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 Fri, 21 Jul 2017 04:37:41 -0400 DANNY LYON, PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47639 <p>&ldquo;I was brought up to be an associate in Magnum Photos in 1967. But within eighteen months I had stopped being a photographer and become a filmmaker. NI&Ntilde;OS, shot in the winter of 1972 had real support from Magnum. 20,000 feet of 16mm film was exposed in twenty-one continuous days of shooting in Santa Marta. The only day I did not film was when we had to go to Barranquilla to pick up a battery for the movie camera shipped air freight by Magnum. Who else would do such a thing? I also used a letter on Magnum stationary to impress the Colombian police saying I was &lsquo;an expert in filming beaches and sunsets.&rsquo; I&rsquo;m pretty sure I had signed it myself.&rdquo; &ndash;Danny Lyon<br /><br />SOC. SCI. 127<br />(1969, 21 min, 16mm)<br />This portrait of tattoo artist Bill Sanders represented Danny Lyon&rsquo;s transition from still photography to filmmaking. Introduced, incongruously, in a high school classroom where he&rsquo;s delivering a lecture on his craft, Sanders is an eccentric and hard-drinking character, and an unforgettable camera subject. SOC. SCI. 127 demonstrates Lyon&rsquo;s unparalleled ability to reveal the lives of his subjects, as well as his willingness to abandon straightforward v&eacute;rit&eacute; for a much slipperier approach (that classroom scene, for instance, was entirely staged).<br /><br />LOS NI&Ntilde;OS ABANDONADOS<br />(1975, 63 min, 16mm. Brand new print!)<br />Filmed in Santa Marta, Colombia, LOS NI&Ntilde;OS shows the daily rhythms of a gang of boys who live on the city&rsquo;s streets. Their survival skills and sheer resilience are in evidence as they beg for scraps to eat, wheel and deal with storekeepers and street vendors, and play together.<br /><br />&ldquo;Unobtrusively, Lyon records the boys&rsquo; aimless daily lives. An angry film with the quietest tones imaginable &ndash; and it is all the more persuasive for being so.&rdquo; &ndash;Kevin Thomas, LOS ANGELES TIMES</p> Friday, July 21 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47664 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Friday, July 21 DANNY LYON, PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47642 <p>WILLIE<br />(1985, 82 min, 16mm. Brand new print!)<br />WILLIE was made in Bernalillo, home of Willie Jaramillo and filmmakers Danny and Nancy Weiss Lyon. Defiantly individual and implacable in the face of authority, Willie is repeatedly thrown in jail for relatively minor offenses. Lyon gains access to jail cells, day rooms, lunatic wards, and the worst cellblock in the penitentiary where Willie is locked up next to his childhood friend and convicted murderer, Michael Guzman.</p> Friday, July 21 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47665 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Friday, July 21 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47666 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Saturday, July 22 BEHIND THE VEIL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47645 <p>Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. Preserved with support from The Women&rsquo;s Film Preservation Fund of New York Women in Film &amp; Television.<br /><br />The only film made by renowned photographer Eve Arnold, the first female member of Magnum Photos, BEHIND THE VEIL offers a rare glimpse into the world of the harem. Made at a time of cultural transition, it focuses on a young woman as she prepares for marriage into the ruling family of Dubai.<br /><br />&ldquo;Ostensibly the film concerns the lives of women in the harems of the tribal sheikhs of [Dubai], but it also provides a view of a traditional Arab culture rapidly entering the modern age because of its new-found wealth in oil. [&hellip;] The film dispels some misguided notions of the West concerning the harem, veiling, and seclusion of women, and polygamy in the Middle East. While indeed these institutions exist, perhaps in the most elaborate form in the Arabian peninsula, they are depicted in terms of the women who live them and are placed in the contexts of larger sociocultural and religious systems.&rdquo; &ndash;Lois Grant Beck, AMERICAN ANTHROPOLOGIST, 1977</p> Saturday, July 22 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47667 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Saturday, July 22 FILMS BY HARRY GRUYAERT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47648 <p>Harry Gruyaert&rsquo;s moving-image works are not simply films made by an artist better known as a photographer but are themselves a kind of hybrid of photography and cinema. Whether juxtaposing his own photography and footage with imagery from the works of one of his central influences (Michelangelo Antonioni), combining still photography with recorded sound, or, as in his famous TV SHOTS, photographing news footage off a TV screen and then re-presenting the images in the form of a film, Gruyaert&rsquo;s cinematic work exists somewhere at the very border of the two media.<br /><br />MOSCOW (1989-2009 2015, 6.5 min, digital)<br />TRIBUTE TO ANTONIONI / VARIATIONS SOUS INFLUENCE (2007, 17.5 min, digital)<br />EDGES (RIVAGES) (2007, 4 min, digital)<br />TV SHOTS (2015, 9.5 min, digital)<br />SASKIA &amp; MARIEKE (GROWING UP) (2015, 15.5 min, digital)<br /><br />Total running time: ca. 60 min.</p> Saturday, July 22 AKA ANA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47650 <p>Renowned French photographer Antoine d&rsquo;Agata&rsquo;s first feature-length work, AKA ANA is a deeply disturbing, unflinchingly explicit, no-holds-barred essay on prostitution in Tokyo, told through the eyes of six different women. D&rsquo;Agata juxtaposes visually haunting imagery of these sex workers with an audio track in which the women deliver poetic reflections on their lives. Each woman brings a unique dynamic to AKA ANA: one feels empowered by sex and views it as a way of achieving power, while another is emotionally shattered, a kind of shell of a body soaked in misery. A raw, transgressive vision of sex work, which displays the profound intimacy and devotion to his subjects that have made d&rsquo;Agata both celebrated and highly controversial, AKA ANA is most definitely not for the faint-hearted.<br /><br /><strong><em>Only those who are 18 and over will be admitted to this screening.</em></strong></p> Saturday, July 22 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47668 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Saturday, July 22 THE TWO FACES OF CHINA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47653 <p>&ldquo;In THE TWO FACES OF CHINA, Ren&eacute; Burri draws from his extensive travels throughout this vast land to show how Chinese Communism has reconciled &ndash; or perhaps not &ndash; the traditional pull of family and the individual against the collective values of the modern Marxist state. Almost simultaneously with the end of the shoot, China was swept up in Chairman Mao&rsquo;s Cultural Revolution.&rdquo; &ndash;MAGNUM IN MOTION</p> Sunday, July 23 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47669 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Sunday, July 23 JEAN GAUMY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47655 <p>French artist Jean Gaumy has moved back and forth between still photography and filmmaking. These three films suggest the range of subjects he&rsquo;s documented in his moving-image works. THE SMOKING HOUSE depicts a group of women in Normandy, engaged in filleting and gutting herring. JEAN-JACQUES is the result of two years documenting the small farming town of Octeville-sur-Mer, in Normandy, through the eyes of the so-called &lsquo;village idiot&rsquo; Jean-Jacques. ON THE ROWANLEA TRAWLER reveals the activities taking place on the decks of a trawler, the subject of one of Gaumy&rsquo;s photo books as well.<br /><br />THE SMOKING HOUSE / LA BOUCANE<br />(1984, 36 min, video)<br /><br />JEAN-JACQUES<br />(1987, 52 min, 16mm)<br /><br />ON THE ROWANLEA TRAWLER (1992, 4 min, video, b&amp;w, silent)<br /><br />Total running time: ca. 95 min.