Anthology Film Archives

This screening is free and open to the public.
“As LB supported Anthology Film Archives for years, Jonas Mekas, John Mhiripiri, and the rest of the staff at Anthology have decided they’d like to pay tribute to La Grande Dame. So during this Sunday, October 3, in echo of her famous Sunday salons, we will program a few videos and films we made together.
“LA RIVIÈRE GENTILLE is based on one of the poems Louise wrote in the fifties: a touching and remarkable remembrance of her youth in parallel to her artistic activity in the last 10 years of her life.
“Along with this film, we will be screening a bunch of new short films: MISS MUFFET, MIRROR, HE DISAPPEARED INTO A COMPLETE SILENCE, and MY WORK IN PROGRESS 1, where we can see Jonas Mekas visiting Louise for the first time on a Sunday afternoon with some other friends, in 1996.

“In lieu of further commentary, here is another poem, a gem from Louise’s extraordinary diaries, dated January 14, 1950.” –Brigitte Cornand

A smile is such a funny thing
It wrinkles up your face
And when it is gone you can never find
Its secret hiding place

But far more wonderful it is
To see what a smile can do
You smile at me, he smiles at you
And so one smile makes two

And since a smile can do so much
By cheering hearts of care
Let’s smile a lot when we are together
Such smiles go everywhere.

Brigitte Cornand
LA RIVIÈRE GENTILLE
2007, 100 minutes, video.

Plus:
SAINT LOUISE AND THE HAWK (2010, 4 minutes, Super8mm-to-video)
LA RIVIÈRE GENTILLE POEM (2008, 4 minutes, Super8mm-to-video)
L & B (2010, 2.5 minutes, video)
HE DISAPPEARED INTO COMPLETE SILENCE (2009, 7 minutes, Super8mm-to-video)
MIRROR (2005, 3 minutes, video)
THE INSTITUTE (2005, 5 minutes, video)
MISS MUFFET (2007, 2 minutes, Super8mm-to-video)
MY WORKS IN PROGRESS 1 (1996, 35 minutes, video)
Total running time: ca. 165 minutes.

“In film, there are two ways of including human beings.  One is depicting human beings.  Another is to create a film form which, in itself, has all the qualities of being human:  tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.” - Nathaniel Dorsky

Nathaniel Dorsky is author of DEVOTIONAL CINEMA and is recognized as one of the world’s leading filmmakers. His work is the collection of the Museum of Modern Art New York , Pompidou Center, Yale University, Pacific Film Archives and many other institutions. He exhibits world-wide and this year is the subject of a major retrospective at International Film Festival Rotterdam. October 2010 will see him with exhibitions of still images at Gallery Paule Aglim, films at the BFI London Film Festival, and programs at SF MoMA as well as this series at Anthology.
Dorksy began making films as a teenager and his work was recognized and celebrated from the beginning with INGREEN in 1964. For the last 14 years he has been releasing new films yearly, exquisitely shot, sensuous and silent, these films of masterful polyvalent montage speak quietly to the heart and mind. The simple available wonders of everyday existence are opened to perception, brought to articulation through lapidary editing  balancing the tangible and the ephemeral.

SARABANDE (2008, 15 minutes, 16mm, silent)
Dark and stately is the warm, graceful tenderness of the Sarabande.
COMPLINE (2010, 18.5 minutes, 16mm, silent)
A night devotion or prayer, the last of the canonical hours, the final act in a cycle. This film is also the last film I will be able to shoot in Kodachrome, a film stock I have shot with since I was 10 years old. It is a loving duet with and a fond farewell to this noble emulsion.
AUBADE (2010, 11.5 minutes, 16mm, silent)
An aubade is a poem or morning song evoking the first rays of the sun at daybreak. Often, it includes the atmosphere of lovers parting. This film is my first venture into shooting in color negative after having spent a lifetime shooting Kodachrome. In some sense, it is a new beginning for me.
WINTER (2008, 21. 5 minutes, silent)
San Francisco’s winter is a season unto itself. Fleeting, rain-soaked, verdant, a brief period of shadows and renewal.
Total running time: ca. 70 minutes.

Irish-born American based filmmaker, collagist, painter, Julie Murray has been making films for many years. Her super 8 works were featured in the Museum of Modern Art’s extensive tribute BIGGER THAN LIFE. Her 16mm and digital work has been featured in the NYFF, The Whitney Musuem of American Art and festivals and museums worldwide. She recently was shown in a special solo show at RedCat in Los Angeles and Film Forum. Murray’s films often draw from disparate and unlikely sources combining skillfully shot material with found footage. A master of collage she creates allegories of the unconscious working with visual similes and uncanny match-cuts creating provocative echoes and metaphorical innuendo.
This solo program at Anthology coincides with the premiere of her newest work DISTANCE at the NYFF.

JULIE MURRAY: LIGHT ECHOES DARK
CONSCIOUS (1993, 10 minutes, 16mm, silent)
In this montage a melding of camera original and found material hints at a realization which is evident only in the fissures of splintered associations. Obscured among visceral absurdities and lightweight witticisms there seeps a viscera, an acrid recollection, coiled in the intangibles of puzzled shadows. – JM
ANATHEMA (1995, 7 minutes, 16mm)
Doubt assails the doctor and his assistants, who, through ritualized posturing, admit themselves to an arena of abject violence to inherit the disease they believe to be death. Home spun film footage reveals a number of points in this ceremony where through feeble act and over-wrought desire contamination mortifies catharsis. – JM
MICROMOTH (2000, 6 minutes, 16mm)
A camera attached to the business end of a microscope facilitates the trawling of spaces shaped by small dead things in tiny chambers somewhere between the naked eye and the mansions of molecules. Infinitely devisable focal planes denote the topography of an insect limb, large and tortuous as a conifer, or a torso brown as maple syrup, which emerges and dissolve through the lens as if composed of vapor. A crumpled wing here, a hind leg there contribute to this compendium as the edges of these things prick the air en route to invisibility.
IF YOU STAND WITH YOUR BACK TO THE SLOWING OF THE SPEED OF LIGHT IN WATER (1997, 18 mins, 16mm)
Images from an aerial tram leaving Manhattan are followed by images of a nearly static bird, of bugs fighting, and of light bending as it passes through glass. Near the film's end the tram lands in Manhattan, as if it had reversed direction; as in all of Murray's films, the images and the editing can pull several ways at once. There are no absolutes, and even the light by which we see is altered by the material it passes through." – Fred Camper
"The film aims to illuminate a vital sense innate to perception where inversion is counterbalance and focal myopia the articulation of space". – Julie Murray
I BEGAN TO WISH…………. (2003, 5 mis, 16mm, silent)
The sea sucks the seed back into the ocean, the flowers fold like umbrellas, shoots recoil into hiding, in seeds that shrink. The plants accelerate their tremble and wobble and glass unbreaks all around them. Strawberries blanch and tomatoes grow pale. The father, leering, holds forth a flower and suddenly his smile fades to awful seriousness. In an odd concentrated ritual the father and son carefully tip over all the flower pots, laying the plants to rest and it is in this end, around the time he figures the flowers are talking to him, that the son wishes his father had killed him. – JM
ORCHARD (2004, 8 mins, 16mm)
Some of the footage that comprises Orchard is that of a 19th c ruin of a walled orchard in southwest Ireland. It is set deep in the woods and the crumbling brick and mortar of the broken walls anchor roots of slender trees, so uninhibited for all this time that they reach twenty feet in height in some places. Their thick roots follow like slow lazy trickles, branching and winding over and through the brickwork in an apparently intelligent arterial arrangement reminiscent of the human body. Arboreal enclaves in Central Park are included, as well as Niagara Falls, the main Dublin-to-Cork road and a thin, smoking woods on the outskirts of Rosslare, Co. Waterford.
These facts may be incidental to the film’s eventual form, which winds the images into an arrangement of continuous wandering. All this is attended by environmental whisperings until a voice calls out toward the end, in dream-bound recognition, to a figure from the long-distant past. – JM
ELEMENTs (2008, 7.5 minutes, 16mm)
This film of largely un-peopled landscape is an exploration of place visited upon by a few incidental moving figures related to one another by the rhythm of the snowy fog-bound woods, the movement of the moon and the hesitancy of the clouds.
 Or,
 When the trees were enchanted,
 In the expectation of not being trees,
 The trees uttered their voices
 From strings of harmony,
 The disputes ceased.
 Let us cut short heavy days,
 A female restrained the din.
 She came forth altogether lovely.
 The head of the line, the head was a female.
     -excerpt: "Cad Goddeu" (The Battle of the Trees) from the 6th-Century Welsh Book of Taliesin.
Total running time: ca. 65 minutes.

Highlights include:
DANI LEVENTHAL
With the world premiere of her newest work CIPHER (2010) in conjunction with her world premiere of HEARTS ARE TRUMP AGAIN at the NYFF.
"Dani's videos remind us that the people she encounters are holy or part of a higher world. She reminds us that we are part of that world, in the sense that Helene Cixous says that we cannot keep ourselves from being divine...Dani's focus, framing composition and editing accumulate this transcendent quality in the body...These unrehearsed and unstaged moments seem miraculous. They are records of the impossible merging of circles, disparate moments and lives." – Brian Saner

MARY HELENA CLARK
With the world premiere of her newest work plus a mini retrospective of other works, including:
AFTER WRITING
(2007, 4 minutes, 16mm, silent)
This film is both a portrait of an abandoned schoolhouse and an investigation of the remains of language in one of the quietist places.  Scraps of text gathered from molding filmstrips and peeling chalkboards are photographed and intercut with pinhole shots of the ruins from which they came.
AND THE SUN FLOWERS, (2008, 5 minutes, video, sound)
Notes from the distant future and forgotten past. An ethereal flower and disembodied voice guide you through the spaces in between. - MHC
SOUND OVER WATER, (2009, 5 minutes, 16mm sound)
A metamorphosis, flocks to shimmer, on a granular day. Blue water and blue sky meet on emulsion. A film for lost memories. -MHC
WHILE YOU WERE SLEEPING (2010, 10 minutes, video, sound)
This is your life. It rides like a dream. -MHC

New York Premiere of Phillipp Fleischmann’s CINEMATOGRAPHIE direct from the North American premiere at the Toronto International Film Festival (TIFF).
Phillipp Fleischmann’s CINEMATOGRAPHIE (2009, 6 min, 16mm)
“One of this year’s most original films possesses one of the most unassuming titles. All films entail “cinematography.” Of course, that’s a term we can deconstruct to discover the complexity lurking within. Cinematography is literally “writing with light,” and French master Robert Bresson expanded the term to differentiate real cinema from that which was merely filmed theatre. True cinematography, he insisted, used the camera to caress the world’s surfaces, allowing people and things to reveal their mysteries over time simply by presenting themselves as the brute material phenomena that they were. Philipp Fleischmann’s outstanding film CINEMATOGRAPHIE does all of these things….”
-Michael Sicinski reporting from TIFF

Paul Clipson:
Reprise screening of SPHINX ALONG THE SEINE (2008, 9 minutes, 16mm, sound)
 
Julie Murray: Several works to be announced.
 
Other works to be announced at showtime.

NEWFILMMAKERS WEBSERIES
Sponsored by SXM.
Many independent filmmakers are now making webshows instead of shorts and features. The NewFilmmakers Webseries is sponsored by SXM, a leading creator of branded entertainment on the web with shows such as EASY TO ASSEMBLE with Illeana Douglas and Jeff Goldblum, CTRL with Tony Hale and Steve Howie, and the upcoming FACT CHECKER UNIT with Alex Trebek.
Tonight features NewFilmmaker alumnus Nyle Cavazos Garcia’s MARY’S JOURNAL, a thirteen-part miniseries which is available to rent online. The series is about Mary, a serial killer who lives, and murders people, in Brooklyn, New York. She has become bored and lonely, and has lost the connection that she used to feel to her victims, until she becomes the target of somebody else’s disturbing behavior.
We will show the first episode and the filmmaker will discuss the pros and cons of this new medium.

