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 Sat, 13 Apr 2024 03:24:28 -0400 DIRTY MONEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57408 <p>(<span>LA MAUDITE GALETTE)<br /><br /></span>Roland and Berthe are a struggling working-class Montreal couple who receive a visit from Roland&rsquo;s estranged and wealthy Uncle Arthur. After a $500 gift is ill-received, Berthe hatches a plan to take what she feels entitled to. She and Roland make a trip to Arthur&rsquo;s remote country house to steal the rest of his fortune, but soon find that their lodger Ernest has trailed them and has plans for the money himself, causing what should have been a simple heist to spiral towards a cascade of shocking violence. Arcand&rsquo;s first feature is a wily ride into Canuxploitation and established him as a force to be reckoned with. His protagonists, while conniving, commit their acts with none of the resourcefulness of the typical screen criminal. They seem guilty of only two things: desperation and the momentary lapse of judgment that comes along with it.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 13 EC: GEORGES MÉLIÈS, PROGRAM #1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57282 <p>All films in this program are b&amp;w and silent.<br /><br />THE CONJUROR / L&rsquo;ILLUSIONISTE FIN DE SI&Egrave;CLE (1899, 1 min, 35mm)<br />TRIP TO THE MOON / VOYAGE DANS LA LUNE (1902, 12 min, 35mm)<br />THE PALACE OF THE ARABIAN NIGHTS / LE PALAIS DES MILLE ET UNE NUITS (1905, 21 min, 35mm)<br />MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE (1906, 18 min, 35mm)<br />DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF &Agrave; L&rsquo;HUILE (1907, 5 min, 35mm)<br /><br />Magician, master of special effects, M&eacute;li&egrave;s broke with the realistic (Lumi&egrave;re) mode of cinema and celebrated unlimited fantasy and artificiality (in its best sense).<br /><br />&ldquo;All early filmmakers were fascinated at first with the camera&rsquo;s possibilities for tricks and illusionism. In fact, many were magicians before becoming filmmakers. But it was Georges M&eacute;li&egrave;s, the French magician, producer of spectacles, actor, artist, and poet, who had the imagination and enthusiasm to fully exploit its marvels. His films are spectacles that amaze and delight. He created fantastic visions &ndash; all of them curious, some of them comic.&rdquo; &ndash;MUSEUM OF MODERN ART<br /><br />Total running time:&nbsp;ca. 60 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Saturday, April 13 WHOEVER DIES, DIES IN PAIN (Morin in person on Fri, April 19!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57439 <p>(<span>QUICONQUE MEURT, MEURT &Agrave; DOULEUR)<br /><br /></span>Vitriolic alienation and dismay course through the walls of an apartment full of desperate junkies in Morin&rsquo;s unforgettable film. Making their last stand against the Montreal police, the denizens of the apartment have shot one police officer and are holding another hostage. Meanwhile, the crew of a reality TV show has become trapped alongside the junkies, and captures their final testaments and philosophical ramblings. For his bold experiment in meta-narrative, Morin mixes gonzo documentary and the struggle of real-life addicts to chilling and visceral effect.<br /><br />&ldquo;I didn&rsquo;t want to make a film about dope as such, I wanted to make a political film. That is, how people who are into drugs see society. We put them on the margins, and from the margins, they have a very particular vision of society. That&rsquo;s what interested me.&rdquo; &ndash;Robert Morin<br /><br /><strong>Robert Morin will be here in person for a Q&amp;A on Fri, April 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><strong>ROBERT MORIN<br /></strong><strong>&ldquo;An unclassifiable filmmaker, Robert Morin influenced a whole generation of artists with his lucid vision of society and an approach guided by pure creative impulse. Since the 1970s, he has continued to multiply projects, to impose not only his style and his vision of the world, but a way of making cinema and video as an artist who does not accept any compromise. The imagination of this filmmaker fiercely committed to the heart of everyday life is inseparable from the critical view he casts on society. Morin is also known for having founded, with friends, the Montreal Videoscopic Production Cooperative (the Coop Video) in 1977, at a time when access to film production was almost impossible and financial support from the government was difficult to obtain.&rdquo; &ndash;CINEMA QUEBECOIS</strong></p> Saturday, April 13 EC: SUNRISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57281 <p>Script by Carl Meyer based on the story &ldquo;A Trip to Tilsit&rdquo; by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O&rsquo;Brien and Janet Gaynor.<br /><br />Murnau&rsquo;s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end.<br /><br />&ldquo;SUNRISE becomes the lyrical culmination of a strain of German Expressionism that, married to American technology, could almost serve as a definition of the cinema. For the studio apparatus, enabling the creation of a spiritually and spatially unified microcosm, corresponds to the way the mind, in Expressionism, experiences reality &ndash; organizing it, imbuing it with personal associations, patterns, significances, until finally the only reality is a mental reality.&rdquo; &ndash;Molly Haskell<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Saturday, April 13 MAY GOD BLESS AMERICA (Morin in person on April 19!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57442 <p>(<span>QUE DIEU B&Eacute;NISSE L&rsquo;AM&Eacute;RIQUE)<br /><br /></span>The day is September 11, 2001. Maurice M&eacute;nard, a police inspector in Laval, Quebec has been tasked with finding a brutal killer of sex offenders who is still on the loose. The offenders have been posted on notices scattered through street corners and businesses of the residential neighborhood. Details emerge that the killer has been feeding his victims meals before ending their lives, but who is he and where will he strike next? A classic whodunnit begins to engulf the psychology of the town&rsquo;s inhabitants but things are not what they seem. As far off images of September 11 play out on television screens throughout the film&rsquo;s various locations &ndash; a pawn shop, an all you can eat buffet, etc. &ndash; the inhabitants of the town are strangely oblivious. Who is the real killer? Will he be discovered before time runs out? Morin probes the psychology of small-town life while critiquing the lack of empathy of his closest neighbors in the U.S. What is the result when individuality has gone mad?