Anthology Film Archives

A group of young people draws straws to see who’ll steal some cigarettes. With this theft, Sebastian starts a symbolic and bizarre odyssey through a sclerotic world, in search of himself and of truth and justice. When he tries withdrawing from one social paradigm, he finds himself caught in another. The fall of the Wall made it possible for director Ulrich Weiß to finally make this long-cherished project, which had been refused by the East German film studio. Featuring a cameo by the outstanding Brechtian actor, Käthe Reichel, one of the co-organizers of the November 4, 1989 demonstration for freedom and democracy in East Berlin.

Director Jörg Foth in person!
In a series of cabaret pieces, Steffen Mensching and Hans-Eckardt Wenzel – highly acclaimed East German poets, songwriters, and comedians – satirize East German life in the historic year after the Wall came down. The two clowns they play, Meh and Weh, are allowed to leave prison – where Fassbinder actress Irm Hermann plays their keeper – to sing for people outside. As they perform their pieces, however, the country sinks into rebellion, the prison is attacked and looted, and the people chase the clowns away. The title is a wordplay on the irreverent Dada art movement of the 1920s and the German acronym for East Germany – the DDR.
“Brecht plus Goethe, times Weill, raised to the power of Eisler, divided by Valentin, equals Wenzel and Mensching.” –DER TAGESSPIEGEL

DOCUMENTARY SERIES
Bud Clayman, Scott Johnston & Glenn Holsten
OC8: THE OBSESSIVE COMPULSIVE, MAJOR DEPRESSION, BIPOLAR, ASPERGER’S MOVIE
2010, 80 minutes, video.
Mental illness interrupted his dream of a filmmaking career. Thirty years later, he’s directing the movie of his life. Bud Clayman is one of film’s most unlikely heroes. This is a personal story with universal relevance, a wildly original documentary of pain and vulnerability, empowerment, and Bud’s quest for belonging.

SHORT FILM PROGRAM
Barbara Twist THE GARDENER (2010, 5 minutes, video)
Jason Kempnich UNREPENTANT (2010, 14 minutes, video)
Nick Narcisco 8 BUTTERFLIES (2010, 17 minutes, 16mm)
Rick Rosenthal BLINK (2010, 17 minutes, video)

FEATURE PRESENTATION
Joey Huertas
HOMEWRECKA
2010, 68 minutes, video.
A young man recovering from a near fatal attack recalls memories of the daily physical beatings he received from the girl he continues to love.

In his directorial debut, Herwig Kipping sets out to explore the roots of the socialist society he grew up in. This harsh yet poetic critique of Stalinism in East Germany centers on the mythical village of Stalina in 1953. The villagers legitimize injustice by glorifying “real existing socialism”…at the same time as they experience their own destruction by the system. Only children – like the Rainmaker and Marie – still believe in the goodness of people and true love. Critics credit this film with being one of the most radical condemnations of East Germany.
“Dominated by picturesque tableaux, canvasses awakened to filmic life, contemporary history bundled together in close-ups. Archaic images from the art history album. Bosch and Fellini, Breughel and Dovzhenko, the Bible and the Brothers Grimm. … I count [this film] among the most important discoveries at the end of the ‘old’ DEFA.” –Ralf Schenk

In the little town of Herzsprung – whose name can mean either ‘heartbreak’ or ‘heart leap’ – almost nothing has changed since German unification. Nothing, that is, except a rise in unemployment. Johanna, a young mother and widow, is one of the unemployed and has to live on welfare. To make matters worse, she falls in love with a dark-skinned, roving adventurer and the whole village is talking about it. By the director of the documentary on GDR women, WINTER ÁDE.
Preceded by:
Eduard Schreiber EASTERN LANDSCAPE / ÖSTLICHE LANDSCHAFT (1991, 15 minutes, 35mm)
A Berlin dump accumulates the residue of history. As soon as the end of East Germany is proclaimed, people try to get rid of their former lives. Flags, books, official documents, personal belongings, and other pieces end up at the dump.

In the desolate eastern states of a newly unified Germany, Anna and Lisa plan a series of bank robberies. They quickly become the most popular gangster duo of German postwar history, hunted by the police but viewed as present-day female Robin Hoods by those in need. Amidst a stellar cast of actors, Maria Schrader (AIMÉE & JAGUAR) and Anna Thalbach (DOWNFALL) stand out.

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

It is 1988. Jacob, from Hamburg in West Germany, falls in love with Elisabeth in East Germany. When they secretly meet in East Berlin, it seems the Stasi knows about it. It is when Jacob visits her village, however, that someone informs on him and he is deported. Elisabeth knows who begrudges her this love and plans her revenge. THE MISTAKE finds the director, Heiner Carow, revisiting themes from his 1972 film, THE LEGEND OF PAUL AND PAULA, which became a cult hit throughout Germany.
“An angry look back at a state, one of whose repulsive attributes was interference into the private life of its citizens.” –Heinz Kersten

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

1. noun
2. noun
3. adjective
4. plural noun
5. adjective
6. plural noun
7. verb
8. noun
9. plural noun
10. verb
11. noun

Sarah Halpern is a (1)___________________-based (2)__________________.(3)__________________(4)____________________will develop through the interaction of multiple (5)____________________(6)_________________. These new works in film and video aim to (7)___________________the (8)___________________between perception and reality. Forever tethered to structure but dreaming of chaos, her work delicately flirts with spontaneity and the greater (9)____________________of the imagination. Tonight’s show will (10)__________________your (11)__________________.
With special guest musician Matt Wellins.

Special added event: Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN (playing in a two-week engagement at Anthology from Nov. 3-16), as well as Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

With Godard and Les Rita Mitsouko.
“Basically an episodic comedy, [it] features Godard himself as the comic lead, rehearsals of the rock group Rita Mitsouko, a good many gags, and a lot of cameos from well-known French actors, including Jane Birkin, Bernadette Lafont, and Jacques Villeret. The biggest surprise here, though, is Godard’s modification of his own persona: in contrast to the grumpy, would-be sages of FIRST NAME: CARMEN and KING LEAR, his benign and ethereal character is positively Keatonian, with echoes of Tati’s Monsieur Hulot as well. … The main comic inspiration, by Godard’s own admission, is Jerry Lewis – specifically the airplane sequence in CRACKING UP, though what Godard does with it seems even more quizzically eccentric than the model.” –Jonathan Rosenbaum, CHICAGO READER
&
PUISSANCE DE LA PAROLE
1988, 25 minutes, video.
In this work, one of Godard’s most fascinating experiments in video, “explosive sequences from nature abut those consisting of passionate discussions by two couples. One pair argues in dialogue spoken by the lovers in the novel THE POSTMAN ALWAYS RINGS TWICE, by James Cain; the other couple quotes a tale by Edgar Allan Poe. Regardless of his chosen medium, Godard has always expressed a wide range of thematic interests – art, politics, history, television, communication, anxiety, sex, desire, music, and the history of the movies.” –Steven Higgins, STILL MOVING (MoMA)
Total running time: ca. 110 minutes.

