Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 31 Mar 2020 13:12:01 -0400 ALL SCREENINGS SUSPENDED UNTIL FURTHER NOTICE... http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2020#showing-52557 <p><strong>Given the situation related to COVID-19 (coronavirus) - and with the safety of our audiences and staff in mind - we've made the difficult decision to suspend Anthology's screenings until further notice.<br /><br />We intend to postpone, not cancel, the screenings that are not able to take place as originally scheduled. Stay tuned for more information about these rescheduled screenings, which will take place either immediately upon reopening or later in the summer or fall.</strong><br /><br /><strong>If you've bought tickets in advance for any suspended programs, we will happily exchange them for tickets for any screening taking place after we reopen. Please email our head theater manager Kolbe Resnick (kolbe@anthologyfilmarchives.org) and your name will be added to our comp list. Thanks for your understanding, and stay healthy!</strong></p> Wednesday, April 01 BE SURE TO KEEP UP WITH OUR ONLINE PROGRAMMING! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2020#showing-52565 <p><strong>Like all other New York City cultural organizations, Anthology&rsquo;s public screenings remain suspended for the time being. Meanwhile, though our theaters are closed, we&rsquo;re hard at work conceiving of other ways to sustain Anthology&rsquo;s community and to keep bringing experimental, vanguard cinema to our audiences and members. This includes making some of our upcoming programming available via online streaming. While many of our March/April programs can&rsquo;t be presented online (since they were intended to showcase restored or archival 35mm or 16mm prints, or were to feature films that have never been digitized), we are able to offer several programs via streaming:</strong></p> <p>--Two of the Jonas Mekas screenings we had to cancel in March &ndash; RE: MACIUNAS AND FLUXUS and KEEP SINGING &ndash; are now available for viewing online (free and open to all). Visit Anthology&rsquo;s official <a href="https://vimeo.com/anthologyfilmarchives">Vimeo</a> page to watch!</p> <p>--Anthology suspended all our screenings one day before we were scheduled to begin our week-long engagement of Thomas Heise&rsquo;s HEIMAT IS A SPACE IN TIME. But thanks to our colleagues at Icarus Films (the movie&rsquo;s U.S. distributor), the film is available for streaming for a limited time. The cost is $9.99, and 50% of the proceeds will go to Anthology. The streaming engagement ends this <strong>Sunday, April 5</strong>, at midnight, so act quickly! And as a further enticement, Thomas Heise will take part in a live video Q&amp;A (moderated by film programmer Nellie Killian) at noon on Sunday, April 5! Click <a href="https://vimeo.com/ondemand/heimattime"><strong>here</strong></a> to rent the film now!</p> <p>--Since we anticipate having to cancel our April 8 &amp; 9 screenings of Miko Revereza&rsquo;s NO DATA PLAN, we&rsquo;ve worked with that film&rsquo;s distributor, Sentient.Art.Film (<a href="http://www.sentientartfilm.com">www.sentientartfilm.com</a>), to make the film available online, from now until April 9 ($9 for general audiences and free for AFA Members!).&nbsp; Click <a href="http://anthology.sentientartfilm.com/"><strong>here</strong></a> to access the film!</p> <p><span style="text-decoration: underline;">Membership/Donations:</span><br />Everyone at Anthology is so appreciative for our members, patrons, and the larger film community &ndash; now more than ever! And we continue to work on ways to share AFA&rsquo;s programming and collections while our screenings are suspended, to help ensure that independent and vanguard cinema remains a part of our members lives during this period of taking refuge at home!