Anthology Film Archives - Calendar Events

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, 25 Sep 2023 20:18:57 -0400 PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56570 <p>SPECIAL REVIVAL RUN!<br /><br />4K restoration by the DEFA Foundation in Berlin, Germany, with new English subtitles by the DEFA Film Library at the University of Massachusetts Amherst. Co-presented with the DEFA Film Library and the German Film Office, an initiative of the Goethe-Institut and German Films.<br /><br />This 1989 documentary – made by East German film director Kurt Tetzlaff, and newly restored by the DEFA Foundation – is a cinematic homage to the African-American singer, actor, and civil rights activist Paul Robeson (1898-1976). The film tells his story in non-chronological order, using a compilation of materials: rarely shown historic footage, photographs of the U.S. civil rights movement, speeches, performances, and visits to East Germany and the Soviet Union. Interviews with Paul Robeson Jr., Earl Robinson, Pete Seeger, and Harry Belafonte give insight into the courageous life of a true Renaissance man. Co-produced by the GDR’s DEFA Studio for Documentary Film and the West Berlin production company Chronos, with scenes shot in the U.S., the film reflects the efforts by East German officials to present Robeson – often referred to as a “voice of the other America” – as a poster child for GDR solidarity with the U.S. civil rights movement.<br /><br />From any perspective, the film stands as an elegant, revealing, and powerful portrait of a towering figure in American culture, society, and politics. Revisiting episodes in Robeson’s life, drawing attention to his performances and writings, and confronting the virulent racism and anti-communism he faced in the U.S., PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” documents the life of a groundbreaking artist whose courage, tenacity, and passion remain profoundly inspiring.<br /><br /><em><strong>The screening on Sat, Sept 23 at 6:45 will be introduced by Professor Mariana Ivanova, Academic Director of the DEFA Film Library.</strong></em></p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Monday, September 25 EC: BRUCE BAILLIE, PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56581 <p>CASTRO STREET (1966, 10 min, 16mm)<br />ALL MY LIFE (1966, 3 min, 16mm. <strong>BRAND NEW PRINT!</strong>)<br />VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. Preserved by Anthology Film Archives.)<br />“In [Baillie’s late 1960s films], the eye of the film-maker quiets his mind with images of reconciliation; the dialectics of cinematic thought become calm in the filming of the privileged moment of reconciliation.” –P. Adams Sitney, VISIONARY FILM<br />&<br />QUICK BILLY <br />(1971, 56 min, 16mm)<br />“The essential experience of transformation, between Life and Death, death and birth, or rebirth. In four reels, the first three adapted from the Bardo Thodol, the Tibetan Book of the Dead. The fourth reel is in the form of a black and white one-reeler Western, summarizing the material of the first three reels, which are color and abstract.” –Bruce Baillie<br /><br />Followed by:<br /><br />QUICK BILLY: SIX ROLLS; 14/41/43/46/47/52 1968-69, 16 min, 16mm<br />Six uncut camera rolls to be shown with QUICK BILLY. The ‘rolls’ took the form of a correspondence, or theater, between their author and Stan Brakhage, in the winter of 1968-69.<br />[<strong>PLEASE NOTE: THE SIX QUICK BILLY ROLLS WILL NOT BE SCREENED ON MON, SEPT 25, 2023, BUT WILL BE INCLUDED AGAIN DURING THE NEXT ESSENTIAL CINEMA CYCLE, IN MID-TO-LATE 2024</strong>]<br /><br />Total running time: ca. 100 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Monday, September 25 PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56571 <p>SPECIAL REVIVAL RUN!<br /><br />4K restoration by the DEFA Foundation in Berlin, Germany, with new English subtitles by the DEFA Film Library at the University of Massachusetts Amherst. Co-presented with the DEFA Film Library and the German Film Office, an initiative of the Goethe-Institut and German Films.<br /><br />This 1989 documentary – made by East German film director Kurt Tetzlaff, and newly restored by the DEFA Foundation – is a cinematic homage to the African-American singer, actor, and civil rights activist Paul Robeson (1898-1976). The film tells his story in non-chronological order, using a compilation of materials: rarely shown historic footage, photographs of the U.S. civil rights movement, speeches, performances, and visits to East Germany and the Soviet Union. Interviews with Paul Robeson Jr., Earl Robinson, Pete Seeger, and Harry Belafonte give insight into the courageous life of a true Renaissance man. Co-produced by the GDR’s DEFA Studio for Documentary Film and the West Berlin production company Chronos, with scenes shot in the U.S., the film reflects the efforts by East German officials to present Robeson – often referred to as a “voice of the other America” – as a poster child for GDR solidarity with the U.S. civil rights movement.