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 Fri, 24 Oct 2014 12:51:47 -0400 THE PARROT AND THE SWAN - INTRO BY MATÍAS PIÑEIRO ON OCT 16! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43302 <p>(EL LORO Y EL CISNE)<br /><br />With Luciana Acu&ntilde;a and Rodrigo Sanchez Mari&ntilde;o.<br /><br />In THE PARROT AND THE SWAN, filmmaker and editor Alejo Moguillansky further explores the interest in movement and musicality in film that marked his first feature, CASTRO, incorporating into this tale of dance and love the world that surrounds him. The film captures his wife, his daughter, his friends, his job, his house &ndash; all of which have played an important part in his process of forming a self. Moguillansky doesn&rsquo;t expose himself directly but remains silently everywhere, embodied especially by KRAPP, the contemporary dance company that functions as the heart and soul of the lifestyle the film portrays.<br /><br /><strong>The screening on Thurs, Oct 16 will be introduced by filmmaker and guest curator, Mat&iacute;as Pi&ntilde;eiro!&nbsp;&nbsp;</strong></p> Friday, October 24 BLOOD FEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43332 <p>Honing his chops on commercials and industrials, Herschell Gordon Lewis tried to one-up Russ Meyer&rsquo;s pioneering 16mm nudie cutie THE IMMORAL MR. TEAS by shooting his own, THE ADVENTURES OF LUCKY PIERRE, in 35mm. But for his breakthrough film, BLOOD FEAST, Lewis returned to the subject of his early industrial, CARVING MAGIC. A seminal splatter flick to which every drop of cinematic blood shed in its wake may be attributed, BLOOD FEAST chronicles a string of grisly ritualistic murders committed by caterer Faud Ramses, who sacrifices his victims to Egyptian goddess Ishtar. Bathtub stabbing, flogging, corpse grinding, limb boiling, and other atrocities had never before been so gleefully nor graphically portrayed. The Los Angeles Times&rsquo;s Kevin Thomas called it &ldquo;a blot on the American film industry&hellip;an insult to the intelligence of all but readers of horror comic books.&rdquo; After turning out nearly thirty features over the next decade, Lewis returned to his roots as an advertising copywriter and direct marketing specialist.<br /><br />With:<br />CARVING MAGIC<br />(1959, 21 min, 16mm)<br />An almost too-perfect debut for The Godfather of Gore, CARVING MAGIC is a promotional film for Chicago-based meat packers Swift &amp; Co. It features a flashback structure in which a man explains that he learned to carve meat while working on the set of an industrial film about the same topic. The camera drinks in juicy, sumptuous close-ups of knives making graceful, perfect cuts through various species&rsquo; flesh. With luxuries such as tracking shots, it is arguably a more sophisticated production than any of HGL&rsquo;s subsequent output. It also shares BLOOD FEAST&rsquo;s star William Kerwin.</p> Friday, October 24 (…) or WAITING FOR THE BARBARIANS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43292 <p>(PUNTOS SUSPENSIVOS or ESPERANDO A LOS B&Aacute;RBAROS)<br /><br />With Roberto Villanueva, Jorge Alvarez, and Maril&uacute; Marini.<br /><br />This film was made in 1971 but did not screen at all until 2012. Its author, Edgardo Cozarinsky did not remember it fondly. However, its rediscovery revealed it as a gem of the avant-garde movement of its time. Associated with the art and literary world of Buenos Aires, the film encompasses queer magnetism, fragmentary storytelling, outbursts of anti-clericalism, and joyful cinephilia. Cozarinsky lived in Paris for most of his adult life, developing his career as a writer and filmmaker. Returning only recently to Buenos Aires, he rediscovered himself as a filmmaker. He has since adopted the methods of a new generation and found an energy similar to that displayed in (&hellip;), his first and wildest roll of the dice.</p> Friday, October 24 CARNIVAL OF SOULS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43335 <p>Preserved by the Academy Film Archive; presented with permission from Matthew Irvine.<br /><br />Harold &ldquo;Herk&rdquo; Harvey would already be a legend for his four-decade career at Lawrence, KS&rsquo; Centron industrial film company even if he hadn&rsquo;t directed this cult favorite. Inspired by a fleeting roadside encounter with a decaying, outdoor ballroom near Salt Lake City, Harvey approached Centron writer John Clifford with the idea of structuring a low-budget horror around this unforgettable image. In Clifford&rsquo;s script, a young woman who escapes a drag racing accident becomes haunted by chilling visions of a deathly figure. Light on dialogue and conventional plotting, CARNIVAL OF SOULS&rsquo; singular atmospherics are a contrast to the pragmatic didacticism of many of Centron&rsquo;s educational films. Yet it conveys a workmanlike briskness and spirit of economy that speak very much to Harvey&rsquo;s background as a prolific maker of useful cinema, and it&rsquo;s rendering of the eerier side of the midwest is unparalleled.<br /><br />With:<br />NONE FOR THE ROAD<br />(1957, 15 min, 16mm, b&amp;w)<br />Among innumerable gems, NONE FOR THE ROAD&rsquo;s buzzed driving cautionary tale aimed at high schoolers is especially aligned with CARNIVAL OF SOULS, featuring a nocturnal ambience and grim twist of fate that convey the spirit of the best teenage death ballads.<br /><br /><em>Please note: This marks the NYC premiere screening of the Academy Film Archive's preserved print of CARNIVAL OF SOULS. In related news, the Academy, along with the New York University Orphan Film Symposium, will present this year's installment of &ldquo;The Real Indies: A Close Look At Orphan Films,&rdquo; a two-day screening series on Friday, October 31, and Saturday, November 1, at the Academy Theater in New York City. The series serves as an opportunity to re-discover orphan films &ndash; rarely seen, previously neglected cinematic works deserving preservation and revival. This eclectic showcase will open on Friday at 7:30pm with the New York premiere of the newly restored 35mm print of the cult horror-comedy classic Spider Baby, written and directed by Jack Hill (appearing in person). Tickets for the event can purchased online at oscars.org and at the Academy box office on October 31st and November 1st.&nbsp;</em></p> Friday, October 24 THE SIDEWALKS OF SATURN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43323 <p>(LES TROTTOIRS DE SATURNE)<br /><br />In French with projected English subtitles. With Rodolfo Mederos and B&eacute;rang&egrave;re Bonvoisin. Print courtesy of the Forum des images.<br /><br />This is one of the films you&rsquo;ll have the hardest time finding outside this selection &ndash; don&rsquo;t miss it! Extending the universe he created with Jorge Luis Borges and Adolfo Bioy Casares in his first feature INVASI&Oacute;N, Hugo Santiago and writers Juan Jos&eacute; Saer and Jorge Sempr&uacute;n move back and forth between Paris and the city of Aquilea in a shadowy fable about exile. The frontier between one city and the other begins to blur after Bandoneonist Rodolfo Mederos is visited by his sister, a member of a guerrilla organization. Santiago describes himself as &ldquo;an Argentine from Paris,&rdquo; and this film, the third he directed after moving to France, stands as a touchstone for those who believe that film is an artifice, a precise composition with no claims to &lsquo;reality.