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 Wed, 29 Jul 2015 15:56:10 -0400 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44562 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 29 FEEL MY PULSE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44544 <p>PREMIERE OF BRAND NEW PRINT!<br /><br />Preserved by the Library of Congress. With Bebe Daniels, Richard Arlen, and William Powell.<br /><br />This silent comedy gem by the great and still-underappreciated Gregory La Cava (MY MAN GODFREY, STAGE DOOR, UNFINISHED BUSINESS) features the incomparable Bebe Daniels as a hypochondriac heiress who retreats to a sanitarium that, unbeknownst to her, has become a hideout for bootleggers. William Powell is the gang&rsquo;s heavy who plays along until the truth comes out, culminating in an unforgettable slapstick crescendo.</p> Wednesday, July 29 THE KISS BEFORE THE MIRROR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44547 <p>PREMIERE OF BRAND NEW PRINT!<br /><br />Preserved by the Library of Congress. With Nancy Carroll, Frank Morgan, and Paul Lukas.<br /><br />&ldquo;A dark and highly stylized psychodrama, THE KISS BEFORE THE MIRROR traces the breakdown of a lawyer who begins to suspect his wife of infidelity, even as he is defending a friend on trial for having murdered his wife. For this operatic material, Whale sought out famed German cinematographer Karl Freund to produce another visually striking and rhapsodically cinematic masterpiece, complete with complicated tracking shots and 360-degree pans, one that (in the words of a critic of the day) &lsquo;might well have come from the UFA studios a dozen years earlier.&rsquo; Whale remained rightfully proud of this still largely unknown gem.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Wednesday, July 29 THE KISS BEFORE THE MIRROR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44548 <p>PREMIERE OF BRAND NEW PRINT!<br /><br />Preserved by the Library of Congress. With Nancy Carroll, Frank Morgan, and Paul Lukas.<br /><br />&ldquo;A dark and highly stylized psychodrama, THE KISS BEFORE THE MIRROR traces the breakdown of a lawyer who begins to suspect his wife of infidelity, even as he is defending a friend on trial for having murdered his wife. For this operatic material, Whale sought out famed German cinematographer Karl Freund to produce another visually striking and rhapsodically cinematic masterpiece, complete with complicated tracking shots and 360-degree pans, one that (in the words of a critic of the day) &lsquo;might well have come from the UFA studios a dozen years earlier.&rsquo; Whale remained rightfully proud of this still largely unknown gem.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Thursday, July 30 RE-VISIONS: TESSA HUGHES-FREELAND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44574 <p>FILMMAKER IN PERSON!<br /><br />One of the defining figures of the No Wave and Cinema of Transgression movements of the 1980s, Tessa Hughes-Freeland&rsquo;s powerfully provocative films harness the shock value of sex and violence and then undercut it with a cool sense of irony. Steeped in the gritty atmosphere of downtown New York, her work radically recontextualizes familiar imagery &ndash; from pornography, classic Hollywood films, and mythology &ndash; to subvert the traditional pleasures of cinematic voyeurism.<br /><br />Born in England, Hughes-Freeland earned a B.A. in Art History from the University of London and moved to NYC to pursue a master&rsquo;s degree in Cinema Studies at NYU. Unimpressed with what she saw as the university&rsquo;s staid approach to film history, she was drawn to the East Village&rsquo;s vibrant cinematic underground. Frequenting screenings at local small clubs and bars like Club 57, Limbo Lounge, and Chandelier, she got to know the filmmakers associated with the burgeoning No Wave/Cinema of Transgression scene &ndash; including Nick Zedd, Richard Kern, Tommy Turner, and Scott B &amp; Beth B &ndash; many of whom she interviewed for the EAST VILLAGE EYE and Zedd&rsquo;s zine, THE UNDERGROUND FILM BULLETIN.<br /><br />Frustrated that the critical establishment was ignoring challenging, different, and confrontational independent films, Hughes-Freeland, along with fellow underground avant-garde filmmaker Ela Troyano, co-founded the New York Film Festival Downtown in 1984. The festival&rsquo;s stated goal was &ldquo;to break the stranglehold of ignorance and intolerance that has confined most of these films to the clubs and performance spaces of downtown New York.&rdquo; The multi-day festival, which ran until 1990, featured an impressive array of artists and works including Todd Haynes (SUPERSTAR: THE KAREN CARPENTER STORY), Nan Goldin (THE BALLAD OF SEXUAL DEPENDENCY), Peggy Ahwesh (I RIDE A PONY NAMED FLAME), and Manuel De Landa (JUDGMENT DAY, ISM ISM), among many others.<br /><br />Hughes-Freeland&rsquo;s first major work as a filmmaker is BABY DOLL (1982), a 16mm portrait of two female go-go dancers who speak exasperatedly about the misogynistic expectations of their male clients. DIRTY (1992), made in collaboration with Annabel Lee, is an adaptation of Georges Bataille&rsquo;s BLUE OF NOON, in which a drunken society woman soils herself and wallows in degradation. GIFT (2010) deconstructs and reassembles ALICE IN WONDERLAND &amp; SLEEPING BEAUTY into something slyly sinister, while WATCH OUT! and INSTINCT: BITCHES SIDE (2007) both employ a wide range of found footage and multiple layers of images. Rounding out our show are new digital transfers of rarely screened Super 8 documents from the 1980s, including a seminal performance by the Butthole Surfers and old school graffiti captured on super saturated Kodachrome.<br /><br />BABY DOLL (1982, 3 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and the Andy Warhol Foundation for the Visual Arts.)<br />GIFT (2010, 6 min, Super 8mm &amp; mixed media-to-digital)<br />WATCH OUT! (2007, 3.5 min, Super 8mm &amp; 16mm-to-digital)<br />DIRTY (1993, 17 min, Super 8mm)<br />INSTINCT: BITCHES SIDE (2007, 13 min, Super 8mm-to-digital)<br />THE BUTTHOLE SURFERS (1986, 17 min, Super 8mm-to-digital. Digitized by Anthology Film Archives with support<br />from the Andy Warhol Foundation for the Visual Arts.)<br />GRAFFITI HALL OF FAME (1984, 7 min, Super 8mm-to-digital. Digitized by Anthology Film Archives with support<br />from the Andy Warhol Foundation for the Visual Arts.)<br />VIRGINIA TRIPPING FILM (1985, 17 min, Super 8mm-to-digital. Digitized by Anthology Film Archives with support<br />from the Andy Warhol Foundation for the Visual Arts.)<br /><br />Total running time: ca. 90 min.</p> Thursday, July 30 FEEL MY PULSE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44545 <p>PREMIERE OF BRAND NEW PRINT!<br /><br />Preserved by the Library of Congress. With Bebe Daniels, Richard Arlen, and William Powell.<br /><br />This silent comedy gem by the great and still-underappreciated Gregory La Cava (MY MAN GODFREY, STAGE DOOR, UNFINISHED BUSINESS) features the incomparable Bebe Daniels as a hypochondriac heiress who retreats to a sanitarium that, unbeknownst to her, has become a hideout for bootleggers. William Powell is the gang&rsquo;s heavy who plays along until the truth comes out, culminating in an unforgettable slapstick crescendo.