SHORT FILM PROGRAM
Joshua Lester APERTURE (2009, 6 minutes, 8mm)
Andy Santos ANNA (2010, 8 minutes, video)
Adam Keleman GOING BACK (2009, 11 minutes, 16mm)
Bryce Prevatte HIPSTER TREATMENT (2009, 13 minutes, video)
Christopher Pettoni GHOSTS (2009, 22 minutes, 16mm)

FEATURE PRESENTATION
Gary King
WHAT’S UP LOVELY
2010, 69 minutes, video.
In the dead of night, a recently unemployed insomniac wanders the streets of New York discovering a city beyond her wildest imagination.

“In film, there are two ways of including human beings.  One is depicting human beings.  Another is to create a film form which, in itself, has all the qualities of being human:  tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.” - Nathaniel Dorsky

Nathaniel Dorsky is author of DEVOTIONAL CINEMA and is recognized as one of the world’s leading filmmakers. His work is the collection of the Museum of Modern Art New York , Pompidou Center, Yale University, Pacific Film Archives and many other institutions. He exhibits world-wide and this year is the subject of a major retrospective at International Film Festival Rotterdam. October 2010 will see him with exhibitions of still images at Gallery Paule Aglim, films at the BFI London Film Festival, and programs at SF MoMA as well as this series at Anthology.
Dorksy began making films as a teenager and his work was recognized and celebrated from the beginning with INGREEN in 1964. For the last 14 years he has been releasing new films yearly, exquisitely shot, sensuous and silent, these films of masterful polyvalent montage speak quietly to the heart and mind. The simple available wonders of everyday existence are opened to perception, brought to articulation through lapidary editing  balancing the tangible and the ephemeral.

THRENODY (2004, 25 minutes, 16mm, silent)
A somber but luminous progression through a delicate articulation of earthly phenomena…an offering to a friend who died.
HOURS FOR JEROME (1980-82, 45 minutes, 16mm, silent)
This footage was shot from 1966-70 and edited over a two-year period ending in July 1982. HOURS FOR JEROME (as in a Book of Hours) is an arrangement of images, energies, and illuminations from daily life. These fragments of light revolve around the four seasons. PART ONE (21 mins) is spring through summer; PART TWO (24 mins) is fall and winter.
Total running time: ca. 75 minutes.

Luther Price is responsible for some of the most searing, grotesquely beautiful, inimitable, heart wrenching, gut wrenching meticulous films ever conceived. Artists from Todd Haynes to Bruce Nauman have taken note. Best known for his notorious film SODOM and performances like Meat as well as the more recent festival award winning film KITTENS GROW UP. Artist – artist, filmmaker, performance artist Luther Price (once known as Tom Rhoads) is the subject of two back to back solo programs of rarely screened works and premieres. Featured recently at Courtisane in Ghent, Belgium, the London Film Festival, and other international venues, Price is the planned featured guest for an upcoming retrospective at Oberhausen Film Festival.  Part one of his latest film SORRY a found footage Crucifixion saga will have its world premiere at the New York Film Festival and subsequent chapters are expected to be shown.

INK BLOT #19  SAL MINEO AT SEA
SHELLY WINTERS
TAMPONIA
(ink blot) JELLYFLOWER
(ink blot) DUSTY RICKET
A HOLLOW KISS FOR MARK LAPORE
KITTENS GROW UP
SORRY #1

Based on the science fiction novel by Stanislaw Lem, SOLARIS has become one of the most popular of Tarkovsky’s works. Cosmonaut Kris Kelvin is dispatched to a space station orbiting the mysterious planet Solaris. Consisting of a vast ocean with mysterious, quasi-intelligent powers, this strange planet is able to materialize figures from the visitors’ past, forcing Kelvin to face his dead wife and to confront anew the circumstances that drove her to suicide.
“A towering movie…one of the most thoughtful science fiction epics ever and one of the few worthy successors to 2001.” –David Sterritt, CHRISTIAN SCIENCE MONITOR

Luther Price is responsible for some of the most searing, grotesquely beautiful, inimitable, heart wrenching, gut wrenching meticulous films ever conceived. Artists from Todd Haynes to Bruce Nauman have taken note. Best known for his notorious film SODOM and performances like Meat as well as the more recent festival award winning film KITTENS GROW UP. Artist – artist, filmmaker, performance artist Luther Price (once known as Tom Rhoads) is the subject of two back to back solo programs of rarely screened works and premieres. Featured recently at Courtisane in Ghent, Belgium, the London Film Festival, and other international venues, Price is the planned featured guest for an upcoming retrospective at Oberhausen Film Festival.  Part one of his latest film SORRY a found footage Crucifixion saga will have its world premiere at the New York Film Festival and subsequent chapters are expected to be shown.

SORRY #2
SPROCKET BLUE
DRUNK MAN ON COUCH
BISCUIT DAY
SUFFERING BISCUITS
(ink blot) AFTER THE GARDEN OF EDEN
INK BLOT #12 PINTCH
INK BLOT #11 THE BISCUIET SONG

DIRECTOR SIMONE BITTON IN PERSON FOR 7:00 & 9:15 SHOWS ON FRI, OCT 8, AND FOR THE 4:45 SHOW ON SAT, OCT 9!
RACHEL is a startlingly rigorous, fascinating, and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (WALL), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death. The region, already torn apart by decades of conflict, is divided on who is responsible for Rachel’s death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel’s youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.

“Bitton is that rare documentarian, a political activist with the eye and ear of a gifted director. In RACHEL, she applies a light, almost lyrical touch to a socially-charged issue.” –Howard Feinstein, CINEASTE
“[P]resents a very serious and unemotional examination of the available facts…an important document.” – Ray Bennett, THE HOLLYWOOD REPORTER
“RACHEL is an in-depth cinematic investigation into the death of an unknown young girl, made with a rigor and scope normally reserved for first-rate historical characters.” –BERLIN FILM FESTIVAL
Distributed by Women Make Movies; special thanks to Debra Zimmerman, Kristen Fitzpatrick, Julie Whang, and Abby Peck.

“In film, there are two ways of including human beings.  One is depicting human beings.  Another is to create a film form which, in itself, has all the qualities of being human:  tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.” - Nathaniel Dorsky

Nathaniel Dorsky is author of DEVOTIONAL CINEMA and is recognized as one of the world’s leading filmmakers. His work is the collection of the Museum of Modern Art New York , Pompidou Center, Yale University, Pacific Film Archives and many other institutions. He exhibits world-wide and this year is the subject of a major retrospective at International Film Festival Rotterdam. October 2010 will see him with exhibitions of still images at Gallery Paule Aglim, films at the BFI London Film Festival, and programs at SF MoMA as well as this series at Anthology.
Dorksy began making films as a teenager and his work was recognized and celebrated from the beginning with INGREEN in 1964. For the last 14 years he has been releasing new films yearly, exquisitely shot, sensuous and silent, these films of masterful polyvalent montage speak quietly to the heart and mind. The simple available wonders of everyday existence are opened to perception, brought to articulation through lapidary editing  balancing the tangible and the ephemeral.

VARIATIONS (1992-98, 24 minutes, 16mm, silent)
VARIATIONS blossomed forth while shooting additional material for TRISTE. What tender chaos, what current of luminous rhymes might cinema reveal unbridled from the daytime word? During the Bronze Age a variety of sanctuaries were built for curative purposes. One of the principal activities was transformative sleep. This montage speaks to that tradition.
17 REASONS WHY (1985-87, 19 minutes, 16mm, silent)
Photographed with a variety of semi-ancient regular-8 cameras and projected unslit as 16mm. These pocket-sized relics enabled me to walk around virtually ‘unseen’, exploring and improvising with the immediacy of a more spontaneous medium. The four-image format has built-in contrapuntal resonances, ironies, and beauty, and in each case gives us an unpretentious look at the film frame itself…the simple and primordial delight of luminous Kodachrome and rich black-and-white chugging thru these timeworn gates.
LOVE’S REFRAIN (2001, 22.5 minutes, 16mm, silent)
Perhaps the most delicately tactile film in this series, LOVE’S REFRAIN rests moment-to-moment on its own surface. It is a coda in twilight, a soft-spoken conclusion to a set of four cinematic songs.
Total running time: ca. 70 minutes.

FOUR IN THE AFTERNOON (1951, 15 min, 16mm, b&w)
THE PLEASURE GARDEN (1953, 38 min, 35mm, b&w)
THE BED (1968, 19 min, 16mm)
HIGH KUKUS (1974, 3 min, 16mm)
Four films by an American avant-garde film pioneer. His films are celebrations of the joy of living. If there is such a thing as American Zen, Broughton is the master of it.
Total running time: ca. 80 min.

DIRECTOR SIMONE BITTON IN PERSON FOR 7:00 & 9:15 SHOWS ON FRI, OCT 8, AND FOR THE 4:45 SHOW ON SAT, OCT 9!
RACHEL is a startlingly rigorous, fascinating, and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (WALL), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death. The region, already torn apart by decades of conflict, is divided on who is responsible for Rachel’s death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel’s youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.

“Bitton is that rare documentarian, a political activist with the eye and ear of a gifted director. In RACHEL, she applies a light, almost lyrical touch to a socially-charged issue.” –Howard Feinstein, CINEASTE
“[P]resents a very serious and unemotional examination of the available facts…an important document.” – Ray Bennett, THE HOLLYWOOD REPORTER
“RACHEL is an in-depth cinematic investigation into the death of an unknown young girl, made with a rigor and scope normally reserved for first-rate historical characters.” –BERLIN FILM FESTIVAL
Distributed by Women Make Movies; special thanks to Debra Zimmerman, Kristen Fitzpatrick, Julie Whang, and Abby Peck.

On the occasion of what would have been John Lennon’s 70^th birthday, we present this special tribute program showcasing several of the films Lennon and Yoko Ono created together in the late 60s and early 70s. Rarely screened today, these films are vitally important contributions to underground cinema, and a remarkable testament to Lennon and Ono’s creative partnership. Lennon and Ono were close associates of Anthology’s co-founder Jonas Mekas, and key supporters of the institution in its early days, so we’re pleased to pay tribute to Lennon’s memory with these special screenings of his film work.
Very special thanks to Yoko Ono, and to Kitty Cleary (MoMA).

PROGRAM 1:
APOTHEOSIS (1970, 18 minutes, 16mm)
FLY (1970, 25 minutes, 16mm)
FREEDOM (1970, 1 minute, 16mm, b&w, silent)
TWO VIRGINS (1968, 19 minutes, 16mm)
Total running time: ca. 70 minutes.

On the occasion of what would have been John Lennon’s 70^th birthday, we present this special tribute program showcasing several of the films Lennon and Yoko Ono created together in the late 60s and early 70s. Rarely screened today, these films are vitally important contributions to underground cinema, and a remarkable testament to Lennon and Ono’s creative partnership. Lennon and Ono were close associates of Anthology’s co-founder Jonas Mekas, and key supporters of the institution in its early days, so we’re pleased to pay tribute to Lennon’s memory with these special screenings of his film work.
Very special thanks to Yoko Ono, and to Kitty Cleary (MoMA).

PROGRAM 2:
ERECTION (1971, 20 minutes, 16mm)
FILM NO. 5 [SMILE] (1968, 51 minutes, 16mm)
Total running time: ca. 75 minutes.

