Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 23 May 2017 16:42:40 -0400 KENEDI GOES BACK HOME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47355 <p>(KENEDI SE VRAĆA KUĆI)<br /><br />An account of Yugoslavs who left their worn-torn country in the nineties to spend over ten years in Western Europe as refugees or in asylum. In the second half of 2002 the European Union started sending many of these people, mostly Roma, back to Serbia and Montenegro. Whole families were deported overnight, regardless of the fact that the majority of children born in the West had already completely integrated with the new environment and spoke other languages better than their mother tongue; back &lsquo;home&rsquo; they are suddenly faced with a situation where normal life is practically impossible. The main protagonists of this inhumane story are Kenedi Hasani &ndash; a kind, witty, resourceful, and almost pathologically optimistic street rat &ndash; and his younger, seemingly more cultivated and educated friend, who spent his entire life in Germany and is now forced to rummage among the shanty towns of Serbia in search of his parents.<br /><br />With:<br />KENEDI, LOST AND FOUND / GDE JE DVE GODINE BIO KENEDI (2005, 26 min, video. In Romany, Serbian, and German with English subtitles.)<br />Two years after completing KENEDI GOES BACK HOME, Žilnik accidentally stumbles upon his main protagonist Kenedi Hasani in Vienna. Kenedi then proceeds to retell the dramatic story of his recent past. Two years ago he had decided to climb over the walls of Fortress Europe again to reunite with his family and was caught while illegally crossing the border between Hungary and Austria. After months spent in a deportation center he had managed to escape, but the Austrian officials now have him cornered again and are about to evict him to Serbia. Kenedi decides to build a house for his family there and settle down.</p> Tuesday, May 23 NYWIFT: MY FATHER’S HOUSE, A JOURNEY OF LOVE AND MEMORY & THE CHECKLIST EFFECT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47380 <p>Hannah Reimann (Director)<br />MY FATHER&rsquo;S HOUSE, A JOURNEY OF LOVE AND MEMORY<br />(2016, 26 min, digital)<br />Hannah Reimann, a professional musician, spends three years videotaping her father, Dr. Peter Reimann, who is stricken with Alzheimer&rsquo;s-related dementia. His mental problems and memory loss appear to trace back to the death of his beloved wife, her mother, in a car crash 18 years ago. This documentary finds hope in the deep love among family members, even as it candidly portrays their reckoning with a devastating disease.<br /><br />Lauren Anders Brown (Director)<br />THE CHECKLIST EFFECT<br />(2016, 45 min, digital)<br />Inspired by surgeon and author Atul Gawande&rsquo;s award-winning book THE CHECKLIST MANIFESTO the filmmakers embedded themselves with communities from Moldova to Mongolia to understand how longer lifespans have led to an urgent increase in the need for surgery &ndash; and provoked a deadly safety crisis.</p> Tuesday, May 23 KENEDI IS GETTING MARRIED http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47358 <p>(KENEDI SE ŽENI)<br /><br />After building a house for his family Kenedi finds himself deeply in debt. He starts searching for any kind of work to repay his creditors, and soon discovers that the sex business is the readiest source of cash. Initially he offers his services to older ladies and widows, only to perceive that even more money lies in offering sex to wealthy men. When he learns about certain new European laws on gay marriages, he sees this as an opportunity to renew his search for legal status in the European Union. It should be mentioned that Kenedi, apart from a rich personal history, also possesses an immense acting talent &ndash; a talent for improvisation, to be more precise. Our prodigy belongs in that noble league of hyperactive, super naturalistic, intuitive, ill-mannered, bigger-than-life actors &ndash; like Peter Falk, Ben Gazzara, and Seymour Cassel &ndash; best known for their work with John Cassavetes.</p> Tuesday, May 23 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47454 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, May 24 THE OLD SCHOOL OF CAPITALISM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47361 <p>(STARA &Scaron;KOLA KAPITALIZMA)<br /><br />This film is rooted in the first wave of workers&rsquo; revolts to hit Serbia since the advent of capitalism. Desperate workers bulldoze through factory gates and are devastated to discover the site looted by the bosses. Eccentric and escalating confrontations, including a mel&eacute;e with workers in football shoulder-pads and helmets, and the boss and his security force in bulletproof vests, prove fruitless. Committed young anarchists offer solidarity, and take the bosses hostage. A Russian tycoon, a Wall Street trader, and U.S. Vice President Biden&rsquo;s visit to Belgrade unexpectedly complicate events. Along the way, the film produces an increasingly complex and yet unfailingly lively account of present-day, up-to-the-minute struggles under the misery-inducing effects of both local and global capital.</p> Wednesday, May 24 MARBLE ASS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47364 <p>&ldquo;One of the heroes of the war responds by inverting gender roles, others respond to violence with violence.&rdquo; &ndash;Želimir Žilnik<br /><br />MARBLE ASS conveys Žilnik&rsquo;s criticism of the militant attitude and patriarchal features of Milo&scaron;ević&rsquo;s system in the 1990s, while depicting the catastrophe through the fringes of society in Belgrade. This is the first work in Serbian queer cinema, featuring two transgender prostitutes, Merlin and Sanela, who turn tricks with Serbian men. In the desolate atmosphere of war, destruction, and omnipotent violence, Merlin and Sanela comfort the clients with physical affection. MARBLE ASS is Žilnik&rsquo;s call to pacifism and is a study in finding different ways of solving inner conflicts.</p> Wednesday, May 24 ŽELIMIR ŽILNIK: SHORT FILMS PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47330 <p>Among the classics of the Black Wave movement, Zilnik&rsquo;s early short films find him developing what would become his trademark style. Blending documentary and fiction with a corresponding aesthetic boldness and directness, he zeroes in on political issues deemed socially unacceptable and declared taboo by the government.<br /><br />NEWSREEL ON VILLAGE YOUTH, IN WINTER / ŽURNAL O OMLADINI NA SELU, ZIMI (1967, 15 min, 35mm, b&amp;w)<br />LITTLE PIONEERS / PIONIRI MALENI MI SMO VOJSKA PRAVA, SVAKOG DANA NIČEMO KO ZELENA TRAVA (1968, 18 min, 35mm, b&amp;w)<br />JUNE TURMOIL / LIPANJSKA GIBANJA (1969, 10 min, 35mm-to-video, b&amp;w)<br />BLACK FILM / CRNI FILM (1971, 14 min, 16mm-to-35mm, b&amp;w, b&amp;w)<br />INVENTORY / INVENTUR &ndash; METZSTRASSE 11 (1975, 9 min, 16mm-to-video)<br /><br />Total running time: ca. 70 min.</p> Thursday, May 25 URANIA DESCENDING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47316 <p>TAV FALCO IN PERSON!<br /><br />URANIA DESCENDING is the first feature-length film by musician, actor, filmmaker, and photographer Tav Falco. Raised in Arkansas and Memphis, but based in Europe since the late 1990s, Falco co-founded the nonprofit Televista &ldquo;art-action&rdquo; video group in Memphis in the mid-70s and was mentored by noted Memphis photographer William Eggleston. After a 1978 musical performance involving the chain sawing of a guitar that caught the attention of Big Star&rsquo;s Alex Chilton, the two teamed up musically and evolved into the self-styled &ldquo;art damage&rdquo; band, Tav Falco&rsquo;s Panther Burns. Falco continues to lead the group to this day, while also focusing on his short films and photography.