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 Wed, 24 Aug 2016 15:42:07 -0400 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46087 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, August 24 INNISFREE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46149 <p>With Bartley O&rsquo;Feeney, Padraig O&rsquo;Feeney, and Anne Slattery.<br /><br />Guer&iacute;n&rsquo;s second feature film is this unusual portrait of the Irish town of Innisfree, where John Ford shot his 1952 classic, THE QUIET MAN. Establishing Guer&iacute;n&rsquo;s fascination with the interplay between fiction and reality, as well as his ability to balance cinephilia with a passionate engagement with the world around him, INNISFREE reveals the still-lingering effects of Ford&rsquo;s visit, a case of the cinema impacting reality in both subtle and unmistakable ways.<br /><br />&ldquo;INNISFREE explores the difference between then and now in order to chart the interstices between memory and history, between imagination, fantasy, and reality, and between classical narrative cinema and contemporary, observational documentary.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Wednesday, August 24 TRAIN OF SHADOWS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46153 <p>(TREN DE SOMBRAS)<br /><br />With Juliette Gaultier, Ivon Orvain, and Anne Celine Auche.<br /><br />&ldquo;TRAIN OF SHADOWS, is, like so much of [Guer&iacute;n&rsquo;s] work, a challenging and mesmerizing hybrid &ndash; part genre piece, part structuralist experiment, part city symphony. The film is built on a provocative premise: 70 years after the unexplained death of G&eacute;rard Fleury, a Parisian attorney, family man, and amateur filmmaker, several reels of his home movies have been unearthed, and <em>someone</em>, the unnamed author of the film we are watching, sets out to restore and recreate them, thereby embarking on an investigation into this long-forgotten mystery. That synopsis, however, paints a misleading portrait of TRAIN OF SHADOWS, which is more concerned with the texture of images and the fickle nature of memory than with gumshoe detecting or intrigue. To borrow from late-20th century critical parlance, this is art about art, a film about film. &hellip;[Guer&iacute;n] is among the handful of directors today who possess the wit, poetry, intellectual rigor, and technical command of the medium necessary to transcend clich&eacute; and reinvigorate discussions about the relationship between image-making and meaning-making in our post-MATRIX, pop philosophy discourse.&rdquo; &ndash;Darren Hughes, SENSES OF CINEMA<br /><br />Preceded by:<br />SOUVENIR (1986, 5 min, digital)<br />&ldquo;Little white clouds drifted behind Notre-Dame in an old film by Jean Renoir. And I say to myself, thus those little clouds drifted by, more than fifty years ago.&rdquo;</p> Wednesday, August 24 WORK IN PROGRESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46157 <p>(EN CONSTRUCCI&Oacute;N)<br /><br />With Juana Rodr&iacute;guez Molina, Iv&aacute;n Guzm&aacute;n Jim&eacute;nez, and Juan L&oacute;pez L&oacute;pez.<br /><br />WORK IN PROGRESS documents the transformation of El Chine, a once multi-ethnic, working-class Barcelona neighborhood, where new condominium buildings are being erected on the site of an older apartment building, in the name of &lsquo;improvement.&rsquo; Guer&iacute;n spent 18 months on the streets of El Chine, shooting more than 100 hours of material recording the progress of the construction, and observing and interviewing the longtime residents of the neighborhood, many of whom are being displaced by the new housing. Integrating documentary footage with dramatized segments focusing on individual characters, WORK IN PROGRESS is reminiscent in theme and approach, if not style, of Pedro Costa&rsquo;s later COLOSSAL YOUTH (2006), both of which depict with unusual commitment a community forced to stand by while their neighborhood is both socially and physically reconfigured. The result is a layered, philosophical, often associative discourse on past, present, and future.</p> Thursday, August 25 EC: CROCKWELL / GRANT / JACOBS & FLEISCHNER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46100 <p>Douglass Crockwell<br />THE LONG BODIES (1949, 6 min, 16mm)<br />GLEN FALLS SEQUENCE (1964, 8 min, 16mm)<br />&ldquo;The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.&rdquo; &ndash;D.C.<br /><br />Dwinell Grant<br />COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)<br />&ldquo;An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.&rdquo; &ndash;D.G.<br />STOP MOTION TESTS (1942, 3 min, 16mm, silent)<br />A self-portrait.<br />COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />&ldquo;Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.&rdquo; &ndash;William Moritz<br /><br />Ken Jacobs<br />LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)<br />&ldquo;Material was cut in as it came out of the camera, embarrassing moments intact. 100&rsquo; rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.&rdquo; &ndash;K.J.<br /><br />Ken Jacobs &amp; Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16-to-35mm blow-up, b&amp;w/color. With Jack Smith.<br />Preserved by Anthology, with the generous support of The Film Foundation.&ldquo;BLONDE COBRA is an erratic narrative &ndash; no, not really a narrative, it&rsquo;s only stretched out in time for convenience of delivery. It&rsquo;s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing &ndash; on one level &ndash; over the situation with style&hellip; enticing us into an absurd moral posture the better to dismiss us with a regal &lsquo;screw off.&rsquo;&rdquo; &ndash;K.J.<br /><br />Total running time: ca. 85 min.</p> Thursday, August 25 MEMORIES OF A MORNING & THE SAPPHIRE OF SAINT-LOUIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46161 <p>MEMORIES OF A MORNING / RECUERDOS DE UNA MA&Ntilde;ANA<br />(2011, 47 min, digital. In Spanish with English subtitles.)