Anthology Film Archives - Calendar Events 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 Sun, 24 Sep 2017 08:24:49 -0400 THE SALT MINES + THE TRANSFORMATION <p>GUEST CURATED BY ADAM BARAN<br /><br />Carlos Aparicio &amp; Susana Aikin<br />THE SALT MINES<br />(1990, 47 min, video)<br />THE SALT MINES explores the lives of Sara, Gigi, and Giovanna, three Latina trans women living on the streets of Manhattan while supporting their drug addictions through sex work. They make their temporary home inside broken garbage trucks that the sanitation department keeps next to the salt deposits used in the winter to melt the snow. The three friends share the place known as the Salt Mines with a varied community of homeless people. This groundbreaking documentary, one of the first to delve into the lives of trans women and sex workers, follows their daily experiences, and gives them a platform to talk about their sexual identity, their past, and their dreams.<br /><br />Carlos Aparicio &amp; Susan Aikin<br />THE TRANSFORMATION<br />(1995, 58 min, video)<br />In this follow-up to THE SALT MINES, Sara, having discovered that she&rsquo;s HIV+, accepts help from a group of &lsquo;Born Again&rsquo; Christians from Dallas, who, in exchange for taking her in, demand that she change her name from Sara to Ricardo and completely transform her identity: transitioning back from female to male, her gender assigned at birth, and from queer to straight. Meanwhile the church organizes a trip to New York to &ldquo;rescue&rdquo; other trans sex workers and invites Ricardo to go along with them to evangelize. Reunited with old friends Gigi and Giovanna, Ricardo is forced to consider whether this current &ldquo;transformation&rdquo; is true, or simply a desperate exercise in survival. Like THE SALT MINES, this film offers an unparalleled look into gender, sexuality, health, and class as they intersected in the early 1990s.</p> Sunday, September 24 JOAN JONAS: PROGRAM 1 <p>JOAN JONAS IN PERSON ON WED, SEPT 20!<br /><br />A pioneer of video and performance art, Joan Jonas is internationally recognized as one of the most accomplished figures in contemporary art. Her diverse art practice encompasses video, film, multi-media, performance, dance, installation, sound, text, and drawing.<br /><br />Jonas&rsquo;s work focuses, as she describes it, on &ldquo;issues of space &ndash; ways of dislocating it, attenuating it, flattening it, turning it inside out, always attempting to explore it without ever giving to myself or to others the permission to penetrate it.&rdquo; Initially trained as a sculptor, by the late 1960s she had fully immersed herself in performance art. During this period Jonas completed her first film work, WIND (1968), in which a group of performers in mirrored costumes battle strong gusts of wind on a snow-covered beach.<br /><br />By 1970, Jonas had begun staging her performances outdoors, incorporating distance and sound into her works to draw attention to how perception is altered by space, and eventually translating the ideas of these performances into her second and most celebrated film work, SONGDELAY (1973).<br /><br />Since the mid-1970s, Jonas has continued to create formally innovative and wholly unique video works, some of them in collaboration with figures such as Spalding Gray, Jill Kroesen, Tilda Swinton, Ron Vawter, and others. These two programs showcase Anthology&rsquo;s brand-new preservations of WIND and SONGDELAY, which have long been unavailable in their original 16mm format. They will be presented alongside Jonas&rsquo;s other 16mm films (two of them made in collaboration with Richard Serra), as well as an additional program selected from among Jonas&rsquo;s later video works. Both programs will be presented by Joan Jonas!<br /><br />These programs are co-presented by Electronic Arts Intermix (EAI).<br /><br />Special thanks to Joan Jonas; Jin Jung; Richard Serra; and Rebecca Cleman, Jon Dieringer &amp; Karl McCool (Electronic Arts Intermix).<br /><br />PROGRAM 1:<br /><br />WIND and SONGDELAY have been preserved by Anthology Film Archives through the National Film Preservation Foundation&rsquo;s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation.<br /><br />WIND (1968, 5.5 min, 16mm, b&amp;w, silent)<br />Cutting between snowy fields and a raw seashore, Jonas focuses on a group of performers moving through a windswept landscape. Shot at silent speed but projected &ldquo;fast&rdquo; at 24 fps, the film evokes early cinema, while the stark landscape, the use of long takes, and the invisible subject matter &ndash; the wind &ndash; situates it squarely within Minimalist Art of the late 1960s.<br /><br />PAUL REVERE (1971, 9 min, 16mm, b&amp;w. Made with Richard Serra.)<br />A didactic work inspired by the structure of the educational film, PAUL REVERE deals with the nature and limits of communications systems.<br /><br />VEIL (1971, 6 min, 16mm, b&amp;w, silent. Made with Richard Serra.)<br />Inspired by Kenneth Anger&rsquo;s PUCE MOMENT, VEIL is a performance work in which Jonas refers to the cinematic device of the &ldquo;wipe.&rdquo; Jonas suggests this effect not with technology, but through her performance. In a six-minute loop, Jonas slowly unveils layer upon layer of richly patterned fabrics &ndash; silk, velvet, fur. Ultimately, she reveals her face underneath.<br /><br />SONGDELAY (1973, 18.5 min, 16mm, b&amp;w)<br />Performing with a &lsquo;cast&rsquo; that includes artist Gordon Matta-Clark and dancer/choreographer Steve Paxton, Jonas utilizes a language of gestures, sounds, and edits in a highly original film work that evokes a fragmented view of a NYC urban landscape that is never fully revealed.<br /><br />MIRAGE (1976, 31 min, 16mm, b&amp;w, silent)<br />&ldquo;For MIRAGE I made a film of drawing, again and again, images on a blackboard, and then erasing them. Reading the essays collected in Spiritual Disciplines, I got another idea to use drawings, also in MIRAGE, which I called &lsquo;Endless Drawings&rsquo; after those described in the Melukean Book of the Dead, the tribal ritual book of New Guinea. There it says that in order to go from one world to the next you must finish a drawing in sand which an old lady, the devouring witch, begins at the boundary between life and death.&rdquo; &ndash;Joan Jonas<br /><br />Total running time: ca. 75 min.<br /><br />[<em><strong>PLEASE NOTE: SINCE GOING TO PRESS WITH OUR PRINTED CALENDAR, WE'VE ADDED A SECOND SCREENING OF THIS PROGRAM, ON SUNDAY, SEPTEMBER 24 AT 4:00PM.</strong></em>]</p> Sunday, September 24 EC: ERNIE GEHR <p>&ldquo;Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr&rsquo;s most famous film, SERENE VELOCITY (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera&rsquo;s zoom lens every four frames for twenty-three minutes, can be read as Gehr&rsquo;s manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself.&rdquo; &ndash;Scott MacDonald, A CRITICAL CINEMA 5<br /><br />MORNING (1968, 5 min, 16mm, silent)<br />WAIT (1968, 7 min, 16mm, silent)<br />REVERBERATION (1969, 23 min, 16mm, b&amp;w)<br />TRANSPARENCY (1969, 11 min, 16mm, silent)<br />FIELD (1970, 19 min, 16mm, b&amp;w, silent)<br />SERENE VELOCITY<br />(1970, 23 min, 16mm, silent)<br /><br />Total running time: ca. 70 min.<br /><br />[<strong><em>MORNING, WAIT, TRANSPARENCY, and FIELD are not part of the Essential Cinema collection, but are included here as a special bonus.</em></strong>]</p> Sunday, September 24 PRODIGAL SONS <p>&ldquo;Filmmaker Kimberly Reed dives headfirst into an unflinching portrait of her family that is absolutely engrossing and marks her coming-out, in more ways than one. Returning home to a small town in Montana for her high school reunion, Reed hopes for reconciliation with her long-estranged adopted brother. But along the way PRODIGAL SONS uncovers stunning revelations, including a blood relationship with Orson Welles and Rita Hayworth, intense sibling rivalries, and unforeseeable twists of plot and gender. Reed&rsquo;s rare access delicately reveals not only the family&rsquo;s most private moments, but also an epic scope as the film travels from Montana to Croatia, from jail cell to football field, from deaths to births. Raw, emotional and provocative, PRODIGAL SONS offers a moving, illuminating examination of one family&rsquo;s struggle to come to terms with its past and present.&rdquo; &ndash;Shaz Bennett, AFI FILM FESTIVAL</p> Sunday, September 24 EC: STILL <p>&ldquo;STILL is for me the first truly Proustian film in which I see mood and atmosphere seem to become slowly crystallized on particular objects &ndash; as if the whole framed scene and its mood slowly coagulates into &ndash; for instance &ndash; the mysterious recesses of the lush foliage of the tree across the street which the breeze lowly stirs&hellip; The moving and remarkable thing is that in this fifty-odd feet of New York city street front that we view for sixty minutes, nature and dreams of the forest and sky and wind and wilderness end up being more forcibly present than in any film about nature and forest and sky, etc.