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 Mon, 18 Nov 2019 02:12:17 -0500 FLAHERTY NYC: SEDUCTIVE SURFACES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51632 <p><br /><em><strong>Yto Barrada, Sara Cwynar, Zachary Epcar, and Daniel Paul in person.</strong></em><br /><br />This program of short films and a visual lecture focuses on the sensual and erotic elements of surfaces: color, shape, texture, flexibility, penetrability. The works explore the impulse of humans to interact with and be absorbed by their physical environments, as well as the advertising languages and industrial production that exploit this urge. Architectural historian Daniel Paul lectures on the skin-like surfaces of mirror glass architecture in the 1970s, while Yto Barrada&rsquo;s FALSE START exposes the artisanship around fake fossils in Morocco. In the theater of appearances, the viewer activates matter, but not without consequence. These films celebrate artifice, glamour, and &ldquo;thing-ness&rdquo; while revealing uncomfortable, painful, and sometimes violent points of intersection.<br /><br />Daniel Paul SMOOTH OPERATOR (2019, 20 min, audio-visual lecture)<br />Superstudio GLI ATTI FONDAMENTALI: VITA (SUPERSUPERFICIE) (1972, 10 min, 16mm-to-digital)<br />Zachary Epcar RETURN TO FORMS (2016, 10 min, 16mm-to-digital)<br />Sara Cwynar RED FILM (2018, 13 min, digital)<br />Yto Barrada FALSE START (2010, 23 min, digital)<br /><br />Total running time: ca. 80 min.</p> Monday, November 18 EQUATION TO AN UNKNOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51665 <p>(&Eacute;QUATION &Agrave; UN INCONNU)<br /><br />REVIVAL RUN! NEW DIGITAL RESTORATION!<br /><br />Distributed by Altered Innocence.<br /><br />This long-lost masterpiece of hardcore gay erotic cinema centers on a handsome young stud who rides his motorcycle through myriad sexual encounters, from a soccer game&rsquo;s locker room to a phantasmagoric and deeply melancholy orgy. A labyrinth of all-male fantasies whose outstanding beauties always end up fading away while leaving their sensual protagonist dealing with his own loneliness, EQUATION was directed with supreme grace by the mysterious Dietrich de Velsa (aka Francis Savel/Frantz Salieri). A former painter, de Velsa was also the owner and artistic director of La Grande Eug&egrave;ne, one of the first drag cabarets in Paris. Years later, he collaborated with Joseph Losey on MR. KLEIN (1976) and DON GIOVANNI (1979). His one and only film, EQUATION TO AN UNKNOWN stands as one of the most extraordinary erotic films of all time.<br /><br />&ldquo;The most melancholic porn film I&rsquo;ve ever seen. It&rsquo;s very sad, and aesthetically beautiful. Just a young man wandering through several depictions of love and choreographies of love-making; it&rsquo;s like a ceremony, a ceremony of fantasies, especially the last sequence where the main character recalls all his previous fantasies, which come one by one around his bed and make love to him. I think it&rsquo;s one of the most beautiful film sequences of French cinema.&rdquo; &ndash;Yann Gonzalez<br /><br />[<em><strong>PLEASE NOTE: We hoped to screen the short film, LE JOURNAL D'UN COMBAT, alongside the feature film on Nov 14-16, but were unable to secure the exhibition copy; we apologize for any inconvenience!</strong></em>]</p> Monday, November 18 ASK FOR JANE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51685 <p>NYWIFT Members: Cait Cortelyou (Creator/Producer/Star); Caroline Hirsch (Producer); Jennifer Anderson (Costume Designer); Megan Channell (Actor); and Katrina Medoff (Actor).<br /><br />Chicago, 1969: Imagine a world where abortion is punishable by prison, and getting birth control is nearly impossible. As a result, women die every day taking matters into their own hands. When a pregnant student attempts to take her own life, Rose and Janice find a doctor willing to perform the procedure in secret to save the woman&rsquo;s life. Sparked by this experience, Rose and Janice form the Jane Collective: a secret organization to help other women obtain safe illegal abortions. Operating like a spy network, complete with blindfolds and code names, the Janes help thousands of women &ndash; but they can&rsquo;t hide from the police forever.</p> Tuesday, November 19 EQUATION TO AN UNKNOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51666 <p>(&Eacute;QUATION &Agrave; UN INCONNU)<br /><br />REVIVAL RUN! NEW DIGITAL RESTORATION!<br /><br />Distributed by Altered Innocence.