“This film portrait presents an extraordinary look into the creative process of filmmaking through a case study of longtime collaborators Jean-Marie Straub and Danièle Huillet, who are carefully observed at work reediting their feature SICÍLIA! as they teach a group of students…. Costa meticulously records the dialectic, argumentative mode the filmmakers use to reach decisions about each cut. … Equally compelling is the documentation of Straub’s close commentary on techniques from such diverse influences as Chaplin and Eisenstein. This remarkable documentary, an episode from the landmark series CINEMA OF OUR TIME, is a brilliant examination of the art of editing and a meditation on the aesthetic and political implications of film technique.” –HARVARD FILM ARCHIVE

“A very personal, very moving portrait of a man dispossessed – a freely photographed, large-pore close-up of Charlie Mingus, the jazz composer and bass fiddle virtuoso. Most of this cinéma vérité feature…was shot on a night in November 1966, when Mingus awaited the arrival of police and eviction from his Bowery loft for nonpayment of rent. As Mingus, a hulking but gentle man, moves back and forth through the clutter of crates…it becomes obvious that his dispossession is more than just physical. … As this consciously choreographed, real-life performance progresses, the put-ons overtake one another and the real meaning of Mingus’s dispossession is made sorrowfully apparent. It is that of a black artist in a white world with which he can communicate only through a kind of supertalent. … MINGUS, like Shirley Clarke’s PORTRAIT OF JASON, makes no pretense to being the work of a hidden camera. Mingus knows – as we know – that he is being filmed. This frontal approach is, of course, as interpretive as staged, fictional cinema. Although it is one step removed from reality, it is no less true.” –Vincent Canby, NEW YORK TIMES

Jack Smight
THE SOUND OF JAZZ
1957, 58 minutes, video.
One of the high-points of American television, this 1957 broadcast, an episode in CBS’s SEVEN LIVELY ARTS series, brought performances by some of the most gifted jazz musicians of the period into living rooms throughout the country. Featuring appearances by jazz greats Count Basie, Lester Young, Ben Webster, Billie Holiday, Coleman Hawkins, Pee Wee Russell, Gerry Mulligan, and Thelonious Monk, the emotional peak of the program is the rendition of “Fine and Mellow”, which represented the reunion of Billie Holiday and her estranged long-time friend Lester Young, playing together here for the final time.
&
Thom Andersen
GET OUT OF THE CAR
2010, 34 minutes, 16mm.
This new film by Thom Andersen, a follow-up to his award-winning documentary LOS ANGELES PLAYS ITSELF, is a miniature city symphony composed of advertising signs, building facades, fragments of music and conversation, and unmarked sites of vanished cultural landmarks. Taking its cue from the Richard Berry song whose title it shares, the film’s musical fragments compose an impressionistic survey of popular music made in Los Angeles across the 20th century, with an emphasis on 50s jazz/R&B and 90s corridos!
&
Thom Andersen & Malcolm Brodwick
--- ------- (1967, 11 minutes, 16mm)
Also known as ‘short line long line’ (for the verbally-inclined), this earlier film by Andersen is one of the greatest of all experimental rock ‘n’ roll films – formally rigorous, visually gorgeous, and rhythmically dynamic.
Total running time: ca. 105 minutes.

(PRASTANKAN)
A lyrical, early Dreyer comedy. A young parson wins a plum parish in 17th century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fiancée is his sister. The master’s touch is evident in the close-ups of the pastor’s would-be rivals and parishioners and a slow pan presaging the 360-degree views of VAMPYR.

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

(LA PASSION DE JEANNE D’ARC)
A work that exemplifies Dreyer’s philosophy: simplicity is the most complex idea of all. Although renowned for its spare acts, lack of embellishment, and use of simple shots, Dreyer’s masterpiece reveals the natural complexity of an un-retouched face (often existing alone, filling up the frame) and a landscape of history as individual as the lines on that face. Made in 1927-28, it continues to haunt the cinema, looking more and more avant-garde as the years go by.

“Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.” –Carl Dreyer

The first feature film by the legendary filmmaker Jean Eustache (THE MOTHER AND THE WHORE) consists largely of a straightforward, unadorned interview with his grandmother, who gives a passionate account of her lurid past – the wars she survived, the babies she lost, and the husband accused of pedophilia. Eustache considered the film a jumping-off point for his later work (hence the title). But while a truncated version of the film (entitled ODETTE ROBERT) was exhibited on French TV in the 70s, the longer original version was not screened publicly until 2003, nearly twenty years after Eustache’s death. These ultra-rare Stateside screenings are not to be missed!
“Jean-Marie [Straub] turned to me: ‘There’s this film by Eustache…I was one of the eight chosen schmucks that he invited to the screening… he kept telling us how he thought the film was a useless piece of shit… And when the lights came on, we were all stunned! … I told him it was one of the greatest films about the History of France, as great as Renoir’s LA MARSEILLAISE. Perhaps the only film ever that you can call an important piece of sociology…without trashing the words film and sociology! I think it’s a film for you.’ … One or two months later, a miracle in Paris: Eustache’s son Boris on the phone, ‘Yes, I think there’s a work print of NUMÉRO ZÉRO under my bed…’ So, the Lab at the Film Archives in Lisbon proceeded to restore this magnificent 35mm negative and one day we all sat in the theater to watch NUMÉRO ZÉRO… It was my kind of movie alright, even better than Jean-Marie had said!” –P.C.

Paul Sharits
S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED
1968-70, 41 minutes, 16mm, color. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.
“A conceptual lap dissolve from ‘water currents’ to ‘film strip currents’/Dedicated to my son Christopher.” –P.S.
“Yes, S:S:S:S:S:S is beautiful. The successive scratchings of the stream-image film is very powerful vandalism. The film is a very complete organism with all the possible levels really recognized.” –Michael Snow
T,O,U,C,H,I,N,G (1969, 12 minutes, 16mm)
Newly preserved print!
Starring poet David Franks whose voice appears on soundtrack/an uncutting and unscratching mandala.
“Merges violence with purity.”  –P. Adams Sitney
“Surrealist tour de force.” –Parker Tyler
Total running time: ca. 60 minutes.

(VREDENS DAG)
“Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

An existential morality essay by the master of the long take, in which a man who believes he is Jesus Christ soon begins to convince those around him. Based on the play by Kaj Munk, ORDET is a meditation on faith and fanaticism.

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

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.

SAM GREEN: THE WORLD’S LARGEST SHOPPING MALL (AND OTHER TALES)
THE WORLD’S LARGEST SHOPPING MALL (2009, 13 minutes, DV)
PIE FIGHT ‘69 (2000, 10 minutes, DV)
LOT 63, GRAVE C (2006, 10 minutes, DV)
CLEAR GLASSES (2008, 3 minutes, DV)
Untitled film about Esperanto (work-in-progress, 32 minutes, DV)
Sam Green is well known for his Oscar-nominated documentary THE WEATHER UNDERGROUND (2004). Tonight, he will present and discuss a collection of his offbeat short films reflecting the complicated legacy of social movements of the 1960s, global capitalism, and contemporary ideas of utopia. A rare New York screening of Green’s lesser-known work, including a rare work-in-progress screening.
Total running time: ca. 75 minutes.
DIRECTOR IN PERSON FOR POST-FILM DISCUSSION! 