The most recent video by critically-acclaimed artist Jordan Wolfson (whose work graces the cover of this edition of Anthology’s quarterly Film Program), CON LECHE mixes classic hand-drawn animation with video footage from post-industrial Detroit. The title refers to the main subjects of the artwork: animated cartoon Diet Coke bottles filled with milk. These bottles walk through the desolate streets, sometimes in groups and sometimes alone. On the video’s soundtrack meanwhile, we hear a reading by a commercial voice-over actress dominated and distorted by Wolfson’s tonal and theatrical interruptions. She reads selections of texts appropriated from the internet referencing identity, technology, fashion, recycling, and reincarnation among other topics.
Jordan Wolfson was born in New York City in 1980 and received his B.F.A. from the Rhode Island School of Design in 2003. Since then he has divided his time between Berlin and New York. His works, mainly in film and video, have received international attention and can today be found in numerous institutional and private collections worldwide. Wolfson’s work has been characterized by a critical yet fiercely autonomous response to popular culture, media, and aesthetic genre, often oscillating between pop and conceptual art.
CON LECHE will be installed in the Courthouse Theater on Sunday, October 10 from 4:30-10:30 (with no admission charge), accompanied by a public discussion between Wolfson, curator, writer, and art historian Linda Norden, and Whitney Museum of American Art curator Carter Foster. The discussion will be moderated by Boško Blagojević.

“[In CON LECHE], Wolfson has layered apparently unambiguous signs and discourses one atop the other, shredding the worlds of commerce and revealing their constructedness, taking apart universally recognized emblems of consumer culture and interspersing them with what would appear to be highly intimate remarks, and at the same time undercutting the global success story of branding with the catastrophe of post-industrial Detroit.” –Dominikus Müller, ARTFORUM
“Skepticism towards language and representation makes Wolfson’s work an exercise in elegant subversion that sets him in the tradition of classical cynics, whose philosophy was motivated by an intellectual and ethical disposition to disbelieve.” –Philippe Vergne, PHAIDON PRESS
“[In CON LECHE], Wolfson lives up to his young reputation as someone who likes to cover his tracks and reshuffle the deck, mixing Pop and conceptual inflexions, a taste for theory and for surprise and visual games. An artist with more than one card up his sleeve, just right for our times.” –Paul Ardenne, ART PRESS

DIRECTOR SIMONE BITTON IN PERSON FOR 7:00 & 9:15 SHOWS ON FRI, OCT 8, AND FOR THE 4:45 SHOW ON SAT, OCT 9!
RACHEL is a startlingly rigorous, fascinating, and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (WALL), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death. The region, already torn apart by decades of conflict, is divided on who is responsible for Rachel’s death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel’s youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.

“Bitton is that rare documentarian, a political activist with the eye and ear of a gifted director. In RACHEL, she applies a light, almost lyrical touch to a socially-charged issue.” –Howard Feinstein, CINEASTE
“[P]resents a very serious and unemotional examination of the available facts…an important document.” – Ray Bennett, THE HOLLYWOOD REPORTER
“RACHEL is an in-depth cinematic investigation into the death of an unknown young girl, made with a rigor and scope normally reserved for first-rate historical characters.” –BERLIN FILM FESTIVAL
Distributed by Women Make Movies; special thanks to Debra Zimmerman, Kristen Fitzpatrick, Julie Whang, and Abby Peck.

The installation of artist Jordan Wolfson's recent video piece CON LECHE (from 4:30-10:30 in the Courthouse Theater) will be accompanied by a public discussion between Wolfson, curator, writer, and art historian Linda Norden, and Whitney Museum of American Art curator Carter Foster. The discussion will be moderated by Boško Blagojević.  FREE ADMISSION!

DIRECTOR SIMONE BITTON IN PERSON FOR 7:00 & 9:15 SHOWS ON FRI, OCT 8, AND FOR THE 4:45 SHOW ON SAT, OCT 9!
RACHEL is a startlingly rigorous, fascinating, and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (WALL), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death. The region, already torn apart by decades of conflict, is divided on who is responsible for Rachel’s death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel’s youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.

“Bitton is that rare documentarian, a political activist with the eye and ear of a gifted director. In RACHEL, she applies a light, almost lyrical touch to a socially-charged issue.” –Howard Feinstein, CINEASTE
“[P]resents a very serious and unemotional examination of the available facts…an important document.” – Ray Bennett, THE HOLLYWOOD REPORTER
“RACHEL is an in-depth cinematic investigation into the death of an unknown young girl, made with a rigor and scope normally reserved for first-rate historical characters.” –BERLIN FILM FESTIVAL
Distributed by Women Make Movies; special thanks to Debra Zimmerman, Kristen Fitzpatrick, Julie Whang, and Abby Peck.

Now in its 56th year, the Robert Flaherty Film Seminar is the longest continuously running film event in North America. With our monthly screening series, FLAHERTY NYC, we are able to bring the essential components of the Seminar – ground-breaking cinema and impassioned discussions – to New York City audiences. Each screening will be followed by a dialogue with the filmmaker in which the audience is encouraged to participate. And starting this season, each program will end with a reception where the discussions can continue in a more casual environment.
FLAHERTY NYC is programmed by Penny Lane.

NEW YORK PREMIERE!
James T. Hong & Jin-Yu Chen
LESSONS OF THE BLOOD
2010, 106 minutes, DV.
Stylistically aggressive and often controversial, the films of James T. Hong tackle the things of which we’d rather not speak, in ways designed to provoke us to respond. LESSONS OF THE BLOOD focuses on the history and victims of Japanese biological warfare in China. This arresting film highlights how nationalism and the United States have influenced the Sino-Japanese conflict, and how governments, ideology, and propaganda affect the reception and perception of ‘historical truth.’ Don’t miss the NY premiere of this fascinating film, or the opportunity to discuss it with the director.
DIRECTOR JAMES T. HONG IN PERSON FOR POST-FILM DISCUSSION!

EYE AM: ANOTHER EXPERIMENT by WOMEN
EYE AM: WOMEN BEHIND THE LENS – www.eyeamvideo.blogspot.com – is a screening series celebrating experimental, memoir, and documentary film by women. Tonight we will hold a special show, juried by Lili White (liliwhite.com).

SPECIAL PROGRAM: THE WORKS OF GIOVANNA CHESLER
Featuring the New York Premiere of BYE BI LOVE
BYE BI LOVE is a short fiction film that doubles as a study of objects and their attendant memory. As Vera conjures her previous relationships over one sleepless night – be they with her ex-husband, Craig, or with her ex-girlfriend, Felicia – she finds that remembered time moves fluidly and impressionistically.

DIRECTOR SIMONE BITTON IN PERSON FOR 7:00 & 9:15 SHOWS ON FRI, OCT 8, AND FOR THE 4:45 SHOW ON SAT, OCT 9!
RACHEL is a startlingly rigorous, fascinating, and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (WALL), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death. The region, already torn apart by decades of conflict, is divided on who is responsible for Rachel’s death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel’s youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.

“Bitton is that rare documentarian, a political activist with the eye and ear of a gifted director. In RACHEL, she applies a light, almost lyrical touch to a socially-charged issue.” –Howard Feinstein, CINEASTE
“[P]resents a very serious and unemotional examination of the available facts…an important document.” – Ray Bennett, THE HOLLYWOOD REPORTER
“RACHEL is an in-depth cinematic investigation into the death of an unknown young girl, made with a rigor and scope normally reserved for first-rate historical characters.” –BERLIN FILM FESTIVAL
Distributed by Women Make Movies; special thanks to Debra Zimmerman, Kristen Fitzpatrick, Julie Whang, and Abby Peck.

DOCUMENTARY SERIES
Edith Stephen PARADISE DERANGED (2009, 45 minutes, video)
A true story of two artists who lived in Greenwich Village for many years. Once a supportive community of artists, the neighborhood is now Millionaire’s Row. The filmmaker relates personal stories of the artists she knew, including Willem de Kooning, Allen Ginsberg, Andy Warhol, Timothy Leary, and Jackson Pollack.

SHORT FILM PROGRAM
Alexandra Caulfield A PAPERBACK LIFE (2010, 6 minutes, 16mm)
Laura Williams SECOND GLANCE (2010, 6 minutes, video)
Jonathan Hoeg A PASSING AFTERNOON (2008, 8 minutes, video)
Jonny Von Golden BROOKLYN CAMERA CLUB (2010, 17 minutes, video)
Omar Samad TAKEO (2009, 19 minutes, 35mm)
Retsu Motoyoshi THE DAY, THE SUMMER (2010, 22 minutes, video)

FEATURE PRESENTATION
Michael Paul
ROMAN’S BRIDE
2009, 84 minutes, video.
Lily Heller, a lonely woman, operates a dried weed bouquet business nestled among the cornfields of rural Iowa. When news reaches her that her neighbor and childhood crush, Roman, has recently become single and unemployed, Lily’s mental stability falters as long-buried feelings are churned to the surface.

DIRECTOR SIMONE BITTON IN PERSON FOR 7:00 & 9:15 SHOWS ON FRI, OCT 8, AND FOR THE 4:45 SHOW ON SAT, OCT 9!
RACHEL is a startlingly rigorous, fascinating, and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (WALL), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death. The region, already torn apart by decades of conflict, is divided on who is responsible for Rachel’s death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel’s youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.

“Bitton is that rare documentarian, a political activist with the eye and ear of a gifted director. In RACHEL, she applies a light, almost lyrical touch to a socially-charged issue.” –Howard Feinstein, CINEASTE
“[P]resents a very serious and unemotional examination of the available facts…an important document.” – Ray Bennett, THE HOLLYWOOD REPORTER
“RACHEL is an in-depth cinematic investigation into the death of an unknown young girl, made with a rigor and scope normally reserved for first-rate historical characters.” –BERLIN FILM FESTIVAL
Distributed by Women Make Movies; special thanks to Debra Zimmerman, Kristen Fitzpatrick, Julie Whang, and Abby Peck.

DIRECTOR SIMONE BITTON IN PERSON FOR 7:00 & 9:15 SHOWS ON FRI, OCT 8, AND FOR THE 4:45 SHOW ON SAT, OCT 9!
RACHEL is a startlingly rigorous, fascinating, and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (ISM) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (WALL), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death. The region, already torn apart by decades of conflict, is divided on who is responsible for Rachel’s death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel’s youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.

“Bitton is that rare documentarian, a political activist with the eye and ear of a gifted director. In RACHEL, she applies a light, almost lyrical touch to a socially-charged issue.” –Howard Feinstein, CINEASTE
“[P]resents a very serious and unemotional examination of the available facts…an important document.” – Ray Bennett, THE HOLLYWOOD REPORTER
“RACHEL is an in-depth cinematic investigation into the death of an unknown young girl, made with a rigor and scope normally reserved for first-rate historical characters.” –BERLIN FILM FESTIVAL
Distributed by Women Make Movies; special thanks to Debra Zimmerman, Kristen Fitzpatrick, Julie Whang, and Abby Peck.

“Legendary San Francisco underground filmmaker Dean Snider made over 100 films between 1979-1990. These usually short, deeply personal, and always entertaining works bring us someplace most filmmakers fear to tread. Often handmade, scratched, shot, found, and re-appropriated, Dean’s movies defy most stipulations that exist (and they do exist) within experimental cinema. Mostly produced in the early 80s, during the first years of the No Nothing Cinema, a free underground screening venue that Snider was instrumental in creating, his movies contain the feisty anarchistic sense of energy that No Nothing represented – they are sarcastic, funny, beautiful, sometimes fast, and always engaging, even down to the very layers of celluloid in which his hand scratched those initials ‘D.S.’ Snider created some of the most self-revealingly personal films you’re ever likely to see.
“Tonight’s program will feature rarely screened 16mm prints recently preserved by Anthology Film Archives with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts.
“In addition, these 16mm works will be preceded by some of the 35mm films Snider made in the late 80s, as well as the NY premiere of a new video by Michael Rudnick, DUGOUT ON BERRY ST., which gives us an in-depth look at Snider’s venue, the No Nothing Cinema. Starring Dean, Rock Ross, and George Kuchar, it also happens to be dedicated to those same three men. Shot during a time when many of the films on view this evening were being produced, it offers a glimpse into a scene that continues to thrive as Dean Snider’s legacy lives on throughout the streets of San Francisco.” –Douglas Katelus

Michael Rudnick DUGOUT ON BERRY ST. (2009, 18 minutes, video)
LA MAR (1987, 5 minutes, 35mm)
I’M BEGINNING TO SEE THE LIGHT (1987, 5 minutes, 35mm)
A VERY UNFORTUNATE STORY (1987, 3 minutes, 35mm)
ALL ABOUT EGGS (1991, 3 minutes, 35mm)
FRIENDS ALONG THE WAY (1990, 1 minute, 35mm)
TWO MORE (ca. late 1980s, 3 minutes, 35mm)
THE NIGHT COULD LAST FOREVER (1985, 9 minutes, 35mm)
(intermission)
HEY! (1981, 0.0417 seconds, 16mm)
BORED MEMBERS (1981, 2 minutes, 16mm)
CLOUD NINE (1983, 3 minutes, 16mm)
ISH & VINNY (1982, 18 seconds, 16mm)
PREFERRED PIECE (1982, 1 minute, 16mm)
1984 (1984, 50 seconds, 16mm)
BLOTCHER FILM (1981, 30 seconds, 16mm)
WAUWATOSA (1978, 2 minutes, 16mm)
LAND WITHOUT TALK (1989, 5 minutes, 16mm)
WITHOUT YOU BABE (1987, 5 minutes, 16mm)
Total running time: ca. 75 minutes.

