Anthology Film Archives

NEWFILMMAKERS CELEBRATES LABOR DAY

DOCUMENTARY SERIES
Nathaniel Kramer A LONG HAUL (2010, 44 minutes, video)

FIRST SHORT FILM PROGRAM
Lucienne Fisher MY LAST DAY (2012, 10 minutes, video)
Christiane Hitzemann ONE BEDROOM (2011, 12 minutes, video)
Alexander Lawrence KIDS IN SUITS (2011, 17 minutes, video)
Cameron Nelson IN KIND (2011, 15 minutes, video)

SECOND SHORT FILM PROGRAM
James Mason Cohen FEEDING PIGEONS (2011, 19 minutes, video)
Tribault Le Texier THE HUMAN FACTOR (2011, 28 minutes, video)

FEATURE PRESENTATION
Rick Schmidt
TEARS OF BANKERS
2012, 100 minutes, video.
At the beginning, Norman states his distain for bankers; they will rule soon on his loan and prospects for the future. Since Norman has kept his present financial problems secret from his wife Brittany, she has remained confused by her husband’s increasingly erratic behavior. As the loan deadline approaches, Norman wonders if he will again lose a house and a wife (his second) to the machinations of the banking industry.

–Tuesday, September 4, Documentary Series at 6:00, First Short Film Program at 7:00, Second Short Film Program at 8:15, Feature Presentation at 9:15.

NEWFILMMAKERS PRESENTS ITS ANNUAL 9/11 PROGRAM

DOCUMENTARY SERIES
Annual 9/11 Program
Jennifer Gargano 8:46 (2012, 56 minutes, video)

SHORT FILM PROGRAM
Sharon Heredi SIMPLY A LOVE SONG (2011, 5 minutes, video)
Kyle Garrett Greenberg THE RABBI (2012, 4 minutes, 16mm)
Daniel Kavanagh CARNIVAL (2012, 6 minutes, video)
Israel Winkler OCCUPY ROTHSCHILD (2012, 11 minutes, video)
Ilana Ellis BAYIT – DIRAH (2010, 12 minutes, video)
Michael Feinstein SHLOMO PUSSYCAT (2011, 13 minutes, video)
Beni Fredman LEAK (2012, 30 minutes, video)

FEATURE PRESENTATION
Peter Sasowsky
HEAVEN & EARTH & JOE DAVIS
2012, 85 minutes, video.
Documents the life of an artist who is driven to pursue questions that can only be answered in the space where science and art lose their individual distinction. Why would someone want to encode poetry into the eyes of a fly, fish for paramecium, or send transgenic organisms into outer space? Joe Davis’s projects can seem fantastical, impossible, and even ill-advised. A deeper look into his work reveals a hidden logic that is surprising and contagious.

–Wednesday, September 5, Documentary Series at 6:00, Short Film Program at 7:15, Feature Presentation at 9:00.

NEWFILMMAKERS PRESENTS GAY/LESBIAN FILMS AND THE FILM OF THE MONTH

FIRST SHORT FILM PROGRAM
Jesse Collier BONDAGE PRISON (2011, 11 minutes, video)
Mia’kate Russell AUDITIONING FANNY (2011, 15 minutes, video)
Vivek Sharma THE PLAN (2011, 15 minutes, video)
Andrew Jones DOCTOR GLAMOUR (2011, 15 minutes, video)
Lola Kirke MY RIFLE, MY BABY, AND ME (2012, 16 minutes, video)

SECOND SHORT FILM PROGRAM
Ahmed Ziari ANECDOTE (2011, 15 minutes, video)
Jayan Cherian SHAPE OF THE SHAPELESS (2010, 30 minutes, video)
Lauren Fash QUIET (2012, 32 minutes, video)

FEATURE PRESENTATION
Ron Pike
FRIENDS AND LOVERS
2010, 89 minutes, video.
Sometimes the Heart Needs a Mechanic. After a failed relationship with a waitress, a young gay man is challenged by his love for a straight mechanic.

–Wednesday, September 5, First Short Film Program at 6:00, Second Short Film Program at 7:30, Feature Presentation at 9:15.

With Cliff Gorman and Joseph Bologna.

“Racy script by Donald Westlake about two of New York’s finest who decide that their uniforms and badges give them an ideal camouflage for pursuing extra-legal activities. They proceed to perpetrate one of the most spectacular securities heists Wall Street has ever seen. There’s an added twist as the cops also try to rip off the Mafia men to whom they’re supposed to fence the proceeds of their crime.” –TIME OUT

Larry Jordan
DUO CONCERTANTES (1962-64, 6 minutes, 16mm, b&w)
HAMFAT ASAR (1965, 13 minutes, 16mm, b&w)
GYMNOPEDIES (1968, 6 minutes, 16mm)
THE OLD HOUSE PASSING (1966, 45 minutes, 16mm, b&w. Preserved by Anthology Film Archives.)
OUR LADY OF THE SPHERE (1968, 9 minutes, 35mm)
“Fantastic landscapes of the mind is what make the unique work of San Francisco animator Larry Jordan so compelling. With a taste for nostalgic romanticism for intricate turn-of-the-century illustrations, Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.” - Jackie Leger

Helen Levitt
IN THE STREET (1952, 12 minutes, 16mm, b&w. Preserved by Anthology Film Archives.)
Helen Levitt's short, lyrical documentary portrait of life in Spanish Harlem. Stealthily shot by Levitt, Janice Loeb, and James Agee.

Willard Maas
GEOGRAPHY OF THE BODY (1943, 7 minutes, 16mm, b&w. Preserved by Anthology Film Archives.)
“The terrors and splendors of the human body as the undiscovered, mysterious continent.” - W.M.

Total running time: ca. 105 minutes.

With Terry O’Quinn.

“Stepfather terrorizes newly acquired wife and daughter when both fall short of his expectations. The emptiness and anger at the heart of perfectionist striving are the main concerns of this precisely crafted, cartoonishly grim thriller, and while director Ruben doesn’t add anything to conventional psycho portraiture (the wages of smiling repression were a favorite early-70s theme), his irreverent subversion of revived holy familyhood and 50s value retrenchment came as a pleasant Reagan-era surprise.” –Pat Graham, CHICAGO READER

With Clint Eastwood, Robert Duvall, and John Saxon.
A revisionist western not lacking for star power, Sturges’s film of Leonard’s screenplay stars Clint Eastwood as Joe Kidd, a onetime bounty hunter invited to join a counterrevolutionary posse (assembled on the dime of merciless landowner Frank Harlan, played by Duvall) that seeks to suppress a peasant uprising organized by Mexican bandit/egomaniac Luis Chama (Saxon) in Sinola, New Mexico. However, Kidd’s allegiance never stays with the same side of the conflict for long…

Gustav Deutsch FILM IS. 1 – MOVEMENT AND TIME / FILM IST. 1 – BEWEGUNG UND ZEIT (2002, 15 minutes, 16mm, b&w)
Gerhard Ertl SCHONBERG (1990, 3 minutes, 16mm, b&w)
Thomas Draschan YES? OUI? YA? (2002, 4 minutes, 16mm)
Siegfried A. Fruhauf MIRROR MECHANICS (2005, 7 minutes, 35mm, b&w)
Karoe Goldt SUBROSA (2004, 3 minutes, video)
Peter Kubelka ARNULF RAINER (1960, 6 minutes, 35mm, b&w)
Moucle Blackout BIRTH OF VENUS / DIE GEBURT DUR VENUS (1970-72, 5 minutes, 35mm, b&w)
Thomas Korschil SUNSET BOULEVARD (1991, 8 minutes, 16mm, silent)
Josef Dabernig WISLA (1996, 8 minutes, 16mm, b&w)
Valie Export BODY POLITICS (1974, 3 minutes, video, b&w, silent)
Peter Tscherkassky INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE (2005, 17 minutes, 35mm, b&w)
Total running time: 85 minutes.

With Charles Bronson.
Charles Bronson stars as Vince Majestyk, a ‘Nam vet turned watermelon farmer who becomes the target for a gang of vengeful hoods in Leonard’s story of stubbornness, survival, and dumb luck. Released the same year as Bronson’s career-defining turn in DEATH WISH (1974), MR. MAJESTYK avoids that film’s celebration of vigilantism and instead traffics in its own unique brand of everyman-versus-criminal struggle, interestingly precipitated in the narrative by Majestyk’s decision to hire skilled Mexican laborers rather than the mob’s preferred assortment of unskilled white drunks.

