https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Thu, 13 Nov 2025 07:32:32 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60359 <p><strong>FREE SCREENING!</strong><br /><br />On the occasion of their current exhibition “Voice of Space: UFOs and Paranormal Phenomena”, Anthology hosts The Drawing Center for a special evening of artist films and videos. The screening showcases a selection of works made since the mid-1990s that continue investigations into the cultural, psychological, and metaphysical dimensions of the profound mysteries at the intersection of human experience, belief, and the unknown. What role do UFOs and paranormal phenomena play in shaping our understanding of the universe, and how do they challenge or expand our beliefs about humanity’s place within it?<br /><br />“Voice of Space” exhibition programming is organized by Olivia Shao, the Drawing Center’s Burger Collection & TOY Meets Art Curator. Generous support provided by Stephen Cheng, Kent Shao, the Teiger Foundation, Sarah Arison, Martin and Rebecca Eisenberg, and Laurie and David Wolfert.<br /><br />For more info about the exhibition, on view at The Drawing Center from October 17, 2025 to February 1, 2026, visit: https://drawingcenter.org/exhibitions/voice-of-space <br /><br />This screening will be free of charge; to reserve tickets click here: <a href="https://drawingcenter.org/programs/freescreening-voiceofspace">https://drawingcenter.org/programs/freescreening-voiceofspace</a> <br /><br />Peggy Ahwesh HEAVEN’S GATE (2001, 4 min, digital)<br />Kevin Jerome Everson POLLY ONE (2018, 6 min, 16mm-to-digital, silent)<br />George Kuchar THE TOWER OF THE ASTRO-CYCLOPS (1994, 17.5 min, digital)<br />Adam Putnam RECLAIMED EMPIRE (U.F.O. edit) 2008-25, 42 min, digital<br />Tony Oursler UNIDENTIFIED (2025, 4 min, digital)<br /><br />Total running time: ca. 85 min.</p> Thursday, November 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60269 <p>JEANNETTE RANKIN BRIGADE (Newsreel #4) (1968, 8 min, 16mm-to-DCP)<br />UP AGAINST THE WALL MS. AMERICA (Newsreel #22) (1968, 6 min, 16mm-to-DCP)<br />SHE’S BEAUTIFUL WHEN SHE’S ANGRY (Newsreel #48) (1969, 16 min, 16mm-to-DCP)<br />MAKE-OUT (Newsreel #49) (1970, 5 min, 16mm-to-DCP)<br />CHILDCARE: PEOPLE’S LIBERATION (Newsreel #56) (1970, 20 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><em><strong>Filmmakers Bev Grant (UP AGAINST THE WALL MS. AMERICA) and Deborah Shaffer (MAKE-OUT) will be here in person for both screenings, and they'll be joined on Fri, Nov 14 by Bonnie Friedman (CHILDCARE: PEOPLE’S LIBERATION)!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60260 <p>Alain Guiraudie<br />MISERICORDIA<br />2024, 103 min, DCP. In French with English subtitles.<br />When his former boss dies, Jérémie (Félix Kysyl) travels to the picturesque village of Saint-Martial to pay his respects to the Rigal family. But while the widow Rigal seems comforted by Jérémie’s presence, her son Vincent is immediately suspicious of him. As the days go by, and Jérémie shows no inclination to leave, Vincent grows increasingly agitated, leading to a series of events that turn the homecoming tale into a wicked thriller in the vein of Alfred Hitchcock, Claude Chabrol, and Patricia Highsmith. Mushrooms, a kindly old priest, and a sneaky cop play a part in the narrative, but to say more would spoil the devious pleasures of this critically acclaimed gay suspense yarn from director Alain Guiraudie (STRANGER BY THE LAKE). Famed French film mag Cahiers du Cinéma named MISERICORDIA the best film of 2024, and it’s sure to land on many American critics’ Best-of-2025 lists by the end of this year. Will it make it on to yours?<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60272 <p>THE WOMAN’S FILM (Newsreel #55) (1971, 43 min, 16mm-to-DCP)<br />JANIE’S JANIE (1971, 25 min, 16mm-to-DCP)<br /><br />Total running time: ca. 70 min.<br /><br /><em><strong>Filmmakers Judy Smith (THE WOMAN’S FILM) and Peter Barton (JANIE’S JANIE) will be here in person for the screening on Thurs, Nov 20!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60275 <p>BLACK PANTHER aka OFF THE PIG (Newsreel #19) (1968, 15 min, 16mm-to-DCP)<br />MAY DAY PANTHER aka MAY DAY (Newsreel #29) (1969, 15 min, 16mm-to-DCP)<br />BOBBY SEALE aka INTERVIEW WITH BOBBY SEALE (Newsreel #44) (1969, 15 min, 16mm-to-DCP)<br />EITHER OR 1970, 11 min, 16mm-to-DCP<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60295 <p>This program collects pre-WWII-era advertisements, many of them experimental animations by renowned avant-garde filmmakers and artists such as Walter Ruttmann, Lotte Reiniger, Hans Richter, Oskar Fischinger, László Moholy-Nagy, and Len Lye. Made when the cinema was still in its infancy, with the lines between different forms of moving-image production not yet fully established, these films are often virtually indistinguishable from the artists’ non-commercial work, and are essentially experimental films made in the service of various products.<br /><br />Walter Ruttmann DER SIEGER (1921, 2 min, 35mm-to-DCP. Ad for Excelsior tires. Courtesy of the Deutsche Kinemathek.)<br />Walter Ruttmann DAS WUNDER (1922, 3 min, 35mm-to-DCP. Ad for Kantorowicz liqueur. Courtesy of the Deutsche Kinemathek.)<br />Lotte Reiniger THE SECRET OF THE MARQUISE / DAS GEHEIMNIS DER MARQUISIN (1922, 2.5 min, 35mm-to-DCP. Ad for Nivea skin cream.)<br />Julius Pinschewer & Lotte Reiniger THE BARCAROLE / DIE BARCAROLE (1924, 3.5 min, 35mm-to-DCP. Ad for Pralinés Mauxion dessert. Courtesy of the Deutsche Kinemathek.)<br />Julius Pinschewer & Guido Seeber FILM (KIPHO) (1925, 5.5 min, 35mm-to-DCP. Ad for the Kino- und Photoausstellung trade show. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm. Ad for the magazine Koelnische Illustrierte Zeitung.)<br />Lotte Lendesdorff & Walter Ruttmann HEALTH TONIC / DER AUFSTIEG (1926, 2 min, 35mm-to-DCP. Ad for the GESOLEI health and art exhibition in Düsseldorf. Courtesy of the Deutsche Kinemathek.)<br />László Moholy-Nagy, György Kepes, and Sybille Pietzsch (uncredited contributors) under the direction of Egon von Tresckow DER FEINSCHMECKER (1934, 2 min, 35mm-to-digital, silent. Ad for Jena Glass.)<br />Oskar Fischinger CIRCLES / KREISE (1933-34, 2 min, 16mm. Commissioned by Tolirag publicity agency.)