Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Sat, 29 Jan 2022 00:25:27 -0500 EC: ORPHEUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54188 <p>(ORPH&Eacute;E)<br /><br />With Jean Marais.<br /><br />&ldquo;Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS&rsquo;s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.&rdquo; &ndash;Jean Cocteau</p> Saturday, January 29 EC: THE TESTAMENT OF ORPHEUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54194 <p>(LE TESTAMENT D&rsquo;ORPH&Eacute;E)<br /><br />RARE SCREENING!<br /><br />In his last film, Cocteau himself portrays an 18th-century poet who travels through time on a quest for divine wisdom. In a mysterious wasteland, he meets several symbolic phantoms that bring about his death and resurrection. With an eclectic cast that includes Pablo Picasso, Jean-Pierre Le&aacute;ud, Jean Marais, and Yul Brynner, TESTAMENT OF ORPHEUS brings full circle the journey Cocteau began in THE BLOOD OF A POET, an exploration of the torturous relationship between the artist and his creations.</p> Saturday, January 29 EC: THE GOLD RUSH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54195 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin&rsquo;s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin&rsquo;s own music and poetic narration, added for his 1942 reissue.</p> Saturday, January 29 EC: CHARLES CHAPLIN, PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54197 <p>&ldquo;It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. [&hellip;] [The] best Chaplin films can be seen over and over again with no loss of pleasure &ndash; indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.&rdquo; &ndash;Andr&eacute; Bazin, WHAT IS CINEMA<br /><br />CHARLES CHAPLIN, PROGRAM 1<br />All the Chaplin shorts in this and the following programs are silent.<br />A WOMAN (1915, 20 min, 16mm, b&amp;w)<br />EASY STREET (1917, 19 min, 16mm, b&amp;w)<br />A DOG&rsquo;S LIFE (1918, 33 min, 35mm, b&amp;w)<br /><br />Total running time: ca. 75 min.</p> Sunday, January 30 EC: CHARLES CHAPLIN, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54198 <p>&ldquo;It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. [&hellip;] [The] best Chaplin films can be seen over and over again with no loss of pleasure &ndash; indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.&rdquo; &ndash;Andr&eacute; Bazin, WHAT IS CINEMA<br /><br />CHARLES CHAPLIN, PROGRAM 2<br />SHOULDER ARMS (1918, 37 min, 35mm, b&amp;w)<br />A DAY&rsquo;S PLEASURE (1919, 19 min, 35mm, b&amp;w)<br />THE IDLE CLASS (1921, 32 min, 35mm, b&amp;w)<br /><br />Total running time: ca. 95 min.</p> Sunday, January 30 EC: CHARLES CHAPLIN, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54199 <p>&ldquo;It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. [&hellip;] [The] best Chaplin films can be seen over and over again with no loss of pleasure &ndash; indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.&rdquo; &ndash;Andr&eacute; Bazin, WHAT IS CINEMA<br /><br />CHARLES CHAPLIN, PROGRAM 3<br />PAY DAY (1922, 22 min, 35mm, b&amp;w)<br />THE PILGRIM (1923, 41 min, 35mm, b&amp;w)<br /><br />Total running time: ca. 70 min.</p> Sunday, January 30 EC: THE GOLD RUSH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54196 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin&rsquo;s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin&rsquo;s own music and poetic narration, added for his 1942 reissue.</p> Monday, January 31 EC: BEAUTY AND THE BEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2022#showing-54193 <p>(LA BELLE ET LA B&Ecirc;TE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />&ldquo;Jean Cocteau&rsquo;s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty&rsquo;s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Dor&eacute; extravagance of the Beast&rsquo;s enchanted landscape. In Christian B&eacute;rard&rsquo;s makeup, Jean Marais is a magnificent Beast.&rdquo; &ndash;Pauline Kael</p> Monday, January 31 EC: JAMES BROUGHTON, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54241 <p>THE PLEASURE GARDEN (1953, 38 min, 35mm, b&amp;w)<br />THE BED (1968, 19 min, 16mm)<br />NUPTIAE (1969, 14 min, 16mm)<br />&ldquo;Broughton was and is a poet, sometimes a dramatist. Yet whatever the mode, his style is remarkably consistent: urbane and witty with the persona of the na&iuml;ve, or the simpleton, or the child. Like the poems, the films record the basic rites of passage, the search for love, the primal relationships, with ironic insight: there are parents who are children, a rube who&rsquo;s really the artist, a loony wise man.&rdquo; &ndash;P. Adams Sitney<br /><br />Total running time: ca. 75 min.</p> Thursday, February 03 EC: JAMES BROUGHTON, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54242 <p>THE GOLDEN POSITIONS (1970, 32 min, 16mm)<br />&ldquo;A lovely, poetic, humorous, and crystal investigation of mankind standing, sitting, and lying down.