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 Mon, 27 Apr 2026 13:11:41 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61058 <p>“Giacobbe (Pierre Clémenti) is a frustrated drama student who is saved from suicide by a man who looks exactly like him. This other Giacobbe is suave and capable of action – qualities the first Giacobbe lacks. As the boundary between the two men begins to erode, Giacobbe II and his revolutionary ideas take over: he builds a guillotine, teaches his fellow students how to make Molotov cocktails, and unleashes a kind of theatrical anarchy onto the streets of Rome.” –Chris Shields, SCREEN SLATE<br /><br />“An homage to the French New Wave, and more particularly to Jean-Luc Godard, who fascinated Bertolucci when he made this film, PARTNER is a Brechtian patchwork on schizophrenia haunted by the ghosts of Artaud and especially Dostoevsky (whose novel ‘The Double’ is obsessed with the dissolution of moral identity). The critique of consumer society in the context of the 1968 youth revolution is expressed through Roland Barthes, as Tina Aumont recites his essay ‘Soap-Powders and Detergents’ (from ‘Mythologies’), probing their political power of separation and purification. The film also slips in a nod to Cocteau, with Aumont's heavily made-up eyelids evoking ORPHEUS.” –Nina Verneret<br /><br />Followed by:<br />Paola Rispoli JAKOB IL REALE E SOSIA IL VERO (1968, 11 min, 35mm-to-DCP. Courtesy of the Cineteca di Bologna.)<br />“In this mysterious and magnificent small documentary, hardly ever seen or distributed…it is April 1968 and Bernardo Bertolucci is shooting PARTNER. We see him doing takes, retakes, discussing and giving directions. With him are the director of photography Ugo Piccone, as well as actors Pierre Clémenti, Tina Aumont, Ninetto Davoli… We can see that cinema for Bertolucci is constant exploration and self-exploration.” –Andrea Meneghelli<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, April 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61101 <p>“At least in America a Maria Montez could believe she was the Cobra Woman, the Siren of Atlantis, Scheherezade, etc. She believed and thereby made the people who went to her movies believe. […] Don’t slander her beautiful womanliness that took joy in her own beauty and all beauty – or whatever in her that turned plaster cornball sets to beauty. Her eye saw not just beauty but incredible, delirious, drug-like hallucinatory beauty. The vast machinery of a movie company worked overtime to make her vision into sets. They achieved only inept approximations. But one of her atrocious acting sighs suffused a thousand tons of dead plaster with imaginative life and truth.” –Jack Smith<br /><br />Preceded by:<br />Jack Smith JUNGLE ISLAND aka REEFERS OF TECHNICOLOR ISLAND (1967, 15 min, 16mm)<br />“Jack Smith’s 1967 program ‘Horror and Fantasy at Midnight’ featured a number of individual titles – ‘film clips from the subterranean chambers of Dr. Madman!’ – including REEFERS OF TECHNICOLOR ISLAND/JUNGLE ISLAND, SCRUBWOMAN OF ATLANTIS (both in ‘Livid Color!!’), RATDROPPINGS OF URANUS, MARSHGAS OF FLATULANDIA, THE FLAKE OF SOOT, and OVERSTIMULATED. The latter aside, REEFERS/JUNGLE ISLAND is the only one of these found as a stand-alone film – it also received the most press. Jonas Mekas’s Village Voice review cited a movie that ‘starred a most beautiful marijuana plant, a gorgeous blooming white queen with her crown reaching towards the sky.’ At some point, Smith combined this with footage of another queen – Mario Montez – seemingly shot on the beach in Florida.” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, April 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61084 <p>A towering terror from the end of the 1970s giallo boom, TORSO finds director Sergio Martino reveling in the genre’s time-honored traditions while also laying the groundwork for the modern slasher. It delivers copious violence, sleaze, and one of the tensest cat-and-mouse games ever committed to celluloid. A maniac prowls the streets of Perugia, targeting attractive university students. Alarmed at the plummeting life expectancy of the student body, Jane (Suzy Kendall) and her friends (including Tina Aumont) elope to a secluded country villa to discover that, far from having left the terror behind, they’ve brought it with them…<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, April 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61108 <p>(ENTUZIASM: SIMFONIYA DONBASSA)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />ENTHUSIASM is Vertov’s vision of the transformation of social energies in a progressive society. The film is remarkable for its experimental use of sound and montage. Vertov himself invented special lightweight recording equipment to register the sounds of workers in the mines and factories of the Don Basin in this film. It is the best example of his theory of cinema which brings together “the film-eye and the radio-ear.” At one point he described the film as a “symphony of noises.”<br /><br />“I would never have believed it possible to assemble mechanical noises to create such beauty. One of the most superb symphonies I have known. Dziga Vertov is a musician.” –Charles Chaplin <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61091 <p>Ivan Galietti<br />ANTI STAR TINA AUMONT<br />2025 (work in progress), ca. 30 min, digital. In English, French, and Italian with English subtitles.<br />This program features an extended excerpt from ANTI STAR TINA AUMONT, a work-in-progress portrait of Tina Aumont by her longtime friend, artist and filmmaker Ivan Galietti (POMPEII NEW YORK). Through private moments, never-before-seen interviews, and film clips, this homage attempts to reveal the human being beyond the media clichés.<br /><br />Preceded by:<br />Frédéric Pardo<br />HOME MOVIE: NEW YORK<br />1968, 20 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.<br /><br />Total running time: ca. 55 min.<br /><br /><em><strong>Ivan Galietti will be here in person for the screening on Wed, April 22!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61109 <p>(TRI PESNI O LENINYE)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“Vertov’s ‘official’ Soviet masterpiece – a hagiographic compilation of lyrically edited stock footage and cinema’s first direct interviews – was the most successful (and compromised) movie he ever made.” –J. Hoberman, VILLAGE VOICE <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61066 <p>“Roland Barthes famously said, ‘Garbo’s is the Face, [Audrey] Hepburn’s is the Event.’ The facial showdown between Idea and Event is played out again in LES HAUTES SOLITUDES, Philippe Garrel’s black-and-white silent film of 1974.” –Jonathan Romney, FILM COMMENT<br /><br />“Watching LES HAUTES SOLITUDES calls to mind Romain Gary’s suicide note: ‘Nothing to do with Jean Seberg.’ It is above all a portrait: filmed just a few years before Seberg’s disappearance, it captures in documentary fashion her pale, drawn face, her moments of despair, her swallowed pills, the suspension of a smile or a sidelong glance at the camera. Against this, Tina Aumont’s dark-haired silhouette and insouciant youth form a quiet counterpoint – self-absorbed, silky-skinned, unburdened. The PERSONA reference is inescapable. Like Bergman’s film, LES HAUTES SOLITUDES enacts a dialogue between two women who accompany and converse with each other, who embrace and support one another – though the editing keeps pulling them apart.” –Nina Verneret<br /><br /><em><strong>The screening on Sat, April 18 will be followed by a discussion between series curator Nina Verneret and writer and editor Beatrice Loayza.</strong></em><br /><strong><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61088 <p>“Fellini’s most extravagant and courageous dream. […] Fellini’s version of the life of Casanova is similar to an effulgent carnival. The film is permeated with a grandiose style, so brilliant in visual effects that the sexuality of the hero becomes more comic than concupiscent. Although Fellini had read most, if not all, of Casanova’s autobiography (twelve volumes!), he makes the episodes of seduction a showcase for his own philosophies of life from youth to old age. The casting, mostly from open calls, exhibits the director’s quest for unusual faces; Casanova is a gallery of grotesques. There seems to be some conjecture about how Donald Sutherland was cast as Casanova, because his enactment of the role is strictly symbolic. The opening sequence of the film, with its stunning imagery of Venice at carnival time, the gigantic head of Venus rising from the Grand Canal, prepares one for an onslaught of memorable images.” –Albert Johnson, FILM QUARTERLY</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61166 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61376 <p>Print from the CSC-Cineteca Nazionale (Rome).<br /><br />“To the viewers, this movie is not a story, but a card game. This is why the beginning is not credible, nor is the ending. You are the players. Play well and win.” –opening title of ARCANA<br /><br />“Madame Tarantino (Lucia Bosé), a fraudulent psychic, runs a clairvoyant practice in which her unnamed son (Maurizio Degli Esposti) is the one who holds genuine supernatural powers. She is as manipulative as he is dark and brooding, which leads to a fixation on a young woman (Tina Aumont). Both corrupting forces – charlatanism and black magic – collide and sow chaos throughout the community.<br /><br />As the word “arcana” suggests, mystery lies at the heart of the film. It remains deliberately unclear what the film is ultimately about: authoritarian governments, gender-assigned roles, the disintegration of patriarchal society, psychedelics, incest, repressed sexuality.<br /><br />ARCANA is a parable of the palpable madness of 1970s Milan, where spiritualism serves to exorcise a community confined within the beliefs and superstitions of religion and a suffocating authoritarian society. The style is surrealist in its use of symbols – a donkey hoisted to the roof of a building, for instance – and thriller-like, hypnotic, somewhere between Buñuel and Jodorowsky. A box office failure upon its release, it is nonetheless a film that deserves to be rediscovered.” –Nina Verneret<br /><br />[<em><strong>The 35mm print of ARCANA – imported from Italy but stuck in transit last weekend – has arrived! Alongside the previously scheduled second screening on Saturday, April 25 at 6:15, we've added a new screening on Friday, May 1 at 7:00. Directed by cult filmmaker Giulio Questi (DJANGO KILL... IF YOU LIVE, SHOOT! and DEATH LAID AN EGG), ARCANA is virtually never shown in the U.S., and does not yet exist on HD video, so these screenings are not to be missed!</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61167 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61337 <p>We deh here (Maybelle Peters, 2025, 7min)<br /><br />Joy Boy: A Tribute to Julius Eastman (Collective Faire-Part, 2026, 64min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61339 <p>Lightly Heeled (Kioto Aoki, 2024, 3min, 16mm)<br />Brumaire (Vincent Guilbert, 2026, 14min)<br />Phototropes (Blanca García, James Devine, 2026, 3min, Super 8mm)<br />Nude Descending (Dianna Barrie, Richard Tuohy, 2026, 10min, 16mm)<br />Stitch the Ruin(Željka Blakšić, 2024, 8min, 16mm)<br />Flowers for an Old Shrine (Long Pham, 2025, 6min, 16mm)<br />Goodnight, My Dear (Vanij Choksi, 2026, 6min)<br />Rojo Zalia Blau (Viktoria Schmid, 2025, 11min)<br />La Durete De Mental (Charles-Andre Coderre, 2025, 20 min, 35mm)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61341 <p>Isabelle Kalander<br />ANOTHER BIRTH<br />2025, 70 min, digital<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61343 <p>GROUND GLASS AWARD 2026<br />Star Waars (Kohei Ando, 1978, 3min, 16mm)<br />Like a Passing Train 1 (Kohei Ando, 1978, 3min, 16mm)<br />Like a Passing Train 2 (Kohei Ando, 1979, 7min, 16mm)<br />Oh! My Mother (Kohei Ando, 1969, 10min)<br />The Sons (Kohei Ando, 1973, 25min, 16mm)<br />On the Far Side of Twilight (Kohei Ando, 1994, 39min, 35mm)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61345 <p>Perfect Image? (Maureen Blackwood, 1989, 30min)<br /><br />La ronde de vodou (Elsie Haas, 1989, 52min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61347 <p>Tamago Stories One (Kioto Aoki, 2026, 3min, 16mm)<br />Ceiling (Hu Didi, 2026, 8min, 16mm)<br />Testament (Mike Stoltz, 2026, 6min, 16mm)<br />Artificial Horizons Test (Mike Stoltz, 2026, 6min, 16mm)<br />Xtended Release (Joshua Gen Solondz, 2026, 15min, 16mm)<br />Chang Gyeong (Lee Jangwook, 2025, 18min, 16mm)<br />Night Swing (TT Takemoto, 2min, 2026, 16mm)<br />Tooborac (Richard Tuohy, Dianna Barrie, 2026, 9min, 16mm)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61349 <p>Levers (Rhayne Vermette, 20min, Poetry Reading)<br />Surrendur (Karthik Pandian, 2026, 87min)<br /><br />Co-presented by Triple Canopy<br /><strong>Followed by a Q&A.</strong></p> <p>For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61351 <p>Crunch (Invisible Scissors, 15min, Live Music)<br />Archura Leaves the City Forever (Yusuf Demirors, 2026, 12min)<br />To Summon a Seer (Alan Medina, 2026, 8min)<br />逆立ち逆立ち : If pinholes were right side up, I would be doing handstands (Kioto Aoki, 2024, 3min, 16mm)<br />Landscape in the afternoon (Lee Jangwook, 2026, 14min, 16mm)<br />Mounds Above the Earth (Jiayi Chen, 2025, 7min, 16mm)<br />It Must Be Because I Decided to Leave (Zhouyun Chen, 2026, 19 min)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61353 <p>HORROR, OR THE SPLENDOUR OF: AN EVENING OF FILM AND POETRY GUEST CURATED BY SHIV KOTECHA AND COURTNEY STEPHENS<br />Featuring Ed Steck, Joanne Kyger, charles theonia, Lily Jue Sheng, Stom Sogo, Benjamin Krusling, Theresa Hak Kyung Cha<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61355 <p>Rotating Signals (Chae Yu, 2025, 10min)<br />Goblin Play (Chae Yu, 2025, 47min)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61357 <p>Kevin Walker & Jack Auen<br />CHRONOVISOR<br />2026, 99 min, DCP<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61359 <p>An Afternoon with a Gnawa (Meena Nanji, 2026, 12min)<br />Àwọ̀ ojú ọ̀run (The Colour of