<br /><br />Channeling silent movie stylistics and old-world atmospherics, URANIA DESCENDING follows a disenchanted American girl, Gina Lee, who impulsively buys a plane ticket to Vienna, the imperial city on the Danube. Quickly slipping into discreet, yet decadent dalliances at Cafe Central and at the notorious Hotel Orient, she becomes embroiled in an intrigue to uncover buried Nazi plunder. Her tragic liaison with rakish Karl Heinz Von Riegl results in a fight for her life upon the dark waters of Lake Atter, yet her ultimate fate remains unresolved. This is a black white film poem infused with metaphor and mood, where the past overtakes the present, and the present overtakes the past.<br /><br />&ldquo;Inspired by Urania, the muse of the heavens, her avatar descends from the Bardo plane to earth in the guise of a disaffected American girl adrift in merry, sinister old Vienna. The movie is conceived of as the first in a triptych of episodes drawing from the silent screen tradition of serial cinema pioneered by Louis Feuillade. It is a motion picture that represents the inverted neo-romanticism of a timeless American underground adrift in Europe.&rdquo; &ndash;Tav Falco</p> Thursday, May 25 EARLY WORKS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47324 <p>(RANI RADOVI)<br /><br />&ldquo;Filmed during the political ferment of 1968, this work explores the radical impulses behind the unrest of the young in a country where the revolutionaries of an earlier generation now form the Establishment. Three young men and a beautiful girl leave home and move across the country in search of a just society and true socialism, only to discover tragically that an unfinished revolution, while changing the face of power, has failed to change the nature of man. Filled with black humor, frank sex, and bizarre tableaux, the film becomes a revolutionary allegory of the European New Left. Though it brought [Žilnik] into conflict with his country&rsquo;s authorities, the Yugoslav courts subsequently ruled in his favor in a landmark decision.&rdquo; &ndash;Amos Vogel, FILM AS A SUBVERSIVE ART</p> Thursday, May 25 SHORT FILMS & VIDEOS BY TAV FALCO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47318 <p>These short works, mostly shot on early, open-reel video, show a markedly different side of Tav Falco&rsquo;s moving-image efforts, and in particular his commitment to documenting the music and society of the American south. The works presented here include invaluable glimpses of musicians such as blues singer R.L. Burnside, jazz pianist Phineas Newborn, Jr., and country-blues harmonica player Johnny Woods, as well as videos shot at Graceland on the occasion of Elvis Presley&rsquo;s death, and at the annual convention of the King Riders Motorcycle Club, the largest black motorcycle organization in the U.S.<br /><br />HONKY TONK (1974, 17 min, 1/2&rdquo;-to-digital, b&amp;w)<br />Saturday night in a north central Mississippi &lsquo;Tonk&rsquo; called the Brotherhood Sportsmen&rsquo;s Lodge. Hill country Blues player Rural (R.L.) Burnside and friends clearly delineate the function of the honky tonk in rural black life.<br /><br />GRACELAND (1977, 6 min, 1/2&rdquo;-to-digital, b&amp;w)<br />A study of a crowd of mourners at the gates of the family mansion, and on-the-spot interviews on the death of Elvis Presley.<br /><br />PHINEAS NEWBORN, JR. (1975, 2-min excerpt, 1/2&rdquo;-to-digital, b&amp;w)<br />A jazz virtuoso in the 1950s, Phineas Newborn Jr. was, in 1975, just emerging from 20 years of undeserved obscurity. This video documents one of Newborn&rsquo;s first performances before a public eager and waiting for his return.<br /><br />KING RIDERS (1986, 20 min, Umatic-to-digital, b&amp;w)<br />For this video, Falco managed to talk his way into the annual convention of the King Riders Motorcycle Club, the largest black motorcycle organization in the U.S.<br /><br />INDIGENOUS WHITES (1975, 13 min, 1/2&rdquo;-to-digital, b&amp;w)<br />One of the most stunning forays into the existence of poor people. Candid conversations with the scions of the early settlers of White Station, Tennessee.<br /><br />JOHNNY WOODS (1974, 2-min excerpt, 1/2&rdquo;-to-digital, b&amp;w)<br />Home-grown harmonica at its best. Johnny Woods played with the legendary Fred McDowell during his twenty-year submersion in Mississippi.<br /><br />Robert Gordon MEMPHIS BEAT (1989, 5 min, 16mm)<br />This is a record of Panther Burns in action on the occasion of the anniversary of the group&rsquo;s tenth year in existence. A temporary stage is erected in a cotton warehouse situated on the bluffs of the Mississippi River where the band plays to an audience of music lovers and unruly celebrants. Among the performers are the original formation of Panther Burns, including Tav Falco himself, Alex Chilton, Ross Johnson, and Eric Hill.<br /><br />Total running time: ca. 70 min.</p> Thursday, May 25 PARADISE. AN IMPERIALIST TRAGICOMEDY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47327 <p>(PARADIES. EINE IMPERIALISTISCHE TRAGIKOM&Ouml;DIE)<br /><br />&ldquo;[O]ne of the few surviving titles from the director&rsquo;s German period. Initially intended to feature Fassbinder, whose THE THIRD GENERATION (1979) bears recognizable traces of this film, PARADISE tells a picaresque story about the owner of a struggling corporation who decides to hire a group of anarchists to fake her kidnapping in order to justify her company&rsquo;s bankruptcy. The film was openly inspired by the fake kidnapping of Peter Lorenz, a right-wing politician who had allegedly spent two weeks held in &lsquo;captivity&rsquo; by the Bewegung 2. Juni terrorist group, and then managed to escape and exploit the case for the benefit of his election campaign. Accused of harboring sympathies towards left-wing terrorists, Žilnik was forced out of Germany under the pretext of tax and visa irregularities.&rdquo; &ndash;Celluloid Liberation Front</p> Friday, May 26 SHOW & TELL: ROBERT BEATTY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47292 <p>Prolific and enormously talented, Lexington, Kentucky-based Robert Beatty is too-little known as a moving-image artist, perhaps because his video work has been overshadowed by his extraordinary accomplishments as a musician and graphic designer. Celebrated in music circles for his band Hair Police, his collaborations with C. Spencer Yeh&rsquo;s Burning Star Core, and his solo project Three Legged Race, Beatty has also emerged as one of the foremost contemporary designers of record album covers &ndash; his countless, astonishingly inspired covers for The Flaming Lips, Thee Oh Sees, Tame Impala, Peaking Lights, Real Estate, and many, many other musicians and groups, brilliantly display his wide-ranging interests and his seemingly inexhaustible visual inventiveness.<br /><br />In addition to his music and graphic art, however, Beatty has quietly created dozens of moving-image works: music videos for compositions by himself and others, elements of his art installations, videos made collaboratively as part of the Resonant Hole collective he co-founded, and stand-alone pieces. Where Beatty&rsquo;s album designs call to mind the heyday of 1960s-70s psychedelic cover art, among many other influences, his video works reflect his devotion to a wide range of experimental cinema, in particular the films of Polish animation luminaries such as Piotr Kamler and the pioneering computer art of Lillian Schwartz and others. In fact, seeing his moving-image work all together is like taking a tour &ndash; albeit a highly personal and idiosyncratic one &ndash; through some of the most fascinating dimensions of 20<sup>th</sup> and 21<sup>st</sup> century visual culture. And yet, every one of his compositions, designs, and videos is suffused with his unique sensibility, at once visionary and precise.<br /><br />We&rsquo;re thrilled to welcome Beatty for this rare focus on his moving-image work, and to feature one of his inimitable designs as the cover of our April-June calendar.<br /><br />LANDLINE (2011, 5.5 min, digital)<br />CHINA BULL (2011, 3 min, digital. Music video for Three Legged Race.)<br />Resonant Hole MIRROR SCHOOL (2010, 2 min, digital. Music video for Jeanne Vomit-Terror.)