https://www.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 Fri, 13 Mar 2026 06:40:36 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60897 <p>THE POTTED PSALM and THE PETRIFIED DOG have been preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. MR. FRENHOFFER AND THE MINOTAUR and THE LEAD SHOES have been preserved by Anthology with support from the National Film Preservation Foundation.<br /><br />THE POTTED PSALM (1946, 19 min, 16mm)<br />THE PETRIFIED DOG (1948, 19 min, 16mm)<br />MR. FRENHOFFER AND THE MINOTAUR (1949, 21 min, 16mm)<br />THE LEAD SHOES (1949, 17 min, 16mm)<br /><br />“These images are meant to play not on our rational senses, but on the infinite universe of ambiguity within us.” –Sidney Peterson<br /><br />“Sidney Peterson’s work and sensibility are those of a native American surrealist. Many of his films chronicle the picaresque adventures of a wacky protagonist and use disjunctive editing strategies to construct new time and space relations…. But perhaps their best-known feature is the use of distorted, funhouse mirror-images, which he created by shooting with an anamorphic lens. […] In his films, he investigates extreme states of consciousness, and the primary tool of his epistemology of irrationalism is the photographic image distorted and transformed to register the impact of those states.” –R. Bruce Elder, IMAGE AND IDENTITY<br /><br />Total running time: ca. 80 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Friday, March 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60920 <p>Mojo Lorwin & Lee Breuer<br />MOI-MÊME<br />1968/2024, 65 min, 16mm-to-DCP. In English and French with English subtitles.<br />Both the first and the most recent Mabou foray into celluloid, this new wave-inspired film – which was shot in Paris in 1968 two years before the company was formed, and features a brief cameo by Jean-Luc Godard – stars Kevin Mathewson as a 13-year-old wannabe auteur alongside David Warrilow, Ruth Maleczech, and Fred Neumann playing various film industry figures (or are they hallucinations?) guiding and impeding him on his quest to become a director. The 16mm raw footage was abandoned without sound or script until it was resurrected and reimagined by Breuer’s son Mojo Lorwin in 2024. A collaboration between father and son across half a century, MOI-MÊME is both a lost 1960s arthouse film and a new experimental work in its own right, which uses the original footage to tell a story about the political and artistic legacy of the ’60s in our time and to explore the meaning of abandoned projects.<br /><br />“In its dreamy 60 minutes that take up questions of personal and artistic legacy, MOI-MÊME reminds us, too, of the abiding commitment beneath Breuer’s – and Mabou Mines’s – oeuvre: that refusing commercial narrative logics can help inspire new visions for the world.” –Alisa Solomon, JEWISH CURRENTS<br /><br /><em><strong>The screening on Fri, Mar 13 will be followed by a Q&A with Arthur Sabatini, Mojo Lorwin, and actor Kevin Mathewson!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60898 <p>Pat O’Neill<br />SAUGUS SERIES (1974, 19 min, 16mm) <br />SAUGUS SERIES is actually seven short films, one-and-a-half to six minutes long, united by a common soundtrack. Each is an evolving “still life” made up of meticulously assembled but spatially contradictory elements.<br />“SAUGUS SERIES exhibits the possibilities of the optical printer with considerable self-confidence and élan. The colors are deeply saturated; radically incompatible spaces are meticulously pieced together; moving images are layered in front of each other or masked within ‘negative’ spaces outlined by the absence of an object; a multiplicity of textures and densities and the dynamics of particles in turmoil enliven the imagery. […] The displaced objects and the uncanny juxtapositions of Maya Deren, Kenneth Anger, and Curtis Harrington take on meaning from their relationship to the human figures that encounter them. As such, they become symbolic functions. O’Neill, a native of southern California, seems to be telling us that such a symbolic and psychologically personalized landscape loses its significance in a space like Los Angeles which is so overwhelmed by fragmented representations and gerrybuilt perspectives.” –P. Adams Sitney, MILLENNIUM FILM JOURNAL<br /><br />Hans Richter<br />RHYTHMUS 21 (1921, 3 min, 35mm, silent)<br />“Its content is essentially rhythm, the formal vocabulary is elemental geometry, and the structural principle is counterpoint of contrasting opposites.” –Standish Lawder<br /><br />TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm)<br />Produced as a commercial for a German illustrated magazine, this film is an experiment with visual rhymes.<br /><br />EVERYTHING REVOLVES, EVERYTHING TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 min, 16mm)<br />“Richter’s unique and fascinating view of magic and cruelty in a carnival side-show.” –Cecile Starr<br /><br />Paul Sharits<br />N:O:T:H:I:N:G<br />(1968, 36 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.)<br />“Based in part on the Tibetan Mandala of the Five Dhyani Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu Wisdom)/space and motion generated rather than illustrated/time-color energy create virtual shape/in negative time, growth is inverse decay.” –Paul Sharits<br /><br />T,O,U,C,H,I,N,G (1969, 12 min, 16mm. Preserved by Anthology Film Archives.)<br />“Starring poet David Franks whose voice appears on the soundtrack/an uncutting and unscratching mandala.” –Paul Sharits<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> </p> Friday, March 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60923 <p>Lee Breuer<br />THE RED HORSE ANIMATION<br />1974, 38 min, video<br />First performed in 1970, RED HORSE was the first Mabou production and the first of Breuer’s ANIMATIONS series (which featured animal protagonists brought to life by multiple performers). Starring JoAnne Akalaitis, Ruth Maleczech, and David Warrilow, and with a live score by Philip Glass, RED HORSE – a statement of Breuer’s intentions as an artist and a meditation on his relationship to his conformist workaholic father – sees the young company toeing the line between theater and performance art. This psychedelic video version features camerawork by experimental filmmaker Dee Dee Halleck.<br /><br />“[O]ne of the most radical uses of performance space to be seen up to this time in the American theater. It is a major aesthetic breakthrough.” –Bonnie Marranca, SOHO WEEKLY NEWS<br /><br />Lee Breuer, Chris Coughlan, and Craig Jones<br />THE B. BEAVER ANIMATION<br />1979, 32 min, video<br />The second of Breuer’s ANIMATIONS, first performed in 1974, features Neumann as the eponymous beaver philosophizing about the art of dam-building – weighing family responsibility against creative urges against his paranoid fantasies of persecution. This stripped-down monologue version of the play is a unique record of Fred Neumann’s tour-de-force performance. The close-up videography by Chris Coughlan and Craig Jones heightens the maniacal Cassavetes-esque aspects of Neumann’s Beaver.<br /><br />“Facing this strange, disorienting exercise, one should abjure explication. The most rewarding approach is to relax and enjoy the voyage.” –Mel Gussow, NEW YORK TIMES<br /><br />Lee Breuer<br />SISTER SUZIE CINEMA<br />1982, 19 min, 16mm-to-DCP<br />SISTER SUZIE CINEMA is a doo-wop opera paean to the silver screen written by Breuer and composer Bob Telson for the New Jersey a capella quintet 14 Karat Soul in 1980. An unlikely counterpoint between Breuer’s cinerotic double entendres and the transcendent harmonies of the singers, the short musical was at one point part of a double bill with the work-in-progress GOSPEL AT COLONUS (then featuring 14 Karat Soul as well). Produced by Liza Lorwin (THE GOSPEL AT COLONUS, PETER AND WENDY), this film version was shot in London in 1982, but never finished or released.