</p> Thursday, July 30 BLOOD AND LACE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44551 <p>WILLIAM LUSTIG PRESENTS:<br /><br />With Gloria Grahame.<br /><br /><strong>&ldquo;SHOCK AFTER SHOCK AFTER SHOCK as Desire drives a bargain with DEATH!&rdquo;</strong><br /><br />This brutal chiller, which AIP picked up for distribution, marked the first significant big-screen role in more than a decade for Hollywood legend Gloria Grahame, after years spent almost entirely on theater and TV work. Grahame is unforgettable as Mrs. Deere, the sadistic director of a nightmarish orphanage where the film&rsquo;s protagonist, teenage Ellie Masters, finds herself banished after her prostitute mother is killed by a hammer-wielding maniac.<br /><br />&ldquo;I first saw BLOOD AND LACE in 1971 when it played bottom-billed with VAMPIRE LOVERS at the Academy of Music on E. 14th St. The opening hammer murder scene had me riveted to the film! I&rsquo;m totally convinced the scene inspired a more famous horror film&rsquo;s opening scene a few years later! I saw this film a few times later on 42nd St. and then it disappeared, popping up occasionally on bootleg VHS and DVD. This is a great opportunity to see this lost film projected.&rdquo; &ndash;William Lustig<br /><br /><strong>William Lustig, filmmaker and founder of the DVD label Blue Underground, will be here in person to present the screening on Friday, July 31!</strong></p> Friday, July 31 EC: UNE SIMPLE HISTOIRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44437 <p>&ldquo;Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child&rsquo;s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.&rdquo;&nbsp; &ndash;TIME</p> Friday, July 31 DEMENTIA 13 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2015#showing-44555 <p>Produced by Roger Corman.<br /><br /><strong>&ldquo;ARE YOU AFRAID OF DEATH BY DROWNING?...HAVE YOU EVER ATTEMPTED SUICIDE?...HAVE YOU EVER THOUGHT OF COMMITTING MURDER?...THESE ARE SOME OF THE QUESTIONS YOU WILL BE ASKED IN THE UNPRECEDENTED &lsquo;D-13 TEST&rsquo; TO PREPARE YOU FOR THE HORRIFYING EXPERIENCE OF&hellip;DEMENTIA 13!&rdquo;</strong><br /><br />Coppola&rsquo;s first bona fide feature (his previous directorial credits were for films that were comprised in part of footage from other movies, including AIP&rsquo;s BATTLE BEYOND THE SUN), was this low-budget slasher film, produced by Corman and shot in Ireland, with a cast that included AIP regulars alongside members of Dublin&rsquo;s renowned Abbey Theater. Coppola chafed at Corman&rsquo;s demands for more sex and violence, eventually watching as Corman bypassed his objections by hiring Jack Hill for some substantial &lsquo;second unit&rsquo; work (said Coppola years later, &ldquo;Roger wanted some more violence, which he got &ndash; but not from me.&rdquo;). Nevertheless, it&rsquo;s a highly inventive, resourceful, and genuinely creepy film, and Coppola&rsquo;s immense talent is readily apparent.</p> Friday, July 31 THE AMAZING TRANSPARENT MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44576 <p>Print courtesy of the Academy Film Archive.<strong><br /><br />&ldquo;Warning: Joey Faust, escaped convict, THE AMAZING TRANSPARENT MAN, has vowed to &lsquo;appear&rsquo; invisibly <em>IN PERSON</em> at every performance of this picture in this theatre. <em>Police</em> officers are expected to be present in force, but the management will not be responsible for any unusual or mysterious happenings while Faust is in the theatre.&rdquo;</strong><br /><br />&ldquo;The French call movies like this <em>films maudits</em>, &lsquo;damned films,&rsquo; born under a black cloud with no more chance to be seen and appreciated than a Thalidomide baby. The irrepressible Edgar G. Ulmer made this 1960 feature back-to-back with BEYOND THE TIME BARRIER in the space of three weeks, using standing &lsquo;sets&rsquo; provided by the Texas State Fairground. &hellip;[B]oth are moving testimonies to the indomitability of the creative spirit, even when faced with the most absurd limitations of budget and time. Ulmer, surely, was some sort of saint &ndash; no director ever humbled himself more thoroughly in pursuit of his art.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Saturday, August 01 EC: CROCKWELL / GRANT / JACOBS & FLEISCHNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44438 <p>Douglass Crockwell<br />THE LONG BODIES (1949, 6 min, 16mm)<br />GLEN FALLS SEQUENCE (1964, 8 min, 16mm)<br />&ldquo;The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.&rdquo; &ndash;D.C.<br /><br />Dwinell Grant<br />COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)<br />&ldquo;An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.&rdquo; &ndash;D.G.<br />STOP MOTION TESTS (1942, 3 min, 16mm, silent)<br />A self-portrait.<br />COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />&ldquo;Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.&rdquo; &ndash;William Moritz<br /><br />Ken Jacobs<br />LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)<br />&ldquo;Material was cut in as it came out of the camera, embarrassing moments intact. 100&rsquo; rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.&rdquo; &ndash;K.J.<br /><br />Ken Jacobs &amp; Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16-to-35mm blow-up, b&amp;w/color. With Jack Smith.<br />Preserved by Anthology, with the generous support of The Film Foundation.</p> <p>&ldquo;BLONDE COBRA is an erratic narrative &ndash; no, not really a narrative, it&rsquo;s only stretched out in time for convenience of delivery. It&rsquo;s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing &ndash; on one level &ndash; over the situation with style&hellip; enticing us into an absurd moral posture the better to dismiss us with a regal &lsquo;screw off.&rsquo;&rdquo; &ndash;K.J.<br /><br />Total running time: ca. 85 min.</p> Saturday, August 01 BLACK SABBATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44579 <p>With Boris Karloff.<strong><br /><br />&ldquo;This is the NIGHT of the NIGHTMARE!&hellip;when a headless corpse rides the cold night wind&hellip;when a woman&rsquo;s soul inhabits the body of a buzzing Fly!&rdquo;</strong><br /><br />Having previously acquired the Mario Bava films BLACK SUNDAY and ERIK THE CONQUEROR for American release, AIP co-produced his now-classic BLACK SABBATH with Italian production company Galatea Film. Comprising three separate tales (allegedly adapted from tales by Chekhov, Tolstoy, and Maupassant, but good luck finding the originals), BLACK SABBATH is &lsquo;hosted&rsquo; by Boris Karloff, who was under contract to AIP at the time. The film was released in Italy as I TRE VOLTI DELLA PAURA; for its American release (which is the version we&rsquo;ll be screening here), AIP made drastic modifications, changing the order of the stories, commissioning a new score, and radically altering the content of the &ldquo;Telephone&rdquo; chapter to add supernatural overtones and eliminate any hints of lesbianism. Lesbians or no lesbians, though, it&rsquo;s one of Bava&rsquo;s greatest films, and a superior example of the horror anthology genre.