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 Mon, 23 Oct 2017 23:59:11 -0400 MUHAMMAD ALI, THE LONG-LOST MOVIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48098 <p>Made in collaboration with Victor Bockris and Andrew Wylie.<br /><br />&ldquo;In 1973 Victor Bockris and Andrew Wylie took me to Muhammad Ali&rsquo;s training camp in Deerlake, Pennsylvania, to videotape their interview with Ali. A few months later I came back with Ali&rsquo;s friend Bernie and filmed some more training sessions, and Ali&rsquo;s weekend with visits from children and tourists. This film is about spending 2 hours with Muhammad Ali. It is about watching an athlete, a poet, and a philosopher, a dancer and choreographer, the first and last fine artist of boxing, and an adorer of children. It also captures the champion&rsquo;s sense of humor. The excerpts of this video were shown on Manhattan Cable Public Access in 1973, and then lost in my archives. In 2010 I edited this new version.&rdquo; &ndash;Anton Perich<br /><br />&ldquo;The film is&hellip;a monument to the 1970s. It was a decade in which the heavyweight champion of the world would give such intimate access to a filmmaker who spent most of his time documenting the chic glam of the New York underground. And a decade in which a video pioneer, who normally filmed cutting-edge comedies, would focus on a celebration of Ali.&rdquo; &ndash;Victor Bockris</p> Monday, October 23 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48118 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Monday, October 23 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48119 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Monday, October 23 THE HARDER THEY FALL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48086 <p>With Humphrey Bogart and Rod Steiger.<br /><br />Booted out of a columnist gig, respected sportswriter Eddie Willis (Bogart) finds himself back on the grind. So when brash promoter Nick Benko (Steiger) slithers into the scribe&rsquo;s life with an enticing, but louche, proposition, Willis checks his scruples and accepts the terms: a solid bank account in exchange for &ldquo;drumming up copy&rdquo; on Benko&rsquo;s newest asset, Toro Moreno, a towering strongman who looks every part the heavyweight champion &ndash; except when he gets in a ring. Thinking he can keeps his hands clean sifting through dirt, Willis goes along with Benko&rsquo;s charade, but it soon becomes clear to him that he is as morally penniless as any of his more conspicuously crooked cohorts. Based on the searing novel by Budd Schulberg (ON THE WATERFRONT), THE HARDER THEY FALL is one of the most cynical entries in the boxing film canon, casting black light on the kind of Faustian pacts made daily in the flesh-peddling industry. Real-life prizefighters like Pat Comiskey, Jersey Joe Walcott, Joe Greb, and Max Baer round out a marvelous cast, but it should be noted that the lead deserves a fight credit as well: a few months after the release of the film, Bogart would succumb to esophageal cancer.</p> Monday, October 23 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48120 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Tuesday, October 24 NYWIFT: TOMORROW EVER AFTER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48148 <p>Shaina lives 600 years in the future. War, greed, prejudice, poverty, pollution, violence, loneliness, depression &ndash; these are things that she&rsquo;s read about in history books. When an accident in a physics experiment sends her on a time-travel journey to our times, she assumes that everyone around her is honest, generous, and caring as she recruits the help that she needs to get back home.</p> Tuesday, October 24 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48121 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Tuesday, October 24 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48167 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, October 25 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48122 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Wednesday, October 25 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48123 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Wednesday, October 25 THE CHAMP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48100 <p>With Wallace Beery and Jackie Cooper.<br /><br />In the fifth sound feature by King Vidor, that most American of early Hollywood auteurs, Andy &ldquo;Champ&rdquo; Purcell, a former prizefighting champion, slums away his days in a Tijuana saloon subsisting on the bottle and passing time betting on horse races. Purcell can only play the part of waif for so many hours before he must turn his attention to his sympathetic son, Dink, played precociously by scene-stealing Jackie Cooper. The steadfast displays of father-son love against the squalid backdrop of impoverishment and lowlife culture are what largely sustain this tearjerker. Still, not even a son&rsquo;s affection can get Purcell to say goodbye to Queer Street. Towards the end when it looks like he may lose Dink to his ex-wife, Purcell, after a stint in the can, does what any ex-boxer would do: hop back into the ring, where the promise of a second lease on life dangerously beckons.</p> Thursday, October 26 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48124 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Thursday, October 26 I JUST CAN’T GO ON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48104 <p>(ICH SCHAFF&rsquo;S EINFACH NIMMER)<br /><br />Preserved by the Austrian Film Museum.<br /><br />What distinguishes boxing from other professional sporting pursuits (like basketball or baseball) is its accessibility: literally any Joe Schmo can earn some money from it. In that, boxing, despite the lethal risks it poses, has some value as a social tool. In Canadian-born John Cook&rsquo;s restless documentary of an Austrian couple, I JUST CAN&rsquo;T GO ON, the husband Petrus, channeling &ldquo;Cassius Marcellus Clay,&rdquo; takes up boxing to supplement the income from his day-job burnishing frames. His companion, the much older Gisi, works as a janitor. They are an odd couple, scavenging at the bottom of the Viennese social ladder. But there is nothing patronizing or exploitative in Cook&rsquo;s treatment of the couple and their eccentricities as they try to make ends meet. In one of the film&rsquo;s key aesthetic choices, Cook eschews synched sound in favor of a stream-of-consciousness soundtrack pitting Petrus and Gisi&rsquo;s unfiltered remarks in relief against the harsh material world.<br /><br />Preceded by:<br />Gilles Groulx GOLDEN GLOVES (1961, 28 min, 16mm, b&amp;w. In French with projected English subtitles.)<br />The Golden Gloves boxing tour was the Canadian amateur&rsquo;s hope for success in the boxing world. In behind-the-scenes interviews three Montr&eacute;al boxers-in-training discuss their ambitions and what motivated them to take up boxing. The film&rsquo;s camera work and editing are inspired and expressive, but always subordinated to the reality of the film&rsquo;s subjects.</p> Thursday, October 26 TEMPESTAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48125 <p>U.S. THEATRICAL PREMIERE RUN!<br /><br />Co-presented by Cinema Tropical.