</p> Sunday, July 23 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47670 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Sunday, July 23 THE PHOTOGRAPHER IN FRONT OF THE CAMERA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47634 <p>(DER FOTOGRAF VOR DER KAMERA)<br /><br />With Erich Lessing.<br /><br />Photographer Erich Lessing, a longstanding member of Magnum Photos, is one of the most important photojournalists of the post-war era, from his pictures of the Hungarian Revolution to his portraits of European politicians, such as Konrad Adenauer and Nikita Khrushchev. In this documentary by Tizza Covi and Rainer Frimmel (whose new feature, MISTER UNIVERSO, comes to Anthology in July for a week-long run; see page ?), the filmmakers accompany the still very active 90-year old and take the time to focus on the details. Covi and Frimmel&rsquo;s film invites its audience to view the works of this extraordinary artist in a new light.</p> Sunday, July 23 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47671 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Sunday, July 23 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47672 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Monday, July 24 SOMEWHERE TO DISAPPEAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47637 <p>With Alec Soth.<br /><br />This documentary about the photographer Alec Soth captures the artist at work on his project Broken Manual, for which he traveled across America, in search of people who have decided to live in solitude. Encountering individuals living in huts in the mountains, in caves, in the desert, or elsewhere, Soth attempts to gain some understanding of why these modern hermits have chosen to withdraw from society. Following him on this journey, filmmakers Laure Flammarion and Arnaud Uyttenhove have created a film that both shares in this investigation and sheds light on the methods and technique that have made Soth one of the finest photographers of his generation &ndash; it&rsquo;s a meditation on America, on photography, and on the dream of disappearing.</p> Monday, July 24 AKA ANA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47651 <p>Renowned French photographer Antoine d&rsquo;Agata&rsquo;s first feature-length work, AKA ANA is a deeply disturbing, unflinchingly explicit, no-holds-barred essay on prostitution in Tokyo, told through the eyes of six different women. D&rsquo;Agata juxtaposes visually haunting imagery of these sex workers with an audio track in which the women deliver poetic reflections on their lives. Each woman brings a unique dynamic to AKA ANA: one feels empowered by sex and views it as a way of achieving power, while another is emotionally shattered, a kind of shell of a body soaked in misery. A raw, transgressive vision of sex work, which displays the profound intimacy and devotion to his subjects that have made d&rsquo;Agata both celebrated and highly controversial, AKA ANA is most definitely not for the faint-hearted.<br /><br /><strong><em>Only those who are 18 and over will be admitted to this screening.</em></strong></p> Monday, July 24 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47673 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Monday, July 24 BEHIND THE VEIL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47646 <p>Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts. Preserved with support from The Women&rsquo;s Film Preservation Fund of New York Women in Film &amp; Television.<br /><br />The only film made by renowned photographer Eve Arnold, the first female member of Magnum Photos, BEHIND THE VEIL offers a rare glimpse into the world of the harem. Made at a time of cultural transition, it focuses on a young woman as she prepares for marriage into the ruling family of Dubai.<br /><br />&ldquo;Ostensibly the film concerns the lives of women in the harems of the tribal sheikhs of [Dubai], but it also provides a view of a traditional Arab culture rapidly entering the modern age because of its new-found wealth in oil. [&hellip;] The film dispels some misguided notions of the West concerning the harem, veiling, and seclusion of women, and polygamy in the Middle East. While indeed these institutions exist, perhaps in the most elaborate form in the Arabian peninsula, they are depicted in terms of the women who live them and are placed in the contexts of larger sociocultural and religious systems.&rdquo; &ndash;Lois Grant Beck, AMERICAN ANTHROPOLOGIST, 1977</p> Tuesday, July 25 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47674 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Tuesday, July 25 JEAN GAUMY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47656 <p>French artist Jean Gaumy has moved back and forth between still photography and filmmaking. These three films suggest the range of subjects he&rsquo;s documented in his moving-image works. THE SMOKING HOUSE depicts a group of women in Normandy, engaged in filleting and gutting herring. JEAN-JACQUES is the result of two years documenting the small farming town of Octeville-sur-Mer, in Normandy, through the eyes of the so-called &lsquo;village idiot&rsquo; Jean-Jacques. ON THE ROWANLEA TRAWLER reveals the activities taking place on the decks of a trawler, the subject of one of Gaumy&rsquo;s photo books as well.<br /><br />THE SMOKING HOUSE / LA BOUCANE<br />(1984, 36 min, video)<br /><br />JEAN-JACQUES<br />(1987, 52 min, 16mm)<br /><br />ON THE ROWANLEA TRAWLER (1992, 4 min, video, b&amp;w, silent)<br /><br />Total running time: ca. 95 min.</p> Tuesday, July 25 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47675 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Tuesday, July 25 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47708 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 26 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47676 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Wednesday, July 26 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47677 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Wednesday, July 26 DANNY LYON, PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47643 <p>WILLIE<br />(1985, 82 min, 16mm. Brand new print!)<br />WILLIE was made in Bernalillo, home of Willie Jaramillo and filmmakers Danny and Nancy Weiss Lyon. Defiantly individual and implacable in the face of authority, Willie is repeatedly thrown in jail for relatively minor offenses. Lyon gains access to jail cells, day rooms, lunatic wards, and the worst cellblock in the penitentiary where Willie is locked up next to his childhood friend and convicted murderer, Michael Guzman.</p> Thursday, July 27 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47678 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Thursday, July 27 DANNY LYON, PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47640 <p>&ldquo;I was brought up to be an associate in Magnum Photos in 1967. But within eighteen months I had stopped being a photographer and become a filmmaker. NI&Ntilde;OS, shot in the winter of 1972 had real support from Magnum. 20,000 feet of 16mm film was exposed in twenty-one continuous days of shooting in Santa Marta. The only day I did not film was when we had to go to Barranquilla to pick up a battery for the movie camera shipped air freight by Magnum. Who else would do such a thing? I also used a letter on Magnum stationary to impress the Colombian police saying I was &lsquo;an expert in filming beaches and sunsets.&rsquo; I&rsquo;m pretty sure I had signed it myself.&rdquo; &ndash;Danny Lyon<br /><br />SOC. SCI. 127<br />(1969, 21 min, 16mm)<br />This portrait of tattoo artist Bill Sanders represented Danny Lyon&rsquo;s transition from still photography to filmmaking. Introduced, incongruously, in a high school classroom where he&rsquo;s delivering a lecture on his craft, Sanders is an eccentric and hard-drinking character, and an unforgettable camera subject. SOC. SCI. 127 demonstrates Lyon&rsquo;s unparalleled ability to reveal the lives of his subjects, as well as his willingness to abandon straightforward v&eacute;rit&eacute; for a much slipperier approach (that classroom scene, for instance, was entirely staged).<br /><br />LOS NI&Ntilde;OS ABANDONADOS<br />(1975, 63 min, 16mm. Brand new print!)