https://www.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 Thu, 18 Dec 2025 14:01:51 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60416 <p>“Paul and Mary Bland (Paul Bartel and Mary Woronov), a married couple stuck in the 1950s who sleep in twin beds, hit upon a scheme to murder classified-ad swingers in order to put a down payment on the upscale country restaurant of their dreams. Their plan is discovered by a Chicano thief (Robert Beltran), who not only wants in, but wants Mary – and wants Paul out of the way, permanently. Bartel’s exploration of race and class in Los Angeles is told in cartoon-like tones, echoing his roots in animation. Bartel’s most acclaimed film, it set the bar for his sophisticated, subversive, eccentric comic vision of American society.” –David Savage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60387 <p>“Original 1905 film shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.” –Ken Jacobs<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a></p> Friday, December 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60412 <p>“As new principal Miss Togar (Mary Woronov) says, ‘The minute there’s not a teacher in the room the entire school erupts into a shameless display of adolescent abandon!’ Initially conceived by Roger Corman as DISCO HIGH SCHOOL, Alan Arkush rejiggered the project for the Ramones, who wrote ‘Rock ‘n’ Roll High School’ and ‘I Want You Around’ for the soundtrack. (Dee Dee complained that Arkush made them look ‘like Martians.’)” –Rachel Churner<br /><br />“Underneath its chipper, anything-for-a-laugh grin, ROCK ‘N’ ROLL is as subversive as teen movies get, with an ending that, for all its absurdity, is still surprisingly shocking. It’s hard to imagine a similar conclusion being shot today.” –Zack Handlen, THE ONION<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60395 <p>Woronov’s performing career was born in Warhol’s Factory. Becoming an integral part of the Factory scene and of Warhol’s group of “superstars” in 1966, Woronov appeared onstage as part of the Exploding Plastic Inevitable show, and on screen in several of Warhol’s “Screen Tests” and numerous of his films, including THE CHELSEA GIRLS, HEDY, RICHARD AND MARY, and others. KISS THE BOOT documents the “whip dance” that she and Gerard Malanga performed as part of EPI, while HEDY presents the adventures of Hedy Lamarr, as she receives a face-lift, is arrested for shoplifting, and goes on trial to face the accusations of her five former husbands. Mario Montez gives one of his most outstanding performances in the title role and the Velvet Underground contributes a live score, while Woronov makes a memorable appearance as the policewoman who apprehends the sticky-fingered Hedy. This program also includes the short film she made in this period with Warhol’s assistant and collaborator, Gerard Malanga: MARY FOR MARY (1966).<br /><br />Andy Warhol<br />HEDY<br />1966, 66 min, 16mm-to-DCP. Digital restoration courtesy of The Andy Warhol Museum.<br /><br />Preceded by:<br />Andy Warhol KISS THE BOOT (1966, 4 min, 16mm-to-DCP, silent. Digital restoration courtesy of The Andy Warhol Museum.)<br />Gerard Malanga MARY FOR MARY (1966, 16 min, 16mm-to-DCP)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60388 <p>Ian Hugo<br />BELLS OF ATLANTIS<br />(1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.)<br />A film poem, based on Anaïs Nin’s HOUSE OF INCEST, narrated by and featuring Nin.<br />“[BELLS OF ATLANTIS was] inspired by the prologue to my HOUSE OF INCEST and the line: ‘I remember my first birth in water.’ The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea.” –Anaïs Nin<br /><br />Ken Jacobs<br />LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)<br />“Material was cut in as it came out of the camera, embarrassing moments intact. 