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 May 2019 02:05:00 -0400 BITTER INNOCENCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50847 <p>(BITTERE UNSCHULD)<br /><br />Andreas Brandt, researcher for a pharmaceutical giant, knows that his end in the company is near. When he witnesses his boss&rsquo;s rape of a prostitute, Brandt&rsquo;s future suddenly looks brighter&hellip;until his boss goes into counter-attack mode in a truly twisted fashion: first he seduces Brandt&rsquo;s wife, then he makes her believe that it is Brandt who had an affair with the hooker. Caught in the crossfire is Brandt&rsquo;s teenage daughter. Feeling ever more constricted by the cop show universe, Graf experimented wildly for about five years with other genres. Melodrama with a touch of Grand Guignol proved to be the most fruitful vein, and BITTER INNOCENCE was the first and in some ways most gargoylish of the lot!</p> Saturday, May 25 THE CAT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50850 <p>(DIE KATZE)<br /><br />&ldquo;In two hours there will be war down there,&rdquo; says Probeck to his lover-accomplice Jutta Ehser. &ldquo;Down there&rdquo; is the bank for which her unloved hubby works. &ldquo;Down there&rdquo; Probeck&rsquo;s front men Junghein and Britz will see to it that a robbery goes wrong and escalates into a full-blown hostage crisis, serious ransom included. Probeck will stay where he is now, in a hotel, looking down onto the theater of combat like a field marshal; from down there, seasoned cop Voss will answer every single one of his moves&hellip;. THE CAT was Graf&rsquo;s first masterpiece for theatrical release, and, more than three decades later, it arguably remains the finest crime actioner ever made in the German language: tough, icy, obsessed with symmetries and rituals.</p> Saturday, May 25 HE STANDS IN A DESERT COUNTING THE SECONDS OF HIS LIFE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-51013 <p>&ldquo;Both a simply happy and a profoundly ecstatic film. There is an undercurrent of domestic tranquility, of people who are at home with each other. [&hellip;] The film begins with the title &ldquo;He stands in a desert counting the seconds of his life&rdquo;; it ends with the title repeated in the past tense: &ldquo;He stood in the desert&hellip;&rdquo; This is in effect a double past tense, achievable only at the film&rsquo;s end: the filmmaker remembering himself remembering the past. For a film of memories, [it] is amazingly devoid of easy sentimentality, perhaps because Mekas has chosen to remember his past not in the long years recalled by an aching, ill-defined nostalgia but in the intense seconds of ecstasy.&rdquo; &ndash;Fred Camper, SENSES OF CINEMA</p> Saturday, May 25 TWILIGHT ETERNAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50852 <p>(AM ABEND ALLER TAGE)<br /><br />Here&rsquo;s a film only Graf could come up with: the Gurlitt Collection scandal by way of Henry James&rsquo;s THE ASPERN PAPERS (1888)! The researcher here is an art historian and lothario called Philipp Keyser; the hidden object a painting officially considered lost &ndash; a work by a (fictional) Expressionist whose reputation became tainted when he failed to distance himself properly from the Nazis. The Gurlitt character is called Dutt; Keyser tries to get close to the notorious recluse through his grandniece Alma, herself an artist invested in impermanence &ndash; her works are all made to vanish. Against all odds, Keyser falls in love with Alma, and feels ever less compelled to solve his case. One of Graf&rsquo;s densest and most sensual works, TWILIGHT ETERNAL displays a wonderfully essayistic touch in its reflections on art, life, death, and transcendence.</p> Saturday, May 25 CITY FOR RANSOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50855 <p>(EINE STADT WIRD ERPRESST)<br /><br />Georg Kalinke has been with the Leipzig PD since the 1970s. For many of his younger, often Bonn-Republic-born-and-bred brethren he&rsquo;s a relic from a long-vanished era. When lone wolf Kalinke catches the biggest case to come along in ages, folks get nervous: if things go wrong, some will ask questions. Kalinke couldn&rsquo;t care less about the backroom power politics raging, as he has problems of his own: from the way it looks, he knows the perps from back in the Honecker days. Chances are Kalinke will go rogue. This is possibly the best piece of genre filmmaking about the economic as well as psychological toll that &ldquo;unification&rdquo; took on the people from the so-called Five New States of the Federation (the former East German states). A bleak, pissed-off look at a nation still divided.</p> Sunday, May 26 AS I WAS MOVING AHEAD OCCASIONALLY I SAW BRIEF GLIMPSES OF BEAUTY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-51015 <p>&ldquo;It covers my marriage, children are born, you see them growing up. Footage of daily life, fragments of happiness and beauty, trips to France, Italy, Spain, Austria. Seasons of the year as they pass through New York. Friends, home life, nature. Nothing extraordinary, nothing special, things that we all experience as we go through our lives. There are many inter-titles that reflect my thoughts of the period. [&hellip;] The film is also my love poem to New York, its summers, its winters, streets, parks. It&rsquo;s the ultimate Dogme &lsquo;95 movie, before the birth of Dogme.&rdquo; &ndash;Jonas Mekas<br /><br /><em><strong>Introduced by film scholar and Anthology co-founder P. Adams Sitney!</strong></em></p> Sunday, May 26 THE VOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50858 <p>(DAS GEL&Uuml;BDE)<br /><br />In 1818, writer Clemens Brentano went to D&uuml;lmen in Prussia-ruled Westphalia to chronicle the visions of stigmatized nun Anna Katherina Emmerick. Brentano would stay there for six years, until her death, producing volumes of texts in which documentation shades into fiction, observation into tract. Times were heady, a nation called Germany was in the making, the scent of revolution filled the air. But what kind of revolution, and to create what Germany? Prussian enlightenment in its Protestant dourness clashes with a down-to-earth, flesh-and-bones Catholic radicalism over the shape and soul of a nation that shall prove to be never whole, never at ease or peace with itself. Graf&rsquo;s first stab at heritage cinema (with dazzling horror as well as conspiracy thriller dimensions!) became one of his headiest and most complex works to date.