Hans Scheugl HERNALS (1967, 11 minutes, 16mm)
Carola Dertnig BYKETROUBLE (1998, 5 minutes, video)
Martin Arnold PIÈCE TOUCHÉE (1989, 16 minutes, 16mm, b&w)
Albert Sackl NACH “PIÈCE TOUCHÉE” (1998, 9 minutes, 16mm, b&w, silent)
Josef Dabernig HOTEL ROCCALBA (2008, 10 minutes, 35mm, b&w)
Ernst Schmidt Jr. BODYBUILDING (1965-66, 9 minutes, 16mm)
Sabine Hiebler & Gerhard Ertl LIVINGROOM (1991, 5 minutes, 16mm)
Mara Mattuschka THANK YOU, IT WAS A PLEASURE / DANKE, ES HAT MICH SEHR GEFREUT (1987, 2 minutes, 16mm, b&w)
Total running time: 75 minutes.

“Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child’s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.” –TIME

With Robert Redford and Gene Hackman.
Ritchie’s directorial debut stars Robert Redford as narcissistic skier and Olympic hopeful Dave Chappelet. Chappelet’s ascension to the top of the US skiing ranks is marked by a feud with coach Eugene Claire (Hackman), complaints, apathy, and romance, improbably culminating in the race of his life on the biggest of all stages. Salter’s story, complemented by a Georges Delerue score, is ably developed into a multidimensional portrait of the star athlete as smug egotist.

Lotte Schreiber QUADRO (2002, 10 minutes, video, b&w)
Dietmar Offenhuber BESENBAHN (2001, 10 minutes, video)
Axel Corti HUMANIC SPOTS – CUBES 1 / HUMANIC SPOT –WÜRFEL 1 (1971, 30 seconds, video)
Sasha Pirker JOHN LAUTNER – THE DESERT HOT SPRINGS MOTEL (2007, 10 minutes, video)
n:ja (Anna Rautgasser) VOID.SEQZ 5 (2009, 5 minutes, video)
Axel Corti HUMANIC SPOTS – CUBES 2 / HUMANIC SPOT – WÜRFEL 2 (1971, 30 seconds, video)
Valie Export HYPERBULIE (1973, 7 minutes, video, b&w)
Marc Adrian RANDOM (1963, 5 minutes, 35mm, b&w)
Tina Frank CHRONOMOPS (2004, 2 minutes, video)
Axel Corti HUMANIC SPOTS – CUBES AGAIN / HUMANIC SPOT – UND IMMER WIEDER DIE WÜRFEL (1973, 30 seconds, video)
Michaela Schwenter THE_FUTURE_OF_HUMAN_CONTAINMENT (2002, 5 minutes, 35mm, b&w)
Michael Palm SEA CONCRETE HUMAN (MALFUNCTIONS #1) (2001, 29 minutes, 35mm)
lia MACHINATION 84 (2010, 5 minutes, video)
Total running time: 95 minutes.

With Rip Torn. Archival print courtesy of the Pacific Film Archive.
The great Don Carpenter – best known for the classic HARD RAIN FALLING, a wrenching, disarmingly frank story of a small-time criminal – spent decades living in and writing for Hollywood. Though these years inspired a trilogy of Hollywood-set novels, the only feature film produced from an original Carpenter screenplay was this vivid portrait of a hard-living, charismatic, but unscrupulous country-music singer, unforgettably embodied by Rip Torn in one of his greatest performances.

Siegfried A. Fruhauf EXPOSED (2001, 9 minutes, 16mm, b&w)
Peter Kubelka SCHWECHATER (1957-58, 1 minute, 35mm)
Maria Lassnig IRIS (1971, 10 minutes, 16mm)
Friedl vom Gröller LE BAROMETRE (2001, 3 minutes, 35mm, b&w, silent)
Ernst Schmidt, Jr. FAMOUS VIENNESE WOMEN NAKED: THE HISTORY OF THE PIN-UP / BERÜHMTE WIENERIENNEN NACKT: DIE GESCHICHTE DES PIP-UPS (1983, 9 minutes, 16mm, silent)
Peter Weibel TV + VT WORKS (1969-72, 17.5 minutes, video, b&w)
Billy Roisz CLOSE YOUR EYES (2009, 13 minutes, video)
Valie Export MANN & FRAU & ANIMAL (1970-73, 10 minutes, 16mm)
Kurt Kren 22/69 HAPPY END (1969, 4 minutes, 16mm, b&w, silent)
Total running time: 85 minutes.

With Deborah Kerr and Michael Redgrave. Archival print courtesy of 20th-Century Fox.
“In the Jack Clayton-directed, Truman Capote-scripted THE INNOCENTS – based on Henry James’s famous ghost story THE TURN OF THE SCREW – Deborah Kerr stars as a governess who moves into a rambling old mansion to care for two kids who may or may not be possessed by the ghosts of two former workers. The governess starts to see things, most notably the spirit (or is it?) of the house’s former valet. Is he really there, or is the whole thing a product of the undersexed governess’s imagination? Aside from the film’s wonderful subtlety and almost perfect pacing, THE INNOCENTS contains one of ghost cinema’s greatest opening sequences.” –Gilbert Cruz, TIME

These 35mm prints are the result of a recent preservation project undertaken by the Museum of Modern Art.

DEATH IN THE FORENOON (1934/66, 2 minutes, 35mm, color)
CANARIES (1969, 4 minutes, 35mm, color)
&
FILM PORTRAIT
1971, 81 minutes, 35mm, color.
A pioneering work in autobiographical cinema; masterfully combines actual and staged footage and painting over images. Filmmaker, painter, and composer Jerome Hill was descended from the famous railroad-building family and lived on the same street with F. Scott Fitzgerald. Here he re-creates wonderfully – with old family footage – the period and milieu of the American upper class at the beginning of this century.

Total running time: ca. 90 minutes. 

With Laurence Harvey, Capucine, Jane Fonda, Anne Baxter, and Barbara Stanwyck.
‘Hollywood Ten’ member Dmytryk and Fante – the father of literary ‘dirty realism’ – collaborated on this awesomely lurid adaptation of Nelson Algren’s novel about Texan Dove Linkhorn’s (Harvey) quest to track down his first love, Hallie Gerard (Capucine), whom he finds working in a Depression-era New Orleans brothel called the Doll House. Aside from boasting an eyebrow-raising ensemble of big-name actresses, WALK ON THE WILD SIDE is also notable for its Saul Bass-designed opening credit sequence and for Elmer Bernstein’s Oscar-nominated title song, which has curiously gone on to become something of a gospel standard.

Nik Thoenen & Timo Novotny NEON (2003, 5 minutes, video)
Mara Mattuschka & Chris Haring LEGAL ERRORIST (2005, 15 minutes, video, b&w)
Friedl vom Gröller SPITTING / SPUCKEN (2000, 2 minutes, 35mm, b&w, silent)
Maria Lassnig & Hubert Sielecki THE BALLAD OF MARIA LASSNIG (1992, 8 minutes, 35mm)
Günter Brus PULLOVER (1967, 3 minutes, 16mm, b&w, silent)
Kurt Kren 8/64 ANA – AKTION BRUS (1964, 3 minutes, 16mm, b&w, silent)
Hito Steyerl NOVEMBER (2004, 25 minutes, video)
Virgil Widrich COPY SHOP (2001, 12 minutes, 35mm, b&w)
Total running time: 80 minutes.

With Al Pacino.
Then-newcomers Al Pacino and Kitty Winn are a junkie Romeo and Juliet in this harrowing, near-documentary study of heroin addiction on the streets of New York City. Joan Didion and John Gregory Dunne’s economic, compassionate screenplay plots the couple’s self-destructive spiral with a relentless logic that is neither patronizing nor preachy. A gut-wrenching, surprisingly overlooked classic that would never find major studio release today.

Linda Christanell NS TRILOGIE PART II: FEELING KAZET (1997, 14 minutes, 16mm-to-video)
Elke Groen NIGHTSTILL (2007, 9 minutes, 35mm)
Ernst Schmidt Jr. ART & REVOLUTION / KUNST & REVOLUTION (1968, 2 minutes, 16mm, silent)
Gustav Deutsch 55/95 (1994, 1 minute, 16mm, b&w)
Alfred Kaiser A THIRD REICH / EIN DRITTES REICH (1975, 29 minutes, 16mm, b&w)
Elke Groen TITO-MATERIAL (1998, 5 minutes, 16mm)
Michaela Grill & Martin Stiewert CITYSCAPES (2007, 16 minutes, 35mm, b&w)
Kurt Kren 20/68 SCHATZI (1968, 2.5 minutes, 16mm, b&w, silent)
Total running time: ca. 85 minutes.

With Tuesday Weld and Anthony Perkins.
Didion and Dunne’s satirical take on Hollywood, nihilism, and sexual politics reunited PRETTY POISON (1968) co-stars Anthony Perkins and Tuesday Weld for another psychologically wrought go-round. Ex-model and B-movie actress Maria Wyeth (Weld) reflects on the series of events that precipitated her internment in a mental institution, recounting the story of infidelity that drove her to seek refuge in the company of her platonic friend B.Z. (Perkins), an increasingly pessimistic film producer. A key work in Perry’s underappreciated filmography.

