Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Sat, 25 Apr 2015 21:26:35 -0400 EC: CHARLES CHAPLIN, PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44058 <p>All the Chaplin shorts in this and the following programs are silent.<br />A WOMAN (1915, 20 min, 16mm, b&amp;w)<br />EASY STREET (1917, 19 min, 16mm, b&amp;w)<br />A DOG&rsquo;S LIFE (1918, 33 min, 35mm, b&amp;w)<br />Total running time: ca. 75 min.</p> Saturday, April 25 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44081 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Saturday, April 25 EC: CHARLES CHAPLIN, PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44059 <p>SHOULDER ARMS (1918, 37 min, 35mm, b&amp;w)<br />SUNNYSIDE (1919, 30 min, 35mm, b&amp;w)<br />A DAY&rsquo;S PLEASURE (1919, 19 min, 35mm, b&amp;w)<br />Total running time: ca. 90 min.</p> <p><br /><br /></p> Saturday, April 25 EC: CHARLES CHAPLIN, PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44060 <p>THE IDLE CLASS (1921, 32 min, 35mm, b&amp;w)<br />THE PILGRIM (1923, 41 min, 35mm, b&amp;w)<br />Total running time: ca. 75 min.</p> <p><br /><br /></p> Saturday, April 25 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44082 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Saturday, April 25 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44083 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Sunday, April 26 EC: THE GOLD RUSH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44061 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin&rsquo;s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin&rsquo;s own music and poetic narration, added for his 1942 reissue.</p> Sunday, April 26 EC: CITY LIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44062 <p>CITY LIGHTS begins with an uproarious skewering of pomp and formality, ends with one of the most famous last shots in movie history and, from start to finish qualifies as one of Chaplin&rsquo;s funniest and most deeply moving films.</p> Sunday, April 26 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44084 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Sunday, April 26 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44085 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Monday, April 27 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44086 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Monday, April 27 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44087 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Tuesday, April 28 NYWIFT: DREADLOCKS STORY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44151 <p>DREADLOCKS STORY examines the bonds of survival of African and Indian culture in Jamaica in the context of anti-slavery and anti-imperialist struggles. Indian and African descendants have met in the plantations and created something absolutely unique and indispensable as a form of self-expression in the face of British colonialism.</p> Tuesday, April 28 HARD TO BE A GOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44088 <p>(TRUDNO BYT BOGOM)<br />ENCORE SCREENINGS! BACK BY POPULAR DEMAND!<br /><br />Adapted from the novel by Boris and Arkady Strugatsky. Distributed by Kino Lorber; special thanks to Gary Palmucci &amp; Rodrigo Brand&atilde;o.<br /><br />Anthology&rsquo;s premiere theatrical run of Aleksei Guerman&rsquo;s ultimate film, HARD TO BE A GOD, was a smashing success this past January, so we&rsquo;re heeding the call and bringing it back for these special encore screenings. If you missed it the first time around, don&rsquo;t let it get away again!<br /><br />When Guerman died last year at the age of 74, he left behind a body of work that ranks among the most extraordinary of the last half-century, thanks to a succession of masterpieces including TRIAL ON THE ROAD (1971), MY FRIEND IVAN LAPSHIN (1985), and the has-to-be-seen-to-be-believed KHRUSTALYOV, MY CAR! (1998). A phantasmagoric adaptation of the revered sci-fi novel by the Strugatsky brothers (authors of the source novel for Tarkosvky&rsquo;s STALKER), HARD TO BE A GOD began percolating in Guerman&rsquo;s consciousness in the mid-1960s, and would actively consume him for the last 15 years of his life.<br /><br />HARD TO BE A GOD takes place on the Earth-like planet Arkanar, which is in the midst of its own Middle Ages, a period of violence, filth, and crudeness into which Guerman thrusts viewers without a net. Taking the frame-work of the Strugatskys&rsquo; novel &ndash; in which Don Rumata, an earth scientist sent to Arkanar purely as an observer, struggles to remain detached in the face of a brutal, oppressive society &ndash; Guerman largely jettisons such niceties as plot or psychology, preferring to immerse us in an astonishingly realized, cacophonous, and overwhelmingly sensual world. A tour-de-force of set design, mise-en-scene, choreography, and sheer sustained delirium, HARD TO BE A GOD is not for the faint of heart, yet not to be missed!