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, 11 Feb 2016 07:58:27 -0500 WE WON’T GROW OLD TOGETHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45326 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />With Jean Yanne &amp; Marlene Joubert.<br /><br />&ldquo;Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It&rsquo;s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. &lsquo;You&rsquo;ve never succeeded at anything and you never will&rsquo;, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. &lsquo;And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.&rsquo; These are the film&rsquo;s most celebrated lines&hellip;a sort of brutalist alternative to the famous line from LOVE STORY: &lsquo;Love means never having to say you&rsquo;re sorry.&rsquo;&rdquo; &ndash;Dave Kehr, FILM COMMENT</p> Thursday, February 11 MODERN ROMANCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45329 <p>With Albert Brooks, Kathryn Harrold, Bruno Kirby, George Kennedy, and James L. Brooks. Mint condition print courtesy of Sony Pictures.<br /><br />MODERN ROMANCE may be Albert Brooks&rsquo;s least-known film, but arguably it&rsquo;s his greatest &ndash; the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist&rsquo;s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who&rsquo;s very nearly psychotic. Painfully funny, with the emphasis on &lsquo;funny.&rsquo;</p> Thursday, February 11 HEARTBREAK KID http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45333 <p>With Charles Grodin, Cybill Shepherd, Jeannie Berlin, and Eddie Albert.<br /><br />&ldquo;Were there film-historical justice in the world, THE HEARTBREAK KID would be remembered as something more than a finger-jabbed-a-little-too-sharply-in-the-ribs footnote to THE GRADUATE. An excruciatingly hilarious masterpiece of modern misanthropy, May&rsquo;s second directorial outing stars Charles Grodin as a newlywed who, not five days into his honeymoon, mercilessly dumps his bride (played, with an Oscar-nominated mixture of hapless pathos and a double order of egg salad, by May&rsquo;s daughter, Jeannie Berlin) in order to pursue Cybill Shepherd&rsquo;s teenage Minnesota WASP princess. An anatomy of internalized rage, curdled misogyny, and bottomless self-deception, May&rsquo;s second film &ndash; as indeed do each of the four films she directed &ndash; deserves better.&rdquo; &ndash;Chuck Stephens, FILM COMMENT</p> Friday, February 12 EC: GREED http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45356 <p>With Gibson Gowland, ZaSu Pitts, and Jean Hersholt.<br /><br />&ldquo;Reduced from an eight-and-a-half-hour running time to slightly over two hours, [GREED] is perhaps more famous for the butcher job performed on it than for Stroheim&rsquo;s great and genuine accomplishment. Though usually discussed as a masterpiece of realism (it was based on a novel by the naturalist writer Frank Norris), it is equally sublime in its high stylization, which ranges from the highly Brechtian spectacle of ZaSu Pitts making love to her gold coins to deep-focus compositions every bit as advanced as those in CITIZEN KANE. It is probably the most modern in feel of all silent films, establishing ideas that would not be developed until decades later.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Friday, February 12 POSSESSION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45336 <p>With Isabelle Adjani, Sam Neill, and Margit Carstensen. Written by Andrzej Zulawski &amp; Frederic Tuten.<br /><br />If you think the Pialat and Albert Brooks films depict romantic relationships in a less-than-flattering light, behold Zulawski&rsquo;s POSSESSION, in which the psychic violence of the other two films in the series erupts into literal violence of the most outrageous and over-the-top variety. A nihilistic, no-holds-barred portrait of a disintegrating marriage, featuring highly stylized, career-best performances by Isabelle Adjani and Sam Neill, POSSESSION starts as psychodrama, develops into queasy supernatural horror, and ends up exploding all known genres. A film of rampant and astonishingly sustained hysteria, its craziness equaled only by its fecund imagination and deep conviction, POSSESSION is the definition of a film that&rsquo;s not for the faint of heart. It may just have the power to annihilate Valentine&rsquo;s Day once and for all.</p> Friday, February 12 TOTALLY 80s MOVIE FREAK OUT PART 2: ELECTRIC BOOGALOO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45347 <p>The ultimate marathon of the ultimate movies from the ultimate decade is back&hellip;and this time it&rsquo;s personal! Last year we thrilled you with six movies that showed exactly how awesome the 80s could be. This year we&rsquo;re going to stun you with gonzo gnarli-tude, showcasing a six-pack of the wildest, trashiest, most tripendicular crime, private eye, and urban panic movies made between 1980-89. All six movies will be shown on 35mm and we won&rsquo;t tell you the titles until they appear on the screen, but trust us: these movies will blow you away&hellip;with an uzi! And two of them have never been available on DVD! We&rsquo;ve got Gene Simmons at his most monstrous! We&rsquo;ve got three times the Wings Hauser, for three times the action! We&rsquo;ve got the greatest giant monster movie ever made! The most mind-bending movie ever directed by the winner of TWO Pulitzer Prizes! A buddy cop movie full of fast cars, big guns, and hot guitars! And a no-holds-barred, one-dark-night descent into urban squalor, vice, and sheer sweaty-palmed depravity that&rsquo;ll make your family pack up and move to the suburbs! If all you remember about the 80s is THE BREAKFAST CLUB, then it&rsquo;s time to return to these neon-streaked city streets and prove that you&rsquo;re tuff&hellip;tuff enuff to win!