<br />&ldquo;[A] magnificent contemplation of death and community. Sometime after Guer&iacute;n moved to a flat in Barcelona&rsquo;s Eixample neighborhood, a violinist named Manel jumped to his death from a window in a nearby building. Considering it a galvanizing event that brought together neighbors who seldom spoke to each other, Guer&iacute;n visits several of them to glean their eyewitness accounts and reflections. Strongly recalling his masterpiece WORK IN PROGRESS, MEMORIES OF A MORNING<strong> </strong>manages to unify into an elegant whole the power of music, life&rsquo;s transitory nature, and big-city existence, among other elements.&rdquo; &ndash;Robert Koehler, VARIETY<br /><br />&amp;<br /><br />THE SAPPHIRE OF SAINT-LOUIS / LE SAPHIR DE SAINT-LOUIS<br />(2015, 35 min, digital. In Spanish with English subtitles.)<br />In 1741, a ship called the Saphir sets sail from a port in La Rochelle, France, on its way to the New World. On board are 30 crewmembers and 271 slaves. Somewhere off the coast of Santo Domingo, a slave revolt erupts. This little-known moment in history was memorialized in an obscure 18th century painting that hangs in the Saint-Louis Cathedral in La Rochelle. Guer&iacute;n peers into this painting to vividly re-tell the story, capturing, in the process, a snapshot of the political, historical, economic, and social realities of the time.</p> Thursday, August 25 SOME PHOTOS IN THE CITY OF SYLVIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46164 <p>(UNAS FOTOS EN LA CIUDAD DE SYLVIA)<br /><br />&ldquo;[A] silent, autobiographical, essay film constructed mostly of still, black-and-white, documentary photographs that harkens back not so much to Chris Marker, who famously used a similar technique in LA JET&Eacute;E (1962), but to Eadweard Muybridge and other 19th century innovators of the &lsquo;moving image.&rsquo; In UNAS FOTOS, Guer&iacute;n wanders the streets of Strasbourg, chasing the ghost of a woman he met there more than twenty years earlier. Each photograph reconstructs and, in a sense, supplants a particular memory, transforming it, like one of Muybridge&rsquo;s horses, into a single, extended frame in Guer&iacute;n&rsquo;s slow-moving picture.&rdquo; &ndash;Darren Hughes, SENSES OF CINEMA<br /><br />Preceded by:<br />TWO LETTERS TO ANA / DOS CARTAS A ANA<br />(2011, 28 min, digital)<br />Inspired by the lost paintings of antiquity evoked by classical texts, in particular by Pliny the Elder&rsquo;s 1<sup>st</sup> century encyclopedia, NATURAL HISTORY, Guer&iacute;n constructs an epistolary essay film in which images, words, light, and shadows draw a connection between cinema and painting.</p> Friday, August 26 EC: UNE SIMPLE HISTOIRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46101 <p>&ldquo;Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child&rsquo;s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.&rdquo;&nbsp; &ndash;TIME</p> Friday, August 26 IN THE CITY OF SYLVIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46168 <p>(EN LA CIUDAD DE SYLVIA)<br /><br />With Pilar L&oacute;pez de Ayala, Xavier Lafitte, and Laurence Cordier.<br /><br />In Guer&iacute;n&rsquo;s best-known film, which finds him reconfiguring SOME PHOTOS IN THE CITY OF SYLVIA in a narrative mode, a young foreigner in Strasbourg spends his days sitting at an outdoor caf&eacute;, sketching the gestures and expressions of the women around him. Haunted by the memory of Sylvia, a woman he encountered there years before, he waits patiently for her to reappear. Whether passively observing the urban landscape and its inhabitants, or pursuing a woman who just might be the object of his meditations, he is the focal point of Guer&iacute;n&rsquo;s impossibly delicate, alert, and sensitive film, a movie that foregrounds the act of looking like few others.<br /><br />&ldquo;Guer&iacute;n reiterates his past preoccupation with urban atmosphere and his instinctive grasp of cinematic language in this fictional film that is almost entirely free of dialogue. The climax of the film&hellip;is a mesmerizing orchestration of repeating visual and aural motifs &ndash; footsteps, street signs and graffiti, street hawkers, passers-by, and a reappearing cast of women. As our artist sketches, so too does Guer&iacute;n.&rdquo; &ndash;SYDNEY FILM FESTIVAL</p> Friday, August 26 CORRESPONDENCE JONAS MEKAS – J. L. GUERÍN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46172 <p>In this installment of an ongoing project initiated by Barcelona&rsquo;s Centre of Contemporary Culture, wherein some of the world&rsquo;s most revered filmmakers exchange filmic &lsquo;letters,&rsquo; Jonas Mekas and Guer&iacute;n engage in a pointed, lyrical visual discourse on the nature of filmmaking and humanity&rsquo;s ever-evolving relationship to the moving image. The result is a wide-ranging and poignant cinematic dialogue that draws together the lives, careers, and hopes of two filmmakers, so different in age, who share a need to find in cinema a language for expressing the ineffable.</p> Saturday, August 27 TRAIN OF SHADOWS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46154 <p>(TREN DE SOMBRAS)<br /><br />With Juliette Gaultier, Ivon Orvain, and Anne Celine Auche.<br /><br />&ldquo;TRAIN OF SHADOWS, is, like so much of [Guer&iacute;n&rsquo;s] work, a challenging and mesmerizing hybrid &ndash; part genre piece, part structuralist experiment, part city symphony. The film is built on a provocative premise: 70 years after the unexplained death of G&eacute;rard Fleury, a Parisian attorney, family man, and amateur filmmaker, several reels of his home movies have been unearthed, and <em>someone</em>, the unnamed author of the film we are watching, sets out to restore and recreate them, thereby embarking on an investigation into this long-forgotten mystery. That synopsis, however, paints a misleading portrait of TRAIN OF SHADOWS, which is more concerned with the texture of images and the fickle nature of memory than with gumshoe detecting or intrigue. To borrow from late-20th century critical parlance, this is art about art, a film about film. &hellip;[Guer&iacute;n] is among the handful of directors today who possess the wit, poetry, intellectual rigor, and technical command of the medium necessary to transcend clich&eacute; and reinvigorate discussions about the relationship between image-making and meaning-making in our post-MATRIX, pop philosophy discourse.