<br /><br />Utilizing the direct testimony of two women whose lives have been torn apart by the cartel-fueled terror racking Mexico in the 21<sup>st</sup> century, Tatiana Huezo&rsquo;s TEMPESTAD is an impressionistic portrait &ndash; at once lyrical and shattering &ndash; of the human cost of the country&rsquo;s lawlessness.<br /><br />The first of the film&rsquo;s protagonists, Miriam, remains haunted by the experience of finding herself arrested at her workplace and accused, without proof, of &ldquo;people trafficking.&rdquo; The violence she suffered and was exposed to during her imprisonment has left a profound gap in her life. Her story is counterpointed with that of Adela, who today works as a clown in a travelling circus. Ten years ago, her life too was irreversibly transformed; every night during the show, she evokes her missing daughter, Monica.<br /><br />Mirror-like, TEMPESTAD reflects the impact of the violence and impunity that afflict Mexico. Through these women&rsquo;s voices, we are drawn into the heart of their feelings, steeped in loss and pain, but also love, dignity, and resistance. Though the two women&rsquo;s stories have no direct connection to each other, Huezo&rsquo;s exquisite visual style and the profound empathy of her approach weaves them together into a whole through which they resonate with and amplify each other.<br /><br />&ldquo;TEMPESTAD sees these rough, modest lives imbued with compounded grief and possibilities &ndash; metaphysical, even &ndash; of transformation. The stories of these two women are far bigger than they may think they are.&rdquo; &ndash;Daniel Kasman, MUBI</p> Thursday, October 26 THE HARDER THEY FALL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48087 <p>With Humphrey Bogart and Rod Steiger.<br /><br />Booted out of a columnist gig, respected sportswriter Eddie Willis (Bogart) finds himself back on the grind. So when brash promoter Nick Benko (Steiger) slithers into the scribe&rsquo;s life with an enticing, but louche, proposition, Willis checks his scruples and accepts the terms: a solid bank account in exchange for &ldquo;drumming up copy&rdquo; on Benko&rsquo;s newest asset, Toro Moreno, a towering strongman who looks every part the heavyweight champion &ndash; except when he gets in a ring. Thinking he can keeps his hands clean sifting through dirt, Willis goes along with Benko&rsquo;s charade, but it soon becomes clear to him that he is as morally penniless as any of his more conspicuously crooked cohorts. Based on the searing novel by Budd Schulberg (ON THE WATERFRONT), THE HARDER THEY FALL is one of the most cynical entries in the boxing film canon, casting black light on the kind of Faustian pacts made daily in the flesh-peddling industry. Real-life prizefighters like Pat Comiskey, Jersey Joe Walcott, Joe Greb, and Max Baer round out a marvelous cast, but it should be noted that the lead deserves a fight credit as well: a few months after the release of the film, Bogart would succumb to esophageal cancer.</p> Friday, October 27 EC: GEORGE & MIKE KUCHAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48156 <p>All films in this program have been preserved by Anthology with support from the National Film Preservation Foundation.<br /><br />THE SLASHER (1958, 21 min, 8mm-to-16mm)<br />An insane, deformed killer stalks the grounds of a resort house, bringing sudden violence to those of easy virtue and godlessness.<br /><br />PUSSY ON A HOT TIN ROOF (1961, 14 min, 8mm-to-16mm)<br />&ldquo;It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy.&rdquo; &ndash;George Kuchar<br /><br />NIGHT OF THE BOMB (1962, 18 min, 8mm-to-16mm)<br />Teenage lust and deranged delinquence combine to create a cautionary tale for the ages. The Chernobyl of Comedy!<br /><br />TOOTSIES IN AUTUMN (1963, 15 min, 8mm-to-16mm)<br />A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness.<br /><br />Total running time: ca. 75 min.<br /><br />[<strong><em>THE SLASHER and NIGHT OF THE BOMB are not part of the Essential Cinema collection, but are included here as a special bonus.</em></strong>]</p> Friday, October 27 REQUIEM FOR A HEAVYWEIGHT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48107 <p>Written by Rod Serling. With Anthony Quinn, Jackie Gleason, Mickey Rooney, Julie Harris, and Muhammad Ali (as Cassius Clay).<br /><br />A remake of the hit television play by THE TWILIGHT ZONE creator Rod Serling (who also wrote the script for the cinematic adaptation), this film tracks the sad story of a hobbled, punch-drunk fighter too proud to call it quits in the beak busting business. Here, the pug is 111-bout veteran, Mountain Rivera, played with great lumbering pathos by Anthony Quinn. After Rivera survives a clockwork beatdown by a real life Cassius Clay, a doctor recommends retirement. Rivera&rsquo;s calculating manager, Maish Rennick (Gleason), however, won&rsquo;t hear of it, as he still has a few outstanding bills he needs to settle with the mob. As Rennick mercilessly pushes Rivera back into the ring for one final humiliating payoff, to the tune of heart-wrenching protests by his trainer (Rooney) and employment counselor (Grace Miller), one is reminded of those haunting words by Jimmy Cannon: &ldquo;Boxing is the red light district of sports.&rdquo; In addition to a prime Clay, look out for appearances from ring legends Jack Dempsey, Barney Ross, and Willie Pep.</p> Friday, October 27 EC: LAUREL AND HARDY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48157 <p>&ldquo;Stan Laurel and Oliver Hardy are the movies&rsquo; greatest comic duo, the quintessential dumb and dumber odd-couple. Though critically overshadowed by Chaplin, Keaton, and Lloyd, they were enormously popular, and proved a major influence on Abbott &amp; Costello, Lucille Ball &amp; Vivian Vance, and Jackie Gleason &amp; Art Carney, not to mention Samuel Beckett (they were an inspiration for WAITING FOR GODOT), Roman Polanski (who paid homage to them in his existentialist short films FAT AND LEAN and TWO MEN AND A WARDROBE), and Ken Jacobs (whose ONTIC ANTICS deconstructs one of their films).&rdquo; &ndash;David Mulkins<br /><br />THEM THAR HILLS (1934, 20 min, 16mm, b&amp;w. Directed by Charley Rogers.)<br />TIT FOR TAT (1935, 20 min, 16mm, b&amp;w. Directed by Charley Rogers.)<br />A CHUMP AT OXFORD (1940, 42 min, 16mm, b&amp;w. Directed by Alfred J. Goulding.)<br />Total running time: ca. 85 min.</p> Saturday, October 28 HARD TIMES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48096 <p>With Charles Bronson, James Coburn, Jill Ireland, and Strother Martin.<br /><br />In Walter Hill&rsquo;s assured directorial debut, the year is 1932, in the thick of the Depression. Like a figure out of a battered pulp novel, Charles Bronson plays silent but sturdy Chaney, a vagabond who hopscotches from boxcar to boxcar until one day he lands in the dilapidated quarters of New Orleans to ply an illegal trade: bareknuckle boxing, which is to say, a combat sport that has no truck with gloves, ten-second counts, or any of the Marquess of Queensberry rules that govern modern-day boxing. Guiding Chaney through this violent black market and their gambling consortiums is the obsequious Speed (James Coburn), who lines up Chaney to lick opponents controlled by the overlord of the bareknuckle scene, Gandil (Michael McGuire). But unlike the common boxing narrative that depicts fighters at the mercy of their handlers, Chaney continually refuses to be strung along as a mere pawn in the bareknuckle cartel. Indeed, as critics have pointed out, Chaney re-issues the archetype of that other figure of indomitable self-reliance: Alain Delon&rsquo;s existential assassin in Jean-Pierre Melville&rsquo;s LE SAMOURA&Iuml;.