<br /><br />There has never been a better time to support Anthology as we adjust to the current situation. Like many small arts organizations, Anthology is sensitive to the financial and administrative challenges of these times. By joining or renewing your membership (<a href="../../../support/membership">http://anthologyfilmarchives.org/support/membership</a>), purchasing a membership for a friend (<a href="../../../support/gift">http://anthologyfilmarchives.org/support/gift</a>), or making a tax-deductible donation of any amount (<a href="../../../support/donate">http://anthologyfilmarchives.org/support/donate</a>), you can help to support our ongoing operations on virtual platforms, as well as to ensure that we're able to transition smoothly back to normal once we're able to reopen our theaters!</p> Thursday, April 02 HELTER SHELTER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2020#showing-52561 <p>To help fill the long quarantine hours and provide some structure for our desperate wanderings through the vast landscapes of online entertainment, we here at Anthology have created a &ldquo;virtual&rdquo; film series to share while our cinemas remain shuttered. Reflecting (often darkly) the radically transformed daily lives of those instructed to shelter-in-place, &ldquo;Helter Shelter&rdquo; highlights movies that take place almost solely &ndash; if not entirely &ndash; within the confines of the protagonists&rsquo; apartments or houses.<br /><br />Admittedly, this may not sound like the ideal form of distraction at the moment. But aside from the fact that it&rsquo;s never a good idea to indulge in denial, the films listed below will hopefully help put things in perspective. A few of them demonstrate the infinite imaginative possibilities that lie within even the most circumscribed spaces: the fact that James Bidgood could create the rich and elaborate world of PINK NARCISSUS by means of homemade sets constructed entirely within his Manhattan apartment, and that Zachary Oberzan could single-handedly conjure a full shot-for-shot remake of RAMBO: FIRST BLOOD from his own small abode, should represent a model for all of us. That said, most of the house-bound films we&rsquo;ve suggested operate at the other end of the spectrum: consisting mainly of horror films (NIGHT OF THE LIVING DEAD, DEMONS 2, PARANORMAL ACTIVITY), psychological thrillers (MISERY, WAIT UNTIL DARK), and other depictions of encroaching psychosis and unhinged madness (JEANNE DIELMAN, THE TENANT, THE BITTER TEARS OF PETRA VON KANT), the lesson here is, quite simply: It could be worse. Much, much worse!<br /><br />What follows is a list of suggested viewing, with some (non-definitive) info on where each film can be found. A few don&rsquo;t appear to be available via the usual streaming channels, but we&rsquo;re listing them in any case &ndash; after all, if this isn&rsquo;t a time to be resourceful, when is?<br /><br />[<em><strong>The list begins with several films that are available via the Criterion Channel, which has generously offered a limited number of discounted subscriptions for AFA members. Those who sign up by March 31 will receive 50% of their first three months of membership, following a two-week free trial. Members, we'll be emailing shortly with further instructions.