With Ben Gazzara and Seymour Cassel.
“A personal, deeply felt character study rather than a routine action picture, it follows Cosmo Vitelli (Gazzara at his very best), the charismatic owner of an LA strip joint – simultaneously an asshole and a saint – who recklessly gambles his way into debt and has to bump off a Chinese bookie to settle his accounts. In many respects the film serves as a personal testament; what makes the tragicomic character of Cosmo so moving is its alter-ego relation to the filmmaker – the proud impresario and father figure of a tattered showbiz collective (read Cassavetes’s actors and filmmaking crew) who must compromise his ethics to keep his little family afloat (read Cassavetes’s career as a Hollywood actor).” –Jonathan Rosenbaum, CHICAGO READER

What is Urville? The most modern city in the world? Some have seen it, others consider it a reflection in the Mediterranean. People say everyone is equal in Urville. Neither prisons nor ethnic rivalries exist there, the divorce rate is below 1%, and solidarity is a subject taught in schools. Does Urville really exist? Three French villages carry its name and each inhabitant is certain that their Urville is the most beautiful place in the world. Champagne flows from the faucet and heals disease; elections are held in the mayor’s closet; and the opposition candidate is a self-made Real Estate-Indian who carries a life-size cardboard figure of Bill Clinton around in the woods. No one is afraid of death in Urville, even though it faces one of France’s largest nuclear power plants. Everything is possible in Urville.
Fascinated by the various people she encountered as she visited the various Urvilles, filmmaker Angela Christlieb has created a beguiling, unusual film that takes viewers on a GPS-guided trip through a previously unknown country: France! Equal parts bemused reportage and whimsical fantasy, URVILLE constitutes a poetic dream-voyage along the boundaries of fiction and documentary.

With The Monkees, Teri Garr, Victor Mature, Vito Scotti, Logan Ramsey, Frank Zappa, Jack Nicholson, and Sonny Liston.
Rafelson’s Monkees vehicle, one of the most wacked-out films of its time, brings together a truly bizarre collection of figures – including Jack Nicholson (who also co-wrote and -produced), Frank Zappa, Victor Mature, boxer Sonny Liston, and man-of-the-hour Timothy Carey as Lord High ‘N’ Low – for a thoroughly plotless, psychedelic stew of recycled film clips, freaky musical montages, and widespread insanity. Has to be seen to be believed!

DIRECTOR ROMEO CAREY IN PERSON!
“The idea of making a documentary about THE WORLD’S GREATEST SINNER appealed to me because I can almost wrap my hands around it. This film alone supplies a completed vision and enduring proof that honest cinematic self-expression is a rare event that needs to be celebrated. With this special focus, it is my hope that this work-in-progress documentary sheds light on the visionary behind the film and portrays the crew around him – why they came, the difficulties they faced, and how they responded to the man behind it all. Abounding in remembered detail, in anecdote and description, it sets out to expose the stubborn legends and partial truths about my father, his work, and his thoughts.” –Romeo Carey
Plus:
Steve De Jarnatt TARZANA (1972, 30 minutes, 35mm. With Timothy Carey, Michael Gwynn, and Eddie Constantine.)
“Carey’s mind is a labyrinth. His soul is a whirlpool of tragic comedy. He is the thespian equivalent of Salvador Dali. His every gesture embodies the history of human experience. He can make you laugh and cry at the same time.” –Steve De Jarnatt
Total running time: ca. 110 minutes.

What is Urville? The most modern city in the world? Some have seen it, others consider it a reflection in the Mediterranean. People say everyone is equal in Urville. Neither prisons nor ethnic rivalries exist there, the divorce rate is below 1%, and solidarity is a subject taught in schools. Does Urville really exist? Three French villages carry its name and each inhabitant is certain that their Urville is the most beautiful place in the world. Champagne flows from the faucet and heals disease; elections are held in the mayor’s closet; and the opposition candidate is a self-made Real Estate-Indian who carries a life-size cardboard figure of Bill Clinton around in the woods. No one is afraid of death in Urville, even though it faces one of France’s largest nuclear power plants. Everything is possible in Urville.
Fascinated by the various people she encountered as she visited the various Urvilles, filmmaker Angela Christlieb has created a beguiling, unusual film that takes viewers on a GPS-guided trip through a previously unknown country: France! Equal parts bemused reportage and whimsical fantasy, URVILLE constitutes a poetic dream-voyage along the boundaries of fiction and documentary.

PRESENTED BY TIMOTHY CAREY’S SON, ROMEO CAREY!
“Tells the story of Clarence Hilliard, a bored, middle-aged insurance agent who flips out and decides to start his own religion. Renaming himself God, Hilliard sets up a rockabilly religio-political movement called The Eternal Man party, recruits white-trash greasers to his fire’n’brimstone ‘Life is Hell’ doctrine and proclaims: ‘There’s only one God and that’s Man!’
“The action takes in Carey beating up his daughter, sleeping with a 14-year-old religious aide, and having sex with a 92-year-old woman. Narrated by the devil – in the form of a snake – and seemingly starring a cast of street drifters, what the film lacks in coherency, it makes up for in lunacy. … However, the outrage didn’t stop with the film itself. When it premiered at the Wiltshire theatre in Fullerton, California, Carey got things going by firing a .38 pistol over the heads of the audience and instigating fist fights in the foyer.” –Andrew Male, BIZARRE
With:
Timothy Carey CINEMA JUSTICE (1972, 7 minutes, 35mm, b&w)
“Produced at the height of the Vietnam War, this is an appropriated outtake of the short film TARZANA by Steve De Jarnatt. Carey was allowed to keep the scene he ‘stole’, added his own poignant title and without further ado created yet another conceptual film.” –Vassily Bourikas
Total running time: ca. 95 minutes.

PRESENTED BY TIMOTHY CAREY’S SON, ROMEO CAREY!
“[TWEET’S] began filming in 1968 and was never finished. It’s the story of Tweet Twig (Carey), a giant child/man who roller-skates everywhere he goes. His wife is a 300-pound British female wrestler and he works for the ‘Don’t Drop a Stitch Knitting Club’, a group of little old ladies (some of whom were played by guys in drag) who dress in Indian garb for no apparent reason. Tweet Twig tries to clothe all the naked and homeless animals in the world, so he takes in any and every stray he sees. … The imagery of the film seems to be extracted from the dreams of a child; the angles, colors and structure of the story seem to drift from the coherent to the unattainable; in other words, TWEET’S is an amazing piece of psychedelic madness that never got off the ground.” –Sam McAbee, CASHIERS DU CINEMART
“[Cassavetes] also put up most of the money for…TWEET’S. … Every episode was going to show Tweet on a new job because he got fired from the last one. The little old ladies were the kind who knit and garden. Everybody loved the combination except the network people who could help me, and they just walked out. I shot thousands and thousands of feet of film, and I spent all of Cassavetes’s money, all of my own money. I kept working on it up until about 1981 or ‘82, and it was like life, you know. We slip, we bleed. Cassavetes taught me that.” –Timothy Carey, interviewed by Grover Lewis for FILM COMMENT

With Marlon Brando, Karl Malden, Katy Jurado, Ben Johnson, Slim Pickens, and Elisha Cook Jr.
At one time or another Rod Serling, Sam Peckinpah, and Stanley Kubrick all worked on this moody Western that ended up being the only movie Brando ever directed. A thinly-veiled retelling of the story of Pat Garrett and Billy the Kid, the movie follows a brooding outlaw (Brando) who seeks revenge on his old partner-in-crime (Malden), now a respectable lawman with a family.

What is Urville? The most modern city in the world? Some have seen it, others consider it a reflection in the Mediterranean. People say everyone is equal in Urville. Neither prisons nor ethnic rivalries exist there, the divorce rate is below 1%, and solidarity is a subject taught in schools. Does Urville really exist? Three French villages carry its name and each inhabitant is certain that their Urville is the most beautiful place in the world. Champagne flows from the faucet and heals disease; elections are held in the mayor’s closet; and the opposition candidate is a self-made Real Estate-Indian who carries a life-size cardboard figure of Bill Clinton around in the woods. No one is afraid of death in Urville, even though it faces one of France’s largest nuclear power plants. Everything is possible in Urville.
Fascinated by the various people she encountered as she visited the various Urvilles, filmmaker Angela Christlieb has created a beguiling, unusual film that takes viewers on a GPS-guided trip through a previously unknown country: France! Equal parts bemused reportage and whimsical fantasy, URVILLE constitutes a poetic dream-voyage along the boundaries of fiction and documentary.

With The Monkees, Teri Garr, Victor Mature, Vito Scotti, Logan Ramsey, Frank Zappa, Jack Nicholson, and Sonny Liston.
Rafelson’s Monkees vehicle, one of the most wacked-out films of its time, brings together a truly bizarre collection of figures – including Jack Nicholson (who also co-wrote and -produced), Frank Zappa, Victor Mature, boxer Sonny Liston, and man-of-the-hour Timothy Carey as Lord High ‘N’ Low – for a thoroughly plotless, psychedelic stew of recycled film clips, freaky musical montages, and widespread insanity. Has to be seen to be believed!

With Ben Gazzara and Seymour Cassel.
“A personal, deeply felt character study rather than a routine action picture, it follows Cosmo Vitelli (Gazzara at his very best), the charismatic owner of an LA strip joint – simultaneously an asshole and a saint – who recklessly gambles his way into debt and has to bump off a Chinese bookie to settle his accounts. In many respects the film serves as a personal testament; what makes the tragicomic character of Cosmo so moving is its alter-ego relation to the filmmaker – the proud impresario and father figure of a tattered showbiz collective (read Cassavetes’s actors and filmmaking crew) who must compromise his ethics to keep his little family afloat (read Cassavetes’s career as a Hollywood actor).” –Jonathan Rosenbaum, CHICAGO READER

With Peter Graves. 
In 1957, director Harold Daniels was hired by producer Michael A. Ripps to oversee BAYOU, a cheaply made, overly melodramatic tale of swamp life. The low-budget film starred a pre-MISSION IMPOSSIBLE Peter Graves, Corman regular Jonathan Haze, and the effortlessly bizarre Carey. But despite this eclectic cast, BAYOU was a major flop at the box office. So Ripps recut the film, adding an off-camera rape scene and a new, bloody conclusion to its climactic fight. Of even greater importance was Ripps’s new title: POOR WHITE TRASH.