</p> Saturday, October 28 EC: GEORGE LANDOW, AKA OWEN LAND http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48158 <p>&ldquo;The unique contribution of Land&rsquo;s work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly &lsquo;boring&rsquo; world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEAR&hellip;, his attention turned to the spectator in a series of &lsquo;literal&rsquo; films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars.&rdquo; &ndash;Mark Webber, TWO FILMS BY OWEN LAND<br /><br />FLEMING FALOON (1963, 6 min, 16mm)<br />FILM IN WHICH THERE APPEAR SPROCKET HOLES, EDGE LETTERING, DIRT PARTICLES, ETC. (1965/66, 5 min, 16mm, silent)<br />DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent)<br />THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm, b&amp;w)<br />INSTITUTIONAL QUALITY (1969, 5 min, 16mm)<br />REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm)<br />WHAT&rsquo;S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm)<br />THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm)<br />A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm)<br /><br />FILM IN WHICH&hellip;, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR have been preserved by Anthology Film Archives through the National Film Preservation Foundation&rsquo;s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation.<br /><br />Total running time: ca. 70 min.</p> Saturday, October 28 RENALDO KUHLER & ROCATERRANIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48132 <p>SPECIAL BOOK RELEASE EVENT!<br /><br />Brett Ingram&rsquo;s ROCATERRANIA is a documentary journey into the secret world of visionary artist Renaldo Kuhler (1931-2013), one of the most important discoveries in outsider art since Henry Darger. Like Darger, Kuhler conjured an imaginary world that was complete unto itself. Beginning in the 1940s when he was a teenager, and continuing for the next 60 years, Kuhler created and illustrated the complex story of a country he named Rocaterrania, after his childhood home of Rockland County, New York.<br /><br />Situated at the border of Canada and New York&rsquo;s Adirondacks, Rocaterrania was formed by a group of Eastern European immigrants at odds with America&rsquo;s notions of democracy. Its inhabitants include beautiful, spirited women resembling Marlene Dietrich and Janet Leigh, powerful men reminiscent of Russian historical figures, Eastern European Jews, and neutants: individuals neither truly male nor female. As the film &ndash; featuring the only extant footage of Kuhler at work and at home &ndash; reveals, Rocaterrania&rsquo;s turmoil reflects a deeper transformative meaning for Renaldo, an outsider who struggled for freedom within a real nation intolerant of nonconformity and fearful of individuality.<br /><br />In October, Blast Books will publish THE SECRET WORLD OF RENALDO KUHLER, a 264-page monograph lavishly illustrated with 430 color artworks, bringing Kuhler&rsquo;s imaginary world to life. The book includes the complete story of Rocaterrania written by Brett Ingram, as told to him by Kuhler over the course of their long friendship. To celebrate its publication, we will be hosting Ingram for a special screening of ROCATERRANIA, alongside a discussion about the film and Kuhler&rsquo;s remarkable life. Books will be available for purchase and signing by Brett Ingram.<br /><br />For more info on the book, visit: www.blastbooks.com.<br /><br />Brett Ingram<br />ROCATERRANIA<br />(2009, 74 min, video)<br />&ldquo;Prepare to be astonished. [&hellip;] A film &ndash; and a man &ndash; you will never forget.&rdquo; &ndash;THE GLOBE AND MAIL<br /><br />&ldquo;An endless flow of visions and experiences guided by Kuhler&rsquo;s voice; a single trip to the loving and overwhelming imagination of an unexpected artist.&rdquo; &ndash;BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE</p> Saturday, October 28 EC: LÉGER & MURPHY / PICABIA & CLAIR / MAN RAY & DUCHAMP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48160 <p>Fernand L&eacute;ger &amp; Dudley Murphy<br />BALLET M&Eacute;CANIQUE (1924, 19 min, 35mm, b&amp;w, silent. Preserved by Anthology Film Archives.)<br /><br />Ren&eacute; Clair &amp; Francis Picabia<br />ENTR&rsquo;ACTE (1924, 22 min, 35mm, b&amp;w)<br /><br />Man Ray<br />LE RETOUR &Agrave; LA RAISON (1923, 2 min, 16mm, b&amp;w, silent)<br />&Eacute;TOILE DE MER (1927, 13 min, 16mm, b&amp;w, silent)<br />EMAK BAKIA (1927, 18 min, 35mm, b&amp;w, silent)<br /><br />Marcel Duchamp &amp; Man Ray<br />ANEMIC CINEMA (1926, 7 min, 35mm, b&amp;w, silent)<br /><br />Total running time: ca. 85 min.</p> Saturday, October 28 MUHAMMAD ALI, THE GREATEST (aka FLOAT LIKE A BUTTERFLY, STING LIKE A BEE) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48083 <p>Print courtesy of the Walker Art Center.<br /><br />How to film one of the most explosive figures of the 20th century? If you&rsquo;re William Klein of street photography fame, you brace the camera against the crook of your neck and plunge into the frenzy, aiming right at the boxer&rsquo;s always agape mouth as the refrain, &ldquo;Rumble young man, rumble!&rdquo; blasts out from it. Favoring blistering close-ups, Klein&rsquo;s jazzy chronicle follows &ldquo;The Louisville Lip&rdquo; for a blazing 10-year period starting from the two Sonny Liston fights to &ldquo;The Rumble in the Jungle,&rdquo; his Zaire superfight with George Foreman. Ali was something of a lightning rod for seemingly all the major events of his day &ndash; Vietnam, civil rights, the Beatles &ndash; and it&rsquo;s a credit to Klein&rsquo;s prescience that he put his nose to the ground and sought to capture the zeitgeist, from the rowdy streets of Miami Beach to a Harlem classroom. &ldquo;Who is Muhammad Ali?,&rdquo; Klein records a gentleman asking rhetorically, &ldquo;He is the independent hipster, the jazzman turned boxer!&rdquo;</p> Saturday, October 28 EC: CHRISTOPHER MACLAINE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48161 <p>&ldquo;The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice&rsquo;s, are clearly the most significant work to come out of the beat period.&rdquo; &ndash;J.J. Murphy<br /><br />All films preserved by Anthology Film Archives.<br /><br />THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm)<br />BEAT (1958, 6 min, 16mm)<br />SCOTCH HOP (1959, 5.5 min, 16mm)<br />THE END (1953, 35 min, 16mm)<br />Total running time: ca. 65 min.<br /><br />[<em><strong>THE MAN WHO INVENTED GOLD, BEAT, and SCOTCH HOP are not part of the Essential Cinema collection, but they are included here as a special bonus.</strong></em>]</p> Sunday, October 29 THE CHAMP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48101 <p>With Wallace Beery and Jackie Cooper.