100’ 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.” –Ken Jacobs<br /><br />Helen Levitt, Janice Loeb, and James Agee<br />IN THE STREET (1952, 12 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />“Informality is indeed the crucial and virtually definitive quality of IN THE STREET; it is even the guiding principle and vision. […] This is the extreme realization of a classic ‘naturalistic’ genre, the German ‘street film,’ where the street was imaged as the arena of the everyday and random, the channel in which the ‘stream of life’ conveniently became microcosmic.” –Ken Kelman, THE ESSENTIAL CINEMA<br /><br />Willard Maas<br />GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.)<br />“The terrors and splendors of the human body as the undiscovered, mysterious continent.” –Willard Maas<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, December 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60424 <p>With Jacqueline Bisset, Ray Sharkey, Mary Woronov, Robert Beltran, Ed Begley Jr., Wallace Shawn, Paul Bartel, and Paul Mazursky.<br /><br />“Written with LA novelist-screenwriter Bruce Wagner, SCENES is Bartel’s answer to the bed-hopping French farce, updated for the age of DYNASTY and LIFESTYLES OF THE RICH AND FAMOUS. Jacqueline Bisset stars as Clare, a TV actress with a career stuck in re-runs and a freshly buried husband who died of auto-erotic strangulation. Her next-door neighbor, Lisabeth (Mary Woronov) is recently divorced. The two women decide that what they need most at this moment in their lives is to sleep with each other’s manservants (Ray Sharkey and Robert Beltran), who, meanwhile, have made a sexual wager of their own. Complicating matters is the sudden appearance of Lisabeth’s brother (Ed Begley, Jr.) who shows up with a new bride, To-Bel von Cartier (Arnetia Walker).” –David Savage<br /><br />“At its best, SCENES FROM THE CLASS STRUGGLE plays like a cross between Buñuel and the Marx Brothers.” –Jay Carr, BOSTON GLOBE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60389 <p>DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w)<br />HAMFAT ASAR (1965, 13 min, 16mm, b&w)<br />GYMNOPEDIES (1968, 6 min, 16mm)<br />THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&w. Preserved by Anthology Film Archives.)<br />OUR LADY OF THE SPHERE (1968, 9 min, 35mm)<br />“With a taste for nostalgic romanticism…Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.” –Jackie Leger<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, December 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60399 <p>In SILENT NIGHT, BLOODY NIGHT, a man arrives in a small town in order to sell his family mansion – a former insane asylum – only to find it occupied by an axe-wielding madman bent on revenge against the town elders. Co-produced by Lloyd Kaufman (just two years before he would launch Troma Entertainment), featuring legendary character actor John Carradine, and marking Woronov’s second collaboration with her then-husband Theodore Gershuny, SILENT NIGHT, BLOODY NIGHT is a slasher film that plays like an underground, art cinema take on the genre. And no wonder, given the involvement of Gershuny (whose first film was the 1966 experimental short AMERICAN ROULETTE) and Woronov, who were presumably responsible for casting half of the bit parts with their Warhol Factory associates, including Candy Darling, Ondine, Tally Brown, and Jack Smith!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60402 <p>Andy Warhol<br />QUEEN OF CHINA (HANOI HANNA)<br />1966, 66 min, 16mm-to-digital. Scenario by Ronald Tavel. With Mary Woronov, Susan Bottomly, Angelina “Pepper” Davis, and Ingrid Superstar. Digital restoration courtesy of The Andy Warhol Museum.<br />“QUEEN OF CHINA (HANOI HANNA) – which was incorporated into Warhol’s hugely successful, three-hour-plus, two-screen film, THE CHELSEA GIRLS – based on Ronald Tavel’s scenario, loosely refers to the real-life radio show host who broadcast antiwar propaganda to American soldiers in Vietnam. It is Mary Woronov’s showcase piece, in which she metes out physical and psychological abuse to Susan Bottomly, Angelina ‘Pepper’ Davis, and Ingrid Superstar in a room at the Chelsea Hotel. At first, the cast tries to accurately adhere to Tavel’s scenario, but by reel two it all falls apart—the performers begin to use their real names and exhibit a sort of residual stress disorder that permeates the rest of the film.” –MUSEUM OF MODERN ART<br /><br />Preceded by:<br />Andy Warhol MARY WORONOV SCREEN TEST (ST357) (1966, 4 min, 16mm-to-DCP, silent. Digital restoration courtesy of The Andy Warhol Museum.)