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, 28 Jun 2022 15:20:44 -0400 PORTUGUESE CINEMA, PGM. 7 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2022#showing-54715 <p>Catarina Vasconcelos<br />METAPHOR OR SADNESS INSIDE OUT<br />2013, 32 min, digital<br />Prior to the widely successful THE METAMORPHOSIS OF BIRDS, Catarina Vasconcelos directed this film, a moving, intimate look at her parents&rsquo; love story and a tale tragically cut short by her mother&rsquo;s premature death. Personal and political memories become one in a daughter&rsquo;s quest for her family story, lending a tender perspective on her parents&rsquo; love and activism in defending the Portuguese 1974 revolution&rsquo;s ideals.<br /><br />Aya Koretzky<br />AROUND THE WORLD WHEN YOU WERE MY AGE<br />2018, 110 min, DCP<br />Aya Koretzky takes us through a life journey in AROUND THE WORLD WHEN YOU WERE MY AGE, filming her Japanese father as he narrates his youthful travels throughout the U.S., the Soviet Union, Africa, and Europe, before settling down in Portugal. Koretzky turns an introspective, poetic gaze on an incredible life story, surrounding her father with photographs and maps and extending his presence to his wondrous garden and the immense sky above him.<br /><br />Total running time: ca. 150 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Tuesday, June 28 IMAGELESS FILMS: ownerBuilt http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2022#showing-54682 <p>Lawrence Andrews<br />ownerBuilt<br />2008, 59 min, digital<br /><br />In this chapter of &ldquo;Imageless Films&rdquo;, we present two sound-essay projects by Bay Area film, video, and installation artist Lawrence Andrews (see below for details about Andrews&rsquo;s most recent piece, mythicPotentialities). Since the late 1980s, Andrews has created a body of work in which violence, exploitation, and racism are seen in relation to media representation, art-making and art history, institutions, social systems, and cultural difference. First produced in 2008, ownerBuilt was re-worked in 2013 as an animated film, but we will be presenting the original, audio-only version.<br /><br />&ldquo;Hurricane Katrina and the ensuing aftermath destroyed Noel&rsquo;s community and home. He is rebuilding, and as he rebuilds, he evokes the past through the enlistment of his personal archives. His memories are complicated by the tragic events that occurred on the Danziger Bridge on September 4, 2005. As Noel reflects back on what has been lost, the story that he tells about his neighborhood is affected by the story of innocent people gunned down while attempting to cross a bridge in search of safety, and for Noel their plight clarifies many things. [&hellip;] ownerBuilt firmly occupies and is concerned with the space around the margins of society. This work therefore imagines the various ways anonymity can function in that space, especially as it relates to the problems of visibility and the attainment of political power. Ultimately, as an aural performance reconfigured in cinematic space, ownerBuilt is envisioned as a Radical Sound Project, where the sound of the dog wags the tail of the picture, positioning sound as the privileged track and effectually dethroning image.&rdquo; &ndash;Lawrence Andrews<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Tuesday, June 28 PORTUGUESE CINEMA, PGM. 1: LEONOR TELES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2022#showing-54702 <p>PROGRAM 1:<br />Leonor Teles<br />ASHORE<br />2018, 80 min, DCP<br />Leonor Teles returns to her birthplace in Vila Franca de Xira, on the outskirts of Lisbon, to make a documentary on the life of Albertino Lobo, a fisherman living a modest life by the Tagus River who waits for new permits to continue working. Shot in the aftermath of Portugal&rsquo;s biggest economic crisis in decades, ASHORE is a delicate look at the lives of those who long to continue to live &ndash; through their work, with their family, or in a marriage. Teles films the passage of time with care and tenderness (and the help of Nat King Cole and Otis Redding), bringing an authentic, immediate depiction of lives that are too often sensationalized onscreen.<br /><br />Preceded by:<br />Leonor Teles BATRACHIAN&rsquo;S BALLAD (2016, 11 min, DCP)<br />Fable-like Super-8mm images from a time when creatures lived in harmony and peace are haunted by a tale of a frog&rsquo;s suicide, struck by the rage and sadness of being ostracized by other beings. BATRACHIAN&rsquo;S BALLAD then brings documentary footage of the director walking unannounced into stores to take hold of ceramic frogs &ndash; meant to ward off Romani people like herself &ndash; before breaking them on the floor and running away with her crew. A political, punk-rock manifesto awarded with the Golden Bear at the Berlinale.<br /><br />Leonor Teles DOGS BARKING AT BIRDS (2019, 20 min, DCP)<br />As his family fights eviction, Vicente wanders around the gentrified streets of Porto looking for an apartment big enough for himself, his siblings, and their mother. Leonor Teles takes inspiration from a real-life story and films non-actors recreating their lives on screen, showing an urban scenery as inviting for tourists as it is oppressive to those who struggle to make ends meet. <br /><br />Total running time: ca. 115 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Wednesday, June 29 EC: CITIZEN KANE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2022#showing-54877 <p>&ldquo;Welles&rsquo;s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life &ndash; politics and sex, friendship and betrayal, youth and old age &ndash; that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man&rsquo;s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a &lsquo;poor little rich boy&rsquo; starved for affection, as Welles himself was after his parents&rsquo; early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.&rdquo; &ndash;MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Wednesday, June 29 PORTUGUESE CINEMA, PGM. 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2022#showing-54709 <p>Duarte Coimbra AMOR, AVENIDAS NOVAS (2018, 20 min, DCP)<br />Produced by the Lisbon Film and Theatre School and premiered at Cannes&rsquo; Critics Week, AMOR, AVENIDAS NOVAS is one of the strongest examples of Miguel Gomes&rsquo;s influence on a new generation of filmmakers. Duarte Coimbra films Lisbon&rsquo;s swift gentrification by following a young man looking for a place to crash with his only possession &ndash; a blue mattress. A meeting with a young woman working in a film crew and musical moments inspired by 80s pop will give life to a city that no longer seems like a place for dreaming.