&rsquo;</p> Saturday, October 25 JUAN MOREIRA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43638 <p>With Rodolfo Beb&aacute;n, Jorge Villalba, and Pablo Curno. Archival print courtesy of the INCAA.<br /><br />Leonardo Favio is the most popular filmmaker in Argentina. However, he&rsquo;s never enjoyed the international recognition he deserves. Juan Moreira is the bandit of La Pampa, turned bad by the corrupt political system in which he came of age. Based on the book by 19th-century author Eduardo Gutierrez, the film is spectacularly stylized, influenced by the Western but actually closer to the Italian take on that genre. It&rsquo;s most striking for its characters&rsquo; manner of speech &ndash; often almost unintelligible, their speech has a near-abstract quality that&rsquo;s attributable to the influence of the literary genre of <em>la Gauchesca</em>. It is the voice of the Other and it is a beautiful one.</p> Saturday, October 25 MUD (CANCELLED) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43320 <p>(FANGO)<br /><br />With Oscar G&eacute;nova, Nadia Batista, and Claudio Mi&ntilde;o.<br /><br />Campusano&rsquo;s films don&rsquo;t resemble anyone else&rsquo;s; they&rsquo;re a corrective to the work of those naturalist filmmakers whose films win attention by exploiting poverty and violence. His success may come from the ontological connection he has with the world he depicts. Direct and blatant at first, his films have gradually become more carefully composed. Campusano makes contemporary Westerns, in which new frontiers generate conflict, social tribes share new codes, and violence constructs morals. In FANGO, two perspectives shape the film: one set by the men and the music, in their search for an equilibrium between tango and trash metal; and the other by the women, who wield words with a rigor that renders them as effective as weapons.<br /><br /><strong>We regret to inform that the screening of MUD (FANGO) on Saturday, Oct 25 has been cancelled. &nbsp;The version that was provided to us lacks subtitles and is damaged to boot. &nbsp;The good news is that we're replacing it with an additional screening of Leonardo Favio's JUAN MOREIRA (1973), a remarkable film screening in a beautiful 35mm print! &nbsp;Click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43638">here</a> for more details.</strong></p> Saturday, October 25 NIGHT OF THE LIVING DEAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43338 <p>Incessant media chatter is one of the defining characteristics of Romero&rsquo;s debut, which features a group of individuals fortified inside a farmhouse outside Pittsburgh as the dead mysteriously return to life. Romero, who previously and for some time subsequently made many Pittsburgh television commercials, presents the media as a locus of vague disinformation and unsettling non-answers. Its racial dynamic is also unique in the context of industrial filmmaking, which was often whitewashed to avoid restricting market potential; its black protagonist reflects a progressive tide, while its essential pandemonium taps into the fraught undercurrent of a tumultuous year. Much as it has been said that often-overlooked and undervalued industrial films present an essential, and in some ways more realistic, view of contemporaneous society, NIGHT OF THE LIVING DEAD is the quintessential evidence that so, too, can horror films.<br /><br />With:<br />LATENT IMAGE COMMERCIAL REEL<br />(1962-1973, ca. 15 min, video)<br />In 1962, as a recent graduate of Carnegie-Mellon Institute, Romero co-founded the Latent Image industrial film production company with Richard Ricci and Russ Streiner. Working with 16mm and budgets of $6,000 and under, they created commercials for local brands including Iron City Beer, Heinz, Duke Beer, Calgon, and U.S. Steel. Among the most entertaining is &ldquo;The Calgon Story,&rdquo; a FANTASTIC VOYAGE-style commercial about a tiny space ship blasting dirt inside laundry; like NIGHT OF THE LIVING DEAD, it features an undeniable pulp/sci-fi sensibility. The social side of NotLD is reflected in a 1972 McGovern campaign commercial shot in Pittsburgh&rsquo;s Hill District with the narration, &ldquo;every 27-minutes a black child dies.&rdquo; Shot out the window from inside a hearse, it features an undertaker placing a tiny body inside while black families grieve on the streets.</p> Saturday, October 25 THE KIDNAPPER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43305 <p>(EL SECUESTRADOR)<br /><br />With Leonardo Favio, Mar&iacute;a Vaner, and Lautaro Mur&uacute;a.<br /><br />Leopoldo Torre Nilsson is our greatest filmmaker. He belongs to another era. He is a modernist and a major influence on the generation of Santiago, Cozarinsky, Filippelli, and Fischerman, many of whom he helped to make their first films. Together with his wife, the writer Beatriz Guido, they created some of the true masterpieces of Argentine cinema, and here is one rarely-screened example. Starring future filmmaker Leonardo Favio (whose JUAN MOREIRA is included in this series), THE KIDNAPPER is a tale of violence, horror, and social asphyxiation that lacks neither humor nor ambiguity in its depiction of its characters.<br /><br /><strong>Please join us for a special wine reception on Friday, October 17 at 8pm, following the screening of THE KIDNAPPER, organized in collaboration with the Consulate General of the Argentine Republic in New York.</strong>&nbsp;</p> Saturday, October 25 ABBY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43341 <p>Print courtesy of Cinefear (cinefear.com).<br /><br />A favorite among the small but devoted cult of fans surrounding William Girdler &ndash; an enterprising and prodigious director hailing from Louisville, KY, who directed nine features before his tragic death at age 30 &ndash; ABBY is often short-handed as &ldquo;the blaxploitation EXORCIST rip-off&rdquo; &ndash; a totally accurate, if somewhat incomplete, encapsulation of this hugely enjoyable low-budget chiller. BLACULA&rsquo;s William Marshall stars as a priest studying the religious rites of Nigeria&rsquo;s Yoruba people, eventually stumbling upon an artifact bearing the visage of Eshu, whom the film characterizes as a trickster sex god. Back in Louisville, the priest&rsquo;s charming daughter-in-law Abby suddenly turns from church chorus leader into a vulgar, violent demon, sexually belittling her devout husband. When his father returns from Africa, it&rsquo;s up to two generations of men-of-the-cloth to tie Abby down and bring the demons out. Unabashedly cheap and derivative, ABBY is also surprisingly earnest and compelling, benefiting particularly from the bonds among its excellent cast and Girdler&rsquo;s thrifty but effective scares.