<br /><br />&ldquo;A work of humanity, monumental beauty and even hope.&rdquo; &ndash;Kristin M. Jones, WALL STREET JOURNAL<br /><br />&ldquo;As hypnotic and as beautifully choreographed as anything in Tarkovsky or Bela Tarr.&rdquo; &ndash;Gabriel Winslow-Yost, NEW YORK REVIEW OF BOOKS Blog<br /><br />&ldquo;[M]akes Werner Herzog&rsquo;s AGUIRRE, WRATH OF GOD look like DOWNTON ABBEY.&rdquo; &ndash;Nic Rapold, NEW YORK TIMES<br /><br /><strong>A limited number of advance tickets are available at:&nbsp;<a href="http://hardtobeagod.bpt.me">hardtobeagod.bpt.me</a></strong><br /><br /><br />This April, Spectacle Theater in Brooklyn is screening Peter Fleischmann&rsquo;s 1989 adaptation of the same source novel by the Strugatsky brothers. Fleischmann&rsquo;s HARD TO BE A GOD will screen at Spectacle on April 1 at 7:30, April 6 at 10PM, and April 26 at 7:30. For more details, visit <a href="http://www.spectacletheater.com/peter-fleischmann-trolling-the-backwaters/#hardtobeagod">Spectacle&rsquo;s website</a>.</p> Tuesday, April 28 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44160 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, April 29 ORIGINS AND ENDS: 35MM FILMS FROM THE FILM-MAKERS’ COOPERATIVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44155 <p>Combining origin stories with elegies and alternative histories, as well as explorations of desire, scraps, emergence, and obsolescence, ORIGINS AND ENDS presents an array of experiments with cinema&rsquo;s standard gauge, the use of which is decidedly rare in avant-garde film. The program traces thematic resonances that link an otherwise diverse set of works from the Film-Makers&rsquo; Cooperative&rsquo;s eclectic 35mm collection, while also reflecting on the different conditions surrounding the production of these works. Within the world of experimental cinema, the aesthetic impact and information-rich character of 35mm film are typically outweighed by its costliness and limited potential for exhibition. In addition to the range of styles, production methods, and artistic intentions represented in this program, the circumstances that led to the production of these works are thus highly varied.<br /><br />While many of these artists&rsquo; engagements with this format were motivated by creative concerns or aided by the receipt of a material award, others turned to 35mm out of technical necessity, and still others encountered it through a sublime accident of history. Despite the different processes through which these works came into existence, however, each of them employ captivating formal strategies that underscore the distinct aesthetic capacities of 35mm film, drawing on methods of optical printing, direct animation, montage, split-screen effects, and a host of other techniques to exploit this format&rsquo;s specific pictorial and material qualities.<br /><br />Featuring films by artists from Austria, Germany, the Netherlands, Canada, and the United States, the screening will be followed by a Q&amp;A with Ken Jacobs, Nicole Koschmann, Joel Schlemowitz, and Mark Street.<br /><br />Curated by Josh Guilford.<br /><br />Siegfried Fruhauf REALTIME (2002, 5 min, 35mm)<br />Jeroen Eisinga AS IT WAS REVEALED UNTO JEROEN EISINGA (1998, 8 min, 35mm)<br />Louise Bourque L&rsquo;ECLAT DU MAL/THE BLEEDING HEART OF IT (2005, 8 min, 35mm)<br />Martha Colburn TRIUMPH OF THE WILD (2008, 10 min, 35mm)<br />Nicole Koschmann FISHING FOR BRAD (1998, 6 min, 35mm, b&amp;w)<br />Ken Jacobs THE GEORGETOWN LOOP (1996, 11 min, 35mm, b&amp;w, silent)<br />Caspar Stracke HOBART (1999, 13 min, 35mm, b&amp;w, silent)<br />Lar Tusb (aka Richard Meltzer) MICK JAGGER&rsquo;S ASSHOLE AND PENIS (1970, 10 min, 35mm, b&amp;w, silent)<br />Mark Street FULTON FISH MARKET (2003, 12 min, 35mm)<br />Joel Schlemowitz 1734 (1997, 2 min, 35mm, silent)<br />Total running time: ca. 90 min</p> Wednesday, April 29 SCREEN LOUD FILM FESTIVAL 2015 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44065 <p>Screen Loud Film Festival will present five documentary and fiction short films that explore the theme of being a foreigner: a selection of films that defies linguistic, cultural, and geographical barriers and speaks to all through the language of cinematography. There will be a Q&amp;A following the screening.<br /><br />Presented with the generous support of Spain Culture New York, the Cultural Department of the Consulate General of Spain in New York City, which promotes culture and art, and strives to strengthen bilateral cultural, artistic, and academic exchanges.