</strong></em>]<br /><br />EXTERMINATING ANGEL (Luis Bu&ntilde;uel, 1962, 93 min) (Criterion Channel)<br />REPULSION (Roman Polanski, 1965, 105 min) (Criterion Channel)<br />NIGHT OF THE LIVING DEAD (George A. Romero, 1968, 96 min) (Criterion Channel)<br />SAUTE MA VILLE (Chantal Akerman, 1968, 13 min) (Criterion Channel)<br />LA CHAMBRE (Chantal Akerman, 1972, 11 min) (Criterion Channel)<br />BITTER TEARS OF PETRA VON KANT (Rainer Werner Fassbinder, 1972, 125 min) (Criterion Channel)<br />DARK STAR (John Carpenter, 1974, 83 min) (Criterion Channel)<br />JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES (Chantal Akerman, 1975, 201 min) (Criterion Channel)<br />THE MODEL COUPLE (William Klein, 1977, 101 min) (Criterion Channel)<br />IN VANDA&rsquo;S ROOM (Pedro Costa, 2000, 171 min) (Criterion Channel)<br /><br />ROPE (Alfred Hitchock, 1948, 80 min) (Amazon, Google, Hulu)<br />REAR WINDOW (Alfred Hitchock, 1954, 112 min) (Amazon, Google, Hulu)<br />WAIT UNTIL DARK (Terence Young, 1967, 108 min) (Amazon, Google)<br />PINK NARCISSUS (James Bidgood, 1971, 71 min) (archive.org)<br />NUM&Eacute;RO Z&Eacute;RO (Jean Eustache, 1971/2003, 104 min)<br />SHIVERS (David Cronenberg, 1975, 87 min) (Amazon, Google)<br />THE TENANT (Roman Polanski, 1976, 126 min) (Amazon, Google, Hulu)<br />THE SHINING (Stanley Kubrick, 1980, 146 min) (Amazon, Google)<br />ALMANAC OF FALL (Bela Tarr, 1984, 119 min) (Facets DVD)<br />DEMONS 2 (Lamberto Bava, 1986, 88 min) (Amazon)<br />THE TELEPHONE (Rip Torn, 1988, 96 min) (Amazon)<br />MISERY (Rob Reiner, 1990, 107 min) (Amazon, Google)<br />HOME ALONE (Chris Columbus, 1990, 113 min) (Amazon, Google, Netflix)<br />THE HOLE (Tsai Ming-Liang, 1998, 95 min) (Fox Lorber DVD)<br />PANIC ROOM (David Fincher, 2002, 112 min) (Amazon, Google)<br />THE TIME WE KILLED (Jennifer Reeves, 2004, 94 min) (<a href="https://www.fandor.com/films/the_time_we_killed">Fandor</a>)<br />BUG (William Friedkin, 2006, 102 min) (Amazon, Google, Hulu)<br />PARANORMAL ACTIVITY (Oren Peli, 2007, 86 min) (Amazon, Google, Netflix)<br />FLOODING WITH LOVE FOR THE KID (Zachary Oberzan, 2007, 117 min) (<a href="https://vimeo.com/ondemand/zackflood">https://vimeo.com/ondemand/zackflood</a>)<br />THIS IS NOT A FILM (Jafar Panahi, 2011, 75 min) (Palisades Tartan DVD)<br />UNFRIENDED (Leo Gabriadze, 2014, 83 min) (Amazon, Google, Hulu)<br /><br />Andy Warhol:<br />SLEEP (1963, 321 min)<br />POOR LITTLE RICH GIRL (1965, 66 min)<br />BEAUTY #2 (1965, 66 min)<br />KITCHEN (1965, 66 min)<br />BLUE MOVIE (1968, 133 min)<br /><br />MING GREEN (Gregory Markopoulos, 1966, 7 min)<br />WAVELENGTH (Michael Snow, 1967, 45 min)<br />ROOM FILM (Peter Gidal, 1973, 47 min) (<a href="http://www.ubu.com/film/gidal_roomfilm.html">UbuWeb</a>)<br />NEW IMPROVED INSTITUTIONAL QUALITY (Owen Land, 1976, 10 min) (Treasures IV: American Avant-Garde Film DVD set)<br />LEO ES PARDO (Iv&aacute;n Zulueta, 1976, 10 min) (<a href="http://www.ubu.com/film/zulueta_leo.html">UbuWeb</a>)<br />LIVING INSIDE (Sadie Benning, 1989, 5 min) (<a href="http://www.ubu.com/film/benning_living.html">UbuWeb</a>)<br />DOIN&rsquo; TIME IN TIMES SQUARE (Charlie Ahearn, 1991, 39 min) (<a href="https://www.fandor.com/films/doin_time_in_times_square">Fandor</a>)<br /><br /><br /><br /></p> Friday, April 03 NO DATA PLAN [NOW STREAMING - SEE DESCRIPTION BELOW] http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2020#showing-52278 <p><br /><strong>Due to COVID-19, we will not be screening NO DATA PLAN in our cinema, but we&rsquo;ve worked with the film&rsquo;s distributor, Sentient.Art.Film (www.sentientartfilm.com), to make the film available online, from now until April 9 ($9 for general audiences and free for AFA Members!).&nbsp; Click <a href="https://www.sentientartfilm.com/product-page/anthology-film-archives-virtual-ticket-no-data-plan">here</a> to access the film! </strong><br /><br /><br />NYC ENCORE SCREENINGS!<br /><br />Distributed by Sentient.Art.Film (www.sentientartfilm.com); special thanks to Keisha Knight.<br /><br />&ldquo;Mama has two phone numbers. We do not talk about immigration on her Obama phone. For that we use the other number with no data plan.