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 Thu, 06 Nov 2025 05:55:38 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60196 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><em><strong>Marta Mateus will be here for Q&As following the screenings on Friday-Sunday. The Q&A on Fri will be moderated by editor, scholar, and curator Nace Zavrl, the Q&A on Sat will be moderated by writer and editor Beatrice Loayza, and the Q&A on Sun will be moderated by filmmaker and photographer Khalik Allah.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60197 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><em><strong>Marta Mateus will be here for Q&As following the screenings on Friday-Sunday. The Q&A on Fri will be moderated by editor, scholar, and curator Nace Zavrl, the Q&A on Sat will be moderated by writer and editor Beatrice Loayza, and the Q&A on Sun will be moderated by filmmaker and photographer Khalik Allah.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60249 <p>Marta Mateus<br />BARBS, WASTELANDS / FARPÕES, BALDIOS<br />2017, 25 min, DCP. In Portuguese with English subtitles.<br />“Mateus’s debut film announced her bold visual style and poetically multi-voiced approach to political narrative with its rich evocation of a community filtered through the sun-drenched lens of a workday in an Alentejo summer and collective memories of the Carnation Revolution. Labor and play musically intermingle as children rush hither and thither and the elders recall past struggles that still echo in the present day.” –Haden Guest, HARVARD FILM ARCHIVE<br /><br />Preceded by:<br />Manoel de Oliveira<br />BREAD / O PÃO<br />1963, 23 min, 35mm. In Portuguese with English subtitles. Print preserved by Cinemateca Portuguesa – Museu do Cinema.<br />“BREAD follows the birth and life of a loaf, from the wheat fields to the bakery. ‘The idea for this film is that bread is like a current in a river that goes through different places, different hands…,’ explained Oliveira. BREAD is an important transitional work between the montage driven DOURO, WORKING RIVER (his first film) and his later work. It was during the search for locations for BREAD that Oliveira discovered the local Passion play that would become the subject of his breakthrough film, RITE OF SPRING (1963). BREAD was first released as a one-hour featurette but re-edited by Oliveira a few years later into this shorter, tighter version which was the one he preferred.” –Haden Guest, HARVARD FILM ARCHIVE<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60208 <p>SOMA SEMA (1988, 13 min, Super 8mm-to-16mm)<br />OPEN SESAME (1989, 7 min, video)<br />fungus eroticus (1990, 30 min, Super 8mm-to-16mm)<br />DERVISH MACHINE (1992, 10 min, Super 8mm-to-16mm)<br />+<br />EROS/LIOTTA/MEDIAMYSTICS WITH CIRCLE X (1988-92, 6.5 min, video)<br />+<br />SUBVERTED HORSEPLAY (Chamber piece for projectors) (1994-97, ca. 20 min, live performance!)<br />+<br />35mm analog original slides from 1988-98<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60198 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><em><strong>Marta Mateus will be here for Q&As following the screenings on Friday-Sunday. The Q&A on Fri will be moderated by editor, scholar, and curator Nace Zavrl, the Q&A on Sat will be moderated by writer and editor Beatrice Loayza, and the Q&A on Sun will be moderated by filmmaker and photographer Khalik Allah.</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, November 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60199 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><em><strong>Marta Mateus will be here for Q&As following the screenings on Friday-Sunday. The Q&A on Fri will be moderated by editor, scholar, and curator Nace Zavrl, the Q&A on Sat will be moderated by writer and editor Beatrice Loayza, and the Q&A on Sun will be moderated by filmmaker and photographer Khalik Allah.</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, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60246 <p>“A world dominated by Technology is lost for Liberty.” –George Bernanos<br /><br />"These three films resurrect the vital force of poetic existence against technocracy. With rare sculptural potency, these works materialize absences in order to render them sensory." –Marta Mateus<br /><br />António Reis<br />JAIME<br />1974, 35 min, 35mm-to-DCP. In Portuguese with English subtitles. Digitization by Cinemateca Portuguesa – Museu do Cinema.<br />"Jaime Fernandes drew in pencil and ballpoint pen, and wrote abundantly, in the last three years of his life. Jaime was one of the 'numbered men, subjugated to the orderly,' who spent more than thirty years in a psychiatric hospital in Lisbon. Using a handheld camera from the perspective of an 'unarmed human eye' that peers out with exceptional brilliance and energy, the film makes the figures revealed in these drawings and written words blossom, roaming through their traces, volumes and temperatures in a rapport with 'all its poetic, dramatic and biographical implications,' as António Reis describes. Within a plastic ascesis, the lustrous water of a meadow, the vertiginous sylvan daisies and the patients attain a communal 'dignity of statues.' An epiphany of sounds and images that shapes an extraordinary film, raising vita and opus in the same pulse." –Marta Mateus<br /><br />Pedro Costa<br />OUR MAN / O NOSSO HOMEM<br />2010, 25 min, DCP. In Portuguese with English subtitles.<br />"In Costa’s short film, O NOSSO HOMEM, the son, whose name is José Alberto Tavares Silva, is haunted by a correspondence addressed to him. Haunted across a compound of plural times, the film unfolds in the present, suspended in a life-or-death battle for freedom. The daily battle of the margins to hold back the course of the river, our sick and poisoned river. Our man stands for all of us, as every person’s liberty is inherently collective. A political and sentimental cartography of our community and of humanity’s state of siege." –Marta Mateus<br /><br />Jean-Marie Straub<br />FRANCE AGAINST THE ROBOTS / LA FRANCE CONTRE LES ROBOTS<br />2020, 10 min, DCP. In French with English subtitles.<br />"This last film by Jean-Marie Straub was adapted from George Bernanos’ essay of the same name, *pour Jean-Luc [Godard], his fellow director and comrade, with whom he shared a lakeside promenade in Rolle, where they both lived toward the end of their lives. 'The revolution we are announcing will overturn the entire existing order or it will not take place at all.' A raw and beautiful testament. A manifesto on the absolute necessity of fighting for freedom." –Marta Mateus<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60210 <p><span style="text-decoration: underline;">With Aline Mare / Erotic Psyche (1983-87):</span><br />VENUS TO PENIS (1983, 14 min, video)<br />PYROTECHNICS (1985, 10.5 min, Super-8mm-to-16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.)