What is Urville? The most modern city in the world? Some have seen it, others consider it a reflection in the Mediterranean. People say everyone is equal in Urville. Neither prisons nor ethnic rivalries exist there, the divorce rate is below 1%, and solidarity is a subject taught in schools. Does Urville really exist? Three French villages carry its name and each inhabitant is certain that their Urville is the most beautiful place in the world. Champagne flows from the faucet and heals disease; elections are held in the mayor’s closet; and the opposition candidate is a self-made Real Estate-Indian who carries a life-size cardboard figure of Bill Clinton around in the woods. No one is afraid of death in Urville, even though it faces one of France’s largest nuclear power plants. Everything is possible in Urville.
Fascinated by the various people she encountered as she visited the various Urvilles, filmmaker Angela Christlieb has created a beguiling, unusual film that takes viewers on a GPS-guided trip through a previously unknown country: France! Equal parts bemused reportage and whimsical fantasy, URVILLE constitutes a poetic dream-voyage along the boundaries of fiction and documentary.

With Glenn Ford, George Hamilton, and Inger Stevens.
“Stars Glenn Ford, a regular of sagebrushers, and Inger Stevens, a relative newcomer to the genre. Ford is Union POW camp commander Major Walcott who rides out to capture escaped Confederate prisoner Captain Bentley (Hamilton). Bentley and his men have kidnapped Walcott’s fiancee Emily Biddle (Stevens) to assure themselves safe passage, but several of the escaped Rebels hope to divest themselves of Bentley and have their way with their beautiful captive. Among the troops is a very young Harrison Ford, collecting his meager Columbia contract paycheck and hoping for better days.” –ALLMOVIE GUIDE

“Excellent adaptation of a novel by Richard Stark (Donald Westlake), who also provided the source material for POINT BLANK…and Godard’s MADE IN USA. A taut, grim thriller, it sees Duvall, just out of prison and with revenge burning in his heart for the murder of his brother, taking on the Syndicate with the help of heavy, Joe Don Baker. [I]t’s a cool, exciting thriller in the Siegel tradition, paying more than passing reference to classic film noir with its host of character actors [including the great Timothy Carey], a cruel performance from Ryan as the mob leader, and its vision of people caught up in a chaotic, confused and treacherous world.” –Geoff Andrew

What is Urville? The most modern city in the world? Some have seen it, others consider it a reflection in the Mediterranean. People say everyone is equal in Urville. Neither prisons nor ethnic rivalries exist there, the divorce rate is below 1%, and solidarity is a subject taught in schools. Does Urville really exist? Three French villages carry its name and each inhabitant is certain that their Urville is the most beautiful place in the world. Champagne flows from the faucet and heals disease; elections are held in the mayor’s closet; and the opposition candidate is a self-made Real Estate-Indian who carries a life-size cardboard figure of Bill Clinton around in the woods. No one is afraid of death in Urville, even though it faces one of France’s largest nuclear power plants. Everything is possible in Urville.
Fascinated by the various people she encountered as she visited the various Urvilles, filmmaker Angela Christlieb has created a beguiling, unusual film that takes viewers on a GPS-guided trip through a previously unknown country: France! Equal parts bemused reportage and whimsical fantasy, URVILLE constitutes a poetic dream-voyage along the boundaries of fiction and documentary.

With Marlon Brando, Karl Malden, Katy Jurado, Ben Johnson, Slim Pickens, and Elisha Cook Jr.
At one time or another Rod Serling, Sam Peckinpah, and Stanley Kubrick all worked on this moody Western that ended up being the only movie Brando ever directed. A thinly-veiled retelling of the story of Pat Garrett and Billy the Kid, the movie follows a brooding outlaw (Brando) who seeks revenge on his old partner-in-crime (Malden), now a respectable lawman with a family.

With Ben Gazzara and Seymour Cassel.
“A personal, deeply felt character study rather than a routine action picture, it follows Cosmo Vitelli (Gazzara at his very best), the charismatic owner of an LA strip joint – simultaneously an asshole and a saint – who recklessly gambles his way into debt and has to bump off a Chinese bookie to settle his accounts. In many respects the film serves as a personal testament; what makes the tragicomic character of Cosmo so moving is its alter-ego relation to the filmmaker – the proud impresario and father figure of a tattered showbiz collective (read Cassavetes’s actors and filmmaking crew) who must compromise his ethics to keep his little family afloat (read Cassavetes’s career as a Hollywood actor).” –Jonathan Rosenbaum, CHICAGO READER

What is Urville? The most modern city in the world? Some have seen it, others consider it a reflection in the Mediterranean. People say everyone is equal in Urville. Neither prisons nor ethnic rivalries exist there, the divorce rate is below 1%, and solidarity is a subject taught in schools. Does Urville really exist? Three French villages carry its name and each inhabitant is certain that their Urville is the most beautiful place in the world. Champagne flows from the faucet and heals disease; elections are held in the mayor’s closet; and the opposition candidate is a self-made Real Estate-Indian who carries a life-size cardboard figure of Bill Clinton around in the woods. No one is afraid of death in Urville, even though it faces one of France’s largest nuclear power plants. Everything is possible in Urville.
Fascinated by the various people she encountered as she visited the various Urvilles, filmmaker Angela Christlieb has created a beguiling, unusual film that takes viewers on a GPS-guided trip through a previously unknown country: France! Equal parts bemused reportage and whimsical fantasy, URVILLE constitutes a poetic dream-voyage along the boundaries of fiction and documentary.

With Peter Graves. 
In 1957, director Harold Daniels was hired by producer Michael A. Ripps to oversee BAYOU, a cheaply made, overly melodramatic tale of swamp life. The low-budget film starred a pre-MISSION IMPOSSIBLE Peter Graves, Corman regular Jonathan Haze, and the effortlessly bizarre Carey. But despite this eclectic cast, BAYOU was a major flop at the box office. So Ripps recut the film, adding an off-camera rape scene and a new, bloody conclusion to its climactic fight. Of even greater importance was Ripps’s new title: POOR WHITE TRASH.

With Sterling Hayden and Elisha Cook Jr.

“Carey made his biggest impressions on people during his short, but memorable stint with Kubrick. Kubrick saw promise and passion in Carey’s impulses, when other directors just saw problems. A great example of Carey’s overwhelming presence is in Kubrick’s THE KILLING. Carey was cast as Nikki Arcane, the sniper who’s hired to shoot the horse at the racetrack. Carey’s scenes in THE KILLING are some of the most memorable and intense examples of his amazing ability to create an unmistakable character out of very little.” –Sam McAbee, CASHIERS DU CINEMART

Please note: due to circumstances beyond our control, we will not be able to screen A TIME FOR KILLING on Sunday, October 24 at 7:00.  Instead, we will offer a repeat screening of Stanley Kubrick's THE KILLING in its place.  We apologize for any inconvenience.

What is Urville? The most modern city in the world? Some have seen it, others consider it a reflection in the Mediterranean. People say everyone is equal in Urville. Neither prisons nor ethnic rivalries exist there, the divorce rate is below 1%, and solidarity is a subject taught in schools. Does Urville really exist? Three French villages carry its name and each inhabitant is certain that their Urville is the most beautiful place in the world. Champagne flows from the faucet and heals disease; elections are held in the mayor’s closet; and the opposition candidate is a self-made Real Estate-Indian who carries a life-size cardboard figure of Bill Clinton around in the woods. No one is afraid of death in Urville, even though it faces one of France’s largest nuclear power plants. Everything is possible in Urville.
Fascinated by the various people she encountered as she visited the various Urvilles, filmmaker Angela Christlieb has created a beguiling, unusual film that takes viewers on a GPS-guided trip through a previously unknown country: France! Equal parts bemused reportage and whimsical fantasy, URVILLE constitutes a poetic dream-voyage along the boundaries of fiction and documentary.

“Excellent adaptation of a novel by Richard Stark (Donald Westlake), who also provided the source material for POINT BLANK…and Godard’s MADE IN USA. A taut, grim thriller, it sees Duvall, just out of prison and with revenge burning in his heart for the murder of his brother, taking on the Syndicate with the help of heavy, Joe Don Baker. [I]t’s a cool, exciting thriller in the Siegel tradition, paying more than passing reference to classic film noir with its host of character actors [including the great Timothy Carey], a cruel performance from Ryan as the mob leader, and its vision of people caught up in a chaotic, confused and treacherous world.” –Geoff Andrew

With Leonor Baldaque, Ana Moreira, Diogo Dória, and Adrien Michaux. Special thanks to Fabienne Martinot (O Som e a Fúria).

Anthology favorite Eugène Green, maker of some of the most peculiar, personal, and enigmatic films in contemporary cinema, is back with a new, typically eccentric yet sublime film. Born and raised in NY, Green has made all his previous films in his adopted country of France – but his new work finds him relocating to Lisbon, Portugal, a mysterious city which serves as far more than a backdrop. The film’s protagonist is Julie de Hauranne, a young French actress, partly of Portuguese descent, who comes to Lisbon for the first time to star in a film inspired by the writer De Guilleragues’s LETTERS OF A PORTUGUESE NUN. Wandering through this unfamiliar and haunting city, and meeting various lost souls, including a seductive older man who finds himself reconsidering his feelings of despair after meeting her, and an orphaned child with whom she forms a similarly intense bond, Julie soon becomes preoccupied with a nun she sees praying at a small church each night. Her encounters with these several figures lead Julie towards an epiphany, one that Green conveys with profound sensitivity and grace. Though his peculiar style – marked by patently artificial performances and a disarmingly deadpan humor – seems at first dry and cerebral, THE PORTUGUESE NUN, like all his films, sneaks up on you, ultimately achieving an enormous emotional impact and intensity. THE PORTUGUESE NUN finds Green working at the height of his powers, refining his approach and finding, in Lisbon, a city whose mystery and beauty put his unique sensibility in a new light.

“Strewn with long silences and even longer takes, this is a deadpan reverie on love and faith, film and life. Yet it’s also impishly poetic and singularly moving…. Some will bridle at Green’s highly stylized minimalism, the self-reflexive friskiness, the surfeit of literary and cinematic references, and the extended fado interludes. But for all its idiosyncratic charm, this is a deceptively passionate and poignant picture.” –THE GUARDIAN

“The core of the story was born in my imagination a long time ago, and was already situated in Lisbon, even if this city was only a mythical place for me. Since then, I’ve had the chance to become acquainted with the town, and I’ve seen the fictional characters grow and take root in the urban reality. In a certain way, it is through the discovery of Lisbon’s reality, in its sensual materiality and spiritual mystery, that Julie de Hauranne…finds the way of her destiny, and the path to joy.” –E.G.

Tom Jarmusch’s passion for filmmaking, and more importantly for people, shines through in every frame of his always inquisitive, poetically resonant work. Whether documenting the decline of a once-great city or shooting friends and shaggy dog stories, Jarmusch’s sympathetic vision always cuts straight to the emotional heart of his subject. Frequently funny and often funky, shot on any number of mediums (Super-8, 16mm, decidedly low-end video cameras), Jarmusch’s various shorts smartly juxtapose reality and fiction, the present and the past. This two-night taster of his extensive body of small-gauge and video works features shorts produced in the last fifteen-plus years. We are especially excited to offer the premiere of his first feature-length production, SOMETIMES CITY. Long in the making, this charming and simultaneously frightening portrait of Cleveland is one of the most memorable documentaries to be made about an American city in many a moon.
“When critics speak of the meaning of a work of art rising from its context, they might well be describing the films of Tom Jarmusch. For the past fifteen years, the filmmaker-photographer has made his home – and his films – on and about New York’s Lower East Side, where he is a ubiquitous presence. In a neighborhood still reeling from the Giuliani years’ blitzkrieg pace of gentrification and development…Jarmusch is a throwback. In fact, in the face of such hostile forces, the artist’s very survival, much like his art, has taken on the latent political charge of resistance.” –Bill Raden, CAPTURED: A LOWER EAST SIDE FILM & VIDEO HISTORY

PROGRAM 1:
SOMETIMES CITY
2010, 85 minutes, video.
A remarkably gritty, rough-hewn, and deeply personal video portrait of Cleveland, SOMETIMES CITY features Clevelanders speaking about their home, its problems, and the things they like. Conceived as a mixture of documentary, home movie, personal memoir, and fiction, it obliquely suggests Cleveland’s history, its neighborhoods and landscape, and the huge heart of the people who inhabit it. The title comes from a poem by da levy, whose poetry is heard in the film. An entertaining and engrossing look at a once-great city that isn’t going anywhere anytime soon.