&rdquo; &ndash;Darren Hughes, SENSES OF CINEMA<br /><br />Preceded by:<br />SOUVENIR (1986, 5 min, digital)<br />&ldquo;Little white clouds drifted behind Notre-Dame in an old film by Jean Renoir. And I say to myself, thus those little clouds drifted by, more than fifty years ago.&rdquo;</p> Saturday, August 27 WORK IN PROGRESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46158 <p>(EN CONSTRUCCI&Oacute;N)<br /><br />With Juana Rodr&iacute;guez Molina, Iv&aacute;n Guzm&aacute;n Jim&eacute;nez, and Juan L&oacute;pez L&oacute;pez.<br /><br />WORK IN PROGRESS documents the transformation of El Chine, a once multi-ethnic, working-class Barcelona neighborhood, where new condominium buildings are being erected on the site of an older apartment building, in the name of &lsquo;improvement.&rsquo; Guer&iacute;n spent 18 months on the streets of El Chine, shooting more than 100 hours of material recording the progress of the construction, and observing and interviewing the longtime residents of the neighborhood, many of whom are being displaced by the new housing. Integrating documentary footage with dramatized segments focusing on individual characters, WORK IN PROGRESS is reminiscent in theme and approach, if not style, of Pedro Costa&rsquo;s later COLOSSAL YOUTH (2006), both of which depict with unusual commitment a community forced to stand by while their neighborhood is both socially and physically reconfigured. The result is a layered, philosophical, often associative discourse on past, present, and future.</p> Saturday, August 27 INNISFREE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46150 <p>With Bartley O&rsquo;Feeney, Padraig O&rsquo;Feeney, and Anne Slattery.<br /><br />Guer&iacute;n&rsquo;s second feature film is this unusual portrait of the Irish town of Innisfree, where John Ford shot his 1952 classic, THE QUIET MAN. Establishing Guer&iacute;n&rsquo;s fascination with the interplay between fiction and reality, as well as his ability to balance cinephilia with a passionate engagement with the world around him, INNISFREE reveals the still-lingering effects of Ford&rsquo;s visit, a case of the cinema impacting reality in both subtle and unmistakable ways.<br /><br />&ldquo;INNISFREE explores the difference between then and now in order to chart the interstices between memory and history, between imagination, fantasy, and reality, and between classical narrative cinema and contemporary, observational documentary.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Sunday, August 28 EC: JEROME HILL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46102 <p>These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art.<br /><br />DEATH IN THE FORENOON (1934/66, 2 min, 35mm)<br />CANARIES (1969, 4 min, 35mm)<br />&amp;<br />FILM PORTRAIT<br />(1971, 81 min, 35mm)<br />A pioneering work in autobiographical cinema, FILM PORTRAIT masterfully combines actual and staged footage and painting over images. Filmmaker, painter, and composer Jerome Hill was born into the famous James J. Hill railroad-building family and lived on the same street as F. Scott Fitzgerald. Here he re-creates wonderfully &ndash; with old family footage &ndash; the period and milieu of the American upper class at the beginning of the 20th century.<br /><br />Total running time: ca. 90 min.</p> Sunday, August 28 MEMORIES OF A MORNING & THE SAPPHIRE OF SAINT-LOUIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46162 <p>MEMORIES OF A MORNING / RECUERDOS DE UNA MA&Ntilde;ANA<br />(2011, 47 min, digital. In Spanish with English subtitles.)<br />&ldquo;[A] magnificent contemplation of death and community. Sometime after Guer&iacute;n moved to a flat in Barcelona&rsquo;s Eixample neighborhood, a violinist named Manel jumped to his death from a window in a nearby building. Considering it a galvanizing event that brought together neighbors who seldom spoke to each other, Guer&iacute;n visits several of them to glean their eyewitness accounts and reflections. Strongly recalling his masterpiece WORK IN PROGRESS, MEMORIES OF A MORNING<strong> </strong>manages to unify into an elegant whole the power of music, life&rsquo;s transitory nature, and big-city existence, among other elements.&rdquo; &ndash;Robert Koehler, VARIETY<br /><br />&amp;<br /><br />THE SAPPHIRE OF SAINT-LOUIS / LE SAPHIR DE SAINT-LOUIS<br />(2015, 35 min, digital. In Spanish with English subtitles.)<br />In 1741, a ship called the Saphir sets sail from a port in La Rochelle, France, on its way to the New World. On board are 30 crewmembers and 271 slaves. Somewhere off the coast of Santo Domingo, a slave revolt erupts. This little-known moment in history was memorialized in an obscure 18th century painting that hangs in the Saint-Louis Cathedral in La Rochelle. Guer&iacute;n peers into this painting to vividly re-tell the story, capturing, in the process, a snapshot of the political, historical, economic, and social realities of the time.</p> Sunday, August 28 EC: HUGO / JORDAN / LEVITT / MAAS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46103 <p>Ian Hugo<br />BELLS OF ATLANTIS<br />(1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.)<br />Film poem, based on Ana&iuml;s Nin&rsquo;s HOUSE OF INCEST, spoken by Nin, who also appears.<br /><br />Larry Jordan<br />DUO CONCERTANTES (1962-64, 6 min, 16mm, b&amp;w)<br />HAMFAT ASAR (1965, 13 min, 16mm, b&amp;w)<br />GYMNOPEDIES (1968, 6 min, 16mm)<br />THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&amp;w. Preserved by Anthology Film Archives.)<br />OUR LADY OF THE SPHERE (1968, 9 min, 35mm)<br />&ldquo;With a taste for nostalgic romanticism&hellip;Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.&rdquo; &ndash;Jackie Leger<br /><br />Helen Levitt<br />IN THE STREET (1952, 12 min, 16mm, b&amp;w. Preserved by Anthology Film Archives.)<br />Levitt&rsquo;s short, lyrical documentary portrait of life in Spanish Harlem. Stealthily shot by Levitt, Janice Loeb, and James Agee.