<br /><br /><span style="text-decoration: underline;">With Richard Sylvarnes/Vampÿrates:</span><br />27 APHORISMS FOR JONAS (2019, 5.5 min, digital)<br />BELA LUGOSI’S DEAD (VAMPŸRATES) (2021, 11 min, digital)<br /><br /><span style="text-decoration: underline;">With Tim Geraghty:</span><br />TRANSTRANS (TRANSFORMERS TRANSFORMED) (2009, 12 min, digital)<br />{HOUDINI} SÉANCE {THE TRAILER} (2016, 4 min, digital. Shot by Sebastien Sanz de Santamaria.)<br />EAU DE CINEMA {THE AVANT AD} (2014, 2 min, 16mm-to-digital)<br /><br /><span style="text-decoration: underline;">With Lili Chin:</span><br />AERODYNAMICS OF THE BLACK SUN (2006, 6 min, 16mm-to-digital)<br /><br /><span style="text-decoration: underline;">With Qianqi Zhang:</span><br />X-RAY EROS (2025, 3.5 min, digital, silent)<br /><br />+<br />Other works with Circle X, Optipus, Robert Beck Memorial Cinema, Arcana Project, HPSCHD, including Brian Frye, Joel Schlemowitz, Lary Seven, LeLe Dai, Marie Losier, Bruce Witsiepe, and Jeanne Liotta (ca. 20 min)<br />+<br />35mm analog original slides from 1980-2025<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60252 <p>"History is full of authority figures who, under the guise of moral propriety, impose restrictive rules to control the masses. Resisting them are those who, embracing risky vulnerability, rise up to free themselves from the entrenched power structures. The protagonists of these three films commit the heresy of exalting an ethical commitment to the freedom of the spirit and its creative strength. Marked by an exceptional empathy for the inner movement of characters whose presences are physically constrained, all three concise cinematographic transgressions blur our gaze from the surface and anchor us in the depths of the space and time of thought." –Marta Mateus<br /><br />Robert Bresson<br />THE TRIAL OF JOAN OF ARC / PROCÈS DE JEANNE D’ARC<br />1962, 65 min, 16mm. In French with English subtitles.<br />"In THE TRIAL OF JOAN OF ARC, Bresson captures the inner listening of Jeanne, a look inwards, its intimate bond with the anima escaping the chains of materia – a body imprisoned and consigned to flames, the body of a woman who became a towering figure in defiance of the Inquisition’s pyres that ravaged Europe and left deep wounds still to heal, particularly in Portugal and Spain." –Marta Mateus<br /><br />Danièle Huillet & Jean-Marie Straub<br />EN RACHÂCHANT<br />1982, 7 min, 35mm. In French with English subtitles.<br />"EN RACHACHÂNT is a precious testimony of childhood’s fertile challenge against conformity, denouncing the preposterous ignorance of those who claim to teach 'things they don’t know.' Comical and provocative, both in the cadence and tone of the text and the low and high angle shots, the film critically parodies the absurdity of certainty and the inevitability of learning from life." –Marta Mateus<br /><br />Chantal Akerman<br />SAUTE MA VILLE<br />1968, 13 min, 16mm-to-DCP<br />"Reflecting the narratives inherited from history that emerge in a domestic arena saturated with symbols – culturally and ideologically attributed to the 'feminine universe' – SAUTE MA VILLE explodes, both literally and metaphorically, the monotonous patterns of convention. Fusing the gesture of framing with the presence that inhabits it in a single choreographic breath, Akerman takes on the role of the protagonist in her own body. Comedy is the truth of tragedy. An emancipatory impulse, paraphrasing Godard on 'What is Cinema?': a girl and a film camera." –Marta Mateus<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60212 <p><span style="text-decoration: underline;">With Aline Mare / Erotic Psyche (1983-87):</span><br />ELECTRAMORPHIC (1987, 11 min, Super 8mm-to-16mm. New print by Anthology Film Archives.)<br /><br /><span style="text-decoration: underline;">With Richard Sylvarnes/Vampÿrates:</span><br />27 APHORISMS FOR JONAS (2019, 5.5 min, digital)<br />DAHLIA NOIR (VAMPŸRATES) (2022, 11 min, digital)<br /><br /><span style="text-decoration: underline;">With Tim Geraghty:</span><br />EROS C’EST LAMOUR (2008, 8 min, digital)<br />{HOUDINI} SÉANCE (2010, 16 min, digital. Shot by Sebastien Sanz de Santamaria.)<br />EAU DE CINEMA {THE AVANT AD} (2014, 2 min, 16mm-to-digital)<br /><br /><span style="text-decoration: underline;">With Lili Chin:</span><br />RITE OF THE BLACK SUN (2005, 10.5 min, 16mm-to-digital)<br /><br /><span style="text-decoration: underline;">With Qianqi Zhang:</span><br />X-RAY EROS (2025, 3.5 min, digital, silent)<br /><br />+<br />Other works with Circle X, Optipus, Robert Beck Memorial Cinema, Arcana Project, HPSCHD, including Brian Frye, Joel Schlemowitz, Lary Seven, LeLe Dai, Marie Losier, Bruce Witsiepe, and Jeanne Liotta (ca. 20 min)<br />+<br />35mm analog original slides from 1980-2025<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60288 <p>ZORNS LEMMA<br />(1970, 60 min, 16mm. Preserved by Anthology Film Archives.)<br />“A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don’t understand it the first time you see it, don’t despair, see it again! When you finally ‘get it,’ a small light, possibly a candle, will light itself inside your forehead.” –Ernie Gehr<br />&<br />HAPAX LEGOMENA I: (nostalgia)<br />(1971, 36 min, 16mm. Preserved by Anthology Film Archives, MoMA, and the NYU Moving Image Archiving and Preservation Program, with funding from the National Film Preservation Foundation.)<br />“In (nostalgia) the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstrations which are the formal metaphors for most of Frampton’s films.” –P. Adams Sitney<br /><br />Total running time: ca. 100 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60200 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><em><strong>Marta Mateus will be here for Q&As following the screenings on Friday-Sunday. The Q&A on Fri will be moderated by editor, scholar, and curator Nace Zavrl, the Q&A on Sat will be moderated by writer and editor Beatrice Loayza, and the Q&A on Sun will be moderated by filmmaker and photographer Khalik Allah.