Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Thu, 20 Sep 2018 03:28:44 -0400 AUDRE LORDE: THE BERLIN YEARS 1984 TO 1992 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49754 <p>&ldquo;Schultz weaves together archival footage and interviews to portray Lorde&rsquo;s experiences and interactions during her time in Berlin from 1984-92, in particular her relation to the German Black Diaspora and her attempt to articulate and raise awareness of Afro-German identity, culture, and history. The film offers a valuable historical document about the development of an Afro-German movement and the origins of the anti-racist movement before and after German reunification, as well as a transnational perspective on Black culture and the African diaspora.&rdquo; &ndash;Sofia Varino</p> Thursday, September 20 WILLIAM, THE NEW JUDO MASTER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49775 <p>(WILLIAM, EL NUEVO MAESTRO DEL JUDO)<br /><br />U.S. PREMIERE!<br /><br />&ldquo;Back in the 1950s, Swedish-American singer William Clauson had a worldwide hit with &lsquo;La Bamba.&rsquo; Now he lives in a ramshackle garage in Tijuana, Mexico. In WILLIAM, THE NEW JUDO MASTER, directors Ricardo Silva and Omar Guzm&aacute;n show how a Mexican nurse washes his naked old body. &lsquo;How did we get here?&rsquo; a voiceover muses. &lsquo;What road led us here? When did we take it?&rsquo; This fascinating film essay is about the struggle against time, old age, and transitoriness. Silva&rsquo;s debut film, NAVAJAZO (2014), was already a hybrid form of documentary and fiction, but here (with Guzm&aacute;n) he goes further, producing a surrealist collage. For example, going on a trip to the oldest tree in the world. Or having a middle-aged actor play Clauson, while he is visited by three male prostitutes. Meanwhile, the devil looks on, eyes glowing red.&rdquo; &ndash;INTERNATIONAL FILM FESTIVAL ROTTERDAM</p> Thursday, September 20 THE EDGE OF EACH OTHER’S BATTLES: THE VISION OF AUDRE LORDE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49757 <p>This powerful documentary is a moving tribute to Audre Lorde. One of the most celebrated icons of feminism&rsquo;s second wave, Lorde inspired several generations of activists with her riveting poetry, serving as a catalyst for change and uniting the communities of which she was a part: black arts and black liberation, women&rsquo;s liberation, and lesbian and gay liberation. Nowhere was this more apparent than the groundbreaking I AM YOUR SISTER CONFERENCE which brought together 1,200 activists from 23 countries. Including thrilling footage of the inimitable Lorde herself, and candid interviews with conference organizers, THE EDGE OF EACH OTHER&rsquo;S BATTLES powerfully brings Lorde&rsquo;s legacy of poetry and politics to life and conveys the spirit, passion and intensity that remain her trademark.</p> Thursday, September 20 95 AND 6 TO GO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49764 <p>SPECIAL SCREENINGS! FILMMAKER IN PERSON!<br /><br />Distributed by New Day Films: <a href="https://www.newday.com/film/95-and-6-go">www.newday.com/film/95-and-6-go</a><br /><br />In 95 AND 6 TO GO, a resilient widower&rsquo;s memories become intertwined with the fictional screenplay his granddaughter is writing, revealing the fine line between life and art, rumination and imagination. Filmmaker Kimi Takesue captures the cadence of daily life for Grandpa Tom, a retired postal worker born to Japanese immigrants in Hawai&rsquo;i in the 1910s. Amidst the solitude of his home routines &ndash; coupon clipping, rigging an improvised barbecue, lighting firecrackers on the New Year &ndash; we glimpse an unexpectedly rich inner life. As his granddaughter queries his history of love and loss, a stalled film project becomes a collaborative inquiry into mortality and how one constructs a personal narrative with memories that span almost a century. Shot over six years in Honolulu, this intimate meditation on absence and family expands the vernacular of the &lsquo;home movie&rsquo; to consider how history is accumulated in the everyday and how sparks of humor and creativity can animate an ordinary life.<br /><br />&ldquo;What initially feels like a conducive format for a&nbsp;<em>mise</em>of meta proportions, in which a speculative fiction is scaffolded within a documentary, reveals itself as an affectionate and occasionally circumspect portrait of familial discovery, a version of the home movie that reaches back a century to reveal a backstory ripe with love and loss but absent any shattering disclosures. [&hellip;] The film is in many ways a mutually somber homecoming; the proverbial return to care for one&rsquo;s elders becomes an active accounting of the past and provokes an unforeseen source of humble creativity. The subject of Japanese American identity during the war is broached as a matter of course, thus rendering the now quotidian gestures of this resilient nonagenarian all the more affecting.&rdquo; &ndash;Jay Kuehner, CINEMA SCOPE<br /><br />&ldquo;95 AND 6 TO GO is the home movie as subtle, multi-layered, self-reflexive work of art.&rdquo; &ndash;Peter Keough, THE BOSTON GLOBE</p> Friday, September 21 EC: HOLLIS FRAMPTON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49787 <p>ZORNS LEMMA<br />(1970, 60 min, 16mm. Preserved by Anthology Film Archives.)