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 Tue, 28 Jan 2020 03:05:50 -0500 NYWIFT: COMEDY SHORTS NIGHT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2020#showing-51957 <p>Nicole Gomez Fisher (NYWIFT Member)<br />QUEENS<br />2018, 20 min, digital. Writer/Lead Actor/Producer/NYWIFT Member: Cindy Chu.<br />A comedy series about three best friends struggling to make ends meet while realizing that being adults is a lot harder than their immigrant parents led them to believe.<br /><br />Courtney Camerota (NYWIFT Member)<br />SUCKED IN<br />2019, 9 min, digital. Producer/NYWIFT Member: Andrea Pappas.<br />A young woman arrives home late one night to find a dangerous intruder frantically rummaging through her NYC apartment. When her roommate arrives, things take an unexpected turn.<br /><br />Laura Sweeney (NYWIFT Member)<br />MOMMY MAFIA<br />2018, 24 min, digital<br />A dark comedy about a mischievous mommy support group which stumbles into a series of misadventures on the mean streets of yuppie Brooklyn, rubbing elbows with the actual mafia, and fighting a turf war with their nemesis, Yoga Bitch.<br /><br />Julia Campanelli (NYWIFT Member)<br />116<br />2017, 15 min, digital<br />A woman wakes up in a disheveled, upscale hotel room with a younger man in her bed. He doesn&rsquo;t speak English and refuses to leave. Through a series of flashbacks, she pieces together what just happened. It&rsquo;s THE HANGOVER meets LOST IN TRANSLATION, and it only happens in Room 116.<br /><br />Andrew Pochan<br />TRAFFIC OPERA<br />2017, 18 min, digital. NYWIFT Members: Tracy Schott (Executive Producer) &amp; Sue Lange (Writer/Producer).<br />Drivers stuck at a traffic light push previously held prejudices aside to overcome a crazy gunman who is forcing everyone to push a stalled tractor trailer out of the intersection, all while staying on key.<br /><br />Total running time: ca. 90 min.<br /><br /></p> Tuesday, January 28 GUNS OF THE TREES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2020#showing-51940 <p>35MM RESTORATION PREMIERE &ndash; WEEK-LONG THEATRICAL RUN!<br /><br />Assisted by Adolfas Mekas &amp; Sheldon Rochlin. With Ben Carruthers, Frances Stillman, Argus Speare Juillard, Adolfas Mekas, Frank Kuenstler, Leonard Hicks, Sudie Bond, Louis Brigante, Jewel Walker, Sterling Jensen, George Macuinas, and others. Poetry interludes written and spoken by Allen Ginsberg. Score by Lucia Dlugoszewski. Folk songs by Sara &amp; Caither Wiley and Tom Sankey.<br /><br />Restored by Anthology Film Archives and The Film Foundation with funding provided by the George Lucas Family Foundation. Special thanks to Tommy Aschenbach, Chris Hughes, Laura Major, Thomas Neufeld &amp; A.J. Rohner (Colorlab), and John Polito &amp; Clay Dean (Audio Mechanics).<br /><br />Overshadowed by his 16mm diaristic work of later years, Jonas Mekas&rsquo;s debut film, GUNS OF THE TREES, a feature-length experimental narrative shot on 35mm, is nonetheless a foundational work both within his own filmography and within the nascent New American Cinema movement. As such, it qualifies as a crucial crossroads between the possibilities of narrative filmmaking and the pioneering avant-garde cinema that was to come. Influenced equally by European New Wave and American Beat cinema &ndash; specifically SHADOWS (1959) and PULL MY DAISY (1959) &ndash; GUNS OF THE TREES is a time capsule of cultural upheaval and of the burgeoning independent film movement of the early 1960s.<br /><br />&ldquo;Four young people are trying to understand why their friend, a young woman, committed suicide. A film made up of disconnected scenes weaving between past and present. The title of the film comes from a poem by Stuart Perkoff which tells that some young people felt (around 1960) that everything is against them, so much that even the trees in the parks and streets seemed to them like guns pointing at their very existence.&rdquo; &ndash;Jonas Mekas<br /><br />&ldquo;GUNS OF THE TREES is a sort of film essay, that, in staccato form, spotlights the thoughts, sentiments and anguishes of a generation facing the moral perplexity of our times. The film, in that sense, sums up all the themes that are to be found in the work of the directors of the Nouvelle Vague &ndash; their attitudes, feelings, problems; their discontent with the answers that the contemporary society gives them; a desperate need for something to believe in; the lack of communication; the loneliness of a man searching for an absolute truth.&rdquo; &ndash;Enrico Rossetti<br /><br />&ldquo;It is a bitter but lyric work. It is also revolutionary in form, being unlike, in its technique, anything you ever saw. It is a poster, a declaration, a manifesto. I regard GUNS OF THE TREES as the most important film <em>by far</em> of the American &lsquo;New Wave&rsquo;.&rdquo; &ndash;Herman G. Weinberg<br /><br />&ldquo;It may be one of the most personal and revealing films of the intellectual, beat and hip fringe society of America Today.&rdquo; &ndash;Gene Moskowitz, CAHIERS DU CIN&Eacute;MA<br /><br />&ldquo;The best-loved or most-hated film of this year&rsquo;s program.&rdquo; &ndash;Amos Vogel, CINEMA 16, 1961<br /><br />Followed by:<br />Charles Levine <br />SHOOTING GUNS<br />1966, 8 min, 16mm-to-digital<br />&ldquo;An excerpt from an unfinished movie. The film shows Jonas Mekas directing a sequence from his feature, GUNS OF THE TREES.&rdquo; &ndash;Charles Levine<br /><br />[<strong>Please note: on Sunday, January 26 at 3pm, we will be hosting a special book release event celebrating the publication of a new volume of Jonas Mekas's diaries, <em>I Seem to Live. The New York Diaries, 1950-2011, Vol. 1</em>; click <a href="../../../film_screenings/calendar?view=list&amp;month=01&amp;year=2020#showing-51911">here</a> for more details.</strong>]<br /><br /><br /></p> Tuesday, January 28 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2020#showing-51946 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, January 29 GUNS OF THE TREES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2020#showing-51941 <p>35MM RESTORATION PREMIERE &ndash; WEEK-LONG THEATRICAL RUN!<br /><br />Assisted by Adolfas Mekas &amp; Sheldon Rochlin. With Ben Carruthers, Frances Stillman, Argus Speare Juillard, Adolfas Mekas, Frank Kuenstler, Leonard Hicks, Sudie Bond, Louis Brigante, Jewel Walker, Sterling Jensen, George Macuinas, and others. Poetry interludes written and spoken by Allen Ginsberg. Score by Lucia Dlugoszewski. Folk songs by Sara &amp; Caither Wiley and Tom Sankey.<br /><br />Restored by Anthology Film Archives and The Film Foundation with funding provided by the George Lucas Family Foundation. Special thanks to Tommy Aschenbach, Chris Hughes, Laura Major, Thomas Neufeld &amp; A.J. Rohner (Colorlab), and John Polito &amp; Clay Dean (Audio Mechanics).<br /><br />Overshadowed by his 16mm diaristic work of later years, Jonas Mekas&rsquo;s debut film, GUNS OF THE TREES, a feature-length experimental narrative shot on 35mm, is nonetheless a foundational work both within his own filmography and within the nascent New American Cinema movement. As such, it qualifies as a crucial crossroads between the possibilities of narrative filmmaking and the pioneering avant-garde cinema that was to come. Influenced equally by European New Wave and American Beat cinema &ndash; specifically SHADOWS (1959) and PULL MY DAISY (1959) &ndash; GUNS OF THE TREES is a time capsule of cultural upheaval and of the burgeoning independent film movement of the early 1960s.