the Sky) (Judah Iyunade, 2026, 71min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61361 <p>sitrep (Blair Barnes, 2026, 20min)<br />Computer Chess (Andrew Bujalski, 2013, 92min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61363 <p>Concealed and Denied (Jordan Lord, 2026, 35min)<br />The Glass Booth (Jenny Brady, 2026, 33min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61365 <p>ATASH, AISHA, TEYH: THREE FILMS BY PARINE JADDO<br />Co-presented by Arte East<br /><br />Atash (Thirst) (Parine Jaddo, 1995, 14min)<br />Aisha (Surviving) (Parine Jaddo, 1999, 32min)<br />Teyh (Astray) (Parine Jaddo, 2002, 21min)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61367 <p>My Friends in My Address Book (Kohei Ando, 1974, 3min, 16mm)<br />Every Contact Leaves a Trace (Lynne Sachs, 2025, 83min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61369 <p>Anomalies in a Landscape (Félix Caraballo, 2025, 8min, 16mm)<br />In the Manner of Smoke (Armand Yervant Tufenkian, 2025, 91min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61371 <p>WORLD ENTERPRISES (Anthony Banua-Simon, 2026, 14min)<br />Aanikoobijigan (Adam Khalil, Zack Khalil, 2026, 80min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61373 <p>before everything has a name (An-li dīng, 2026, 17min)<br />Masayume (Nao Yoshigai, 2026, 110min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61375 <p>THE LAND LIES HEAVY: THE CONTEMPORARY CHINESE AVANT-GARDE<br />Co-presented by Tone Glow<br /><br />Article 4 (Hsin-Yu Chen, 2026, 4min)<br />Branches From Concrete (Zhou Zhenyu, 2026, 14min)<br />Words Fly Back to the Black Earth (Xiao Zhang, 2026, 19min)<br />Redland Hooves (Kaiwen Ren, 2026, 27min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61263 <p>This documentary follows the rise to widespread fame of Egyptian singer Umm Kulthum, also known as Fatima Ibrahim al-Sayyid al-Beltagy (1898-1975), who was born in the rural village of Tammay al-Zahayrah. She would soon become one of the most powerful voices in Egypt and across the Arab world, captivating audiences with her commanding vocals radiating across airwaves, and her mesmerizing stage presence in often sold-out live performances. Narrated by Omar Sharif, this 1996 documentary traces her influence and artistry through performance footage and interviews with friends, colleagues, and everyday Egyptians, reflecting on her life, career, and daring political stances. The profound influence Umm Kulthum’s music has had on Mohammad Omer Khalil’s life and work is reflected in the numerous collage paintings and prints he has created in tribute to the singer.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61265 <p>Set on the cliffs of England’s south coast, THE CHALK GARDEN centers on a troubled household marked by emotional distance and concealed pasts. A headstrong, destructive 16-year-old girl and her exacting grandmother struggle to coexist, their relationship strained by mistrust and unspoken histories. The arrival of a mysterious governess begins to unsettle the household, as long-buried secrets gradually surface and fragile bonds are tentatively rebuilt, mirrored by the slow cultivation of the once-barren chalk garden. After seeing the film in 1965, dubbed in Italian, artist Mohammad Omer Khalil created one of his earliest etchings, depicting the chalk garden. The work, “Il Giardino Di Gesso” (1965) is on view alongside its plate in his solo exhibition “Common Ground” at the Robert Blackburn Printmaking Workshop Study Center.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61186 <p>“Co-written by experimental filmmakers James N. Kienitz Wilkins and Robin Schavoir, THE PLAGIARISTS is at once a hilarious send-up of low-budget American indie filmmaking and a probing inquiry into race, relationships, and the social uncanny. A young novelist (Lucy Kaminsky) and her cinematographer boyfriend (Eamon Monaghan) are waylaid by a snowstorm on their way to visit a friend in upstate New York and are taken in by the kindly yet enigmatic Clip (Michael “Clip” Payne of Parliament Funkadelic), who puts them up for the night. But an accidental discovery months later recasts in an unnerving light what had seemed like an agreeable evening, stoking resentments both latent and not-so-latent. Exhilaratingly intelligent and distinctively shot on a vintage TV-news camera, THE PLAGIARISTS is a work whose provocations are inseparable from its pleasures.” –NEW DIRECTORS/NEW FILMS<br /><br />“THE PLAGIARISTS’s artists-on-a-rural-retreat premise recalls that of Schavoir’s THE JAG, while its serpentine, discursive form, which knowingly flirts with the possible character-centric indie it might have become even as it spins out in increasingly curious directions, is sprung from the same searching intelligence that Wilkins brings to bear on his more openly essayistic experimental films. […] This is a rigorous film concerned with questions of cultural appropriation, learned behavior, and the very texture of life in our content-saturated present (a feeling not exclusive to urban centers), but one with the good humor and wisdom to disguise itself as something far more familiar.” –Carson Lund, SLANT<br /><br />[<em><strong>These screenings are presented in conjunction with Anthology's week-long premiere run of Kienitz Wilkins's new feature film THE MISCONCEIVED; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61174">click here for more details</a>.</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61168 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, May 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61191 <p>Shot by D.A. Pennebaker and Ricky Leacock, Mailer’s third and most ambitious film of the 1960s concerns the exploits of highly popular, yet esoteric, film director Norman T. Kingsley. That MAIDSTONE was largely improvised was made unforgettably clear when Torn, near the end of shooting, unexpectedly attacked Mailer with a hammer, triggering an obviously un-staged tussle that yanked the film out of its already ambiguous semblance of fictional narrative. Torn has consistently maintained that his action arose from conversations with his director, while Mailer claimed otherwise. But in any case, the result was a truly extraordinary sequence that even Mailer himself ultimately admitted had benefited the film (though not before very nearly taking a bite out of Torn’s ear…).<br /><br />“This is a strange one: a nearly unwatchable train wreck of a movie you need eyes in the back of your head to safely watch, lest you get jumped by a psychologically crippled hipster who has snuck up behind you in the dark movie theater, hammer in hand. I haven’t had the pleasure because I’ve only seen it on YouTube. So here’s to new experiences at Anthology Film Archives. I’ve heard the endeavor bankrupted Norman Mailer, and honestly, that’s the realest definition of independent film I can think of. As a character in my own THE MISCONCEIVED says about MAIDSTONE: ‘You can’t make that movie anymore,’ which is slightly inaccurate since Mailer couldn’t make it in the first place.” –James N. Kienitz Wilkins<br /><br />[<em><strong>These screenings are presented in conjunction with Anthology's week-long premiere run of Kienitz Wilkins's new feature film THE MISCONCEIVED; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61174">click here for more details</a>.