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 Wed, 30 Jul 2014 17:13:45 -0400 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2014#showing-42900 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 30 UNESSENTIAL CINEMA PRESENTS: GREATEST SOMETHINGS OR OTHERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2014#showing-42841 <p>Has it really been 10 years since the debut of UNESSENTIAL CINEMA? How&rsquo;d that happen? UNESSENTIAL CINEMA is a regular series dedicated to unleashing the most undocumented, unseen, and unknown films and videos in our vast and confusing collection. Over the past decade we have presented more head-scratching, brain-breaking reels then we can even remember. Each program has featured an overarching theme or particular gimmick, and every show has left us wondering: Why do we have this stuff? Tonight we reflect on a decade of archival discoveries by bringing together some of our all-time favorite finds for a one-time only &lsquo;experience.&rsquo; Be prepared to celebrate with double projections, live commentary, audience participation and, quite possibly, cake.<br /><br />Expect some of these classics:<br />DISSECTION OF A RAT<br />HEAD/TAIL<br />IN THE PANTS OF THE UNIVERSE<br />FOUR ROSES (Whiskey)<br />THE ACT OF PUKING WITH ONE&rsquo;S OWN MOUTH<br />and many more&hellip;</p> Wednesday, July 30 JESUS CHRIST SAVIOUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2014#showing-42950 <p>(JESUS CHRISTUS ERL&Ouml;SER)<br /><br />&ldquo;Kinski stands alone under a stark spotlight in front of an audience of 5,000. For the next 80 minutes, all hell breaks loose. Assembled painstakingly from the scant existing footage of Kinski&rsquo;s doomed 1971 &lsquo;Jesus Christus Erl&ouml;ser&rsquo; tour, in which his attempts to perform a monologue about Jesus (&lsquo;Wanted, Jesus Christ; crime, seduction, anarchistic tendencies&hellip;&rsquo;) were met violently by audiences who suspected that he related overly closely with his subject. The performance hypnotically degenerates into a furious back and forth between the outraged Kinski and an audience feeding off of his anger, as Kinski alters and personalizes the text to label the audience as Pharisees. JESUS CHRIST SAVIOUR is both a portrait of a great performer at the height of his powers and a mesmerizing real life tragicomedy.&rdquo; &ndash;OLYMPIA FILM FESTIVAL</p> Thursday, July 31 EC: THE PARSON'S WIDOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2014#showing-42827 <p>(PRASTANKAN)<br />A lyrical, early Dreyer comedy. A young parson wins a plum parish in 17th century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fianc&eacute;e is his sister. The master&rsquo;s touch is evident in the close-ups of the pastor&rsquo;s would-be rivals and parishioners and a slow pan presaging the 360-degree views of VAMPYR.</p> Thursday, July 31 PAGANINI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2014#showing-42954 <p>Archival print courtesy of the Fondazione Cineteca di Bologna. With Klaus Kinski, Debora Caprioglio, Nikolai Kinski, Bernard Blier, and Marcel Marceau.<br /><br />Having written the screenplay for this biopic of the virtuoso 19th century violinist, Niccolo Paganini, a figure with whom Kinski strongly identified, he attempted to enlist Werner Herzog to direct. When Herzog declined (deeming the script an &ldquo;unfilmable mess&rdquo;), Kinski took the reins himself, resulting in his only directorial credit. As much self-portrait as biopic, PAGANINI is as unhinged, self-indulgent, and gloriously singular as you&rsquo;d expect from a Kinski labor-of-love, a largely non-narrative, nearly dialogue-free tribute both to Paganini&rsquo;s artistic genius and sexual voracity. These rare screenings are not to be missed!</p> Thursday, July 31 IF YOU MEET SARTANA PRAY FOR YOUR DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42958 <p>(SE INCONTRI SARTANA PREGA PER LA TUA MORTE)<br /><br />With Gianni Garko.<br /><br />This enormously successful spaghetti western launched a series of official and unofficial sequels (of a quantity surpassed only by the &ldquo;Django&rdquo; films) and helped nudge the genre in the direction of comic parody. Deliriously convoluted, it concerns a strongbox of gold that inspires a vortex of scheming and double-crossing among a motley crew of outlaws, bandits, and town officials, with Gianni Garko&rsquo;s angel of death, Sartana, materializing to dole out bloody vigilante justice. In typically puzzling spaghetti-western-style, Kinski, who appears here as gangleader Morgan, would return in the next installment (I AM SARTANA YOUR ANGEL OF DEATH) but in an entirely different role.