Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 03 May 2016 10:31:36 -0400 EC: CHARLES CHAPLIN, PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45805 <p>THE IDLE CLASS (1921, 32 min, 35mm, b&amp;w)<br />THE PILGRIM (1923, 41 min, 35mm, b&amp;w)<br />Total running time: ca. 75 min.</p> Tuesday, May 03 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45692 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, May 04 EC: THE GOLD RUSH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45806 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin&rsquo;s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin&rsquo;s own music and poetic narration, added for his 1942 reissue.</p> Wednesday, May 04 EC: MODERN TIMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45808 <p>With Charles Chaplin and Paulette Goddard.<br /><br />The Little Tramp punches in and wigs out inside a factory where gizmos like an employee-feeding machine may someday make the lunch hour last just 15 minutes. Bounced into the ranks of the unemployed, he teams with a street waif (Goddard) to pursue bliss and a paycheck, finding misadventures as a roller-skating night watchman, a singing waiter whose hilarious song is gibberish, a jailbird, and more. In the end, as Tramp and waif walk arm and arm into an insecure future, we know they&rsquo;ve found neither bliss nor a paycheck but, more importantly, each other.</p> Wednesday, May 04 QUÉBEC DIRECT CINEMA: PROGRAM 1: BREAKING THE RULES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45710 <p>It all began at the National Film Board of Canada. Despite the NFB&rsquo;s celebrated reputation since its foundation in 1939, its documentary production had become more conventional in the late 40s/early 50s, with its heavy equipment, scripted scenarios, and strict in-house guidelines. The arrival of television in 1952-53, with its constant demand for films, pushed the NFB&rsquo;s producers and filmmakers towards greater creativity, experimentation, and innovation. Inspired by photographer Henri Cartier-Bresson and his artistic philosophy (&ldquo;The Decisive Moment&rdquo;), small crews of filmmakers set out with portable cameras and their often long-focus lenses, more sensitive film stocks, and lighter sound equipment, &ldquo;to record life as it happens, unscripted, unrehearsed, to capture it in sync sound without asking [subjects] to pose or repeat [their] lines; &hellip;and to edit it into moving films that would make the audience laugh and cry&hellip;and change the world by making people realize that life is real, beautiful, and meaningful&rdquo; (Wolf Koenig, 1967).<br /><br />Colin Low &amp; Wolf Koenig CORRAL (1954, 11 min, 16mm, b&amp;w)<br />This film depicts the roping and riding of a high-spirited horse. Dialogue free, CORRAL uses movement and music to tell the story, set in the foothills of Alberta, of a man&rsquo;s struggle to master a horse.<br /><br />Roman Kroitor PAUL TOMKOWICZ: STREET-RAILWAY SWITCHMAN (1954, 9 min, 35mm, b&amp;w)<br />In winter the rail-switches on the Winnipeg streetcar tracks have to be cleared of frozen mud and snow. This task falls to Polish-born Paul Tomkowicz, who, in this lyrical film, muses on his job and on his life.<br /><br />Terence Macartney-Filgate, Stanley Jackson &amp; Wolf Koenig THE DAYS BEFORE CHRISTMAS (1958, 30 min, 16mm, b&amp;w)<br />A candid look at Montr&eacute;al as it readies itself for Christmas. The growing crowds, department store Santa Clauses, Brink&rsquo;s Messenger workers, kindergarten angels, and boisterous nightclubs all combine to form a vivid portrait of a city transformed by the holidays.<br /><br />Terence Macartney-Filgate THE BACK-BREAKING LEAF (1959, 29 min, 16mm, b&amp;w)<br />A graphic picture of the tobacco harvest in Ontario presented from the point of view of the transient field workers.<br /><br />Total running time: ca. 85 min.</p> Thursday, May 05 EC: MODERN TIMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45809 <p>With Charles Chaplin and Paulette Goddard.<br /><br />The Little Tramp punches in and wigs out inside a factory where gizmos like an employee-feeding machine may someday make the lunch hour last just 15 minutes. Bounced into the ranks of the unemployed, he teams with a street waif (Goddard) to pursue bliss and a paycheck, finding misadventures as a roller-skating night watchman, a singing waiter whose hilarious song is gibberish, a jailbird, and more. In the end, as Tramp and waif walk arm and arm into an insecure future, we know they&rsquo;ve found neither bliss nor a paycheck but, more importantly, each other.</p> Thursday, May 05 QUÉBEC DIRECT CINEMA: PROGRAM 2: FROM THE PICTURESQUE TO THE FAMILIAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45712 <p>From an outside perspective to an inside view of the events and the lives of the people being filmed. From Objectivity to Subjectivity. The wide-angle lens rather than the telephoto lens. The two short films in this program &ndash; one made in a picturesque style, the other in a more immediate, committed style &ndash; illustrate the gap between the two approaches, while in DIRECT CINEMA BEFORE THE WORD several of the key participants in the Direct Cinema movement recall their experiences.<br /><br />&ldquo;Our films have, above all, been an impassioned appropriation of the social environment. The picturesque (the outsider&rsquo;s view) has yielded to the familiar; the myth has yielded in the face of reality.&rdquo; &ndash;Gilles Carle, 1964<br /><br />Jean Palardy WINTER CARNIVAL / CARNAVAL DE QU&Eacute;BEC (1957, 11 min, 35mm-to-digital. English version.)<br />A colorful record of Qu&eacute;bec City&rsquo;s spectacular winter carnival in the late 1950s. This film represents the traditional NFB documentary, carefully scripted and filmed with heavy, unwieldy equipment.<br /><br />Michel Brault &amp; Gilles Groulx LES RAQUETTEURS (1958, 14 min, 35mm, b&amp;w. In French with projected English subtitles.)<br />Brault and Groulx&rsquo;s seminal film documents a gathering of snowshoers (&lsquo;raquetteurs&rsquo;) in the city of Sherbrooke in 1958. It stands as a pioneering work of Direct Cinema, with one sequence featuring wireless recorded sound synchronized with a handheld camera, and the use of a short focus lens that allows the camera to take up a position within the action.<br /><br />Denys Desjardins<br />REBELS WITH A CAMERA &ndash; DIRECT CINEMA BEFORE THE WORD / LE DIRECT AVANT LA LETTRE<br />(2005, 50 min, digital. In French with English subtitles.)<br />This penetrating documentary looks back at the aesthetics and ethics of Direct Cinema fifty years later. It explores the context in which French-Canadian filmmakers developed their approach at the National Film Board of Canada, both before and after the Film Board moved to Montr&eacute;al in 1956, and features invaluable interviews with filmmakers and producers from the period, as well as carefully selected excerpts from various films.<br /><br />Total running time: ca. 80 min.</p> Thursday, May 05 EC: THE GOLD RUSH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45807 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin&rsquo;s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin&rsquo;s own music and poetic narration, added for his 1942 reissue.</p> Thursday, May 05 QUÉBEC DIRECT CINEMA: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45714 <p>Michel Brault, Marcel Carri&egrave;re, Claude Fournier &amp; Claude Jutra WRESTLING / LA LUTTE (1961, 28 min, 16mm, b&amp;w. In French with projected English subtitles.)<br />Another seminal example of early Direct Cinema filmmaking, WRESTLING provides a candid view of professional wrestling in the Montr&eacute;al Forum, where some of the biggest bouts are staged, and in the back-street wrestling parlors where the warriors practice their art.<br /><br />Gilles Groulx GOLDEN GLOVES (1961, 28 min, 16mm, b&amp;w. In French with projected English subtitles.)<br />The Golden Gloves boxing tour was the Canadian amateur&rsquo;s hope for success in the boxing world. In behind-the-scenes interviews three Montr&eacute;al boxers-in-training discuss their ambitions and what motivated them to take up boxing. The film&rsquo;s camera work and editing are inspired and expressive, but always subordinated to the reality of the film&rsquo;s subjects.<br /><br />Wolf Koenig &amp; Roman Kroitor LONELY BOY (1961, 26 min, 16mm, b&amp;w)<br />The story of singer Paul Anka, then 19 years old, who rose from obscurity to become the idol of millions of adolescent fans around the world. Taking a candid look at both sides of the footlights, this film examines the marketing machine behind a generation of professional singers. Interviews with Anka and his manager reveal what they think of it all.<br /><br />Total running time: ca. 85 min.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Fri, May 6!</strong></p> Friday, May 06 EXPERIMENTS IN OPERA PRESENTS: VIDEO OPERAS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45671 <p>Building on the pioneering work of composer Robert Ashley, who believed that the America of his time was a culture of TV, Experiments in Opera presents a collection of five original operas created specifically for the screen. These works, commissioned from a wide range of composers/artists, were conceived of as a unique way to tell compelling stories through music in a format that is most relevant to our multi-screen culture. The videos, ranging from 10-20 minutes, will be screened as one continuous program.<br /><br />The commissioned artists are Jason Cady, Emily Manzo, Anna Mikhailova, Aaron Siegel, and Dorian Wallace/David Kulma. These artists come from diverse musical backgrounds, bringing to their video operas experiences with chamber and electronic music, improvisation, indie rock, and various approaches to vocal production. Their works demonstrate a wide range of storytelling interests, encompassing time-travel, hallucinogenic therapy, personal histories, and contemporary takes on monsters of lore. These video operas reveal personal visions of the anxieties of life and triumphs of the imagination in the twenty-first century.