&rdquo; &ndash;John Wasserman, SAN FRANCISCO CHRONICLE<br /><br />DREAMWOOD (1972, 45 min, 16mm)<br />&ldquo;A modern day spiritual odyssey in which a man is mysteriously compelled to leave his home and embark on a voyage to a strange, magical island. On the island he faces the most improbable and intense experiences of his life, ranging from total humiliation to a deep sense of oneness with the force of life. Heroic in concept, subtle in execution, DREAMWOOD is a beautiful film by a true master of the medium.&rdquo; &ndash;David Bienstock<br /><br />HIGH KUKUS (1974, 3 min, 16mm)<br />&ldquo;A High Kuku is, of course, a cuckoo haiku. In inventing this form Broughton has concocted zany verses which are &lsquo;high&rsquo; in the sense that they are often metaphysical and are keenly aware of the metacomedy of things.&rdquo; &ndash;Alan Watts<br /><br />Total running time: ca. 85 min.<br /><br /></p> Thursday, February 03 THE NOUBA WOMEN OF MOUNT CHENOUA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54257 <p>(LA NOUBA DES FEMMES DU MONT-CHENOUA)<br /><br />&ldquo;This classic film from acclaimed novelist and filmmaker Assia Djebar is essential viewing for an understanding of women in Algeria. Taking its title and structure from the &lsquo;Nouba,&rsquo; a traditional song of five movements, this haunting film mingles narrative and documentary styles to document the creation of women&rsquo;s personal and cultural histories. Returning to her native region 15 years after the end of the Algerian war, Lila is obsessed by memories of the war for independence that defined her childhood. In dialogue with other Algerian women, she reflects on the differences between her life and theirs. In lyrical footage she contemplates the power of grandmothers who pass down traditions of anti-colonial resistance to their heirs. Reading the history of the country as written in the stories of women&rsquo;s lives, LA NOUBA is an engrossing portrait of speech and silence, memory and creation, and a tradition where the past and present coexist.&rdquo; &ndash;WOMEN MAKE MOVIES<br /><br /><br /></p> Friday, February 04 EC: JOSEPH CORNELL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54243 <p>Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives.<br /><br />ROSE HOBART (ca. 1936, 20 min, 16mm, sound)<br />COTILLION (ca. 1940s-1968, 8 min, 16mm, b&amp;w. Completed by Larry Jordan.)<br />THE MIDNIGHT PARTY (ca. 1940s-1968, 3.5 min, 16mm, b&amp;w. Completed by Larry Jordan.)<br />THE CHILDREN&rsquo;S PARTY (ca. 1940s-1968, 8 min, 16mm. Completed by Larry Jordan.)<br />CENTURIES OF JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.)<br />THE AVIARY (1954, 11 min, 16mm, b&amp;w. Photographed by Rudy Burckhardt.)<br />GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.)<br />NYMPHLIGHT (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.)<br />A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm, b&amp;w. Photographed by Rudy Burckhardt; completed by Larry Jordan.)<br />ANGEL (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.)<br /><br />&ldquo;[ROSE HOBART] is a breathtaking example of the potential for surrealistic imagery within a conventional Hollywood film once it is liberated from its narrative causality. [&hellip;] In Cornell&rsquo;s later films &ndash; both those photographed by Rudy Burckhardt, Stan Brakhage, and Larry Jordan and the collage films which Jordan completed &ndash; Joseph Cornell describes the marginal area where the conscious and the unconscious meet. These are films which affirm a sustained present moment in which a quality of reminiscence is implicated.&rdquo; &ndash;P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 105 min.</p> Saturday, February 05 EC: CONNER / CONRAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54244 <p>Bruce Conner<br />A MOVIE (1958, 12 min, 16mm)<br />COSMIC RAY (1961, 4 min, 16mm)<br />REPORT (1965, 13 min, 16mm)<br /><br />&ldquo;Conner stands as a kind of twentieth century Peter Breughel. For like the great Flemish master he distorts the visible world in order to penetrate a reality of being rather than appearances; his vision is cosmic in breadth; he deals with some of the most provocative issues, both artistic and otherwise, of his time; and finally, with an evocative ambiguity and painful irony he touches something which we sometimes call the human experience.&rdquo; &ndash;Carl I. Belz, FILM CULTURE<br /><br />COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation&rsquo;s Avant-Garde Masters Grant program funded by The Film Foundation.<br /><br />Tony Conrad<br />THE FLICKER<br />(1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.)<br /><br />&ldquo;THE FLICKER is a tremendous harnessing of the raw power, the elemental material of the cinematic medium &ndash; light itself &ndash; to transport the spectator slowly at first, hardly perceptibly, then accelerating, through a non-objective non-abstract world of sheer energy. Time becomes the compelling pulse of white into black and back, space becomes the unbounded expansion and contraction of force; the screen becomes a new sun, the audience its creatures.