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 Sun, 24 Mar 2019 01:55:45 -0400 THE STEEL BEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50499 <p>(DAS STAHLTIER)<br /><br />This daring collage of rhythms, abstractions, superimpositions, and wild shots of the railroad and other machines, made by the great German photographer Zielke, was originally commissioned to celebrate the centennial of the Nuremburg-Furth railroad line, and later banned by the Third Reich for &ldquo;decadent aesthetics.&rdquo;<br /><br />Preceded by:<br />Jean Mitry PACIFIC 231 (1949, 12 min, 16mm. Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.)<br />French film critic Jean Mitry made this film poem to honor the largest French steam locomotive, the Pacific. The montage of speeding wheels, pistons and gears; the parallel lines of rails and wires; a stoker furiously shoveling coal in concert with the score &ndash; together these elements visually and musically describe the exhilaration of the train&rsquo;s motion.<br />&amp;<br />J&uuml;rgen B&ouml;ttcher<strong> </strong>SHUNTERS / RANGIERER (1984, 21 min, 35mm. Archival print courtesy of the International Short Film Festival Oberhausen.)<br />A bona fide masterpiece, SHUNTERS is a portrait of the workers who are responsible for detaching train cars and diverting them from one track to another. With a musique concr&egrave;te soundtrack constructed from field recordings of the clanging, screeching, and whistling that suffuse the trainyards, the film portrays an uncanny world of workers whose gestures are deeply inscribed with their long experience, and of the hulking, unmanned train cars themselves, which seem to have a life of their own as they careen into each other in controlled but cacophonous collisions.<br /><br />Total running time: ca. 115 min.</p> Sunday, March 24 TRANS FILM: KAIROS DIRT AND THE ERRANT VACUUM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50329 <p>MADSEN MINAX IN PERSON!<br /><br />A middle school lunch lady and mystical non-binary student have an unusual relationship. Through dreams the two make intimate contact with an otherworldly trans being who occupies a carnal dimension of death and sex-driven existence. Amid the post-industrial decay of the American South, a disparate band of nobodies including fellow lunch ladies, a mortician, a trans elder, a ministry worker, and a lesbian hospice provider all encounter the otherworldly being, known only as Kairos Dirt. A spiritual medium/phone sex operator is called upon to help transport these nobodies into this carnal dream-dimension. Television monitors, radio frequencies, and orifices all become portals to access this dimension. The characters must ask, &ldquo;What is dream? What is reality? What must we give up to become something else?&rdquo;</p> Sunday, March 24 BRIDGES FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50516 <p>This program explores the various ways that filmmakers have celebrated and explored the phenomenon of the bridge, with classics by Joris Ivens, Rudy Burckhardt, and Shirley Clarke, alongside the rarely-screened BRIDGE HIGH by Manfred Kirchheimer (director of STATIONS OF THE ELEVATED), one of Heinz Emigholz&rsquo;s exquisite architectural studies (MAILLART&rsquo;S BRIDGES), and more.<br /><br />Joris Ivens THE BRIDGE / DE BRUG (1927-28, 15 min, 16mm)<br />Rudy Burckhardt UNDER THE BROOKLYN BRIDGE (1953, 15 min, 16mm)<br />Shirley Clarke BRIDGES-GO-ROUND (1958, 7 min, 16mm)<br />Robert Crawford BRIDGES AND LIGHTS (1969, 7 min, 16mm)<br />Manfred Kirchheimer BRIDGE HIGH (1976, 10 min, 16mm. Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. BRIDGE HIGH has been preserved with funding from the National Film Preservation Foundation.)<br />Heinz Emigholz MAILLART&rsquo;S BRIDGES (1995-2000, 24 min, 35mm)<br />Tomonari Nishikawa TEN MORNINGS TEN EVENINGS AND ONE HORIZON (2016, 10 min, 16mm)<br />Hunter Snyder BRIDGE TENDER (2013, 8 min, digital)<br />Total running time: ca. 100 min.</p> Sunday, March 24 TRANS FILM: HANKY CODE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50335 <p>SELECT FILMMAKERS IN PERSON!<br /><br />Before Internet dating and hookup apps, The Handkerchief code was largely used by gay men in the 1970s to distinguish sexual preferences and fetishes in gay clubs and on the streets of places like San Francisco and New York. In HANKY CODE, San Francisco&rsquo;s queer experimental film collective Periwinkle Cinema brings together queer and trans filmmakers across a spectrum of genres, styles, genders, and locations to dissect the code in this epic anthology feature comprised of 25 short films. Each filmmaker or filmmaking team tells a story of a different color/fetish of the code. Films range from narrative to experimental to erotic and animated, with many films redefining the traditional code with colors, patterns, and fetishes according to the creative interpretation of the artist. Audience members are invited to flag their hankies at the screening.<br /><br />Ivy Dykes BLACK<br />Lorin Murphy GREY<br />Lex Non Scripta LIGHT BLUE, WHITE STRIPES<br />Marie Walz BLUE SILVER<br />Ricky Lee LIGHT BLUE<br />Kolmel W Love &amp; Alex Albers TEAL BLUE<br />Caitlin Rose Sweet &amp; Andr&eacute; Azevedo RED<br />Ashley Monique George MAROON (HEMA)<br />Ilona Berger ROSE<br />Gentry McShane MAGENTA<br />Anatomically Incorrect Doll &amp; Char Vortryss PURPLE<br />Margarita Femmeinista LAVENDER<br />Katie Bush YELLOW<br />Malic Amalya &amp; Nathan Hill PALE YELLOW<br />Jaime Evelyn Manzi GOLD<br />St&eacute;phane G&eacute;rard ORANGE<br />Courtney Trouble APRICOT<br />Jacqueline Mary &amp; Violette Dentata LIME<br />Neve Be &amp; Nikki Silver WHITE FUR<br />M. O&rsquo;Herlihy FUR<br />Austin Boe GREY FLANNEL<br />Moon Ray Ra SILVER SEQUINS<br />Kico Le Strange KLEENEX<br />Siobhan Aluvalot HOUNDSTOOTH<br />Demian Din&eacute;Yazhi&rsquo; INDIGENOUS LUVVV<br /><br />[<em><strong>PLEASE NOTE: We've added a second screening of HANKY CODE on Thurs, Mar 28 at 6:30! This screening will happen in place of STRONG ISLAND, which unfortunately can not be shown at this time.