</p> Saturday, August 01 I, A MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44700 <p>After the success of Warhol&rsquo;s MY HUSTLER (1965), New York&rsquo;s Hudson Theater asked Andy Warhol to make another feature film to capitalize on the emerging &lsquo;sexploitation&rsquo; market. Inspired by the popular Swedish import I, A WOMAN, released in the U.S. the previous year, I, A MAN follows Baker in a series of amorous encounters that, comically, never manage to reach consummation. The film stars Nico, Ultra Violet, and Valerie Solanas, who agreed to appear in the film after offering Warhol the script for her film UP YOUR ASS, which Warhol, fatefully, claimed he had lost when she asked for it back. I, A MAN was to star Jim Morrison, who agreed to play the lead, but after The Doors&rsquo; management discouraged it, The Lizard King suggested Baker.</p> Saturday, August 01 BOXCAR BERTHA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44583 <p>With Barbara Hershey, David Carradine, and John Carradine. Produced by Roger Corman.<strong><br /><br />&ldquo;AMERICA IN THE 30&rsquo;S WAS A FREE COUNTRY. Bertha was jes&rsquo; a little bit free&rsquo;er than most.&rdquo;</strong><br /><br />&ldquo;BOXCAR BERTHA is a weirdly interesting movie and not really the sleazy exploitation film the ads promise. It finds its inspiration in the exploits of Boxcar Bertha Thompson, an outlaw folk hero who operated in Arkansas during the Depression. [&hellip;] I have the notion that Roger Corman, American-International&rsquo;s most successful producer of exploitation films, sent his actors and crew South with the hope of getting a nice, simple, sexy, violent movie for the summer trade. What he got is something else, and something better. Director Martin Scorsese has gone for mood and atmosphere more than for action, and his violence is always blunt and unpleasant &ndash; never liberating and exhilarating, as the New Violence is supposed to be. We get the feeling we&rsquo;re inhabiting the dark night of a soul.&rdquo; &ndash;Roger Ebert</p> Saturday, August 01 A MATTER OF TIME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44587 <p>Archival print courtesy of the Swiss Film Archive?. With Liza Minnelli, Ingrid Bergman, Charles Boyer, Tina Aumont, Fernando Rey, and Isabella Rossellini.<strong><br /><br />&ldquo;We are pleased to announce that we have been chosen to present this year&rsquo;s Important Entertainment Event Starring Academy Award Winners LIZA MINNELLI and INGRID BERGMAN.&rdquo;</strong><br /><br />One of the stranger film historical phenomena is the fact that the great Vincente Minnelli, renowned for his exacting visual style and consummate control (qualities which MGM nurtured during his long association with the studio), was fated to make his last film for AIP. Truly a match made in hell, this partnership was a bona fide disaster on all sides &ndash; the shoot was bedeviled by Minnelli&rsquo;s health problems and his difficulty in communicating with his Italian crew; and once complete, Arkoff commandeered the editing process, brutally cutting, restructuring, and to a large extent butchering the film. Conceived of by AIP as a prestige project, it ended up failing miserably, both commercially and critically. Today, it&rsquo;s something of an auteurist litmus test, a film of many flaws, but one in which Minnelli&rsquo;s vision, sensibility, and sensitivity transcend even the meddling of such a deeply unsympathetic partner as Samuel Arkoff.<br /><br />&ldquo;Minnelli&rsquo;s first film in six years has arrived at a moment in film history when its many virtues will probably pass unnoticed and its undeniable flaws will be disproportionately emphasized. Minnelli&rsquo;s film is unabashedly romantic, and I suppose it is also what some would call &lsquo;old-fashioned,&rsquo; but few contemporary films can summon up a tenth of its personal expression and intensity. If nothing else, A MATTER OF TIME emphatically vindicates auteur criticism, in that a real love and awareness of Minnelli&rsquo;s oeuvre is essential to its enjoyment. Whether this familiarity with a director&rsquo;s work should be necessary in order to evaluate an individual film is a point that can be argued endlessly. I happen to think that enough of A MATTER OF TIME works to justify placing it in the context of its director&rsquo;s remarkable career. The film is a meditation on many of the themes that have concerned Minnelli during his thirty-three years as a director; it&rsquo;s a mood piece bathed in the serenity that reveals a mature artist in deepest touch with his innermost feelings.&rdquo; &ndash;George Morris, FILM COMMENT</p> Sunday, August 02 EC: JEROME HILL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44439 <p>These 35mm prints are the result of a recent preservation project undertaken by the Museum of Modern Art.<br /><br />DEATH IN THE FORENOON (1934/66, 2 minutes, 35mm, color)<br />CANARIES (1969, 4 minutes, 35mm, color)<br />&amp;<br />FILM PORTRAIT<br />1971, 81 minutes, 35mm, color.<br />A pioneering work in autobiographical cinema; masterfully combines actual and staged footage and painting over images. Filmmaker, painter, and composer Jerome Hill was descended from the famous railroad-building family and lived on the same street with F. Scott Fitzgerald. Here he re-creates wonderfully &ndash; with old family footage &ndash; the period and milieu of the American upper class at the beginning of this century.<br /><br />Total running time: ca. 90 minutes.&nbsp;</p> Sunday, August 02 QUEEN OF BLOOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44590 <p>1966, 81 min, 16mm. With John Saxon, Basil Rathbone, and Dennis Hopper.<strong><br /><br />&ldquo;HIDEOUS BEYOND BELIEF&hellip;with an INHUMAN CRAVING!&rdquo;</strong><br /><br />Always looking to save money and exploit every possible opportunity, AIP and Corman in the mid-60s acquired several Eastern bloc sci-fi films, mining them for their often extraordinary imagery and sets. Repurposing passages from these films, they hired filmmakers to re-edit the existing footage and to shoot additional material, integrating the two to create new AIP films ripe for the drive-in. The filmmakers who took on this unusual task included such future luminaries as Francis Ford Coppola (BATTLE BEYOND THE SUN) and Peter Bogdanovich (VOYAGE TO THE PLANET OF PREHISTORIC WOMEN), as well as Curtis Harrington, who in 1966 was poised between the two distinct halves of his career: his seminal experimental films of the 40s and 50s and the string of remarkable feature-length thrillers he would create throughout the 70s. Harrington was responsible both for VOYAGE TO THE PREHISTORIC PLANET (which shares the same source film as Bogdanovich&rsquo;s!) and QUEEN OF BLOOD. QUEEN is unquestionably the most accomplished of these Eastern bloc/AIP hybrids &ndash; constructed from not one but two Soviet sci-fi films (MECHTE NAVSTRECHU and NEBO ZOVYOT), it&rsquo;s a vampire-in-space tale with an otherworldly and terrifying femme fatale.</p> <p><strong></strong></p> Sunday, August 02 BEYOND THE LAW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44702 <p>Unique archival 35mm print courtesy of The Norman Mailer Estate.