https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Fri, 24 Apr 2026 12:56:45 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61087 <p>“Fellini’s most extravagant and courageous dream. […] Fellini’s version of the life of Casanova is similar to an effulgent carnival. The film is permeated with a grandiose style, so brilliant in visual effects that the sexuality of the hero becomes more comic than concupiscent. Although Fellini had read most, if not all, of Casanova’s autobiography (twelve volumes!), he makes the episodes of seduction a showcase for his own philosophies of life from youth to old age. The casting, mostly from open calls, exhibits the director’s quest for unusual faces; Casanova is a gallery of grotesques. There seems to be some conjecture about how Donald Sutherland was cast as Casanova, because his enactment of the role is strictly symbolic. The opening sequence of the film, with its stunning imagery of Venice at carnival time, the gigantic head of Venus rising from the Grand Canal, prepares one for an onslaught of memorable images.” –Albert Johnson, FILM QUARTERLY</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61053 <p>CO-PRESENTED BY SNIFFIES<br /><br />With the skill and precision of an Olympic athlete, content creator Corey Hudsonn meticulously conducts an all-night sexual marathon with the aim of collecting as much semen in his butt as possible. As director Todd Verow’s camera chronicles the literal ins and outs of Hudsonn’s piggy pursuits, we listen to the British bottom explain the best practices, etiquette, and psychology behind the now commonplace fetish for cumdumping. Minimalist, fly-on-the-wall and completely explicit, the latest film from NYC’s prolific gay underground auteur Todd Verow is a sequel to his notorious 2012 doc BOTTOM, which chronicled the experiences of another ravenous bareback sex enthusiast. Whereas BOTTOM’s shock value came from viewers’ awareness of the risks associated with cumdumping before PrEP and Doxycycline became standard safety tools, BEHIND THE OPEN DOOR’s subject embraces his pursuit of pleasure without qualifications. Following a much-discussed premiere at 2025’s Berlin Porn Film Festival, we’re happy to be the first to premiere the film in the U.S., with director Todd Verow in attendance to introduce the film.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61081 <p>“Cult film fans may know Tinto Brass for sleazy epics like CALIGULA (1979) and SALON KITTY (1976)…but there exists an earlier strand of his career, one altogether more offbeat and politically-charged, especially his trio of pop psychedelic experiments: DEADLY SWEET (1967), ATTRACTION (1969), and the trippiest, most mind-boggling of them all, THE HOWL, loosely inspired by the classic beatnik poem by Allen Ginsberg. A beautiful young bride named Anita (Tina Aumont) escapes oppressive modern society by jilting her conformist business tycoon fiancé at the altar and setting off on a wacky, globe-trotting adventure across increasingly bizarre lands. Her travelling companion is Coso, a Charlie Chaplinesque circus clown prone to surreal philosophical musings and outrageous disguises. Together these amiable anarchists visit a sex-club hotel (where Anita gets intimate with guests male, female, and animal), escape from a family of naked bourgeois cannibals living up a tree, encounter an array of talking animals and a philosophy-spouting rock, start a riot in a political prison, liberate a town from a sadistic army, battle a wind-up midget dictator and freak-out in psychedelic orgies with naked hippie girls. […] At the center of the whirlwind rests a super-charged performance from Tina Aumont, who remains articulate and captivating with her extraordinarily expressive, doe-like eyes, no matter how off-the-wall Brass’ imagination gets.” –Andrew Pragasam, THE SPINNING IMAGE<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61077 <p>Print from the CSC-Cineteca Nazionale (Rome).<br /><br />“To the viewers, this movie is not a story, but a card game. This is why the beginning is not credible, nor is the ending. You are the players. Play well and win.” –opening title of ARCANA<br /><br />“Madame Tarantino (Lucia Bosé), a fraudulent psychic, runs a clairvoyant practice in which her unnamed son (Maurizio Degli Esposti) is the one who holds genuine supernatural powers. She is as manipulative as he is dark and brooding, which leads to a fixation on a young woman (Tina Aumont). Both corrupting forces – charlatanism and black magic – collide and sow chaos throughout the community.<br /><br />As the word “arcana” suggests, mystery lies at the heart of the film. It remains deliberately unclear what the film is ultimately about: authoritarian governments, gender-assigned roles, the disintegration of patriarchal society, psychedelics, incest, repressed sexuality.