<br /><br />With:<br />TBA</p> Saturday, October 25 Virginie Marchand's KAZUO OHNO TRILOGY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43393 <p>Coinciding with the birthday of legendary dancer, choreographer, and Butoh founder, Kazuo Ohno, who was born on October 27, 1906, and died in 2010 at the age of 103, we present these special screenings of Virginie Marchand&rsquo;s KAZUO OHNO TRILOGY. Made by filmmaker and dancer Marchand over the course of three years, it captures Ohno&rsquo;s 99th and 100th birthdays, and documents the dances on which Marchand and Ohno collaborated before his death.<br /><br />&ldquo;You made a beautiful trilogy, a beautiful piece of cinema, a beautiful tribute to Kazuo! [&hellip;] A document, a poem, a tribute, a song, a very personal song that is also universal. A song by one poet to another, by one who is in the prime of youth, to another who is full of age and life and who is moving towards a dissolve into earth itself, old and eternal.&rdquo; &ndash;Jonas Mekas<br /><br />&ldquo;I was struck by the intensity and the beauty of the dance scenes &ndash; very powerful and moving. I was moved by the film in a way I didn&rsquo;t expect to be &ndash; by the love expressed in the film &ndash; the images of the heads together &ndash; Kazuo Ohno and yours &ndash; your two faces together &ndash; very beautiful. The care, reverence and love around Kazuo Ohno. The sound and music track, also hypnotic.&rdquo; &ndash;Martin Scorsese<br /><br />Individual film descriptions by Virginie Marchand.<br /><br />LOVE ON THE BEAT<br />2005, 53 min, digital<br />99th birthday of Kazuo Ohno, founder of Butoh dance. The cameramen are Jonas Mekas and Zoltan Hauville. The editing was done with footage of three evenings of dances of Kazuo and myself. The title comes from a song by Serge Gainsbourg.<br /><br />BUTOH DANCER AND NAGA SADHUS<br />2007, 35 min, digital<br />Kazuo Ohno&rsquo;s 100th birthday. Footage of our dance in Kazuo Ohno&rsquo;s room in Yokohama, Japan, combined with special images in different parts of India. The film ends with a speech of the Zen Master Dolano in Pune, India.<br /><br />TELEGRAM FOR THE BEAR<br />2008, 47 min, digital<br />When he was young, Kazuo Ohno wanted to create a dance in memory of his ancestors, thanking bears for providing them clothes and food. This film begins in the Himalayas in winter and spring with sadhu Bombaya, continuing in Japan, where Kazuo and I dance with a bear&rsquo;s claw to bring a story to life. The film ends in NYC, with a Butoh dance show as a tribute to Kazuo and the Bear from the Himalayas.<br /><br />Total running time: ca. 140 min.</p> Sunday, October 26 A TRIBUTE TO MADELEINE GEKIERE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43396 <p>Madeleine Gekiere (1919-2014) seemed like a lifelong New Yorker, but she was actually a Zurich-born artist, filmmaker, illustrator, and author. A warm presence in the New York Arts scene for more than 60 years, Gekiere was recognized not only for her&nbsp;exquisite drawings, collages, and mixed media paintings, but also for her award-winning illustrated books and short stories. She only became involved with filmmaking in her early fifties and spent much of the 1970s and early-to-mid-1980s creating roughly twenty 16mm and Super 8 works, many of them optically printed. She presented one-person screenings of her lyrical and playfully inventive films at major avant-garde showcases throughout the country, including a 2009 retrospective exhibition at Anthology where her work is a cherished part of the collection.<br /><br />This loving tribute to Madeleine Gekiere&rsquo;s life and art will feature a number of her films, including the recently preserved THEY ARE NOT CHRYSANTHEMUMS: ONLY MAN CAN MAKE A RIVET (1984), along with documentation and testimony about both the artist and her work by friends and colleagues.<br /><br />CHEWING 1980, 6 min, 16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.<br />A short and sly film that charmingly deals with structure and authority, CHEWING features an off-screen voice providing instructions and counterpoint to the woman eating an apple on-screen.<br /><br />THEY ARE NOT CHRYSANTHEMUMS: ONLY MAN CAN MAKE A RIVET<br />1984, 36.5 min, 16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.<br />A modern city symphony masterpiece set in NYC, among other marvels this musically charged, highly rhythmic film shows us sites now missing from our largely cleaned-up, condominium-lined landscape. Shot on Super 8 and optically printed to 16mm, THEY ARE NOT CHRYSANTHEMUMS is an intricately-woven wonder, as well as the last film that Gekiere completed.<br />&ldquo;Steel bridges and oil refineries and container ports. An ode to the shapes of industry, set in motion with music by Glenn Branca and operatic excerpts.&rdquo; &ndash;M.G.<br /><br />Plus many more&hellip;</p> Sunday, October 26 THE PLAYERS VS ÁNGELES CAÍDOS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43299 <p>With Luis Barr&oacute;n, Leonar Galindo and Jorge Cedr&oacute;n.<br /><br />Fischerman was a key figure in a group of cutting-edge filmmakers named &ldquo;The group of five.&rdquo; As a successful advertising director, he was, ironically, able to produce the most radical films thanks to that context, taking advantage of the studios and equipment when they were not being used to sell soap. Associated with the Instituto Di Tella, the center-point of Porte&ntilde;o avant-garde culture at that time, the film stands as a vital document of pop culture, modernism, performance, and rupturist filmmaking. As in a football match, two sides battle over victory: the Players and the Fallen Angels. The confrontation takes many forms until darkness remains as the only way of resisting.</p> Sunday, October 26 HOMEBODIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43345 <p>When a Cincinnati tenement building is slated for demolition to make way for a swanky high rise, its aging residents lead a gruesome fight against the developers, city representatives, and construction contractors. With an almost all-elderly cast and minimal bloodshed, it is misleading to characterize HOMEBODIES as either an exploitation or horror film &ndash; yet it&rsquo;s otherwise unclassifiable, perhaps recalling morbid Eastern Bloc comedies instead. The script, performances, dramatic merit, and staging are all top-notch for a regional independent production, and it ends on a uniquely poignant, metaphysical note. Yust was a prolific filmmaker at Wexler Films and Encyclopaedia Britannica, where he directed an adaptation of Shirley Jackson&rsquo;s THE LOTTERY, noted as one of the best, greatest-selling, and most controversial educational films ever made.