<br /><br />This long-lost masterpiece of hardcore gay erotic cinema centers on a handsome young stud who rides his motorcycle through myriad sexual encounters, from a soccer game&rsquo;s locker room to a phantasmagoric and deeply melancholy orgy. A labyrinth of all-male fantasies whose outstanding beauties always end up fading away while leaving their sensual protagonist dealing with his own loneliness, EQUATION was directed with supreme grace by the mysterious Dietrich de Velsa (aka Francis Savel/Frantz Salieri). A former painter, de Velsa was also the owner and artistic director of La Grande Eug&egrave;ne, one of the first drag cabarets in Paris. Years later, he collaborated with Joseph Losey on MR. KLEIN (1976) and DON GIOVANNI (1979). His one and only film, EQUATION TO AN UNKNOWN stands as one of the most extraordinary erotic films of all time.<br /><br />&ldquo;The most melancholic porn film I&rsquo;ve ever seen. It&rsquo;s very sad, and aesthetically beautiful. Just a young man wandering through several depictions of love and choreographies of love-making; it&rsquo;s like a ceremony, a ceremony of fantasies, especially the last sequence where the main character recalls all his previous fantasies, which come one by one around his bed and make love to him. I think it&rsquo;s one of the most beautiful film sequences of French cinema.&rdquo; &ndash;Yann Gonzalez<br /><br />[<em><strong>PLEASE NOTE: We hoped to screen the short film, LE JOURNAL D'UN COMBAT, alongside the feature film on Nov 14-16, but were unable to secure the exhibition copy; we apologize for any inconvenience!</strong></em>]</p> Tuesday, November 19 MILLENNIUM FILM JOURNAL NO. 70 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51751 <p>&ldquo;I came to think of the film strip as a body that&rsquo;s acquiring memory.&rdquo; &ndash;Alexandre Larose, quoted in Tess Takahashi&rsquo;s article on his film BROUILLARD #14<br /><br />The works in this program are all featured in Millennium Film Journal No. 70 (Fall 2019, &ldquo;Body Memory&rdquo;). The body is a consistent presence in the issue &ndash; as image of self-identity, as corporate culture battleground, as representation of colonialist tendencies in sculptural memorials, and as reminder of the demise of several major figures in our field.<br /><br />All descriptions are taken from articles in MFJ No. 70. For more info about Millennium, visit: mfj-online.org<br /><br />Adam &amp; Zack Khalil CULTURE CAPTURE: TERMINAL ADDITION (2019, 7 min, digital)<br />&ldquo;What if a shadowy militant cell started breaking into universities and museums, digitally reclaiming indigenous patrimony, and disappearing public monuments to colonialism? The NRO is not offering how-to guides but rather pre-figuring possible modes of resistance. Positing the reterritorialization of indigenous culture in the digital realm, they reveal and contest how the settler colonial imaginary has already claimed the digital &lsquo;frontier&rsquo; in advance, as well as the futurity with which it is associated.&rdquo; &ndash;Patrick Harrison, &ldquo;New Red Order&rdquo;<br /><br />Alexandre Larose BROUILLARD #14 (2012, 10 min, 35mm)<br />&ldquo;In much the same way that many popular data visualizations compress decades into a few seconds or minutes, BROUILLARD #14 condenses and averages over forty individual ten-minute walks into a single ten-minute cinematic passage. [&hellip;] Despite its visual vibrations and disjoints, BROUILLARD #14&rsquo;s layering of ambulatory passes through the Quebec landscape surrounding the home of Larose&rsquo;s parents produces an average of experience that results in a relatively steady amalgamated image.&rdquo; &ndash;Tess Takahashi, &ldquo;Alexandre Larose&rsquo;s BROUILLARD #14: Analog Experimental Film as Data Visualization&rdquo;<br /><br />Ardele Lister SUGAR DADDY (1980, 30 min, digital)<br />&ldquo;A life-saving feminist talisman. As we look over old family photos and scattered audio cassettes, Lister explains that for 20 years her father had a mistress, Eva M.: a warm and generous woman whom the child Ardele knew and loved, and a prostitute. In a remarkable breach of patriarchal rules, the two stayed in touch throughout the affair, and Eva&rsquo;s confidence in Lister was such that she sent her audio recordings in the hope that she would write her biography. What follows is an uncanny reenactment.