</p> Sunday, May 26 COLD SPRING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50861 <p>(KALTER FR&Uuml;HLING)<br /><br />Sylvia Berger, heir apparent to a major family business based in the old capital of Bonn, first makes a mess of her studies and then catches a disease from a rent boy she fucked to win a bet. Disowned by her parents, she falls in love with a milquetoast who soon enough gets hooked on drugs; next thing she knows, she&rsquo;s selling her body for small change. But when some sinister relatives plot a takeover of &ldquo;her&rdquo; company, Sylvia gets creative.... Along with BITTER INNOCENCE (1999), COLD SPRING belongs to a loose trilogy of pulp melodramas Graf did around the turn of the millennium; like his digital video works from the same period, these were attempts at regeneration, here through working in a genre idiom so far unexplored. The result is again quite mind-boggling: an outrageous piece of creative derring-do.</p> Sunday, May 26 HOTTE IN PARADISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50864 <p>(HOTTE IM PARADIES)<br /><br />&ldquo;If you want to, you can have a different piece of pussy every day. That&rsquo;s the true life. The other is false.&rdquo; Yep, that&rsquo;s Hotte for you, the actually very sweet and mild-mannered pimp who&rsquo;s finally striking it medium-big with a bunch of feisty hookers, one cuter than the other, all charismatic and intelligent in a way society generally doesn&rsquo;t know how to deal with. Hotte knows: &ldquo;Easy life is hard work.&rdquo; Who would argue with that? Inspired by Mike Figgis, Graf for a brief but intense period embraced digital video in an attempt to reinvent himself through a looser way of shooting. HOTTE IN PARADISE is the loopiest work of that sub-corpus: half Oph&uuml;ls, half Sarno, and suffused with the texture of its sleazy milieu while shining with a pure melodramatic heart!</p> Monday, May 27 MERCE CUNNINGHAM CENTENNIAL, PGM 6: WALKAROUND TIME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-51083 <p>Charles Atlas<br />WALKAROUND TIME<br />(1973, 51 min, 16mm-to-digital. Exhibition copy courtesy of the New York Public Library for the Performing Arts. Dancers: Carolyn Brown, Merce Cunningham, Ulysses Dove, Douglas Dunn, Meg Harper, Susana Hayman-Chaffey, Chris Komar, Sandra Neels, Chase Robinson, and Valda Setterfield. Music: David Behrman, &ldquo;&hellip;for nearly an hour&hellip;&rdquo;)<br /><br />WALKAROUND TIME marks Charles Atlas&rsquo;s first visual documentation of a Merce Cunningham dance. The set consists of seven large, translucent inflatables screen-printed with images taken from Marcel Duchamp&rsquo;s &ldquo;The Bride Stripped Bare by Her Bachelors, Even&rdquo; (1915-23), commonly referred to as &ldquo;The Large Glass.&rdquo; Jasper Johns, who had been Cunningham&rsquo;s artistic adviser since 1966, proposed the set idea to Cage, Cunningham, and Duchamp during an after-dinner conversation. In Atlas&rsquo;s words, &ldquo;Though the choreography, music and decor were each independently conceived, they shared a common thematic purpose: an homage to the work of Marcel Duchamp.&rdquo;</p> Monday, May 27 THE INVISIBLE GIRL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50867 <p>(DAS UNSICHTBARE M&Auml;DCHEN)<br /><br />When cop Niklas Tanner arrives at the (fictional) Franconian border town of Eisenstein, he enters a community divided. About a decade ago a child was allegedly murdered, but her body was never found. A simple soul confessed; case closed. When lead investigator Josef Altendorf raised doubts about the proceedings he was hastily forced into retirement, while his successor, Wilhelm Michel, sees to it that the case stays closed &ndash; for he knows too well what worms would crawl out if that can got opened again. THE INVISIBLE GIRL is an off-beat mix of police procedural, Heimatfilm, and revenge flick whose most memorable character is a smart young sister in the blue brotherhood, Evelin Fink &ndash; in her sexy quirkiness an especially perfect example for an echt Graf-woman.</p> Monday, May 27 POLIZEIRUF 110: SMOKE ON THE WATER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50870 <p>A young journalist is murdered, a musician confesses. But one person is unconvinced: Corry H&uuml;sken, a friend of the victim who gets on investigating cop Hans van Meuffels&rsquo;s nerves long enough to make him look into things again. And suddenly, they find themselves mixed up with a cabal masterminded by a brutally bent politician. The latter is very obviously a riff on former FRG Minister of Defense Karl-Theodor Freiherr von und zu Guttenberg, one of the more gregarious figures in recent politics &ndash; popular with the people while shady in a quasi-Trumpian fashion. As befits such a figure, Graf pulled no punches here &ndash; the best way to describe POLIZEIRUF 110: SMOKE ON THE WATER is as an experimental giallo sex farce.</p> Tuesday, May 28 NYWIFT: THE RAINBOW EXPERIMENT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50760 <p>With Lauren Sowa &amp; Catherine Ryan (NYWIFT Members).<br /><br />Things spiral out of control in a high school in Manhattan when a terrible accident involving a science experiment injures a kid for life.</p> Tuesday, May 28 MANHUNT: ESCAPE TO THE CARPATHIANS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50873 <p>(ZIELFAHNDER &ndash; FLUCHT IN DIE KARPATEN)<br /><br />Hanna Landauer and Sven Schr&ouml;der are so-called Zielfahnder: cops who travel abroad in order to arrest (in collaboration with the local authorities) perps wanted back home. Their latest case leads them to Romania &ndash; a country and culture that is seductive, alien, and treacherous at the same time. The true traitor, however, remains back home, close to high places&hellip; In some ways, MANHUNT is an attempt to improve upon certain scenes from THE INVINCIBLES (1994) &ndash; the parallels between the two works is at times perplexing. On the other hand it&rsquo;s another of Graf&rsquo;s explorations of Eastern Europe, a cultural sphere the FRG still doesn&rsquo;t know how to relate to, even as its citizens become an ever-greater presence in the nation&rsquo;s midst. All this in the guise of a chase thriller with a Western showdown!