With Vincent Price, Mark Damon, and Myrna Fahey.
Supposedly shot in 15 days for about $250,000, the first installment of Corman’s “Poe Cycle” stars Vincent Price – of course – as Roderick Usher, the creepy older brother par excellence. Incestuous desires, family curses, and murderous intentions rise to the surface when Philip Winthrop (Damon) shows up at Chez Usher to whisk away Roderick’s sister, Madeline (Fahey). Matheson’s script, drawn from Poe’s most oft-adapted story, beautifully complements Corman’s low-budget, high-camp freakiness.

Herbert Vesely ON THOSE EVENINGS / AN DIESEN ABENDEN (1952, 23 minutes, 35mm-to-video, b&w)
Dietmar Brehm POOL (1990, 4 minutes, 16mm, silent)
Ferry Radax SUN STOP! / SONNE HALT! (1959-60, 25 minutes, 35mm, b&w)
Thomas Aigelsreiter KEY WEST (2002, 5 minutes, video, b&w)
Gustav Deutsch FILM IS. 9 – CONQUEST / FILM IST. 9 – EROBERUNG (2002, 19 minutes, 35mm, b&w)
Lisl Ponger PASSAGES / PASSAGEN (1996, 11 minutes, 35mm)
Peter Kubelka OUR TRIP TO AFRICA / UNSERE AFRIKAREISE (1961-66, 12.5 minutes, 16mm)
Total running time: 100 minutes.

With Robert Morse, Jonathan Winters, Dana Andrews, Milton Berle, James Coburn, John Gielgud, Tab Hunter, Liberace, Roddy McDowall, and Rod Steiger.
Richardson’s film of Southern’s screenplay of Evelyn Waugh’s novel tells the story of Dennis Barlow (Morse), an Englishman who wins a trip to Los Angeles and arrives to find that his uncle, Sir Francis Hinley (Gielgud), a Hollywood grunt, has committed suicide. Barlow endeavors to have Hinley buried at the prestigious Whispering Glades cemetery, only to fall head over heels for cosmetician Aimée Thanatogenos (Anjanette Comer) and get dragged ever deeper into the strange world conjured by this black comedy’s bizarro all-star cast.

With Charles Bronson.
Charles Bronson stars as Vince Majestyk, a ‘Nam vet turned watermelon farmer who becomes the target for a gang of vengeful hoods in Leonard’s story of stubbornness, survival, and dumb luck. Released the same year as Bronson’s career-defining turn in DEATH WISH (1974), MR. MAJESTYK avoids that film’s celebration of vigilantism and instead traffics in its own unique brand of everyman-versus-criminal struggle, interestingly precipitated in the narrative by Majestyk’s decision to hire skilled Mexican laborers rather than the mob’s preferred assortment of unskilled white drunks.

Kurt Kren 6/64 MAMA UND PAPA (1964, 4 minutes, 16mm, silent)
Michael Palm & Willi Dorner BODY TRAIL (2008, 8 minutes, video, b&w)
Ascan Breuer, Ursula Hansbauer & Wolfgang Konrad FORST (2005, 50 minutes, video)
Ella Raidel & Hongjohn Lin SOMEWHERE, LATE AFTERNOON (2007, 11 minutes, video)
Total running time: 80 minutes.

With Clint Eastwood, Robert Duvall, and John Saxon.
A revisionist western not lacking for star power, Sturges’s film of Leonard’s screenplay stars Clint Eastwood as Joe Kidd, a onetime bounty hunter invited to join a counterrevolutionary posse (assembled on the dime of merciless landowner Frank Harlan, played by Duvall) that seeks to suppress a peasant uprising organized by Mexican bandit/egomaniac Luis Chama (Saxon) in Sinola, New Mexico. However, Kidd’s allegiance never stays with the same side of the conflict for long…

With Robert Redford and Gene Hackman.
Ritchie’s directorial debut stars Robert Redford as narcissistic skier and Olympic hopeful Dave Chappelet. Chappelet’s ascension to the top of the US skiing ranks is marked by a feud with coach Eugene Claire (Hackman), complaints, apathy, and romance, improbably culminating in the race of his life on the biggest of all stages. Salter’s story, complemented by a Georges Delerue score, is ably developed into a multidimensional portrait of the star athlete as smug egotist.

Peter Tscherkassky L’ARRIVÉE (1997-98, 2 minutes, 35mm, b&w)
Dariusz Kowalski LUUKKAANKANGAS – UPDATED, REVISITED (2005, 7 minutes, video)
Karoe Goldt MIR MIG MEN (2002, 5 minutes, video)
Dietmar Brehm PERFEKT 2 (1982, 12 minutes, 16mm, b&w)
Lisl Ponger FILM – AN EXERCISE IN ILLUSIONS II (1983, 4 minutes, 35mm, silent)
Valie Export ADJUNCT DISLOCATIONS / ADJUNGIERTE DISLOKATIONEN (1973, 10 minutes, video, b&w)
Kurt Kren 15/67 TV (1967, 4 minutes, 16mm, b&w, silent)
Michaela Schwentner ALPINE PASSAGE (2006, 8 minutes, video)
Johann Lurf VERTIGO RUSH (2007, 19 minutes, 35mm)
Total running time: 75 minutes.

With Laurence Harvey, Capucine, Jane Fonda, Anne Baxter, and Barbara Stanwyck.
‘Hollywood Ten’ member Dmytryk and Fante – the father of literary ‘dirty realism’ – collaborated on this awesomely lurid adaptation of Nelson Algren’s novel about Texan Dove Linkhorn’s (Harvey) quest to track down his first love, Hallie Gerard (Capucine), whom he finds working in a Depression-era New Orleans brothel called the Doll House. Aside from boasting an eyebrow-raising ensemble of big-name actresses, WALK ON THE WILD SIDE is also notable for its Saul Bass-designed opening credit sequence and for Elmer Bernstein’s Oscar-nominated title song, which has curiously gone on to become something of a gospel standard.

With Tuesday Weld and Anthony Perkins.
Didion and Dunne’s satirical take on Hollywood, nihilism, and sexual politics reunited PRETTY POISON (1968) co-stars Anthony Perkins and Tuesday Weld for another psychologically wrought go-round. Ex-model and B-movie actress Maria Wyeth (Weld) reflects on the series of events that precipitated her internment in a mental institution, recounting the story of infidelity that drove her to seek refuge in the company of her platonic friend B.Z. (Perkins), an increasingly pessimistic film producer. A key work in Perry’s underappreciated filmography.

Martin Arnold ALONE. LIFE WASTES ANDY HARDY (1998, 15 minutes, 16mm, b&w)
Lotte Schreiber BORGATE (2008, 15 minutes, video)
Peter Tscherkassky OUTER SPACE (1999, 10 minutes, 35mm, b&w)
Gustav Deutsch FILM IS. 7 – COMIC (2002, 19 minutes, 35mm)
Norbert Pfaffenbichler MOSAIK MÉCANIQUE (NOTES ON FILM 03) (2008, 9 minutes, 35mm, b&w)
Linda Christanell PICTURE AGAIN (2003, 10 minutes, 16mm, silent)
Johann Lurf THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG / ZWÖLF BOXKÄMPFER JAGEN VIKTOR QUER ÜBER DEN GROSSEN SYLTER DEICH 140 9 (2009, 3 minutes, 35mm)
Total running time: 85 minutes.

With Al Pacino.
Then-newcomers Al Pacino and Kitty Winn are a junkie Romeo and Juliet in this harrowing, near-documentary study of heroin addiction on the streets of New York City. Joan Didion and John Gregory Dunne’s economic, compassionate screenplay plots the couple’s self-destructive spiral with a relentless logic that is neither patronizing nor preachy. A gut-wrenching, surprisingly overlooked classic that would never find major studio release today.

With Terry O’Quinn.

“Stepfather terrorizes newly acquired wife and daughter when both fall short of his expectations. The emptiness and anger at the heart of perfectionist striving are the main concerns of this precisely crafted, cartoonishly grim thriller, and while director Ruben doesn’t add anything to conventional psycho portraiture (the wages of smiling repression were a favorite early-70s theme), his irreverent subversion of revived holy familyhood and 50s value retrenchment came as a pleasant Reagan-era surprise.” –Pat Graham, CHICAGO READER

(Young and Not Stupid & Radical Even Though Old)

Inspired by the social atmosphere of porno cinemas and in the tradition of cabaret, YANS & RETO is a one-night festival of action art by artists over sixty and under thirty. The artists present themselves through short (under seven minute) performance or video pieces, creating energetic, inter-generational encounters.

YANS & RETO is curated by Jana Leo. The festival is organized by Mosis Foundation with the support of Spain Culture New York-Consulate General of Spain.

