https://www.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 Fri, 20 Feb 2026 02:05:52 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60788 <p class="p1">Storefront Films, an ongoing partnership between Storefront for Art and Architecture and Anthology Film Archives, embraces and highlights cinema’s significant role in representing the built environment. From early 2026 through the spring, Storefront presents an exhibition by artist Alison Nguyen at their gallery on Kenmare Street. Nguyen’s multi-channel moving image installation untangles the politics of cultural memory, fusing performance and speculative fiction with previously censored material drawn from the real, and expands on themes from her film AISLE 9 (2025). In conjunction with the exhibition at Storefront, this program at Anthology will screen the new cinema cut of AISLE 9, and bring together other short films that share questions around censorship, decoding, and reconstructing memory, from various geopolitical vantage points. A conversation between Nguyen and Storefront curator Jessica Kwok will follow.<br /><br />For more info about the exhibition at Storefront for Art and Architecture visit: https://storefront.nyc/<br /><br />Alison Nguyen AISLE 9 (2025, 25 min, digital)<br />Maryam Tafakory NAZABAZI (2021, 20 min, digital)<br />Joan Braderman 30 SECOND SPOT RECONSIDERED (1988, 11 min, video)<br />Nazli Dincel HER SILENT SEAMING (2014, 10.5 min, 16mm)<br />James Richards ROSEBUD (2013, 13 min, digital)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60772 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />DER FAN deserves a place alongside AUDITION and POSSESSION as an essential art-horror experience. Simone (the magnetic Désirée Nosbusch) is a teenage runaway who is obsessed with the pop singer known as “R”. Soon, that obsession takes over her life. When “R” uses Simone with machine-like coldness, she plots her revenge with an unholy ceremony that’s equally romantic and horrifying. Fueled by a killer minimalist synth soundtrack from Rheingold and a gorgeous design aesthetic, DER FAN is a subversive and electric shocker that goes harder than you’d ever expect it to go.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60767 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />This unnerving journey into madness and murder features an unforgettable star turn by Millie Perkins that will sear itself onto your retinas. Perkins plays a tormented woman whose repressed memories of childhood abuse surface in some highly undesirable ways, compelling her to pick up a razor and go after men she sees on TV. An anomaly in the career of director Matt Cimber (who previously specialized in softcore and blaxploitation fare), this movie could only have been made outside of the studio system. A wonderful bonus: the film’s widescreen cinematography comes courtesy of a young Dean Cundey, who’d go on to shoot HALLOWEEN two years later.<br /><br /><strong>Introduced by Payton McCarty-Simas on Fri, Feb 20!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60826 <p>Austrian experimental filmmakers have shown a special proclivity for working with and commenting on advertising, starting with (Anthology co-founder) Peter Kubelka: in a body of work that famously comprises only nine films, two (ADEBAR and SCHWECHATER) were commissioned as advertisements (but ultimately rejected by the clients), one (OUR TRIP TO AFRICA) was commissioned as a travel documentary (but ultimately rejected), and one (POETRY AND TRUTH) is a found-footage film constructed from TV commercials. This program gathers together films by Kubelka, as well as other advertising-related works by Austrian experimental luminaries Kurt Kren, Mara Mattuschka, and Peter Tscherkassky.<br /><br />Kurt Kren 46/90 FALTER 2 (1990, 1 min, 35mm-to-DCP. Commissioned by the Viennese city newspaper Falter.)<br />Peter Kubelka ADEBAR (1957, 1 min, 35mm. Commissioned (but rejected) by Vienna’s Café Adebar.)<br />Peter Kubelka SCHWECHATER (1958, 1 min, 16mm. Commissioned (but rejected) by Schwechater Bier.)<br />Anonymous Commercials for d-c-fix and INKU GF-Kante (1963/65, 4 min, 35mm, b&w. Preserved (2013) by the Austrian Film Museum.)