Anthology Film Archives

“Bela Tarr made this remarkable color video for Hungarian television, though it also served as his film-school thesis. Taped in a Budapest cellar and environs, it reduces the Shakespeare play to only two shots (the first, running about four minutes, appears before the main title), and all the witches are men. Most of the action occurs in the foreground, and the elaborate movements of the camera and actors are masterfully staged. Tarr has described this as a kind of documentary of the actors’ performances, and as such it’s a transition between the social realism of his earlier projects and the ‘diabolical’ formal virtuosity of his later ones.” –Jonathan Rosenbaum, CHICAGO READER

“Original 1905 film shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.” –Ken Jacobs

(aka THE CASTLE OF THE SPIDER’S WEB) / KUMONOSU-JÔ
With Toshirô Mifune & Takashi Shimura.
“Perhaps the best rendering of Shakespeare’s MACBETH on film to date, this is set during Sengoku Jidai, a fifteenth-century period of civil strife in Japan. Thoroughly Japanese in language, style, and setting, the film engages profoundly with the original and is instantly recognizable as shaped by Kurosawa’s reading of Shakespeare. The scariest Lady Macbeth on record must be Asaji, her face whitened to resemble a Noh mask. Each of her gestures is formal and ritualized, seemingly self-controlled, and yet these do not conceal her driving ambition or her savagery. The forest witch, a version of the Weird Sisters, who spins a wheel and foretells the future, is equally eerie.” –Martha Driver

Humphrey Jennings
LISTEN TO BRITAIN (1941, 19 min, 35mm, b&w)
Jennings’s film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds. From the film’s introduction: “I have been listening to Britain. I have heard the sound of her life by day and by night…. In the great sound picture that is here presented, you too will hear that heart beating. For blended together in one great symphony is the music of Britain at war.”

Dimitri Kirsanoff
MÉNILMONTANT (1924-25, 38 min, 35mm, b&w, silent)
A melodramatic story of an orphan girl whose seduction is avenged. Early use of hand-held camera, montage, and superimpositions.

Fernand Léger & Dudley Murphy
BALLET MÉCANIQUE (1924, 19 min, 35mm, b&w, silent.) Preserved by Anthology Film Archives.
A brief exploration of cubist form, black-and-white tonalities, and various vectors through its constant, rapidly cut movements and compositions. Many of the film’s forms and compositions are reflected in – or themselves reflect – forms and compositions in Léger’s famous cubist paintings from the period.

René Clair & Francis Picabia
ENTR’ACTE (1924, 22 min, 35mm, b&w)
A masterpiece of Dada, a feat of cinema magic. Made as an intermission entertainment for the Ballet Suédois from an impromptu scenario by Francis Picabia. Music by Erik Satie.

Total running time: ca. 105 min.

With Tatsuya Nakadai.
“One of the most powerful adaptations of Shakespeare’s tragedy, this version of KING LEAR invokes samurai culture, epic, and Noh theater, and is set during Sengoku Jidai (the ‘Age of the Country at War’), a tumultuous hundred-year period that began in 1477, characterized by vicious warfare between rival clans. Lear’s daughters are recast as imperial sons, and Kaede, the eldest son’s cruel wife, might be said to combine Regan and Goneril, Lear’s power-hungry daughters. The youngest son, Saburo, is faithful to his father as Cordelia is to Lear. In a 1985 interview, the director explained that the subtext running just below the surface of this tragic tale ‘is the threat of nuclear apocalypse.’”-Martha Driver

“[A] visual masterwork whose manners, which sometimes look old-fashioned, recall virtually the entire history of epic cinema.” –Vincent Canby, NEW YORK TIMES

CATALYSTS (or, EXPOUNDED CINEMA) PRESENTS: Leslie Thornton’s PEGGY AND FRED IN HELL
CATALYSTS is an ongoing series wherein avant-garde filmmakers reveal the secret sources and inspirations for a specific film from their body of work by a show-and-tell presentation encompassing readings, films, music, images, dreams, documents, private tales, or exhibits demonstrating the roots and branches of experimental personal cinema: Exegesis by demo. Each invited artist will be asked to develop and deliver a presentation that gives the audience insight into their original research on the personal, cultural, or historical source materials of the particular film being discussed. Each work chosen shall be rich in hybrid sources for a complex mixture of influences and inspirations.
Curated by Bradley Eros.

For this edition Leslie Thornton will take us back to the roots of PEGGY AND FRED IN HELL, revealing filmic influences ranging from Warhol’s VINYL to the cinéma vérité innovations of Ricky Leacock and others, as well as wider cultural factors such as the coming Information Explosion and the advent of Artificial Intelligence research in the 1980s. She will revisit the day she met Donald and Janis, aka Peggy and Fred, in the Mission District of San Francisco, share with us the process by which the children directed her and she directed the children, and screen the latest and final episode, THE FOLD (2013, 4 min). The evening will culminate in some extraordinary documentary footage of Donald and Janis in their present-day lives, more real than real, and with strange retrospective echoes. And it will be followed, the next evening, by a screening of the complete PEGGY AND FRED IN HELL cycle.

NEWFILMMAKERS GETS READY FOR THE HOLIDAYS

SPECIAL PROGRAM
Women’s Night, curated by Lili White
2013 Another Experiment by Women Film Festival (AXWFF)

SHORT FILM PROGRAM
Ben Freaternale SOCKS & ROBBERS (2013, 11 min, video)
Dan A. R. Kelly CAR JACKED (2012, 6 min, video)
Cindel Krajewski NO STRINGS ATTACHED (2013, 7 min, video)
Mindy Bledsoe MOST LIKELY TO KILL (2013, 10 min, video)
Umakanth Thumrugoti GOOD SISTER (2012, 12 min, video)
Kyle McCachen DISABLED AND DANGEROUS (2012, 8 min, video)
Federico Castelluccio CHECKMATE: KEEP YOUR ENEMIES CLOSER (2013, 16 min, video)

FEATURE PRESENTATION
Guy Patton
PEARL
2012, 78 min, video
Consumed by a horrific event in her past, a woman is driven to violent retribution, and soon discovers that there can be no getting even. Her only ally: a meth-making genius who manipulates her for his own ends while she wages a vigilante campaign against a powerful drug lord and his thug army.

–Tues, Dec 3, Documentary Series at 6:00, Short Film Program at 7:00, Feature at 8:30.

CATALYSTS (or, EXPOUNDED CINEMA) PRESENTS: Leslie Thornton’s PEGGY AND FRED IN HELL
CATALYSTS is an ongoing series wherein avant-garde filmmakers reveal the secret sources and inspirations for a specific film from their body of work by a show-and-tell presentation encompassing readings, films, music, images, dreams, documents, private tales, or exhibits demonstrating the roots and branches of experimental personal cinema: Exegesis by demo. Each invited artist will be asked to develop and deliver a presentation that gives the audience insight into their original research on the personal, cultural, or historical source materials of the particular film being discussed. Each work chosen shall be rich in hybrid sources for a complex mixture of influences and inspirations.
Curated by Bradley Eros.

PEGGY AND FRED IN HELL
Our culture is a culture of fear, or so it is said: the fear of uncertainty, of otherness, of everything that stands in the way of consensus. It is a fear that is not least cultivated by the mass media, driven by a logic of anticipation and premediation. It is a culture that was already anticipated a few decades ago in the form of a remarkable science-fiction parable: Leslie Thornton’s PEGGY AND FRED IN HELL. PEGGY AND FRED portrays the lives of two children, the only survivors in a post-apocalyptic landscape, who create their own imaginary world in the midst of the debris of the 20th century. The relationships between technology, identity, and subjectivity that characterize today’s media culture are no longer applicable here, but they shimmer and reverberate in the form of shadow images and echoes. In the meantime, the children have grown up, the future has become part of the past, analogue became digital: reality seems to be catching up with Thornton’s fiction at an ever-increasing rate, but it continues to steadily mutate, ceaselessly assessing the remains of a human culture in an expanding body of raw data. It is this critical perspective of the relationship between society and technology that forms the consistent thread throughout the entire oeuvre of Thornton, whose father and grandfather both worked on the development of the atom bomb during World War II. The awareness of the ambivalences between the personal and cultural, the local and the global, forms the basis of her far-reaching and profound investigation into the aporias of language and media. This screening includes the latest and final episode in the series, THE FOLD, in which the back-story of the work is revealed.