<br />Resonant Hole WEEDING THE GARDEN (2010, 2.5 min, digital. Music video for The Appearants.)<br />Resonant Hole WHAT IS A HOLE (2011, 17 min, digital)<br />SIX SPACE SHUTTLES AND 144,000 ELEPHANTS (2013, 7 min, digital. Music video for Lonnie Holley.)<br />EGG TIMER (2015, 2.5 min, digital)<br />CRACKED SCREEN TEST (2016, 3.5 min, digital)<br />FLOODGATE COMPANION TRAILER (2016, 46 sec, digital)<br />JORNADA INTEIRO (2017, 4.5 min, digital. Music video for On Fillmore.)<br /><br />Plus: live performance!<br /><br />Total running time: ca. 80 min.</p> Friday, May 26 THE WAY STEEL WAS TEMPERED http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47333 <p>(TAKO SE KALIO ČELIK)<br /><br />In this satirical comedy on the end of socialism in Yugoslavia, the smelter Leo dreams of a trouble-free life, but the social conditions are far from stable: his job is hard and dangerous, the factory is bankrupt, and the bosses are trying to steal as much as they can before the ship goes down. But when foreign business partners visit the foundry, they are so impressed by the archaic appearance of the workers that they suggest that everything be put under a preservation order. They are particularly enchanted by Leo and take him with them as a perfect specimen. Two years later, he triumphantly returns to his native country, clean-shaven and driving a Cadillac.</p> Friday, May 26 EC: ROBERT BREER PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47394 <p>With the exception of MOTION PICTURES NO. 1, PAT&rsquo;S BIRTHDAY, BREATHING, and GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.<br /><br />FORM PHASES I (1952, 2 min, 16mm)<br />FORM PHASES II (1953, 2 min, 16mm)<br />RECREATION (1956, 1.5 min, 16mm-to-35mm)<br />MOTION PICTURES NO. 1 (1956, 4.5 min, 16mm, silent)<br />JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm)<br />EYEWASH (1959, 3 min, 16mm-to-35mm)<br />BLAZES (1961, 3 min, 16mm-to-35mm)<br />PAT&rsquo;S BIRTHDAY (1962, 13 min, 16mm, b&amp;w)<br />BREATHING (1963, 5 min, 35mm, b&amp;w)<br />FIST FIGHT (1964, 9 min, 16mm-to-35mm)<br />66 (1966, 5.5 min, 16mm-to-35mm)<br />69 (1969, 4.5 min, 16mm-to-35mm)<br />70 (1970, 5 min, 16mm-to-35mm)<br />GULLS AND BUOYS (1972, 8 min, 16mm)<br />FUJI (1974, 9 min, 16mm-to-35mm)<br />&ldquo;Roughly speaking [Breer&rsquo;s] works belong to that category of films generally called &lsquo;abstract&rsquo; (though his are also highly &lsquo;concrete&rsquo;), but differ from everything else that has been done along these lines in one basic respect: Breer is undoubtedly the first filmmaker to have brought to his medium the full heritage of modern painting and the sum of sophisticated experimentation that it represents.&rdquo; &ndash; No&euml;l Burch, FILM QUARTERLY<br /><br />Total running time: ca. 85 min.</p> Saturday, May 27 BROOKLYN – GUSINJE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47336 <p>(BRUKLIN &ndash; GUSINJE)<br /><br />Upon Žilnik&rsquo;s return to Yugoslavia after his German exile, he directed a series of cooperative television and cinema works for TV Belgrade and TV Novi Sad. These progressive films foreshadowed the growing tensions and sociopolitical upheaval that would soon forever change the social order throughout the Balkans. In BROOKLYN &ndash; GUSINJE, a young seamstress is lured to a bordering mountain town between Yugoslavia and Albania to wait tables in a cafe with the promise of freedom and more money. She falls in love with a man &ndash; recently returned from New York &ndash; who she hopes will rescue her from the drudgery of her everyday life and bring her back to the States. Žilnik uses this love story as the pretext for examining Albanian family values and traditions, particularly the strained relationship between the younger and older generations.</p> Saturday, May 27 OLDTIMER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47341 <p>(STARA MA&Scaron;INA)<br /><br />The aged rocker Igor works at the Radio &Scaron;tudent in Ljubljana. He notices that the janitor works for the police, wiretapping the walls and observing the journalists who are critical of the regime. He decides to leave for Greece. Travelling through (what was still) Yugoslavia, Igor comes across demonstrations and outrage: it is the beginning of Milo&scaron;ević&rsquo;s &ldquo;antibureaucratic revolution.&rdquo; In OLDTIMER, Žilnik captures Milo&scaron;ević's rise to power while reinventing the road movie genre so that any movement in it henceforth equals deterioration and falsehood, pairing fellow travelers at random and splitting them up just as arbitrarily. Made possible only in a land on the brink of disintegration, it&rsquo;s a genre he would revisit ten years later in WANDERLUST.</p> Saturday, May 27 YO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47378 <p>U.S. PREMIERE!<br /><br />The third feature film by acclaimed Mexican director Mat&iacute;as Meyer (THE LAST CHRISTEROS, THE CRAMP) is an adaptation of a short story of the same name by Nobel laureate author J. M. G. Le Cl&eacute;zio. The film follows Yo, a teenager in the body of an adult with an apparent mental incapacity. He lives and works at his mother&rsquo;s roadside caf&eacute; by a busy highway. One day he meets Elena, an eleven-year-old girl, who will change his life forever. Winner of the Best Film award at the Morelia Film Festival and a Special Mention at the Fribourg Film Festival, YO is an intriguing mediation on the epic human journey of emotional maturation.</p> Saturday, May 27 TITO AMONG THE SERBS FOR THE SECOND TIME & THROWING OFF THE YOLKS OF BONDAGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47344 <p>TITO AMONG THE SERBS FOR THE SECOND TIME / TITO PO DRUGI PUT MEĐU SRBIMA (1994, 43 min, video. In Serbian with English subtitles.)<br />Belgrade, 1994. A man dressed in Marshal Tito&rsquo;s uniform appears and, instantly, groups of people flock around him. In this film, Žilnik brings the former Yugoslavian dictator back among the people in the streets of Belgrade so he may see how his people are now living without him. Tito&rsquo;s double wanders around the city and procures remarkable reactions as people gather to speak to him, feeling the need to formulate their destinies. Žilnik collects statements from a cross section of Serbian society, revealing its attitude toward the past and the current government.<br /><br />THROWING OFF THE YOLKS OF BONDAGE / DO JAJA (1996, 12 min, video. In Serbian with English subtitles.)<br />&ldquo;Milo&scaron;ević&rsquo;s regime has rigged the results of parliamentarian elections in autumn 1996, resulting in mass rallies in Belgrade and other cities in Serbia. This film documents the first four days of their protests, their political and critical conviction but also their carnival spirit. On the seventh day of the protests the film was edited and had a premiere screening in the Rex Cinema.&rdquo; &ndash;Želimir Žilnik</p> Saturday, May 27 VISION FESTIVAL 22: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47370 <p>Anthology has collaborated many times with Arts For Art on the occasion of their annual Vision Festival, and we are proud once again to host a day of film screenings related to the event. The films will speak to what the Vision Festival represents: community, creativity, and social justice. This year&rsquo;s festival will recognize multi-instrumentalist and educator Cooper-Moore, and the film program will include a brand-new short documentary produced specifically for these screenings, as well as films about Grenada, the Sound Unity Festival (precursor to the Vision Festival), the Black Panthers, and David S. Ware.<br /><br />Arts For Art celebrates 22 years of the multi-arts FreeJazz Vision Festival in New York City. The one-week program, running from May 28 to June 3, will present global artists ranging from new talents to legendary artists in music, dance, visual art, film, and poetry. Additionally, the festival will include panel discussions on challenges within the art world, as well as social responsibilities and justice.