<br /><br />Norman Mailer&rsquo;s belief that we&rsquo;re all capable of being either cop or crook was the impetus for his second feature, which takes place over the course of one feverish night in a Manhattan police precinct and neighboring bar. The texture of the black-and-white stock coupled with D.A. Pennebaker&rsquo;s cinematography offers a sweaty, intense depiction of the police lineup, lending the film a rugged, documentary feel years before realist &lsquo;cop shows&rsquo; became a television fixture. In addition to Mailer, who cast himself as tough-guy Irish cop Francis Xavier Pope, BEYOND THE LAW features Rip Torn, poet Michael McClure, George Plimpton, and Baker in the role of one of the precinct&rsquo;s nightly catches.<br /><br />Preceded by:<br />Tom Baker<br />BONGO WOLF&rsquo;S REVENGE<br />(1970, 50 min, 35mm-to-digital, b&amp;w)<br />Bongo Wolf, born William Donald Grollman, was a mythic, eccentric creature living on the fringes of 1960s Hollywood. Walking with a severe limp after having fallen down a sidewalk elevator shaft, Bongo trolled The Strip sporting fake porcelain vampire fangs, a pageboy haircut, and trademark bongo drums. His greatest ambition was to become a werewolf, fulfilled in part with the help of Baker in this &lsquo;day in the life&rsquo; portrait. Featuring rock singer P.J. Proby, guitarist Michael Bloomfield, singer-songwriter Jim Ford, and a variety of groupies, hangers-on, and other bloodless vampire creatures descended from the Hollywood Hills, the film has the distinction of being shot by The Doors filmmaking team of Paul Ferrara, Babe Hill, and Frank Lisciandro (FEAST OF FRIENDS, HWY: AN AMERICAN PASTORAL). Unseen for decades, this new digital transfer was made from a recently discovered work-print in the archives of the British Film Institute.</p> Sunday, August 02 BLOOD AND LACE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44552 <p>WILLIAM LUSTIG PRESENTS:<br /><br />With Gloria Grahame.<br /><br /><strong>&ldquo;SHOCK AFTER SHOCK AFTER SHOCK as Desire drives a bargain with DEATH!&rdquo;</strong><br /><br />This brutal chiller, which AIP picked up for distribution, marked the first significant big-screen role in more than a decade for Hollywood legend Gloria Grahame, after years spent almost entirely on theater and TV work. Grahame is unforgettable as Mrs. Deere, the sadistic director of a nightmarish orphanage where the film&rsquo;s protagonist, teenage Ellie Masters, finds herself banished after her prostitute mother is killed by a hammer-wielding maniac.<br /><br />&ldquo;I first saw BLOOD AND LACE in 1971 when it played bottom-billed with VAMPIRE LOVERS at the Academy of Music on E. 14th St. The opening hammer murder scene had me riveted to the film! I&rsquo;m totally convinced the scene inspired a more famous horror film&rsquo;s opening scene a few years later! I saw this film a few times later on 42nd St. and then it disappeared, popping up occasionally on bootleg VHS and DVD. This is a great opportunity to see this lost film projected.&rdquo; &ndash;William Lustig<br /><br /><strong>William Lustig, filmmaker and founder of the DVD label Blue Underground, will be here in person to present the screening on Friday, July 31!</strong></p> Sunday, August 02 DEMENTIA 13 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44556 <p>Produced by Roger Corman.<br /><br /><strong>&ldquo;ARE YOU AFRAID OF DEATH BY DROWNING?...HAVE YOU EVER ATTEMPTED SUICIDE?...HAVE YOU EVER THOUGHT OF COMMITTING MURDER?...THESE ARE SOME OF THE QUESTIONS YOU WILL BE ASKED IN THE UNPRECEDENTED &lsquo;D-13 TEST&rsquo; TO PREPARE YOU FOR THE HORRIFYING EXPERIENCE OF&hellip;DEMENTIA 13!&rdquo;</strong><br /><br />Coppola&rsquo;s first bona fide feature (his previous directorial credits were for films that were comprised in part of footage from other movies, including AIP&rsquo;s BATTLE BEYOND THE SUN), was this low-budget slasher film, produced by Corman and shot in Ireland, with a cast that included AIP regulars alongside members of Dublin&rsquo;s renowned Abbey Theater. Coppola chafed at Corman&rsquo;s demands for more sex and violence, eventually watching as Corman bypassed his objections by hiring Jack Hill for some substantial &lsquo;second unit&rsquo; work (said Coppola years later, &ldquo;Roger wanted some more violence, which he got &ndash; but not from me.&rdquo;). Nevertheless, it&rsquo;s a highly inventive, resourceful, and genuinely creepy film, and Coppola&rsquo;s immense talent is readily apparent.</p> Monday, August 03 SISTERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44594 <p>Print courtesy of the Academy Film Archive. With Margot Kidder, Jennifer Salt, and Charles Durning.<strong><br /><br />&ldquo;WHAT THE DEVIL HATH JOINED TOGETHER LET NO MAN CUT ASUNDER!&rdquo;</strong><br /><br />An Edward Pressman and Paul Williams independent production that AIP picked up for distribution, SISTERS was the first film to display De Palma&rsquo;s affinity for the suspense thriller and his fascination with Hitchcock &ndash; a connection made all the more unmistakable thanks to a brilliant score by Bernard Herrmann. As such, SISTERS points forward to the New Hollywood films that would soon be created by De Palma and others, and that signaled the dawn of a new era in popular cinema. But AIP&rsquo;s promotional materials for the film hearken back to its earlier days, promising, &ldquo;To allow audiences to regain their composure from the emotional impact of SISTERS after each showing, no one will be seated during a SPECIAL SHOCK RECOVERY PERIOD!&rdquo;</p> Monday, August 03 BLACK SABBATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44580 <p>With Boris Karloff.<strong><br /><br />&ldquo;This is the NIGHT of the NIGHTMARE!&hellip;when a headless corpse rides the cold night wind&hellip;when a woman&rsquo;s soul inhabits the body of a buzzing Fly!&rdquo;</strong><br /><br />Having previously acquired the Mario Bava films BLACK SUNDAY and ERIK THE CONQUEROR for American release, AIP co-produced his now-classic BLACK SABBATH with Italian production company Galatea Film. Comprising three separate tales (allegedly adapted from tales by Chekhov, Tolstoy, and Maupassant, but good luck finding the originals), BLACK SABBATH is &lsquo;hosted&rsquo; by Boris Karloff, who was under contract to AIP at the time. The film was released in Italy as I TRE VOLTI DELLA PAURA; for its American release (which is the version we&rsquo;ll be screening here), AIP made drastic modifications, changing the order of the stories, commissioning a new score, and radically altering the content of the &ldquo;Telephone&rdquo; chapter to add supernatural overtones and eliminate any hints of lesbianism. Lesbians or no lesbians, though, it&rsquo;s one of Bava&rsquo;s greatest films, and a superior example of the horror anthology genre.</p> Tuesday, August 04 THE AMAZING TRANSPARENT MAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44577 <p>Print courtesy of the Academy Film Archive.<strong><br /><br />&ldquo;Warning: Joey Faust, escaped convict, THE AMAZING TRANSPARENT MAN, has vowed to &lsquo;appear&rsquo; invisibly <em>IN PERSON</em> at every performance of this picture in this theatre. <em>Police</em> officers are expected to be present in force, but the management will not be responsible for any unusual or mysterious happenings while Faust is in the theatre.