<br /><br />In the fifth sound feature by King Vidor, that most American of early Hollywood auteurs, Andy &ldquo;Champ&rdquo; Purcell, a former prizefighting champion, slums away his days in a Tijuana saloon subsisting on the bottle and passing time betting on horse races. Purcell can only play the part of waif for so many hours before he must turn his attention to his sympathetic son, Dink, played precociously by scene-stealing Jackie Cooper. The steadfast displays of father-son love against the squalid backdrop of impoverishment and lowlife culture are what largely sustain this tearjerker. Still, not even a son&rsquo;s affection can get Purcell to say goodbye to Queer Street. Towards the end when it looks like he may lose Dink to his ex-wife, Purcell, after a stint in the can, does what any ex-boxer would do: hop back into the ring, where the promise of a second lease on life dangerously beckons.</p> Sunday, October 29 BELARMINO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48093 <p>Print courtesy of the Cinemateca Portuguesa.<br /><br />Belarmino Fragoso Teixeira was born dirt poor on July 30, 1941, in Lisbon, Portugal. After an adolescence spent shoe-shining and ducking cops, he took up boxing because, as he tells his interviewer, &ldquo;I had to&hellip;because there aren&rsquo;t any engineers or architects who go into any sport and get their head punched in for the love of it. [Only] men like me, bums.&rdquo; Often fighting on nothing more than a doughnut and a glass of milk, Belarmino would amass an unremarkable professional record of 30 wins against 19 losses and 4 draws in a career that saw him win championships in two divisions. He was not great by any stretch, but as his manager puts it in the spirit of Terry Malloy, &ldquo;he could have been.&rdquo; In one of the most original works of the so-called Portuguese New Wave, BELARMINO profiles the dreams and missed opportunities of a has-been, illiterate fighter, who after an inconsistent career, still struggles to put food on the table for his wife and children. Tacitly heeding the tenets of cinema v&eacute;rit&eacute; and Direct Cinema without caving to them, BELARMINO brings to mind those unclassifiable documentaries by the likes of Antonio Reis &amp; Margarida Cordeiro or Hiroshi Teshigahara.</p> Sunday, October 29 REQUIEM FOR A HEAVYWEIGHT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48108 <p>Written by Rod Serling. With Anthony Quinn, Jackie Gleason, Mickey Rooney, Julie Harris, and Muhammad Ali (as Cassius Clay).<br /><br />A remake of the hit television play by THE TWILIGHT ZONE creator Rod Serling (who also wrote the script for the cinematic adaptation), this film tracks the sad story of a hobbled, punch-drunk fighter too proud to call it quits in the beak busting business. Here, the pug is 111-bout veteran, Mountain Rivera, played with great lumbering pathos by Anthony Quinn. After Rivera survives a clockwork beatdown by a real life Cassius Clay, a doctor recommends retirement. Rivera&rsquo;s calculating manager, Maish Rennick (Gleason), however, won&rsquo;t hear of it, as he still has a few outstanding bills he needs to settle with the mob. As Rennick mercilessly pushes Rivera back into the ring for one final humiliating payoff, to the tune of heart-wrenching protests by his trainer (Rooney) and employment counselor (Grace Miller), one is reminded of those haunting words by Jimmy Cannon: &ldquo;Boxing is the red light district of sports.&rdquo; In addition to a prime Clay, look out for appearances from ring legends Jack Dempsey, Barney Ross, and Willie Pep.</p> Monday, October 30 FLAHERTY NYC: PROGRAM 3: 3000 NIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48139 <p><strong><em>Mai Masri in person.<br /><br /></em></strong>In this gripping narrative, what otherwise was an act of humanity leads to tragedy for a newlywed schoolteacher. In the middle of the night, Layal is arrested in the occupied West Bank after giving a ride to a wounded teen, against whom she refuses to testify, despite the pleading of officials and her family. After being sentenced to a high-security prison, where Palestinian political prisoners are detained along with deleterious Israeli criminals, she discovers she is pregnant. Her faith in herself and her unborn child becomes the focus she needs in the midst of despair.<br /><br />Mai Masri<br />3000 NIGHTS<br />(2017, 103 min, DCP)</p> Monday, October 30 BOXING ON FILM: PART 2: SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48090 <p>Charles Dekeukeleire COMBAT DE BOXE (1927, 8 min, 35mm, b&amp;w)<br />For his very first film, Dekeukeleire, one of the giants of Belgian cinema, staged a boxing match in his studio. The result is a work of great graphic complexity, a cinematic poem in which the boxers&rsquo; movements are deconstructed into rapidly edited fragments that alternate between positive and negative images.<br /><br />Stanley Kubrick DAY OF THE FIGHT (1951, 13 min, 35mm, b&amp;w. Preserved by the Library of Congress.)<br />Kubrick&rsquo;s film debut, which was based upon an earlier photo feature he had done for Look Magazine in 1949, documents Irish-American middleweight Walter Cartier during the height of his career, on the day of a fight with black middleweight Bobby James.<br /><br />Bill Powers THE FIGHT GAME (1965, 5 min, 16mm-to-digital, b&amp;w)<br />This intricately edited and exquisitely photographed black and white short captures a young Jose Torres working out with a bag in the gym. Praised by Jonas Mekas in the <em>Village Voice</em>, THE FIGHT GAME is a graceful display of the balletic art that is boxing.<br /><br />Bill Powers<br />JOSE AND RAMONA TORRES WEDDING FILM<br />(1961, 12 min, 16mm-to-digital. Special thanks to Colorlab, The Center For Home Movies, and Russ Suniewick.)<br />This film was discovered during Anthology&rsquo;s 2006 Home Movie Day celebration. Filmmaker Jeanne Liotta brought a reel found inside a projector she had acquired many years ago from a neighbor. It contained spliced camera original footage documenting the wedding party of a lovely young couple named Jose and Ramona. One astute viewer, Craig Lopez, noted the names, googled them and quickly deduced that this was the wedding film of boxing legend (and Norman Mailer actor) Jose Torres!<br /><br />Richard Meltzer BOGUS BOXING TRASH: PART 1 (1969, 36 min, 8mm-to-16mm. Preserved by the Film-Makers&rsquo; Coop with support from the National Film Preservation Foundation. World Premiere screening of the new preservation!)<br />&ldquo;All the savage glory of the Olympics, including George Foreman&rsquo;s now-famous flag ceremony; two females having at each other (we don&rsquo;t approve of the fairer sex fighting but here it is in all its raw torrid brutality); Sandy Saddler vs. Carlos Ortiz in a battle of ex-champs; George Chuvalo&rsquo;s awesome knockout of Dante Cane; all-time mauler Sonny Liston KO&rsquo;ing Roger Rischer; Bob Foster&rsquo;s crushing KO of Biafran Dick Tiger; man vs. dog (who will win?) and man vs. woman!&rdquo; &ndash;Richard Meltzer<br /><br />Rachael Guma BAM! (2016, 3 min, Super-8mm, b&amp;w, silent. With Sean Nam.)<br />A study in movement, this rapidly edited Super-8 film deconstructs the dance of the shadow boxer.<br /><br />Total running time: ca. 80 min.</p> Monday, October 30 I JUST CAN’T GO ON http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48105 <p>(ICH SCHAFF&rsquo;S EINFACH NIMMER)<br /><br />Preserved by the Austrian Film Museum.