<br /><br />For more info about Vision Festival 22 visit: www.artsforart.org.<br /><br />PROGRAM 1:<br />Samori Marksman, Nana Ashhurst, and John Douglas<br />GRENADA: THE FUTURE COMING TOWARD US<br />(1984, 55 min, 16mm-to-digital)<br />On March 13, 1979, while Eric Gairy was out of Grenada, &ldquo;the real revolutionaries&rdquo; of the New Jewel Movement (NJM), under the leadership of Comrade Maurice Bishop, masterminded &ldquo;a successful armed takeover of the True Blue army barracks and the island&rsquo;s sole radio station.&rdquo; On that day, the People&rsquo;s Revolutionary Government of Grenada (PRG) was born. Completed just months prior to the 1983 U.S. invasion, this documentary examines the aims and accomplishments of the New Jewel Movement led by Maurice Bishop and the reasons for the American military action.</p> Sunday, May 28 MARBLE ASS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47365 <p>&ldquo;One of the heroes of the war responds by inverting gender roles, others respond to violence with violence.&rdquo; &ndash;Želimir Žilnik<br /><br />MARBLE ASS conveys Žilnik&rsquo;s criticism of the militant attitude and patriarchal features of Milo&scaron;ević&rsquo;s system in the 1990s, while depicting the catastrophe through the fringes of society in Belgrade. This is the first work in Serbian queer cinema, featuring two transgender prostitutes, Merlin and Sanela, who turn tricks with Serbian men. In the desolate atmosphere of war, destruction, and omnipotent violence, Merlin and Sanela comfort the clients with physical affection. MARBLE ASS is Žilnik&rsquo;s call to pacifism and is a study in finding different ways of solving inner conflicts.</p> Sunday, May 28 VISION FESTIVAL 22: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47372 <p>Anthology has collaborated many times with Arts For Art on the occasion of their annual Vision Festival, and we are proud once again to host a day of film screenings related to the event. The films will speak to what the Vision Festival represents: community, creativity, and social justice. This year&rsquo;s festival will recognize multi-instrumentalist and educator Cooper-Moore, and the film program will include a brand-new short documentary produced specifically for these screenings, as well as films about Grenada, the Sound Unity Festival (precursor to the Vision Festival), the Black Panthers, and David S. Ware.<br /><br />Arts For Art celebrates 22 years of the multi-arts FreeJazz Vision Festival in New York City. The one-week program, running from May 28 to June 3, will present global artists ranging from new talents to legendary artists in music, dance, visual art, film, and poetry. Additionally, the festival will include panel discussions on challenges within the art world, as well as social responsibilities and justice.<br /><br />For more info about Vision Festival 22 visit: www.artsforart.org.<br /><br />PROGRAM 2:<br />Ebba Jahn<br />RISING TONES CROSS<br />(1985, 111 min, 16mm-to-digital)<br />&ldquo;The early 1980s were a period of transition for the avant-garde in New York. The loft scene era &ndash; in which Ornette Coleman&rsquo;s home on Prince Street and Sam Rivers&rsquo;s Studio Rivbea provided workshops for experimenters to develop their art &ndash; was drawing to a close, and the arrival of the Knitting Factory and its explosive impact on the Downtown scene was still a few years away. It fell to the artists themselves to create new opportunities. As chronicled in RISING TONES CROSS, two such motivated visionaries were bassist William Parker and dancer Patricia Nicholson. The film centers around the Sound Unity Festival, a precursor to the couple&rsquo;s current Lower East Side bash, the Vision Festival.&rdquo; &ndash;Bruce Gallanter, DOWNTOWN MUSIC GALLERY<br /><br />Preceded by:<br />Michael Lucio Sternbach ASHIMBA: A PORTRAIT OF COOPER MOORE (2017, 15 min, digital)<br />Born in segregated Virginia, Cooper-Moore has been a pivotal member of the FreeJazz movement since the early 1970s. The primary instrument of this master multi-instrumentalist is the piano, though he has also designed and built a variety of instruments. He has performed with David S. Ware, William Parker, Hamid Drake, and Gerald Cleaver, among many others. This film features interviews of Cooper-Moore and his peers, live concert footage, and video taken during his trip to Ethiopia for The Festival of a Thousand Stars. On May 29, as part of the Vision Festival, Arts for Art will recognize Cooper Moore for his extraordinary achievements.</p> Sunday, May 28 WANDERLUST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47350 <p>(KUD PLOVI OVAJ BROD)<br /><br />&ldquo;Giuseppe is an elderly Italian from Istria who sets off eastwards to look for a wife. Dressed in his father&rsquo;s military uniform, he sets off, in the hope that a warm welcome will await him as an Italian. He travels across Hungary, Yugoslavia, and Montenegro, but meets only people who want something from him: a lodging-house landlady who wants to marry him, a businessman who wants to start a travel agency with him in Montenegro. Giuseppe observes the turbulence in this part of the world, in which he recognizes many of his own experiences: his country also suffered under the yoke of fascism, has also been torn apart by civil wars, until not much was left of the once-so-great empire. Žilnik tries to find an answer to the question of how people can bear these defeats. Many Yugoslavian films have previously found an answer in fate, the people&rsquo;s unrestrained nature, or the arrogance of its leaders. Žilnik takes a different position: he thinks that the failures are a logical consequence of decades of willingness to support one&rsquo;s own leaders, without ever looking across the borders to see how others live.&rdquo; &ndash;ROTTERDAM INTERNATIONAL FILM FESTIVAL</p> Sunday, May 28 VISION FESTIVAL 22: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47374 <p>Anthology has collaborated many times with Arts For Art on the occasion of their annual Vision Festival, and we are proud once again to host a day of film screenings related to the event. The films will speak to what the Vision Festival represents: community, creativity, and social justice. This year&rsquo;s festival will recognize multi-instrumentalist and educator Cooper-Moore, and the film program will include a brand-new short documentary produced specifically for these screenings, as well as films about Grenada, the Sound Unity Festival (precursor to the Vision Festival), the Black Panthers, and David S. Ware.<br /><br />Arts For Art celebrates 22 years of the multi-arts FreeJazz Vision Festival in New York City. The one-week program, running from May 28 to June 3, will present global artists ranging from new talents to legendary artists in music, dance, visual art, film, and poetry. Additionally, the festival will include panel discussions on challenges within the art world, as well as social responsibilities and justice.<br /><br />For more info about Vision Festival 22 visit: www.artsforart.org.<br /><br />PROGRAM 3:<br />Stanley Nelson<br />THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION<br />(2015, 90 min, digital)<br />This is the first feature-length documentary to explore the Black Panther Party, its significance to broader American society, the cultural and political awakening it represented for black people, and the painful lessons wrought when a movement derails. Nelson goes straight to the source, weaving a treasure trove of rare archival footage together with the voices of the people who were there: police, FBI informants, journalists, white supporters and detractors, and Black Panthers who remained loyal to the party and those who left it. Featuring Kathleen Cleaver, Jamal Joseph, and many others, it is an essential history and a vibrant chronicle of the pivotal movement that birthed a new revolutionary culture in America.