<br /><br />&ldquo;Four young people are trying to understand why their friend, a young woman, committed suicide. A film made up of disconnected scenes weaving between past and present. The title of the film comes from a poem by Stuart Perkoff which tells that some young people felt (around 1960) that everything is against them, so much that even the trees in the parks and streets seemed to them like guns pointing at their very existence.&rdquo; &ndash;Jonas Mekas<br /><br />&ldquo;GUNS OF THE TREES is a sort of film essay, that, in staccato form, spotlights the thoughts, sentiments and anguishes of a generation facing the moral perplexity of our times. The film, in that sense, sums up all the themes that are to be found in the work of the directors of the Nouvelle Vague &ndash; their attitudes, feelings, problems; their discontent with the answers that the contemporary society gives them; a desperate need for something to believe in; the lack of communication; the loneliness of a man searching for an absolute truth.&rdquo; &ndash;Enrico Rossetti<br /><br />&ldquo;It is a bitter but lyric work. It is also revolutionary in form, being unlike, in its technique, anything you ever saw. It is a poster, a declaration, a manifesto. I regard GUNS OF THE TREES as the most important film <em>by far</em> of the American &lsquo;New Wave&rsquo;.&rdquo; &ndash;Herman G. Weinberg<br /><br />&ldquo;It may be one of the most personal and revealing films of the intellectual, beat and hip fringe society of America Today.&rdquo; &ndash;Gene Moskowitz, CAHIERS DU CIN&Eacute;MA<br /><br />&ldquo;The best-loved or most-hated film of this year&rsquo;s program.&rdquo; &ndash;Amos Vogel, CINEMA 16, 1961<br /><br />Followed by:<br />Charles Levine <br />SHOOTING GUNS<br />1966, 8 min, 16mm-to-digital<br />&ldquo;An excerpt from an unfinished movie. The film shows Jonas Mekas directing a sequence from his feature, GUNS OF THE TREES.&rdquo; &ndash;Charles Levine<br /><br />[<strong>Please note: on Sunday, January 26 at 3pm, we will be hosting a special book release event celebrating the publication of a new volume of Jonas Mekas's diaries, <em>I Seem to Live. The New York Diaries, 1950-2011, Vol. 1</em>; click <a href="../../../film_screenings/calendar?view=list&amp;month=01&amp;year=2020#showing-51911">here</a> for more details.</strong>]<br /><br /><br /></p> Wednesday, January 29 JONAS MEKAS: WARHOL / FACTORY PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2020#showing-51919 <p><br />AWARD PRESENTATION TO ANDY WARHOL <br />1964, 12 min, 16mm<br />In 1964 Film Culture magazine chose Andy Warhol for its annual Independent Film award. The plan was to show some of Andy&rsquo;s films and have Andy come on stage and hand him the award. Andy said, no, he didn&rsquo;t want a public presentation. So I decided to hand him the award at the Factory, film the occasion, and show the film at the Award Presentation show at the New Yorker Theater. Andy thought it was a good idea. He got some of the superstars together for the occasion. I was on my way to the Factory with three rolls of film when I remembered that I had nothing to present to Andy. So on the corner I bought a basket of mixed fruit. It was presented to Andy by Ivy Nicholson&rsquo;s little son.<br /><br />A FEW NOTES ON ANDY&rsquo;S FACTORY<br />1999, 64 min, digital<br />The video traces the history of the Factory, describes the activities that took place in it, and the historical context. Actual locations are shown and discussed.<br /><br />Total running time: ca. 80 min.<br /><br /><br /></p> Thursday, January 30 EC: TRIUMPH OF THE WILL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2020#showing-51888 <p>(TRIUMPH DES WILLENS)<br /><br />&ldquo;The official Nazi record of the 1934 Nuremberg Party rally, commissioned by Hitler and directed by Leni Riefenstahl, [it] is one of the most controversial contributions to film history because of its subject matter &ndash; her insistence that the film is solely a work of art and not propaganda; and the presentation of the subject matter &ndash; the manipulation of reality in this &lsquo;documentary&rsquo; record. The contributions to the art of film this work has to offer are closely tied to the controversies. [It] is a masterpiece of style and editing, which in turn are the very techniques used to manipulate reality and create emotionally effective propaganda.&rdquo; &ndash;Marie Saeli</p> Friday, January 31 HÄXAN - with Black Mass ritual and illustrated lecture by Satanic Temple co-founder Lucien Greaves! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2020#showing-51965 <p><em><strong></strong></em><br />Having previously made a series of short films (including TOWERS OPEN FIRE) with William S. Burroughs, producer, filmmaker, and film distributor Antony Balch teamed up with him once again to create a new version of Benjamin Christensen&rsquo;s extraordinary silent film, H&Auml;XAN. Conceived as a documentary and inspired by the medieval witch-hunting manual, Malleus Maleficarum, H&Auml;XAN is a collage of short vignettes aiming to reframe witchcraft within a darkly comedic, pseudo-scientific analysis of female hysteria and mental illness. Re-editing the film and setting it to a score performed by a jazz group featuring violinist Jean-Luc Ponty, Balch commissioned Burroughs to provide the narration, which he delivered in his inimitable, other-worldly fashion. H&Auml;XAN in any form is a sight to behold, and this rare screening of a 35mm print of Balch and Burroughs&rsquo;s version is not to be missed!<br /><br /><em><strong>PRESENTED ON FRI, JAN 31 BY LUCIEN GREAVES, WHO WILL LEAD A BLACK MASS RITUAL AND DELIVER AN ILLUSTRATED LECTURE BEFORE THE SCREENING!</strong></em><br /><br /><br /></p> Friday, January 31 HAIL SATAN? - intro and brief Q&A with Lucien Greaves on Sat, Feb 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51969 <p><br />When media-savvy members of the Satanic Temple organize a series of public actions designed to advocate for religious freedom and challenge corrupt authority, they prove that with little more than a clever idea, a mischievous sense of humor, and a few rebellious friends, you can speak truth to power in some truly profound ways. Penny Lane&rsquo;s thought-provoking documentary offers a timely look at a group of often misunderstood outsiders whose unwavering commitment to social and political justice has empowered thousands of people around the world.<br /><br /><em><strong>THE SCREENING ON SAT, FEB 1 AT 4:00 WILL BE INTRODUCED BY SATANIC TEMPLE SPOKESMAN AND CO-FOUNDER LUCIEN GREAVES, WHO WILL ALSO STAY FOR A BRIEF Q&amp;A AFTERWARDS!</strong></em><br /><br /><br /></p> Saturday, February 01 EC: O’NEILL / RICHTER / SHARITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52030 <p>Pat O&rsquo;Neill<br />SAUGUS SERIES (1974, 19 min, 16mm)&nbsp;<strong><span>New print!</span></strong><br />SAUGUS SERIES is actually seven short films, one-and-a-half to six minutes long, united by a common soundtrack. Each is an evolving &ldquo;still life&rdquo; made up of meticulously assembled but spatially contradictory elements.<br /><br />Hans Richter<br />RHYTHMUS 21 (1921, 3 min, 35mm, b&amp;w, silent)<br />&ldquo;Its content is essentially rhythm, the formal vocabulary is elemental geometry, and the structural principle is counterpoint of contrasting opposites.