<br /><br />What distinguishes boxing from other professional sporting pursuits (like basketball or baseball) is its accessibility: literally any Joe Schmo can earn some money from it. In that, boxing, despite the lethal risks it poses, has some value as a social tool. In Canadian-born John Cook&rsquo;s restless documentary of an Austrian couple, I JUST CAN&rsquo;T GO ON, the husband Petrus, channeling &ldquo;Cassius Marcellus Clay,&rdquo; takes up boxing to supplement the income from his day-job burnishing frames. His companion, the much older Gisi, works as a janitor. They are an odd couple, scavenging at the bottom of the Viennese social ladder. But there is nothing patronizing or exploitative in Cook&rsquo;s treatment of the couple and their eccentricities as they try to make ends meet. In one of the film&rsquo;s key aesthetic choices, Cook eschews synched sound in favor of a stream-of-consciousness soundtrack pitting Petrus and Gisi&rsquo;s unfiltered remarks in relief against the harsh material world.<br /><br />Preceded by:<br />Gilles Groulx GOLDEN GLOVES (1961, 28 min, 16mm, b&amp;w. In French with projected English subtitles.)<br />The Golden Gloves boxing tour was the Canadian amateur&rsquo;s hope for success in the boxing world. In behind-the-scenes interviews three Montr&eacute;al boxers-in-training discuss their ambitions and what motivated them to take up boxing. The film&rsquo;s camera work and editing are inspired and expressive, but always subordinated to the reality of the film&rsquo;s subjects.</p> Tuesday, October 31 EC: GEORGES MÉLIÈS, PROGRAM #1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48162 <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 />DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF &Agrave; L&rsquo;HUILE (1907, 5 min, 35mm)<br />MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE (1906, 18 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 />Total running time:&nbsp;ca. 60 min.</p> Tuesday, October 31 EC: GEORGES MÉLIÈS, PROGRAM #2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48163 <p>The films on this program are hand-tinted and silent.<br /><br />THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 min, 35mm)<br />A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 min, 35mm)<br />THE HUNCHBACK FAIRY / LA F&Eacute;E CARABOSSE (1906, 13 min, 35mm)<br />VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm)<br /><br />Total running time: ca. 50 min.</p> Tuesday, October 31 THE CHAMP http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2017#showing-48102 <p>With Wallace Beery and Jackie Cooper.<br /><br />In the fifth sound feature by King Vidor, that most American of early Hollywood auteurs, Andy &ldquo;Champ&rdquo; Purcell, a former prizefighting champion, slums away his days in a Tijuana saloon subsisting on the bottle and passing time betting on horse races. Purcell can only play the part of waif for so many hours before he must turn his attention to his sympathetic son, Dink, played precociously by scene-stealing Jackie Cooper. The steadfast displays of father-son love against the squalid backdrop of impoverishment and lowlife culture are what largely sustain this tearjerker. Still, not even a son&rsquo;s affection can get Purcell to say goodbye to Queer Street. Towards the end when it looks like he may lose Dink to his ex-wife, Purcell, after a stint in the can, does what any ex-boxer would do: hop back into the ring, where the promise of a second lease on life dangerously beckons.</p> Tuesday, October 31 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48168 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, November 01 STANISŁAW LEM ON FILM: SHORTS PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48263 <p>Marek Nowicki &amp; Jerzy Stawicki<br />PROFESSOR ZAZUL / PROFESOR ZAZUL<br />(1962, 22 min, 35mm, b&amp;w. In Polish with English subtitles.)<br />Made for Polish television, this short film is based on one of Lem&rsquo;s many stories about the space explorer, Ijon Tichy. Here Ijon is forced to take refuge in a creepy house in the countryside, where he makes a disturbing discovery.<br />&amp;<br />Marek Nowicki &amp; Jerzy Stawicki<br />THE FRIEND / PRZYJACIEL<br />(1965, 18 min, 35mm, b&amp;w. In Polish with English subtitles.)<br />The second Lem adaptation by Marek Nowicki &amp; Jerzy Stawicki, THE FRIEND tells the tale of a man whose every step is controlled by a mechanical brain bent on world domination.<br />&amp;<br />Andrzej Wajda<br />ROLY POLY / PRZEKLADANIEC<br />(1968, 35 min, 35mm, b&amp;w. With Bogumil Kobiela. In Polish with English subtitles.)<br />&ldquo;[Wajda&rsquo;s film] uses shots of Chicago skyscrapers to set in motion a bizarre futuristic story of a race-car driver who&rsquo;s had so much of his body replaced by transplants that insurance companies question his very identity and he&rsquo;s asked to support the children of one of his donors. Lem wrote Wajda that ROLY POLY &lsquo;rekindled my trust in cooperation with film,&rsquo; and its amusing satire on the way people are constructed &ndash; and reconstructed &ndash; by technology and bureaucracy seems even more biting today.&rdquo; &ndash;Fred Camper, CHICAGO READER<br /><br />Total running time: ca. 80 min.</p> Wednesday, November 01 THE INVESTIGATION + MASKA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48266 <p>Marek Piestrak<br />THE INVESTIGATION / SLEDZTWO<br />(1973, 54 min, 35mm. In Polish with English subtitles.)<br />A Kafka-esque metaphysical puzzler about a young Scotland Yard lieutenant tasked with investigating the mysterious disappearance of corpses from London morgues. The only &lsquo;explanation&rsquo; is an abstruse statistical theory that correlates the body-snatching with local cancer rates. The prosaic-minded inspector suspects the statistician himself, but reality proves less mundane and certainly less comprehensible than he had hoped.<br /><br />Stephen Quay &amp; Timothy Quay<br />MASKA<br />(2010, 23 min, digital. In Polish with English subtitles.)<br />Set to music by composer Krzysztof Penderecki, this Lem adaptation by the renowned animators the Quay brothers tells the story of an automaton, created in the form of a beautiful woman in order to assassinate a prince, who begins to question her purpose.</p> Wednesday, November 01 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48169 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Thursday, November 02 REVISION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48194 <p>On June 29, 1992, a farmer discovers two bodies in a cornfield in the North East of Germany. Police enquiries reveal that the dead men are Romanian citizens. During the attempt to cross the EU border, they have been shot by hunters. The hunters claim that they mistook the people for wild boar. Four years later, the trial begins. It will never be determined which of the hunters actually fired the fatal bullet. The verdict: not guilty. The German press agency DPA reports: &ldquo;From Romania, no one has arrived for the rendition of judgment.&rdquo; The police files contain the names and address of Grigore Velcu and Eudache Calderar. However, their families were never even informed that a trial had been held. With this film, a legally closed criminal case becomes the subject of a cinematic revision. Scheffner draws connections between places, individuals, and memories to form a fragile pattern composed of different perspectives of contemporary European history.