<br />Filmed in Santa Marta, Colombia, LOS NI&Ntilde;OS shows the daily rhythms of a gang of boys who live on the city&rsquo;s streets. Their survival skills and sheer resilience are in evidence as they beg for scraps to eat, wheel and deal with storekeepers and street vendors, and play together.<br /><br />&ldquo;Unobtrusively, Lyon records the boys&rsquo; aimless daily lives. An angry film with the quietest tones imaginable &ndash; and it is all the more persuasive for being so.&rdquo; &ndash;Kevin Thomas, LOS ANGELES TIMES</p> Thursday, July 27 MISTER UNIVERSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47679 <p>U.S. THEATRICAL PREMIERE RUN<br /><br /> <em><strong>FILMMAKERS IN PERSON ON FRI, JULY 21, SAT, JULY 22, AND THURS, JULY 27!</strong></em><br /><br />The subjects of an Anthology retrospective in 2011, Tizza Covi and Rainer Frimmel return with their latest neorealist-inflected, documentary-fiction hybrid feature, MISTER UNIVERSO. Revisiting the traveling circus milieu that has run through so many of their films, MISTER UNIVERSO gives center stage to Tairo (Tairo Caroli), who as a teenager had previously appeared in 2009&rsquo;s LA PIVELLINA. In the new film, Tairo is a young lion tamer who, feuding with some of his neighbors in the circus&rsquo;s trailer camp, is robbed of a cherished good-luck charm, an iron amulet bent by a famous strongman years ago. Refusing to work without it, Tairo sets out on a quest across Italy to find the strongman, the former Mr. Universe, Arthur Robin. Meanwhile, his contortionist girlfriend, Wendy, tries to make things right back at the circus. Creating a fictionalized story about and with their real-life circus performer protagonists, Covi and Frimmel have fashioned a moving and subtly evocative road film that subordinates narrative drive to a profoundly affectionate and empathetic portrait of remarkable men and women working at the margins of Italian society.<br /><br />&ldquo;A road trip in search of Arthur Robin, the former Mister Universe who might bend a new good-luck iron, is occasioned by little more drama than the everyday: a bend in the road where the forces of gravity seems to have reversed; stove-top espresso with members of the extended family; an arm-wrestling match; an overheated radiator that gets repaired by an uncle who could&rsquo;ve been a singer; a brief encounter with a chimpanzee who appeared in Fellini and Argento films; a nap on his grandmother&rsquo;s sofa; cousins who sew his tattered black leather jacket; and a few leads to the whereabouts of &ldquo;The Black Hercules,&rdquo; as Robin was known. [&hellip;] Like the gravitational anomaly in which water appears to flow uphill, Covi and Frimmel&rsquo;s work acts like a force of nature, showing what remains when the luck and the muscle have run out.&rdquo; &ndash; Jay Kuehner, CINEMA SCOPE<br /><br />MISTER UNIVERSO was the winner of this year&rsquo;s ExtraVALUE Film Award, which is granted each year during the Viennale (Vienna International Film Festival). Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a one-month residency hosted and organized by Deutsches Haus at NYU. The screenings are co-organized by Deutsches Haus at NYU and the Austrian Cultural Forum New York.</p> Thursday, July 27 FARREBIQUE, OR THE FOUR SEASONS - 35mm http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47681 <p>(FARREBIQUE OU LES QUATRE SAISONS)<br /><br />REVIVAL ENGAGEMENT!<br /><br />Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise. Special thanks to Cristina Martin (Les Documents Cinematographiques); Louise Gerbelle (Cin&eacute;math&egrave;que fran&ccedil;aise); William Gilcher; and Jonas Mekas.<br /><br />Between 1944 and 45, Georges Rouquier spent a year with a family of farmers &ndash; his own relatives &ndash; on the farm Farrebique, situated in Goutrens in the Rouergue. The film he made with them, FARREBIQUE, takes us inside a family whose life is governed by the seasons. Rouquier shows the hardships of life on a farm on the eve of the introduction of electricity &ndash; and of the arrival of the forces of modernity, which are destined to change it irrevocably. Rouquier has a keen eye for the beauty of the characters, their simple ways, and their closeness to their animals and to nature. The first shots in the film linger on the cracks slithering up the walls of the farmstead. &ldquo;The house needs to be repaired,&rdquo; says the grandfather, setting in motion the plot of the film, a series of daily comings, goings, and disputes, from the installation of electricity to the birth of a child. Love and death: FARREBIQUE is about nothing more &ndash; and nothing less. It is from this simplicity that it draws its power and its uniqueness.<br /><br />Upon its release in 1946, FARREBIQUE was nominated for the Cannes Film Festival, but the official jury turned it down, with Henri Jeanson reported to have justified his decision with the words &ldquo;Cowpats are not photogenic.&rdquo; This rejection provoked a storm of protests. Although rejected by the Cannes officials, FARREBIQUE was shown at the fringe of the festival thanks to its supporters, and was ultimately distributed in the U.S., where it enjoyed great success. In recent years, however, it has fallen out of circulation, and has been seen rarely if at all in North America. Anthology is thrilled to host a week-long revival engagement of this extraordinary documentary, with 3 screenings of an archival 35mm print, followed by additional screenings showcasing Les Documents Cinematographiques&rsquo; brand-new DCP restoration.<br /><br />&ldquo;It is good and proper that, every once in a while, a film is released for real cinema lovers, not simply another one conflating genres or catering ever more assiduously to the public&rsquo;s demand for aesthetic pleasure &ndash; a demand which will only subside once the public learns to distinguish. Far from being a film doomed to be forgotten, FARREBIQUE is ahead of its time.&rdquo; &ndash;Jean Painlev&eacute;, LES ETOILES, 1946<br /><br />&ldquo;What viewers today enjoy in FARREBIQUE is somehow similar to what the audiences felt when they marveled at the Lumi&egrave;res&rsquo; first shorts, shouting and gasping at the flickering images of leaves on a tree: &lsquo;Look, they&rsquo;re moving!&rsquo; In his own way, Rouquier has reinvented film.&rdquo; &ndash;Andr&eacute; Bazin, CONQU&Ecirc;TES, 1947<br /><br />&ldquo;I am looking forward to rewatching FARREBIQUE. When I saw it first, when it came out, I thought it showed best how it feels to live and work on a small country farm. It brought back my childhood memories like no other movie I have ever seen.&rdquo; &ndash;Jonas Mekas<br /><br /><strong>Screenings on Fri, July 28 through Sun, July 30 will be played on 35mm, and screenings on Mon, July 31 through Thurs, Aug 3 will be DCP.<br /><br /><em>JONAS MEKAS WILL BE HERE TO INTRODUCE THE OPENING NIGHT SCREENING OF 'FARREBIQUE' ON FRIDAY, JULY 28!</em><br /><br /></strong>Plus:<br />Georges Rouquier's BIQUEFARRE on&nbsp;Sat &amp; Sun, July 29 &amp; 30. Click <a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47689">here</a> for more details.&nbsp;</p> Friday, July 28 SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47617 <p>Born in the Bronx and based in Brooklyn, Natalie Bookchin is an artist whose multi-channel installations and films explore the effects of digital technologies &ndash; everything from online videos to interactive webpages &ndash; and examine the ways in which people broadcast self-expression on the internet, in a &lsquo;sharing&rsquo; economy. Often constructed from moving images found online &ndash; from YouTube or other social media sites, as well as from webcam surveillance (public or private) &ndash; her video works demonstrate both the promise and the snares inherent in our era of ubiquitous connectivity. The works explore new social arrangements shaped within and pushing against the constraints of network technologies and forms.<br /><br />We will be presenting two programs of her work, including the astonishing LONG STORY SHORT, in which she returns to a format she&rsquo;s developed extensively in earlier pieces &ndash; conjuring a dizzying multiplicity of frames and voices &ndash; but here applies it to footage she shot herself: deeply moving, unadorned testimony from a range of poverty-stricken men and women.