</p> Thursday, April 30 NEW YORK POLISH FILM FESTIVAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44178 <p>With five nominations for Polish filmmakers, an Oscar for Best Foreign Film, and a Silver Bear at Berlinale, 2015 is already shaping up to be a very special year for Polish cinema! For the past eleven years, the New York Polish Film Festival&rsquo;s programs have reflected the diverse styles and subjects of Poland&rsquo;s feature, short, animated, and documentary films.<br /><br />In light of the recent death of Krzysztof Krauze, and in order to foster awareness of his legacy as a master Polish director, the festival will present a selection of his films, including PAPUSZA (co-directed by Joanna Kos-Krauze), a poetic picture about the Roma poet that features beautiful black-and-white cinematography.<br /><br />GODS (BOGOWIE), by Łukasz Palkowski, which received the Best Film Award at the Polish Film Festival in Gdynia in 2014, and several acclaimed documentaries, such as PADEREWSKI by Wieslaw Dąbrowski and ACTRESS (AKTORKA) by Kinga Dębska, about the late Elzbieta Czyżewska, will be also showcased.<br /><br />Special thanks to the Festival&rsquo;s Official Sponsor, Żywiec Polish Beer, and its Honorary Patrons: the Consulate General of the Republic of Poland in New York and filmmaker Andrzej Wajda.<strong><em><br /><br />For more information about The New York Polish Film Festival, and a full schedule, please visit: www.nypff.com, and follow on Facebook by searching &ldquo;The New York Polish Film Festival&rdquo;.</em></strong></p> Friday, May 01 EC: JOSEPH CORNELL, PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44227 <p>Unless otherwise noted, all films are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives.<br />ROSE HOBART (1939, 20 min, 16mm, sound)<br />COTILLION (1940s-1969, 8 min, 16mm, b&amp;w)<br />THE MIDNIGHT PARTY (1940s-1968, 3.5 min, 16mm, b&amp;w)<br />THE CHILDREN&rsquo;S PARTY (1940s-1968, 8 min, 16mm)<br />CENTURIES OF JUNE (1955, 10 min, 16mm)<br />AVIARY (1955, 11 min, 16mm, b&amp;w)<br />GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.)<br />NYMPHLIGHT (1957, 8 min, 16mm)<br />A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm, b&amp;w)<br />ANGEL (1957, 3 min, 16mm)<br />The poet of magic realities. Pioneer of recycled (found) images. ROSE HOBART and the Trilogy (COTILLION, MIDNIGHT PARTY &amp; CHILDREN&rsquo;S PARTY) are some of the earliest collage films created. The others were directed by Cornell (and photographed by Stan Brakhage and Rudy Burckhardt, among others) at some of his favorite locations.<br />Total running time: ca. 105 min.</p> Saturday, May 02 EC: JOSEPH CORNELL, PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44228 <p>All films are silent and preserved by Anthology Film Archives.<br />BOYS&rsquo; GAMES (1957, 5 min, 16mm)<br />BOOKSTALLS (ca. late-1930s, 11 min, 16mm)<br />BY NIGHT WITH TORCH AND SPEAR (ca. 1940s, 9 min, 16mm)<br />NEW YORK&ndash;ROME&ndash;BARCELONA&ndash;BRUSSELS (ca. 1940s, 10 min, 16mm)<br />VAUDEVILLE DE-LUXE (ca. 1940s, 12 min, 16mm)<br />MULBERRY STREET (ca. 1957, 9 min, 16mm, b&amp;w. Made with Rudy Burckhardt)<br />JOANNE, UNION SQUARE (1955, 8 min, 16mm. Made with Rudy Burckhardt)<br />CLOCHES &Agrave; TRAVERS LES FEUILLES (ca. 1957, 4 min, 16mm)<br />CHILDREN (ca. 1957, 8 min, 16mm)<br />Rare Cornell; more magic cinema from the master collagist. Variations of films made by Cornell, plus collage films discovered by archivists after his death.<br />Total running time: ca. 85 min.</p> Saturday, May 02 NEW YORK POLISH FILM FESTIVAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44179 <p>With five nominations for Polish filmmakers, an Oscar for Best Foreign Film, and a Silver Bear at Berlinale, 2015 is already shaping up to be a very special year for Polish cinema! For the past eleven years, the New York Polish Film Festival&rsquo;s programs have reflected the diverse styles and subjects of Poland&rsquo;s feature, short, animated, and documentary films.<br /><br />In light of the recent death of Krzysztof Krauze, and in order to foster awareness of his legacy as a master Polish director, the festival will present a selection of his films, including PAPUSZA (co-directed by Joanna Kos-Krauze), a poetic picture about the Roma poet that features beautiful black-and-white cinematography.<br /><br />GODS (BOGOWIE), by Łukasz Palkowski, which received the Best Film Award at the Polish Film Festival in Gdynia in 2014, and several acclaimed documentaries, such as PADEREWSKI by Wieslaw Dąbrowski and ACTRESS (AKTORKA) by Kinga Dębska, about the late Elzbieta Czyżewska, will be also showcased.