24-26, The Bicycle Film Festival is a celebration of bicycles through film, art, and music. Anthology Film Archives is the birthplace of the Bicycle Film Festival and has been its home in New York for the past 11 years. Now in over 25 cities worldwide, there is nothing like the BFF.
For more info, please visit: www.bicyclefilmfestival.com

Bruce Baillie
MASS FOR THE DAKOTA SIOUX (1963-64, 20 min, 16mm, b&w)
QUIXOTE (1964-65, 45 min, 16mm)
CASTRO STREET (1966, 10 min, 16mm)
ALL MY LIFE (1966, 3 min, 16mm)
VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm)
Meditations on America by a filmmaker whom Willard van Dyke once called the most American of all contemporary filmmakers. Annette Michelson has referred to Bruce Baillie as one of the few American political filmmakers.
Douglass Crockwell
GLENS FALLS SEQUENCE (1964, 8 min, 16mm)
“The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.” –D.C.
Total running time: ca. 100 min.

With Gene Wilder and Bob Fosse.
A stranded aviator befriends an intergalactic tot in the desert. Directed by Stanley Donen with a screenplay and lyrics by Alan Jay Lerner and Frederick Lowe, the film’s standout songs include shy Fox Gene Wilder’s “Closer and Closer and Closer” and Bob Fosse’s Kevorkian-themed “Snake in the Grass” (an evident template for Michael Jackson’s THRILLER-era moves). Donen’s adaptation of the 1943 novella maintains the visual style of Antoine de Saint-Exupéry’s original illustrations and the understated poignancy of his writing. Will the same be true for the 3-D animated remake now in production by the creators of KUNG FU PANDA?

With Liza Minnelli and Robert De Niro.
“Scorsese’s tribute/parody/critique of the MGM musical is a razor sharp dissection of both meeting-cute romances and rags-to-riches biopics, as it charts the traumatic love affair between irresponsible but charming jazz saxophonist De Niro (dubbed by George Auld) and mainstream singer Minnelli. On an emotional level, the film is a powerhouse, offering some of the most convincingly painful rows ever shot; as a depiction of changes in American music and the entertainment world, it is accurate and evocative; and as a commentary on showbiz films, it’s a stunner, sounding echoes of Minnelli’s own mother [Judy Garland]’s movies and career.” –Geoff Andrew, TIME OUT FILM GUIDE

Taking place at Anthology from June 24-26, The Bicycle Film Festival is a celebration of bicycles through film, art, and music. Anthology Film Archives is the birthplace of the Bicycle Film Festival and has been its home in New York for the past 11 years. Now in over 25 cities worldwide, there is nothing like the BFF.
For more info, please visit: www.bicyclefilmfestival.com

Bruce Baillie’s journey through “the dark wood encountered in the middle of life’s journey” (Dante), with references to Bardo Thodol. A major work from one of the great poets of cinema.

With Frank Zappa, Ringo Starr, Theodore Bikel, and Keith Moon.
“Scene after scene, 200 MOTELS is a synthetic, psychedelic, kaleidoscopic burlesque of representation and facsimile swirling with wailing guitar air sculptures and modern dance, lewd yet jocular humor, winks to VanDerBeek collage animation, Warholian pop-art repetition and Claes Oldenburg’s art replicas of the mundane, references to Mephisto, Kubrick’s 2001: A SPACE ODYSSEY, Brecht/Weill’s MAHAGONNY, and a parody of Schoenberg’s atonal PIERROT LUNAIRE, all stuck together with a gob of spit in the face of peace and love, pre-dating The Sex Pistols by six years.” – Chris Tenzis, PDX FILM

With Steve Martin, Bernadette Peters, and Christopher Walken.
“The most emotional movie musical I have ever seen.” –Pauline Kael
Dennis Potter’s Depression-set 1978 BBC miniseries introduced a Brechtian concept of the author’s own invention: characters break from their ostensible reality to lip-synch to period recordings. The American version, from Potter’s own script, counterbalances the concept’s cynicism with the song-and-dance razmatazz of director Ross. Steve Martin’s unhappily married traveling sheet-music salesman seduces small-town schoolteacher Bernadette Peters, who becomes the complicit co-star of his daydreams (in one stunning scene, they supplant Astaire and Rogers on a movie screen). Juxtaposing the mass-market fantasies of Hollywood and Tin Pin Alley to naked human desperation, PENNIES never cheapens the medium’s emotional power. Accordion Man Vernel Bagneris’s dancing to the title song is “voluptuously masochistic” (Kael), and the strip-tease pickup of Chris Walken’s prancing pimp is a classic of cabaret irony.