Program info:
Performance: Keith McDermott & Catherine Galasso “Inmediality” (7 min, text by Jim Neu)
Marina Fernandez Ferri “In the Beginning” (2 min, video)
Screammachine “ The 99% Part I” (5.5 min, video)
Performance: Jana Leo “7 rules to distinguish what is art from what is not” (7 min)
Ronald V Bijleveld “Dopeshow ” (5 min, video)
Dionisio Cañas “The Great Poem of No One” (6.5 min, video)
Jess Whittam “Orientation” (2 min, video)
Kònic Thtr “Cuerpo Sms” (3.5 min, video)
Performance: Pam Butler “Forgiveness” (7 min)
Performance: Philippe Avila “Make your own mind” (5 min)
AA Bronson & Bradford Kessler “Return of the Prodigal Son” (2.5 min, Super 8mm-to-HD)
Simon Lund “Music Video” (1 min, video)
Lynsey G. “Reality Abridged” (7 min, video)
Performance: Screammachine “The GOP Inside of Me” (7 min)
April Flores & Carlos Batts “Excerpt from the World of April Flore” (3 min, video)
Madison Young “Bobbing for Balance” (7 min, video)
Performance: Jana Leo “Un-zip-me” on the Good Ship Lollipop (5 min)
Performance: Alfredo Tauste “My dream in the dark” (7 min, with the collaboration of Jaime Puerta)
Àlex Lora “Us” (4.5 min, video)
Performance: Ashly Woo “Loneliness” (7 min)
Performance: Puela Lunaris (musica Bada de Radio Tarifa) “Moaxaje safardi” (3.5 min)
Performance: Marko Markovic “Knife Orchesta” (3 min)

With Cliff Gorman and Joseph Bologna.

“Racy script by Donald Westlake about two of New York’s finest who decide that their uniforms and badges give them an ideal camouflage for pursuing extra-legal activities. They proceed to perpetrate one of the most spectacular securities heists Wall Street has ever seen. There’s an added twist as the cops also try to rip off the Mafia men to whom they’re supposed to fence the proceeds of their crime.” –TIME OUT

With Robert Morse, Jonathan Winters, Dana Andrews, Milton Berle, James Coburn, John Gielgud, Tab Hunter, Liberace, Roddy McDowall, and Rod Steiger.
Richardson’s film of Southern’s screenplay of Evelyn Waugh’s novel tells the story of Dennis Barlow (Morse), an Englishman who wins a trip to Los Angeles and arrives to find that his uncle, Sir Francis Hinley (Gielgud), a Hollywood grunt, has committed suicide. Barlow endeavors to have Hinley buried at the prestigious Whispering Glades cemetery, only to fall head over heels for cosmetician Aimée Thanatogenos (Anjanette Comer) and get dragged ever deeper into the strange world conjured by this black comedy’s bizarro all-star cast.

With Charles Bronson.
Charles Bronson stars as Vince Majestyk, a ‘Nam vet turned watermelon farmer who becomes the target for a gang of vengeful hoods in Leonard’s story of stubbornness, survival, and dumb luck. Released the same year as Bronson’s career-defining turn in DEATH WISH (1974), MR. MAJESTYK avoids that film’s celebration of vigilantism and instead traffics in its own unique brand of everyman-versus-criminal struggle, interestingly precipitated in the narrative by Majestyk’s decision to hire skilled Mexican laborers rather than the mob’s preferred assortment of unskilled white drunks.

On the first anniversary of Occupy Wall Street, OCCUPY THE FILM FESTIVAL brings together the most compelling and innovative films of the movement that captured the public imagination. Beginning as a ragged camp on Wall Street’s doorstep last September, before exploding into the most powerful social movement in decades, Occupy has inspired countless artists to produce visionary collaborative projects, short art films, and sweeping documentaries capturing the spirit of the movement. Mainstream media bias and blackouts mean this movement is poorly understood. Come witness the real stories the 1% doesn’t want you to see. Experience the new world of the 99%.

 Brought to you by a coalition of media organizers and artists, OCCUPY THE FILM FESTIVAL will feature a full weekend of festivities, including filmmaker Q+A sessions, an Occupy photography exhibit by award-winning artists, a display of OccuPrint collective print posters and occupied newspapers from around the country, and guerrilla projections by the Illuminator! 


Highlights of the festival include U.S. premieres along with exclusive question-and-answer sessions with the filmmakers:
 
An intimate portrait, and U.S. Premiere, FAIR SQUARE: OCCUPY AMSTERDAM follows one encampment from its inspired birth to its many challenges, a story mirrored in occupations around the world. Filmmaker and anthropologist Sara Blom will travel from Amsterdam to New York City for the festival. “I am absolutely ecstatic about participating in OCCUPY THE FILM FESTIVAL in New York,” says Blom.
 
“We cannot wait for the corporate media to tell our story,” says Director Dennis Trainor, Jr., “We must take on that task for ourselves.” Shot on the front lines in New York City, Boston and DC, AMERICAN AUTUMN: AN OCCUDOC is a fast-paced and fearless provocation to Occupy! Featuring Naomi Klein, Prof. Cornell West, Dr. Margaret Flowers, Sgt. Shamar Thomas and many Occupy Wall Street organizers.
 
WE ARE NOT BROKE unmasks how corporations like Exxon, Google and Bank of America conceal colossal profits overseas while political leaders claim “We’re broke!” and what one group of ordinary people decided to do about it. “We’re happy to be part of honoring the first year anniversary of the Occupy Wall Street protests in New York City,” says Co-Director Karin Hayes.
 
SHORTS PROGRAMS precede each feature and highlight the explosion in creativity the Occupy movement inspired around the country and world. The shorts hail from Spain to Minnesota, from Greece to Hawaii, and range in style from animation to news to playful DIY. Hear the stories of vets, farmers, economists, students, artists and many others who Occupy everywhere for a better world for the 99%.
 
FULL DETAILED SCHEDULE at www.occupythefilmfestival.com/schedule

With Deborah Kerr and Michael Redgrave. Archival print courtesy of 20th-Century Fox.
“In the Jack Clayton-directed, Truman Capote-scripted THE INNOCENTS – based on Henry James’s famous ghost story THE TURN OF THE SCREW – Deborah Kerr stars as a governess who moves into a rambling old mansion to care for two kids who may or may not be possessed by the ghosts of two former workers. The governess starts to see things, most notably the spirit (or is it?) of the house’s former valet. Is he really there, or is the whole thing a product of the undersexed governess’s imagination? Aside from the film’s wonderful subtlety and almost perfect pacing, THE INNOCENTS contains one of ghost cinema’s greatest opening sequences.” –Gilbert Cruz, TIME

With Vincent Price, Mark Damon, and Myrna Fahey.
Supposedly shot in 15 days for about $250,000, the first installment of Corman’s “Poe Cycle” stars Vincent Price – of course – as Roderick Usher, the creepy older brother par excellence. Incestuous desires, family curses, and murderous intentions rise to the surface when Philip Winthrop (Damon) shows up at Chez Usher to whisk away Roderick’s sister, Madeline (Fahey). Matheson’s script, drawn from Poe’s most oft-adapted story, beautifully complements Corman’s low-budget, high-camp freakiness.

In September 2012 Touch, one of the premiere international labels for experimental music, will present a series of events in Manhattan and Brooklyn at ISSUE Project Room, Experimental Intermedia, and Anthology Film Archives to celebrate their 30th anniversary. Since its first release in 1982, Touch has created sonic and visual productions that combine innovation with a level of care and attention that has made it the most enduring of any independent music company of its time. The label has presented a wide range of artists from New Order to Thomas Köner, and now has a strong focus on artists such as Fennesz, Chris Watson, Philip Jeck, Jana Winderen, Hildur Gudnadottir, Oren Ambarchi, and Biosphere.

This screening features THE SUFFOLK SYMPHONY, the product of a week-long treasure hunt to unearth old records, field recordings, home-made sounds, and images, with audio by Philip Jeck & BJNilsen, and LIQUID MUSIC, a piece featuring the music of Christian Fennesz, with footage from Prague, Paxos, Crete, Cephalonia, Messinia, London, and Monterey Bay.

THE SUFFOLK SYMPHONY
2010, 48 minutes, video. Directed by Mike Harding; visuals by Jon Wozencroft; audio by Philip Jeck & BJNilsen.

LIQUID MUSIC
2012, 40 minutes, video. Visuals by Jon Wozencroft; audio by Christian Fennesz.

Total running time: ca. 95 minutes.