&rdquo; &ndash;Richard Foreman, FILM CULTURE #63-6</p> Sunday, September 24 THE DEATH AND LIFE OF MARSHA P. JOHNSON <p>When Marsha P. Johnson, the beloved, self-described &ldquo;street queen&rdquo; of NY&rsquo;s Christopher Street was found floating in the Hudson River in 1992, protests erupted but the police remained impassive and refused to investigate. 25 years later, director and journalist David France examines Marsha&rsquo;s death &ndash; and her extraordinary life. Marsha arrived in the Village in the 1960s where she teamed up with Sylvia Rivera. Together, the radical duo condemned police brutality, organized street kids, battled the intolerant majority within the gay community, and helped spearhead the Stonewall Riots. In 1970 they formed the world&rsquo;s first trans-rights organization, STAR (Street Transvestites Action Revolutionaries), igniting a powerful and lasting civil rights movement for gender nonconforming people. Today, at a time of unprecedented visibility and escalating violence in the transgender community, a dynamic activist named Victoria Cruz has taken it upon herself to reexamine what happened at the end of Marsha&rsquo;s life.<br /><br /><strong><em>Followed by a conversation with the filmmakers!</em></strong></p> Sunday, September 24 CITY OF LOST SOULS <p>(STADT DER VERLORENEN SEELEN)<br /><br />&ldquo;Described as HEDWIG AND THE ANGRY INCH in reverse, CITY OF LOST SOULS is a trans-spectacular musical starring a cast of gender outlaws including Jayne County, Angie Stardust, and Tara O&rsquo;Hara. Angie has a lot on her plate running a boarding house called Pension Stardust filled with misfit lodgers: an erotic trapeze duo, a magikal group therapist, assorted layabouts, nymphomaniacs, and Lila (Jayne County), a Southern blonde who dreams of Hollywood. These tenants also staff Angie&rsquo;s fast food enterprise, Burger Queen. When Lila becomes impregnated by a Communist who promises to make her a superstar on East German television, havoc ensues.&rdquo; &ndash;TATE MODERN</p> Monday, September 25 MA VIE EN ROSE <p>20<sup>TH</sup> ANNIVERSARY SCREENING!<br /><br />While not every trans or gender nonconforming person discovers their gender identity at an early age, MA VIE EN ROSE presents a delightful view into the secret world of a transgender child, with no shortage of glitter and flower petals. Now twenty years old, this film continues to be recognized as one of the first to attempt to present the struggles of transgender children and their families from the child&rsquo;s perspective, with sensitivity and charm. Warning: the world outside of the fantastical frame is rather heartbreaking.</p> Monday, September 25 NEW YORK WOMEN IN FILM & TELEVISION PRESENTS <p>NYWIFT&rsquo;s Member Screening Series provides members with the opportunity to show their work in a theatrical setting. The screenings are always followed by a Q&amp;A and networking at a nearby bar.<br /><br />NYWIFT programs, screenings, and events are supported, in part, by grants from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.<br /><br />SEPTEMBER:<br /><br />Van Flesher (Director) and Joanna Rudolph (Executive Producer, NYWIFT Member)<br />BURNING ANNIE<br />(2007, 95 min, digital)<br />BURNING ANNIE is the story of Max, a college student in 1998 who believes all of life&rsquo;s answers can be found in ANNIE HALL, including the futility of romance. Just as he begins to suspect the film is ruining his life, he meets a young woman who might be the modern Annie and goes into a romantic tailspin.</p> Tuesday, September 26 AFA MEMBERS ONLY – FREE SCREENING!: STEPHEN FREARS’S ‘MY BEAUTIFUL LAUNDRETTE’ <p>Once every calendar we offer a special, AFA Members Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology&rsquo;s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings &ndash; free and open only to members &ndash; we sweeten the pot even further.