<br /><br />Plus:<br />LIVE OR DIE<br />(1979, 29 min, 16mm)<br />Perhaps the goriest film in the series, LIVE OR DIE is an adult-oriented piece about the consequences of poor health choices. It features an ensemble cast and flashback structure as, during autopsies, the narrative reflects on the bad decisions &ndash; drinking, smoking, stress, excessive red meat intake &ndash; that have led to its characters&rsquo; premature deaths. Something about the autopsy footage and unflinching portrayal of undulating organs seems mischievously gleeful.</p> Sunday, October 26 VIOLA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43329 <p><strong>SPECIAL SCREENING, WITH MAT&Iacute;AS PI&Ntilde;EIRO IN PERSON!<br /><br /></strong>VIOLA perfectly encapsulates the qualities that have established Pi&ntilde;eiro as one of the most singular and accomplished of contemporary filmmakers &ndash; it deftly occupies the border between reality and artifice, and plays inspired games with storytelling conventions, yet it&rsquo;s suffused with a warmth and wit that makes it anything but dryly formalistic. Where his previous film, ROSALINDA, revolved around a group of actors rehearsing Shakespeare&rsquo;s AS YOU LIKE IT, VIOLA takes TWELFTH NIGHT as its point of departure. Utilizing the stock company of actors and crew members that he&rsquo;s formed over the course of his five films, Pi&ntilde;eiro proves more interested in exploring language and performance, and in charting the rhythms of his characters&rsquo; interactions, than in adopting prefabricated narrative structures. As unassuming as it is stealthily profound and deeply pleasurable, VIOLA displays the rare ability to sustain the exquisite sense of mystery and infinite possibility that most films squander as they progress.</p> Sunday, October 26 MARTÍN BLASZKO III http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43308 <p>With Mart&iacute;n Blaszko.<br /><br />This film patiently documents the development of a profound friendship between an 89-year-old man &ndash; German sculptor Mart&iacute;n Blaszko &ndash; and several thirty-somethings. It is the smallest film in this series and the most delicately precise. Its most miraculous accomplishment is its success in pulling off a gripping final thirty minutes in one of the ugliest locations in Buenos Aires: the terrace of the Museum of Latin American Art, a key venue not only for art but for independent films today.</p> Sunday, October 26 NORTHVILLE CEMETERY MASSACRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43350 <p>Pitched between the countercultural comedown of late-60s Hopper, Peckinpah, and Avildsen and the 80s-90s hot-boiled garbage aesthetic of Jim Van Bebber, NORTHVILLE CEMETERY MASSACRE tells the story of beer-swilling, dope-smoking freedom riders waged in a war against the police. Detroit&rsquo;s Scorpion Brotherhood motorcycle club agreed to play itself after being impressed by the filmmakers&rsquo; anti-drug film JUMP. In NORTHVILLE, they encounter a young drifter named Chris (his post-sync voiceover recorded by none other than Nick Nolte), who eventually hooks up with his suburban middle-class girlfriend for a roll in the hay at the bikers&rsquo; hideout farm. When the police attempt to siege the bikers, they end up beating Chris and sexually assaulting his girlfriend, who slips into a coma. Meanwhile, the same police convince the father of their victim that the bikers were responsible. Enlisting an eccentric professional hunter, the offending officer and the girl&rsquo;s father team up to lay waste to the long-haired biker scum. It climaxes with a wake for a fallen rider that turns into a horrifically gory shootout far more spectacularly violent than any of the film&rsquo;s influences.<br /><br />With:<br />JUMP<br />(1970, 23 min, 16mm)<br />Dear &amp; Dyke&rsquo;s very first filmmaking effort, shot in Dearborn, MI, is a professed attempt to replicate the aesthetics and countercultural spirit of EASY RIDER and John Avildsen&rsquo;s JOE. It was made independently with awareness that it could be sold to the educational market, and therefore displays something of the exuberance of first-time filmmakers: inventive camera angles, disjointed editing, and a heady, original psych-folk soundtrack. Mike, the protagonist, is portrayed as a disaffected teen numbing himself with marijuana. He picks up his female companion, Beth, ostensibly to get a soda, but when they drop by Mike&rsquo;s dealer&rsquo;s house they soon find themselves confronted with dangerous &ldquo;LSD pills.&rdquo;</p> Sunday, October 26 THE SATANIST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43353 <p>NEWLY DISCOVERED PRINT &ndash; NEW YORK PREMIERE!<br /><br />&ldquo;Unseen for over 40 years, what is believed the sole existing print of Zoltan G. Spencer&rsquo;s 1968 film THE SATANIST has finally been uncovered. When a writer and his wife move out to the suburbs from the big city, they happen upon a woman who draws the couple into her world of sex magic and occult rituals. The woman soon reveals herself as a witch who works in tandem with a beautiful, raven-haired succubus to lure the innocent couple to a ceremony of sin and sacrifice. THE SATANIST is not a film for true occultists. Rather, Spencer uses these elements as aesthetic flourishes in what is ultimately a low-budget softcore porn with lingering, overlong sex scenes. But there is an undeniable magic in this simple film, with its meandering, light garage soundtrack and mesmerizing performances from its anonymous, uncredited actors.&rdquo; &ndash;Herb Shellenberger<br /><br />With: BREAKTHROUGH (1953, 33 min, 16mm-to-video)</p> Monday, October 27 Virginie Marchand's KAZUO OHNO TRILOGY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43394 <p>Coinciding with the birthday of legendary dancer, choreographer, and Butoh founder, Kazuo Ohno, who was born on October 27, 1906, and died in 2010 at the age of 103, we present these special screenings of Virginie Marchand&rsquo;s KAZUO OHNO TRILOGY. Made by filmmaker and dancer Marchand over the course of three years, it captures Ohno&rsquo;s 99th and 100th birthdays, and documents the dances on which Marchand and Ohno collaborated before his death.<br /><br />&ldquo;You made a beautiful trilogy, a beautiful piece of cinema, a beautiful tribute to Kazuo! [&hellip;] A document, a poem, a tribute, a song, a very personal song that is also universal. A song by one poet to another, by one who is in the prime of youth, to another who is full of age and life and who is moving towards a dissolve into earth itself, old and eternal.&rdquo; &ndash;Jonas Mekas<br /><br />&ldquo;I was struck by the intensity and the beauty of the dance scenes &ndash; very powerful and moving. I was moved by the film in a way I didn&rsquo;t expect to be &ndash; by the love expressed in the film &ndash; the images of the heads together &ndash; Kazuo Ohno and yours &ndash; your two faces together &ndash; very beautiful. The care, reverence and love around Kazuo Ohno. The sound and music track, also hypnotic.&rdquo; &ndash;Martin Scorsese<br /><br />Individual film descriptions by Virginie Marchand.