</p> Thursday, November 02 AND-EK GHES… http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48196 <p>AND-EK GHES&hellip; (&ldquo;One fine day&rdquo;) is the refrain of the title song in which a young man promises his beloved a future in Berlin if only her love is strong enough to follow him. The song was written by the charismatic, multi-talented Colorado Velcu, single parent to seven children, and heart, motor, and chronicler of an extended family from Faţa Luncii in Romania. AND-EK GHES&hellip; continues an extraordinary collaboration &ndash; begun with the earlier REVISION &ndash; based on the trust and friendship between Scheffner and Velcu. The attempt to establish a common cinematic space between protagonists, filmmakers, and the audience has now, three years later, been enlarged. The camera duplicates itself; besides the filmmaker&rsquo;s, there are one, two, three cameras that wander from hand to hand. We are allowed into a world in which humor, chutzpah, and solidarity stand against poverty and exclusion, in which the Velcus reinvent themselves time and again, and in which Berlin begins to glow in the shimmering colors of Bollywood.</p> Friday, November 03 IKARIE XB-1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48269 <p>Print courtesy of the Czech Film Archive.<br /><br />&ldquo;The year is 2163 and the spaceship Ikarie XB 1 embarks on a trip to the star system Alpha Centauri to search for life on a &lsquo;White Planet.&rsquo; The 40-person crew under Commanders Abajev and MacDonald includes a pregnant officer and a somewhat geriatric robot. Along the way, they find a derelict spaceship, whose crew died a violent death some 200 years ago. That encounter ends in death for two of the Ikarie&rsquo;s space travellers. Shortly thereafter, the rest of the crew is afflicted with an odd sleeping sickness, apparently caused by a dark star between the ship and the White Planet. The electronic music in this film version of one of Lem&rsquo;s short stories seems avant-garde, even today. IKARIE XB 1 took off in the West as well. That was less due to the mangled re-edit that was released in the U.S. than to the fact that Stanley Kubrick &ndash; according to his assistant Anthony Frewin &ndash; watched the film while preparing for 2001. The two films show clear similarities, not only in the atmospheric lighting, but also in several details of the sets, such as the hexagonal corridors.&rdquo; &ndash;BERLINALE</p> Friday, November 03 HAVARIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48198 <p>&ldquo;With HAVARIE, Scheffner made the radical decision &ndash; in light of the current refugee crisis &ndash; to replace the 90-minute visual track of the film with a 3.5-minute cell phone YouTube video of Algerian refugees adrift in a tiny boat in the Mediterranean &ndash; an image stretched in slow motion over the entire duration of the film&rsquo;s soundscape. [&hellip;] The boat anchors the spectator&rsquo;s gaze as diverse languages and viewpoints on the soundtrack and in the subtitles discuss the waters, the plight of refugees, other maritime forms of migration and transnationalism on cruise and container ships, the desire for Europe, memories of crossing, of home, loss, and longing. [&hellip;] [Ultimately the] film&rsquo;s imagery gives way to a confrontation between supplication and agency in which spectators must acknowledge their cinematic privilege, a stand-in for their privilege beyond the movie theatre. But the confrontation of positions is also an opportunity for exchange, for thought, for communication.&rdquo; &ndash;Brigitta Wagner, SENSES OF CINEMA</p> Friday, November 03 FIRST SPACESHIP ON VENUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48271 <p>(DER SCHWEIGENDE STERN)<br /><br />&ldquo;In 1962, B-movie cinema purveyors Crown International Pictures repackaged the ideologically and artistically ambitious Eastern bloc sci-fi coproduction THE SILENT STAR (1960) for American consumption as the deliciously schlocky space opera FIRST SPACESHIP ON VENUS. The film, an adaptation of Lem&rsquo;s science fiction debut ASTRONAUTS (1951), tells the story of a mysterious object discovered in Siberia, with clues pointing to Venus as origin, a subsequent expedition to the shrouded planet, and the chilling discovery there of a great, civilizational tragedy and lesson for mankind. CIP elided the orthodox communist political sermonizing of the original film and novel, though the ethnically and internationally diverse spaceship crew and insistent anti-nuclear message certainly remained progressive notes in post-Red Scare America. Chock full of the requisite 1950s genre elements &ndash; a meteor shower, a robot assistant, an EVA repair sequence &ndash; the film also features a stunningly surreal, well-nigh Modernist alien landscape.&rdquo; &ndash;Christopher J. Caes</p> Friday, November 03 EC: GEORGES MÉLIÈS, PROGRAM #3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48176 <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 />THE APPARITION / LE REVENANT (1903, 3 min, 16mm)<br />TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 min, 35mm)<br />SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D&rsquo;UN BUVEUR (1909, 5 min, 35mm)<br />THE DOCTOR&rsquo;S SECRET / HYDROTH&Eacute;RAPIE FANTASTIQUE (1909, 11 min, 35mm)<br />Total running time: ca. 55 min.</p> Saturday, November 04 SOLARIS (Andrei Tarkovsky) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48274 <p>Certainly the most preeminent of Lem adaptations, Tarkovsky&rsquo;s masterpiece centers on cosmonaut Kris Kelvin, who is dispatched to a space station orbiting the mysterious planet Solaris. Consisting of a vast ocean with mysterious, quasi-intelligent powers, this strange planet is able to materialize figures from the visitors&rsquo; past, forcing Kelvin to face his dead wife and to confront anew the circumstances that drove her to suicide. Though faithful to Lem&rsquo;s novel in its central concept and in many of its particulars, Tarkovsky&rsquo;s film is a radically different creature in terms of its tone and atmosphere, jettisoning much of Lem&rsquo;s wit and satirical spirit. Nevertheless, the encounter between the disparate but brilliant sensibilities of Lem and Tarkovsky, is a fascinating one to behold, and the result is one of the greatest films of the 1970s.<br /><br />&ldquo;A towering movie&hellip;one of the most thoughtful science fiction epics ever and one of the few worthy successors to 2001.&rdquo; &ndash;David Sterritt, CHRISTIAN SCIENCE MONITOR</p> Saturday, November 04 EC: MARIE MENKEN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48177 <p>All films preserved by Anthology Film Archives.