<br /><br />Tom&aacute;s Paula Marques BLINDMAN&rsquo;S BUFF (2021, 16 min, DCP)<br />BLINDMAN&rsquo;S BUFF is the tale of two siblings, a group of bullies, and a dangerous night out that seems haunted by ghosts of the past &ndash; a mystical yet realistic portrait of love and survival against hatred for gender-nonconforming bodies.<br /><br />Tom&aacute;s Paula Marques IN CASE OF FIRE (2019, 23 min, DCP)<br />Paula Marques films the growing angst of a young man and the peer pressure from his group of friends while hunting in the countryside and engaging in masculinity contests. A remarkable tale of a boy physically and mentally constrained by closeted desire, haunted by a hate crime committed against a close friend.<br /><br />David Pinheiro Vicente WHERE THE SUMMER GOES (CHAPTERS ON YOUTH) (2018, 21 min, DCP)<br />A group of friends rides together in a tiny car on a scorchingly hot day, heading to an isolated spot by the water. When it&rsquo;s too hot to talk, silent body language speaks behind sweaty gazes. A bloody wound incites fear and desire over a snake&rsquo;s surreptitious movement between two enamored bodies.<br /><br />David Pinheiro Vicente THE LAMB OF GOD (2020, 15 min, DCP)<br />David Pinheiro Vicente films another tale of desire and violence &ndash; now under the spell of religious festivities in a Portuguese village &ndash; and captures the tension between different age groups in a small family. A tense, sensual film on the dangerous confluences between childhood, adulthood, reality, and fantasy.<br /><br />Catarina de Sousa &amp; Nick Tyson TRACING UTOPIA (2021, 27 min, DCP)<br />An epidemic may stop reality, but not our dreams. Catarina de Sousa and Nick Tyson let a group of queer teenagers from Queens talk about a better world while playing Minecraft and building a universe that transcends time and hate. A film-manifesto that reflects past struggles and leads us into a universe filled with peace, love, and understanding. Or is that life on Mars? Produced as part of the UnionDocs Collaborative Studio 2019-2020.<br /><br />Total running time: ca. 130 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Thursday, June 30 NAM JUNE PAIK’S RADICAL FUN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2022#showing-54652 <p>Since the early 1960s, Nam June Paik&rsquo;s prescient thinking about how artists can exploit television and computer technology has resonated through the generations, particularly with regard to his mischievous opposition to industry conformity. His deep belief in the radical potential of fun, and his understanding of technological innovation as nurturing artistic innovation, have remained relevant through profound changes in communication platforms. This program &ndash; a co-presentation by Electronic Arts Intermix (EAI) and Gagosian &ndash; brings together a selection of Paik&rsquo;s analog videos with Internet-era works by artists engaging the same spirit, highlighting their shared strategy of playfully deploying commercial technologies to produce their own experimental work.<br /><br />This screening is presented on the occasion of Art in Process, a two-part survey of works by Nam June Paik at Gagosian. The <a href="https://gagosian.com/exhibitions/2022/nam-june-paik-art-in-process-part-one/">first part of the exhibition</a> will take place at Gagosian&rsquo;s 555 West 24th Street location May 24-July 22, 2022. The <a href="https://gagosian.com/exhibitions/2022/nam-june-paik-art-in-process-part-two/">second part</a> will take place at Gagosian&rsquo;s Park &amp; 75 location July 19-August 26, 2022.<strong><em></em></strong><strong><em></em></strong><strong><em><br /><br /></em></strong>Nam June Paik BUTTON HAPPENING (1965, 1.5 min, video)<br />Nam June Paik VIDEO TAPE STUDY NO. 3 (1967-69/1992, 4 min, video)<br />Nam June Paik ANALOGUE ASSEMBLAGE (2000, 2 min, video)<br />Maggie Lee DESKTOP FREESTYLE (2012, 3 min, video)<br />Martine Syms SHE MAD: LAUGHING GAS (2016, 7 min, digital)<br />Guthrie Lonergan 9 SHORT MUSIC VIDEOS (2005, 1 min, video)<br />Nam June Paik BYE BYE KIPLING (1986, 30.5 min, video)<br />Guthrie Lonergan GAS (2012, 4 min, video)<br />Ilana Harris-Babou REPARATION HARDWARE (2018, 4 min, digital)<br />Guthrie Lonergan BIRTH OF THE NET (2012, 1.5 min, video)<br />Frank Heath THE HOLLOW COIN (2016, 12.5 min, digital)<br />Nam June Paik A TALE OF TWO CITIES (1992, 1 min, video)<br />LoVid INFINITELY UNRESOLVED (2019, 7 min, digital)<br />Guthrie Lonergan PROFESSIONAL BERRY VISUALS (2012, 1.5 min, video)<br />Nam June Paik BUTTERFLY (1986, 2 min, video)<br /><br />Total running time: ca. 90 min.<strong><em><br /><br /></em><a href="https://ticketing.uswest.veezi.com/purchase/1240?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Thursday, June 30 A NEW OLD PLAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54790 <p>BACK BY POPULAR DEMAND!<br /><br />(JIAO MA TANG HUI)<br /><br />Following a highly successful week-long theatrical engagement at Anthology in May, we&rsquo;re delighted to bring back Qiu Jiongjiong&rsquo;s A NEW OLD PLAY &ndash; one of the most extraordinary films to emerge from China in recent years &ndash; for a weekend of encore screenings!<br /><br />The first fictional feature by contemporary artist and filmmaker Qiu Jiongjiong, A NEW OLD PLAY is a magnificent achievement &ndash; profoundly personal, highly stylized, and thrillingly ambitious in its historical sweep and filmic scale. It&rsquo;s an evocation of a lost world, and of a vanishing theatrical form &ndash; 20th-century Sichuan opera &ndash; whose conventions it lovingly and meticulously recreates via hand-crafted, patently artificial sets, props, and backdrops. Inspired by the story of Qiu&rsquo;s own grandfather, A NEW OLD PLAY depicts the life (and afterlife) of Qiu Fu, a leading actor of Sichuan opera, over the course of many decades and numerous social and political upheavals. Calling to mind Jia Zhangke&rsquo;s PLATFORM, but adopting a radically different style and sensibility, A NEW OLD PLAY is a visual feast and a film of great humor and disarming emotional power.