</p> Tuesday, May 28 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50733 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, May 29 TWILIGHT ETERNAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50853 <p>(AM ABEND ALLER TAGE)<br /><br />Here&rsquo;s a film only Graf could come up with: the Gurlitt Collection scandal by way of Henry James&rsquo;s THE ASPERN PAPERS (1888)! The researcher here is an art historian and lothario called Philipp Keyser; the hidden object a painting officially considered lost &ndash; a work by a (fictional) Expressionist whose reputation became tainted when he failed to distance himself properly from the Nazis. The Gurlitt character is called Dutt; Keyser tries to get close to the notorious recluse through his grandniece Alma, herself an artist invested in impermanence &ndash; her works are all made to vanish. Against all odds, Keyser falls in love with Alma, and feels ever less compelled to solve his case. One of Graf&rsquo;s densest and most sensual works, TWILIGHT ETERNAL displays a wonderfully essayistic touch in its reflections on art, life, death, and transcendence.</p> Wednesday, May 29 THE VOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50859 <p>(DAS GEL&Uuml;BDE)<br /><br />In 1818, writer Clemens Brentano went to D&uuml;lmen in Prussia-ruled Westphalia to chronicle the visions of stigmatized nun Anna Katherina Emmerick. Brentano would stay there for six years, until her death, producing volumes of texts in which documentation shades into fiction, observation into tract. Times were heady, a nation called Germany was in the making, the scent of revolution filled the air. But what kind of revolution, and to create what Germany? Prussian enlightenment in its Protestant dourness clashes with a down-to-earth, flesh-and-bones Catholic radicalism over the shape and soul of a nation that shall prove to be never whole, never at ease or peace with itself. Graf&rsquo;s first stab at heritage cinema (with dazzling horror as well as conspiracy thriller dimensions!) became one of his headiest and most complex works to date.</p> Wednesday, May 29 EC: THE ART OF VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50885 <p>&ldquo;Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word &lsquo;symphonia&rsquo; was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as &lsquo;cinematographer,&rsquo; at source, means &lsquo;writer of movement,&rsquo; certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.&rdquo; &ndash;Stan Brakhage</p> Thursday, May 30 BITTER INNOCENCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50848 <p>(BITTERE UNSCHULD)<br /><br />Andreas Brandt, researcher for a pharmaceutical giant, knows that his end in the company is near. When he witnesses his boss&rsquo;s rape of a prostitute, Brandt&rsquo;s future suddenly looks brighter&hellip;until his boss goes into counter-attack mode in a truly twisted fashion: first he seduces Brandt&rsquo;s wife, then he makes her believe that it is Brandt who had an affair with the hooker. Caught in the crossfire is Brandt&rsquo;s teenage daughter. Feeling ever more constricted by the cop show universe, Graf experimented wildly for about five years with other genres. Melodrama with a touch of Grand Guignol proved to be the most fruitful vein, and BITTER INNOCENCE was the first and in some ways most gargoylish of the lot!</p> Thursday, May 30 HOTTE IN PARADISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50865 <p>(HOTTE IM PARADIES)<br /><br />&ldquo;If you want to, you can have a different piece of pussy every day. That&rsquo;s the true life. The other is false.&rdquo; Yep, that&rsquo;s Hotte for you, the actually very sweet and mild-mannered pimp who&rsquo;s finally striking it medium-big with a bunch of feisty hookers, one cuter than the other, all charismatic and intelligent in a way society generally doesn&rsquo;t know how to deal with. Hotte knows: &ldquo;Easy life is hard work.&rdquo; Who would argue with that? Inspired by Mike Figgis, Graf for a brief but intense period embraced digital video in an attempt to reinvent himself through a looser way of shooting. HOTTE IN PARADISE is the loopiest work of that sub-corpus: half Oph&uuml;ls, half Sarno, and suffused with the texture of its sleazy milieu while shining with a pure melodramatic heart!</p> Thursday, May 30 COLD SPRING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50862 <p>(KALTER FR&Uuml;HLING)<br /><br />Sylvia Berger, heir apparent to a major family business based in the old capital of Bonn, first makes a mess of her studies and then catches a disease from a rent boy she fucked to win a bet. Disowned by her parents, she falls in love with a milquetoast who soon enough gets hooked on drugs; next thing she knows, she&rsquo;s selling her body for small change. But when some sinister relatives plot a takeover of &ldquo;her&rdquo; company, Sylvia gets creative.... Along with BITTER INNOCENCE (1999), COLD SPRING belongs to a loose trilogy of pulp melodramas Graf did around the turn of the millennium; like his digital video works from the same period, these were attempts at regeneration, here through working in a genre idiom so far unexplored. The result is again quite mind-boggling: an outrageous piece of creative derring-do.</p> Friday, May 31 PUNK LUST: SHORT FILM PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50830 <p>Sebastian<br />TRICIA&rsquo;S WEDDING<br />(1971, 33 min, 16mm)<br />Starring the infamous and influential cult San Francisco theater group The Cockettes, and also including the brief screen debut of Tomata du Plenty (before the formation of his seminal band, The Screamers), TRICIA&rsquo;S WEDDING is a camp parody reenactment of Patricia Nixon&rsquo;s marriage to Edward Cox. The many celebrity guests include Queen Elizabeth II, Golda Meir, Jackie O, and Indira Gandhi. The film premiered on the day of the wedding, June 12, 1971, at the Palace Theatre in North Beach. It was also shown at a secret private screening at the White House arranged by Nixon&rsquo;s chief of staff.<br /><br />George Kuchar<br />REASON TO LIVE<br />(1976, 30 min, 16mm)<br />&ldquo;This film is about depression, although it&rsquo;s not that depressing. I suppose it has a message of faith and hope in it &ndash; it does for me. But then again my interest may not match yours.