<br /><br />Willard Maas<br />GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&amp;w. Preserved by Anthology with support from The National Film Preservation Foundation.)<br />&ldquo;The terrors and splendors of the human body as the undiscovered, mysterious continent.&rdquo; &ndash;W.M.<br /><br />Total running time: ca. 105 min.</p> Sunday, August 28 GUEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46175 <p>Camera in hand, Guer&iacute;n wanders the streets of a number of international cities whose festivals he is attending during the promotional tour of his film, in search of a character or plot for his next work. Recounted in the form of a travelogue, GUEST is a wonderfully humane and sincere portrayal of the people that he meets when he goes off the beaten track in some of the world&rsquo;s major cities.</p> Sunday, August 28 TRAIN OF SHADOWS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46155 <p>(TREN DE SOMBRAS)<br /><br />With Juliette Gaultier, Ivon Orvain, and Anne Celine Auche.<br /><br />&ldquo;TRAIN OF SHADOWS, is, like so much of [Guer&iacute;n&rsquo;s] work, a challenging and mesmerizing hybrid &ndash; part genre piece, part structuralist experiment, part city symphony. The film is built on a provocative premise: 70 years after the unexplained death of G&eacute;rard Fleury, a Parisian attorney, family man, and amateur filmmaker, several reels of his home movies have been unearthed, and <em>someone</em>, the unnamed author of the film we are watching, sets out to restore and recreate them, thereby embarking on an investigation into this long-forgotten mystery. That synopsis, however, paints a misleading portrait of TRAIN OF SHADOWS, which is more concerned with the texture of images and the fickle nature of memory than with gumshoe detecting or intrigue. To borrow from late-20th century critical parlance, this is art about art, a film about film. &hellip;[Guer&iacute;n] is among the handful of directors today who possess the wit, poetry, intellectual rigor, and technical command of the medium necessary to transcend clich&eacute; and reinvigorate discussions about the relationship between image-making and meaning-making in our post-MATRIX, pop philosophy discourse.&rdquo; &ndash;Darren Hughes, SENSES OF CINEMA<br /><br />Preceded by:<br />SOUVENIR (1986, 5 min, digital)<br />&ldquo;Little white clouds drifted behind Notre-Dame in an old film by Jean Renoir. And I say to myself, thus those little clouds drifted by, more than fifty years ago.&rdquo;</p> Monday, August 29 CORRESPONDENCE JONAS MEKAS – J. L. GUERÍN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46173 <p>In this installment of an ongoing project initiated by Barcelona&rsquo;s Centre of Contemporary Culture, wherein some of the world&rsquo;s most revered filmmakers exchange filmic &lsquo;letters,&rsquo; Jonas Mekas and Guer&iacute;n engage in a pointed, lyrical visual discourse on the nature of filmmaking and humanity&rsquo;s ever-evolving relationship to the moving image. The result is a wide-ranging and poignant cinematic dialogue that draws together the lives, careers, and hopes of two filmmakers, so different in age, who share a need to find in cinema a language for expressing the ineffable.</p> Monday, August 29 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46088 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Tuesday, August 30 IN THE CITY OF SYLVIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46169 <p>(EN LA CIUDAD DE SYLVIA)<br /><br />With Pilar L&oacute;pez de Ayala, Xavier Lafitte, and Laurence Cordier.<br /><br />In Guer&iacute;n&rsquo;s best-known film, which finds him reconfiguring SOME PHOTOS IN THE CITY OF SYLVIA in a narrative mode, a young foreigner in Strasbourg spends his days sitting at an outdoor caf&eacute;, sketching the gestures and expressions of the women around him. Haunted by the memory of Sylvia, a woman he encountered there years before, he waits patiently for her to reappear. Whether passively observing the urban landscape and its inhabitants, or pursuing a woman who just might be the object of his meditations, he is the focal point of Guer&iacute;n&rsquo;s impossibly delicate, alert, and sensitive film, a movie that foregrounds the act of looking like few others.<br /><br />&ldquo;Guer&iacute;n reiterates his past preoccupation with urban atmosphere and his instinctive grasp of cinematic language in this fictional film that is almost entirely free of dialogue. The climax of the film&hellip;is a mesmerizing orchestration of repeating visual and aural motifs &ndash; footsteps, street signs and graffiti, street hawkers, passers-by, and a reappearing cast of women. As our artist sketches, so too does Guer&iacute;n.&rdquo; &ndash;SYDNEY FILM FESTIVAL</p> Tuesday, August 30 SOME PHOTOS IN THE CITY OF SYLVIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46165 <p>(UNAS FOTOS EN LA CIUDAD DE SYLVIA)<br /><br />&ldquo;[A] silent, autobiographical, essay film constructed mostly of still, black-and-white, documentary photographs that harkens back not so much to Chris Marker, who famously used a similar technique in LA JET&Eacute;E (1962), but to Eadweard Muybridge and other 19th century innovators of the &lsquo;moving image.&rsquo; In UNAS FOTOS, Guer&iacute;n wanders the streets of Strasbourg, chasing the ghost of a woman he met there more than twenty years earlier. Each photograph reconstructs and, in a sense, supplants a particular memory, transforming it, like one of Muybridge&rsquo;s horses, into a single, extended frame in Guer&iacute;n&rsquo;s slow-moving picture.&rdquo; &ndash;Darren Hughes, SENSES OF CINEMA<br /><br />Preceded by:<br />TWO LETTERS TO ANA / DOS CARTAS A ANA<br />(2011, 28 min, digital)<br />Inspired by the lost paintings of antiquity evoked by classical texts, in particular by Pliny the Elder&rsquo;s 1<sup>st</sup> century encyclopedia, NATURAL HISTORY, Guer&iacute;n constructs an epistolary essay film in which images, words, light, and shadows draw a connection between cinema and painting.</p> Tuesday, August 30 WORK IN PROGRESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46159 <p>(EN CONSTRUCCI&Oacute;N)<br /><br />With Juana Rodr&iacute;guez Molina, Iv&aacute;n Guzm&aacute;n Jim&eacute;nez, and Juan L&oacute;pez L&oacute;pez.