<br /><br />For more info about Experiments in Opera, visit http://experimentsinopera.com/<br /><br />Emily Manzo<br />PUBLIC<br />PUBLIC is an operatic experimental film centered around the stories of Sonny Singh&rsquo;s and Mawia Khogali&rsquo;s experiences with Islamophobia. Featuring performances by dancers Gus Solomons, Jr. and Shalya-Vie Jenkins; music performed by DJ Rupture, Shayna Dunkelman and Arooj Aftab; recorded by Jeff Cook; directed by Christine Edwards; created and composed by Emily Manzo.<br /><br />Anna Mikhailova<br />in the distance go on forever/<br />the story of contemporary frankenstein<br />An unnamed heroine discovers herself through interactions with everyday materials (plastic, slime, meat, branches), and experiences a profound transformation. Featuring Sid Ahmat and Stephanie Pan; music performed by Rodrigo Parejo, Loek Vellekoop and Pim Piet; costumes by Isabell Schulz and Ko de Kok; photography by Jesse Bom; directed and composed by Anna Mikhailova.<br /><br />Aaron Siegel<br />TEA BEFORE YOU GO<br />Rich, a terminally ill 60-year old, agrees to an experimental hallucinogenic treatment with his psychologist. Reluctant at first, Rich eventually embraces the opportunity to explore the sounds and visions of his subconscious mind. Featuring actor John Hagan and singer Nathanial Adams; music performed by Aaron Siegel and Jessica Pavone; photography and editing by Antonia Colodro; composed and directed by Aaron Siegel.<br /><br />Jason Cady<br />I SCREWED UP THE FUTURE<br />In 2016 the world still suffers from the after-effects of massive power outages, food shortages, and nuclear explosions caused by Y2K. Cassandra, a computer programmer, builds a time machine and travels back to 1996 to prevent it. But will she succeed? And would things be better if Y2K had not happened? Featuring Katie Eastburn, Sasha Zamler-Carhart, and Daniel Neer; videography by Malik Isasis; music and screenplay by Jason Cady.<br /><br />Dorian Wallace/David Kulma<br />THE REST IS SH**: STORIES FROM THE MICROCHASM<br />In a world not unlike our own, we experience moments in many lives. A man joins street protests and considers his sister&rsquo;s problems with family and friends. A man has thoughts when he is pushed onto the subway tracks. Given the recent events here&hellip; The rest is shit. Featuring David Kulma; music performed by Dorian Wallace, Michael Eaton, Lathan Hardy, Carl Limbacher, Max Maplesand, and Hajnal Pivnick; dance by Diane Skerbec; directed and filmed by John Sanborn; story and music by Dorian Wallace/David Kulma.</p> Friday, May 06 QUÉBEC DIRECT CINEMA: PROGRAM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45717 <p>Hubert Aquin SEPTEMBER FIVE AT SAINT-HENRI / &Agrave; SAINT-HENRI LE CINQ SEPTEMBRE (1962, 27 min, 16mm, b&amp;w. English version.)<br />This film comprises various vignettes from the Montr&eacute;al working-class district of Saint-Henri, from dawn to midnight, on the day school opens. It was the result of a collective shoot by numerous cameramen and soundmen, who strove to capture the sights and sounds of daily life.<br /><br />Cl&eacute;ment Perron DAY AFTER DAY / JOUR APR&Egrave;S JOUR (1962, 27 min, 16mm-to-digital, b&amp;w. English version.)<br />A subjective look at life in a small paper-mill town in Qu&eacute;bec where most of the 6,500 inhabitants derive their livelihood from this single industry. Day after day, the same work, the same hours, the same machines, the same product, until the entire routine of living becomes nothing but a reflection of the dominant routine of the mill.<br /><br />Arthur Lamothe MANOUANE RIVER LUMBERJACKS / B&Ucirc;CHERONS DE LA MANOUANE (1962, 27 min, 16mm, b&amp;w. English version)<br />A rugged film about the rugged life of 165 lonely lumberjacks working from Fall until Spring in the very heart of the northern snowy forests. A harsh portrait, in opposition to the traditional and sometimes romantic image of the lumberjack.<br /><br />Total running time: ca. 85 min.</p> Saturday, May 07 EC: CONNER / CONRAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45810 <p>Bruce Conner<br />A MOVIE (1958, 12 min, 16mm)<br />COSMIC RAY (1961, 4 min, 16mm)<br />REPORT (1965, 13 min, 16mm)<br />Three films by the master and poet of the collage film. COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation&rsquo;s Avant-Garde Masters Grant program funded by The Film Foundation.<br /><br />Tony Conrad<br />THE FLICKER<br />1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.<br />Mathematical and rhythmical orchestration of white and black frames.<br />Total running time: ca. 65 min.</p> Saturday, May 07 QUÉBEC DIRECT CINEMA: PROGRAM 5 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45719 <p>Gilles Groulx NORM&Eacute;TAL (1959, 17 min, 16mm, b&amp;w. English version.)<br />Shot in the town of Norm&eacute;tal in Northern Qu&eacute;bec, the film provides an introduction to life in a frontier mining community where all roads lead to the pithead. Groulx&rsquo;s 30-minute version was rejected by the NFB, most likely at the request of the mining company among others. As a result, Groulx refused to sign the film, as did his crew, which is why the film &ndash; even in the 17-minute version that was eventually released &ndash; lacks credits to this day.<br /><br />Gilles Groulx<br />THE CAT IN THE BAG / LE CHAT DANS LE SAC<br />(1964, 78 min, 35mm-to-digital, b&amp;w. In French with English subtitles.)<br />A young man struggles to come to terms with his place in Qu&eacute;bec society and Qu&eacute;bec&rsquo;s place in Canada. As a journalist he struggles with the question of whether to change society or to accept it the way it is. His Jewish girlfriend, an actress with a budding theater career, does not share his concerns, leading to tension between the two. In Groulx&rsquo;s hands, the coming of age of this 20-year-old man stands in for the political coming-of-age of the people of Qu&eacute;bec. Like Jutra&rsquo;s TAKE IT ALL, CAT IN THE BAG is a fictional film made in allegiance to many of the techniques of Direct Cinema: its non-professional actors essentially play themselves; rather than a carefully scripted screenplay, it relies on improvised dialogues that reflect the social reality of Qu&eacute;bec; and it was shot in sequence, to preserve a sense of spontaneity and to allow the narrative to evolve during the production. Shot in 10 days, on location and with a small budget, it features music by John Coltrane.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Sat, May 7!</strong></p> Saturday, May 07 EXPERIMENTS IN OPERA PRESENTS: VIDEO OPERAS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45672 <p>Building on the pioneering work of composer Robert Ashley, who believed that the America of his time was a culture of TV, Experiments in Opera presents a collection of five original operas created specifically for the screen. These works, commissioned from a wide range of composers/artists, were conceived of as a unique way to tell compelling stories through music in a format that is most relevant to our multi-screen culture. The videos, ranging from 10-20 minutes, will be screened as one continuous program.<br /><br />The commissioned artists are Jason Cady, Emily Manzo, Anna Mikhailova, Aaron Siegel, and Dorian Wallace/David Kulma. These artists come from diverse musical backgrounds, bringing to their video operas experiences with chamber and electronic music, improvisation, indie rock, and various approaches to vocal production. Their works demonstrate a wide range of storytelling interests, encompassing time-travel, hallucinogenic therapy, personal histories, and contemporary takes on monsters of lore. These video operas reveal personal visions of the anxieties of life and triumphs of the imagination in the twenty-first century.<br /><br />For more info about Experiments in Opera, visit http://experimentsinopera.com/<br /><br />Emily Manzo<br />PUBLIC<br />PUBLIC is an operatic experimental film centered around the stories of Sonny Singh&rsquo;s and Mawia Khogali&rsquo;s experiences with Islamophobia. Featuring performances by dancers Gus Solomons, Jr. and Shalya-Vie Jenkins; music performed by DJ Rupture, Shayna Dunkelman and Arooj Aftab; recorded by Jeff Cook; directed by Christine Edwards; created and composed by Emily Manzo.<br /><br />Anna Mikhailova<br />in the distance go on forever/<br />the story of contemporary frankenstein<br />An unnamed heroine discovers herself through interactions with everyday materials (plastic, slime, meat, branches), and experiences a profound transformation. Featuring Sid Ahmat and Stephanie Pan; music performed by Rodrigo Parejo, Loek Vellekoop and Pim Piet; costumes by Isabell Schulz and Ko de Kok; photography by Jesse Bom; directed and composed by Anna Mikhailova.<br /><br />Aaron Siegel<br />TEA BEFORE YOU GO<br />Rich, a terminally ill 60-year old, agrees to an experimental hallucinogenic treatment with his psychologist. Reluctant at first, Rich eventually embraces the opportunity to explore the sounds and visions of his subconscious mind. Featuring actor John Hagan and singer Nathanial Adams; music performed by Aaron Siegel and Jessica Pavone; photography and editing by Antonia Colodro; composed and directed by Aaron Siegel.<br /><br />Jason Cady<br />I SCREWED UP THE FUTURE<br />In 2016 the world still suffers from the after-effects of massive power outages, food shortages, and nuclear explosions caused by Y2K. Cassandra, a computer programmer, builds a time machine and travels back to 1996 to prevent it. But will she succeed? And would things be better if Y2K had not happened? Featuring Katie Eastburn, Sasha Zamler-Carhart, and Daniel Neer; videography by Malik Isasis; music and screenplay by Jason Cady.