&rdquo; &ndash;George Kuchar<br /><br />Kuchar&rsquo;s camp humor reigns in this steamy underground comedy. It is a melodramatic depiction of loneliness and alienation in an offbeat story of infidelity, tragic accidents, extreme weather, alcoholism, suicidal tendencies, and all other manner of untold dysfunctions.<br /><br />Suzan Pitt<br />ASPARAGUS<br />(1979, 20 min, 35mm. Preserved by the Academy Film Archive.)<br />ASPARAGUS is a baroque fantasy or daydream. The animation moves in a rhythmic and cyclical manner and the sexual elements metamorphose into dreamlike imagery, giving way to a surrealistic adventure of desire that is inextricably intertwined with nature, falling somewhere between the magical and the erotic.<br /><br />Total running time: ca. 90 min.</p> Friday, May 31 CITY FOR RANSOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2019#showing-50856 <p>(EINE STADT WIRD ERPRESST)<br /><br />Georg Kalinke has been with the Leipzig PD since the 1970s. For many of his younger, often Bonn-Republic-born-and-bred brethren he&rsquo;s a relic from a long-vanished era. When lone wolf Kalinke catches the biggest case to come along in ages, folks get nervous: if things go wrong, some will ask questions. Kalinke couldn&rsquo;t care less about the backroom power politics raging, as he has problems of his own: from the way it looks, he knows the perps from back in the Honecker days. Chances are Kalinke will go rogue. This is possibly the best piece of genre filmmaking about the economic as well as psychological toll that &ldquo;unification&rdquo; took on the people from the so-called Five New States of the Federation (the former East German states). A bleak, pissed-off look at a nation still divided.</p> Friday, May 31 ADDED SCREENING!: DER SKORPION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-51159 <p>Cop thriller meets family melodrama when a narcotics officer sets out for revenge after his wife is seriously injured during an attempt on his life by a criminal gang. Personal and professional become further fatally intertwined when his emotionally unstable son is seen in the company of the gangsters he&rsquo;s hunting.<br /><br />[<em><strong>Please note: this screening was added to the schedule after we went to press with our printed calendar.&nbsp; It will be showing from an imported 35mm print!</strong></em>]<br /><br /></p> Saturday, June 01 THE INVISIBLE GIRL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50868 <p>(DAS UNSICHTBARE M&Auml;DCHEN)<br /><br />When cop Niklas Tanner arrives at the (fictional) Franconian border town of Eisenstein, he enters a community divided. About a decade ago a child was allegedly murdered, but her body was never found. A simple soul confessed; case closed. When lead investigator Josef Altendorf raised doubts about the proceedings he was hastily forced into retirement, while his successor, Wilhelm Michel, sees to it that the case stays closed &ndash; for he knows too well what worms would crawl out if that can got opened again. THE INVISIBLE GIRL is an off-beat mix of police procedural, Heimatfilm, and revenge flick whose most memorable character is a smart young sister in the blue brotherhood, Evelin Fink &ndash; in her sexy quirkiness an especially perfect example for an echt Graf-woman.</p> Saturday, June 01 PUNK LUST: SHORT FILM PGM 2: BETH B IN PERSON! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50832 <p>M. Henry Jones<br />GO-GO GIRL<br />(1978-81, 3.5 min, 16mm. Preserved by Anthology Film Archives with support from The Andy Warhol Foundation for the Visual Arts.)<br />Pre-dating MTV or music videos in general, master animator Jones&rsquo;s GO-GO GIRL pulsates to the music of Nervous Rex. Striking in boldly graphic black-and-white, the motion of the dancer&rsquo;s movements and expression embodies sensuousness wherein the essence of dance is crystallized.<br /><br />Beth &amp; Scott B<br />G-MAN<br />(1978, 28 min, Super-8mm-to-digital. With Bill Rice.)<br />Cops and hookers are a classic combination. In this instance an NYPD bomb squad cop employs the services of a dominatrix, reflecting the schizophrenic and hypocritical nature of the power structure that G MAN sets out to undermine. Intercut with TV footage of terrorism and bombs exploding, G MAN developed from a short video titled &ldquo;NYPD Arson and Explosions VS FALN,&rdquo; which was part of a Colab public access cable TV program called &ldquo;All Color News.&rdquo;<br /><br />Richard Kern<br />MANHATTAN LOVE SUICIDES (PARTS 1-4)<br />(1985, 35 min, Super-8mm-to-digital)<br />MANHATTAN LOVE SUICIDES depicts desire and desperation in four short stories. In STRAY DOGS (starring Bill Rice, David Wojnarowicz, and Robin Renzi) one man&rsquo;s uncontainable fixation with another leads to extreme consequences; WOMAN AT THE WHEEL (starring Adrienne Altenhaus, Gary Ray, and Nick Zedd) demonstrates the imperiousness of two male back seat drivers, as their obnoxious attitude pushes the driver past her mental limits; the unforgettable THRUST IN ME (starring Nick Zedd and Nicola Zedd) represents a narcissistic male fantasy whose protagonist desires sex with his female alter ego; while in I HATE YOU NOW (starring Amy Turner and Tommy Turner), the protagonist&rsquo;s impulse to completely unite with her lover results in ultimate domestic disaster.<br /><br />Total running time: ca. 75 min.</p> Saturday, June 01 TATORT: THE RED SHADOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50842 <p>(TATORT: DER ROTE SCHATTEN)<br /><br />It all starts with a bizarre case of body-snatching: a man steals the corpse of his dead wife in order to take it abroad and have an independent coroner perform an autopsy on it. He goes to these lengths because he&rsquo;s certain that she didn&rsquo;t die in an accident but was murdered. And he even knows who did it: Wilhelm Jordan, his estranged spouse&rsquo;s last companion. When detective chief superintendent Lannert starts to investigate, things quickly turn disturbing: Jordan, it seems, is protected by the secret service &ndash; and may in fact not even be Wilhelm Jordan. That this episode of the FRG&rsquo;s most popular cop show would result in public discussions was clear to everybody from the get-go &ndash; but that the nation&rsquo;s President would feel moved to publicly condemn the film for sowing doubts about a chapter of FRG history considered closed and beyond discussion did come as a shock. Don&rsquo;t miss the most scandalous political German film in decades!