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

Essex Hemphill (1957-1995) was a writer, editor, and activist whose powerful poetry and critical commentary was documented in two groundbreaking films by Emmy-award-winning director, Marlon Riggs: TONGUES UNTIED (1988) and BLACK IS…BLACK AIN’T (1994). TONGUES UNTIED is a semi-autobiographical documentary exploring life, love, homophobia, and racism in the experience of black gay men. BLACK IS…BLACK AIN’T, also a documentary, is a vibrant, insightful critique of sexism, patriarchy, homophobia, colorism, and cultural nationalism in black communities. Hemphill’s contribution to both films is indispensable and foregrounds the often-absent voices and experiences of black gay men in white and black America.

Hemphill is the author of CEREMONIES: PROSE AND POETRY (1992), EARTH LIFE (1985) and CONDITIONS: POEMS (1986), and the editor of BROTHER TO BROTHER: NEW WRITINGS BY BLACK GAY MEN (1991). Hemphill’s poetry and prose have been published widely in anthologies such as IN THE LIFE: A BLACK GAY ANTHOLOGY (1986) and TONGUES UNTIED (1988), and journals such as THING, PYRAMID PERIODICAL, ESSENCE, GAY COMMUNITY NEWS, THE ADVOCATE, and others. Robert Reid-Pharr, Director of the Africana Studies Program at City University of New York Graduate Center, will introduce the films.

This special screening forms part of The Audre Lorde/Essex Hemphill Memorial Lecture featuring poet Cheryl Clarke on Monday, November 8 at The Graduate Center, CUNY. The program is sponsored by the Africana Studies Concentration and co-sponsored by the Institute for Research on the African Diaspora in the Americas and the Caribbean, the PhD Program in English, and the Black Gay & Lesbian Archive Project, Schomburg Center for Research in Black Culture, New York Public Library. Special thanks to Robert Reid-Pharr & Aoibheann Sweeney (The Graduate Center), Steven Fullwood (Schomburg Center), Sarah Deragon (Frameline), and Lawrence Daressa & Dina Robinson (California Newsreel).

Marlon Riggs
TONGUES UNTIED
1989, 55 minutes, Beta SP.
&
BLACK IS…BLACK AIN’T
1995, 87 minutes, video.
Total running time: ca. 145 minutes.

DOCUMENTARY SERIES
Jacob Adams
THE IMPOSSIBLE ITSELF
2010, 60 minutes, video.
Documentary on the legendary November 19, 1957 production of Samuel Beckett’s play WAITING FOR GODOT by the San Francisco Actor’s Workshop, performed at San Quentin Prison. Includes interviews with actors, directors, and former inmates.

SHORT FILM PROGRAM
Jane Dorogoyer SPRINGTIME IN NOVEMBER (2010, 8 minutes, video)
Christopher Theokas THE INTERRUPTION (2009, 12 minutes, video)
Sean Grant COASTER (2010, 10 minutes, video)
Lisa Lord THE TEACHER (2010, 14 minutes, video)
Robert Arnold & Cynthia Mitchell ALL ANIMALS (2010, 16 minutes, video)

FEATURE PRESENTATION
Linda G. Mills
AUF WIEDERSEHEN: ‘TIL WE MEET AGAIN
2010, 76 minutes, video.
Author and activist Linda Mills pries open the darkly guarded doors of history as she takes her comedic son and opinionated mother to Vienna, Austria, where they discover an astonishing array of collaborators, victims, perpetrators, and unlikely heroes in a startlingly humorous adventure spanning from WWII to 9/11.

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

The first feature film by the legendary filmmaker Jean Eustache (THE MOTHER AND THE WHORE) consists largely of a straightforward, unadorned interview with his grandmother, who gives a passionate account of her lurid past – the wars she survived, the babies she lost, and the husband accused of pedophilia. Eustache considered the film a jumping-off point for his later work (hence the title). But while a truncated version of the film (entitled ODETTE ROBERT) was exhibited on French TV in the 70s, the longer original version was not screened publicly until 2003, nearly twenty years after Eustache’s death. These ultra-rare Stateside screenings are not to be missed!
“Jean-Marie [Straub] turned to me: ‘There’s this film by Eustache…I was one of the eight chosen schmucks that he invited to the screening… he kept telling us how he thought the film was a useless piece of shit… And when the lights came on, we were all stunned! … I told him it was one of the greatest films about the History of France, as great as Renoir’s LA MARSEILLAISE. Perhaps the only film ever that you can call an important piece of sociology…without trashing the words film and sociology! I think it’s a film for you.’ … One or two months later, a miracle in Paris: Eustache’s son Boris on the phone, ‘Yes, I think there’s a work print of NUMÉRO ZÉRO under my bed…’ So, the Lab at the Film Archives in Lisbon proceeded to restore this magnificent 35mm negative and one day we all sat in the theater to watch NUMÉRO ZÉRO… It was my kind of movie alright, even better than Jean-Marie had said!” –P.C.

Jack Smight
THE SOUND OF JAZZ
1957, 58 minutes, video.
One of the high-points of American television, this 1957 broadcast, an episode in CBS’s SEVEN LIVELY ARTS series, brought performances by some of the most gifted jazz musicians of the period into living rooms throughout the country. Featuring appearances by jazz greats Count Basie, Lester Young, Ben Webster, Billie Holiday, Coleman Hawkins, Pee Wee Russell, Gerry Mulligan, and Thelonious Monk, the emotional peak of the program is the rendition of “Fine and Mellow”, which represented the reunion of Billie Holiday and her estranged long-time friend Lester Young, playing together here for the final time.
&
Thom Andersen
GET OUT OF THE CAR
2010, 34 minutes, 16mm.
This new film by Thom Andersen, a follow-up to his award-winning documentary LOS ANGELES PLAYS ITSELF, is a miniature city symphony composed of advertising signs, building facades, fragments of music and conversation, and unmarked sites of vanished cultural landmarks. Taking its cue from the Richard Berry song whose title it shares, the film’s musical fragments compose an impressionistic survey of popular music made in Los Angeles across the 20th century, with an emphasis on 50s jazz/R&B and 90s corridos!
&
Thom Andersen & Malcolm Brodwick
--- ------- (1967, 11 minutes, 16mm)
Also known as ‘short line long line’ (for the verbally-inclined), this earlier film by Andersen is one of the greatest of all experimental rock ‘n’ roll films – formally rigorous, visually gorgeous, and rhythmically dynamic.
Total running time: ca. 105 minutes.