<br /><br />Dorian Wallace/David Kulma<br />THE REST IS SH**: STORIES FROM THE MICROCHASM<br />In a world not unlike our own, we experience moments in many lives. A man joins street protests and considers his sister&rsquo;s problems with family and friends. A man has thoughts when he is pushed onto the subway tracks. Given the recent events here&hellip; The rest is shit. Featuring David Kulma; music performed by Dorian Wallace, Michael Eaton, Lathan Hardy, Carl Limbacher, Max Maplesand, and Hajnal Pivnick; dance by Diane Skerbec; directed and filmed by John Sanborn; story and music by Dorian Wallace/David Kulma.</p> Saturday, May 07 QUÉBEC DIRECT CINEMA: PROGRAM 6 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45723 <p>Marcel Carri&egrave;re WITH DRUMS AND TRUMPETS / AVEC TAMBOURS ET TROMPETTES (1967, 28 min, 35mm. In French with English subtitles.)<br />In 1867 Pope Pius IX called for volunteers to defend the Papacy against the troops of King Victor-Emmanuel, and Qu&eacute;bec sent a contingent of 503 men to join the Papal Zouaves. Filmed at a centennial celebration of this event in the town of Coaticook, Qu&eacute;bec, this film is a sympathetic account of this elite group.<br /><br />Jean-Claude Labrecque 60 CYCLES (1965, 17 min, 35mm-to-digital)<br />A document of the eleventh St-Laurent long-distance bicycle race, in 1965, with participants from thirteen countries, and with 2,400 km of the Qu&eacute;bec Gasp&eacute; countryside to cover in twelve days. With the picturesque landscape as backdrop, this is a sporting event where the challenge seems more personal than competitive.<br /><br />Gilles Carle PERC&Eacute; ON THE ROCKS (1964, 10 min, 35mm-to-digital. English version.)<br />An effervescent film portrait of Gasp&eacute;&rsquo;s famous rock. The arched rock near Qu&eacute;bec&rsquo;s Gasp&eacute; peninsula is probably the most photographed and visited sight on Canada&rsquo;s Atlantic coast. Special film effects, music, and animation render this production a kind of documentary &lsquo;musical comedy.&rsquo;<br /><br />Gilles Groulx SUCH A SIMPLE GAME / UN JEU SI SIMPLE (1965, 30 min, 35mm-to-digital, b&amp;w/color. In French with English subtitles.)<br />A film about hockey, starring the Montr&eacute;al Canadiens team and its star. Seen &ldquo;from the inside,&rdquo; this seemingly simple game turns out to be not so simple. Hockey is a dream of mythic proportions. Its heroes are national figures. At the Montr&eacute;al Forum, there is a total symbiosis between the crowd and the team. Yet this simple game has also its drama.<br /><br />Total running time: ca. 90 min.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Sat, May 7!</strong></p> Saturday, May 07 QUÉBEC DIRECT CINEMA: PROGRAM 7 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45726 <p>This program showcases two films about music and musicians, shot by the same director and the same cameraman six years apart.<br /><br />Roman Kroitor &amp; Wolf Koenig GLENN GOULD &ndash; ON THE RECORD (1959, 30 min, 16mm, b&amp;w)<br />This remarkable film finds the renowned Canadian concert pianist Glenn Gould kidding around with his cab driver, bantering with sound engineers at Columbia Records, and, alone with his piano, fastidiously recording Bach&rsquo;s Italian Concerto.<br /><br />Roman Kroitor &amp; Wolf Koenig<br />STRAVINSKY<br />(1965, 50 min, 16mm, b&amp;w)<br />An informal portrait of the great composer Igor Stravinsky, at the time a man past eighty, still full of a joy for life, and, though proudly American, still very much an Old World figure with a precise and commanding memory. Stravinsky is depicted conducting the CBC Symphony Orchestra in a recording of his &ldquo;Symphony of Psalms.&rdquo;<br /><br />Total running time: ca. 85 min.</p> Sunday, May 08 EC: EGGELING / CAVALCANTI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45811 <p>Viking Eggeling<br />SYMPHONIE DIAGONALE<br />(1924, 8 minutes, 35mm, b&amp;w)<br /><br />Alberto Cavalcanti<br />RIEN QUE LES HEURES / NOTHING BUT THE HOURS<br />(1928, 52 minutes, 35mm, b&amp;w)<br />A &ldquo;city symphony&rdquo; interweaving documentary, experimental, and narrative elements that provide vivid images of Paris in the mid-1920s.<br />Total running time: ca. 65 minutes<strong>.</strong></p> Sunday, May 08 QUÉBEC DIRECT CINEMA: PROGRAM 8 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45729 <p>Pierre Perrault, Michel Brault &amp; Marcel Carri&egrave;re<br />FOR THE ONES TO COME / POUR LA SUITE DU MONDE<br />(1963, 105 min, 16mm-to-digital, b&amp;w. In French with English subtitles.)<br />This enormously influential film was the first feature-length documentary with synchronized sound in the history of cinema. It tells the story of what happened when various natives of the &Icirc;le-aux-Coudres were persuaded to revive the practice of hunting white (beluga) wales, 40 years after such hunts had become a thing of the past. By focusing on the spoken word and omitting the usual voiceover commentary, the filmmakers endow the people of the film with a profound humanity that is at once particular and genuinely universal. To the rhythm of the moon, the tides, and the seasons, the hunt becomes a rallying point for a community strongly attached to its traditions, and the traces it will leave for posterity. This film helped give documentary filmmaking a new lease on life. In 1963, it became the first Canadian feature film ever selected for the international competition at the Cannes Film Festival.<br /><br />Bernard Gosselin, Michel Brault &amp; Pierre Perrault BELUGA DAYS / THE BEAUTIFUL DELIGHT / LE BEAU PLAISIR (1968, 15 min, 35mm-to-digital. In French with English subtitles.)<br />A kind of follow-up to POUR LA SUITE DU MONDE, this short film documents a beluga hunt. It demonstrates the islanders&rsquo; clever technique of setting a fence of saplings into off-shore mud to trap the animal.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Sun, May 8!</strong></p> Sunday, May 08 BOOK RELEASE EVENT!: THE ADOLFAS DIARIES, BOOK 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45674 <p>This spring sees the publication of Book 1 of THE ADOLFAS DIARIES, the first in what will be a series of three volumes reproducing the diaries of filmmaker and teacher Adolfas Mekas (1925-2011). Translated from the original Lithuanian into English by Adolfas in 1973, Book 1 covers the years 1941-46, a period in which (along with his brother Jonas) he escaped from Lithuania during WWII, was arrested and imprisoned in a Nazi labor camp, and spent the immediate postwar years in a series of displaced persons camps in the British and American zones of Germany.<br /><br />To celebrate the release of Book 1, Adolfas&rsquo;s widow, singer and arts producer Pola Chapelle, will be here in person to host a special event. The evening will feature readings from the DIARIES by Chapelle, performance artist Mikhail Horowitz, pianist Domantas Karalius, and others, as well as a musical performance by Karalius and a screening of Mekas&rsquo;s film, GOING HOME.<br /><br />&ldquo;A riveting and humane account of the struggle and survival of one of the most colorful and brilliant filmmakers of his generation. For those like Mekas, caught between Nazi Germany and the Soviet Union, the war altered the perception of the meaning of life and the words and images used to cope with life. Adolfas Mekas&rsquo;s account is a gift of remembrance to future generations.&rdquo; &ndash;Leon Botstein, President, Bard College<br /><br />Adolfas Mekas<br />GOING HOME<br />(1972, 60 min, 16mm. Filmed by Adolfas Mekas &amp; Pola Chapelle; edited by Adolfas.)<br />&ldquo;A film about childhood memories, life&rsquo;s hardships, and the durability of families. In 1971, after a 27-year absence, Adolfas and his brother Jonas returned to their birthplace in Lithuania. They had left as young men, destined for a German labor camp. Now they came home, Adolfas with his wife, the singer Pola Chapelle, and in the long northern summer days they sang and walked across golden fields and feasted at crowded tables with family and friends. There are flowers for the dead and for the living in this film; it is full of flowers and songs. [&hellip;] For me, the importance of GOING HOME is its strength in expressing feelings about personal and national identity.&rdquo; &ndash;Emilie de Brigard, MoMA</p> Sunday, May 08 QUÉBEC DIRECT CINEMA: PROGRAM 9 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45732 <p>Pierre Perrault<br />AN UNBELIEVABLE COUNTRY / UN PAYS SANS BON SENS<br />(1970, 118 min, 16mm-to-digital, b&amp;w. In French with English subtitles.)<br />This film is about national identity. In 1967 Canada was celebrating its centennial. &ldquo;What does Qu&eacute;bec want?&rdquo; became something of a refrain in English Canada. To answer this question, Pierre Perrault was invited to make a film for the English Production Unit at the National Film Board in a series called &ldquo;Crisis in Confederation.&rdquo; Perrault decided to examine the concept of nationhood, but because of the difficulty of making the film with leading exponents of English Canada, the project diverged from its initial mandate. Completed during the unrest that roiled Qu&eacute;bec in the 1970s &ndash; with the rise of the Front de lib&eacute;ration du Qu&eacute;bec and the government&rsquo;s brutal response &ndash; the film had its theatrical release canceled and was only shown via community organizations. Perrault meets with Franco-Canadians, Qu&eacute;b&eacute;cois, Aboriginal Canadians, and Bretons in France in an attempt to understand what it means to be a nation.