</strong></em>]</p> Sunday, March 24 CANAL ZONE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50518 <p>CANAL ZONE is about the people who live and work in the Panama Canal Zone and shows both the operation of the Canal and the various governmental agencies &ndash; business, military, and civilian &ndash; related to the functioning of the Canal and the lives of the Americans in the zone. The film includes sequences of ships in transit, the work of special canal pilots, aspects of the civil government, the work of the military, and the social, religious, and recreational life of the Zonians.</p> Sunday, March 24 MASS TRANSIT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50520 <p>This program gathers together films and videos about the New York City subway &ndash; including Stan Brakhage&rsquo;s gorgeous THE WONDER RING, poet Frank Kuenstler&rsquo;s haunting EL ATLANTIS, and lesser-known works by Robert Crawford and Barbara Hammer &ndash; with films about other mass transit systems worldwide, from Winnipeg streetcars and the Tokyo Metro to Wuppertal, Germany&rsquo;s surreal and captivating suspended train, the Schwebebahn.<br /><br />Roman Kroitor PAUL TOMKOWICZ: STREET-RAILWAY SWITCHMAN (1954, 9 min, 16mm, b&amp;w. Courtesy of the National Film Board of Canada.)<br />Stan Brakhage THE WONDER RING (1955, 4 min, 16mm)<br />Robert Crawford SCENES FROM NEW YORK CITY TRANSIT (1972, 17 min, 16mm)<br />Frank Kuenstler EL ATLANTIS (1973, 21 min, 16mm. Preserved by Anthology Film Archives; special thanks to Tom Gunning, University of Chicago.)<br />Barbara Hammer WOULD YOU LIKE TO MEET YOUR NEIGHBOR? A NEW YORK SUBWAY TAPE (1985, 12.5 min, video)<br />Arianne Olthaar SCHWEBEBAHN (2016, 3.5 min, 16mm-to-digital)<br />Tomonari Nishikawa TOKYO &ndash; EBISU (2010, 5 min, 16mm)<br />Total running time: ca. 80 min.</p> Monday, March 25 TRANS FILM: THE FILMS OF SUZIE SILVER, PROGRAM 2: TESTING ONE TWO: TRANS-Q TV http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50586 <p>SUZIE SILVER IN PERSON!<br /><br />In 2014, Suzie Silver began producing an episodic work called TRANS-Q TELEVISION. It is a playful and provocative video variety show reveling in the fluidity of gender and sexuality. Created with Scott Andrew, and in collaboration with a wide range of talent, the programs include stand-up theory, micro-documentaries, interviews, video art, animation, literary presentations, performance art, music, and much more. A Dadaist Variety Show for the 21st Century, it is a truly twisted mix of Sonny and Cher, SESAME STREET, ANDY WARHOL&rsquo;S TV, Ernie Kovacs, Flip Wilson, Carol Burnett, WIGSTOCK, and PEE WEE&rsquo;S PLAYHOUSE. We are pleased to present both completed episodes, as well as the special edition of TRANS-Q TV.<br /><br />Suzie Silver &amp; Scott Andrew<br />TRANS-Q TV EPISODE 1<br />(2014, 23.5 min, digital)<br />Alaska Thunderfuck 5000 hosts the glittering series premiere of TRANS-Q TELEVISION. Highlights include: &ldquo;Mercury in Retrograde,&rdquo; a soap opera directed by Rhys Ernst, starring Zackary Drucker, and co-written by Ernst and Drucker; a musical performance by hip hop star, LE1F; &ldquo;The Constructing Identity Fashion Show&rdquo;; &ldquo;Femslash &ndash; Glee&rdquo;; &ldquo;Tuck n Pack &ndash; Veruca la&rsquo;Piranha&rdquo;; and some delightful surprises!<br /><br />Suzie Silver &amp; Scott Andrew<br />TRANS-Q TV EPISODE 2<br />(2014, 30.5 min, digital)<br />The mysterious and mesmerizing Narcissister hosts the dazzling second episode. Highlights include: SSION talk show and performance; experimental performances from Erica Gressman &amp; Mikey McParlane; an interview with Narcissister; a musical performance by House of Ladosha; and other surprises!<br /><br />Dani Lamorte &amp; Suzie Silver<br />TQTV SPECIAL PROGRAM: MARIA DENOLT<br />(2014, 14 min, digital)<br />Maria Denolt, art critic, lecturer, and lofty person, shares the enlightenment of contemporary art with simpletons just like you. Maria visited the Carnegie International at the Carnegie Museum of Art in February 2014 to provide a brief tour of highlights from the exhibition. Benefit from her vast knowledge and unparalleled powers of artistic understanding.<br /><br />Total running time: ca. 75 min.<br /><br />[<em><strong>PLEASE NOTE: We've added a second screening of the TRANS-Q TV program, on Mon, Mar 25 at 7:30! This screening will happen in place of STRONG ISLAND, which unfortunately can not be shown at this time.</strong></em>]</p> Monday, March 25 BLACK SEA FILES + OIL ROCKS: CITY ABOVE THE SEA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50522 <p>Ursula Biemann<br />BLACK SEA FILES<br />(2005, 43 min, video)<br />BLACK SEA FILES investigates the construction of the Baku-Tbilisi-Ceyhan pipeline, a British Petroleum-owned 1,760-km conduit built to bring oil from resource-rich Azerbaijan to international markets. Circumventing the main players in the region, the video sheds light on a multitude of secondary sceneries. Oil workers, farmers, refugees, and prostitutes who live along the pipeline come into profile and contribute to a wider human geography that displaces the singular and powerful signifying practices of oil corporations and oil politicians.<br /><br />Marc Wolfensberger<br />OIL ROCKS: CITY ABOVE THE SEA / LA CIT&Eacute; DU P&Eacute;TROLE<br />(2009, 52 min, digital)<br />&ldquo;The Oil Rocks&rdquo; &ndash; behind this enigmatic name lies the first and largest offshore oil town ever built. Commissioned by Stalin in 1949, it is a vast, sprawling web of oil platforms in the middle of the Caspian Sea, comprising 2,000 oil rigs, 300 kilometers of bridges, rusty old Soviet trucks rolling back and forth, nine-story building blocks, thousands of oil workers, a cultural palace, a lemonade factory, and a green park. Sixty years later, the Oil Rocks still stand. But two-thirds of the infrastructure has been regained by the sea, making it a kind of Oil Atlantis, only real. Combining black-and-white archival material from the Soviet era and contemporary footage, the film tells the story of this timeless place and of some of its amazing inhabitants.</p> Monday, March 25 FLAHERTY NYC: PROGRAM 6: THE PUZZLE AND THE WORLD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50294 <p><strong>James N. Kienitz Wilkins in person.