&rdquo; &ndash;Standish Lawder<br /><br />TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm, b&amp;w)<br />Produced as a commercial for a German illustrated magazine, this film is an experiment with visual rhymes.<br /><br />EVERYTHING REVOLVES, EVERYTHING TURNS / ALLES DREHT SICH, ALLES BEWEGT SICH (1929, 9 min, 16mm, b&amp;w)<br />&ldquo;Richter&rsquo;s unique and fascinating view of magic and cruelty in a carnival side-show.&rdquo; &ndash;Cecile Starr<br /><br />Paul Sharits<br />N:O:T:H:I:N:G<br />(1968, 36 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.)<br />&ldquo;Based in part on the Tibetan Mandala of the Five Dhyani Buddhas/a journey toward the center of pure consciousness (Dharma-Dhatu Wisdom)/space and motion generated rather than illustrated/time-color energy create virtual shape/in negative time, growth is inverse decay.&rdquo; &ndash;Paul Sharits<br /><br />T,O,U,C,H,I,N,G (1969, 12 min, 16mm. Preserved by Anthology Film Archives.)<br />&ldquo;Starring poet David Franks whose voice appears on the soundtrack/an uncutting and unscratching mandala.&rdquo; &ndash;Paul Sharits<br /><br />Total running time: ca. 85 min.</p> Saturday, February 01 THE SEVENTH VICTIM - intro by Jon Dieringer on Sat, Feb 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51972 <p><br />Produced by the legendary Val Lewton, Mark Robson&rsquo;s subversive directorial debut stars Kim Hunter (also in her first onscreen role) as a young woman in search of her older sister Jacqueline (Jean Brooks), who&rsquo;s gone missing in Greenwich Village. As it&rsquo;s discovered that Jacqueline has fallen into the hands of a Satanic cult, a series of encounters with various characters on her path showcase moments of feminist resistance at a time when women were represented largely as objects of desire, while weaving in unacknowledged but notable allusions to queerness.<br /><br />&ldquo;THE SEVENTH VICTIM is a vicious little masterpiece of self-annihilation, where society is more damning than the Satanists. [&hellip;] The Satanism is merely a diversion, a red herring, from the real drama: that lesbianism is not socially acceptable.&rdquo; &ndash;Paul Duncan, TASCHEN<br /><br /><em><strong>INTRODUCED BY JON DIERINGER, FOUNDER AND EDITOR OF SCREEN SLATE, ON SAT, FEB 1!</strong></em><br /><br /><br /></p> Saturday, February 01 EC: PAUL SHARITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52031 <p>S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED<br />(1968-70, 41 min, 16mm. Preserved by Anthology Film Archives.)<br />&ldquo;Yes, S:S:S:S:S:S is beautiful. The successive scratchings of the stream-image film is very powerful vandalism. The film is a very complete organism with all the possible levels really recognized.&rdquo; &ndash;Michael Snow<br /><br />COLOR SOUND FRAMES<br />(1974, 26 min, 16mm. Preserved by Anthology Film Archives.)<br />&ldquo;A film in which Sharits sums up his researches in the area of film strip (in opposition to the individual frames). The film strips move horizontally and vertically; two strips move simultaneously in opposite directions; variations in color; action of sprocket-holes. Very methodically and scientifically he covers the area. [&hellip;] COLOR SOUND FRAMES advances one area of cinema or one area of researches in cinema (call it art if you wish) to a new climax, to a new peak: his exploration is so total, so perfect.&rdquo; &ndash;Jonas Mekas, VILLAGE VOICE<br /><br />Total running time: ca. 70 min.</p> Saturday, February 01 THE BLACK CAT - intro by Jon Dieringer on Sat, Feb 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51976 <p>With Boris Karloff, Bela Lugosi, and David Manners.<br /><br />Ulmer&rsquo;s short-lived career at Universal began and ended with his spectacularly defiant entry to the studio&rsquo;s horror cycle. With Papa Laemmle away on vacation, and Junior&rsquo;s trusting hand on the till, the mischievous filmmaker packed his picture with retro-expressionist visuals (&ldquo;From Caligari to Hitler in one lurid package,&rdquo; as J. Hoberman quipped) and a haunting classical score; he also ran off with the wife of Laemmle&rsquo;s beloved nephew, script supervisor Shirley Kassler.<br /><br />&ldquo;With Bela Lugosi and Boris Karloff in leading roles &ndash; the first of seven pictures in which they would star opposite each other &ndash; the film represents the rich interplay between European cinema and Hollywood camp, between the undigested horrors of war and their psychosexual counterparts, between reflections of exile and those at home.&rdquo; &ndash;Noah Isenberg<br /><br /><em><strong>INTRODUCED BY JON DIERINGER, FOUNDER AND EDITOR OF SCREEN SLATE, ON SAT, FEB 1!</strong></em><br /><br /><br /></p> Saturday, February 01 L’INFERNO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51980 <p><br />It seems impossible to begin any exploration of Satanism without conjuring the imagery described in Dante Alighieri&rsquo;s INFERNO. The first feature-length film produced in Italy (and one of the very first to appear anywhere), L&rsquo;INFERNO is a faithful adaptation of the epic poem, setting the stage with elaborate scenes of eternal suffering throughout the many circles of Hell. Inspired in part by the illustrations of Gustave Dor&eacute;, it stays true to Dante&rsquo;s philosophical and conversational tone amidst moments of profound technical achievement and grandeur.<br /><br />Preceded by:<br />Nick Grind&eacute; THE DEVIL&rsquo;S CABARET (1930, 16 min, 35mm-to-digital)<br />A seldom-seen piece of thinly-veiled satire about the supposed evils of jazz music, THE DEVIL&rsquo;S CABARET follows the business concerns of the Devil, who, upset because Heaven is getting all the clients, gives his assistant, Mr. Burns, the task of drawing more people into his domain. In front of a nightclub, Mr. Burns invites passersby to come inside to &ldquo;The Devil&rsquo;s Cabaret,&rdquo; where they jitterbug straight to the underworld.<br /><br /><br /></p> Sunday, February 02 EC: RUTTMANN / STAUFFACHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52033 <p><br />Karl Freund, Carl Mayer &amp; Walter Ruttmann<br />BERLIN, SYMPHONY OF A CITY / BERLIN, DIE SYMPHONIE DER GROSSTADT<br />1927, 65 min, 16mm, silent. Archival print courtesy of the UCLA Film &amp; Television Archive.<br />Ruttmann and company&rsquo;s seminal, groundbreaking film is a valentine to the &lsquo;new&rsquo; Berlin of the late 1920s. Beginning at dawn and ending after midnight, it shows Berliners hard at work by day and possessed by the city&rsquo;s thriving nightlife. Essentially a feature-length montage, the film was heavily influenced by Soviet documentary experiments like Dziga Vertov&rsquo;s KINO-PRAVDA and was itself very influential in fostering the &lsquo;city symphony&rsquo; genre and other documentary hybrid styles to come.<br /><br />Frank Stauffacher SAUSALITO (1948, 10 min, 16mm)<br />&ldquo;This film is part &lsquo;city symphony&rsquo; and part &lsquo;outtakes for an experimental film.&rsquo; Sausalito is the picturesque waterfront town across the Golden Gate Bridge from San Francisco. Stauffacher experiments with slow motion, split screens, and superimposition, all of which are lightened by a constant thread of whimsicality and wit.&rdquo; &ndash;MUSEUM OF MODERN ART<br /><br />Total running time: ca. 80 min.