<br /><br />Preceded by:<br />Amine Koulder DAVID S. WARE: A WORLD OF SOUND (2011, 13 min, digital)<br />Saxophonist/composer/bandleader David S. Ware began a mentor/musical relationship with saxophone colossus Sonny Rollins, who taught him circular breathing, in 1966. Following his arrival in the NYC loft jazz scene of the early 70s, word of his potent voice on tenor sax spread quickly. He soon became a member of the Cecil Taylor Unit, with whom he toured throughout Europe, the U.S., and Canada. In 1989 he formed the David S. Ware Quartet and over the course of 17 years, the music David made with this band added immeasurably to the language of jazz. In this film, David discusses music as a form of meditation and spiritual practice.</p> Sunday, May 28 FORTRESS EUROPE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47353 <p>(TVRĐAVA EVROPA)<br /><br />FORTRESS EUROPE is a paradigmatic Žilnik film both in its focus on inter-European migration and the devastating impact of nationalism, as well as its exploration of the docudrama form Žilnik was in the midst of pioneering. Shot in the bordering regions between Hungary, Slovenia, Croatia, and Italy, Žilnik reconstructs the stories of several people trying to cross these borders. The central plot revolves around a Russian family: Svetlana lives in Trieste with her friends and is waiting for her daughter Katja&rsquo;s arrival, while Katja is escorted by her father Artjom, Svetlana&rsquo;s former husband. Inviting his collaborators to play themselves, Žilnik creates a film in which the balance between fiction and documentary is in constant flux, but whose depiction of the human cost of heavily fortified borders is never less than deeply illuminating.</p> Sunday, May 28 KENEDI GOES BACK HOME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47356 <p>(KENEDI SE VRAĆA KUĆI)<br /><br />An account of Yugoslavs who left their worn-torn country in the nineties to spend over ten years in Western Europe as refugees or in asylum. In the second half of 2002 the European Union started sending many of these people, mostly Roma, back to Serbia and Montenegro. Whole families were deported overnight, regardless of the fact that the majority of children born in the West had already completely integrated with the new environment and spoke other languages better than their mother tongue; back &lsquo;home&rsquo; they are suddenly faced with a situation where normal life is practically impossible. The main protagonists of this inhumane story are Kenedi Hasani &ndash; a kind, witty, resourceful, and almost pathologically optimistic street rat &ndash; and his younger, seemingly more cultivated and educated friend, who spent his entire life in Germany and is now forced to rummage among the shanty towns of Serbia in search of his parents.<br /><br />With:<br />KENEDI, LOST AND FOUND / GDE JE DVE GODINE BIO KENEDI (2005, 26 min, video. In Romany, Serbian, and German with English subtitles.)<br />Two years after completing KENEDI GOES BACK HOME, Žilnik accidentally stumbles upon his main protagonist Kenedi Hasani in Vienna. Kenedi then proceeds to retell the dramatic story of his recent past. Two years ago he had decided to climb over the walls of Fortress Europe again to reunite with his family and was caught while illegally crossing the border between Hungary and Austria. After months spent in a deportation center he had managed to escape, but the Austrian officials now have him cornered again and are about to evict him to Serbia. Kenedi decides to build a house for his family there and settle down.</p> Monday, May 29 EC: L’ÂGE D’OR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47396 <p>&ldquo;The story is a sequence of moral and surrealist aesthetics. The sexual instinct and the sense of death form the substance of the film. It is a romantic film performed in full surrealistic frenzy.&rdquo; &ndash; Luis Bu&ntilde;uel</p> Monday, May 29 KENEDI IS GETTING MARRIED http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47359 <p>(KENEDI SE ŽENI)<br /><br />After building a house for his family Kenedi finds himself deeply in debt. He starts searching for any kind of work to repay his creditors, and soon discovers that the sex business is the readiest source of cash. Initially he offers his services to older ladies and widows, only to perceive that even more money lies in offering sex to wealthy men. When he learns about certain new European laws on gay marriages, he sees this as an opportunity to renew his search for legal status in the European Union. It should be mentioned that Kenedi, apart from a rich personal history, also possesses an immense acting talent &ndash; a talent for improvisation, to be more precise. Our prodigy belongs in that noble league of hyperactive, super naturalistic, intuitive, ill-mannered, bigger-than-life actors &ndash; like Peter Falk, Ben Gazzara, and Seymour Cassel &ndash; best known for their work with John Cassavetes.</p> Monday, May 29 LOGBOOK_SERBISTAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47347 <p>&ldquo;Over the last three years, the Balkans have seen a massive influx of refugees fleeing violence and poverty and seeking asylum in the European Union. Yet as borders close, these migrants from the Middle East, Africa and Central Asia find themselves stuck in Serbia, where they are housed in refugee camps and forced to adapt to life in a country which itself is still excluded from the West. In his new award-winning film LOGBOOK_SERBISTAN, Žilnik follows the daily lives of migrants as they adapt to the reality of living in Serbia and works with them to tell their stories, as harrowing as they are humorous. The result is an incisive docudrama, showing not only the system of forcible exclusion in place on Europe&rsquo;s borders, but also its grey zones and loopholes for self-empowerment.&rdquo; &ndash;AKADEMIE DER K&Uuml;NSTE DER WELT</p> Tuesday, May 30 THE OLD SCHOOL OF CAPITALISM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47362 <p>(STARA &Scaron;KOLA KAPITALIZMA)<br /><br />This film is rooted in the first wave of workers&rsquo; revolts to hit Serbia since the advent of capitalism. Desperate workers bulldoze through factory gates and are devastated to discover the site looted by the bosses. Eccentric and escalating confrontations, including a mel&eacute;e with workers in football shoulder-pads and helmets, and the boss and his security force in bulletproof vests, prove fruitless. Committed young anarchists offer solidarity, and take the bosses hostage. A Russian tycoon, a Wall Street trader, and U.S. Vice President Biden&rsquo;s visit to Belgrade unexpectedly complicate events. Along the way, the film produces an increasingly complex and yet unfailingly lively account of present-day, up-to-the-minute struggles under the misery-inducing effects of both local and global capital.</p> Tuesday, May 30 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47455 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, May 31 MILLENNIUM FILM JOURNAL NO. 65: ARCHITECTURE ON SCREEN AND OFF http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2017#showing-47320 <p>This program celebrates the publication of Millennium Film Journal No. 65, with works featured in the new issue, entitled &ldquo;Architecture On Screen and Off.&rdquo; The title refers to recent moving-image artists&rsquo; considerations of the built environment and its connection with character, politics, social norms, class, race, gender, and money. The issue also includes three texts about early video, an interview with Jesse McLean, and an essay by Tom Sherman.<br /><br />Special thanks to Grahame Weinbren, Senior Editor, Millennium Film Journal (mfj-online.org).