<br /><br />&ldquo;Older generations of performers have passed away, and life&rsquo;s shocks and disruptions have hastened the decline of our Sichuan opera. A century on, I have tried to reconstruct the traditional grammar of the form, to simulate and revive its flavor and its melodies. The film is a slice of my own history and my family&rsquo;s; but also a travelogue of minstrels wandering together through this world and the next. They are my immediate forebears, and this is my &lsquo;pre-biography.&rsquo;&rdquo; &ndash;Qiu Jiongjiong<br /><br />&ldquo;The scope &ndash; inspired by Qiu&rsquo;s own theatrical family &ndash; is impressive, starting with the troupes&rsquo; creation during the chaotic period of the 1920s before passing through war with Japan, the nationalists&rsquo; struggles, war with the ascendant communists, a trip to Taiwan, and a gradual dissolution of the players before Mao&rsquo;s secured reign. For such an expansive tale, Qiu shows himself both cagey and inventive: the film, which frames its history as a reflection by its aged leader on the cusp of being given a drink of forgetfulness and pulled down to hell by demons, is presented in high artifice, with charmingly theatrical sets representing non-theatrical spaces, clearly lit on sound stages, and frequently shot frontally, like dioramas. [&hellip;] Qiu has made a cleverly contained existential epic, an ode to the innate persistence of workers, artists, and people in the face of futility and poor fortune. It is a wonder the film carries it off with an empathetic sparkle &ndash; there must be some purpose to art, to life, after all.&rdquo; &ndash;Daniel Kasman, MUBI<br /><br />&ldquo;I haven&rsquo;t seen a more aesthetically (and historically) daring, brilliant independent feature from China in years.&rdquo; &ndash;Shelly Kraicer<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Friday, July 01 EC: KENNETH ANGER, PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54762 <p>&ldquo;Scandal, evil, violence, and Fascism, like Hollywood, are centers of fascination for Anger, and his films are the fields in which the dialectic of that fascination is played and fought.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />&ldquo;All of [Anger&rsquo;s] films have been evocations or invocations, attempting to conjure primal forces which, once visually released, are designed to have the effect of &lsquo;casting a spell&rsquo; on the audience. [&hellip;] Not a surrealist who puts blind faith in his own dream images and trusts his dreams to convey an &lsquo;uncommon unconscious,&rsquo; Anger works predominantly in archetypal symbol. As the magus, he is the juggler of these symbols, just as in the Tarot, where the Magician is represented by the Juggler and is given the attribution of Mercury, the messenger.&rdquo; &ndash;Carel Rowe, FILM QUARTERLY<br /><br />FIREWORKS (1947, 15 min, 16mm-to-35mm, b&amp;w. Preserved by the UCLA Film &amp; Television Archive, with funding from the Film Foundation.)<br />PUCE MOMENT (1949-70, 6 min, 16mm)<br />RABBIT&rsquo;S MOON (1950-70, 15 min, 35mm. Preserved by the UCLA Film &amp; Television Archive, with funding from the Film Foundation.)<br />EAUX D&rsquo;ARTIFICE (1953, 13 min, 16mm)<br />Total running time: ca. 55 min.&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 01 A NEW OLD PLAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54791 <p>BACK BY POPULAR DEMAND!<br /><br />(JIAO MA TANG HUI)<br /><br />Following a highly successful week-long theatrical engagement at Anthology in May, we&rsquo;re delighted to bring back Qiu Jiongjiong&rsquo;s A NEW OLD PLAY &ndash; one of the most extraordinary films to emerge from China in recent years &ndash; for a weekend of encore screenings!<br /><br />The first fictional feature by contemporary artist and filmmaker Qiu Jiongjiong, A NEW OLD PLAY is a magnificent achievement &ndash; profoundly personal, highly stylized, and thrillingly ambitious in its historical sweep and filmic scale. It&rsquo;s an evocation of a lost world, and of a vanishing theatrical form &ndash; 20th-century Sichuan opera &ndash; whose conventions it lovingly and meticulously recreates via hand-crafted, patently artificial sets, props, and backdrops. Inspired by the story of Qiu&rsquo;s own grandfather, A NEW OLD PLAY depicts the life (and afterlife) of Qiu Fu, a leading actor of Sichuan opera, over the course of many decades and numerous social and political upheavals. Calling to mind Jia Zhangke&rsquo;s PLATFORM, but adopting a radically different style and sensibility, A NEW OLD PLAY is a visual feast and a film of great humor and disarming emotional power.<br /><br />&ldquo;Older generations of performers have passed away, and life&rsquo;s shocks and disruptions have hastened the decline of our Sichuan opera. A century on, I have tried to reconstruct the traditional grammar of the form, to simulate and revive its flavor and its melodies. The film is a slice of my own history and my family&rsquo;s; but also a travelogue of minstrels wandering together through this world and the next. They are my immediate forebears, and this is my &lsquo;pre-biography.&rsquo;&rdquo; &ndash;Qiu Jiongjiong<br /><br />&ldquo;The scope &ndash; inspired by Qiu&rsquo;s own theatrical family &ndash; is impressive, starting with the troupes&rsquo; creation during the chaotic period of the 1920s before passing through war with Japan, the nationalists&rsquo; struggles, war with the ascendant communists, a trip to Taiwan, and a gradual dissolution of the players before Mao&rsquo;s secured reign. For such an expansive tale, Qiu shows himself both cagey and inventive: the film, which frames its history as a reflection by its aged leader on the cusp of being given a drink of forgetfulness and pulled down to hell by demons, is presented in high artifice, with charmingly theatrical sets representing non-theatrical spaces, clearly lit on sound stages, and frequently shot frontally, like dioramas. [&hellip;] Qiu has made a cleverly contained existential epic, an ode to the innate persistence of workers, artists, and people in the face of futility and poor fortune. It is a wonder the film carries it off with an empathetic sparkle &ndash; there must be some purpose to art, to life, after all.&rdquo; &ndash;Daniel Kasman, MUBI<br /><br />&ldquo;I haven&rsquo;t seen a more aesthetically (and historically) daring, brilliant independent feature from China in years.