<br />Peter Kubelka POETRY AND TRUTH / DICHTUNG UND WAHRHEIT (1996-2003, 13 min, 16mm)<br />Peter Tscherkassky COMING ATTRACTIONS (2010, 25 min, 35mm)<br />Mara Mattuschka CEROLAX II (1985, 1.5 min, 16mm-to-DCP)<br />Plus: a selection of HUMANIC ads (1970s-80s, ca. 5 min, video)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60802 <p>From the 1950s through the 1970s, Chicago’s Goldsholl Design & Film Associates was responsible for some of the most innovative and inventive advertising and sponsored films of its era. The firm was created and run by Morton and Millie Goldsholl, both of whom were heavily influenced by the Bauhaus artist, photographer, filmmaker, and designer, László Moholy-Nagy, with whom they studied at the Chicago School of Design (which he had founded in 1939). Moholy-Nagy’s influence – and the influence of the many artists he invited to the school, such as Buñuel and Dalí – was unmistakably evident in their advertising work, which often made use of animation, collage, and other techniques drawn from avant-garde art and filmmaking. In 2006, the Goldsholl film collection was donated to Chicago Film Archives, which has lovingly preserved and promoted their extraordinary body of work, including their countless commercials and industrial films, their own filmic experiments, their travel films, and more. This program, organized in collaboration with Chicago Film Archives, comprises a selection of some of their most memorable films, with an emphasis on their most stylistically and formally experimental works.<br /><br />FACES AND FORTUNES (Kimberly-Clark Corporation) (1959, 13 min, 16mm-to-DCP)<br />25TH ANNIVERSARY PRESENTATION REEL (Foote, Cone & Belding) (1967, 3 min, 16mm-to-DCP)<br />LENS DISTORTIONS #8 AND 9 (1971, 2.5 min, 16mm-to-DCP)<br />KLEENEX X-PERIMENTS (SNEEZE, BIRDS, SCRATCH) (Kimberly-Clark Corporation) (1960s, 6.5 min, 16mm-to-DCP)<br />OLD MILWAUKEE (Pabst Brewing Company) (1964, 4 min, 16mm-to-DCP)<br />IMAGINATION 11 (Champion Papers Incorporated) (1967, 5.5 min, 16mm-to-DCP)<br />AC’CENT SALES FILM: THE HONEYMOONERS (Campbell-Mithun, Inc.) (ca. 1971, 4 min, 16mm-to-DCP)<br />THE HOT ONE (Turner Corporation) (1969, 7 min, 16mm-to-DCP)<br />COSTLY CUTBACKS (American Hospital Association) (1971, 5 min, 16mm-to-DCP)<br />PITTER PATTERNS (Science Research Associates) (1960, 10 min, 16mm-to-DCP)<br />BLACK YOUTH (Illinois Bell) (1972, 9 min, 16mm-to-DCP)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60768 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />This unnerving journey into madness and murder features an unforgettable star turn by Millie Perkins that will sear itself onto your retinas. Perkins plays a tormented woman whose repressed memories of childhood abuse surface in some highly undesirable ways, compelling her to pick up a razor and go after men she sees on TV. An anomaly in the career of director Matt Cimber (who previously specialized in softcore and blaxploitation fare), this movie could only have been made outside of the studio system. A wonderful bonus: the film’s widescreen cinematography comes courtesy of a young Dean Cundey, who’d go on to shoot HALLOWEEN two years later.<br /><br /><strong>Introduced by Payton McCarty-Simas on Fri, Feb 20!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60776 <p>This program explores the wide and wonderful world of film trailers and previews. Mirroring the “Avant-Garde Ads” series as a whole, it includes bona fide trailers by experimental filmmakers, “fake” trailers for non-existent films, parodies, and collage films that use found trailers as their source materials.<br /><br />John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] (1982, 40 sec, 35mm)<br />Mark Shepard [EZTV No smoking PSA] (ca. 1985, 30 sec, video)<br />Jack Goldstein METRO-GOLDWYN-MAYER (1975, 2 min, 16mm-to-DCP. Courtesy Galerie Buchholz.)<br />Oskar Fischinger COLORATURA / KOLORATUREN (1932, 2 min, 16mm. Commissioned by Froelich as a trailer for a film.)<br />Francis Lee FILM-MAKERS’ SHOWCASE TRAILER (1963, 3 min, 16mm)<br />Curt McDowell AINSLIE TRAILER (1972, 2 min, 16mm)<br />Curt McDowell KATHLEEN TRAILER (for Underground Cinema 12) (1972, 1.5 min, 16mm)<br />Suzan Pitt WHITNEY COMMERCIAL (1973, 3 min, 16mm-to-digital)<br />Alexis Krasilovsky GUERRILLA COMMERCIAL (1973, 1 min, 16mm-to-digital)<br />Tom Rubnitz UNDERCOVER ME! (1988, 2 min, video)<br />George Kuchar TERROR BY TWILIGHT (1988, 6 min, video)<br />Maurice Lemaître FILM ANNONCE (1993, 3 min, 16mm)<br />Heather McAdams FAKE PREVIEWS (1985, 5 min, 16mm)<br />Kerry Laitala COMING ATTRACTIONS (2004, 3 min, 16mm, silent)<br />Peggy Ahwesh BEIRUT OUTTAKES (2007, 7.5 min, digital)<br />Chris Jolly MULTIPLEX (ca. 2012, 3 min, 35mm)<br />Ben Coonley 2008 NEW YORK UNDERGROUND FILM FESTIVAL TRAILER STARRING DR. ZIZMOR (2008, 1 min, digital)<br />Jim Finn NYUFF ’08 TRAILER (2008, 1 min, digital)<br />Jean-Luc Godard OFFICIAL SPOT OF THE 22ND JI.HLAVA IDFF (2018, 1 min, digital)<br />C. Spencer Yeh [Selected Spectacle Theater Trailers] (2012-18, ca. 6 min, DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60756 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />In making DEPRISA, DEPRISA, director Carlos Saura populated his cast with actual denizens of the Madrid streets to tell the story of youth on the edge of doom. Angela (Berta Socuéllamos) is a young waitress who turns her back on society when she meets and falls in love with Pablo (José Antonio Valdelomar), a reckless criminal delinquent. Along with Pablo’s gang of car thieves, the pair embark on a drug- and disco-fueled robbery spree as they hurtle toward oblivion. Winner of the Golden Bear at the Berlin Film Festival, this raw, startlingly naturalistic tale of love outside the law reflects the turmoil of a generation navigating the social upheavals of post-Franco Spanish society.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60566 <p>“[A] diary that consists of a series of short (from one to two-and-a-half minute) segments. Some of the segments are miniature pieces of daily realism, others are extended haikus, still others are small romantic poems… We have this luxurious and sensuous world of bodies and details and light before our eyes. Light, light, and again light. Only through the light are these materials revealed to us. So he keeps filming light on these textures, on materials. Light falling on the floor, on the materials. And then, the people. I haven’t seen anybody, for instance, filming (or painting) woman’s hair, long hair, as beautifully and expressively as Noren has done. Detail after detail for a full hour.” –Jonas Mekas, VILLAGE VOICE<br /><br />“Noren’s definitive portrait of the male, heterosexual artist as a young boho with a movie camera is notable for its lush texture, lyrical idealization of life on the Lower East Side, lust for light, and graphic carnality.” –J. Hoberman<br /><br />“Made all other film diaries look a little strange in their modesty.” –P. Adams Sitney<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60746 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />“Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It’s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. ‘You’ve never succeeded at anything and you never will’, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. ‘And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.’ These are the film’s most celebrated lines…a sort of brutalist alternative to the famous line from LOVE STORY: ‘Love means never having to say you’re sorry.’” –Dave Kehr, FILM COMMENT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60779 <p>This program showcases a handful of wild, uncanny, and amazingly inventive animated films that are constructed largely from magazine advertisements.<br /><br />Jean-Thomas Bédard THIS IS A RECORDED MESSAGE (1973, 10 min, 16mm-to-digital)<br />Unglee C’EST FOU (1977, 12 min, 16mm-to-DCP)<br />Martha Colburn EVIL OF DRACULA (1997, 2 min, Super-8mm-to-16mm)<br />Martha Colburn WHAT’S ON? (1997, 2 min, 16mm)<br />Jodie Mack YARD WORK IS HARD WORK (2008, 27.5 min, 16mm)<br />Lewis Klahr ALTAIR (1994, 6 min, 16mm)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60750 <p class="p1">MODERN ROMANCE may be Albert Brooks’s least-known film, but it’s arguably his greatest – the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist’s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who’s very nearly psychotic. Painfully funny, with the emphasis on “funny.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60831 <p>With Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, Candy Darling, Tally Brown, and Ultra Violet.<br /><br />Downtown fixture Elwyn “Wynn” Chamberlain painted Frank O’Hara and Allen Ginsberg, produced an early Charles Ludlam play, and turned to film in 1970 with this crude, merciless consumerist satire. Inspired by a snowed-in weekend stuck watching television, BRAND X gleefully parodies boob-tube banality with copious nudity, a wicked sense of humor, and a who’s-who cast featuring Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, and Candy Darling. “The first truly entertaining Entertainment film of the new consciousness,” heralded Jonas Mekas, but Chamberlain moved on, burning his paintings and relocating his family to India in the mid-70s. His latter-day artistic output consisted solely of a series of novels.