<br /><br />PROGRAM 1:<br /><br />NOW HE&rsquo;S OUT IN PUBLIC AND EVERYONE CAN SEE<br />(2017, 24 min, digital. Courtesy Icarus Films.)<br />A riveting polyphonic documentary, this film presents a fractured narrative about an unnamed man whose racial identity is continually redrawn and contested by clusters of impassioned narrators. Bookchin&rsquo;s intricately-edited and deeply political essay film is composed of fragments of found online video diaries made in the early days of the Obama era, a period many believed would be &ldquo;post-racial&rdquo; but instead ushered in a new era of racial discord. Bookchin explores this new landscape, one where mass media is transformed into social media and where cascades of disinformation, rumors, and insinuations spread across global electronic networks.<br /><br />LONG STORY SHORT<br />(2016, 45 min, digital. Courtesy Icarus Films.)<br />In the moving and immersive LONG STORY SHORT, over 100 people at homeless shelters, food banks, adult literacy programs, and job training centers in L.A. and the Bay Area discuss their experiences of poverty: why they are poor, how it feels, and what they think should be done about American poverty and homelessness today. While individuals whom Bookchin filmed in separate spaces appear onscreen in their own visual spaces, mirroring the isolation of their experiences, words flow between them like a musical ensemble. Together in the film for the first time, Americans who are rarely acknowledged or listened to form a virtual collective.<br /><br />&ldquo;I was hugely impressed by LONG STORY SHORT, its gripping detail and precision. It&rsquo;s a masterpiece of editing, very virtuosic.&rdquo; &ndash;Yvonne Rainer <br /><br /><em><strong>The screening on Friday, July 28 at 8:00 will be followed by a conversation between Natalie Bookchin and film and media curator Sally Berger; and following the screening on Sunday, July 30 at 6:00, Bookchin will be joined by dancer, choreographer, and filmmaker Yvonne Rainer.</strong></em></p> Friday, July 28 BIQUEFARRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47689 <p>Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise.<br /><br />&ldquo;Thirty-seven years after FARREBIQUE, Georges Rouquier returned to the farming community in Aveyron in south-central France to pick up the story of the Rouquier family. The result, BIQUEFARRE, is as moving for the director&rsquo;s persistence of vision as for the film itself, which records, in low-key, quasi-documentary style, the revolutionary changes that have taken place not only in agriculture, but also in the social and economic life of the community. [&hellip;] Like FARREBIQUE, the new film makes no attempt at being cinema verite. Mr. Rouquier, an admirer of the great American documentary filmmaker Robert Flaherty, doesn&rsquo;t attempt to discover drama as he shoots. Instead, he works with nonprofessional performers &ndash; in this case, farmers &ndash; who act out staged sequences that correspond to events in their own lives. [&hellip;] There are times when BIQUEFARRE will seem curiously old-fashioned to audiences now accustomed to the supposedly inobtrusive camera of cinema verite. Yet the very self-consciousness of the nonprofessional actors &ndash; we are never for a second led to believe they aren&rsquo;t aware of the camera &ndash; as well as the gaps in what passes for a narrative, combine to produce a sense of authenticity that often gets lost in far more slick, contemporary &lsquo;fact&rsquo; films.&rdquo; &ndash;Vincent Canby, NEW YORK TIMES, 1984<br /><br />Played alongside the revival of&nbsp;Georges Rouquier's&nbsp;FARREBIQUE, OR THE FOUR SEASONS.&nbsp;Click&nbsp;<a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47681">here</a>&nbsp;for more details.&nbsp;</p> Saturday, July 29 FARREBIQUE, OR THE FOUR SEASONS - 35mm http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47682 <p>(FARREBIQUE OU LES QUATRE SAISONS)<br /><br />REVIVAL ENGAGEMENT!<br /><br />Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise. Special thanks to Cristina Martin (Les Documents Cinematographiques); Louise Gerbelle (Cin&eacute;math&egrave;que fran&ccedil;aise); William Gilcher; and Jonas Mekas.<br /><br />Between 1944 and 45, Georges Rouquier spent a year with a family of farmers &ndash; his own relatives &ndash; on the farm Farrebique, situated in Goutrens in the Rouergue. The film he made with them, FARREBIQUE, takes us inside a family whose life is governed by the seasons. Rouquier shows the hardships of life on a farm on the eve of the introduction of electricity &ndash; and of the arrival of the forces of modernity, which are destined to change it irrevocably. Rouquier has a keen eye for the beauty of the characters, their simple ways, and their closeness to their animals and to nature. The first shots in the film linger on the cracks slithering up the walls of the farmstead. &ldquo;The house needs to be repaired,&rdquo; says the grandfather, setting in motion the plot of the film, a series of daily comings, goings, and disputes, from the installation of electricity to the birth of a child. Love and death: FARREBIQUE is about nothing more &ndash; and nothing less. It is from this simplicity that it draws its power and its uniqueness.<br /><br />Upon its release in 1946, FARREBIQUE was nominated for the Cannes Film Festival, but the official jury turned it down, with Henri Jeanson reported to have justified his decision with the words &ldquo;Cowpats are not photogenic.&rdquo; This rejection provoked a storm of protests. Although rejected by the Cannes officials, FARREBIQUE was shown at the fringe of the festival thanks to its supporters, and was ultimately distributed in the U.S., where it enjoyed great success. In recent years, however, it has fallen out of circulation, and has been seen rarely if at all in North America. Anthology is thrilled to host a week-long revival engagement of this extraordinary documentary, with 3 screenings of an archival 35mm print, followed by additional screenings showcasing Les Documents Cinematographiques&rsquo; brand-new DCP restoration.<br /><br />&ldquo;It is good and proper that, every once in a while, a film is released for real cinema lovers, not simply another one conflating genres or catering ever more assiduously to the public&rsquo;s demand for aesthetic pleasure &ndash; a demand which will only subside once the public learns to distinguish. Far from being a film doomed to be forgotten, FARREBIQUE is ahead of its time.&rdquo; &ndash;Jean Painlev&eacute;, LES ETOILES, 1946<br /><br />&ldquo;What viewers today enjoy in FARREBIQUE is somehow similar to what the audiences felt when they marveled at the Lumi&egrave;res&rsquo; first shorts, shouting and gasping at the flickering images of leaves on a tree: &lsquo;Look, they&rsquo;re moving!&rsquo; In his own way, Rouquier has reinvented film.&rdquo; &ndash;Andr&eacute; Bazin, CONQU&Ecirc;TES, 1947<br /><br />&ldquo;I am looking forward to rewatching FARREBIQUE. When I saw it first, when it came out, I thought it showed best how it feels to live and work on a small country farm. It brought back my childhood memories like no other movie I have ever seen.&rdquo; &ndash;Jonas Mekas<br /><br /><strong>Screenings on Fri, July 28 through Sun, July 30 will be played on 35mm, and screenings on Mon, July 31 through Thurs, Aug 3 will be DCP.<br /><br /><em>JONAS MEKAS WILL BE HERE TO INTRODUCE THE OPENING NIGHT SCREENING OF 'FARREBIQUE' ON FRIDAY, JULY 28!</em><br /><br /></strong>Plus:<br />Georges Rouquier's BIQUEFARRE on&nbsp;Sat &amp; Sun, July 29 &amp; 30. Click <a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47689">here</a> for more details.&nbsp;</p> Saturday, July 29 SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47618 <p>Born in the Bronx and based in Brooklyn, Natalie Bookchin is an artist whose multi-channel installations and films explore the effects of digital technologies &ndash; everything from online videos to interactive webpages &ndash; and examine the ways in which people broadcast self-expression on the internet, in a &lsquo;sharing&rsquo; economy. Often constructed from moving images found online &ndash; from YouTube or other social media sites, as well as from webcam surveillance (public or private) &ndash; her video works demonstrate both the promise and the snares inherent in our era of ubiquitous connectivity. The works explore new social arrangements shaped within and pushing against the constraints of network technologies and forms.