<br />Oskar Fischinger MURATTI GETS IN THE ACT (1934, 3 min, 16mm. Ad for Muratti Cigarettes.)<br />Oskar Fischinger MURATTI PRIVAT (1935, 2 min, 16mm. Ad for Muratti Cigarettes.)<br />Karel Dodal & Irena Dodalová BUBBLES GAME / HRA BUBLINEK (1936, 2 min, 35mm-to-DCP. Ad for Saponia soap. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová AN AUTUMN SONG / PÍSEŇ PODZIMU (1937, 2 min, 35mm-to-DCP. Ad for the Prokop Čáp [Prokop and Stork] department store. Courtesy of the National Film Archive, Prague.)<br />Len Lye KALEIDOSCOPE (1935, 4 min, 35mm. Ad for Churchman Cigarettes. Print courtesy of the Austrian Filmmuseum.)<br />Gyula Macskássy INCANDESCENT LOVE / IZZÓ SZERELEM (1939, 2 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Gyula Macskássy & György Szénásy LIGHT / FÉNY (1942, 1 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Len Lye THE BIRTH OF A ROBOT (1935, 6.5 min, 35mm. Ad for Shell Lubrication oils. Print courtesy of the Austrian Filmmuseum.)<br />Alexander Hammid & Elmar Klos THE HIGHWAY SINGS / SILNICE ZPÍVÁ (1937, 4 min, 35mm. Ad for Bata tires. Preserved by Anthology Film Archives.)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60278 <p>THE HAIGHT (Newsreel #21) (1968, 6 min, 16mm-to-DCP)<br />PIG POWER (Newsreel #23) (1968, 6 min, 16mm-to-DCP)<br />YIPPIE (1968, 12.5 min, 16mm-to-DCP)<br />RIOT CONTROL WEAPONS (Newsreel #9) (1968, 6 min, 16mm-to-DCP)<br />AMERICA aka AMERIKA (1969, 30 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60298 <p>Toshio Matsumoto, Genichiro Higuchi, and Masao Yabe<br />BICYCLE IN DREAM / GINRIN<br />1955, 12 min, 35mm-to-DCP. Music by Tôru Takemitsu. Commissioned by the Japan Bicycle Promotion Institute. Courtesy of the National Film Archive of Japan (NFAJ).<br />“Toshio Matsumoto (FUNERAL PARADE OF ROSES) began his filmmaking career by planning, cowriting, and assistant-directing GINRIN, an astonishingly experimental PR film commissioned by the Japan Bicycle Promotion Institute. His collaborators on the project were Shozo Kitadai and Katsuhiro Yamaguchi, members of Japan’s postwar collective Jikken Kobo, the composer Toru Takemitsu and the special effects creator Eiji Tsuburaya, who would go on to do the same for the GODZILLA series.” –Taro Nettleton, ART REVIEW<br /><br />Toshio Matsumoto<br />THE RECORD OF A LONG WHITE LINE / SHIROI NAGAI SEN NO KIROKU<br />1960, 13 min, 35mm-to-DCP. Commissioned by Kansai Electricity.<br />“A short history of the development of Japan’s energy supply after the war, commissioned by the energy company Kansai and made as a stylistically heterogeneous blend of animations, veristic observations, etc.” –INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN<br /><br />Ed Emshwiller<br />FUSION<br />1967, 16 min, 16mm-to-DCP. Commissioned by Spring Mills. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.<br />“A cine-dance film sponsored by Springs Mills to promote a new line of towels designed by Pucci. Dancers throw, move through, dance with, and are draped in a variety of designer towels.” –Ed Emshwiller<br /><br />Total running time: ca. 45 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60301 <p>This program of post-WWII advertisements encompasses striking commissioned films by experimental film- and video-makers like Jordan Belson, Peter Kubelka, Pat O’Neill, Chick Strand, Dara Birnbaum, and Jeff Preiss, and art-house giants such as Ingmar Bergman, Jean-Luc Godard, David Lynch, and David Cronenberg, and throws in appearances from Frank Zappa, John Waters, and Father Guido Sarducci for good measure.<br /><br />John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] (1982, 40 sec, 35mm)<br />Mark Shepard [EZTV No smoking PSA] (ca. 1985, 30 sec, video)<br />Ingmar Bergman BRIS SOAP COMMERCIALS [selection] (1951, 6.5 min, 35mm-to-DCP. Courtesy of the Swedish Film Institute.)<br />Oskar Fischinger MUNTZ TV (1953, 1.5 min, 16mm. Ad for Muntz TV.)<br />Jordan Belson CHRONICLE (1955, 2 min, 16mm-to-DCP. Ad for the San Francisco Chronicle. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive.)<br />Paul Bartel THE SUBJECT WAS WRINKLES (1960s, 7.5 min, 16mm-to-digital)<br />Len Lye RHYTHM (1957, 1 min, 16mm, b&w. Commissioned (but rejected) by Chrysler.)<br />Peter Kubelka ADEBAR (1957, 1 min, 35mm. Commissioned (but rejected) by Vienna’s Café Adebar.)<br />Peter Kubelka SCHWECHATER (1958, 1 min, 16mm. Commissioned (but rejected) by Schwechater Bier.)<br />Anonymous Commercials for d-c-fix and INKU GF-Kante (1963/65, 4 min, 35mm, b&w. Preserved (2013) by the Austrian Film Museum.)<br />Dwinell Grant PEPSI-COLA-COMMERCIAL (1960, 1 min, 16mm. Preserved by Anthology Film Archives.)<br />Pat O’Neill, Neon Park, and Chick Strand SEARS SOX (1968, 5 min, 16mm. Commissioned by Sears department stores. Print courtesy of the Academy Film Archive.)<br />Dara Birnbaum REMY/GRAND CENTRAL: TRAINS AND BOATS AND PLANES (1980, 4 min, video. Commissioned by Remy Martin. Courtesy of the Estate of Dara Birnbaum and Electronic Arts Intermix (EAI), New York.)<br />George Manupelli & William Farley FATHER GUIDO SARDUCCI ON ART SCHOOL (1982, 1 min, video. Ad for the San Francisco Art Institute.)<br />Dara Birnbaum MTV: ARTBREAK (1987, 30 sec, video. Courtesy of the Estate of Dara Birnbaum and Electronic Arts Intermix (EAI), New York.)<br />David Daniels [ABC promo – Michael Jackson] (1987, 12 sec, video)<br />David Daniels [Honda Scooter ad] (1988, 30 sec, video)<br />David Daniels [IDIOT BOX opening sequence] (1990, 30 sec, video)<br />David Daniels [Clearasil ad] (1995, 30 sec, video)<br />M. Henry Jones & Tom Marsan [America’s Best Contacts and Eyeglasses commercial] (1990, 30 sec, video)<br />Jean-Luc Godard [Closed Jeans ads] (1987/88, 2 min, video)<br />Jean-Luc Godard [Nike Air 180 ad] (1991, 15 sec, video)<br />Jean-Luc Godard [Schick Aftershave ad] (1991, 1 min, video)<br />Jean-Luc Godard [Parisienne People Cigarettes ad] (1992, 45 sec, video. Co-directed by Anne-Marie Miéville.)