In January 2010, Anthology began hosting monthly screenings organized by New York Women in Film and Television. These screenings include works by NYWIFT members as well as from women filmmakers around the world.
Films included in the series must be directed, co-directed, produced, written, edited, or shot by women. Whenever possible, the filmmakers are present for a Q&A following the screening, as well as an after-party with cash bar and complimentary food.
The preeminent entertainment industry association for women in New York City, NYWIFT supports women calling the shots in film, television, and digital media. NYWIFT energizes the careers of women in entertainment by illuminating their achievements, providing training and professional development activities, and advocating for equity. Our membership comprises more than 2,000 women and men working both above and below the line. NYWIFT is part of a network of 40 Women-in-Film organizations worldwide, representing more than 10,000 members.
For more info, visit www.nywift.org

Jill Woodward, Pass TRESpass,  20 min.
Thousands of refugees slip though Greece’s porous borders every year. In this film, a Greek-American dancer connects with a diverse group of immigrants in Athens and proposes a dance performance. Their collaboration overcomes obstacles, bridges communities from four continents and culminates in an experience that will profoundly touch their lives.

Therese Shechter - How I learned to Speak Turkish,  18 min.
Using a first-person documentary style, the story begins as the filmmaker travels to Turkey to interview young Turkish women for a documentary on feminism. Instead, she becomes fascinated with Turkish men. And they, in turn, are fascinated with her. The film is a twisted and entertaining travelogue that asks important questions about identity, sexuality and the nature of female power.

Iva Radivojevie - Thread,  7 min.
Banned in Lahore, kite flying thrives in Brooklyn where a group of Pakistani Americans have found a home away from home while still holding on to the threads of their roots. Kite battling is a sport that requires skill, practice, technique, dedication and focus. Every Sunday, the kite flyers gather at Dyker Park to battle.

Annie Heringer - The Pigeon Game,   20 min.
High on the rooftops above New York City, a small community carries on a tradition most have forgotten  - homing pigeon racing. Brought by European immigrants in the mid-1800s, this historic sport has long been a favorite pastime for the city’s working class. But changing times have greatly reduced its members and many of them fear that pigeon racing could disappear in the coming years. “The Pigeon Game” offers an intimate glimpse into this little known world, capturing the men and women who passionately keep the tradition alive today.

Tova Beck-Friedman - Her World,  16 min.
She is beautiful, poor and infatuated with movie star glamour — a Jewish immigrant from Eastern Europe arriving in West Virginia on the eve of the Great Depression. Employing a mix of home movies and Hollywood’s Golden Era clips, Her World portrays a woman caught between an old world and a new country, among reality, glamour and seduction.

Elena TaJo  - I am I: A Tribute to Margaret Cho,   6 min
Inspired by Margaret Cho's gestures, energy and inclusive mission, a group of dancers celebrate human diversity in all its splendid manifestations. Choreographer Irene Ruiz-Rivera became obsessed with Cho's gestures and body movements, recognizing a dance when she saw it, so she summoned a crew of extravagant characters who themselves were outsiders in various ways. Their struggle to understand each other and harmonize is another expression of Cho's vision.

Zelda Patterson - Better,  10 min.
Better tells the story of Chris, a psychiatric patient, and her journey in and out of seclusion and restraint, a practice still in use in many state psychiatric hospitals. After her violent outburst in a dining room, Chris is taken to a small room, restrained and left alone with her thoughts and pain. The movie depicts how her world is shaped by the institution she lives in and the flawed practice that is part of it.  
 

NYWIFT programs, screenings and events are supported, in part, by grants from
New York City Department of Cultural Affairs in partnership with the City Council
New York State Council of the Arts
Academy of Motion Picture Arts & Sciences Foundation

DOCUMENTARY SERIES
Enid Baxter Blader THE ORD (2011, 10 minutes, video)
Sofian Khan THE GOSPEL ACCORDING TO MATTHEW (2010, 19 minutes, video)

SHORT FILM PROGRAM
Paul Bland DINNER TIME (2010, 2 minutes, 16mm)
Michael Busch A FRIEND INDEED (2010, 5 minutes, video)
Tiffany Doesken TIFFANY DOESKEN (2010, 8 minutes, video)
Benjamin Hayden PICK (2010, 12 minutes, video)
Antonio Padovan PERRY ST (2010, 15 minutes, video)
Mark Levine FOLLOWER (2009, 15 minutes, video)

FEATURE PRESENTATION
About Native Americans.
Tyler Holtman ZEUS’ MUSES (2010, 21 minutes, video)
Joy Marzec THE MEDICINE WHEEL (2010, 28 minutes, video)
&
Henry Lu
RUN TO THE EAST
2010, 87 minutes, video.

–Wednesday, June 29, Documentaries at 6:00, Short Film Program at 7:15, Feature Presentation at 8:30.

A once-in-a-calendar opportunity to take a peek at the teeming hive of creativity hiding behind the scenes at Anthology, thanks to the film- and video-making efforts of AFA’s staff, friends, fellow-travelers, and devotees.