“This film portrait presents an extraordinary look into the creative process of filmmaking through a case study of longtime collaborators Jean-Marie Straub and Danièle Huillet, who are carefully observed at work reediting their feature SICÍLIA! as they teach a group of students…. Costa meticulously records the dialectic, argumentative mode the filmmakers use to reach decisions about each cut. … Equally compelling is the documentation of Straub’s close commentary on techniques from such diverse influences as Chaplin and Eisenstein. This remarkable documentary, an episode from the landmark series CINEMA OF OUR TIME, is a brilliant examination of the art of editing and a meditation on the aesthetic and political implications of film technique.” –HARVARD FILM ARCHIVE

INTRODUCED BY JOHN GIORNO, POET AND STAR OF ‘SLEEP’!
Warhol was truly the preeminent maker of boring masterpieces, and perhaps the only director who explicitly and enthusiastically embraced the concept of boredom. The first installment of BORING MASTERPIECES included his legendary 1964 film, EMPIRE, surely the conceptual peak of the boring masterpiece concept. But the year before, Warhol had made a similarly epically-uneventful film, every bit as radical and sublime as its successor: SLEEP. A five-plus-hour study of the poet John Giorno asleep, it is human and intimate, where EMPIRE is inanimate and monumental. One of Warhol’s very first films, it is in many ways unique in his filmography.
“Warhol’s…SLEEP movie must be infuriating to the impatient or the nervous or to those so busy they cannot allow the eye and the mind to adjust to a quieter, flowing sense of time. What appears boring is the elimination of incident, accident, story, sound and the moving camera. … As less and less happens on the screen, we become satisfied with almost nothing and find the slightest shift in the body of the sleeper or the least movement of the camera interesting enough. The movie is not so much about sleep as it is about our capacity to see the possibilities of an aspect of film carried to its logical conclusion, REDUCTIO AD ABSURDUM to some, indicating a new awareness to others.” –Henry Geldzahler

“A very personal, very moving portrait of a man dispossessed – a freely photographed, large-pore close-up of Charlie Mingus, the jazz composer and bass fiddle virtuoso. Most of this cinéma vérité feature…was shot on a night in November 1966, when Mingus awaited the arrival of police and eviction from his Bowery loft for nonpayment of rent. As Mingus, a hulking but gentle man, moves back and forth through the clutter of crates…it becomes obvious that his dispossession is more than just physical. … As this consciously choreographed, real-life performance progresses, the put-ons overtake one another and the real meaning of Mingus’s dispossession is made sorrowfully apparent. It is that of a black artist in a white world with which he can communicate only through a kind of supertalent. … MINGUS, like Shirley Clarke’s PORTRAIT OF JASON, makes no pretense to being the work of a hidden camera. Mingus knows – as we know – that he is being filmed. This frontal approach is, of course, as interpretive as staged, fictional cinema. Although it is one step removed from reality, it is no less true.” –Vincent Canby, NEW YORK TIMES

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

With Godard and Les Rita Mitsouko.
“Basically an episodic comedy, [it] features Godard himself as the comic lead, rehearsals of the rock group Rita Mitsouko, a good many gags, and a lot of cameos from well-known French actors, including Jane Birkin, Bernadette Lafont, and Jacques Villeret. The biggest surprise here, though, is Godard’s modification of his own persona: in contrast to the grumpy, would-be sages of FIRST NAME: CARMEN and KING LEAR, his benign and ethereal character is positively Keatonian, with echoes of Tati’s Monsieur Hulot as well. … The main comic inspiration, by Godard’s own admission, is Jerry Lewis – specifically the airplane sequence in CRACKING UP, though what Godard does with it seems even more quizzically eccentric than the model.” –Jonathan Rosenbaum, CHICAGO READER
&
PUISSANCE DE LA PAROLE
1988, 25 minutes, video.
In this work, one of Godard’s most fascinating experiments in video, “explosive sequences from nature abut those consisting of passionate discussions by two couples. One pair argues in dialogue spoken by the lovers in the novel THE POSTMAN ALWAYS RINGS TWICE, by James Cain; the other couple quotes a tale by Edgar Allan Poe. Regardless of his chosen medium, Godard has always expressed a wide range of thematic interests – art, politics, history, television, communication, anxiety, sex, desire, music, and the history of the movies.” –Steven Higgins, STILL MOVING (MoMA)
Total running time: ca. 110 minutes.

60s icon, Fugs co-founder, cartoonist, and New York underground beat poet laureate Tuli Kupferberg passed away in July 2010 at age 86, leaving a rich legacy of a lifetime’s worth of artistic radicalism and fun, including many rarely-seen film and video appearances. This special memorial screening presents a diverse collection of short films and videos from the 1960s onward, including Tuli’s appearances on the public access programs REVOLTING NEWS and IF I CAN’T DANCE YOU CAN KEEP YOUR REVOLUTION, some of Tuli’s more recent web clips, and other odds and ends. Not to mention the first screening in many a moon of the long-lost counter-culture feature VOULEZ-VOUS COUCHER AVEC GOD?, starring Tuli in the title role!
Special thanks to Mitch Blank, Thelma Blitz, Coca Crystal, Jack Christie, Michael Hirsh, Samara Kupferberg, Jeffrey Lewis, Paul Lovelace, Norman Savitt, and Sylvia Topp.

The Tuli Kupferberg screenings are sponsored by Arthur Magazine, www.arthurmag.com

PROGRAM 1
Shorts, clips, and odds & ends, including Edward English’s short film:
FUGS (1960s, 12.5 minutes, 16mm)
“(Sights and sounds of the lower East Side rain forest.) This film captures a bit of the Fugs’ environment, which includes the lower East Side, the Waldorf Astoria, the MacDougal Street scene, police harassment, show biz, humanity, their audiences, and the filmmaker.” –E.E.

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

60s icon, Fugs co-founder, cartoonist, and New York underground beat poet laureate Tuli Kupferberg passed away in July 2010 at age 86, leaving a rich legacy of a lifetime’s worth of artistic radicalism and fun, including many rarely-seen film and video appearances. This special memorial screening presents a diverse collection of short films and videos from the 1960s onward, including Tuli’s appearances on the public access programs REVOLTING NEWS and IF I CAN’T DANCE YOU CAN KEEP YOUR REVOLUTION, some of Tuli’s more recent web clips, and other odds and ends. Not to mention the first screening in many a moon of the long-lost counter-culture feature VOULEZ-VOUS COUCHER AVEC GOD?, starring Tuli in the title role!
Special thanks to Mitch Blank, Thelma Blitz, Coca Crystal, Jack Christie, Michael Hirsh, Samara Kupferberg, Jeffrey Lewis, Paul Lovelace, Norman Savitt, and Sylvia Topp.

The Tuli Kupferberg screenings are sponsored by Arthur Magazine, www.arthurmag.com

PROGRAM 2
Michael Hirsh & Jack Christie
VOULEZ-VOUS COUCHER AVEC GOD?
1972, 69 minutes, 16mm-to-video.
Voulez-vous coucher avec God? Judge for yourself at the New York premiere of this vintage, Canadian-made experimental flick featuring a groundbreaking potpourri of live action and animation, backed by a rollicking soundtrack of 1960s hits. As portrayed by Kupferberg, there’s no messing with this Yahweh who’d just as soon enjoy a blow job from an inflatable schmoo as mastermind a presidential election from the cozy confines of his bathtub in Hashish Seventh Heaven, where a cast of pipe-dreaming souls journeys to be reborn. All hell breaks loose when the angel of the Lord attempts to cover up his failure to avert the sacrifice of young Isaac by his father, Abraham (also played by Kupferberg).