<br /><br />ARCANA is a parable of the palpable madness of 1970s Milan, where spiritualism serves to exorcise a community confined within the beliefs and superstitions of religion and a suffocating authoritarian society. The style is surrealist in its use of symbols – a donkey hoisted to the roof of a building, for instance – and thriller-like, hypnotic, somewhere between Buñuel and Jodorowsky. A box office failure upon its release, it is nonetheless a film that deserves to be rediscovered.” –Nina Verneret<br /><br />[<em><strong>The 35mm print of ARCANA – imported from Italy but stuck in transit last weekend – has arrived! Alongside the previously scheduled second screening on Saturday, April 25 at 6:15, we've added a new screening on Friday, May 1 at 7:00. Directed by cult filmmaker Giulio Questi (DJANGO KILL... IF YOU LIVE, SHOOT! and DEATH LAID AN EGG), ARCANA is virtually never shown in the U.S., and does not yet exist on HD video, so these screenings are not to be missed!</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61034 <p>TOM, TOM, THE PIPER’S SON (1969, 115 min, 16mm, silent)<br />“Original 1905 film shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.” –Ken Jacobs<br /><br />Preceded by: AIRSHAFT (1967, 4 min, 16mm, silent. Preserved by Anthology Film Archives.)<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61057 <p>“Giacobbe (Pierre Clémenti) is a frustrated drama student who is saved from suicide by a man who looks exactly like him. This other Giacobbe is suave and capable of action – qualities the first Giacobbe lacks. As the boundary between the two men begins to erode, Giacobbe II and his revolutionary ideas take over: he builds a guillotine, teaches his fellow students how to make Molotov cocktails, and unleashes a kind of theatrical anarchy onto the streets of Rome.” –Chris Shields, SCREEN SLATE<br /><br />“An homage to the French New Wave, and more particularly to Jean-Luc Godard, who fascinated Bertolucci when he made this film, PARTNER is a Brechtian patchwork on schizophrenia haunted by the ghosts of Artaud and especially Dostoevsky (whose novel ‘The Double’ is obsessed with the dissolution of moral identity). The critique of consumer society in the context of the 1968 youth revolution is expressed through Roland Barthes, as Tina Aumont recites his essay ‘Soap-Powders and Detergents’ (from ‘Mythologies’), probing their political power of separation and purification. The film also slips in a nod to Cocteau, with Aumont's heavily made-up eyelids evoking ORPHEUS.” –Nina Verneret<br /><br />Followed by:<br />Paola Rispoli JAKOB IL REALE E SOSIA IL VERO (1968, 11 min, 35mm-to-DCP. Courtesy of the Cineteca di Bologna.)<br />“In this mysterious and magnificent small documentary, hardly ever seen or distributed…it is April 1968 and Bernardo Bertolucci is shooting PARTNER. We see him doing takes, retakes, discussing and giving directions. With him are the director of photography Ugo Piccone, as well as actors Pierre Clémenti, Tina Aumont, Ninetto Davoli… We can see that cinema for Bertolucci is constant exploration and self-exploration.” –Andrea Meneghelli<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61093 <p>Artist and filmmaker Frédéric Pardo was a key member of the Zanzibar Group, a radical filmmaking collective in the late 1960s that included Philippe Garrel, Jackie Raynal, Serge Bard, and others. Pardo documented the activities of the Group, and more generally of the radical French culture of the time, by means of numerous 8mm “home movies.” The most widely-screened of these films was shot in 1968 on the Morocco set of Garrel’s THE VIRGIN’S BED, but focuses less on its ostensible stars (Pierre Clémenti and Zouzou) than on the other participants, including Pierre-Richard Bré, Jean-Pierre Kalfon, Babette Lamy, and above all, the luminous Tina Aumont. Here we screen the film alongside two of Pardo’s other silent 8mm films that focus on or prominently feature Aumont.<br /><br />HOME MOVIE: TINA AUMONT (1968, 8.5 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.)<br />HOME MOVIE: ON THE SET OF PHILIPPE GARREL’S ‘LE LIT DE LA VIERGE’ / HOME MOVIE, AUTOUR DU ‘LIT DE LA VIERGE’ (1968, 39 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.)<br />GARREL, NICO, FREDERIC ET TINA, APPARTEMENT RUE DUPONT DES LOGES (1970, 16.5 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.)