&rdquo;</strong><br /><br />&ldquo;The French call movies like this <em>films maudits</em>, &lsquo;damned films,&rsquo; born under a black cloud with no more chance to be seen and appreciated than a Thalidomide baby. The irrepressible Edgar G. Ulmer made this 1960 feature back-to-back with BEYOND THE TIME BARRIER in the space of three weeks, using standing &lsquo;sets&rsquo; provided by the Texas State Fairground. &hellip;[B]oth are moving testimonies to the indomitability of the creative spirit, even when faced with the most absurd limitations of budget and time. Ulmer, surely, was some sort of saint &ndash; no director ever humbled himself more thoroughly in pursuit of his art.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Tuesday, August 04 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44563 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, August 05 DEMENTIA 13 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44557 <p>Produced by Roger Corman.<br /><br /><strong>&ldquo;ARE YOU AFRAID OF DEATH BY DROWNING?...HAVE YOU EVER ATTEMPTED SUICIDE?...HAVE YOU EVER THOUGHT OF COMMITTING MURDER?...THESE ARE SOME OF THE QUESTIONS YOU WILL BE ASKED IN THE UNPRECEDENTED &lsquo;D-13 TEST&rsquo; TO PREPARE YOU FOR THE HORRIFYING EXPERIENCE OF&hellip;DEMENTIA 13!&rdquo;</strong><br /><br />Coppola&rsquo;s first bona fide feature (his previous directorial credits were for films that were comprised in part of footage from other movies, including AIP&rsquo;s BATTLE BEYOND THE SUN), was this low-budget slasher film, produced by Corman and shot in Ireland, with a cast that included AIP regulars alongside members of Dublin&rsquo;s renowned Abbey Theater. Coppola chafed at Corman&rsquo;s demands for more sex and violence, eventually watching as Corman bypassed his objections by hiring Jack Hill for some substantial &lsquo;second unit&rsquo; work (said Coppola years later, &ldquo;Roger wanted some more violence, which he got &ndash; but not from me.&rdquo;). Nevertheless, it&rsquo;s a highly inventive, resourceful, and genuinely creepy film, and Coppola&rsquo;s immense talent is readily apparent.</p> Wednesday, August 05 BOXCAR BERTHA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44584 <p>With Barbara Hershey, David Carradine, and John Carradine. Produced by Roger Corman.<strong><br /><br />&ldquo;AMERICA IN THE 30&rsquo;S WAS A FREE COUNTRY. Bertha was jes&rsquo; a little bit free&rsquo;er than most.&rdquo;</strong><br /><br />&ldquo;BOXCAR BERTHA is a weirdly interesting movie and not really the sleazy exploitation film the ads promise. It finds its inspiration in the exploits of Boxcar Bertha Thompson, an outlaw folk hero who operated in Arkansas during the Depression. [&hellip;] I have the notion that Roger Corman, American-International&rsquo;s most successful producer of exploitation films, sent his actors and crew South with the hope of getting a nice, simple, sexy, violent movie for the summer trade. What he got is something else, and something better. Director Martin Scorsese has gone for mood and atmosphere more than for action, and his violence is always blunt and unpleasant &ndash; never liberating and exhilarating, as the New Violence is supposed to be. We get the feeling we&rsquo;re inhabiting the dark night of a soul.&rdquo; &ndash;Roger Ebert</p> Wednesday, August 05 A MATTER OF TIME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44588 <p>Archival print courtesy of the Swiss Film Archive?. With Liza Minnelli, Ingrid Bergman, Charles Boyer, Tina Aumont, Fernando Rey, and Isabella Rossellini.<strong><br /><br />&ldquo;We are pleased to announce that we have been chosen to present this year&rsquo;s Important Entertainment Event Starring Academy Award Winners LIZA MINNELLI and INGRID BERGMAN.&rdquo;</strong><br /><br />One of the stranger film historical phenomena is the fact that the great Vincente Minnelli, renowned for his exacting visual style and consummate control (qualities which MGM nurtured during his long association with the studio), was fated to make his last film for AIP. Truly a match made in hell, this partnership was a bona fide disaster on all sides &ndash; the shoot was bedeviled by Minnelli&rsquo;s health problems and his difficulty in communicating with his Italian crew; and once complete, Arkoff commandeered the editing process, brutally cutting, restructuring, and to a large extent butchering the film. Conceived of by AIP as a prestige project, it ended up failing miserably, both commercially and critically. Today, it&rsquo;s something of an auteurist litmus test, a film of many flaws, but one in which Minnelli&rsquo;s vision, sensibility, and sensitivity transcend even the meddling of such a deeply unsympathetic partner as Samuel Arkoff.<br /><br />&ldquo;Minnelli&rsquo;s first film in six years has arrived at a moment in film history when its many virtues will probably pass unnoticed and its undeniable flaws will be disproportionately emphasized. Minnelli&rsquo;s film is unabashedly romantic, and I suppose it is also what some would call &lsquo;old-fashioned,&rsquo; but few contemporary films can summon up a tenth of its personal expression and intensity. If nothing else, A MATTER OF TIME emphatically vindicates auteur criticism, in that a real love and awareness of Minnelli&rsquo;s oeuvre is essential to its enjoyment. Whether this familiarity with a director&rsquo;s work should be necessary in order to evaluate an individual film is a point that can be argued endlessly. I happen to think that enough of A MATTER OF TIME works to justify placing it in the context of its director&rsquo;s remarkable career. The film is a meditation on many of the themes that have concerned Minnelli during his thirty-three years as a director; it&rsquo;s a mood piece bathed in the serenity that reveals a mature artist in deepest touch with his innermost feelings.&rdquo; &ndash;George Morris, FILM COMMENT</p> Thursday, August 06 SHOW & TELL: XANDER MARRO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44664 <p>&ldquo;Xander Marro (American b. 1975) has been living the good life in the feminist sub-underground for too many years to count on her long bony fingers. She draws pictures (usually narrative), makes movies (usually not narrative), produces plays with elaborate sets and costumes (usually narrative, but confusing), and then makes stuff like quilts and dioramas (probably narrative?). Her work is often about spiritual relationships to the material stuff of this world. Co-founder of the Dirt Palace in 2000 AD (feminist cupcake-encrusted netherworld located along the dioxin filled banks of the Woonasquatucket River, which is to say in Providence, RI, USA). Her studio (and heart) is there still.&rdquo; &ndash;X.M.<br /><br />&ldquo;Marro is an artist, community activist, performer and filmmaker &lsquo;steeped in the underground&rsquo; of Providence, RI. As co-founder of the Dirt Palace, a feminist art collective, Marro is equally diverse in her artistic practices. Her work ranges from printmaking to puppetry to performance to film animation and installation and is loosely gathered under a distinctive sensibility that has been described as &lsquo;a blend of girly Victorian dreaming, Monty Python cartoons, Russian onion domes, beehive hairdos, Pee Wee&rsquo;s Playhouse, Barbarella, and Dr. Seuss&rsquo; (Greg Cook, Boston Pheonix).<br /><br />Marro&rsquo;s work is generally low-tech and handmade and embedded with a community of collective art-making. Typically using arcane pieces of visual culture to create strange and fantastic worlds, this almost Luddite approach presents an alternative to today&rsquo;s fast-paced media-driven environments.