<br /><br /></strong>The puzzle is a self-contained thing: an island of logic. &ldquo;The Puzzle and the World&rdquo; extends the mechanism of the puzzle to the world at large, in order to explore the power of naming, narrative, and its ability to erect a reality. When is this deduction useful, futile, humorous, or harmful? The character of the camera in pursuit, the person performing bafflement, the conspiracy theorists, the diagnosing doctor, and a melancholic policeman bring us to the series end.<br /><br />Mike Henderson THE SHAPE OF THINGS (1981, 7 min, 16mm. Preserved by the Academy Film Archive.)<br />Ana Vaz H&Aacute; TERRA! (2016, 12.5 min, digital)<br />Jo&atilde;o Maria Gusm&atilde;o &amp; Pedro Paiva DREAM OF A RAY FISH (2011, 3 min, 16mm)<br />Leslie Thornton STRANGE SPACE (1993, 4 min, digital)<br />James N. Kienitz Wilkins TESTER (2015, 30 min, digital)<br />Jennet Thomas RETURN OF THE BLACK TOWER (AFTER JOHN SMITH) (2007, 15 min, digital)<br />Stephen Sutcliffe A POLICEMAN IS WALKING (2009, 1 min, digital)<br /><br />Total running time: ca. 80 min.</p> Tuesday, March 26 NYWIFT: RAMBLIN’ GAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50308 <p>Lu Ann Horstman (Writer/Co-Director/Co-Producer/NYWIFT Member) &amp; Roberto Monticello (Co-Director)<br />RAMBLIN&rsquo; GAL<br />(2011, 106 min, digital)<br />A housewife and mother of four leaves Kansas to pursue a songwriting career in New York City.</p> Tuesday, March 26 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50223 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, March 27 TRANS FILM: THE MISANDRISTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50340 <p>A secret cell of feminist terrorists is planning to liberate women, overthrow the patriarchy, and usher in a new female world order. The group is led by Big Mother (Susanne Sachsse), who operates a school for wayward girls in the countryside as a front for a radical terroristic cell. When a young man, a radical leftist on the run from the police, happens upon this remote female stronghold, one of the girls takes pity on him and hides him in the basement. His presence eventually disrupts the household and reveals a number of unexpected secrets&hellip;.</p> Wednesday, March 27 TRANS FILM: HANKY CODE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50585 <p>SELECT FILMMAKERS IN PERSON!<br /><br />Before Internet dating and hookup apps, The Handkerchief code was largely used by gay men in the 1970s to distinguish sexual preferences and fetishes in gay clubs and on the streets of places like San Francisco and New York. In HANKY CODE, San Francisco&rsquo;s queer experimental film collective Periwinkle Cinema brings together queer and trans filmmakers across a spectrum of genres, styles, genders, and locations to dissect the code in this epic anthology feature comprised of 25 short films. Each filmmaker or filmmaking team tells a story of a different color/fetish of the code. Films range from narrative to experimental to erotic and animated, with many films redefining the traditional code with colors, patterns, and fetishes according to the creative interpretation of the artist. Audience members are invited to flag their hankies at the screening.<br /><br />Ivy Dykes BLACK<br />Lorin Murphy GREY<br />Lex Non Scripta LIGHT BLUE, WHITE STRIPES<br />Marie Walz BLUE SILVER<br />Ricky Lee LIGHT BLUE<br />Kolmel W Love &amp; Alex Albers TEAL BLUE<br />Caitlin Rose Sweet &amp; Andr&eacute; Azevedo RED<br />Ashley Monique George MAROON (HEMA)<br />Ilona Berger ROSE<br />Gentry McShane MAGENTA<br />Anatomically Incorrect Doll &amp; Char Vortryss PURPLE<br />Margarita Femmeinista LAVENDER<br />Katie Bush YELLOW<br />Malic Amalya &amp; Nathan Hill PALE YELLOW<br />Jaime Evelyn Manzi GOLD<br />St&eacute;phane G&eacute;rard ORANGE<br />Courtney Trouble APRICOT<br />Jacqueline Mary &amp; Violette Dentata LIME<br />Neve Be &amp; Nikki Silver WHITE FUR<br />M. O&rsquo;Herlihy FUR<br />Austin Boe GREY FLANNEL<br />Moon Ray Ra SILVER SEQUINS<br />Kico Le Strange KLEENEX<br />Siobhan Aluvalot HOUNDSTOOTH<br />Demian Din&eacute;Yazhi&rsquo; INDIGENOUS LUVVV<br /><br />[<em><strong>PLEASE NOTE: We've added a second screening of HANKY CODE on Thurs, Mar 28 at 6:30! This screening will happen in place of STRONG ISLAND, which unfortunately can not be shown at this time.</strong></em>]</p> Thursday, March 28 ELECTRICITY / COMMUNICATIONS FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50524 <p>This program showcases a handful of extraordinary sponsored films by the likes of Ermanno Olmi, Toshio Matsumoto, and Edgar Reitz, all on the subject of electrical or other communications networks. These films are paired with an experimental film by Lithuanian filmmaker Deimantas Narkevicius, as well as a masterpiece of 1970s Yugoslavian nonfiction cinema &ndash; HIGH VOLTAGE ELECTRICIANS, which unforgettably documents the installation of electrical lines high above a country valley &ndash; and Nell Cox&rsquo;s OPERATOR, a short film shot by the great v&eacute;rit&eacute; pioneer Richard Leacock.<br /><br />Ermanno Olmi TRE FILI FINO A MILANO (THREE LINES TO MILAN) (1958, 25 min. Archival print courtesy of the Cineteca Nazionale.)<br />Toshio Matsumoto THE RECORD OF A LONG WHITE LINE / SHIROI NAGAI SEN NO KIROKU (1960, 13 min, 35mm-to-digital)<br />Edgar Reitz COMMUNICATION / KOMMUNIKATION &ndash; TECHNIK DER VERST&Auml;NDIGUNG (1961, 11 min, 35mm. Archival print courtesy of the Deutsche Kinemathek.)<br />Ranko Stani&scaron;ić HIGH VOLTAGE ELECTRICIANS / PENJAČI (1978, 13 min, 16mm)<br />Deimantas Narkevicius ENERGY LITHUANIA (2000, 17 min, Super-8mm-to-digital)<br />Nell Cox OPERATOR (1969, 15 min, 16mm. Photographed by Richard Leacock. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts. Screened courtesy of the AT&amp;T Archives and History Center.)<br />Total running time: ca. 100 min.</p> Thursday, March 28 THE LAND OF WANDERING SOULS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50514 <p>(LA TERRE DES &Acirc;MES ERRANTES)<br /><br />Panh&rsquo;s observational documentary follows a poor, unnamed Cambodian family over a four-month period as they travel through the country engaging in the back-breaking work of laying fiber optic cables. The man, woman, and their six children are but a few of the hundreds of individuals employed by the French company Alcatel to construct this enormous infrastructural project, one that looks to a national future, but is intimately bound to post-colonial and civil traumas of the past. As the family marches across the nation, digging holes in the ground, it is the unresolved traumas of the nation&rsquo;s recent past that are exhumed and encountered, and Panh&rsquo;s open-eyed gaze that records it.