<br /><br /><br /></p> Sunday, February 02 RAPSODIA SATANICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51983 <p><br />Nino Oxilia&rsquo;s moody, dreamlike penultimate feature puts a feminine spin on Goethe&rsquo;s FAUST, as the ageing Alba d&rsquo;Oltrevita (Lyda Borelli) makes a pact with Mephistopheles to regain her youth in exchange for never falling in love again.<br /><br />&ldquo;In deference to the Gesamtkunstwerk of Wagnerian fame, the film condenses pictorial quotations that range from Symbolism to the Pre-Raphaelites, literary references to the Faust tradition and Dannunzian decadence, spectacular architectural allusions to art nouveau, all embellished with original music by Pietro Mascagni. RAPSODIA SATANICA, however, was not only a sophisticated and aesthetic compendium of the best artistic movements: it&rsquo;s a film in a league of its own with Nino Oxilia&rsquo;s poetic sensitivity and compositional expertise and Lyda Borelli&rsquo;s extraordinary performance. She expresses with her body and eyes the controversial aspects of her character, distilling the sensuality of eroticism, the raving hysteria of madness, the dark mood of death.&rdquo; &ndash;Giovanni Lasi<br /><br />Preceded by:<br />Segundo de Chom&oacute;n &amp; Ferdinand Zecca THE RED SPECTRE / LE SPECTRE ROUGE (1907, 9 min, 35mm-to-digital, silent)<br />Often compared to Georges M&eacute;li&egrave;s, Segundo de Chom&oacute;n was a pioneer of early &ldquo;trick films&rdquo; that showcased his talent for sophisticated animation techniques and stenciled color. One of his best-known titles, THE RED SPECTRE showcases a series of spectacles performed against a hellish landscape by a Luciferian magician as a competition ensues with an unexpected and equally devilish heroine (one which suspiciously brings to mind his cinematic rivalry with M&eacute;li&egrave;s).<br /><br /><br /></p> Sunday, February 02 MEMORIES OF FRANKENSTEIN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51921 <p><br />Jerome Hill had a little outdoor theater on the shore of the Mediterranean. Usually he brought over some musicians, like the Julliard Quartet. But in 1966 he persuaded the city of Cassis to cosponsor &ndash; he sponsored part of it himself &ndash; the Living Theatre&rsquo;s production of &ldquo;Frankenstein.&rdquo; A special theater was built outdoors for the performance. Jerome wanted somebody to record the event; I agreed to help him. I filmed &ldquo;Frankenstein&rdquo; &ndash; a spectacular piece of theatre that to me remains the greatest theatre experience of my life. But the results of my filming were so far from the actual experience that I put the footage away intending to never release it. I don&rsquo;t think it works as film. However, today, seeing how little documentation there remains from the Sixties&rsquo; theater, I have decided to release it. I have to stress, that these are only fragments of the actual 4-hour production, that&rsquo;s why the title MEMORIES OF FRANKENSTEIN.<br /><br /></p> Sunday, February 02 THE SORROWS OF SATAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51986 <p><br />&ldquo;This story of Satan&rsquo;s role in human affairs following his expulsion from heaven gave Griffith the opportunity to [experiment with] some special effects. The nightclub sequences, including erotic dances, were lavishly produced but much cut in the final version, which was not prepared by Griffith. The tender love scenes in the shabby rooming house where the young couple live and work in opposite rooms are more typical of Griffith&rsquo;s work. Adolphe Menjou, then at the height of his career, gives a suave and sophisticated performance as Satan. In the final sequence, Griffith suggests his evil nature by showing just the shadow of a monster devil, its awful reality seen only by the hero&rsquo;s eyes.&rdquo; &ndash;MoMA<br /><br /><br /></p> Sunday, February 02 THE SEVENTH VICTIM - intro by Jon Dieringer on Sat, Feb 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51973 <p><br />Produced by the legendary Val Lewton, Mark Robson&rsquo;s subversive directorial debut stars Kim Hunter (also in her first onscreen role) as a young woman in search of her older sister Jacqueline (Jean Brooks), who&rsquo;s gone missing in Greenwich Village. As it&rsquo;s discovered that Jacqueline has fallen into the hands of a Satanic cult, a series of encounters with various characters on her path showcase moments of feminist resistance at a time when women were represented largely as objects of desire, while weaving in unacknowledged but notable allusions to queerness.<br /><br />&ldquo;THE SEVENTH VICTIM is a vicious little masterpiece of self-annihilation, where society is more damning than the Satanists. [&hellip;] The Satanism is merely a diversion, a red herring, from the real drama: that lesbianism is not socially acceptable.&rdquo; &ndash;Paul Duncan, TASCHEN<br /><br /><em><strong>INTRODUCED BY JON DIERINGER, FOUNDER AND EDITOR OF SCREEN SLATE, ON SAT, FEB 1!</strong></em><br /><br /><br /></p> Monday, February 03 HÄXAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51967 <p><br />Having previously made a series of short films (including TOWERS OPEN FIRE) with William S. Burroughs, producer, filmmaker, and film distributor Antony Balch teamed up with him once again to create a new version of Benjamin Christensen&rsquo;s extraordinary silent film, H&Auml;XAN. Conceived as a documentary and inspired by the medieval witch-hunting manual, Malleus Maleficarum, H&Auml;XAN is a collage of short vignettes aiming to reframe witchcraft within a darkly comedic, pseudo-scientific analysis of female hysteria and mental illness. Re-editing the film and setting it to a score performed by a jazz group featuring violinist Jean-Luc Ponty, Balch commissioned Burroughs to provide the narration, which he delivered in his inimitable, other-worldly fashion. H&Auml;XAN in any form is a sight to behold, and this rare screening of a 35mm print of Balch and Burroughs&rsquo;s version is not to be missed!<br /><br /><br /></p> Monday, February 03 THE SORROWS OF SATAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51987 <p><br />&ldquo;This story of Satan&rsquo;s role in human affairs following his expulsion from heaven gave Griffith the opportunity to [experiment with] some special effects. The nightclub sequences, including erotic dances, were lavishly produced but much cut in the final version, which was not prepared by Griffith. The tender love scenes in the shabby rooming house where the young couple live and work in opposite rooms are more typical of Griffith&rsquo;s work. Adolphe Menjou, then at the height of his career, gives a suave and sophisticated performance as Satan. In the final sequence, Griffith suggests his evil nature by showing just the shadow of a monster devil, its awful reality seen only by the hero&rsquo;s eyes.&rdquo; &ndash;MoMA<br /><br /><br /></p> Tuesday, February 04 JONAS MEKAS: STREET/RITUAL MUSIC PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51923 <p><br />NOTES ON THE CIRCUS <br />1966, 12 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />When I filmed the Circus, I was interested in certain details, certain movements, certain colors. We don&rsquo;t see much of how certain tricks are being performed. I didn&rsquo;t go into that, that didn&rsquo;t interest me. The drive was towards the color and motion. But then, it is closely connected with the instrument that one is working with. The camera is, really in a sense, very much like a brush to a painter, it is as complete an extension of your hand.