<br /><br />From any perspective, the film stands as an elegant, revealing, and powerful portrait of a towering figure in American culture, society, and politics. Revisiting episodes in Robeson’s life, drawing attention to his performances and writings, and confronting the virulent racism and anti-communism he faced in the U.S., PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” documents the life of a groundbreaking artist whose courage, tenacity, and passion remain profoundly inspiring.<br /><br /><em><strong>The screening on Sat, Sept 23 at 6:45 will be introduced by Professor Mariana Ivanova, Academic Director of the DEFA Film Library.</strong></em></p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Monday, September 25 PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56572 <p>SPECIAL REVIVAL RUN!<br /><br />4K restoration by the DEFA Foundation in Berlin, Germany, with new English subtitles by the DEFA Film Library at the University of Massachusetts Amherst. Co-presented with the DEFA Film Library and the German Film Office, an initiative of the Goethe-Institut and German Films.<br /><br />This 1989 documentary – made by East German film director Kurt Tetzlaff, and newly restored by the DEFA Foundation – is a cinematic homage to the African-American singer, actor, and civil rights activist Paul Robeson (1898-1976). The film tells his story in non-chronological order, using a compilation of materials: rarely shown historic footage, photographs of the U.S. civil rights movement, speeches, performances, and visits to East Germany and the Soviet Union. Interviews with Paul Robeson Jr., Earl Robinson, Pete Seeger, and Harry Belafonte give insight into the courageous life of a true Renaissance man. Co-produced by the GDR’s DEFA Studio for Documentary Film and the West Berlin production company Chronos, with scenes shot in the U.S., the film reflects the efforts by East German officials to present Robeson – often referred to as a “voice of the other America” – as a poster child for GDR solidarity with the U.S. civil rights movement.<br /><br />From any perspective, the film stands as an elegant, revealing, and powerful portrait of a towering figure in American culture, society, and politics. Revisiting episodes in Robeson’s life, drawing attention to his performances and writings, and confronting the virulent racism and anti-communism he faced in the U.S., PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” documents the life of a groundbreaking artist whose courage, tenacity, and passion remain profoundly inspiring.<br /><br /><em><strong>The screening on Sat, Sept 23 at 6:45 will be introduced by Professor Mariana Ivanova, Academic Director of the DEFA Film Library.</strong></em></p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Tuesday, September 26 PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56573 <p>SPECIAL REVIVAL RUN!<br /><br />4K restoration by the DEFA Foundation in Berlin, Germany, with new English subtitles by the DEFA Film Library at the University of Massachusetts Amherst. Co-presented with the DEFA Film Library and the German Film Office, an initiative of the Goethe-Institut and German Films.<br /><br />This 1989 documentary – made by East German film director Kurt Tetzlaff, and newly restored by the DEFA Foundation – is a cinematic homage to the African-American singer, actor, and civil rights activist Paul Robeson (1898-1976). The film tells his story in non-chronological order, using a compilation of materials: rarely shown historic footage, photographs of the U.S. civil rights movement, speeches, performances, and visits to East Germany and the Soviet Union. Interviews with Paul Robeson Jr., Earl Robinson, Pete Seeger, and Harry Belafonte give insight into the courageous life of a true Renaissance man. Co-produced by the GDR’s DEFA Studio for Documentary Film and the West Berlin production company Chronos, with scenes shot in the U.S., the film reflects the efforts by East German officials to present Robeson – often referred to as a “voice of the other America” – as a poster child for GDR solidarity with the U.S. civil rights movement.<br /><br />From any perspective, the film stands as an elegant, revealing, and powerful portrait of a towering figure in American culture, society, and politics. Revisiting episodes in Robeson’s life, drawing attention to his performances and writings, and confronting the virulent racism and anti-communism he faced in the U.S., PAUL ROBESON: “I’M A NEGRO. I’M AN AMERICAN.” documents the life of a groundbreaking artist whose courage, tenacity, and passion remain profoundly inspiring.<br /><br /><em><strong>The screening on Sat, Sept 23 at 6:45 will be introduced by Professor Mariana Ivanova, Academic Director of the DEFA Film Library.</strong></em></p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Tuesday, September 26 EC: JORDAN BELSON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56583 <p>ALLURES 1961, 9 min, 16mm<br />RE-ENTRY 1964, 6 min, 16mm<br />PHENOMENA 1965, 6 min, 16mm. <strong>Brand new print!<br /></strong>SAMADHI 1967, 6 min, 16mm<br />MOMENTUM 1968, 6 min, 16mm. <strong>Brand new print!<br /></strong>COSMOS 1969, 5 min, 16mm. <strong>Brand new print!<br /></strong>WORLD 1970, 6 min, 16mm<br />MEDITATION 1971, 7 min, 16mm. <strong>Brand new print!<br /></strong>CHAKRA 1972, 6 min, 16mm. <strong>Brand new print!