<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><strong>ROBERT MORIN</strong><br /><strong>&ldquo;An unclassifiable filmmaker, Robert Morin influenced a whole generation of artists with his lucid vision of society and an approach guided by pure creative impulse. Since the 1970s, he has continued to multiply projects, to impose not only his style and his vision of the world, but a way of making cinema and video as an artist who does not accept any compromise. The imagination of this filmmaker fiercely committed to the heart of everyday life is inseparable from the critical view he casts on society. Morin is also known for having founded, with friends, the Montreal Videoscopic Production Cooperative (the Coop Video) in 1977, at a time when access to film production was almost impossible and financial support from the government was difficult to obtain.&rdquo; &ndash;CINEMA QUEBECOIS<br /><br />Robert Morin will be here in person on Fri, April 19!</strong></p> Saturday, April 13 MONO NO AWARE COMMUNITY SCREENING PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57446 <p>Featuring the world premiere of films made locally with the support of MONO in Spring 2024.<br /><br />This program will include films made through the educational initiatives of MONO NO AWARE, a cinema-arts nonprofit organization and film positive community working to promote connectivity through the cinematic experience. Established in 2007 and based in downtown Brooklyn, MONO NO AWARE presents monthly artist-in-person screenings, facilitates equipment rentals, operates a film distribution initiative, maintains wet &amp; dry lab facilities, and hosts an annual exhibition for contemporary artists and international filmmakers whose work incorporates Super-8mm, 16mm, 35mm, or altered light projections.<br /><br />For more info visit: www.mononoawarefilm.com</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Sunday, April 14 EC: GEORGES MÉLIÈS, PROGRAM #2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57283 <p>The films on this program are hand-tinted and silent.<br /><br />A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 min, 35mm)<br />THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 min, 35mm)<br />VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm)<br />THE HUNCHBACK FAIRY / LA F&Eacute;E CARABOSSE (1906, 13 min, 35mm)<br /><br />Total running time: ca. 50 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Sunday, April 14 SONATINE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57431 <p>Courtesy of &Eacute;l&eacute;phant / Collection Cin&eacute;math&egrave;que qu&eacute;b&eacute;coise.<br /><br />Structured as a triptych, Lanc&ocirc;t&rsquo;s second feature follows two disillusioned teenagers who exist in a world of isolation and loneliness, ignored by their parents and the gentrifying city around them. In the first two chapters, they each make tentative advances towards genuine connection with two older men from the margins of Quebecois society. Soon, however, their good-natured plans sour under the weight of unseen forces (political and otherwise), and they are left vulnerable and unable to cope with the urban chaos surrounding them. The final third of the triptych concerns their star-crossed bond, and a pact that will lead them to their doom.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 14 EC: GEORGES MÉLIÈS, PROGRAM #3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57284 <p>All films in this program are b&amp;w and silent.<br /><br />EXTRAORDINARY ILLUSIONS / ILLUSIONS FUNAMBULESQUES (1903, 3 min, 16mm)<br />THE ENCHANTED WELL / LE PUITS FANTASTIQUE (1903, 3 min, 16mm)<br />TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 min, 35mm)<br />THE APPARITION / LE REVENANT (1903, 3 min, 16mm)<br />THE DOCTOR&rsquo;S SECRET / HYDROTH&Eacute;RAPIE FANTASTIQUE (1909, 11 min, 35mm)<br />SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D&rsquo;UN BUVEUR (1909, 5 min, 35mm)<br /><br />Total running time: ca. 55 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Sunday, April 14 DREAM LIFE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57411 <p>(<span>LA VIE R&Ecirc;V&Eacute;E)<br /><br /></span>Considered the first publicly financed film by a female director in Quebec, DREAM LIFE tracks the romantic desires of two young Montreal women as they discuss their dreams, desires, and interior lives. Directed with a deep love of life and experimental curiosity, Dansereau&rsquo;s film moves seamlessly from the young girls&rsquo; romantic fantasies to the deflating reality they&rsquo;re forced to confront in the harsh light of day. A trip to the countryside leaves them contemplating the nature of love itself. A distinctive coming-of-age film, told with beauty and austerity, it is also a film that is prone to bouts of visual experimentation. The two women, lost in alienation, build an almost impossible closeness as they approach the anxiety of having to settle down. Maybe men are a disappointment, but with dreams this good what does it matter?<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 14 RECENT SHORT FILMS BY LUKE FOWLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57449 <p>Courtesy of the Artist and The Modern Institute / Toby Webster Ltd, Glasgow.<br /><br />MUM&rsquo;S CARDS 2018, 9 min, 16mm-to-DCP<br />&ldquo;In his intimate portrait, Fowler&rsquo;s mother reflects on her life&rsquo;s work as a sociologist in Glasgow and, through a collection of hand-written notes, illuminates the personal and political nuances that make up a life devoted to intellectual inquiry.