<br />&ldquo;A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don&rsquo;t understand it the first time you see it, don&rsquo;t despair, see it again! When you finally &lsquo;get it,&rsquo; a small light, possibly a candle, will light itself inside your forehead.&rdquo; &ndash;Ernie Gehr<br />&amp;<br />HAPAX LEGOMENA I: (nostalgia)<br />(1971, 36 min, 16mm. Preserved by Anthology Film Archives.)<br />&ldquo;In (nostalgia) the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton&rsquo;s films.&rdquo; &ndash;P. Adams Sitney<br /><br />Total running time: ca. 100 min.</p> Friday, September 21 EC: THE PARSON’S WIDOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49788 <p>(PR&Auml;ST&Auml;NKAN)<br /><br />A lyrical, early Dreyer comedy. A young parson wins a plum parish in 17th-century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fianc&eacute;e is his sister. The master&rsquo;s touch is evident in the close-ups of the pastor&rsquo;s would-be rivals and parishioners, and in a slow pan presaging the 360-degree views of VAMPYR.</p> Saturday, September 22 EC: MICHAEL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49789 <p>A <em>Kammerspielfilm</em> shot by the great German cinematographers Karl Freund and Rudolph Mat&eacute;, MICHAEL concerns the unconsummated homosexual love between a painter and his manipulative, larcenous model. The Danish director Benjamin Christensen stars as artist Claude Zoret, modeled in part after Rodin, whose irrepressible love finds its most complete expression in his last painting.</p> Saturday, September 22 95 AND 6 TO GO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49765 <p>SPECIAL SCREENINGS! FILMMAKER IN PERSON!<br /><br />Distributed by New Day Films: <a href="https://www.newday.com/film/95-and-6-go">www.newday.com/film/95-and-6-go</a><br /><br />In 95 AND 6 TO GO, a resilient widower&rsquo;s memories become intertwined with the fictional screenplay his granddaughter is writing, revealing the fine line between life and art, rumination and imagination. Filmmaker Kimi Takesue captures the cadence of daily life for Grandpa Tom, a retired postal worker born to Japanese immigrants in Hawai&rsquo;i in the 1910s. Amidst the solitude of his home routines &ndash; coupon clipping, rigging an improvised barbecue, lighting firecrackers on the New Year &ndash; we glimpse an unexpectedly rich inner life. As his granddaughter queries his history of love and loss, a stalled film project becomes a collaborative inquiry into mortality and how one constructs a personal narrative with memories that span almost a century. Shot over six years in Honolulu, this intimate meditation on absence and family expands the vernacular of the &lsquo;home movie&rsquo; to consider how history is accumulated in the everyday and how sparks of humor and creativity can animate an ordinary life.<br /><br />&ldquo;What initially feels like a conducive format for a&nbsp;<em>mise</em>of meta proportions, in which a speculative fiction is scaffolded within a documentary, reveals itself as an affectionate and occasionally circumspect portrait of familial discovery, a version of the home movie that reaches back a century to reveal a backstory ripe with love and loss but absent any shattering disclosures. [&hellip;] The film is in many ways a mutually somber homecoming; the proverbial return to care for one&rsquo;s elders becomes an active accounting of the past and provokes an unforeseen source of humble creativity. The subject of Japanese American identity during the war is broached as a matter of course, thus rendering the now quotidian gestures of this resilient nonagenarian all the more affecting.&rdquo; &ndash;Jay Kuehner, CINEMA SCOPE<br /><br />&ldquo;95 AND 6 TO GO is the home movie as subtle, multi-layered, self-reflexive work of art.&rdquo; &ndash;Peter Keough, THE BOSTON GLOBE</p> Saturday, September 22 EC: THE PASSION OF JOAN OF ARC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49790 <p>(LA PASSION DE JEANNE D&rsquo;ARC)<br /><br />A work that exemplifies Dreyer&rsquo;s philosophy: simplicity is the most complex idea of all. Although renowned for its spare acts, lack of embellishment, and use of simple shots, Dreyer&rsquo;s masterpiece reveals the natural complexity of an un-retouched face (often existing alone, filling up the frame) and a landscape of history as individual as the lines on that face. Made in 1927-28, it continues to haunt the cinema, looking more and more avant-garde as the years go by.</p> Saturday, September 22 EC: VAMPYR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49792 <p>&ldquo;Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.&rdquo; &ndash;C.D.</p> Sunday, September 23 95 AND 6 TO GO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49766 <p>SPECIAL SCREENINGS! FILMMAKER IN PERSON!