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

NEW YORK THEATRICAL PREMIERE RUN! PEDRO COSTA IN PERSON!
With Jeanne Balibar.
Hailed by many as one of contemporary cinema’s few genuine visionaries, Pedro Costa, the subject of a complete Anthology retrospective in 2007, returns to present his newest feature film, NE CHANGE RIEN.
A portrait of the French actress/singer/songwriter Jeanne Balibar, whose performances have graced films by Arnaud Desplechin (MY SEX LIFE…), Olivier Assayas (LATE AUGUST, EARLY SEPTEMBER), and Jacques Rivette (VA SAVOIR and THE DUCHESS OF LANGEAIS), NE CHANGE RIEN includes footage of Balibar in concert, but above all it documents the demanding, painstaking, and repetitive process of rehearsing and recording an album. It is a close-cousin to Costa’s earlier essay on the process of creation, WHERE DOES YOUR HIDDEN SMILE LIE?, a documentary on the filmmakers Jean-Marie Straub and Danièle Huillet. And like the earlier film, it is a ravishing demonstration of Costa’s alchemical genius, his unparalleled mastery of digital video and his uncanny ability to create works of incredible visual richness with seemingly scanty means. Though much of NE CHANGE RIEN is confined to Balibar’s recording studio, in Costa’s hands this nondescript space is transformed into a variety of gorgeous configurations of light, shadow, and volume, while the arduous process of recording becomes deeply compelling and almost monumental in its repetition.
We’re overjoyed to welcome Costa back to present his new feature, along with a selection of films that take equally radical approaches to cinematic portraiture or musical documentation, including Jean Eustache’s similarly minimal yet expansive (and exceedingly rare) NUMÉRO ZÉRO, Godard’s SOIGNE TA DROITE with its scenes of the French pop group Les Rita Mitsouko in rehearsal, and Thom Andersen’s new film (a musical of sorts), GET OUT OF THE CAR. And as if that’s not enough, Costa will be scattering a selection of miscellaneous music-related clips, videos, and other surprises throughout the programs, demonstrating his genius as filmmaker, curator, and YouTube-deejay!
“[B]oth a startling and lucid lesson in filming musical performance and a cinephilic marvel. … His sensual, velvety, high-contrast black-and-white images capture the exertions and exultations of music-making, and Costa eschews talking-head interviews and voice-overs in favor of trenchant depictions of technique, mood, and personal interactions. … But Costa is after bigger artistic game as well, starting with the title, which is part of a phrase, sampled in one of Balibar’s songs, that Jean-Luc Godard speaks in his video series HISTOIRE(S) DU CINÉMA. Costa’s film was born under the virtual gaze of three artistic godfathers with original approaches to filming musical performances – Godard, Chris Marker, and Jean-Marie Straub – and, in the course of this bracing, fascinating feature, he conjures them all.” –Richard Brody, NEW YORKER

Pedro Costa will be present on Thurs, Nov 4 for both screenings of NE CHANGE RIEN, on Fri, Nov 5 for the 6:45 screening of NE CHANGE RIEN, and on Sat, Nov 6 for the 2:15 and 4:00 Pedro Costa Selects programs.

Please note: Special added event:
Pedro Costa and Dennis Lim will appear together in conversation at Anthology on Friday, November 5 at 5:30.  Lim, the editor of Moving Image Source and a contributor to the New York Times, Artforum, and many other publications, will lead a discussion of Costa’s new film NE CHANGE RIEN, as well as of Costa’s body of work as a whole and the films he has chosen for the series “Pedro Costa Selects”.  The discussion will precede the 6:45 screening of NE CHANGE RIEN, and will be open to the public free of charge!

LIGHT INDUSTRY: COUCHSURFING
Light Industry, a venue for film and electronic art, is crashing with friends in November and December, organizing a series of events at like-minded spaces across the city while it relocates to its new home. For more information on these shows, please see their calendar <http://www.lightindustry.org/calendar> .

Stephanie Rothman Double Feature
The Student Nurses (7pm)
1970, 89 minutes, 16mm.
&
Terminal Island (9pm)
1973, 88 minutes, 35mm.
Grindhouse auteur Stephanie Rothman cranked out a slew of redoubtable sexploitationers during the heyday of drive-in fare, drawing audiences in with lurid promises of violence and jiggle, then giving them an unexpected dose of radical politics. The first film produced by Roger Corman’s New World Pictures, Rothman’s The Student Nurses begins as a seemingly lightweight hospital drama about four hot-to-trot pupils and the studly young doctors who teach them, but the plot soon leads into a string of decidedly less innocent topics—euthanasia, abortion, street protest, urban poverty—rounding out this Aquarian smorgasbord with a nude beachside acid trip.

Terminal Island, meanwhile, takes place on the San Bruno Maximum Security Center, an island prison off the coast of California populated by convicted murderers who have been dropped off there like so much human garbage and left to fend for themselves. The compound’s forty men use the four women as sex slaves and workhorses, until a new female inmate arrives to foment a pitiless rebellion. The fast-paced results play like a Peter Watkins power-analysis stuffed inside a Radley Metzger skin flick. Almost certainly the first woman to direct a women-in-prison film, Rothman turns what might otherwise be nothing more than a T&A showcase into a gritty vision of women’s liberation, replacing consciousness-raising meetings with knife-fights and home-made grenades.

Tickets - $9, both films for one admission, available at box office.

SHORT FILM PROGRAM
About film and TV.
Terence Donnellan A HOLLYWOOD LOVE STORY (2010, 17 minutes, video)
Hiroo Takaoka ONCE MORE (2009, 24 minutes, 35mm)
Jack Gattanella LINES OF GLORY (2009, 25 minutes, video)

FILM SCHOOL SCREENING SERIES
With The Digital Film Academy.
The Digital Film Academy, the premier digital film and media academy in New York, presents an evening of short films from students in the Digital Filmmaking programs and workshops. Students wrote, produced, directed, and edited their individual short films within their course work. Films to be announced.

FEATURE PRESENTATION
Yoni Bentovim & Emily Kate Harris
BORGES AND I
2009, 74 minutes, video.
An out-of-work actor tries to uncover the reasons behind his failing career and takes on an experiment to find out if it is possible to control how others perceive him. BORGES AND I is a facetious commentary on the relentless recording and sharing of our lives in the wake of the user-generated-content generation.

(LE SANG D’UN POÈTE)
“Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.” –Georges Sadoul

This winter marks a momentous occasion for Anthology Film Archives – our 40th anniversary! Founded in 1970, Anthology has been preserving, exhibiting, and promoting independent and avant-garde cinema for four decades, beginning in a space at Joseph Papp’s Public Theater, moving to several locations throughout the late 70s and early 80s (including George Maciunas’s Fluxhouse at 80 Wooster), and finally settling in 1988 in our current home at the 2nd Avenue Courthouse building.
To celebrate this extraordinary longevity, we will be presenting several events throughout the winter and spring of 2010-11, beginning with a very special appearance by an extraordinary filmmaker and great friend of Anthology, Jim Jarmusch, who will introduce a program featuring his most recent film, the unjustly neglected LIMITS OF CONTROL, along with a chapter from COFFEE AND CIGARETTES that was filmed in the mid-80s here at the 2nd Avenue Courthouse while Anthology was in the process of transforming it into a cinema!
Very special thanks to Jim Jarmusch, and to Carter Logan (Exoskeleton Inc.) and Sonia Pachmayer (Focus Features).