&rdquo; &ndash;Laura U. Marks, &ldquo;Ardele Lister&rsquo;s Divine Irony&rdquo;<br /><br />Marie Losier BYUN, OBJET TROUV&Eacute; (2012, 7 min, 16mm)<br />&ldquo;Byun is a North Korean artist, and he escaped the dictatorship there. He&rsquo;s a very talented painter. When he came to New York he started collecting these found objects, finding trash objects and buying some. He started transforming them so they became inhabited by stories. [&hellip;] Because he&rsquo;s not very good at speaking English, I thought the best way to make a portrait of Byun &ndash; because I was very much attracted to his objects &ndash; was animation. He&rsquo;s the center of all of this family of objects, the king of the kingdom.&rdquo; &ndash;Marie Losier, in Joel Schlemowitz, &ldquo;A Playground for Filmmaking: Interview with Marie Losier&rdquo;<br /><br />Shana Moulton Selections from WHISPERING PINES (2012, 15 min, digital)<br />&ldquo;Among the common tropes of the New Age healing narrative is that the self must be dismembered before it can be made whole. Visualization and channeling, aromatherapy and crystals are aids to that labor of self-excavation. Moulton&rsquo;s deft use of the video medium has often been used to portray such experience &ndash; to make graphically manifest the metaphysics of feeling-good. [&hellip;] Cultural techniques of healing and spirit switch from tchotchkes to touch screens, from pink sand to pixels. Both image and self are composed of many layers and the astral plane coincides with the digital picture plane.&rdquo; &ndash;Faith Holland &amp; Seth Watter, &ldquo;From Picture Plane to Astral Plane: Shana Moulton&rsquo;s WHISPERING PINES&rdquo;<br /><br />Total running time: ca. 75 min.</p> Wednesday, November 20 EQUATION TO AN UNKNOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51667 <p>(&Eacute;QUATION &Agrave; UN INCONNU)<br /><br />REVIVAL RUN! NEW DIGITAL RESTORATION!<br /><br />Distributed by Altered Innocence.<br /><br />This long-lost masterpiece of hardcore gay erotic cinema centers on a handsome young stud who rides his motorcycle through myriad sexual encounters, from a soccer game&rsquo;s locker room to a phantasmagoric and deeply melancholy orgy. A labyrinth of all-male fantasies whose outstanding beauties always end up fading away while leaving their sensual protagonist dealing with his own loneliness, EQUATION was directed with supreme grace by the mysterious Dietrich de Velsa (aka Francis Savel/Frantz Salieri). A former painter, de Velsa was also the owner and artistic director of La Grande Eug&egrave;ne, one of the first drag cabarets in Paris. Years later, he collaborated with Joseph Losey on MR. KLEIN (1976) and DON GIOVANNI (1979). His one and only film, EQUATION TO AN UNKNOWN stands as one of the most extraordinary erotic films of all time.<br /><br />&ldquo;The most melancholic porn film I&rsquo;ve ever seen. It&rsquo;s very sad, and aesthetically beautiful. Just a young man wandering through several depictions of love and choreographies of love-making; it&rsquo;s like a ceremony, a ceremony of fantasies, especially the last sequence where the main character recalls all his previous fantasies, which come one by one around his bed and make love to him. I think it&rsquo;s one of the most beautiful film sequences of French cinema.&rdquo; &ndash;Yann Gonzalez<br /><br />[<em><strong>PLEASE NOTE: We hoped to screen the short film, LE JOURNAL D'UN COMBAT, alongside the feature film on Nov 14-16, but were unable to secure the exhibition copy; we apologize for any inconvenience!</strong></em>]</p> Wednesday, November 20 LUC FERRARI, PGM 1: THE GREAT REHEARSALS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51709 <p>G&eacute;rard Patris &amp; Luc Ferrari<br />THE GREAT REHEARSALS: KARLHEINZ STOCKHAUSEN: MOMENTE<br />(1965-66, 66 min, 16mm-to-digital)<br />Between 1965-68 Luc Ferrari and his close friend G&eacute;rard Patris made a five-part series of documentaries for French television in which they documented the rehearsal process of some of the composers they most admired (including Olivier Messiaen, Karlheinz Stockhausen, Edgar Var&egrave;se, Hermann Scherchen, and Cecil Taylor), as well as discussed their work directly with the artists. Filmed at Cologne&rsquo;s WDR Studio for Electronic Music (a location of immense importance to the history of electronic music) during the rehearsals for the premiere of Stockhausen&rsquo;s monumental work &ldquo;Momente,&rdquo; this installment of the series includes revealing rehearsal sequences with soprano Martina Arroyo, interspersed with a rare, intimate conversation with Stockhausen, who discusses his childhood, the tragic loss of his mother during the war, and the meaning of &ldquo;Momente.