<br /><br />“Movies, doo-wop singing, free-associative imagery and yearning, unabashed romance are the makings of SISTER SUZIE CINEMA…a fantasy about fantasies – about the way movies, music and other cultural artifacts shape what we feel.” –John Pareles, NEW YORK TIMES<br /><br />Total running time: ca. 95 min.<br /><br /><em><strong>The screening on Wed, Mar 18 will be followed by a Q&A with Carl Hancock Rux, composer Bob Telson, and singer Glenny T of 14 Karat Soul!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60916 <p>One of the most extraordinary works of contemporary cinema in recent memory – a film that is at once monumental, thematically and formally ambitious, and yet profoundly humble – C.W. Winter & Anders Edström’s THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) garnered lavish praise upon its release. But appearing in NYC in the summer of 2021, when moviegoing had not yet fully rebounded in the wake of the pandemic, it never received its full due from audiences. These encore screenings aim to give NYC viewers a second chance to experience it in the cinema.<br /><br />THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) is an extraordinary eight-hour fiction feature shot for a total of 27 weeks, over a period of 14 months, in a village of 47 inhabitants in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer – a portrait, over five seasons, of a family, of a terrain, of a soundscape, and of duration itself. It is a film that takes the time to spend time and hear people out, with a performance by Tayoko Shiojiri that binds fiction and actual bereavement into a heartbreaking indeterminability.<br /><br />“Shot over a period of 14 months, the film adopts the form of an eight-hour workday, complete with three intermissions (one 45-minute break, bookended by a pair of 15-minute interludes) meant to replicate a typical schedule. But where such daunting length might suggest something tedious or one-note, THE WORKS AND DAYS is constantly shape-shifting, mixing ravishing landscape imagery and scenes of day-to-day labor with bustling dinner sequences and moments of alcohol-fueled camaraderie among an extended coterie of friends and fellow farmers. Across five chapters, Winter and Edström chart the community’s highs and lows, capturing instances of joy and sorrow, intimacy and death, the essence of the human spirit writ through time and the passing of the seasons. No mere feat of observation, this is a marvel of cinematic immersion, easing into each section with extended passages of field recordings playing over nothing but a darkened screen. Now more than ever, THE WORKS AND DAYS speaks to the power, beauty, and necessity of the theatrical experience.” –Jordan Cronk, FILM COMMENT<br /><br />“An utterly confident, magisterial effort that will stand the test of time.” –Mark Peranson, CINEMA SCOPE MAGAZINE<br /><br />“A day spent in darkness, a 480-minute wager that the long take is not the only path to duration. A sustained look at a family and the land that it works, at once intimate and expansive. More than a film to watch, THE WORKS AND DAYS is a film that engulfs you.” –Erika Balsom, ARTFORUM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60926 <p>Jill Godmilow<br />MABOU MINES’ LEAR ’87 ARCHIVE (CONDENSED)<br />2001, 336 min, video<br />Having worked with Mabou on FAR FROM POLAND, Jill Godmilow (who passed away in late 2025) decided to undertake this epic Frederick Wiseman-style fly-on-the-wall documentary of the 1987 rehearsal process for Lee Breuer’s gender-reversed production of Shakespeare’s KING LEAR, starring Ruth Maleczech. Never-before-screened theatrically, Godmilow’s film subtly juxtaposes the play’s themes of power and renunciation with the company’s collaborative working process and the state of the women’s movement at the time. Featuring Greg Mehrten, Ellen McElduff, Karen Kandel, Bill Raymond, Honora Fergusson, and Breuer and Maleczech’s children Lute Ramblin’ and Clove Galilee, alongside Isabell Monk of THE GOSPEL AT COLONUS, Lola Pashalinski and Black Eyed Susan of the Ridiculous Theatrical Company, and Ron Vawter of the Wooster Group, as well as a score by electronic music pioneer Pauline Oliveros, LEAR ‘87 is a sort of LET IT BE for the company – a one-of-a-kind document, capturing Mabou at a crossroads in its history, before many of its first generation of collaborators would go their separate ways. Kandel, Maleczech, Mehrten, and Monk all won Obies for their performances.<br /><br />“If you have any brains, you know you’re going to be thinking about it for the rest of your life.” –Michael Feingold, THE VILLAGE VOICE<br /><br /><em><strong>LEAR ’87 ARCHIVE will be presented in two parts: the first half (ca. 175 min) will screen on Sat, Mar 14 at 4:00, and the second half (ca. 170) will screen on Sun, Mar 15 at 4:00. The screening on Sat, Mar 14 will be followed by a Q&A with Alisa Solomon and actor Greg Mehrten.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /></p> Saturday, March 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60930 <p>Jill Godmilow<br />FAR FROM POLAND<br />1984, 110 min, 16mm. Made in collaboration with Andrzej Tymowski, Susan Delson, and Mark Magill. Print courtesy of the Jill Godmilow Collection at the Academy Film Archive.<br />Godmilow’s agit-prop documentary/fiction hybrid film about the Polish Solidarity movement, the first successful independent labor union to emerge in the Eastern Bloc during the Cold War, was also her first collaboration with Mabou Mines. Denied a travel visa by the Polish government, Godmilow stays home and goes Brechtian, recreating actual interviews with Solidarity leader Anna Walentynowicz in a New York loft with Ruth Maleczech in the lead role. The film also stars Honora Fergusson as a reporter, Bill Raymond as a government censor, David Warrilow as the voice of the Polish dictator Wojciech Jaruzelski, and Mark Margolis (PI) as a shipyard worker. FAR FROM POLAND is a powerful portrait of resistance suddenly springing up in a time of despair, as well as a self-reflexive meditation on the impossibility of understanding a revolution an ocean away.<br /><br />“A groundbreaking work in the history of experimental documentary cinema.” –MUSEUM OF MODERN ART IN WARSAW</p> <p><em><strong>The screening on Tues, Mar 17 will be followed by a Q&A with Susan Delson and film scholar Ricky Herbst!</strong></em></p> <p><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60917 <p>One of the most extraordinary works of contemporary cinema in recent memory – a film that is at once monumental, thematically and formally ambitious, and yet profoundly humble – C.W. Winter & Anders Edström’s THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) garnered lavish praise upon its release. But appearing in NYC in the summer of 2021, when moviegoing had not yet fully rebounded in the wake of the pandemic, it never received its full due from audiences. These encore screenings aim to give NYC viewers a second chance to experience it in the cinema.<br /><br />THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN) is an extraordinary eight-hour fiction feature shot for a total of 27 weeks, over a period of 14 months, in a village of 47 inhabitants in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer – a portrait, over five seasons, of a family, of a terrain, of a soundscape, and of duration itself. It is a film that takes the time to spend time and hear people out, with a performance by Tayoko Shiojiri that binds fiction and actual bereavement into a heartbreaking indeterminability.