Jim Jarmusch
THE LIMITS OF CONTROL
2009, 116 minutes, 35mm. With Isaach De Bankolé, Alex Descas, Jean-François Stévenin, Paz de la Huerta, Tilda Swinton, Youki Kudoh, John Hurt, Gael García Bernal, and Bill Murray.
“A miracle of texture, Jim Jarmusch’s new movie about a mystery man with a mission exists beyond cool, which is something of a relief. Beautifully crafted and serenely edited, [it] can be experienced as pure trance, without having to buy into shopworn attitudes of deadpan, or hip, or recycled zen. Gliding through Madrid, Seville, Almería, the lone man is indeed at one with himself, and practices tai chi in his hotel suites, but the force of his code comes from the film’s own code of experiential patterns. Aided by his DP Christopher Doyle and a noise-rock soundtrack, Jarmusch sends us cruising on a Mobius strip of the mind – visual motifs like the curves and whorls of stairs and balconies, the spiraling guitar chords and ambient hums of Boris and Sun O))), the iterative enigmas of the man’s journey (boxes of matches are exchanged at each rendezvous), and the mise en abyme of his museum visits, spent in contemplation of exactly one artwork each time. …

“Jarmusch has compared the movie to ‘Marguerite Duras remaking LE SAMOURAI’…. But for most of the film what obtains is Bankolé and company’s bohemian prerogative to contemplate, rather than any reworking of past films. … The film’s formal control and Bankolé’s unnerving focus, both in the interest of liberated perception, are potent and mesmerizing, and the result is something you haven’t seen before from this filmmaker.” –Nicolas Rapold, L MAGAZINE

(LE TESTAMENT D’ORPHÉE)
To Cocteau, “poet” meant the creative artist, and the Orpheus of Greek mythology – the god of the lyre, song and poetry – was Cocteau’s personal muse. For Cocteau the plight of the poet was an unending search for truth and immortality, a life of suffering and martyrdom during which the poet must experience many deaths.”

MARKINGS I & II

MARKINGS I:
Gerry Schum LAND ART (1969, ca. 36 minutes, video. Courtesy of the Groninger Museum, Groningen, Netherlands.)
Includes:
Richard Long WALKING A STRAIGHT 10 MILE LINE FORWARD AND BACK SHOOTING EVERY HALF MILE (DARTMOOR ENGLAND, JANUARY 1969) (6 minutes)
Barry Flanagan A HOLE IN THE SEA (SCHEVENINGEN, NIEDERLANDE, FEBRUARY 1969) (4 minutes)
Dennis Oppenheim TIME TRACK – FOLLOWING THE TIME BORDER BETWEEN USA AND CANADA (FORT KENT, 17 MARCH 1969) (2 minutes)
Robert Smithson FOSSIL QUARRY MIRROR WITH FOUR MIRROR DISPLACEMENTS (CAYUGA LAKE REGION, NEW YORK STATE, MARCH 1969) (3 minutes)
Marinus Boezem SAND FOUNTAIN (CAMARGUE, FRANKREICH, JANUARY 1969) (4 minutes)
Jan Dibbets 12 HOURS TIDE OBJECT WITH CORRECTION OF PERSPECTIVE (HOLLÄNDISCHE KÜSTE, FEBRUARY 1969) (7.5 minutes)
Walter de Maria TWO LINES THREE CIRCLES ON THE DESERT (MOHAVE DESERT, KALIFORNIEN, USA, MARCH 1969) (5 minutes)
Michael Heizer COYOTE (COYOTE DRY LAKE CALIFORNIA, USA, MARCH 1969) (4.5 minutes)

MARKINGS II:
Robert Smithson SPIRAL JETTY (1970, 35 minutes, 16mm)
Anthony McCall LANDSCAPE FOR FIRE (1972, 7 minutes, 16mm-to-video)
Anthony McCall EARTHWORK (1972, 3.5 minutes, 16mm-to-video)
Anthony McCall LANDSCAPE FOR WHITE SQUARES (1972, 3.5 minutes, 16mm-to-video)
Ana Mendieta UNTITLED (GRASS BREATHING) (1975, 3 minutes, Super8mm-to-video, silent)
Ana Medieta BURIAL OF THE NANIGO (WOMAN CANDLE SILUETA #2, NEW YORK SHOW) (1976, 3 minutes, Super8mm-to-video, silent)
Ana Mendieta VOLCAN DE ARENA, SILUETA SERIES (FILMWORKS: ROCAS Y HUMO) (1978, 2 minutes, Super8mm-to-video, silent)
Total running time: ca. 100 minutes.

ANTHOLOGY PRESERVATION SCREENINGS!
Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium.
Newly restored and screening for the first time in 35mm, THE CRY OF JAZZ stands tall as one of the most radical films of its era and a definitive landmark of the New American Cinema movement. Celebrated by Jonas Mekas and derided by James Baldwin among many others, CRY is one of the earliest and most outspoken documentary films made by an African-American. Produced many years before the blossoming Black Power movement, CRY presents a still controversial and completely riveting analysis of jazz and African-American culture that is as searing as it is honest. Intercutting incredible street footage of Chicago African-American life with a staged interracial party, CRY is part essay, part manifesto, and as startling today as it must have been in the late 1950s. Music is provided by the singular Sun Ra and his Arkestra, who are seen and heard performing at the height of their swing heyday. Shot with practically no budget by a volunteer crew numbering some 65 people, THE CRY OF JAZZ was the only film made by Ed Bland who went on to have a distinguished career as composer, arranger, and producer for the likes of Dizzy Gillespie, Elvin Jones, and many, many others.

“Bland’s…insights into the art and politics of jazz…are profound. …[Bland] defines jazz in terms of African-American experience, relates its form and sound to its political implications, and, remarkably, predicts both the aesthetic of free jazz and the music’s role in the civil-rights movement. Filmed performances of the Chicago-based visionary Sun Ra and his band (notably the great saxophonist John Gilmore) illustrate Bland’s theses and arouse the director’s keenest visual engagement. The ideas are debatable, but they’re also stimulating; the movie, which is as heartfelt as it is analytical, suggests a new dimension in music criticism.” –Richard Brody, NEW YORKER
With:
Robert Frank & Alfred Leslie
PULL MY DAISY
1959, 28 minutes, 35mm, b&w.
Released the same year as THE CRY OF JAZZ, PULL MY DAISY is the cornerstone of Beat cinema. Based on an unfinished stage play by Jack Kerouac and inspired by an incident in the life of Neal and Carolyn Cassady, DAISY tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. But the protagonist’s bohemian friends (including Allen Ginsberg, Gregory Corso, and Peter Orlovsky) crash the party, and merry revelry ensues…
Total running time: ca. 70 minutes.

TRAJECTORIES I
Nancy Holt and Robert Smithson MONO LAKE (1968/2004, 20 minutes, Super8mm and Instamatic slides transferred to video)
Walter de Maria HARDCORE (1969, 29 minutes, 16mm)
Print courtesy of the Whitney Museum of American Art; gift of Virginia Dwan.
Philip Haas STONES AND FLIES: RICHARD LONG IN THE SAHARA (1988, 38 minutes, 16mm)
Redmond Entwistle MONUMENTS (2010, 30 minutes, 16mm. Distributed by Lux.)
Total running time: ca. 125 minutes.