</p> Friday, August 01 WHAT ABOUT ME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43067 <p>OPENING NIGHT OF THE 2014 MoRUS FILM FEST!<br /><br />A significant and all-too-rarely-seen work of the NYC underground, WHAT ABOUT ME tells the story of a young woman, Lisa Napolitano (played by filmmaker Rachel Amodeo), who finds herself homeless in the city. The film portrays her gradual deterioration as she intermingles with various outcasts of society. Along the way she encounters a shell-shocked Vietnam veteran, Nick (Richard Edson); a nihilistic east-villager, Tom (Nick Zedd); and a sympathetic good samaritan, Paul (Richard Hell). A peerlessly entertaining film that has with time become a precious document of an increasingly vanished neighborhood, WHAT ABOUT ME was shot on location in the Lower East Side and Tompkins Square Park (with footage of the park&rsquo;s homeless shanty-town). Best of all, it features music by the legendary Johnny Thunders of the New York Dolls.<br /><br />Taking place between August 1-9, the 2014 MoRUS (Museum of Reclaimed Urban Space) Film Fest, adopting the theme &ldquo;Women of the Lower East Side,&rdquo; is a cinematic exploration of women making and remaking the neighborhood. Reflecting MORUS&rsquo;s commitment to public programming showcasing the history of community spaces and neighborhood activism, the fest features films by and about the women who have shaped this history.</p> <p><strong>&nbsp;</strong></p> Friday, August 01 CRAWLSPACE - Filmmaker in Person! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42964 <p>Print courtesy of the American Genre Film Archive.<br /><br />In one of his final films, Kinski once again steps out of the supporting-role-shadows to take the lead, and delivers one of his batshit craziest, creepiest performances as apartment building landlord, Karl Gunther. A seemingly kindly figure, Karl turns out (surprise, surprise) to be the son of a Nazi doctor, who spies on his (all-female) tenants via an intricate system of hidden tunnels while continuing his father&rsquo;s twisted, sadistic experiments in the building&rsquo;s attic.<br /><br />With:<br />David Schmoeller PLEASE KILL MR. KINSKI 1999, 9 min, digital<br />Schmoeller&rsquo;s short film recounts the traumatic experience of attempting to direct the undirectable Kinski.</p> Friday, August 01 SALT IN THE WOUND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42966 <p>(aka THE LIBERATORS / IL DITO NELLA PIAGA)<br /><br />With George Hilton and Ray Saunders.<br /><br />This &lsquo;macaroni combat&rsquo; war film is a little-seen gem that deserves to be far better known. Kinski, in one of his rare starring roles, is a WWII American soldier condemned to death for the murder of a civilian. Escaping execution thanks to a German ambush, he and another condemned soldier end up behind enemy lines alongside the officer who was responsible for carrying out their execution. But when they stumble upon an Italian village that welcomes them as liberators, they find themselves defending it against a Nazi attack, providing a chance at redemption. Though it combines elements and themes from THE DIRTY DOZEN and THE MAGNIFICENT SEVEN, SALT IN THE WOUND stands very much on its own, with terrific performances, exciting action sequences, and a surprisingly powerful trajectory.</p> Saturday, August 02 EC: VAMPYR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43069 <p>&ldquo;Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.&rdquo; &ndash;Carl Dreyer</p> Saturday, August 02 MY BEST FIEND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42969 <p>(MEIN LIEBSTER FEIND &ndash; KLAUS KINSKI)<br /><br />Opening with footage of Kinski during the &lsquo;Jesus Christus Erl&ouml;ser&rsquo; tour (documented in full in JESUS CHRIST SAVIOUR), Herzog&rsquo;s posthumous tribute to his frequent collaborator and ghoulish alter ego is a fascinating portrait of Kinski and a necessarily one-sided chronicle of their profoundly tumultuous artistic and personal relationship. Herzog confronts the host of infamous stories, rumors, and attacks that their collaboration engendered (such as the alleged incident in which Herzog reportedly threatened to shoot Kinski if he tried walking off the set of AGUIRRE, or Kinski&rsquo;s description in his autobiography of Herzog as a &ldquo;nasty, sadistic, treacherous, cowardly creep&rdquo;). If the film shows evidence of self-serving revisionist history, it&rsquo;s no less entertaining as a result.