<br /><br /><strong><em>Tickets will be $25 for the whole marathon, a limited number of advance tickets are available <a href="http://www.brownpapertickets.com/event/2486174">here</a>.</em></strong></p> Saturday, February 13 WE WON’T GROW OLD TOGETHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45327 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />With Jean Yanne &amp; Marlene Joubert.<br /><br />&ldquo;Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It&rsquo;s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. &lsquo;You&rsquo;ve never succeeded at anything and you never will&rsquo;, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. &lsquo;And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.&rsquo; These are the film&rsquo;s most celebrated lines&hellip;a sort of brutalist alternative to the famous line from LOVE STORY: &lsquo;Love means never having to say you&rsquo;re sorry.&rsquo;&rdquo; &ndash;Dave Kehr, FILM COMMENT</p> Saturday, February 13 MODERN ROMANCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45330 <p>With Albert Brooks, Kathryn Harrold, Bruno Kirby, George Kennedy, and James L. Brooks. Mint condition print courtesy of Sony Pictures.<br /><br />MODERN ROMANCE may be Albert Brooks&rsquo;s least-known film, but arguably it&rsquo;s his greatest &ndash; the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist&rsquo;s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who&rsquo;s very nearly psychotic. Painfully funny, with the emphasis on &lsquo;funny.&rsquo;</p> Saturday, February 13 POSSESSION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45337 <p>With Isabelle Adjani, Sam Neill, and Margit Carstensen. Written by Andrzej Zulawski &amp; Frederic Tuten.<br /><br />If you think the Pialat and Albert Brooks films depict romantic relationships in a less-than-flattering light, behold Zulawski&rsquo;s POSSESSION, in which the psychic violence of the other two films in the series erupts into literal violence of the most outrageous and over-the-top variety. A nihilistic, no-holds-barred portrait of a disintegrating marriage, featuring highly stylized, career-best performances by Isabelle Adjani and Sam Neill, POSSESSION starts as psychodrama, develops into queasy supernatural horror, and ends up exploding all known genres. A film of rampant and astonishingly sustained hysteria, its craziness equaled only by its fecund imagination and deep conviction, POSSESSION is the definition of a film that&rsquo;s not for the faint of heart. It may just have the power to annihilate Valentine&rsquo;s Day once and for all.</p> Saturday, February 13 MODERN ROMANCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45331 <p>With Albert Brooks, Kathryn Harrold, Bruno Kirby, George Kennedy, and James L. Brooks. Mint condition print courtesy of Sony Pictures.<br /><br />MODERN ROMANCE may be Albert Brooks&rsquo;s least-known film, but arguably it&rsquo;s his greatest &ndash; the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist&rsquo;s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who&rsquo;s very nearly psychotic. Painfully funny, with the emphasis on &lsquo;funny.&rsquo;</p> Sunday, February 14 POSSESSION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45338 <p>With Isabelle Adjani, Sam Neill, and Margit Carstensen. Written by Andrzej Zulawski &amp; Frederic Tuten.<br /><br />If you think the Pialat and Albert Brooks films depict romantic relationships in a less-than-flattering light, behold Zulawski&rsquo;s POSSESSION, in which the psychic violence of the other two films in the series erupts into literal violence of the most outrageous and over-the-top variety. A nihilistic, no-holds-barred portrait of a disintegrating marriage, featuring highly stylized, career-best performances by Isabelle Adjani and Sam Neill, POSSESSION starts as psychodrama, develops into queasy supernatural horror, and ends up exploding all known genres. A film of rampant and astonishingly sustained hysteria, its craziness equaled only by its fecund imagination and deep conviction, POSSESSION is the definition of a film that&rsquo;s not for the faint of heart. It may just have the power to annihilate Valentine&rsquo;s Day once and for all.</p> Sunday, February 14 HEARTBREAK KID http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45334 <p>With Charles Grodin, Cybill Shepherd, Jeannie Berlin, and Eddie Albert.