</p> Sunday, May 08 QUÉBEC DIRECT CINEMA: PROGRAM 10 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45735 <p>Jacques Leduc FRIDAY: ABOUT CARS / VENDREDI: LES CHARS (1978, 24 min, 16mm-to-digital. In French with projected English subtitles.)<br />Montr&eacute;al under the snow and the cold winter. It is the period of the year when the garage owners strike it rich. The automobile at the service of man? This small opus would rather show the contrary. This is one in a series of eight films titled &ldquo;Chronicle of Everyday Life,&rdquo; a project that filmmaker Jacques Leduc took four years to realize, and whose goal was to revisit Direct Cinema at a moment when it was already heavily &ldquo;contaminated&rdquo; by mainstream TV.<br /><br />Bernard Gosselin<br />CESAR&rsquo;S BARK CANOE / C&Eacute;SAR ET SON CANOT D&rsquo;&Eacute;CORCE<br />(1971, 58 min, 16mm. No dialogue.)<br />This documentary depicts a canoe being built in the traditional manner. Cesar Newashish, a 67-year-old Attikamek of the Manawan Reserve North of Montr&eacute;al, uses only birchbark, cedar splints, spruce roots, and gum. With a sure hand he works methodically to fashion a craft unsurpassed in function or beauty of design. Building a canoe solely from the materials that the forest provides may become a lost art, even among the Native Peoples whose traditional craft it is. The film is free of spoken commentary but text appears on the screen in Cree, French, and English.</p> Monday, May 09 JASON AND SHIRLEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45676 <p>REVIVAL SCREENINGS &ndash; FILMMAKER AND STARS IN PERSON!<br /><br />Written by Stephen Winter, Sarah Schulman, and Jack Waters. Cinematography and editing by Ned Stresen-Reuter. Production design and costumes by Bizzy Barefoot. Music by Drew Brody. With Jack Waters, Sarah Schulman, Tristan Cowen, Eamon Fahey, Tony Torn, Peter Cramer, Mike Bailey-Gates, Bryan Webster, Denise Dixon, and Orran Farmer. Special thanks to Jake Perlin. These screenings are co-presented by MIX Fest, the Bronx Academy of Arts and Dance, and The Tenth Magazine.<br /><br />December, 1966: Jason Holliday, a fabulous, trailblazing, but downtrodden black, gay, middle-aged hustler and aspiring cabaret performer whose life revolved around sex, good times, and narcotics was known throughout New York&rsquo;s pre-Stonewall gay society and the jazz world as the hottest mess around. Shirley Clarke was Jewish, wealthy, brilliant, an Oscar-winner, and a rare female film director to gain national prominence. She invited Jason to her penthouse in the legendary Chelsea Hotel to film him telling wild stories from his turbulent life, determined to find a groundbreaking &lsquo;truth&rsquo; in documentary. That evening resulted in Clarke&rsquo;s notorious film, PORTRAIT OF JASON (1967) &ndash; hailed as a revolutionary work of documentary filmmaking &ndash; in which Jason tells stories of racism, homophobia, abuse, and prostitution, to Shirley and her partner in art and life, the riveting but troubled black actor Carl Lee, who seems to gleefully push Jason towards a tangled emotional breakdown.<br /><br />What really happened that day? What was the true nature of Jason&rsquo;s relationship with Shirley and Carl? And what sort of power dynamics existed between Jason and his off-screen observers? Written by its director Stephen Winter, along with novelist and playwright Sarah Schulman and filmmaker and artist Jack Waters, JASON AND SHIRLEY is graced by an astonishing lead performance by Waters that triumphantly transcends impersonation to bring Jason Holliday back to life with uncanny authenticity and immediacy. Winter&rsquo;s film incorporates dreams, musical numbers, and period-specific video imagery to speculate upon what might have occurred during those 12 hours at the Chelsea Hotel, and to meditate upon the power dynamics and representational ethics that underlie documentary &lsquo;truth.&rsquo;<br /><br />&ldquo;JASON AND SHIRLEY is the best possible thing that could happen to PORTRAIT OF JASON. For generations of queer men of color who have been horrified by Holliday&rsquo;s on-screen fate, [it] offers a reinvention of a historical moment that sought to consign them to the roles of mascots and scapegoats. Once disposable, in Winter&rsquo;s able hands Holliday returns, available for reinvention.&rdquo; &ndash;Tavia Nyong&rsquo;o, THE GUARDIAN<br /><br />&ldquo;A tsunami of ideas and emotions that upends all received notions about power, race, sexuality, and art. The lovechild of Cassavetes and Spike Lee is Stephen Winter.&rdquo; &ndash;John Cameron Mitchell<br /><br />&ldquo;That rare film that manages to be even better than its brilliant concept. Winter effortlessly balances a kaleidoscope of histories &ndash; of the avant-garde, and the birth of independent cinema, of NYC downtown, and black, and queer cultures &ndash; with cinematic lightness and razor sharp humor. One of the most original and rewarding movies I&rsquo;ve seen in years.&rdquo; &ndash;Ira Sachs<br /><br /><strong>Stephen Winter, Jack Waters, and members of the cast will be here in person for both screenings, and will be joined by Sarah Schulman on May 9!</strong></p> Monday, May 09 QUÉBEC DIRECT CINEMA: PROGRAM 11 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45738 <p>Bernard Gosselin<br />JEAN CARIGNAN, VIOLONEUX<br />(1975, 88 min, 16mm-to-digital. In French with English subtitles.)<br />Jean Carignan was a taxi driver, but also one of the best fiddlers in the world. His deep knowledge of the Irish and Scottish repertoire brought him international renown. A friend of Yehudi Menuhin, he died in 1988, at the age of 72. This documentary is a portrait of Carignan, and a love story between a poor child and his violin.<br /><br />Bernard Gosselin was a fabulous cameraman and director, who was passionate about people, artisans, cinema, and his work. Gosselin collaborated with Gilles Groulx, Michel Brault, Pierre Perrault, Arthur Lamothe, and many others. A pioneer of &ldquo;Direct Cinema,&rdquo; he died in 2006.</p> Monday, May 09 QUÉBEC DIRECT CINEMA: PROGRAM 12 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45740 <p>Pierre Perrault<br />THE SHIMMERING BEAST / LA B&Ecirc;TE LUMINEUSE<br />(1982, 127 min, 16mm. In French with English subtitles.)<br />Nature has always been a central theme in Pierre Perrault&rsquo;s films. In THE SHIMMERING BEAST nine city-dwellers and their Indian guides withdraw to the woods to hunt moose, and to spend one week together away from their daily routines. The film charts the social dynamics of this diverse group, as well as their individual reckoning with their innermost selves. A brilliant piece of direct cinema, predominantly shot over the course of 9 days, it is so extreme that you can&rsquo;t help but wonder how Perrault was able to pull it off.</p> Tuesday, May 10 JASON AND SHIRLEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45677 <p>REVIVAL SCREENINGS &ndash; FILMMAKER AND STARS IN PERSON!<br /><br />Written by Stephen Winter, Sarah Schulman, and Jack Waters. Cinematography and editing by Ned Stresen-Reuter. Production design and costumes by Bizzy Barefoot. Music by Drew Brody. With Jack Waters, Sarah Schulman, Tristan Cowen, Eamon Fahey, Tony Torn, Peter Cramer, Mike Bailey-Gates, Bryan Webster, Denise Dixon, and Orran Farmer. Special thanks to Jake Perlin. These screenings are co-presented by MIX Fest, the Bronx Academy of Arts and Dance, and The Tenth Magazine.<br /><br />December, 1966: Jason Holliday, a fabulous, trailblazing, but downtrodden black, gay, middle-aged hustler and aspiring cabaret performer whose life revolved around sex, good times, and narcotics was known throughout New York&rsquo;s pre-Stonewall gay society and the jazz world as the hottest mess around. Shirley Clarke was Jewish, wealthy, brilliant, an Oscar-winner, and a rare female film director to gain national prominence. She invited Jason to her penthouse in the legendary Chelsea Hotel to film him telling wild stories from his turbulent life, determined to find a groundbreaking &lsquo;truth&rsquo; in documentary. That evening resulted in Clarke&rsquo;s notorious film, PORTRAIT OF JASON (1967) &ndash; hailed as a revolutionary work of documentary filmmaking &ndash; in which Jason tells stories of racism, homophobia, abuse, and prostitution, to Shirley and her partner in art and life, the riveting but troubled black actor Carl Lee, who seems to gleefully push Jason towards a tangled emotional breakdown.<br /><br />What really happened that day? What was the true nature of Jason&rsquo;s relationship with Shirley and Carl? And what sort of power dynamics existed between Jason and his off-screen observers? Written by its director Stephen Winter, along with novelist and playwright Sarah Schulman and filmmaker and artist Jack Waters, JASON AND SHIRLEY is graced by an astonishing lead performance by Waters that triumphantly transcends impersonation to bring Jason Holliday back to life with uncanny authenticity and immediacy. Winter&rsquo;s film incorporates dreams, musical numbers, and period-specific video imagery to speculate upon what might have occurred during those 12 hours at the Chelsea Hotel, and to meditate upon the power dynamics and representational ethics that underlie documentary &lsquo;truth.&rsquo;<br /><br />&ldquo;JASON AND SHIRLEY is the best possible thing that could happen to PORTRAIT OF JASON. For generations of queer men of color who have been horrified by Holliday&rsquo;s on-screen fate, [it] offers a reinvention of a historical moment that sought to consign them to the roles of mascots and scapegoats. Once disposable, in Winter&rsquo;s able hands Holliday returns, available for reinvention.&rdquo; &ndash;Tavia Nyong&rsquo;o, THE GUARDIAN<br /><br />&ldquo;A tsunami of ideas and emotions that upends all received notions about power, race, sexuality, and art. The lovechild of Cassavetes and Spike Lee is Stephen Winter.