&rdquo; &ndash;NEW YORK FILM FESTIVAL<br /><br />ENCEINDRE 2018, 20.5 min, 16mm-to-DCP<br />The first collaboration between Fowler and acclaimed sound recordist Chris Watson, ENCEINDRE is a study in film and sound of two 16th century fortified cities: Berwick in the northeast of England and Pamplona in the Navarre region of the north of Spain.<br /><br />HOUSES (FOR MARGARET) 2019, 5 min, 16mm-to-DCP<br />Fowler&rsquo;s first tribute to Margaret Tait was created on the occasion of her centenary. Setting off to Tait&rsquo;s native Orkney, Fowler creates a record of her life and work through images of her past dwellings and filming locations, excerpts from her production diaries, and the reciting of her poem &ldquo;Houses&rdquo; in which she reflects on the meaning of home.<br /><br />C&Eacute;ZANNE 2019, 6.5 min, 16mm-to-DCP<br />Shot in and around the studio and garden of the painter Paul C&eacute;zanne in Aix-en-Provence and also on the mountain Saint Victoire, the focus of a long running series of paintings made between 1882-1906.<br /><br />PATRICK 2020, 21 min, 16mm-to-DCP<br />&ldquo;Fowler&rsquo;s work has long asked how we come to know someone in their absence. He has explored this question by creating posthumous portraits of individuals through precise compositions of the things they have left behind: recorded images and sounds, papers and notes, artwork, the spaces through which they moved, and the testimonies of friends who remain among the living. PATRICK evokes the life of its eponymous music producer [Patrick Cowley] by all these means, taking in the postindustrial charms of San Francisco&rsquo;s now-gentrified South of Market district, once famous for its dance clubs and leather bars, as if searching for Cowley&rsquo;s still-lingering energy.&rdquo; &ndash;Ed Halter<br /><br />FOR DAN 2021, 12.5 min, 16mm-to-DCP<br />A companion piece to MUM&rsquo;S CARDS, FOR DAN explores an intense period of correspondence between the artist&rsquo;s late father and his closest friend, radical university lecturer Dan O&rsquo;Neill.<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 14 BEING IN A PLACE – A PORTRAIT OF MARGARET TAIT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57451 <p>Courtesy of the Artist and The Modern Institute / Toby Webster Ltd, Glasgow.<br /><br />Drawing on a wealth of unseen archival material, including sound recordings, film rushes, offcuts and unpublished notebooks, Luke Fowler&rsquo;s new feature film focuses on Margaret Tait, one of Scotland&rsquo;s most enigmatic filmmakers. The film takes one of Tait&rsquo;s unrealized scripts for Channel 4, entitled &ldquo;Heartlandscape: Visions of Ephemerality and Permanence&rdquo;, as its starting point and considers Tait&rsquo;s life and work grounded within the landscape of Orkney. Tait was not interested in filming the scenery but instead looked at the precise details that constitute a place, the small things that are often overlooked. Exploring the process of filmmaking itself from the perspective of a fellow artist sensitive to Tait&rsquo;s understanding of film as a poetic medium, BEING IN A PLACE pays tribute to the strengths in her method, the importance of fragmented bodies of work, and the intrinsic value in failure.<br /><br />&ldquo;Fowler translates his own experience of entering Tait&rsquo;s world on the Orkney Islands and elsewhere into a restlessly ecstatic and haptic collage of images, sounds, words and memories. Without losing his own sense of looking at the world, he manages to convey a similar appreciation of the abrupt nature of beauty as Tait did; you might call it kinship or the evocation of a particular perception, a portrait not of a person but of her being.&rdquo; &ndash;Patrick Holzapfel, VIENNALE<br /><br />Preceded by:<br />Margaret Tait A PORTRAIT OF GA 1952, 5 min, 16mm<br />Portrait of the filmmaker&rsquo;s mother. Filmed back on Orkney.<br /><br />Margaret Tait HAPPY BEES 1954, 17 min, 16mm<br />&ldquo;HAPPY BEES was intended to be an evocation of what it was like to be a small child in Orkney; when, one (wrongly) remembers, it was sunny all the time, and everything is bursting with life. A film about what surrounds a child, so quite a lot of it is watched at child level.&rdquo; &ndash;Margaret Tait<br /><br />Total running time: ca. 85 min.<br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, April 15 GOOD RIDDANCE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57422 <p>(<span>LES BONS D&Eacute;BARRAS)<br /><br /></span>Archival print courtesy of the Cin&eacute;math&egrave;que qu&eacute;b&eacute;coise.<br /><br />Manon, a precocious but obsessive young woman, clings to her mother Michelle&rsquo;s every breath in the Laurentian Mountains of Quebec. Her desperate need for affection takes a dark turn when Michelle reveals that she&rsquo;s pregnant. Plagued by incessant poverty and the burden of caring for her mentally disabled brother Guy, Michelle is faced with a fever pitch of cataclysmic change that will sunder their family unit forever. Beautifully shot by renowned cinematographer Michel Brault, GOOD RIDDANCE adopts a palette of dark, shadowy hues, giving way to a patchwork of desolate early winter landscapes. With a screenplay by acclaimed but reclusive novelist R&eacute;jean Ducharme, the film is elevated by a searing lead performance by child actor Charlotte Laurier.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, April 15 MAY GOD BLESS AMERICA (Morin in person on April 19!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57443 <p>(<span>QUE DIEU B&Eacute;NISSE L&rsquo;AM&Eacute;RIQUE)<br /><br /></span>The day is September 11, 2001. Maurice M&eacute;nard, a police inspector in Laval, Quebec has been tasked with finding a brutal killer of sex offenders who is still on the loose. The offenders have been posted on notices scattered through street corners and businesses of the residential neighborhood. Details emerge that the killer has been feeding his victims meals before ending their lives, but who is he and where will he strike next? A classic whodunnit begins to engulf the psychology of the town&rsquo;s inhabitants but things are not what they seem. As far off images of September 11 play out on television screens throughout the film&rsquo;s various locations &ndash; a pawn shop, an all you can eat buffet, etc. &ndash; the inhabitants of the town are strangely oblivious. Who is the real killer? Will he be discovered before time runs out? Morin probes the psychology of small-town life while critiquing the lack of empathy of his closest neighbors in the U.S. What is the result when individuality has gone mad?