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60258 <p>"On April 25, 1974, the Carnation Revolution brought down forty-eight years of dictatorship in Portugal. Under the revolutionary commotion, filmmakers and numerous emerging militant film production units dedicated their work to listening to the real country, while actively intervening in the revolution they were recording. Although with different orientations and aesthetic inclinations, all productions from that period are traversed by political, social, cultural, and economic upheavals and formally express, with greater or lesser degrees of evidence, a subversion of the previously established order with a new freedom of discourse – no longer under the gaze of the dictator and the censorship previously imposed on Portuguese cinema. After filming the large rallies in the city of Lisbon, the attention shifted to the rural areas. Several film crews moved from the urban fabric to the countryside to make films with and for the people. Two films made during the revolutionary period focused on the symbolic and effective appropriations carried out by the people." –Marta Mateus<br /><br />Ana Hatherly<br />REVOLUÇÃO<br />1975, 12 min, 16mm-to-DCP. In Portuguese with English subtitles. Digitization by Cinemateca Portuguesa – Museu do Cinema, under the scope of the Recovery and Resilience Plan. A measure integrated into the Next Generation EU program.<br />"Made during the PREC (Ongoing Revolutionary Process), REVOLUÇÃO documents with effervescence the saturation and vitality of traces, signs, symbols, figures, and words that occupied and intervened in the public space immediately after the Carnation Revolution. The film registers a multiplicity of painted murals, graffiti, propaganda posters from various political factions and previously banned parties – some with long clandestine activities – as a diversity of emerging new parties, accompanied by a roaring chorus composed of speeches of prominent resistance figures, the crowds’ jubilant demonstrations and the previously forbidden songs of protest. The montage of image and sound juxtaposes profuse layers of vibration within a series of continuous shocks, evincing the buzz of euphoric collective participation in the construction of a new democratic country. Ana Hatherly’s work crisscrosses several fields, from poetry to the visual arts, partaking in the richness of these intersections and inscribing itself as a revolutionary act." –Marta Mateus<br /><br />Grupo Zero<br />THE LAW OF THE LAND / A LEI DA TERRA<br />1977, 67 min, 35mm-to-DCP. In Portuguese with English subtitles. Digitization by Cinemateca Portuguesa – Museu do Cinema, under the scope of the Recovery and Resilience Plan. A measure integrated into the Next Generation EU program.<br />"By the end of 1975, under the motto 'The land belongs to those who work it,' more than a million hectares of land were occupied, especially in the southern fields of Alentejo, one of the poorest regions in the country. Having started as an unregulated occupy movement, the Agrarian Reform Laws later approved by the Council of the Revolution set in motion the expropriation and nationalization of large landholdings considered fundamental for the development of the country and its citizens. The UCPs (Collective Production Units) were formed and run mainly by peasants and casual rural workers, some of the most disadvantaged and precarious citizens. 'Venturing to speak with the peasants is the secret of THE LAW OF THE LAND,' asserted director Seixas Santos, one of the members of the Grupo Zero cooperative. The film accompanies the struggle of some of these rural workers and peasants during the Agrarian Reform process in Alentejo, and represents an important record of the post-revolutionary period, framing the events in their countless social, political, and historical manifestations, contributing to a contextualization and reflection on the dynamics of class struggle and the issues of land ownership and possession to this day." –Marta Mateus<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60214 <p>OSMOSIS (1972-2002, 10.5 min, Super-8mm-to-16mm)<br />AURORA BOREALIS (2002, 12 min, 16mm)<br />DELIQUESCENCE (2002, 8 min, 16mm)<br />SPIDERY (2002, 9 min, 16mm)<br />BURN (OR, THE 2ND LAW OF THERMODYNAMICS) (2004, 5 min, digital)<br />MUTABLE FIRE! (1984, 7.5 min, Super 8mm-to-16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.)<br />HYSTÈRY (1985, 11 min, Super 8mm-to-digital)<br />+<br />A selection of very rare, early original Super-8mm films (1969-74), transferred to digital, possibly including:<br />LIMP (1969, 3 min)<br />A WING IS A WOMB OF LAUGHTER (1970-1971, 9 min)<br />BLINK! (1971, 3 min)<br />SONG OF THE WOMB (1972, 4 min)<br />THE ANXIOUS CREATURE (1973, 11 min)<br />THE SKIN OF DREAMS (1974, 15 min)<br />+<br />A selection of 35mm analog original slides (1969-2025)<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60255 <p>"Moving backward to the early days of cinema, we start from more distant beginnings: from when stars, birds, trees, winds, seeds, mountains and magicians shared the same language and dialogue with the same alphabet of life; from life at its origins. Life is wise – always announcing, acting, speaking, revealing things we don’t know, things we have forgotten. When ignoring the hidden causes behind the 'chance' events in life, one might call them mere coincidence, or if with fatalistic mysticism, a blessing or a malediction. What power do human laws have over the laws of nature and the universe? In these three films, trade and speculation among ourselves – and the unknown forces in our lives – only go so far. Each film dramatizes the intervention of contrasting laws in the course of the characters’ destinies. The program gradually explores different formal styles and tones – conjuring senses of the real and ways of organizing the process of reality through fiction." –Marta Mateus<br /><br />[<em><strong>Please note: WEIRD WOMAN is a substitution for the originally programmed short WHAT DO YOU THINK?: TUPAPAOO (1938) by Jacques Tourneur, since it was unfortunately impossible to find a good quality exhibition print of the latter.</strong></em>]<br /><br />Reginald Le Borg<br />WEIRD WOMAN<br />1944, 63 min, 35mm. With Lon Chaney Jr.<br />“The long-running radio serial Inner Sanctum Mystery (1941-52) inspired six Universal films, all starring Lon Chaney Jr. and featuring eerie stories of supernatural terror. In the best one, WEIRD WOMAN, Chaney is Norman Reed, an anthropology professor married to the exotic island native he met while conducting field research for a book on voodoo religions. Austrian émigré Reginald Le Borg lends an ironically anthropological eye to his cutting study of a small-minded American town destabilized by the incestuous rivalries and unspoken xenophobia that ignite when Reed unexpectedly returns from his expedition with his comely bride in tow. Remaining true to its radio origins, WEIRD WOMAN makes effective use of voiceovers to place the viewer squarely in the troubled mindset of Reed as he struggles to understand the many weird women who whisper suggestively into his ear, including the always uncanny Val Lewton regular Elizabeth Russell as a wrathfully vengeful wife desperate to blame someone for her husband’s suicide.” –HARVARD FILM ARCHIVE<br /><br />Jean Rouch<br />LES MAGICIENS DE WANZERBÉ<br />1948, 38 min, 16mm. In French with English subtitles. Restoration CNC © CNRS – CFE.