&rdquo; &ndash;John Cameron Mitchell<br /><br />&ldquo;That rare film that manages to be even better than its brilliant concept. Winter effortlessly balances a kaleidoscope of histories &ndash; of the avant-garde, and the birth of independent cinema, of NYC downtown, and black, and queer cultures &ndash; with cinematic lightness and razor sharp humor. One of the most original and rewarding movies I&rsquo;ve seen in years.&rdquo; &ndash;Ira Sachs<br /><br /><strong>Stephen Winter, Jack Waters, and members of the cast will be here in person for both screenings, and will be joined by Sarah Schulman on May 9!</strong></p> Tuesday, May 10 QUÉBEC DIRECT CINEMA: PROGRAM 13 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45743 <p>Tanya Ballantyne<br />THE THINGS I CANNOT CHANGE<br />(1966, 58 min, 16mm, b&amp;w)<br />This film is considered to be the forerunner of the NFB&rsquo;s &ldquo;Soci&eacute;t&eacute; Nouvelle/Challenge for Change&rdquo; program. It is a look at a family in trouble, seen from the inside. Ballantyne documents the family&rsquo;s troubles with the police, their begging for stale bread at the convent, and the birth of another child. Although filmed in Montr&eacute;al, the poverty it depicts could have been found throughout North America.<br /><br />Maurice Bulbulian<br />LITTLE BURGUNDY / LA P&rsquo;TITE BOURGOGNE<br />(1968, 30 min, 16mm, b&amp;w. English version.)<br />This film is one of the first French Unit productions of the &ldquo;Soci&eacute;t&eacute; Nouvelle/Challenge for Change&rdquo; program. When an old area of Montr&eacute;al is to be demolished to make way for a new low-income housing development, is there anything the residents can do to protect their own interests? The film documents such a situation in the Little Burgundy district of Montr&eacute;al and shows how the residents organized themselves into a committee that successfully influenced the city&rsquo;s housing policy.</p> Tuesday, May 10 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45693 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, May 11 QUÉBEC DIRECT CINEMA: PROGRAM 14 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45745 <p>Gilles Groulx<br />24 HOURS OR MORE / 24 HEURES OU PLUS<br />(1973, 113 min, 16mm-to-digital, b&amp;w/color. In French with English subtitles.)<br />Made during an exceptionally feverish period of popular revolt that saw the coming together of Qu&eacute;bec&rsquo;s three main unions, 24 HOURS OR MORE is a powerful piece of political cinema. Filmed against the backdrop of the 1970 October Crisis, the film is a frontal assault denouncing a &lsquo;consumer society&rsquo; viewed as the ultimate embodiment of evil. The film was banished from distribution for four years by the NFB management.</p> Wednesday, May 11 QUÉBEC DIRECT CINEMA: PROGRAM 15 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45747 <p>Claude Jutra<br />TAKE IT ALL / &Agrave; TOUT PRENDRE<br />(1963, 99 min, 16mm, b&amp;w. In French with English subtitles. Archival print courtesy of La Cin&eacute;math&egrave;que qu&eacute;b&eacute;coise.)<br />This film found filmmaker Claude Jutra &ndash; a central figure in Canadian cinema and in the development of Direct Cinema &ndash; attempting to apply the aesthetics and of some of the techniques of Direct Cinema to fiction. A portrait of young intellectuals in early 1960s Montr&eacute;al, it focuses in particular on a man struggling with his identity, his life choices, his interracial relationship, and his latent homosexuality. Along with Groulx&rsquo;s LE CHAT DANS LE SAC (1964), the film launched the new Qu&eacute;bec cinema. It earned critical praise in the U.S. and Europe, and was admired by such filmmakers as John Cassavetes, Jean Renoir, and Bernardo Bertolucci.</p> Wednesday, May 11 QUÉBEC DIRECT CINEMA: PROGRAM 5 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45720 <p>Gilles Groulx NORM&Eacute;TAL (1959, 17 min, 16mm, b&amp;w. English version.)<br />Shot in the town of Norm&eacute;tal in Northern Qu&eacute;bec, the film provides an introduction to life in a frontier mining community where all roads lead to the pithead. Groulx&rsquo;s 30-minute version was rejected by the NFB, most likely at the request of the mining company among others. As a result, Groulx refused to sign the film, as did his crew, which is why the film &ndash; even in the 17-minute version that was eventually released &ndash; lacks credits to this day.<br /><br />Gilles Groulx<br />THE CAT IN THE BAG / LE CHAT DANS LE SAC<br />(1964, 78 min, 35mm-to-digital, b&amp;w. In French with English subtitles.)<br />A young man struggles to come to terms with his place in Qu&eacute;bec society and Qu&eacute;bec&rsquo;s place in Canada. As a journalist he struggles with the question of whether to change society or to accept it the way it is. His Jewish girlfriend, an actress with a budding theater career, does not share his concerns, leading to tension between the two. In Groulx&rsquo;s hands, the coming of age of this 20-year-old man stands in for the political coming-of-age of the people of Qu&eacute;bec. Like Jutra&rsquo;s TAKE IT ALL, CAT IN THE BAG is a fictional film made in allegiance to many of the techniques of Direct Cinema: its non-professional actors essentially play themselves; rather than a carefully scripted screenplay, it relies on improvised dialogues that reflect the social reality of Qu&eacute;bec; and it was shot in sequence, to preserve a sense of spontaneity and to allow the narrative to evolve during the production. Shot in 10 days, on location and with a small budget, it features music by John Coltrane.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Sat, May 7!</strong></p> Thursday, May 12 CROSSING BORDERS: SEVEN SHORT VIDEOS FROM CHINA AND INDIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45679 <p>This program features works by Surekha, Li Ming/Lin Ke/Yang Junling, Gigi Scaria, Li Xiaofei, Jennifer Wen Ma, and Cheng Ran/Item Idem that dwell on the outcome of rapid urbanization since China&rsquo;s open markets of the 1980s, and India&rsquo;s globalization in the 1990s. While many of the Chinese artists&rsquo; largely conceptual films are dictated by industry, sophistication, and technological prowess, India&rsquo;s homegrown, low budget modes converge on nature, humanity, and the common man with an emphasis on its earthy, gritty manner. The impact of recent development and mobility is evident from China&rsquo;s fast-transforming capitalist economy versus India&rsquo;s slow moving democratic socialism. By combining Chinese and Indian works, one can examine the presentation of reality by artists from both regions. For example, Li Xiaofei&rsquo;s focus on the Chinese industrial production of salt can be contrasted with Scaria&rsquo;s poetic rendering of salt farms on the northern border of India. Similarly, Cheng Ran and Item Idem&rsquo;s literal detonation of mass consumerism in JOSS sparks an interesting dialogue when compared to Scaria&rsquo;s pithy satirical video POLITICAL REALISM on the demolition of socialist ideologies in India. Such comparisons not only generate an aesthetic discourse but also a socio-political and cultural dialogue.<br /><br /><em><strong>The curators Michelle Y. Loh and Bansie Vasvani will be present for a Q&amp;A after the program.</strong></em><br /><br />Surekha URBAN F(R)ICTIONS: ROMEOS AND JULIETS (2009-10, 9.5 min, digital)<br />Li Ming, Lin Ke, Yang Junling THE AFTERNOON OF JUNE 1 (2006, 8 min, digital)<br />Surekha's work documents the laughing club established by retired middle class Indians, while THE AFTERNOON OF JUNE 1 portrays the inertia of young Chinese students in Shanghai.<br /><br />Gigi Scaria SALT (2013, 4.5 min, digital)<br />Li Xiaofei ASSEMLY LINE &ndash; A PACKET OF SALT (2013, 7.5 min, digital)<br />A film about salt harvested from seawater in India, followed by another about the industrial production of salt in China.<br /><br />Jennifer Wen Ma BRAINSTORM (2009, 10 min, digital)<br />Wen's film utilizes the Chinese ink technique to convey the vast expanse of China&rsquo;s swiftly transforming natural landscape.<br /><br />Gigi Scaria POLITICAL REALISM (2009, 3.5 min, digital)<br />Cheng Ran &amp; Item Idem JOSS (2013, 6 min, digital)<br />These two films reflect a satirical demolition of socialist ideologies in India and the power of consumerism in China. <br /><br /><br />Total running time: ca. 65 min.</p> Thursday, May 12 QUÉBEC DIRECT CINEMA: PROGRAM 16 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45750 <p>Michel Brault GENEVI&Egrave;VE (1965, 28 min, 35mm-to-digital, b&amp;w. In French with English subtitles. With Genevi&egrave;ve Bujold and Louise Marleau.)<br />Two young girls go to the winter carnival in Qu&eacute;bec City for the first time. Their ambiguous and tentative relationship with a young boy brings both of them the sweet intensity and disillusionment of first love. Starring rising actress Genevi&egrave;ve Bujold, GENEVI&Egrave;VE was made as part of the omnibus feature, LA FLEUR DE L&rsquo;&Acirc;GE, a coproduction initiated by the NFB which also included chapters by Gian Vittorio Baldi, Jean Rouch, and Hiroshi Teshigahara.<br /><br />Michel Brault<br />BETWEEN SWEET AND SALT WATER / ENTRE LA MER ET L&rsquo;EAU DOUCE<br />(1967, 85 min, 35mm, b&amp;w. In French with English subtitles.)<br />Claude leaves his aboriginal girlfriend, his family, and his small isolated village on the shores of the St-Lawrence River to try his luck as a singer in Montr&eacute;al. Between the dream and the reality lie the challenges of finding work in Montr&eacute;al. But Claude will also find a young waitress, Genevi&egrave;ve, with whom he&rsquo;ll fall in love. He will gradually obtain success but his ambition will force him to make compromises in his life.