<br /><br />Jon Alpert &amp; Keiko Tsuno IS THIS MUSIC? (1971, 5 min-excerpt, video)<br />&ldquo;The provocative, freewheeling IS THIS MUSIC? reveals substantial overlaps between Tsuno&rsquo;s and Alpert&rsquo;s early, experimental video art and their later media practices. [&hellip;] This comic or parodied sense of patriotism foresees the sharply critical perspective of their later expos&eacute;s on American government and foreign conflicts, while also exemplifying the playful attitude that distinguished Alpert&rsquo;s and Tsuno&rsquo;s work from the staunch nationalism of the period, as well as the seriousness of their art-video peers.&rdquo; &ndash;Joel Neville Anderson, &ldquo;(Community) Video Art: DCTV&rsquo;s Expanded Documentary Practice&rdquo;<br /><br />Jamie Fenton &amp; Raul Zaritsky DIGITAL TV DINNER (1978, 3 min, video)<br />&ldquo;DIGITAL TV DINNER portends future engagements with the &lsquo;materiality&rsquo; of the digital signal as an intervention in the execution of programming code within the computer system itself. The early date of this tape, coupled with the approach to creating its visuals, make it one of the first, if not the very first, &lsquo;glitch&rsquo; video&hellip;.&nbsp; The process [involved in the] creation of this audio-visual work is one that emphasizes the performative over (and against) the explicitly programmed.&rdquo; &ndash;Michael Betancourt, &ldquo;The Invention of Glitch Video: DIGITAL TV DINNER&rdquo;<br /><br />Marianna Simnett THE NEEDLE AND THE LARYNX (2016, 15.5 min, digital)<br />&ldquo;Surpassing a reiteration of the critique of traditional gender oppositions, Simnett&rsquo;s artistic practice undermines the binary taxonomy of male-female using original, radical methodologies. THE NEEDLE AND THE LARYNX invites the viewer to consider the larger performative apparatuses, determined by social constructs, which actuate distinctions inherent to our ideology: antagonisms in the guise of affirmations of identity.&rdquo; &ndash;Melvin Harper, &ldquo;Syringes and Mosquitoes&rdquo;<br /><br />Pipilotti Rist PICKELPORNO (1992, 12 min, digital. Courtesy Electronic Arts Intermix (EAI), New York.) <br />&ldquo;Rist, a Swiss video artist and musician, has been expanding video art since the 1980s, ceaselessly reinventing forms, shredding restraints, dissolving dualistic divisions. Saturated colors, images, songs, spaces, and genres mix and morph into playful and provocative arcadias. If such a fluid artist could possibly have a system, you might say she systematically reimagines a relationship between the body, the viewing experience, and the image, bringing them ever closer to one another&hellip;. A certain cleanliness and commercial aplomb leave us with the impression of a fairytale caught somewhere between the Grimm Brothers&rsquo; dark and grotesque original and the sanitized, cheery rendition produced by the Disney empire.&rdquo; &ndash;Rachel Stevens, &ldquo;Pipilotti Rist: Pixel Forest at the New Museum&rdquo;<br /><br />Tom Sherman BIRDS LISTENING (2012, 2.5 min, digital)<br />Tom Sherman SEE THE TEXT COMES TO READ YOU 2012, 8 min, digital<br />&ldquo;Analog is akin to water, where digital is atmospheric and similar to static electricity in the air. It builds up in tiny atomistic events until a sheet of flashing light discharges the tension and resets the whole environment. The digital crosses the divide in an instant, if a path is available. Analog, meanwhile, sloshes around wet and cool in concentric circles, in materialized echoes, every connection a continuum. Analog instruments are vessels. They have to be sealed to prevent leaking. Analog signals overflow and flood circuits as a matter of course. Stability is a relative concept as depth creates pressure and there is always movement on the surface. Analog wetness can be contained if a little mess can be tolerated. Digital dryness has its own rigid structure until it reaches a climax and then snaps.&rdquo; &ndash;Tom Sherman, &ldquo;Is the Imagination Analog or Digital?&rdquo;<br /><br />Jesse McLean SEE A DOG, HEAR A DOG (2016, 18 min, digital)<br />&ldquo;We want to communicate not only with each other but with nonhuman animals and other conscious beings, but the way we experience the world is anthropocentric. We understand these kind of nonhuman connections on human terms, so there&rsquo;s a level of the unknown and a lot of trust. I related this to the trust we place in the cinematic image/sound relationship, the fragility built into the whole endeavor of communication. Some people find the idea of a sentient, communicative machine inevitable and exciting, some find it nightmarish. People talk to inanimate objects all the time, but it is experienced as a one-sided conversation. With animals, it&rsquo;s different as they obviously are conscious beings, but still, it&rsquo;s a connection reliant on trust and a level of uncertainty. Humans most likely communicate far more than they realize to animals, and vice versa. Perhaps with objects it&rsquo;s the same&hellip;&rdquo; &ndash;Jesse McLean on SEE A DOG, HEAR A DOG, from Eli Horwatt, &ldquo;Connect and Rupture&rdquo;<br /><br />Ja'Tovia Gary AN ECSTATIC EXPERIENCE (2015, 6 min, digital)<br /><br />Total running time: ca. 70 min.</p> Wednesday, May 31 EC: LOS OLVIDADOS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47531 <p>(THE FORGOTTEN ONES)<br /><br />&ldquo;Bu&ntilde;uel shows the sad condition of the poor without embellishing them, because if there is one thing Bu&ntilde;uel hates it is that artificial sweetness imparted to all the poor which we so frequently see in the traditional film. If, as usually happens in motion pictures, the moral principals approved by conventional society are carefully observed by members of the poorest classes&hellip;then these principals have some universal validity. However, Bu&ntilde;uel is concerned with exposing the opposite.&rdquo; &ndash;Emilio Garcia Riera, FILM CULTURE<br /><br />&ldquo;[LOS OLVIDADOS] lashes the mind like a red-hot iron and leaves one&rsquo;s conscience no opportunity to rest.&rdquo; &ndash;Andr&eacute; Bazin</p> Thursday, June 01 ÀGATA’S FRIENDS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47546 <p>(LES AMIGUES DE L&rsquo;&Agrave;GATA)<br /><br />LES AMIGUES DE L&rsquo;&Agrave;GATA is a thoughtful and delicate portrait of four young friends through the eyes of &Agrave;gata. Now in her first year at university, &Agrave;gata finds her relationship with her school friends transformed, both in their daily lives in Barcelona as well as during a trip to the Costa Brava. For this exceptional final thesis film, all four directors shared in the various film production roles, with the assistance of mentors including Isaki Lacuesta and El&iacute;as Le&oacute;n Siminiani.<br /><br /><em><strong>Please note: After going to press with our printed calendar, we learned that co-director Laura Rius is not able to be here for the originally-scheduled screening on Sunday, June 4.&nbsp; As a result we've added an earlier screening, on Friday, June 2 at 6:30.&nbsp; Laura Rius will be here in person for that show!<br /></strong></em></p> <p><span style="font-size: 12px;"> <span style="color: #000000;"><span style="font-family: helvetica,sans-serif; font-weight: 400; line-height: 18px;"><span style="font-family: helvetica,sans-serif; font-weight: 400; line-height: 18px;">Opening Night Sponsored by <strong style="color: #ff0000; font-family: helvetica,sans-serif; font-size: 12px; font-weight: bold; line-height: 18px;">Cervezas Alhambra</strong>.</span></span></span></span></p> <div class="m_2210980922387397908page" title="Page 1"> <div class="m_2210980922387397908section" style="background-color: rgb(100.000000%,100.000000%,100.000000%);"> <div class="m_2210980922387397908layoutArea">Preceded by:&nbsp; <div class="m_2210980922387397908column"> <p style="font-size: 12px; font-family: helvetica,sans-serif; font-weight: 400; color: #030303; line-height: 18px; padding: 0px; margin: 0px; text-align: start;"><span style="font-size: 12px;">Chema Garc&iacute;a Ibarra <strong>THE DISCO SHINES / LA DISCO RESPLANDECE</strong>, 2016, 13 min, Turkey &amp; Spain<br /> The shadow of the mountain grows as the evening falls. Five lads get ready for the evening: they have booze, music and a car. It doesn&rsquo;t matter if the disco shut down years ago.