&rdquo; &ndash;Ken Kelman<br /><br />Total running time: ca. 65 min.</p> Saturday, February 05 CAVALCANTI / CROCKWELL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54246 <p>Alberto Cavalcanti<br />RIEN QUE LES HEURES / NOTHING BUT THE HOURS<br />1926, 52 min, 35mm<br />One of the very first &ldquo;city symphonies,&rdquo; this film interweaves documentary, experimental, and narrative elements that together provide vivid images of Paris in the mid-1920s. The Brazilian-born Cavalcanti was at the time a central figure of the French avant-garde, but his fascinating career would later find him making pioneering documentaries for John Grierson&rsquo;s GPO Film Unit in the UK in the 1930s, dramas, noirs, and musicals for Ealing Studios throughout the 1940s, and finally a wide array of films in Brazil, East Germany, France, and Israel in the years before his death in 1982.<br /><br />Douglass Crockwell<br />GLENS FALLS SEQUENCE (1946, 8 min, 16mm)<br />THE LONG BODIES (1947, 6 min, 16mm)<br />Both films preserved by Anthology Film Archives.<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;Douglass Crockwell<br /><br />Total running time: ca. 70 min.<br /><br /><br /></p> Sunday, February 06 EC: MAYA DEREN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54247 <p>MESHES OF THE AFTERNOON<br />(1943, 14 min, 16mm, b&amp;w. Co-directed by Alexander Hammid. Music by Teiji Ito from 1959.)<br /><br />AT LAND<br />(1944, 15 min, 16mm, b&amp;w, silent. Photographed by Hella Heyman and Alexander Hammid.)<br /><br />A STUDY IN CHOREOGRAPHY FOR CAMERA<br />(1945, 3 min, 16mm, b&amp;w, silent. By Maya Deren and Talley Beatty.) <br /><br />RITUAL IN TRANSFIGURED TIME<br />(1946, 15 min, 16mm, b&amp;w, silent. Choreographic collaboration with Frank Westbrook. Photographed by Hella Heyman. With Rita Christiani and Frank Westbrook.)<br /><br />&ldquo;MESHES is, one might say, almost expressionist; it externalizes an inner world to the point where it is confounded with the external one. AT LAND has little to do with the inner world of the protagonist, it externalizes the hidden dynamics of the external world, and here the drama results from the activity of the external world. It is as if I had moved from a concern with the life of a fish, to a concern with the sea which accounts for the character of the fish and its life. And RITUAL pulls back even further, to a point of view from which the external world itself is but an element in an entire structure and scheme of metamorphosis: the sea itself changes because of the larger changes of the earth. RITUAL is about the nature and process of change.&rdquo; &ndash;Maya Deren<br /><br />Total running time: ca. 55 min.</p> Sunday, February 06 ARCHIVE FEVER: SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54259 <p>Danielle Arbid<br />THIS SMELL OF SEX<br />Lebanon/France, 2008, 20 min, digital. In Arabic with English subtitles.<br />&ldquo;My friends in Beirut openly tell me the details of their most secret, passionate and obsessional sexual experiences. The film unfolds against a black screen, occasionally punctuated by the images of an old Super 8 film showing a timid young woman undressing.&rdquo; &ndash;Danielle Arbid<br /><br />Meriem Bennani<br />GHARIBA<br />Morocco/U.S., 2017, 19 min, digital. In Arabic with English subtitles.<br />&ldquo;A playful and moving portrait of some women in Morocco. Evoking reality television, home video, and ethnographic film, its visual language is at once intimate and whimsical, with the director&rsquo;s digital manipulations...amplifying...her subjects&rsquo; self-presentations. Bennani&rsquo;s women discuss love and romance, dating and friendship, loneliness and community, all set against the terror of aging.&rdquo; &ndash;BIDOUN<br /><br />Sara Sadik<br />KHTOBTOGONE<br />France, 2021, 16 min, digital. In French with English subtitles.<br />&ldquo;A character study animated entirely within the Grand Theft Auto V video game, KHTOBTOGONE begins as a love story between protagonist Zine and the girl of his dreams, Bulma. But in introspective narration, Zine reflects more broadly on masculinity and coming of age in Marseille&rsquo;s Maghrebi community. Inspired by the experiences of her male friends from southern France, Sadik collaged transcripts of their stories into Zine&rsquo;s internal monologue. [&hellip;] Sadik coaxes a refreshing vulnerability from a game designed to highlight idealized, heteronormative masculinity.&rdquo; &ndash; Chloe Lizotte, LE CIN&Eacute;MA CLUB<br /><br />Total running time: ca. 60 min.