With Laurence Harvey, Capucine, Jane Fonda, Anne Baxter, and Barbara Stanwyck.
‘Hollywood Ten’ member Dmytryk and Fante – the father of literary ‘dirty realism’ – collaborated on this awesomely lurid adaptation of Nelson Algren’s novel about Texan Dove Linkhorn’s (Harvey) quest to track down his first love, Hallie Gerard (Capucine), whom he finds working in a Depression-era New Orleans brothel called the Doll House. Aside from boasting an eyebrow-raising ensemble of big-name actresses, WALK ON THE WILD SIDE is also notable for its Saul Bass-designed opening credit sequence and for Elmer Bernstein’s Oscar-nominated title song, which has curiously gone on to become something of a gospel standard.

On the first anniversary of Occupy Wall Street, OCCUPY THE FILM FESTIVAL brings together the most compelling and innovative films of the movement that captured the public imagination. Beginning as a ragged camp on Wall Street’s doorstep last September, before exploding into the most powerful social movement in decades, Occupy has inspired countless artists to produce visionary collaborative projects, short art films, and sweeping documentaries capturing the spirit of the movement. Mainstream media bias and blackouts mean this movement is poorly understood. Come witness the real stories the 1% doesn’t want you to see. Experience the new world of the 99%.

 Brought to you by a coalition of media organizers and artists, OCCUPY THE FILM FESTIVAL will feature a full weekend of festivities, including filmmaker Q+A sessions, an Occupy photography exhibit by award-winning artists, a display of OccuPrint collective print posters and occupied newspapers from around the country, and guerrilla projections by the Illuminator! 


Highlights of the festival include U.S. premieres along with exclusive question-and-answer sessions with the filmmakers:
 
An intimate portrait, and U.S. Premiere, FAIR SQUARE: OCCUPY AMSTERDAM follows one encampment from its inspired birth to its many challenges, a story mirrored in occupations around the world. Filmmaker and anthropologist Sara Blom will travel from Amsterdam to New York City for the festival. “I am absolutely ecstatic about participating in OCCUPY THE FILM FESTIVAL in New York,” says Blom.
 
“We cannot wait for the corporate media to tell our story,” says Director Dennis Trainor, Jr., “We must take on that task for ourselves.” Shot on the front lines in New York City, Boston and DC, AMERICAN AUTUMN: AN OCCUDOC is a fast-paced and fearless provocation to Occupy! Featuring Naomi Klein, Prof. Cornell West, Dr. Margaret Flowers, Sgt. Shamar Thomas and many Occupy Wall Street organizers.
 
WE ARE NOT BROKE unmasks how corporations like Exxon, Google and Bank of America conceal colossal profits overseas while political leaders claim “We’re broke!” and what one group of ordinary people decided to do about it. “We’re happy to be part of honoring the first year anniversary of the Occupy Wall Street protests in New York City,” says Co-Director Karin Hayes.
 
SHORTS PROGRAMS precede each feature and highlight the explosion in creativity the Occupy movement inspired around the country and world. The shorts hail from Spain to Minnesota, from Greece to Hawaii, and range in style from animation to news to playful DIY. Hear the stories of vets, farmers, economists, students, artists and many others who Occupy everywhere for a better world for the 99%.
 
FULL DETAILED SCHEDULE at www.occupythefilmfestival.com/schedule

With Robert Morse, Jonathan Winters, Dana Andrews, Milton Berle, James Coburn, John Gielgud, Tab Hunter, Liberace, Roddy McDowall, and Rod Steiger.
Richardson’s film of Southern’s screenplay of Evelyn Waugh’s novel tells the story of Dennis Barlow (Morse), an Englishman who wins a trip to Los Angeles and arrives to find that his uncle, Sir Francis Hinley (Gielgud), a Hollywood grunt, has committed suicide. Barlow endeavors to have Hinley buried at the prestigious Whispering Glades cemetery, only to fall head over heels for cosmetician Aimée Thanatogenos (Anjanette Comer) and get dragged ever deeper into the strange world conjured by this black comedy’s bizarro all-star cast.

With Al Pacino.
Then-newcomers Al Pacino and Kitty Winn are a junkie Romeo and Juliet in this harrowing, near-documentary study of heroin addiction on the streets of New York City. Joan Didion and John Gregory Dunne’s economic, compassionate screenplay plots the couple’s self-destructive spiral with a relentless logic that is neither patronizing nor preachy. A gut-wrenching, surprisingly overlooked classic that would never find major studio release today.

With Tuesday Weld and Anthony Perkins.
Didion and Dunne’s satirical take on Hollywood, nihilism, and sexual politics reunited PRETTY POISON (1968) co-stars Anthony Perkins and Tuesday Weld for another psychologically wrought go-round. Ex-model and B-movie actress Maria Wyeth (Weld) reflects on the series of events that precipitated her internment in a mental institution, recounting the story of infidelity that drove her to seek refuge in the company of her platonic friend B.Z. (Perkins), an increasingly pessimistic film producer. A key work in Perry’s underappreciated filmography.

With Vincent Price, Mark Damon, and Myrna Fahey.
Supposedly shot in 15 days for about $250,000, the first installment of Corman’s “Poe Cycle” stars Vincent Price – of course – as Roderick Usher, the creepy older brother par excellence. Incestuous desires, family curses, and murderous intentions rise to the surface when Philip Winthrop (Damon) shows up at Chez Usher to whisk away Roderick’s sister, Madeline (Fahey). Matheson’s script, drawn from Poe’s most oft-adapted story, beautifully complements Corman’s low-budget, high-camp freakiness.

With Robert Redford and Gene Hackman.
Ritchie’s directorial debut stars Robert Redford as narcissistic skier and Olympic hopeful Dave Chappelet. Chappelet’s ascension to the top of the US skiing ranks is marked by a feud with coach Eugene Claire (Hackman), complaints, apathy, and romance, improbably culminating in the race of his life on the biggest of all stages. Salter’s story, complemented by a Georges Delerue score, is ably developed into a multidimensional portrait of the star athlete as smug egotist.

NEWFILMMAKERS GOES TO WAR

DOCUMENTARY SERIES
Bob Jones IMMIGRANT SOLDIER (2012, 5 minutes, video)
Costa Moshopoulos NAWZAD LOST (2011, 14 minutes, video)
Ryan Garrett HISTORY MINOR (2010, 20 minutes, 16mm)

SHORT FILM PROGRAM
Iva Radivojevic NELSON (2010, 4 minutes, video)
Michael Harkins SOLDATEN (2008, 6 minutes, 16mm)
Cynthia Granville IN MEMORIAM (2010, 9 minutes, video)
Meng Qiao Li WALL (2012, 12 minutes, video)
Lautaro Gabriel Gonda LOVE AND WAR (2011, 15 minutes, video)
David B. Serensen BELLUM (2011, 18 minutes, video)

FEATURE PRESENTATION
Phil Hopper
THE ROAD HOME
2010, 70 minutes, video.
Follows a small group of America’s newest war veterans, young men and women who have returned home as amputees. Their firsthand stories of battle and injury in Afghanistan and Iraq are powerful, their fight to regain a sense of themselves post injury gripping and emotional.

–Wednesday, September 19, Documentary Series at 6:00, Short Film Program at 7:15, Feature Presentation at 8:30.

TAYLOR MEAD: ON VIDEO, IN PERSON

You might call him the Shirley Temple of the Underground. He was definitely one of Warhol’s funniest and most appealing Superstars. Brendan Gill of THE NEW YORKER once quipped, “Taylor Mead looks like a cross between a zombie and a kewpie and speaks as if his mind and mouth were full of marshmallow.” Words fail to convey all that makes Taylor Mead so truly special. He is a living legend whose decades of under-the-radar, over-the-top performances in countless films, plays, poetry houses, and bars have earned him global infamy. Luckily for us, Taylor is also a neighborhood fixture, and to pay tribute we are presenting an ongoing series that will celebrate his bewitching je ne sais quoi.

Tonight features two programs of long-unseen videos made by Anton Perich in the early 70s for the nascent cable access television format. The uproarious Portapak-produced videos made by collaborators Perich and Mead were repeatedly censored by the cable broadcast network and created a major scandal within the TV world of that time. Featuring fellow Warhol Superstar Candy Darling and other fun loving quasi-thespians, these time capsules are delightfully funky and shining examples of Mead’s uncanny improvisational abilities.

“At that time TV was still the last taboo of the good taste, artists didn’t touch it yet, so we introduced dirty language and dirty pictures into the American living rooms.” –Anton Perich

PROGRAM 1:

THE GREAT AMERICAN SILENT MOVIE (1971, 7 minutes, video)
A movie shot on Super-8 film at Max’s Kansas City restaurant, featuring Taylor, Candy Darling, and Tiger Morse. A wild and wonderful erotic dance.

WASHINGTON RASPUTIN (1976, 38 minutes, video)
Taylor Mead is Grandma, heiress to the Washington-Morgan-Rasputin fortune. Tinkerbelle and Nancy North make appearances.