<br /><br />&ldquo;Were there film-historical justice in the world, THE HEARTBREAK KID would be remembered as something more than a finger-jabbed-a-little-too-sharply-in-the-ribs footnote to THE GRADUATE. An excruciatingly hilarious masterpiece of modern misanthropy, May&rsquo;s second directorial outing stars Charles Grodin as a newlywed who, not five days into his honeymoon, mercilessly dumps his bride (played, with an Oscar-nominated mixture of hapless pathos and a double order of egg salad, by May&rsquo;s daughter, Jeannie Berlin) in order to pursue Cybill Shepherd&rsquo;s teenage Minnesota WASP princess. An anatomy of internalized rage, curdled misogyny, and bottomless self-deception, May&rsquo;s second film &ndash; as indeed do each of the four films she directed &ndash; deserves better.&rdquo; &ndash;Chuck Stephens, FILM COMMENT</p> Sunday, February 14 EC: GREED http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45357 <p>With Gibson Gowland, ZaSu Pitts, and Jean Hersholt.<br /><br />&ldquo;Reduced from an eight-and-a-half-hour running time to slightly over two hours, [GREED] is perhaps more famous for the butcher job performed on it than for Stroheim&rsquo;s great and genuine accomplishment. Though usually discussed as a masterpiece of realism (it was based on a novel by the naturalist writer Frank Norris), it is equally sublime in its high stylization, which ranges from the highly Brechtian spectacle of ZaSu Pitts making love to her gold coins to deep-focus compositions every bit as advanced as those in CITIZEN KANE. It is probably the most modern in feel of all silent films, establishing ideas that would not be developed until decades later.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Monday, February 15 FLAHERTY NYC, PROGRAM 3: REGIME CHANGE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45393 <p>This program attempts to sharpen the margins of visibility by moving the anchor of the center toward a spectrum of gestures that resist invisibility.<br /><br />Santiago Mostyn DELAY (2014, 4 min, digital)<br />Beatriz Santiago Mu&ntilde;oz LA CUEVA NEGRA (2013, 20 min, digital)<br />Beatriz Santiago Mu&ntilde;oz MATRULLA (2014, 6.5 min, 16mm)<br />Beatriz Santiago Mu&ntilde;oz LA CABEZA MATO A TODOS (2014, 7.5 min, digital)<br />Beatriz Santiago Mu&ntilde;oz ESTO ES UN MENSAJE EXPLOSIVO (2010, 18 min, digital)<br />Akwaeke Emezi BLESI (2013, 2 min, digital)<br />Wura Natasha Ogunji WILL I STILL CARRY WATER WHEN I AM A DEAD WOMAN? (2011, 5 min, digital)<br />Thenjiwe Nkosi LE TCHAD: TRUE HEART (2013, 14.5 min, digital)<br />Total running time: ca. 80 min.</p> <p><em><strong>Beatriz Santiago Mu&ntilde;oz in person.</strong></em></p> Tuesday, February 16 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45352 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, February 17 EIKO, PGM 1: THE BURMESE HARP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45341 <p>A BODY IN PLACES, PROGRAM 1: A BODY IN MOURNING</p> <p>Kon Ichikawa<br />THE BURMESE HARP<br />1956, 116 min, 16mm, b&amp;w. In Japanese with English subtitles.<br />"I grew up in post-war Japan, devouring the works of those who experienced WWII. Popular entertainment, from movies to manga, were also suffused with memories of the War. Without experiencing the War, our generation were influenced by the grotesqueness of massive violence. Soon after 9/11, I began thinking about how dying in mass violence is different from dying from a disease or an accident. Why does it matter how we die? Then I realized that, however painful the process of dying, one who dies a personal death at least dies his or her own death. A personal death receives personal attention. Dying in the midst of massive violence means dying amid widespread suffering &ndash; it deprives a person of his or her own personal death. Mizushima, the protagonist of THE BURMESE HARP witnesses countless corpses as he wanders through Burma. Fear, remorse, and hesitation gradually transform this survivor into a mourner. Wishing to attend and bury the dead, he ultimately tells himself, 'I cannot return to Japan.' Director Ichikawa described THE BURMESE HARP as the first film he felt a profound need to make." &ndash;Eiko<br /><br />With:<br />Eiko &amp; Koma and James Byrne UNDERTOW (1988, 7 min, 16mm b&amp;w)<br />UNDERTOW is a work choreographed for the camera in collaboration with video artist James Byrne. Eiko &amp; Koma&rsquo;s two naked bodies float in the space of an existential limbo.</p> Wednesday, February 17 EC: GREED http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45358 <p>With Gibson Gowland, ZaSu Pitts, and Jean Hersholt.<br /><br />&ldquo;Reduced from an eight-and-a-half-hour running time to slightly over two hours, [GREED] is perhaps more famous for the butcher job performed on it than for Stroheim&rsquo;s great and genuine accomplishment. Though usually discussed as a masterpiece of realism (it was based on a novel by the naturalist writer Frank Norris), it is equally sublime in its high stylization, which ranges from the highly Brechtian spectacle of ZaSu Pitts making love to her gold coins to deep-focus compositions every bit as advanced as those in CITIZEN KANE. It is probably the most modern in feel of all silent films, establishing ideas that would not be developed until decades later.