</p> Thursday, March 28 TRANS FILM: THE MISANDRISTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50341 <p>A secret cell of feminist terrorists is planning to liberate women, overthrow the patriarchy, and usher in a new female world order. The group is led by Big Mother (Susanne Sachsse), who operates a school for wayward girls in the countryside as a front for a radical terroristic cell. When a young man, a radical leftist on the run from the police, happens upon this remote female stronghold, one of the girls takes pity on him and hides him in the basement. His presence eventually disrupts the household and reveals a number of unexpected secrets&hellip;.</p> Thursday, March 28 FILMS BY WILLIAM FERRIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50280 <p>WILLIAM FERRIS &amp; JOHN COHEN IN PERSON ON FRIDAY, MARCH 29!<br /><br />In the 1960s and 1970s, filmmaker, audio recordist, and folklorist William Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the roots of gospel and blues. Ferris was born in Vicksburg, Mississippi, in 1942. Growing up on a working farm, he began at a young age to document the artwork, music, and lives of the people on the farm and in his local community. The archive of recordings that he created and the documentary films that he had a hand in producing have served for decades as invaluable records of the people and the culture of the Deep South.<br /><br />In 2018, Grammy-winning record label Dust-to-Digital issued a 4-disc set that includes three hours of audio recordings and two hours of films from the Ferris Archive. The box set has received critical acclaim and has been recently reprinted for a second edition. A DVD of Ferris&rsquo;s earliest films, as well as a vinyl edition of the &ldquo;Voices of Mississippi&rdquo; set were released in late 2018.<br /><br />To celebrate Ferris and the recent reemergence of his work, we host this program of his peerless, deeply illuminating, and vibrant documentary films, featuring several archival 16mm prints.<br /><br />&ldquo;Bill Ferris is a profound historian. I am his biggest fan!!&rdquo; &ndash;Quincy Jones<br /><br />&ldquo;The combination of William Ferris and Dust-to-Digital is so important in preserving the cornerstone of our musical American history, and this collection is extraordinary.&rdquo; &ndash;Lucinda Williams<br /><br />"No one has done more to preserve, protect, promote, and respect the voices and images of the South, in particular the Mississippi Delta, than William Ferris. His depth of knowledge and his meticulous research, combined with his reverence for his subject matter, is humbling and inspiring. Those of us who care about this culture, this music and these people owe him a great debt." &ndash;Rosanne Cash<br /><br /><strong>William Ferris will be here in person on Friday, March 29, for a special conversation with renowned musician, photographer, filmmaker, and musicologist John Cohen!<br /><br /></strong>Curated by Lance Ledbetter &amp; April G. Ledbetter (Dust-to-Digital). Special thanks to Andrew Lampert, Shola Lynch (Schomburg Center for Research in Black Culture), Michelle Puetz &amp; Brian Belak (Chicago Film Archives), and Elena Rossi-Snook (New York Public Library for the Performing Arts).<br /><br />For more info about Dust-to-Digital and its William Ferris releases, visit: www.dust-digital.com.<br /><br />HUSH HOGGIES HUSH: TOM JOHNSON&rsquo;S PRAYING PIGS (1978, 4 min, 16mm. Co-directed by Judy Peiser. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts.)<br />Meet Tom Johnson and his praying pigs. &ldquo;Been fooling with them hogs for 35 long years,&rdquo; Johnson says as he rocks on the porch of his modest residence near Bentonia, Mississippi. &ldquo;It&rsquo;s just an idea that I took up. It&rsquo;s a play thing. And it put me into something that I didn&rsquo;t get out of too easy and so soon.&rdquo; The pigs, taught to stand beside their brimming slop trough with heads bowed while Johnson prayed over their food, dig in with gusto when he finally releases them to eat.<br /><br />GIVE MY POOR HEART EASE (1975, 21 min, 16mm. Archival print courtesy of Chicago Film Archives.)<br />An account of the blues experience through the recollections and performances of B.B. King, Son Thomas, inmates from Parchman prison, a barber from Clarksdale, a salesman from Beale Street, and others. This was one of a series of films Ferris made in Mississippi in the mid 1970s for the Center for Southern Folklore, produced in association with Howard Sayre Weaver.<br /><br />GRAVEL SPRINGS FIFE AND DRUM (1972, 10 min, 16mm-to-digital. Co-directed by David Evans &amp; Judy Peiser.)<br />A compelling portrait of Othar Turner, his music, and his role in the Gravel Springs community. The film not only demonstrates how to make a cane fife, but also gets to the heart of both Turner and his fife and drum music as he&rsquo;s shown performing at an annual Fourth of July picnic. It provides a rare, revealing glimpse of the work and play that characterize this traditional rural Mississippi society.<br /><br />BOTTLE UP AND GO (1980, 18 min, 16mm-to-digital)<br />This film follows Louis Dotson, a farmer and musician in Lorman, Mississippi, as he constructs a &ldquo;one-string guitar&rdquo; on the wall of his front porch. Dotson also &ldquo;blows the bottle&rdquo; using a Coca-Cola bottle partially filled with water. Both his bottle blowing and his one-strand-on-the-wall are important links between African musical roots and the blues. The one-strand marks the beginning of the &ldquo;slide guitar&rdquo; style which heavily influenced 20th-century blues, rock and roll, and rock music.<br /><br />FANNIE BELL CHAPMAN: GOSPEL SINGER (1975, 42 min, 16mm. Co-directed by Judy Peiser &amp; Bobby Taylor. Print courtesy of the Schomburg Center for Research in Black Culture.)