<span style="color: #ff0000;"><em><span style="font-family: helvetica,sans-serif; font-weight: 400; line-height: 18px;"></span></em></span></span></p> </div> </div> </div> </div> Friday, June 02 ESA SENSACIÓN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47481 <p>In this highly original and comical film, three Spanish directors tell three stories: about a woman who becomes passionately excited by inanimate objects throughout the city (a parking meter, a metal bridge, etc); a man who follows his father in order to unravel his secret; and a couple of friends who suddenly, as if felled by a virus, display improper behavior against their will. These three interwoven storylines seem at first sight to have little to do with each other, but in each the characters are visited by an unexpected and strangely addictive sensation, which knocks them out of their daily routine and forces them to come to terms with issues such as love, faith, and human will.<br /><br /><em><strong>Please note: Our printed calendar lists the showtime for this screening as 8:00, but the film will actually begin at 8:30pm.&nbsp; We apologize for any inconvenience.</strong></em></p> <p><em><strong><br /></strong></em><span style="font-size: x-small;"><strong></strong>Preceded by:</span><br /><span style="font-size: x-small;">Alberto Vázquez SCENERY / DECORADO 2016, 12 min, b&amp;w, Spain &amp; France<br /> The world is a wonderful stage, but the casting is deplorable.</span></p> Friday, June 02 EC: CLAIR / PICABIA / BUÑUEL / DALÍ PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47532 <p>Ren&eacute; Clair and Francis Picabia ENTR&rsquo;ACTE (1924, 22 min, 35mm, b&amp;w)<br />A masterpiece of Dada and a feat of cinema magic. Made as intermission entertainment for the Ballet Su&eacute;dois from an impromptu scene by Francis Picabia.<br /><br />Luis Bu&ntilde;uel and Salvador Dal&iacute; UN CHIEN ANDALOU (1928, 22 min, 35mm, b&amp;w)<br />Twenty-two minutes of pure, scandalous dream-imagery, a stream of images from which anything that could be given a rational meaning was rigorously excluded. It&rsquo;s still the unsurpassed masterpiece of the surrealist cinema.<br /><br />Luis Bu&ntilde;uel LAND WITHOUT BREAD / LAS HURDES: TIERRA SIN PAN (1932, 28 min, 35mm, b&amp;w. With English narration.)<br />&ldquo;A documentary describing, matter-of-factly, a region of Spain so ravaged by epidemic poverty that there our worst fantasies find their objective correlative.&rdquo; &ndash;Raymond Durgnat<br /><br />Total running time: ca. 75 min.</p> Saturday, June 03 NO COW ON ICE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47483 <p>(INGEN KO P&Aring; ISEN)<br /><br />&ldquo;Language and landscape as a gateway to a new life.&rdquo; A young Galician emigrates to Sweden, where he performs several part-time jobs while trying to embark on a film career. The challenge of learning a new language and the fascination of an unusual landscape soon become two fundamental stimuli in the face of the difficulties of adapting to a new country. Inspired in part by Jonas Mekas (both by his memoir, &ldquo;I Had Nowhere to Go,&rdquo; and his pioneering diary films), Dom&iacute;nguez Ser&eacute;n utilizes his constant documentation of his new habitat, his various trades, and his new relationships, to reflect on his new status as an immigrant.<br /><br />Preceded by: <br /><span style="font-size: x-small;">Natalia Marín <strong>NEW MADRID</strong> 2016, 10 min, Spain.<br /> An experimental essay on cities built as a simulacrum and the failed utopia as a result of the experiment on the eight towns called the United States of Madrid.</span></p> Saturday, June 03 NOT A PAPER TIGER: DEEDEE HALLECK: PROGRAM 1: WORKING WITH CHILDREN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47474 <p>The first part of Halleck&rsquo;s career is distinguished in large part by her devotion to working with children &ndash; under the auspices of several different organizations she utilized film as a tool for engaging with underprivileged kids and encouraging them to express themselves. This uniquely pedagogical approach to the medium produced numerous films that are little seen today but remain vibrant, vital, and charming. The first film in this program, CHILDREN MAKE MOVIES, was made at the Lower East Side&rsquo;s Lillian Wald Recreation Rooms. Most of the other works screening here were the result of Halleck&rsquo;s most sustained venture into working with children: from 1968-72, she taught filmmaking at the Otisville School for Boys, a reformatory run by the NY State Division for Youth. Her efforts there, which encompassed both showing movies to her students and helping them to make their own films, gave rise to numerous 16mm shorts, a selection from which we&rsquo;ll be presenting here (along with a related film, HEY THERE LONELY GIRL, made at the Martin Luther King Jr. Center of the A.M.E. Zion Church in Middletown, NY, with a group of girls who were friends of Halleck&rsquo;s Otisville students).<br /><br />DeeDee Halleck CHILDREN MAKE MOVIES (1961, 13 min, 16mm, b&amp;w)<br /><br />OTISVILLE SCHOOL FOR BOYS FILMS:<br />Jose Rodriguez GET ON THE GOOD FOOT (1972, 17.5 min, 16mm)<br />Vanio &amp; Spann THE BLOODY CRIME CRUSHER (1971, 12 min, 16mm)<br />Milton Lefty Diaz THE BEGINNING OF MY END (1969, 8 min, 16mm)<br />Abraham Cardona HAIR (1972, 5 min, 16mm)<br />Charles Smith &amp; Kenneth Brown A MADMAN&rsquo;S WORLD (1971, 6 min, 16mm)<br /><br />Flora Hunter &amp; Cindy D HEY THERE LONELY GIRL (1970, 8.5 min, 16mm)<br /><br />Total running time: ca. 75 min.</p> Saturday, June 03 OLEG AND THE RARE ARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47485 <p>(OLEG Y LAS RARAS ARTES)<br /><br />Several biographical facts: Oleg Nikolayevich Karavaychuk (1927-2016) played the piano for Stalin as a child prodigy, attended the Leningrad Conservatory, and in the course of his career primarily wrote music for theatre and film &ndash; for instance, for Paradjanov and Muratova. In Russia, he is admired for his music and his playing, but also for his unique and eccentric personality. At the age of 89, Karavaychuk is still a controversial and puzzling figure in Russian culture. Who is this man, who looks as if he stepped out of a story by Gogol? The beautiful film that Andr&eacute;s Duque has made about him is a gift to the viewer, a gift from an old artist who wants to be reconciled with the world and who transports us away from reality with words, gestures, and piano playing, free of social conventions, to a world where clashing dissonants have a liberating beauty.<br /><br />Preceded by:<br /><span style="font-size: x-small;">Velasco Broca <strong>OUR FRIEND THE MOON / NUESTRA AMIGA LA LUNA</strong>, 2016, 15 min, Spain b&amp;w<br /> Hadji is a disabled young Hindu man who lives humbly on the banks of the Ganges River. After losing what little he had, he is accepted as a disciple by a strange spiritual leader of Russian origin. This alliance will lead them to some bizarre events that will have consequences through a synchronous principle in other parts of the West. This short film is inspired by the third century Gnostic text The Hymn of the Pearl. </span></p> Saturday, June 03 EC: JAMES BROUGHTON PGM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47534 <p>THE PLEASURE GARDEN (1953, 38 min, 35mm, b&amp;w)<br />THE BED (1968, 19 min, 16mm)<br />THE GOLDEN POSITIONS (1970, 32 min, 16mm)<br />HIGH KUKUS (1974, 3 min, 16mm)<br /><br />Broughton&rsquo;s films are celebrations of the joy of living. If there is such a thing as American Zen, Broughton is the master of it.<br /><br />&ldquo;Broughton was and is a poet, sometimes a dramatist. Yet whatever the mode, his style is remarkably consistent: urbane and witty with the persona of the na&iuml;ve, or the simpleton, or the child. Like the poems, the films record the basic rites of passage, the search for love, the primal relationships, with ironic insight: there are parents who are children, a rube who&rsquo;s really the artist, a loony wise man.