TRAJECTORIES II
James Benning
CASTING A GLANCE
2007, 81 minutes, 16mm.
“Between May 2005 and January 2007 I made 16 trips to the Spiral Jetty, Robert Smithson’s monumental earthwork located on the Great Salt Lake, Utah. ‘casting a glance’ maps the Jetty back onto its 37-year history. From morning to night, its allusive, shifting appearance may be the result of a passing weather system or simply the changing angle of the sun. Seasonal shifts and changes in water level alter salt crystal growth, the amount of algae in the water, and the presence of wildlife. Sounds may come from a navy jet, wildlife, lapping or splashing water, a visitor’s car radio, converging thunderstorms – or be a total silence….” –James Benning

(LA BELLE ET LA BÊTE)
With Jean Marais and Josette Day; score by Georges Auric.
“[P]erhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday family life to the magic of a storybook, so, in the film, Beauty’s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Dore extravagance of the Beast’s enchanted landscape. …Jean Marais is a magnificent beast.” –Pauline Kael

SIGHTLINES: NANCY HOLT
We regret to announce that, due to circumstances beyond our control, Nancy Holt will not be able to be here to present this program.  In her place, however, filmmaker Robert Fiore (co-director of SHEDS, screening in the following program at 9:30) will be here for a Q&A, moderated by Alena Williams.
Nancy Holt & Robert Smithson SWAMP (1971, 6 minutes, 16mm)
Nancy Holt PINE BARRENS (1975, 30.5 minutes, 16mm)
Nancy Holt SUN TUNNELS (1978, 26.5 minutes, 16mm)
Plus, a couple special surprises!
Total running time: ca. 100 minutes.

ANTHOLOGY PRESERVATION SCREENINGS!
Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium.
Newly restored and screening for the first time in 35mm, THE CRY OF JAZZ stands tall as one of the most radical films of its era and a definitive landmark of the New American Cinema movement. Celebrated by Jonas Mekas and derided by James Baldwin among many others, CRY is one of the earliest and most outspoken documentary films made by an African-American. Produced many years before the blossoming Black Power movement, CRY presents a still controversial and completely riveting analysis of jazz and African-American culture that is as searing as it is honest. Intercutting incredible street footage of Chicago African-American life with a staged interracial party, CRY is part essay, part manifesto, and as startling today as it must have been in the late 1950s. Music is provided by the singular Sun Ra and his Arkestra, who are seen and heard performing at the height of their swing heyday. Shot with practically no budget by a volunteer crew numbering some 65 people, THE CRY OF JAZZ was the only film made by Ed Bland who went on to have a distinguished career as composer, arranger, and producer for the likes of Dizzy Gillespie, Elvin Jones, and many, many others.

“Bland’s…insights into the art and politics of jazz…are profound. …[Bland] defines jazz in terms of African-American experience, relates its form and sound to its political implications, and, remarkably, predicts both the aesthetic of free jazz and the music’s role in the civil-rights movement. Filmed performances of the Chicago-based visionary Sun Ra and his band (notably the great saxophonist John Gilmore) illustrate Bland’s theses and arouse the director’s keenest visual engagement. The ideas are debatable, but they’re also stimulating; the movie, which is as heartfelt as it is analytical, suggests a new dimension in music criticism.” –Richard Brody, NEW YORKER
With:
Robert Frank & Alfred Leslie
PULL MY DAISY
1959, 28 minutes, 35mm, b&w.
Released the same year as THE CRY OF JAZZ, PULL MY DAISY is the cornerstone of Beat cinema. Based on an unfinished stage play by Jack Kerouac and inspired by an incident in the life of Neal and Carolyn Cassady, DAISY tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. But the protagonist’s bohemian friends (including Allen Ginsberg, Gregory Corso, and Peter Orlovsky) crash the party, and merry revelry ensues…
Total running time: ca. 70 minutes.

EXCAVATIONS
Ana Mendieta UNTITLED SILUETA SERIES (1980, 3 minutes, Super8mm-to-video, silent)
Jane Crawford and Robert Fiore SHEDS (2004, 22 minutes, video)
Vito Acconci DIGGING PIECE (1970, 10 minutes, Super8mm-to-video, silent)
Gordon Matta-Clark FIRE CHILD (1971, 10 minutes, Super8mm-to-video, silent)
Gordon Matta-Clark FRESH KILL (1972, 13 minutes, 16mm-to-video)
Nancy Holt SKY MOUND (1984-94, 30 minutes, video)
Total running time: ca. 95 minutes

TRAJECTORIES II
James Benning
CASTING A GLANCE
2007, 81 minutes, 16mm.
“Between May 2005 and January 2007 I made 16 trips to the Spiral Jetty, Robert Smithson’s monumental earthwork located on the Great Salt Lake, Utah. ‘casting a glance’ maps the Jetty back onto its 37-year history. From morning to night, its allusive, shifting appearance may be the result of a passing weather system or simply the changing angle of the sun. Seasonal shifts and changes in water level alter salt crystal growth, the amount of algae in the water, and the presence of wildlife. Sounds may come from a navy jet, wildlife, lapping or splashing water, a visitor’s car radio, converging thunderstorms – or be a total silence….” –James Benning

(ORPHÉE)
With Jean Marais.
Orpheus and Eurydice, with Death waiting on the corner. Cocteau said, “Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS’s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.”

ISLANDS
Ana Mendieta ISLA (1981, 2 minutes, Super8mm-to-video, b&w, silent)
Ana Mendieta UNTITLED (CREEK #2) (1974, 3.5 minutes, Super8mm-to-video)
Albert Maysles, David Maysles & Charlotte Zwerin ISLANDS (1986, 57 minutes, 16mm)
Robert Smithson FLOATING ISLAND TO TRAVEL AROUND MANHATTAN ISLAND (2005, 16 minutes, video)
Total running time: ca. 85 minutes.

ANTHOLOGY PRESERVATION SCREENINGS!
Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium.
Newly restored and screening for the first time in 35mm, THE CRY OF JAZZ stands tall as one of the most radical films of its era and a definitive landmark of the New American Cinema movement. Celebrated by Jonas Mekas and derided by James Baldwin among many others, CRY is one of the earliest and most outspoken documentary films made by an African-American. Produced many years before the blossoming Black Power movement, CRY presents a still controversial and completely riveting analysis of jazz and African-American culture that is as searing as it is honest. Intercutting incredible street footage of Chicago African-American life with a staged interracial party, CRY is part essay, part manifesto, and as startling today as it must have been in the late 1950s. Music is provided by the singular Sun Ra and his Arkestra, who are seen and heard performing at the height of their swing heyday. Shot with practically no budget by a volunteer crew numbering some 65 people, THE CRY OF JAZZ was the only film made by Ed Bland who went on to have a distinguished career as composer, arranger, and producer for the likes of Dizzy Gillespie, Elvin Jones, and many, many others.

“Bland’s…insights into the art and politics of jazz…are profound. …[Bland] defines jazz in terms of African-American experience, relates its form and sound to its political implications, and, remarkably, predicts both the aesthetic of free jazz and the music’s role in the civil-rights movement. Filmed performances of the Chicago-based visionary Sun Ra and his band (notably the great saxophonist John Gilmore) illustrate Bland’s theses and arouse the director’s keenest visual engagement. The ideas are debatable, but they’re also stimulating; the movie, which is as heartfelt as it is analytical, suggests a new dimension in music criticism.” –Richard Brody, NEW YORKER
With:
Robert Frank & Alfred Leslie
PULL MY DAISY
1959, 28 minutes, 35mm, b&w.
Released the same year as THE CRY OF JAZZ, PULL MY DAISY is the cornerstone of Beat cinema. Based on an unfinished stage play by Jack Kerouac and inspired by an incident in the life of Neal and Carolyn Cassady, DAISY tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. But the protagonist’s bohemian friends (including Allen Ginsberg, Gregory Corso, and Peter Orlovsky) crash the party, and merry revelry ensues…
Total running time: ca. 70 minutes.