<br /><br />Stephen Frears<br />MY BEAUTIFUL LAUNDRETTE<br />(1985, 98 min, 35mm)<br />Following on the heels of our Alan Clarke retrospective (see pages 8-10), we devote this calendar&rsquo;s Members Only screening to another filmmaker who made his name directing for British television: Stephen Frears. Like Clarke, Frears made films for programs such as the BBC&rsquo;s &ldquo;Play of the Week&rdquo; and &ldquo;BBC2 Playhouse,&rdquo; though unlike Clarke he eventually segued into a highly successful career as a director of theatrical features. MY BEAUTIFUL LAUNDRETTE was originally intended for television but ended up in cinemas, where it became a surprise international hit. Frears was far from the only participant who was on the cusp of success &ndash; written by Hanif Kureishi, who would soon become an acclaimed novelist and playwright, LAUNDRETTE stars a young Daniel Day-Lewis in his breakout role. An incisive and profoundly revealing portrait of Margaret Thatcher-era England, it explores homophobia and racism, as well as love and friendship, with a frankness, humor, and grace that remains invigorating.<br /><br /><strong>Reception at 7:00!</strong></p> Tuesday, September 26 NEWFILMMAKERS <p>For full program listings, visit&nbsp;<a href="" target="_blank"></a>.</p> Wednesday, September 27 EC: CROCKWELL / GRANT / JACOBS & FLEISCHNER <p>Douglass Crockwell<br />THE LONG BODIES (1949, 6 min, 16mm)<br />GLEN FALLS SEQUENCE (1964, 8 min, 16mm)<br />&ldquo;The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.&rdquo; &ndash;D.C.<br /><br />Dwinell Grant<br />COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)<br />&ldquo;An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.&rdquo; &ndash;D.G.<br />STOP MOTION TESTS (1942, 3 min, 16mm, silent)<br />A self-portrait.<br />COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />&ldquo;Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.&rdquo; &ndash;William Moritz<br /><br />Ken Jacobs<br />LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)<br />&ldquo;Material was cut in as it came out of the camera, embarrassing moments intact. 100&rsquo; rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.&rdquo; &ndash;K.J.<br /><br />Ken Jacobs &amp; Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16-to-35mm blow-up, b&amp;w/color. With Jack Smith.<br />Preserved by Anthology, with the generous support of The Film Foundation.&ldquo;BLONDE COBRA is an erratic narrative &ndash; no, not really a narrative, it&rsquo;s only stretched out in time for convenience of delivery. It&rsquo;s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing &ndash; on one level &ndash; over the situation with style&hellip; enticing us into an absurd moral posture the better to dismiss us with a regal &lsquo;screw off.&rsquo;&rdquo; &ndash;K.J.<br /><br />Total running time: ca. 85 min.</p> Thursday, September 28 WINTER HOUSE <p>(INVERNADERO)<br /><br />U.S. PREMIERE!<br /><br />Co-presented by McNally Jackson Books (<br /><br />&ldquo;A contemplation of the experimental one-armed Mexican novelist Mario Bellat&iacute;n, a famed prankster who here engages with his daughter and friends (all fictional characters) in an interrogation of biography (itself a central conceit in Bellat&iacute;n&rsquo;s fiction).&rdquo; &ndash;Maria Delgado, SIGHT &amp; SOUND<br /><br />&ldquo;Who is Mario Bellat&iacute;n anyway? A contemporary Mexican novelist, translated all over the world? Captain Hook, and the father of a grown-up daughter? An acupuncture enthusiast? A Muslim who believes in reincarnation? A widow, who isn&rsquo;t gloomy, but still hasn&rsquo;t got over it? A robust plant in a winter garden? Answers &ndash; Yes, yes, yes &ndash; across the board. It is this entangled web of script threads, and more besides, that animates Gonzalo Castro&rsquo;s film. [&hellip;] Bellat&iacute;n gradually becomes no longer a witness of himself, an author held hostage by his exposed genius, but a character who is above all going about his daily life. That is what is key. A funny, unpredictable character, a dandy without a mirror, except when he shaves with his left hand.&rdquo; &ndash;Jean-Pierre Rehm, FIDMARSEILLE&nbsp;</p> Thursday, September 28 EC: UNE SIMPLE HISTOIRE <p>&ldquo;Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child&rsquo;s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.&rdquo;&nbsp; &ndash;TIME</p> Thursday, September 28 EC: JEROME HILL <p>These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art.