<br />"One of the most alluring of Jean Rouch’s films, LES MAGICIENS DE WANZERBÉ records the sages of the title performing rituals that invoke nature’s divine entities to request protection and sustenance for the village. They observe, feel and wait with an attitude of devotion and humility before the immense magnificence of the elements, with which they collaborate. They have preserved the wisdom of mediators between heaven and earth, energies they ally in themselves, in a permanent exchange with nature. 'The camera here has only served as a pencil to record what the hand couldn’t register,' the filmmaker warns at the beginning. The film camera serves as a medium of possession for the anthropologist, enabling the transmission of the wisdom and experiences shared by the Sohance people." –Marta Mateus<br /><br />D.W. Griffith<br />A CORNER IN WHEAT<br />1909, 14 min, 16mm, silent<br />"The seeds of wheat slip from the peasant’s hands – the hands of labor, the hands that sow the seeds on the land that grows them. A CORNER IN WHEAT traces disparate chains of value through three intertwined perspectives: of those who cultivate the fields, those who consume the bread, and those who control the markets. Seizing control of the whole world’s wheat, a greedy magnate doubles the price of bread at the bakery, taking it from the hands of the poor. After a lavish party to celebrate his wealth, he proudly shows off the grain elevators to his guests and ends up slipping into the pit. Griffith crafts a gravitational space-time where physical and moral forces converge within a single cinematic dimension." –Marta Mateus<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60339 <p>These screenings survey the moving-image practice of Taiwanese artist Chen Chieh-jen. Spanning Taiwan’s transition from martial law (lifted in 1987) to the present, these works trace the persistence of political violence, historical memory, and embodied perception as they reverberate through visual and sonic registers in the context of postcolonial transformation and global capitalism. Central to Chen’s practice is an investigation into reverberation – how delay, recurrence, and echo shape perceptual experience and historical consciousness. Drawing on the Buddhist concept, an intermediate, transitional state between death and rebirth, the program approaches the moving image as a threshold: a site where history, narrative, and sensation migrate between absence and emergence. For Chen, the moving image functions not as a record of events, but as a terrain where aftershocks and latent futures converge, opening space for reimagining political feeling, collective memory, and ethical attention.<br /><br />Curated by Alice, Nien-pu Ko.<br /><br />PROGRAM 1:<br />DYSFUNCTION NO. 3 (1983 (restored 2017), 10.5 min, 8mm-to-digital)<br />FLICKERING LIGHT (1983-84, 3.5 min, analog-video-to-digital)<br />LINGCHI – ECHOES OF A HISTORICAL PHOTOGRAPH (2002, 21 min, Super-16mm-to-digital)<br /><br />Total running time: ca. 40 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60341 <p>These screenings survey the moving-image practice of Taiwanese artist Chen Chieh-jen. Spanning Taiwan’s transition from martial law (lifted in 1987) to the present, these works trace the persistence of political violence, historical memory, and embodied perception as they reverberate through visual and sonic registers in the context of postcolonial transformation and global capitalism. Central to Chen’s practice is an investigation into reverberation – how delay, recurrence, and echo shape perceptual experience and historical consciousness. Drawing on the Buddhist concept, an intermediate, transitional state between death and rebirth, the program approaches the moving image as a threshold: a site where history, narrative, and sensation migrate between absence and emergence. For Chen, the moving image functions not as a record of events, but as a terrain where aftershocks and latent futures converge, opening space for reimagining political feeling, collective memory, and ethical attention.<br /><br />Curated by Alice, Nien-pu Ko.<br /><br />PROGRAM 2:<br />FACTORY (2003, 31 min, Super-16mm-to-digital)<br />REALM OF REVERBERATIONS (2014, 60 min, digital)<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60343 <p>These screenings survey the moving-image practice of Taiwanese artist Chen Chieh-jen. Spanning Taiwan’s transition from martial law (lifted in 1987) to the present, these works trace the persistence of political violence, historical memory, and embodied perception as they reverberate through visual and sonic registers in the context of postcolonial transformation and global capitalism. Central to Chen’s practice is an investigation into reverberation – how delay, recurrence, and echo shape perceptual experience and historical consciousness. Drawing on the Buddhist concept, an intermediate, transitional state between death and rebirth, the program approaches the moving image as a threshold: a site where history, narrative, and sensation migrate between absence and emergence. For Chen, the moving image functions not as a record of events, but as a terrain where aftershocks and latent futures converge, opening space for reimagining political feeling, collective memory, and ethical attention.<br /><br />Curated by Alice, Nien-pu Ko.<br /><br />PROGRAM 3:<br />NOTES ON THE TWELVE KARMAS (1999-2000/18, 8 min, digital)<br />WORN AWAY (2022-23, 70 min, digital)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60359 <p><strong>FREE SCREENING!</strong><br /><br />On the occasion of their current exhibition “Voice of Space: UFOs and Paranormal Phenomena”, Anthology hosts The Drawing Center for a special evening of artist films and videos. The screening showcases a selection of works made since the mid-1990s that continue investigations into the cultural, psychological, and metaphysical dimensions of the profound mysteries at the intersection of human experience, belief, and the unknown. What role do UFOs and paranormal phenomena play in shaping our understanding of the universe, and how do they challenge or expand our beliefs about humanity’s place within it?<br /><br />“Voice of Space” exhibition programming is organized by Olivia Shao, the Drawing Center’s Burger Collection & TOY Meets Art Curator. Generous support provided by Stephen Cheng, Kent Shao, the Teiger Foundation, Sarah Arison, Martin and Rebecca Eisenberg, and Laurie and David Wolfert.