<br />This film is based on fieldwork Ferris conducted with gospel singer and folk healer Fannie Bell Chapman and her family in Centreville, Mississippi, in the early 1970s. It includes footage of Chapman and her daughters singing and praying during church services and at home, a healing service at the Chapman home, and Chapman &ldquo;speaking in tongues&rdquo; after healing. Members of the Chapman family also discuss the development of their faith, the call to heal and sing the Christian gospel, and their lives singing together.<br /><br />Total running time: ca. 100 min.</p> Friday, March 29 EC: CITIZEN KANE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50206 <p>&ldquo;Welles&rsquo;s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life &ndash; politics and sex, friendship and betrayal, youth and old age &ndash; that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man&rsquo;s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a &lsquo;poor little rich boy&rsquo; starved for affection, as Welles himself was after his parents&rsquo; early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.&rdquo; &ndash;MoMA</p> Friday, March 29 SHOW & TELL: LAS VEGAS IN 16 PARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50318 <p>Each year forty million visitors descend on the Mojave Desert to have an encounter with chance and a timeworn narrative of excess, with the assurance that whatever they do there will disappear into oblivion. The mass media reproduces and celebrates the image of Vegas based on gratuity and transgression. LAS VEGAS IN 16 PARTS proposes a flirtatious dialogue with this collective perception through an aesthetic of appropriation. The film cannibalizes the sheen of the city&rsquo;s voracious capacity for spectacle: from the 1950s, when atomic explosion tests became another tourist attraction, to the present, when a male stripper turns police brutality into the sensual fantasy of a bachelorette. A documentary about a concrete city, it inversely aspires to be a fiction of an improbable collective fantasy.<br /><br />The title and the structure of the film, taken from one of the seminal pieces of repetitive pattern structure &ndash; &ldquo;Music in Twelve Parts&rdquo; (1971-74) by Phillip Glass &ndash; feeds and loops back upon the hyperrealism of the gambling city. Rising from the accumulation of &ldquo;sameness&rdquo; and the friction of &ldquo;otherness&rdquo; emerge fragments of a city that has long been an excuse to ponder the limits and the wonders of the real, but that is suddenly unrecognizable through the out-of-place anachronism of the medium of 16mm film.<br /><br />&ldquo;LAS VEGAS IN 16 PARTS is generous, funny, apocalyptic, full of moments of embarrassment and intimacy that, once seen, cannot be forgotten. There is ravishing beauty amid desolation, an uncanny sense of rhythm, framing that electrifies, and dramas at once microscopic and overwhelming. Piazza&rsquo;s ability to capture scenes where we are unguarded despite &ndash; or because of &ndash; a pressure to perform, whether from an inherently theatrical situation or his camera&rsquo;s presence, is profound and astonishing. I could not look away.&rdquo; &ndash;Joshua Oppenheimer</p> Saturday, March 30 FILMS BY WILLIAM FERRIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50281 <p>WILLIAM FERRIS &amp; JOHN COHEN IN PERSON ON FRIDAY, MARCH 29!<br /><br />In the 1960s and 1970s, filmmaker, audio recordist, and folklorist William Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the roots of gospel and blues. Ferris was born in Vicksburg, Mississippi, in 1942. Growing up on a working farm, he began at a young age to document the artwork, music, and lives of the people on the farm and in his local community. The archive of recordings that he created and the documentary films that he had a hand in producing have served for decades as invaluable records of the people and the culture of the Deep South.<br /><br />In 2018, Grammy-winning record label Dust-to-Digital issued a 4-disc set that includes three hours of audio recordings and two hours of films from the Ferris Archive. The box set has received critical acclaim and has been recently reprinted for a second edition. A DVD of Ferris&rsquo;s earliest films, as well as a vinyl edition of the &ldquo;Voices of Mississippi&rdquo; set were released in late 2018.<br /><br />To celebrate Ferris and the recent reemergence of his work, we host this program of his peerless, deeply illuminating, and vibrant documentary films, featuring several archival 16mm prints.<br /><br />&ldquo;Bill Ferris is a profound historian. I am his biggest fan!!&rdquo; &ndash;Quincy Jones<br /><br />&ldquo;The combination of William Ferris and Dust-to-Digital is so important in preserving the cornerstone of our musical American history, and this collection is extraordinary.&rdquo; &ndash;Lucinda Williams<br /><br />"No one has done more to preserve, protect, promote, and respect the voices and images of the South, in particular the Mississippi Delta, than William Ferris. His depth of knowledge and his meticulous research, combined with his reverence for his subject matter, is humbling and inspiring. Those of us who care about this culture, this music and these people owe him a great debt." &ndash;Rosanne Cash<br /><br /><strong>William Ferris will be here in person on Friday, March 29, for a special conversation with renowned musician, photographer, filmmaker, and musicologist John Cohen!<br /><br /></strong>Curated by Lance Ledbetter &amp; April G. Ledbetter (Dust-to-Digital). Special thanks to Andrew Lampert, Shola Lynch (Schomburg Center for Research in Black Culture), Michelle Puetz &amp; Brian Belak (Chicago Film Archives), and Elena Rossi-Snook (New York Public Library for the Performing Arts).<br /><br />For more info about Dust-to-Digital and its William Ferris releases, visit: www.dust-digital.com.<br /><br />HUSH HOGGIES HUSH: TOM JOHNSON&rsquo;S PRAYING PIGS (1978, 4 min, 16mm. Co-directed by Judy Peiser. Print courtesy of the Reserve Film and Video Collection of the New York Public Library for the Performing Arts.)<br />Meet Tom Johnson and his praying pigs. &ldquo;Been fooling with them hogs for 35 long years,&rdquo; Johnson says as he rocks on the porch of his modest residence near Bentonia, Mississippi. &ldquo;It&rsquo;s just an idea that I took up. It&rsquo;s a play thing. And it put me into something that I didn&rsquo;t get out of too easy and so soon.