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 Sat, 24 Jun 2017 02:51:36 -0400 EVERY WHICH WAY BUT LOOSE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47429 <p>With Clint Eastwood, Sondra Locke, Geoffrey Lewis, and Beverly D&rsquo;Angelo.<br /><br />James Fargo&rsquo;s trash-talking, bare-knuckle road comedy stars Clint Eastwood as Philo, a rambling truck driver and handyman whose best pal is a beer-swilling orangutan named Clyde. Philo falls hard for Lynn (Locke), a honky-tonk torch singer, and follows her &ndash; with Clyde and his friend Orville (Lewis) &ndash; all the way to Denver in an extended BLUES BROTHERS-worthy chase sequence, where new enemies are accumulated one stoplight at a time. While the film was extensively derided upon release, in hindsight it appears one of Eastwood&rsquo;s more lived-in vehicles, with the flinty icon playing against type. Even with the mischievous Clyde (portrayed throughout by an orangutan named Manis, who sadly did not return for ANY WHICH WAY YOU CAN) playing cupid, the real-life chemistry between Eastwood and Locke makes for a surprisingly melancholy denouement.</p> Saturday, June 24 KING KONG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47433 <p>With Jeff Bridges, Charles Grodin, and Jessica Lange.<br /><br />John Guillermin and Dino De Laurentiis&rsquo;s uberspectacular KING KONG is nothing if not star-powered: Jessica Lange makes her debut as a hypersexualized new Fay Wray, against Jeff Bridges&rsquo;s slightly damp turn as a know-it-all hippie scientist and Charles Grodin&rsquo;s mustache-twirling event-producer heavy. Even if this relatively somber remake didn&rsquo;t pan out, as promised by the original poster, to be &ldquo;The most exciting original motion picture event of all time,&rdquo; the nominal attraction remains beyond reproach. Effects maestro Carlo Rambaldi went on to win a Special Achievement Oscar, while his deputy Rick Baker piloted the Kong suit himself, kaiju-eiga style, for many of KING KONG&rsquo;s wider shots &ndash; the massive animatronic Kong barely functioning, in yet another of several meta-ironies accorded by the film&rsquo;s overripe, post-carnival-showmanship packaging.<br /><br />&ldquo;This new KONG isn&rsquo;t a horror movie &ndash; it&rsquo;s an absurdist love story. When the 40-foot Kong stands bleeding and besieged at the top of the World Trade Center, and his blonde (Lange) pleads with him to pick her up, so that the helicopters won&rsquo;t shoot at him, even Wagner&rsquo;s dreams seem paltry.&rdquo; &ndash;Pauline Kael, WHEN THE LIGHTS GO DOWN</p> Saturday, June 24 17TH ANNUAL BICYCLE FILM FESTIVAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47543 <p>Brendt Barbur, Founding Festival Director, was compelled to start the Bicycle Film Festival when he was hit by a bus while riding his bike in New York City. He insisted on turning his negative experience into a positive one.<br /><br />The BFF was founded 17 years ago at Anthology Film Archives as a celebration of the bicycle through film, art, and music. The Festival has since traveled to over 75 cities worldwide.<br /><br /><strong><em>For more information and tickets, visit: www.bicyclefilmfestival.com</em></strong></p> Saturday, June 24 MONKEY SHINES: AN EXPERIMENT IN TERROR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47412 <p>MONKEY SHINES teeters uncomfortably between withering satire and over-earnest chamber drama, like a Reagan-era upgrade of MURDERS AT THE RUE MORGUE. Jason Beghe plays Allan, a jock-turned-quadriplegic in a freak (if not fated) encounter with a truck, given a capuchin monkey named Ella for help around the house. For a time, the two are thick as thieves &ndash; but once Ella begins receiving liquified human brains one transfusion at a time, the psychic link between her and Allan takes things in a more gruesome direction, with Ella wielding a switchblade against anyone she sees as a threat. Romero&rsquo;s first stab at studio filmmaking was besieged by problems and shrugged off upon general release, which is a shame: the faux-happy ending (mandated by Orion Pictures) suffuses the story with schizophrenic irresolution, and Ella &ndash; a mix of animatronics and trained monkey performers &ndash; manages to become the story&rsquo;s true hero with the slimmest screen time.<br /><br />&ldquo;In between these soggy slices of bread the MONKEY SHINES sandwich is packed with meat &ndash; an imposing family melodrama full of faces, tension, strong feelings, and personalities, and very little wasted motion, culminating in what is probably the most protracted and successful suspense set piece in any movie this year.