</p> Saturday, June 01 CITY OF LOST SOULS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50834 <p>(STADT DER VERLORENEN SEELEN)<br /><br /><strong><em>Special Guest Jayne County will Skype in for a rare Q&amp;A on Sat, June 1, with Jimi LaLumia in person!<br /><br /></em></strong>A gender-bending underground musical spectacular. This cold-war era film was shot in Berlin with a mostly American cast, including New York&rsquo;s transgender punk legend Jayne County and inimitable trans performer Angie Stardust, a Harlem-raised veteran of seminal venues such as the Jewel Box Revue and 82 Club, and directed by controversial German artist, activist, and filmmaker Rosa von Praunheim, a pioneer of New German Cinema and queer cinema. Angie Stardust&rsquo;s boarding house the Pension Stardust &ndash; not to mention her fast-food joint Burger Queen &ndash; are home to lodgers of every imaginable sexual orientation and eccentric professional ambitions, from erotic trapeze to group therapy. But when Southern belle Lila (Jayne County) gets involved with a Communist, things get complicated. The film&rsquo;s title was chosen by Jayne County, who also recorded original music for the soundtrack.</p> Saturday, June 01 POLIZEIRUF 110: SMOKE ON THE WATER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50871 <p>A young journalist is murdered, a musician confesses. But one person is unconvinced: Corry H&uuml;sken, a friend of the victim who gets on investigating cop Hans van Meuffels&rsquo;s nerves long enough to make him look into things again. And suddenly, they find themselves mixed up with a cabal masterminded by a brutally bent politician. The latter is very obviously a riff on former FRG Minister of Defense Karl-Theodor Freiherr von und zu Guttenberg, one of the more gregarious figures in recent politics &ndash; popular with the people while shady in a quasi-Trumpian fashion. As befits such a figure, Graf pulled no punches here &ndash; the best way to describe POLIZEIRUF 110: SMOKE ON THE WATER is as an experimental giallo sex farce.</p> Saturday, June 01 EC: STAN BRAKHAGE PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50880 <p>THE ANIMALS OF EDEN AND AFTER 1970, 35 min, 16mm<br />SEXUAL MEDITATION: ROOM WITH A VIEW 1971, 4 min, 16mm, b&amp;w. Preserved by Anthology Film Archives.<br />THE SHORES OF PHOS: A FABLE 1972, 10 min, 16mm<br />THE WOLD-SHADOW 1972, 3 min, 16mm<br />THE RIDDLE OF LUMEN 1972, 14 min, 16mm<br />SINCERITY: REEL NO. 1 1973, 27 min, 16mm<br /><br />Total running time: ca. 95 min.</p> Sunday, June 02 MANHUNT: ESCAPE TO THE CARPATHIANS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50874 <p>(ZIELFAHNDER &ndash; FLUCHT IN DIE KARPATEN)<br /><br />Hanna Landauer and Sven Schr&ouml;der are so-called Zielfahnder: cops who travel abroad in order to arrest (in collaboration with the local authorities) perps wanted back home. Their latest case leads them to Romania &ndash; a country and culture that is seductive, alien, and treacherous at the same time. The true traitor, however, remains back home, close to high places&hellip; In some ways, MANHUNT is an attempt to improve upon certain scenes from THE INVINCIBLES (1994) &ndash; the parallels between the two works is at times perplexing. On the other hand it&rsquo;s another of Graf&rsquo;s explorations of Eastern Europe, a cultural sphere the FRG still doesn&rsquo;t know how to relate to, even as its citizens become an ever-greater presence in the nation&rsquo;s midst. All this in the guise of a chase thriller with a Western showdown!</p> Sunday, June 02 THUNDERCRACK! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50837 <p>Written by and featuring George Kuchar.<br /><br />&ldquo;Witness if you dare, the world&rsquo;s only underground kinky art porno horror film, complete with four men, three women, and a gorilla. Ecstasy so great that all heaven and hell becomes just one big old Shangri-La! [&hellip;] With the initial setup of an atmospheric gothic horror tale &ndash; dark stormy night breakdown featuring a creepy old house on the hill &ndash; it quickly turns into a bawdy, graphic, and darkly comic orgy. Dead drunk, horny, and delirious Marion Eaton commands the screen as one of cinema&rsquo;s weirdest female characters, while George Kuchar falls madly in love with a gorilla. [&hellip;] The most dialogue you will ever see in porn and the most porn you will ever see in a melodrama, THUNDERCRACK! is a volatile marriage of genres, fluid sexuality, and depraved perversion.&rdquo; &ndash;D.A. Johnston, FRAMELINE</p> Sunday, June 02 THE INVINCIBLES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50845 <p>(DIE SIEGER)<br /><br />During an operation gone wrong, SWAT-trooper Karl Simon sees his former colleague Heinz Schaefer, who four years ago allegedly committed suicide after murdering his two-day-old child. Soon Simon finds out that Schaefer is indeed alive, working undercover in a grey op turning pitch-black fast. Graf&rsquo;s monument manqu&eacute; (whose critical and commercial failure left him in a funk for years) returns in a new version that includes everything he had to remove back in 1994 to keep the running time short enough &ndash; albeit only in home video quality, for a VHS tape was all that remained of his original conception. Surprisingly enough, this &ldquo;sutured&rdquo; look deepens many of the film&rsquo;s subtexts, especially that of worlds and illusions falling apart, old school ideas of masculinity collapsing, and a nation in ruins &ndash; now maybe more than ever.<br /><br /><strong><em>For this retrospective, we&rsquo;ll offer screenings of both the new, expanded version of THE INVINCIBLES (on Friday, May 24) and the original release version (on Sunday, June 2).<br /><br /></em></strong><strong>Fri, May 24 at 9:00 (2019 version) and Sun, June 2 at 8:30 (1994 version).</strong></p> Sunday, June 02 MERCE CUNNINGHAM CENTENNIAL, PGM 7: RAINFOREST + IF THE DANCER DANCES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-51085 <p>D.A. Pennebaker<br />RAINFOREST<br />(1968, 28 min, 16mm-to-digital. Dancers: Carolyn Brown, Merce Cunningham, Barbara Lloyd, Sandra Neels, Albert Reid, and Gus Solomons Jr. Music: David Tudor, &ldquo;Rainforest.&rdquo; Set: Jasper Johns &amp; Andy Warhol.)