<br />David Cronenberg [Nike Air 180 ad] (1990, 30 sec, video)<br />David Cronenberg [Caramilk ad] (1990, 30 sec, video)<br />David Lynch [Georgia Coffee ads] (1991, 2 min, digital)<br />David Lynch [Michael Jackson Dangerous Short Films intro] (1991, 30 sec, digital)<br />David Lynch [Adidas the Wall ad] (1993, 1 min, digital)<br />David Lynch [Sci Fi Channel interstitials] (1997, 1 min, digital)<br />David Lynch PARISIENNE PEOPLE (1998, 1 min, digital. Ad for Parisienne cigarettes.)<br />David Lynch [Playstation 2 ad] (2000, 1 min, digital)<br />David Lynch [David Lynch Coffee ad] (2011, 4 min, digital)<br />Jeff Preiss NIKE: JOEL / HIPPIES (1993, 1 min, 16mm-to-digital)<br />Jeff Preiss CHERRY COKE: RUGBY (1998, 1 min, 16mm-to-digital)<br />Jeff Preiss YELLOW PAGES: TOUR / CRITIC / GREEN ROOM (1998, 2 min, 16mm-to-digital)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60281 <p>MILL-IN aka THE CHRISTMAS MILL-IN (Newsreel #6) (1967, 12 min, 16mm-to-DCP)<br />GARBAGE aka GARBAGE DEMONSTRATION (Newsreel #5) (1968, 10 min, 16mm-to-DCP)<br />UNION aka OIL STRIKE aka RICHMOND OIL STRIKE (Newsreel #25) (1969, 17 min, 16mm-to-DCP)<br />WILMINGTON (Newsreel #30) (1970, 15 min, 16mm-to-DCP)<br />PA BELL GO TO HELL (1971, 3 min, 16mm-to-DCP)<br />FELIX REVOLTS aka FELIX THE CAT (1968, 7 min, 16mm-to-DCP)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60304 <p>Stan Phillips COLORADO LEGEND (1961, 11 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />Stan Phillips BALLAD OF THE COLORADO UTE (1963, 17 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />“Educational/informational films made as commissioned works for the Colorado Department of Public Relations through Western Cine, which was a film laboratory (and Brakhage’s primary lab), but also a production company for educational films for an unknown period in the early 1960s. Although directed by Brakhage’s longtime friend Stan Phillips, Brakhage is credited with ‘photography, editing, and pictorial direction’, and the films bear some hallmarks of his personal style.” –Mark Toscano<br /><br />Stan Brakhage<br />MR. TOMPKINS INSIDE HIMSELF<br />1962, 41 min, 16mm. Print courtesy of the Academy Film Archive.<br />“An educational film made by Brakhage with Western Cine owner John Newell (who also photographed much of the film), based on ‘Mr. Tompkins Learns the Facts of Life’ by George Gamow. Although some of the medical and scientific footage in this film was obtained from separate sources, there is a credit stating ‘Microphotography of Vessels of Living Bat’s Wing, Mouse Lung, Red Blood, Slides, and Photography of Internal Heart of Sheep and External Heart of Living Dog by Stan Brakhage and George Gamow’. Some of this footage was also used by Brakhage in DOG STAR MAN.” –Mark Toscano<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60284 <p>THE CASE AGAINST LINCOLN CENTER (Newsreel #17) (1968, 12 min, 16mm-to-DCP)<br />BREAK AND ENTER aka SQUATTERS (Newsreel #62) (1971, 42 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60307 <p>This program pairs Jonas Mekas’s FILM MAGAZINE OF THE ARTS – commissioned by Show Magazine, but rejected for containing no references to the magazine itself – with films made for various school systems by Bruce Baillie and Chick Strand; Robert Breer’s PBL #2 (a cartoon history of the black American for broadcast on the NET network); Cathryn Aison and Philip Glass’s SESAME STREET segment, GEOMETRY OF CIRCLES; and Jerome Hiler and Nathaniel Dorsky’s LIBRARY, a moving and lovely paean to New Jersey’s Sussex County Library.<br /><br />Jonas Mekas FILM MAGAZINE OF THE ARTS (1963, 20 min, 16mm. Preserved by Anthology Film Archives.)<br />“In Spring, 1963 Show Magazine called me and asked that I make a film on arts in New York. I told them, why did they want me to make it – didn’t they know I was a bit unusual?… ‘We want something unusual,’ they said. So I went out and made a newsreel on arts. Show people looked at the rough cut of the film and became very angry. ‘But there is nothing about Show Magazine and DuPont fabrics in the movie,’ they said. ‘What has that to do with the arts in New York!’ I said. The battle was short. The film was destroyed. Really, I have no idea what they did with it. This workprint of the first FILM MAGAZINE OF THE ARTS is the only print in existence, as far as I know.” –Jonas Mekas<br /><br />Bruce Baillie HERE I AM (1962, 11 min, 16mm. Preserved by Anthology Film Archives.)<br />“A film for the East Bay Activity Center in Oakland, a school for mentally disturbed children.” –Bruce Baillie<br /><br />Bruce Baillie THE BROOKFIELD RECREATION CENTER (1964, 6 min, 16mm. Preserved by BAMPFA, 2012.)<br />“Made for the Oakland Public Schools on an experimental series of classes in the arts.” –Bruce Baillie<br /><br />Chick Strand CHILDREN ARE OUR FIRST PRIORITY (1972, 12.5 min, 16mm. Print courtesy of the Academy Film Archive.)<br />This extremely rare work by Chick Strand is a sponsored film about Title 1 schools.<br /><br />Robert Breer PBL #2 1968, 1 min, 16mm<br />“A concise, one-minute cartoon history of the black American, commissioned by the Public Broadcast Laboratory and shown on NET network.” –CANYON CINEMA<br /><br />Cathryn Aison & Philip Glass GEOMETRY OF CIRCLES (1979, 2.5 min, digital. Commissioned by SESAME STREET.)<br /><br />Jerome Hiler & Nathaniel Dorsky LIBRARY (1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad.)<br />“[In 1970 Hiler and Dorsky] collaborated on an unexpected and little-known work, an industrial film commissioned by New Jersey’s Sussex County Area Reference Library, whose local branch Dorsky and Hiler frequented first as patrons, then eventually as projectionists and programmers for the library’s 16mm screenings. […] A collaboration with their friends Tony Conrad and his wife, actress Beverly Grant, who contributed, respectively, its minimalist score and voiceover narration, LIBRARY…is a direct complement to both filmmakers’ contemporary diary films and an extension of their somewhat idealized vision of daily life in rural New Jersey. More importantly, the film gives revealing expression to the close correspondence uniting Dorsky and Hiler’s work, and their shared dedication to an ideal of art as a form of spiritual experience and devotion.” –Haden Guest, CINEMA SCOPE<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60270 <p>JEANNETTE RANKIN BRIGADE (Newsreel #4) (1968, 8 min, 16mm-to-DCP)<br />UP AGAINST THE WALL MS. AMERICA (Newsreel #22) (1968, 6 min, 16mm-to-DCP)<br />SHE’S BEAUTIFUL WHEN SHE’S ANGRY (Newsreel #48) (1969, 16 min, 16mm-to-DCP)<br />MAKE-OUT (Newsreel #49) (1970, 5 min, 16mm-to-DCP)<br />CHILDCARE: PEOPLE’S LIBERATION (Newsreel #56) (1970, 20 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><em><strong>Filmmakers Bev Grant (UP AGAINST THE WALL MS. AMERICA) and Deborah Shaffer (MAKE-OUT) will be here in person for both screenings, and they'll be joined on Fri, Nov 14 by Bonnie Friedman (CHILDCARE: PEOPLE’S LIBERATION)!