</p> Saturday, August 02 EC: DAY OF WRATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43070 <p>(VREDENS DAG)<br />&ldquo;Carl Dreyer&rsquo;s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes &ndash; but his witches don&rsquo;t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.&rdquo; &ndash;Pauline Kael</p> Saturday, August 02 A BULLET FOR THE GENERAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42972 <p>(QUI&Eacute;N SABE?)<br /><br />With Gian Maria Volont&eacute;, Lou Castel, and Jaime Fern&aacute;ndez.<br /><br />A spaghetti western classic, one of the many Mexico-set Zapata westerns produced during that genre&rsquo;s heyday, A BULLET FOR THE GENERAL weaves a tangled tale of proletarian rebellion, greed, and hidden motives. Like so many of the best spaghetti westerns, it&rsquo;s at once exhilaratingly entertaining, blackly comic, visually stunning, and politically sophisticated. Starring the great Gian Maria Volont&eacute; as wild-eyed Mexican bandit &lsquo;El Chuncho&rsquo; and Italian and French New Wave luminary Lou Castel as mysterious gringo Bill Tate, it also features a typically scene-stealing Kinski, who, in his most memorable moment, stands atop a fortress in full monk garb, lobbing grenades at the enemy as he recites the Lord&rsquo;s Prayer.</p> Saturday, August 02 EC: THE PASSION OF JOAN OF ARC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43072 <p>(LA PASSION DE JEANNE D&rsquo;ARC)<br />A work that exemplifies Dreyer&rsquo;s philosophy: simplicity is the most complex idea of all. Although renowned for its spare acts, lack of embellishment, and use of simple shots, Dreyer&rsquo;s masterpiece reveals the natural complexity of an un-retouched face (often existing alone, filling up the frame) and a landscape of history as individual as the lines on that face. Made in 1927-28, it continues to haunt the cinema, looking more and more avant-garde as the years go by.</p> Saturday, August 02 PAGANINI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42955 <p>Archival print courtesy of the Fondazione Cineteca di Bologna. With Klaus Kinski, Debora Caprioglio, Nikolai Kinski, Bernard Blier, and Marcel Marceau.<br /><br />Having written the screenplay for this biopic of the virtuoso 19th century violinist, Niccolo Paganini, a figure with whom Kinski strongly identified, he attempted to enlist Werner Herzog to direct. When Herzog declined (deeming the script an &ldquo;unfilmable mess&rdquo;), Kinski took the reins himself, resulting in his only directorial credit. As much self-portrait as biopic, PAGANINI is as unhinged, self-indulgent, and gloriously singular as you&rsquo;d expect from a Kinski labor-of-love, a largely non-narrative, nearly dialogue-free tribute both to Paganini&rsquo;s artistic genius and sexual voracity. These rare screenings are not to be missed!</p> Sunday, August 03 EC: ORDET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43068 <p>(THE WORD)<br />An existential morality essay by the master of the long take, in which a man who believes he is Jesus Christ soon begins to convince those around him. Based on the play by Kaj Munk, ORDET is a meditation on faith and fanaticism.</p> Sunday, August 03 A BULLET FOR THE GENERAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42973 <p>(QUI&Eacute;N SABE?)<br /><br />With Gian Maria Volont&eacute;, Lou Castel, and Jaime Fern&aacute;ndez.<br /><br />A spaghetti western classic, one of the many Mexico-set Zapata westerns produced during that genre&rsquo;s heyday, A BULLET FOR THE GENERAL weaves a tangled tale of proletarian rebellion, greed, and hidden motives. Like so many of the best spaghetti westerns, it&rsquo;s at once exhilaratingly entertaining, blackly comic, visually stunning, and politically sophisticated. Starring the great Gian Maria Volont&eacute; as wild-eyed Mexican bandit &lsquo;El Chuncho&rsquo; and Italian and French New Wave luminary Lou Castel as mysterious gringo Bill Tate, it also features a typically scene-stealing Kinski, who, in his most memorable moment, stands atop a fortress in full monk garb, lobbing grenades at the enemy as he recites the Lord&rsquo;s Prayer.