<br /><br />We will be presenting two programs of her work, including the astonishing LONG STORY SHORT, in which she returns to a format she&rsquo;s developed extensively in earlier pieces &ndash; conjuring a dizzying multiplicity of frames and voices &ndash; but here applies it to footage she shot herself: deeply moving, unadorned testimony from a range of poverty-stricken men and women.<br /><br />PROGRAM 1:<br /><br />NOW HE&rsquo;S OUT IN PUBLIC AND EVERYONE CAN SEE<br />(2017, 24 min, digital. Courtesy Icarus Films.)<br />A riveting polyphonic documentary, this film presents a fractured narrative about an unnamed man whose racial identity is continually redrawn and contested by clusters of impassioned narrators. Bookchin&rsquo;s intricately-edited and deeply political essay film is composed of fragments of found online video diaries made in the early days of the Obama era, a period many believed would be &ldquo;post-racial&rdquo; but instead ushered in a new era of racial discord. Bookchin explores this new landscape, one where mass media is transformed into social media and where cascades of disinformation, rumors, and insinuations spread across global electronic networks.<br /><br />LONG STORY SHORT<br />(2016, 45 min, digital. Courtesy Icarus Films.)<br />In the moving and immersive LONG STORY SHORT, over 100 people at homeless shelters, food banks, adult literacy programs, and job training centers in L.A. and the Bay Area discuss their experiences of poverty: why they are poor, how it feels, and what they think should be done about American poverty and homelessness today. While individuals whom Bookchin filmed in separate spaces appear onscreen in their own visual spaces, mirroring the isolation of their experiences, words flow between them like a musical ensemble. Together in the film for the first time, Americans who are rarely acknowledged or listened to form a virtual collective.<br /><br />&ldquo;I was hugely impressed by LONG STORY SHORT, its gripping detail and precision. It&rsquo;s a masterpiece of editing, very virtuosic.&rdquo; &ndash;Yvonne Rainer <br /><br /><em><strong>The screening on Friday, July 28 at 8:00 will be followed by a conversation between Natalie Bookchin and film and media curator Sally Berger; and following the screening on Sunday, July 30 at 6:00, Bookchin will be joined by dancer, choreographer, and filmmaker Yvonne Rainer.</strong></em></p> Saturday, July 29 BIQUEFARRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47690 <p>Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise.<br /><br />&ldquo;Thirty-seven years after FARREBIQUE, Georges Rouquier returned to the farming community in Aveyron in south-central France to pick up the story of the Rouquier family. The result, BIQUEFARRE, is as moving for the director&rsquo;s persistence of vision as for the film itself, which records, in low-key, quasi-documentary style, the revolutionary changes that have taken place not only in agriculture, but also in the social and economic life of the community. [&hellip;] Like FARREBIQUE, the new film makes no attempt at being cinema verite. Mr. Rouquier, an admirer of the great American documentary filmmaker Robert Flaherty, doesn&rsquo;t attempt to discover drama as he shoots. Instead, he works with nonprofessional performers &ndash; in this case, farmers &ndash; who act out staged sequences that correspond to events in their own lives. [&hellip;] There are times when BIQUEFARRE will seem curiously old-fashioned to audiences now accustomed to the supposedly inobtrusive camera of cinema verite. Yet the very self-consciousness of the nonprofessional actors &ndash; we are never for a second led to believe they aren&rsquo;t aware of the camera &ndash; as well as the gaps in what passes for a narrative, combine to produce a sense of authenticity that often gets lost in far more slick, contemporary &lsquo;fact&rsquo; films.&rdquo; &ndash;Vincent Canby, NEW YORK TIMES, 1984<br /><br />Played alongside the revival of&nbsp;Georges Rouquier's&nbsp;FARREBIQUE, OR THE FOUR SEASONS.&nbsp;Click&nbsp;<a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47681">here</a>&nbsp;for more details.&nbsp;</p> Sunday, July 30 SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47619 <p>Born in the Bronx and based in Brooklyn, Natalie Bookchin is an artist whose multi-channel installations and films explore the effects of digital technologies &ndash; everything from online videos to interactive webpages &ndash; and examine the ways in which people broadcast self-expression on the internet, in a &lsquo;sharing&rsquo; economy. Often constructed from moving images found online &ndash; from YouTube or other social media sites, as well as from webcam surveillance (public or private) &ndash; her video works demonstrate both the promise and the snares inherent in our era of ubiquitous connectivity. The works explore new social arrangements shaped within and pushing against the constraints of network technologies and forms.<br /><br />We will be presenting two programs of her work, including the astonishing LONG STORY SHORT, in which she returns to a format she&rsquo;s developed extensively in earlier pieces &ndash; conjuring a dizzying multiplicity of frames and voices &ndash; but here applies it to footage she shot herself: deeply moving, unadorned testimony from a range of poverty-stricken men and women.<br /><br />PROGRAM 1:<br /><br />NOW HE&rsquo;S OUT IN PUBLIC AND EVERYONE CAN SEE<br />(2017, 24 min, digital. Courtesy Icarus Films.)<br />A riveting polyphonic documentary, this film presents a fractured narrative about an unnamed man whose racial identity is continually redrawn and contested by clusters of impassioned narrators. Bookchin&rsquo;s intricately-edited and deeply political essay film is composed of fragments of found online video diaries made in the early days of the Obama era, a period many believed would be &ldquo;post-racial&rdquo; but instead ushered in a new era of racial discord. Bookchin explores this new landscape, one where mass media is transformed into social media and where cascades of disinformation, rumors, and insinuations spread across global electronic networks.<br /><br />LONG STORY SHORT<br />(2016, 45 min, digital. Courtesy Icarus Films.)<br />In the moving and immersive LONG STORY SHORT, over 100 people at homeless shelters, food banks, adult literacy programs, and job training centers in L.A. and the Bay Area discuss their experiences of poverty: why they are poor, how it feels, and what they think should be done about American poverty and homelessness today. While individuals whom Bookchin filmed in separate spaces appear onscreen in their own visual spaces, mirroring the isolation of their experiences, words flow between them like a musical ensemble. Together in the film for the first time, Americans who are rarely acknowledged or listened to form a virtual collective.<br /><br />&ldquo;I was hugely impressed by LONG STORY SHORT, its gripping detail and precision. It&rsquo;s a masterpiece of editing, very virtuosic.&rdquo; &ndash;Yvonne Rainer <br /><br /><em><strong>The screening on Friday, July 28 at 8:00 will be followed by a conversation between Natalie Bookchin and film and media curator Sally Berger; and following the screening on Sunday, July 30 at 6:00, Bookchin will be joined by dancer, choreographer, and filmmaker Yvonne Rainer.</strong></em></p> Sunday, July 30 FARREBIQUE, OR THE FOUR SEASONS - 35mm http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47683 <p>(FARREBIQUE OU LES QUATRE SAISONS)<br /><br />REVIVAL ENGAGEMENT!<br /><br />Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise. Special thanks to Cristina Martin (Les Documents Cinematographiques); Louise Gerbelle (Cin&eacute;math&egrave;que fran&ccedil;aise); William Gilcher; and Jonas Mekas.