NEWFILMMAKERS PRESENTS FILMS ABOUT NEW YORK LIFE

DOCUMENTARY SERIES
Jerry Pena THE CAN MAN (2012, 35 min, video)
Walter Heller enjoys solace through routine: walking endless country roads, picking up cans. THE CAN MAN offers a unique look into the life of a man many dismiss at face value as ‘crazy.’

SHORT FILM PROGRAM
Soren Bailey NETHERMEAD (2012, 9 min, video)
Aimee Schaefer THROW AWAY (2013, 12 min, video)
Miki Holiday BATINA’S WORLD (2012, 19 min, video)
Mauricio MoZapata EMPANADAS (2012, 20 min, video)

FIRST FEATURE PRESENTATION
Adrian Manzano
BQE
2013, 90 min, video
BQE is a story of Julian Suarez, 29 going on 30, who loves women so much he can't have just one. Three in particular have caught his eye: Genny, a voluptuous, rambunctious Lolita; Ingrid, a mature, sophisticated Manhattanite; and Maria, an artistic, sassy salsa dancer.

SECOND FEATURE PRESENTATION
Clive Williams
MR OBSCURE
2012, 90 min, video
A feature film based on the life and times of ‘the forgotten man’, Thomas Berkeley. A journalist is trying to unlock the mystery behind this elusive figure who played a prominent role in the success of four distinct individuals who had the good fortune to make his acquaintance.

–Wed, Dec 4, Documentary Series at 6:00, Short Film Program at 6:45, First Feature at 8:00, Second Feature at 9:45.

“RAPT is, paradoxically, both a film which looks back anachronistically toward the silent era and a work which belongs to the vanguard of sound cinema. Part of that paradox can be resolved by an understanding of the film’s complex utilization of music. RAPT employs very little dialogue, and in this respect it is reminiscent of the part-talkie genre…. It is linked to such abstract and hybrid avant-garde works as VAMPYR and L’ÂGE D’OR. The radical nature of RAPT, however, resides in its vision of a cinematic musical score. In making the film, Kirsanoff worked closely with the composers Honegger and Hoerce.” –Lucy Fisher

(EL INVIERNO DE PABLO)
PABLO’S WINTER is set in the mining town of Almadén, the filmmaker’s hometown. For Chico, to return to Almadén is to confront anew the history of the people who inhabit it. The film’s protagonist is a chain-smoking retired mercury miner who spends most of his time at his living room table, and has nothing to do but annoy his wife. But behind this facade of defeat lies a past of class and social struggle.

Composer Jack Urbont in person!

“Visually inventive filmmaking of a sophisticated and highly self-conscious kind.” –Kenneth Turan

The same year that the landmark DEEP THROAT initiated the ‘porno chic’ phase, a sexier, funnier, better-produced comedy appeared in the wake of Gerard Damiano’s feature-length dirty joke. Until recently it has only been championed by the most devoted adult film aficionados, but the time has come for HIGH RISE to be appreciated for the masterpiece that it is. Directed over the course of two and a half days by the late Danny Steinmann (‘Danny Stone’), who would make 80s genre classics like SAVAGE STREETS and FRIDAY THE 13TH, PART V: A NEW BEGINNING, this utterly charming misadventure follows Susie, a young woman advised by her psychiatrist to explore her sexual boundaries by bouncing door-to-door in a high rise apartment building and pursuing liaisons with whoever answers. A slight storyline is enlivened by plentiful sight gags, pop-culture inside jokes, and a variety of wildly cartoonish characters as we make our way through the high rise with wide-eyed Susie. With surprising bits of meta humor, a delightful leading lady in Tamie Trevor, appearances by porn legends Harry Reems, Jamie Gillis, and Marc Stevens, cameos by Geri Miller (Paul Morrissey’s FLESH and TRASH) and Rita Bennett (the films of Joseph Sarno), and the best original score you’ve never heard, this is one of the most purely pleasurable adult features you will ever see. Watch it with someone you love.

See the trailer here!: http://www.youtube.com/watch?v=GELH48XTVIY

(SIP’OHI – EL LUGAR DEL MANDURÉ)
Gustavo Salvatierra returns to his hometown, Sipo’hi, in the north of Argentina, a forgotten place far from Buenos Aires, in order to collect stories of wichí culture, transmitted orally from generation to generation. This culture is alive in the people’s language, and in the faces and the singular mood of wichí men and women. Traveling with Salvatierra is Sebastián Lingiardi, the Buenos Aires-born filmmaker, whose goal is to make a movie about this unique culture.

THE MODEL / EL MODELO
(Spain 2012, 45 min)
&
EL ENGAÑO
(Spain, 2009, 14 min)

Scelso is an Argentinian filmmaker who lives in Barcelona: far from home, perpetually without money, and without regular employment, he can only get jobs that the Spanish reject. This way of living, on the edge of society, is one he shares with the characters he chooses to film: losers, liars, the disabled, old and rejected people. The two films presented here are disturbing portraits of a country convulsed by economic, political, and social crises, and both find Scelso questioning the ethical boundaries of documentary cinema.

“A particularly deviant homage to Fellini, Ken Russell, Roger Vadim, and about a dozen other European directors, all served up in the context of a genuinely creepy horror film.” –Nathaniel Thompson, MONDO DIGITAL

Middleton’s disturbing exploration of an unhappily married woman’s fascination with a mysterious mirror in her mansion’s attic is the adult film genre’s sole psychological horror film. While the title implies a porno variant of Lewis Carroll’s classic story of Alice venturing into Wonderland, Middleton instead weaves a tale of incest, child abuse, and mental anguish, with the visual style and storytelling of a Gothic horror tale set in a sprawling, shadowy family estate. Catherine Burgess stars as Catherine, a pillar of high society whose impossibly perfect facade conceals an unhealthy obsession with an evil entity haunting her home, which takes on the persona of her late father. As her life begins to crumble around her, she is offered one chance to reunite with dear dead dad…for a price…. Expertly photographed by future Hollywood cinematographer João Fernandes (‘Harry Flecks’), boasting a cast of some of the best actors in the New York adult film scene of the mid-70s (Jamie Gillis, Terri Hall, Roger Caine, Kim Pope, Nancy Dare, Jeffrey Hurst, Bobby Astyr), and accented by a mesmerizing score courtesy of Arlon Ober and future FRIDAY THE 13TH composer Harry Manfredini, THROUGH THE LOOKING GLASS is a horrific gem waiting to be rediscovered by contemporary audiences.

Director Jonas Middleton will be here in person for an introduction and Q&A!

See the trailer here!: http://www.youtube.com/watch?v=oBDUt3667sM

Nuria Ibañez
(EL CUARTO DESNUDO)
Offers a vision of a whole world within the confines of a single space: the examination room in a children’s hospital in Mexico City. By listening to the children, their parents, and the doctors during consultations Ibañez provides a profound and complex view of social reality and human nature.

ONE WEEK (1920, 20 min, 35mm, b&w, silent)
NEIGHBORS (1921, 23 min, 35mm, b&w, silent)
THE SCARECROW (1920, 18 min, 35mm, b&w, silent)
THE PLAY HOUSE (1921, 20 min, 35mm, b&w, silent)
Total running time: ca. 85 min.

(ENSAYO FINAL PARA UTOPÍA)
As his father lies dying in a hospital room in Barcelona, the filmmaker’s thoughts travel to Mozambique. Images of dance and revolution, some culled from found footage, some newly shot, conjure up a spectral alternate reality. A spellbinding study of memory and sense of place.

With Buster Keaton, Marion Mack, Glen Cavendar, Jim Farley, and Joseph Keaton.
One of Keaton’s best silent features, setting comedy against a true Civil War story of a stolen train and Union spies.

FILMMAKER IN PERSON!

(PALABRAS MÁGICAS [PARA ROMPER UN ENCANTAMIENTO])
The filmmaker’s journey back to Nicaragua is also a journey from the ideals of the Sandinista revolution to the nightmare of the revolutionaries’ corruption. With her own history intertwined with the history of her homeland it is impossible to separate the public and the private – like dreams and nightmares, they are two sides of the same coin. An essay-film in the tradition of Chris Marker.