<br /><br />LOVE ON THE BEAT<br />2005, 53 min, digital<br />99th birthday of Kazuo Ohno, founder of Butoh dance. The cameramen are Jonas Mekas and Zoltan Hauville. The editing was done with footage of three evenings of dances of Kazuo and myself. The title comes from a song by Serge Gainsbourg.<br /><br />BUTOH DANCER AND NAGA SADHUS<br />2007, 35 min, digital<br />Kazuo Ohno&rsquo;s 100th birthday. Footage of our dance in Kazuo Ohno&rsquo;s room in Yokohama, Japan, combined with special images in different parts of India. The film ends with a speech of the Zen Master Dolano in Pune, India.<br /><br />TELEGRAM FOR THE BEAR<br />2008, 47 min, digital<br />When he was young, Kazuo Ohno wanted to create a dance in memory of his ancestors, thanking bears for providing them clothes and food. This film begins in the Himalayas in winter and spring with sadhu Bombaya, continuing in Japan, where Kazuo and I dance with a bear&rsquo;s claw to bring a story to life. The film ends in NYC, with a Butoh dance show as a tribute to Kazuo and the Bear from the Himalayas.<br /><br />Total running time: ca. 140 min.</p> Monday, October 27 BLOOD FEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43333 <p>Honing his chops on commercials and industrials, Herschell Gordon Lewis tried to one-up Russ Meyer&rsquo;s pioneering 16mm nudie cutie THE IMMORAL MR. TEAS by shooting his own, THE ADVENTURES OF LUCKY PIERRE, in 35mm. But for his breakthrough film, BLOOD FEAST, Lewis returned to the subject of his early industrial, CARVING MAGIC. A seminal splatter flick to which every drop of cinematic blood shed in its wake may be attributed, BLOOD FEAST chronicles a string of grisly ritualistic murders committed by caterer Faud Ramses, who sacrifices his victims to Egyptian goddess Ishtar. Bathtub stabbing, flogging, corpse grinding, limb boiling, and other atrocities had never before been so gleefully nor graphically portrayed. The Los Angeles Times&rsquo;s Kevin Thomas called it &ldquo;a blot on the American film industry&hellip;an insult to the intelligence of all but readers of horror comic books.&rdquo; After turning out nearly thirty features over the next decade, Lewis returned to his roots as an advertising copywriter and direct marketing specialist.<br /><br />With:<br />CARVING MAGIC<br />(1959, 21 min, 16mm)<br />An almost too-perfect debut for The Godfather of Gore, CARVING MAGIC is a promotional film for Chicago-based meat packers Swift &amp; Co. It features a flashback structure in which a man explains that he learned to carve meat while working on the set of an industrial film about the same topic. The camera drinks in juicy, sumptuous close-ups of knives making graceful, perfect cuts through various species&rsquo; flesh. With luxuries such as tracking shots, it is arguably a more sophisticated production than any of HGL&rsquo;s subsequent output. It also shares BLOOD FEAST&rsquo;s star William Kerwin.</p> Monday, October 27 CARNIVAL OF SOULS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43336 <p>Preserved by the Academy Film Archive; presented with permission from Matthew Irvine.<br /><br />Harold &ldquo;Herk&rdquo; Harvey would already be a legend for his four-decade career at Lawrence, KS&rsquo; Centron industrial film company even if he hadn&rsquo;t directed this cult favorite. Inspired by a fleeting roadside encounter with a decaying, outdoor ballroom near Salt Lake City, Harvey approached Centron writer John Clifford with the idea of structuring a low-budget horror around this unforgettable image. In Clifford&rsquo;s script, a young woman who escapes a drag racing accident becomes haunted by chilling visions of a deathly figure. Light on dialogue and conventional plotting, CARNIVAL OF SOULS&rsquo; singular atmospherics are a contrast to the pragmatic didacticism of many of Centron&rsquo;s educational films. Yet it conveys a workmanlike briskness and spirit of economy that speak very much to Harvey&rsquo;s background as a prolific maker of useful cinema, and it&rsquo;s rendering of the eerier side of the midwest is unparalleled.<br /><br />With:<br />NONE FOR THE ROAD<br />(1957, 15 min, 16mm, b&amp;w)<br />Among innumerable gems, NONE FOR THE ROAD&rsquo;s buzzed driving cautionary tale aimed at high schoolers is especially aligned with CARNIVAL OF SOULS, featuring a nocturnal ambience and grim twist of fate that convey the spirit of the best teenage death ballads.<br /><br /><em>Please note: This marks the NYC premiere screening of the Academy Film Archive's preserved print of CARNIVAL OF SOULS. In related news, the Academy, along with the New York University Orphan Film Symposium, will present this year's installment of &ldquo;The Real Indies: A Close Look At Orphan Films,&rdquo; a two-day screening series on Friday, October 31, and Saturday, November 1, at the Academy Theater in New York City. The series serves as an opportunity to re-discover orphan films &ndash; rarely seen, previously neglected cinematic works deserving preservation and revival. This eclectic showcase will open on Friday at 7:30pm with the New York premiere of the newly restored 35mm print of the cult horror-comedy classic Spider Baby, written and directed by Jack Hill (appearing in person). Tickets for the event can purchased online at oscars.org and at the Academy box office on October 31st and November 1st.&nbsp;</em></p> Tuesday, October 28 NYWIFT: RED FATHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43380 <p>Tova Beck-Friedman<br />RED FATHER<br />2014, 55 min, digital<br />Tells the story of the rise and fall of Bernard Ades, a Jewish lawyer and a Communist raised in Baltimore and radicalized during the Great Depression. The film examines Ades&rsquo;s life, as told by his daughter, Janet Ades. Set against the backdrop of the pre-civil rights era, the film follows Ades as he seeks to end systemic legal racism in Maryland, fights Fascism with the International Brigades during the Spanish Civil War, and becomes a target himself during the dark days of America&rsquo;s McCarthyism.<br /><br />Charlotte Schi&oslash;ler<br />BY ANY MEANS A-VEILABLE<br />2014, 17 min, digital<br />Babette, a na&iuml;ve but driven Danish woman looking for an apartment in Paris, embarks on an absurd mission fueled by her fear of getting shortchanged. Things take on a more serious twist when she decides to come back to the same apartment twice.</p> Tuesday, October 28 NIGHT OF THE LIVING DEAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43339 <p>Incessant media chatter is one of the defining characteristics of Romero&rsquo;s debut, which features a group of individuals fortified inside a farmhouse outside Pittsburgh as the dead mysteriously return to life. Romero, who previously and for some time subsequently made many Pittsburgh television commercials, presents the media as a locus of vague disinformation and unsettling non-answers. Its racial dynamic is also unique in the context of industrial filmmaking, which was often whitewashed to avoid restricting market potential; its black protagonist reflects a progressive tide, while its essential pandemonium taps into the fraught undercurrent of a tumultuous year. Much as it has been said that often-overlooked and undervalued industrial films present an essential, and in some ways more realistic, view of contemporaneous society, NIGHT OF THE LIVING DEAD is the quintessential evidence that so, too, can horror films.