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60310 <p>Hans Richter’s THE NEW APARTMENT – produced for a Swiss architectural and interior design exhibition to promote modern approaches to design – is paired here with travel- and tourism-themed films by the great experimental animators Len Lye and Norman McLaren, the trippy bicentennial animation 200, and a fascinating film designed to promote the city of Pittsburgh (on the occasion of its own bicentennial), which was made with contributions from photographer Weegee, avant-garde filmmakers Stan Brakhage, Lye, and Stan Vanderbeek, and photographers W. Eugene Smith and Willard Van Dyke.<br /><br />Hans Richter THE NEW APARTMENT / DIE NEUE WOHNUNG (1930, 28 min, 35mm-to-DCP. Commissioned by Schweizerischer Werkbund (SWB).)<br />Len Lye COLOUR FLIGHT (1938, 4 min, 35mm-to-DCP. Commissioned by Imperial Airways.)<br />Len Lye SWINGING THE LAMBETH WALK (1939, 4 min, 35mm. Commissioned by the British Tourist and Industrial Development Association. Print courtesy The Museum of Modern Art, New York.)<br />Len Lye LIFE’S MUSICAL MINUTE (1953, 2 min, 35mm-to-DCP)<br />Norman McLaren NEW YORK LIGHTBOARD RECORD (1961, 9 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />PITTSBURGH (1959, 28 min, 16mm-to-DCP. Produced by On Film Co.)<br />Vince Collins 200 (1975, 3 min, 16mm-to-DCP)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60282 <p>MILL-IN aka THE CHRISTMAS MILL-IN (Newsreel #6) (1967, 12 min, 16mm-to-DCP)<br />GARBAGE aka GARBAGE DEMONSTRATION (Newsreel #5) (1968, 10 min, 16mm-to-DCP)<br />UNION aka OIL STRIKE aka RICHMOND OIL STRIKE (Newsreel #25) (1969, 17 min, 16mm-to-DCP)<br />WILMINGTON (Newsreel #30) (1970, 15 min, 16mm-to-DCP)<br />PA BELL GO TO HELL (1971, 3 min, 16mm-to-DCP)<br />FELIX REVOLTS aka FELIX THE CAT (1968, 7 min, 16mm-to-DCP)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60285 <p>THE CASE AGAINST LINCOLN CENTER (Newsreel #17) (1968, 12 min, 16mm-to-DCP)<br />BREAK AND ENTER aka SQUATTERS (Newsreel #62) (1971, 42 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60345 <p>[NA SREBRNYM GLOBIE]<br /><br />This very special screening of Andrzej Żuławski’s magnum opus, ON THE SILVER GLOBE (1988), will be presented in person by its cinematographer, acclaimed DOP and longtime Żuławski collaborator Andrzej Jaroszewicz!<br /><br />“Żuławski’s masterpiece, the almost indescribable ON THE SILVER GLOBE, was begun in Poland in the 1970s, and shot on locations ranging from the Gobi Desert to Crimea to the Baltic coast. He said this science-fiction allegory was too anti-clerical even for the country’s Communist authorities, who, claiming he had exhausted the budget, shut down production. A decade later Żuławski assembled the surviving material, restaged some scenes with new actors, and added documentary footage of late-’80s Poland. The result, which ultimately surfaced in 1988, is a majestic ruin. Comparable for sheer weirdness to David Lynch’s DUNE, ON THE SILVER GLOBE shows astronauts marooned on the Moon contending with rival species, including telepathic humanoid birds, amphibious mud people and their own mutated descendants. As always, Żuławski is an inspired orchestrator of tumult; the rabid crowd scenes in this primordial pageant might have been played by The Living Theater at its acid-ripped height. ON THE SILVER GLOBE is outsider art on a huge scale.” –J. Hoberman, NEW YORK TIMES<br /><br />Co-presented by the Polish Cultural Institute New York.<br /><br /><em><strong>Followed by a Q&A with Andrzej Jaroszewicz!</strong></em><br /><br /><img src="https://instytutpolski.pl/newyork/wp-content/uploads/sites/15/2019/04/logo-ip-new-york.png" alt="" width="100" height="49" />     <img src="https://instytutpolski.pl/newyork/wp-content/uploads/sites/15/2025/04/Znak-25_bez-logo_na-przezroczystosci-1-1024x451.png" alt="" width="100" height="44" /><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60279 <p>THE HAIGHT (Newsreel #21) (1968, 6 min, 16mm-to-DCP)<br />PIG POWER (Newsreel #23) (1968, 6 min, 16mm-to-DCP)<br />YIPPIE (1968, 12.5 min, 16mm-to-DCP)<br />RIOT CONTROL WEAPONS (Newsreel #9) (1968, 6 min, 16mm-to-DCP)<br />AMERICA aka AMERIKA (1969, 30 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60264 <p>NORTH AMERICAN PREMIERE!<br />César González<br />PLEBEIAN ULYSSES / ULISES PLEBEYO<br />Argentina, 2024, 68 min, digital. No dialogue.<br />“Prolific Argentine filmmaker and poet César González has been crafting one of the most original and groundbreaking bodies of work in contemporary Argentine cinema. Yet, far too little of it has been screened in the U.S. – and it’s time to change that. González has authored books of poetry, novels, and essays on cinema, that depict life on the margins of society – a life he has lived and continues to live intensely. This experience resonates deeply in each of his films. <br />PLEBEIAN ULYSSES is his most experimental work to date. A collage, an agitprop travelogue, a kaleidoscope of sounds and images – it seeks to awaken the beauty of everyday life in a world the middle class has been taught not to see, but to fear. Filmmaker Lucrecia Martel has described his work as ‘a modest sewer through which the ideas with which we mask our privileges seep.’ PLEBEIAN ULYSSES is a patchwork of contrasting fragments that bloom like the sharp petals of a copper shiny rose.” –Matías Piñeiro<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60347 <p>This program celebrating the launch of MFJ No. 82 “Real Life” consists of works discussed in the issue. These films and their accompanying texts are attempts to understand an increasingly convoluted world, in which images are not just a reflection of reality, but part of its very substance.