“Truly ideal entertainment for men and women, and would make an excellent introduction to the adult film world. It is one of the most entertaining adult films ever made, and proves that care and concern can create a classic motion picture.” –Jim Holliday, X-Rated Critics Association

Lavishly produced, impeccably acted and directed, and packed with smart references to classic Hollywood cinema, Weston’s adult comedy masterwork is often overshadowed by the films of Radley Metzger (THE OPENING OF MISTY BEETHOVEN) when lists of the best adult films are compiled. A box office flop in its day, TAKE OFF is now considered one of the finest ‘Golden Age’ adult features. Loosely based on Oscar Wilde’s THE PICTURE OF DORIAN GRAY, Weston’s tale follows Darrin Blue (future disco singer and soap star Wade Nichols), a dashing man of great social stature who has remained eternally young since the 1920s by keeping a magical stag reel in his attic. During his journey through the decades, Nichols encounters some of the greatest adult film actresses of the era, including Georgina Spelvin as a silent-era flapper, Clea Carson as a gangster’s moll, Annette Haven as a film noir femme fatale, Susaye London as a teenie-bopper, Beth Anna as a hippie, and finally Lesllie Bovee as a modern woman of the 1970s. Additional highlights include a surprising cameo by Warhol star Holly Woodlawn, an original score by John Lennon’s one-time band Elephant’s Memory, and appearances from adult film stars Vanessa del Rio and Eric Edwards. Fast and furiously funny, TAKE OFF is adult film comedy of the most sophisticated and romantic variety.

Larry Revene, the film's still photographer and friend of the late director Armand Weston, will be in person! 

See the trailer here!: http://www.youtube.com/watch?v=K2qfzHuSZTQ

FILMMAKER IN PERSON FOR BOTH SHOWS!

The second film of this young Mexican filmmaker (22 years old at the time of the production), who studied biology rather than filmmaking, is shot in and focused on Chiapas. The film concerns the special relationship between men and animals in the region, and centers on a young woman, who, like Chavarría himself, lives there only temporarily, and is on the verge of an important decision. The camera portrays this melancholic universe with humility and sensitivity, allowing each situation to play out according to its own particular rhythm.

MOSAIK IM VERTRAUEN / MOSAIC IN CONFIDENCE (1955, 16 minutes, 35mm)
ADEBAR (1957, 1 minute, 35mm)
SCHWECHATER (1958, 1 minute, 35mm)
ARNULF RAINER (1960, 7 minutes, 35mm)
UNSERE AFRIKAREISE / OUR TRIP TO AFRICA (1966, 12 minutes, 35mm)
PAUSE (1977, 12 minutes, 35mm)
“Peter Kubelka is the perfectionist of the film medium; and, as I honor that quality above all others at this time, finding such a lack of it now elsewhere, I would simply like to say: Peter Kubelka is the world’s greatest filmmaker – which is to say, simply: see his films!... by all means/above all else...etcetera.” –Stan Brakhage
Total running time: ca. 60 minutes.

Nuria Ibañez
(EL CUARTO DESNUDO)
Offers a vision of a whole world within the confines of a single space: the examination room in a children’s hospital in Mexico City. By listening to the children, their parents, and the doctors during consultations Ibañez provides a profound and complex view of social reality and human nature.

“Stan Laurel and Oliver Hardy are the movies’ greatest comic duo, the quintessential dumb and dumber odd-couple. Though critically overshadowed by Chaplin, Keaton, and Lloyd, they were enormously popular, and proved a major influence on Abbott & Costello, Lucille Ball & Vivian Vance, and Jackie Gleason & Art Carney, not to mention Samuel Beckett (they were an inspiration for WAITING FOR GODOT), Roman Polanski (who paid homage to them in his existentialist short films FAT AND LEAN and TWO MEN AND A WARDROBE), and Ken Jacobs (whose ONTIC ANTICS deconstructs one of their films).” –David Mulkins

COUNTY HOSPITAL (1932, 20 min, 16mm, b&w.) Directed by James Parrott.
THEM THAR HILLS (1934, 20 min, 16mm, b&w.) Directed by Charley Rogers.
TIT FOR TAT (1935, 20 min, 16mm, b&w.) Directed by Charley Rogers.
Total running time: ca. 65 min.

FILMMAKER IN PERSON FOR BOTH SHOWS!

The second film of this young Mexican filmmaker (22 years old at the time of the production), who studied biology rather than filmmaking, is shot in and focused on Chiapas. The film concerns the special relationship between men and animals in the region, and centers on a young woman, who, like Chavarría himself, lives there only temporarily, and is on the verge of an important decision. The camera portrays this melancholic universe with humility and sensitivity, allowing each situation to play out according to its own particular rhythm.

DIRECTOR LARRY REVENE WILL BE HERE IN PERSON FOR BOTH AN INTRODUCTION AND Q&A!

“Truly has everything going for it, from an inspired and genuinely witty screenplay to an immaculately professional big name cast at the top of their form.” –Dries Vermeulen, Dirty Movie Devotee

Revene, one of the busiest and best cinematographers on the NYC adult film scene, struck out on his own with a handful of charming sex comedies, of which this is arguably his finest. Hailed by many as the greatest adult film actress of all time, Veronica Hart shines as Wanda Brandt, a small town financial wizard who treks to NYC to work her magic at one of the top investment firms in the city. Teaming with her girl Friday Janie (the ever-underrated Tish Ambrose), Wanda sleeps her way through the company’s stock holders, blackmailing them into signing their shares over to her dummy corporation. Corporate investigator Lou Perrini (Jamie Gillis) and his assistant Ed (Ron Jeremy) set out to uncover the culprits behind this spree of Wall Street espionage, only to fall in love with the women responsible. Featuring appearances by adult film legends Samantha Fox, George Payne, Sharon Mitchell, Ron Hudd, and cult favorite Sondra Hillman, a dynamite library music score, and scenes that look to have actually been secretly shot on the floor of the New York Stock Exchange, this is a wild and wonderful example of New York erotica from its most professional period of production. Occupy Wall Street has nothing on Wanda!

See the trailer here!: http://www.youtube.com/watch?v=RuSOm9nRE68

(EL INVIERNO DE PABLO)
PABLO’S WINTER is set in the mining town of Almadén, the filmmaker’s hometown. For Chico, to return to Almadén is to confront anew the history of the people who inhabit it. The film’s protagonist is a chain-smoking retired mercury miner who spends most of his time at his living room table, and has nothing to do but annoy his wife. But behind this facade of defeat lies a past of class and social struggle.

AFA MEMBERS-ONLY – FREE SCREENING!

Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology’s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings – free and open only to members – we sweeten the pot even further.

Special thanks to Gare B. Noir.

Ted Brenner

RUN HOME SLOW
With Mercedes McCambridge.
While Frank Zappa made a number of his own films (200 MOTELS, UNCLE MEAT, BABY SNAKES), he didn’t score many movies for other directors. RUN HOME SLOW is a western written by Zappa’s English teacher, and at the time it represented a decent-paying gig. Zappa’s check went towards buying a recording studio in Cucamonga, CA, which he christened ‘STUDIO Z’. While the composer/rock star never had much to say about this low budget potboiler, he did offer one very enticing description: “The plot had something to do with a bad ranch lady, a nymphomaniac cowgirl, and a hunch-back handy-man named Kirby who eventually winds up pooching the nympho in a barn, next to the rotting carcass of the family donkey.” Well, not exactly, but Mercedes McCambridge (JOHNNY GUITAR) is in peak maniac form in this offbeat and off-key revenge drama. It’s really an odd little piece of work that cult aficionados and Zappaphiles will fully appreciate.