<br /><br />With:<br />LATENT IMAGE COMMERCIAL REEL<br />(1962-1973, ca. 15 min, video)<br />In 1962, as a recent graduate of Carnegie-Mellon Institute, Romero co-founded the Latent Image industrial film production company with Richard Ricci and Russ Streiner. Working with 16mm and budgets of $6,000 and under, they created commercials for local brands including Iron City Beer, Heinz, Duke Beer, Calgon, and U.S. Steel. Among the most entertaining is &ldquo;The Calgon Story,&rdquo; a FANTASTIC VOYAGE-style commercial about a tiny space ship blasting dirt inside laundry; like NIGHT OF THE LIVING DEAD, it features an undeniable pulp/sci-fi sensibility. The social side of NotLD is reflected in a 1972 McGovern campaign commercial shot in Pittsburgh&rsquo;s Hill District with the narration, &ldquo;every 27-minutes a black child dies.&rdquo; Shot out the window from inside a hearse, it features an undertaker placing a tiny body inside while black families grieve on the streets.</p> Tuesday, October 28 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43414 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, October 29 ABBY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43342 <p>Print courtesy of Cinefear (cinefear.com).<br /><br />A favorite among the small but devoted cult of fans surrounding William Girdler &ndash; an enterprising and prodigious director hailing from Louisville, KY, who directed nine features before his tragic death at age 30 &ndash; ABBY is often short-handed as &ldquo;the blaxploitation EXORCIST rip-off&rdquo; &ndash; a totally accurate, if somewhat incomplete, encapsulation of this hugely enjoyable low-budget chiller. BLACULA&rsquo;s William Marshall stars as a priest studying the religious rites of Nigeria&rsquo;s Yoruba people, eventually stumbling upon an artifact bearing the visage of Eshu, whom the film characterizes as a trickster sex god. Back in Louisville, the priest&rsquo;s charming daughter-in-law Abby suddenly turns from church chorus leader into a vulgar, violent demon, sexually belittling her devout husband. When his father returns from Africa, it&rsquo;s up to two generations of men-of-the-cloth to tie Abby down and bring the demons out. Unabashedly cheap and derivative, ABBY is also surprisingly earnest and compelling, benefiting particularly from the bonds among its excellent cast and Girdler&rsquo;s thrifty but effective scares.<br /><br />With:<br />TBA</p> Wednesday, October 29 HOMEBODIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43346 <p>When a Cincinnati tenement building is slated for demolition to make way for a swanky high rise, its aging residents lead a gruesome fight against the developers, city representatives, and construction contractors. With an almost all-elderly cast and minimal bloodshed, it is misleading to characterize HOMEBODIES as either an exploitation or horror film &ndash; yet it&rsquo;s otherwise unclassifiable, perhaps recalling morbid Eastern Bloc comedies instead. The script, performances, dramatic merit, and staging are all top-notch for a regional independent production, and it ends on a uniquely poignant, metaphysical note. Yust was a prolific filmmaker at Wexler Films and Encyclopaedia Britannica, where he directed an adaptation of Shirley Jackson&rsquo;s THE LOTTERY, noted as one of the best, greatest-selling, and most controversial educational films ever made.<br /><br />Plus:<br />LIVE OR DIE<br />(1979, 29 min, 16mm)<br />Perhaps the goriest film in the series, LIVE OR DIE is an adult-oriented piece about the consequences of poor health choices. It features an ensemble cast and flashback structure as, during autopsies, the narrative reflects on the bad decisions &ndash; drinking, smoking, stress, excessive red meat intake &ndash; that have led to its characters&rsquo; premature deaths. Something about the autopsy footage and unflinching portrayal of undulating organs seems mischievously gleeful.</p> Wednesday, October 29 NORTHVILLE CEMETERY MASSACRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43351 <p>Pitched between the countercultural comedown of late-60s Hopper, Peckinpah, and Avildsen and the 80s-90s hot-boiled garbage aesthetic of Jim Van Bebber, NORTHVILLE CEMETERY MASSACRE tells the story of beer-swilling, dope-smoking freedom riders waged in a war against the police. Detroit&rsquo;s Scorpion Brotherhood motorcycle club agreed to play itself after being impressed by the filmmakers&rsquo; anti-drug film JUMP. In NORTHVILLE, they encounter a young drifter named Chris (his post-sync voiceover recorded by none other than Nick Nolte), who eventually hooks up with his suburban middle-class girlfriend for a roll in the hay at the bikers&rsquo; hideout farm. When the police attempt to siege the bikers, they end up beating Chris and sexually assaulting his girlfriend, who slips into a coma. Meanwhile, the same police convince the father of their victim that the bikers were responsible. Enlisting an eccentric professional hunter, the offending officer and the girl&rsquo;s father team up to lay waste to the long-haired biker scum. It climaxes with a wake for a fallen rider that turns into a horrifically gory shootout far more spectacularly violent than any of the film&rsquo;s influences.<br /><br />With:<br />JUMP<br />(1970, 23 min, 16mm)<br />Dear &amp; Dyke&rsquo;s very first filmmaking effort, shot in Dearborn, MI, is a professed attempt to replicate the aesthetics and countercultural spirit of EASY RIDER and John Avildsen&rsquo;s JOE. It was made independently with awareness that it could be sold to the educational market, and therefore displays something of the exuberance of first-time filmmakers: inventive camera angles, disjointed editing, and a heady, original psych-folk soundtrack. Mike, the protagonist, is portrayed as a disaffected teen numbing himself with marijuana. He picks up his female companion, Beth, ostensibly to get a soda, but when they drop by Mike&rsquo;s dealer&rsquo;s house they soon find themselves confronted with dangerous &ldquo;LSD pills.&rdquo;</p> Thursday, October 30 LIGHTNING OVER BRADDOCK http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43286 <p>Buba&rsquo;s masterpiece, LIGHTNING OVER BRADDOCK is at once an affectionate portrait of Braddock, a document of the decay of industrial America, and an enormously inventive, eccentric, and outrageous documentary/fiction hybrid. Buba, playing himself, stars as a director trying with little success to make a movie with a crazy street hustler named Sal, who considers himself responsible for Buba&rsquo;s (modest) success. Like Errol Morris, Buba has a fascination with the idiosyncratic details of daily life, and uses his formidable sense of humor to portray his hometown in all its faded yet resilient glory.