<br /><br />Special thanks to the Festival&rsquo;s Official Sponsor, Żywiec Polish Beer, and its Honorary Patrons: the Consulate General of the Republic of Poland in New York and filmmaker Andrzej Wajda.<strong><em><br /><br />For more information about The New York Polish Film Festival, and a full schedule, please visit: www.nypff.com, and follow on Facebook by searching &ldquo;The New York Polish Film Festival&rdquo;.</em></strong></p> Saturday, May 02 EC: CONNER / CONRAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44229 <p>Bruce Conner<br />A MOVIE (1958, 12 min, 16mm)<br />COSMIC RAY (1961, 4 min, 16mm)<br />REPORT (1965, 13 min, 16mm)<br />Three films by the master and poet of the collage film. COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation&rsquo;s Avant-Garde Masters Grant program funded by The Film Foundation.<br /><br />Tony Conrad<br />THE FLICKER<br />1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.<br />Mathematical and rhythmical orchestration of white and black frames.<br />Total running time: ca. 65 min.</p> Sunday, May 03 NEW YORK POLISH FILM FESTIVAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44180 <p>With five nominations for Polish filmmakers, an Oscar for Best Foreign Film, and a Silver Bear at Berlinale, 2015 is already shaping up to be a very special year for Polish cinema! For the past eleven years, the New York Polish Film Festival&rsquo;s programs have reflected the diverse styles and subjects of Poland&rsquo;s feature, short, animated, and documentary films.<br /><br />In light of the recent death of Krzysztof Krauze, and in order to foster awareness of his legacy as a master Polish director, the festival will present a selection of his films, including PAPUSZA (co-directed by Joanna Kos-Krauze), a poetic picture about the Roma poet that features beautiful black-and-white cinematography.<br /><br />GODS (BOGOWIE), by Łukasz Palkowski, which received the Best Film Award at the Polish Film Festival in Gdynia in 2014, and several acclaimed documentaries, such as PADEREWSKI by Wieslaw Dąbrowski and ACTRESS (AKTORKA) by Kinga Dębska, about the late Elzbieta Czyżewska, will be also showcased.<br /><br />Special thanks to the Festival&rsquo;s Official Sponsor, Żywiec Polish Beer, and its Honorary Patrons: the Consulate General of the Republic of Poland in New York and filmmaker Andrzej Wajda.<strong><em><br /><br />For more information about The New York Polish Film Festival, and a full schedule, please visit: www.nypff.com, and follow on Facebook by searching &ldquo;The New York Polish Film Festival&rdquo;.</em></strong></p> Sunday, May 03 TRANSATLANTIC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44336 <p>(TRANSATLANTIQUE)<br /><br />Presented with the generous support of the Qu&eacute;bec Government Office in New York; special thanks to Jean-Pierre Dion.<br /><br />Since 2003 Montreal-based filmmaker F&eacute;lix Dufour-Laperri&egrave;re has made numerous short experimental films and animations, which balance narrative and formal exploration and remain closely linked with the visual art world. For his first feature-length work, the impressionistic, experimental documentary TRANSATLANTIC, he filmed the crew of a cargo ship during its crossing of the Atlantic. Combining beautifully composed, highly compelling sequences of the crew members at work, at play, and in solitude, with openly lyrical, often dreamlike passages that express the more poetic dimensions of the sailors&rsquo; experiences, he has created a ravishing and hypnotic film. Through the eyes of the sailors we see both their deep love of life at sea and their exhaustion in the face of the intensity of this unforgiving environment. Machinery rumbles, waves pound the bow, the hull cracks and squeaks under the pressure of a storm. The immense vastness of the ocean surrounds them in every direction. The ship is both a metaphor and a microcosm: an island of men in the midst of the great unknown.</p> Sunday, May 03 JOURNEY TO THE WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44217 <p>(XI YOU)<br /><br />NEW YORK THEATRICAL PREMIERE!<br /><br />With Lee Kang-sheng and Denis Lavant.<br /><br />Following his 2013 feature film STRAY DOGS, Taiwanese auteur Tsai Ming-liang (VIVA L&rsquo;AMOUR, THE RIVER, THE HOLE) threatened to retire from filmmaking. Happily, that sad state of affairs has been postponed, with the appearance of JOURNEY TO THE WEST, the latest and longest in Tsai&rsquo;s series of films focusing on the figure of the Walker. Previously seen in six short films, the Walker is a carmine-robed monk, played by Tsai&rsquo;s perpetual lead actor and muse, Lee Kang-sheng, and loosely based on the life of Xuanzang, a seventh-century Buddhist monk who painstakingly traversed Asia for seventeen years in search of &ldquo;the void.