<br /><br />“Shot over a period of 14 months, the film adopts the form of an eight-hour workday, complete with three intermissions (one 45-minute break, bookended by a pair of 15-minute interludes) meant to replicate a typical schedule. But where such daunting length might suggest something tedious or one-note, THE WORKS AND DAYS is constantly shape-shifting, mixing ravishing landscape imagery and scenes of day-to-day labor with bustling dinner sequences and moments of alcohol-fueled camaraderie among an extended coterie of friends and fellow farmers. Across five chapters, Winter and Edström chart the community’s highs and lows, capturing instances of joy and sorrow, intimacy and death, the essence of the human spirit writ through time and the passing of the seasons. No mere feat of observation, this is a marvel of cinematic immersion, easing into each section with extended passages of field recordings playing over nothing but a darkened screen. Now more than ever, THE WORKS AND DAYS speaks to the power, beauty, and necessity of the theatrical experience.” –Jordan Cronk, FILM COMMENT<br /><br />“An utterly confident, magisterial effort that will stand the test of time.” –Mark Peranson, CINEMA SCOPE MAGAZINE<br /><br />“A day spent in darkness, a 480-minute wager that the long take is not the only path to duration. A sustained look at a family and the land that it works, at once intimate and expansive. More than a film to watch, THE WORKS AND DAYS is a film that engulfs you.” –Erika Balsom, ARTFORUM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60928 <p>Jill Godmilow<br />MABOU MINES’ LEAR ’87 ARCHIVE (CONDENSED)<br />2001, 336 min, video<br />Having worked with Mabou on FAR FROM POLAND, Jill Godmilow (who passed away in late 2025) decided to undertake this epic Frederick Wiseman-style fly-on-the-wall documentary of the 1987 rehearsal process for Lee Breuer’s gender-reversed production of Shakespeare’s KING LEAR, starring Ruth Maleczech. Never-before-screened theatrically, Godmilow’s film subtly juxtaposes the play’s themes of power and renunciation with the company’s collaborative working process and the state of the women’s movement at the time. Featuring Greg Mehrten, Ellen McElduff, Karen Kandel, Bill Raymond, Honora Fergusson, and Breuer and Maleczech’s children Lute Ramblin’ and Clove Galilee, alongside Isabell Monk of THE GOSPEL AT COLONUS, Lola Pashalinski and Black Eyed Susan of the Ridiculous Theatrical Company, and Ron Vawter of the Wooster Group, as well as a score by electronic music pioneer Pauline Oliveros, LEAR ‘87 is a sort of LET IT BE for the company – a one-of-a-kind document, capturing Mabou at a crossroads in its history, before many of its first generation of collaborators would go their separate ways. Kandel, Maleczech, Mehrten, and Monk all won Obies for their performances.<br /><br />“If you have any brains, you know you’re going to be thinking about it for the rest of your life.” –Michael Feingold, THE VILLAGE VOICE<br /><br /><em><strong>LEAR ’87 ARCHIVE will be presented in two parts: the first half (ca. 175 min) will screen on Sat, Mar 14 at 4:00, and the second half (ca. 170) will screen on Sun, Mar 15 at 4:00. The screening on Sat, Mar 14 will be followed by a Q&A with Alisa Solomon and actor Greg Mehrten.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60933 <p>Lee Breuer<br />MABOU MINES DOLLHOUSE<br />2008, 124 min, DCP<br />Breuer and Maude Mitchell’s internationally acclaimed Obie-winning take on Ibsen’s proto-feminist play, first performed in 2003, featured tall women (led by Mitchell as Nora) enslaved to the desires and whims of men under five feet tall, a visual allegory for the paper tiger of patriarchy. This cinematic version of the production is in the tradition of Bergman’s MAGIC FLUTE and Powell and Pressburger’s TALES OF HOFFMANN, with puppet spectators watching human performers in a tragicomic reverse-puppet show. Silent film melodrama, Norwegian folk elements, and circus acts culminate in a devastating operatic climax.<br /><br />“The whole experience is so fascinating – thrilling here, confounding there – that it must be seen.” –Margo Jefferson, NEW YORK TIMES<br /><br /><em><strong>The screening will be followed by a Q&A with Olga Taxidou and actress and co-adaptor Maude Mitchell!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60935 <p>JoAnne Akalaitis<br />OTHER CHILDREN<br />1979, 19 min, 16mm-to-DCP<br />OTHER CHILDREN is Akalaitis’s first foray into film, shot in beautiful color 16mm in 1979 and lovingly restored by IndieCollect in 2022. Based on a story by Jane Bowles, it is a lyrical experimental film about unsupervised children shot in Cape Breton, Nova Scotia. Although not a Mabou Mines production, the film features performances by company members Bill Raymond and Ellen McElduff alongside Joan Jonas and Juliet Glass. The film was shot by filmmaker Jacki Ochs and edited by frequent Mabou collaborator David Hardy.<br /><br />JoAnne Akalaitis<br />DEAD END KIDS: A HISTORY OF NUCLEAR POWER<br />1986, 87 min, 16mm-to-DCP<br />Made in the wake of the Three Mile Island partial nuclear meltdown, Akalaitis’s cinematic adaptation of her Obie-winning 1980 play is an existential collage of scenes touching on the scientific, cultural, and political history of nuclear technology, peppered with vaudeville-style vignettes which add a surreal layer of gallows humor to the proceedings. Brimming with anger through a veneer of deadpan irony, DEAD END KIDS juxtaposes the tale of Faust, the philosophy of the alchemists, the life of Marie Curie, the bombings at Hiroshima and Nagasaki, wartime propaganda, and damage control PSAs by the nuclear industry against a synth soundtrack by David Byrne (who makes a cameo), with additional music by Philip Glass. The large ensemble cast includes Ellen McElduff, Ruth Maleczech, Terry O’Reilly, Greg Mehrten, Fred Neumann, Juliet and Zachary Glass, and Lee Breuer and Maleczech’s children Clove Galilee and Lute Ramblin’, alongside Theater Three Collaborative’s George Bartenieff. Several scenes were shot in PS 122.<br /><br />“Almost single-handedly [Akalaitis] is giving new life to the whole notion of political theater.” –Frank Rich, NEW YORK TIMES<br /><br />Total running time: ca. 110 min.<br /><br /><em><strong>The screening on Thurs, Mar 19 will be followed by a Q&A with Don Shewey and actress Ellen McElduff!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60931 <p>Jill Godmilow<br />FAR FROM POLAND<br />1984, 110 min, 16mm. Made in collaboration with Andrzej Tymowski, Susan Delson, and Mark Magill. Print courtesy of the Jill Godmilow Collection at the Academy Film Archive.<br />Godmilow’s agit-prop documentary/fiction hybrid film about the Polish Solidarity movement, the first successful independent labor union to emerge in the Eastern Bloc during the Cold War, was also her first collaboration with Mabou Mines. Denied a travel visa by the Polish government, Godmilow stays home and goes Brechtian, recreating actual interviews with Solidarity leader Anna Walentynowicz in a New York loft with Ruth Maleczech in the lead role. The film also stars Honora Fergusson as a reporter, Bill Raymond as a government censor, David Warrilow as the voice of the Polish dictator Wojciech Jaruzelski, and Mark Margolis (PI) as a shipyard worker. FAR FROM POLAND is a powerful portrait of resistance suddenly springing up in a time of despair, as well as a self-reflexive meditation on the impossibility of understanding a revolution an ocean away.