&rdquo;<br /><br />G&eacute;rard Patris &amp; Luc Ferrari<br />THE GREAT REHEARSALS: CECIL TAYLOR IN PARIS<br />(1965-66, 44 min, 16mm-to-digital)<br />Ferrari was fascinated by the emergence of American free jazz, and this interest manifests in this chapter of &ldquo;The Great Rehearsals,&rdquo; which finds Ferrari interviewing the great Cecil Taylor in Paris with his band: bassist Alan Silva, saxophonist Jimmy Lyons, and drummer Andrew Cyrille.<br /><br /><strong><em>The screening on Thurs, Nov 21 will be introduced by musician and writer David Grubbs, who organized the &ldquo;Luc Ferrari: Stereo Spasms&rdquo; concerts at Pioneer Works.</em></strong></p> Thursday, November 21 LUC FERRARI, PGM 2: THE MAGICIAN’S APPRENTICE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51712 <p>(LES APPRENTIS DU MAGICIEN: BISON RAVI BORIS VIAN)<br /><br />This rare made-for-television portrait of the great French polymath Boris Vian (musician, author, poet, translator, jazz critic, and more) is Ferrari and Patris&rsquo;s surrealist-inflected attempt to convey the extent of Vian&rsquo;s imaginative works in theater and fiction. The film features a late-1970s theater group re-enacting plays, songs, and scenes from Vian&rsquo;s oeuvre, as well as archival footage of Vian performing and being interviewed in English.</p> Friday, November 22 LUC FERRARI, PGM 3: CHRONOPOLIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51715 <p>L&rsquo;INTÉRIEUR (1961, 4.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />ETUDE (1961, 5.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />CONTINU DISCONTINU (1961, 9 min, 35mm-to-digital. Music: Luc Ferrari (Part 1); Iannis Xenakis (Part 2).)<br />&amp;<br />CHRONOPOLIS<br />(1981-82, 54 min, 35mm. Music: Luc Ferrari. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />For the soundtracks of his extraordinary avant-garde animations, Polish filmmaker Piotr Kamler almost invariably collaborated with many of the most important electronic musicians of the time, including Iannis Xenakis, Fran&ccedil;ois Bayle, Bernard Parmegiani, and, on two occasions, Luc Ferrari. Kamler&rsquo;s lone feature film, CHRONOPOLIS takes place in a fantastic city whose immortal residents relieve the boredom of perpetual existence by devoting themselves to the manufacture of time itself. A nonverbal spectacle of exquisite and inspired imagery &ndash; set to an extraordinary score by Ferrari &ndash; it&rsquo;s a haunting and philosophically rich meditation on the nature of time.<br /><br />Total running time: ca. 85 min.</p> Friday, November 22 PIOTR KAMLER, PGM 1: CHRONOPOLIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51723 <p>L&rsquo;INTÉRIEUR (1961, 4.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />ETUDE (1961, 5.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />CONTINU DISCONTINU (1961, 9 min, 35mm-to-digital. Music: Luc Ferrari (Part 1); Iannis Xenakis (Part 2).)<br />&amp;<br />CHRONOPOLIS<br />(1981-82, 54 min, 35mm. Music: Luc Ferrari. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />For the soundtracks of his extraordinary avant-garde animations, Polish filmmaker Piotr Kamler almost invariably collaborated with many of the most important electronic musicians of the time, including Iannis Xenakis, Fran&ccedil;ois Bayle, Bernard Parmegiani, and, on four occasions, Luc Ferrari. Kamler&rsquo;s lone feature film, CHRONOPOLIS takes place in a fantastic city whose immortal residents relieve the boredom of perpetual existence by devoting themselves to the manufacture of time itself. A nonverbal spectacle of exquisite and inspired imagery &ndash; set to an extraordinary score by Ferrari &ndash; it&rsquo;s a haunting and philosophically rich meditation on the nature of time.<br /><br />Total running time: ca. 85 min.</p> Friday, November 22 LUC FERRARI, PGM 4: LES JEUNES FILLES + FAR FROM EQUILIBRIUM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51719 <p>Luc Ferrari<br />LES JEUNES FILLES<br />(1967, 25 min, 16mm-to-digital)<br />&ldquo;[B]roadly speaking the reason I am making this film [is to] learn and to find out whether I am capable of making a film on my own &ndash; I have been wondering about that. [&hellip;] This film bears no relation to music, though there is a kinship with H&eacute;t&eacute;rozygote; it&rsquo;s about a group of young women I came across in the street, in Hamburg, neither very beautiful nor ugly, just average, having a good time, walking around and talking.&rdquo; &ndash;Luc Ferrari<br />&amp;<br />Alain Bedos &amp; Christian Moncel<br />FAR FROM EQUILIBRIUM / LOIN DE L&rsquo;EQUILIBRE<br />(1978, 30 min, 16mm-to-digital)<br />Ferrari composed the music for this scientific/educational film.