<br /><br />For more info about the exhibition, on view at The Drawing Center from October 17, 2025 to February 1, 2026, visit: https://drawingcenter.org/exhibitions/voice-of-space <br /><br />This screening will be free of charge; to reserve tickets click here: <a href="https://drawingcenter.org/programs/freescreening-voiceofspace">https://drawingcenter.org/programs/freescreening-voiceofspace</a> <br /><br />Peggy Ahwesh HEAVEN’S GATE (2001, 4 min, digital)<br />Kevin Jerome Everson POLLY ONE (2018, 6 min, 16mm-to-digital, silent)<br />George Kuchar THE TOWER OF THE ASTRO-CYCLOPS (1994, 17.5 min, digital)<br />Adam Putnam RECLAIMED EMPIRE (U.F.O. edit) 2008-25, 42 min, digital<br />Tony Oursler UNIDENTIFIED (2025, 4 min, digital)<br /><br />Total running time: ca. 85 min.</p> Thursday, November 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60269 <p>JEANNETTE RANKIN BRIGADE (Newsreel #4) (1968, 8 min, 16mm-to-DCP)<br />UP AGAINST THE WALL MS. AMERICA (Newsreel #22) (1968, 6 min, 16mm-to-DCP)<br />SHE’S BEAUTIFUL WHEN SHE’S ANGRY (Newsreel #48) (1969, 16 min, 16mm-to-DCP)<br />MAKE-OUT (Newsreel #49) (1970, 5 min, 16mm-to-DCP)<br />CHILDCARE: PEOPLE’S LIBERATION (Newsreel #56) (1970, 20 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60260 <p>Alain Guiraudie<br />MISERICORDIA<br />2024, 103 min, DCP. In French with English subtitles.<br />When his former boss dies, Jérémie (Félix Kysyl) travels to the picturesque village of Saint-Martial to pay his respects to the Rigal family. But while the widow Rigal seems comforted by Jérémie’s presence, her son Vincent is immediately suspicious of him. As the days go by, and Jérémie shows no inclination to leave, Vincent grows increasingly agitated, leading to a series of events that turn the homecoming tale into a wicked thriller in the vein of Alfred Hitchcock, Claude Chabrol, and Patricia Highsmith. Mushrooms, a kindly old priest, and a sneaky cop play a part in the narrative, but to say more would spoil the devious pleasures of this critically acclaimed gay suspense yarn from director Alain Guiraudie (STRANGER BY THE LAKE). Famed French film mag Cahiers du Cinéma named MISERICORDIA the best film of 2024, and it’s sure to land on many American critics’ Best-of-2025 lists by the end of this year. Will it make it on to yours?<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60272 <p>THE WOMAN’S FILM (Newsreel #55) (1971, 43 min, 16mm-to-DCP)<br />JANIE’S JANIE (1971, 25 min, 16mm-to-DCP)<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> Friday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60275 <p>BLACK PANTHER aka OFF THE PIG (Newsreel #19) (1968, 15 min, 16mm-to-DCP)<br />MAY DAY PANTHER aka MAY DAY (Newsreel #29) (1969, 15 min, 16mm-to-DCP)<br />BOBBY SEALE aka INTERVIEW WITH BOBBY SEALE (Newsreel #44) (1969, 15 min, 16mm-to-DCP)<br />EITHER OR 1970, 11 min, 16mm-to-DCP<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60295 <p>This program collects pre-WWII-era advertisements, many of them experimental animations by renowned avant-garde filmmakers and artists such as Walter Ruttmann, Lotte Reiniger, Hans Richter, Oskar Fischinger, László Moholy-Nagy, and Len Lye. Made when the cinema was still in its infancy, with the lines between different forms of moving-image production not yet fully established, these films are often virtually indistinguishable from the artists’ non-commercial work, and are essentially experimental films made in the service of various products.<br /><br />Walter Ruttmann DER SIEGER (1921, 2 min, 35mm-to-DCP. Ad for Excelsior tires. Courtesy of the Deutsche Kinemathek.)<br />Walter Ruttmann DAS WUNDER (1922, 3 min, 35mm-to-DCP. Ad for Kantorowicz liqueur. Courtesy of the Deutsche Kinemathek.)<br />Lotte Reiniger THE SECRET OF THE MARQUISE / DAS GEHEIMNIS DER MARQUISIN (1922, 2.5 min, 35mm-to-DCP. Ad for Nivea skin cream.)<br />Julius Pinschewer & Lotte Reiniger THE BARCAROLE / DIE BARCAROLE (1924, 3.5 min, 35mm-to-DCP. Ad for Pralinés Mauxion dessert. Courtesy of the Deutsche Kinemathek.)<br />Julius Pinschewer & Guido Seeber FILM (KIPHO) (1925, 5.5 min, 35mm-to-DCP. Ad for the Kino- und Photoausstellung trade show. Courtesy of the Deutsche Kinemathek.)<br />Lotte Lendesdorff & Walter Ruttmann HEALTH TONIC / DER AUFSTIEG (1926, 2 min, 35mm-to-DCP. Ad for the GESOLEI health and art exhibition in Düsseldorf. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm. Ad for the magazine Koelnische Illustrierte Zeitung.)<br />Oskar Fischinger CIRCLES / KREISE (1933-34, 2 min, 16mm. Commissioned by Tolirag publicity agency.)<br />Oskar Fischinger MURATTI GETS IN THE ACT (1934, 3 min, 16mm. Ad for Muratti Cigarettes.)<br />Oskar Fischinger MURATTI PRIVAT (1935, 2 min, 16mm. Ad for Muratti Cigarettes.)<br />László Moholy-Nagy, György Kepes, and Sybille Pietzsch (uncredited contributors) under the direction of Egon von Tresckow DER FEINSCHMECKER (1934, 2 min, 35mm-to-digital, silent. Ad for Jena Glass.)<br />Len Lye KALEIDOSCOPE (1935, 4 min, 35mm. Ad for Churchman Cigarettes. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye THE BIRTH OF A ROBOT (1935, 6.5 min, 35mm. Ad for Shell Lubrication oils. Print courtesy of the Austrian Filmmuseum.)<br />Karel Dodal & Irena Dodalová BUBBLES GAME / HRA BUBLINEK (1936, 2 min, 35mm-to-DCP. Ad for Saponia soap. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová AN AUTUMN SONG / PÍSEŇ PODZIMU (1937, 2 min, 35mm-to-DCP. Ad for the Prokop Čáp [Prokop and Stork] department store. Courtesy of the National Film Archive, Prague.)<br />Alexander Hammid & Elmar Klos THE HIGHWAY SINGS / SILNICE ZPÍVÁ (1937, 4 min, 35mm. Ad for Bata tires. Preserved by Anthology Film Archives.)<br />Gyula Macskássy INCANDESCENT LOVE / IZZÓ SZERELEM (1939, 2 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Gyula Macskássy & György Szénásy LIGHT / FÉNY (1942, 1 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60278 <p>THE HAIGHT (Newsreel #21) (1968, 6 min, 16mm-to-DCP)<br />PIG POWER (Newsreel #23) (1968, 6 min, 16mm-to-DCP)<br />YIPPIE (1968, 12.5 min, 16mm-to-DCP)<br />RIOT CONTROL WEAPONS (Newsreel #9) (1968, 6 min, 16mm-to-DCP)<br />AMERICA aka AMERIKA (1969, 30 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60298 <p>Toshio Matsumoto, Genichiro Higuchi, and Masao Yabe<br />BICYCLE IN DREAM / GINRIN<br />1955, 12 min, 35mm-to-DCP. Music by Tôru Takemitsu. Commissioned by the Japan Bicycle Promotion Institute. Courtesy of the National Film Archive of Japan (NFAJ).<br />“Toshio Matsumoto (FUNERAL PARADE OF ROSES) began his filmmaking career by planning, cowriting, and assistant-directing GINRIN, an astonishingly experimental PR film commissioned by the Japan Bicycle Promotion Institute. His collaborators on the project were Shozo Kitadai and Katsuhiro Yamaguchi, members of Japan’s postwar collective Jikken Kobo, the composer Toru Takemitsu and the special effects creator Eiji Tsuburaya, who would go on to do the same for the GODZILLA series.” –Taro Nettleton, ART REVIEW<br /><br />Toshio Matsumoto<br />THE RECORD OF A LONG WHITE LINE / SHIROI NAGAI SEN NO KIROKU<br />1960, 13 min, 35mm-to-DCP. Commissioned by Kansai Electricity.