<br /><br />HARE KRISHNA <br />1966, 4 min, 16mm<br />One Sunday afternoon in New York &ndash; beautiful new generation &ndash; dancing in the streets of New York &ndash; singing &lsquo;Hare Hare&rsquo; &ndash; filling the streets and the air with love &ndash; in the very beginning of the New Age &ndash; Allen Ginsberg and Peter Orlovsky (on soundtrack) singing.<br /><br />MOB OF ANGELS: A BAPTISM<br />1990, 61 min, digital<br />One uninterrupted take. I videotape a baptism of a child by a member of a drumming group that calls itself The Mob of Angels. It&rsquo;s a group of women playing frame drums in the ancient Mediterranean tradition of sacramental rhythms. The tape begins in the street. I walk into the place where the baptism is taking place, I tape it, then I walk out again into the New York night street. In between, I tell some stories, I talk about life and eternity. I made this video for a French TV project of One Take Videos, however I didn&rsquo;t like it enough to submit it for the broadcast. But now I like it a lot.<br /><br />MOZART &amp; WIEN AND ELVIS <br />2000, 3 min, 16mm<br />The film shows Wien (Vienna), and Elvis Presley during his last performance in New York at Madison Square Garden, June 9, 1972. Made to open the 2001 Viennale Film Festival in Vienna.<br /><br />Total running time: ca. 85 min.<br /><br /></p> Tuesday, February 04 THE BLACK CAT - intro by Jon Dieringer on Sat, Feb 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51977 <p>With Boris Karloff, Bela Lugosi, and David Manners.<br /><br />Ulmer&rsquo;s short-lived career at Universal began and ended with his spectacularly defiant entry to the studio&rsquo;s horror cycle. With Papa Laemmle away on vacation, and Junior&rsquo;s trusting hand on the till, the mischievous filmmaker packed his picture with retro-expressionist visuals (&ldquo;From Caligari to Hitler in one lurid package,&rdquo; as J. Hoberman quipped) and a haunting classical score; he also ran off with the wife of Laemmle&rsquo;s beloved nephew, script supervisor Shirley Kassler.<br /><br />&ldquo;With Bela Lugosi and Boris Karloff in leading roles &ndash; the first of seven pictures in which they would star opposite each other &ndash; the film represents the rich interplay between European cinema and Hollywood camp, between the undigested horrors of war and their psychosexual counterparts, between reflections of exile and those at home.&rdquo; &ndash;Noah Isenberg<br /><br /><em><strong>INTRODUCED BY JON DIERINGER, FOUNDER AND EDITOR OF SCREEN SLATE, ON SAT, FEB 1!</strong></em><br /><br /><br /></p> Tuesday, February 04 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51947 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, February 05 THE SEVENTH VICTIM - intro by Jon Dieringer on Sat, Feb 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51974 <p><br />Produced by the legendary Val Lewton, Mark Robson&rsquo;s subversive directorial debut stars Kim Hunter (also in her first onscreen role) as a young woman in search of her older sister Jacqueline (Jean Brooks), who&rsquo;s gone missing in Greenwich Village. As it&rsquo;s discovered that Jacqueline has fallen into the hands of a Satanic cult, a series of encounters with various characters on her path showcase moments of feminist resistance at a time when women were represented largely as objects of desire, while weaving in unacknowledged but notable allusions to queerness.<br /><br />&ldquo;THE SEVENTH VICTIM is a vicious little masterpiece of self-annihilation, where society is more damning than the Satanists. [&hellip;] The Satanism is merely a diversion, a red herring, from the real drama: that lesbianism is not socially acceptable.&rdquo; &ndash;Paul Duncan, TASCHEN<br /><br /><em><strong>INTRODUCED BY JON DIERINGER, FOUNDER AND EDITOR OF SCREEN SLATE, ON SAT, FEB 1!</strong></em><br /><br /><br /></p> Wednesday, February 05 RAPSODIA SATANICA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51984 <p><br />Nino Oxilia&rsquo;s moody, dreamlike penultimate feature puts a feminine spin on Goethe&rsquo;s FAUST, as the ageing Alba d&rsquo;Oltrevita (Lyda Borelli) makes a pact with Mephistopheles to regain her youth in exchange for never falling in love again.<br /><br />&ldquo;In deference to the Gesamtkunstwerk of Wagnerian fame, the film condenses pictorial quotations that range from Symbolism to the Pre-Raphaelites, literary references to the Faust tradition and Dannunzian decadence, spectacular architectural allusions to art nouveau, all embellished with original music by Pietro Mascagni. RAPSODIA SATANICA, however, was not only a sophisticated and aesthetic compendium of the best artistic movements: it&rsquo;s a film in a league of its own with Nino Oxilia&rsquo;s poetic sensitivity and compositional expertise and Lyda Borelli&rsquo;s extraordinary performance. She expresses with her body and eyes the controversial aspects of her character, distilling the sensuality of eroticism, the raving hysteria of madness, the dark mood of death.&rdquo; &ndash;Giovanni Lasi<br /><br />Preceded by:<br />Segundo de Chom&oacute;n &amp; Ferdinand Zecca THE RED SPECTRE / LE SPECTRE ROUGE (1907, 9 min, 35mm-to-digital, silent)<br />Often compared to Georges M&eacute;li&egrave;s, Segundo de Chom&oacute;n was a pioneer of early &ldquo;trick films&rdquo; that showcased his talent for sophisticated animation techniques and stenciled color. One of his best-known titles, THE RED SPECTRE showcases a series of spectacles performed against a hellish landscape by a Luciferian magician as a competition ensues with an unexpected and equally devilish heroine (one which suspiciously brings to mind his cinematic rivalry with M&eacute;li&egrave;s).<br /><br /><br /></p> Wednesday, February 05 L’INFERNO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51981 <p><br />It seems impossible to begin any exploration of Satanism without conjuring the imagery described in Dante Alighieri&rsquo;s INFERNO. The first feature-length film produced in Italy (and one of the very first to appear anywhere), L&rsquo;INFERNO is a faithful adaptation of the epic poem, setting the stage with elaborate scenes of eternal suffering throughout the many circles of Hell. Inspired in part by the illustrations of Gustave Dor&eacute;, it stays true to Dante&rsquo;s philosophical and conversational tone amidst moments of profound technical achievement and grandeur.<br /><br />Preceded by:<br />Nick Grind&eacute; THE DEVIL&rsquo;S CABARET (1930, 16 min, 35mm-to-digital)<br />A seldom-seen piece of thinly-veiled satire about the supposed evils of jazz music, THE DEVIL&rsquo;S CABARET follows the business concerns of the Devil, who, upset because Heaven is getting all the clients, gives his assistant, Mr. Burns, the task of drawing more people into his domain. In front of a nightclub, Mr. Burns invites passersby to come inside to &ldquo;The Devil&rsquo;s Cabaret,&rdquo; where they jitterbug straight to the underworld.