<br />Brault&rsquo;s fictional feature intermingles tradition and modernity. For Brault, his young French-Canadian protagonist is torn between two worlds: the sea (the past), and fresh water (modernity). Starring popular chansonnier singer Claude Gauthier and Genevi&egrave;ve Bujold, soon to become an internationally renowned actress, BETWEEN SWEET AND SALT WATER is an important film that reflects the Direct Cinema approach pioneered over the course of the previous decade, but would also influence the feature films that would follow soon after.</p> Thursday, May 12 QUÉBEC DIRECT CINEMA: PROGRAM 17 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45753 <p>Michel Brault<br />LES ORDRES<br />(1974, 109 min, 35mm, b&amp;w/color. In French with English subtitles. Archival print courtesy of La Cin&eacute;math&egrave;que qu&eacute;b&eacute;coise.)<br />&ldquo;Based on fifty interviews with victims of the War Measures Act, imposed in October 1970 in response to kidnappings perpetrated by members of the &ldquo;Front de lib&eacute;ration du Qu&eacute;bec&rdquo; (FLQ), Brault&rsquo;s masterpiece marks the pinnacle of fifteen years of evolution in Qu&eacute;bec cin&eacute;ma. Since LES RAQUETTEURS, a certain realistic style had emerged as the best way to represent the Qu&eacute;becois experience. Whether in documentary or in fiction films, the Direct Cinema look had become the trademark of Qu&eacute;bec filmmakers. With LES ORDRES, Brault achieved a perfect balance between the raw immediacy of Direct Cinema and the evocative power of fiction. Thanks in great part to performances by some of Qu&eacute;bec&rsquo;s best actors, the film&rsquo;s narrative transcends mere docudrama to convey a biting criticism of political oppression.&rdquo; &ndash;Andr&eacute; Loiselle</p> Friday, May 13 CRASH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45767 <p>With James Spader, Holly Hunter, Elias Koteas, Deborah Kara Unger, and Rosanna Arquette.<br /><br />Cronenberg&rsquo;s adaptation of Ballard&rsquo;s 1973 masterpiece of the same name, CRASH paints a nightmarish, dystopic portrait of a subculture that finds car crashes intensely erotic. A brilliant meditation on the extent to which humans have become unavoidably and intimately enmeshed in technology, CRASH portrays a group of men and women who embrace this interwining, who take sexual pleasure from the violent fusion of their bodies with the cold, jagged machines within which we all spend much of our lives.<br /><br />&ldquo;Uncompromising in its melancholia, CRASH establishes a profound sense of seeking comfort in the crevices of a lacerating, metallic world. In the context of this brilliant science fiction, our species is imagined as vulnerable bits of oozing, sucking, coupling, retracting, yearning protoplasm. Does the thought disturb you? Shown on a double bill with a blithe futurist entertainment like SPEED or STAR WARS, CRASH would emerge as the infinitely more honest and moral movie.&rdquo; &ndash;J. Hoberman<br /><br />Preceded by:<br />Kenneth Anger KUSTOM KAR KOMMANDOS (1965, 3 min, 16mm)<br />Anger&rsquo;s seminal short, intended as part of a feature film that was sadly never realized, reflects a sensibility distinctly different from Ballard&rsquo;s, but shares a closely related preoccupation with &lsquo;auto&rsquo;-eroticism.</p> Friday, May 13 QUÉBEC DIRECT CINEMA: PROGRAM 7 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45727 <p>This program showcases two films about music and musicians, shot by the same director and the same cameraman six years apart.<br /><br />Roman Kroitor &amp; Wolf Koenig GLENN GOULD &ndash; ON THE RECORD (1959, 30 min, 16mm, b&amp;w)<br />This remarkable film finds the renowned Canadian concert pianist Glenn Gould kidding around with his cab driver, bantering with sound engineers at Columbia Records, and, alone with his piano, fastidiously recording Bach&rsquo;s Italian Concerto.<br /><br />Roman Kroitor &amp; Wolf Koenig<br />STRAVINSKY<br />(1965, 50 min, 16mm, b&amp;w)<br />An informal portrait of the great composer Igor Stravinsky, at the time a man past eighty, still full of a joy for life, and, though proudly American, still very much an Old World figure with a precise and commanding memory. Stravinsky is depicted conducting the CBC Symphony Orchestra in a recording of his &ldquo;Symphony of Psalms.&rdquo;<br /><br />Total running time: ca. 85 min.</p> Friday, May 13 SHIVERS (aka THEY CAME FROM WITHIN) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45771 <p>Cronenberg&rsquo;s third feature film, and the first to find him truly coming into his own, SHIVERS is so close in spirit to Ballard&rsquo;s novel, HIGH-RISE (despite the fact that they were conceived and created almost simultaneously) that it seems almost like an inadvertent adaptation. Both film and novel depict the gradual breakdown of civilization within a modern high-rise apartment building, with the high-rise acting as both a microcosm of society and as a kind of inexplicable trap that the residents can not (or will not) escape. In Ballard&rsquo;s novel, the growing conflict between the residents has little or no discernible cause, while in the more explicitly horror-film inflected (but no less subversive) SHIVERS, the culprit is a scientifically-engineered sexually-transmitted parasite that unleashes uncontrollable sexual urges in its hosts. SHIVERS establishes both the distinctive form of &lsquo;body horror&rsquo; that Cronenberg would so brilliantly develop and the artistic kinship with Ballard that would eventually come to the surface with his 1996 adaptation of CRASH.</p> Friday, May 13 WEEKEND & LA JETÉE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45774 <p>Jean-Luc Godard<br />WEEKEND<br />(1967, 105 min, 35mm. In French with English subtitles.)<br />Godard&rsquo;s 1967 masterpiece is anchored by one of the most lauded and audacious sequences of all time, an extended tracking shot of a cacophonous and sometimes bloody traffic jam. A simultaneously comic and terrifying vision of a modern society in which technology and brutality go hand-in-hand, it seems to contain within itself the seeds of much of J.G. Ballard&rsquo;s work.<br /><br />&amp;<br /><br />Chris Marker<br />LA JET&Eacute;E<br />(1962, 29 min, 35mm, b&amp;w. In French with English subtitles.)<br />&ldquo;This strange and poetic film&hellip;is a fusion of science fiction, psychological fable and photomontage, and creates in its unique way a series of potent images of the inner landscapes of time. Apart from a brief three-second sequence &ndash; a young woman&rsquo;s hesitant smile, a moment of extraordinary poignancy, like a fragment of a child&rsquo;s dream &ndash; the thirty-minute film is composed entirely of still photographs. Yet this succession of disconnected images is a perfect means of projecting the quantified memories and movements through time that are the film&rsquo;s subject matter. [&hellip;] This familiar theme [time travel] is treated with remarkable finesse and imagination, its symbols and perspectives continually reinforcing the subject matter. Not once does it make use of the time-honoured conventions of traditional science fiction. Creating its own conventions from scratch, it triumphantly succeeds where science fiction invariably fails.&rdquo; &ndash;J.G. Ballard, &lsquo;La Jet&eacute;e: Academy One&rsquo;, New Worlds, 1966</p> Saturday, May 14 QUÉBEC DIRECT CINEMA: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45715 <p>Michel Brault, Marcel Carri&egrave;re, Claude Fournier &amp; Claude Jutra WRESTLING / LA LUTTE (1961, 28 min, 16mm, b&amp;w. In French with projected English subtitles.)<br />Another seminal example of early Direct Cinema filmmaking, WRESTLING provides a candid view of professional wrestling in the Montr&eacute;al Forum, where some of the biggest bouts are staged, and in the back-street wrestling parlors where the warriors practice their art.<br /><br />Gilles Groulx GOLDEN GLOVES (1961, 28 min, 16mm, b&amp;w. In French with projected English subtitles.)<br />The Golden Gloves boxing tour was the Canadian amateur&rsquo;s hope for success in the boxing world. In behind-the-scenes interviews three Montr&eacute;al boxers-in-training discuss their ambitions and what motivated them to take up boxing. The film&rsquo;s camera work and editing are inspired and expressive, but always subordinated to the reality of the film&rsquo;s subjects.<br /><br />Wolf Koenig &amp; Roman Kroitor LONELY BOY (1961, 26 min, 16mm, b&amp;w)<br />The story of singer Paul Anka, then 19 years old, who rose from obscurity to become the idol of millions of adolescent fans around the world. Taking a candid look at both sides of the footlights, this film examines the marketing machine behind a generation of professional singers. Interviews with Anka and his manager reveal what they think of it all.<br /><br />Total running time: ca. 85 min.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Fri, May 6!</strong></p> Saturday, May 14 FREE SCREENINGS!: CRASH!, THE UNLIMITED DREAM COMPANY, and more http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45777 <p><strong>FREE SCREENINGS!<br /><br /></strong>This program, presented free of charge, will feature Harley Cokeliss&rsquo;s CRASH!, in which Ballard himself appears; Sam Scoggins&rsquo;s THE UNLIMITED DREAM COMPANY, which combines interviews with Ballard and imagery inspired by his novel of the same name; and various other surprises, including additional interviews and other odds and ends.<br /><br />Harley Cokeliss<br />CRASH!<br />(1971, 17 min, 16mm-to-digital. With J.G. Ballard and Gabrielle Drake.)