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60781 <p class="p1">“LIFE ITSELF IS A FILM, WITH THUNDERSTORMS AS ITS SOUNDTRACK”: ANXIOUS IN BEIRUT<br /><br />Lebanese director Zakaria Jaber’s debut ANXIOUS IN BEIRUT (2023) is a cinematic tour de force that undermines the clichés about what documentary is. Every frame, every sound, debunks the fictional boundary between what counts as the personal and the political, the filmmaker and the event. Documenting three years of the revolutionary events between 2019 and 2022 with a cinéma vérité methodology, Jaber moves across time by intercutting a constellation of media: miniDV footage of his childhood, newspaper clippings, family photographs – all of which function as personal records enabling a critique of the neoliberalization that followed the end of the civil war and the broken promises made to the civil peace generation. The argument is dialectical: Jaber narrativizes his life as necessarily entangled with key moments in Lebanese socio-political history, whereas politics is also shaped by the organization of people who push back against the capitalist regime initiated by businessman Rafic Hariri’s rule. Politics does not belong to those in power, to the bank lords, to the financiers and the ruling families; politics belongs to movements mobilized by the people and their resistance. A refrain recurs in the voice-over throughout the film: “In this country, you have two options: the grave or the airplane.” And yet, between the duality of the coffin and the plane – between premature death at the hands of state violence and the imposed recourse of migration – Jaber finds a third way: to film, relentlessly, the present, to critically confront the ghost of the past, and to awaken a collective political consciousness that counteracts the soporific effects of ruling-class ideologies.<br /><br />Introduced by researcher Andrea Avidad, and followed by a Q&A with co-producers Adrià Lahuerta & Carlota Coloma.<br /><br />This screening is supported by the Institut Ramon Llull, NYU’s Espacio de Culturas, and the Center for European and Mediterranean Studies.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60820 <p>Some of the strangest of all religious-themed films are collected here, including two films that (like those in the previous program) were commissioned for World’s Fairs – Rolf Forsberg & Tom Rook’s singular allegory, PARABLE (1964) and Charles Gagnon’s profoundly upsetting collage-film critique of militarism, violence, and the emptiness of postwar consumer culture, THE EIGHTH DAY (1967) – as well as A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA, a portrait of a countercultural Christian group made by the avant-garde filmmaker Owen Land following his own religious conversion, and Martha Colburn’s DON’T KILL THE WEATHERMAN!, which was commissioned by Philadelphia’s Rosenbach Museum and makes use of pictures from an illuminated manuscript in the museum’s collection.<br /><br />Rolf Forsberg & Tom Rook PARABLE (1964, 20 min, 16mm-to-digital. Produced by the Lutheran Council for the 1964 New York World’s Fair.)<br />Charles Gagnon THE EIGHTH DAY (1967, 14 min, 16mm. Produced by Charles Gagnon for the Christian Pavilion at Expo 67, Montreal.)<br />Owen Land A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm. Preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.)<br />Martha Colburn DON’T KILL THE WEATHERMAN! (2007, 4 min, digital)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, February 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60815 <p>In 2019 Anthology organized an extensive series entitled “Films for the Fair: The World’s Fair & the Cinema”, which consisted in large part of films produced for presentation at the various World’s Fairs throughout the 20th century, many of which were strikingly experimental in style or concept. In the context of “Avant-Garde Ads”, we present a handful of films from that series that are by important avant-garde filmmakers (such as Shirley Clarke and Alexander Hammid) and/or that are themselves highly experimental in style, especially in their use of multiple screens (exemplified by the 15-screen Eames film, THINK).<br /><br />Shirley Clarke BRUSSELS LOOPS: MELTING POT / BRIDGES / OCCUPATIONS (1957, 9 min, 16mm-to-digital)<br />Charles & Ray Eames THINK (1964, 15 min, 15-screen 35mm-to-digital. Reconstructed by the Library of Congress.)<br />Francis Thompson & Alexander Hammid TO BE ALIVE! (1964, 18 min, 35mm-to-digital. Film courtesy of SC Johnson.)<br />Roman Kroitor, Colin Low & Hugh O’Connor IN THE LABYRINTH (1967, 21 min, 5-screen 35mm-to-digital)<br /><br />Total running time: ca. 70 min.<br /><br />[<em><strong>PLEASE NOTE: Unfortunately we will not be able to show the film LE POÈME ÉLECTRONIQUE in this program, as originally announced - we apologize for any inconvenience!