<br /><br />WORK IN PROGRESS documents the transformation of El Chine, a once multi-ethnic, working-class Barcelona neighborhood, where new condominium buildings are being erected on the site of an older apartment building, in the name of &lsquo;improvement.&rsquo; Guer&iacute;n spent 18 months on the streets of El Chine, shooting more than 100 hours of material recording the progress of the construction, and observing and interviewing the longtime residents of the neighborhood, many of whom are being displaced by the new housing. Integrating documentary footage with dramatized segments focusing on individual characters, WORK IN PROGRESS is reminiscent in theme and approach, if not style, of Pedro Costa&rsquo;s later COLOSSAL YOUTH (2006), both of which depict with unusual commitment a community forced to stand by while their neighborhood is both socially and physically reconfigured. The result is a layered, philosophical, often associative discourse on past, present, and future.</p> Wednesday, August 31 RE-VISIONS: WILLIE VARELA, PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46081 <p>Born in 1950 in El Paso, Texas, on the Mexican-American border, Willie Varela grew up surrounded by the disparate influences of his Chicano heritage, Catholicism, and television, all of which he synthesizes in his hauntingly searching works. Weaving together diaristic impressions from his everyday life with imagery from the mass media &ndash; TV news, classic movies, Mexican telenovelas, wrestling &ndash; Varela&rsquo;s films are a beguiling fusion of the personal and political.<br /><br />Varela began making Super 8mm films in 1971. Showing the influence of Stan Brakhage, Varela&rsquo;s early works are gestural investigations of perception and the act of seeing &ndash; in his own words, he was in this period, &ldquo;concerned with the rhythm and the movements, the color and the light of daily life&hellip; In other words, my films were more domestic in nature.&rdquo;<br /><br />That changed when Varela moved to San Francisco in 1980, where the emergence of the AIDS crisis, and the deaths of many of his friends and fellow filmmakers, impacted him profoundly. This coming to terms with grim sociopolitical realities is reflected in the increasingly dark and politically-charged tone of films like IN PROGRESS (1985), a nightmarish vision of the Reagan era in which Varela combines re-photographed television imagery with his own footage to create doom-laden social commentaries on American culture.<br /><br />Returning to El Paso in 1986, Varela has continued working in video, exploring the potent themes that drove his Super 8mm films. He has produced nearly 100 films and videos to date and in 1994 he was honored with a mid-career retrospective at the Whitney Museum of American Art. In addition to his work as a filmmaker, Varela is also a photographer, film programmer, writer, and teacher. For these RE-VISIONS screenings, we will be presenting one program of Anthology&rsquo;s recent 16mm preservations and one program devoted to Varela&rsquo;s more recent video work.<br /><br />&ldquo;If Varela is a personal filmmaker, it is because the personal, like his native El Paso, functions as a crossroads for domestic, local, and national discourses.&rdquo; &ndash;Chon Noriega<br /><br />PROGRAM 1:<br />All films preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.<br />GHOST TOWN (1975, 3 min, Super-8mm-to-16mm, silent)<br />BECKY&rsquo;S EYE (1977, 3.5 min, Super-8mm-to-16mm, silent)<br />MARCH 1979 (1979, 3.5 min, Super-8mm-to-16mm, silent)<br />LIGHT JOURNALS (1981, 35 min, 16mm, silent. Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.)<br />RECUERDOS DE FLORES MUERTAS (1982, 7.5 min, Super-8mm-to-16mm)<br />IN PROGRESS (1985, 13 min, Super-8mm-to-16mm)<br />Total running time: ca. 70 min.</p> Wednesday, August 31 RE-VISIONS: WILLIE VARELA, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46083 <p>Born in 1950 in El Paso, Texas, on the Mexican-American border, Willie Varela grew up surrounded by the disparate influences of his Chicano heritage, Catholicism, and television, all of which he synthesizes in his hauntingly searching works. Weaving together diaristic impressions from his everyday life with imagery from the mass media &ndash; TV news, classic movies, Mexican telenovelas, wrestling &ndash; Varela&rsquo;s films are a beguiling fusion of the personal and political.<br /><br />Varela began making Super 8mm films in 1971. Showing the influence of Stan Brakhage, Varela&rsquo;s early works are gestural investigations of perception and the act of seeing &ndash; in his own words, he was in this period, &ldquo;concerned with the rhythm and the movements, the color and the light of daily life&hellip; In other words, my films were more domestic in nature.&rdquo;<br /><br />That changed when Varela moved to San Francisco in 1980, where the emergence of the AIDS crisis, and the deaths of many of his friends and fellow filmmakers, impacted him profoundly. This coming to terms with grim sociopolitical realities is reflected in the increasingly dark and politically-charged tone of films like IN PROGRESS (1985), a nightmarish vision of the Reagan era in which Varela combines re-photographed television imagery with his own footage to create doom-laden social commentaries on American culture.<br /><br />Returning to El Paso in 1986, Varela has continued working in video, exploring the potent themes that drove his Super 8mm films. He has produced nearly 100 films and videos to date and in 1994 he was honored with a mid-career retrospective at the Whitney Museum of American Art. In addition to his work as a filmmaker, Varela is also a photographer, film programmer, writer, and teacher. For these RE-VISIONS screenings, we will be presenting one program of Anthology&rsquo;s recent 16mm preservations and one program devoted to Varela&rsquo;s more recent video work.<br /><br />&ldquo;If Varela is a personal filmmaker, it is because the personal, like his native El Paso, functions as a crossroads for domestic, local, and national discourses.