<br /><br />&ldquo;A triumph of pragmatic populism with a cast of union organizers, street hustlers, and Buba himself, [it] should be required viewing at every Sundance seminar; this &lsquo;rustbowl fantasy&rsquo; is one of the few regional movies to successfully and unsentimentally peel off the national smile button.&rdquo; &ndash;J. Hoberman, VILLAGE VOICE<br /><br />Screening in conjunction with our week-long premiere run of the new documentary, <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43269">BRADDOCK AMERICA</a>.</p> Thursday, October 30 WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43288 <p>Much-beleaguered Braddock experienced yet another blow in 2009 when the University of Pittsburgh Medical Center (UPMC) announced its plans to close the century-old Braddock Hospital, a self-sustaining and vitally-needed resource within the community, not to mention one of its primary employers. Disgusted by UPMC&rsquo;s profit-hungry motives, Braddock&rsquo;s residents decided to fight back, mounting a spirited struggle that would last two and a half years and become a protest not only against the hospital&rsquo;s closure but against the denial of health care as a human right. Buba, in collaboration with Tom Dubensky, was very much a part of this movement, and he documents its David-vs-Goliath struggle with his typical passion and wit. Winner of the Studs Terkel Award for Media and Journalism.<br /><br />Screening in conjunction with our week-long premiere run of the new documentary,&nbsp;<a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43269">BRADDOCK AMERICA</a>.&nbsp;</p> Thursday, October 30 THE SATANIST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43354 <p>NEWLY DISCOVERED PRINT &ndash; NEW YORK PREMIERE!<br /><br />&ldquo;Unseen for over 40 years, what is believed the sole existing print of Zoltan G. Spencer&rsquo;s 1968 film THE SATANIST has finally been uncovered. When a writer and his wife move out to the suburbs from the big city, they happen upon a woman who draws the couple into her world of sex magic and occult rituals. The woman soon reveals herself as a witch who works in tandem with a beautiful, raven-haired succubus to lure the innocent couple to a ceremony of sin and sacrifice. THE SATANIST is not a film for true occultists. Rather, Spencer uses these elements as aesthetic flourishes in what is ultimately a low-budget softcore porn with lingering, overlong sex scenes. But there is an undeniable magic in this simple film, with its meandering, light garage soundtrack and mesmerizing performances from its anonymous, uncredited actors.&rdquo; &ndash;Herb Shellenberger<br /><br />With: BREAKTHROUGH (1953, 33 min, 16mm-to-video)</p> Thursday, October 30 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43269 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Friday, October 31 ABBY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43343 <p>Print courtesy of Cinefear (cinefear.com).<br /><br />A favorite among the small but devoted cult of fans surrounding William Girdler &ndash; an enterprising and prodigious director hailing from Louisville, KY, who directed nine features before his tragic death at age 30 &ndash; ABBY is often short-handed as &ldquo;the blaxploitation EXORCIST rip-off&rdquo; &ndash; a totally accurate, if somewhat incomplete, encapsulation of this hugely enjoyable low-budget chiller. BLACULA&rsquo;s William Marshall stars as a priest studying the religious rites of Nigeria&rsquo;s Yoruba people, eventually stumbling upon an artifact bearing the visage of Eshu, whom the film characterizes as a trickster sex god. Back in Louisville, the priest&rsquo;s charming daughter-in-law Abby suddenly turns from church chorus leader into a vulgar, violent demon, sexually belittling her devout husband. When his father returns from Africa, it&rsquo;s up to two generations of men-of-the-cloth to tie Abby down and bring the demons out. Unabashedly cheap and derivative, ABBY is also surprisingly earnest and compelling, benefiting particularly from the bonds among its excellent cast and Girdler&rsquo;s thrifty but effective scares.<br /><br />With:<br />TBA</p> Friday, October 31 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43270 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Friday, October 31 HOMEBODIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2014#showing-43347 <p>When a Cincinnati tenement building is slated for demolition to make way for a swanky high rise, its aging residents lead a gruesome fight against the developers, city representatives, and construction contractors. With an almost all-elderly cast and minimal bloodshed, it is misleading to characterize HOMEBODIES as either an exploitation or horror film &ndash; yet it&rsquo;s otherwise unclassifiable, perhaps recalling morbid Eastern Bloc comedies instead. The script, performances, dramatic merit, and staging are all top-notch for a regional independent production, and it ends on a uniquely poignant, metaphysical note. Yust was a prolific filmmaker at Wexler Films and Encyclopaedia Britannica, where he directed an adaptation of Shirley Jackson&rsquo;s THE LOTTERY, noted as one of the best, greatest-selling, and most controversial educational films ever made.<br /><br />Plus:<br />LIVE OR DIE<br />(1979, 29 min, 16mm)<br />Perhaps the goriest film in the series, LIVE OR DIE is an adult-oriented piece about the consequences of poor health choices. It features an ensemble cast and flashback structure as, during autopsies, the narrative reflects on the bad decisions &ndash; drinking, smoking, stress, excessive red meat intake &ndash; that have led to its characters&rsquo; premature deaths. Something about the autopsy footage and unflinching portrayal of undulating organs seems mischievously gleeful.</p> Friday, October 31 THE DAY OF THE DEAD, 12-HOUR, DAY-AFTER-HALLOWEEN, HORROR MOVIE MARATHON! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43398 <p>An event so huge it needed a name you couldn&rsquo;t say in one breath! In conjunction with Outcast Cinema, we&rsquo;ll be presenting a noon-to-midnight marathon of SEVEN rarely-screened, bona-fide horror classics ranging from the 1950s Golden Age to the dawn of 80s splatter. Some of these movies haven&rsquo;t played NYC screens in decades, some are no longer available on video, and all will be projected on beautiful 35mm! We&rsquo;re keeping the titles secret until they appear on screen, but you&rsquo;re guaranteed to end your Halloween weekend with style. Satisfy your holiday craving with twelve hours of horror and terror, featuring&hellip;a little-seen Canadian slasher film! A nature-run-amok masterpiece! A Mexican horror matinee! British anthology terror! Satanic death cults! Lesbian vampires! And a Hollywood-star-studded mindblower that must be seen to be believed. From giant chickens to severed hands, from Peter Cushing to William Shatner, this horror marathon has something for everyone. Treats and snacks will be available for purchase in the lobby, mayhem and carnage will be available onscreen.