</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, February 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60812 <p>Alain Resnais’s THE SONG OF STYRENE – one of the greatest of all sponsored films – which transforms the industrial production of plastics into a hypnotic symphony of eye-popping colors, rhythms, and textures, is here paired with three other visually astounding and mind-altering sponsored films about similarly “futuristic” industrial products: Hans Richter’s THE BIRTH OF COLOR (which documents the production of dyes from coal tar), Ferdinand Khittl’s THE MAGIC RIBBON (about the invention and applications of magnetic tape), and Pierre Moretti’s MODULO: VARIATIONS ON A DESIGN (a wordless visual paean to an experimental car prototype designed for Ferrari by the Italian design firm Pininfarina).<br /><br />Hans Richter THE BIRTH OF COLOR / DIE GEBURT DER FARBE (1938, ca. 25 min, 35mm-to-DCP. Commissioned by Swiss chemical and dye company Geigy. © Novartis AG.)<br />Alain Resnais THE SONG OF STYRENE / LE CHANT DU STYRÈNE (1958, 13 min, 35mm-to-DCP. Narration by Raymond Queneau. Commissioned by French industrial group Pechiney.)<br />Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND (1959, 21 min, 35mm-to-DCP)<br />Pierre Moretti MODULO: VARIATIONS ON A DESIGN (1973, 7 min, 35mm-to-DCP)<br /><br />Total running time: ca. 70 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60791 <p>With Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, Candy Darling, Tally Brown, and Ultra Violet.<br /><br />Downtown fixture Elwyn “Wynn” Chamberlain painted Frank O’Hara and Allen Ginsberg, produced an early Charles Ludlam play, and turned to film in 1970 with this crude, merciless consumerist satire. Inspired by a snowed-in weekend stuck watching television, BRAND X gleefully parodies boob-tube banality with copious nudity, a wicked sense of humor, and a who’s-who cast featuring Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, and Candy Darling. “The first truly entertaining Entertainment film of the new consciousness,” heralded Jonas Mekas, but Chamberlain moved on, burning his paintings and relocating his family to India in the mid-70s. His latter-day artistic output consisted solely of a series of novels.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60567 <p>Script by Carl Meyer based on the story “A Trip to Tilsit” by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O’Brien and Janet Gaynor.<br /><br />Murnau’s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end.<br /><br />“SUNRISE becomes the lyrical culmination of a strain of German Expressionism that, married to American technology, could almost serve as a definition of the cinema. For the studio apparatus, enabling the creation of a spiritually and spatially unified microcosm, corresponds to the way the mind, in Expressionism, experiences reality – organizing it, imbuing it with personal associations, patterns, significances, until finally the only reality is a mental reality.” –Molly Haskell<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60819 <p class="p1">Stan Brakhage WINDOW WATER BABY MOVING 1959, 12 min, 16mm, silent. Preserved by Anthology Film Archives.<br />Carla Simón LETTER TO MY MOTHER FOR MY SON / CARTA A MI MADRE PARA MI HIJO (MIU MIU WOMEN’S TALES #24) 2022, 24 min, DCP. In Spanish and Catalan with English subtitles.<br />Agnes Varda L’OPÉRA-MOUFFE 1958, 16 min, 16mm-to-DCP. In French with English subtitles.<br />Marie Menken HURRY! HURRY! 1957, 3 min, 16mm. Preserved by Anthology Film Archives.<br />Priya Sen STORIES OF US: FOOTNOTES FROM EMERALD ISLAND 2015, 12 min, DCP<br />Kiro Russo NUEVA VIDA 2015, 15 min, DCP. In Spanish with English subtitles.<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60568 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60569 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60824 <p class="p1">Erin Espelie<br />THE LANTHANIDE SERIES<br />2014, 70 min, DCP<br /><br />Erin Espelie <span class="s1">视网膜</span> (A NET TO CATCH THE LIGHT) 2016, 7 min, 16mm-to-DCP<br />Erin Espelie <span class="s1">内共生</span> (INSIDE THE SHARED LIFE) 2017, 9 min, 16mm-to-DCP<br /><br />Total running time: ca. 90 min. Followed by discussion and Q&A with Erin Espelie and Scott MacDonald.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60571 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith’s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories.<br /><br />“In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60828 <p class="p1">Maryam Tafakory IRANI BAG 2021, 8 min, DCP<br />Carlos Adriano UNTITLED #4: IN SPITE OF RUIN, SING IN THE RAIN / SEM TITULO #4: APESAR DOS PESARES, NA CHUVA HÁ DE CANTARES 2018, 27 min, DCP. In Portuguese with English subtitles.