&rdquo; &ndash;Chon Noriega<br /><br />PROGRAM 2:<br />THIS BURNING WORLD (2002, 32 min, digital)<br />I RAISE MY ARM, I AM RESPONSIBLE (2004, 16.5 min, digital)<br />AMBIENS SERIES VII, DUO (2002, 9.5 min, digital)<br />THE BIRTHDAY PARTY (2004, 10.5 min, digital)<br />THE EXTRAORDINARY DAY (2003, 16.5 min, digital)<br /><br />Total running time: ca. 90 min.</p> Wednesday, August 31 INNISFREE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2016#showing-46151 <p>With Bartley O&rsquo;Feeney, Padraig O&rsquo;Feeney, and Anne Slattery.<br /><br />Guer&iacute;n&rsquo;s second feature film is this unusual portrait of the Irish town of Innisfree, where John Ford shot his 1952 classic, THE QUIET MAN. Establishing Guer&iacute;n&rsquo;s fascination with the interplay between fiction and reality, as well as his ability to balance cinephilia with a passionate engagement with the world around him, INNISFREE reveals the still-lingering effects of Ford&rsquo;s visit, a case of the cinema impacting reality in both subtle and unmistakable ways.<br /><br />&ldquo;INNISFREE explores the difference between then and now in order to chart the interstices between memory and history, between imagination, fantasy, and reality, and between classical narrative cinema and contemporary, observational documentary.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Wednesday, August 31 SOME PHOTOS IN THE CITY OF SYLVIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46166 <p>(UNAS FOTOS EN LA CIUDAD DE SYLVIA)<br /><br />&ldquo;[A] silent, autobiographical, essay film constructed mostly of still, black-and-white, documentary photographs that harkens back not so much to Chris Marker, who famously used a similar technique in LA JET&Eacute;E (1962), but to Eadweard Muybridge and other 19th century innovators of the &lsquo;moving image.&rsquo; In UNAS FOTOS, Guer&iacute;n wanders the streets of Strasbourg, chasing the ghost of a woman he met there more than twenty years earlier. Each photograph reconstructs and, in a sense, supplants a particular memory, transforming it, like one of Muybridge&rsquo;s horses, into a single, extended frame in Guer&iacute;n&rsquo;s slow-moving picture.&rdquo; &ndash;Darren Hughes, SENSES OF CINEMA<br /><br />Preceded by:<br />TWO LETTERS TO ANA / DOS CARTAS A ANA<br />(2011, 28 min, digital)<br />Inspired by the lost paintings of antiquity evoked by classical texts, in particular by Pliny the Elder&rsquo;s 1<sup>st</sup> century encyclopedia, NATURAL HISTORY, Guer&iacute;n constructs an epistolary essay film in which images, words, light, and shadows draw a connection between cinema and painting.</p> Thursday, September 01 EC: JENNINGS / KIRSANOFF / LÉGER & MURPHY / CLAIR & PICABIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46303 <p>Humphrey Jennings<br />LISTEN TO BRITAIN (1941, 19 min, 35mm, b&amp;w)<br />Jennings&rsquo;s film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds. From the film&rsquo;s introduction: &ldquo;I have been listening to Britain. I have heard the sound of her life by day and by night&hellip;. In the great sound picture that is here presented, you too will hear that heart beating. For blended together in one great symphony is the music of Britain at war.&rdquo;<br /><br />Dimitri Kirsanoff<br />M&Eacute;NILMONTANT (1924-25, 38 min, 35mm, b&amp;w, silent)<br />A melodramatic story of an orphan girl whose seduction is avenged. Early use of hand-held camera, montage, and superimpositions.<br /><br />Fernand L&eacute;ger &amp; Dudley Murphy<br />BALLET M&Eacute;CANIQUE (1924, 19 min, 35mm, b&amp;w, silent. Preserved by Anthology Film Archives.)<br />A brief exploration of cubist form, black-and-white tonalities, and various vectors through its constant, rapidly cut movements and compositions. Many of the film&rsquo;s forms and compositions are reflected in &ndash; or themselves reflect &ndash; forms and compositions in L&eacute;ger&rsquo;s famous cubist paintings from the period.<br /><br />Ren&eacute; Clair &amp; Francis Picabia<br />ENTR&rsquo;ACTE (1924, 22 min, 35mm, b&amp;w)<br />A masterpiece of Dada, a feat of cinema magic. Made as an intermission entertainment for the Ballet Su&eacute;dois from an impromptu scenario by Francis Picabia. Music by Erik Satie.<br /><br />Total running time: ca. 105 min.</p> Thursday, September 01 IN THE CITY OF SYLVIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46170 <p>(EN LA CIUDAD DE SYLVIA)<br /><br />With Pilar L&oacute;pez de Ayala, Xavier Lafitte, and Laurence Cordier.<br /><br />In Guer&iacute;n&rsquo;s best-known film, which finds him reconfiguring SOME PHOTOS IN THE CITY OF SYLVIA in a narrative mode, a young foreigner in Strasbourg spends his days sitting at an outdoor caf&eacute;, sketching the gestures and expressions of the women around him. Haunted by the memory of Sylvia, a woman he encountered there years before, he waits patiently for her to reappear. Whether passively observing the urban landscape and its inhabitants, or pursuing a woman who just might be the object of his meditations, he is the focal point of Guer&iacute;n&rsquo;s impossibly delicate, alert, and sensitive film, a movie that foregrounds the act of looking like few others.<br /><br />&ldquo;Guer&iacute;n reiterates his past preoccupation with urban atmosphere and his instinctive grasp of cinematic language in this fictional film that is almost entirely free of dialogue. The climax of the film&hellip;is a mesmerizing orchestration of repeating visual and aural motifs &ndash; footsteps, street signs and graffiti, street hawkers, passers-by, and a reappearing cast of women. As our artist sketches, so too does Guer&iacute;n.&rdquo; &ndash;SYDNEY FILM FESTIVAL</p> Thursday, September 01 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46180 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Friday, September 02 DAVID HOLZMAN’S DIARY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46272 <p>With L.M. Kit Carson.