<br /><br />“A groundbreaking work in the history of experimental documentary cinema.” –MUSEUM OF MODERN ART IN WARSAW</p> <p><em><strong>The screening on Tues, Mar 17 will be followed by a Q&A with Susan Delson and film scholar Ricky Herbst!</strong></em></p> <p><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, March 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60921 <p>Mojo Lorwin & Lee Breuer<br />MOI-MÊME<br />1968/2024, 65 min, 16mm-to-DCP. In English and French with English subtitles.<br />Both the first and the most recent Mabou foray into celluloid, this new wave-inspired film – which was shot in Paris in 1968 two years before the company was formed, and features a brief cameo by Jean-Luc Godard – stars Kevin Mathewson as a 13-year-old wannabe auteur alongside David Warrilow, Ruth Maleczech, and Fred Neumann playing various film industry figures (or are they hallucinations?) guiding and impeding him on his quest to become a director. The 16mm raw footage was abandoned without sound or script until it was resurrected and reimagined by Breuer’s son Mojo Lorwin in 2024. A collaboration between father and son across half a century, MOI-MÊME is both a lost 1960s arthouse film and a new experimental work in its own right, which uses the original footage to tell a story about the political and artistic legacy of the ’60s in our time and to explore the meaning of abandoned projects.<br /><br />“In its dreamy 60 minutes that take up questions of personal and artistic legacy, MOI-MÊME reminds us, too, of the abiding commitment beneath Breuer’s – and Mabou Mines’s – oeuvre: that refusing commercial narrative logics can help inspire new visions for the world.” –Alisa Solomon, JEWISH CURRENTS<br /><br /><em><strong>The screening on Fri, Mar 13 will be followed by a Q&A with Arthur Sabatini, Mojo Lorwin, and actor Kevin Mathewson!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, March 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60938 <p>The Flaherty Film Seminar and Cinema Tropical join forces to present a special screening celebrating the organizations’ 70th and 25th anniversaries, respectively. Curated by Zaina Bseiso and Carlos A. Gutiérrez, this incisive and defiant program of short films originated from their collaboration at the 70th Flaherty Film Seminar and features artists from across the Global South – Palestine, Puerto Rico, Morocco, Yemen, Lebanon, and Latinx USA – who reclaim humor, popular culture, and aesthetics as spaces of resistance and resilience amid the ominous threat of colonial forces. Timely and resonant, this collection of shorts offers a poignant yet playful polyphony of voices grappling with an increasingly nonsensical geopolitical world.<br /><br />Alex Rivera DÍA DE LA INDEPENDENCIA (USA, 1997, 2 min, digital)<br />Meriem Bennani LIFE ON THE CAPS: 2. GUIDED TOUR OF A SPILL (Morocco, 2020, 15 min, digital)<br />Larissa Sansour BETHLEHEM BANDOLERO (Palestine, 2004, 6 min, digital)<br />Akram Zaatari RED CHEWING GUM (Lebanon, 2000, 11 min, digital)<br />Asim Aziz 1941 (Yemen, 2021, 4 min, digital)<br />Sofía Gallisá Muriente THE ENVOY (EVEN IF IT’S NOT MORE THAN A TRUCE) (Puerto Rico, 2022, 24 min, digital)<br />Jazmin Garcia TROKAS DURAS (USA, 2025, 17 min, digital)<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, March 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60924 <p>Lee Breuer<br />THE RED HORSE ANIMATION<br />1974, 38 min, video<br />First performed in 1970, RED HORSE was the first Mabou production and the first of Breuer’s ANIMATIONS series (which featured animal protagonists brought to life by multiple performers). Starring JoAnne Akalaitis, Ruth Maleczech, and David Warrilow, and with a live score by Philip Glass, RED HORSE – a statement of Breuer’s intentions as an artist and a meditation on his relationship to his conformist workaholic father – sees the young company toeing the line between theater and performance art. This psychedelic video version features camerawork by experimental filmmaker Dee Dee Halleck.<br /><br />“[O]ne of the most radical uses of performance space to be seen up to this time in the American theater. It is a major aesthetic breakthrough.” –Bonnie Marranca, SOHO WEEKLY NEWS<br /><br />Lee Breuer, Chris Coughlan, and Craig Jones<br />THE B. BEAVER ANIMATION<br />1979, 32 min, video<br />The second of Breuer’s ANIMATIONS, first performed in 1974, features Neumann as the eponymous beaver philosophizing about the art of dam-building – weighing family responsibility against creative urges against his paranoid fantasies of persecution. This stripped-down monologue version of the play is a unique record of Fred Neumann’s tour-de-force performance. The close-up videography by Chris Coughlan and Craig Jones heightens the maniacal Cassavetes-esque aspects of Neumann’s Beaver.<br /><br />“Facing this strange, disorienting exercise, one should abjure explication. The most rewarding approach is to relax and enjoy the voyage.” –Mel Gussow, NEW YORK TIMES<br /><br />Lee Breuer<br />SISTER SUZIE CINEMA<br />1982, 19 min, 16mm-to-DCP<br />SISTER SUZIE CINEMA is a doo-wop opera paean to the silver screen written by Breuer and composer Bob Telson for the New Jersey a capella quintet 14 Karat Soul in 1980. An unlikely counterpoint between Breuer’s cinerotic double entendres and the transcendent harmonies of the singers, the short musical was at one point part of a double bill with the work-in-progress GOSPEL AT COLONUS (then featuring 14 Karat Soul as well). Produced by Liza Lorwin (THE GOSPEL AT COLONUS, PETER AND WENDY), this film version was shot in London in 1982, but never finished or released.<br /><br />“Movies, doo-wop singing, free-associative imagery and yearning, unabashed romance are the makings of SISTER SUZIE CINEMA…a fantasy about fantasies – about the way movies, music and other cultural artifacts shape what we feel.” –John Pareles, NEW YORK TIMES<br /><br />Total running time: ca. 95 min.<br /><br /><em><strong>The screening on Wed, Mar 18 will be followed by a Q&A with Carl Hancock Rux, composer Bob Telson, and singer Glenny T of 14 Karat Soul!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, March 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60973 <p>In THE LADIES MAN, Jerry Lewis constructs an enormous dollhouse-like set – a four-story boarding house teeming with women – through which his awkward, shy protagonist, Herbert H. Heebert, wanders in wonder and bemusement. Lewis reimagines slapstick as an exploration of space, gender, and reflexivity. Anticipating Godard’s TOUT VA BIEN, Lewis treats cinematic architecture as a social laboratory, where comedy becomes a means of probing performance, alienation, and the precarious order of modern existence.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60936 <p>JoAnne Akalaitis<br />OTHER CHILDREN<br />1979, 19 min, 16mm-to-DCP<br />OTHER CHILDREN is Akalaitis’s first foray into film, shot in beautiful color 16mm in 1979 and lovingly restored by IndieCollect in 2022. Based on a story by Jane Bowles, it is a lyrical experimental film about unsupervised children shot in Cape Breton, Nova Scotia. Although not a Mabou Mines production, the film features performances by company members Bill Raymond and Ellen McElduff alongside Joan Jonas and Juliet Glass. The film was shot by filmmaker Jacki Ochs and edited by frequent Mabou collaborator David Hardy.