&rdquo; &ndash;Jonathan Rosenbaum, CHICAGO READER</p> Saturday, June 24 MAX MON AMOUR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47408 <p>With Charlotte Rampling, Anthony Higgins, Victoria Abril, and Pierre &Eacute;taix.<br /><br />Oshima&rsquo;s sole collaboration with maverick screenwriter Jean-Claude Carri&egrave;re stars Charlotte Rampling as Margaret, a bored diplomat&rsquo;s wife who falls &ndash; hard &ndash; for a sad-eyed chimp named Max. The film&rsquo;s milieu is lush, gilded, airheaded, hollow &ndash; a fragile social ecosystem to be tested if ever there was one, while the visual punchline of Max&rsquo;s cohabitation with the Paris elite lends the film a concurrent measure of mystery. Beyond the pleasures of Oshima&rsquo;s savagely anemic staging and Michel Portal&rsquo;s silken score, MAX MON AMOUR details another path taken only by an intrepid few: it&rsquo;s a rare glimpse at Bu&ntilde;uel-lite surrealism well into the 80s, blown up to big-budget proportions vis-&agrave;-vis Max himself, portrayed by actress Aisla Berk in a seamless monkey suit courtesy of the great Rick Baker.</p> Sunday, June 25 BYE BYE MONKEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47419 <p>With G&eacute;rard Depardieu, Marcello Mastroianni, and James Coco.<br /><br />From the auteur behind DILLINGER IS DEAD comes an incense-seared dystopia of post-Sixties bohemianism, landing somewhere between SKIDOO and THE GOODBYE GIRL. BYE BYE MONKEY&rsquo;s foundational image is both its funniest and its hardest to forget: the slowly deflating corpse of King Kong, sprawled out anonymously on a beach opposite the World Trade Center. When handyman Lafayette (Depardieu) and his friend Luigi (Mastroianni) happen upon the deceased gargantua, they discover a beautiful orphaned chimp left behind, who they nickname Cornelius, in a nod to PLANET OF THE APES. A decidedly problematic (if not anti-humanist) picture, BYE BYE MONKEY is equal parts fare-thee-well to childhood phantasmagoria and rumination on the coarse brutality of man (and thus, his art) &ndash; a tragedy of dashed expectations made explicit by the Imperial Rome Wax Museum where Lafayette and Luigi work.</p> Sunday, June 25 17TH ANNUAL BICYCLE FILM FESTIVAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47544 <p>Brendt Barbur, Founding Festival Director, was compelled to start the Bicycle Film Festival when he was hit by a bus while riding his bike in New York City. He insisted on turning his negative experience into a positive one.<br /><br />The BFF was founded 17 years ago at Anthology Film Archives as a celebration of the bicycle through film, art, and music. The Festival has since traveled to over 75 cities worldwide.<br /><br /><strong><em>For more information and tickets, visit: www.bicyclefilmfestival.com</em></strong></p> Sunday, June 25 KOKO, A TALKING GORILLA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47442 <p>(KOKO, LE GORILLE QUI PARLE)<br /><br />Barbet Schroder&rsquo;s extraordinary KOKO serves as inevitable counterpoint to the school of research displayed in Wiseman&rsquo;s PRIMATE; KOKO as much depicts its eponymous gorilla as it does Penny Patterson, the California primatologist teaching her to &ldquo;speak&rdquo; using American Sign Language. Despite remarkable access, Schroeder maintains a balanced skepticism towards his human lead, whose methods are called into doubt by her contemporaries even as the film dives deeper into her relationship with Koko. For this, it must be the most intimate depiction of human-ape synergy in this series &ndash; but KOKO also has big questions on its mind, including how animals less special than Koko are to be protected in a modernizing (and largely uncaring) world, how its namesake reacts when she knows she&rsquo;s on-camera, and whether &ldquo;personhood&rdquo; belongs to humans only.</p> Sunday, June 25 MIGHTY PEKING MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47439 <p>(GOLIATHON)<br /><br />The Shaw Brothers&rsquo; attempt to capitalize on the success of 1976&rsquo;s KING KONG resulted in MIGHTY PEKING MAN &ndash; an astonishing ensemble thriller lodged somewhere between envious knockoff and loving spoof. Danny Lee (of INFRAMAN infamy) stars as an anthropologist hired by a slimy promoter to find the legendary Himalayan gorilla monster known as Utam, or Mighty Peking Man; even he fails to account for the possibility of the giant monkey&rsquo;s partner, an orphaned bombshell named Samantha (Evelyn Craft, clad from start to finish in a primordial Ursula Andress-style leather bikini). MIGHTY PEKING MAN is a dazzling showcase of optical effects: rear-projected animal attacks, gushing prosthetic limbs, and more than a few matte-enabled civilian casualties &ndash; to say nothing of the Peking Man himself, yet another lovelorn ape whose charisma handily surpasses the puny interlopers on the ground.