INTERVENTIONS
Albert Maysles, David Maysles & Ellen Hovde VALLEY CURTAIN (1973, 28 minutes, 16mm)
Nancy Holt ART IN THE PUBLIC EYE: THE MAKING OF DARK STAR PARK (1988, 33 minutes, video)
Carine Asscher JAMES TURRELL: PASSAGEWAYS (2006, 26 minutes, 35mm. Print courtesy of the Collection de la Bibliotheque Kandinsky, Centre de recherche et de documentation du Musee national d'art moderne/CCI, Centre Pompidou, Paris.)
Total running time: ca. 95 minutes.

DOCUMENTARY SERIES
Tanya Sleiman IRAQ IN THE USA (2009, 23 minutes, video)
A vibrant collective portrait of Iraqi refugees experiencing extraordinary transitions in a new wave of migration to sunny California.
Nina Kusturica LITTLE ALIEN (2009, 94 minutes, 35mm)
A group of refugees make their way across Europe to Austria, where they try to reorder their lives and fight for their rights to a more or less trouble-free youth.

MIDDLE EAST FILMMAKERS PROGRAM
Check www.NewFilmmakers.com for more information about tonight’s feature.

With the exception of BREATHING, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.
FORM PHASES I (1952, 2 minutes, 16mm)
FORM PHASES II (1953, 2 minutes, 16mm)
UN MIRACLE (1954, 30 seconds, 35mm) Made with Pontus Hulten.
RECREATION (1956, 1.5 minutes, 35mm)
A MAN AND HIS DOG OUT FOR AIR (1957, 2 minutes, 35mm)
JAMESTOWN BALOOS (1957, 6 minutes, 35mm)
LE MOUVEMENT (1957, 14 minutes, 35mm)
EYEWASH (1959, 3 minutes, 35mm)
EYEWASH (ALTERNATIVE VERSION) (1959, 3 minutes, 35mm)
BLAZES (1961, 3 minutes, 35mm)
PAT’S BIRTHDAY (1962, 13 minutes, 16mm)
BREATHING (1963, 5 minutes, 16mm)
66 (1966, 5.5 minutes, 35mm)
69 (1969, 4.5 minutes, 35mm)
The happy, joyful, playful abstractionist of the avant-garde.
Total running time: ca. 70 minutes.

With the exception of GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.
70 (1970, 5 minutes, 35mm)
77 (1970, 6.5 minutes, 35mm)
FIST FIGHT (1964, 9 minutes, 35mm)
GULLS AND BUOYS (1972, 8 minutes, 16mm)
FUJI (1974, 9 minutes, 35mm)
SWISS ARMY KNIFE WITH RAT AND PIGEON (1981, 6.5 minutes, 35mm)
BANG (1986, 10 minutes, 35mm)
Total running time: ca. 60 minutes.

René Clair and Francis Picabia ENTR’ACTE (1924, 22 minutes, 35mm)
A masterpiece of Dada and a feat of cinema magic. Made as intermission entertainment for the Ballet Suédois from an impromptu scene by Francis Picabia.
Luis Buñuel and Salvador Dalí UN CHIEN ANDALOU (1928, 22 minutes, 35mm)
Twenty-two minutes of pure, scandalous dream-imagery, a stream of images from which anything that could be given a rational meaning was rigorously excluded. It’s still the unsurpassed masterpiece of the surrealist cinema.
Luis Buñuel LAND WITHOUT BREAD / LAS HURDES: TIERRA SIN PAN (1932, 28 minutes, 35mm. With English narration.)
“A documentary describing, matter-of-factly, a region of Spain so ravaged by epidemic poverty that there our worst fantasies find their objective correlative.” –Raymond Durgnat
Total running time: ca. 75 minutes.

Conventional attempts at plot synopsis wither in the face of L’ÂGE D’OR. In Buñuel’s words, “The story is a sequence of moral and surrealist aesthetics. The sexual instinct and the sense of death form the substance of the film. It is a romantic film performed in full surrealistic frenzy.”

Please note: our Essential Cinema screenings of L’ÂGE D’OR have in the past been unsubtitled, but for this round of the cycle we will be showing the film with English subtitles!

Buñuel’s unsentimental view of Mexico’s poor, with equal parts of cruelty and surrealism. A sort of sequel to LAND WITHOUT BREAD.

Please note: our Essential Cinema screenings of LOS OLVIDADOS have in the past been unsubtitled, but for this round of the cycle we will be showing the film with English subtitles!

LAUGHING GAS (1914, 16 minutes, 16mm)
DOUGH AND DYNAMITE (1914, 33 minutes, 35mm)
A WOMAN (1915, 20 minutes, 16mm)
Total running time: ca. 75 minutes.

SHANGHAIED (1915, 30 minutes, 16mm)
POLICE (1916, 34 minutes, 16mm)
THE FIREMAN (1916, 32 minutes, 16mm)
Total running time: ca. 100 minutes.

ONE A.M. (1916, 34 minutes, 16mm)
EASY STREET (1917, 19 minutes, 16mm)
THE IDLE CLASS (1921, 32 minutes, 16mm)
Total running time: ca. 90 minutes.

SHORT SHORT PROGRAM
Ten Films in 60 minutes, and the world’s fastest Q&A!
Jeremy Fain SPECTACLES (2010, 2 minutes, video)
Yvette Edery JILLIAN DILLON (2009, 4 minutes, video)
John Tupper ON THE RISE (2009, 4 minutes, video)
Joe Marcantonio RIBBON (2010, 5 minutes, video)
James Arrabito ANNABEL (2010, 6 minutes, video)
Jeremy Teicher FOURSQUARE DAY (2010, 7 minutes, video)
Chie Mori OTTO AND THE MAGICAL VACUUM CLEANER (2010, 7 minutes, video)
Pete Gleeson ENEMY (2009, 7 minutes, video)
Nathaniel Lindsay DUCKED AND COVERED: A SURVIVAL GUIDE TO THE POST APOCALYPSE (2009, 8 minutes, video)
Ronald W. Mealing THE STORY OF NIGHT & DAY (2009, 8 minutes, video)

SHORT FILM PROGRAM
David Marriott DREAMLAND (2009, 6 minutes, video)
Tomoya Nakamura THE MILKMAN’S WAY (2010, 9 minutes, video)
Vincent Lin CHASE THOMPSON, A FILM BY CHASE THOMPSON (2010, 12 minutes, video)
Julius Sambajon ONE NIGHT STAN (2009, 15 minutes, video)
Cameron Macgowan BAD DAD (2010, 17 minutes, video)

FEATURE PRESENTATION
Charlie Brown
ANGELS DIE SLOWLY
2010, 87 minutes, video.
A goth serial killer couple hunt New Orleans for new prey, while a Bourbon Street bouncer chases after them in this new feature from New Orleans.

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.
Please note: there will be no NYWIFT screening in December.
Helen Proimos:              Taught To Hate
Debbie Abrahamson:   The Goldfish
Pamela Green:               Compact Only
Domenica Cameron-Scorsese:  Roots in the Water
For more info visit: http://www.nywift.org/newsletter.aspx?ID=2641