<br />“A short history of the development of Japan’s energy supply after the war, commissioned by the energy company Kansai and made as a stylistically heterogeneous blend of animations, veristic observations, etc.” –INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN<br /><br />Ed Emshwiller<br />FUSION<br />1967, 16 min, 16mm-to-DCP. Commissioned by Spring Mills. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.<br />“A cine-dance film sponsored by Springs Mills to promote a new line of towels designed by Pucci. Dancers throw, move through, dance with, and are draped in a variety of designer towels.” –Ed Emshwiller<br /><br />Total running time: ca. 45 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60301 <p>This program of post-WWII advertisements encompasses striking commissioned films by experimental film- and video-makers like Jordan Belson, Peter Kubelka, Pat O’Neill, Chick Strand, Dara Birnbaum, and Jeff Preiss, and art-house giants such as Ingmar Bergman, Jean-Luc Godard, David Lynch, and David Cronenberg, and throws in appearances from Frank Zappa, John Waters, and Father Guido Sarducci for good measure.<br /><br />John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] (1982, 40 sec, 35mm)<br />Mark Shepard [EZTV No smoking PSA] (ca. 1985, 30 sec, video)<br />Ingmar Bergman BRIS SOAP COMMERCIALS [selection] (1951, 6.5 min, 35mm-to-DCP. Courtesy of the Swedish Film Institute.)<br />Oskar Fischinger MUNTZ TV (1953, 1.5 min, 16mm. Ad for Muntz TV.)<br />Jordan Belson CHRONICLE (1955, 2 min, 16mm-to-DCP. Ad for the San Francisco Chronicle. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive.)<br />Len Lye RHYTHM (1957, 1 min, 16mm, b&w. Commissioned (but rejected) by Chrysler.)<br />Peter Kubelka ADEBAR (1957, 1 min, 35mm. Commissioned (but rejected) by Vienna’s Café Adebar.)<br />Peter Kubelka SCHWECHATER (1958, 1 min, 16mm. Commissioned (but rejected) by Schwechater Bier.)<br />Anonymous Commercials for d-c-fix and INKU GF-Kante (1963/65, 4 min, 35mm, b&w. Preserved (2013) by the Austrian Film Museum.)<br />Dwinell Grant PEPSI-COLA-COMMERCIAL (1960, 1 min, 16mm. Preserved by Anthology Film Archives.)<br />Paul Bartel THE SUBJECT WAS WRINKLES (1960s, 7.5 min, 16mm-to-digital)<br />Ed Seeman & Frank Zappa [Luden’s Cough Drops ad] (1967, 1 min, video )<br />Pat O’Neill, Neon Park, and Chick Strand SEARS SOX (1968, 5 min, 16mm. Commissioned by Sears department stores. Print courtesy of the Academy Film Archive.)<br />Karpo Godina [Zastava 101 ads] (ca. 1975, 1.5 min, video)<br />Karpo Godina [Koloy’s Spearmint Chewing Gum ad] (ca. 1970s, 1 min, video)<br />Dara Birnbaum REMY/GRAND CENTRAL: TRAINS AND BOATS AND PLANES (1980, 4 min, video. Commissioned by Remy Martin.)<br />George Manupelli & William Farley FATHER GUIDO SARDUCCI ON ART SCHOOL (1982, 1 min, video. Ad for the San Francisco Art Institute.)<br />Dara Birnbaum MTV: ARTBREAK (1987, 30 sec, video)<br />David Daniels [ABC promo – Michael Jackson] (1987, 12 sec, video)<br />David Daniels [Honda Scooter ad] (1988, 30 sec, video)<br />David Daniels [IDIOT BOX opening sequence] (1990, 30 sec, video)<br />David Daniels [Clearasil ad] (1995, 30 sec, video)<br />M. Henry Jones & Tom Marsan [America’s Best Contacts and Eyeglasses commercial] (1990, 30 sec, video)<br />Jean-Luc Godard [Closed Jeans ads] (1987/88, 2 min, video)<br />Jean-Luc Godard [Nike Air 180 ad] (1991, 15 sec, video)<br />Jean-Luc Godard [Schick Aftershave ad] (1991, 1 min, video)<br />Jean-Luc Godard [Parisienne People Cigarettes ad] (1992, 45 sec, video. Co-directed by Anne-Marie Miéville.)<br />David Cronenberg [Nike Air 180 ad] (1990, 30 sec, video)<br />David Cronenberg [Caramilk ad] (1990, 30 sec, video)<br />David Lynch [Georgia Coffee ads] (1991, 2 min, digital)<br />David Lynch [Michael Jackson Dangerous Short Films intro] (1991, 30 sec, digital)<br />David Lynch [Adidas the Wall ad] (1993, 1 min, digital)<br />David Lynch [Sci Fi Channel interstitials] (1997, 1 min, digital)<br />David Lynch PARISIENNE PEOPLE (1998, 1 min, digital. Ad for Parisienne cigarettes.)<br />David Lynch [Playstation 2 ad] (2000, 1 min, digital)<br />David Lynch [David Lynch Coffee ad] (2011, 4 min, digital)<br />Jeff Preiss NIKE: JOEL / HIPPIES (1993, 1 min, 16mm-to-digital)<br />Jeff Preiss CHERRY COKE: RUGBY (1998, 1 min, 16mm-to-digital)<br />Jeff Preiss YELLOW PAGES: TOUR / CRITIC / GREEN ROOM (1998, 2 min, 16mm-to-digital)<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, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60281 <p>MILL-IN aka THE CHRISTMAS MILL-IN (Newsreel #6) (1967, 12 min, 16mm-to-DCP)<br />GARBAGE aka GARBAGE DEMONSTRATION (Newsreel #5) (1968, 10 min, 16mm-to-DCP)<br />UNION aka OIL STRIKE aka RICHMOND OIL STRIKE (Newsreel #25) (1969, 17 min, 16mm-to-DCP)<br />WILMINGTON (Newsreel #30) (1970, 15 min, 16mm-to-DCP)<br />PA BELL GO TO HELL (1971, 3 min, 16mm-to-DCP)<br />FELIX REVOLTS aka FELIX THE CAT (1968, 7 min, 16mm-to-DCP)<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, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60304 <p>Stan Phillips COLORADO LEGEND (1961, 11 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />Stan Phillips BALLAD OF THE COLORADO UTE (1963, 17 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />“Educational/informational films made as commissioned works for the Colorado Department of Public Relations through Western Cine, which was a film laboratory (and Brakhage’s primary lab), but also a production company for educational films for an unknown period in the early 1960s. Although directed by Brakhage’s longtime friend Stan Phillips, Brakhage is credited with ‘photography, editing, and pictorial direction’, and the films bear some hallmarks of his personal style.” –Mark Toscano<br /><br />Stan Brakhage<br />MR. TOMPKINS INSIDE HIMSELF<br />1962, 41 min, 16mm. Print courtesy of the Academy Film Archive.<br />“An educational film made by Brakhage with Western Cine owner John Newell (who also photographed much of the film), based on ‘Mr. Tompkins Learns the Facts of Life’ by George Gamow. Although some of the medical and scientific footage in this film was obtained from separate sources, there is a credit stating ‘Microphotography of Vessels of Living Bat’s Wing, Mouse Lung, Red Blood, Slides, and Photography of Internal Heart of Sheep and External Heart of Living Dog by Stan Brakhage and George Gamow’. Some of this footage was also used by Brakhage in DOG STAR MAN.” –Mark Toscano<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60284 <p>THE CASE AGAINST LINCOLN CENTER (Newsreel #17) (1968, 12 min, 16mm-to-DCP)<br />BREAK AND ENTER aka SQUATTERS (Newsreel #62) (1971, 42 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60307 <p>This program pairs Jonas Mekas’s FILM MAGAZINE OF THE ARTS – commissioned by Show Magazine, but rejected for containing no references to the magazine itself – with films made for various school systems by Bruce Baillie and Chick Strand; Robert Breer’s PBL #2 (a cartoon history of the black American for broadcast on the NET network); Cathryn Aison and Philip Glass’s SESAME STREET segment, GEOMETRY OF CIRCLES; and Jerome Hiler and Nathaniel Dorsky’s LIBRARY, a moving and lovely paean to New Jersey’s Sussex County Library.