<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><strong>ROBERT MORIN</strong><br /><strong>&ldquo;An unclassifiable filmmaker, Robert Morin influenced a whole generation of artists with his lucid vision of society and an approach guided by pure creative impulse. Since the 1970s, he has continued to multiply projects, to impose not only his style and his vision of the world, but a way of making cinema and video as an artist who does not accept any compromise. The imagination of this filmmaker fiercely committed to the heart of everyday life is inseparable from the critical view he casts on society. Morin is also known for having founded, with friends, the Montreal Videoscopic Production Cooperative (the Coop Video) in 1977, at a time when access to film production was almost impossible and financial support from the government was difficult to obtain.&rdquo; &ndash;CINEMA QUEBECOIS<br /><br />Robert Morin will be here in person on Fri, April 19!</strong></p> Tuesday, April 16 DREAM LIFE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57412 <p>(<span>LA VIE R&Ecirc;V&Eacute;E)<br /><br /></span>Considered the first publicly financed film by a female director in Quebec, DREAM LIFE tracks the romantic desires of two young Montreal women as they discuss their dreams, desires, and interior lives. Directed with a deep love of life and experimental curiosity, Dansereau&rsquo;s film moves seamlessly from the young girls&rsquo; romantic fantasies to the deflating reality they&rsquo;re forced to confront in the harsh light of day. A trip to the countryside leaves them contemplating the nature of love itself. A distinctive coming-of-age film, told with beauty and austerity, it is also a film that is prone to bouts of visual experimentation. The two women, lost in alienation, build an almost impossible closeness as they approach the anxiety of having to settle down. Maybe men are a disappointment, but with dreams this good what does it matter?<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 17 WILLIAM KLEIN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57401 <p>Born and raised in NYC, William Klein relocated permanently to France in 1948, where he would create the body of photographic and cinematic work for which he is justly renowned. But there is one relatively ignored corner of his filmography: the films he made for French TV in the early-to-mid 1960s. Created for the news magazine show &ldquo;Cinq colonnes &agrave; la une&rdquo;, LE BUSINESS ET LA MODE (1962), LES TROUBLES DE LA CIRCULATION (1962), and GARE DE LYON (1963) find Klein investigating various dimensions of French culture. For WILLIAM KLEIN AUX GRANDS MAGASINS (1964), which was aired as part of the long-running TV series &ldquo;Les femmes aussi&rdquo;, Klein films Simone Signoret as she wanders through a department store and interviews various women she encounters there.<br /><br />William Klein<br />LE BUSINESS ET LA MODE 1962, 15 min, 16mm-to-digital. In French with English subtitles.<br />LES TROUBLES DE LA CIRCULATION 1962, 15 min, 16mm-to-digital. In French with English subtitles.<br />GARE DE LYON 1963, 12.5 min, 16mm-to-digital. In French with English subtitles.<br /><br />WILLIAM KLEIN AUX GRANDS MAGASINS<br />1964, 44 min, 16mm-to-digital. In French with English subtitles.<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 17 SONATINE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57432 <p>Courtesy of &Eacute;l&eacute;phant / Collection Cin&eacute;math&egrave;que qu&eacute;b&eacute;coise.<br /><br />Structured as a triptych, Lanc&ocirc;t&rsquo;s second feature follows two disillusioned teenagers who exist in a world of isolation and loneliness, ignored by their parents and the gentrifying city around them. In the first two chapters, they each make tentative advances towards genuine connection with two older men from the margins of Quebecois society. Soon, however, their good-natured plans sour under the weight of unseen forces (political and otherwise), and they are left vulnerable and unable to cope with the urban chaos surrounding them. The final third of the triptych concerns their star-crossed bond, and a pact that will lead them to their doom.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 17 SCALE MODEL SADNESS (Morin in person on Thurs, April 18!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57436 <p>(TRISTESSE MOD&Egrave;LE R&Eacute;DUIT)<br /><br />Jeannot, a young adult with Down&rsquo;s Syndrome, lives a gentle, placid suburban life. His parents control his schedule with clockwork precision, and his only escape to the outside world is through his model car collection or by observing the frogs that end up in his swimming pool. His world is turned upside down by the arrival of a young caretaker, Pauline, who challenges his parents&rsquo; conviction that Jeannot cannot fend for himself. Riding the wave of freedom brought on by this break in his routine, Jeannot begins to assemble a plan and to build the courage to transcend the diminished expectations of his suffocating home life.<br /><br />Preceded by:<br />Robert Morin &amp; Lorraine Dufour THE MYSTERIOUS PAUL / LE MYST&Eacute;RIEUX PAUL 1983, 26.5 min, digital<br />A desperate circus performer, Paul, seeks to continue his dangerous sword swallowing even after his doctors and his family warn him he&rsquo;s closing in on death. Paul is an enigma, his need to perform seems to defy every convention, even his own death is a price easily paid to live out his soul&rsquo;s one ambition. A performer at heart, his family struggles to keep him satisfied within a domestic existence, while the danger and thrill of the circus life beckons him from every dark hall.<br /><br />Total running time: ca. 115 min.<br /><br /><strong>Robert Morin will be here in person for a Q&amp;A on Thurs, April 18! </strong><strong>Following the screening and Q&amp;A, there will be a reception in the lobby!