<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> Sunday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61106 <p>(ODINNADTSAYI)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“Vertov’s ecstatic paean to industrial development was, like Eisenstein’s OCTOBER, commissioned to celebrate the tenth anniversary of the Bolshevik revolution and was accused of the dread ‘formalism.’” –J. Hoberman, VILLAGE VOICE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61098 <p>“At least in America a Maria Montez could believe she was the Cobra Woman, the Siren of Atlantis, Scheherezade, etc. She believed and thereby made the people who went to her movies believe. […] Don’t slander her beautiful womanliness that took joy in her own beauty and all beauty – or whatever in her that turned plaster cornball sets to beauty. Her eye saw not just beauty but incredible, delirious, drug-like hallucinatory beauty. The vast machinery of a movie company worked overtime to make her vision into sets. They achieved only inept approximations. But one of her atrocious acting sighs suffused a thousand tons of dead plaster with imaginative life and truth.” –Jack Smith<br /><br />Preceded by:<br />Jack Smith JUNGLE ISLAND aka REEFERS OF TECHNICOLOR ISLAND (1967, 15 min, 16mm)<br />“Jack Smith’s 1967 program ‘Horror and Fantasy at Midnight’ featured a number of individual titles – ‘film clips from the subterranean chambers of Dr. Madman!’ – including REEFERS OF TECHNICOLOR ISLAND/JUNGLE ISLAND, SCRUBWOMAN OF ATLANTIS (both in ‘Livid Color!!’), RATDROPPINGS OF URANUS, MARSHGAS OF FLATULANDIA, THE FLAKE OF SOOT, and OVERSTIMULATED. The latter aside, REEFERS/JUNGLE ISLAND is the only one of these found as a stand-alone film – it also received the most press. Jonas Mekas’s Village Voice review cited a movie that ‘starred a most beautiful marijuana plant, a gorgeous blooming white queen with her crown reaching towards the sky.’ At some point, Smith combined this with footage of another queen – Mario Montez – seemingly shot on the beach in Florida.” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61107 <p>(CHELOVEK S KINO-APPARATOM)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“If Vertov had never made anything other than MAN WITH A MOVIE CAMERA he would still be among the cinema’s greatest masters. A kaleidoscopic city symphony – conjoining Moscow, Kiev, and Odessa in one dizzying metropolis – this is Vertov’s most complex film, matching the rhythms of a day to the cycle of life (birth, death, marriage, divorce) and the mechanisms of movie-making to the logic of production. Made without titles, the movie is at once a documentary portrait of the Soviet people, a reflexive essay on cinematic representation (as dazzling as it is didactic), and an ode to work itself as a process of transformation.” –J. Hoberman, VILLAGE VOICE <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61105 <p>“Backed by Jonas Mekas, Jack Smith embarked on a ‘commercial’ follow-up to FLAMING CREATURES in mid 1963: ‘I spent my summer out in the country shooting a lovely, pasty, pink and green color movie that is going to be the definitive pasty expression. All the characters wear pink evening gowns and smirk and stare into the camera.’ The Great Pasty Triumph, known briefly as The Pink and Green Horrors and eventually retitled NORMAL LOVE, was very much a film of its season. With the exception of several scenes staged around the Moon Pool, a candle-lit, incense-shrouded, mirror-strewn altar to Maria Montez, which Smith had assembled in the midst of an East Village apartment, it was strictly back to nature – shot variously in rural New Jersey, on Fire Island, in Queens, and at Old Lyme, Connecticut. The dominant colors are pink and green – fittingly, one scene is a ceremonial watermelon feast. ‘Rubens. Arabian Nights. Chinese Masters. Monet,’ Jonas Mekas rhapsodized after seeing the first rushes. In fact, NORMAL LOVE suggests a pastoral, pastel-colored conflation of FRANKENSTEIN MEETS THE WOLF MAN, I WALKED WITH A ZOMBIE, THE MUMMY’S HAND, and THE SPIDER WOMAN; for Smith’s fellow Montez-enthusiast Ronald Travel, NORMAL LOVE was a work that obviously drew ‘its look, its feel, its colors, images, and backyard fairy moth sheen directly from WHITE SAVAGE.’” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61058 <p>“Giacobbe (Pierre Clémenti) is a frustrated drama student who is saved from suicide by a man who looks exactly like him. This other Giacobbe is suave and capable of action – qualities the first Giacobbe lacks. As the boundary between the two men begins to erode, Giacobbe II and his revolutionary ideas take over: he builds a guillotine, teaches his fellow students how to make Molotov cocktails, and unleashes a kind of theatrical anarchy onto the streets of Rome.” –Chris Shields, SCREEN SLATE<br /><br />“An homage to the French New Wave, and more particularly to Jean-Luc Godard, who fascinated Bertolucci when he made this film, PARTNER is a Brechtian patchwork on schizophrenia haunted by the ghosts of Artaud and especially Dostoevsky (whose novel ‘The Double’ is obsessed with the dissolution of moral identity). The critique of consumer society in the context of the 1968 youth revolution is expressed through Roland Barthes, as Tina Aumont recites his essay ‘Soap-Powders and Detergents’ (from ‘Mythologies’), probing their political power of separation and purification. The film also slips in a nod to Cocteau, with Aumont's heavily made-up eyelids evoking ORPHEUS.” –Nina Verneret<br /><br />Followed by:<br />Paola Rispoli JAKOB IL REALE E SOSIA IL VERO (1968, 11 min, 35mm-to-DCP. Courtesy of the Cineteca di Bologna.)