<br /><br />&ldquo;I am awarding MIGHTY PEKING MAN three stars, for general goofiness and a certain level of insane genius&hellip;but I cannot in good conscience rate it higher than INFRA-MAN.&rdquo; &ndash;Roger Ebert, CHICAGO SUN-TIMES</p> Monday, June 26 ICP PRESENTS: KOUDELKA – SHOOTING HOLY LAND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47445 <p>JOSEF KOUDELKA &amp; DIRECTOR GILAD BARAM IN PERSON!<br /><br />This film follows Josef Koudelka in his journey photographing Israel and Palestine from one enigmatic and visually spectacular location to the next. In each location a scene unfolds, gradually introducing us to Koudelka&rsquo;s method of working, his perception of the world he is documenting, and the people he encounters. A fascinating dialogue emerges between the moving images Baram films and Koudelka&rsquo;s still photographs, as Baram places the photographer in his own breathtaking compositions. Austere images of landscapes divided by concrete walls and barbed wire reveal the tragic absurdity of the infamous conflict. Baram&rsquo;s long-term documentation of the photographer in the field, together with the exclusive use of Koudelka&rsquo;s photographic archive, result in a unique record that offers a rich and intimate look into the solitary creative process of one of photography&rsquo;s greatest living masters.<br /><br />The screening of KOUDELKA is presented in collaboration with the International Center of Photography, on the occasion of the exhibition, &ldquo;Magnum Manifesto.&rdquo; Co-produced by ICP and Magnum Photos, this landmark exhibition celebrates the 70th anniversary of the renowned photo agency created by Robert Capa, Henri Cartier-Bresson, and Chim (David Seymour) in May 1947. The exhibition is curated by Cl&eacute;ment Ch&eacute;roux, with Clara Bouveresse and ICP Associate Curator Pauline Vermare and is on view at the ICP Museum (250 Bowery) from May 26-September 3.<br /><br />The presence of director Gilad Baram has been made possible by generous support from the Czech Center New York.<br /><br /><img src="http://new-york.czechcentres.cz/webs/usa/images//cc-logo-top.jpg" alt="" width="181" height="53" /></p> <p>A limited number of advance tickets are available through Brown Paper Tickets:</p> <p><a href="http://www.brownpapertickets.com/event/2965839"><img src="http://www.brownpapertickets.com/g/6/BPT_buy_tickets_large.png" border="0" alt="" width="182px" height="92px" /></a><br /> <script src="http://www.brownpapertickets.com/eventwidget.js?event=2965839&amp;nodescription=1&amp;notitle=1" type="text/javascript"></script> <script src="http://www.brownpapertickets.com/widget_v651.js?event=2965839" type="text/javascript"></script> </p> <p>&nbsp;</p> <script src="http://www.brownpapertickets.com/eventwidget.js?event=2965839&amp;nodescription=1" type="text/javascript"></script> <script src="http://www.brownpapertickets.com/widget_v651.js?event=2965839" type="text/javascript"></script> Monday, June 26 MURDERS IN THE RUE MORGUE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47436 <p>With Bela Lugosi and Erik Gemora.<br /><br />Florey&rsquo;s grisly adaptation of Edgar Allen Poe&rsquo;s 1841 short story about a serial killer named Dr. Mirakle (Bela Lugosi) is primo Pre-Code. Mirakle takes to kidnapping young virgins in search of a mate for his woebegone right hand &ndash; a gnashing gorilla named Erik (played, in still-persuasive costume, by Charles &ldquo;king of the gorilla men&rdquo; Gemora). A classic Depression-era charlatan in 19th-century pancake makeup, Mirakle uses unmistakably Darwinist language to entice the huddled masses, even as the pileup of bodies begins to give him away. The search culminates in a rooftop showdown between the police and Erik that evokes both Merian C. Cooper&rsquo;s KING KONG (whose success probably had something to do with this film&rsquo;s obscurity), and the coming generation of films noir &ndash; abetted here by the deliriously cobwebbed angles of master Expressionist cinematographer Karl Freund. Down and dirty by 1932 standards, MURDERS IN THE RUE MORGUE is anchored by Lugosi&rsquo;s fearless performance &ndash; nowhere near as famous as his turn as Frankenstein&rsquo;s monster, but just as besieged by primeval inner contortions.