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><strong>ROBERT MORIN<br /></strong><strong>&ldquo;An unclassifiable filmmaker, Robert Morin influenced a whole generation of artists with his lucid vision of society and an approach guided by pure creative impulse. Since the 1970s, he has continued to multiply projects, to impose not only his style and his vision of the world, but a way of making cinema and video as an artist who does not accept any compromise. The imagination of this filmmaker fiercely committed to the heart of everyday life is inseparable from the critical view he casts on society. Morin is also known for having founded, with friends, the Montreal Videoscopic Production Cooperative (the Coop Video) in 1977, at a time when access to film production was almost impossible and financial support from the government was difficult to obtain.&rdquo; &ndash;CINEMA QUEBECOIS<br /><br /></strong></p> Thursday, April 18 BIDOUN PRESENTS: Alaouié + Zaatari http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57457 <p>Borhane Alaoui&eacute;<br /><br />LETTER FROM A TIME OF EXILE / LETTRE D&rsquo;UN TEMPS D&rsquo;EXIL<br />1988, 52 min, 16mm-to-digital. In Arabic and French with English subtitles.<br />Scripted by Najwa Barakat and shot in a pseudo-documentary style, LETTER FROM A TIME OF EXILE presents the stories of four Lebanese men whose lives have taken unexpected turns due to the Civil War: Abdallah, a former militia member, Karim, an unemployed journalist living in Paris, Rizkallah, a car salesman in Brussels, and Nessim, a surgeon who came to Strasbourg. Narrated with subtle humor, LETTER FROM A TIME OF EXILE is both a portrait of people in exile, and the cities in which they currently reside.<br /><br />&ldquo;Borhane Alaoui&eacute; is a topographer, he films the places. Like all of the people who chose to live elsewhere, he knows what a place means.&rdquo; &ndash;Serge Daney<br /><br />Akram Zaatari<br />ALL IS WELL ON THE BORDER / AL SHAREET BI-KHAYR<br />1997, 44 min, video. In Arabic with English subtitles.<br />Focusing on the Israeli occupation of the South, ALL IS WELL is an early example of Zaatari&rsquo;s explorations into postwar Lebanese memory culture through the collection of testimonies and documents. Working at a television station at the time, Zaatari was particularly interested in the ways in which histories of resistance were mediated and exploited in their dissemination. In ALL IS WELL, Zaatari centers his own mediation by having genuine testimonies and letters from imprisoned fighters read by actors, revealing their teleprompters and script pages on screen. ALL IS WELL is an attempt to present an image of resistance and incarceration without valorization or objectification of suffering.<br /><br />Total running time: ca. 100 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 18 WHOEVER DIES, DIES IN PAIN (Morin in person on Fri, April 19!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57440 <p>(<span>QUICONQUE MEURT, MEURT &Agrave; DOULEUR)<br /><br /></span>Vitriolic alienation and dismay course through the walls of an apartment full of desperate junkies in Morin&rsquo;s unforgettable film. Making their last stand against the Montreal police, the denizens of the apartment have shot one police officer and are holding another hostage. Meanwhile, the crew of a reality TV show has become trapped alongside the junkies, and captures their final testaments and philosophical ramblings. For his bold experiment in meta-narrative, Morin mixes gonzo documentary and the struggle of real-life addicts to chilling and visceral effect.<br /><br />&ldquo;I didn&rsquo;t want to make a film about dope as such, I wanted to make a political film. That is, how people who are into drugs see society. We put them on the margins, and from the margins, they have a very particular vision of society. That&rsquo;s what interested me.&rdquo; &ndash;Robert Morin<br /><br /><strong>Robert Morin will be here in person for a Q&amp;A on Fri, April 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><strong>ROBERT MORIN<br /></strong><strong>&ldquo;An unclassifiable filmmaker, Robert Morin influenced a whole generation of artists with his lucid vision of society and an approach guided by pure creative impulse. Since the 1970s, he has continued to multiply projects, to impose not only his style and his vision of the world, but a way of making cinema and video as an artist who does not accept any compromise. The imagination of this filmmaker fiercely committed to the heart of everyday life is inseparable from the critical view he casts on society. Morin is also known for having founded, with friends, the Montreal Videoscopic Production Cooperative (the Coop Video) in 1977, at a time when access to film production was almost impossible and financial support from the government was difficult to obtain.&rdquo; &ndash;CINEMA QUEBECOIS</strong></p> Friday, April 19 FREE FALL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57460 <p>Newly digitized, this behind-the-scenes look at Ron Vawter, as he restages his acclaimed solo performance piece ROY COHN/JACK SMITH in Amsterdam, has not screened for nearly 20 years. Produced for German television, this documentary portrait is a self-professed &ldquo;act of love&rdquo; for Vawter. The result, in evocative, grainy black-and-white video, is an intimate glimpse of Vawter and his director and life partner Greg Mehrten in the final months of Vawter&rsquo;s life.<br /><br />Preceded by a never-before-screened funding pitch by Vawter for FREE FALL, in which the actor describes his life and career.<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 19 MAY GOD BLESS AMERICA (Morin in person on April 19!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57444 <p>(<span>QUE DIEU B&Eacute;NISSE L&rsquo;AM&Eacute;RIQUE)<br /><br /></span>The day is September 11, 2001. Maurice M&eacute;nard, a police inspector in Laval, Quebec has been tasked with finding a brutal killer of sex offenders who is still on the loose. The offenders have been posted on notices scattered through street corners and businesses of the residential neighborhood. Details emerge that the killer has been feeding his victims meals before ending their lives, but who is he and where will he strike next? A classic whodunnit begins to engulf the psychology of the town&rsquo;s inhabitants but things are not what they seem. As far off images of September 11 play out on television screens throughout the film&rsquo;s various locations &ndash; a pawn shop, an all you can eat buffet, etc. &ndash; the inhabitants of the town are strangely oblivious. Who is the real killer? Will he be discovered before time runs out? Morin probes the psychology of small-town life while critiquing the lack of empathy of his closest neighbors in the U.S. What is the result when individuality has gone mad?