<br />“In this mysterious and magnificent small documentary, hardly ever seen or distributed…it is April 1968 and Bernardo Bertolucci is shooting PARTNER. We see him doing takes, retakes, discussing and giving directions. With him are the director of photography Ugo Piccone, as well as actors Pierre Clémenti, Tina Aumont, Ninetto Davoli… We can see that cinema for Bertolucci is constant exploration and self-exploration.” –Andrea Meneghelli<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, April 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61101 <p>“At least in America a Maria Montez could believe she was the Cobra Woman, the Siren of Atlantis, Scheherezade, etc. She believed and thereby made the people who went to her movies believe. […] Don’t slander her beautiful womanliness that took joy in her own beauty and all beauty – or whatever in her that turned plaster cornball sets to beauty. Her eye saw not just beauty but incredible, delirious, drug-like hallucinatory beauty. The vast machinery of a movie company worked overtime to make her vision into sets. They achieved only inept approximations. But one of her atrocious acting sighs suffused a thousand tons of dead plaster with imaginative life and truth.” –Jack Smith<br /><br />Preceded by:<br />Jack Smith JUNGLE ISLAND aka REEFERS OF TECHNICOLOR ISLAND (1967, 15 min, 16mm)<br />“Jack Smith’s 1967 program ‘Horror and Fantasy at Midnight’ featured a number of individual titles – ‘film clips from the subterranean chambers of Dr. Madman!’ – including REEFERS OF TECHNICOLOR ISLAND/JUNGLE ISLAND, SCRUBWOMAN OF ATLANTIS (both in ‘Livid Color!!’), RATDROPPINGS OF URANUS, MARSHGAS OF FLATULANDIA, THE FLAKE OF SOOT, and OVERSTIMULATED. The latter aside, REEFERS/JUNGLE ISLAND is the only one of these found as a stand-alone film – it also received the most press. Jonas Mekas’s Village Voice review cited a movie that ‘starred a most beautiful marijuana plant, a gorgeous blooming white queen with her crown reaching towards the sky.’ At some point, Smith combined this with footage of another queen – Mario Montez – seemingly shot on the beach in Florida.” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, April 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61084 <p>A towering terror from the end of the 1970s giallo boom, TORSO finds director Sergio Martino reveling in the genre’s time-honored traditions while also laying the groundwork for the modern slasher. It delivers copious violence, sleaze, and one of the tensest cat-and-mouse games ever committed to celluloid. A maniac prowls the streets of Perugia, targeting attractive university students. Alarmed at the plummeting life expectancy of the student body, Jane (Suzy Kendall) and her friends (including Tina Aumont) elope to a secluded country villa to discover that, far from having left the terror behind, they’ve brought it with them…<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, April 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61108 <p>(ENTUZIASM: SIMFONIYA DONBASSA)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />ENTHUSIASM is Vertov’s vision of the transformation of social energies in a progressive society. The film is remarkable for its experimental use of sound and montage. Vertov himself invented special lightweight recording equipment to register the sounds of workers in the mines and factories of the Don Basin in this film. It is the best example of his theory of cinema which brings together “the film-eye and the radio-ear.” At one point he described the film as a “symphony of noises.”<br /><br />“I would never have believed it possible to assemble mechanical noises to create such beauty. One of the most superb symphonies I have known. Dziga Vertov is a musician.” –Charles Chaplin <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61091 <p>Ivan Galietti<br />ANTI STAR TINA AUMONT<br />2025 (work in progress), ca. 30 min, digital. In English, French, and Italian with English subtitles.