<br /><br />With:<br />Jeff Krulik I CREATED LANCELOT LINK (1999, 15.5 min, video)<br />Wherein veteran comedy writers Stan Burns and Michael Marmer discuss LANCELOT LINK, SECRET CHIMP &ndash; their 1970s morning TV fixture, starring real chimps in skits patterned after shows like THE MAN FROM U.N.C.L.E. and GET SMART. In this pocket-size tribute to a bygone era of animal-performer entertainment, Burns and Marmer discuss the minutiae of lighting and overdubbing their simian counterparts, how to ad-lib with chimps, and reexamine clips from the show &ndash; including the freak-a-delic all-chimp band Evolution Revolution.</p> Monday, June 26 ICP PRESENTS: KOUDELKA – SHOOTING HOLY LAND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47876 <p>JOSEF KOUDELKA &amp; DIRECTOR GILAD BARAM IN PERSON!<br /><br />This film follows Josef Koudelka in his journey photographing Israel and Palestine from one enigmatic and visually spectacular location to the next. In each location a scene unfolds, gradually introducing us to Koudelka&rsquo;s method of working, his perception of the world he is documenting, and the people he encounters. A fascinating dialogue emerges between the moving images Baram films and Koudelka&rsquo;s still photographs, as Baram places the photographer in his own breathtaking compositions. Austere images of landscapes divided by concrete walls and barbed wire reveal the tragic absurdity of the infamous conflict. Baram&rsquo;s long-term documentation of the photographer in the field, together with the exclusive use of Koudelka&rsquo;s photographic archive, result in a unique record that offers a rich and intimate look into the solitary creative process of one of photography&rsquo;s greatest living masters.<br /><br />The screening of KOUDELKA is presented in collaboration with the International Center of Photography, on the occasion of the exhibition, &ldquo;Magnum Manifesto.&rdquo; Co-produced by ICP and Magnum Photos, this landmark exhibition celebrates the 70th anniversary of the renowned photo agency created by Robert Capa, Henri Cartier-Bresson, and Chim (David Seymour) in May 1947. The exhibition is curated by Cl&eacute;ment Ch&eacute;roux, with Clara Bouveresse and ICP Associate Curator Pauline Vermare and is on view at the ICP Museum (250 Bowery) from May 26-September 3.<br /><br />The presence of director Gilad Baram has been made possible by generous support from the Czech Center New York.<br /><br /><img src="http://new-york.czechcentres.cz/webs/usa/images//cc-logo-top.jpg" alt="" width="181" height="53" /></p> <p>A limited number of advance tickets are available through Brown Paper Tickets:</p> <p><a href="http://www.brownpapertickets.com/event/2965839"><img src="http://www.brownpapertickets.com/g/6/BPT_buy_tickets_large.png" border="0" alt="" width="182px" height="92px" /></a><br /> <script src="http://www.brownpapertickets.com/eventwidget.js?event=2965839&amp;nodescription=1&amp;notitle=1" type="text/javascript"></script> <script src="http://www.brownpapertickets.com/widget_v651.js?event=2965839" type="text/javascript"></script> </p> <p>&nbsp;</p> <script src="http://www.brownpapertickets.com/eventwidget.js?event=2965839&amp;nodescription=1" type="text/javascript"></script> <script src="http://www.brownpapertickets.com/widget_v651.js?event=2965839" type="text/javascript"></script> Monday, June 26 KOKO, A TALKING GORILLA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47443 <p>(KOKO, LE GORILLE QUI PARLE)<br /><br />Barbet Schroder&rsquo;s extraordinary KOKO serves as inevitable counterpoint to the school of research displayed in Wiseman&rsquo;s PRIMATE; KOKO as much depicts its eponymous gorilla as it does Penny Patterson, the California primatologist teaching her to &ldquo;speak&rdquo; using American Sign Language. Despite remarkable access, Schroeder maintains a balanced skepticism towards his human lead, whose methods are called into doubt by her contemporaries even as the film dives deeper into her relationship with Koko. For this, it must be the most intimate depiction of human-ape synergy in this series &ndash; but KOKO also has big questions on its mind, including how animals less special than Koko are to be protected in a modernizing (and largely uncaring) world, how its namesake reacts when she knows she&rsquo;s on-camera, and whether &ldquo;personhood&rdquo; belongs to humans only.