</p> Sunday, August 03 EC: DAY OF WRATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43071 <p>(VREDENS DAG)<br />&ldquo;Carl Dreyer&rsquo;s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes &ndash; but his witches don&rsquo;t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.&rdquo; &ndash;Pauline Kael</p> Sunday, August 03 CREATURE WITH THE BLUE HAND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42976 <p>(DIE BLAUE HAND)<br /><br />Print courtesy of the American Genre Film Archive.<br /><br />Kinski&rsquo;s early career coincided with the advent of the Krimi genre, a series of atmospheric, convoluted mysteries, initially based on the works of early-20th-century English crime novelist (and co-creator of KING KONG), Edgar Wallace, that saturated German cinemas throughout the 1960s. Invariably set in foggy London (with foggy Hamburg serving as stand-in), they almost as invariably featured appearances by Kinski, usually in supporting roles as shady, menacing characters. CREATURE WITH THE BLUE HAND, however, elevates Kinski not only to a starring role but a dual one, as both accused murderer Dave Emerson and his twin brother Richard, who Dave believes is the actual culprit. CREATURE is a superior <em>krimi</em>, with a double-dose of Kinski.</p> Sunday, August 03 VENUS IN FURS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42979 <p>(PAROXISMUS)<br /><br />With James Darren, Barbara McNair, Maria Rohm, and Dennis Price. Print courtesy of the American Genre Film Archive.<br /><br />Among Jess Franco&rsquo;s very best films, VENUS IN FURS is also one of the most deliriously uncategorizable. Bearing no connection to Sacher-Masoch&rsquo;s infamous novella of the same name, it was inspired instead by jazz trumpeter Chet Baker&rsquo;s description of the mental state he experienced during his solos. From this germ of an idea, Franco conjured up a bizarre, surrealist fever dream in which young American jazz musician Jimmy Logan discovers the dead body of a beautiful woman he had earlier seen being abused by three wealthy sadists, only to find her double materializing to haunt both Jimmy and the three killers. Kinski appears as (surprise, surprise) the kinkiest of the three sadists.</p> Monday, August 04 JACK THE RIPPER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42982 <p>With Josephine Chaplin.<br /><br />Kinski was born to play Jack the Ripper, but it took Spanish schlock-master Jess Franco to make it a reality. Kinski is Dr. Orloff by day, a London doctor who treats the poor and disadvantaged, while by night he preys on the city&rsquo;s prostitutes, fueled by a doozy of an oedipal complex. So often relegated to supporting roles, Kinski takes full advantage of this juicy opportunity, playing the role to the hilt and qualifying as the creepiest Ripper imaginable.</p> Monday, August 04 BUDDY BUDDY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42985 <p>Print courtesy of the British Film Institute. With Jack Lemmon, Walter Matthau, and Paula Prentiss.<br /><br />&ldquo;Billy Wilder&rsquo;s emphatically tasteless 1981 comedy about death, sex, and friendship is more trenchant than funny &ndash; though it probably has more laughs than any of his films after THE FORTUNE COOKIE. It pits a death seeker (suicidal TV censor Jack Lemmon) against a death dealer (coolheaded hit man Walter Matthau) in a battle for a grain or two of human companionship, a victory confirmed over a corpse. Though it&rsquo;s clearly an old man&rsquo;s film, it&rsquo;s hardly serene and settled: Wilder is in a curmudgeonly rage about everything in sight, from sexual repression to sexual liberation, from Today&rsquo;s Youth to Yesterday&rsquo;s Codger. But instead of the sentimental cop-out that usually closes his films, Wilder has isolated an impossibly tiny center of real value and belief, an optimism that is extremely moving in its microscopic dimensions. With Paula Prentiss and (a brilliant idea gone spectacularly wrong) Klaus Kinski as the head of a sex clinic.