<br /><br />JoAnne Akalaitis<br />DEAD END KIDS: A HISTORY OF NUCLEAR POWER<br />1986, 87 min, 16mm-to-DCP<br />Made in the wake of the Three Mile Island partial nuclear meltdown, Akalaitis’s cinematic adaptation of her Obie-winning 1980 play is an existential collage of scenes touching on the scientific, cultural, and political history of nuclear technology, peppered with vaudeville-style vignettes which add a surreal layer of gallows humor to the proceedings. Brimming with anger through a veneer of deadpan irony, DEAD END KIDS juxtaposes the tale of Faust, the philosophy of the alchemists, the life of Marie Curie, the bombings at Hiroshima and Nagasaki, wartime propaganda, and damage control PSAs by the nuclear industry against a synth soundtrack by David Byrne (who makes a cameo), with additional music by Philip Glass. The large ensemble cast includes Ellen McElduff, Ruth Maleczech, Terry O’Reilly, Greg Mehrten, Fred Neumann, Juliet and Zachary Glass, and Lee Breuer and Maleczech’s children Clove Galilee and Lute Ramblin’, alongside Theater Three Collaborative’s George Bartenieff. Several scenes were shot in PS 122.<br /><br />“Almost single-handedly [Akalaitis] is giving new life to the whole notion of political theater.” –Frank Rich, NEW YORK TIMES<br /><br />Total running time: ca. 110 min.<br /><br /><em><strong>The screening on Thurs, Mar 19 will be followed by a Q&A with Don Shewey and actress Ellen McElduff!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60976 <p>Made in the aftermath of May ’68, TOUT VA BIEN examines the intersections of class struggle, media, and intimacy through the breakdown of a couple (Jane Fonda and Yves Montand) caught in a factory strike. Combining political analysis with formal experimentation, Godard and Gorin transform the factory into a cross-sectioned set – an explicit homage to the dollhouse structure of Jerry Lewis’s THE LADIES MAN. As the camera tracks laterally through this exposed architecture, the film lays bare the workings of ideology and desire.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60979 <p>Playing a hapless messenger let loose on the Paramount lot, Jerry Lewis collapses the boundary between labor and spectacle, turning everyday work into comic choreography. Both a satire of the dream factory and a meta-cinematic reflection on his own role as star-director, THE ERRAND BOY reveals Lewis’s Brechtian touch, where the machinery of filmmaking exposes the fragile artifice of its own illusion. Like Godard’s CONTEMPT (1963), made two years later, the film exposes the contradictions at the heart of cinematic production: art caught between play and labor, creation and commerce. Both filmmakers lay bare the pathos and poetry of making images in a world ruled by spectacle.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60899 <p>FILM NOS. 1-5, 7, 10 (EARLY ABSTRACTIONS) (ca. 1946-57, 23 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.)<br /><br />FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm. Preserved by Anthology Film Archives.)<br /><br />FILM NO. 14 (LATE SUPERIMPOSITIONS) (1964, 28 min, 16mm-to-35mm. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.)<br /><br />“My cinematic excreta is of four varieties: – batiked animations made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically super-imposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will forever abide – they made me gray.” –Harry Smith<br /><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></p> Friday, March 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60900 <p>Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and Cineric, Inc.<br /><br />“NO. 12 can be seen as one moment – certainly the most elaborately crafted moment – of the single alchemical film which is Harry Smith’s life work. In its seriousness, its austerity, it is one of the strangest and most fascinating landmarks in the history of cinema. Its elaborately constructed soundtrack in which the sounds of various figures are systematically displaced onto other images reflects Smith’s abiding concern with auditory effects.” –P. Adams Sitney<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Friday, March 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60982 <p>In CONTEMPT, Godard transforms the disintegration of a marriage into a sweeping meditation on art, commerce, and modern alienation. A subversive deconstruction of commercial filmmaking, the film stars Michel Piccoli as a screenwriter caught between a proud European director (played by Fritz Lang), a crass American producer (Jack Palance), and his increasingly distant wife, Camille (Brigitte Bardot). Set between the decaying grandeur of Cinecittà Studios and the sun-drenched beauty of Capri, CONTEMPT unfolds as both a star-studded Cinemascope epic and an intimate study of love undone by the machinery of cinema itself.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60985 <p>Cartoonist-turned-motion picture director Frank Tashlin was the single most important influence on Jerry Lewis. A subtle and serious mind gifted in the arts of exaggeration, Tashlin’s subject was “the nonsense of what we call civilization.” He frequently turned his camera on the moviemaking apparatus itself – the stuff illusions are made of. In HOLLYWOOD OR BUST, Lewis and Dean Martin, in their last film together, take a road trip from New York to Hollywood in a red convertible. Along the way there is singing, gambling, bullfighting, Anita Ekberg, and scenes at the very limits of absurdity. To close his 1957 review of the film in Cahiers du Cinéma, Godard declared: “And henceforth, when you talk about a comedy, don’t say ‘It’s Chaplinesque’; say, loud and clear, ‘It’s Tashlinesque.’”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60988 <p>“A completely spontaneous film. I have never been so worried as I was two days before shooting began. I had nothing, nothing at all… The whole thing was shot, let’s say, like in the days of Mack Sennett.” A riot of improvisation, PIERROT LE FOU is an adventure film of an absolute sort, rife with risk and danger at every moment of its creation. Anna Karina and Jean-Paul Belmondo, “the last romantic couple,” reject polite society and make off to the seashore in a variety of stolen candy-colored cars. The fugitive couple moves through a succession of episodes that play off each other with unresolved tension. In a letter to Godard, Frank Tashlin once wrote: “The more I understand the cinema, the more I realize it is an art which is dangerous to take too lightly.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60901 <p>Karl Freund, Carl Mayer & Walter Ruttmann<br />BERLIN, SYMPHONY OF A CITY / BERLIN, DIE SYMPHONIE DER GROSSTADT<br />1927, 65 min, 35mm-to-DCP, silent. 16mm collection print courtesy of the UCLA Film & Television Archive.<br />Ruttmann and company’s seminal, groundbreaking film is a valentine to the ‘new’ Berlin of the late 1920s. Beginning at dawn and ending after midnight, it shows Berliners hard at work by day and possessed by the city’s thriving nightlife. Essentially a feature-length montage, the film was heavily influenced by Soviet documentary experiments like Dziga Vertov’s KINO-PRAVDA and was itself very influential in fostering the ‘city symphony’ genre and other documentary hybrid styles to come.