</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61222 <p>In 1989, the fall of Alfredo Stroessner’s 35-year dictatorship in Paraguay brought an end to one of the world’s longest authoritarian regimes – and left behind a vast audiovisual archive once used to shape national identity and glorify power. Decades later, newly recovered footage from Paraguay and abroad – newsreels, television broadcasts, propaganda films, and declassified materials – reveals the hidden machinery of the regime. Moving across formats and histories, this striking debut feature by Juanjo Pereira becomes an excavation of memory and media, exposing how images were used to construct ideology, sustain international alliances, and normalize repression, while reflecting on a present still marked by the legacy of dictatorship.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61226 <p>Everyone knows Fritz, that weird man who lives down the street, has a thing for young guys. If he meets a teen he likes, he might invite them back to his place, with an offer of money or sex. No one ever questions what happens to those young men, why they’re never seen again, or where Fritz sources the fresh meat he sells to the local businesses. The story of Fritz Haarmann, Germany’s most notorious serial killer, is brought to life in this lurid 1973 period drama, a collaborative effort of members of director Rainer Werner Fassbinder’s coterie. Actor Kurt Raab is chilling and brilliant as Fritz, in a script he wrote for Fassbinder to direct. Fassbinder instead chose to produce and act in the film alongside company regulars Margit Carstensen, Brigitte Mira, Ingrid Caven, and El Hedi ben Salem. Uli Lommel, star of early Fassbinder titles like WHITY and BEWARE OF A HOLY WHORE, was nominated for the Golden Bear for his feature directing debut, which brought him into Andy Warhol’s inner circle and kicked off a long career in low-budget horror cinema. While the film’s depictions of sex and violence are unquestionably disturbing, the film’s indictment of capitalism as a root cause of Haarmann’s bloodshed is even more so, placing Lommel’s film in direct communication with Fassbinder’s classic melodrama FOX AND HIS FRIENDS, shown last year at Narrow Rooms.<br /><br />“It is beautifully and enthusiastically performed and it doesn’t contain a single superfluous or redundant camera movement. Like Mr. Fassbinder’s own early films, TENDERNESS OF THE WOLVES is cryptic, tough-talking and swaggering in the manner of someone who means to shock his elders. Like the early Warhol work, TENDERNESS seems to be sending up everyone and everything, but, unlike the Warhol movies, it takes filmmaking – the possibilities of the discipline – with complete seriousness.” –Vincent Canby, NEW YORK TIMES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61230 <p>EL SIGNO VACÍO is a feature-length anthropological journey through the United States’s occupation of Puerto Rico. Mixing over a hundred years of found footage – tourism, agricultural, and propaganda films – with contemporary portraits of local artists and activists and Puerto Rican punk rock/noise music, the film reveals how carefully crafted American fictions of “democracy” and “debt” obscure a capitalist and military domination that is ongoing. Moving between old and new, Spanish and English, and between paradise and environmental destruction, EL SIGNO VACÍO becomes a “re-educational” film challenging the viewer to (re)think about modern colonization, its mechanisms and its responsibilities.<br /><br />“In 2014 while researching U.S. immigration practices, I discovered a border patrol in Aguadilla PR with my last name. The base was named for a man who was not Puerto Rican and never even visited the islands, yet the name ‘Ramey’ is everywhere in the northwest part of the country. I became a traveler in a place where everyone knew my name. I wanted to give back to the people who were helping me research and so I offered a 16mm filmmaking and hand-processing workshop at Beta-Local in San Juan. One workshop led to another, engaging me directly with the interests of the artists who had become my friends and interlocutors for the project. Their feedback helped me to create a more nuanced and far-reaching use of found material including working with images from reality TV and social media. Because the past is only past for people who have the luxury of forgetting, the film connects historic fiscal, agricultural, military, and tourist activity with the present-day invasion of ‘crypto-bros,’ opportunistic settlers, and cynical and corrupt politicians and policies. History is being made today as my friends and their families continue to insist on their dignity and the right to control their future and the future of Puerto Rico.” –Kathryn Ramey<br /><br />[<strong>In conjunction with the screenings of EL SIGNO VACÍO, we'll be presenting a series - guest-curated by Caroline Gil Rodríguez - entitled "Pouring Libations: Experimental Films from/on Puerto Rico; for more details click <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61234">here</a> and <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61236">here</a>.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61174 <p>NYC THEATRICAL PREMIERE RUN! 35MM PRINT!<br /><br />Written by Robin Schavoir and James N. Kienitz Wilkins. Produced by Emily Davis and Joey Frank. With Jesse Wakeman, Jess Barbagallo, John Magary, and Callie Hernandez. Distributed by Monument Releasing. 35mm print supported by Mostly Works and a Foundation for Contemporary Arts Emergency Grant.<br /><br />James N. Kienitz Wilkins has constructed one of the most truly singular, conceptually slippery, and genuinely exploratory bodies of work in contemporary cinema. His films take a dizzying array of forms – from theatrical reenactments (PUBLIC HEARING) and radical formal experiments (the imageless THE REPUBLIC and the Hollis Frampton-esque STILL FILM and THIS ACTION LIES) to sly takes on the essay film (COMMON CARRIER) and indie narrative (THE PLAGIARISTS) genres. But they’re linked by his preoccupation with language and writing (many of the films are founded on highly inventive, multi-faceted texts, either written by Wilkins or drawn from other sources), his extremely sophisticated interrogation of filmic, dramatic, and performative modes, and his sharp exploration of matters social and political. Nothing is ever quite what it seems in Wilkins’s work, and the mode of address is always a heady, multi-layered mix of irony, sincerity, and conceptual play.<br /><br />His new film, THE MISCONCEIVED – his third collaboration with writer Robin Schavoir, and a thematic follow-up (not a sequel) to THE PLAGIARISTS (2019) – is, characteristically, both entirely in keeping with his earlier work and yet entirely unique. We’re delighted to host THE MISCONCEIVED’s NYC premiere run at Anthology – via a fresh-from-the-lab 35mm print! – and to show it alongside screenings of <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61186">THE PLAGIARISTS</a> and Norman Mailer’s <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61191">MAIDSTONE</a>, which is evoked in the new film.