<br /><br />Programmed by Grahame Weinbren, Vince Warne, and Jonathan Ellis.<br /><br />The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit https://millenniumfilmjournal.com/donations/donation-form/ <br /><br />Open Group REPEAT AFTER ME (2024, 17 min, digital)<br />“Men, women, old, middle aged, young. One by one they stare into the camera, identify themselves, and shout, yowl, grunt, hiss, roar the sounds of war.<br />UUUUhHHhh TDDURRShHTTZHH TTZHT!<br />Machine gun. Explosion. Siren. Drone. Helicopter. Bomber Plane.<br />WZWFFF BU BUUHH! WZWFFF BU BUUHH!<br />Oversized subtitles approximate the sounds. Once, twice.<br />WEEEEEEEEHHEWEeee. WEEEEEEEEHHEWEeee.<br />After producing the extended sound of war weapons or warning sirens, the performer issues the command ‘Повторюй за мною’ or ‘Repeat after me.’”<br />–“War in Pieces”, Grahame Weinbren<br /><br />Samy Benammar ADIEU UGARIT (2024, 15 min, 16mm-to-digital)<br />“The main character, a survivor of the Syrian civil war, is traumatized by his memory of a friend’s execution. Shadows of the past pervade the film, a tone evoked by a dissonance between the dark emotions of the subject and the calming qualities of the Laurantian Waters… Were we to mute the audio and the subtitles, ADIEU UGARIT would read as a modest celebration of sylvan lake-country lovingly recorded in black and white and intercut with images of a fine-looking man – with no suggestion of an absent voice-over narrative. It is in the contrast between image and text that a bitter emotional tone conveys the horror of violent death in the mind of someone who can’t escape it.” –“War in Pieces Continued”, Grahame Weinbren<br /><br />Claudia Hart MEMORY THEATER 2 (2022-25, 5 min, digital)<br />“One piece features a Bladerunner-meets-Las Meninas cyborg transformed into a high-contrast billboard for an intermedia fashion show (DOLL DANCE (ILLUMINATION), 2014/2025). Whether angel, tree, or silvery blob, Hart’s uncanny figures and their environments are wholly expressive. They drift, warp, and decay, seemingly under the spell of unknown pressures, whether internal or environmental…” –“Claudia Hart: Illuminations”, Corinna Kirsch<br /><br />Mike Hoolboom RAIN (2025, 3 min, digital)<br />Mike Hoolboom WHITE HARLEM (2024, 10 min, digital)<br />“The work you’re about to see is not alive, until someone performs the labour of unfolding them. They need to be touched and unfolded. Is that too much to ask? Of course it is. Of course that’s too much. I think the beginning, the establishing shot, the doorway that we walk through to find each other at an artist’s movie screening always begins the same way. By asking too much. By making preposterous statements. What do you call this place anyway: utopia? It literally means: No place.” –“What Is An Artist? An Introduction to the Brakhage Symposium”, Mike Hoolboom<br /><br />Tomonari Nishikawa SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS (2014, 2 min, 35mm)<br />“On a first glance, the two-minute film’s images look like any number of cameraless film experiments – a rush of blue color and light leaks, scratched frames jumping with flickering energy, and a hushed soundtrack of noise and pops. Beautiful, strange, and abstract – you’d be forgiven for thinking it was a hand-painted work, or an exercise in unconventional darkroom processing techniques. But after a brief cut to black, onscreen text matter-of-factly reveals the significance of the images we’ve just seen…” –“MFJ 82 Introduction”, Vince Warne<br /><br />Undertime Slopper SELECTED WORKS (2025, 5 min, digital)<br />“Undertime Slopper is an anonymous short-form video artist (or maybe a group, or a self-aware AI, who’s to say?) best known for posting to TikTok. Their videos are compact, usually disheveled collages of AI voiceovers, photogrammetry scans, lip-dubbed characters, and wobbly 3D animation. The character animations hover in an aesthetic limbo, not quite amateurish, not quite refined. They occupy a visual space shaped by algorithmic leftovers: low-poly scans, warped perspective, and uncanny ‘deepfake’ digital mouths. But beyond the noise (or slop), he’s built an absurdist ecosystem, half-myth, half-meme, populated by recurring figures and worlds like King Undertime, Nephew, and the whimsical Albert’s Forest. It’s surreal, funny, occasionally unnerving, and best of all, completely detached from the fine art world.” –“I Love Undertime Slopper”, Ari Temkin<br /><br />John Smith BEING JOHN SMITH (2024, 27 min, digital)<br />“The film sparkles with the filmmaker’s skillful employment of the inbuilt powers of cinema to refer to self-confessed flaws and insecurities. Is it <em>flippant, facetious, ironic, wry, ironical, cynical, dry, poignant</em>? Do we feel by the end of the film that we’ve come to know the filmmaker? Hardly. He warned us not to believe him.” –“War in Pieces Continued”, Grahame Weinbren<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60273 <p>THE WOMAN’S FILM (Newsreel #55) (1971, 43 min, 16mm-to-DCP)<br />JANIE’S JANIE (1971, 25 min, 16mm-to-DCP)<br /><br />Total running time: ca. 70 min.<br /><br /><em><strong>Filmmakers Judy Smith (THE WOMAN’S FILM) and Peter Barton (JANIE’S JANIE) will be here in person for the screening on Thurs, Nov 20!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60349 <p><strong>SPECIAL SCREENING – FILMMAKER IN PERSON!</strong><br /><br />This fall, Anthology joins forces with Asia Society to celebrate the work of the towering Uzbek filmmaker Ali Khamraev. Thanks to Asia Society’s initiative, Khamraev will be traveling to the U.S., for the series “Eastern Notions: Films by Ali Khamraev”, the first NYC program fully dedicated to his work. Anthology will host the opening night of the series, with a screening of Khamraev’s beloved 1971 feature WITHOUT FEAR, which captures a symbolic clash between Soviet and Islamic cultures, focusing on a 14-year-old girl who decides to be the first in her village to drop the veil and chador after urging by a visiting commissar.<br /><br />Following this opening night event, the series will move uptown to Asia Society, which will present screenings from Friday, November 21 through Sunday, November 23 of Khamraev’s more rarely-screened works, WHITE WHITE, STORKS (1966), THE SEVENTH BULLET (1973), MAN FOLLOWS BIRDS (1976), and I REMEMBER YOU (1985), featuring Q&As with Khamraev and actress Gulcha Tashbayeva.