<br /><br /><br /></p> Thursday, February 06 LAPÜ http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52041 <p><br />&ldquo;When Doris&rsquo;s dead cousin appears to her in a dream, the vision prompts her to embark upon the most important ritual of the Wayuu, an indigenous group living in Colombia&rsquo;s Guajira Desert. To ensure that her cousin may rest in peace, Doris must exhume the bones of the deceased and clean them before burying them a second time. With the support of her mother and grandmother, she sets out on a richly sensorial journey that brings her into close contact with the dead and their world. Together with their protagonist, C&eacute;sar Alejandro Jaimes and Juan Pablo Polanco have crafted a debut film full of haunting images and sounds, with a diaphanous aesthetic that gives form to the unseen. The camera glides smoothly and naturally between different worlds and forms of existence, between day and night, moving back and forth from blazing light to all-enveloping darkness. The filmmakers&rsquo; gentle gaze combines intimacy and distance at the same time. More than the ritual, they are interested in the faces of its participants, across which flicker suspicion, curiosity, and fascination.&rdquo; &ndash;Hanna Keller, BERLINALE FORUM<br /><br /><br /></p> Thursday, February 06 THE BLACK CAT - intro by Jon Dieringer on Sat, Feb 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51978 <p>With Boris Karloff, Bela Lugosi, and David Manners.<br /><br />Ulmer&rsquo;s short-lived career at Universal began and ended with his spectacularly defiant entry to the studio&rsquo;s horror cycle. With Papa Laemmle away on vacation, and Junior&rsquo;s trusting hand on the till, the mischievous filmmaker packed his picture with retro-expressionist visuals (&ldquo;From Caligari to Hitler in one lurid package,&rdquo; as J. Hoberman quipped) and a haunting classical score; he also ran off with the wife of Laemmle&rsquo;s beloved nephew, script supervisor Shirley Kassler.<br /><br />&ldquo;With Bela Lugosi and Boris Karloff in leading roles &ndash; the first of seven pictures in which they would star opposite each other &ndash; the film represents the rich interplay between European cinema and Hollywood camp, between the undigested horrors of war and their psychosexual counterparts, between reflections of exile and those at home.&rdquo; &ndash;Noah Isenberg<br /><br /><em><strong>INTRODUCED BY JON DIERINGER, FOUNDER AND EDITOR OF SCREEN SLATE, ON SAT, FEB 1!</strong></em><br /><br /><br /></p> Thursday, February 06 SECRET RITES - intro by Jacqueline Castel on Fri, Feb 7 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51989 <p><br />While Malcom Leigh&rsquo;s <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2020#showing-52006">LEGEND OF THE WITCHES</a> (1970) may have successfully skirted categorization as purely mondo, SECRET RITES, by sexploitation filmmaker Derek Ford (of GROUPIE GIRL and THE WIFE SWAPPERS fame), makes no such attempt. Like the earlier film, it features the coven of infamous British occultist Alex Sanders, but this intimate depiction of the group focuses closely on the most titillating sequences and spaces of various rituals (and their participants).<br /><br />With:<br />Curtis Harrington THE WORMWOOD STAR (1956, 10 min, 16mm. Restored by the Academy Film Archive.)<br />Harrington&rsquo;s striking portrait of Marjorie Cameron &ndash; artist, occultist, and second wife of Jack Parsons &ndash; showcases her undeniable magnetism as well as her rarely-seen paintings (many of which were destroyed by a gallery fire just after the film&rsquo;s release).<br /><br />Kenneth Anger THE INVOCATION OF MY DEMON BROTHER (1969, 11 min, 16mm)<br />&ldquo;Anger&rsquo;s purest visual achievement&hellip;a conjuration of pagan forces that comes off the screen in a surge of spiritual and mystical power. It has weirdly compelling imagery, with a soundtrack by Mick Jagger on a Moog Synthesizer that has the insistent hallucinatory power of voodoo.&rdquo; &ndash;Richard Whitehall, LOS ANGELES FREE PRESS<br /><br />Total running time: ca. 70 min.<br /><br /><em><strong>ON FRI, FEB 7 THE SCREENING WILL BE INTRODUCED BY FILMMAKER JACQUELINE CASTEL!</strong></em><br /><br /><br /></p> Friday, February 07 MOZART IN LOVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52044 <p>NEW PRESERVATION!<br /><br />&ldquo;MOZART IN LOVE, [Rappaport&rsquo;s] second feature &ndash; in the remarkable string of off-beat, experimental narratives that runs from CASUAL RELATIONS (1974) to CHAIN LETTERS (1985) &ndash; takes off from the deliberate anachronism of using modern props, performance styles and attitudes to evoke the 18th century, romantic entanglements of the young Wolfgang Amadeus Mozart with three sisters, Constanza, Sophie, and Louisa. [&hellip;] To some viewers unfamiliar with [its] historical context MOZART IN LOVE may seem like a communiqu&eacute; from an ancient, distant, quite alien planet. Why such irony, such mockery, such ambivalent love/hate for everything that opera (and romantic cinema, literature or art in general) has bequeathed to us? In the career of Mark Rappaport, the diverse elements and levels &ndash; distaste for realism, love of artifice, and that deconstructive, anti-ideological agenda &ndash; click together with a rare vibrancy and aesthetic coherence. For him, the ideological myths we internalize, the soap operas we live, have to be exposed and satirized &ndash; just as the constructed illusion we call filmic realism has to be relentlessly taken apart at every turn. Fortunately for us, Rappaport has been able to build something solid and lasting upon such shifting sands of political and personal passion. MOZART IN LOVE offers a handy checklist of the many acute, often hilarious games of disenchantment devised by this ever-inventive artist.&rdquo; &ndash;Adrian Martin<br /><br /><br /></p> Friday, February 07 BELLADONNA OF SADNESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51992 <p><br />Inspired by Jules Michelet&rsquo;s 1862 book, LA SORCI&Egrave;RE, a sympathetic feminist history of medieval witchcraft, Eiichi Yamamoto&rsquo;s eroto-psychedelic masterpiece is a far cry from your typical Faustian folk tale. In watercolor-like imagery by artist Kuni Fukai, the heroine Jeanne is driven to make a deal with the devil to take revenge upon the demonic baron who raped her on her wedding night &ndash; a pact that both emboldens her spirit and sends her into a deeply carnal downward spiral. This recent digital restoration of BELLADONNA OF SADNESS gives new life to an animated foray into sexual trauma.<br /><br />&ldquo;The picture&rsquo;s sexual imagery begins with suggestive abstractions that would make Georgia O&rsquo;Keeffe blush, and grows more explicit as Jeanne&rsquo;s ties to dark forces intensify. She trades satanic sexual favors for riches and power, eventually becoming a witch who hosts orgies in the woods and helps commoners survive a plague. Though her magic initially helps the king fund a war, her increasing power will eventually make her his rival.&rdquo; &ndash;John DeFore, HOLLYWOOD REPORTER<br /><br /><br /></p> Friday, February 07 BURN, WITCH, BURN (aka NIGHT OF THE EAGLE) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51995 <p><br />&ldquo;Other than giving NIGHT OF THE EAGLE a more exploitable title here, U.S. distributor AIP didn&rsquo;t make wholesale changes to a film it subcontracted to Anglo-Amalgamated, its UK co-producers. It didn&rsquo;t need to, as co-writers Richard Matheson and Charles Beaumont, with numerous TWILIGHT ZONE scripts under their belts, had brewed a classic tale of witchcraft from Fritz Leiber&rsquo;s novel CONJURE WIFE. Rationalist psychology professor Peter Wyngarde is dismayed to learn that his spouse (musicals performer Janet Blair, in a successful change of pace) is dabbling in the black arts to advance his career. But forcing her to abandon the practice opens the door to more supernatural havoc, as the film makes deft use of the bubbling cauldron of personalities, agendas, and insecurities in academia.