<br /><br />DEATH IN THE FORENOON (1934/66, 2 min, 35mm)<br />CANARIES (1969, 4 min, 35mm)<br />&amp;<br />FILM PORTRAIT<br />(1971, 81 min, 35mm)<br />A pioneering work in autobiographical cinema, FILM PORTRAIT masterfully combines actual and staged footage and painting over images. Filmmaker, painter, and composer Jerome Hill was born into the famous James J. Hill railroad-building family and lived on the same street as F. Scott Fitzgerald. Here he re-creates wonderfully &ndash; with old family footage &ndash; the period and milieu of the American upper class at the beginning of the 20th century.<br /><br />Total running time: ca. 90 min.</p> Friday, September 29 EC: LARRY JORDAN <p>DUO CONCERTANTES (1962-64, 6 min, 16mm, b&amp;w)<br />HAMFAT ASAR (1965, 13 min, 16mm, b&amp;w)<br />GYMNOPEDIES (1968, 6 min, 16mm)<br />THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&amp;w. Preserved by Anthology Film Archives.)<br />OUR LADY OF THE SPHERE (1968, 9 min, 35mm)<br />&ldquo;With a taste for nostalgic romanticism&hellip;Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.&rdquo; &ndash;Jackie Leger<br /><br />Total running time: ca. 85 min.</p> Friday, September 29 EC: HUGO / JACOBS / LEVITT / MAAS <p>Ian Hugo<br />BELLS OF ATLANTIS<br />(1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.)<br />A film poem, based on Ana&iuml;s Nin&rsquo;s HOUSE OF INCEST, spoken by Nin, who also appears.<br /><br />Ken Jacobs<br />LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)<br />&ldquo;Material was cut in as it came out of the camera, embarrassing moments intact. 100&rsquo; rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.&rdquo; &ndash;Ken Jacobs<br /><br />Helen Levitt, Janice Loeb, and James Agee<br />IN THE STREET (1952, 12 min, 16mm, b&amp;w. Preserved by Anthology Film Archives.)<br />Levitt&rsquo;s short, lyrical documentary portrait of life in Spanish Harlem. Stealthily shot by Levitt, Janice Loeb, and James Agee.<br /><br />Willard Maas<br />GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&amp;w. Preserved by Anthology with support from The National Film Preservation Foundation.)<br />&ldquo;The terrors and splendors of the human body as the undiscovered, mysterious continent.&rdquo; &ndash;Willard Maas<br /><br />Total running time: ca. 55 min.</p> Saturday, September 30 EC: TOM, TOM, THE PIPER’S SON <p>&ldquo;Original 1905 film shot and probably directed by G.W. &lsquo;Billy&rsquo; Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.&rdquo; &ndash;Ken Jacobs</p> Saturday, September 30 FLAHERTY NYC: PROGRAM 1: A LITANY FOR SURVIVAL <p><strong><em>Michelle Parkerson &amp; Ada Gay Griffin in person.<br /><br />This program is co-sponsored by Third World Newsreel.<br /><br /></em></strong>This stunning portrait of Audre Lorde constellates the radical poetry, politics, and pedagogies that pivot around this singular figure. Michelle Parkerson and Ada Gay Griffin worked with Lorde for nearly a decade leading up to her death. She spent the twilight of her life in the Caribbean, an important place for the poet evoked in the sounds and shots of water interwoven with Lorde&rsquo;s lyrical language and urgent voice as well as interviews with poets, activists, friends, and family members.<br /><br />Michelle Parkerson &amp; Ada Gay Griffin<br />A LITANY FOR SURVIVAL: THE LIFE AND WORK OF AUDRE LORDE<br />(1996, 90 min, digital)</p> Monday, October 02 P. ADAMS SITNEY ON BRAKHAGE AND ‘METAPHORS ON VISION’ <p>In preparing for the republication of METAPHORS ON VISION, P. Adams Sitney uncovered (and included in his notes) the background correspondence with poets and filmmakers that played crucial roles in the evolution of Brakhage&rsquo;s influential theory of film vision during the five-year period (1958-63) when he was writing and constructing METAPHORS ON VISION. Some of it is quite startling, such as Brakhage&rsquo;s furious attack on Maya Deren, or Parker Tyler&rsquo;s request to write a verse soundtrack to accompany ANTICIPATION OF THE NIGHT.<br /><br />Tonight, Sitney will speak on the significance of the book and the ways in which it marked a turning point in the career of the young filmmaker. The evening will encompass screenings of many of the films mentioned in the book and some of Brakhage&rsquo;s most telling influences at the time.