<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><strong>ROBERT MORIN</strong><br /><strong>&ldquo;An unclassifiable filmmaker, Robert Morin influenced a whole generation of artists with his lucid vision of society and an approach guided by pure creative impulse. Since the 1970s, he has continued to multiply projects, to impose not only his style and his vision of the world, but a way of making cinema and video as an artist who does not accept any compromise. The imagination of this filmmaker fiercely committed to the heart of everyday life is inseparable from the critical view he casts on society. Morin is also known for having founded, with friends, the Montreal Videoscopic Production Cooperative (the Coop Video) in 1977, at a time when access to film production was almost impossible and financial support from the government was difficult to obtain.&rdquo; &ndash;CINEMA QUEBECOIS<br /><br />Robert Morin will be here in person on Fri, April 19!</strong></p> Friday, April 19 ROY COHN/JACK SMITH (Live Stage Recording) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57462 <p>Recorded during the initial run of the Obie Award-winning ROY COHN/JACK SMITH, this video documents the seminal performance piece as it was first seen by New York audiences. In its first half, Ron Vawter, following a script by Gary Indiana, conjures an after-dinner speech as it might have been delivered by notorious right wing political figure and closeted gay man Roy Cohn, as he addresses &ldquo;The American Association for the Protection of the Family&rdquo;. In its second half, Vawter re-emerges on stage in flamboyant costume as fiercely queer performance art pioneer, Jack Smith. Together, the two portraits present a complex, incisive, and discomforting view of queer identities as they collide with American culture.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 20 EC: I WAS BORN, BUT… http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57285 <p>(UMARETE WA MITA KEREDO&hellip;)<br /><br />In referring to this film Ozu stated, &ldquo;I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.&rdquo; The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />&ldquo;Joyful&hellip;as true and as moving and as timely today as it was in 1932.&rdquo; &ndash;Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Saturday, April 20 ROY COHN/JACK SMITH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57465 <p>New preservation print courtesy of the Academy Film Archive.<br /><br />Shot at New York&rsquo;s The Kitchen just six months before Ron Vawter died, filmmaker Jill Godmilow&rsquo;s version of ROY COHN/JACK SMITH remixes Vawter&rsquo;s celebrated theater piece by intercutting its two acts. Whereas the original stage production was divided into two separate and opposing parts, &ldquo;Roy Cohn&rdquo; and &ldquo;Jack Smith&rdquo;, Godmilow deftly cuts back and forth from one portrait to the other throughout her film, creating an ongoing conversation between the two contrasting figures and reinventing the highly acclaimed theater piece for a cinema audience. This screening will represent the premiere of a new preservation of this important film.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 20 EC: THERE WAS A FATHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57288 <p>(CHICHI ARIKI)<br /><br />&ldquo;One of Ozu&rsquo;s most perfect films. There is a naturalness and a consequent feeling of inevitability that is rare in cinema [&hellip;] Critics have called the performance of Chishu Ryu in this film one of the best in the history of Japanese cinema, and they are right [&hellip;] THERE WAS A FATHER has become one of the country&rsquo;s most esteemed classics&rdquo; &ndash;Donald Richie<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Saturday, April 20 EC: THERE WAS A FATHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57289 <p>(CHICHI ARIKI)<br /><br />&ldquo;One of Ozu&rsquo;s most perfect films. There is a naturalness and a consequent feeling of inevitability that is rare in cinema [&hellip;] Critics have called the performance of Chishu Ryu in this film one of the best in the history of Japanese cinema, and they are right [&hellip;] THERE WAS A FATHER has become one of the country&rsquo;s most esteemed classics&rdquo; &ndash;Donald Richie<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Sunday, April 21 ROY COHN/JACK SMITH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57466 <p>New preservation print courtesy of the Academy Film Archive.<br /><br />Shot at New York&rsquo;s The Kitchen just six months before Ron Vawter died, filmmaker Jill Godmilow&rsquo;s version of ROY COHN/JACK SMITH remixes Vawter&rsquo;s celebrated theater piece by intercutting its two acts. Whereas the original stage production was divided into two separate and opposing parts, &ldquo;Roy Cohn&rdquo; and &ldquo;Jack Smith&rdquo;, Godmilow deftly cuts back and forth from one portrait to the other throughout her film, creating an ongoing conversation between the two contrasting figures and reinventing the highly acclaimed theater piece for a cinema audience. This screening will represent the premiere of a new preservation of this important film.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 21 EC: I WAS BORN, BUT… http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57286 <p>(UMARETE WA MITA KEREDO&hellip;)<br /><br />In referring to this film Ozu stated, &ldquo;I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.&rdquo; The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />&ldquo;Joyful&hellip;as true and as moving and as timely today as it was in 1932.