</p> Monday, February 07 A FEELING GREATER THAN LOVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54261 <p>(SHU&rsquo;OUR AKBAR MIN AL HOB)<br /><br />In her directorial debut, Mary Jirmanus Saba deals with a forgotten revolution, saving from oblivion bloodily suppressed strikes at Lebanese tobacco and chocolate factories. These events from the 1970s, which held the promise of a popular revolution and, with it, of women&rsquo;s emancipation, were erased from collective memory by the country&rsquo;s civil wars. Rich in archival footage from Lebanon&rsquo;s militant cinema tradition, the film reconstructs the spirit of that revolt, asking of the past how we might transform the present.<br /><br />&ldquo;Documentary cinema at its best, this is exciting, thrilling, encouraging. Saba has managed to deliver a very brave and mature debut film, which tells its audience a lot about the unknown history of the Middle East.&rdquo; &ndash;FIPRESCI</p> Wednesday, February 09 FRENCH CANCAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54205 <p>Print courtesy of the Institut Fran&ccedil;ais.<br /><br />The second son of the painter Pierre-Auguste, Jean Renoir was born and spent his early years in Montmartre. When in 1955 he made his first film in France since 1939&rsquo;s THE RULES OF THE GAME, it was the world of his youth, Montmartre in the Belle &Eacute;poque, that he would choose to evoke &ndash; as it had been, and as it had been immortalized by his father and other Impressionists. For this beautiful backstage drama, longtime collaborator Jean Gabin returns as a caf&eacute; impresario who, down on his luck, discovers that the classic can-can is still in vogue in Montmartre, and sets his sights on launching a revival with laundress Fran&ccedil;oise Arnoul, set to star in his new Moulin Rouge revue. In a neat twist, this most self-aware of nostalgia exercises shows Parisians pining for the good old days already back in the 1890s.&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 10 THE RATS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54208 <p>(DIE RATTEN)<br /><br />Courtesy of the Deutsche Kinemathek.<br /><br />In order to acquire a visa to leave Germany, Robert Siodmak claimed to have been born in Memphis, Tennessee, but in fact he was a native of Dresden, a city that would be bombed into ashes before he would return. After distinguishing himself in Hollywood as a director of stylish thrillers, Siodmak followed the runaway production money to Europe in the 1950s, returning to the Federal Republic of Germany with this Berlinale Golden Bear-winning adaptation of a 1911 play by Gerhart Hauptmann, whose works were much adapted in the FRG of the 1950s. The action is transposed to the destitute period immediately following the war, with Maria Schell as a displaced Pole. Pregnant with the child of crook Curt Jurgens and trying to make her way to West Germany, she is faced with the opportunity to sell her illegitimate newborn child for a passport and fistful of Deutsche Marks.&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 10 THE 1,000 EYES OF DR. MABUSE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54210 <p>(DIE 1000 AUGEN DES DR. MABUSE)<br /><br />Polish-born producer Artur Brauner, who died in 2019 at the age of 100, had been profoundly impressed as a young man by Fritz Lang&rsquo;s THE TESTAMENT OF DR. MABUSE (1933). And so, years later, after surviving the Holocaust that decimated his family, and launching himself as a vital force in postwar German cinema &ndash; his CCC Films also underwrote THE RATS &ndash; he sought to bring the architect of the MABUSE films, Lang himself, back to the FRG. While Brauner/Lang&rsquo;s earlier &ldquo;Indian Epic&rdquo; shot interiors in Berlin&rsquo;s Spandau Studios, it&rsquo;s with THE 1,000 EYES OF DR. MABUSE that Lang truly turns his focus to contemporary postwar West Germany, finding it still haunted by the spirit of both his fictional arch-criminal fiend and the very real Third Reich, which created the framework for a modern surveillance state that&rsquo;s here found still functioning in an ostensible liberal democracy.&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 11 VIRIDIANA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2022#showing-54212 <p>A native of Aragon, leftist Luis Bu&ntilde;uel Portol&eacute;s had operated as something like the coordinator of film propaganda for the Republican government during the Spanish Civil War. In 1938 he went abroad with the intention of operating as an advisor on Hollywood films about the ongoing conflict, but when a Fascist victory shortly followed, he stayed on, first in the U.S., then Mexico. He had been a long time gone then, when at the 1960 Cannes Film Festival, he was approached by the young Carlos Saura about making a film inside Franco&rsquo;s Spain. The result, the story of Silvia Pinal&rsquo;s novice nun unleashing carnivalesque anarchy at the estate of her uncle, Don Jaime (Fernando Rey), had to be smuggled into Paris for editing, while the Spanish censors were kept busy with various run-arounds. It was condemned by the Vatican, banned in Spain for 17 years, led to the ruination of Spanish production companies UNINCI and Film 59, and is a bona fide masterpiece.&nbsp;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 11