<br />&ldquo;RainForest&rdquo; differed from Cunningham&rsquo;s other pieces in that, with the exception of Cunningham, each of the six dancers performed his or her role, then left the stage and never returned. Andy Warhol agreed to let Cunningham incorporate his installation &ldquo;Silver Clouds,&rdquo; a number of Mylar pillows filled with helium, which float freely in the air throughout the dance.<br />&amp;<br />Maia Wechsler<br />IF THE DANCER DANCES<br />(2018, 83 min, digital)<br />This feature-length documentary chronicles the process by which one of New York City&rsquo;s premier modern dance companies &ndash; the Stephen Petronio Company &ndash; attempts to reconstruct &ldquo;RainForest&rdquo; years after Cunningham&rsquo;s passing, in collaboration with numerous former members of the Merce Cunningham Dance Company. The film explores what it takes to keep a dance &ndash; and a legacy &ndash; alive.<br /><br /><em><strong>Director Maia Wechsler, producer and dancer Lise Friedman, and dancer Andrea Weber will all be here in person to discuss IF THE DANCER DANCES!</strong></em></p> Monday, June 03 CITY OF LOST SOULS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50835 <p>(STADT DER VERLORENEN SEELEN)<br /><br /><strong><em>Special Guest Jayne County will Skype in for a rare Q&amp;A on Sat, June 1, with Jimi LaLumia in person!<br /><br /></em></strong>A gender-bending underground musical spectacular. This cold-war era film was shot in Berlin with a mostly American cast, including New York&rsquo;s transgender punk legend Jayne County and inimitable trans performer Angie Stardust, a Harlem-raised veteran of seminal venues such as the Jewel Box Revue and 82 Club, and directed by controversial German artist, activist, and filmmaker Rosa von Praunheim, a pioneer of New German Cinema and queer cinema. Angie Stardust&rsquo;s boarding house the Pension Stardust &ndash; not to mention her fast-food joint Burger Queen &ndash; are home to lodgers of every imaginable sexual orientation and eccentric professional ambitions, from erotic trapeze to group therapy. But when Southern belle Lila (Jayne County) gets involved with a Communist, things get complicated. The film&rsquo;s title was chosen by Jayne County, who also recorded original music for the soundtrack.</p> Monday, June 03 MERCE CUNNINGHAM CENTENNIAL, PGM 8: MERCE CUNNINGHAM, A LEGACY OF DANCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-51087 <p>Marie-H&eacute;l&egrave;ne Rebois<br />MERCE CUNNINGHAM, A LEGACY OF DANCE / LA DANSE EN H&Eacute;RITAGE<br />(2012, 56 min, digital)<br />Like IF THE DANCER DANCES, Rebois&rsquo;s film documents the transition after Cunningham&rsquo;s death as his dance company completes its life cycle according to his wishes. Made during the course of the Merce Cunningham Dance Company&rsquo;s final tour in 2011, it shows the efforts of a group of directors, dancers, musicians, archivists, lawyers, and others as they follow the road map of the &ldquo;Cunningham Legacy Plan&rdquo; developed with Merce himself before he passed away.</p> Monday, June 03 THUNDERCRACK! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50838 <p>Written by and featuring George Kuchar.<br /><br />&ldquo;Witness if you dare, the world&rsquo;s only underground kinky art porno horror film, complete with four men, three women, and a gorilla. Ecstasy so great that all heaven and hell becomes just one big old Shangri-La! [&hellip;] With the initial setup of an atmospheric gothic horror tale &ndash; dark stormy night breakdown featuring a creepy old house on the hill &ndash; it quickly turns into a bawdy, graphic, and darkly comic orgy. Dead drunk, horny, and delirious Marion Eaton commands the screen as one of cinema&rsquo;s weirdest female characters, while George Kuchar falls madly in love with a gorilla. [&hellip;] The most dialogue you will ever see in porn and the most porn you will ever see in a melodrama, THUNDERCRACK! is a volatile marriage of genres, fluid sexuality, and depraved perversion.&rdquo; &ndash;D.A. Johnston, FRAMELINE</p> Tuesday, June 04 OUT-TAKES FROM THE LIFE OF A HAPPY MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-51017 <p>&ldquo;A motion picture composed of brief diaristic scenes not used in completed films from the years 1960-2000; and self-referential video footage taped during the editing. Brief glimpses of family, friends, girl-friends, the City, seasons of the year, travels. Occasionally I talk, reminisce, or play music I taped during those earlier years, plus more recent piano improvisations by Auguste Varkalis. It&rsquo;s a kind of autobiographical, diaristic poem, celebration of happiness and life. I consider myself a happy man.&rdquo; &ndash;Jonas Mekas<br /><br />&ldquo;In a film of amazing delicacy and poetic insight, Mekas celebrates the beauty of imperfect images&hellip;.&rdquo; &ndash;Amy Taubin<br /><br /><em><strong>Introduced by film critic Amy Taubin!</strong></em></p> Tuesday, June 04 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50734 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, June 05 SHOW & TELL: JEROME HILER, PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50951 <p>One of the happiest recent developments relating to the generation of avant-garde filmmakers who rendered the 1960s-70s an extraordinarily rich and fertile period for independent cinema is the reemergence into the public eye of Jerome Hiler. Hiler&rsquo;s 16mm films have for years been described in rapturous terms by those who have been exposed to them, including writers such as P. Adams Sitney, Scott MacDonald, and Wheeler Winston Dixon. But for a long period both Hiler and his partner Nathaniel Dorsky chose not to screen their work publicly, showing them only in small, private gatherings. Dorsky began exhibiting his work again in the 1980s, but Hiler neither changed his attitude towards public screenings nor made prints of his films, preferring to show them to family and friends only from the camera originals (which boast an intensity of color that later generations of prints can&rsquo;t quite rival).