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Tuesday, August 05 VENOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42988 <p>With Oliver Reed, Nicol Williamson, Sarah Miles, and Sterling Hayden.<br /><br />&ldquo;A trio of crooks played by Klaus Kinski, Oliver Reed, and Susan George find themselves under siege by the police in a luxurious West London townhouse, with aged big game hunter Sterling Hayden and his chronically asthmatic, heir-to-a-colossal-fortune grandson as their hostages. By complete coincidence, the grandson has just come into possession of a new pet which, due to an innocent pet shop mix-up, turns out to be not the docile house snake he was promised, but &ndash; oh no! &ndash; a full size Black Mamba, <em>most deadly poisonous snake in the entire world!</em>&rdquo; &ndash;BREAKFAST IN THE RUINS</p> Tuesday, August 05 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42901 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, August 06 CREATURE WITH THE BLUE HAND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42977 <p>(DIE BLAUE HAND)<br /><br />Print courtesy of the American Genre Film Archive.<br /><br />Kinski&rsquo;s early career coincided with the advent of the Krimi genre, a series of atmospheric, convoluted mysteries, initially based on the works of early-20th-century English crime novelist (and co-creator of KING KONG), Edgar Wallace, that saturated German cinemas throughout the 1960s. Invariably set in foggy London (with foggy Hamburg serving as stand-in), they almost as invariably featured appearances by Kinski, usually in supporting roles as shady, menacing characters. CREATURE WITH THE BLUE HAND, however, elevates Kinski not only to a starring role but a dual one, as both accused murderer Dave Emerson and his twin brother Richard, who Dave believes is the actual culprit. CREATURE is a superior <em>krimi</em>, with a double-dose of Kinski.</p> Wednesday, August 06 IF YOU MEET SARTANA PRAY FOR YOUR DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42959 <p>(SE INCONTRI SARTANA PREGA PER LA TUA MORTE)<br /><br />With Gianni Garko.<br /><br />This enormously successful spaghetti western launched a series of official and unofficial sequels (of a quantity surpassed only by the &ldquo;Django&rdquo; films) and helped nudge the genre in the direction of comic parody. Deliriously convoluted, it concerns a strongbox of gold that inspires a vortex of scheming and double-crossing among a motley crew of outlaws, bandits, and town officials, with Gianni Garko&rsquo;s angel of death, Sartana, materializing to dole out bloody vigilante justice. In typically puzzling spaghetti-western-style, Kinski, who appears here as gangleader Morgan, would return in the next installment (I AM SARTANA YOUR ANGEL OF DEATH) but in an entirely different role.</p> Wednesday, August 06 CRAWLSPACE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42962 <p>Print courtesy of the American Genre Film Archive.<br /><br />In one of his final films, Kinski once again steps out of the supporting-role-shadows to take the lead, and delivers one of his batshit craziest, creepiest performances as apartment building landlord, Karl Gunther. A seemingly kindly figure, Karl turns out (surprise, surprise) to be the son of a Nazi doctor, who spies on his (all-female) tenants via an intricate system of hidden tunnels while continuing his father&rsquo;s twisted, sadistic experiments in the building&rsquo;s attic.<br /><br />With:<br />David Schmoeller PLEASE KILL MR. KINSKI 1999, 9 min, digital<br />Schmoeller&rsquo;s short film recounts the traumatic experience of attempting to direct the undirectable Kinski.</p> <p>&nbsp;</p> Thursday, August 07 SHOW & TELL: Juri Rechinsky's 'SICKFUCKPEOPLE' http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43088 <p>Juri Rechinsky<br />SICKFUCKPEOPLE<br />2013, 75 min, digital video. In Russian and Ukrainian with English subtitles.