&rdquo; &ndash;Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Sunday, April 21 ROY COHN/JACK SMITH (Live Stage Recording) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57463 <p>Recorded during the initial run of the Obie Award-winning ROY COHN/JACK SMITH, this video documents the seminal performance piece as it was first seen by New York audiences. In its first half, Ron Vawter, following a script by Gary Indiana, conjures an after-dinner speech as it might have been delivered by notorious right wing political figure and closeted gay man Roy Cohn, as he addresses &ldquo;The American Association for the Protection of the Family&rdquo;. In its second half, Vawter re-emerges on stage in flamboyant costume as fiercely queer performance art pioneer, Jack Smith. Together, the two portraits present a complex, incisive, and discomforting view of queer identities as they collide with American culture.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 21 EC: I WAS BORN, BUT… http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57287 <p>(UMARETE WA MITA KEREDO&hellip;)<br /><br />In referring to this film Ozu stated, &ldquo;I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.&rdquo; The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />&ldquo;Joyful&hellip;as true and as moving and as timely today as it was in 1932.&rdquo; &ndash;Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Monday, April 22 MILLENNIUM FILM JOURNAL NO. 79 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57468 <p>This program consists of recent short films covered in Millennium Film Journal No. 79. Descriptive texts below are excerpted from the issue.<br /><br />The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; Anonymous donors; and New York State Council on the Arts.<br /><br />If you&rsquo;d like to support the publication of the Millennium Film Journal with a tax deductible gift, please access <a href="https://millenniumfilmjournal.com/donations/donation-form/">https://millenniumfilmjournal.com/donations/donation-form/<br /><br /></a>Takeshi Murata &amp; Christopher Rutledge LARRY U.S., 2023, 4 min, digital<br />&ldquo;To the rhythm of blaring electronic beats, the titular CGI canine emerges. Larry sheds skins, liquifies like molten volcanic lava, swims, multiplies, frays at the edges, solidifies into plastic, becomes a 3D model, and finally adopts the form of other animals before dissolving into a Lynda Benglis-like pour of digital goo.&rdquo; &ndash;Rachel Valinsky<br /><br />Steve Reinke SUNDOWN Canada, 2023, 8 min, digital<br />&ldquo;Drawing out a constellation of memories, observations, and more philosophical reflections on the ways that art processes inevitable death, Reinke ponders the strange feeling of seeing a retrospective of his own work installed in Vienna &ndash; retrospective, is, after all, one way of calling narrative to a close.&rdquo; &ndash;Rachel Valinsky<br /><br />Wayne Koestenbaum STIGMA PUDDING U.S., 2023, 6 min, digital<br />&ldquo;Over the last five years, Wayne&rsquo;s made more than 200 short films, but STIGMA PUDDING is the first which combines original painting with digital video. Now that he&rsquo;s at last put felt-tip to film-stock, he&rsquo;s created something more opulent and vivid, remarkable for &lsquo;the increasing vibrance of the color&rsquo; and &lsquo;the peculiarity and individuation of the marks.&rsquo;&rdquo; &ndash;Nick Gamso<br /><br />Kevin Jerome Everson BOYD V. DENTON U.S., 2023, 3 min, digital<br />&ldquo;BOYD V. DENTON is titled after the court case mandating the closure of the prison in 1990. Here black and white visual imagery abstracts the prison into flickering mosaics while grainy walkie-talkie audio emits banalities.&rdquo; &ndash;Rachel Hutcheson<br /><br />Kevin Jerome Everson AIR FORCE TWO U.S., 2023, 5 min, digital<br />&ldquo;Everson uses erratic handheld camerawork to inspect prison cells used for the corresponding Hollywood film. The frantic pacing and jostling of the image contrasts with the deadpan voiceover reading the screenplay of the earlier film&rsquo;s Moscow prison break scene.&rdquo; &ndash;Rachel Hutcheson<br /><br />Aria Dean ABATTOIR, U.S.A.! U.S., 2023, 11 min, digital<br />&ldquo;A bright orange light pulsates expressionistically against a black background, abrupt and shocking. Then the play of light stops, and we are again &lsquo;outside,&rsquo; in a harsh institutional light, as a door swings open, and the camera enters and pivots around a sterile room. There are no bodies in this space. There is only the surface of unctuous red fluid that covers the floor as a bloody remnant of an enduring past.&rdquo; &ndash;Vera Dika<br /><br />Suneil Sanzgiri AT HOME BUT NOT AT HOME U.S., 2019, 11 min, digital<br />&ldquo;The imbrication of past and present in Sanzgiri&rsquo;s films addresses the retrospective urgency of haunting&hellip; In the realm of technical imaging, remembering becomes an act of imagination, a process of world-building.&rdquo; &ndash;Ally Luo<br /><br />Kathryn Ramey FALL U.S., 2006, 5 min, 35mm<br />&ldquo;When a heterosexual dude makes a film about his kids, that is very political. When a woman makes a film that engages with the act of being a parent, it&rsquo;s often seen as less significant. That shows how political it is because even now, motherhood is a terrible double bind. When I was expecting my first child, I was told by more than one female filmmaker, &lsquo;Forget it, you&rsquo;re done, you&rsquo;ll never make a film again.&rsquo;&rdquo; &ndash;Kathryn Ramey, in dialogue with Sarah Keller &amp; Yangqiao Lu<br /><br />Vincent Grenier TABULA RASA Canada, 1993-2004, 8 min, digital<br />&ldquo;This is such loaded material, heavily marked by time and social place, the architecture evoking prison and damage, and yet as elegantly constructed as shifting Japanese shoji panels. It is the voices of instructor and student, heard off screen, that pierce like a dagger and reverberate throughout the space ideas about power and reality.&rdquo; &ndash;Joanna Kiernan<br /><br />Marie Menken ARABESQUE FOR KENNETH ANGER U.S., 1958-61, 5 min, 16mm. Preserved by Anthology Film Archives.