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Thursday, February 18 MILLENNIUM FILM JOURNAL: POLISH AVANT-GARDE CINEMA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45349 <p>Avant-garde film from Poland has an almost mythological reputation, largely due to the activities of filmmakers associated with the Ł&oacute;dź Film Form Workshop, which peaked in the 1970s. However, a recent book entitled THE STRUGGLE FOR FORM argues that a distinctive strain of moving image experimentation by Polish artists began as early as 1916 and continued at least until 1989 when their works began to merge into a globalized &lsquo;art world.&rsquo;<br /><br />In concert with his review of THE STRUGGLE FOR FORM, published in the most recent issue of the Millennium Film Journal (MFJ 62), Andrzej Jachimczyk has curated this special one-program survey of Polish avant-garde cinema, beginning with a 1937 film by the Themersons and a formal experiment by Andrzej Pawłowski, followed by an example of the Moral Angst Cinema by Wojciech Wiszniewski and two films made under the auspices of the Film Form Workshop. The third part of the program contains an existential contemplation by Andrzej Klimowski and a social critique by Hieronim Neumann, and ends with a 1997 documentary by the film visionary Kazimierz Karabasz. Though Polish avant-garde cinema is often considered to embrace a rigidly formalist position, this program suggests that changes in political climate have as significant an influence as aesthetic prerogatives on the methods and ideas of moving image artists. Though none of the works can be definitively categorized, the program includes fictional, animation, and documentary approaches to film.<br /><br />For more info on the Millennium Film Journal, visit www. mfj-online.org.<br /><br />Presented in collaboration with the Polish Cultural Institute New York. Thanks to Agata Grenda (Polish Cultural Institute New York), Andrzej Jachimczyk, and Grahame Weinbren, as well as to the National Audiovisual Institute, the Adam Mickiewicz Institute, the National Film Archive in Poland, and Michał Oleszczyk, Artistic Director of the Gdynia Film Festival.<br /><br />Franciszka &amp; Stefan Themerson THE ADVENTURE OF A GOOD CITIZEN, AN IRRATIONAL HUMORESQUE / PRZYGODA CZŁOWIEKA POCZCIWEGO (1937, 10 min, 35mm)<br />Andrzej Pawłowski KINEFORMS / KINEFORMY (1957, 7 min, 35mm-to-digital)<br />J&oacute;zef Robakowski TEST I (1971, 5 min, 35mm-to-digital)<br />Zbigniew Rybczyński NEW BOOK / NOWA KSIAŻKA (1975, 10 min, 35mm)<br />Wojciech Wiszniewski THE CARPENTER / STOLARZ (1976, 13 min, 35mm)<br />Andrzej Klimowski DEAD SHADOW / MARTWY CIEŃ (1980, 10.5 min, 35mm)<br />Hieronim Neumann BLOCK / BLOK (1982, 9 min, 35mm)<br />Kazimierz Karabasz PORTRAIT IN A DROP OF WATER / PORTRET W KROPLI (1997, 22 min, video)<br /><br />Total running time: ca. 90 min.</p> Thursday, February 18 BLOODY MAMA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45367 <p>With Shelley Winters, Robert De Niro, and Bruce Dern.<br /><br /><strong>&ldquo;YOU GOTTA BELIEVE&hellip;YOU GOTTA HAVE FAITH&hellip;BUT FIRST, YOU GOTTA GET RID OF THE WITNESSES!&rdquo;<br /><br /></strong>&ldquo;Roger Corman's 1970 retelling of the story of Ma Barker and her three loony sons in Depression-era America is completely out of control, but the smash-and-grab stylistics are exhilarating. Lots of violence and weird sexual innuendo, backed by a big, blustery performance from Shelley Winters as Ma and a young supporting cast to whom time has been very kind: Robert De Niro, Don Stroud, Robert Walden, and Bruce Dern.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Friday, February 19 RE-VISIONS: BORN IN FLAMES - Lizzie Borden, Adele Bertei, and Jeanne Satterfield in person! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45509 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br /><strong>Lizzie Borden will be here in person tonight, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield, as well as film critic Amy Taubin who will moderate the conversation!</strong><br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a></p> <p><br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> Friday, February 19 UNHOLY ROLLERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45371 <p><strong>&ldquo;A LOCKER ROOM LOOK AT THE TOUGHEST BROADS IN THE WORLD!&rdquo;<br /><br /></strong>Vernon Zimmerman boasts a peerlessly strange filmography: his early films include two underground shorts starring the great Taylor Mead (TO L.A. WITH LUST and LEMON HEARTS), while he later directed the Terence Malick-scripted trucker comedy DEADHEAD MILES (the first feature film for which Malick earned a credit). In between, he made this gleefully over-the-top portrait of the roller derby scene for AIP, a masterpiece of calculated bad taste that he called &ldquo;GUN CRAZY on wheels.