&rdquo; &ndash;Shelly Kraicer<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Saturday, July 02 EC: KENNETH ANGER, PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54763 <p>&ldquo;Scandal, evil, violence, and Fascism, like Hollywood, are centers of fascination for Anger, and his films are the fields in which the dialectic of that fascination is played and fought.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />&ldquo;All of [Anger&rsquo;s] films have been evocations or invocations, attempting to conjure primal forces which, once visually released, are designed to have the effect of &lsquo;casting a spell&rsquo; on the audience. [&hellip;] Not a surrealist who puts blind faith in his own dream images and trusts his dreams to convey an &lsquo;uncommon unconscious,&rsquo; Anger works predominantly in archetypal symbol. As the magus, he is the juggler of these symbols, just as in the Tarot, where the Magician is represented by the Juggler and is given the attribution of Mercury, the messenger.&rdquo; &ndash;Carel Rowe, FILM QUARTERLY<br /><br />SCORPIO RISING (1963, 30 min, 16mm)<br />KUSTOM KAR KOMMANDOS (1965, 3 min, 16mm)<br />INAUGURATION OF THE PLEASURE DOME (1954-66, 38 min, 16mm)<br />INVOCATION OF MY DEMON BROTHER (1969, 12 min, 16mm)<br /><br />&ldquo;Anger&rsquo;s myths address mass-erotic-consciousness through a barrage of notorious symbols. These often war with one another in Reichian power-trips of rape, will-power, fascism, and revolution. &lsquo;I find ridiculous the idea of anyone being the leader,&rsquo; Anger has said. Pentagrams war with swastikas in INVOCATION OF MY DEMON BROTHER. Brando tortures Christ in SCORPIO, Shiva asserts absolute power over his guests in PLEASURE DOME. Historical heroes are reduced to pop-idols and history is demythified by comic book codes. &lsquo;When earths collide, gods die.&rsquo;&rdquo; &ndash;Carel Rowe, FILM QUARTERLY<br /><br />Total running time: ca. 90 min.&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 02 A NEW OLD PLAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54792 <p>BACK BY POPULAR DEMAND!<br /><br />(JIAO MA TANG HUI)<br /><br />Following a highly successful week-long theatrical engagement at Anthology in May, we&rsquo;re delighted to bring back Qiu Jiongjiong&rsquo;s A NEW OLD PLAY &ndash; one of the most extraordinary films to emerge from China in recent years &ndash; for a weekend of encore screenings!<br /><br />The first fictional feature by contemporary artist and filmmaker Qiu Jiongjiong, A NEW OLD PLAY is a magnificent achievement &ndash; profoundly personal, highly stylized, and thrillingly ambitious in its historical sweep and filmic scale. It&rsquo;s an evocation of a lost world, and of a vanishing theatrical form &ndash; 20th-century Sichuan opera &ndash; whose conventions it lovingly and meticulously recreates via hand-crafted, patently artificial sets, props, and backdrops. Inspired by the story of Qiu&rsquo;s own grandfather, A NEW OLD PLAY depicts the life (and afterlife) of Qiu Fu, a leading actor of Sichuan opera, over the course of many decades and numerous social and political upheavals. Calling to mind Jia Zhangke&rsquo;s PLATFORM, but adopting a radically different style and sensibility, A NEW OLD PLAY is a visual feast and a film of great humor and disarming emotional power.<br /><br />&ldquo;Older generations of performers have passed away, and life&rsquo;s shocks and disruptions have hastened the decline of our Sichuan opera. A century on, I have tried to reconstruct the traditional grammar of the form, to simulate and revive its flavor and its melodies. The film is a slice of my own history and my family&rsquo;s; but also a travelogue of minstrels wandering together through this world and the next. They are my immediate forebears, and this is my &lsquo;pre-biography.&rsquo;&rdquo; &ndash;Qiu Jiongjiong<br /><br />&ldquo;The scope &ndash; inspired by Qiu&rsquo;s own theatrical family &ndash; is impressive, starting with the troupes&rsquo; creation during the chaotic period of the 1920s before passing through war with Japan, the nationalists&rsquo; struggles, war with the ascendant communists, a trip to Taiwan, and a gradual dissolution of the players before Mao&rsquo;s secured reign. For such an expansive tale, Qiu shows himself both cagey and inventive: the film, which frames its history as a reflection by its aged leader on the cusp of being given a drink of forgetfulness and pulled down to hell by demons, is presented in high artifice, with charmingly theatrical sets representing non-theatrical spaces, clearly lit on sound stages, and frequently shot frontally, like dioramas. [&hellip;] Qiu has made a cleverly contained existential epic, an ode to the innate persistence of workers, artists, and people in the face of futility and poor fortune. It is a wonder the film carries it off with an empathetic sparkle &ndash; there must be some purpose to art, to life, after all.&rdquo; &ndash;Daniel Kasman, MUBI<br /><br />&ldquo;I haven&rsquo;t seen a more aesthetically (and historically) daring, brilliant independent feature from China in years.&rdquo; &ndash;Shelly Kraicer<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Saturday, July 02 EC: BRUCE BAILLIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54764 <p>MASS FOR THE DAKOTA SIOUX (1963-64, 20 minutes, 16mm, b&amp;w) <br />QUIXOTE (1964-65, 45 minutes, 16mm)<br />&ldquo;In MASS and QUIXOTE [Baillie] subtly blends glimpses of the heroic personae with despairing reflections on violence and ecological disaster. [&hellip;] Despite his sophistication, Baillie remains an innocent; the whole of his cinema exhibits an alternation between two irreconcilable themes: the sheer beauty of the phenomenal world (few films are as graceful to the eye as his, few are as sure of their colors) and the utter despair of forgotten men. It is in QUIXOTE alone that these two themes emerge into a dialectical form, an antithesis of grace and disgrace.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 70 min.&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 02 MONO NO AWARE COMMUNITY SCREENING PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54796 <p>Featuring the world premiere of films made locally with the support of MONO in June 2022.<br /><br />This program will include films made through the educational initiatives of MONO NO AWARE, a cinema-arts nonprofit organization and film positive community working to promote connectivity through the cinematic experience. Established in 2007 and based in downtown Brooklyn, MONO NO AWARE presents monthly artist-in-person screenings, facilitates equipment rentals, operates a film distribution initiative, maintains wet &amp; dry lab facilities, and hosts an annual exhibition for contemporary artists and international filmmakers whose work incorporates Super-8mm, 16mm, 35mm, or altered light projections as part of a live performance or installation.