<br /><br /></strong>“Our greatest abstract film poet: he has found how to combine the vision of the outer and the inner eye.” –Gene Youngblood<br /><br />Total running time: ca. 85 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Wednesday, September 27 EC: STAN BRAKHAGE PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56584 <p>Unless otherwise noted, all films are silent.<br />DESISTFILM (1954, 7 min, 16mm, b&w, sound)<br />REFLECTIONS ON BLACK (1955, 12 min, 16mm, b&w, sound. Preserved by Anthology Film Archives.)<br />THE WONDER RING (1955, 4 min, 16mm)<br />FLESH OF MORNING (1956, 25 min, 16mm, b&w)<br />LOVING (1956, 4 min, 16mm)<br />DAYBREAK AND WHITEYE (1957, 8 min, 16mm)<br />WINDOW WATER BABY MOVING (1959, 12 min, 16mm. Preserved by Anthology Film Archives.)<br />Films made during the early, “psychodramatic” period of one of modern cinema’s greatest innovators, including two of his early experiments with sound. <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> Thursday, September 28 DEEP BREATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56586 <p>(NAFAS-E AMIGH)<br /><span>A dark yet sharply funny coming-of-age film for the post-revolutionary generation, DEEP BREATH follows two disaffected young men from different social classes as they while away the hours, driving around Tehran and partaking in petty crimes, showing little interest in the demands of the world around them. The film’s nihilistic attitude and startlingly naturalistic dialogue sets it apart from almost all Iranian films that came before it – or after it, for that matter. Writer/director Shahbazi’s third film provides a ground-level portrait of turn-of-the-millennium Iran, and serves as a harbinger of the disposition of the country’s youth today.<br /></span></p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Thursday, September 28 EC: DOG STAR MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56587 <p><span>“DOG STAR MAN elaborates in mythic, almost systematic terms, the worldview of [Brakhage’s] lyrical films. More than any other work of the American avant-garde film, it stations itself within the rhetoric of Romanticism, describing the birth of consciousness, the cycle of the seasons, man’s struggle with nature, and sexual balance in the visual evocation of a fallen titan bearing the cosmic name of the Dog Star Man.” –P. Adams Sitney, VISIONARY FILM<br /><br />“The film breathes and is an organic and surging thing…it is a colossal lyrical adventure-dance of image in every variation of color.” –Michael McClure<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </span></p> Friday, September 29 EC: STAN BRAKHAGE PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2023#showing-56588 <p>Unless otherwise noted, all films are silent.<br />THE DEAD (1960, 11 min, 16mm)<br />PASHT (1965, 5 min, 16mm)<br />THREE FILMS: BLUEWHITE, BLOOD’S TONE, VEIN (1965, 10 min, 16mm)<br />FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound)<br />THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm)<br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, September 29 EC: STAN BRAKHAGE PGM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56589 <p>Unless otherwise noted, all films are silent.<br />ANTICIPATION OF THE NIGHT (1958, 40 min, 16mm)<br />CAT’S CRADLE (1959, 6 min, 16mm)<br />SIRIUS REMEMBERED (1959, 12 min, 16mm)<br />THIGH LINE LYRE TRIANGULAR (1961, 9 min, 16mm)<br />MOTHLIGHT (1963, 4 min, 16mm. Preserved by Anthology Film Archives.)<br />BLUE MOSES (1963, 11 min, 16mm, b&w, sound)<br />With ANTICIPATION OF THE NIGHT, Brakhage leaves psychodrama and enters the “closed-eye vision” period. This program also contains a unique example of a film made without a camera, MOTHLIGHT, and one of Brakhage’s few sound (and ‘acted’) films, BLUE MOSES.<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> Sunday, October 01 EC: STAN BRAKHAGE PGM 5 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56590 <p>All films are silent.<br />THE WEIR-FALCON SAGA (1970, 29 min, 16mm)<br />THE MACHINE OF EDEN (1970, 11 min, 16mm)<br />SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm. Preserved by Anthology Film Archives.)<br />ANGELS’ (1971, 2 min, 16mm)<br />DOOR (1971, 4 min, 16mm)<br />WESTERN HISTORY (1971, 8 min, 16mm)<br />THE PEACEABLE KINGDOM (1971, 8 min, 16mm)<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> Sunday, October 01 EC: Stan Brakhage SONGS 1-14 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56591 <p>Stan Brakhage<br />SONGS 1-14<br />1964-65, ca. 53 min, 8mm-to-16mm, silent<br />“SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /><br /></p> Wednesday, October 04 EC: Stan Brakhage SONGS 15-22 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56592 <p>“SONG 15: FIFTEEN SONG TRAITS: A series of individual portraits of friends and family – Robert Creeley, Michael McClure, Ed Dorn, Jonas Mekas, others. SONG 16: A flowering of sex as in the mind’s eye, a joy. SONGS 17 & 18: The movie house cathedral and a singular room. SONGS 19 & 20: Women dancing and a light. SONGS 21 & 22: Two views of closed-eye vision.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, October 04 EC: 23RD PSALM BRANCH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56593 <p>“The furthest that Brakhage came in extending the language of 8mm cinema was his editing of 23RD PSALM BRANCH... the phenomenal and painstaking craftsmanship of this film reflects the intensity of the obsession with which its theme grasped his mind. In 1966, out of confusion about the Vietnam War and the American reaction to it, Brakhage began to meditate on the nature of war... the fruit of his studies and thoughts was the longest and most important of the songs... it is an apocalypse of imagination.” –P. Adams Sitney, VISIONARY FILM.