&rdquo;<br /><br />&ldquo;UNHOLY ROLLERS is so bad it&rsquo;s good. The film flaunts its uninhibited love for everything decent folk call Bad Taste: traveling salesmen jokes, tufted velvet sofas, STP decals, greaser rock, suede hot pants, vinyl boots &ndash; and roller derbies. Zimmerman&rsquo;s treatment of the derby subculture is realistic in spirit and zest &ndash; but not in detail. UNHOLY ROLLERS is an exuberant, rococo, preposterous exaggeration of the skating lifestyle. [&hellip;] Zimmerman&rsquo;s approach is that of a physician giving electroshock treatments to a cadaver. He keeps hyping the trite and familiar exploitation plot with jolts of gratuitous sex and violence, vulgar wisecracking, incongruous actions, riotous sounds and colors. And in the end Zimmerman&rsquo;s shock treatments are much more exciting than the forgettable story line, and, in fact, give the film a unique personality. [&hellip;] It&rsquo;s hard, fast, and vulgar, full of life and personality.&rdquo; &ndash;Paul Schrader, FILM QUARTERLY</p> Friday, February 19 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45311 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Friday, February 19 RE-VISIONS: LIZZIE BORDEN'S 'REGROUPING' - Q&A WITH BORDEN & AMY TAUBIN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45511 <p>LIZZIE BORDEN<br />Born in Detroit, Michigan, Lizzie Borden is best known for her anarcha-feminist classic, BORN IN FLAMES (1983), which B. Ruby Rich calls, &ldquo;A precursor to New Queer Cinema in its genre hybridization (radical-lesbian-feminist-sci-fi v&eacute;rit&eacute;) and political fury.&rdquo; Borden has created a small but explosive body of work that challenges viewers to rethink their assumptions about gender, sexuality, race, and class.<br /><br />After majoring in art history at Wellesley College, Borden moved to NYC where she originally aspired to be a painter and wrote for Artforum Magazine. She began her filmmaking career by creating the soundtrack for Richard Serra&rsquo;s documentary, STEELMILL. Borden&rsquo;s first feature was REGROUPING (1976), about a women&rsquo;s consciousness-raising group. The homogeneity of race and class in the group led her to embark on BORN IN FLAMES, while her interest in the sex industry and labor resulted in WORKING GIRLS (1986), an un-romanticized look at a middle-class brothel in Manhattan. Borden landed in movie jail with her studio-recut, erotic thriller LOVE CRIMES (1992), but has since directed several TV episodes, including RED SHOE DIARIES and Propaganda Film&rsquo;s INSIDE OUT, starring Alexis Arquette, Joe Dallesandro, and Mary Woronov.<br /><br />For her RE-VISIONS program, we&rsquo;re overjoyed to premiere our brand-new 35mm preservation of BORN IN FLAMES, alongside very rare screenings of her debut feature, REGROUPING, presented in collaboration with the Outfest UCLA Legacy Project.<br /><br />REGROUPING<br />1976, 80 min, 16mm, b&amp;w. This screening is co-presented by the Outfest UCLA Legacy Project; archival print courtesy of UCLA Film &amp; Television Archive.<br />In this experimental film, Borden explores the dynamics among the members of a woman&rsquo;s group. As she interviews people who know them, such as Joan Jonas, the group shoots &lsquo;artistic&rsquo; scenes of themselves &ndash; but Borden feels they aren&rsquo;t fully grappling with issues of sexuality and politics. Are they a serious group &ndash; or just friends? After showing an early edit of the film to the group, its members, upset, close ranks. Undeterred, Borden incorporates the group&rsquo;s arguments into another edit, filming larger groups commenting both on the original one and on consciousness-raising groups in general. Uncredited voices include those of Barbara Kruger and Kathryn Bigelow.<br /><br /><strong>The screening on Saturday, February 20 at 4:45 will be followed by a Q&amp;A with Lizzie Borden and film critic Amy Taubin!</strong></p> Saturday, February 20 MASTER OF THE WORLD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45375 <p>With Vincent Price, Charles Bronson, and Henry Hull.<br /><br /><strong>&ldquo;ROBUR THE CONQUEROR AND HIS AMAZING FLYING WARSHIP&hellip;DESTROYER OF THE ARMIES AND THE NAVIES OF THE WORLD&hellip;THE FABULOUS ADVENTURES OF THE MAN WHO CONQUERED THE EARTH TO SAVE IT!&rdquo;<br /><br /></strong>Made in the wake of AIP&rsquo;s enormously successful series of Edgar Allan Poe adaptations, MASTER OF THE WORLD is adapted from a pair of Jules Verne novels, and features the star of the Poe films, Vincent Price, alongside a young Charles Bronson (whose first leading role came a few years earlier, in AIP&rsquo;s MACHINE-GUN KELLY). Price is a mid-nineteenth century millionaire whose admirable quest to eliminate war and conflict from the globe is undercut by his curious strategy for achieving peace: to use his self-constructed airship to bomb all military installations to smithereens. Eager to consolidate its newfound respectability, AIP devoted its largest budget to date to MASTER OF THE WORLD, while entrusting the project to the under-appreciated journeyman William Witney (today a favorite of Quentin Tarantino&rsquo;s). The result is a strange combination of big-budget spectacle and typical AIP corner-cutting, and ultimately a fascinating film, both for its paradoxical portrait of a mad peacenik and for the bizarre clash between the disparate acting styles of Price and Bronson.</p> Saturday, February 20 HEAVY TRAFFIC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45379 <p><strong>&ldquo;More spice&hellip;from the makers of FRITZ THE CAT.