NEWFILMMAKERS PRESENTS A NIGHT OF ANIMATION

DOCUMENTARY SERIES
Adrian Goycoolea ¡VIVA CHILE MIERDA! (2013, 87 minutes. video)
Chile, 1974. Under the cloak of darkness Pinochet's military intelligence service raid the home of the filmmaker's aunt Gaby. She, together with her husband and brother, were blindfolded and taken to a secret military prison to be interrogated. For three weeks they were tortured and terrorized. No one knew where they were. Their children were kept under armed guard. Were it not for the help given to them by one young prison guard, they would not have coped. That guard was Andres 'Papudo' Valenzuela, who several years later would be the first military intelligence officer to admit to the crimes committed by the dictatorship. Through intimate interviews, illustrations, animations and first person voice over, this film traces the lives of both prisoners and guard in order to reflect on the enduring effects of this traumatic history. Their stories shine light on larger issues of exile, national identity, truth and reconciliation.

SHORT FILM PROGRAM
Dldi (Siyu) Wang THE OTHER HAND (2013, 2 min, video)
James Buran NOBODY (2012, 2 min, video)
Alison Chin FISH TANK FANTASY (2011, 3 min, video)
Meejin Hong SUGARCOAT (2012, 7 min, video)
Jonathan Monaghan RAINBOW NARCOSIS (2013, 9 min, video)
Seth Camillo THE WAY OF CLAY (2012, 12 min, 16mm)
Ivan Orkeny TREPPENWITZ (2012, 13 min, video)
Eric Patrick RETROCOGNITION (2012, 18 min, video)

FIRST FEATURE PRESENTATION
Matt Willis-Jones INCALCITRANOUS REX (2012, 14 min, video)
&
David Finkelstein
SUGGESTIVE GESTURES
2013, 75 min, video
Navigating a labyrinth, the viewer passes through a series of extremely diverse landscapes, which are created through lush animation, evocative orchestral music, and rich dialogue, in which words are used as much for rhythm and texture as they are for meaning.

–Tues, Dec 10, Documentary Series at 6:00, Short Film Program at 7:30, Feature at 9:00.

PROGRAM 6
LIVE LIKE A REFUGEE: ON THE BORDER

Sylvain George says, “Paris, open city… The young migrants – Iraqis, Afghans, Iranians – wander in the streets, between soup kitchens and fortune camps. As they leave, they provoke a crisis of the order of things and bourgeois society. A movement of emancipation arises, profoundly melancholic, elegiac: to redefine the concept of revolution through a new concept of History.” The paradigmatic status of the refugee – stateless, bereft of civil rights, in perpetual limbo – suffuses these passionately angry films.

Santiago Alvarez NOW (Cuba, 1965, 6 min)
Laura Waddington STILL (France, 2009, 7 min)
Sylvain George ILS NOUS TUERONT TOUS (France, 2009, 10 min)
Xose Quiroga AAC303847E (Spain, 2012, 3 min)
Laura Waddington BORDER (UK/France, 2004, 27 min)
Sylvain George N’ENTRE PAS SANS VIOLENCE DANS LA NUIT (France, 2005-08, 20 min)
Sylvain George VERS MADRID: THE FINAL NEWSREEL (France, 2013, 15-min excerpt)
Total running time: ca. 95 min.

Speaker: Laura Waddington

NEWFILMMAKERS PRESENTS A DOUBLE FEATURE

DOCUMENTARY SERIES
Marcus Ricci THE 2012 PROJECT (2013, 76 min, video)
The story of six friends who decide to confront the possible end of the world together.

SHORT FILM PROGRAM
Louis D’Arpa EIDOS (2013, 13 min, video)
Shaza Irfan NO MATTER WHAT (2013, 12 min, video)
Jaime Ekkens A LIFE WITH ASPERGER’S (2013, 4 min, video)
Nick Petrie INNOCENT CREEP (2013, 7 min, video)
Taekwang Lee バナナとリンゴ (2012, 10 min, video)

FEATURE PRESENTATION
Jessica Habie MARS AT SUNRISE (2013, 75 minutes)  WATCH TRAILER 
Mars At Sunrise is the story of a war waged on imagination. A painter’s resistance, courage and spirit can never be imprisoned in this highly stylized story of the conflict of two frustrated artists on either side of Israel’s militarized borders. Inspired by the creative journey of renowned Palestinian artist in exile Hani Zurob and on true stories and testimonies from the region, we witness expression, confinement, torture, jealousy, courage and freedom as both artists from each culture strive to paint a picture of life surrounded by conflict. Mars at Sunrise stars Ali Suliman as Khaled, Golden Globe Winner for Best Foreign Film 2005, Paradise Now; Guy El Hanan as Eyal, an Israeli radio personality and an accomplished playwright; and Haale Gafori as Azzadeh, a singer based in Brooklyn and author of the film’s original poetry. The soundtrack features six languages (English, Hebrew, Russian, Yiddish, Farsi and Arabic) and was produced by Tamir Muskat of the Balkan Beat Box, and featuring original music by Itamar Ziegler and Mohsen Subhi.

–Wed, Dec 11, Documentary Series at 6:00, Short Film Program at 7:30, First Feature at 8:30, Second Feature at 10:15.

Co-presented with MINI/Goethe-Institut Curatorial Residencies Ludlow 38

Set in the New York art world, THE SIXTH YEAR appropriates and re-interprets the popular format of the TV series by way of artistic collaboration. The screenplay, which reveals the art world’s backstage relationships and intrigues by way of a fictionalized narrative, is written by Jay Chung and Q Takeki Maeda, while every episode is directed by a different artist or filmmaker, including Rick Alverson, Dustin Guy Defa, Loretta Fahrenholz, Nick Mauss, Ken Okiishi, and Alex Ross Perry. Additional artists have contributed props and other elements.

With a small exhibition space on the Lower East Side functioning as its anchor point, THE SIXTH YEAR theatricalizes the social interactions and power games, the aspirations, passions, and everyday realities of the field. This theatrical premiere showcases the complete season.

THE SIXTH YEAR is produced by Jakob Schillinger for MINI/Goethe-Institut Curatorial Residencies Ludlow 38. For further information, please visit www.ludlow38.org and www.goethe.de/newyork.

With Gary Cooper, Maria Schell, and Karl Malden.
Widely considered one of the director’s very best, Daves’s magnificently shot 1959 picture rounded out his “composite of the West” with a Montana wildcat mining settlement ominously dubbed Skull Creek. A late-career Gary Cooper digs into the thornily complex character of Doc Joe Frail, a gunslinging doctor who installs himself in a lone overlook cabin. Kind and controlling, gentle and brutal, Frail is a force to be reckoned with, as Daves sets into motion a series of tense dynamics with Rune, a would-be thief Frail forces into servitude; Elizabeth, a Swiss settler (Maria Schell) Frail nurses back to health after an ambush; and rude, crude prospector Frenchy (Karl Malden). With George C. Scott as a doomsday preacher.

“A film that eschews moral oversimplification throughout, opposing complex, conflicted characters.” –Bertrand Tavernier, FILM COMMENT

For this edition of our regular series SINGLE FRAME, Ariel Goldberg presents the world premiere of THE PHOTOGRAPHER, a slide show and reading of essays. The Photographer, as both a project and a character, restlessly shifts perspectives in order to reach inside the language of taking and looking at pictures. Initially presented as “press conferences” in the form of publications and performances devoid of images, this new installment unveils The Photographer’s most intimate study to date: a re-immersion into the act of photographing. Goldberg’s slideshow of color street photography considers itself an open letter to Helen Levitt, and will run alongside a live performance of essays on the raw experience of narrating the photographic act in its most mundane and ubiquitous moments.

This performance is made possible, in part, by a 2012-13 grant from the Franklin Furnace Fund supported by the Jerome Foundation; the Lambent Foundation Fund of Tides Foundation; and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

With Richard Egan, Dorothy McGuire, Sandra Dee, Arthur Kennedy, Troy Donahue, and Constance Ford.
In one of the more stunning career moves among filmmakers, Daves dove with a splash into Technicolor melodrama after THE HANGING TREE and a string of Westerns. With warmth, sincerity, and candor, Daves orchestrates twinned romances on a Maine vacation island: first love between teenagers Molly and Johnny (Dee and Donahue), and adultery between Molly’s dad Ken and Johnny’s mother Sylvia (Egan and McGuire). Since Ken grew up an errand boy on the island, class tensions still simmer, with Arthur Kennedy sniping as Johnny’s sarcastic drunk of a father and Constance Ford vicious as Molly’s repressive mom. The seal of approval? The New York Times found Daves’s film “laboriously and garishly sex-scented.” Cinematography by Harry Stradling; score by Max Steiner.