&rdquo; &ndash;Dina Deitsch, DECORDOVA SCULPTURE PARK AND MUSEUM<br /><br />THE JOURNEY (2002, 8 min, 16mm-to-video)<br />Soundtrack: Xander Marro<br />Have you ever been visited by a fairy godmother? Stayed awake for days and nights cleaning (perhaps moving) forgetting to eat and talk and arranging then rearranging all of your worldly possessions into piles and then other piles until you were in the midst of a psychedelic semi-conscious perhaps semi-psychotic dream state and then taken to a netherworld by a beautiful peacock? If yes, this one&rsquo;s for you!<br /><br />SPELL CASTING MISHAPS VOLUME 1 (2011, 1 min, video)<br />Soundtrack: Amil Byleckie<br />Explanation of how I became a sandwich.<br /><br />FLYING CATS OF THE STARS (2012, 5 min, video)<br />Soundtrack: Suckdog<br />We will never die.<br /><br />QUILT MOVIE (2014, 4 min, 16mm-to-video)<br />Soundtrack: Jeremy Harris<br />Document of the making of 5 quilts.<br /><br />THE PATTERN OF RITUAL (2005, 8 min, 16mm, with live soundtrack)<br />Soundtrack: Xander Marro.<br />10 dances for the invocation of the new season. Starring: the Seagulls (unfortunately sacrificed for the prophetic powers held within their wings), the Pyramid, the re-occurring wooden peacock, the seemingly charming cobra, the forest made of fishes, and the matchstick game.<br /><br />L&rsquo;EYE (2001, 2 min, 16mm)<br />Soundtrack: Carley Ptak.<br />If at first you don&rsquo;t succeed, scry, scry again.<br /><br />BORN TO NEVER THROW ANYTHING AWAY (2009, 4 min, 16mm)<br />Soundtrack: Xander Marro (drum track) Natalja Kent (Guitar track at end), Amil Byleckie (Synth track at beginning).<br />Portrait of a house that once housed a family of 18, then a mother and son, then a man and his collections.<br /><br />THE CHEMICAL BATH (L&rsquo;EYE V.2) (2001, 6 min, hand-processed 16mm)<br />Soundtrack: Xander Marro &amp; Mat Brinkman (warping The Shirelles &amp; Suicidal Tendencies).<br />Starring: silver molecules (tri-x reversal), Italian shoe magazines, 1st developer, 2nd developer, bleach, stop bath, fix, green/cyan.<br /><br />ISEMOND (2006, 17.5 min, 16mm)<br />Made in collaboration with Mat Brinkman. Soundtrack: Xander Marro &amp; Mat Brinkman.<br />Puppet fairytale. Isemond the tailor makes a bonnet for a kindly goose. Their unlikely alliance becomes a force in the battle against a hungry real-estate developer.<br /><br />THE FURTHER ADVENTURES OF LADY LONG ARMS IN THE LAND OF LOVE (2004, 11 min, 16mm)<br />Soundtrack: Xander Marro &amp; Mat Brinkman.<br />Starring: The Re-Occuring Wooden Peacocks, Lady Long Arms, The Dancing Hearts of Infinity, The Seagulls, The Disappearing Owl, Sir Trang Feng, Bug Bear (as the Polar Bear), The Snowstorm, The Ice Cream Hut at the summit of the highest mountain in the universe.<br /><br />0106 (2006, 12 min, 16mm)<br />Made in collaboration with Mat Brinkman. Soundtrack: Xander Marro.<br />Story of how I might live my life until I die told one frame at a time for approximately 17,664 frames. DIY living quarters, puppeteer frontiers, too many cats, silkscreen explosions, portable cooking stoves, zine libraries, drum kits. Melting brain.<br /><br />Total runing time: ca. 80 min.</p> Thursday, August 06 QUEEN OF BLOOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44591 <p>1966, 81 min, 16mm. With John Saxon, Basil Rathbone, and Dennis Hopper.<strong><br /><br />&ldquo;HIDEOUS BEYOND BELIEF&hellip;with an INHUMAN CRAVING!&rdquo;</strong><br /><br />Always looking to save money and exploit every possible opportunity, AIP and Corman in the mid-60s acquired several Eastern bloc sci-fi films, mining them for their often extraordinary imagery and sets. Repurposing passages from these films, they hired filmmakers to re-edit the existing footage and to shoot additional material, integrating the two to create new AIP films ripe for the drive-in. The filmmakers who took on this unusual task included such future luminaries as Francis Ford Coppola (BATTLE BEYOND THE SUN) and Peter Bogdanovich (VOYAGE TO THE PLANET OF PREHISTORIC WOMEN), as well as Curtis Harrington, who in 1966 was poised between the two distinct halves of his career: his seminal experimental films of the 40s and 50s and the string of remarkable feature-length thrillers he would create throughout the 70s. Harrington was responsible both for VOYAGE TO THE PREHISTORIC PLANET (which shares the same source film as Bogdanovich&rsquo;s!) and QUEEN OF BLOOD. QUEEN is unquestionably the most accomplished of these Eastern bloc/AIP hybrids &ndash; constructed from not one but two Soviet sci-fi films (MECHTE NAVSTRECHU and NEBO ZOVYOT), it&rsquo;s a vampire-in-space tale with an otherworldly and terrifying femme fatale.</p> <p><strong></strong></p> Thursday, August 06 EMPEROR VISITS THE HELL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44669 <p>(TANG HUANG YOU DIFU)<br /><br />This is a quietly astonishing <em>tour de force</em> that hinges on a lovely conceit: relocating to the present day the famous story of the Tang dynasty Emperor Taizong&rsquo;s visit to the underworld. Shot in elegant, black-and-white long takes, the film spins a tale of a local river god, the Dragon King, who, feuding with a fortune teller, alters the weather without authorization and is condemned to death. When the Emperor fails to commute the god&rsquo;s sentence, otherworldly retribution is swift: he is summoned to Hell. Li&rsquo;s audacious use of multiple levels of storytelling and filmmaking craftily and joyously subverts every authority around.</p> Friday, August 07 BOXCAR BERTHA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44585 <p>With Barbara Hershey, David Carradine, and John Carradine. Produced by Roger Corman.<strong><br /><br />&ldquo;AMERICA IN THE 30&rsquo;S WAS A FREE COUNTRY. Bertha was jes&rsquo; a little bit free&rsquo;er than most.&rdquo;</strong><br /><br />&ldquo;BOXCAR BERTHA is a weirdly interesting movie and not really the sleazy exploitation film the ads promise. It finds its inspiration in the exploits of Boxcar Bertha Thompson, an outlaw folk hero who operated in Arkansas during the Depression. [&hellip;] I have the notion that Roger Corman, American-International&rsquo;s most successful producer of exploitation films, sent his actors and crew South with the hope of getting a nice, simple, sexy, violent movie for the summer trade. What he got is something else, and something better. Director Martin Scorsese has gone for mood and atmosphere more than for action, and his violence is always blunt and unpleasant &ndash; never liberating and exhilarating, as the New Violence is supposed to be. We get the feeling we&rsquo;re inhabiting the dark night of a soul.&rdquo; &ndash;Roger Ebert</p> Friday, August 07 AROUND THAT WINTER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44672 <p>(TIANYUAN JIANG WU)<br /><br />This curiously beautiful Daoist comedy was the opening film of BIFF2013. Wang, painting with scrupulously composed, eloquent black-and-white images, tells of a young urbanite who brings his girlfriend to meet his farmer parents in the countryside of Shandong province. Although nothing precisely happens, the farm and surrounding woods are a stage for almost non-stop cursing, kissing, pissing, and fucking. It&rsquo;s both earthy and somehow unworldly at the same time, featuring perfectly ribald kids, a voyeuristic brother with a urination fetish, and a deadpan comic couple. Wang has a terrific eye, and an utterly unique, low-key comic voice.