&rdquo;<br /><br /></strong>&ldquo;Ralph Bakshi moves beyond the ersatz animalism of Fritz the Cat to the real-life animalism of New York&rsquo;s Lower East Side in this hilarious, grotesque cartoon/live-action feature, a pinball player&rsquo;s fantasy equivalent of Hubert Selby&rsquo;s LAST EXIT TO BROOKLYN. Bakshi manages to offend nearly everyone from transvestites to mafiosi, but the comic distancing achieved by his army of animators manages to bring off a most difficult kind of humor: the humor of pain and despair.&rdquo; &ndash;Don Druker, CHICAGO READER</p> Saturday, February 20 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45312 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Saturday, February 20 CANNIBAL GIRLS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45383 <p>With Eugene Levy, Andrea Martin, and Ronald Ulrich.<br /><br /><strong>&ldquo;THE PICTURE WITH THE WARNING BELL! When it rings &ndash; close your eyes if you&rsquo;re squeamish!&rdquo;<br /><br /></strong>This Canuxploitation horror parody has a bizarre pedigree &ndash; produced by Ivan Reitman, who would become a juggernaut as a producer and director of Hollywood comedies but who in this period was producing (mostly straight) horror films and thrillers in Canada (see DEATH WEEKEND above), it stars Eugene Levy and Andrea Martin, both of whom would soon enter the pantheon of comedy greats as two of the linchpins of SCTV. Levy and Martin play a couple on a romantic holiday who settle into a quaint little bed-and-breakfast run by a trio of flesh-eating ladies who fancy them for tomorrow&rsquo;s menu. AIP picked up CANNIBAL GIRLS for distribution in the U.S., and was responsible for its loopiest grindhouse gimmick: a warning bell that, in advance of the gory parts, alerts squeamish viewers to close their eyes.</p> Saturday, February 20 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45313 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Saturday, February 20 RE-VISIONS: LIZZIE BORDEN'S 'REGROUPING' http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45402 <p>LIZZIE BORDEN<br />Born in Detroit, Michigan, Lizzie Borden is best known for her anarcha-feminist classic, BORN IN FLAMES (1983), which B. Ruby Rich calls, &ldquo;A precursor to New Queer Cinema in its genre hybridization (radical-lesbian-feminist-sci-fi v&eacute;rit&eacute;) and political fury.&rdquo; Borden has created a small but explosive body of work that challenges viewers to rethink their assumptions about gender, sexuality, race, and class.<br /><br />After majoring in art history at Wellesley College, Borden moved to NYC where she originally aspired to be a painter and wrote for Artforum Magazine. She began her filmmaking career by creating the soundtrack for Richard Serra&rsquo;s documentary, STEELMILL. Borden&rsquo;s first feature was REGROUPING (1976), about a women&rsquo;s consciousness-raising group. The homogeneity of race and class in the group led her to embark on BORN IN FLAMES, while her interest in the sex industry and labor resulted in WORKING GIRLS (1986), an un-romanticized look at a middle-class brothel in Manhattan. Borden landed in movie jail with her studio-recut, erotic thriller LOVE CRIMES (1992), but has since directed several TV episodes, including RED SHOE DIARIES and Propaganda Film&rsquo;s INSIDE OUT, starring Alexis Arquette, Joe Dallesandro, and Mary Woronov.<br /><br />For her RE-VISIONS program, we&rsquo;re overjoyed to premiere our brand-new 35mm preservation of BORN IN FLAMES, alongside very rare screenings of her debut feature, REGROUPING, presented in collaboration with the Outfest UCLA Legacy Project.<br /><br />REGROUPING<br />1976, 80 min, 16mm, b&amp;w. This screening is co-presented by the Outfest UCLA Legacy Project; archival print courtesy of UCLA Film &amp; Television Archive.<br />In this experimental film, Borden explores the dynamics among the members of a woman&rsquo;s group. As she interviews people who know them, such as Joan Jonas, the group shoots &lsquo;artistic&rsquo; scenes of themselves &ndash; but Borden feels they aren&rsquo;t fully grappling with issues of sexuality and politics. Are they a serious group &ndash; or just friends? After showing an early edit of the film to the group, its members, upset, close ranks. Undeterred, Borden incorporates the group&rsquo;s arguments into another edit, filming larger groups commenting both on the original one and on consciousness-raising groups in general. Uncredited voices include those of Barbara Kruger and Kathryn Bigelow.</p> Sunday, February 21 UNHOLY ROLLERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45372 <p><strong>&ldquo;A LOCKER ROOM LOOK AT THE TOUGHEST BROADS IN THE WORLD!&rdquo;<br /><br /></strong>Vernon Zimmerman boasts a peerlessly strange filmography: his early films include two underground shorts starring the great Taylor Mead (TO L.A. WITH LUST and LEMON HEARTS), while he later directed the Terence Malick-scripted trucker comedy DEADHEAD MILES (the first feature film for which Malick earned a credit). In between, he made this gleefully over-the-top portrait of the roller derby scene for AIP, a masterpiece of calculated bad taste that he called &ldquo;GUN CRAZY on wheels.