<br /><br />“If there is a giant who sits astride the history of Uzbek cinema, it’s Ali Khamraev, one of those rare talents like Welles or Godard or Scorsese whose love for the medium is so intense that his best films burst with criss-crossing energies and insights, like a fireworks display.” –Kent Jones<br /><br />For more info about the Asia Society screenings visit: <a href="https://asiasociety.org/new-york/eastern-notions-five-films-ali-khamraev">https://asiasociety.org/new-york/eastern-notions-five-films-ali-khamraev</a><br /><br /><em><strong>Followed by a Q&A with Ali Khamraev!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60276 <p>BLACK PANTHER aka OFF THE PIG (Newsreel #19) (1968, 15 min, 16mm-to-DCP)<br />MAY DAY PANTHER aka MAY DAY (Newsreel #29) (1969, 15 min, 16mm-to-DCP)<br />BOBBY SEALE aka INTERVIEW WITH BOBBY SEALE (Newsreel #44) (1969, 15 min, 16mm-to-DCP)<br />EITHER OR 1970, 11 min, 16mm-to-DCP<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60351 <p>This program showcases a series of shorts by NYC filmmaker and theater director Lucas Kane (b. 1993). Kane’s materialist approach to the form situates aesthetics as part of the larger socio-political struggles taking place across different registers of cultural production, movement, and time. From the George Floyd Uprising encampment at City Hall to a fight for housing in Brooklyn, Kane’s work traces the mass demands for police abolition, the animated spirit of neighbor and painter Jacob Eye, and the building of resistance against an anti-Black state that forcefully maintains property. His most recent moving-image work, THREE SONGS FOR PETER BROOK – an assemblage-in-progress of Super-8mm diary notes, 16mm archival footage, and meditations on the legacy of a legendary theater director – is at once existential and grounded in the framework of an art worker, as it documents Kane’s world travels and other experiences working as Brook’s assistant director.<br /><br />Kane will be in attendance and will perform a live reading alongside THREE SONGS FOR PETER BROOK, with an introduction and post-screening conversation led by Lily Jue Sheng.<br /><br />IMPRESSIONS OF RESISTANCE AND ERASURE (2021, 3 min, Super-8-to-16mm)<br />Filmed at the encampment of NYC’s City Hall in June and July of 2020, this short traces the lifespan of the graffiti and murals that the occupation fostered. The encampment formed to demand the abolition of the NYPD and the re-allocation of its resources to housing, education, and other social programs.<br /><br />JACOB’S HOUSE (2025, 21 min, 16mm)<br />JACOB’S HOUSE is a patient exploration of what constitutes a house and how a house constitutes a way of life. Made collaboratively between two neighbors, the film traces Jacob’s 15-year relationship to his home as he resists a developer’s brutal attempt to evict him.<br /><br />THREE SONGS FOR PETER BROOK (work-in-progress, 24 min, Super-8 and 16mm-to-digital)<br />THREE SONGS FOR PETER BROOK is an informal and personal documentary on the last years of renowned theater and film director Peter Brook. Composed of diary entries, show notes, and different discarded elements, the film intertwines Super-8 footage from the 2019 world tour of Brook’s last original play, unseen outtakes from a documentary made with Brook in 1973, and an interview with him in his Parisian apartment months before his death. Through this tender and unofficial portrait, the film searches for an answer to how his theater was created and what lingers on after a show is finished.<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60202 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60217 <p>“Brigitte Helm gives a fascinating performance in this incisive portrait of bourgeois languor. A wife, bored with her husband and safe existence, is drawn to a painter and his bohemian milieu. But her fantasies of an alternative life turn against her in the most unrelenting way, as Pabst continues his fascination with female psychology that would culminate in PANDORA’S BOX. Neglected by Pabst scholars, because it was not in keeping with the director’s humanist image, this cool, understated film may be his most modern.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60313 <p>The films included here were designed to promote and celebrate the still-novel technology of radio broadcasting. Most were commissioned by the Dutch company Philips Radio, which produced numerous promotional films, in various countries and by numerous different filmmakers, throughout the 1930s and beyond, many of them strikingly experimental in form.<br /><br />Hans Richter EUROPA RADIO (1931, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter FROM LIGHTNING TO TELEVISION / VAN BLIKSEMSCHICHT TOT TELEVISIE (1936, 29 min, 35mm-to-DCP. Commissioned by Philips Radio. Digitally restored by EYE Filmmuseum, and screened with the permission of Royal Philips / Philips Company Archives.)<br />Karel Dodal & Irena Dodalová THE WIZARD OF TONES / ČARODĚJ TÓNŮ (1936, 1.5 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová THE SOUNDS OF OUTER SPACE / ZNĚJÍCÍ VESMÍR (1936, 2 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />George Pal THE BALLET OF RED RADIOVALVES (1938, 2.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />George Pal THE SHIP OF THE ETHER (1936, 7.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />Jószef Misik KERMESSE FANTASTIQUE (1951, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />Joop Geesink THE TRAVELLING TUNE (1962, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60203 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60316 <p>These films focus mainly on then-novel communications technologies, including magnetic tape, new postal methods, and above all, computing (and its potential for creating new kinds of imagery). Reflecting the radical nature of these technologies, the sponsored films included here adopt highly experimental approaches to sound, image, and editing.<br /><br />Charles & Ray Eames A COMMUNICATIONS PRIMER (1953, 22 min, 35mm-to-DCP. Screened by permission © Eames Office, LLC (eamesoffice.com). All rights reserved.)