<br /><br />Between 1944 and 45, Georges Rouquier spent a year with a family of farmers &ndash; his own relatives &ndash; on the farm Farrebique, situated in Goutrens in the Rouergue. The film he made with them, FARREBIQUE, takes us inside a family whose life is governed by the seasons. Rouquier shows the hardships of life on a farm on the eve of the introduction of electricity &ndash; and of the arrival of the forces of modernity, which are destined to change it irrevocably. Rouquier has a keen eye for the beauty of the characters, their simple ways, and their closeness to their animals and to nature. The first shots in the film linger on the cracks slithering up the walls of the farmstead. &ldquo;The house needs to be repaired,&rdquo; says the grandfather, setting in motion the plot of the film, a series of daily comings, goings, and disputes, from the installation of electricity to the birth of a child. Love and death: FARREBIQUE is about nothing more &ndash; and nothing less. It is from this simplicity that it draws its power and its uniqueness.<br /><br />Upon its release in 1946, FARREBIQUE was nominated for the Cannes Film Festival, but the official jury turned it down, with Henri Jeanson reported to have justified his decision with the words &ldquo;Cowpats are not photogenic.&rdquo; This rejection provoked a storm of protests. Although rejected by the Cannes officials, FARREBIQUE was shown at the fringe of the festival thanks to its supporters, and was ultimately distributed in the U.S., where it enjoyed great success. In recent years, however, it has fallen out of circulation, and has been seen rarely if at all in North America. Anthology is thrilled to host a week-long revival engagement of this extraordinary documentary, with 3 screenings of an archival 35mm print, followed by additional screenings showcasing Les Documents Cinematographiques&rsquo; brand-new DCP restoration.<br /><br />&ldquo;It is good and proper that, every once in a while, a film is released for real cinema lovers, not simply another one conflating genres or catering ever more assiduously to the public&rsquo;s demand for aesthetic pleasure &ndash; a demand which will only subside once the public learns to distinguish. Far from being a film doomed to be forgotten, FARREBIQUE is ahead of its time.&rdquo; &ndash;Jean Painlev&eacute;, LES ETOILES, 1946<br /><br />&ldquo;What viewers today enjoy in FARREBIQUE is somehow similar to what the audiences felt when they marveled at the Lumi&egrave;res&rsquo; first shorts, shouting and gasping at the flickering images of leaves on a tree: &lsquo;Look, they&rsquo;re moving!&rsquo; In his own way, Rouquier has reinvented film.&rdquo; &ndash;Andr&eacute; Bazin, CONQU&Ecirc;TES, 1947<br /><br />&ldquo;I am looking forward to rewatching FARREBIQUE. When I saw it first, when it came out, I thought it showed best how it feels to live and work on a small country farm. It brought back my childhood memories like no other movie I have ever seen.&rdquo; &ndash;Jonas Mekas<br /><br /><strong>Screenings on Fri, July 28 through Sun, July 30 will be played on 35mm, and screenings on Mon, July 31 through Thurs, Aug 3 will be DCP.<br /><br /><em>JONAS MEKAS WILL BE HERE TO INTRODUCE THE OPENING NIGHT SCREENING OF 'FARREBIQUE' ON FRIDAY, JULY 28!</em><br /><br /></strong>Plus:<br />Georges Rouquier's BIQUEFARRE on&nbsp;Sat &amp; Sun, July 29 &amp; 30. Click <a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47689">here</a> for more details.&nbsp;</p> Sunday, July 30 SHOW & TELL: NATALIE BOOKCHIN: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47621 <p>Born in the Bronx and based in Brooklyn, Natalie Bookchin is an artist whose multi-channel installations and films explore the effects of digital technologies &ndash; everything from online videos to interactive webpages &ndash; and examine the ways in which people broadcast self-expression on the internet, in a &lsquo;sharing&rsquo; economy. Often constructed from moving images found online &ndash; from YouTube or other social media sites, as well as from webcam surveillance (public or private) &ndash; her video works demonstrate both the promise and the snares inherent in our era of ubiquitous connectivity. The works explore new social arrangements shaped within and pushing against the constraints of network technologies and forms.<br /><br />We will be presenting two programs of her work, including the astonishing LONG STORY SHORT, in which she returns to a format she&rsquo;s developed extensively in earlier pieces &ndash; conjuring a dizzying multiplicity of frames and voices &ndash; but here applies it to footage she shot herself: deeply moving, unadorned testimony from a range of poverty-stricken men and women.<br /><br />PROGRAM 2:<br /><br />ZORNS LEMMA2 (2007, 12.5 min, digital)<br />An internet-age remake of Hollis Frampton&rsquo;s seminal 1970 structuralist film, ZORNS LEMMA2 consists of sets of signs photographed off online webcams and arranged alphabetically in one-second intervals. In each subsequent set, one letter of the alphabet is replaced by a video clip chosen as representative of the visual language of surveillance cameras.<br /><br />LOCATION INSECURE (2006, 11 min, digital)<br />Composed of animated screengrabs of private security webcams found by means of a simple search engine hack, LOCATION INSECURE depicts the asynchronous time and space of the internet.<br /><br />PARKING LOT (2008, 13 min, digital)<br />Appropriations from virtual and physical commercial spaces create temporary public space &ndash; dismal, endlessly reproduced, anonymous spaces where even creative appropriations can sometimes appear mass-produced.<br /><br />TESTAMENT (3 CHAPTERS) (2009/16, 7.5 min, digital)<br />TESTAMENT presents a series of collective expressions of the shared self. The series reflects on the peculiar blend of intimacy and anonymity, of the simultaneous connectivity and isolation of contemporary social relations.<br /><br />MASS ORNAMENT (2009, 7 min, digital)<br />&ldquo;With a keen eye for detail, a terrific sense of timing and a killer instinct for editing, [Bookchin] has clipped and combined hundred of vignettes from YouTube and set them to the soundtracks from Busby Berkeley&rsquo;s GOLD DIGGERS OF 1935 and Leni Riefenstahl&rsquo;s TRIUMPH OF THE WILL. [&hellip;] To watch the split-screen extravaganza is to feel as if you are at once enjoying a god&rsquo;s-eye view of a vast, everyday parade of vulnerable human beings and also an intimate part of a democratic drama that is deeply moving.&rdquo; &ndash;LOS ANGELES TIMES<br /><br />Total running time: ca. 60 min.</p> Sunday, July 30 FARREBIQUE, OR THE FOUR SEASONS - DCP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2017#showing-47692 <p>(FARREBIQUE OU LES QUATRE SAISONS)<br /><br />REVIVAL ENGAGEMENT!<br /><br />Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise. Special thanks to Cristina Martin (Les Documents Cinematographiques); Louise Gerbelle (Cin&eacute;math&egrave;que fran&ccedil;aise); William Gilcher; and Jonas Mekas.<br /><br />Between 1944 and 45, Georges Rouquier spent a year with a family of farmers &ndash; his own relatives &ndash; on the farm Farrebique, situated in Goutrens in the Rouergue. The film he made with them, FARREBIQUE, takes us inside a family whose life is governed by the seasons. Rouquier shows the hardships of life on a farm on the eve of the introduction of electricity &ndash; and of the arrival of the forces of modernity, which are destined to change it irrevocably. Rouquier has a keen eye for the beauty of the characters, their simple ways, and their closeness to their animals and to nature. The first shots in the film linger on the cracks slithering up the walls of the farmstead. &ldquo;The house needs to be repaired,&rdquo; says the grandfather, setting in motion the plot of the film, a series of daily comings, goings, and disputes, from the installation of electricity to the birth of a child. Love and death: FARREBIQUE is about nothing more &ndash; and nothing less. It is from this simplicity that it draws its power and its uniqueness.<br /><br />Upon its release in 1946, FARREBIQUE was nominated for the Cannes Film Festival, but the official jury turned it down, with Henri Jeanson reported to have justified his decision with the words &ldquo;Cowpats are not photogenic.