&rdquo;<br /><br />&ldquo;UNHOLY ROLLERS is so bad it&rsquo;s good. The film flaunts its uninhibited love for everything decent folk call Bad Taste: traveling salesmen jokes, tufted velvet sofas, STP decals, greaser rock, suede hot pants, vinyl boots &ndash; and roller derbies. Zimmerman&rsquo;s treatment of the derby subculture is realistic in spirit and zest &ndash; but not in detail. UNHOLY ROLLERS is an exuberant, rococo, preposterous exaggeration of the skating lifestyle. [&hellip;] Zimmerman&rsquo;s approach is that of a physician giving electroshock treatments to a cadaver. He keeps hyping the trite and familiar exploitation plot with jolts of gratuitous sex and violence, vulgar wisecracking, incongruous actions, riotous sounds and colors. And in the end Zimmerman&rsquo;s shock treatments are much more exciting than the forgettable story line, and, in fact, give the film a unique personality. [&hellip;] It&rsquo;s hard, fast, and vulgar, full of life and personality.&rdquo; &ndash;Paul Schrader, FILM QUARTERLY</p> Sunday, February 21 JOYRIDE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45387 <p>Co-written by Joseph Ruben &amp; Peter Rainer. With Desi Arnaz, Jr., Robert Carradine, Melanie Griffith, and Anne Lockhart.<br /><br /><strong>&ldquo;Did you ever want to just shove it and leave it all behind? JOYRIDE &ndash; It was fun&hellip;while it lasted!&rdquo;<br /><br /></strong>This early film by Joseph Ruben, who would go on to direct 1980s classic THE STEPFATHER, is a gripping story of two young couples who head out to Alaska looking for adventure but instead find themselves slipping into a life of crime. A mixture of road movie, crime film, and working class drama, with an Electric Light Orchestra-dominated soundtrack, JOYRIDE is a typically (for the 1970s) textured and human-scaled film with a palpable sense of place (albeit with the Pacific Northwest standing in for Alaska). It&rsquo;s also distinguished by its stunt casting, with all four protagonists played by second-generation Hollywood royalty.<br /><br /><strong>Film critic Peter Rainer, who co-wrote the screenplay for JOYRIDE, will be here in person for the first screening, on Sunday, February 21!</strong></p> Sunday, February 21 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45314 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Sunday, February 21 BLOODY MAMA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45368 <p>With Shelley Winters, Robert De Niro, and Bruce Dern.<br /><br /><strong>&ldquo;YOU GOTTA BELIEVE&hellip;YOU GOTTA HAVE FAITH&hellip;BUT FIRST, YOU GOTTA GET RID OF THE WITNESSES!&rdquo;<br /><br /></strong>&ldquo;Roger Corman's 1970 retelling of the story of Ma Barker and her three loony sons in Depression-era America is completely out of control, but the smash-and-grab stylistics are exhilarating. Lots of violence and weird sexual innuendo, backed by a big, blustery performance from Shelley Winters as Ma and a young supporting cast to whom time has been very kind: Robert De Niro, Don Stroud, Robert Walden, and Bruce Dern.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Sunday, February 21 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45315 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Sunday, February 21 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45353 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Monday, February 22 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45316 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Monday, February 22 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45317 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Monday, February 22 NYWIFT PRESENTS: ISN'T IT DELICIOUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45404 <p>Suzanne Hayes Kelley<br />ISN&rsquo;T IT DELICIOUS<br />2014, 102 min, digital<br />A fractured family of misfits finds and tries to fix themselves in this hilarious and heartbreaking story of a difficult matriarch who seeks understanding and closure while trying to face death with dignity.</p> Tuesday, February 23 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45318 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Tuesday, February 23 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45319 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Tuesday, February 23 EIKO, PGM 2: KANAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45343 <p>A BODY IN PLACES, PROGRAM 2: BODIES IN WATER<br /><br />Andrzej Wajda<br />KANAL<br />1956, 95 min, 35mm, b&amp;w. In Polish with English subtitles.<br />We all come from water and water courses through our bodies. We are a bubble floating down the river of life to the unknown. Water is both a source of life and a threat. When water becomes a menace to our lives and senses, our existence is truly frightened.