</p> Saturday, November 23 PIOTR KAMLER, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51727 <p>CONTE (1960, 5.5 min, 35mm-to-digital. Music: Fran&ccedil;ois-Bernard Mache.)<br />DANSE (1961, 4.5 min, 35mm-to-digital. Music: Bernard Parmegiani.)<br />LIGNES ET POINTS (1961, 5 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />STRUCTURES (1961, 7 min, 35mm-to-digital. Music: Ivo Malec.)<br />COMPOSITION (1961, 4 min, 35mm-to-digital. Music: Philippe Carson.)<br />REFLETS (1961, 4 min, 35mm-to-digital. Music: Ivo Malec.)<br />GALAXIE (1964, 7 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />&Eacute;TUDE 65 (1965, 4.5 min, 35mm-to-digital. Music: Beatriz Ferreyra.)<br />TOURNOI (1965, 7 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />MEURTRE (1968, 3.5 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />ENFANCE (1969, 3 min, 35mm-to-digital. Poem by Paul Verlaine.)<br />TELEMANN (2006, 4 min, digital)<br />CONTINU-DISCONTINU 2010 (2010, 6.5 min, digital)<br />INTERVIEW KAMLER (1971, 6 min, 35mm-to-digital)<br />Total running time: 75 min.</p> Saturday, November 23 PIOTR KAMLER, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51738 <p>WINTER / HIVER (1965, 9.5 min, 35mm-to-digital. Music: Antonio Vivaldi.)<br />THE GREEN PLANET / LA PLAN&Egrave;TE VERTE (1966, 9 min, 35mm-to-digital. Music: Ivo Malec.)<br />THE SPIDER ELEPHANT / L&rsquo;ARAIGN&Eacute;L&Eacute;PHANT (1968, 9 min, 35mm. Music: Bernard Parmegiani. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />THE HOLE / LE TROU (1969, 9 min, 35mm-to-digital. Music: Robert Cohen-Solal.)<br />LE LABYRINTHE (1970, 12 min, 16mm. Music: Bernard Parmegiani.)<br />D&Eacute;LICIEUSE CATASTROPHE (1970, 11 min, 35mm. Music: Robert Cohen-Solal. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />HEART OF RELIEF / COEUR DE SECOURS (1973, 9.5 min, 35mm-to-digital. Music: Francois Bayle.)<br />LE PAS (1975, 7 min, 35mm-to-digital. Music: Bernard Parmegiani. DCP courtesy of the CNC &ndash; Direction du patrimoine.)<br />ONE EPHEMERAL MISSION / UNE MISSION &Eacute;PH&Eacute;M&Egrave;RE (1993, 8 min, 35mm. Music: Bernard Parmegiani. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />5 VISUAL TRACKS FOR SOLO COMPUTER / 5 UTWOR&Oacute;W WIZUALNYCH NA KOMPUTER SOLO (2013, 7 min, digital)<br />PERPETUUM MOBILE (2015, 9 min, digital)<br /><br />Total running time: ca. 105 min.<br /><br /></p> Saturday, November 23 LUC FERRARI, PGM 1: THE GREAT REHEARSALS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51710 <p>G&eacute;rard Patris &amp; Luc Ferrari<br />THE GREAT REHEARSALS: KARLHEINZ STOCKHAUSEN: MOMENTE<br />(1965-66, 66 min, 16mm-to-digital)<br />Between 1965-68 Luc Ferrari and his close friend G&eacute;rard Patris made a five-part series of documentaries for French television in which they documented the rehearsal process of some of the composers they most admired (including Olivier Messiaen, Karlheinz Stockhausen, Edgar Var&egrave;se, Hermann Scherchen, and Cecil Taylor), as well as discussed their work directly with the artists. Filmed at Cologne&rsquo;s WDR Studio for Electronic Music (a location of immense importance to the history of electronic music) during the rehearsals for the premiere of Stockhausen&rsquo;s monumental work &ldquo;Momente,&rdquo; this installment of the series includes revealing rehearsal sequences with soprano Martina Arroyo, interspersed with a rare, intimate conversation with Stockhausen, who discusses his childhood, the tragic loss of his mother during the war, and the meaning of &ldquo;Momente.&rdquo;<br /><br />G&eacute;rard Patris &amp; Luc Ferrari<br />THE GREAT REHEARSALS: CECIL TAYLOR IN PARIS<br />(1965-66, 44 min, 16mm-to-digital)<br />Ferrari was fascinated by the emergence of American free jazz, and this interest manifests in this chapter of &ldquo;The Great Rehearsals,&rdquo; which finds Ferrari interviewing the great Cecil Taylor in Paris with his band: bassist Alan Silva, saxophonist Jimmy Lyons, and drummer Andrew Cyrille.<br /><br /><strong><em>The screening on Thurs, Nov 21 will be introduced by musician and writer David Grubbs, who organized the &ldquo;Luc Ferrari: Stereo Spasms&rdquo; concerts at Pioneer Works.</em></strong></p> Sunday, November 24 LUC FERRARI, PGM 3: CHRONOPOLIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51716 <p>L&rsquo;INTÉRIEUR (1961, 4.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />ETUDE (1961, 5.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />CONTINU DISCONTINU (1961, 9 min, 35mm-to-digital. Music: Luc Ferrari (Part 1); Iannis Xenakis (Part 2).)