With Leonor Baldaque, Ana Moreira, Diogo Dória, and Adrien Michaux. Special thanks to Fabienne Martinot (O Som e a Fúria).

Anthology favorite Eugène Green, maker of some of the most peculiar, personal, and enigmatic films in contemporary cinema, is back with a new, typically eccentric yet sublime film. Born and raised in NY, Green has made all his previous films in his adopted country of France – but his new work finds him relocating to Lisbon, Portugal, a mysterious city which serves as far more than a backdrop. The film’s protagonist is Julie de Hauranne, a young French actress, partly of Portuguese descent, who comes to Lisbon for the first time to star in a film inspired by the writer De Guilleragues’s LETTERS OF A PORTUGUESE NUN. Wandering through this unfamiliar and haunting city, and meeting various lost souls, including a seductive older man who finds himself reconsidering his feelings of despair after meeting her, and an orphaned child with whom she forms a similarly intense bond, Julie soon becomes preoccupied with a nun she sees praying at a small church each night. Her encounters with these several figures lead Julie towards an epiphany, one that Green conveys with profound sensitivity and grace. Though his peculiar style – marked by patently artificial performances and a disarmingly deadpan humor – seems at first dry and cerebral, THE PORTUGUESE NUN, like all his films, sneaks up on you, ultimately achieving an enormous emotional impact and intensity. THE PORTUGUESE NUN finds Green working at the height of his powers, refining his approach and finding, in Lisbon, a city whose mystery and beauty put his unique sensibility in a new light.

“Strewn with long silences and even longer takes, this is a deadpan reverie on love and faith, film and life. Yet it’s also impishly poetic and singularly moving…. Some will bridle at Green’s highly stylized minimalism, the self-reflexive friskiness, the surfeit of literary and cinematic references, and the extended fado interludes. But for all its idiosyncratic charm, this is a deceptively passionate and poignant picture.” –THE GUARDIAN

“The core of the story was born in my imagination a long time ago, and was already situated in Lisbon, even if this city was only a mythical place for me. Since then, I’ve had the chance to become acquainted with the town, and I’ve seen the fictional characters grow and take root in the urban reality. In a certain way, it is through the discovery of Lisbon’s reality, in its sensual materiality and spiritual mystery, that Julie de Hauranne…finds the way of her destiny, and the path to joy.” –E.G.

Tom Jarmusch’s passion for filmmaking, and more importantly for people, shines through in every frame of his always inquisitive, poetically resonant work. Whether documenting the decline of a once-great city or shooting friends and shaggy dog stories, Jarmusch’s sympathetic vision always cuts straight to the emotional heart of his subject. Frequently funny and often funky, shot on any number of mediums (Super-8, 16mm, decidedly low-end video cameras), Jarmusch’s various shorts smartly juxtapose reality and fiction, the present and the past. This two-night taster of his extensive body of small-gauge and video works features shorts produced in the last fifteen-plus years. We are especially excited to offer the premiere of his first feature-length production, SOMETIMES CITY. Long in the making, this charming and simultaneously frightening portrait of Cleveland is one of the most memorable documentaries to be made about an American city in many a moon.
“When critics speak of the meaning of a work of art rising from its context, they might well be describing the films of Tom Jarmusch. For the past fifteen years, the filmmaker-photographer has made his home – and his films – on and about New York’s Lower East Side, where he is a ubiquitous presence. In a neighborhood still reeling from the Giuliani years’ blitzkrieg pace of gentrification and development…Jarmusch is a throwback. In fact, in the face of such hostile forces, the artist’s very survival, much like his art, has taken on the latent political charge of resistance.” –Bill Raden, CAPTURED: A LOWER EAST SIDE FILM & VIDEO HISTORY

PROGRAM 2: SHORTS
UNTITLED (4 minutes, 16mm)
DREAM (1995/2004, 4 minutes, Super8-to-16mm)
Scratches and splices partially obscure this quizzical tale about a guy buying a gun.
FRIENDS (1994, 30 minutes, video)
“The culmination of ten years of bohemian austerity, aesthetic discipline and bitter life experience. … Jarmusch creates an air of extreme psychological distance and discontinuity. His Lower East Side becomes a profoundly alienated, schizophrenic place dominated by random, seemingly purposeless encounters in which emotional commitment has all the permanence of a handshake and the ‘friends’ of the title prove anything but. … [A]rguably a minor masterwork of comedy of the grotesque.” – Bill Raden, CAPTURED
ALFREDO (2000, 8 minutes, 16mm-to-video)
A truly lovely, eye-opening silent portrait of 300-pound artist Alfredo Martinez firing guns and playing video games during his 1999-2000 project QUIET.
DOCUMENT MEMORY, FOR MY FRIEND BILL RICE (2006, 12 minutes, video)
An all-too-brief document of departed East Village icon, painter, and actor Bill Rice.
Plus, expect a few additional, surprise shorts…

Tom Jarmusch’s passion for filmmaking, and more importantly for people, shines through in every frame of his always inquisitive, poetically resonant work. Whether documenting the decline of a once-great city or shooting friends and shaggy dog stories, Jarmusch’s sympathetic vision always cuts straight to the emotional heart of his subject. Frequently funny and often funky, shot on any number of mediums (Super-8, 16mm, decidedly low-end video cameras), Jarmusch’s various shorts smartly juxtapose reality and fiction, the present and the past. This two-night taster of his extensive body of small-gauge and video works features shorts produced in the last fifteen-plus years. We are especially excited to offer the premiere of his first feature-length production, SOMETIMES CITY. Long in the making, this charming and simultaneously frightening portrait of Cleveland is one of the most memorable documentaries to be made about an American city in many a moon.
“When critics speak of the meaning of a work of art rising from its context, they might well be describing the films of Tom Jarmusch. For the past fifteen years, the filmmaker-photographer has made his home – and his films – on and about New York’s Lower East Side, where he is a ubiquitous presence. In a neighborhood still reeling from the Giuliani years’ blitzkrieg pace of gentrification and development…Jarmusch is a throwback. In fact, in the face of such hostile forces, the artist’s very survival, much like his art, has taken on the latent political charge of resistance.” –Bill Raden, CAPTURED: A LOWER EAST SIDE FILM & VIDEO HISTORY

PROGRAM 1:
SOMETIMES CITY
2010, 85 minutes, video.
A remarkably gritty, rough-hewn, and deeply personal video portrait of Cleveland, SOMETIMES CITY features Clevelanders speaking about their home, its problems, and the things they like. Conceived as a mixture of documentary, home movie, personal memoir, and fiction, it obliquely suggests Cleveland’s history, its neighborhoods and landscape, and the huge heart of the people who inhabit it. The title comes from a poem by da levy, whose poetry is heard in the film. An entertaining and engrossing look at a once-great city that isn’t going anywhere anytime soon.

With Leonor Baldaque, Ana Moreira, Diogo Dória, and Adrien Michaux. Special thanks to Fabienne Martinot (O Som e a Fúria).

Anthology favorite Eugène Green, maker of some of the most peculiar, personal, and enigmatic films in contemporary cinema, is back with a new, typically eccentric yet sublime film. Born and raised in NY, Green has made all his previous films in his adopted country of France – but his new work finds him relocating to Lisbon, Portugal, a mysterious city which serves as far more than a backdrop. The film’s protagonist is Julie de Hauranne, a young French actress, partly of Portuguese descent, who comes to Lisbon for the first time to star in a film inspired by the writer De Guilleragues’s LETTERS OF A PORTUGUESE NUN. Wandering through this unfamiliar and haunting city, and meeting various lost souls, including a seductive older man who finds himself reconsidering his feelings of despair after meeting her, and an orphaned child with whom she forms a similarly intense bond, Julie soon becomes preoccupied with a nun she sees praying at a small church each night. Her encounters with these several figures lead Julie towards an epiphany, one that Green conveys with profound sensitivity and grace. Though his peculiar style – marked by patently artificial performances and a disarmingly deadpan humor – seems at first dry and cerebral, THE PORTUGUESE NUN, like all his films, sneaks up on you, ultimately achieving an enormous emotional impact and intensity. THE PORTUGUESE NUN finds Green working at the height of his powers, refining his approach and finding, in Lisbon, a city whose mystery and beauty put his unique sensibility in a new light.

“Strewn with long silences and even longer takes, this is a deadpan reverie on love and faith, film and life. Yet it’s also impishly poetic and singularly moving…. Some will bridle at Green’s highly stylized minimalism, the self-reflexive friskiness, the surfeit of literary and cinematic references, and the extended fado interludes. But for all its idiosyncratic charm, this is a deceptively passionate and poignant picture.” –THE GUARDIAN

“The core of the story was born in my imagination a long time ago, and was already situated in Lisbon, even if this city was only a mythical place for me. Since then, I’ve had the chance to become acquainted with the town, and I’ve seen the fictional characters grow and take root in the urban reality. In a certain way, it is through the discovery of Lisbon’s reality, in its sensual materiality and spiritual mystery, that Julie de Hauranne…finds the way of her destiny, and the path to joy.” –E.G.

With Sterling Hayden and Elisha Cook Jr.

“Carey made his biggest impressions on people during his short, but memorable stint with Kubrick. Kubrick saw promise and passion in Carey’s impulses, when other directors just saw problems. A great example of Carey’s overwhelming presence is in Kubrick’s THE KILLING. Carey was cast as Nikki Arcane, the sniper who’s hired to shoot the horse at the racetrack. Carey’s scenes in THE KILLING are some of the most memorable and intense examples of his amazing ability to create an unmistakable character out of very little.” –Sam McAbee, CASHIERS DU CINEMART

Please note: due to circumstances beyond our control, we will not be able to screen A TIME FOR KILLING on Sunday, October 24 at 7:00.  Instead, we will offer a repeat screening of Stanley Kubrick's THE KILLING in its place.  We apologize for any inconvenience.

With The Monkees, Teri Garr, Victor Mature, Vito Scotti, Logan Ramsey, Frank Zappa, Jack Nicholson, and Sonny Liston.
Rafelson’s Monkees vehicle, one of the most wacked-out films of its time, brings together a truly bizarre collection of figures – including Jack Nicholson (who also co-wrote and -produced), Frank Zappa, Victor Mature, boxer Sonny Liston, and man-of-the-hour Timothy Carey as Lord High ‘N’ Low – for a thoroughly plotless, psychedelic stew of recycled film clips, freaky musical montages, and widespread insanity. Has to be seen to be believed!

With Leonor Baldaque, Ana Moreira, Diogo Dória, and Adrien Michaux. Special thanks to Fabienne Martinot (O Som e a Fúria).

Anthology favorite Eugène Green, maker of some of the most peculiar, personal, and enigmatic films in contemporary cinema, is back with a new, typically eccentric yet sublime film. Born and raised in NY, Green has made all his previous films in his adopted country of France – but his new work finds him relocating to Lisbon, Portugal, a mysterious city which serves as far more than a backdrop. The film’s protagonist is Julie de Hauranne, a young French actress, partly of Portuguese descent, who comes to Lisbon for the first time to star in a film inspired by the writer De Guilleragues’s LETTERS OF A PORTUGUESE NUN. Wandering through this unfamiliar and haunting city, and meeting various lost souls, including a seductive older man who finds himself reconsidering his feelings of despair after meeting her, and an orphaned child with whom she forms a similarly intense bond, Julie soon becomes preoccupied with a nun she sees praying at a small church each night. Her encounters with these several figures lead Julie towards an epiphany, one that Green conveys with profound sensitivity and grace. Though his peculiar style – marked by patently artificial performances and a disarmingly deadpan humor – seems at first dry and cerebral, THE PORTUGUESE NUN, like all his films, sneaks up on you, ultimately achieving an enormous emotional impact and intensity. THE PORTUGUESE NUN finds Green working at the height of his powers, refining his approach and finding, in Lisbon, a city whose mystery and beauty put his unique sensibility in a new light.