THE AGING ROCK STAR (1973, 30 minutes, video)
Taylor plays an aging rock star who is planning a comeback and hopes to make millions until all of his ex-wives suddenly appear at his door. Featuring Candy Darling, Nancy North, and Darsea D’Wilde.

Total running time: ca. 80 minutes.

TAYLOR MEAD: ON VIDEO, IN PERSON

You might call him the Shirley Temple of the Underground. He was definitely one of Warhol’s funniest and most appealing Superstars. Brendan Gill of THE NEW YORKER once quipped, “Taylor Mead looks like a cross between a zombie and a kewpie and speaks as if his mind and mouth were full of marshmallow.” Words fail to convey all that makes Taylor Mead so truly special. He is a living legend whose decades of under-the-radar, over-the-top performances in countless films, plays, poetry houses, and bars have earned him global infamy. Luckily for us, Taylor is also a neighborhood fixture, and to pay tribute we are presenting an ongoing series that will celebrate his bewitching je ne sais quoi.

Tonight features two programs of long-unseen videos made by Anton Perich in the early 70s for the nascent cable access television format. The uproarious Portapak-produced videos made by collaborators Perich and Mead were repeatedly censored by the cable broadcast network and created a major scandal within the TV world of that time. Featuring fellow Warhol Superstar Candy Darling and other fun loving quasi-thespians, these time capsules are delightfully funky and shining examples of Mead’s uncanny improvisational abilities.

“At that time TV was still the last taboo of the good taste, artists didn’t touch it yet, so we introduced dirty language and dirty pictures into the American living rooms.” –Anton Perich

PROGRAM 2:

NIXON CAMBODIA (1973, 38 minutes, video)
Taylor plays President Nixon and some Washington wives. Featuring Herb Smokler, Bert Pence, and Rene Metch.

ULYSSES AND THE PHANTOM (1973, 38 minutes, video)
Taylor plays the legendary traveler who after a long absence returns home to find that everything is changed, including his wife and houseguests. Featuring Taylor Mead, Susan Blond, Tinkerbelle, and Rene Metch.

THE MONSTER KIT (1974, 15 minutes, video)
Taylor is hired by Playgirl Magazine to pose for the centerfold. They send a personal trainer to improve his physique, but the trainer becomes a monster.

Total running time: ca. 95 minutes.

(L’UCCELLO DALLE PIUME DI CRISTALLO)

Sam, an American writer living in Rome, witnesses a murder attempt. Trapped by a glass wall, he fails to intervene but manages to scare off the killer. The victim survives, and Sam finds himself increasingly drawn to the story, putting himself and his girlfriend in danger. Argento’s assured debut practically reinvented the genre overnight. He infuses the Hitchcockian psychosexual narrative with a whole new visual style, lensed by Vittorio Storaro and scored by Ennio Morricone. See firsthand why Hitchcock himself is said to have declared that, “that Italian fellow is starting to make me nervous” upon seeing this film.

Star Tony Musante will be here in person for an intro and Q&A moderated by the Film Society of Lincoln Center's Scott Foundas!

(LA RAGAZZA CHE SAPEVA TROPPO)

Nora Davis’s holiday in Rome takes a sudden turn for the macabre when she witnesses the murder of a woman on the Spanish Steps. The next morning there is no trace of the crime, but Nora soon learns that there had been another murder ten years ago at the same location by the so-called ‘Alphabet Killer’. Her morbid curiosity takes her deeper into the story, and before long she discovers that the next victim’s last name starts with D! And who is that man following her? Widely regarded as the first Giallo, Bava’s stylish homage to Hitchcock’s ‘Americans Abroad’ thrillers is a natural entry-point into the genre.

PLEASE NOTE: Though our printed calendar indicated that Bava's BLOOD AND BLACK LACE would screen at this time, we will instead be screening THE GIRL WHO KNEW TOO MUCH.  BLOOD AND BLACK LACE will be screening as planned on Tues, Sept 25 at 7:00 and Sun, Sept 30 at 8:45.

(LA CASA DALLE FINESTRE CHE RIDONO)

Stefano arrives in a rural Italian village to restore the local church’s decaying fresco of the suffering of St. Sebastian. The artist was a madman who created art from real life, painting portraits of subjects near death from torture (a possible allusion to snuff films). As Stefano digs deeper into the dark secrets surrounding the artist, a chain of murders begins, and he finds himself at the center of the ensuing nightmare. This masterpiece from Avati will haunt you with its atmosphere of dread and its diabolical twist ending.

THE SEA OF RAVENS / MOR’VRAN (1929-30, 26 minutes, 35mm)
“[O]ne of the most beautiful documentaries of the French cinema, a veritable poem on Brittany and the sea, which preceded by four years Robert Flaherty’s MAN OF ARAN, some of whose most beautiful passages it inspired. In the film we feel at every moment…all Epstein’s knowledge, all his poetry of the transfiguration of things, and we can understand his having written, “The actor that has given me the most pleasure is the island of Ouessant with all the people on it and all the water.” –Henri Langlois, CAHIERS DU CINÉMA
&
SONG OF ARMORICA / CHANSON D’ARMOR
1934, 43 minutes, 35mm. In Breton with projected English subtitles.
This is the story of star-crossed lovers – a carefree, musical young man and the beautiful daughter of a wealthy gentleman – who struggle to be together. Aside from its fondness for a restless, panning camera and some inventive wipes, the film is most remarkable for its lively depiction of the customs, costumes, superstitions, dances, and folk songs of the Breton people.

With:
THE SONG OF THE POPLARS / LA CHANSON DES PEUPLIERS (1931, 7 minutes, 35mm)

Total running time: ca. 80 minutes.

(NON SI SEVIZIA UN PAPERINO)

A reporter pairs up with a promiscuous young woman to expose the string of child killings in a remote village in Southern Italy rife with superstition and distrust of outsiders. As the usual suspects are proven innocent or end up dead, he must look in increasingly unlikely places to find the killer. This is Fulci’s personal favorite and a must-see!

This event is a celebration of Basil King, who is now in his 77th year. A day of talks on King’s visual art, with brief readings from his books by noted critics and poets, will culminate in the debut screening of BASIL KING: MIRAGE, a film portrait written and directed by Nicole Peyrafitte and Miles Joris-Peyrafitte. Basil King’s aesthetics have been shaped by his early childhood in WWII London as well as a strong fellowship with poets of the San Francisco Renaissance and Abstract Expressionist painters in New York. Mentors and friends at Black Mountain College included Robert Creeley, Charles Olson, and John Wieners. The years since have been spent in studios in Brooklyn, where King now lives, painting and writing. His most recent book, complementing a prodigious output of paintings, is LEARNING TO DRAW (Skylight Press, 2012).

Participants will include Barry Schwabsky, Vincent Katz, Kimberly Lyons, Corinne Robbins, Laurie Duggan, Harry Lewis, Daniel Staniforth, Tom Fink, Tom Patterson, George Quasha, Mitch Highfill, Burt Kimmelman, Edna Augusta, Lilly Wei, and others.  For more information visit: blog.basilking.net.

This all-day event will be open to all and free of charge.

(LO STRANO VIZIO DELLA SIGNORA WARDH)

Mrs. Wardh, played by the queen of Giallo, Edwige Fenech, harbors a secret vice that she keeps hidden from her older diplomat husband. When a string of murders by a black-gloved killer terrorizes the city, her sadistic former lover Jean reappears, intending to blackmail her. To make matters worse, she takes up with a new lover who convinces her to go off to Spain with him for her safety. But is she out of the woods yet? The mysterious killer seems to have followed her there….

THE MAN WITH THE ‘HISPANO’ CAR / L’HOMME À L’HISPANO
1933, 90 minutes, 35mm.
An ode to transportation, as well as to every possible kind of cinematic movement, Epstein’s film features the intrigue of a love triangle and the theme of a desire for world travel. It carries the plot over a great deal of terrain in the process. Even with its hammy acting and over-deliberate dialogue, the film features moments of both visual and audio bravado typical of Epstein’s penchant for derailing narrative lines with cinematic excesses.

(PROFONDO ROSSO)

A renowned psychic channels the thoughts of a killer and is soon after brutally murdered. David Hemmings (BLOW-UP) plays a British pianist who witnesses this killing from afar and launches a solo investigation, putting his own life in peril. The music by Goblin completes this stylish masterpiece by Dario Argento.

MARIUS AND OLIVE IN PARIS / MARIUS ET OLIVE À PARIS
1935, 68 minutes, 35mm.
One of Epstein’s only comedy films, which he later disowned because of disputes with producers. Marius and Olive are friends who travel to Paris so that Marius, a writer, may accept an award from the Academy. Scantily clad women, peepholes, mix-ups among couples, and other bits of broad comedy accompany them on the way to the capital of culture, and the hijinks ensue on cue. A rare opportunity to see Epstein taking on very atypical material.