&rdquo; The pigs, taught to stand beside their brimming slop trough with heads bowed while Johnson prayed over their food, dig in with gusto when he finally releases them to eat.<br /><br />GIVE MY POOR HEART EASE (1975, 21 min, 16mm. Archival print courtesy of Chicago Film Archives.)<br />An account of the blues experience through the recollections and performances of B.B. King, Son Thomas, inmates from Parchman prison, a barber from Clarksdale, a salesman from Beale Street, and others. This was one of a series of films Ferris made in Mississippi in the mid 1970s for the Center for Southern Folklore, produced in association with Howard Sayre Weaver.<br /><br />GRAVEL SPRINGS FIFE AND DRUM (1972, 10 min, 16mm-to-digital. Co-directed by David Evans &amp; Judy Peiser.)<br />A compelling portrait of Othar Turner, his music, and his role in the Gravel Springs community. The film not only demonstrates how to make a cane fife, but also gets to the heart of both Turner and his fife and drum music as he&rsquo;s shown performing at an annual Fourth of July picnic. It provides a rare, revealing glimpse of the work and play that characterize this traditional rural Mississippi society.<br /><br />BOTTLE UP AND GO (1980, 18 min, 16mm-to-digital)<br />This film follows Louis Dotson, a farmer and musician in Lorman, Mississippi, as he constructs a &ldquo;one-string guitar&rdquo; on the wall of his front porch. Dotson also &ldquo;blows the bottle&rdquo; using a Coca-Cola bottle partially filled with water. Both his bottle blowing and his one-strand-on-the-wall are important links between African musical roots and the blues. The one-strand marks the beginning of the &ldquo;slide guitar&rdquo; style which heavily influenced 20th-century blues, rock and roll, and rock music.<br /><br />FANNIE BELL CHAPMAN: GOSPEL SINGER (1975, 42 min, 16mm. Co-directed by Judy Peiser &amp; Bobby Taylor. Print courtesy of the Schomburg Center for Research in Black Culture.)<br />This film is based on fieldwork Ferris conducted with gospel singer and folk healer Fannie Bell Chapman and her family in Centreville, Mississippi, in the early 1970s. It includes footage of Chapman and her daughters singing and praying during church services and at home, a healing service at the Chapman home, and Chapman &ldquo;speaking in tongues&rdquo; after healing. Members of the Chapman family also discuss the development of their faith, the call to heal and sing the Christian gospel, and their lives singing together.<br /><br />Total running time: ca. 100 min.</p> Saturday, March 30 EC: CITIZEN KANE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50207 <p>&ldquo;Welles&rsquo;s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life &ndash; politics and sex, friendship and betrayal, youth and old age &ndash; that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man&rsquo;s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a &lsquo;poor little rich boy&rsquo; starved for affection, as Welles himself was after his parents&rsquo; early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.&rdquo; &ndash;MoMA</p> Saturday, March 30 EC: WARHOL / WATSON & WEBBER / WHITNEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50208 <p>Andy Warhol<br />EAT (1963, 35 min, 16mm, b&amp;w, silent)<br />&ldquo;A portrait of artist Robert Indiana, EAT is one of the classics of Warhol&rsquo;s minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol&rsquo;s decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time.&rdquo; &ndash;Callie Angell<br /><br />James Sibley Watson &amp; Melville Webber<br />FALL OF THE HOUSE OF USHER (1928, 13 min, 16mm, b&amp;w, silent)<br />&ldquo;Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes.&rdquo; &ndash;Robert A. Haller<br /><br />John &amp; James Whitney<br />FILM EXERCISES 1-5 (1943-45, 18 min, 16mm)<br />&ldquo;The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.&rdquo; &ndash;William Moritz<br /><br />James Whitney<br />LAPIS (1963-66, 10 min, 16mm)<br />&ldquo;The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns&hellip;. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis.&rdquo; &ndash;P. Adams Sitney<br /><br />Total running time: ca. 80 min.</p> Sunday, March 31 EC: HARLOT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50209 <p>&ldquo;Warhol&rsquo;s first synch-sound feature, HARLOT is an underground version of the Jean Harlow story. Staged as a kind of&nbsp;<em>tableau vivant</em>on the Factory couch, Mario Montez, in drag, is Harlow at the center of a carefully posed &lsquo;family&rsquo; grouping of formally dressed Superstars and a large white cat. Accompanied by an improvised and largely unrelated conversation between three off-screen narrators, Mario/Harlow consumes large numbers of bananas in increasingly suggestive ways; the film ends in a frenzy of banana erotics and a burst of &lsquo;Swan Lake.&rsquo;&rdquo; &ndash;Callie Angell</p> Sunday, March 31 SHOW & TELL: LAS VEGAS IN 16 PARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2019#showing-50319 <p>Each year forty million visitors descend on the Mojave Desert to have an encounter with chance and a timeworn narrative of excess, with the assurance that whatever they do there will disappear into oblivion. The mass media reproduces and celebrates the image of Vegas based on gratuity and transgression. LAS VEGAS IN 16 PARTS proposes a flirtatious dialogue with this collective perception through an aesthetic of appropriation. The film cannibalizes the sheen of the city&rsquo;s voracious capacity for spectacle: from the 1950s, when atomic explosion tests became another tourist attraction, to the present, when a male stripper turns police brutality into the sensual fantasy of a bachelorette. A documentary about a concrete city, it inversely aspires to be a fiction of an improbable collective fantasy.