“A full-throttle melodrama […] Daves’s film opened the way to ‘adult’ themes in Hollywood films, just as the sexual revolution was breaking in popular novels and magazines.” –Dave Kehr, NEW YORK TIMES

With Troy Donahue, Connie Stevens, Dorothy McGuire, Lloyd Nolan, and Brian Aherne.
Naïve 17-year-old Susan Slade (Stevens), raised abroad in Chile, arrives in her new California home knocked up after a shipboard fling with Grant Williams. After the baby is born quietly in Guatemala, Susan’s parents pass the child off as their own, and San Francisco is deceived – especially the young bachelors who come to court on Susan, a scion of wealth played by Bert Convy and a horse doctor played by Troy Donahue. Daves wrote the screenplay and directed, and the result is a film with all of the bathetic emotional excess of Douglas Sirk but none of the after-the-fact intellectual self-justification or escape-hatch irony.

With Henry Fonda, Maureen O’Hara, James MacArthur, Donald Crisp, and Mimsy Farmer.
Henry Fonda stars as Clay Spencer, a poor-but-decent Wyoming farmer who dreams of building a dream house for his enormous family and wife, Olivia (O’Hara), atop the mountain where they live. Meanwhile, eldest son James MacArthur aspires to go to college, learning Latin from Wally Cox’s preacher. (His sweetheart is played by none other than future exploitation mainstay Mimsy Farmer.) Shooting on-location in Grand Teton National Park and Jackson Hole, Daves and cinematographer Charles Lawton render the anecdotal and the prosaic luminous. With its essential generosity and faith in the restorative power of nature, SPENCER’S MOUNTAIN is the sort of work that prompted Kent Jones to declare Daves “an absolute rarity in cinema, an artist of the good.” Adapted from Earl Hamner, Jr.’s autobiographical novel of the same title, which later became the basis for the television series THE WALTONS.

With James Franciscus, Suzanne Pleshette, Geneviève Page, Eva Gabor, and Mary Astor.
Blonde God James Franciscus stars as a truck driver from Kentucky who lights out for NYC to make a success as a novelist. The dashing Youngblood does this, spectacularly, with the aid of a helpful editor (Pleshette)…then steps over her en route to the heights of Broadway and Fifth Avenue, which will be the scene of his precipitous downfall. The last of Daves’s potboilers was adapted from Herman Wouk’s doorstop-sized bestseller, with a screenplay by Wouk and Daves. Critics disdained its soapy excess, but today its merits are glaring: coolly-beautiful black-and-white photography, Max Steiner’s march-like score, and Geneviève Page, excellent as the seduced wife of Youngblood’s publisher.

All films preserved with support from the National Film Preservation Foundation.

THE NAKED AND THE NUDE (1957, 36 min, 8mm-to-16mm blow-up, sound on CD)
The oldest surviving Kuchar mini-epic, this patriotic WWII period piece (made by high schoolers) chronicles the desires and destinies of carnal appetites on the front line.
“Big…Rousing…Memorable! The incredible war saga of our own boys in a Jap-infested jungle in the Botanical Gardens. Hear Lloyd Thorner sing the title song. You’ll come out whistling from both ends.” –G.K.

PUSSY ON A HOT TIN ROOF (1961, 14 min, 8mm-to-16mm blow-up, sound on CD)
“It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy.” –G.K.

BORN OF THE WIND (1962, 24 min, 8mm-to-16mm)
Preserved by Anthology through the Avant-Garde Masters program funded by the Film Foundation and administered by the National Film Preservation Foundation. Special thanks to Cineric, Inc.
“A tender and realistic story of a scientist who falls in love with a mummy he has restored to life… 2,000 years as a mummy couldn’t quench her thirst for love!” –G.K.

TOOTSIES IN AUTUMN (1963, 15 min, 8mm-to-16mm blow-up, sound on CD)
Mike’s cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness.
Total running time: ca. 95 min.

With Richard Egan, Dorothy McGuire, Sandra Dee, Arthur Kennedy, Troy Donahue, and Constance Ford.
In one of the more stunning career moves among filmmakers, Daves dove with a splash into Technicolor melodrama after THE HANGING TREE and a string of Westerns. With warmth, sincerity, and candor, Daves orchestrates twinned romances on a Maine vacation island: first love between teenagers Molly and Johnny (Dee and Donahue), and adultery between Molly’s dad Ken and Johnny’s mother Sylvia (Egan and McGuire). Since Ken grew up an errand boy on the island, class tensions still simmer, with Arthur Kennedy sniping as Johnny’s sarcastic drunk of a father and Constance Ford vicious as Molly’s repressive mom. The seal of approval? The New York Times found Daves’s film “laboriously and garishly sex-scented.” Cinematography by Harry Stradling; score by Max Steiner.

“A full-throttle melodrama […] Daves’s film opened the way to ‘adult’ themes in Hollywood films, just as the sexual revolution was breaking in popular novels and magazines.” –Dave Kehr, NEW YORK TIMES

GARY COOPER'S DAUGHTER, MARIA COOPER JANIS, WILL BE HERE IN PERSON TO INTRODUCE SATURDAY NIGHT'S SCREENING!

With Gary Cooper, Maria Schell, and Karl Malden.

Widely considered one of the director’s very best, Daves’s magnificently shot 1959 picture rounded out his “composite of the West” with a Montana wildcat mining settlement ominously dubbed Skull Creek. A late-career Gary Cooper digs into the thornily complex character of Doc Joe Frail, a gunslinging doctor who installs himself in a lone overlook cabin. Kind and controlling, gentle and brutal, Frail is a force to be reckoned with, as Daves sets into motion a series of tense dynamics with Rune, a would-be thief Frail forces into servitude; Elizabeth, a Swiss settler (Maria Schell) Frail nurses back to health after an ambush; and rude, crude prospector Frenchy (Karl Malden). With George C. Scott as a doomsday preacher.

“A film that eschews moral oversimplification throughout, opposing complex, conflicted characters.” –Bertrand Tavernier, FILM COMMENT

With Richard Egan, Dorothy McGuire, Sandra Dee, Arthur Kennedy, Troy Donahue, and Constance Ford.
In one of the more stunning career moves among filmmakers, Daves dove with a splash into Technicolor melodrama after THE HANGING TREE and a string of Westerns. With warmth, sincerity, and candor, Daves orchestrates twinned romances on a Maine vacation island: first love between teenagers Molly and Johnny (Dee and Donahue), and adultery between Molly’s dad Ken and Johnny’s mother Sylvia (Egan and McGuire). Since Ken grew up an errand boy on the island, class tensions still simmer, with Arthur Kennedy sniping as Johnny’s sarcastic drunk of a father and Constance Ford vicious as Molly’s repressive mom. The seal of approval? The New York Times found Daves’s film “laboriously and garishly sex-scented.” Cinematography by Harry Stradling; score by Max Steiner.

“A full-throttle melodrama […] Daves’s film opened the way to ‘adult’ themes in Hollywood films, just as the sexual revolution was breaking in popular novels and magazines.” –Dave Kehr, NEW YORK TIMES

“His remarkable faculty is as maker of images.... [T]he images he photographs are among the most radical, super-real and haunting images the cinema has ever given us.” –P. Adams Sitney, VISIONARY FILM

“Film is a complex medium, combining elements of many other media. The ideal film artist would be a great poet, great painter, great playwright, great composer, great inventor – and maybe even a great business man or woman (most probably a woman – all the artists of the future may be women, men having long given up that profession to become soldiers or mystics). Such a composite genius has yet to appear.” –interview with George Landow, IMAGE FORUM

EARLY FILMS BY GEORGE LANDOW(ca. 1961-62, ca. 15 minutes, 8mm-to-16mm blow-up.) Preserved with support from Cineric, Inc.
These films are not part of the Essential Cinema. According to Jonas Mekas, Landow used to show these films along with FLEMING FALOON at early screenings before he pulled them from his repertoire. They seem to be studies for FLEMING FALOON, more raw, less concise, messy split-screens and footage re-filmed off the screen. Talking heads (including Mike Wallace and film historian Richard Kraft) blur, stretch, fade; what Jonas says is a festering arm wound that Landow had at the time is shot at various blurry exposures.
FLEMING FALOON (1963, 6 minutes, 16mm)
FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT PARTICLES, ETC. (1965/66, 5 minutes,
16mm, silent)
DIPLOTERATOLOGY: BARDO FOLLIES (1967, 7 minutes, 16mm, b&w, silent)
THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 minutes, 16mm, b&w)
INSTITUTIONAL QUALITY (1969, 5 minutes, 16mm)
REMEDIAL READING COMPREHENSION (1970, 5 minutes, 16mm)
WHAT’S WRONG WITH THIS PICTURE? (1972, 13 minutes, 16mm)
THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 minutes, 16mm)
Total running time: ca. 80 minutes.