Preceded by:
LA PRESSE MODERNE : UNE VISITE À OUEST ÉCLAIR (1934, 16 minutes, 35mm)

(COSA AVETE FATTO A SOLANGE?)

A teacher and a student having an affair are on a clandestine outing on a boat when they witness the stabbing of another coed. Other gruesome murders follow, and the teacher becomes the main suspect. Dallamano’s complex plot and the shocking climax make this one of the smartest Giallos ever made.

(UN TRANQUILLO POSTO DI CAMPAGNA)

Although rarely considered a Giallo, but rather more of a ghost story, Petri’s penetrating study of psychological decay is nonetheless full of the mystery and stylistics found in the genre’s best.

“This Italian-made color film, if you stay with it on its own terms, will absolutely nail you to the seat. … The picture visually hurtles and roars to a climax of complete logic and conviction, blending real and unreal images that will curl your hair. The total effect is devastating.” –Howard Thompson, NEW YORK TIMES

CŒUR DE GUEUX
1936, 73 minutes, 35mm.
Made simultaneously in French and Italian versions, this melodramatic film tells the story of Jean, a young man with a wealthy, respectable family, and Claude, a perfume girl with whom he falls in love. After a misunderstanding, Claude runs away with a circus caravan to the countryside and the rest of the film tries to bring them back together. A beautifully shot film, bathed in every kind of luminescence – radiant, dappled, soft, evening, fire, and Christmas light.

(LA RAGAZZA CHE SAPEVA TROPPO)

Nora Davis’s holiday in Rome takes a sudden turn for the macabre when she witnesses the murder of a woman on the Spanish Steps. The next morning there is no trace of the crime, but Nora soon learns that there had been another murder ten years ago at the same location by the so-called ‘Alphabet Killer’. Her morbid curiosity takes her deeper into the story, and before long she discovers that the next victim’s last name starts with D! And who is that man following her? Widely regarded as the first Giallo, Bava’s stylish homage to Hitchcock’s ‘Americans Abroad’ thrillers is a natural entry-point into the genre.

L’OR DES MERS
1932-33, 72 minutes, 35mm.
Based on Breton myths and legends, L’OR DES MERS tells the story of Soizic and her father, an old, alcoholic sailor who draws attention to himself when he discovers what appears to be treasure from a shipwreck that has been washed ashore. A beautiful and elemental film, in which the sky and sea are as much the protagonists as the human characters, L’OR DES MERS features an entirely non-professional cast. According to Epstein, “Any acting would have destroyed the very spirit of the film. … I believe that directors should use more and more ‘natural actors’, taken from all countries, all classes of society, and all professions: and move towards using natural sets, scripts taken from life, and genuine atmospheres that can be captured on screen.”

Preceded by:
THE CRADLES / LES BERCEAUX (1932, 6 minutes, 35mm)

(UNA SULL’ALTRA)

A doctor is caught between his mistress and his asthmatic wife. When the wife is murdered all eyes turn to him, as he holds the insurance claim on her life. Fulci’s first Giallo shares unmistakable similarities with Hitchcock’s VERTIGO, capturing the mood of late-60s San Francisco. Sexual obsession, depravity, and deception converge in its surprising climax.

James June Schneider
JEAN EPSTEIN, YOUNG OCEANS OF CINEMA
2011, 68 minutes, video.
This portrait of Epstein focuses on his work in the region of Brittany (including FINIS TERRAE), and particularly its islands, which once fed his profound aspirations for cinema. With rare film excerpts, photos, and articles, as well as interviews with Jean Rouch and Epstein’s sister Marie, the film reveals the theories of this fiercely independent director often cited as “the first philosopher of cinema.” An ideal introduction to Epstein and his work, it is also a beautiful, perceptive portrait of Brittany and a haunting meditation on the passage of time.

(LA CASA DALLE FINESTRE CHE RIDONO)

Stefano arrives in a rural Italian village to restore the local church’s decaying fresco of the suffering of St. Sebastian. The artist was a madman who created art from real life, painting portraits of subjects near death from torture (a possible allusion to snuff films). As Stefano digs deeper into the dark secrets surrounding the artist, a chain of murders begins, and he finds himself at the center of the ensuing nightmare. This masterpiece from Avati will haunt you with its atmosphere of dread and its diabolical twist ending.

(L’UCCELLO DALLE PIUME DI CRISTALLO)

Sam, an American writer living in Rome, witnesses a murder attempt. Trapped by a glass wall, he fails to intervene but manages to scare off the killer. The victim survives, and Sam finds himself increasingly drawn to the story, putting himself and his girlfriend in danger. Argento’s assured debut practically reinvented the genre overnight. He infuses the Hitchcockian psychosexual narrative with a whole new visual style, lensed by Vittorio Storaro and scored by Ennio Morricone. See firsthand why Hitchcock himself is said to have declared that, “that Italian fellow is starting to make me nervous” upon seeing this film.

(SEI DONNE PER L’ASSASSINO)

A masked killer is on the loose at a fashion house where all the models end up dead in various gruesome ways. At the center of this is a diary left by one of the victims, which contains incriminating details about the killer. Bava uses light, shadow, and color to stunning effect in this visual spectacle. And as always, his violent set-pieces will dazzle any fan of the genre.

PLEASE NOTE: Unfortunately, the print of BLOOD AND BLACK LACE is not in great condition - it has significant color fading, and is missing the final two (very brief) shots, as well as the end credits.  As a result we will be switching over to DVD for the final minute or so (a hybrid screening!).

NEW YORK WOMEN IN FILM & TELEVISION PRESENTS
Maryann Breschard
RUNNING IN HIGH HEELS
2005, 110 minutes, video.
Following the last months of one young woman’s comically inept run for the New York State Senate, RUNNING IN HIGH HEELS illustrates the controversy between what women say they want and the contradictions of how they go and get it. Issues of sex, money, and politics are argued by notable women from the right and left of the American political spectrum, ranging from conservative stalwart Phyllis Schlafly to liberal educator Rosalind Wiseman, whose book QUEEN BEES AND WANNABEES became the basis for the movie MEAN GIRLS. With their divergent takes, these women reveal how women can simultaneously be the majority of the population (at 52%) and an utter minority in the worlds of wealth and power.

NYWIFT’s Member Screening Series provides members with the opportunity to show their work in a theatrical setting. The screening will be followed by a Q&A and an after-party with cash bar and complimentary food at Dempsey’s Pub, 61 2nd Avenue.

NYWIFT programs, screenings, and events are made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, New York State Council on the Arts, the New York State Legislature, and the Academy of Motion Picture Arts & Sciences Foundation.

(COSA AVETE FATTO A SOLANGE?)

A teacher and a student having an affair are on a clandestine outing on a boat when they witness the stabbing of another coed. Other gruesome murders follow, and the teacher becomes the main suspect. Dallamano’s complex plot and the shocking climax make this one of the smartest Giallos ever made.

NEWFILMMAKERS PRESENTS MIDDLE EAST FILMS

SPECIAL PROGRAM
With the MIddle East Filmmakers Group

FEATURE PRESENTATION
Nat Christian
MONDAY MORNING
2012, 109 minutes, video.
Thomas Bach, a right-wing radio talk show host and a darling of the Tea Party Movement, decides to run for the US Senate. After losing his memory following an attack, he ends up on the streets of Los Angeles among the homeless. When he recovers and is touted as a hero of survival, he must choose between career and conscience.

–Wednesday, September 26, Special Program at 6:00, Feature Presentation at 9:00.

(NON SI SEVIZIA UN PAPERINO)

A reporter pairs up with a promiscuous young woman to expose the string of child killings in a remote village in Southern Italy rife with superstition and distrust of outsiders. As the usual suspects are proven innocent or end up dead, he must look in increasingly unlikely places to find the killer. This is Fulci’s personal favorite and a must-see!

(UN TRANQUILLO POSTO DI CAMPAGNA)

Although rarely considered a Giallo, but rather more of a ghost story, Petri’s penetrating study of psychological decay is nonetheless full of the mystery and stylistics found in the genre’s best.

“This Italian-made color film, if you stay with it on its own terms, will absolutely nail you to the seat. … The picture visually hurtles and roars to a climax of complete logic and conviction, blending real and unreal images that will curl your hair. The total effect is devastating.” –Howard Thompson, NEW YORK TIMES

(PROFONDO ROSSO)

A renowned psychic channels the thoughts of a killer and is soon after brutally murdered. David Hemmings (BLOW-UP) plays a British pianist who witnesses this killing from afar and launches a solo investigation, putting his own life in peril. The music by Goblin completes this stylish masterpiece by Dario Argento.