<br /><br />Tickets are $30 for the whole marathon, and are available now at 12hourhorror.bpt.me.</p> Saturday, November 01 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43271 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Saturday, November 01 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43272 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Saturday, November 01 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43273 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Saturday, November 01 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43274 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Sunday, November 02 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43275 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Sunday, November 02 CRIME WAVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43528 <p>REVIVAL SCREENING &ndash; FILMMAKER IN PERSON!<br /><br />Mystery! Intrigue! Sensation! Crippling Writers Block! Not to be confused with the Sam Raimi film of the same title, this Canadian cult oddity remains one of the most criminally underseen films of the 1980s. An early example of postmodern filmmaking, the story details screenwriter Stephen Penny&rsquo;s attempts to write a crime film in the grand cinematic tradition. He has a variety of potential beginnings and endings (many of which we get to see fully realized), but a middle continually eludes him. He discovers an opportunity for script-doctoring assistance through a mysterious man named Dr. Jolly, who inhabits a surreal version of the American South. Channeling the visual styles of everything from educational films to Hollywood gangster dramas, CRIME WAVE presents us with a world of vibrant color and boundless energy, but with a strange, putrid presence lingering just outside the frame.<br /><br />The fact that this cult gem has been shown theatrically only a handful of times over the past several decades would be enough to make this evening&rsquo;s screening a rare opportunity; that John Paizs will be here in person, to present his personal 16mm print and answer questions afterwards, renders it truly unmissable!</p> Sunday, November 02 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43276 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Sunday, November 02 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43277 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Monday, November 03 FLAHERTY NYC: SERGEI LOZNITSA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43361 <p>A program of short films by Sergei Loznitsa, who will be here in person. One of Russia&rsquo;s most renowned documentary filmmakers, Loznitsa has been documenting the changes taking place in his country since the collapse of the Soviet Union. Loznitsa&rsquo;s films &ldquo;are poetic meditations on relationships between spaces, persons, bodies, and machines; shrewd observations of movement and stillness, change and circularity, and the relationship between surface and substance; they are compelling reflections on the artifices of film and photography; and they discourse both elegiacally and ironically with Soviet film from Dziga Vertov and Sergei Eisenstein to Andrei Tarkovsky and Alexander Sokurov&rdquo; (Slavic Review).<br /><br />SPEAKER: Sergei Loznitsa<br /><br /><strong>This program is made possible through the Colgate/Flaherty Distinguished Global Filmmaker Residency Program.</strong></p> Monday, November 03 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43278 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Monday, November 03 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43279 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Tuesday, November 04 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43280 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Tuesday, November 04 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43415 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, November 05 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43281 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Wednesday, November 05 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43282 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Wednesday, November 05 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43283 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Thursday, November 06 BRADDOCK AMERICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2014#showing-43284 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />An enormously powerful portrait of a once-mighty steel town eviscerated by the closure of its factories, Gabriella Kessler and Jean-Lo&iuml;c Portron&rsquo;s BRADDOCK AMERICA is both a finely detailed investigation into a specific community and a reflection on the fate of so many similar towns throughout the United States. Part of a recent wave of documentaries about disaster-stricken, post-industrial American cities, BRADDOCK AMERICA distinguishes itself by the degree of its commitment and its refusal to fetishize urban ruin. It features archival footage of Braddock in its heyday, fly-on-the-wall observation of city council meetings, protest gatherings, police patrols, and other aspects of the town&rsquo;s daily life, and most importantly, expansive interviews with Braddock&rsquo;s residents. These extraordinarily eloquent residents testify to the deep, nourishing pride they drew from their jobs at the steel factories and the feelings of loss and emptiness they continue to struggle with, even several decades after the town&rsquo;s collapse. Their unapologetically emotional, remarkably candid testimony makes BRADDOCK AMERICA an unforgettable document of post-industrial America.<br /><br />&ldquo;Offering yet another example of globalization&rsquo;s devastating effects on a thriving industrial town, BRADDOCK AMERICA follows in the footsteps of ROGER AND ME and DETROPIA with its touching portrayal of citizens trying to pick up the pieces after their livelihoods have been wrecked by economic downsizing.&rdquo; &ndash;Jordan Mintzer, HOLLYWOOD REPORTER<br /><br />Plus:<br />TONY BUBA<br />We wouldn&rsquo;t dream of showing a movie about Braddock, PA without taking the opportunity to bring back Tony Buba, the &ldquo;bard of Braddock&rdquo; and one of our very favorite filmmakers. The subject of an Anthology retrospective in 2012, Buba is featured in BRADDOCK AMERICA (as well he should be), and we&rsquo;ll be supplementing the run of the new documentary with screenings of Buba&rsquo;s masterpiece, the one and only LIGHTNING OVER BRADDOCK, and his newest feature documentary, WE ARE ALIVE!: THE FIGHT TO SAVE BRADDOCK HOSPITAL. Buba will be here in person to present both films! For more info, click <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43286">here</a> and <a href="../../../film_screenings/calendar?view=list&amp;month=10&amp;year=2014#showing-43288">here</a>.</p> Thursday, November 06