&rdquo; Moving through various landscapes, both urban and natural, with eyes downcast and palms upwards, the Walker proceeds at an excruciatingly slow, nearly imperceptible pace, his brilliant red vestments and near-stillness transfiguring the environments through which he travels. Taking slow-cinema to its logical extreme, and embodying with utter conviction Buddhist notions of time and existence, the Walker films are profoundly serene and contemplative, and highly revealing in their depiction of the reactions of innocent passersby to Lee&rsquo;s radically detached presence.<br /><br />In the nearly feature-length JOURNEY TO THE WEST, the Walker materializes in the French port city of Marseille, where he unsuspectingly acquires an acolyte in the form of Denis Lavant (famous for his collaborations with Leos Carax and Claire Denis). Consisting of fourteen shots, and free of dialogue, the film is beautifully constructed and gorgeously composed. Perhaps closer to performance art or installation than to narrative cinema, JOURNEY TO THE WEST is in any case an immersive and transporting experience, and one that demands to be seen on the big screen.<br /><br />&ldquo;[The Walker&rsquo;s] barely moving presence turns the frame itself into narrative, with all passing figures in the tableau defined by their reactions to him. Like some ambulatory anachronism, his stillness conjures up an alternate space-time continuum, another dimension slowly unfolding from within the core of urban hubbub. [An] exquisite 56-minute gem.&rdquo; &ndash;Ronnie Scheib, VARIETY</p> Tuesday, May 05 JOURNEY TO THE WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44218 <p>(XI YOU)<br /><br />NEW YORK THEATRICAL PREMIERE!<br /><br />With Lee Kang-sheng and Denis Lavant.<br /><br />Following his 2013 feature film STRAY DOGS, Taiwanese auteur Tsai Ming-liang (VIVA L&rsquo;AMOUR, THE RIVER, THE HOLE) threatened to retire from filmmaking. Happily, that sad state of affairs has been postponed, with the appearance of JOURNEY TO THE WEST, the latest and longest in Tsai&rsquo;s series of films focusing on the figure of the Walker. Previously seen in six short films, the Walker is a carmine-robed monk, played by Tsai&rsquo;s perpetual lead actor and muse, Lee Kang-sheng, and loosely based on the life of Xuanzang, a seventh-century Buddhist monk who painstakingly traversed Asia for seventeen years in search of &ldquo;the void.&rdquo; Moving through various landscapes, both urban and natural, with eyes downcast and palms upwards, the Walker proceeds at an excruciatingly slow, nearly imperceptible pace, his brilliant red vestments and near-stillness transfiguring the environments through which he travels. Taking slow-cinema to its logical extreme, and embodying with utter conviction Buddhist notions of time and existence, the Walker films are profoundly serene and contemplative, and highly revealing in their depiction of the reactions of innocent passersby to Lee&rsquo;s radically detached presence.<br /><br />In the nearly feature-length JOURNEY TO THE WEST, the Walker materializes in the French port city of Marseille, where he unsuspectingly acquires an acolyte in the form of Denis Lavant (famous for his collaborations with Leos Carax and Claire Denis). Consisting of fourteen shots, and free of dialogue, the film is beautifully constructed and gorgeously composed. Perhaps closer to performance art or installation than to narrative cinema, JOURNEY TO THE WEST is in any case an immersive and transporting experience, and one that demands to be seen on the big screen.<br /><br />&ldquo;[The Walker&rsquo;s] barely moving presence turns the frame itself into narrative, with all passing figures in the tableau defined by their reactions to him. Like some ambulatory anachronism, his stillness conjures up an alternate space-time continuum, another dimension slowly unfolding from within the core of urban hubbub. [An] exquisite 56-minute gem.&rdquo; &ndash;Ronnie Scheib, VARIETY</p> Tuesday, May 05 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44223 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, May 06 JOURNEY TO THE WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44219 <p>(XI YOU)<br /><br />NEW YORK THEATRICAL PREMIERE!<br /><br />With Lee Kang-sheng and Denis Lavant.