<br />&amp;<br />CHRONOPOLIS<br />(1981-82, 54 min, 35mm. Music: Luc Ferrari. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />For the soundtracks of his extraordinary avant-garde animations, Polish filmmaker Piotr Kamler almost invariably collaborated with many of the most important electronic musicians of the time, including Iannis Xenakis, Fran&ccedil;ois Bayle, Bernard Parmegiani, and, on two occasions, Luc Ferrari. Kamler&rsquo;s lone feature film, CHRONOPOLIS takes place in a fantastic city whose immortal residents relieve the boredom of perpetual existence by devoting themselves to the manufacture of time itself. A nonverbal spectacle of exquisite and inspired imagery &ndash; set to an extraordinary score by Ferrari &ndash; it&rsquo;s a haunting and philosophically rich meditation on the nature of time.<br /><br />Total running time: ca. 85 min.</p> Sunday, November 24 PIOTR KAMLER, PGM 1: CHRONOPOLIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51724 <p>L&rsquo;INTÉRIEUR (1961, 4.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />ETUDE (1961, 5.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />CONTINU DISCONTINU (1961, 9 min, 35mm-to-digital. Music: Luc Ferrari (Part 1); Iannis Xenakis (Part 2).)<br />&amp;<br />CHRONOPOLIS<br />(1981-82, 54 min, 35mm. Music: Luc Ferrari. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />For the soundtracks of his extraordinary avant-garde animations, Polish filmmaker Piotr Kamler almost invariably collaborated with many of the most important electronic musicians of the time, including Iannis Xenakis, Fran&ccedil;ois Bayle, Bernard Parmegiani, and, on four occasions, Luc Ferrari. Kamler&rsquo;s lone feature film, CHRONOPOLIS takes place in a fantastic city whose immortal residents relieve the boredom of perpetual existence by devoting themselves to the manufacture of time itself. A nonverbal spectacle of exquisite and inspired imagery &ndash; set to an extraordinary score by Ferrari &ndash; it&rsquo;s a haunting and philosophically rich meditation on the nature of time.<br /><br />Total running time: ca. 85 min.</p> Sunday, November 24 LUC FERRARI, PGM 4: LES JEUNES FILLES + FAR FROM EQUILIBRIUM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51720 <p>Luc Ferrari<br />LES JEUNES FILLES<br />(1967, 25 min, 16mm-to-digital)<br />&ldquo;[B]roadly speaking the reason I am making this film [is to] learn and to find out whether I am capable of making a film on my own &ndash; I have been wondering about that. [&hellip;] This film bears no relation to music, though there is a kinship with H&eacute;t&eacute;rozygote; it&rsquo;s about a group of young women I came across in the street, in Hamburg, neither very beautiful nor ugly, just average, having a good time, walking around and talking.&rdquo; &ndash;Luc Ferrari<br />&amp;<br />Alain Bedos &amp; Christian Moncel<br />FAR FROM EQUILIBRIUM / LOIN DE L&rsquo;EQUILIBRE<br />(1978, 30 min, 16mm-to-digital)<br />Ferrari composed the music for this scientific/educational film.</p> Sunday, November 24 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51753 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Monday, November 25 PIOTR KAMLER, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51728 <p>CONTE (1960, 5.5 min, 35mm-to-digital. Music: Fran&ccedil;ois-Bernard Mache.)<br />DANSE (1961, 4.5 min, 35mm-to-digital. Music: Bernard Parmegiani.)<br />LIGNES ET POINTS (1961, 5 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />STRUCTURES (1961, 7 min, 35mm-to-digital. Music: Ivo Malec.)<br />COMPOSITION (1961, 4 min, 35mm-to-digital. Music: Philippe Carson.)<br />REFLETS (1961, 4 min, 35mm-to-digital. Music: Ivo Malec.)<br />GALAXIE (1964, 7 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />&Eacute;TUDE 65 (1965, 4.5 min, 35mm-to-digital. Music: Beatriz Ferreyra.)<br />TOURNOI (1965, 7 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />MEURTRE (1968, 3.5 min, 35mm-to-digital. Music: Fran&ccedil;ois Bayle.)<br />ENFANCE (1969, 3 min, 35mm-to-digital. Poem by Paul Verlaine.)<br />TELEMANN (2006, 4 min, digital)<br />CONTINU-DISCONTINU 2010 (2010, 6.5 min, digital)<br />INTERVIEW KAMLER (1971, 6 min, 35mm-to-digital)<br />Total running time: 75 min.</p> Monday, November 25 PIOTR KAMLER, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51739 <p>WINTER / HIVER (1965, 9.5 min, 35mm-to-digital. Music: Antonio Vivaldi.)<br />THE GREEN PLANET / LA PLAN&Egrave;TE VERTE (1966, 9 min, 35mm-to-digital. Music: Ivo Malec.)<br />THE SPIDER ELEPHANT / L&rsquo;ARAIGN&Eacute;L&Eacute;PHANT (1968, 9 min, 35mm. Music: Bernard Parmegiani. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />THE HOLE / LE TROU (1969, 9 min, 35mm-to-digital. Music: Robert Cohen-Solal.)<br />LE LABYRINTHE (1970, 12 min, 16mm. Music: Bernard Parmegiani.)<br />D&Eacute;LICIEUSE CATASTROPHE (1970, 11 min, 35mm. Music: Robert Cohen-Solal. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />HEART OF RELIEF / COEUR DE SECOURS (1973, 9.5 min, 35mm-to-digital. Music: Francois Bayle.)<br />LE PAS (1975, 7 min, 35mm-to-digital. Music: Bernard Parmegiani. DCP courtesy of the CNC &ndash; Direction du patrimoine.)<br />ONE EPHEMERAL MISSION / UNE MISSION &Eacute;PH&Eacute;M&Egrave;RE (1993, 8 min, 35mm. Music: Bernard Parmegiani. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />5 VISUAL TRACKS FOR SOLO COMPUTER / 5 UTWOR&Oacute;W WIZUALNYCH NA KOMPUTER SOLO (2013, 7 min, digital)<br />PERPETUUM MOBILE (2015, 9 min, digital)<br /><br />Total running time: ca. 105 min.<br /><br /></p> Monday, November 25 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51754 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Tuesday, November 26 LUC FERRARI, PGM 2: THE MAGICIAN’S APPRENTICE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51713 <p>(LES APPRENTIS DU MAGICIEN: BISON RAVI BORIS VIAN)<br /><br />This rare made-for-television portrait of the great French polymath Boris Vian (musician, author, poet, translator, jazz critic, and more) is Ferrari and Patris&rsquo;s surrealist-inflected attempt to convey the extent of Vian&rsquo;s imaginative works in theater and fiction. The film features a late-1970s theater group re-enacting plays, songs, and scenes from Vian&rsquo;s oeuvre, as well as archival footage of Vian performing and being interviewed in English.</p> Tuesday, November 26 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51755 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, November 27 LUC FERRARI, PGM 3: CHRONOPOLIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51717 <p>L&rsquo;INTÉRIEUR (1961, 4.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />ETUDE (1961, 5.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />CONTINU DISCONTINU (1961, 9 min, 35mm-to-digital. Music: Luc Ferrari (Part 1); Iannis Xenakis (Part 2).)<br />&amp;<br />CHRONOPOLIS<br />(1981-82, 54 min, 35mm. Music: Luc Ferrari. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />For the soundtracks of his extraordinary avant-garde animations, Polish filmmaker Piotr Kamler almost invariably collaborated with many of the most important electronic musicians of the time, including Iannis Xenakis, Fran&ccedil;ois Bayle, Bernard Parmegiani, and, on two occasions, Luc Ferrari. Kamler&rsquo;s lone feature film, CHRONOPOLIS takes place in a fantastic city whose immortal residents relieve the boredom of perpetual existence by devoting themselves to the manufacture of time itself. A nonverbal spectacle of exquisite and inspired imagery &ndash; set to an extraordinary score by Ferrari &ndash; it&rsquo;s a haunting and philosophically rich meditation on the nature of time.<br /><br />Total running time: ca. 85 min.</p> Wednesday, November 27 PIOTR KAMLER, PGM 1: CHRONOPOLIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51725 <p>L&rsquo;INTÉRIEUR (1961, 4.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />ETUDE (1961, 5.5 min, 35mm-to-digital. Music: Luc Ferrari.)<br />CONTINU DISCONTINU (1961, 9 min, 35mm-to-digital. Music: Luc Ferrari (Part 1); Iannis Xenakis (Part 2).)<br />&amp;<br />CHRONOPOLIS<br />(1981-82, 54 min, 35mm. Music: Luc Ferrari. Archival print courtesy of the CNC &ndash; Direction du patrimoine.)<br />For the soundtracks of his extraordinary avant-garde animations, Polish filmmaker Piotr Kamler almost invariably collaborated with many of the most important electronic musicians of the time, including Iannis Xenakis, Fran&ccedil;ois Bayle, Bernard Parmegiani, and, on four occasions, Luc Ferrari. Kamler&rsquo;s lone feature film, CHRONOPOLIS takes place in a fantastic city whose immortal residents relieve the boredom of perpetual existence by devoting themselves to the manufacture of time itself. A nonverbal spectacle of exquisite and inspired imagery &ndash; set to an extraordinary score by Ferrari &ndash; it&rsquo;s a haunting and philosophically rich meditation on the nature of time.<br /><br />Total running time: ca. 85 min.</p> Wednesday, November 27 EC: TOM, TOM, THE PIPER’S SON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51829 <p>&ldquo;Original 1905 film shot and probably directed by G.W. &lsquo;Billy&rsquo; Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.