</p> Friday, August 07 SISTERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44595 <p>Print courtesy of the Academy Film Archive. With Margot Kidder, Jennifer Salt, and Charles Durning.<strong><br /><br />&ldquo;WHAT THE DEVIL HATH JOINED TOGETHER LET NO MAN CUT ASUNDER!&rdquo;</strong><br /><br />An Edward Pressman and Paul Williams independent production that AIP picked up for distribution, SISTERS was the first film to display De Palma&rsquo;s affinity for the suspense thriller and his fascination with Hitchcock &ndash; a connection made all the more unmistakable thanks to a brilliant score by Bernard Herrmann. As such, SISTERS points forward to the New Hollywood films that would soon be created by De Palma and others, and that signaled the dawn of a new era in popular cinema. But AIP&rsquo;s promotional materials for the film hearken back to its earlier days, promising, &ldquo;To allow audiences to regain their composure from the emotional impact of SISTERS after each showing, no one will be seated during a SPECIAL SHOCK RECOVERY PERIOD!&rdquo;</p> Friday, August 07 EC: GENET / FRANK & LESLIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44440 <p>Jean Genet<br />UN CHANT D&rsquo;AMOUR<br />1950, 26 minutes, 35mm, b&amp;w, silent.<br />Jean Genet&rsquo;s poetic expression of male eroticism pitted against the confines of prison cells and a homophobic state&hellip; a powerfully resonant work that explores individual freedom and the laws of desire.<br /><br />Robert Frank &amp; Alfred Leslie<br />PULL MY DAISY<br />1959, 28 minutes, 35mm, b&amp;w.<br />A largely spontaneous experiment, arranged in 1959 by Robert Frank along with Alfred Leslie. They enlisted the participation of Jack Kerouac, who offered in place of an original screenplay a stage play he&rsquo;d never finished writing, &ldquo;The Beat Generation.&rdquo; The plot is based on an incident in the life of Neal Cassady and his wife Carolyn. They&rsquo;re raising a family and trying to fit in with their suburban neighbors, and one night they invite a respectable neighborhood bishop over for dinner. But Neal&rsquo;s Beat friends crash the party, and that Marx Brothers-like scenario is the closest thing the film has to a storyline.<br />Total running time: ca. 60 minutes.</p> Saturday, August 08 YUMEN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44675 <p>Two Chinese avant-garde artists and an American experimental filmmaker have collaborated on a stunningly beautiful Chinese experimental-fiction-documentary that dazzlingly combines ghost stories and &ldquo;ruin porn&rdquo; to form a celluloid psycho-collage. Shot on 16mm film, it&rsquo;s set in the largely abandoned oil drilling town of Yumen &ndash; a place with an ancient, poetic history in China&rsquo;s western Gansu province &ndash; and takes us through trashed, desolate urban spaces abandoned by Chinese socialism. But the filmmakers bring these places alive with their cast of ghosts, artists, vagabond dancers, and singers.</p> <p><strong></strong></p> Saturday, August 08 QUEEN OF BLOOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44592 <p>1966, 81 min, 16mm. With John Saxon, Basil Rathbone, and Dennis Hopper.<strong><br /><br />&ldquo;HIDEOUS BEYOND BELIEF&hellip;with an INHUMAN CRAVING!&rdquo;</strong><br /><br />Always looking to save money and exploit every possible opportunity, AIP and Corman in the mid-60s acquired several Eastern bloc sci-fi films, mining them for their often extraordinary imagery and sets. Repurposing passages from these films, they hired filmmakers to re-edit the existing footage and to shoot additional material, integrating the two to create new AIP films ripe for the drive-in. The filmmakers who took on this unusual task included such future luminaries as Francis Ford Coppola (BATTLE BEYOND THE SUN) and Peter Bogdanovich (VOYAGE TO THE PLANET OF PREHISTORIC WOMEN), as well as Curtis Harrington, who in 1966 was poised between the two distinct halves of his career: his seminal experimental films of the 40s and 50s and the string of remarkable feature-length thrillers he would create throughout the 70s. Harrington was responsible both for VOYAGE TO THE PREHISTORIC PLANET (which shares the same source film as Bogdanovich&rsquo;s!) and QUEEN OF BLOOD. QUEEN is unquestionably the most accomplished of these Eastern bloc/AIP hybrids &ndash; constructed from not one but two Soviet sci-fi films (MECHTE NAVSTRECHU and NEBO ZOVYOT), it&rsquo;s a vampire-in-space tale with an otherworldly and terrifying femme fatale.</p> <p><strong></strong></p> Saturday, August 08 FOUR WAYS TO DIE IN MY HOMETOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44678 <p>(WO GUXIANGDE SI ZHONG SIWANG FANGSHI)<br /><br />As much poetry as it is narrative, Chai&rsquo;s gorgeous work evokes four characters &ndash; a poet, a searcher, a puppet master, and a shaman &ndash; each with intense, mystical, deeply-rooted spiritual links to the land mediated by the four elemental symbols: earth, water, fire, and wind. The film&rsquo;s logic is associative, dreamlike; Chai builds up a series of striking tableaux, hypnotically suggestive and pictorially spectacular. Two young women lose a camel, then a father. A retired shadow puppeteer meets a gun-toting tree thief. Storytellers and shamans evoke a lost spiritual world that Chai films back to life in spectacular visual motifs whose meanings are intuited, like deeply felt communal memories.</p> Saturday, August 08 BLACK SABBATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44581 <p>With Boris Karloff.<strong><br /><br />&ldquo;This is the NIGHT of the NIGHTMARE!&hellip;when a headless corpse rides the cold night wind&hellip;when a woman&rsquo;s soul inhabits the body of a buzzing Fly!&rdquo;</strong><br /><br />Having previously acquired the Mario Bava films BLACK SUNDAY and ERIK THE CONQUEROR for American release, AIP co-produced his now-classic BLACK SABBATH with Italian production company Galatea Film. Comprising three separate tales (allegedly adapted from tales by Chekhov, Tolstoy, and Maupassant, but good luck finding the originals), BLACK SABBATH is &lsquo;hosted&rsquo; by Boris Karloff, who was under contract to AIP at the time. The film was released in Italy as I TRE VOLTI DELLA PAURA; for its American release (which is the version we&rsquo;ll be screening here), AIP made drastic modifications, changing the order of the stories, commissioning a new score, and radically altering the content of the &ldquo;Telephone&rdquo; chapter to add supernatural overtones and eliminate any hints of lesbianism. Lesbians or no lesbians, though, it&rsquo;s one of Bava&rsquo;s greatest films, and a superior example of the horror anthology genre.</p> Saturday, August 08 FEMALE DIRECTORS & LISTENING TO THIRD GRANDMOTHER’S STORIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44681 <p>Yang Mingming<br />FEMALE DIRECTORS / N&Uuml; DAOYAN<br />(2012, 43 min, digital. In Mandarin with English subtitles.)<br />Two brilliant young women, art school graduates with deliciously profane vocabularies and supreme confidence, talk sex, cinema, and power, as they wield their shared video camera like a scalpel. Yang&rsquo;s superb debut is hilarious, moving, and subversive.