<br /><br />The title and the structure of the film, taken from one of the seminal pieces of repetitive pattern structure &ndash; &ldquo;Music in Twelve Parts&rdquo; (1971-74) by Phillip Glass &ndash; feeds and loops back upon the hyperrealism of the gambling city. Rising from the accumulation of &ldquo;sameness&rdquo; and the friction of &ldquo;otherness&rdquo; emerge fragments of a city that has long been an excuse to ponder the limits and the wonders of the real, but that is suddenly unrecognizable through the out-of-place anachronism of the medium of 16mm film.<br /><br />&ldquo;LAS VEGAS IN 16 PARTS is generous, funny, apocalyptic, full of moments of embarrassment and intimacy that, once seen, cannot be forgotten. There is ravishing beauty amid desolation, an uncanny sense of rhythm, framing that electrifies, and dramas at once microscopic and overwhelming. Piazza&rsquo;s ability to capture scenes where we are unguarded despite &ndash; or because of &ndash; a pressure to perform, whether from an inherently theatrical situation or his camera&rsquo;s presence, is profound and astonishing. I could not look away.&rdquo; &ndash;Joshua Oppenheimer</p> Sunday, March 31 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50725 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, April 03 THEY DRIVE BY NIGHT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50623 <p>Adapted from former trucking engineer A.I. &ldquo;Buzz&rdquo; Bezzerides&rsquo;s novel LONG HAUL, Walsh&rsquo;s proto-noir casts George Raft and Humphrey Bogart as brothers Joe and Paul Fabrini, barely staying ahead of their creditors (and staying awake) while steering along their independent trucking concern. Beginning as an authentic, road-weary portrait of barely-getting-by in America, THEY DRIVE turns on a dime with the arrival on the scene of Ida Lupino. Playing Lana Carlsen, the wife of the owner of a big trucking concern who hires on Raft, Lupino takes the story in her clawlike grip and veers it into the realm of murder melodrama, giving a star turn on the courtroom stand. Buzz wrote from life: &ldquo;They were based on things I&rsquo;d seen with my father or on my own&hellip; I worked with my father, trucking, going to the market to buy produce. There was corruption and they&rsquo;d try to screw you.&rdquo;</p> Wednesday, April 03 HELL DRIVERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50627 <p>So goddamn gritty it&rsquo;s actually about hauling loads of gravel, HELL DRIVERS is one of the roughest and realest movies to come out of the UK in the 1950s, handled by onetime noir expert and Hollywood Blacklist exile Cy Endfield. Welsh tough guy-actor Stanley Baker, later to make a mega-hit with Endfield replaying the Battle of Rorke&rsquo;s Drift in ZULU (1964), stars as Tom Yately, an ex-con who discovers a whole new world of hardship working for Hawlett&rsquo;s Trucking Company, where mistreated employees are encouraged to compete at risk of life and limb in fulfilling insane expectations of productivity, stoking a rivalry between Tom and Patrick McGoohan&rsquo;s top dog Red. (On the periphery of their gamesmanship, you will notice a very young Sean Connery.) Few movies have a better feel for the physical attrition of labor, and the desperation of men pushed to the brink.</p> Wednesday, April 03 DUEL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50631 <p>Twenty-five-year-old Steven Spielberg turned his debut feature-length assignment over to Universal Studios, where not so long ago he&rsquo;d been a green intern, with the expectation that this adaptation of a Richard Matheson short story would be an ABC Movie of the Week, but as it happened the whiz kid had done something pretty special with Dennis Weaver, a red Plymouth Valiant, and a 1960 Peterbilt 281 eighteen-wheeler, and soon enough his concerto of vehicular mayhem was enjoying a theatrical run. A traveling salesman mired in middle-age mediocrity, Weaver makes a very unfortunate enemy when overtaking a sinister-looking tanker truck in the Mojave, and has to drive for his life as his unseen adversary does everything possible to run him off the road, with Spielberg&rsquo;s dynamic camera sense making for a motor-mashing white-knuckler.</p> Thursday, April 04 CINEKINK PRESENTS…CINEKINK: NYC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50890 <p>The 16th annual CINEKINK: NYC &ndash; &ldquo;the kinky film festival!&rdquo; &ndash; will feature a program of films and videos that cut across orientations to celebrate and explore a wide diversity of sexuality.<br /><br />Presented by CineKink, an organization that encourages and promotes sex-positive and kink-friendly depictions in film and television, the festival showcases works ranging from documentary to drama, camp comedy to artsy experimental, mildly spicy to quite explicit &ndash; and everything in between.<br /><br />For the full schedule, advance tickets, and information on the festival&rsquo;s kick-off party (April 3) and concluding awards ceremony/party (April 7), both of which take place at other venues, visit: www.cinekink.com.</p> Thursday, April 04 WHITE LINE FEVER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50635 <p>Carrol Jo and Jerri (Jan-Michael Vincent and Kay Lenz) are just a couple of working-class kids living outside Tucson, trying to build a life for themselves and start a family, with Vietnam vet Carrol Jo putting cash down to buy his own big rig, &ldquo;Blue Mule,&rdquo; and make out as an owner-operator &ndash; but it turns out that setting out on your own isn&rsquo;t so easy in the so-called land of the free. Soon Carrol Jo is blackballed, beaten down, and slandered by the local corporate-gangster overlords of the business, represented on the ground by a sleazy L.Q. Jones, while they coolly count money in a glass tower in Phoenix&hellip;but they&rsquo;re about to find out you don&rsquo;t fuck with a man with a 1974 Ford WT9000 cabover rig with a Cummins turbo diesel engine. Corman graduate Kaplan steers the movie to its Georgia overdrive conclusion, while legendary driver Carey Loftin, whose work can also be seen in DUEL, handles any rough stuff with the rig.