<br /><br />Acknowledged as one of the landmark films of late-60s independent cinema, McBride&rsquo;s first feature is rarely screened, despite its reputation. The complete cinephile, David Holzman is possessed with a desire to record his life, even if in the process he risks destroying it. He insists not only on confessing his innermost thoughts to the camera, but also on invading the privacy of friends and lovers in his obsessive search for the &lsquo;truth.&rsquo; Both comic and serious, real and unreal, McBride&rsquo;s film is a classic of independent cinema.<br /><br />&ldquo;Where most independent productions are founded on self-righteous claims of truth and honesty, McBride&rsquo;s film wittily observes that Hollywood has no corner on illusionism. Even the black-and-white, hand-held cinema still lies 24 times a second.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Friday, September 02 PORTRAIT OF JASON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46275 <p>&ldquo;Experimental filmmaker Clarke culled her PORTRAIT OF JASON from a grueling, 12-hour interview with her subject, Jason Holliday. A complicated examination of cin&eacute;ma v&eacute;rit&eacute; conventions, the spectacle of the interviewed subject, and the seeming exoticism (for a mostly white, avant-garde audience) of a gay, African American performer and sometime hustler, the film is Holliday&rsquo;s. His difficult performance of self against the filmmaker&rsquo;s goading and unflinching gaze remains, in the end, his own.&rdquo; &ndash;SFMOMA<br /><br />&ldquo;The most fascinating film I&rsquo;ve ever seen.&rdquo; &ndash;Ingmar Bergman</p> Friday, September 02 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46181 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Friday, September 02 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46182 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Saturday, September 03 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46183 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Saturday, September 03 EXHIBITIONISM / SELF-FASHIONING: SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46278 <p>Featuring two artists from ICP&rsquo;s exhibition, Wilke and Benglis, this program presents forms of performance for the camera by artists interested in the visual and conceptual presentation of the self and the body. Wilke performs a striptease in front of Marcel Duchamp&rsquo;s &ldquo;The Bride Stripped Bare by Her Bachelors, Even&rdquo; (also known as &ldquo;The Large Glass&rdquo;). A very self-conscious performance, it slyly mocks the portrayal of women in art &ndash; stripped bare by their artists, even. In TWO FACES, Hermine Freed creates a double of herself in a split-screen, and kisses and coddles the reflection &ndash; a self-examination in the face of cultural representations and expectations of femininity. Lynda Benglis&rsquo;s NOW, included in the original Castelli-Sonnabend video art collection, features Benglis performing in front of her pre-recorded image, playing with the idea of a &lsquo;live&rsquo; performance, and questioning the role of the performer versus director as she alternates between the cues, &ldquo;Start recording now!&rdquo; and &ldquo;Do you wish to direct me?&rdquo; Andy Warhol&rsquo;s OUTER AND INNER SPACE is a mesmerizing double-projection, starring his Superstar Edie Sedgwick, and the first of Warhol&rsquo;s experiments with a split screen. Each of the projections presents Edie doubled: &lsquo;live&rsquo; Edie side-by-side with a pre-recorded video image of herself in profile, appearing to speak into her own ear. Highly self-aware of her presentation, Edie performs her superstar persona for the camera while hearing her own earlier performance. It is a dizzying rupturing of filmic time and an inspired exercise in the reflexivity of new media. These works constitute early video examinations of how the camera changes our way of presenting the self, decades before a plethora of apps could broadcast one&rsquo;s performance to the world.<br /><br />Hannah Wilke HANNAH WILKE THROUGH THE LARGE GLASS 1976, 10 min, 16mm-to-video, silent<br />Hermine Freed TWO FACES 1972, 6.5 min, video, b&amp;w<br />Lynda Benglis NOW 1973, 12 min, video<br />Andy Warhol OUTER AND INNER SPACE 1965, 33 min, 16mm dual projection, b&amp;w<br /><br />Total running time: ca. 65 min.</p> Saturday, September 03 DAVID HOLZMAN’S DIARY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46273 <p>With L.M. Kit Carson.<br /><br />Acknowledged as one of the landmark films of late-60s independent cinema, McBride&rsquo;s first feature is rarely screened, despite its reputation. The complete cinephile, David Holzman is possessed with a desire to record his life, even if in the process he risks destroying it. He insists not only on confessing his innermost thoughts to the camera, but also on invading the privacy of friends and lovers in his obsessive search for the &lsquo;truth.&rsquo; Both comic and serious, real and unreal, McBride&rsquo;s film is a classic of independent cinema.<br /><br />&ldquo;Where most independent productions are founded on self-righteous claims of truth and honesty, McBride&rsquo;s film wittily observes that Hollywood has no corner on illusionism. Even the black-and-white, hand-held cinema still lies 24 times a second.&rdquo; &ndash;Dave Kehr, CHICAGO READER</p> Saturday, September 03 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46184 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Saturday, September 03 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46185 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Sunday, September 04 PORTRAIT OF JASON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46276 <p>&ldquo;Experimental filmmaker Clarke culled her PORTRAIT OF JASON from a grueling, 12-hour interview with her subject, Jason Holliday. A complicated examination of cin&eacute;ma v&eacute;rit&eacute; conventions, the spectacle of the interviewed subject, and the seeming exoticism (for a mostly white, avant-garde audience) of a gay, African American performer and sometime hustler, the film is Holliday&rsquo;s. His difficult performance of self against the filmmaker&rsquo;s goading and unflinching gaze remains, in the end, his own.