<br /><br />Following his 2013 feature film STRAY DOGS, Taiwanese auteur Tsai Ming-liang (VIVA L&rsquo;AMOUR, THE RIVER, THE HOLE) threatened to retire from filmmaking. Happily, that sad state of affairs has been postponed, with the appearance of JOURNEY TO THE WEST, the latest and longest in Tsai&rsquo;s series of films focusing on the figure of the Walker. Previously seen in six short films, the Walker is a carmine-robed monk, played by Tsai&rsquo;s perpetual lead actor and muse, Lee Kang-sheng, and loosely based on the life of Xuanzang, a seventh-century Buddhist monk who painstakingly traversed Asia for seventeen years in search of &ldquo;the void.&rdquo; Moving through various landscapes, both urban and natural, with eyes downcast and palms upwards, the Walker proceeds at an excruciatingly slow, nearly imperceptible pace, his brilliant red vestments and near-stillness transfiguring the environments through which he travels. Taking slow-cinema to its logical extreme, and embodying with utter conviction Buddhist notions of time and existence, the Walker films are profoundly serene and contemplative, and highly revealing in their depiction of the reactions of innocent passersby to Lee&rsquo;s radically detached presence.<br /><br />In the nearly feature-length JOURNEY TO THE WEST, the Walker materializes in the French port city of Marseille, where he unsuspectingly acquires an acolyte in the form of Denis Lavant (famous for his collaborations with Leos Carax and Claire Denis). Consisting of fourteen shots, and free of dialogue, the film is beautifully constructed and gorgeously composed. Perhaps closer to performance art or installation than to narrative cinema, JOURNEY TO THE WEST is in any case an immersive and transporting experience, and one that demands to be seen on the big screen.<br /><br />&ldquo;[The Walker&rsquo;s] barely moving presence turns the frame itself into narrative, with all passing figures in the tableau defined by their reactions to him. Like some ambulatory anachronism, his stillness conjures up an alternate space-time continuum, another dimension slowly unfolding from within the core of urban hubbub. [An] exquisite 56-minute gem.&rdquo; &ndash;Ronnie Scheib, VARIETY</p> Wednesday, May 06 JOURNEY TO THE WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44220 <p>(XI YOU)<br /><br />NEW YORK THEATRICAL PREMIERE!<br /><br />With Lee Kang-sheng and Denis Lavant.<br /><br />Following his 2013 feature film STRAY DOGS, Taiwanese auteur Tsai Ming-liang (VIVA L&rsquo;AMOUR, THE RIVER, THE HOLE) threatened to retire from filmmaking. Happily, that sad state of affairs has been postponed, with the appearance of JOURNEY TO THE WEST, the latest and longest in Tsai&rsquo;s series of films focusing on the figure of the Walker. Previously seen in six short films, the Walker is a carmine-robed monk, played by Tsai&rsquo;s perpetual lead actor and muse, Lee Kang-sheng, and loosely based on the life of Xuanzang, a seventh-century Buddhist monk who painstakingly traversed Asia for seventeen years in search of &ldquo;the void.&rdquo; Moving through various landscapes, both urban and natural, with eyes downcast and palms upwards, the Walker proceeds at an excruciatingly slow, nearly imperceptible pace, his brilliant red vestments and near-stillness transfiguring the environments through which he travels. Taking slow-cinema to its logical extreme, and embodying with utter conviction Buddhist notions of time and existence, the Walker films are profoundly serene and contemplative, and highly revealing in their depiction of the reactions of innocent passersby to Lee&rsquo;s radically detached presence.<br /><br />In the nearly feature-length JOURNEY TO THE WEST, the Walker materializes in the French port city of Marseille, where he unsuspectingly acquires an acolyte in the form of Denis Lavant (famous for his collaborations with Leos Carax and Claire Denis). Consisting of fourteen shots, and free of dialogue, the film is beautifully constructed and gorgeously composed. Perhaps closer to performance art or installation than to narrative cinema, JOURNEY TO THE WEST is in any case an immersive and transporting experience, and one that demands to be seen on the big screen.<br /><br />&ldquo;[The Walker&rsquo;s] barely moving presence turns the frame itself into narrative, with all passing figures in the tableau defined by their reactions to him. Like some ambulatory anachronism, his stillness conjures up an alternate space-time continuum, another dimension slowly unfolding from within the core of urban hubbub. [An] exquisite 56-minute gem.&rdquo; &ndash;Ronnie Scheib, VARIETY</p> Wednesday, May 06 JOURNEY TO THE WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44221 <p>(XI YOU)<br /><br />NEW YORK THEATRICAL PREMIERE!<br /><br />With Lee Kang-sheng and Denis Lavant.