</p> Thursday, April 04 EVERY WHICH WAY BUT LOOSE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50639 <p>Long before they started pelting him with Academy Awards, national treasure Clint Eastwood was about as lowbrow as you could get, as evidenced by this knockabout action comedy featuring Clint as a truck driver improbably named Philo Beddo. It&rsquo;s a bit of a stretch to call EVERY WHICH WAY BUT LOOSE a pure trucker movie, what with Philo usually trading in his Kenworth K-100 Aerodyne to tool around in a Chevy 3100, but it fits the mold every other which way it can with its honky-tonk heroes and blue-collar bona fides, pitting bare-knuckle brawler Philo against a gang of Keystone bikers and irascible miniscule matriarch Ruth Gordon, his only helpmates his brother, Orville; country western singer Lynn Halsey-Tayler (the late, lamented Sondra Locke); and, yes, an over-affectionate, Oreo-addicted orangutan named Clyde.</p> Friday, April 05 CINEKINK PRESENTS…CINEKINK: NYC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50891 <p>The 16th annual CINEKINK: NYC &ndash; &ldquo;the kinky film festival!&rdquo; &ndash; will feature a program of films and videos that cut across orientations to celebrate and explore a wide diversity of sexuality.<br /><br />Presented by CineKink, an organization that encourages and promotes sex-positive and kink-friendly depictions in film and television, the festival showcases works ranging from documentary to drama, camp comedy to artsy experimental, mildly spicy to quite explicit &ndash; and everything in between.<br /><br />For the full schedule, advance tickets, and information on the festival&rsquo;s kick-off party (April 3) and concluding awards ceremony/party (April 7), both of which take place at other venues, visit: www.cinekink.com.</p> Friday, April 05 BREAKDOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50643 <p>J.T. Walsh sets a record likely never to be surpassed as the slimiest trucker in cinema history, &ldquo;Red&rdquo; Barr. A seeming good Samaritan who stops to help out a husband and wife, Jeff and Amy Taylor (Kurt Russell and Kathleen Quinlan), who&rsquo;ve broken down on a cross-country drive, &ldquo;Red&rdquo; offers Amy a lift into town only to disappear with her in the cab of his Peterbilt 377. Soon Jeff finds himself in the middle of a shakedown scheme designed by ringleader Walsh, leaning hard on him and delivering the line, &ldquo;About 5&rsquo;5&rdquo;, 115 pounds, three or four of that just pure tit,&rdquo; in a way that&rsquo;s guaranteed to leave you feeling unclean for days. BREAKDOWN climaxes with a man-to-man stand off for the ages, with combatants and a truck cab hanging on the edge of oblivion and a heaping helping of grille to the face for the loser.</p> Friday, April 05 CINEKINK PRESENTS…CINEKINK: NYC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50892 <p>The 16th annual CINEKINK: NYC &ndash; &ldquo;the kinky film festival!&rdquo; &ndash; will feature a program of films and videos that cut across orientations to celebrate and explore a wide diversity of sexuality.<br /><br />Presented by CineKink, an organization that encourages and promotes sex-positive and kink-friendly depictions in film and television, the festival showcases works ranging from documentary to drama, camp comedy to artsy experimental, mildly spicy to quite explicit &ndash; and everything in between.<br /><br />For the full schedule, advance tickets, and information on the festival&rsquo;s kick-off party (April 3) and concluding awards ceremony/party (April 7), both of which take place at other venues, visit: www.cinekink.com.</p> Saturday, April 06 LE CAMION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50647 <p><span>Duras, Gerard Depardieu, and a Saviem SM 280 TU star in this minimalist masterwork, centered on scenes of Duras and Depardieu doing a table read of a script that&rsquo;s never to be realized. The two work their way through a dialogue between a politically disillusioned middle-aged woman and the communist truck driver who&rsquo;s picked her up on the side of the road, this scene broken away from only to toggle over to views of the rig traveling at dusk on the motorways of the more miserable Parisian suburbs, its driver anonymous, its points of origin and destination never glimpsed.<br /><br /></span><span>&ldquo;Thought out with such supple discrimination between the values of sound and image that you could almost say it&rsquo;s perfectly made &ndash; an ornery, glimmering achievement.&rdquo; &ndash;Pauline Kael, THE NEW YORKER</span></p> Saturday, April 06 WHITE LINE FEVER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50636 <p>Carrol Jo and Jerri (Jan-Michael Vincent and Kay Lenz) are just a couple of working-class kids living outside Tucson, trying to build a life for themselves and start a family, with Vietnam vet Carrol Jo putting cash down to buy his own big rig, &ldquo;Blue Mule,&rdquo; and make out as an owner-operator &ndash; but it turns out that setting out on your own isn&rsquo;t so easy in the so-called land of the free. Soon Carrol Jo is blackballed, beaten down, and slandered by the local corporate-gangster overlords of the business, represented on the ground by a sleazy L.Q. Jones, while they coolly count money in a glass tower in Phoenix&hellip;but they&rsquo;re about to find out you don&rsquo;t fuck with a man with a 1974 Ford WT9000 cabover rig with a Cummins turbo diesel engine. Corman graduate Kaplan steers the movie to its Georgia overdrive conclusion, while legendary driver Carey Loftin, whose work can also be seen in DUEL, handles any rough stuff with the rig.</p> Saturday, April 06 DUEL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2019#showing-50632 <p>Twenty-five-year-old Steven Spielberg turned his debut feature-length assignment over to Universal Studios, where not so long ago he&rsquo;d been a green intern, with the expectation that this adaptation of a Richard Matheson short story would be an ABC Movie of the Week, but as it happened the whiz kid had done something pretty special with Dennis Weaver, a red Plymouth Valiant, and a 1960 Peterbilt 281 eighteen-wheeler, and soon enough his concerto of vehicular mayhem was enjoying a theatrical run. A traveling salesman mired in middle-age mediocrity, Weaver makes a very unfortunate enemy when overtaking a sinister-looking tanker truck in the Mojave, and has to drive for his life as his unseen adversary does everything possible to run him off the road, with Spielberg&rsquo;s dynamic camera sense making for a motor-mashing white-knuckler.</p> Saturday, April 06