THE BUILDERS / LES BÂTISSEURS
1938, 50 minutes, 35mm.
“Produced in 1938 by the Ciné-Liberté group (an offshoot of CGT, the General Confederation of Labor). It prepares the ground for a social policy in construction, for instance by questioning Le Corbusier. In the opening of the film, two workers perched on the scaffolding of a cathedral re-invent the history of religious architecture from the point of view of the workers, the builders, and the people.” –Nicole Brenez

THE STORM / LE TEMPESTAIRE (1947, 23 minutes, 35mm)
The last of Epstein’s Breton films, LE TEMPESTAIRE is steeped in mysticism and regional folklore. With the majestic sea and howling wind dominating the film in both image and sound, Epstein captures the feverish state of mind of a woman who senses that something is destined to befall her boyfriend, a fisherman, when he sets sail.

THE LIGHT THAT NEVER FAILS or THE FIRES OF THE SEA / LES FEUX DE LA MER (1948, 20 minutes, 16mm)
This film was commissioned by the United Nations.

Total running time: ca. 100 minutes.

(LO STRANO VIZIO DELLA SIGNORA WARDH)

Mrs. Wardh, played by the queen of Giallo, Edwige Fenech, harbors a secret vice that she keeps hidden from her older diplomat husband. When a string of murders by a black-gloved killer terrorizes the city, her sadistic former lover Jean reappears, intending to blackmail her. To make matters worse, she takes up with a new lover who convinces her to go off to Spain with him for her safety. But is she out of the woods yet? The mysterious killer seems to have followed her there….

(LA CASA DALLE FINESTRE CHE RIDONO)

Stefano arrives in a rural Italian village to restore the local church’s decaying fresco of the suffering of St. Sebastian. The artist was a madman who created art from real life, painting portraits of subjects near death from torture (a possible allusion to snuff films). As Stefano digs deeper into the dark secrets surrounding the artist, a chain of murders begins, and he finds himself at the center of the ensuing nightmare. This masterpiece from Avati will haunt you with its atmosphere of dread and its diabolical twist ending.

THE WOMAN FROM THE END OF THE WORLD / LA FEMME DU BOUT DU MONDE
1938, 67 minutes, 35mm.
Released during the Occupation without a credit to Epstein, this film was shot mainly on the remote island of Ouessant, and features as its central character a radiant woman living and working at a small inn. A group of determined speculators arrives, and each man maps his own desires onto her unaccommodating person. With strong contrasts between the cozy but damp interiors and the rugged island environment, Epstein maps a subtle story of frustrated longing and the limited opportunities his characters possess to engage in either social or geographical movement.

Preceded by:
BRITTANY / LA BRETAGNE (1936, 23 minutes, 35mm)

(LA RAGAZZA CHE SAPEVA TROPPO)

Nora Davis’s holiday in Rome takes a sudden turn for the macabre when she witnesses the murder of a woman on the Spanish Steps. The next morning there is no trace of the crime, but Nora soon learns that there had been another murder ten years ago at the same location by the so-called ‘Alphabet Killer’. Her morbid curiosity takes her deeper into the story, and before long she discovers that the next victim’s last name starts with D! And who is that man following her? Widely regarded as the first Giallo, Bava’s stylish homage to Hitchcock’s ‘Americans Abroad’ thrillers is a natural entry-point into the genre.

L’OR DES MERS
1932-33, 72 minutes, 35mm.
Based on Breton myths and legends, L’OR DES MERS tells the story of Soizic and her father, an old, alcoholic sailor who draws attention to himself when he discovers what appears to be treasure from a shipwreck that has been washed ashore. A beautiful and elemental film, in which the sky and sea are as much the protagonists as the human characters, L’OR DES MERS features an entirely non-professional cast. According to Epstein, “Any acting would have destroyed the very spirit of the film. … I believe that directors should use more and more ‘natural actors’, taken from all countries, all classes of society, and all professions: and move towards using natural sets, scripts taken from life, and genuine atmospheres that can be captured on screen.”

Preceded by:
THE CRADLES / LES BERCEAUX (1932, 6 minutes, 35mm)

(UNA SULL’ALTRA)

A doctor is caught between his mistress and his asthmatic wife. When the wife is murdered all eyes turn to him, as he holds the insurance claim on her life. Fulci’s first Giallo shares unmistakable similarities with Hitchcock’s VERTIGO, capturing the mood of late-60s San Francisco. Sexual obsession, depravity, and deception converge in its surprising climax.

THE BUILDERS / LES BÂTISSEURS
1938, 50 minutes, 35mm.
“Produced in 1938 by the Ciné-Liberté group (an offshoot of CGT, the General Confederation of Labor). It prepares the ground for a social policy in construction, for instance by questioning Le Corbusier. In the opening of the film, two workers perched on the scaffolding of a cathedral re-invent the history of religious architecture from the point of view of the workers, the builders, and the people.” –Nicole Brenez

THE STORM / LE TEMPESTAIRE (1947, 23 minutes, 35mm)
The last of Epstein’s Breton films, LE TEMPESTAIRE is steeped in mysticism and regional folklore. With the majestic sea and howling wind dominating the film in both image and sound, Epstein captures the feverish state of mind of a woman who senses that something is destined to befall her boyfriend, a fisherman, when he sets sail.

THE LIGHT THAT NEVER FAILS or THE FIRES OF THE SEA / LES FEUX DE LA MER (1948, 20 minutes, 16mm)
This film was commissioned by the United Nations.

Total running time: ca. 100 minutes.

THE SEA OF RAVENS / MOR’VRAN (1929-30, 26 minutes, 35mm)
“[O]ne of the most beautiful documentaries of the French cinema, a veritable poem on Brittany and the sea, which preceded by four years Robert Flaherty’s MAN OF ARAN, some of whose most beautiful passages it inspired. In the film we feel at every moment…all Epstein’s knowledge, all his poetry of the transfiguration of things, and we can understand his having written, “The actor that has given me the most pleasure is the island of Ouessant with all the people on it and all the water.” –Henri Langlois, CAHIERS DU CINÉMA
&
SONG OF ARMORICA / CHANSON D’ARMOR
1934, 43 minutes, 35mm. In Breton with projected English subtitles.
This is the story of star-crossed lovers – a carefree, musical young man and the beautiful daughter of a wealthy gentleman – who struggle to be together. Aside from its fondness for a restless, panning camera and some inventive wipes, the film is most remarkable for its lively depiction of the customs, costumes, superstitions, dances, and folk songs of the Breton people.

With:
THE SONG OF THE POPLARS / LA CHANSON DES PEUPLIERS (1931, 7 minutes, 35mm)

Total running time: ca. 80 minutes.

(UN TRANQUILLO POSTO DI CAMPAGNA)

Although rarely considered a Giallo, but rather more of a ghost story, Petri’s penetrating study of psychological decay is nonetheless full of the mystery and stylistics found in the genre’s best.

“This Italian-made color film, if you stay with it on its own terms, will absolutely nail you to the seat. … The picture visually hurtles and roars to a climax of complete logic and conviction, blending real and unreal images that will curl your hair. The total effect is devastating.” –Howard Thompson, NEW YORK TIMES

gozoCine: WORKS BY GOZO YOSHIMASU
Born in 1939, Gozo Yoshimasu is a highly acclaimed poet, filmmaker, and photographer living in Tokyo, Japan. Yoshimasu has published over thirty books of poetry, several of which have been translated in several languages. He has extended his poetry into other forms of artistic expression – calligraphy, photography, and film. All of these films were shot and edited in-camera by Yoshimasu who captures landscapes and translates them into a delicate texture of interconnected images. This is the first time Yoshimasu has presented his films in the US.
This program is presented in partnership with ISSUE Project Room and Aki Onda, as part of the “Voices and Echoes from Japan” tour. Funding for the tour is made possible by The Japan Foundation through the Performing Arts Japan program. Special thanks to the Yamagata International Documentary Film Festival and Osiris.

AN ABANDONED SWIMMING POOL, TATESHINA (2006, 7 minutes, video)
EIFFEL TOWER, TWILIGHT (2006, 6 minutes, video)
WATTS TOWERS: THE TOWERS OF SHELLS OR SONG FOR DISAPPEARING SEA (2011, 10 minutes, video)
WATER’S EDGE OF AMERICA, CONCORD (2011, 7 minutes, video)
Plus other new works, and a performance by the filmmaker!
Total running time: ca. 60 minutes.

(SEI DONNE PER L’ASSASSINO)

A masked killer is on the loose at a fashion house where all the models end up dead in various gruesome ways. At the center of this is a diary left by one of the victims, which contains incriminating details about the killer. Bava uses light, shadow, and color to stunning effect in this visual spectacle. And as always, his violent set-pieces will dazzle any fan of the genre.

PLEASE NOTE: Unfortunately, the print of BLOOD AND BLACK LACE is not in great condition - it has significant color fading, and is missing the final two (very brief) shots, as well as the end credits.  As a result we will be switching over to DVD for the final minute or so (a hybrid screening!).