<br />&ldquo;Made with Anger&rsquo;s (literal) support, the film consists of controlled hand-held camera moves that follow repetitive patterns of ornamental ceramics and other geometric surfaces in the Alhambra&rsquo;s Islamic architecture. The restraint of the music matches the film&rsquo;s erotic visual rhythms without overdetermining or dominating.&rdquo; &ndash;Grahame Weinbren<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, April 23 EC: SIDNEY PETERSON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57290 <p>THE POTTED PSALM and THE PETRIFIED DOG have been preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation. MR. FRENHOFFER AND THE MINOTAUR and THE LEAD SHOES have been preserved by Anthology with support from the National Film Preservation Foundation.<br /><br />THE POTTED PSALM (1946, 19 min, 16mm)<br />THE PETRIFIED DOG (1948, 19 min, 16mm)<br />MR. FRENHOFFER AND THE MINOTAUR (1949, 21 min, 16mm)<br />THE LEAD SHOES (1949, 17 min, 16mm)<br /><br />&ldquo;These images are meant to play not on our rational senses, but on the infinite universe of ambiguity within us.&rdquo; &ndash;Sidney Peterson<br /><br />&ldquo;Sidney Peterson&rsquo;s work and sensibility are those of a native American surrealist. Many of his films chronicle the picaresque adventures of a wacky protagonist and use disjunctive editing strategies to construct new time and space relations&hellip;. But perhaps their best-known feature is the use of distorted, funhouse mirror-images, which he created by shooting with an anamorphic lens. [&hellip;] In his films, he investigates extreme states of consciousness, and the primary tool of his epistemology of irrationalism is the photographic image distorted and transformed to register the impact of those states.&rdquo; &ndash;R. Bruce Elder, IMAGE AND IDENTITY<br /><br />Total running time: ca. 80 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong>&nbsp;</p> Wednesday, April 24 HEAT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57471 <p>(<span>ZNOY)<br /><br /></span>Seventeen-year-old Kemal goes to work on a state farm during the Virgin Lands campaign &ndash; and clashes with its authoritarian leader &ndash; in this debut feature by the legendary Soviet Ukrainian director Larisa Shepitko.<br /><br />&ldquo;While Shepitko&rsquo;s tilted shots and rapid cutting reveal a debt to Eisenstein, her gently lyrical compositions express an elemental relationship among machines, humans, land, and sky.&rdquo; &ndash;Fred Camper, CHICAGO READER<br /><br /><strong>Intro and Q&amp;A with Masha Shpolberg (Bard College).<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 25 SHINKICHI TAJIRI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57403 <p>This program shines a spotlight on artist Shinkichi Tajiri, who is best known for his sculptural work, but who also made a number of fascinating films. Born in Los Angeles to first-generation Japanese immigrants, Tajiri enlisted in the army to escape imprisonment in the Japanese concentration camps that the U.S. government created during the war. Moving to Paris in 1948, he was based there for most of the next decade, a period in which he studied with sculptor Ossip Zadkine and painter (and filmmaker) Fernand L&eacute;ger, collaborated with the CoBrA group of artists, and co-founded Galerie Huit. Tajiri&rsquo;s first film, VIPERS (1955), which he intended to evoke the experience of taking psychoactive drugs, was awarded the Golden Lion for &lsquo;Best Use of Film Language&rsquo; at the Cannes Film Festival. For this program, we&rsquo;ll be presenting four of Tajiri&rsquo;s short films, as well as Johan van der Keuken&rsquo;s 1962 film portrait of Tajiri and Carmen D&rsquo;Avino&rsquo;s 1950 documentary VERNISSAGE OF AMERICAN ARTISTS, which provides glimpses of Tajiri and several other American artists in Paris at the time.<br /><br />All the films in this program, with the exception of VERNISSAGE OF AMERICAN ARTISTS, are screened courtesy of the Eye Filmmuseum.<br /><br />Shinkichi Tajiri<br />THE VIPERS 1955, 9.5 min, 16mm. Co-cinematography by Baird Bryant.<br />MAD NEST 1955, 4.5 min, 16mm<br />FERDI 1955, 12 min, 16mm-to-digital<br />BICYCLES 1960, 5 min, 16mm-to-digital<br /><br />Johan van der Keuken<br />TAJIRI 1962, 12 min, 16mm-to-digital<br /><br />Carmen D&rsquo;Avino<br />VERNISSAGE OF AMERICAN ARTISTS 1950, 18 min, 16mm-to-digital<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 25 LATE AUGUST AT THE HOTEL OZONE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57473 <p>(<span>KONEC SRPNA V HOTELU OZON)<br /><br /></span>The lingering effects of a nuclear war have wiped out most of humanity. A small group of survivors &ndash; all women &ndash; roam the Earth in search of a male to continue the human race. LATE AUGUST AT THE HOTEL OZONE is a brilliant, underappreciated gem of the Czechoslovak New Wave.<br /><br /><strong>Intro and Q&amp;A with Barbora Bartunkova (MoMA) on Fri, April 26.<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 26 NARROW ROOMS: OLD NARCISSUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2024#showing-57351 <p>(RO NARUKISOSU)<br /><br />When elderly children&rsquo;s book author Yamazaki hires young sex worker Leo for a BDSM session, the paddling he receives impacts him in a much deeper way than he expects. Bitter and regretful over his lost looks, failed love life, and declining health, Yamazaki becomes instantly smitten with Leo, who reminds him of his younger self and offers a last chance to get things right. Forging an unlikely friendship &ndash; though Yamazaki hopes for more &ndash; the two men embark on a journey of self-reflection and mirroring that forces each to face their uncertain futures. Writer/director Tsuyoshi Sh&ocirc;ji&rsquo;s emotionally rich comedic drama is perhaps the most sexually frank and kink-positive entry so far in the burgeoning subgenre of films about gay elders (SWAN SONG, TURTLES). Anchored by actor Taijiro Tamura&rsquo;s melancholic lead performance, and featuring stunningly surreal erotic moments that would surely be cut out of an American remake, OLD NARCISSUS is a rare gem that deserves to be seen by as wide a queer audience as possible. We&rsquo;re thrilled to present the film&rsquo;s New York Premiere as part of &ldquo;Narrow Rooms&rdquo;<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 26