<br /><br />For more info visit: www.mononoawarefilm.com</p> Sunday, July 03 A NEW OLD PLAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54793 <p>BACK BY POPULAR DEMAND!<br /><br />(JIAO MA TANG HUI)<br /><br />Following a highly successful week-long theatrical engagement at Anthology in May, we&rsquo;re delighted to bring back Qiu Jiongjiong&rsquo;s A NEW OLD PLAY &ndash; one of the most extraordinary films to emerge from China in recent years &ndash; for a weekend of encore screenings!<br /><br />The first fictional feature by contemporary artist and filmmaker Qiu Jiongjiong, A NEW OLD PLAY is a magnificent achievement &ndash; profoundly personal, highly stylized, and thrillingly ambitious in its historical sweep and filmic scale. It&rsquo;s an evocation of a lost world, and of a vanishing theatrical form &ndash; 20th-century Sichuan opera &ndash; whose conventions it lovingly and meticulously recreates via hand-crafted, patently artificial sets, props, and backdrops. Inspired by the story of Qiu&rsquo;s own grandfather, A NEW OLD PLAY depicts the life (and afterlife) of Qiu Fu, a leading actor of Sichuan opera, over the course of many decades and numerous social and political upheavals. Calling to mind Jia Zhangke&rsquo;s PLATFORM, but adopting a radically different style and sensibility, A NEW OLD PLAY is a visual feast and a film of great humor and disarming emotional power.<br /><br />&ldquo;Older generations of performers have passed away, and life&rsquo;s shocks and disruptions have hastened the decline of our Sichuan opera. A century on, I have tried to reconstruct the traditional grammar of the form, to simulate and revive its flavor and its melodies. The film is a slice of my own history and my family&rsquo;s; but also a travelogue of minstrels wandering together through this world and the next. They are my immediate forebears, and this is my &lsquo;pre-biography.&rsquo;&rdquo; &ndash;Qiu Jiongjiong<br /><br />&ldquo;The scope &ndash; inspired by Qiu&rsquo;s own theatrical family &ndash; is impressive, starting with the troupes&rsquo; creation during the chaotic period of the 1920s before passing through war with Japan, the nationalists&rsquo; struggles, war with the ascendant communists, a trip to Taiwan, and a gradual dissolution of the players before Mao&rsquo;s secured reign. For such an expansive tale, Qiu shows himself both cagey and inventive: the film, which frames its history as a reflection by its aged leader on the cusp of being given a drink of forgetfulness and pulled down to hell by demons, is presented in high artifice, with charmingly theatrical sets representing non-theatrical spaces, clearly lit on sound stages, and frequently shot frontally, like dioramas. [&hellip;] Qiu has made a cleverly contained existential epic, an ode to the innate persistence of workers, artists, and people in the face of futility and poor fortune. It is a wonder the film carries it off with an empathetic sparkle &ndash; there must be some purpose to art, to life, after all.&rdquo; &ndash;Daniel Kasman, MUBI<br /><br />&ldquo;I haven&rsquo;t seen a more aesthetically (and historically) daring, brilliant independent feature from China in years.&rdquo; &ndash;Shelly Kraicer<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Sunday, July 03 EC: QUICK BILLY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54766 <p>&ldquo;The essential experience of transformation, between Life and Death, death and birth, or rebirth. In four reels, the first three adapted from the Bardo Thodol, the Tibetan Book of the Dead. The fourth reel is in the form of a black and white one-reeler Western, summarizing the material of the first three reels, which are color and abstract.&rdquo; &ndash;Bruce Baillie&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 03 A NEW OLD PLAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54794 <p>BACK BY POPULAR DEMAND!<br /><br />(JIAO MA TANG HUI)<br /><br />Following a highly successful week-long theatrical engagement at Anthology in May, we&rsquo;re delighted to bring back Qiu Jiongjiong&rsquo;s A NEW OLD PLAY &ndash; one of the most extraordinary films to emerge from China in recent years &ndash; for a weekend of encore screenings!<br /><br />The first fictional feature by contemporary artist and filmmaker Qiu Jiongjiong, A NEW OLD PLAY is a magnificent achievement &ndash; profoundly personal, highly stylized, and thrillingly ambitious in its historical sweep and filmic scale. It&rsquo;s an evocation of a lost world, and of a vanishing theatrical form &ndash; 20th-century Sichuan opera &ndash; whose conventions it lovingly and meticulously recreates via hand-crafted, patently artificial sets, props, and backdrops. Inspired by the story of Qiu&rsquo;s own grandfather, A NEW OLD PLAY depicts the life (and afterlife) of Qiu Fu, a leading actor of Sichuan opera, over the course of many decades and numerous social and political upheavals. Calling to mind Jia Zhangke&rsquo;s PLATFORM, but adopting a radically different style and sensibility, A NEW OLD PLAY is a visual feast and a film of great humor and disarming emotional power.<br /><br />&ldquo;Older generations of performers have passed away, and life&rsquo;s shocks and disruptions have hastened the decline of our Sichuan opera. A century on, I have tried to reconstruct the traditional grammar of the form, to simulate and revive its flavor and its melodies. The film is a slice of my own history and my family&rsquo;s; but also a travelogue of minstrels wandering together through this world and the next. They are my immediate forebears, and this is my &lsquo;pre-biography.