<br />This program features an extended excerpt from ANTI STAR TINA AUMONT, a work-in-progress portrait of Tina Aumont by her longtime friend, artist and filmmaker Ivan Galietti (POMPEII NEW YORK). Through private moments, never-before-seen interviews, and film clips, this homage attempts to reveal the human being beyond the media clichés.<br /><br />Preceded by:<br />Frédéric Pardo<br />HOME MOVIE: NEW YORK<br />1968, 20 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.<br /><br />Total running time: ca. 55 min.<br /><br /><em><strong>Ivan Galietti will be here in person for the screening on Wed, April 22!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61109 <p>(TRI PESNI O LENINYE)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“Vertov’s ‘official’ Soviet masterpiece – a hagiographic compilation of lyrically edited stock footage and cinema’s first direct interviews – was the most successful (and compromised) movie he ever made.” –J. Hoberman, VILLAGE VOICE <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61066 <p>“Roland Barthes famously said, ‘Garbo’s is the Face, [Audrey] Hepburn’s is the Event.’ The facial showdown between Idea and Event is played out again in LES HAUTES SOLITUDES, Philippe Garrel’s black-and-white silent film of 1974.” –Jonathan Romney, FILM COMMENT<br /><br />“Watching LES HAUTES SOLITUDES calls to mind Romain Gary’s suicide note: ‘Nothing to do with Jean Seberg.’ It is above all a portrait: filmed just a few years before Seberg’s disappearance, it captures in documentary fashion her pale, drawn face, her moments of despair, her swallowed pills, the suspension of a smile or a sidelong glance at the camera. Against this, Tina Aumont’s dark-haired silhouette and insouciant youth form a quiet counterpoint – self-absorbed, silky-skinned, unburdened. The PERSONA reference is inescapable. Like Bergman’s film, LES HAUTES SOLITUDES enacts a dialogue between two women who accompany and converse with each other, who embrace and support one another – though the editing keeps pulling them apart.” –Nina Verneret<br /><br /><em><strong>The screening on Sat, April 18 will be followed by a discussion between series curator Nina Verneret and writer and editor Beatrice Loayza.</strong></em><br /><strong><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61088 <p>“Fellini’s most extravagant and courageous dream. […] Fellini’s version of the life of Casanova is similar to an effulgent carnival. The film is permeated with a grandiose style, so brilliant in visual effects that the sexuality of the hero becomes more comic than concupiscent. Although Fellini had read most, if not all, of Casanova’s autobiography (twelve volumes!), he makes the episodes of seduction a showcase for his own philosophies of life from youth to old age. The casting, mostly from open calls, exhibits the director’s quest for unusual faces; Casanova is a gallery of grotesques. There seems to be some conjecture about how Donald Sutherland was cast as Casanova, because his enactment of the role is strictly symbolic. The opening sequence of the film, with its stunning imagery of Venice at carnival time, the gigantic head of Venus rising from the Grand Canal, prepares one for an onslaught of memorable images.” –Albert Johnson, FILM QUARTERLY</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61166 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61376 <p>Print from the CSC-Cineteca Nazionale (Rome).<br /><br />“To the viewers, this movie is not a story, but a card game. This is why the beginning is not credible, nor is the ending. You are the players. Play well and win.” –opening title of ARCANA<br /><br />“Madame Tarantino (Lucia Bosé), a fraudulent psychic, runs a clairvoyant practice in which her unnamed son (Maurizio Degli Esposti) is the one who holds genuine supernatural powers. She is as manipulative as he is dark and brooding, which leads to a fixation on a young woman (Tina Aumont). Both corrupting forces – charlatanism and black magic – collide and sow chaos throughout the community.<br /><br />As the word “arcana” suggests, mystery lies at the heart of the film. It remains deliberately unclear what the film is ultimately about: authoritarian governments, gender-assigned roles, the disintegration of patriarchal society, psychedelics, incest, repressed sexuality.<br /><br />ARCANA is a parable of the palpable madness of 1970s Milan, where spiritualism serves to exorcise a community confined within the beliefs and superstitions of religion and a suffocating authoritarian society. The style is surrealist in its use of symbols – a donkey hoisted to the roof of a building, for instance – and thriller-like, hypnotic, somewhere between Buñuel and Jodorowsky. A box office failure upon its release, it is nonetheless a film that deserves to be rediscovered.” –Nina Verneret<br /><br />[<em><strong>The 35mm print of ARCANA – imported from Italy but stuck in transit last weekend – has arrived! Alongside the previously scheduled second screening on Saturday, April 25 at 6:15, we've added a new screening on Friday, May 1 at 7:00. Directed by cult filmmaker Giulio Questi (DJANGO KILL... IF YOU LIVE, SHOOT! and DEATH LAID AN EGG), ARCANA is virtually never shown in the U.S., and does not yet exist on HD video, so these screenings are not to be missed!