<br /><br />“THE MISCONCEIVED is a tragicomedy about millennials turning forty, which follows a struggling yet entitled white American male found throughout the annals of indie film who apprehends his likely cultural irrelevance during the Biden era. The film utilizes experimental 3D-rendered processes entirely within a video game engine, utilizing motion capture, facial recognition, voice performance, and a vast library of stock media. THE MISCONCEIVED takes full advantage of the new ability to shoot in virtual worlds and a marketplace of 3D architectural and character models to create an uncanny mirror to contemporary society (notably, not using generative AI). In many ways, the movie is an argument for and against its right to exist.” –James N. Kienitz Wilkins<br /><br />“Tyler, a single father in need of work, takes a job working on an upstate country dream-home renovation belonging to his ex-college friend, Tobin, who is now a successful sculptor. That Tyler himself used to be a filmmaker becomes the focus point of his fellow workers and ultimately the film itself, culminating in an art-adjacent gathering that could potentially explode any remnants of his sense of self. Rapid fire conversations between workers from different class and racial backgrounds propel the narrative forward, with many jabs and many laughs along the way, ultimately offering an irreverent essay on work, white privilege, and indie filmmaking in the 2020s. Taking place exclusively within work hours, the new feature film by James N. Kienitz Wilkins is a millennial social satire exploring a contemporary world where what you do is who you are – and determines your level of cultural relevance.” –Michelle Carey, ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61192 <p>Shot by D.A. Pennebaker and Ricky Leacock, Mailer’s third and most ambitious film of the 1960s concerns the exploits of highly popular, yet esoteric, film director Norman T. Kingsley. That MAIDSTONE was largely improvised was made unforgettably clear when Torn, near the end of shooting, unexpectedly attacked Mailer with a hammer, triggering an obviously un-staged tussle that yanked the film out of its already ambiguous semblance of fictional narrative. Torn has consistently maintained that his action arose from conversations with his director, while Mailer claimed otherwise. But in any case, the result was a truly extraordinary sequence that even Mailer himself ultimately admitted had benefited the film (though not before very nearly taking a bite out of Torn’s ear…).<br /><br />“This is a strange one: a nearly unwatchable train wreck of a movie you need eyes in the back of your head to safely watch, lest you get jumped by a psychologically crippled hipster who has snuck up behind you in the dark movie theater, hammer in hand. I haven’t had the pleasure because I’ve only seen it on YouTube. So here’s to new experiences at Anthology Film Archives. I’ve heard the endeavor bankrupted Norman Mailer, and honestly, that’s the realest definition of independent film I can think of. As a character in my own THE MISCONCEIVED says about MAIDSTONE: ‘You can’t make that movie anymore,’ which is slightly inaccurate since Mailer couldn’t make it in the first place.” –James N. Kienitz Wilkins<br /><br />[<em><strong>These screenings are presented in conjunction with Anthology's week-long premiere run of Kienitz Wilkins's new feature film THE MISCONCEIVED; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61174">click here for more details</a>.</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61231 <p>EL SIGNO VACÍO is a feature-length anthropological journey through the United States’s occupation of Puerto Rico. Mixing over a hundred years of found footage – tourism, agricultural, and propaganda films – with contemporary portraits of local artists and activists and Puerto Rican punk rock/noise music, the film reveals how carefully crafted American fictions of “democracy” and “debt” obscure a capitalist and military domination that is ongoing. Moving between old and new, Spanish and English, and between paradise and environmental destruction, EL SIGNO VACÍO becomes a “re-educational” film challenging the viewer to (re)think about modern colonization, its mechanisms and its responsibilities.<br /><br />“In 2014 while researching U.S. immigration practices, I discovered a border patrol in Aguadilla PR with my last name. The base was named for a man who was not Puerto Rican and never even visited the islands, yet the name ‘Ramey’ is everywhere in the northwest part of the country. I became a traveler in a place where everyone knew my name. I wanted to give back to the people who were helping me research and so I offered a 16mm filmmaking and hand-processing workshop at Beta-Local in San Juan. One workshop led to another, engaging me directly with the interests of the artists who had become my friends and interlocutors for the project. Their feedback helped me to create a more nuanced and far-reaching use of found material including working with images from reality TV and social media. Because the past is only past for people who have the luxury of forgetting, the film connects historic fiscal, agricultural, military, and tourist activity with the present-day invasion of ‘crypto-bros,’ opportunistic settlers, and cynical and corrupt politicians and policies. History is being made today as my friends and their families continue to insist on their dignity and the right to control their future and the future of Puerto Rico.” –Kathryn Ramey<br /><br />[<strong>In conjunction with the screenings of EL SIGNO VACÍO, we'll be presenting a series - guest-curated by Caroline Gil Rodríguez - entitled "Pouring Libations: Experimental Films from/on Puerto Rico; for more details click <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61234">here</a> and <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61236">here</a>.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61175 <p>NYC THEATRICAL PREMIERE RUN! 35MM PRINT!<br /><br />Written by Robin Schavoir and James N. Kienitz Wilkins. Produced by Emily Davis and Joey Frank. With Jesse Wakeman, Jess Barbagallo, John Magary, and Callie Hernandez. Distributed by Monument Releasing. 35mm print supported by Mostly Works and a Foundation for Contemporary Arts Emergency Grant.<br /><br />James N. Kienitz Wilkins has constructed one of the most truly singular, conceptually slippery, and genuinely exploratory bodies of work in contemporary cinema. His films take a dizzying array of forms – from theatrical reenactments (PUBLIC HEARING) and radical formal experiments (the imageless THE REPUBLIC and the Hollis Frampton-esque STILL FILM and THIS ACTION LIES) to sly takes on the essay film (COMMON CARRIER) and indie narrative (THE PLAGIARISTS) genres. But they’re linked by his preoccupation with language and writing (many of the films are founded on highly inventive, multi-faceted texts, either written by Wilkins or drawn from other sources), his extremely sophisticated interrogation of filmic, dramatic, and performative modes, and his sharp exploration of matters social and political. Nothing is ever quite what it seems in Wilkins’s work, and the mode of address is always a heady, multi-layered mix of irony, sincerity, and conceptual play.