<br /><br />GLIMPSE OF THE GARDEN (1957, 5 min, 16mm)<br />NOTEBOOK (1962-63, 10 min, 16mm, silent)<br />ARABESQUE FOR KENNETH ANGER (1961, 4 min, 16mm)<br />EYE MUSIC IN RED MAJOR (1961, 4 min, 16mm, silent)<br />GO! GO! GO! (1962-64, 12 min, 16mm, silent)<br />LIGHTS (1964-66, 7 min, 16mm, b&amp;w, silent)<br />ANDY WARHOL (1965, 17 min, 16mm)<br /><br />&ldquo;Marie Menken pioneered the radical transformation of the handheld, somatic camera into a formal matrix that would underpin an entire work in the films she made between 1945 and 1965. [&hellip;] The extraordinary cinematic style that I have been calling Menken&rsquo;s somatic camera has been her most influential gift to the American avant-garde cinema. It is an embodiment of the Emersonian invention of a pictorial air, the spiritual emancipation automatically brought about by &lsquo;certain mechanical changes, a small alteration in our local position.&rsquo; It is also analogous to the equally Emersonian somatic theory of poesis Charles Olson was developing at nearly the same time: his emphasis on breath and proprioception corresponds to Menken&rsquo;s identification of the camera with her body in motion and her cultivation of the respiratory and nervous agitation of the handheld camera even in its quietest moments.&rdquo; &ndash;P. Adams Sitney, EYES UPSIDE DOWN<br /><br />Total running time: ca. 65 min.</p> Saturday, November 04 BÉLA BALÁZS STUDIO SHORT FILM FESTIVAL: SELECTED WORKS BY HUNGARIAN AVANT-GARDE FILMMAKERS: PROGRAM 1: ISTVÁN ANTAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48244 <p>Co-presented with the Hungarian Cultural Center New York and thematically linked to the Institute&rsquo;s &lsquo;Counter/culture&rsquo; programming focusing on artistic resistance during the era of state Socialism in Eastern Europe, this two-evening film series showcases works created by Hungarian avant-garde filmmakers affiliated with the B&eacute;la Bal&aacute;zs Studio. BBS was originally a grassroots initiative of then-upcoming filmmakers engaged in the renewal of Hungarian cinematography in the early 1960s. The first program focuses on the works of Istv&aacute;n Antal, one of the key figures of the later period of BBS. The second program demonstrates the ways in which filmmakers managed to engage in artistic reflection and resistance in Hungarian cinematography in spite of the intellectual and cultural climate of the decades of Communist rule in Hungary. The two programs have been curated to demonstrate how remarkably varied the Studio&rsquo;s output has been, both in scope and technique, with a particular emphasis on how different filmmakers approached themes, genre, cinematic language, and experimentation over time.<br /><br />Very special thanks to Balassi Institue &ndash; Hungarian Cultural Center, Hungarian National Film Archive, Mikl&oacute;s Petern&aacute;k, and B&eacute;la M&aacute;ri&aacute;s. For more information regarding the B&eacute;la Bal&aacute;zs Studio, visit http://www.bbsarchiv.hu/.<br /><br />PROGRAM 1: ISTV&Aacute;N ANTAL:<br />All films preserved or restored by the Hungarian National Film Archive, and selected by B&eacute;la M&aacute;ri&aacute;s and M&aacute;rton Szegedi.<br /><br />Lecturer, counselor, editor, actor, and filmmaker Istv&aacute;n Antal was born on November 25, 1951, in Budapest, Hungary. He became involved with the B&eacute;la Bal&aacute;zs Studio in 1980, where he produced numerous shorts and eventually became a member of the board. His style was characterized by simple and radical films, which were screened both in Hungary and abroad. Antal was a close friend of Jonas Mekas, who organized a retrospective of his work at Anthology in 1994. This program will pair a selection of films by Antal (who passed away in 2009) with Mekas&rsquo;s video tribute, THE SECRET LIFE OF ISTV&Aacute;N (1993).<br /><br />Jonas Mekas THE SECRET LIFE OF ISTV&Aacute;N (1993, ca. 15 min, video)<br />Istv&aacute;n Antal CALVARY / K&Aacute;LV&Aacute;RIA (1982, 12 min, 35mm)<br />Istv&aacute;n Antal ANDOR WEININGER / WEININGER ANDOR (1985, 5 min, video)<br />Istv&aacute;n Antal THE SWAN / A HATTY&Uacute; (1986, 3 min, 35mm-to-digital, b&amp;w)<br />Istv&aacute;n Antal THE BLACK CAT / A FEKETE MACSKA (1987, 15 min, 16mm-to-digital, b&amp;w)<br />Istv&aacute;n Antal THE SONS OF THE SUN / A NAP FIAI (1991, 15 min, 35mm)<br />Istv&aacute;n Antal CHESS I-II. / SAKK I-II. (1997, 5 min, video)<br /><br />Total running time: ca. 75 min.</p> Saturday, November 04 HOSPITAL OF THE TRANSFIGURATION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48277 <p>(SZPITAL PRZEMIENIENIA)<br /><br />&ldquo;Imagine ONE FLEW OVER THE CUCKOO&rsquo;S NEST set in a Polish psychiatric hospital during the Nazi occupation. Such is the chillingly perverse scenario of this film, an adaptation of Lem&rsquo;s first novel (written 1948, published 1955). Both novel and film utilize the asylum as a microcosm of society, but go a step further by placing that microcosm in a time and place &ndash; the early months of World War II &ndash; when the outer world itself had gone mad. The film anatomizes the beliefs, behavior, and identities of both patients and staff, seeking some principle, whether in reason or unreason, to oppose to the implacable totalitarian solution of involuntary euthanasia. But, as if always already overshadowed by the inevitable apocalyptic end, all intentions and actions degenerate into something akin to a piercingly tragic, cruelly humorous theater of the absurd. A disturbing, thoroughly ambiguous picture.&rdquo; &ndash;Christopher J. Caes</p> Saturday, November 04 SOLARIS (Steven Soderbergh) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48280 <p>With George Clooney, Natascha McElhone, Viola Davis, and Jeremy Davies.<br /><br />&ldquo;The unique trajectory of Steven Soderbergh&rsquo;s career takes him close to the stratosphere with his wholly unexpected and unexpectedly fine remake of Andrei Tarkovsky&rsquo;s 1972 SOLARIS, itself adapted from a first-rate novel of philosophical sci-fi by Stanislaw Lem. [&hellip;] Solaris achieves an almost perfect balance of poetry and pulp. This is as elegant, moody, intelligent, sensuous, and sustained a studio movie as we are likely to see this season &ndash; and in its intrinsic nuttiness, perhaps the least compromised. Tarkovsky&rsquo;s SOLARIS was the Russian visionary&rsquo;s most pop movie; the remake, which draws on both Lem and Tarkovsky, is Soderbergh&rsquo;s most avant.&rdquo; &ndash;J. Hoberman, VILLAGE VOICE</p> Saturday, November 04 PILOT PIRX’S TEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48283 <p>(TEST PILOTA PIRXA)<br /><br />&ldquo;Pirx the Pilot, the everyman of the space age, is one of Lem&rsquo;s most beloved and psychologically complex characters, appearing over the course of nearly thirty years in ten short stories and one novel. The Estonian-Polish co-production, THE TEST OF PILOT PIRX, to date the only screen adaptation of a Pirx tale, is based on the 1968 short story &ldquo;The Inquest.&rdquo; In it, Pirx, no longer a bumbling space cadet but a seasoned star pilot, is approached by a corporation gearing up for the mass production of androids. The test: can Pirx determine which of the crew members under his command is an android and how he/it will perform under stress? Imagined against the backdrop of a slightly seedy, near-future corporatocracy and punctuated by composer Arvo P&auml;rt&rsquo;s edgy score, the film combines the sensibility of a spy thriller with the conceptual speculation of hard sci-fi.