<br />The first feature-length film by Ukrainian documentary filmmaker Juri Rechinsky, SICKFUCKPEOPLE is a shattering, immensely powerful portrait of a group of homeless, drug-addicted street kids, whom Rechinsky found sheltering together in a squalid Odessa cellar, apparently left to their own devices by their families and society alike. Taking the form of a triptych, the film follows the path of two of these young men (as well as an equally tragic young woman who becomes involved with one of them) over the course of a couple years, chronicling their attempts to salvage their lives as they emerge into adulthood. But the legacy of their drug addiction &ndash; both in terms of their identities and their physical health &ndash; forms a nearly insurmountable obstacle: documenting their interactions with their families and neighbors, SICKFUCKPEOPLE paints a portrait of a society, suffused with hatred and brutality, that refuses to give a second chance to those who inhabit its margins. Turning an unflinching gaze on a reality we&rsquo;d prefer not to confront, Rechinsky invests his film with a profound affection for his struggling protagonists.<br /><br />This program is co-presented by Deutsches Haus at NYU and the Austrian Cultural Forum New York. Juri Rechinsky/SICKFUCKPEOPLE was the co-recipient of the Erste Bank&rsquo;s MoreVALUE Film Award (MehrWERT-Filmpreis) at the 2013 Viennale International Film Festival. The award is provided by Erste Bank, the main sponsor of the Viennale. As part of the award, Juri Rechinsky will spend a one-month fellowship in New York as a filmmaker-in-residence at Deutsches Haus at NYU.</p> Thursday, August 07 VENUS IN FURS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42980 <p>(PAROXISMUS)<br /><br />With James Darren, Barbara McNair, Maria Rohm, and Dennis Price. Print courtesy of the American Genre Film Archive.<br /><br />Among Jess Franco&rsquo;s very best films, VENUS IN FURS is also one of the most deliriously uncategorizable. Bearing no connection to Sacher-Masoch&rsquo;s infamous novella of the same name, it was inspired instead by jazz trumpeter Chet Baker&rsquo;s description of the mental state he experienced during his solos. From this germ of an idea, Franco conjured up a bizarre, surrealist fever dream in which young American jazz musician Jimmy Logan discovers the dead body of a beautiful woman he had earlier seen being abused by three wealthy sadists, only to find her double materializing to haunt both Jimmy and the three killers. Kinski appears as (surprise, surprise) the kinkiest of the three sadists.</p> Thursday, August 07 JESUS CHRIST SAVIOUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42951 <p>(JESUS CHRISTUS ERL&Ouml;SER)<br /><br />&ldquo;Kinski stands alone under a stark spotlight in front of an audience of 5,000. For the next 80 minutes, all hell breaks loose. Assembled painstakingly from the scant existing footage of Kinski&rsquo;s doomed 1971 &lsquo;Jesus Christus Erl&ouml;ser&rsquo; tour, in which his attempts to perform a monologue about Jesus (&lsquo;Wanted, Jesus Christ; crime, seduction, anarchistic tendencies&hellip;&rsquo;) were met violently by audiences who suspected that he related overly closely with his subject. The performance hypnotically degenerates into a furious back and forth between the outraged Kinski and an audience feeding off of his anger, as Kinski alters and personalizes the text to label the audience as Pharisees. JESUS CHRIST SAVIOUR is both a portrait of a great performer at the height of his powers and a mesmerizing real life tragicomedy.&rdquo; &ndash;OLYMPIA FILM FESTIVAL</p> Friday, August 08 EC: IVAN THE TERRIBLE: PARTS 1 & 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43073 <p>(IVAN GROZNY)<br />In Russian with no subtitles; English synopsis available.<br />&ldquo;The first time in history a man has committed suicide by cinema&rdquo;, quipped Dovzhenko. A state-sanctioned production, Ivan&rsquo;s opulent furs and jewels color the black-and-white machinations by a demonic Czar bent on making his subjects&rsquo; lives a living hell &ndash; a statement pointed with outrage directly at Stalin.</p> Friday, August 08 JACK THE RIPPER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42983 <p>With Josephine Chaplin.<br /><br />Kinski was born to play Jack the Ripper, but it took Spanish schlock-master Jess Franco to make it a reality. Kinski is Dr. Orloff by day, a London doctor who treats the poor and disadvantaged, while by night he preys on the city&rsquo;s prostitutes, fueled by a doozy of an oedipal complex. So often relegated to supporting roles, Kinski takes full advantage of this juicy opportunity, playing the role to the hilt and qualifying as the creepiest Ripper imaginable.