<br /><br />His new film, THE MISCONCEIVED – his third collaboration with writer Robin Schavoir, and a thematic follow-up (not a sequel) to THE PLAGIARISTS (2019) – is, characteristically, both entirely in keeping with his earlier work and yet entirely unique. We’re delighted to host THE MISCONCEIVED’s NYC premiere run at Anthology – via a fresh-from-the-lab 35mm print! – and to show it alongside screenings of <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61186">THE PLAGIARISTS</a> and Norman Mailer’s <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61191">MAIDSTONE</a>, which is evoked in the new film.<br /><br />“THE MISCONCEIVED is a tragicomedy about millennials turning forty, which follows a struggling yet entitled white American male found throughout the annals of indie film who apprehends his likely cultural irrelevance during the Biden era. The film utilizes experimental 3D-rendered processes entirely within a video game engine, utilizing motion capture, facial recognition, voice performance, and a vast library of stock media. THE MISCONCEIVED takes full advantage of the new ability to shoot in virtual worlds and a marketplace of 3D architectural and character models to create an uncanny mirror to contemporary society (notably, not using generative AI). In many ways, the movie is an argument for and against its right to exist.” –James N. Kienitz Wilkins<br /><br />“Tyler, a single father in need of work, takes a job working on an upstate country dream-home renovation belonging to his ex-college friend, Tobin, who is now a successful sculptor. That Tyler himself used to be a filmmaker becomes the focus point of his fellow workers and ultimately the film itself, culminating in an art-adjacent gathering that could potentially explode any remnants of his sense of self. Rapid fire conversations between workers from different class and racial backgrounds propel the narrative forward, with many jabs and many laughs along the way, ultimately offering an irreverent essay on work, white privilege, and indie filmmaking in the 2020s. Taking place exclusively within work hours, the new feature film by James N. Kienitz Wilkins is a millennial social satire exploring a contemporary world where what you do is who you are – and determines your level of cultural relevance.” –Michelle Carey, ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61234 <p>These two programs explore the myriad ways Puerto Rican history and culture have seeped into experimental film and media practices, combining works by Puerto Rican filmmakers with those influenced by the occupation, sounds, gestures and participation of Boricuas on the island and in its diaspora. The selection includes works that uncover the vestiges of clandestine, national liberation groups, visitor economy regimens, manifestations of frenzy, popular fabrications, the iconography of salsa, queer kinship and radical filmmaking with the hopes of jump-cutting into a liberatory future.<br /><br />Guest-programmed by Caroline Gil Rodríguez.<br /><br />[<strong>These programs are presented alongside our screenings of Kathryn Ramey's EL SIGNO VACÍO; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61230">click here for more details</a>.</strong>]<br /><br />PROGRAM 1: LAS ESTATUAS TAMBIÉN MUEREN – LA CLAVE<br />nibia pastrana santiago LOS PRESIDENTES PISAN, O CONMEMORANDO LO INVISIBLE, O QUIERO SER UNA ICONOCLASTA SEXY / THE PRESIDENTS STEP ON, OR COMMEMORATING THE INVISIBLE, OR I WANT TO BE A SEXY ICONOCLAST (2014, 10 min, digital)<br />José Rodríguez Soltero JEROVI (1965, 11.5 min, 16mm, silent)<br />Jack Smith JUNGLE ISLAND aka REEFERS OF TECHNICOLOR ISLAND (1967, 15 min, 16mm)<br />Tony Cruz Pabón LA LLAVE / LA CLAVE (2018, 11 min, digital)<br />DeeDee Halleck BRONX BAPTISM (1982, 30 min, 16mm-to-digital)<br />Charles Atlas FROM AN ISLAND SUMMER (1983-84, 13 min, 16mm-to-digital)<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61176 <p>NYC THEATRICAL PREMIERE RUN! 35MM PRINT!<br /><br />Written by Robin Schavoir and James N. Kienitz Wilkins. Produced by Emily Davis and Joey Frank. With Jesse Wakeman, Jess Barbagallo, John Magary, and Callie Hernandez. Distributed by Monument Releasing. 35mm print supported by Mostly Works and a Foundation for Contemporary Arts Emergency Grant.<br /><br />James N. Kienitz Wilkins has constructed one of the most truly singular, conceptually slippery, and genuinely exploratory bodies of work in contemporary cinema. His films take a dizzying array of forms – from theatrical reenactments (PUBLIC HEARING) and radical formal experiments (the imageless THE REPUBLIC and the Hollis Frampton-esque STILL FILM and THIS ACTION LIES) to sly takes on the essay film (COMMON CARRIER) and indie narrative (THE PLAGIARISTS) genres. But they’re linked by his preoccupation with language and writing (many of the films are founded on highly inventive, multi-faceted texts, either written by Wilkins or drawn from other sources), his extremely sophisticated interrogation of filmic, dramatic, and performative modes, and his sharp exploration of matters social and political. Nothing is ever quite what it seems in Wilkins’s work, and the mode of address is always a heady, multi-layered mix of irony, sincerity, and conceptual play.<br /><br />His new film, THE MISCONCEIVED – his third collaboration with writer Robin Schavoir, and a thematic follow-up (not a sequel) to THE PLAGIARISTS (2019) – is, characteristically, both entirely in keeping with his earlier work and yet entirely unique. We’re delighted to host THE MISCONCEIVED’s NYC premiere run at Anthology – via a fresh-from-the-lab 35mm print! – and to show it alongside screenings of <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61186">THE PLAGIARISTS</a> and Norman Mailer’s <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61191">MAIDSTONE</a>, which is evoked in the new film.