&rdquo; This rejection provoked a storm of protests. Although rejected by the Cannes officials, FARREBIQUE was shown at the fringe of the festival thanks to its supporters, and was ultimately distributed in the U.S., where it enjoyed great success. In recent years, however, it has fallen out of circulation, and has been seen rarely if at all in North America. Anthology is thrilled to host a week-long revival engagement of this extraordinary documentary, with 3 screenings of an archival 35mm print, followed by additional screenings showcasing Les Documents Cinematographiques&rsquo; brand-new DCP restoration.<br /><br />&ldquo;It is good and proper that, every once in a while, a film is released for real cinema lovers, not simply another one conflating genres or catering ever more assiduously to the public&rsquo;s demand for aesthetic pleasure &ndash; a demand which will only subside once the public learns to distinguish. Far from being a film doomed to be forgotten, FARREBIQUE is ahead of its time.&rdquo; &ndash;Jean Painlev&eacute;, LES ETOILES, 1946<br /><br />&ldquo;What viewers today enjoy in FARREBIQUE is somehow similar to what the audiences felt when they marveled at the Lumi&egrave;res&rsquo; first shorts, shouting and gasping at the flickering images of leaves on a tree: &lsquo;Look, they&rsquo;re moving!&rsquo; In his own way, Rouquier has reinvented film.&rdquo; &ndash;Andr&eacute; Bazin, CONQU&Ecirc;TES, 1947<br /><br />&ldquo;I am looking forward to rewatching FARREBIQUE. When I saw it first, when it came out, I thought it showed best how it feels to live and work on a small country farm. It brought back my childhood memories like no other movie I have ever seen.&rdquo; &ndash;Jonas Mekas<br /><br /><strong>Screenings on Fri, July 28 through Sun, July 30 will be played on 35mm, and screenings on Mon, July 31 through Thurs, Aug 3 will be DCP.<br /><br /></strong>Plus:<br />Georges Rouquier's BIQUEFARRE on&nbsp;Sat &amp; Sun, July 29 &amp; 30. Click&nbsp;<a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47689">here</a>&nbsp;for more details.&nbsp;</p> Monday, July 31 FARREBIQUE, OR THE FOUR SEASONS - DCP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2017#showing-47693 <p>(FARREBIQUE OU LES QUATRE SAISONS)<br /><br />REVIVAL ENGAGEMENT!<br /><br />Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise. Special thanks to Cristina Martin (Les Documents Cinematographiques); Louise Gerbelle (Cin&eacute;math&egrave;que fran&ccedil;aise); William Gilcher; and Jonas Mekas.<br /><br />Between 1944 and 45, Georges Rouquier spent a year with a family of farmers &ndash; his own relatives &ndash; on the farm Farrebique, situated in Goutrens in the Rouergue. The film he made with them, FARREBIQUE, takes us inside a family whose life is governed by the seasons. Rouquier shows the hardships of life on a farm on the eve of the introduction of electricity &ndash; and of the arrival of the forces of modernity, which are destined to change it irrevocably. Rouquier has a keen eye for the beauty of the characters, their simple ways, and their closeness to their animals and to nature. The first shots in the film linger on the cracks slithering up the walls of the farmstead. &ldquo;The house needs to be repaired,&rdquo; says the grandfather, setting in motion the plot of the film, a series of daily comings, goings, and disputes, from the installation of electricity to the birth of a child. Love and death: FARREBIQUE is about nothing more &ndash; and nothing less. It is from this simplicity that it draws its power and its uniqueness.<br /><br />Upon its release in 1946, FARREBIQUE was nominated for the Cannes Film Festival, but the official jury turned it down, with Henri Jeanson reported to have justified his decision with the words &ldquo;Cowpats are not photogenic.&rdquo; This rejection provoked a storm of protests. Although rejected by the Cannes officials, FARREBIQUE was shown at the fringe of the festival thanks to its supporters, and was ultimately distributed in the U.S., where it enjoyed great success. In recent years, however, it has fallen out of circulation, and has been seen rarely if at all in North America. Anthology is thrilled to host a week-long revival engagement of this extraordinary documentary, with 3 screenings of an archival 35mm print, followed by additional screenings showcasing Les Documents Cinematographiques&rsquo; brand-new DCP restoration.<br /><br />&ldquo;It is good and proper that, every once in a while, a film is released for real cinema lovers, not simply another one conflating genres or catering ever more assiduously to the public&rsquo;s demand for aesthetic pleasure &ndash; a demand which will only subside once the public learns to distinguish. Far from being a film doomed to be forgotten, FARREBIQUE is ahead of its time.&rdquo; &ndash;Jean Painlev&eacute;, LES ETOILES, 1946<br /><br />&ldquo;What viewers today enjoy in FARREBIQUE is somehow similar to what the audiences felt when they marveled at the Lumi&egrave;res&rsquo; first shorts, shouting and gasping at the flickering images of leaves on a tree: &lsquo;Look, they&rsquo;re moving!&rsquo; In his own way, Rouquier has reinvented film.&rdquo; &ndash;Andr&eacute; Bazin, CONQU&Ecirc;TES, 1947<br /><br />&ldquo;I am looking forward to rewatching FARREBIQUE. When I saw it first, when it came out, I thought it showed best how it feels to live and work on a small country farm. It brought back my childhood memories like no other movie I have ever seen.&rdquo; &ndash;Jonas Mekas<br /><br /><strong>Screenings on Fri, July 28 through Sun, July 30 will be played on 35mm, and screenings on Mon, July 31 through Thurs, Aug 3 will be DCP.<br /><br /></strong>Plus:<br />Georges Rouquier's BIQUEFARRE on&nbsp;Sat &amp; Sun, July 29 &amp; 30. Click&nbsp;<a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47689">here</a>&nbsp;for more details.&nbsp;</p> Tuesday, August 01 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2017#showing-47790 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, August 02 FARREBIQUE, OR THE FOUR SEASONS - DCP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2017#showing-47694 <p>(FARREBIQUE OU LES QUATRE SAISONS)<br /><br />REVIVAL ENGAGEMENT!<br /><br />Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise. Special thanks to Cristina Martin (Les Documents Cinematographiques); Louise Gerbelle (Cin&eacute;math&egrave;que fran&ccedil;aise); William Gilcher; and Jonas Mekas.<br /><br />Between 1944 and 45, Georges Rouquier spent a year with a family of farmers &ndash; his own relatives &ndash; on the farm Farrebique, situated in Goutrens in the Rouergue. The film he made with them, FARREBIQUE, takes us inside a family whose life is governed by the seasons. Rouquier shows the hardships of life on a farm on the eve of the introduction of electricity &ndash; and of the arrival of the forces of modernity, which are destined to change it irrevocably. Rouquier has a keen eye for the beauty of the characters, their simple ways, and their closeness to their animals and to nature. The first shots in the film linger on the cracks slithering up the walls of the farmstead. &ldquo;The house needs to be repaired,&rdquo; says the grandfather, setting in motion the plot of the film, a series of daily comings, goings, and disputes, from the installation of electricity to the birth of a child. Love and death: FARREBIQUE is about nothing more &ndash; and nothing less. It is from this simplicity that it draws its power and its uniqueness.<br /><br />Upon its release in 1946, FARREBIQUE was nominated for the Cannes Film Festival, but the official jury turned it down, with Henri Jeanson reported to have justified his decision with the words &ldquo;Cowpats are not photogenic.&rdquo; This rejection provoked a storm of protests. Although rejected by the Cannes officials, FARREBIQUE was shown at the fringe of the festival thanks to its supporters, and was ultimately distributed in the U.S., where it enjoyed great success. In recent years, however, it has fallen out of circulation, and has been seen rarely if at all in North America. Anthology is thrilled to host a week-long revival engagement of this extraordinary documentary, with 3 screenings of an archival 35mm print, followed by additional screenings showcasing Les Documents Cinematographiques&rsquo; brand-new DCP restoration.