&rsquo;&rdquo; &ndash;Qiu Jiongjiong<br /><br />&ldquo;The scope &ndash; inspired by Qiu&rsquo;s own theatrical family &ndash; is impressive, starting with the troupes&rsquo; creation during the chaotic period of the 1920s before passing through war with Japan, the nationalists&rsquo; struggles, war with the ascendant communists, a trip to Taiwan, and a gradual dissolution of the players before Mao&rsquo;s secured reign. For such an expansive tale, Qiu shows himself both cagey and inventive: the film, which frames its history as a reflection by its aged leader on the cusp of being given a drink of forgetfulness and pulled down to hell by demons, is presented in high artifice, with charmingly theatrical sets representing non-theatrical spaces, clearly lit on sound stages, and frequently shot frontally, like dioramas. [&hellip;] Qiu has made a cleverly contained existential epic, an ode to the innate persistence of workers, artists, and people in the face of futility and poor fortune. It is a wonder the film carries it off with an empathetic sparkle &ndash; there must be some purpose to art, to life, after all.&rdquo; &ndash;Daniel Kasman, MUBI<br /><br />&ldquo;I haven&rsquo;t seen a more aesthetically (and historically) daring, brilliant independent feature from China in years.&rdquo; &ndash;Shelly Kraicer<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Sunday, July 03 EC: BAILLIE / BELSON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54765 <p>Bruce Baillie<br />CASTRO STREET 1966, 10 min, 16mm<br />ALL MY LIFE 1966, 3 min, 16mm<br />VALENTIN DE LAS SIERRAS 1968, 10 min, 16mm. Preserved by Anthology Film Archives.<br />&ldquo;In [Baillie&rsquo;s late 1960s films], the eye of the film-maker quiets his mind with images of reconciliation; the dialectics of cinematic thought become calm in the filming of the privileged moment of reconciliation.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />Jordan Belson<br />ALLURES 1961, 9 min, 16mm<br />RE-ENTRY 1964, 6 min, 16mm<br />SAMADHI 1967, 6 min, 16mm<br />WORLD 1970, 6 min, 16mm<br />&ldquo;Our greatest abstract film poet: he has found how to combine the vision of the outer and the inner eye.&rdquo; &ndash;Gene Youngblood<br /><br />Total running time: ca. 55 min.&nbsp;<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Sunday, July 03 EC: STAN BRAKHAGE PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54771 <p>Unless otherwise noted, all films are silent.<br />DESISTFILM (1954, 7 min, 16mm, b&amp;w, sound)<br />REFLECTIONS ON BLACK (1955, 12 min, 16mm, b&amp;w, sound. Preserved by Anthology Film Archives.)<br />THE WONDER RING (1955, 4 min, 16mm)<br />FLESH OF MORNING (1956, 25 min, 16mm, b&amp;w)<br />LOVING (1956, 4 min, 16mm)<br />DAYBREAK AND WHITEYE (1957, 8 min, 16mm)<br />WINDOW WATER BABY MOVING (1959, 12 min, 16mm. Preserved by Anthology Film Archives.)<br />Films made during the early, &ldquo;psychodramatic&rdquo; period of one of modern cinema&rsquo;s greatest innovators, including two of his early experiments with sound. <br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Tuesday, July 05 EC: DOG STAR MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54768 <p><span>&ldquo;DOG STAR MAN elaborates in mythic, almost systematic terms, the worldview of [Brakhage&rsquo;s] lyrical films. More than any other work of the American avant-garde film, it stations itself within the rhetoric of Romanticism, describing the birth of consciousness, the cycle of the seasons, man&rsquo;s struggle with nature, and sexual balance in the visual evocation of a fallen titan bearing the cosmic name of the Dog Star Man.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />&ldquo;The film breathes and is an organic and surging thing&hellip;it is a colossal lyrical adventure-dance of image in every variation of color.&rdquo; &ndash;Michael McClure<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</span></p> Tuesday, July 05 EC: STAN BRAKHAGE PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54770 <p>Unless otherwise noted, all films are silent.<br />THE DEAD (1960, 11 min, 16mm)<br />PASHT (1965, 5 min, 16mm)<br />THREE FILMS: BLUEWHITE, BLOOD&rsquo;S TONE, VEIN (1965, 10 min, 16mm)<br />FIRE OF WATERS (1965, 10 min, 16mm, b&amp;w, sound)<br />THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm)<br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Wednesday, July 06 EC: STAN BRAKHAGE PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54769 <p>Unless otherwise noted, all films are silent.<br />ANTICIPATION OF THE NIGHT (1958, 40 min, 16mm)<br />CAT&rsquo;S CRADLE (1959, 6 min, 16mm)<br />SIRIUS REMEMBERED (1959, 12 min, 16mm)<br />THIGH LINE LYRE TRIANGULAR (1961, 9 min, 16mm)<br />MOTHLIGHT (1963, 4 min, 16mm. Preserved by Anthology Film Archives.)<br />BLUE MOSES (1963, 11 min, 16mm, b&amp;w, sound)<br />With ANTICIPATION OF THE NIGHT, Brakhage leaves psychodrama and enters the &ldquo;closed-eye vision&rdquo; period. This program also contains a unique example of a film made without a camera, MOTHLIGHT, and one of Brakhage&rsquo;s few sound (and &lsquo;acted&rsquo;) films, BLUE MOSES.<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Wednesday, July 06 EC: STAN BRAKHAGE PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54772 <p>All films are silent.<br />THE WEIR-FALCON SAGA (1970, 29 min, 16mm)<br />THE MACHINE OF EDEN (1970, 11 min, 16mm)<br />SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm. Preserved by Anthology Film Archives.)<br />ANGELS&rsquo; (1971, 2 min, 16mm)<br />DOOR (1971, 4 min, 16mm)<br />WESTERN HISTORY (1971, 8 min, 16mm)<br />THE PEACEABLE KINGDOM (1971, 8 min, 16mm)<br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Thursday, July 07 EC: SONGS 1-14 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54773 <p>&ldquo;SONG 1: Portrait of a lady. SONGS 2 &amp; 3: Fire and a mind&rsquo;s movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals.&rdquo; &ndash;Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Thursday, July 07 TALES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54828 <p>&ldquo;A unique film produced and created by an all-woman crew, in which a group of people, in the informal surroundings of the director&rsquo;s living room, tell each other of their most secret and sensational sexual experiences. Underneath the casualness of the people and the camera is a depth of feeling and communication rarely achieved in film. Although the stories and the storytellers are all different, the power of the human sexual drive bonds both the film participants and the film audience in a total unity of curiosity and sensation.&rdquo; &ndash;WHITNEY MUSEUM OF AMERICAN ART, 1973<br /><br />&ldquo;[T]he film is shot as unobtrusively as possible &ndash; nothing is emphasized except the stark reality of peoples&rsquo; faces, movements and expressions. If not for the sound track, these people could be having a pleasant after-dinner discussion. But they are not, and the contrast between the simplicity of the camera work and the explosiveness of the stories provides a deep underlying tension. This contrast is no greater than the split in reality we experience every day between the exterior calmness and rationality of people and their secret inner life.