<br /><br />“THE MISCONCEIVED is a tragicomedy about millennials turning forty, which follows a struggling yet entitled white American male found throughout the annals of indie film who apprehends his likely cultural irrelevance during the Biden era. The film utilizes experimental 3D-rendered processes entirely within a video game engine, utilizing motion capture, facial recognition, voice performance, and a vast library of stock media. THE MISCONCEIVED takes full advantage of the new ability to shoot in virtual worlds and a marketplace of 3D architectural and character models to create an uncanny mirror to contemporary society (notably, not using generative AI). In many ways, the movie is an argument for and against its right to exist.” –James N. Kienitz Wilkins<br /><br />“Tyler, a single father in need of work, takes a job working on an upstate country dream-home renovation belonging to his ex-college friend, Tobin, who is now a successful sculptor. That Tyler himself used to be a filmmaker becomes the focus point of his fellow workers and ultimately the film itself, culminating in an art-adjacent gathering that could potentially explode any remnants of his sense of self. Rapid fire conversations between workers from different class and racial backgrounds propel the narrative forward, with many jabs and many laughs along the way, ultimately offering an irreverent essay on work, white privilege, and indie filmmaking in the 2020s. Taking place exclusively within work hours, the new feature film by James N. Kienitz Wilkins is a millennial social satire exploring a contemporary world where what you do is who you are – and determines your level of cultural relevance.” –Michelle Carey, ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61187 <p>“Co-written by experimental filmmakers James N. Kienitz Wilkins and Robin Schavoir, THE PLAGIARISTS is at once a hilarious send-up of low-budget American indie filmmaking and a probing inquiry into race, relationships, and the social uncanny. A young novelist (Lucy Kaminsky) and her cinematographer boyfriend (Eamon Monaghan) are waylaid by a snowstorm on their way to visit a friend in upstate New York and are taken in by the kindly yet enigmatic Clip (Michael “Clip” Payne of Parliament Funkadelic), who puts them up for the night. But an accidental discovery months later recasts in an unnerving light what had seemed like an agreeable evening, stoking resentments both latent and not-so-latent. Exhilaratingly intelligent and distinctively shot on a vintage TV-news camera, THE PLAGIARISTS is a work whose provocations are inseparable from its pleasures.” –NEW DIRECTORS/NEW FILMS<br /><br />“THE PLAGIARISTS’s artists-on-a-rural-retreat premise recalls that of Schavoir’s THE JAG, while its serpentine, discursive form, which knowingly flirts with the possible character-centric indie it might have become even as it spins out in increasingly curious directions, is sprung from the same searching intelligence that Wilkins brings to bear on his more openly essayistic experimental films. […] This is a rigorous film concerned with questions of cultural appropriation, learned behavior, and the very texture of life in our content-saturated present (a feeling not exclusive to urban centers), but one with the good humor and wisdom to disguise itself as something far more familiar.” –Carson Lund, SLANT<br /><br />[<em><strong>These screenings are presented in conjunction with Anthology's week-long premiere run of Kienitz Wilkins's new feature film THE MISCONCEIVED; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61174">click here for more details</a>.</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, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61232 <p>EL SIGNO VACÍO is a feature-length anthropological journey through the United States’s occupation of Puerto Rico. Mixing over a hundred years of found footage – tourism, agricultural, and propaganda films – with contemporary portraits of local artists and activists and Puerto Rican punk rock/noise music, the film reveals how carefully crafted American fictions of “democracy” and “debt” obscure a capitalist and military domination that is ongoing. Moving between old and new, Spanish and English, and between paradise and environmental destruction, EL SIGNO VACÍO becomes a “re-educational” film challenging the viewer to (re)think about modern colonization, its mechanisms and its responsibilities.<br /><br />“In 2014 while researching U.S. immigration practices, I discovered a border patrol in Aguadilla PR with my last name. The base was named for a man who was not Puerto Rican and never even visited the islands, yet the name ‘Ramey’ is everywhere in the northwest part of the country. I became a traveler in a place where everyone knew my name. I wanted to give back to the people who were helping me research and so I offered a 16mm filmmaking and hand-processing workshop at Beta-Local in San Juan. One workshop led to another, engaging me directly with the interests of the artists who had become my friends and interlocutors for the project. Their feedback helped me to create a more nuanced and far-reaching use of found material including working with images from reality TV and social media. Because the past is only past for people who have the luxury of forgetting, the film connects historic fiscal, agricultural, military, and tourist activity with the present-day invasion of ‘crypto-bros,’ opportunistic settlers, and cynical and corrupt politicians and policies. History is being made today as my friends and their families continue to insist on their dignity and the right to control their future and the future of Puerto Rico.” –Kathryn Ramey<br /><br />[<strong>In conjunction with the screenings of EL SIGNO VACÍO, we'll be presenting a series - guest-curated by Caroline Gil Rodríguez - entitled "Pouring Libations: Experimental Films from/on Puerto Rico; for more details click <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61234">here</a> and <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61236">here</a>.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61177 <p>NYC THEATRICAL PREMIERE RUN! 35MM PRINT!<br /><br />Written by Robin Schavoir and James N. Kienitz Wilkins. Produced by Emily Davis and Joey Frank. With Jesse Wakeman, Jess Barbagallo, John Magary, and Callie Hernandez. Distributed by Monument Releasing. 35mm print supported by Mostly Works and a Foundation for Contemporary Arts Emergency Grant.<br /><br />James N. Kienitz Wilkins has constructed one of the most truly singular, conceptually slippery, and genuinely exploratory bodies of work in contemporary cinema. His films take a dizzying array of forms – from theatrical reenactments (PUBLIC HEARING) and radical formal experiments (the imageless THE REPUBLIC and the Hollis Frampton-esque STILL FILM and THIS ACTION LIES) to sly takes on the essay film (COMMON CARRIER) and indie narrative (THE PLAGIARISTS) genres. But they’re linked by his preoccupation with language and writing (many of the films are founded on highly inventive, multi-faceted texts, either written by Wilkins or drawn from other sources), his extremely sophisticated interrogation of filmic, dramatic, and performative modes, and his sharp exploration of matters social and political. Nothing is ever quite what it seems in Wilkins’s work, and the mode of address is always a heady, multi-layered mix of irony, sincerity, and conceptual play.<br /><br />His new film, THE MISCONCEIVED – his third collaboration with writer Robin Schavoir, and a thematic follow-up (not a sequel) to THE PLAGIARISTS (2019) – is, characteristically, both entirely in keeping with his earlier work and yet entirely unique. We’re delighted to host THE MISCONCEIVED’s NYC premiere run at Anthology – via a fresh-from-the-lab 35mm print! – and to show it alongside screenings of <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61186">THE PLAGIARISTS</a> and Norman Mailer’s <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61191">MAIDSTONE</a>, which is evoked in the new film.