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 05 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56595 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Friday, October 06 EC: Stan Brakhage SONGS 24-29 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56611 <p>SONGS 24-26 (1967/85, 15 min, 8mm-to-16mm)<br />MY MOUNTAIN: SONG 27 (1968, 25 min, 8mm-to-16mm)<br />MY MOUNTAIN: SONG 27: PART 2: RIVERS (1969, 33 min, 8mm-to-16mm)<br />SONGS 28-29 (1966/86, 21 min, 8mm-to-16mm)<br />“SONGS 24 & 25: A naked boy and flute song; a being about nature. SONG 26: a ‘conversation piece’ – a vis-à-visual, inspired by the (e)motional properties of talk: drone, bird-like twitterings, statement terror & bombast. SONG 28: Scenes as texture. SONG 29: A portrait of the artist’s mother.” –Stan Brakhage<br /><br />Total running time: ca. 100 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 06 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56596 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Friday, October 06 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56597 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Saturday, October 07 EC: STAN BRAKHAGE PGM 10 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56612 <p>THE ANIMALS OF EDEN AND AFTER 1970, 35 min, 16mm<br />SEXUAL MEDITATION: ROOM WITH A VIEW 1971, 4 min, 16mm. Preserved by Anthology Film Archives.<br />THE SHORES OF PHOS: A FABLE 1972, 10 min, 16mm<br />THE WOLD-SHADOW 1972, 3 min, 16mm<br />THE RIDDLE OF LUMEN 1972, 14 min, 16mm<br />SINCERITY: REEL NO. 1 1973, 27 min, 16mm<br /><br />Total running time: ca. 95 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, October 07 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56598 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Saturday, October 07 EC: THE TEXT OF LIGHT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56613 <p>Preserved by Anthology Film Archives.<br /><br />“All that is, is light.” –Johannes Scotus Erigena<br /><br />“[Brakhage shot] THE TEXT OF LIGHT in (through) a large crystal ashtray. This magnificent film – a slow montage of iridescent splays of light and shifting landscapes of sheer color, which acknowledges debts to Turner and American Romantic landscape painters as well as to James Davis, the pioneer film-maker of light projections – is the culmination of Brakhage’s exploration of anamorphosis.” –P. Adams Sitney, VISIONARY FILM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 07 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56599 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Saturday, October 07 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56600 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Sunday, October 08 EC: THE ART OF VISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56614 <p>“Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word ‘symphonia’ was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as ‘cinematographer,’ at source, means ‘writer of movement,’ certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 08 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56601 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Sunday, October 08 THE WORLD’S GREATEST SINNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2023#showing-56602 <p>REVIVAL RUN – BRAND NEW RESTORATION!<br /><br />With Timothy Carey. Restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Romeo Carey.<br /><br />Anthology is overjoyed to revive one of our very favorite films, the utterly singular, peerlessly eccentric Unidentified Film Object, THE WORLD’S GREATEST SINNER. One of the strangest films ever to emerge from the margins of Hollywood, it’s a movie that could only have sprung from the warped mind of the great Timothy Carey.<br /><br />A wild, unstable specter haunting Hollywood throughout the 1950s-70s, Carey cobbled together a career as a character actor with bit parts as heavies and hucksters for Kubrick, Cassavetes, Brando, and others, his indelible, unstable screen presence suggesting there was always a madness to his Method. He brought that same volatile energy to his first film as director (and writer, producer, and eventual self-distributor), a berserk parable about a bored insurance salesman who quits his job, forms a rockabilly band/religious movement, rechristens himself “God,” and winds up frontrunner for President, using his newfound power to sleep with women aged 14 to 92. A vanity project-cum-labor of love with little regard for good taste or common filmmaking rules, THE WORLD’S GREATEST SINNER would later find fans in Martin Scorsese and Will Oldham but didn’t break through to the grindhouse circuit upon release. Beloved by a growing legion of dedicated fans over the years, and newly restored by the Academy Film Archive and The Film Foundation, THE WORLD’S GREATEST SINNER is back, in all its head-scratching glory!</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Sunday, October 08