<br /><br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: MARY WORONOV (2009-2011, 4 min, digital)<br /><br />[Documentation of John Vaccaro’s “Conquest of the Universe”] (ca. 1967, ca. 15 min, 16mm-to-DCP, silent)<br /><br />Total running time: ca. 95 min.<br /><br />[<em><strong>Unfortunately, the digital transfer of the “Conquest of the Universe” footage will not be completed in time for the screening on Thurs, Dec 11; it will, however, be included in the second screening on Sun, Dec 21.</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60390 <p>Humphrey Jennings<br />LISTEN TO BRITAIN (1941, 19 min, 35mm)<br />Jennings’s film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds.<br /><br />Dimitri Kirsanoff<br />MÉNILMONTANT (1924-25, 38 min, 35mm, silent)<br />“[T]o a remarkable degree, MÉNILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance’s LA ROUE (1923) and Leon Moussinac’s LE BRASIER ARDENT (1923)…and with Jean Epstein’s COEUR FIDELE (1923)…any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff’s achievement.” –P. Adams Sitney, THE CINEMA OF POETRY<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, December 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60413 <p>“As new principal Miss Togar (Mary Woronov) says, ‘The minute there’s not a teacher in the room the entire school erupts into a shameless display of adolescent abandon!’ Initially conceived by Roger Corman as DISCO HIGH SCHOOL, Alan Arkush rejiggered the project for the Ramones, who wrote ‘Rock ‘n’ Roll High School’ and ‘I Want You Around’ for the soundtrack. (Dee Dee complained that Arkush made them look ‘like Martians.’)” –Rachel Churner<br /><br />“Underneath its chipper, anything-for-a-laugh grin, ROCK ‘N’ ROLL is as subversive as teen movies get, with an ending that, for all its absurdity, is still surprisingly shocking. It’s hard to imagine a similar conclusion being shot today.” –Zack Handlen, THE ONION<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60391 <p>With Buster Keaton, Marion Mack, Glen Cavendar, Jim Farley, and Joseph Keaton.“<br /><br />In the funniest of all silent feature comedy classics, the imperturbable Buster Keaton is cast as a daring Federal Spy with an outlandish plan to change the course of the Civil War. This sophisticated and grotesque screen farce – eloquently touching, uproariously hilarious – is a perfect example of Keaton’s art. Engulfed by switches, stolen engines, valves, and other mechanical contrivances, the immortal comedian – an engine driver literally on the wrong side of the tracks – solemnly attempts to behave normally in a world which is plainly bewitched.” –CINEMA 16 program notes, 1958<br /><br />Preceded by:<br />Buster Keaton & Edward F. Cline NEIGHBORS (1920, 18 min, 16mm, silent)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, December 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60425 <p>With Jacqueline Bisset, Ray Sharkey, Mary Woronov, Robert Beltran, Ed Begley Jr., Wallace Shawn, Paul Bartel, and Paul Mazursky.<br /><br />“Written with LA novelist-screenwriter Bruce Wagner, SCENES is Bartel’s answer to the bed-hopping French farce, updated for the age of DYNASTY and LIFESTYLES OF THE RICH AND FAMOUS. Jacqueline Bisset stars as Clare, a TV actress with a career stuck in re-runs and a freshly buried husband who died of auto-erotic strangulation. Her next-door neighbor, Lisabeth (Mary Woronov) is recently divorced. The two women decide that what they need most at this moment in their lives is to sleep with each other’s manservants (Ray Sharkey and Robert Beltran), who, meanwhile, have made a sexual wager of their own. Complicating matters is the sudden appearance of Lisabeth’s brother (Ed Begley, Jr.) who shows up with a new bride, To-Bel von Cartier (Arnetia Walker).” –David Savage<br /><br />“At its best, SCENES FROM THE CLASS STRUGGLE plays like a cross between Buñuel and the Marx Brothers.” –Jay Carr, BOSTON GLOBE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 21