</p> Tuesday, June 27 NYWIFT: EVERYBODY KNOWS…ELIZABETH MURRAY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47469 <p>Kristi Zea (Director/Producer), Jacki Ochs (Executive Producer), and Caroline Goodman-Thomases (Producer)<br /><br />An intimate portrait of the groundbreaking artist Elizabeth Murray, only the fifth woman to have a career retrospective at MoMA. The film explores the relationship between Murray&rsquo;s family life and her career, while reconsidering her place in contemporary art history. V&eacute;rit&eacute; footage, home videos, and excerpts from her journals (voiced by Meryl Streep) reveal the artist&rsquo;s fierce ambition and internal conflicts.</p> Tuesday, June 27 PRIMATE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47425 <p>In Frederick Wiseman&rsquo;s signature style, PRIMATE begins as a droll examination of Atlanta&rsquo;s Yerkes Primate Research Center (complete with scenes of scientists nursing baby chimps with milk bottles), soon to become one of the veteran documentarian&rsquo;s most harrowing interrogative works. PRIMATE&rsquo;s scenes of animal research are as damning as anything in TITICUT FOLLIES, while the hands-off shooting strategy invites unflattering comparisons between the supposedly superior keepers of the apes, and their (literally) tortured charges. PRIMATE wastes zero energy philosophizing on the nature of what goes down at Yerkes, as nearly every scene invites the audience to ask the same question in a different way: Wherefore the cost of (human) knowledge?<br /><br />&ldquo;What&rsquo;s particularly striking about this dynamic between inmate and scientist, particularly in light of Wiseman&rsquo;s earlier film, is that it continually problematizes our perspective as viewers. With whom are we to identify: primate or researcher? Both, or neither?&rdquo; &ndash;Leo Goldsmith, NOT COMING TO A THEATER NEAR YOU</p> Tuesday, June 27 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47459 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, June 28 EC: EGGELING / CAVALCANTI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47541 <p>Viking Eggeling<br />SYMPHONIE DIAGONALE<br />(1924, 8 minutes, 35mm, b&amp;w)<br /><br />Alberto Cavalcanti<br />RIEN QUE LES HEURES / NOTHING BUT THE HOURS<br />(1928, 52 minutes, 35mm, b&amp;w)<br />A &ldquo;city symphony&rdquo; interweaving documentary, experimental, and narrative elements that provide vivid images of Paris in the mid-1920s.<br /><br />Total running time: ca. 65 minutes<strong>.</strong></p> Wednesday, June 28 THE THIRD SIDE OF THE RIVER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47467 <p>(LA TERCERA ORILLA)<br /><br />NEW YORK PREMIERE!<br /><br />This slow-burn drama follows 17-year-old Nicolas, who lives with his mother and younger siblings in a small provincial city in Argentina. His estranged father, Jorge, a respected doctor, has decided that Nicolas will be his successor in both his medical practice and agricultural business. Nicolas obeys his father, but hates him. He has seen his mother suffer because of Jorge&rsquo;s double life &ndash; having started a new family, Jorge refuses to acknowledge Nicolas&rsquo;s mother or her children publicly. As tensions between father and son grow, Nicolas realizes that he must make a choice and take action for the sake of his future. Executive produced by Martin Scorsese, this fourth feature film by acclaimed Argentinean director Murga premiered in the official competition at the Berlinale.<br /><br />&ldquo;[A] beautifully achieved film in which the most important things remain unspoken and placid surfaces belie cauldrons of violent emotion. [&hellip;] It&rsquo;s easy to see why Martin Scorsese has taken such a keen interest in Murga&rsquo;s work. She is, not unlike the young Scorsese himself, very much a &lsquo;neighborhood&rsquo; filmmaker, who renders her native milieu &ndash; the sleepy provincial towns of Entre Rios, north of Buenos Aires &ndash; with an intensely lyrical, sensuous gaze.&rdquo; &ndash;Scott Foundas, VARIETY</p> Thursday, June 29 AN EVENING WITH TOMMY TURNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2017#showing-47403 <p><strong><em>Tommy Turner in attendance for discussion with programmer/media conservator Jon Dieringer (EAI).