<br />This short film, the only Ballard adaptation to feature the author himself, both onscreen and in voiceover, stems from a chapter of his groundbreaking novel, THE ATROCITY EXHIBITION (1970). Ballard&rsquo;s preoccupation with the psychic and physical role of the automobile in modern life &ndash; and in particular with the phenomenon of the car crash &ndash; was one that he had explored in THE ATROCITY EXHIBITION, as well as in a 1970 gallery exhibition of crashed cars, and that would very soon culminate in his 1973 masterpiece, CRASH. Made two years before that novel&rsquo;s publication, this film finds Ballard (alongside Gabrielle Drake, sister of singer-songwriter Nick Drake) appearing as a version of ATROCITY&rsquo;s (identity-shifting) &lsquo;T&rsquo; character, voicing modified quotes from that novel as he travels across highways, visits junk heaps, and observes the infrastructure of our car-dominated world.<br /><br />Sam Scoggins<br />THE UNLIMITED DREAM COMPANY<br />(1983, 24 min, 16mm)<br />Footage of Ballard discussing his life and work is interpolated with imagery of a crashed pilot stalking the landscapes of his dreams. The film is concerned with what constitutes an adequate picture of a person, and the role of the imagination in transforming the world.</p> Saturday, May 14 QUÉBEC DIRECT CINEMA: PROGRAM 8 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45730 <p>Pierre Perrault, Michel Brault &amp; Marcel Carri&egrave;re<br />FOR THE ONES TO COME / POUR LA SUITE DU MONDE<br />(1963, 105 min, 16mm-to-digital, b&amp;w. In French with English subtitles.)<br />This enormously influential film was the first feature-length documentary with synchronized sound in the history of cinema. It tells the story of what happened when various natives of the &Icirc;le-aux-Coudres were persuaded to revive the practice of hunting white (beluga) wales, 40 years after such hunts had become a thing of the past. By focusing on the spoken word and omitting the usual voiceover commentary, the filmmakers endow the people of the film with a profound humanity that is at once particular and genuinely universal. To the rhythm of the moon, the tides, and the seasons, the hunt becomes a rallying point for a community strongly attached to its traditions, and the traces it will leave for posterity. This film helped give documentary filmmaking a new lease on life. In 1963, it became the first Canadian feature film ever selected for the international competition at the Cannes Film Festival.<br /><br />Bernard Gosselin, Michel Brault &amp; Pierre Perrault BELUGA DAYS / THE BEAUTIFUL DELIGHT / LE BEAU PLAISIR (1968, 15 min, 35mm-to-digital. In French with English subtitles.)<br />A kind of follow-up to POUR LA SUITE DU MONDE, this short film documents a beluga hunt. It demonstrates the islanders&rsquo; clever technique of setting a fence of saplings into off-shore mud to trap the animal.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Sun, May 8!</strong></p> Saturday, May 14 MAD MAX 2 / THE ROAD WARRIOR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45780 <p>With Mel Gibson.<br /><br />&ldquo;MAD MAX 2 is by far the best of the Mad Max series. With its insane vehicles and fearful body-armour, it is a vision of Armageddon as autogeddon. MAD MAX 2 is punk&rsquo;s Sistine Chapel.&rdquo; &ndash;J.G. Ballard, &lsquo;J.G. Ballard&rsquo;s Top Ten Science Fiction Films,&rsquo; THE INDEPENDENT, 2005<br /><br />&ldquo;I loved THE ROAD WARRIOR &ndash; I thought it was a masterpiece. For ninety or so minutes I really knew what it was like to be an eight-cylinder engine under the hood of whatever car that was; the visceral impact of that film was extraordinary. And seen simply from a science-fiction point of view, it created a unique landscape with tremendous visual authority.&rdquo; &ndash;J.G. Ballard, interviewed by Jonathan Cott, &lsquo;The Strange Visions of J.G. Ballard,&rsquo; ROLLING STONE, 1987</p> Saturday, May 14 QUÉBEC DIRECT CINEMA: PROGRAM 12 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45741 <p>Pierre Perrault<br />THE SHIMMERING BEAST / LA B&Ecirc;TE LUMINEUSE<br />(1982, 127 min, 16mm. In French with English subtitles.)<br />Nature has always been a central theme in Pierre Perrault&rsquo;s films. In THE SHIMMERING BEAST nine city-dwellers and their Indian guides withdraw to the woods to hunt moose, and to spend one week together away from their daily routines. The film charts the social dynamics of this diverse group, as well as their individual reckoning with their innermost selves. A brilliant piece of direct cinema, predominantly shot over the course of 9 days, it is so extreme that you can&rsquo;t help but wonder how Perrault was able to pull it off.</p> Saturday, May 14 THE CARS THAT ATE PARIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45783 <p>Print courtesy of the National Film and Sound Archive of Australia.<br /><br />&ldquo;Taking his cue from the novels of J.G. Ballard, Weir chronicles a mutated Australian township which survives by cannibalizing the vehicles of unwary travellers and leaving the occupants either dead or &lsquo;vegies&rsquo; for medical experimentation; consequently the town&rsquo;s currency consists of tires, radios, and other highway flotsam. The tone is beautifully sustained throughout, hovering just on the right side of conviction, with superbly understated comic performances. Several genres are deftly skirted, including the increasingly familiar sub-horror theme of an isolated psychopathic community, but the plot never gets bogged down in formula.&rdquo; &ndash;TIME OUT</p> Saturday, May 14 QUÉBEC DIRECT CINEMA: PROGRAM 9 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45733 <p>Pierre Perrault<br />AN UNBELIEVABLE COUNTRY / UN PAYS SANS BON SENS<br />(1970, 118 min, 16mm-to-digital, b&amp;w. In French with English subtitles.)<br />This film is about national identity. In 1967 Canada was celebrating its centennial. &ldquo;What does Qu&eacute;bec want?&rdquo; became something of a refrain in English Canada. To answer this question, Pierre Perrault was invited to make a film for the English Production Unit at the National Film Board in a series called &ldquo;Crisis in Confederation.&rdquo; Perrault decided to examine the concept of nationhood, but because of the difficulty of making the film with leading exponents of English Canada, the project diverged from its initial mandate. Completed during the unrest that roiled Qu&eacute;bec in the 1970s &ndash; with the rise of the Front de lib&eacute;ration du Qu&eacute;bec and the government&rsquo;s brutal response &ndash; the film had its theatrical release canceled and was only shown via community organizations. Perrault meets with Franco-Canadians, Qu&eacute;b&eacute;cois, Aboriginal Canadians, and Bretons in France in an attempt to understand what it means to be a nation.</p> Sunday, May 15 LOW-FLYING AIRCRAFT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45787 <p>(APARELHO VOADOR A BAIXA ALTITUDE)<br /><br />Print courtesy of the Cinemateca Portuguesa.<br /><br />Based on Ballard&rsquo;s 1975 short story of the same name, LOW-FLYING AIRCRAFT is set in a near future where humans are a dying breed. Judite and Andr&eacute; flee to a semi-abandoned apartment complex to protect their mutant child from certain death. A Portuguese production, directed by Norwegian filmmaker Solveig Nordlund, it&rsquo;s a deeply unsettling, tightly focused film whose atmosphere of dread, resourcefully but precisely achieved post-apocalyptic atmosphere, and unsparing depiction of the psychological and behavioral consequences of the world it posits are fully worthy of Ballard.</p> Sunday, May 15 QUÉBEC DIRECT CINEMA: PROGRAM 16 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45751 <p>Michel Brault GENEVI&Egrave;VE (1965, 28 min, 35mm-to-digital, b&amp;w. In French with English subtitles. With Genevi&egrave;ve Bujold and Louise Marleau.)<br />Two young girls go to the winter carnival in Qu&eacute;bec City for the first time. Their ambiguous and tentative relationship with a young boy brings both of them the sweet intensity and disillusionment of first love. Starring rising actress Genevi&egrave;ve Bujold, GENEVI&Egrave;VE was made as part of the omnibus feature, LA FLEUR DE L&rsquo;&Acirc;GE, a coproduction initiated by the NFB which also included chapters by Gian Vittorio Baldi, Jean Rouch, and Hiroshi Teshigahara.<br /><br />Michel Brault<br />BETWEEN SWEET AND SALT WATER / ENTRE LA MER ET L&rsquo;EAU DOUCE<br />(1967, 85 min, 35mm, b&amp;w. In French with English subtitles.)<br />Claude leaves his aboriginal girlfriend, his family, and his small isolated village on the shores of the St-Lawrence River to try his luck as a singer in Montr&eacute;al. Between the dream and the reality lie the challenges of finding work in Montr&eacute;al. But Claude will also find a young waitress, Genevi&egrave;ve, with whom he&rsquo;ll fall in love. He will gradually obtain success but his ambition will force him to make compromises in his life.<br />Brault&rsquo;s fictional feature intermingles tradition and modernity. For Brault, his young French-Canadian protagonist is torn between two worlds: the sea (the past), and fresh water (modernity). Starring popular chansonnier singer Claude Gauthier and Genevi&egrave;ve Bujold, soon to become an internationally renowned actress, BETWEEN SWEET AND SALT WATER is an important film that reflects the Direct Cinema approach pioneered over the course of the previous decade, but would also influence the feature films that would follow soon after.