<br /><br />Jonas Mekas FILM MAGAZINE OF THE ARTS (1963, 20 min, 16mm. Preserved by Anthology Film Archives.)<br />“In Spring, 1963 Show Magazine called me and asked that I make a film on arts in New York. I told them, why did they want me to make it – didn’t they know I was a bit unusual?… ‘We want something unusual,’ they said. So I went out and made a newsreel on arts. Show people looked at the rough cut of the film and became very angry. ‘But there is nothing about Show Magazine and DuPont fabrics in the movie,’ they said. ‘What has that to do with the arts in New York!’ I said. The battle was short. The film was destroyed. Really, I have no idea what they did with it. This workprint of the first FILM MAGAZINE OF THE ARTS is the only print in existence, as far as I know.” –Jonas Mekas<br /><br />Bruce Baillie HERE I AM (1962, 11 min, 16mm. Preserved by Anthology Film Archives.)<br />“A film for the East Bay Activity Center in Oakland, a school for mentally disturbed children.” –Bruce Baillie<br /><br />Bruce Baillie THE BROOKFIELD RECREATION CENTER (1964, 6 min, 16mm. Preserved by BAMPFA, 2012.)<br />“Made for the Oakland Public Schools on an experimental series of classes in the arts.” –Bruce Baillie<br /><br />Chick Strand CHILDREN ARE OUR FIRST PRIORITY (1972, 12.5 min, 16mm. Print courtesy of the Academy Film Archive.)<br />This extremely rare work by Chick Strand is a sponsored film about Title 1 schools.<br /><br />Robert Breer PBL #2 1968, 1 min, 16mm<br />“A concise, one-minute cartoon history of the black American, commissioned by the Public Broadcast Laboratory and shown on NET network.” –CANYON CINEMA<br /><br />Cathryn Aison & Philip Glass GEOMETRY OF CIRCLES (1979, 2.5 min, digital. Commissioned by SESAME STREET.)<br /><br />Jerome Hiler & Nathaniel Dorsky LIBRARY (1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad.)<br />“[In 1970 Hiler and Dorsky] collaborated on an unexpected and little-known work, an industrial film commissioned by New Jersey’s Sussex County Area Reference Library, whose local branch Dorsky and Hiler frequented first as patrons, then eventually as projectionists and programmers for the library’s 16mm screenings. […] A collaboration with their friends Tony Conrad and his wife, actress Beverly Grant, who contributed, respectively, its minimalist score and voiceover narration, LIBRARY…is a direct complement to both filmmakers’ contemporary diary films and an extension of their somewhat idealized vision of daily life in rural New Jersey. More importantly, the film gives revealing expression to the close correspondence uniting Dorsky and Hiler’s work, and their shared dedication to an ideal of art as a form of spiritual experience and devotion.” –Haden Guest, CINEMA SCOPE<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60270 <p>JEANNETTE RANKIN BRIGADE (Newsreel #4) (1968, 8 min, 16mm-to-DCP)<br />UP AGAINST THE WALL MS. AMERICA (Newsreel #22) (1968, 6 min, 16mm-to-DCP)<br />SHE’S BEAUTIFUL WHEN SHE’S ANGRY (Newsreel #48) (1969, 16 min, 16mm-to-DCP)<br />MAKE-OUT (Newsreel #49) (1970, 5 min, 16mm-to-DCP)<br />CHILDCARE: PEOPLE’S LIBERATION (Newsreel #56) (1970, 20 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60310 <p>Hans Richter’s THE NEW APARTMENT – produced for a Swiss architectural and interior design exhibition to promote modern approaches to design – is paired here with travel- and tourism-themed films by the great experimental animators Len Lye and Norman McLaren, the trippy bicentennial animation 200, and a fascinating film designed to promote the city of Pittsburgh (on the occasion of its own bicentennial), which was made with contributions from photographer Weegee, avant-garde filmmakers Stan Brakhage, Lye, and Stan Vanderbeek, and photographers W. Eugene Smith and Willard Van Dyke.<br /><br />Hans Richter THE NEW APARTMENT / DIE NEUE WOHNUNG (1930, 28 min, 35mm-to-DCP. Commissioned by Schweizerischer Werkbund (SWB).)<br />Len Lye COLOUR FLIGHT (1938, 4 min, 35mm-to-DCP. Commissioned by Imperial Airways.)<br />Len Lye SWINGING THE LAMBETH WALK (1939, 4 min, 35mm. Commissioned by the British Tourist and Industrial Development Association. Print courtesy The Museum of Modern Art, New York.)<br />Len Lye LIFE’S MUSICAL MINUTE (1953, 2 min, 35mm-to-DCP)<br />Norman McLaren NEW YORK LIGHTBOARD RECORD (1961, 9 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />PITTSBURGH (1959, 28 min, 16mm-to-DCP. Produced by On Film Co.)<br />Vince Collins 200 (1975, 3 min, 16mm-to-DCP)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60282 <p>MILL-IN aka THE CHRISTMAS MILL-IN (Newsreel #6) (1967, 12 min, 16mm-to-DCP)<br />GARBAGE aka GARBAGE DEMONSTRATION (Newsreel #5) (1968, 10 min, 16mm-to-DCP)<br />UNION aka OIL STRIKE aka RICHMOND OIL STRIKE (Newsreel #25) (1969, 17 min, 16mm-to-DCP)<br />WILMINGTON (Newsreel #30) (1970, 15 min, 16mm-to-DCP)<br />PA BELL GO TO HELL (1971, 3 min, 16mm-to-DCP)<br />FELIX REVOLTS aka FELIX THE CAT (1968, 7 min, 16mm-to-DCP)<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> Monday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60285 <p>THE CASE AGAINST LINCOLN CENTER (Newsreel #17) (1968, 12 min, 16mm-to-DCP)<br />BREAK AND ENTER aka SQUATTERS (Newsreel #62) (1971, 42 min, 16mm-to-DCP)<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60345 <p>[NA SREBRNYM GLOBIE]<br /><br />This very special screening of Andrzej Żuławski’s magnum opus, ON THE SILVER GLOBE (1988), will be presented in person by its cinematographer, acclaimed DOP and longtime Żuławski collaborator Andrzej Jaroszewicz!<br /><br />“Żuławski’s masterpiece, the almost indescribable ON THE SILVER GLOBE, was begun in Poland in the 1970s, and shot on locations ranging from the Gobi Desert to Crimea to the Baltic coast. He said this science-fiction allegory was too anti-clerical even for the country’s Communist authorities, who, claiming he had exhausted the budget, shut down production. A decade later Żuławski assembled the surviving material, restaged some scenes with new actors, and added documentary footage of late-’80s Poland. The result, which ultimately surfaced in 1988, is a majestic ruin. Comparable for sheer weirdness to David Lynch’s DUNE, ON THE SILVER GLOBE shows astronauts marooned on the Moon contending with rival species, including telepathic humanoid birds, amphibious mud people and their own mutated descendants. As always, Żuławski is an inspired orchestrator of tumult; the rabid crowd scenes in this primordial pageant might have been played by The Living Theater at its acid-ripped height. ON THE SILVER GLOBE is outsider art on a huge scale.” –J. Hoberman, NEW YORK TIMES<br /><br />Co-presented by the Polish Cultural Institute New York.