&rdquo;<br /><br />Born in Manila, Philippines, emerging filmmaker Miko Revereza emigrated with his family when he was a child, and has lived undocumented in the United States for more than 25 years. This life long struggle with documentation, assimilation, and statelessness informed his early short films, and is very much at the heart of his debut feature, NO DATA PLAN. Filmed during a cross-country train trip from Los Angeles to New York, NO DATA PLAN transmutes this linear journey into a kaleidoscope of consciousness. A multiplicity of voices share thoughts, dreams, and histories evoking images far removed from the enclosed spaces of the train&rsquo;s interior. While capturing these landscapes and interiors through his lens, Revereza uses them as a prism channeling an undocumented subjectivity, and the result is a personal travelogue that captures the boredom, precariousness, and fantasies of an undocumented immigrant traversing the continent.<br /><br />Screened to great acclaim at festivals worldwide, including Lincoln Center&rsquo;s &ldquo;Art of the Real,&rdquo; NO DATA PLAN was deemed one of the 50 Best Films of 2019 by Sight &amp; Sound Magazine. We are happy to host these NYC encore screenings, alongside two of Revereza&rsquo;s short films, including his most recent work, DISTANCING (2019).<br /><br />With:<br />DISINTEGRATION 93-96 (2017, 5.5 min, digital)<br />DISTANCING (2019, 10 min, digital)<br /><br /><br /></p> Wednesday, April 08 NO DATA PLAN [NOW STREAMING - SEE DESCRIPTION BELOW] http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2020#showing-52279 <p><br /><strong>Due to COVID-19, we will not be screening NO DATA PLAN in our cinema, but we&rsquo;ve worked with the film&rsquo;s distributor, Sentient.Art.Film (www.sentientartfilm.com), to make the film available online, from now until April 9 ($9 for general audiences and free for AFA Members!).&nbsp; Click <a href="https://www.sentientartfilm.com/product-page/anthology-film-archives-virtual-ticket-no-data-plan">here</a> to access the film! </strong><br /><br /><br />NYC ENCORE SCREENINGS!<br /><br />Distributed by Sentient.Art.Film (www.sentientartfilm.com); special thanks to Keisha Knight.<br /><br />&ldquo;Mama has two phone numbers. We do not talk about immigration on her Obama phone. For that we use the other number with no data plan.&rdquo;<br /><br />Born in Manila, Philippines, emerging filmmaker Miko Revereza emigrated with his family when he was a child, and has lived undocumented in the United States for more than 25 years. This life long struggle with documentation, assimilation, and statelessness informed his early short films, and is very much at the heart of his debut feature, NO DATA PLAN. Filmed during a cross-country train trip from Los Angeles to New York, NO DATA PLAN transmutes this linear journey into a kaleidoscope of consciousness. A multiplicity of voices share thoughts, dreams, and histories evoking images far removed from the enclosed spaces of the train&rsquo;s interior. While capturing these landscapes and interiors through his lens, Revereza uses them as a prism channeling an undocumented subjectivity, and the result is a personal travelogue that captures the boredom, precariousness, and fantasies of an undocumented immigrant traversing the continent.<br /><br />Screened to great acclaim at festivals worldwide, including Lincoln Center&rsquo;s &ldquo;Art of the Real,&rdquo; NO DATA PLAN was deemed one of the 50 Best Films of 2019 by Sight &amp; Sound Magazine. We are happy to host these NYC encore screenings, alongside two of Revereza&rsquo;s short films, including his most recent work, DISTANCING (2019).<br /><br />With:<br />DISINTEGRATION 93-96 (2017, 5.5 min, digital)<br />DISTANCING (2019, 10 min, digital)<br /><br /><br /></p> Thursday, April 09