Fernand Léger & Dudley Murphy
BALLET MÉCANIQUE  (1924, 19 minutes, 35mm, b&w, silent. Preserved by Anthology Film Archives.)

René Clair & Francis Picabia
ENTR’ACTE (1924, 22 minutes, 35mm, b&w)

Man Ray
LE RETOUR À LA RAISON (1923, 2 minutes, 16mm, b&w, silent)
ÉTOILE DE MER (1927, 13 minutes, 16mm, b&w, silent)
EMAK BAKIA (1927, 18 minutes, 35mm, b&w, silent)

Marcel Duchamp & Man Ray
ANEMIC CINEMA (1926, 7 minutes, 35mm, b&w, silent)

Total running time: ca. 85 minutes.

With James Franciscus, Suzanne Pleshette, Geneviève Page, Eva Gabor, and Mary Astor.
Blonde God James Franciscus stars as a truck driver from Kentucky who lights out for NYC to make a success as a novelist. The dashing Youngblood does this, spectacularly, with the aid of a helpful editor (Pleshette)…then steps over her en route to the heights of Broadway and Fifth Avenue, which will be the scene of his precipitous downfall. The last of Daves’s potboilers was adapted from Herman Wouk’s doorstop-sized bestseller, with a screenplay by Wouk and Daves. Critics disdained its soapy excess, but today its merits are glaring: coolly-beautiful black-and-white photography, Max Steiner’s march-like score, and Geneviève Page, excellent as the seduced wife of Youngblood’s publisher.

“The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice’s, are clearly the most significant work to come out of the beat period.” –J.J. Murphy
All films preserved by Anthology Film Archives.
THE MAN WHO INVENTED GOLD (1957, 14 minutes, 16mm)
BEAT (1958, 6 minutes, 16mm)
SCOTCH HOP (1959, 5.5 minutes, 16mm)
THE END (1953, 35 minutes, 16mm)
Total running time: ca. 65 minutes.

With Henry Fonda, Maureen O’Hara, James MacArthur, Donald Crisp, and Mimsy Farmer.
Henry Fonda stars as Clay Spencer, a poor-but-decent Wyoming farmer who dreams of building a dream house for his enormous family and wife, Olivia (O’Hara), atop the mountain where they live. Meanwhile, eldest son James MacArthur aspires to go to college, learning Latin from Wally Cox’s preacher. (His sweetheart is played by none other than future exploitation mainstay Mimsy Farmer.) Shooting on-location in Grand Teton National Park and Jackson Hole, Daves and cinematographer Charles Lawton render the anecdotal and the prosaic luminous. With its essential generosity and faith in the restorative power of nature, SPENCER’S MOUNTAIN is the sort of work that prompted Kent Jones to declare Daves “an absolute rarity in cinema, an artist of the good.” Adapted from Earl Hamner, Jr.’s autobiographical novel of the same title, which later became the basis for the television series THE WALTONS.

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

(PARADIES: LIEBE)
An unforgettable introduction to the trilogy, LOVE focuses on the phenomenon of sex tourism in Africa by depicting the vacation to Kenya taken by Teresa – whose sister and daughter are the protagonists of FAITH and HOPE – in the company of a friend who is a seasoned sex tourist. In Kenya, Teresa inhabits a bizarre world, a swanky, European-tourist-filled resort that’s carefully removed (indeed, literally roped off from) the society around it, but ringed at its edges by locals poised to feed economically off the tourists. True to form, Seidl takes perverse pleasure in unflinchingly confronting the queasy racial, emotional, and political dynamics involved in Teresa’s sexual encounters with the locals. But the genius of LOVE is its sensitivity not only to the (mutual) exploitation defining the relationship between Teresa and the Kenyans with whom she comes into contact, but also to the loneliness, desire, and longing for sensual pleasure motivating Teresa.

With Henry Fonda, Maureen O’Hara, James MacArthur, Donald Crisp, and Mimsy Farmer.
Henry Fonda stars as Clay Spencer, a poor-but-decent Wyoming farmer who dreams of building a dream house for his enormous family and wife, Olivia (O’Hara), atop the mountain where they live. Meanwhile, eldest son James MacArthur aspires to go to college, learning Latin from Wally Cox’s preacher. (His sweetheart is played by none other than future exploitation mainstay Mimsy Farmer.) Shooting on-location in Grand Teton National Park and Jackson Hole, Daves and cinematographer Charles Lawton render the anecdotal and the prosaic luminous. With its essential generosity and faith in the restorative power of nature, SPENCER’S MOUNTAIN is the sort of work that prompted Kent Jones to declare Daves “an absolute rarity in cinema, an artist of the good.” Adapted from Earl Hamner, Jr.’s autobiographical novel of the same title, which later became the basis for the television series THE WALTONS.

(PARADIES: GLAUBE)
Anna Maria, a woman of a relentlessly religious bent, devotes her summer to missionary work in an effort to return Austria to the path of virtue. Carrying a foot-high statue of the Virgin Mary, she goes door-to-door preaching her rabidly dogmatic brand of Catholicism. One day, after years of absence, her husband, an Egyptian Muslim confined to a wheelchair, returns home, turning Anna Maria’s life upside-down and turning her home into the stage for a battle of wills. FAITH recounts the stations of the cross of a marriage and the longing for love.

With Troy Donahue, Connie Stevens, Dorothy McGuire, Lloyd Nolan, and Brian Aherne.
Naïve 17-year-old Susan Slade (Stevens), raised abroad in Chile, arrives in her new California home knocked up after a shipboard fling with Grant Williams. After the baby is born quietly in Guatemala, Susan’s parents pass the child off as their own, and San Francisco is deceived – especially the young bachelors who come to court on Susan, a scion of wealth played by Bert Convy and a horse doctor played by Troy Donahue. Daves wrote the screenplay and directed, and the result is a film with all of the bathetic emotional excess of Douglas Sirk but none of the after-the-fact intellectual self-justification or escape-hatch irony.

With James Franciscus, Suzanne Pleshette, Geneviève Page, Eva Gabor, and Mary Astor.
Blonde God James Franciscus stars as a truck driver from Kentucky who lights out for NYC to make a success as a novelist. The dashing Youngblood does this, spectacularly, with the aid of a helpful editor (Pleshette)…then steps over her en route to the heights of Broadway and Fifth Avenue, which will be the scene of his precipitous downfall. The last of Daves’s potboilers was adapted from Herman Wouk’s doorstop-sized bestseller, with a screenplay by Wouk and Daves. Critics disdained its soapy excess, but today its merits are glaring: coolly-beautiful black-and-white photography, Max Steiner’s march-like score, and Geneviève Page, excellent as the seduced wife of Youngblood’s publisher.

NEW YORK THEATRICAL PREMIERE RUN!
(PARADIES: HOFFNUNG)
The concluding chapter of the trilogy tells the story of overweight 13-year-old Melanie and her first love. While her mother travels to Kenya (LOVE) and her aunt does missionary work (FAITH), Melanie spends her summer vacation at a strict diet camp for overweight teenagers. Between physical education and nutrition counseling, pillow fights and her first cigarette, Melanie falls in love with the camp director, a doctor forty years her senior.