<br /><br />Luckily for the rest of us, Hiler has gradually been making his exquisite, luminous films available to wider audiences in recent years, including presentations of individual works at the New York Film Festival, the Whitney Biennial, and Light Industry, as well as a larger survey at the Harvard Film Archive in 2017. The two programs we&rsquo;ll be presenting here at Anthology comprise the most comprehensive glimpse of his body of work yet to be seen in New York City (and though Hiler has relaxed his policy of only showing camera originals, two of the films will indeed be screened as original or work prints), making this installment of Show &amp; Tell a major event!<br /><br />&ldquo;The recent rediscovery of Hiler&rsquo;s work finds him&hellip;lavished with much-deserved accolades and recognition as a dedicated craftsman and poet of his chosen media, able to capture the rarest essence, beauty and magic of light and daily life in each of his exquisite films. In today&rsquo;s world of endless distraction, Hiler&rsquo;s patient and rapturous films seem to offer an unusual and ultimately invigorating oasis, a place where vision can be renewed.&rdquo; &ndash;HARVARD FILM ARCHIVE<br /><br />PROGRAM 1: <br />WORDS OF MERCURY (2011, 25 min, 16mm, silent)<br />BAGATELLE II (1964-2016, 16 min, 16mm, silent)<br />MARGINALIA (2016, 23 min, 16mm, silent)<br />Total running time: ca. 60 min.</p> Wednesday, June 05 THE DEVIL NEVER SLEEPS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50958 <p>(EL DIABLO NUNCA DUERME)<br /><br />Print courtesy of the Academy Film Archive.<br /><br />Upon discovering that her beloved Tio Oscar, a wealthy agronomist and politician, has been found dead in Chihuahua, Lourdes Portillo travels to Mexico both to mourn and to investigate the circumstances surrounding his death. Interviewing family members and friends, Portillo uncovers innumerable overlapping narratives, most of which doubt the official history of suicide but assign Oscar&rsquo;s death to different antagonists and motives. An exploration of memory, class, land, and corruption, THE DEVIL NEVER SLEEPS is both a prime example and sly subversion of the &ldquo;family secret&rdquo; documentary.</p> Thursday, June 06 SHOW & TELL: JEROME HILER, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50953 <p>One of the happiest recent developments relating to the generation of avant-garde filmmakers who rendered the 1960s-70s an extraordinarily rich and fertile period for independent cinema is the reemergence into the public eye of Jerome Hiler. Hiler&rsquo;s 16mm films have for years been described in rapturous terms by those who have been exposed to them, including writers such as P. Adams Sitney, Scott MacDonald, and Wheeler Winston Dixon. But for a long period both Hiler and his partner Nathaniel Dorsky chose not to screen their work publicly, showing them only in small, private gatherings. Dorsky began exhibiting his work again in the 1980s, but Hiler neither changed his attitude towards public screenings nor made prints of his films, preferring to show them to family and friends only from the camera originals (which boast an intensity of color that later generations of prints can&rsquo;t quite rival).<br /><br />Luckily for the rest of us, Hiler has gradually been making his exquisite, luminous films available to wider audiences in recent years, including presentations of individual works at the New York Film Festival, the Whitney Biennial, and Light Industry, as well as a larger survey at the Harvard Film Archive in 2017. The two programs we&rsquo;ll be presenting here at Anthology comprise the most comprehensive glimpse of his body of work yet to be seen in New York City (and though Hiler has relaxed his policy of only showing camera originals, two of the films will indeed be screened as original or work prints), making this installment of Show &amp; Tell a major event!<br /><br />&ldquo;The recent rediscovery of Hiler&rsquo;s work finds him&hellip;lavished with much-deserved accolades and recognition as a dedicated craftsman and poet of his chosen media, able to capture the rarest essence, beauty and magic of light and daily life in each of his exquisite films. In today&rsquo;s world of endless distraction, Hiler&rsquo;s patient and rapturous films seem to offer an unusual and ultimately invigorating oasis, a place where vision can be renewed.&rdquo; &ndash;HARVARD FILM ARCHIVE<br /><br />PROGRAM 2:<br />RULING STAR (2019, 20 min, 16mm, silent)<br />BAGATELLE I (2016-18, 10 min, 16mm, silent)<br />IN THE STONE HOUSE (1968-71/2012, 35 min, 16mm, silent)<br />Total running time: ca. 70 min.</p> Thursday, June 06 HOME MOVIES: CAMILLE BILLOPS PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50961 <p>Camille Billops &amp; James Hatch<br />FINDING CHRISTA<br />(1991, 55 min, 16mm. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts.)<br />&amp;<br />Camille Billops &amp; James Hatch<br />SUZANNE, SUZANNE<br />(1982, 30 min, 16mm. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts.)<br />An artist, activist, author, and archivist, Camille Billops has also made several forays into filmmaking, nearly all of which are collaborative works with family members, whether they be behind the camera (her husband, James Hatch) or in front of it. In SUZANNE, SUZANNE, her first film, Billops profiles her niece&rsquo;s attempts at processing a history of childhood abuse within the context of a family who seemingly let it go unchallenged. With FINDING CHRISTA, Billops turns the camera on herself, chronicling the after-effects of her decision to give up her 4-year-old daughter for adoption as the two reconnect. Composed of home-movie footage, dramatic reenactments, interviews, and even musical performance, FINDING CHRISTA formally reflects its subjects&rsquo; ongoing, ever-changing attempts at self-definition in the face of family ties.</p> Thursday, June 06 THE FILMS OF WILLIAM RABAN, PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50921 <p>RIVER YAR (1971-72, 36 min, 2-screen 16mm. Co-directed with Chris Welsby.)<br />&ldquo;We found our location &ndash; a view from an upstairs window in a water mill on the Isle of Wight. From this position a camera recorded one frame every minute (day and night) for two separate three-week periods. Making this film was a major pre-occupation for both of us. For most of the second period (February &rsquo;72) we were without electricity and had to fire the camera by hand.&rdquo; &ndash;William Raban<br /><br />&ldquo;RIVER YAR is one of the richest and most beautiful films to have been made by an English filmmaker.