<br /><br />KANAL follows a near-decimated company of Polish resistance fighters as they make a final effort to escape the encircling Nazis through the sewers of Warsaw. A merciless view of their flight through the putrid waters, KANAL is a story void of glory and nearly void of hope, where the desire for dignity, even survival, becomes faint. Wajda was an important figure for our youth in Japan. When Eiko &amp; Koma performed in the Manggha Museum of Japanese Art and Technology in 2007, founded by Wajda in Krakow, Poland, we had the pleasure of meeting the filmmaker and telling him how his ASHES AND DIAMONDS had had a special meaning for those of us who were student fighters in the political movements of the late &lsquo;60s. His KANAL inspired Koma and me in 1989 to create the work, CANAL, a work for several naked bodies, whose stage design suggested both urban sewers and the blood stream of a body.<br /><br />With:<br />Eiko &amp; Koma WALLOW (1984, 19 min, video)<br />WALLOW was our first attempt to create dance for a camera, shot in Point Reyes, California.</p> Wednesday, February 24 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45320 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Wednesday, February 24 RE-VISIONS: BORN IN FLAMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2016#showing-45321 <p>PREMIERE RUN &ndash; NEW 35MM PRESERVATION PRINT!<br /><br />Preserved by Anthology Film Archives with restoration funding by The Hollywood Foreign Press Association and The Film Foundation. Laboratory services by Video and Film Solutions and Audio Mechanics.<br /><br />A landmark of early 1980s American independent cinema, and made for only $40,000, Lizzie Borden&rsquo;s BORN IN FLAMES is figuratively and literally an all-out attack on our patriarchal society, a call to arms for women everywhere. This Molotov cocktail of a film became an instant classic of feminist cinema upon its premiere at the 1983 Berlin Film Festival. An unlikely underground breakout that received widespread attention and commercial distribution, BORN IN FLAMES is a film whose impact has never waned.<br /><br />Set slightly in the future in a world largely resembling our own (or rather downtown NYC in the late 70s/early 80s), BORN IN FLAMES uses documentary techniques alongside invented narratives to tell the story of a feminist insurgency against the incumbent &ldquo;Socialist Democratic&rdquo; government. Promised social progress and equality by the current administration, women and minorities feel even more oppressed and abandoned than before. Competing pirate radio stations provide news to the confused public from different ideological positions within the radical movement, while the government attempts to quell it all. Featuring performances from Kathryn Bigelow, Adele Bertei, and Ron Vawter, and a fantastic theme song by The Red Krayola, BORN IN FLAMES examines the extremist agendas of two different feminist groups as they strategize, debate, take up arms, and form a true Women&rsquo;s Army. The film swings between various protagonists and political viewpoints, creating an inclusive atmosphere that allows for a larger, very real political discussion to develop.<br /><br />Anthology Film Archives is proud to present this brand new 35mm preservation print produced as part of a multi-year restoration project supported by the Film Foundation and the Hollywood Foreign Press Association. Filmed on a hodgepodge of 16mm camera stocks over a number of years, the original footage for this crucial film has long been lost. Working from a damaged original 16mm internegative we have managed to create this pristine restoration, a vast improvement on older exhibition copies.<br /><br />&ldquo;BORN IN FLAMES still maintains the legendary status it reached even before its completion. Four years in the making, shot by a half-dozen cinematographers on a shoestring budget using &lsquo;real people&rsquo; (who age and change hairdo from one shot to the next) and real locations, and mixing pop music black rhythms and &lsquo;new rock&rsquo;, improvised acting, political speeches, humor and violence, the film had a cult following as soon as it was screened in Berlin, Paris, and New York.&rdquo; &ndash;Berenice Reynaud, &ldquo;Difficult Language: Notes on Independent Cinema by Women in the Eighties&rdquo;<br /><br /><strong>This week-long revival run is presented as part of our ongoing series, RE-VISIONS, which will also include a screening of Lizzie Borden's earlier film, REGROUPING; click <a href="../../../film_screenings/series/45267">here</a> for more info about RE-VISIONS, and <a href="../../../film_screenings/calendar?view=list&amp;month=02&amp;year=2016#showing-45401">here</a> for REGROUPING.<br /><br />Also, please note that Lizzie Borden will be here in person on opening night, Friday, February 19, for a special talk following the 7:15 screening; she'll be joined by two of the stars of BORN IN FLAMES, Adele Bertei and Jeanne Satterfield.</strong><br /><br />Our neighbors <a href="http://bluestockings.com">Bluestockings Bookstore</a>, one of the last remaining feminist bookstores in America, will be at opening night, February 19th, selling books and a selection of other items like pins, patches and tote bags!</p> <p>&nbsp;</p> <p><a href="http://borninflames.bpt.me/" target="_blank"><span>A limited number of advance tickets are&nbsp;available&nbsp;now!</span></a><br /><br /></p> Wednesday, February 24