(PARADIES: LIEBE)
An unforgettable introduction to the trilogy, LOVE focuses on the phenomenon of sex tourism in Africa by depicting the vacation to Kenya taken by Teresa – whose sister and daughter are the protagonists of FAITH and HOPE – in the company of a friend who is a seasoned sex tourist. In Kenya, Teresa inhabits a bizarre world, a swanky, European-tourist-filled resort that’s carefully removed (indeed, literally roped off from) the society around it, but ringed at its edges by locals poised to feed economically off the tourists. True to form, Seidl takes perverse pleasure in unflinchingly confronting the queasy racial, emotional, and political dynamics involved in Teresa’s sexual encounters with the locals. But the genius of LOVE is its sensitivity not only to the (mutual) exploitation defining the relationship between Teresa and the Kenyans with whom she comes into contact, but also to the loneliness, desire, and longing for sensual pleasure motivating Teresa.

With Gary Cooper, Maria Schell, and Karl Malden.
Widely considered one of the director’s very best, Daves’s magnificently shot 1959 picture rounded out his “composite of the West” with a Montana wildcat mining settlement ominously dubbed Skull Creek. A late-career Gary Cooper digs into the thornily complex character of Doc Joe Frail, a gunslinging doctor who installs himself in a lone overlook cabin. Kind and controlling, gentle and brutal, Frail is a force to be reckoned with, as Daves sets into motion a series of tense dynamics with Rune, a would-be thief Frail forces into servitude; Elizabeth, a Swiss settler (Maria Schell) Frail nurses back to health after an ambush; and rude, crude prospector Frenchy (Karl Malden). With George C. Scott as a doomsday preacher.

“A film that eschews moral oversimplification throughout, opposing complex, conflicted characters.” –Bertrand Tavernier, FILM COMMENT

NEWFILMMAKERS CHRISTMAS SHOW

FIRST SHORT FILM PROGRAM
Kevin Darnell Walker YING AND YANG (2013, 12 min, video)
Joe Mode WHY (2011) (2011, 19 min, video)
Wil J. Jackson THE DENIED (2013, 15 min, video)

SECOND SHORT FILM PROGRAM
Dustin Shroff DEFLATED (2012, 5 min, video)
Pierre Stefano BRIGHTON (2012, 27 min, video)
Michael Natale KATE (2012, 27 min, video)

THIRD SHORT FILM PROGRAM
Hannah Leshaw FICTIONAL ME, FICTIONAL YOU (2013, 12 min, video)
Joseph Megel ABOUT TIME (2012, 19 min, video)
A. James Marcolin LEFT WITH A BITTER TASTE IN THE MOUTH (2012, 24 min, video)

FEATURE PRESENTATION
Clay Luther
CRY
2013, 100 min, video
Neighbors Cable Malone and Carson Johnson meet their daily lives with dread. Cable, a recent widower, spends his days waiting to die in the company of his ancient dog, Beau. Carson, a bullied teen keeping another boy’s secret, drags himself to school where he knows he will fumble his relationship with his girlfriend and receive new bruises at the hands of his classmates.

–Wed, Dec 18, First Shorts Program at 6:00, Second Shorts Program at 7:15, Third Shorts Program at 8:30, Feature at 9:45.

(PARADIES: GLAUBE)
Anna Maria, a woman of a relentlessly religious bent, devotes her summer to missionary work in an effort to return Austria to the path of virtue. Carrying a foot-high statue of the Virgin Mary, she goes door-to-door preaching her rabidly dogmatic brand of Catholicism. One day, after years of absence, her husband, an Egyptian Muslim confined to a wheelchair, returns home, turning Anna Maria’s life upside-down and turning her home into the stage for a battle of wills. FAITH recounts the stations of the cross of a marriage and the longing for love.

NEW YORK THEATRICAL PREMIERE RUN!
(PARADIES: HOFFNUNG)
The concluding chapter of the trilogy tells the story of overweight 13-year-old Melanie and her first love. While her mother travels to Kenya (LOVE) and her aunt does missionary work (FAITH), Melanie spends her summer vacation at a strict diet camp for overweight teenagers. Between physical education and nutrition counseling, pillow fights and her first cigarette, Melanie falls in love with the camp director, a doctor forty years her senior.

NEW YORK THEATRICAL PREMIERE RUN!
(PARADIES: HOFFNUNG)
The concluding chapter of the trilogy tells the story of overweight 13-year-old Melanie and her first love. While her mother travels to Kenya (LOVE) and her aunt does missionary work (FAITH), Melanie spends her summer vacation at a strict diet camp for overweight teenagers. Between physical education and nutrition counseling, pillow fights and her first cigarette, Melanie falls in love with the camp director, a doctor forty years her senior.

(PARADIES: LIEBE)
An unforgettable introduction to the trilogy, LOVE focuses on the phenomenon of sex tourism in Africa by depicting the vacation to Kenya taken by Teresa – whose sister and daughter are the protagonists of FAITH and HOPE – in the company of a friend who is a seasoned sex tourist. In Kenya, Teresa inhabits a bizarre world, a swanky, European-tourist-filled resort that’s carefully removed (indeed, literally roped off from) the society around it, but ringed at its edges by locals poised to feed economically off the tourists. True to form, Seidl takes perverse pleasure in unflinchingly confronting the queasy racial, emotional, and political dynamics involved in Teresa’s sexual encounters with the locals. But the genius of LOVE is its sensitivity not only to the (mutual) exploitation defining the relationship between Teresa and the Kenyans with whom she comes into contact, but also to the loneliness, desire, and longing for sensual pleasure motivating Teresa.

In December we welcome Brooklyn-based Steve Cossman for two programs of his work, one devoted to his inventive and resourcefully-crafted early stop-motion animations, the other to his bold, dynamic experiments in single-frame filmmaking and his rigorous investigations into the possibilities of digital manipulation. Cossman is deeply devoted to exploring the ways in which both film and digital video can reveal the nature of time and perception, both through his own moving-image work and as the founder and director of Brooklyn’s Mono No Aware, a group that offers year-round filmmaking workshops, presents screenings, and hosts an annual exhibition of expanded cinema. Mono No Aware VII will be taking place on December 6 & 7 at LightSpace Studios; for more info visit mononoawarefilm.com.

PROGRAM 1: EARLY STOP-MOTION ANIMATION FILMS
ROUND 2 FIGHT (1998, 5 min, Super-8mm)
SKELETOR’S REVENGE PART 4 “THE NEW DECK” (1999, 5 min, Super-8mm)
PIÑARTY AT SIX (2000, 5 min, Super-8mm)
WAITAMINUTE test reels (2001, 3 min, Super-8mm)
MOVIE MOVIE 2002, (5 min, Super-8mm)
CHESS AND CHASE (2003, 1 min, 16mm)
CLASSICAL INTERCOURSE (2003, 12 min, 16mm)
STAR (2004, 30 sec, Super-8mm)
THE LAW (2004, 30 sec, Super-8mm)
PORTRAIT SERIES (2005-09, Infinite, Gouache/DV)
Total running time: ca. 50 min.

Both artist and puppets in person for Q&A!

(PARADIES: GLAUBE)
Anna Maria, a woman of a relentlessly religious bent, devotes her summer to missionary work in an effort to return Austria to the path of virtue. Carrying a foot-high statue of the Virgin Mary, she goes door-to-door preaching her rabidly dogmatic brand of Catholicism. One day, after years of absence, her husband, an Egyptian Muslim confined to a wheelchair, returns home, turning Anna Maria’s life upside-down and turning her home into the stage for a battle of wills. FAITH recounts the stations of the cross of a marriage and the longing for love.

NEW YORK THEATRICAL PREMIERE RUN!
(PARADIES: HOFFNUNG)
The concluding chapter of the trilogy tells the story of overweight 13-year-old Melanie and her first love. While her mother travels to Kenya (LOVE) and her aunt does missionary work (FAITH), Melanie spends her summer vacation at a strict diet camp for overweight teenagers. Between physical education and nutrition counseling, pillow fights and her first cigarette, Melanie falls in love with the camp director, a doctor forty years her senior.