<br />Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND (1959, 21 min, 35mm-to-DCP)<br />Edgar Reitz COMMUNICATION / KOMMUNIKATION – TECHNIK DER VERSTÄNDIGUNG (1961, 11 min, 35mm-to-DCP. Commissioned by the German Post Office.)<br />Bernard Longpré TEST 0558 (1965, 4 min, 16mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />John Whitney, Sr. EXPERIMENTS IN MOTION GRAPHICS (1968, 12 min, 16mm)<br />Raymond Brousseau & Bernard Longpré DIMENSION SOLEILS (1970, 4 min, 16mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Lillian Schwartz PIXILLATION (1970, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br />Lillian Schwartz & Ken Knowlton UFOS (1971, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br />Lillian Schwartz ENIGMA (1972, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60221 <p>[DIE BÜCHSE DER PANDORA]<br /><br />Pabst had an innate talent for discovering actresses (including Greta Garbo), and perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama PANDORA’S BOX. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, PANDORA’S BOX is one of silent cinema’s great masterworks.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60225 <p>[TAGEBUCH EINER VERLORENEN]<br /><br />“The second and final collaboration between Pabst and Louise Brooks is a provocative adaptation of Margarethe Böhme’s notorious novel, in which the naive daughter of a middle-class pharmacist is seduced by her father’s assistant, only to be disowned and sent to a repressive home for wayward girls. She escapes, searches for her child, and ends up in a high-class brothel, only to turn the tables on the society which had abused her.” –Thomas Gladysz<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60319 <p>This program pays tribute to the sponsored film category of the Public Service Announcement, with several works (by Hans Richter, Len Lye, and Norman McLaren) made during WWII, as well as Carl Dreyer’s anti-speeding cautionary tale, THEY CAUGHT THE FERRY, Niki de Saint Phalle and her son Philip Mathews’s ads raising awareness about AIDS, David Lynch’s anti-littering spot, and more.<br /><br />Hans Richter INFLATION (1928, 3 min, 35mm-to-DCP. Courtesy of the Deutsche Kinemathek.)<br />Len Lye MUSICAL POSTER NO. 1 (1940, 3 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye KILL OR BE KILLED (1942, 18 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye NEWSPAPER TRAIN (1942, 6 min, 35mm-to-DCP)<br />Len Lye WORK PARTY (1942, 7 min, 35mm-to-DCP)<br />Norman McLaren V FOR VICTORY (1941, 2 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren FIVE FOR FOUR (1942, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren KEEP YOUR MOUTH SHUT (1944, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Carl Th. Dreyer THEY CAUGHT THE FERRY / DE NÅEDE FÆRGEN (1948, 11 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Philip Mathews, Niki de Saint Phalle, and Silvio Baranoun AIDS (Public Service Announcements) (1990, 4 min, video. Directed by Philip Mathews and animated by Steve Dovas, Barbara Nislick, and Tony Luamaco. Based on the book “AIDS: You Can’t Catch It Holding Hands”.)<br />Tom Rubnitz SUMMER OF LOVE PSA (1990, 30 sec, video)<br />David Lynch WE CARE ABOUT NEW YORK (1991, 1 min, digital. Commissioned by the New York Dept of Sanitation.)<br />Jeff Preiss JACKSON SONG (1990, 2 min, 16mm-to-digital. Commissioned by Burger King.)<br />Rachael Guma EXTRA ULTRA SUPER GAL (2024, 3.5 min, DCP)<br />Pat Lehman DRUG ABUSE (1972, 1 min, video)<br />Cliff Roth THE REAGANS SPEAK OUT ON DRUGS (1988, 7 min, video-to-16mm)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60204 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60322 <p>In contrast to the previous works in the series, which comprise films or advertisements sponsored by various companies or industries, this program consists of films made independently by artists that engage with or intervene in advertising. The first section showcases the rare but fascinating instances in which artists (such as Richard Serra, Carlotta Schoolman, Chris Burden, Lynn Hershman Leeson, and Stan Douglas) have actually purchased TV airtime for their own purposes, as well as finding room for works like Vito Acconci’s ELECTION TAPE ’84, Muntadas’s THIS IS NOT AN ADVERTISEMENT, and Harun Farocki’s MUSIC-VIDEO, which were displayed on public advertising billboards. The second part of the program finds artists making films that adopt the form of ads or otherwise satirize or critique advertising.<br /><br /><span style="text-decoration: underline;">1. Buying time (artists buying their own advertising time):</span><br />Richard Serra & Carlotta Schoolman TELEVISION DELIVERS PEOPLE (1973, 6.5 min, video)<br />Chris Burden THE TV COMMERCIALS 1973-1977 (1973-77/2000, 4 min, video)<br />Lynn Hershman Leeson COMMERCIAL FOR MYSELF (1978, 46 sec, video)<br />Vito Acconci ELECTION TAPE ’84 (1984, 2 min, video)<br />Muntadas THIS IS NOT AN ADVERTISEMENT (1985, 5 min, video)<br />Stan Douglas TELEVISION SPOTS (1987-88, ca. 5 min, video)<br />Harun Farocki MUSIC-VIDEO / MUSIKVIDEO (2000, 1 min, video)<br /><br /><span style="text-decoration: underline;">2. Films that adopt the format/language of ads:</span><br />Joan Logue 30 SECOND PORTRAITS: NEW YORK ARTISTS (1982, 15 min, video. Made in collaboration with the artists.)<br />Thom Andersen MELTING (1965, 6 min, 16mm)<br />Michael Smith MIKE (1987, 3.5 min, video)<br />Valie Export A PERFECT PAIR (1987, 13.5 min, video)<br />Kristin Lucas INFORECEPTOR (1994, 5 min, digital)<br />Tony Cokes AD VICE (1999, 6.5 min, digital)<br />Ilana Harris-Babou REPARATION HARDWARE (2018, 4 min, digital)<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60229 <p>Pabst brought the war movie into a new era with his first sound film, a mercilessly realistic depiction of the nightmare that scarred a generation, in Germany and beyond. Digging into the trenches with four infantrymen stationed in France in the final months of WWI, Pabst illustrates the harrowing ordeals of battle with unprecedented naturalism, as the men are worn away in body and spirit by firefights, shelling, and the disillusion that greets them on the home front.