&rdquo; &ndash;SFMOMA<br /><br />&ldquo;The most fascinating film I&rsquo;ve ever seen.&rdquo; &ndash;Ingmar Bergman</p> Sunday, September 04 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46186 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Sunday, September 04 EXHIBITIONISM / SELF-FASHIONING: SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46279 <p>Featuring two artists from ICP&rsquo;s exhibition, Wilke and Benglis, this program presents forms of performance for the camera by artists interested in the visual and conceptual presentation of the self and the body. Wilke performs a striptease in front of Marcel Duchamp&rsquo;s &ldquo;The Bride Stripped Bare by Her Bachelors, Even&rdquo; (also known as &ldquo;The Large Glass&rdquo;). A very self-conscious performance, it slyly mocks the portrayal of women in art &ndash; stripped bare by their artists, even. In TWO FACES, Hermine Freed creates a double of herself in a split-screen, and kisses and coddles the reflection &ndash; a self-examination in the face of cultural representations and expectations of femininity. Lynda Benglis&rsquo;s NOW, included in the original Castelli-Sonnabend video art collection, features Benglis performing in front of her pre-recorded image, playing with the idea of a &lsquo;live&rsquo; performance, and questioning the role of the performer versus director as she alternates between the cues, &ldquo;Start recording now!&rdquo; and &ldquo;Do you wish to direct me?&rdquo; Andy Warhol&rsquo;s OUTER AND INNER SPACE is a mesmerizing double-projection, starring his Superstar Edie Sedgwick, and the first of Warhol&rsquo;s experiments with a split screen. Each of the projections presents Edie doubled: &lsquo;live&rsquo; Edie side-by-side with a pre-recorded video image of herself in profile, appearing to speak into her own ear. Highly self-aware of her presentation, Edie performs her superstar persona for the camera while hearing her own earlier performance. It is a dizzying rupturing of filmic time and an inspired exercise in the reflexivity of new media. These works constitute early video examinations of how the camera changes our way of presenting the self, decades before a plethora of apps could broadcast one&rsquo;s performance to the world.<br /><br />Hannah Wilke HANNAH WILKE THROUGH THE LARGE GLASS 1976, 10 min, 16mm-to-video, silent<br />Hermine Freed TWO FACES 1972, 6.5 min, video, b&amp;w<br />Lynda Benglis NOW 1973, 12 min, video<br />Andy Warhol OUTER AND INNER SPACE 1965, 33 min, 16mm dual projection, b&amp;w<br /><br />Total running time: ca. 65 min.</p> Sunday, September 04 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46187 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Sunday, September 04 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46188 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Monday, September 05 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46189 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Monday, September 05 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46190 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Tuesday, September 06 THE ACADEMY OF MUSES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2016#showing-46191 <p>(L&rsquo;ACCADEMIA DELLE MUSE)<br /><br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br /><br />With Raffaele Pinto, Emanuela Forgetta, Rosa Delor Muns, and Mireia Iniesta. Distributed by Grasshopper Film, and presented with generous support from the Cultural Department of the Consulate General of Spain: member of the network SPAIN arts &amp; culture.<br /><br />A university professor teaches a class on the Muse in art and literature, while actualizing some of his teachings with his (mostly female) students, in this breathtaking new film from Jos&eacute; Luis Guer&iacute;n (IN THE CITY OF SYLVIA). Part relationship drama, part intellectual discourse, the film centers on a philology professor &ndash; played by actual philology professor Raffaele Pinto &ndash; and the women surrounding him: his wife and students. But as each and every player engages in debates &ndash; concerning, among other things, art, the artist&rsquo;s perspective, and male-female dynamics &ndash; the film&rsquo;s narrative begins to evolve and its character dynamics become increasingly complex.<br /><br />Guer&iacute;n is a director whose films resist categorization, slip from one mode to another &ndash; from fiction to documentary to essay film to diary &ndash; and are intoxicated with looking and listening. THE ACADEMY OF MUSES reflects all these qualities, while also displaying a preoccupation with language, with verbal intercourse (often as a means to other kinds of intercourse), that renders it positively Rohmer-ian. Nimble, resourceful, and, despite its intentionally lo-fi digital aesthetic, a film of remarkable visual coups (with Guer&iacute;n persistently filming his characters through reflective glass windows, resulting in a remarkable layering of interior and exterior space), ACADEMY is as intellectually stimulating and formally innovative as it is delightfully funny.<br /><br />&ldquo;Guer&iacute;n molds the material into a vibrant portrait of academic unrest that changes, against seemingly impossible odds, into an experimental romantic comedy.&rdquo; &ndash;Eric Kohn, INDIEWIRE<br /><br />&ldquo;Guer&iacute;n made this film from almost nothing, except a small, digital camera and a tremendously game set of friends. Beginning like an educational documentary on the aesthetic philosophy of Prof. Raffaele Pinto, it quickly morphs into an intimate, romantic intrigue of words passed between teacher and student, husband and wife, friend and foe. A dazzling achievement.&rdquo; &ndash;Adrian Martin, KEYFRAME<br /><br />Preceding the theatrical premiere run of THE ACADEMY OF MUSES, Anthology will present a retrospective of Guer&iacute;n&rsquo;s earlier films; click <a href="../../../film_screenings/series/46147">here</a> for details.<br /><br /><strong>JOS&Eacute; LUIS GUER&Iacute;N WILL BE HERE IN PERSON! MORE INFO WILL BE AVAILABLE IN MID-AUGUST.<br /></strong></p> Tuesday, September 06