&rdquo; &ndash;David Bienstock, WHITNEY MUSEUM OF AMERICAN ART, 1973<br /><br />Preceded by:<br />Thomas Chalmers THE SEX LIFE OF THE POLYP (1928, 11 min, 35mm-to-DCP)<br />Robert Benchley was one of the most influential American humorists of the 1920s, writing for magazines such as Vanity Fair and The New Yorker. He was also the creator of numerous short films, including this early sound film made using the Fox Movietone process, which spoofs scientific lectures by presenting Benchley as a doctor attempting to explain the mating habits of polyps and getting hilariously entangled by his examples.</p> Friday, July 08 EC: SONGS 15-22 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54774 <p>&ldquo;SONG 15: FIFTEEN SONG TRAITS: A series of individual portraits of friends and family &ndash; Robert Creeley, Michael McClure, Ed Dorn, Jonas Mekas, others. SONG 16: A flowering of sex as in the mind&rsquo;s eye, a joy. SONGS 17 &amp; 18: The movie house cathedral and a singular room. SONGS 19 &amp; 20: Women dancing and a light. SONGS 21 &amp; 22: Two views of closed-eye vision.&rdquo; &ndash;Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Friday, July 08 VIOLENT FEMMES + DRESSING FOR PLEASURE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54832 <p>Sylv&egrave;re Lotringer<br />VIOLENT FEMMES<br />1998, 28 min, digital. In English and French with English subtitles.<br />When Catherine Robbe-Grillet, the legendary Parisian dominatrix (as well as actress and writer), was invited to visit Sylv&egrave;re Lotringer&rsquo;s loft on Front Street, she had no idea she&rsquo;d be meeting Mlle. Victoire, her American counterpart, let alone that their encounter would be videotaped. At first reluctant to face the camera, Robbe-Grillet gradually realizes that although the two don&rsquo;t speak the same language, they share the same desires. A deft ballet of words, blood, and seduction.<br /><br />Preceded by:<br />John Samson DRESSING FOR PLEASURE (1977, 25 min, 16mm-to-digital)<br />Banned by London Weekend Television, DRESSING FOR PLEASURE explores the fetishizing of latex, leather, and rubber clothing and centers around Atomage &ndash; the infamous fetishist magazine &ndash; and Sex, Vivienne Westwood&rsquo;s and Malcolm McLaren&rsquo;s King&rsquo;s Road emporium, the only shop to openly sell latex fetish-wear and a well-known hangout for punks, including, of course, the Sex Pistols. A unique and fascinating documentary of a frantically creative period in British history.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Friday, July 08 EC: THE ART OF VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54775 <p>&ldquo;Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word &lsquo;symphonia&rsquo; was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as &lsquo;cinematographer,&rsquo; at source, means &lsquo;writer of movement,&rsquo; certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.&rdquo; &ndash;Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Saturday, July 09 THE MATCH THAT STARTED MY FIRE + THIS SMELL OF SEX + TOWARDS TENDERNESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54835 <p><em><strong>Filmmaker Alice Diop (TOWARDS TENDERNESS) will be here in person for a Q&amp;A on July 9, and filmmaker Cathy Cook (THE MATCH THAT STARTED MY FIRE) will be here for the second screening on July 21!</strong></em><br /><br />Cathy Cook<br />THE MATCH THAT STARTED MY FIRE<br />1991, 20 min, 16mm-to-digital<br />This unconventional comedy explores women&rsquo;s sexuality through candid stories of sexual discoveries, fantasies, and pleasures. Visually stunning, yet unnerving, the film is a visual montage of found industrial films and original footage of swirling skirts, monumental machinery, ocean life, and befuddled reaction shots.<br /><br />Danielle Arbid<br />THIS SMELL OF SEX<br />2008, 20 min, digital. In Arabic with English subtitles.<br />&ldquo;My friends in Beirut openly tell me the details of their most secret, passionate, and obsessional sexual experiences. The film unfolds against a black screen, occasionally punctuated by the images of an old Super 8 film showing a timid young woman undressing.&rdquo; &ndash;Danielle Arbid<br /><br />Alice Diop<br />TOWARDS TENDERNESS / VERS LA TENDRESSE<br />2016, 39 min, digital. In French with English subtitles.<br />&ldquo;In Alice Diop&rsquo;s eloquent, searching TOWARDS TENDERNESS, four young men living in the Paris suburbs speak to her of their fronts of macho and misogynistic stereotypes &ndash; and the struggles to find, express, and understand love hidden behind them. A compassionate, clich&eacute;-dismantling investigation into masculinity, sexuality, and identity from one of France&rsquo;s most accomplished young documentarians&hellip;the film is structured by the men&rsquo;s own words, startling for their brutality, vulnerability, and insight in turn. Diop worked hard to gain their trust, then recorded the interviews as part of a private workshop. In the final film, the conversations take on an even more striking intimacy, something like the protagonists&rsquo; interior monologues.&rdquo; &ndash;LE CIN&Eacute;MA CLUB<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Saturday, July 09 SEX, LIES, AND VIDEOTAPE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54838 <p>&ldquo;With his provocative feature debut, 26-year-old Steven Soderbergh trained his focus on the complexities of human intimacy and deception in the modern age. Housewife Ann (Andie MacDowell) feels distant from her lawyer husband, John (Peter Gallagher), who is sleeping with her sister, Cynthia (Laura San Giacomo). When John&rsquo;s old friend Graham (a magnetic, Cannes-award-winning James Spader) comes to town, Ann is drawn to the soft-spoken outsider, eventually uncovering his startling private obsession: videotaping women as they confess their deepest desires. A piercingly intelligent and flawlessly performed chamber piece, in which the video camera becomes a charged metaphor for the characters&rsquo; isolation, the Palme d&rsquo;Or-winning SEX, LIES, AND VIDEOTAPE changed the landscape of American film, helping pave the way for the thriving independent scene of the 1990s.