“Strewn with long silences and even longer takes, this is a deadpan reverie on love and faith, film and life. Yet it’s also impishly poetic and singularly moving…. Some will bridle at Green’s highly stylized minimalism, the self-reflexive friskiness, the surfeit of literary and cinematic references, and the extended fado interludes. But for all its idiosyncratic charm, this is a deceptively passionate and poignant picture.” –THE GUARDIAN

“The core of the story was born in my imagination a long time ago, and was already situated in Lisbon, even if this city was only a mythical place for me. Since then, I’ve had the chance to become acquainted with the town, and I’ve seen the fictional characters grow and take root in the urban reality. In a certain way, it is through the discovery of Lisbon’s reality, in its sensual materiality and spiritual mystery, that Julie de Hauranne…finds the way of her destiny, and the path to joy.” –E.G.

With Kirk Douglas, Ralph Meeker, and Adolphe Menjou.
“The film that established Kubrick’s reputation…. Corrosively antiwar in its treatment of the corruption and incompetence of military commanders, it’s far from pacifist in spirit, and Kirk Douglas’s strong and angry performance as the officer defending the unjustly charged soldiers perfectly contains this contradiction. The remaining cast is equally resourceful and interesting: Menjou, George Macready, Wayne Morris, Meeker, and the creepy Timothy Carey, giving perhaps his best performance. Banned in France for 18 years, this masterpiece still packs a wallop, though nothing in it is as simple as it may first appear.” –Jonathan Rosenbaum, CHICAGO READER

With Leonor Baldaque, Ana Moreira, Diogo Dória, and Adrien Michaux. Special thanks to Fabienne Martinot (O Som e a Fúria).

Anthology favorite Eugène Green, maker of some of the most peculiar, personal, and enigmatic films in contemporary cinema, is back with a new, typically eccentric yet sublime film. Born and raised in NY, Green has made all his previous films in his adopted country of France – but his new work finds him relocating to Lisbon, Portugal, a mysterious city which serves as far more than a backdrop. The film’s protagonist is Julie de Hauranne, a young French actress, partly of Portuguese descent, who comes to Lisbon for the first time to star in a film inspired by the writer De Guilleragues’s LETTERS OF A PORTUGUESE NUN. Wandering through this unfamiliar and haunting city, and meeting various lost souls, including a seductive older man who finds himself reconsidering his feelings of despair after meeting her, and an orphaned child with whom she forms a similarly intense bond, Julie soon becomes preoccupied with a nun she sees praying at a small church each night. Her encounters with these several figures lead Julie towards an epiphany, one that Green conveys with profound sensitivity and grace. Though his peculiar style – marked by patently artificial performances and a disarmingly deadpan humor – seems at first dry and cerebral, THE PORTUGUESE NUN, like all his films, sneaks up on you, ultimately achieving an enormous emotional impact and intensity. THE PORTUGUESE NUN finds Green working at the height of his powers, refining his approach and finding, in Lisbon, a city whose mystery and beauty put his unique sensibility in a new light.

“Strewn with long silences and even longer takes, this is a deadpan reverie on love and faith, film and life. Yet it’s also impishly poetic and singularly moving…. Some will bridle at Green’s highly stylized minimalism, the self-reflexive friskiness, the surfeit of literary and cinematic references, and the extended fado interludes. But for all its idiosyncratic charm, this is a deceptively passionate and poignant picture.” –THE GUARDIAN

“The core of the story was born in my imagination a long time ago, and was already situated in Lisbon, even if this city was only a mythical place for me. Since then, I’ve had the chance to become acquainted with the town, and I’ve seen the fictional characters grow and take root in the urban reality. In a certain way, it is through the discovery of Lisbon’s reality, in its sensual materiality and spiritual mystery, that Julie de Hauranne…finds the way of her destiny, and the path to joy.” –E.G.

This screening series celebrates the work of emerging female filmmakers from all over 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 discussion and socializing after their works are presented. There will be a Q&A following the screening, and an after-party to follow, 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 information, please visit: www.nywift.org.

MYTHIC REALITIES: ANN DEBORAH LEVY AND LILI WHITE
The films and videos of these two artists consider myths that cut across world cultures and history as they are juxtaposed against our contemporary consciousness. Levy focuses on how the human mind twists reality in perception, memory, imagination, and creation, revealing the film as product of these distortions. White’s videos explore relationships of power and repression throughout history. Both artists make richly visual films, Levy through lush images captured on 16mm film, White through extensive manipulation of the video image during the editing process.

ANN DEBORAH LEVY:
WATERSCAPE: illusions (2007, 52 minutes, 16mm)
WATERCOLORS (2007, 13 minutes, 16mm, silent)
For further information on Levy’s work, visit: www.resonantimages.com.

LILI WHITE:
S/tr:w/EET WALK (2009, 19 minutes, video)
GOT ’CHA (2007-09, 5 minutes, video)
BALLOON GARDEN (2006, 6.5 minutes, video)
For further information on White’s work, visit: www.liliwhite.com.
Total running time: ca. 100 minutes.

CURATED BY EDDY PAGAN
Check www.NewFilmmakers.com for an updated Halloween schedule.
NewLatino Filmmakers is the best and only independent Latino ‘cinematheque’ showcase in New York City, now in its 9th year!

With Leonor Baldaque, Ana Moreira, Diogo Dória, and Adrien Michaux. Special thanks to Fabienne Martinot (O Som e a Fúria).

Anthology favorite Eugène Green, maker of some of the most peculiar, personal, and enigmatic films in contemporary cinema, is back with a new, typically eccentric yet sublime film. Born and raised in NY, Green has made all his previous films in his adopted country of France – but his new work finds him relocating to Lisbon, Portugal, a mysterious city which serves as far more than a backdrop. The film’s protagonist is Julie de Hauranne, a young French actress, partly of Portuguese descent, who comes to Lisbon for the first time to star in a film inspired by the writer De Guilleragues’s LETTERS OF A PORTUGUESE NUN. Wandering through this unfamiliar and haunting city, and meeting various lost souls, including a seductive older man who finds himself reconsidering his feelings of despair after meeting her, and an orphaned child with whom she forms a similarly intense bond, Julie soon becomes preoccupied with a nun she sees praying at a small church each night. Her encounters with these several figures lead Julie towards an epiphany, one that Green conveys with profound sensitivity and grace. Though his peculiar style – marked by patently artificial performances and a disarmingly deadpan humor – seems at first dry and cerebral, THE PORTUGUESE NUN, like all his films, sneaks up on you, ultimately achieving an enormous emotional impact and intensity. THE PORTUGUESE NUN finds Green working at the height of his powers, refining his approach and finding, in Lisbon, a city whose mystery and beauty put his unique sensibility in a new light.

“Strewn with long silences and even longer takes, this is a deadpan reverie on love and faith, film and life. Yet it’s also impishly poetic and singularly moving…. Some will bridle at Green’s highly stylized minimalism, the self-reflexive friskiness, the surfeit of literary and cinematic references, and the extended fado interludes. But for all its idiosyncratic charm, this is a deceptively passionate and poignant picture.” –THE GUARDIAN

“The core of the story was born in my imagination a long time ago, and was already situated in Lisbon, even if this city was only a mythical place for me. Since then, I’ve had the chance to become acquainted with the town, and I’ve seen the fictional characters grow and take root in the urban reality. In a certain way, it is through the discovery of Lisbon’s reality, in its sensual materiality and spiritual mystery, that Julie de Hauranne…finds the way of her destiny, and the path to joy.” –E.G.

With Leonor Baldaque, Ana Moreira, Diogo Dória, and Adrien Michaux. Special thanks to Fabienne Martinot (O Som e a Fúria).

Anthology favorite Eugène Green, maker of some of the most peculiar, personal, and enigmatic films in contemporary cinema, is back with a new, typically eccentric yet sublime film. Born and raised in NY, Green has made all his previous films in his adopted country of France – but his new work finds him relocating to Lisbon, Portugal, a mysterious city which serves as far more than a backdrop. The film’s protagonist is Julie de Hauranne, a young French actress, partly of Portuguese descent, who comes to Lisbon for the first time to star in a film inspired by the writer De Guilleragues’s LETTERS OF A PORTUGUESE NUN. Wandering through this unfamiliar and haunting city, and meeting various lost souls, including a seductive older man who finds himself reconsidering his feelings of despair after meeting her, and an orphaned child with whom she forms a similarly intense bond, Julie soon becomes preoccupied with a nun she sees praying at a small church each night. Her encounters with these several figures lead Julie towards an epiphany, one that Green conveys with profound sensitivity and grace. Though his peculiar style – marked by patently artificial performances and a disarmingly deadpan humor – seems at first dry and cerebral, THE PORTUGUESE NUN, like all his films, sneaks up on you, ultimately achieving an enormous emotional impact and intensity. THE PORTUGUESE NUN finds Green working at the height of his powers, refining his approach and finding, in Lisbon, a city whose mystery and beauty put his unique sensibility in a new light.

“Strewn with long silences and even longer takes, this is a deadpan reverie on love and faith, film and life. Yet it’s also impishly poetic and singularly moving…. Some will bridle at Green’s highly stylized minimalism, the self-reflexive friskiness, the surfeit of literary and cinematic references, and the extended fado interludes. But for all its idiosyncratic charm, this is a deceptively passionate and poignant picture.” –THE GUARDIAN

“The core of the story was born in my imagination a long time ago, and was already situated in Lisbon, even if this city was only a mythical place for me. Since then, I’ve had the chance to become acquainted with the town, and I’ve seen the fictional characters grow and take root in the urban reality. In a certain way, it is through the discovery of Lisbon’s reality, in its sensual materiality and spiritual mystery, that Julie de Hauranne…finds the way of her destiny, and the path to joy.” –E.G.

3 inter-tangled films by ADULT.
Detroit electronic duo ADULT. will be presenting a unique evening of original film and live soundtrack performance. ‘the Three Grace(s) triptych’ is the completed two-year affair of artists Nicola Kuperus & Adam Lee Miller, an unorthodox film trilogy which does not conform to the traditional trilogy format, but instead suggests a version of Jean Cocteau’s surrealist ‘Orphic Trilogy’ in which horror iconography has taken the place of the original’s Greek mythology.
The approximately 95-minute presentation consists of three back-to-back, interconnected short films. The first is the silent-experimental-horror mirage DECAMPMENT (2008), which follows a woman’s transmigration from her ‘past’ life into a new society full of deceit and fable. The second chapter, TRADITIONS (2010), follows two young female friends and their matriarchs, all with unknown (and unchosen) inheritances, down four crossed paths. The trilogy concludes with the brand-new POSSESSION(S) (2010), a dark and claustrophobic installment which simultaneously completes and ignores the narrative triad with doubles.
‘the Three Grace(s) triptych’ was written, scored, filmed, edited, and directed by ADULT. members Nicola Kuperus and Adam Lee Miller, and will be screened with ADULT. performing the soundtrack live on either side of the screen. For anyone unfamiliar with ADULT. (or with this specific project), the film (and its soundtrack) is in the spirit of John Carpenter (and Alan Howarth), Dario Argento (and Goblin), or Kenneth Anger (and Bobby BeauSoleil).
‘the Three Grace(s) triptych’ was filmed entirely in Michigan, and incorporates the well-known photographic style of band member Nicola Kuperus, and the unusual discomfort of ADULT., as well as their signature musical sound. ADULT. have released albums on both their own Detroit label Ersatz Audio and the seminal Chicago label Thrill Jockey.
ADULT. has worked hard to make sure this film has not slipped onto the internet (as there are no DVD or streaming versions at this time), thus making the evening a very special event in an era when everything else seems ‘accessible’.