&rdquo; &ndash;John Du Cane<br /><br />ANGLES OF INCIDENCE (1973, 8.5 min, 2-screen 16mm, silent)<br />&ldquo;This film is the starting point of a continuous investigation into ways of presenting cubist space in terms of the flat surface of the film screen. The film image is the view through a window, the window-frame providing a constant spatial reference point, as the view beyond is modified by a series of major and minor variations in camera viewpoint. The film is presented un-edited just as it was filmed in the camera. The patterns of camera movement are not the product of a pre-given shooting script, but rather they evolved actually at the time of filming.&rdquo; &ndash;William Raban<br /><br />AUTUMN SCENES (1978, 20 min, 16mm, silent)<br />&ldquo;The film is in three parts, each one exploring the fragmentary experience of perception by resorting to various forms of temporal and spatial dislocation. &lsquo;Concrete Fall&rsquo; and &lsquo;Fergus Walking&rsquo; are both filmed from a moving viewpoint, and the camera motion is &lsquo;converted&rsquo; through simple editing and printing procedures to register subtle depths in space, the layering between foreground and infinity. In &lsquo;Packeted Passages&rsquo; I filmed with two synchronized cameras and fused the two views in the printing stage into one disintegrated screen space.&rdquo; &ndash;William Raban<br /><br />Total running time: ca. 70 min.</p> Friday, June 07 I DON’T HATE LAS VEGAS ANYMORE - Caveh Zahedi in person! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50964 <p>At once a road movie, a quest film, a family comedy, and a behind-the-scenes drama, Caveh Zahedi&rsquo;s I DON&rsquo;T HATE LAS VEGAS ANYMORE tracks the director&rsquo;s journey to Las Vegas with his father and half-brother, where he hopes to prove the existence of God through divine intervention&hellip;or, failing that, convincing his family and crew to take a few tabs of Ecstasy. The second feature from diarist/documentarian Zahedi (A LITTLE STIFF, I AM A SEX ADDICT), LAS VEGAS is a rollicking and hilarious mix of argument, confrontation, and confession.<br /><br />Preceded by:<br />Barry Braverman<br />MURITA CYCLES<br />(1978, 28 min, 16mm. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts.)<br />Braverman&rsquo;s portrait of his father, who runs a shop selling used bicycles and innumerable other objects in Staten Island, is a remarkable, unexpectedly moving, and disarmingly candid character study.</p> Friday, June 07 THE FILMS OF WILLIAM RABAN, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50923 <p>SURFACE TENSION (1974-76, 13 min, 2-screen 16mm)<br />This experiment determines what happens when a negative is superimposed upon its own positive image. The center of the picture forms the optical soundtrack on both left and right screens so that what you see finds its aural equivalent in sound.<br /><br />DIAGONAL (1973, 6 min, 3-screen 16mm)<br />&ldquo;DIAGONAL is a film for three projectors, though the diagonally arranged projector beams need not be contained within a single flat screen area. It is the same image on all three projectors, a double-exposed flickering rectangle of the projector gate sliding diagonally into and out of frame. Focus is on the projector shutter, hence the flicker. This film is &lsquo;about&rsquo; the projector gate, the plane where the film frame is caught by the projected light beam.&rdquo; &ndash;William Raban, PERSPECTIVES ON BRITISH AVANT-GARDE FILM<br /><br />TIME STEPPING (1974, 19 min, 16mm)<br />&ldquo;The film image is a row of boarded-up town houses pending demolition. Two cameras film in alternation this derelict facade from two changing viewpoints. They pan in opposing crossways movements and develop a picture view that appears to extend beyond the edges of the screen. The durations and sequencing of one shot in relation to another are not pre-scripted; the shooting patterns take the form of a space-time game where a new movement or action on one camera provokes a corresponding reaction from the second camera.&rdquo; &ndash;William Raban<br /><br />VIEW (1970, 4 min, 16mm)<br />One of Raban&rsquo;s earliest films, VIEW was filmed over one whole day in winter using a static camera. The film alternates between recording in time-lapse and the regular speed of 24fps. The film was made in a continuous heavy rainstorm, and the front element of the Angenieux lens accumulated drops of rain on its surface until the view became obscured. The bursts of film at normal speed occur just after the lens had been wiped dry to reveal the trees, marsh, and water&rsquo;s edge in clear sharp focus beyond.<br /><br />COLOURS OF THIS TIME (1972, 4 min, 16mm, silent)<br />&ldquo;Whilst working on previous time-lapse films, I found that color film tended to record the actual color of the light sources rather than local color when long-time exposures were used. Using this phenomenon, COLOURS OF THIS TIME records all the imperceptible shifts in color temperature in summer daylight, from first light until sunset.&rdquo; &ndash;William Raban<br /><br />BROADWALK (1972, 12 min, 16mm)<br />&ldquo;Originally, this was a four-minute time-lapse film which was shot continuously over a twenty-four hour period. The camera was positioned on a busy pathway in Regent&rsquo;s Park, and recorded three frames a minute. The shutter was held open for the twenty-second duration between exposures, so that on projection, individual frames merge together making the patterned flows of human movement clearly perceptible. The time-lapse original was then expanded by various processes of re-filming to reveal the frame-by-frame structure of the original.&rdquo; &ndash;William Raban<br /><br />Total running time: ca. 65 min.</p> Friday, June 07 MRS. WARHOL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2019#showing-50967 <p>In this rarely screened color Warhol film, Andy&rsquo;s mother Julia Warhola &ndash; then living in a basement apartment in Warhol&rsquo;s Lexington Avenue townhouse &ndash; makes a rare onscreen appearance, ostensibly playing one of the many faded stars in Warhol&rsquo;s cinematic constellation: a bathing beauty for Mack Sennett who has racked up 25 ex-husbands and is currently being attended to by her 26th, played by Richard Rheem. Mostly, though, the emphasis is on Julia&rsquo;s everyday life, as she cooks, cleans, irons, and talks to and about her beloved son.</p> Friday, June 07