</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61167 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61337 <p>We deh here (Maybelle Peters, 2025, 7min)<br /><br />Joy Boy: A Tribute to Julius Eastman (Collective Faire-Part, 2026, 64min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61339 <p>Lightly Heeled (Kioto Aoki, 2024, 3min, 16mm)<br />Brumaire (Vincent Guilbert, 2026, 14min)<br />Phototropes (Blanca García, James Devine, 2026, 3min, Super 8mm)<br />Nude Descending (Dianna Barrie, Richard Tuohy, 2026, 10min, 16mm)<br />Stitch the Ruin(Željka Blakšić, 2024, 8min, 16mm)<br />Flowers for an Old Shrine (Long Pham, 2025, 6min, 16mm)<br />Goodnight, My Dear (Vanij Choksi, 2026, 6min)<br />Rojo Zalia Blau (Viktoria Schmid, 2025, 11min)<br />La Durete De Mental (Charles-Andre Coderre, 2025, 20 min, 35mm)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61341 <p>Isabelle Kalander<br />ANOTHER BIRTH<br />2025, 70 min, digital<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61343 <p>GROUND GLASS AWARD 2026<br />Star Waars (Kohei Ando, 1978, 3min, 16mm)<br />Like a Passing Train 1 (Kohei Ando, 1978, 3min, 16mm)<br />Like a Passing Train 2 (Kohei Ando, 1979, 7min, 16mm)<br />Oh! My Mother (Kohei Ando, 1969, 10min)<br />The Sons (Kohei Ando, 1973, 25min, 16mm)<br />On the Far Side of Twilight (Kohei Ando, 1994, 39min, 35mm)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61345 <p>Perfect Image? (Maureen Blackwood, 1989, 30min)<br /><br />La ronde de vodou (Elsie Haas, 1989, 52min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61347 <p>Tamago Stories One (Kioto Aoki, 2026, 3min, 16mm)<br />Ceiling (Hu Didi, 2026, 8min, 16mm)<br />Testament (Mike Stoltz, 2026, 6min, 16mm)<br />Artificial Horizons Test (Mike Stoltz, 2026, 6min, 16mm)<br />Xtended Release (Joshua Gen Solondz, 2026, 15min, 16mm)<br />Chang Gyeong (Lee Jangwook, 2025, 18min, 16mm)<br />Night Swing (TT Takemoto, 2min, 2026, 16mm)<br />Tooborac (Richard Tuohy, Dianna Barrie, 2026, 9min, 16mm)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61349 <p>Levers (Rhayne Vermette, 20min, Poetry Reading)<br />Surrendur (Karthik Pandian, 2026, 87min)<br /><br />Co-presented by Triple Canopy<br /><strong>Followed by a Q&A.</strong></p> <p>For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61351 <p>Crunch (Invisible Scissors, 15min, Live Music)<br />Archura Leaves the City Forever (Yusuf Demirors, 2026, 12min)<br />To Summon a Seer (Alan Medina, 2026, 8min)<br />逆立ち逆立ち : If pinholes were right side up, I would be doing handstands (Kioto Aoki, 2024, 3min, 16mm)<br />Landscape in the afternoon (Lee Jangwook, 2026, 14min, 16mm)<br />Mounds Above the Earth (Jiayi Chen, 2025, 7min, 16mm)<br />It Must Be Because I Decided to Leave (Zhouyun Chen, 2026, 19 min)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61353 <p>HORROR, OR THE SPLENDOUR OF: AN EVENING OF FILM AND POETRY GUEST CURATED BY SHIV KOTECHA AND COURTNEY STEPHENS<br />Featuring Ed Steck, Joanne Kyger, charles theonia, Lily Jue Sheng, Stom Sogo, Benjamin Krusling, Theresa Hak Kyung Cha<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61355 <p>Rotating Signals (Chae Yu, 2025, 10min)<br />Goblin Play (Chae Yu, 2025, 47min)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61357 <p>Kevin Walker & Jack Auen<br />CHRONOVISOR<br />2026, 99 min, DCP<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61359 <p>An Afternoon with a Gnawa (Meena Nanji, 2026, 12min)<br />Àwọ̀ ojú ọ̀run (The Colour of the Sky) (Judah Iyunade, 2026, 71min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61361 <p>sitrep (Blair Barnes, 2026, 20min)<br />Computer Chess (Andrew Bujalski, 2013, 92min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61363 <p>Concealed and Denied (Jordan Lord, 2026, 35min)<br />The Glass Booth (Jenny Brady, 2026, 33min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61365 <p>ATASH, AISHA, TEYH: THREE FILMS BY PARINE JADDO<br />Co-presented by Arte East<br /><br />Atash (Thirst) (Parine Jaddo, 1995, 14min)<br />Aisha (Surviving) (Parine Jaddo, 1999, 32min)<br />Teyh (Astray) (Parine Jaddo, 2002, 21min)<br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61367 <p>My Friends in My Address Book (Kohei Ando, 1974, 3min, 16mm)<br />Every Contact Leaves a Trace (Lynne Sachs, 2025, 83min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61369 <p>Anomalies in a Landscape (Félix Caraballo, 2025, 8min, 16mm)<br />In the Manner of Smoke (Armand Yervant Tufenkian, 2025, 91min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61371 <p>WORLD ENTERPRISES (Anthony Banua-Simon, 2026, 14min)<br />Aanikoobijigan (Adam Khalil, Zack Khalil, 2026, 80min)<br /><br /><strong>Followed by a Q&A.