<br /><br />Following his 2013 feature film STRAY DOGS, Taiwanese auteur Tsai Ming-liang (VIVA L&rsquo;AMOUR, THE RIVER, THE HOLE) threatened to retire from filmmaking. Happily, that sad state of affairs has been postponed, with the appearance of JOURNEY TO THE WEST, the latest and longest in Tsai&rsquo;s series of films focusing on the figure of the Walker. Previously seen in six short films, the Walker is a carmine-robed monk, played by Tsai&rsquo;s perpetual lead actor and muse, Lee Kang-sheng, and loosely based on the life of Xuanzang, a seventh-century Buddhist monk who painstakingly traversed Asia for seventeen years in search of &ldquo;the void.&rdquo; Moving through various landscapes, both urban and natural, with eyes downcast and palms upwards, the Walker proceeds at an excruciatingly slow, nearly imperceptible pace, his brilliant red vestments and near-stillness transfiguring the environments through which he travels. Taking slow-cinema to its logical extreme, and embodying with utter conviction Buddhist notions of time and existence, the Walker films are profoundly serene and contemplative, and highly revealing in their depiction of the reactions of innocent passersby to Lee&rsquo;s radically detached presence.<br /><br />In the nearly feature-length JOURNEY TO THE WEST, the Walker materializes in the French port city of Marseille, where he unsuspectingly acquires an acolyte in the form of Denis Lavant (famous for his collaborations with Leos Carax and Claire Denis). Consisting of fourteen shots, and free of dialogue, the film is beautifully constructed and gorgeously composed. Perhaps closer to performance art or installation than to narrative cinema, JOURNEY TO THE WEST is in any case an immersive and transporting experience, and one that demands to be seen on the big screen.<br /><br />&ldquo;[The Walker&rsquo;s] barely moving presence turns the frame itself into narrative, with all passing figures in the tableau defined by their reactions to him. Like some ambulatory anachronism, his stillness conjures up an alternate space-time continuum, another dimension slowly unfolding from within the core of urban hubbub. [An] exquisite 56-minute gem.&rdquo; &ndash;Ronnie Scheib, VARIETY</p> Thursday, May 07 JOURNEY TO THE WEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44222 <p>(XI YOU)<br /><br />NEW YORK THEATRICAL PREMIERE!<br /><br />With Lee Kang-sheng and Denis Lavant.<br /><br />Following his 2013 feature film STRAY DOGS, Taiwanese auteur Tsai Ming-liang (VIVA L&rsquo;AMOUR, THE RIVER, THE HOLE) threatened to retire from filmmaking. Happily, that sad state of affairs has been postponed, with the appearance of JOURNEY TO THE WEST, the latest and longest in Tsai&rsquo;s series of films focusing on the figure of the Walker. Previously seen in six short films, the Walker is a carmine-robed monk, played by Tsai&rsquo;s perpetual lead actor and muse, Lee Kang-sheng, and loosely based on the life of Xuanzang, a seventh-century Buddhist monk who painstakingly traversed Asia for seventeen years in search of &ldquo;the void.&rdquo; Moving through various landscapes, both urban and natural, with eyes downcast and palms upwards, the Walker proceeds at an excruciatingly slow, nearly imperceptible pace, his brilliant red vestments and near-stillness transfiguring the environments through which he travels. Taking slow-cinema to its logical extreme, and embodying with utter conviction Buddhist notions of time and existence, the Walker films are profoundly serene and contemplative, and highly revealing in their depiction of the reactions of innocent passersby to Lee&rsquo;s radically detached presence.<br /><br />In the nearly feature-length JOURNEY TO THE WEST, the Walker materializes in the French port city of Marseille, where he unsuspectingly acquires an acolyte in the form of Denis Lavant (famous for his collaborations with Leos Carax and Claire Denis). Consisting of fourteen shots, and free of dialogue, the film is beautifully constructed and gorgeously composed. Perhaps closer to performance art or installation than to narrative cinema, JOURNEY TO THE WEST is in any case an immersive and transporting experience, and one that demands to be seen on the big screen.<br /><br />&ldquo;[The Walker&rsquo;s] barely moving presence turns the frame itself into narrative, with all passing figures in the tableau defined by their reactions to him. Like some ambulatory anachronism, his stillness conjures up an alternate space-time continuum, another dimension slowly unfolding from within the core of urban hubbub. [An] exquisite 56-minute gem.&rdquo; &ndash;Ronnie Scheib, VARIETY</p> Thursday, May 07 AKOUNAK TEDALAT TAHA TAZOUGHAI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44285 <p>FILMMAKER IN PERSON FOR ALL SHOWS!