<br /><br />Frank Stauffacher SAUSALITO (1948, 10 min, 16mm)<br /><span id="docs-internal-guid-f0a0e8e4-7fff-c776-345c-b73c6b0e234c"><span>“His love for a place in which he lived (Sausalito) and his poetic sensitiveness, to interpret here and there the ordinary in extraordinary scenes, changed the ‘quasi-documentary’ character of the film and made it a poetic essay, a model and new form for ‘city’ films.” –Hans Richter, FILM CULTURE<br /><br /></span></span>Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, March 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60991 <p>THE FAMILY JEWELS, a zany tour de force, showcases Jerry Lewis’s virtuosity as both performer and director. The film follows a young heiress, Donna Peyton, who must choose a guardian from among her six eccentric uncles, all played by Lewis, each embodying a distinct comic archetype. As Donna visits each in turn, their absurdities become a playful meditation on identity and performance. Blending slapstick, pathos, and reflexive humor, THE FAMILY JEWELS stands as a dazzling showcase for Lewis’s comic inventiveness. His painterly use of color and precise, architectural framing would leave a lasting impression on Jean-Luc Godard, who shared Lewis’s fascination with the multiplicity of the self.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60940 <p>An artist and filmmaker possessed of an entirely unique approach that’s attuned to the nuances of both the moving image and language, Stephanie Barber’s film and video works meld together elements of photography, poetry, music, and live performance, and display a sensibility that’s at once comical, lyrical, and melancholy. We’ve had the pleasure of hosting Barber several times over the years, for screenings of her numerous short films and her features DAREDEVILS (2013) and IN THE JUNGLE (2017). This March, we welcome her back for a presentation of a project that’s unique even within her singular body of work.<br /><br />Between June 25 and August 7, 2011, Barber moved her studio into the Baltimore Museum of Art, where she created a new video each day in a central gallery open to museum visitors. The goal of this project, entitled JHANA AND THE RATS OF JAMES OLDS or 31 DAYS/31 VIDEOS, was to create a series of short, poetic videos in the playful and serious footprints of daily meditations and the literary games of the Oulipo movement. The exhibit was both a constantly changing installation and a collaborative performance in which museum visitors were present as spectators and often creative partners.<br /><br />To mark the forthcoming release (by Video Data Bank) of a DVD compilation devoted to the project, Stephanie Barber will be here in person for a special screening / talk / performance, during which she’ll present a selection of videos drawn from the series and share stories about the process of creating and exhibiting them.<br /><br />“The piece is a video screening and an installation and a performance – a spiritual obeisance, an athletic braggadocio, a consideration of Marxist theories of production (with the assembly line so lovingly lit). It is a funny game for me to play, an exercise in concentration, discipline and focus, an extension of my every day. It is a greedy desire to squeeze a massive amount of work out of myself; a dare; a show I would like to see myself. It is like the backstory before the story, an inversion of the way we usually experience artwork. A moving from the inside out. I was thinking how the interiors of museums are really only able to share what is almost the exterior of a piece of artwork – and though this colliding of the interior and exterior is fuzzy – a step towards the interior of any art piece might be the making of that piece. […] Like all pieces of art, this project is accordion in its intentions, shrinking and expanding upon use.” –Stephanie Barber<br /><br />“[Barber’s films] can feel like highly formal exercises in film language made by a profoundly restless mind, playing image and sound off each other and forcing you to locate implied meanings on your own. Others are both silly and oddly engaging, involving puppets mundanely discussing pressing metaphysical concerns. And others calmly and almost imperceptibly sweep you up in the genuine breadth of their emotional wake.” –Bret McCabe, THE BALTIMORE CITY PAPER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60994 <p>A delirious pop-art noir, MADE IN U.S.A. transforms the pulp detective film into a dazzling collage of color, politics, and cinematic references. Anna Karina plays a Bogart-like private eye drifting through a lollipop-bright landscape of slogans, comic panels, and ideological confusion – a vision of America as pure image. Drawing on the painterly use of bold color and the stylized physical comedy of Jerry Lewis, Godard turns cinematic artifice into a mode of critique. MADE IN U.S.A. stands at the threshold of Godard’s transition from narrative deconstruction to revolutionary form: a film where color, gesture, and absurdity become instruments of subversion.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60977 <p>Made in the aftermath of May ’68, TOUT VA BIEN examines the intersections of class struggle, media, and intimacy through the breakdown of a couple (Jane Fonda and Yves Montand) caught in a factory strike. Combining political analysis with formal experimentation, Godard and Gorin transform the factory into a cross-sectioned set – an explicit homage to the dollhouse structure of Jerry Lewis’s THE LADIES MAN. As the camera tracks laterally through this exposed architecture, the film lays bare the workings of ideology and desire.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60974 <p>In THE LADIES MAN, Jerry Lewis constructs an enormous dollhouse-like set – a four-story boarding house teeming with women – through which his awkward, shy protagonist, Herbert H. Heebert, wanders in wonder and bemusement. Lewis reimagines slapstick as an exploration of space, gender, and reflexivity. Anticipating Godard’s TOUT VA BIEN, Lewis treats cinematic architecture as a social laboratory, where comedy becomes a means of probing performance, alienation, and the precarious order of modern existence.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60902 <p>S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED<br />1968-70, 41 min, 16mm. <span id="docs-internal-guid-0970af6f-7fff-140d-adf1-f7cee986eb96">Restored by Anthology Film Archives.</span><br />“Yes, S:S:S:S:S:S is beautiful. The successive scratchings of the stream-image film is very powerful vandalism. The film is a very complete organism with all the possible levels really recognized.” –Michael Snow<br /><br />COLOR SOUND FRAMES<br />1974, 26 min, 16mm. Preserved by Anthology Film Archives.<br />“A film in which Sharits sums up his researches in the area of film strip (in opposition to the individual frames). The film strips move horizontally and vertically; two strips move simultaneously in opposite directions; variations in color; action of sprocket-holes. Very methodically and scientifically he covers the area. […] COLOR SOUND FRAMES advances one area of cinema or one area of researches in cinema (call it art if you wish) to a new climax, to a new peak: his exploration is so total, so perfect.” –Jonas Mekas, VILLAGE VOICE<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, March 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60983 <p>In CONTEMPT, Godard transforms the disintegration of a marriage into a sweeping meditation on art, commerce, and modern alienation. A subversive deconstruction of commercial filmmaking, the film stars Michel Piccoli as a screenwriter caught between a proud European director (played by Fritz Lang), a crass American producer (Jack Palance), and his increasingly distant wife, Camille (Brigitte Bardot). Set between the decaying grandeur of Cinecittà Studios and the sun-drenched beauty of Capri, CONTEMPT unfolds as both a star-studded Cinemascope epic and an intimate study of love undone by the machinery of cinema itself.