<br />&amp;<br />Wen Hui<br />LISTENING TO THIRD GRANDMOTHER&rsquo;S STORIES / TING SAN NAINAI JIANG GUOQUDE SHIQING<br />(2012, 75 min, digital, b&amp;w/color. In Mandarin with English subtitles.)<br />A language written by women confronts official ideology in dancer/choreographer/filmmaker Wen Hui&rsquo;s film. She starts from stories her 83-year-old great-aunt tells her of being tortured as a &ldquo;class enemy&rdquo; during Mao&rsquo;s China: the result is poetry, an experimental documentary that combines testimony and dance-like gesture, in black-and-white and color.</p> <p>&nbsp;</p> Sunday, August 09 SISTERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44596 <p>Print courtesy of the Academy Film Archive. With Margot Kidder, Jennifer Salt, and Charles Durning.<strong><br /><br />&ldquo;WHAT THE DEVIL HATH JOINED TOGETHER LET NO MAN CUT ASUNDER!&rdquo;</strong><br /><br />An Edward Pressman and Paul Williams independent production that AIP picked up for distribution, SISTERS was the first film to display De Palma&rsquo;s affinity for the suspense thriller and his fascination with Hitchcock &ndash; a connection made all the more unmistakable thanks to a brilliant score by Bernard Herrmann. As such, SISTERS points forward to the New Hollywood films that would soon be created by De Palma and others, and that signaled the dawn of a new era in popular cinema. But AIP&rsquo;s promotional materials for the film hearken back to its earlier days, promising, &ldquo;To allow audiences to regain their composure from the emotional impact of SISTERS after each showing, no one will be seated during a SPECIAL SHOCK RECOVERY PERIOD!&rdquo;</p> Sunday, August 09 PING’AN YUEQING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44684 <p>The documentaries produced by Ai Weiwei&rsquo;s studio are closer to investigative journalism than to conceptual art. This film in particular starts from a specific case, the mysterious death by &ldquo;road accident&rdquo; of a village leader, Qian Yunhui from Zhejiang province, an activist who stood up for his fellow villagers when their land was confiscated without compensation by the local government. Qian&rsquo;s death in 2010 quickly became a <em>cause c&eacute;l&egrave;bre</em> online in China. Ai and his team take up the challenge of determining what really happened, and dig deep into the land dispute lying behind what looks like the convenient murder of a rights advocate. The story unfolds like a thriller, but an ultra-realist one.</p> Sunday, August 09 BLOOD AND LACE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44553 <p>WILLIAM LUSTIG PRESENTS:<br /><br />With Gloria Grahame.<br /><br /><strong>&ldquo;SHOCK AFTER SHOCK AFTER SHOCK as Desire drives a bargain with DEATH!&rdquo;</strong><br /><br />This brutal chiller, which AIP picked up for distribution, marked the first significant big-screen role in more than a decade for Hollywood legend Gloria Grahame, after years spent almost entirely on theater and TV work. Grahame is unforgettable as Mrs. Deere, the sadistic director of a nightmarish orphanage where the film&rsquo;s protagonist, teenage Ellie Masters, finds herself banished after her prostitute mother is killed by a hammer-wielding maniac.<br /><br />&ldquo;I first saw BLOOD AND LACE in 1971 when it played bottom-billed with VAMPIRE LOVERS at the Academy of Music on E. 14th St. The opening hammer murder scene had me riveted to the film! I&rsquo;m totally convinced the scene inspired a more famous horror film&rsquo;s opening scene a few years later! I saw this film a few times later on 42nd St. and then it disappeared, popping up occasionally on bootleg VHS and DVD. This is a great opportunity to see this lost film projected.&rdquo; &ndash;William Lustig<br /><br /><strong>William Lustig, filmmaker and founder of the DVD label Blue Underground, will be here in person to present the screening on Friday, July 31!</strong></p> Sunday, August 09 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44564 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Monday, August 10 EXPERIMENTAL SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44687 <p>Bi Gan<br />THE POET AND THE SINGER / JINGANGJING<br />(2012, 26 min, digital)<br />A visually splendid poem that provocatively but elegantly juxtaposes a poet, a singer, a river, a pair of murderers, and the Diamond Sutra.<br /><br />Zhi Jun<br />DISMANTLING CLEMATIS #16 / CHAI TIESI #16<br />(2014, 30 min, digital)<br />After a fire, scarred bonsai trees are meticulously freed of their supporting wires by medical professionals.<br /><br />Chen Zhou<br />I&rsquo;M NOT NOT NOT CHEN ZHOU<br />(2013, 34 min, digital)<br />The color yellow, as well as artist Chen Zhou and his alter ego(s), star in this droll, playfully conceptual <em>tour de force</em>.<br /><br />Total running time: ca. 95 min.</p> Monday, August 10 EMPEROR VISITS THE HELL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44670 <p>(TANG HUANG YOU DIFU)<br /><br />This is a quietly astonishing <em>tour de force</em> that hinges on a lovely conceit: relocating to the present day the famous story of the Tang dynasty Emperor Taizong&rsquo;s visit to the underworld. Shot in elegant, black-and-white long takes, the film spins a tale of a local river god, the Dragon King, who, feuding with a fortune teller, alters the weather without authorization and is condemned to death. When the Emperor fails to commute the god&rsquo;s sentence, otherworldly retribution is swift: he is summoned to Hell. Li&rsquo;s audacious use of multiple levels of storytelling and filmmaking craftily and joyously subverts every authority around.</p> Monday, August 10 AROUND THAT WINTER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44673 <p>(TIANYUAN JIANG WU)<br /><br />This curiously beautiful Daoist comedy was the opening film of BIFF2013. Wang, painting with scrupulously composed, eloquent black-and-white images, tells of a young urbanite who brings his girlfriend to meet his farmer parents in the countryside of Shandong province. Although nothing precisely happens, the farm and surrounding woods are a stage for almost non-stop cursing, kissing, pissing, and fucking. It&rsquo;s both earthy and somehow unworldly at the same time, featuring perfectly ribald kids, a voyeuristic brother with a urination fetish, and a deadpan comic couple. Wang has a terrific eye, and an utterly unique, low-key comic voice.</p> Tuesday, August 11 YUMEN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2015#showing-44676 <p>Two Chinese avant-garde artists and an American experimental filmmaker have collaborated on a stunningly beautiful Chinese experimental-fiction-documentary that dazzlingly combines ghost stories and &ldquo;ruin porn&rdquo; to form a celluloid psycho-collage. Shot on 16mm film, it&rsquo;s set in the largely abandoned oil drilling town of Yumen &ndash; a place with an ancient, poetic history in China&rsquo;s western Gansu province &ndash; and takes us through trashed, desolate urban spaces abandoned by Chinese socialism. But the filmmakers bring these places alive with their cast of ghosts, artists, vagabond dancers, and singers.</p> <p><strong></strong></p> Tuesday, August 11