</strong><br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61373 <p>before everything has a name (An-li dīng, 2026, 17min)<br />Masayume (Nao Yoshigai, 2026, 110min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61375 <p>THE LAND LIES HEAVY: THE CONTEMPORARY CHINESE AVANT-GARDE<br />Co-presented by Tone Glow<br /><br />Article 4 (Hsin-Yu Chen, 2026, 4min)<br />Branches From Concrete (Zhou Zhenyu, 2026, 14min)<br />Words Fly Back to the Black Earth (Xiao Zhang, 2026, 19min)<br />Redland Hooves (Kaiwen Ren, 2026, 27min)<br /><br />For full program details, visit: <a href="https://www.prismaticground.com/year-six/program">www.prismaticground.com/year-six/program</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61263 <p>This documentary follows the rise to widespread fame of Egyptian singer Umm Kulthum, also known as Fatima Ibrahim al-Sayyid al-Beltagy (1898-1975), who was born in the rural village of Tammay al-Zahayrah. She would soon become one of the most powerful voices in Egypt and across the Arab world, captivating audiences with her commanding vocals radiating across airwaves, and her mesmerizing stage presence in often sold-out live performances. Narrated by Omar Sharif, this 1996 documentary traces her influence and artistry through performance footage and interviews with friends, colleagues, and everyday Egyptians, reflecting on her life, career, and daring political stances. The profound influence Umm Kulthum’s music has had on Mohammad Omer Khalil’s life and work is reflected in the numerous collage paintings and prints he has created in tribute to the singer.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61265 <p>Set on the cliffs of England’s south coast, THE CHALK GARDEN centers on a troubled household marked by emotional distance and concealed pasts. A headstrong, destructive 16-year-old girl and her exacting grandmother struggle to coexist, their relationship strained by mistrust and unspoken histories. The arrival of a mysterious governess begins to unsettle the household, as long-buried secrets gradually surface and fragile bonds are tentatively rebuilt, mirrored by the slow cultivation of the once-barren chalk garden. After seeing the film in 1965, dubbed in Italian, artist Mohammad Omer Khalil created one of his earliest etchings, depicting the chalk garden. The work, “Il Giardino Di Gesso” (1965) is on view alongside its plate in his solo exhibition “Common Ground” at the Robert Blackburn Printmaking Workshop Study Center.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61186 <p>“Co-written by experimental filmmakers James N. Kienitz Wilkins and Robin Schavoir, THE PLAGIARISTS is at once a hilarious send-up of low-budget American indie filmmaking and a probing inquiry into race, relationships, and the social uncanny. A young novelist (Lucy Kaminsky) and her cinematographer boyfriend (Eamon Monaghan) are waylaid by a snowstorm on their way to visit a friend in upstate New York and are taken in by the kindly yet enigmatic Clip (Michael “Clip” Payne of Parliament Funkadelic), who puts them up for the night. But an accidental discovery months later recasts in an unnerving light what had seemed like an agreeable evening, stoking resentments both latent and not-so-latent. Exhilaratingly intelligent and distinctively shot on a vintage TV-news camera, THE PLAGIARISTS is a work whose provocations are inseparable from its pleasures.” –NEW DIRECTORS/NEW FILMS<br /><br />“THE PLAGIARISTS’s artists-on-a-rural-retreat premise recalls that of Schavoir’s THE JAG, while its serpentine, discursive form, which knowingly flirts with the possible character-centric indie it might have become even as it spins out in increasingly curious directions, is sprung from the same searching intelligence that Wilkins brings to bear on his more openly essayistic experimental films. […] This is a rigorous film concerned with questions of cultural appropriation, learned behavior, and the very texture of life in our content-saturated present (a feeling not exclusive to urban centers), but one with the good humor and wisdom to disguise itself as something far more familiar.” –Carson Lund, SLANT<br /><br />[<em><strong>These screenings are presented in conjunction with Anthology's week-long premiere run of Kienitz Wilkins's new feature film THE MISCONCEIVED; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61174">click here for more details</a>.