<br /><br />“THE MISCONCEIVED is a tragicomedy about millennials turning forty, which follows a struggling yet entitled white American male found throughout the annals of indie film who apprehends his likely cultural irrelevance during the Biden era. The film utilizes experimental 3D-rendered processes entirely within a video game engine, utilizing motion capture, facial recognition, voice performance, and a vast library of stock media. THE MISCONCEIVED takes full advantage of the new ability to shoot in virtual worlds and a marketplace of 3D architectural and character models to create an uncanny mirror to contemporary society (notably, not using generative AI). In many ways, the movie is an argument for and against its right to exist.” –James N. Kienitz Wilkins<br /><br />“Tyler, a single father in need of work, takes a job working on an upstate country dream-home renovation belonging to his ex-college friend, Tobin, who is now a successful sculptor. That Tyler himself used to be a filmmaker becomes the focus point of his fellow workers and ultimately the film itself, culminating in an art-adjacent gathering that could potentially explode any remnants of his sense of self. Rapid fire conversations between workers from different class and racial backgrounds propel the narrative forward, with many jabs and many laughs along the way, ultimately offering an irreverent essay on work, white privilege, and indie filmmaking in the 2020s. Taking place exclusively within work hours, the new feature film by James N. Kienitz Wilkins is a millennial social satire exploring a contemporary world where what you do is who you are – and determines your level of cultural relevance.” –Michelle Carey, ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61236 <p>POURING LIBATIONS: EXPERIMENTAL FILMS FROM/ON PUERTO RICO<br />These two programs explore the myriad ways Puerto Rican history and culture have seeped into experimental film and media practices, combining works by Puerto Rican filmmakers with those influenced by the occupation, sounds, gestures and participation of Boricuas on the island and in its diaspora. The selection includes works that uncover the vestiges of clandestine, national liberation groups, visitor economy regimens, manifestations of frenzy, popular fabrications, the iconography of salsa, queer kinship and radical filmmaking with the hopes of jump-cutting into a liberatory future.<br /><br />Guest-programmed by Caroline Gil Rodríguez.<br /><br />[<strong>These programs are presented alongside our screenings of Kathryn Ramey's EL SIGNO VACÍO; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61230">click here for more details</a>.</strong>]<br /><br />PROGRAM 2: MYTHOPOESIS – COWBOY AND INDIANS<br />Raphael Montañez Ortiz COWBOY AND “INDIAN” FILM (1958, 2 min, 16mm-to-digital)<br />Jaime Barrios FILM CLUB (1968, 26 min, 16mm)<br />Edén Bastida Kullick MONTE CARMELO (2018, 3 min, 16mm-to-digital)<br />Sofía Gallisá Muriente UN MONTÓN DE SILENCIOS / A BUNDLE OF SILENCES (2025, 24 min, digital)<br />Beatriz Santiago Muñoz ONEIROMANCER (2017, 26 min, digital)<br />Poli Marichal LOS ESPEJISMOS DE MANDRÁGORA LUNA / MANDRÁGORA LUNA’S PHANTOMS (1987, 13 min, Super-8mm-to-digital)<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61178 <p>NYC THEATRICAL PREMIERE RUN! 35MM PRINT!<br /><br />Written by Robin Schavoir and James N. Kienitz Wilkins. Produced by Emily Davis and Joey Frank. With Jesse Wakeman, Jess Barbagallo, John Magary, and Callie Hernandez. Distributed by Monument Releasing. 35mm print supported by Mostly Works and a Foundation for Contemporary Arts Emergency Grant.<br /><br />James N. Kienitz Wilkins has constructed one of the most truly singular, conceptually slippery, and genuinely exploratory bodies of work in contemporary cinema. His films take a dizzying array of forms – from theatrical reenactments (PUBLIC HEARING) and radical formal experiments (the imageless THE REPUBLIC and the Hollis Frampton-esque STILL FILM and THIS ACTION LIES) to sly takes on the essay film (COMMON CARRIER) and indie narrative (THE PLAGIARISTS) genres. But they’re linked by his preoccupation with language and writing (many of the films are founded on highly inventive, multi-faceted texts, either written by Wilkins or drawn from other sources), his extremely sophisticated interrogation of filmic, dramatic, and performative modes, and his sharp exploration of matters social and political. Nothing is ever quite what it seems in Wilkins’s work, and the mode of address is always a heady, multi-layered mix of irony, sincerity, and conceptual play.<br /><br />His new film, THE MISCONCEIVED – his third collaboration with writer Robin Schavoir, and a thematic follow-up (not a sequel) to THE PLAGIARISTS (2019) – is, characteristically, both entirely in keeping with his earlier work and yet entirely unique. We’re delighted to host THE MISCONCEIVED’s NYC premiere run at Anthology – via a fresh-from-the-lab 35mm print! – and to show it alongside screenings of <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61186">THE PLAGIARISTS</a> and Norman Mailer’s <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61191">MAIDSTONE</a>, which is evoked in the new film.<br /><br />“THE MISCONCEIVED is a tragicomedy about millennials turning forty, which follows a struggling yet entitled white American male found throughout the annals of indie film who apprehends his likely cultural irrelevance during the Biden era. The film utilizes experimental 3D-rendered processes entirely within a video game engine, utilizing motion capture, facial recognition, voice performance, and a vast library of stock media. THE MISCONCEIVED takes full advantage of the new ability to shoot in virtual worlds and a marketplace of 3D architectural and character models to create an uncanny mirror to contemporary society (notably, not using generative AI). In many ways, the movie is an argument for and against its right to exist.” –James N. Kienitz Wilkins<br /><br />“Tyler, a single father in need of work, takes a job working on an upstate country dream-home renovation belonging to his ex-college friend, Tobin, who is now a successful sculptor. That Tyler himself used to be a filmmaker becomes the focus point of his fellow workers and ultimately the film itself, culminating in an art-adjacent gathering that could potentially explode any remnants of his sense of self. Rapid fire conversations between workers from different class and racial backgrounds propel the narrative forward, with many jabs and many laughs along the way, ultimately offering an irreverent essay on work, white privilege, and indie filmmaking in the 2020s. Taking place exclusively within work hours, the new feature film by James N. Kienitz Wilkins is a millennial social satire exploring a contemporary world where what you do is who you are – and determines your level of cultural relevance.” –Michelle Carey, ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 10