&rdquo; &ndash;P. Adams Sitney<br /><br />Total running time: ca. 95 min.</p> Sunday, June 04 ÀGATA’S FRIENDS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47487 <p>(LES AMIGUES DE L&rsquo;&Agrave;GATA)<br /><br />LES AMIGUES DE L&rsquo;&Agrave;GATA is a thoughtful and delicate portrait of four young friends through the eyes of &Agrave;gata. Now in her first year at university, &Agrave;gata finds her relationship with her school friends transformed, both in their daily lives in Barcelona as well as during a trip to the Costa Brava. For this exceptional final thesis film, all four directors shared in the various film production roles, with the assistance of mentors including Isaki Lacuesta and El&iacute;as Le&oacute;n Siminiani.<br /><br /><em><strong>Please note: After going to press with our printed calendar, we learned that co-director Laura Rius is not able to be here for the originally-scheduled screening on Sunday, June 4.&nbsp; As a result we've added an earlier screening, on Friday, June 2 at 6:30.&nbsp; Laura Rius will be here in person for that show!<br /></strong></em></p> <p><span style="font-size: 12px;"> <span style="color: #000000;"><span style="font-family: helvetica,sans-serif; font-weight: 400; line-height: 18px;"><span style="font-family: helvetica,sans-serif; font-weight: 400; line-height: 18px;">Opening Night Sponsored by <strong style="color: #ff0000; font-family: helvetica,sans-serif; font-size: 12px; font-weight: bold; line-height: 18px;">Cervezas Alhambra</strong>.</span></span></span></span></p> <div class="m_2210980922387397908page" title="Page 1"> <div class="m_2210980922387397908section" style="background-color: rgb(100.000000%,100.000000%,100.000000%);"> <div class="m_2210980922387397908layoutArea">Preceded by:&nbsp; <div class="m_2210980922387397908column"> <p style="font-size: 12px; font-family: helvetica,sans-serif; font-weight: 400; color: #030303; line-height: 18px; padding: 0px; margin: 0px; text-align: start;"><span style="font-size: 12px;">Chema Garc&iacute;a Ibarra <strong>THE DISCO SHINES / LA DISCO RESPLANDECE</strong>, 2016, 13 min, Turkey &amp; Spain<br /> The shadow of the mountain grows as the evening falls. Five lads get ready for the evening: they have booze, music and a car. It doesn&rsquo;t matter if the disco shut down years ago.<span style="color: #ff0000;"><em><span style="font-family: helvetica,sans-serif; font-weight: 400; line-height: 18px;"></span></em></span></span></p> </div> </div> </div> </div> Sunday, June 04 NOT A PAPER TIGER: DEEDEE HALLECK: PROGRAM 2: 16MM PORTRAITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47476 <p>MURAL ON OUR STREET<br />(1965, 26, min, 16mm)<br />Depicts the building of a ceramic mural, from the initial sketch classes to the final installation at 305 Henry Street. A lively steel band sound track accompanies the enthusiastic testimony of the participants.<br /><br />MR. STORY<br />(1972, 28 min, 16mm. Co-directed by Anita Thacher.)<br />An 88-year-old resident of Bloomingburg, New York, Albert Story reminisces about his life and the difficulties of growing older. Still active, he canes chair seats, plants a garden, and changes a tire.<br /><br />JARASLAWA<br />(1973, 15 min, 16mm)<br />An exquisite portrait of Jaraslawa, who bakes bread and piroski as she talks about her recipes and her life. This lyrical experimental film has a sound track by the Penny Whistlers.<br /><br />&ldquo;JARASLAWA is a marvel. [&hellip;] The hands work with more than grace: with the rhythm and sureness of a natural process worn into them by 60 years of practice. The old face and its very slightly shifting expressions are a visual commentary on the hands&rsquo; work. It is a musician listening to the music she makes.&rdquo; &ndash;Richard Eder, NEW YORK TIMES<br /><br />BRONX BAPTISM<br />(1980, 27 min, 16mm. Photographed by Richard Serra, DeeDee Halleck, and Babette Mangolte.)<br />A lyrical, intimate celebration of baptism, filmed at a Pentecostal Church in the South Bronx. Community creation in the midst of economic devastation: the heart of a heartless world.<br /><br />&ldquo;BRONX BAPTISM records the proud ritual of the Pentecostal Church John 3:16 in the South Bronx. It&rsquo;s easy to see what would attract a filmmaker to this Puerto Rican congregation: the huge cross over the altar slides open to reveal a glass-walled baptism tank backed by a painted waterfall &ndash; the baptismal ritual is celebrated to the flock in the guise of a giant living TV show.&rdquo; &ndash;B. Ruby Rich, CHICAGO READER<br /><br />Total running time: ca. 100 min.</p> Sunday, June 04 MIMOSAS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47489 <p>Oliver Laxe&rsquo;s stunning new film is a breathtakingly shot &lsquo;Eastern western&rsquo; that follows a mysterious caravan carrying a dying sheikh into the Moroccan Atlas Mountains. Somewhere in the desert, a caravan is escorting an elderly sheik to the village where he was born. His last wish is to be buried with his loved ones. But death does not wait. Without their leader, the company grows fearful. And at the foot of a mountain pass, they refuse to continue, entrusting the body to two men who agree to carry on and bring it to its final destination. But who are these men? And do they really know the way? Meanwhile, in another world, a mysterious young man is chosen to find the caravan. Richly suggestive and profoundly hypnotic, MIMOSAS is a head-scratcher whose meanings remain elusive even as its imagery and structural gambits lodge deeply in your mind.<br /><br /><strong><em>This encore presentation of MIMOSAS follows Anthology&rsquo;s theatrical premiere run of the film, taking place from April 14-20.<br /></em></strong><br /><span style="font-size: x-small;">Preceded by:</span><br /><span style="font-size: x-small;">Lois Patiño FAJR 2016, 12 min, Spain<br /> In the Moroccan desert, the night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate the landscape. From the abstraction of the night, light returns its dimension to space and their volume to bodies. Stillness concentrates the gaze and duration densifies it. The adhan (muslim call to pray) sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolve into the desert.</span></p> Sunday, June 04 NOT A PAPER TIGER: DEEDEE HALLECK: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47478 <p>WAITING FOR THE INVASION: U.S. CITIZENS IN NICARAGUA<br />(1984, 28 min, video)<br />Made shortly after the invasion of Grenada by the US, this film documents the fear and anger of US citizens who have come to Nicaragua to help the Sandinista revolution and fear that their own country will wage war on this new nation.<br /><br />THE GRINGO IN MA&Ntilde;ANALAND<br />(1995, 61 min, video)<br />Since the turn of the 20<sup>th</sup> century, popular media in the U.S. have promoted a stereotyped image of Latin America in order to justify the concept of U.S. dominance in the hemisphere. THE GRINGO IN MA&Ntilde;ANALAND uses travelogues, dramatic films, industrial films, newsreels, military footage, geographical textbook illustrations, and political cartoons to lay out the essential myths: the hero discovers paradise and bananas, he has a problem with bandits and women, he calls in the marines, the bandits cooperate, and the good neighbors are happy. These images not only shaped how Americans viewed Latin Americans, but through exportation, also affected how Latin Americans view themselves. Through juxtaposition and irony, the film demonstrates cultural imperialism at work. It is a comedy, a melodrama, an adventure story and, as today&rsquo;s headlines attest, a tragic farce.<br /><br />&ldquo;An instant classic&hellip;all gringos should see it!&rdquo; &ndash;Erik Barnouw<br /><br />&ldquo;An ingenious examination of the U.S. tragi-comedy in Latin America.&rdquo; &ndash;Craig Baldwin<br /><br />Total running time: ca. 95 min.</p> Monday, June 05