<br /><br />Jennifer West<br />FILM TITLE POEM<br />2016, 67 min, 35mm-to-DCP<br /><br />Kevin B. Lee & Lého Galibert-Laîné READING BINGING BENNING 2018, 11 min, DCP<br /><br />Total running time: ca. 120 min. Followed by a discussion with Scott MacDonald and the curators, Annie Berman, Isha Parkhi, and Ava Witonsky.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60572 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith’s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories.<br /><br />“In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60830 <p class="p1">Takahiko Iimura KIRI (FOG) 1970, 5 min, 16mm, silent<br /><br />Yoko Ono & John Lennon APOTHEOSIS 1970, 18 min, 16mm-to-digital<br /><br />Tadhg O’Sullivan<br />TO THE MOON<br />2020, 76 min, DCP<br /><br />Lois Patiño FAJR 2017, 12 min, 16mm-to-DCP<br /><br />Total running time: ca. 115 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60570 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60891 <p>(LA RÈGLE DU JEU)<br /><br />“Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir’s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema’s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.” –Robin Wood<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60894 <p>(FRANCESCO, GIULLARE DI DIO)<br /><br />“Roberto Rossellini’s buoyant 1950 masterpiece is a glorious hallucination of perfect harmony between man and nature. The Franciscans arrive at Assisi in the first reel and leave in the last. In between, as they say, nothing happens and everything happens. Rossellini is able to suggest the scope and rhythm of an entire lost way of life through a gradual accumulation of well-observed detail. The Franciscans are at once inspired and slightly foolish, but Rossellini maintains a profound respect for the grandeur of their delusions. A great film, all the more impressive for being apparently effortless.” –Dave Kehr<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60906 <p>Dean Majd’s “Hard Feelings” is a decade-long odyssey documenting the interpersonal dynamics of the artist’s circle, steeped in the skateboarding and graffiti communities of Queens, New York. An exploration of collective grief, brotherhood, and gender roles within relationships, “Hard Feelings” finds Majd tracing the shifts in emotional landscapes through the performance of contemporary masculinity. In conjunction with the artist’s first solo exhibition at Baxter St. at CCNY, Majd and Anthology are pleased to present special screenings of John Cassavetes’s HUSBANDS (1970), a poignant meditation on embodied grief and self-destruction.<br /><br />“Framed by Cassavetes’s kinetic script and direction, HUSBANDS depicts a trio of men in regressive mourning over the loss of a friend: fighting, screaming, and crying across the city as they process their grief. I saw myself and my friends in these men as the loss of our friend took us to dark places over the course of a decade in New York, eventually forming ‘Hard Feelings’. Thematically and visually, HUSBANDS was a mirror of my experiences, but more importantly, a premonition of my future.” –Dean Majd<br /><br />Following the screening on Thursday, March 5, Majd will be joined in conversation by David Campany, Creative Director at the International Center of Photography.<br /><br />John Cassavetes<br />HUSBANDS<br />1970, 142 min, 35mm. 35mm preservation print courtesy of the UCLA Film & Television Archive.<br /><br /><em><strong>Q&A with Dean Majd and David Campany on Thurs, Mar 5!<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60909 <p><strong>U.S. PREMIERE!</strong><br /><br />The third feature by director Chris Gude (MAMBO COOL) is a lyrical, immersive documentary that journeys deep into Venezuela’s Guayana region, where vast gold reserves lie hidden beneath groves of moriche palms. Guided by a fictional explorer’s voice, the film moves from remote jungle mining camps to the banks of the Orinoco River, mapping the extraction and commercialization of gold while questioning extractive practices and humanity’s fraught relationship with the land. Using evocative visuals, hand-drawn illustrations, 16mm film, and atmospheric sound, and through the voices and labors of the miners, the film explores the destructive relationship between people, land, and the global demand for resources. Juxtaposing the slow processes of geology with the urgency of extractive capitalism, MORICHALES becomes a poetic meditation on fortune, survival, ecological cost, nature, labor, and value.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 05