In December we welcome Brooklyn-based Steve Cossman for two programs of his work, one devoted to his inventive and resourcefully-crafted early stop-motion animations, the other to his bold, dynamic experiments in single-frame filmmaking and his rigorous investigations into the possibilities of digital manipulation. Cossman is deeply devoted to exploring the ways in which both film and digital video can reveal the nature of time and perception, both through his own moving-image work and as the founder and director of Brooklyn’s Mono No Aware, a group that offers year-round filmmaking workshops, presents screenings, and hosts an annual exhibition of expanded cinema. Mono No Aware VII will be taking place on December 6 & 7 at LightSpace Studios; for more info visit mononoawarefilm.com.

PROGRAM 2:
RECENT TIME BASED WORK ON FILM AND VIDEO
EI WADA (2010-13, 8 min, Super-8mm, sound by Ei Wada)
JIVE (2011, 10 min, digital video, sound by Jeffery Smith)
POOOL remix (2013, 6 min, digital video, sound by Richard Gamble)
MOUNTAIN CLIMBER (2011/13, 4 min, digital video) Live sound by Ryan Marino!
TUSSLEMUSCLE (2007-09, 4 min, 16mm, sound by Jacob Long)
WHITECABBAGE (2010-13, 6 min, 35mm) Live sound performance by Jahiliyya Fields!
Total running time: ca. 45 min.

(PARADIES: LIEBE)
An unforgettable introduction to the trilogy, LOVE focuses on the phenomenon of sex tourism in Africa by depicting the vacation to Kenya taken by Teresa – whose sister and daughter are the protagonists of FAITH and HOPE – in the company of a friend who is a seasoned sex tourist. In Kenya, Teresa inhabits a bizarre world, a swanky, European-tourist-filled resort that’s carefully removed (indeed, literally roped off from) the society around it, but ringed at its edges by locals poised to feed economically off the tourists. True to form, Seidl takes perverse pleasure in unflinchingly confronting the queasy racial, emotional, and political dynamics involved in Teresa’s sexual encounters with the locals. But the genius of LOVE is its sensitivity not only to the (mutual) exploitation defining the relationship between Teresa and the Kenyans with whom she comes into contact, but also to the loneliness, desire, and longing for sensual pleasure motivating Teresa.

(PARADIES: LIEBE)
An unforgettable introduction to the trilogy, LOVE focuses on the phenomenon of sex tourism in Africa by depicting the vacation to Kenya taken by Teresa – whose sister and daughter are the protagonists of FAITH and HOPE – in the company of a friend who is a seasoned sex tourist. In Kenya, Teresa inhabits a bizarre world, a swanky, European-tourist-filled resort that’s carefully removed (indeed, literally roped off from) the society around it, but ringed at its edges by locals poised to feed economically off the tourists. True to form, Seidl takes perverse pleasure in unflinchingly confronting the queasy racial, emotional, and political dynamics involved in Teresa’s sexual encounters with the locals. But the genius of LOVE is its sensitivity not only to the (mutual) exploitation defining the relationship between Teresa and the Kenyans with whom she comes into contact, but also to the loneliness, desire, and longing for sensual pleasure motivating Teresa.

All films in this program are b&w and silent.
Magician, master of special effects, Méliès broke with the realistic (Lumière) mode of cinema and celebrated unlimited fantasy and artificiality (in its best sense).

THE CONJUROR / L’ILLUSIONISTE FIN DE SIÈCLE (1899, 1 min, 35mm)
TRIP TO THE MOON / VOYAGE DANS LA LUNE (1902, 12 min, 35mm)
THE PALACE OF THE ARABIAN NIGHTS / LE PALAIS DES MILLE ET UNE NUITS (1905, 21 min, 35mm)
DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF À L’HUILE (1907, 5 min, 35mm)
MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE (1906, 18 min, 35mm)
Total running time: ca. 60 min.

(PARADIES: GLAUBE)
Anna Maria, a woman of a relentlessly religious bent, devotes her summer to missionary work in an effort to return Austria to the path of virtue. Carrying a foot-high statue of the Virgin Mary, she goes door-to-door preaching her rabidly dogmatic brand of Catholicism. One day, after years of absence, her husband, an Egyptian Muslim confined to a wheelchair, returns home, turning Anna Maria’s life upside-down and turning her home into the stage for a battle of wills. FAITH recounts the stations of the cross of a marriage and the longing for love.

The films on this program are hand-tinted and silent.

THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 min, 35mm)
A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 min, 35mm)
THE HUNCHBACK FAIRY / LA FÉE CARABOSSE (1906, 13 min, 35mm)
VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE À TRAVERS L’IMPOSSIBLE (1904, 20 min, 35mm)
Total running time: ca. 50 min.

All films in this program are b&w and silent.

EXTRAORDINARY ILLUSIONS / ILLUSIONS FUNAMBULESQUES (1903, 3 min, 16mm)
THE ENCHANTED WELL / LE PUITS FANTASTIQUE (1903, 3 min, 16mm)
THE APPARITION / LE REVENANT (1903, 3 min, 16mm)
TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 min, 35mm)
SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D’UN BUVEUR (1909, 5 min, 35mm)
THE DOCTOR’S SECRET / HYDROTHÉRAPIE FANTASTIQUE (1909, 11 min, 35mm)
Total running time: ca. 55 min.

NEW YORK THEATRICAL PREMIERE RUN!
(PARADIES: HOFFNUNG)
The concluding chapter of the trilogy tells the story of overweight 13-year-old Melanie and her first love. While her mother travels to Kenya (LOVE) and her aunt does missionary work (FAITH), Melanie spends her summer vacation at a strict diet camp for overweight teenagers. Between physical education and nutrition counseling, pillow fights and her first cigarette, Melanie falls in love with the camp director, a doctor forty years her senior.

(PARADIES: LIEBE)
An unforgettable introduction to the trilogy, LOVE focuses on the phenomenon of sex tourism in Africa by depicting the vacation to Kenya taken by Teresa – whose sister and daughter are the protagonists of FAITH and HOPE – in the company of a friend who is a seasoned sex tourist. In Kenya, Teresa inhabits a bizarre world, a swanky, European-tourist-filled resort that’s carefully removed (indeed, literally roped off from) the society around it, but ringed at its edges by locals poised to feed economically off the tourists. True to form, Seidl takes perverse pleasure in unflinchingly confronting the queasy racial, emotional, and political dynamics involved in Teresa’s sexual encounters with the locals. But the genius of LOVE is its sensitivity not only to the (mutual) exploitation defining the relationship between Teresa and the Kenyans with whom she comes into contact, but also to the loneliness, desire, and longing for sensual pleasure motivating Teresa.

New print by Cinema Arts Inc. Special thanks to Michael Kolvek, Fran Bowen (Trackwise), and Pip Laurenson (Tate Museum).

Filmed 1964-68; edited 1968-69. “Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it’s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don’t get it at all.” –J.M.

“I make home movies – therefore I live. I live – therefore I make home movies.” –from the soundtrack

(PARADIES: GLAUBE)
Anna Maria, a woman of a relentlessly religious bent, devotes her summer to missionary work in an effort to return Austria to the path of virtue. Carrying a foot-high statue of the Virgin Mary, she goes door-to-door preaching her rabidly dogmatic brand of Catholicism. One day, after years of absence, her husband, an Egyptian Muslim confined to a wheelchair, returns home, turning Anna Maria’s life upside-down and turning her home into the stage for a battle of wills. FAITH recounts the stations of the cross of a marriage and the longing for love.

Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.
“The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.” –J.M.

NEW YORK THEATRICAL PREMIERE RUN!
(PARADIES: HOFFNUNG)
The concluding chapter of the trilogy tells the story of overweight 13-year-old Melanie and her first love. While her mother travels to Kenya (LOVE) and her aunt does missionary work (FAITH), Melanie spends her summer vacation at a strict diet camp for overweight teenagers. Between physical education and nutrition counseling, pillow fights and her first cigarette, Melanie falls in love with the camp director, a doctor forty years her senior.

NEW YORK THEATRICAL PREMIERE RUN!
(PARADIES: HOFFNUNG)
The concluding chapter of the trilogy tells the story of overweight 13-year-old Melanie and her first love. While her mother travels to Kenya (LOVE) and her aunt does missionary work (FAITH), Melanie spends her summer vacation at a strict diet camp for overweight teenagers. Between physical education and nutrition counseling, pillow fights and her first cigarette, Melanie falls in love with the camp director, a doctor forty years her senior.