</p> Friday, August 08 A BULLET FOR THE GENERAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42974 <p>(QUI&Eacute;N SABE?)<br /><br />With Gian Maria Volont&eacute;, Lou Castel, and Jaime Fern&aacute;ndez.<br /><br />A spaghetti western classic, one of the many Mexico-set Zapata westerns produced during that genre&rsquo;s heyday, A BULLET FOR THE GENERAL weaves a tangled tale of proletarian rebellion, greed, and hidden motives. Like so many of the best spaghetti westerns, it&rsquo;s at once exhilaratingly entertaining, blackly comic, visually stunning, and politically sophisticated. Starring the great Gian Maria Volont&eacute; as wild-eyed Mexican bandit &lsquo;El Chuncho&rsquo; and Italian and French New Wave luminary Lou Castel as mysterious gringo Bill Tate, it also features a typically scene-stealing Kinski, who, in his most memorable moment, stands atop a fortress in full monk garb, lobbing grenades at the enemy as he recites the Lord&rsquo;s Prayer.</p> Saturday, August 09 EC: BATTLESHIP POTEMKIN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43074 <p>(BRONENOSETS POTEMKIN)<br />With English intertitles.<br />Eisenstein&rsquo;s constructivist montage and rigid, super-structured plot share equal weight with a seemingly spontaneous, inflamed emotion.</p> Saturday, August 09 PAGANINI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42956 <p>Archival print courtesy of the Fondazione Cineteca di Bologna. With Klaus Kinski, Debora Caprioglio, Nikolai Kinski, Bernard Blier, and Marcel Marceau.<br /><br />Having written the screenplay for this biopic of the virtuoso 19th century violinist, Niccolo Paganini, a figure with whom Kinski strongly identified, he attempted to enlist Werner Herzog to direct. When Herzog declined (deeming the script an &ldquo;unfilmable mess&rdquo;), Kinski took the reins himself, resulting in his only directorial credit. As much self-portrait as biopic, PAGANINI is as unhinged, self-indulgent, and gloriously singular as you&rsquo;d expect from a Kinski labor-of-love, a largely non-narrative, nearly dialogue-free tribute both to Paganini&rsquo;s artistic genius and sexual voracity. These rare screenings are not to be missed!</p> Saturday, August 09 EC: STRIKE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43075 <p>(STACHKA)<br />With Russian intertitles; English synopsis available.<br />Eisenstein&rsquo;s interest in the Freudian father complex drives this psychological scenario in which non-actors step forward to acknowledge the viewer, illustrating Eisenstein&rsquo;s desire to penetrate to the heart of cinema, sidestepping realism by &lsquo;being real&rsquo;. Governmental restrictions made STRIKE the only completed film of a series intended to portray the road to revolution.</p> Saturday, August 09 JESUS CHRIST SAVIOUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42952 <p>(JESUS CHRISTUS ERL&Ouml;SER)<br /><br />&ldquo;Kinski stands alone under a stark spotlight in front of an audience of 5,000. For the next 80 minutes, all hell breaks loose. Assembled painstakingly from the scant existing footage of Kinski&rsquo;s doomed 1971 &lsquo;Jesus Christus Erl&ouml;ser&rsquo; tour, in which his attempts to perform a monologue about Jesus (&lsquo;Wanted, Jesus Christ; crime, seduction, anarchistic tendencies&hellip;&rsquo;) were met violently by audiences who suspected that he related overly closely with his subject. The performance hypnotically degenerates into a furious back and forth between the outraged Kinski and an audience feeding off of his anger, as Kinski alters and personalizes the text to label the audience as Pharisees. JESUS CHRIST SAVIOUR is both a portrait of a great performer at the height of his powers and a mesmerizing real life tragicomedy.&rdquo; &ndash;OLYMPIA FILM FESTIVAL</p> Saturday, August 09 SALT IN THE WOUND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42967 <p>(aka THE LIBERATORS / IL DITO NELLA PIAGA)<br /><br />With George Hilton and Ray Saunders.