</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61168 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, May 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61191 <p>Shot by D.A. Pennebaker and Ricky Leacock, Mailer’s third and most ambitious film of the 1960s concerns the exploits of highly popular, yet esoteric, film director Norman T. Kingsley. That MAIDSTONE was largely improvised was made unforgettably clear when Torn, near the end of shooting, unexpectedly attacked Mailer with a hammer, triggering an obviously un-staged tussle that yanked the film out of its already ambiguous semblance of fictional narrative. Torn has consistently maintained that his action arose from conversations with his director, while Mailer claimed otherwise. But in any case, the result was a truly extraordinary sequence that even Mailer himself ultimately admitted had benefited the film (though not before very nearly taking a bite out of Torn’s ear…).<br /><br />“This is a strange one: a nearly unwatchable train wreck of a movie you need eyes in the back of your head to safely watch, lest you get jumped by a psychologically crippled hipster who has snuck up behind you in the dark movie theater, hammer in hand. I haven’t had the pleasure because I’ve only seen it on YouTube. So here’s to new experiences at Anthology Film Archives. I’ve heard the endeavor bankrupted Norman Mailer, and honestly, that’s the realest definition of independent film I can think of. As a character in my own THE MISCONCEIVED says about MAIDSTONE: ‘You can’t make that movie anymore,’ which is slightly inaccurate since Mailer couldn’t make it in the first place.” –James N. Kienitz Wilkins<br /><br />[<em><strong>These screenings are presented in conjunction with Anthology's week-long premiere run of Kienitz Wilkins's new feature film THE MISCONCEIVED; <a href="../../../film_screenings/calendar?view=list&month=05&year=2026#showing-61174">click here for more details</a>.</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61222 <p>In 1989, the fall of Alfredo Stroessner’s 35-year dictatorship in Paraguay brought an end to one of the world’s longest authoritarian regimes – and left behind a vast audiovisual archive once used to shape national identity and glorify power. Decades later, newly recovered footage from Paraguay and abroad – newsreels, television broadcasts, propaganda films, and declassified materials – reveals the hidden machinery of the regime. Moving across formats and histories, this striking debut feature by Juanjo Pereira becomes an excavation of memory and media, exposing how images were used to construct ideology, sustain international alliances, and normalize repression, while reflecting on a present still marked by the legacy of dictatorship.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61226 <p>Everyone knows Fritz, that weird man who lives down the street, has a thing for young guys. If he meets a teen he likes, he might invite them back to his place, with an offer of money or sex. No one ever questions what happens to those young men, why they’re never seen again, or where Fritz sources the fresh meat he sells to the local businesses. The story of Fritz Haarmann, Germany’s most notorious serial killer, is brought to life in this lurid 1973 period drama, a collaborative effort of members of director Rainer Werner Fassbinder’s coterie. Actor Kurt Raab is chilling and brilliant as Fritz, in a script he wrote for Fassbinder to direct. Fassbinder instead chose to produce and act in the film alongside company regulars Margit Carstensen, Brigitte Mira, Ingrid Caven, and El Hedi ben Salem. Uli Lommel, star of early Fassbinder titles like WHITY and BEWARE OF A HOLY WHORE, was nominated for the Golden Bear for his feature directing debut, which brought him into Andy Warhol’s inner circle and kicked off a long career in low-budget horror cinema. While the film’s depictions of sex and violence are unquestionably disturbing, the film’s indictment of capitalism as a root cause of Haarmann’s bloodshed is even more so, placing Lommel’s film in direct communication with Fassbinder’s classic melodrama FOX AND HIS FRIENDS, shown last year at Narrow Rooms.<br /><br />“It is beautifully and enthusiastically performed and it doesn’t contain a single superfluous or redundant camera movement. Like Mr. Fassbinder’s own early films, TENDERNESS OF THE WOLVES is cryptic, tough-talking and swaggering in the manner of someone who means to shock his elders. Like the early Warhol work, TENDERNESS seems to be sending up everyone and everything, but, unlike the Warhol movies, it takes filmmaking – the possibilities of the discipline – with complete seriousness.” –Vincent Canby, NEW YORK TIMES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 07