&rdquo; &ndash;Christopher J. Caes</p> Sunday, November 05 BÉLA BALÁZS STUDIO SHORT FILM FESTIVAL: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48246 <p>Co-presented with the Hungarian Cultural Center New York and thematically linked to the Institute&rsquo;s &lsquo;Counter/culture&rsquo; programming focusing on artistic resistance during the era of state Socialism in Eastern Europe, this two-evening film series showcases works created by Hungarian avant-garde filmmakers affiliated with the B&eacute;la Bal&aacute;zs Studio. BBS was originally a grassroots initiative of then-upcoming filmmakers engaged in the renewal of Hungarian cinematography in the early 1960s. The first program focuses on the works of Istv&aacute;n Antal, one of the key figures of the later period of BBS. The second program demonstrates the ways in which filmmakers managed to engage in artistic reflection and resistance in Hungarian cinematography in spite of the intellectual and cultural climate of the decades of Communist rule in Hungary. The two programs have been curated to demonstrate how remarkably varied the Studio&rsquo;s output has been, both in scope and technique, with a particular emphasis on how different filmmakers approached themes, genre, cinematic language, and experimentation over time.<br /><br />Very special thanks to Balassi Institue &ndash; Hungarian Cultural Center, Hungarian National Film Archive, Mikl&oacute;s Petern&aacute;k, and B&eacute;la M&aacute;ri&aacute;s. For more information regarding the B&eacute;la Bal&aacute;zs Studio, visit http://www.bbsarchiv.hu/.<br /><br />PROGRAM 2: &lsquo;NOW YOU CAN SEE ME&rsquo; &ndash; SELECTED WORKS BY VARIOUS MEMBERS OF THE B&Eacute;LA BAL&Aacute;ZS STUDIO:<br />All films preserved/restored by the Hungarian National Film Archive, and selected by Mikl&oacute;s Petern&aacute;k.<br /><br />The B&eacute;la Bal&aacute;zs Studio continues to exert an influence on cinematic experimentalism in Hungary. Founded in 1959 and institutionalized in 1961 with support from the cultural policy-makers of post-1956 consolidation, BBS has counted among its members or affiliates most of the luminaries of Hungarian cinema. In the 1970s, BBS started to admit &lsquo;outsiders&rsquo; to its ranks, rather than limiting its membership to graduates of the Hungarian Film Academy. Throughout the decade, the Studio was the site of passionate debates, giving rise to a progressive workshop atmosphere where experimental, conceptual tendencies competed with more traditional documentary approaches in striving to spur social transformation.<br /><br />Although BBS changed considerably in the 1980s and after the fall of Communism, eventually dissolving in 2010, the legacy of BBS continues to inspire Hungarian and international filmmakers to this very day. The selected films &ndash; comprising some of the high points of Hungarian experimental cinema &ndash; are the work of seven different directors with their distinct perspectives and filmmaking methods.<br /><br />S&aacute;ndor S&aacute;ra GYPSIES / CIG&Aacute;NYOK (1962, 17 min, 35mm-to-digital, b&amp;w)<br />Zolt&aacute;n Husz&aacute;rik &amp; J&aacute;nos T&oacute;th ELEGY / EL&Eacute;GIA (1965, 19 min, 35mm)<br />D&oacute;ra Maurer RELATIVE SWINGS / RELAT&Iacute;V LENG&Eacute;SEK (1973, 10 min, 35mm, b&amp;w)<br />G&aacute;bor B&oacute;dy FOUR BAGATELLES / N&Eacute;GY BAGATELL (1975, 28 min, 35mm, b&amp;w)<br />L&aacute;szl&oacute; Vidovszky &amp; G&aacute;bor B&oacute;dy ALDRIN (1976, 5 min, 35mm, b&amp;w)<br />Tibor Hajas SELF-FASHION SHOW / &Ouml;NDIVATBEMUTAT&Oacute; (1976, 14 min, 35mm-to-digital, b&amp;w)<br /><br />Total running time: ca. 100 min.</p> Sunday, November 05 SOLYARIS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48286 <p>&ldquo;Tightly scripted and wonderfully cast, SOLYARIS combines a spare, expressionistic studio set with stylized black-and-white photography to imagine a claustrophobically intimate, subtly disquieting version of Lem&rsquo;s 1961 science fiction classic. Free of the weighty metaphysics of Tarkovsky&rsquo;s version and the glossy slickness of Soderbergh&rsquo;s, the film showcases instead the prodigious talents of professional actors associated with Moscow&rsquo;s seminal and innovative Vakhtangov Theater. In their hands, Lem&rsquo;s tale of ghostly re-visitations on a distant planet by lost loved ones from one&rsquo;s own past becomes a psychological chamber drama, effectively played out against a backdrop of narrow, constricted corridors and elongated, low-ceilinged crew quarters, and accompanied by an eerie, otherworldly soundtrack of mechanical sounds and electronically modified musical crescendos. Kelvin&rsquo;s decline into dream-like confusion in Part II, as the alliance he helped establish in Part I turns against his own shifting needs and desires, is particularly gripping.&rdquo; &ndash;Christopher J. Caes</p> Sunday, November 05 NATHALIE MAGNAN: PROGRAM 1: MEDIA JAMS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48201 <p>Introduced by Catherine Lord.<br /><br />NATHALIE MAGNAN: MEDIA THEORETICIAN / NATHALIE MAGNAN, TH&Eacute;ORICIENNE DES M&Eacute;DIAS (2012, 12 min, video)<br />In this interview with the magazine MONSTER, Magnan speaks about tactical media, jamming, gender changes, the cyborg manifesto, and (h)activism.<br /><br />INTERNAUTES (1995, 13 min, video)<br />With humor and intensity, Magnan documents all manner of internet communities, from small to large, from young artists to engineers.<br /><br />HAVE YOU SEEN THE WAR? / AVEZ-VOUS VU LA GUERRE? (1991, 45 min, video. Made in collaboration with Canal Dechaine.)<br />A montage of archival footage and interviews (with Serge Daney and F&eacute;lix Guattari, among others) about the representation of the First Gulf War on French television.<br /><br />THERE&rsquo;S NO SMOKE WITHOUT FIRE AND BESIDES, IT&rsquo;S TRUE / IL N&rsquo;Y A PAS DE FUM&Eacute;E SANS FEU ET EN PLUS C&rsquo;EST VRAI (1996, 24 min, video)<br />A visionary document examining what we now call fake news: the explosion of unverified rumor into the public sphere.<br /><br />Total running time: ca. 100 min.</p> Sunday, November 05 THE CONGRESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2017#showing-48288 <p>With Robin Wright, Harvey Keitel, Jon Hamm, Danny Huston, and Paul Giamatti.<br /><br />Freely adapted from Lem&rsquo;s 1971 novel, THE FUTUROLOGICAL CONGRESS, Ari Folman&rsquo;s THE CONGRESS relocates the story to Hollywood, where aging actress Robin Wright (playing a version of herself) prepares to take on her final job: preserving her digital likeness for a future era. Through a deal brokered by her loyal, longtime agent (Keitel) and the head of Miramount Studios (Huston), her alias will be controlled by the studio, and will star in any film they want with no restrictions. In return, she receives healthy compensation so she can care for her ailing son, and her digitized character will remain forever young. Twenty years later, under the creative vision of the studio&rsquo;s head animator (Hamm), Wright&rsquo;s digital double rises to immortal stardom. With her contract expiring, she is invited to take part in &ldquo;The Congress&rdquo; convention as she makes her comeback straight into the world of future fantasy cinema.<br /><br />&ldquo;An extraordinary and very touching film that exists somewhere in the twilight zone between the existential brainteasers of Charlie Kaufman and the psychedelic wonders of Hayao Miyazaki.&rdquo; &ndash;EMPIRE MAGAZINE</p> Sunday, November 05