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60941 <p>An artist and filmmaker possessed of an entirely unique approach that’s attuned to the nuances of both the moving image and language, Stephanie Barber’s film and video works meld together elements of photography, poetry, music, and live performance, and display a sensibility that’s at once comical, lyrical, and melancholy. We’ve had the pleasure of hosting Barber several times over the years, for screenings of her numerous short films and her features DAREDEVILS (2013) and IN THE JUNGLE (2017). This March, we welcome her back for a presentation of a project that’s unique even within her singular body of work.<br /><br />Between June 25 and August 7, 2011, Barber moved her studio into the Baltimore Museum of Art, where she created a new video each day in a central gallery open to museum visitors. The goal of this project, entitled JHANA AND THE RATS OF JAMES OLDS or 31 DAYS/31 VIDEOS, was to create a series of short, poetic videos in the playful and serious footprints of daily meditations and the literary games of the Oulipo movement. The exhibit was both a constantly changing installation and a collaborative performance in which museum visitors were present as spectators and often creative partners.<br /><br />To mark the forthcoming release (by Video Data Bank) of a DVD compilation devoted to the project, Stephanie Barber will be here in person for a special screening / talk / performance, during which she’ll present a selection of videos drawn from the series and share stories about the process of creating and exhibiting them.<br /><br />“The piece is a video screening and an installation and a performance – a spiritual obeisance, an athletic braggadocio, a consideration of Marxist theories of production (with the assembly line so lovingly lit). It is a funny game for me to play, an exercise in concentration, discipline and focus, an extension of my every day. It is a greedy desire to squeeze a massive amount of work out of myself; a dare; a show I would like to see myself. It is like the backstory before the story, an inversion of the way we usually experience artwork. A moving from the inside out. I was thinking how the interiors of museums are really only able to share what is almost the exterior of a piece of artwork – and though this colliding of the interior and exterior is fuzzy – a step towards the interior of any art piece might be the making of that piece. […] Like all pieces of art, this project is accordion in its intentions, shrinking and expanding upon use.” –Stephanie Barber<br /><br />“[Barber’s films] can feel like highly formal exercises in film language made by a profoundly restless mind, playing image and sound off each other and forcing you to locate implied meanings on your own. Others are both silly and oddly engaging, involving puppets mundanely discussing pressing metaphysical concerns. And others calmly and almost imperceptibly sweep you up in the genuine breadth of their emotional wake.” –Bret McCabe, THE BALTIMORE CITY PAPER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60980 <p>Playing a hapless messenger let loose on the Paramount lot, Jerry Lewis collapses the boundary between labor and spectacle, turning everyday work into comic choreography. Both a satire of the dream factory and a meta-cinematic reflection on his own role as star-director, THE ERRAND BOY reveals Lewis’s Brechtian touch, where the machinery of filmmaking exposes the fragile artifice of its own illusion. Like Godard’s CONTEMPT (1963), made two years later, the film exposes the contradictions at the heart of cinematic production: art caught between play and labor, creation and commerce. Both filmmakers lay bare the pathos and poetry of making images in a world ruled by spectacle.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60997 <p>Jerry Lewis’s THE NUTTY PROFESSOR transforms the Jekyll and Hyde story into an incisive comedy about performance, identity, and the constructed self. Beneath the slapstick lies a sharp reflection on masculinity and self-invention through artifice. In dialogue with Godard’s NOUVELLE VAGUE (1990), Lewis’s film reveals cinema’s fascination with doubling – the split between the authentic and the manufactured, the self and its image. Whereas Lewis externalizes this tension through comic exaggeration, Godard internalizes it as haunting repetition. Both explore subjectivity as something always in flux.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61001 <p>Godard’s NOUVELLE VAGUE revisits the theme of the double through the spectral presence of Alain Delon, who reappears as two incarnations of the same man. Godard transforms this narrative of death and return into an allegory of cinema itself – its repetition, mirroring, and resurrection through images. The film’s fragmented dialogue and reflective surfaces turn identity into a play of echoes and reversals. Paired with Jerry Lewis’s THE NUTTY PROFESSOR, NOUVELLE VAGUE appears as its philosophical mirror: where Lewis celebrates transformation through performance, Godard reflects on repetition and return.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61005 <p>Jerry Lewis stars as Warren Nefron, a hapless man so overwhelmed by modern life that he repeatedly tries (and fails) to end it. Beneath the film’s chaotic surface lies a sense of despair and alienation, as Lewis turns his trademark clown persona inward, exploring themes of failure and the collapse of control. The film’s disjointed structure, deadpan absurdity, and reflexive humor anticipate Jean-Luc Godard’s KEEP YOUR RIGHT UP (1987), in which Godard similarly recasts the filmmaker as a clown adrift in a universe of unraveling meaning. Both artists turn comedy into philosophy, finding, within absurd repetition and breakdown, a darkly comic portrait of modern existence and a fragile faith in cinema itself.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, March 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60903 <p>“<span id="docs-internal-guid-a5a28094-7fff-5c69-5a46-7b02213bf896"><span>WAVELENGTH</span></span> is without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-Warhol, post-Minimal movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a ‘triumph of contemplative cinema’.” –Gene Youngblood, L.A. FREE PRESS<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, March 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60904 <p>Restored by Anthology Film Archives with funding provided by the Los Angeles County Museum of Art (LACMA) and The Film Foundation. Special thanks to Dan DeVincent, Simon Lund, and Adam Wangerin (Cineric, Inc.).<br /><br />“This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it’s hard to believe the whole movie is confined to it, and has this neckjerking camera gimmick which hits a wooden stop arm at each end of its swing. Basically it’s a perpetual motion film which ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera’s swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam.<br />“In such a hard, drilling work, the wooden clap sounds are a terrific invention, and, as much as any single element, create the sculpture. Seeming to thrust the image outward off the screen, these clap effects are timed like a metronome, sometimes occurring with torrential frequency.” –Manny Farber, ARTFORUM, 1970<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, March 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61008 <p>KEEP YOUR RIGHT UP is a delirious fusion of slapstick, philosophy, and pop performance. Playing “the Idiot” – a filmmaker modeled on Dostoevsky’s Prince Myshkin – and channeling Jerry Lewis, Godard turns everyday gestures into comic studies of the body as a malfunctioning machine. The French band Les Rita Mitsouko strives to find the right harmony. A solitary man seeks connection with others, yet feels he has landed on the wrong planet. A group of travelers, like Ulysses before them, tries to reach its destination. One of Godard’s funniest and most overlooked works, the film becomes a meditation on art, motion, and existence, transforming physical comedy into metaphysical reflection.