<br /><br />Stan Brakhage ANTICIPATION OF THE NIGHT (1958, 40 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />Marie Menken NOTEBOOK (1962-63, 10 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />Stan Brakhage BLUE MOSES (1963, 11 min, 16mm, b&amp;w)<br />Stan Brakhage MOTHLIGHT (1963, 4 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />Ian Hugo MELODIC INVERSION (1958, 8 min, 16mm. Preserved by the Library of Congress with funding provided by the National Film Preservation Foundation.)<br />Stan Brakhage THE DEAD (1960, 11 min, 16mm, silent)</p> Tuesday, October 03 NEWFILMMAKERS <p>For full program listings, visit&nbsp;<a href="" target="_blank"></a>.</p> Wednesday, October 04 EC: THE FALL OF THE HOUSE OF USHER <p>(LA CHUTE DE LA MAISON USHER)<br /><br />Epstein deploys slow-motion, intricate lighting, and stylized sets to create an atmosphere of doom in this famous avant-garde expressionist Poe adaptation (combining both the eponymous tale and another Poe story, &ldquo;The Oval Portrait&rdquo;). Starring Marguerite Gance, wife of French director Abel Gance, it was also made with the participation of a young Luis Bu&ntilde;uel, who served as Epstein&rsquo;s second assistant.<br /><br />&ldquo;Since the French Impressionist school has always considered the cinema to be like a visual symphony, we might call this film by Epstein the cinematic equivalent of Debussy&rsquo;s works.&rdquo; &ndash;Henri Langlois</p> Wednesday, October 04 OULAYA’S WEDDING <p>SPECIAL EVENT!<br /><br />OULAYA&rsquo;S WEDDING is an impressionistic account of love, family, gender roles, and ecstatic music in the Sahara. It&rsquo;s an intimate portrait of a family of wedding musicians (as well as their court of extended friends and peripheral misfits), who are giving away their eldest daughter&rsquo;s hand in marriage. The film portrays the emotional and logistical maelstrom of a Sahraoui wedding, and features candid and sincere accounts by the residents, hosts, guests, and artists that make these weddings a foundation of Saharan culture in the city of Dakhla. Group Doueh, the most beloved family band in the Western Sahara, are the main subject of the documentary. Sublime Frequencies co-founder Hisham Mayet and his team were Doueh&rsquo;s personal guests and were given unprecedented access to film and record the pageantry and stunning music of his daughter&rsquo;s traditional Sahraoui wedding. The result is a film of warmth, humor, and belonging through music in this remote and overlooked region, in the midst of a rapidly changing Sahraoui culture.<br /><br />This special screening is presented in honor of Group Doueh&rsquo;s first visit to the U.S. since 2011. They will be appearing in concert on September 29 at (Le) Poisson Rouge ( and on October 7 at Monty Hall (WFMU) in Jersey City (</p> Thursday, October 05 EC: JENNINGS / KIRSANOFF <p>Humphrey Jennings<br />LISTEN TO BRITAIN (1941, 19 min, 35mm, b&amp;w)<br />Jennings&rsquo;s film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds.<br /><br />Dimitri Kirsanoff<br />M&Eacute;NILMONTANT (1924-25, 38 min, 35mm, b&amp;w, silent)<br />&ldquo;[T]o a remarkable degree, M&Eacute;NILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance&rsquo;s LA ROUE (1923) and Leon Moussinac&rsquo;s LE BRASIER ARDENT (1923)&hellip;and with Jean Epstein&rsquo;s COEUR FIDELE (1923)&hellip;any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff&rsquo;s achievement.&rdquo; &ndash;P. Adams Sitney, THE CINEMA OF POETRY<br /><br />Total running time: ca. 60 min.</p> Friday, October 06 EC: THE GENERAL <p>With Buster Keaton, Marion Mack, Glen Cavendar, Jim Farley, and Joseph Keaton.<br /><br />One of Keaton&rsquo;s best silent features, setting comedy against a true Civil War story of a stolen train and Union spies.</p> Saturday, October 07 EC: RAPT <p>&ldquo;RAPT is, paradoxically, both a film which looks back anachronistically toward the silent era and a work which belongs to the vanguard of sound cinema. Part of that paradox can be resolved by an understanding of the film&rsquo;s complex utilization of music. RAPT employs very little dialogue, and in this respect it is reminiscent of the part-talkie genre&hellip;. It is linked to such abstract and hybrid avant-garde works as VAMPYR and L&rsquo;&Acirc;GE D&rsquo;OR. The radical nature of RAPT, however, resides in its vision of a cinematic musical score. In making the film, Kirsanoff worked closely with the composers Honegger and Hoerce.&rdquo; &ndash;Lucy Fisher</p> Saturday, October 07