&rdquo; &ndash;Ken Jacobs</p> Saturday, November 30 EC: LARRY JORDAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51830 <p>DUO CONCERTANTES (1962-64, 6 min, 16mm, b&amp;w)<br />HAMFAT ASAR (1965, 13 min, 16mm, b&amp;w)<br />GYMNOPEDIES (1968, 6 min, 16mm)<br />THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&amp;w. Preserved by Anthology Film Archives.)<br />OUR LADY OF THE SPHERE (1968, 9 min, 35mm)<br />&ldquo;With a taste for nostalgic romanticism&hellip;Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.&rdquo; &ndash;Jackie Leger<br /><br />Total running time: ca. 85 min.</p> Saturday, November 30 EC: JENNINGS / KIRSANOFF http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2019#showing-51831 <p>Humphrey Jennings<br />LISTEN TO BRITAIN (1941, 19 min, 35mm, b&amp;w)<br />Jennings&rsquo;s film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds.<br /><br />Dimitri Kirsanoff<br />M&Eacute;NILMONTANT (1924-25, 38 min, 35mm, b&amp;w, silent)<br />&ldquo;[T]o a remarkable degree, M&Eacute;NILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance&rsquo;s LA ROUE (1923) and Leon Moussinac&rsquo;s LE BRASIER ARDENT (1923)&hellip;and with Jean Epstein&rsquo;s COEUR FIDELE (1923)&hellip;any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff&rsquo;s achievement.&rdquo; &ndash;P. Adams Sitney, THE CINEMA OF POETRY<br /><br />Total running time: ca. 60 min.</p> Saturday, November 30 EC: THE GENERAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51832 <p>With Buster Keaton, Marion Mack, Glen Cavendar, Jim Farley, and Joseph Keaton.<br /><br />&ldquo;In the funniest of all silent feature comedy classics, the imperturbable Buster Keaton is cast as a daring Federal Spy with an outlandish plan to change the course of the Civil War. This sophisticated and grotesque screen farce &ndash; eloquently touching, uproariously hilarious &ndash; is a perfect example of Keaton&rsquo;s art. Engulfed by switches, stolen engines, valves, and other mechanical contrivances, the immortal comedian &ndash; an engine driver literally on the wrong side of the tracks &ndash; solemnly attempts to behave normally in a world which is plainly bewitched.&rdquo; &ndash;CINEMA 16 program notes, 1958</p> Sunday, December 01 EC: RAPT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51834 <p>&ldquo;RAPT is, paradoxically, both a film which looks back anachronistically toward the silent era and a work which belongs to the vanguard of sound cinema. Part of that paradox can be resolved by an understanding of the film&rsquo;s complex utilization of music. RAPT employs very little dialogue, and in this respect it is reminiscent of the part-talkie genre&hellip;. It is linked to such abstract and hybrid avant-garde works as VAMPYR and L&rsquo;&Acirc;GE D&rsquo;OR. The radical nature of RAPT, however, resides in its vision of a cinematic musical score. In making the film, Kirsanoff worked closely with the composers Honegger and Hoerce.&rdquo; &ndash;Lucy Fisher</p> Sunday, December 01 EC: KUBELKA / LYE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2019#showing-51835 <p>Peter Kubelka<br />MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN&nbsp;(1955, 16 min, 35mm, <span>Made in collaboration with Ferry Radax.</span>)<br />ADEBAR (1957, 1 min, 35mm)<br />SCHWECHATER (1958, 1 min, 35mm)<br />ARNULF RAINER (1960, 7 min, 35mm)<br />OUR TRIP TO AFRICA /&nbsp;UNSERE AFRIKAREISE (1966, 12 min, 16mm)<br />&ldquo;Peter Kubelka is the perfectionist of the film medium; and, as I honor that quality above all others at this time finding such a lack of it now elsewhere, I would simply like to say: Peter Kubelka is the world&rsquo;s greatest filmmaker &ndash; which is to say, simply: see his films!&hellip;by all means/above all else&hellip;etcetera.&rdquo; &ndash;Stan Brakhage<br /><br />Len Lye<br />TUSALAVA (1929, 10 min, 16mm, silent)<br />TRADE TATTOO (1937, 5 min, 16mm)<br />RHYTHM (1957, 1 min, 16mm)<br />FREE RADICALS (1958/79, 4 min, 16mm)<br />A giant of experimental animation, Len Lye was born in New Zealand in 1901. He moved to England in the 1920s and subsequently to New York in 1944, where he spent the last 40 years of his life. A pioneer of &lsquo;scratch&rsquo; or &lsquo;direct&rsquo; filmmaking, Lye used various tools to mark patterns, shapes, and images directly onto the film&rsquo;s surface, and often explored the dynamic energy of abstract images propelled into life by lively jazz scores or Pacific-inspired rhythms.<br /><br />Total running time: ca. 60 min.</p> Sunday, December 01