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, March 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61011 <p>As both director and star, Jerry Lewis fuses inventive slapstick with Freudian farce, turning the trappings of 1960s domestic comedy inside out. Playing a psychiatrist who adopts multiple identities to “cure” his fiancée’s neurotic patients, Lewis exposes the porous boundary between role-playing, desire, and the self. Like Anne-Marie Miéville’s AFTER THE RECONCILIATION (1989), the film stages the impossibility of harmony between the sexes within the very medium of dialogue. Both filmmakers treat language as a structural impasse – where speech yields not resolution but an endless play of misunderstanding.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, March 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60948 <p>More than any other film in this series, Andy Milligan’s 15th century-set, New York City-shot “shlock” masterpiece is REVELATIONS’ closest ancestor. Our humble peewee backlot in deep Ridgewood, Queens (supplemented by out-of-town-jaunts to Bryn Athyn, PA, and the Belt Parkway) pales in comparison to the resourceful wretchedness of Milligan’s medieval spooktacular! Made on a frayed shoestring budget in Gothic revival churches (and, occasionally, the basement of Milligan’s Staten Island home), this bloody, barely-hour-long bricolage of medieval torture tactics, vampire legends, and subaltern queerness ranks, for this filmmaker/critic, alongside LANCELOT DU LAC as the best low-budget medieval period film ever made.<br /><br /><em><strong>The screening on Wed, Mar 25 will be introduced by Caroline Golum and REVELATIONS’ editor Zach Clark!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, March 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60952 <p>John Boorman’s Arthurian adaptation cast its spell on me way back in 2013, when it screened as part of Anthology’s seminal series, “The Middle Ages on Film”, co-curated by scholar Martha Driver. How could I have anticipated that, by decade’s end, I’d be hard at work on a medieval film of my very own? This series was my entry point into the tropes and triumphs of the genre, a foundational piece of curation that guided my viewing habits and research during the eight-year process of bringing REVELATIONS to life. Although my film bears little superficial resemblance to the Knights of the Round table, it shares with EXCALIBUR a central struggle between duty and dread.<br /><br /><em><strong>The screening on Sun, Mar 29 will be introduced by Caroline Golum and REVELATIONS’ composer Zach Koeber!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, March 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61014 <p>In AFTER THE RECONCILIATION, Anne-Marie Miéville – Jean-Luc Godard’s longtime partner and collaborator – transforms the everyday exchanges between men and women into a lucid meditation on love, language, and the difficulty of understanding. Staged almost entirely in conversation, and featuring Miéville and Godard among the cast, the film follows four characters whose attempts to speak through their disappointments reveal the limits of desire and language. Infused with literary and philosophical allusions to Conrad, Heidegger, and Tolstoy, Miéville’s film is at once philosophical and tender, exposing how intimacy and communication, like cinema itself, are forever on the verge of collapse.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, March 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60956 <p>Harnessing the awesome power of splendid decor and costumes, hearty “boys will be boys” camaraderie, and swashbuckling action, director Michael Curtiz surreptitiously steers this unapologetically anti-capitalist English folktale into some jolly, richly-hued antifascist waters. Like all great “medievalistic” works, ROBIN HOOD understands the utility of the Middle Ages as a bellwether for our own time. This ethos was an essential component for REVELATIONS, where Julian of Norwich’s life and work acted as a divining rod to sniff out the similarities between our respective centuries. And much like early drafts of REVELATIONS, the first script for ROBIN HOOD was written in a clumsy hybrid modern-and-medieval English jargon. I like to think both films split the difference quite elegantly, combining the medieval era’s lyrical prose with equal parts finishing school flourish and plain-old American English!<br /><br /><em><strong>The screening on Thurs, Mar 26 will be introduced by Caroline Golum and REVELATIONS’ costume designer Nell Simon!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60989 <p>“A completely spontaneous film. I have never been so worried as I was two days before shooting began. I had nothing, nothing at all… The whole thing was shot, let’s say, like in the days of Mack Sennett.” A riot of improvisation, PIERROT LE FOU is an adventure film of an absolute sort, rife with risk and danger at every moment of its creation. Anna Karina and Jean-Paul Belmondo, “the last romantic couple,” reject polite society and make off to the seashore in a variety of stolen candy-colored cars. The fugitive couple moves through a succession of episodes that play off each other with unresolved tension. In a letter to Godard, Frank Tashlin once wrote: “The more I understand the cinema, the more I realize it is an art which is dangerous to take too lightly.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60960 <p>It’s no accident that our film is dedicated to the memory of Roger Corman (stay for the end of the credits!), who passed away while we were editing REVELATIONS. No one could stuff ten pounds into a five-pound bag quite like America’s indie godfather, whose suite of Edgar Allen Poe adaptations comprise the crown jewels in a crowded filmography of low-budget masterpieces. Despite initial concerns that THE MASQUE OF THE RED DEATH would receive (unfavorable) comparisons to Ingmar Bergman’s THE SEVENTH SEAL, the two films offer a Goofus-and-Gallant-esque read on the Middle Ages. In Bergman we encounter an austere, verging on nihilistic portrait of everyday medieval life, while Corman – via charismatic star Vincent Price – embraces the innate absurdity of medieval nobility to paint a cautionary tale of willful ignorance and decadence in the face of looming catastrophe.<br /><br /><em><strong>The screening on Thurs, Mar 26 will be introduced by Caroline Golum and REVELATIONS’ star Tessa Strain and assistant director Sydney Buchan!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60986 <p>Cartoonist-turned-motion picture director Frank Tashlin was the single most important influence on Jerry Lewis. A subtle and serious mind gifted in the arts of exaggeration, Tashlin’s subject was “the nonsense of what we call civilization.” He frequently turned his camera on the moviemaking apparatus itself – the stuff illusions are made of. In HOLLYWOOD OR BUST, Lewis and Dean Martin, in their last film together, take a road trip from New York to Hollywood in a red convertible. Along the way there is singing, gambling, bullfighting, Anita Ekberg, and scenes at the very limits of absurdity. To close his 1957 review of the film in Cahiers du Cinéma, Godard declared: “And henceforth, when you talk about a comedy, don’t say ‘It’s Chaplinesque’; say, loud and clear, ‘It’s Tashlinesque.’”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 26