&rdquo; &ndash;CRITERION<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Saturday, July 09 THE LITTLE DEATHS / LAS MUERTES CHIQUITAS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54841 <p>&ldquo;In 2006 the Barcelona artist and filmmaker Mireia Sallar&egrave;s began interviewing, in complete intimacy, about thirty Mexican women, about just that: being women in Mexico and their sexual experiences &ndash; their experience with pleasure and also with violence. The result is LAS MUERTES CHIQUITAS, &lsquo;the little deaths&rsquo;, which, like the French &lsquo;la petite mort&rsquo;, is a slangy euphemism in Spanish for female orgasm, the post-orgasmic state of unconsciousness that some experience after sex. This wild, five-hour film is revolutionary&hellip;. [&hellip;] Sallar&egrave;s uses the simplest of means, filming by herself, entirely in medium close-ups, as she interviews, among many others, two anthropologists, a performance artist, an AIDS worker, a few sex-workers, a cabaret artist, two psychoanalysts, an historian, two ex-nuns, a journalist, a cross-dressing bisexual-tranny, a housekeeper, an actress, a philosopher, two guerillas, even exiled women from other countries&hellip;. She asks them to talk about, at first, their own orgasms. What emerge are extraordinary stories and images of pleasure, and often damage.<br /><br />&ldquo;The film&rsquo;s subtitle, &lsquo;An unfinished story of pleasure and violence&rsquo;, helps connect the dots. There is abundant sexual violence against and around women in Mexico, and effective resistance. Sallar&egrave;s&rsquo;s correspondents are prepared to talk about their histories and so the film goes there &ndash; not just to the violence but also to the relationship between violence and sexuality, and soon enough to violence, sex, pleasure and spiritual release. These are models to learn from and admire. The critic Helena Braun&scaron;tajn says this film is a place &lsquo;where pleasure is related to armed struggle, feminicide, transsexuality, women&rsquo;s liberation theology, prostitution, illness, exile, the plurality of Mexican identity, and the ethical commitment of art to socio-political reality.&rsquo; One woman says orgasm is &lsquo;like grabbing onto the wings of an angel who lowers me down to the ground.&rsquo; Enough said.&rdquo; &ndash;Jill Godmilow<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Sunday, July 10 A MOVIE WILL BE SHOWN WITHOUT THE PICTURE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54864 <p>The July chapter of &ldquo;Imageless Films&rdquo; brings a rare presentation of artist Louise Lawler&rsquo;s legendary work of conceptual cinema, A MOVIE WILL BE SHOWN WITHOUT THE PICTURE, which was first presented at the Aero Theater in Santa Monica, CA, in 1979, and has been staged only a handful of times in the intervening years. Like many of the works in &ldquo;Imageless Films&rdquo;, Lawler&rsquo;s work diverts attention from the screen to the soundtrack, to the physical space of the cinema itself, and to the host of normally unexamined extra-filmic elements &ndash; environmental, mechanical, logistical, psychological &ndash; involved in the ritual of moviegoing. Like all the past iterations, Anthology&rsquo;s presentation will be a unique one.<br /><br />&ldquo;As an appropriation of film that is (seemingly) without pictures, as a performative intervention in the cinematic context, as a (non) event that stresses the spectators&rsquo; agency by leaving them in the dark, A MOVIE WILL BE SHOWN WITHOUT THE PICTURE has a complex temporality. It can be related to other works by Lawler and a number of other artists from the late 1970s and early 1980s, when artists examined elements of &lsquo;cinematic&rsquo; culture such as the film still and the film screening &ndash; in other words, elements that had usually been treated as mere context for the &lsquo;actual&rsquo; film. However, A MOVIE&hellip; has produced after-images and after-effects well beyond the years around 1980.&rdquo; &ndash;Sven L&uuml;tticken<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 10 A MOVIE WILL BE SHOWN WITHOUT THE PICTURE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54865 <p>The July chapter of &ldquo;Imageless Films&rdquo; brings a rare presentation of artist Louise Lawler&rsquo;s legendary work of conceptual cinema, A MOVIE WILL BE SHOWN WITHOUT THE PICTURE, which was first presented at the Aero Theater in Santa Monica, CA, in 1979, and has been staged only a handful of times in the intervening years. Like many of the works in &ldquo;Imageless Films&rdquo;, Lawler&rsquo;s work diverts attention from the screen to the soundtrack, to the physical space of the cinema itself, and to the host of normally unexamined extra-filmic elements &ndash; environmental, mechanical, logistical, psychological &ndash; involved in the ritual of moviegoing. Like all the past iterations, Anthology&rsquo;s presentation will be a unique one.<br /><br />&ldquo;As an appropriation of film that is (seemingly) without pictures, as a performative intervention in the cinematic context, as a (non) event that stresses the spectators&rsquo; agency by leaving them in the dark, A MOVIE WILL BE SHOWN WITHOUT THE PICTURE has a complex temporality. It can be related to other works by Lawler and a number of other artists from the late 1970s and early 1980s, when artists examined elements of &lsquo;cinematic&rsquo; culture such as the film still and the film screening &ndash; in other words, elements that had usually been treated as mere context for the &lsquo;actual&rsquo; film. However, A MOVIE&hellip; has produced after-images and after-effects well beyond the years around 1980.&rdquo; &ndash;Sven L&uuml;tticken<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, July 11 EC: 23RD PSALM BRANCH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2022#showing-54776 <p>&ldquo;The furthest that Brakhage came in extending the language of 8mm cinema was his editing of 23RD PSALM BRANCH... the phenomenal and painstaking craftsmanship of this film reflects the intensity of the obsession with which its theme grasped his mind. In 1966, out of confusion about the Vietnam War and the American reaction to it, Brakhage began to meditate on the nature of war... the fruit of his studies and thoughts was the longest and most important of the songs... it is an apocalypse of imagination.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a>&nbsp;</p> Monday, July 11