<br /><br />Directed by Christopher Kirkley, music archivist, artist, curator, and founder of the record label Sahel Sounds, and starring Nigerien guitarist, singer, and songwriter Mdou Moctar, AKOUNAK TEDALAT TAHA TAZOUGHAI was filmed in Agadez, Niger, and is the first fiction film ever produced in the Tuareg language. As suggested by its title (which translates as RAIN THE COLOR OF BLUE WITH A LITTLE RED IN IT), it also bears a very close resemblance to a 1980s-era rock-drama by another immensely talented guitarist, singer, and songwriter.<br /><br />AKOUNAK depicts a musician trying to make it &lsquo;against all odds,&rsquo; but sets this universal story against the very particular backdrop of the raucous subculture of Tuareg guitar. The Tuaregs (or Kel Tamashek) are an ethnic and language group of traditionally nomadic people in the Saharan desert. Tuareg guitar music, or so-called &ldquo;desert blues,&rdquo; began over thirty years ago as a folk expression of political rebellion. Today the style has become the de facto music of the desert.<br /><br />Using PURPLE RAIN, as well as the Jimmy Cliff vehicle THE HARDER THEY COME, as its narrative models, AKOUNAK is also very much in the tradition of Italian Neo-Realism and, even more so, the films of Jean Rouch (such as MOI, UN NOIR and JAGUAR). Filmed with a local cast and crew, who developed the story in collaboration with Kirkley, and written and produced for a Tuareg audience, AKOUNAK applies Rouch&rsquo;s methods to the contemporary musical culture of Niger. The result is a film that&rsquo;s as culturally and ethnographically revealing as it is enormously entertaining.</p> Friday, May 08 FUORI ORARIO: DISPERSE EXCLAMATORY PHASE (ANARCHIVE) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44237 <p>Alberto Grifi &amp; Gianfranco Baruchello VERIFICATION UNCERTAIN / LA VERIFICA INCERTA (1964, 35 min, 16mm)<br />Realized by the pioneer of underground cinema in Italy (Grifi) in cooperation with the artist Baruchello and with the complicity of Marcel Duchamp. The film is a <em>ready-made</em> consisting of parts of Hollywood movies from the 1950s found in the garbage.<br /><br />Gianni Amico WE INSIST! FREEDOM NOW SUITE (1964, 16 min, video (transferred from the lost 35mm original print), b&amp;w)<br />Music: Abbey Lincoln, Coleman Hawkins, Max Roach. Editing: Roberto Perpignani.<br />The first film by the most undervalued Italian filmmaker, made entirely from still images on the theme of Black Power in the U.S. and the conditions of blacks in Africa.<br /><br />Piero Bargellini TRANSFER OF MODULATION / TRASFERIMENTO DI MODULAZIONE (1969, 9 min, 16mm, b&amp;w/color)<br />A stunning visual experiment based on a wide range of technical procedures in the manual development of a porno black-and-white filmstrip where color &ndash; the aura &ndash; appears as if by miracle.<br /><br />Mario Schifano ABSOLUT SCHIFANO (1985, 5 min, video)<br />A commercial made by the artist Schifano for Absolut Vodka.<br /><br />Yervant Gianikian &amp; Angela Ricci Lucchi ELECTRIC FRAGMENTS N. 1 &ndash; ROMA / FRAMMENTI ELETTRICI N. 1 &ndash; ROM (2001, 13 min, video. Produced by Fuori Orario.)<br /><br />Yervant Gianikian &amp; Angela Ricci Lucchi ELECTRIC FRAGMENTS N. 2 &ndash; VIETNAM / FRAMMENTI ELETTRICI N. 2 &ndash; VIETNAM (2002, 9 min, video. Produced by Fuori Orario.)<br /><br />Within Gianikian and Ricci Lucchi&rsquo;s body of work the series ELECTRIC FRAGMENTS marks the passage from classic historical archives to material filmed by amateurs, often anonymous or unknown. These fragments, termed &ldquo;electric&rdquo; due to the emotional and visual shock their viewing causes, tackle themes ranging from the massacre of the Roma people during WWII to the French conquest of New Caledonia, dwelling on the rituals of submission of the weak by the victors from every age and culture.<br /><br />Total running time: ca. 95 min.</p> Friday, May 08 PURPLE RAIN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2015#showing-44289 <p>With Prince, Apollonia Kotero, Morris Day, and Clarence Williams III.<br /><br />&ldquo;Strutting across a spectrum of feminine coquettishness and masculine dynamism, Prince is as incendiary an icon as has ever existed on film. He has Dietrich&rsquo;s campy glamour and self-allure, genuine musicianship and a singing and performance style to match all the musical legends. [&hellip;] With Prince dancing upon layers of musical history and style and Albert Magnoli consciously evoking the show-within-a-show staging of CABARET and the kinetics of MEAN STREETS and TAXI DRIVER, PURPLE RAIN is like a whirling cultural vortex.&rdquo; &ndash;Armond White, THE RESISTANCE</p> Friday, May 08