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60325 <p>Harun Farocki<br />A DAY IN THE LIFE OF A CONSUMER / EIN TAG IM LEBEN DER ENDVERBRAUCHER<br />1993, 44 min, DCP. In German with English subtitles.<br />“Harun Farocki plunders 40 years of advertising films, which he orchestrates to constitute an ironic 24 hours in the life of typical consumers, mixing different colors, periods, and various ‘ideologies of well being’ to hold up a mirror to our times, values, worries, hopes. This collage of ‘beautiful images,’ gleeful and chaotic, deconstructs not only the domestic reference points which punctuate our daily life, but also gives full rein to an off-beat humor in the tradition of Brechtian distanciation.” –Andrei Ujica<br /><br />Preceded by:<br />Andrew Lampert BENETTON (2004, 4.5 min, 16mm-to-digital, silent)<br />Nam June Paik & Jud Yalkut WAITING FOR COMMERCIALS 1966-72 (1992, 6.5 min, video)<br />Peter Kubelka POETRY AND TRUTH / DICHTUNG UND WAHRHEIT (1996-2003, 13 min, 16mm)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60233 <p>When a coal mine collapses on the frontier between Germany and France, trapping a team of French miners inside, workers on both sides of the border spring into action, putting aside national prejudices and wartime grudges to launch a dangerous rescue operation. Pabst brings a claustrophobic realism to this ticking-clock scenario, using realistic sets and sound design to create the maze of soot-choked shafts where the miners struggle for survival. A gripping disaster film and a stirring plea for international cooperation, KAMERADSCHAFT cemented Pabst’s status as one of the most morally engaged and formally dexterous filmmakers of his time.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60328 <p>ADS AS FOUND FOOTAGE, PROGRAM 2<br /><br />Radu Jude & Christian Ferencz-Flatz<br />EIGHT POSTCARDS FROM UTOPIA / OPT ILUSTRATE DIN LUMEA IDEALĂ<br />2024, 71 min, DCP. In Romanian with English subtitles.<br />This found-footage documentary is assembled exclusively out of post-socialist Romanian advertisements. Drawing from the debris of Romania’s long transition period, the film speaks about love and death, the human body and its frailty, the natural and the supernatural, and of course, socialism and capitalism. Bouncing between found poetry and an outdated encyclopedia, between trash art and Summa theologiae, EIGHT POSTCARDS sees Jude teaming up with philosopher Christian Ferencz-Flatz to make another hilarious and unforgiving take down of meta capitalist mythology.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60237 <p>[DIE 3 GROSCHEN-OPER]<br /><br />The sly melodies of composer Kurt Weill and the daring of dramatist Bertolt Brecht come together on-screen in this classic adaptation of the Weimar-era theatrical sensation. Set in the impoverished back alleys of Victorian London, THE THREEPENNY OPERA follows underworld antihero Mackie Messer (aka Mack the Knife) as he tries to woo Polly Peachum and elude the authorities. With its palpable evocation of corruption and dread, set to Weill’s irresistible score, THE THREEPENNY OPERA remains a benchmark of early sound cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60241 <p>“Pabst’s adaptation of the Pierre Benoit novel is far rarer, and far odder, than the better-known silent version by Jacques Feyder. Lieutenant de Saint-Avit tells his tale of a city peopled by a strange race, the meeting of a dapper Parisian friend therein, and the mysterious, goddess-like creature Antinéa (Brigitte Helm), who reigns over the land. The film was shot partly in North Africa, but like Josef von Sternberg’s ‘locations,’ it offers a highly artificial world, at once sensual and dazzling, yet coolly filmed through a scrim of social and psychological observation.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60330 <p>Harun Farocki<br />EVERYBODY A BERLINER KINDL / JEDER EIN BERLINER KINDL 1966, 4 min, 16mm-to-DCP<br />“[This film] deals with advertising for Berliner Kindl, a local beer. It is a matter of the act of self-refutation, an act which is, however, far more than an ironically positioned, merely aesthetic ‘gesture’ – it is evidently related to the manner in which one approaches politics, political speeches and political semiotics.” –Klaus Kreimeier<br /><br />THE APPEARANCE / DER AUFTRITT<br />1996, 40 min, 16mm-to-DCP. In German with English subtitles.<br />“Farocki once again takes us into the world of advertising. An advertising agency has to pitch a marketing concept to an optician’s consortium, represented by the manager who is the first to see the campaign. The logo submitted, ‘Eyedentity’, is examined from every angle: it must simultaneously express both the company’s dynamism and its reliability! A fascinating, dispassionate glimpse behind closed doors, where every detail is dramatized to win that lucrative contract.” –Jörg Becker<br /><br />STILL LIFE / STILLEBEN<br />1997, 56 min, 16mm-to-DCP. In German with English subtitles.<br />According to Farocki, today’s photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life – the “still life”. The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary “still life”: a cheese-board, beer glasses, and an expensive watch.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60218 <p>“Brigitte Helm gives a fascinating performance in this incisive portrait of bourgeois languor. A wife, bored with her husband and safe existence, is drawn to a painter and his bohemian milieu. But her fantasies of an alternative life turn against her in the most unrelenting way, as Pabst continues his fascination with female psychology that would culminate in PANDORA’S BOX. Neglected by Pabst scholars, because it was not in keeping with the director’s humanist image, this cool, understated film may be his most modern.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60222 <p>[DIE BÜCHSE DER PANDORA]<br /><br />Pabst had an innate talent for discovering actresses (including Greta Garbo), and perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama PANDORA’S BOX. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, PANDORA’S BOX is one of silent cinema’s great masterworks.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 26