<br /><br />&ldquo;It is good and proper that, every once in a while, a film is released for real cinema lovers, not simply another one conflating genres or catering ever more assiduously to the public&rsquo;s demand for aesthetic pleasure &ndash; a demand which will only subside once the public learns to distinguish. Far from being a film doomed to be forgotten, FARREBIQUE is ahead of its time.&rdquo; &ndash;Jean Painlev&eacute;, LES ETOILES, 1946<br /><br />&ldquo;What viewers today enjoy in FARREBIQUE is somehow similar to what the audiences felt when they marveled at the Lumi&egrave;res&rsquo; first shorts, shouting and gasping at the flickering images of leaves on a tree: &lsquo;Look, they&rsquo;re moving!&rsquo; In his own way, Rouquier has reinvented film.&rdquo; &ndash;Andr&eacute; Bazin, CONQU&Ecirc;TES, 1947<br /><br />&ldquo;I am looking forward to rewatching FARREBIQUE. When I saw it first, when it came out, I thought it showed best how it feels to live and work on a small country farm. It brought back my childhood memories like no other movie I have ever seen.&rdquo; &ndash;Jonas Mekas<br /><br /><strong>Screenings on Fri, July 28 through Sun, July 30 will be played on 35mm, and screenings on Mon, July 31 through Thurs, Aug 3 will be DCP.<br /><br /></strong>Plus:<br />Georges Rouquier's BIQUEFARRE on&nbsp;Sat &amp; Sun, July 29 &amp; 30. Click&nbsp;<a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47689">here</a>&nbsp;for more details.&nbsp;</p> Wednesday, August 02 FARREBIQUE, OR THE FOUR SEASONS - DCP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2017#showing-47695 <p>(FARREBIQUE OU LES QUATRE SAISONS)<br /><br />REVIVAL ENGAGEMENT!<br /><br />Archival print courtesy of the Cin&eacute;math&egrave;que fran&ccedil;aise. Special thanks to Cristina Martin (Les Documents Cinematographiques); Louise Gerbelle (Cin&eacute;math&egrave;que fran&ccedil;aise); William Gilcher; and Jonas Mekas.<br /><br />Between 1944 and 45, Georges Rouquier spent a year with a family of farmers &ndash; his own relatives &ndash; on the farm Farrebique, situated in Goutrens in the Rouergue. The film he made with them, FARREBIQUE, takes us inside a family whose life is governed by the seasons. Rouquier shows the hardships of life on a farm on the eve of the introduction of electricity &ndash; and of the arrival of the forces of modernity, which are destined to change it irrevocably. Rouquier has a keen eye for the beauty of the characters, their simple ways, and their closeness to their animals and to nature. The first shots in the film linger on the cracks slithering up the walls of the farmstead. &ldquo;The house needs to be repaired,&rdquo; says the grandfather, setting in motion the plot of the film, a series of daily comings, goings, and disputes, from the installation of electricity to the birth of a child. Love and death: FARREBIQUE is about nothing more &ndash; and nothing less. It is from this simplicity that it draws its power and its uniqueness.<br /><br />Upon its release in 1946, FARREBIQUE was nominated for the Cannes Film Festival, but the official jury turned it down, with Henri Jeanson reported to have justified his decision with the words &ldquo;Cowpats are not photogenic.&rdquo; This rejection provoked a storm of protests. Although rejected by the Cannes officials, FARREBIQUE was shown at the fringe of the festival thanks to its supporters, and was ultimately distributed in the U.S., where it enjoyed great success. In recent years, however, it has fallen out of circulation, and has been seen rarely if at all in North America. Anthology is thrilled to host a week-long revival engagement of this extraordinary documentary, with 3 screenings of an archival 35mm print, followed by additional screenings showcasing Les Documents Cinematographiques&rsquo; brand-new DCP restoration.<br /><br />&ldquo;It is good and proper that, every once in a while, a film is released for real cinema lovers, not simply another one conflating genres or catering ever more assiduously to the public&rsquo;s demand for aesthetic pleasure &ndash; a demand which will only subside once the public learns to distinguish. Far from being a film doomed to be forgotten, FARREBIQUE is ahead of its time.&rdquo; &ndash;Jean Painlev&eacute;, LES ETOILES, 1946<br /><br />&ldquo;What viewers today enjoy in FARREBIQUE is somehow similar to what the audiences felt when they marveled at the Lumi&egrave;res&rsquo; first shorts, shouting and gasping at the flickering images of leaves on a tree: &lsquo;Look, they&rsquo;re moving!&rsquo; In his own way, Rouquier has reinvented film.&rdquo; &ndash;Andr&eacute; Bazin, CONQU&Ecirc;TES, 1947<br /><br />&ldquo;I am looking forward to rewatching FARREBIQUE. When I saw it first, when it came out, I thought it showed best how it feels to live and work on a small country farm. It brought back my childhood memories like no other movie I have ever seen.&rdquo; &ndash;Jonas Mekas<br /><br /><strong>Screenings on Fri, July 28 through Sun, July 30 will be played on 35mm, and screenings on Mon, July 31 through Thurs, Aug 3 will be DCP.<br /><br /></strong>Plus:<br />Georges Rouquier's BIQUEFARRE on&nbsp;Sat &amp; Sun, July 29 &amp; 30. Click&nbsp;<a href="../../../film_screenings/calendar?view=list&amp;month=7&amp;year=2017#showing-47689">here</a>&nbsp;for more details.&nbsp;</p> Thursday, August 03 SHOW & TELL: PETER BURR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2017#showing-47801 <p>Peter Burr (b. 1980) is an artist from Brooklyn specializing in animation and installation. A master of computer animation, with a gift for creating images and environments that hover on the boundary between abstraction and figuration, Burr has in recent years devoted himself to exploring the concept of an endlessly mutating labyrinth. Existing as stand-alone pieces, much of his work is also in the process of expanding into a video game through the support of Creative Capital and Sundance. Previously, he worked under the alias Hooliganship, and in 2006 founded the video label Cartune Xprez, through which he produced three DVD compilations, live multimedia exhibitions, and touring programs showcasing a multi-generational group of artists at the forefront of experimental animation.<br /><br />&ldquo;A mix of intricate patterns that vibrate, flicker, and hypnotize, viewing Peter&rsquo;s work feels like entering into a dark, digital cave.&rdquo; &ndash;Alex Ginsberg, ELECTRIC OBJECTS<br /><br />&ldquo;Burr&rsquo;s art conjures the future &ndash; projection screens picturing high density structures that resemble malls populated by people who move in slow motion; text by [media artist and video game designer] Porpentine that describes opinionless cultures; undulating black and white patterns designed to mesmerize the viewer. Unlike movies, though, which tend to center around heroes and villains, there&rsquo;s no morality attached to this environment. It&rsquo;s not good, or bad. It just is.&rdquo; &ndash;Paddy Johnson, ART F CITY<br /><br />ALONE WITH THE MOON (2012, 13 min, digital)<br />Burr creates a slow, liminal illusion in black-and-white, switching perspectives and matrices and crescendoing in time with Christopher Doulgeris&rsquo;s portentously pulsating soundtrack.<br /><br />SPECIAL EFFECT (2014, 22 min, digital)<br />Channeling Tarkovsky&rsquo;s STALKER, this film&rsquo;s fractured and spiraling narrative is traversed through a hypnotizing blend of live action and various digital animation styles.<br /><br />GREEN | RED (2014, 10.5 min, digital)<br />Burr conjures a shape-shifting world where the sidewalks are endless, the radio is playing electric, and the night sky is broken open by a cataclysm of shuddering stars.<br /><br />THE MESS (2016, 14 min, digital)<br />This film follows the perspective of a solitary woman who descends into an abandoned subterranean &lsquo;arcology.&rsquo; She is tasked with cleaning up the mess that has spawned from this feral structure, becoming lost in the process.<br /><br />PATTERN LANGUAGE (2017, 10.5 min, digital)<br />&lsquo;Pattern Language&rsquo; is a term coined by architect Christopher Alexander to quantify the &ldquo;aliveness&rdquo; of certain human ambitions, through an index of structural patterns. In this film, highly organized and richly layered patterns move in accordance with audio frequencies and rhythms, towards the construction of an endlessly mutating labyrinth.<br /><br />Total running time: ca. 75 min.</p> Thursday, August 03