PLONGEUR FANTASTIQUE (1905, 1.5 minutes)
LE TROUBADOUR (1906, 2 minutes)
LA BOÎTE À CIGARES (1907, 4 minutes)
LES OEUFS DE PÂQUES (1907, 3.5 minutes)
LE SCULPTEUR EXPRESS (1907, 4 minutes)
LES TULIPES (1907, 3.5 minutes)
LES VERRES ENCHANTÉS (1907, 5 minutes)
LES GLACES MERVEILLEUSES (1907, 6.5 minutes)
EN AVANT LA MUSIQUE (1907, 2 minutes)
LES LUNATIQUES (1908, 3.5 minutes)
SCULPTEUR MODERNE (1908, 5.5 minutes)
LES PAPILLONS JAPONAIS (1908, 4 minutes)
LA LEÇON DE MUSIQUE (1909, 4 minutes)
SYMPHONIE BIZARRE (1909, 4.5 minutes)
LES ROSES MAGIQUES (1906, 3 minutes)
Total running time: ca. 65 minutes.

Co-directed by Philip A. Melillo. Courtesy of Video-X-Pix.
Art student June Barton unknowingly becomes the object of her art instructor Najlas Sarto’s sexual obsessions. In need of money, she agrees to work at his country home as a nude model. His mentally unbalanced housekeeper, Elia, however, who is also his mistress, does not look kindly upon June’s presence, driving her to a murderous rage. Sarno scripted and co-directed NUDE, his first-ever outing as a feature filmmaker.

Films for which Segundo de Chomón acted as cinematographer and/or created special effects.
Gaston Velle LES DÉVALISEURS NOCTURNES (1904, 3 minutes)
Gaston Velle LA POULE AUX OEUFS D’OR (1905, 17 minutes)
Gaston Velle L’HOMME INVISIBLE (1906, 8 minutes)
Georges Hatot LES DÉBUTS D’UN CHAUFFEUR (1906, 3.5 minutes)
Charles-Lucien Lépine EL COLCHÓN DE LA RECIÉN CASADA (1906, 6 minutes)
Charles-Lucien Lépine LE TOUR DU MONDE D’UN POLICIER (1906, 16 minutes)
Charles-Lucien Lépine UN JOUR DE PAYE (1906, 4 minutes)
Total running time: ca. 65 minutes.

Courtesy of Video-X-Pix.
After being expelled from school and thrown out of her own home, Ellen goes to work as a maid at her Aunt Connie’s motel. She soon attracts the eye of Vince, her co-worker Dottie’s fiancé, and then sets about sexually manipulating her Uncle Russ. When Connie becomes suspicious and plans to let Ellen go, the girl decides to seek revenge. Taking advantage of her aunt’s inability to resist alcohol, Ellen lures her into a free-for-all of booze and sexual perversion, then blackmails her with compromising photographs. However, the plan, which she carries out with Dottie’s help, has unexpected consequences…

Archival print courtesy of the American Genre Film Archive.
Perhaps Sarno’s most commercially successful production, INGA stars Swedish beauty Marie Liljedahl as a young woman on the verge of sexual awakening. Following the death of her mother, Inga moves into the home of her sexy but conniving aunt Greta. When Greta notices that her niece arouses the interest of a middle-aged playboy, she hatches a plan to trade Inga’s companionship for favors of a financial nature. Sarno’s first Scandinavian production, INGA was also one of the first films to receive an official MPAA X rating. A soft-core classic.

Archival print courtesy of the American Genre Film Archive.
1960s suburban Long Island becomes a hotbed of rampant adultery and illegal laissez faire. Joan, an ambitious but disgruntled housewife, turns her evening stenography business into a thriving prostitution ring. In order to satisfy her own desire for material success, she forces young women to join her enterprise through emotional manipulation and blackmail. Although the money is rolling in, Joan’s dereliction of her domestic responsibilities pushes her disgusted husband straight into the arms of a nubile, 18-year-old babysitter, all the while leading the police closer to discovering Joan’s secret.

LE CHARMEUR (1906, 4.5 minutes)
LE SORCIER ARABE (1906, 2 minutes)
LA FÉE DES ROCHES NOIRES (1907, 3 minutes)
L’ÉTANG ENCHANTE (1907, 1.5 minutes)
EXCURSION DANS LA LUNE (1908, 3.5 minutes)
LA MAISON ENSORCELÉE (1908, 6 minutes)
CRÉATION DE LA SERPENTINE (1908, 5 minutes)
L’ABEILLE ET LA ROSE (1908, 4 minutes)
LA GRENOUILLE (1908, 3 minutes)
CAUCHEMAR ET DOUX RÊVES (1908, 4.5 minutes)
UNE EXCURSION INCOHÉRENTE (1909, 8.5 minutes)
L’IRIS FANTASTIQUE (1912, 4 minutes)
LE SCARABÉE D’OR (1907, 2 minutes)
MÉTEMPSYCHOSE (1907, 3.5 minutes)
ALI BABA (1907, 8 minutes)
ARMURES MYSTÉRIEUSES (1907, 4 minutes)
LE PARAPLUIE FANTASTIQUE (1907, 4.5 minutes)
LE BAISER DE LA SORCIÈRE (1907, 5.5 minutes)
LES DÉS MAGIQUES (1908, 6.5 minutes)
LES COCOTTES EN PAPIER (1908, 5.5 minutes)
LE VOLEUR MYSTERIEUX (1908, 9 minutes)
Total running time: ca. 105 minutes.

Courtesy of Video-X-Pix.
After being expelled from school and thrown out of her own home, Ellen goes to work as a maid at her Aunt Connie’s motel. She soon attracts the eye of Vince, her co-worker Dottie’s fiancé, and then sets about sexually manipulating her Uncle Russ. When Connie becomes suspicious and plans to let Ellen go, the girl decides to seek revenge. Taking advantage of her aunt’s inability to resist alcohol, Ellen lures her into a free-for-all of booze and sexual perversion, then blackmails her with compromising photographs. However, the plan, which she carries out with Dottie’s help, has unexpected consequences…

DOCUMENTARY
BARCELONE, PARC AU CRÉPUSCULE (1904, 2 minutes)
CASAMIENTO DEL REY DE ESPAÑA (1906, 8 minutes)
BARCELONE, PRINCIPALE VILLE DE LA CATALOGNE (1912, 2.5 minutes)
ANTIQUE TOLÈDE (1912, 3 minutes)
&
COMEDY
LE VOLEUR INVISIBLE (1909, 7.5 minutes)
LE BÂILLEUR (1907, 4.5 minutes)
L’ASPIRATEUR (1908, 4 minutes)
L’HÔTEL HANTE (1909, 2 minutes)
PICKPOCKET NE CRAINT PAS LES ENTRAVES (1909, 9.5 minutes)
L’ÉPÉE DU SPIRITE (1910, 6 minutes)
LE RÊVE DES MARMITONS (1908, 6.5 minutes)
LE VOLEUR INVISIBLE (1909, 7.5 minutes)
Total running time: ca. 65 minutes.

With Rebecca Brooke & Jennifer Welles. Archival print courtesy of the American Genre Film Archive.
Carol (Rebecca Brooke) and her friend Anne (Chris Jordan) are swinging urbanites who swap husbands at the drop of a birth control pill. Enter Jennifer (Jennifer Welles), Carol’s mother, who arrives unexpectedly for a long visit. Sporting a voluptuous body and dripping with sexual longing, Jennifer makes an immediate impression upon her daughter’s playmates, who will stop at nothing to elicit her favors, both individually and in groups. Once Jennifer lets go of her own inhibitions, no one is safe from her scintillating charms…not even her own daughter! A classic of Seventies soft-core erotica.

Co-directed by Philip A. Melillo. Courtesy of Video-X-Pix.
Art student June Barton unknowingly becomes the object of her art instructor Najlas Sarto’s sexual obsessions. In need of money, she agrees to work at his country home as a nude model. His mentally unbalanced housekeeper, Elia, however, who is also his mistress, does not look kindly upon June’s presence, driving her to a murderous rage. Sarno scripted and co-directed NUDE, his first-ever outing as a feature filmmaker.

Archival print courtesy of the American Genre Film Archive.
Perhaps Sarno’s most commercially successful production, INGA stars Swedish beauty Marie Liljedahl as a young woman on the verge of sexual awakening. Following the death of her mother, Inga moves into the home of her sexy but conniving aunt Greta. When Greta notices that her niece arouses the interest of a middle-aged playboy, she hatches a plan to trade Inga’s companionship for favors of a financial nature. Sarno’s first Scandinavian production, INGA was also one of the first films to receive an official MPAA X rating. A soft-core classic.

LOS HÉROES DEL SITIO DE ZARAGOZA (1905, 3.5 minutes)
L’HEREU DE CA’N PRUNA (1904, 6.5 minutes)
AH! LA BARBE (1905, 2 minutes)
LE ROI DES DOLLARS (1905, 2 minutes)
LES CENT TRUCS (1906, 3 minutes)
LE COURANT ÉLECTRIQUE (1906, 1.5 minutes)
L’ANTRE DE LA SORCIÈRE (1906, 5.5 minutes)
LE SPECTRE ROUGE (1907, 9 minutes)
KI RI KI, ACROBATES JAPONAIS (1907, 3 minutes)
L’INSAISISSABLE PICKPOCKET (1908, 4 minutes)
ELECTRIC HOTEL (1908, 7 minutes)
LA LÉGENDE DU FANTÔME (1908, 14 minutes)
LE THÉÂTRE ÉLECTRIQUE DE BOB (1909, 5 minutes)
LE PETIT POUCET (1909, 11 minutes)
VOYAGE SUR JUPITER (1909, 8 minutes)
GÉRONE, LA VENISE ESPAGNOLE (1912, 3 minutes)
SUPERSTITION ANDALOUSE (1912, 10.5 minutes)
Total running time: ca. 100 minutes.

With Rebecca Brooke & Jennifer Welles. Archival print courtesy of the American Genre Film Archive.
Carol (Rebecca Brooke) and her friend Anne (Chris Jordan) are swinging urbanites who swap husbands at the drop of a birth control pill. Enter Jennifer (Jennifer Welles), Carol’s mother, who arrives unexpectedly for a long visit. Sporting a voluptuous body and dripping with sexual longing, Jennifer makes an immediate impression upon her daughter’s playmates, who will stop at nothing to elicit her favors, both individually and in groups. Once Jennifer lets go of her own inhibitions, no one is safe from her scintillating charms…not even her own daughter! A classic of Seventies soft-core erotica.

Films for which Segundo de Chomón acted as cinematographer and/or created special effects.
Gaston Velle ANTRE INFERNAL (1905, 4 minutes)
Gaston Velle CRÉATIONS RENVERSANTES (1905, 2 minutes)
Gaston Velle LES FLEURS ANIMÉES (1906, 6 minutes)
Charles-Lucien Lépine LA GRÈVE DES BONNES (1906, 6 minutes)
Ferdinand Zecca PRENEZ GARDE À LA PEINTURE (1906, 3 minutes)
Ferdinand Zecca & Lucien Nonguet LA VIE ET LA PASSION DE NOTRE SEIGNEUR JESUS CHRIST (1907, 14 minutes)
Albert Capellani ALADIN OU LA LAMPE MERVEILLEUSE (1906, 12 minutes)
Albert Capellani LE PIED DE MOUTON (1907, 13 minutes)
Albert Capellani & Lucien Nonguet LA BELLE AU BOIS DORMANT (1908, 13.5 minutes)
Total running time: ca. 80 minutes.

Archival print courtesy of the American Genre Film Archive.
1960s suburban Long Island becomes a hotbed of rampant adultery and illegal laissez faire. Joan, an ambitious but disgruntled housewife, turns her evening stenography business into a thriving prostitution ring. In order to satisfy her own desire for material success, she forces young women to join her enterprise through emotional manipulation and blackmail. Although the money is rolling in, Joan’s dereliction of her domestic responsibilities pushes her disgusted husband straight into the arms of a nubile, 18-year-old babysitter, all the while leading the police closer to discovering Joan’s secret.