<br /><br />This &lsquo;macaroni combat&rsquo; war film is a little-seen gem that deserves to be far better known. Kinski, in one of his rare starring roles, is a WWII American soldier condemned to death for the murder of a civilian. Escaping execution thanks to a German ambush, he and another condemned soldier end up behind enemy lines alongside the officer who was responsible for carrying out their execution. But when they stumble upon an Italian village that welcomes them as liberators, they find themselves defending it against a Nazi attack, providing a chance at redemption. Though it combines elements and themes from THE DIRTY DOZEN and THE MAGNIFICENT SEVEN, SALT IN THE WOUND stands very much on its own, with terrific performances, exciting action sequences, and a surprisingly powerful trajectory.</p> Sunday, August 10 BUDDY BUDDY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42986 <p>Print courtesy of the British Film Institute. With Jack Lemmon, Walter Matthau, and Paula Prentiss.<br /><br />&ldquo;Billy Wilder&rsquo;s emphatically tasteless 1981 comedy about death, sex, and friendship is more trenchant than funny &ndash; though it probably has more laughs than any of his films after THE FORTUNE COOKIE. It pits a death seeker (suicidal TV censor Jack Lemmon) against a death dealer (coolheaded hit man Walter Matthau) in a battle for a grain or two of human companionship, a victory confirmed over a corpse. Though it&rsquo;s clearly an old man&rsquo;s film, it&rsquo;s hardly serene and settled: Wilder is in a curmudgeonly rage about everything in sight, from sexual repression to sexual liberation, from Today&rsquo;s Youth to Yesterday&rsquo;s Codger. But instead of the sentimental cop-out that usually closes his films, Wilder has isolated an impossibly tiny center of real value and belief, an optimism that is extremely moving in its microscopic dimensions. With Paula Prentiss and (a brilliant idea gone spectacularly wrong) Klaus Kinski as the head of a sex clinic.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Sunday, August 10 EC: OCTOBER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43076 <p>(OKTYABR)<br />With Russian intertitles; English synopsis available.<br />Eisenstein celebrates the baroque in OCTOBER, as opposed to the Greek classicism of POTEMKIN, disappointing audience expectations at the time. &ldquo;Intellectual cinema&rdquo; starts here.</p> Sunday, August 10 VENOM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42989 <p>With Oliver Reed, Nicol Williamson, Sarah Miles, and Sterling Hayden.<br /><br />&ldquo;A trio of crooks played by Klaus Kinski, Oliver Reed, and Susan George find themselves under siege by the police in a luxurious West London townhouse, with aged big game hunter Sterling Hayden and his chronically asthmatic, heir-to-a-colossal-fortune grandson as their hostages. By complete coincidence, the grandson has just come into possession of a new pet which, due to an innocent pet shop mix-up, turns out to be not the docile house snake he was promised, but &ndash; oh no! &ndash; a full size Black Mamba, <em>most deadly poisonous snake in the entire world!</em>&rdquo; &ndash;BREAKFAST IN THE RUINS</p> Sunday, August 10 EC: OLD AND NEW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-43077 <p>(STAROYE I NOVOYE)<br />With Russian intertitles; English synopsis available.<br />Also known as THE GENERAL LINE, OLD AND NEW is one of Eisenstein&rsquo;s least-seen films. With it, he developed and perfected his theories of &ldquo;mise-en-cadre&rdquo;, using the montage of characters in the foreground and background to conjure meanings, and &ldquo;overtonal montage&rdquo;, bringing silent film to its zenith.</p> Sunday, August 10 MY BEST FIEND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2014#showing-42970 <p>(MEIN LIEBSTER FEIND &ndash; KLAUS KINSKI)<br /><br />Opening with footage of Kinski during the &lsquo;Jesus Christus Erl&ouml;ser&rsquo; tour (documented in full in JESUS CHRIST SAVIOUR), Herzog&rsquo;s posthumous tribute to his frequent collaborator and ghoulish alter ego is a fascinating portrait of Kinski and a necessarily one-sided chronicle of their profoundly tumultuous artistic and personal relationship. Herzog confronts the host of infamous stories, rumors, and attacks that their collaboration engendered (such as the alleged incident in which Herzog reportedly threatened to shoot Kinski if he tried walking off the set of AGUIRRE, or Kinski&rsquo;s description in his autobiography of Herzog as a &ldquo;nasty, sadistic, treacherous, cowardly creep&rdquo;). If the film shows evidence of self-serving revisionist history, it&rsquo;s no less entertaining as a result.</p> Sunday, August 10