<br /><br /></em></strong>An artist working in print, performance, photography, and film, Tommy Turner is a key figure of the Downtown No Wave and Cinema of Transgression scenes. While working days as a genetic research scientist and nights as a bartender at the legendary Peppermint Lounge, the New York native rose to prominence through his zine Redrum and collaborations with artists such as Richard Kern and David Wojnarowicz. In the mid-1980s, Turner directed a number of arresting small-gauge films that retain the ability to inspire shock, awe, and revulsion, while conveying a biting sense of humor and incisive social commentary. With a cinematic oeuvre running approximately the length of a single feature film, Turner&rsquo;s subject matter has managed to encompass the intersections of black magic, domestic dysfunction, addiction, rock &lsquo;n&rsquo; roll, demagoguery, murder, and wasted teenhood, often addressed through gleefully graphic, lo-fi special effects that verge between clinical detachment and sardonic irreverence.<br /><br />Tonight&rsquo;s program will premiere brand new preservations of Turner&rsquo;s SIMONLAND and RAT TRAP, along with WHERE EVIL DWELLS, made with David Wojnarowicz.<br /><br />Both SIMONLAND and RAT TRAP were preserved by Fales Library &amp; Special Collections/NYU in collaboration with Electronic Arts Intermix through the National Film Preservation Foundation Avant-Garde Masters program. Special thanks to Brent Phillips, Rebecca Cleman, Bill Brand, Richard Kern, and Tessa Hughes-Freeland.<br /><br />SIMONLAND<br />(1984, 12 min, Super 8-to-16mm. Made with Richard Kern.)<br />In the unsettling, absurdist SIMONLAND, a grotesque, televangelist-style demagogue leads his studio audience and isolated viewers through a psychotic game of Simon Says with twisted results.<br /><br />RAT TRAP<br />(1985, 12 min, Super 8-to-16mm. Made with Tessa Hughes-Freeland.)<br />A no-holds-barred portrait of addiction, RAT TRAP is an unflinching portrayal of a junkie injecting heroin cut with footage of (already expired) rodents being tortured and maimed, all underscored by a fiery guitar rock solo, painting a grim picture of numbing daily grind, dependency, and domestic urban squalor.<br /><br />WHERE EVIL DWELLS<br />(1985, 33 min, Super 8-to-16mm. Made with David Wojnarowicz.)<br />Friends and collaborators, Turner and Wojnarowicz became fixated on the recent story of Ricky Kasso, teenage heavy metal fan and self-described &ldquo;Acid King&rdquo; of Northport, Long Island, who was the subject of media hysteria when he committed the pseudo-ritual-satanic murder of a fellow teen in the woods while wearing an AC/DC t-shirt. Shooting off a script based on interviews with Kasso&rsquo;s friends, the pair ultimately edited their footage into a 30-minute &ldquo;trailer&rdquo; that represents an anarchic, assaultive, and wildly expressionistic take on what Wojnarowicz described as &ldquo;the imposed Hell of the suburbs.&rdquo; It&rsquo;s complemented by a spectacular title song by Wiseblood (a collaboration between Roli Mosimann of Swans and J.G. Thirlwell of Foetus) and distorted hard rock radio jams.<br /><br />Total running time: ca. 60 min.</p> Friday, June 30 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47705 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 05 RADAR: EXCHANGES IN DANCE FILM FREQUENCIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47658 <p>RADAR is a program dedicated to the exploration and evolution of dance film through connecting artists scene by scene. Curated by filmmaker/curator Adam Sekuler and choreographer Shannon Stewart, RADAR features movement-based films of many budgets, styles, and perspectives, creating a platform of local/national/international exchange that allows artists to publicly screen their work, discuss, get feedback, and meet other artists working in the same form.<br /><br />The program will feature films by Lucy Kerr, Jeremy Moss, Laura Bartczak, Raja Feather Kelly, Meryl Murman, Adam Sekuler &amp; Shannon Stewart, and others. Visit anthologyfilmarchives.org in in late June for more details.</p> Thursday, July 06 EC: THE BLOOD OF A POET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47696 <p>(LE SANG D&rsquo;UN PO&Egrave;TE)<br /><br />&ldquo;Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.&rdquo; &ndash;Georges Sadoul</p> Friday, July 07 EC: ORPHEUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47698 <p>(ORPH&Eacute;E)<br /><br />With Jean Marais.<br /><br />Orpheus and Eurydice, with Death waiting on the corner. Cocteau said, &ldquo;Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS&rsquo;s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.&rdquo;</p> Friday, July 07