</p> Sunday, May 15 THE ATROCITY EXHIBITION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45790 <p>&ldquo;[Among Ballard film adaptations] THE ATROCITY EXHIBITION is unique in refusing to meet its source material only half-way. Working in color and black-and-white, mixing dramatic and documentary footage, Weiss gives his film a jigsaw texture comparable to the book, and he never flinches from the documentary material demanded by the text: often abrasive and disturbing images of plastic surgery, war atrocities, film stars, fornication, automobile impact tests performed on human corpses, modern art, the assassination of JFK. [&hellip;] Indeed, Weiss&rsquo;s evocation of Ballard&rsquo;s wryly scientific, geometric world is so complete, it&rsquo;s almost possible to watch the entire film without realizing it was shot in New York; appropriately, the sole shot betraying that fact offers a glimpse of an imminent disaster area, the World Trade Center.&rdquo; &ndash;Tim Lucas, SIGHT &amp; SOUND</p> Sunday, May 15 QUÉBEC DIRECT CINEMA: PROGRAM 17 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45754 <p>Michel Brault<br />LES ORDRES<br />(1974, 109 min, 35mm, b&amp;w/color. In French with English subtitles. Archival print courtesy of La Cin&eacute;math&egrave;que qu&eacute;b&eacute;coise.)<br />&ldquo;Based on fifty interviews with victims of the War Measures Act, imposed in October 1970 in response to kidnappings perpetrated by members of the &ldquo;Front de lib&eacute;ration du Qu&eacute;bec&rdquo; (FLQ), Brault&rsquo;s masterpiece marks the pinnacle of fifteen years of evolution in Qu&eacute;bec cin&eacute;ma. Since LES RAQUETTEURS, a certain realistic style had emerged as the best way to represent the Qu&eacute;becois experience. Whether in documentary or in fiction films, the Direct Cinema look had become the trademark of Qu&eacute;bec filmmakers. With LES ORDRES, Brault achieved a perfect balance between the raw immediacy of Direct Cinema and the evocative power of fiction. Thanks in great part to performances by some of Qu&eacute;bec&rsquo;s best actors, the film&rsquo;s narrative transcends mere docudrama to convey a biting criticism of political oppression.&rdquo; &ndash;Andr&eacute; Loiselle</p> Sunday, May 15 JG & LONDON ORBITAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45792 <p>Tacita Dean<br />JG<br />(2013, 26.5 min, 35mm, b&amp;w/color. Courtesy of the artist and Frith Street Gallery, London/Marian Goodman Gallery, New York/Paris.)<br />Tacita Dean&rsquo;s JG is inspired by her correspondence with Ballard regarding connections between his short story &ldquo;The Voices of Time&rdquo; (1960) and Robert Smithson&rsquo;s iconic earthwork and film SPIRAL JETTY (both works, 1970). JG is a 35mm anamorphic film shot on location in the saline landscapes of Utah and central California using Dean&rsquo;s recently developed and patented system of aperture gate masking. An unprecedented departure from her previous 16mm films, JG tries to respond to Ballard&rsquo;s challenge &ndash; posed to her shortly before he died &ndash; that Dean should &ldquo;treat the Spiral Jetty as a mystery her film would solve.&rdquo;<br /><br />&ldquo;[An] elegiac meditation on landscape, memory, film, and the work of two great twentieth-century artists.&rdquo; &ndash;TORONTO INTERNATIONAL FILM FESTIVAL<br /><br />&amp;<br /><br />Christopher Petit &amp; Iain Sinclair<br />LONDON ORBITAL<br />(2002, 76 min, digital. With J.G. Ballard. Distributed by Illuminations Films.)<br />This extraordinary and visionary film by Chris Petit and Iain Sinclair about the world&rsquo;s largest ring-road, the M25, is a road movie, a cinematic excursion into the futuristic literature of a century past, and a film dialogue between two writers who are also filmmakers (and vice versa). LONDON ORBITAL is, among other things, a meditation on the difference between driving and walking; on Bram Stoker&rsquo;s &ldquo;undead&rdquo;; on H.G. Wells and J.G. Ballard (who appears in the film); on time and memory; on the difference between film and tape, sound and image; on trance states and the terror that lies beyond boredom; on shopping and terrorism; on Kabul and the leisure mall; on the invisible triangle of Thatcherism (covert arms deals, Essex gangsters, and drug dealing); on Pinochet and Thatcher as vampire lovers.</p> Sunday, May 15 QUÉBEC DIRECT CINEMA: PROGRAM 6 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45724 <p>Marcel Carri&egrave;re WITH DRUMS AND TRUMPETS / AVEC TAMBOURS ET TROMPETTES (1967, 28 min, 35mm. In French with English subtitles.)<br />In 1867 Pope Pius IX called for volunteers to defend the Papacy against the troops of King Victor-Emmanuel, and Qu&eacute;bec sent a contingent of 503 men to join the Papal Zouaves. Filmed at a centennial celebration of this event in the town of Coaticook, Qu&eacute;bec, this film is a sympathetic account of this elite group.<br /><br />Jean-Claude Labrecque 60 CYCLES (1965, 17 min, 35mm-to-digital)<br />A document of the eleventh St-Laurent long-distance bicycle race, in 1965, with participants from thirteen countries, and with 2,400 km of the Qu&eacute;bec Gasp&eacute; countryside to cover in twelve days. With the picturesque landscape as backdrop, this is a sporting event where the challenge seems more personal than competitive.<br /><br />Gilles Carle PERC&Eacute; ON THE ROCKS (1964, 10 min, 35mm-to-digital. English version.)<br />An effervescent film portrait of Gasp&eacute;&rsquo;s famous rock. The arched rock near Qu&eacute;bec&rsquo;s Gasp&eacute; peninsula is probably the most photographed and visited sight on Canada&rsquo;s Atlantic coast. Special film effects, music, and animation render this production a kind of documentary &lsquo;musical comedy.&rsquo;<br /><br />Gilles Groulx SUCH A SIMPLE GAME / UN JEU SI SIMPLE (1965, 30 min, 35mm-to-digital, b&amp;w/color. In French with English subtitles.)<br />A film about hockey, starring the Montr&eacute;al Canadiens team and its star. Seen &ldquo;from the inside,&rdquo; this seemingly simple game turns out to be not so simple. Hockey is a dream of mythic proportions. Its heroes are national figures. At the Montr&eacute;al Forum, there is a total symbiosis between the crowd and the team. Yet this simple game has also its drama.<br /><br />Total running time: ca. 90 min.<br /><br /><strong>Marcel Carri&egrave;re &amp; Carol Faucher will be here in person on Sat, May 7!</strong></p> Monday, May 16 WHY CARS? – CARnage! & NIGHTMARE ANGEL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45795 <p>Tim Burns<br />WHY CARS? &ndash; CARnage!<br />(1979, 60 min, Super 8mm-to-digital)<br />&ldquo;A production that no one will ever accuse of exploring light and movement for their own sakes. With a calculated indifference to craft, Burns celebrates himself in a portrait of the artist as a post-conceptual composite of Alfred Jarry and Ralph Nader. WHY CARS? details Burns&rsquo; strenuously bizarre campaign to establish pedestrian crosswalks in his Australian hometown, then follows the extension of his work across the globe to TriBeCa. [&hellip;] [WHY CARS?] is an aggressive jumble of car wrecks, TV (interviews), scenes from loft life, and some Chinese propaganda shot off of the screen at Film Forum.&rdquo; &ndash;J. Hoberman, VILLAGE VOICE<br /><br />&amp;<br /><br />Zoe Beloff &amp; Susan Emerling<br />NIGHTMARE ANGEL<br />(1986, 30 min, 16mm, b&amp;w)<br />The first film by experimental filmmaker Zoe Beloff (here co-directing with Susan Emerling), NIGHTMARE ANGEL was inspired by CRASH. The film focuses on Jack and Diana Weston, who, after suffering a car crash, find their lives intruded upon by Dr. de Freis, a chronicler of car accidents who attempts to verify the psychological changes that occur in victims of accidents and the subsequent articulation of their anxieties.</p> Monday, May 16 QUÉBEC DIRECT CINEMA: PROGRAM 10 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45736 <p>Jacques Leduc FRIDAY: ABOUT CARS / VENDREDI: LES CHARS (1978, 24 min, 16mm-to-digital. In French with projected English subtitles.)<br />Montr&eacute;al under the snow and the cold winter. It is the period of the year when the garage owners strike it rich. The automobile at the service of man? This small opus would rather show the contrary. This is one in a series of eight films titled &ldquo;Chronicle of Everyday Life,&rdquo; a project that filmmaker Jacques Leduc took four years to realize, and whose goal was to revisit Direct Cinema at a moment when it was already heavily &ldquo;contaminated&rdquo; by mainstream TV.<br /><br />Bernard Gosselin<br />CESAR&rsquo;S BARK CANOE / C&Eacute;SAR ET SON CANOT D&rsquo;&Eacute;CORCE<br />(1971, 58 min, 16mm. No dialogue.)<br />This documentary depicts a canoe being built in the traditional manner. Cesar Newashish, a 67-year-old Attikamek of the Manawan Reserve North of Montr&eacute;al, uses only birchbark, cedar splints, spruce roots, and gum. With a sure hand he works methodically to fashion a craft unsurpassed in function or beauty of design. Building a canoe solely from the materials that the forest provides may become a lost art, even among the Native Peoples whose traditional craft it is. The film is free of spoken commentary but text appears on the screen in Cree, French, and English.</p> Monday, May 16 WHEN DINOSAURS RULED THE EARTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45797 <p>Based on a treatment by Ballard.<br /><br />This prehistoric adventure flick, produced by famed British studio Hammer, marked Ballard&rsquo;s only experience writing directly for the movies. Having spent the previous decade turning out a series of remarkable new-wave science fiction novels and stories, and soon to shift gears into more explicitly experimental work, Ballard was called upon by producer Aida Young to generate a treatment for a follow-up to Hammer&rsquo;s successful ONE MILLION YEARS, B.C. (1966). Little of his darkly satirical draft is discernible in the final screenplay that director Val Guest eventually delivered, but the film &ndash; set in a version of the distant past that finds dinosaurs and humans roaming the earth together, and starring model Victoria Vetri &ndash; is nevertheless a hugely enjoyable, campy romp.</p> Monday, May 16