&rdquo; &ndash;Robert Cashill<br /><br /><br /></p> Saturday, February 08 CASUAL RELATIONS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52048 <p><br />&ldquo;Mark Rappaport&rsquo;s first feature, made in 1973, has a title resembling that of Manuel DeLanda&rsquo;s INCONTINENCE: A DIARRHETIC FLOW OF MISMATCHES insofar as it points to formal as well as sexual relationships. In fact, CASUAL RELATIONS bears a distinct relationship to such films as Godard&rsquo;s 1 + 1 and Makavejev&rsquo;s WR: MYSTERIES OF THE ORGANISM of the same period, which link together widely different chunks of material almost like beads on a string. Rappaport&rsquo;s example in this genre can be seen as a culmination and summation of his nine preceding shorts, all made between 1966 and 1971. Divided into chapters, CASUAL RELATIONS casually relates love and vampire movies, sound and image, style and obsession, and makes an excellent introduction to Rappaport&rsquo;s glamorously home-made art cinema.&rdquo; &ndash;Jonathan Rosenbaum<br /><br />Preceded by:<br />Mark Rappaport BLUE STREAK (1971, 15 min, 16mm-to-digital)<br /><br /><br /></p> Saturday, February 08 THE DEVIL RIDES OUT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51999 <p><br />Considering the problematic interests and politics of Dennis Wheatley, it&rsquo;s not surprising that THE DEVIL RIDES OUT, Terence Fisher&rsquo;s first of three Wheatley adaptations, features some outright offensive imagery, and that is precisely why it&rsquo;s been included in this series. The tendency to use people of color to punctuate moments of shocking horror is hardly unique to the U.S., as evidenced by the inescapable racism on display in at least one scene of this film featuring a demonic African servant. Thankfully, Richard Matheson&rsquo;s screenplay salvaged what might otherwise be written off as reactionary drivel, and turned it into a genuinely entertaining (and at times hilariously absurd) B-horror film.<br /><br />&ldquo;Matheson sharpens Wheatley&rsquo;s prose to create a frighteningly real world of dark forces at work beneath the genteel surface of the English aristocracy. At a reunion of old friends at a country estate, occult expert the Duc de Richelieu (Christopher Lee) and his well-meaning but impulsive lantern-jawed sidekick Rex (Leon Greene) discover their young comrade Simon (Patrick Mower) has become involved in an &lsquo;astrological society,&rsquo; a thinly-veiled satanic cult led by the charismatic Mocata (Charles Gray).&rdquo; &ndash;Andrew Leavold<br /><br /><br /></p> Saturday, February 08 MOZART IN LOVE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52045 <p>NEW PRESERVATION!<br /><br />&ldquo;MOZART IN LOVE, [Rappaport&rsquo;s] second feature &ndash; in the remarkable string of off-beat, experimental narratives that runs from CASUAL RELATIONS (1974) to CHAIN LETTERS (1985) &ndash; takes off from the deliberate anachronism of using modern props, performance styles and attitudes to evoke the 18th century, romantic entanglements of the young Wolfgang Amadeus Mozart with three sisters, Constanza, Sophie, and Louisa. [&hellip;] To some viewers unfamiliar with [its] historical context MOZART IN LOVE may seem like a communiqu&eacute; from an ancient, distant, quite alien planet. Why such irony, such mockery, such ambivalent love/hate for everything that opera (and romantic cinema, literature or art in general) has bequeathed to us? In the career of Mark Rappaport, the diverse elements and levels &ndash; distaste for realism, love of artifice, and that deconstructive, anti-ideological agenda &ndash; click together with a rare vibrancy and aesthetic coherence. For him, the ideological myths we internalize, the soap operas we live, have to be exposed and satirized &ndash; just as the constructed illusion we call filmic realism has to be relentlessly taken apart at every turn. Fortunately for us, Rappaport has been able to build something solid and lasting upon such shifting sands of political and personal passion. MOZART IN LOVE offers a handy checklist of the many acute, often hilarious games of disenchantment devised by this ever-inventive artist.&rdquo; &ndash;Adrian Martin<br /><br /><br /></p> Saturday, February 08 ROSEMARY’S BABY - intro by author and historian Mitch Horowitz on Sat, Feb 8 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52002 <p><br />Released amidst a cultural moment pregnant with occult fanaticism, ROSEMARY&rsquo;S BABY encapsulates many fears and attitudes that would later influence the Satanic Panic of the 1980s. Tapping into both feminist angst and suburban paranoia, Polanski&rsquo;s gripping adaptation of Ira Levin&rsquo;s best-selling novel blurs the line between gothic horror and psychological thriller as our heroine, Rosemary Woodhouse (Mia Farrow), slowly discovers the secret lives and ulterior motives of the eccentric neighbors to whom she and her struggling actor husband (John Cassavetes) have become so close.<br /><br />&ldquo;Two universal fears run through ROSEMARY&rsquo;S BABY, the fear of pregnancy, particularly as it consumes personality, and the fear of a deformed offspring with all the attendant moral and emotional complications. [&hellip;] By dealing obliquely with these fears, the book and the movie penetrate deeper into the subconscious of the audience.&rdquo; &ndash;Andrew Sarris, VILLAGE VOICE<br /><br /><em><strong>INTRODUCED BY AUTHOR AND HISTORIAN OF THE OCCULT, MITCH HOROWITZ, ON SAT, FEB 8!</strong></em><br /><br /><br /></p> Saturday, February 08 LEGEND OF THE WITCHES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52006 <p>With Alex Sanders, Maxine Sanders, and Penny Beeching.<br /><br />Capturing a series of pagan rites and initiations led by infamous British occultist and founder of Alexandrian Wicca, Alex Sanders, LEGEND OF THE WITCHES outlines the history of witchcraft in the UK and its evolution alongside Christianity. Shot in high-contrast monochrome, the film walks a line between exploitation and documentary (especially considering Leigh&rsquo;s next feature was LADY CHATTERLY VERSUS FANNY HILL, about two brothel madames betting on who has the sexiest girls), but is softened by well-placed pastoral landscapes that become the stage for the subjects&rsquo; activities.<br /><br /><br /></p> Sunday, February 09 LOCAL COLOR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52051 <p><br />&ldquo;A film about eight people whose lives overlap&hellip;in strange and sometimes unexpected configurations. [&hellip;] They inhabit a universe of coincidence and chance, excessive emotionalism and dry irony. Flamboyant melodrama in dreary, desperate lives &ndash; operatic passions ground underfoot by the crushing flatness of daily existence. It is melodrama stripped bare, drained of the heavy breathing we associate with soap opera. [&hellip;] In a sense, the movie is the plot and the plot is the movie. Except that the plot is irrelevant. Suffice it to say, there is enough of it to choke a horse&hellip;.