<br /><br />Distributed by New Day Films: <a href="https://www.newday.com/film/95-and-6-go">www.newday.com/film/95-and-6-go</a><br /><br />In 95 AND 6 TO GO, a resilient widower&rsquo;s memories become intertwined with the fictional screenplay his granddaughter is writing, revealing the fine line between life and art, rumination and imagination. Filmmaker Kimi Takesue captures the cadence of daily life for Grandpa Tom, a retired postal worker born to Japanese immigrants in Hawai&rsquo;i in the 1910s. Amidst the solitude of his home routines &ndash; coupon clipping, rigging an improvised barbecue, lighting firecrackers on the New Year &ndash; we glimpse an unexpectedly rich inner life. As his granddaughter queries his history of love and loss, a stalled film project becomes a collaborative inquiry into mortality and how one constructs a personal narrative with memories that span almost a century. Shot over six years in Honolulu, this intimate meditation on absence and family expands the vernacular of the &lsquo;home movie&rsquo; to consider how history is accumulated in the everyday and how sparks of humor and creativity can animate an ordinary life.<br /><br />&ldquo;What initially feels like a conducive format for a&nbsp;<em>mise</em>of meta proportions, in which a speculative fiction is scaffolded within a documentary, reveals itself as an affectionate and occasionally circumspect portrait of familial discovery, a version of the home movie that reaches back a century to reveal a backstory ripe with love and loss but absent any shattering disclosures. [&hellip;] The film is in many ways a mutually somber homecoming; the proverbial return to care for one&rsquo;s elders becomes an active accounting of the past and provokes an unforeseen source of humble creativity. The subject of Japanese American identity during the war is broached as a matter of course, thus rendering the now quotidian gestures of this resilient nonagenarian all the more affecting.&rdquo; &ndash;Jay Kuehner, CINEMA SCOPE<br /><br />&ldquo;95 AND 6 TO GO is the home movie as subtle, multi-layered, self-reflexive work of art.&rdquo; &ndash;Peter Keough, THE BOSTON GLOBE</p> Sunday, September 23 EC: DAY OF WRATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49794 <p>(VREDENS DAG)<br /><br />&ldquo;Carl Dreyer&rsquo;s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes &ndash; but his witches don&rsquo;t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.&rdquo; &ndash;Pauline Kael</p> Sunday, September 23 NYWIFT: VISIT 57 + TONIGHT AND EVERY NIGHT + HER MAGNUM OPUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49778 <p>Kate Phelan (Writer/Director), Tricia Paoluccio (Actor) &amp; Ursula Abbott Connolly (Actor)<br />VISIT 57<br />(2016, 11 min, digital)<br />VISIT 57 is the story of a woman in the midst of fertility treatments. For three years, Kat has been on a loop of hope and disappointment every 28 days. Today will be different. She&rsquo;s sure.<br /><br />Christina Eliopoulos (Writer/Director) &amp; Elizabeth Kinder (Executive Producer)<br />TONIGHT AND EVERY NIGHT<br />(2017, 21 min, digital)<br />Yianni is the star and host of &ldquo;Tonight and Every Night,&rdquo; the talk show that plays in his own fractured mind. One fateful day, Yianni, who suffers from dementia, wanders out of his house and comes to the aid of a lonely and lost little boy. They discover a beautiful new friendship and help each other find the way back home.<br /><br />Marta Renzi (Director)<br />HER MAGNUM OPUS<br />(2017, 61 min, digital)<br />A group of friends gather to celebrate their mentor and learn that what lasts is those you leave behind.<br /><br />Total running time: ca. 95 min.</p> Tuesday, September 25 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49449 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, September 26 EC: THE WORD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49796 <p>(ORDET)<br /><br />An existential morality essay by the master of the long take, in which a man who believes he is Jesus Christ soon begins to convince those around him. Based on the play by Kaj Munk, ORDET is a meditation on faith and fanaticism.</p> Friday, September 28 EC: GERTRUD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49797 <p>&ldquo;GERTRUD is as towering a master work in the narrative sound cinema as Brakhage&rsquo;s THE ART OF VISION is in the nonnarrative cinema. Every detail, every motion, every word in GERTRUD has its right place, its own voice, and contributes to the whole and is beautiful. [&hellip;] Every generation states its own position on love. GERTRUD is Dreyer&rsquo;s statement on love, and it is pure, radiant, and perfect, like a ring.&rdquo; &ndash;Jonas Mekas, MOVIE JOURNAL</p> Saturday, September 29 EC: DAY OF WRATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49795 <p>(VREDENS DAG)<br /><br />&ldquo;Carl Dreyer&rsquo;s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes &ndash; but his witches don&rsquo;t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.&rdquo; &ndash;Pauline Kael</p> Saturday, September 29 EC: VAMPYR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49793 <p>&ldquo;Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.&rdquo; &ndash;C.D.</p> Sunday, September 30 EC: THE PASSION OF JOAN OF ARC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2018#showing-49791 <p>(LA PASSION DE JEANNE D&rsquo;ARC)<br /><br />A work that exemplifies Dreyer&rsquo;s philosophy: simplicity is the most complex idea of all. Although renowned for its spare acts, lack of embellishment, and use of simple shots, Dreyer&rsquo;s masterpiece reveals the natural complexity of an un-retouched face (often existing alone, filling up the frame) and a landscape of history as individual as the lines on that face. Made in 1927-28, it continues to haunt the cinema, looking more and more avant-garde as the years go by.</p> Sunday, September 30