&rdquo; &ndash;Mark Rappaport<br /><br />&ldquo;A strange and wonderful movie, a fusion of black-and-white photography, starkly simple confrontations within a group of eight people, and a plot worthy of MARY HARTMAN, MARY HARTMAN. [&hellip;] If you want to see something absolutely original, and consistent within its own fantasies, and haunting, and starkly beautiful, give it a try.&rdquo; &ndash;Roger Ebert, CHICAGO SUN TIMES<br /><br /><br /></p> Sunday, February 09 RACE WITH THE DEVIL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52009 <p><br />Motorcycle-shop proprietor Warren Oates and his biker best buddy Peter Fonda, alongside their wives, make the terrible mistake of breaking in their brand-new motor home with a vacation in rural Texas. But the trip immediately goes horribly awry when the secluded spot they pick for their first night turns out to be a dagger&rsquo;s throw from the site of a Satanic ritual, complete with human sacrifice. Though they manage to make a temporary escape and report the goings-on to the local sheriff and his deputies, they soon discover that this particular county of Texas is more Satanic Belt than Sun Belt. The strangest thing about RACE WITH THE DEVIL &ndash; even more so than its status as a bizarre crossbreed between a backroads chase film and ROSEMARY&rsquo;S BABY &ndash; is that speed-demons Oates and Fonda&rsquo;s motorcycles remain securely stowed to the back of their motor home from beginning to end, with the luxuriously-equipped but unwieldy motor home becoming as much of a protagonist as either of the film&rsquo;s stars.<br /><br /><br /></p> Sunday, February 09 THE SCENIC ROUTE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52054 <p><br />&ldquo;Described by its maker as &lsquo;a film about the Madame Bovary in all of us,&rsquo; THE SCENIC ROUTE presents a closed set of emotional relationships, incestuously interwoven: two sisters and a man who is first the lover of one and then of the other. Self-deluding romantics, they see &lsquo;mythic landscapes, places where you could live out heroic passions.&rsquo; In the end, the elder sister&hellip;realizes she&rsquo;s moving beyond the scenic (voyeuristic) route of these affairs. The standard elements of melodrama (love, jealousy, revenge) are abundantly present. But it&rsquo;s a very dry melodrama, achieved by undercutting the characters&rsquo; mythic inner life with the banality of their everyday existence. [&hellip;] Wildly inventive, refreshing, and alert, [it] looks, feels, and sounds like no other movie.&rdquo; &ndash;Gene Youngblood<br /><br /><br /></p> Sunday, February 09 BELLADONNA OF SADNESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51993 <p><br />Inspired by Jules Michelet&rsquo;s 1862 book, LA SORCI&Egrave;RE, a sympathetic feminist history of medieval witchcraft, Eiichi Yamamoto&rsquo;s eroto-psychedelic masterpiece is a far cry from your typical Faustian folk tale. In watercolor-like imagery by artist Kuni Fukai, the heroine Jeanne is driven to make a deal with the devil to take revenge upon the demonic baron who raped her on her wedding night &ndash; a pact that both emboldens her spirit and sends her into a deeply carnal downward spiral. This recent digital restoration of BELLADONNA OF SADNESS gives new life to an animated foray into sexual trauma.<br /><br />&ldquo;The picture&rsquo;s sexual imagery begins with suggestive abstractions that would make Georgia O&rsquo;Keeffe blush, and grows more explicit as Jeanne&rsquo;s ties to dark forces intensify. She trades satanic sexual favors for riches and power, eventually becoming a witch who hosts orgies in the woods and helps commoners survive a plague. Though her magic initially helps the king fund a war, her increasing power will eventually make her his rival.&rdquo; &ndash;John DeFore, HOLLYWOOD REPORTER<br /><br /><br /></p> Sunday, February 09 BURN, WITCH, BURN (aka NIGHT OF THE EAGLE) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-51996 <p><br />&ldquo;Other than giving NIGHT OF THE EAGLE a more exploitable title here, U.S. distributor AIP didn&rsquo;t make wholesale changes to a film it subcontracted to Anglo-Amalgamated, its UK co-producers. It didn&rsquo;t need to, as co-writers Richard Matheson and Charles Beaumont, with numerous TWILIGHT ZONE scripts under their belts, had brewed a classic tale of witchcraft from Fritz Leiber&rsquo;s novel CONJURE WIFE. Rationalist psychology professor Peter Wyngarde is dismayed to learn that his spouse (musicals performer Janet Blair, in a successful change of pace) is dabbling in the black arts to advance his career. But forcing her to abandon the practice opens the door to more supernatural havoc, as the film makes deft use of the bubbling cauldron of personalities, agendas, and insecurities in academia.&rdquo; &ndash;Robert Cashill<br /><br /><br /></p> Monday, February 10 IMPOSTORS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52057 <p>With Charles Ludlam.<br /><br />&ldquo;A strange, obsessive, darkly funny film that Rappaport has described as &lsquo;an unholy union between THE MALTESE FALCON and REMEMBRANCE OF THINGS PAST&rsquo; &ndash; although that overlooks the obvious references to Cole Porter, Boris Karloff, Jean Cocteau and the Three Stooges. Sinister, silly, and sometimes murderous twins named Chuckie and Mikey track down an Egyptian treasure while performing a magic act with their assistant, Tina. She is romanced by Peter, a soulfully glum young man who is bothered by, among other things, Tina&rsquo;s apparent yen for Gina, her former partner in what Chuckie euphemistically calls &lsquo;a tumbling act.&rsquo; [&hellip;] [A] sober meditation on false and true love and the ways in which fictions of romance (particularly Hollywood&rsquo;s fictions) permeate our lives.&rdquo; &ndash;Gene Siskel, CHICAGO TRIBUNE<br /><br /><br /></p> Monday, February 10 THE DEVIL RIDES OUT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2020#showing-52000 <p><br />Considering the problematic interests and politics of Dennis Wheatley, it&rsquo;s not surprising that THE DEVIL RIDES OUT, Terence Fisher&rsquo;s first of three Wheatley adaptations, features some outright offensive imagery, and that is precisely why it&rsquo;s been included in this series. The tendency to use people of color to punctuate moments of shocking horror is hardly unique to the U.S., as evidenced by the inescapable racism on display in at least one scene of this film featuring a demonic African servant. Thankfully, Richard Matheson&rsquo;s screenplay salvaged what might otherwise be written off as reactionary drivel, and turned it into a genuinely entertaining (and at times hilariously absurd) B-horror film.<br /><br />&ldquo;Matheson sharpens Wheatley&rsquo;s prose to create a frighteningly real world of dark forces at work beneath the genteel surface of the English aristocracy. At a reunion of old friends at a country estate, occult expert the Duc de Richelieu (Christopher Lee) and his well-meaning but impulsive lantern-jawed sidekick Rex (Leon Greene) discover their young comrade Simon (Patrick Mower) has become involved in an &lsquo;astrological society,&rsquo; a thinly-veiled satanic cult led by the charismatic Mocata (Charles Gray).&rdquo; &ndash;Andrew Leavold<br /><br /><br /></p> Monday, February 10