<br /><br /><em><strong>Followed by a Q&A with Andrzej Jaroszewicz!</strong></em><br /><br /><img src="https://instytutpolski.pl/newyork/wp-content/uploads/sites/15/2019/04/logo-ip-new-york.png" alt="" width="100" height="49" />     <img src="https://instytutpolski.pl/newyork/wp-content/uploads/sites/15/2025/04/Znak-25_bez-logo_na-przezroczystosci-1-1024x451.png" alt="" width="100" height="44" /><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60279 <p>THE HAIGHT (Newsreel #21) (1968, 6 min, 16mm-to-DCP)<br />PIG POWER (Newsreel #23) (1968, 6 min, 16mm-to-DCP)<br />YIPPIE (1968, 12.5 min, 16mm-to-DCP)<br />RIOT CONTROL WEAPONS (Newsreel #9) (1968, 6 min, 16mm-to-DCP)<br />AMERICA aka AMERIKA (1969, 30 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60264 <p>NORTH AMERICAN PREMIERE!<br />César González<br />PLEBEIAN ULYSSES / ULISES PLEBEYO<br />Argentina, 2024, 68 min, digital. No dialogue.<br />“Prolific Argentine filmmaker and poet César González has been crafting one of the most original and groundbreaking bodies of work in contemporary Argentine cinema. Yet, far too little of it has been screened in the U.S. – and it’s time to change that. González has authored books of poetry, novels, and essays on cinema, that depict life on the margins of society – a life he has lived and continues to live intensely. This experience resonates deeply in each of his films. <br />PLEBEIAN ULYSSES is his most experimental work to date. A collage, an agitprop travelogue, a kaleidoscope of sounds and images – it seeks to awaken the beauty of everyday life in a world the middle class has been taught not to see, but to fear. Filmmaker Lucrecia Martel has described his work as ‘a modest sewer through which the ideas with which we mask our privileges seep.’ PLEBEIAN ULYSSES is a patchwork of contrasting fragments that bloom like the sharp petals of a copper shiny rose.” –Matías Piñeiro<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60347 <p>This program celebrating the launch of MFJ No. 82 “Real Life” consists of works discussed in the issue. These films and their accompanying texts are attempts to understand an increasingly convoluted world, in which images are not just a reflection of reality, but part of its very substance.<br /><br />Programmed by Grahame Weinbren, Vince Warne, and Jonathan Ellis.<br /><br />The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit https://millenniumfilmjournal.com/donations/donation-form/ <br /><br />Open Group REPEAT AFTER ME (2024, 17 min, digital)<br />“Men, women, old, middle aged, young. One by one they stare into the camera, identify themselves, and shout, yowl, grunt, hiss, roar the sounds of war.<br />UUUUhHHhh TDDURRShHTTZHH TTZHT!<br />Machine gun. Explosion. Siren. Drone. Helicopter. Bomber Plane.<br />WZWFFF BU BUUHH! WZWFFF BU BUUHH!<br />Oversized subtitles approximate the sounds. Once, twice.<br />WEEEEEEEEHHEWEeee. WEEEEEEEEHHEWEeee.<br />After producing the extended sound of war weapons or warning sirens, the performer issues the command ‘Повторюй за мною’ or ‘Repeat after me.’”<br />–“War in Pieces”, Grahame Weinbren<br /><br />Samy Benammar ADIEU UGARIT (2024, 15 min, 16mm-to-digital)<br />“The main character, a survivor of the Syrian civil war, is traumatized by his memory of a friend’s execution. Shadows of the past pervade the film, a tone evoked by a dissonance between the dark emotions of the subject and the calming qualities of the Laurantian Waters… Were we to mute the audio and the subtitles, ADIEU UGARIT would read as a modest celebration of sylvan lake-country lovingly recorded in black and white and intercut with images of a fine-looking man – with no suggestion of an absent voice-over narrative. It is in the contrast between image and text that a bitter emotional tone conveys the horror of violent death in the mind of someone who can’t escape it.” –“War in Pieces Continued”, Grahame Weinbren<br /><br />Claudia Hart MEMORY THEATER 2 (2022-25, 5 min, digital)<br />“One piece features a Bladerunner-meets-Las Meninas cyborg transformed into a high-contrast billboard for an intermedia fashion show (DOLL DANCE (ILLUMINATION), 2014/2025). Whether angel, tree, or silvery blob, Hart’s uncanny figures and their environments are wholly expressive. They drift, warp, and decay, seemingly under the spell of unknown pressures, whether internal or environmental…” –“Claudia Hart: Illuminations”, Corinna Kirsch<br /><br />Mike Hoolboom RAIN (2025, 3 min, digital)<br />Mike Hoolboom WHITE HARLEM (2024, 10 min, digital)<br />“The work you’re about to see is not alive, until someone performs the labour of unfolding them. They need to be touched and unfolded. Is that too much to ask? Of course it is. Of course that’s too much. I think the beginning, the establishing shot, the doorway that we walk through to find each other at an artist’s movie screening always begins the same way. By asking too much. By making preposterous statements. What do you call this place anyway: utopia? It literally means: No place.” –“What Is An Artist? An Introduction to the Brakhage Symposium”, Mike Hoolboom<br /><br />Tomonari Nishikawa SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS (2014, 2 min, 35mm)<br />“On a first glance, the two-minute film’s images look like any number of cameraless film experiments – a rush of blue color and light leaks, scratched frames jumping with flickering energy, and a hushed soundtrack of noise and pops. Beautiful, strange, and abstract – you’d be forgiven for thinking it was a hand-painted work, or an exercise in unconventional darkroom processing techniques. But after a brief cut to black, onscreen text matter-of-factly reveals the significance of the images we’ve just seen…” –“MFJ 82 Introduction”, Vince Warne<br /><br />Undertime Slopper SELECTED WORKS (2025, 5 min, digital)<br />“Undertime Slopper is an anonymous short-form video artist (or maybe a group, or a self-aware AI, who’s to say?) best known for posting to TikTok. Their videos are compact, usually disheveled collages of AI voiceovers, photogrammetry scans, lip-dubbed characters, and wobbly 3D animation. The character animations hover in an aesthetic limbo, not quite amateurish, not quite refined. They occupy a visual space shaped by algorithmic leftovers: low-poly scans, warped perspective, and uncanny ‘deepfake’ digital mouths. But beyond the noise (or slop), he’s built an absurdist ecosystem, half-myth, half-meme, populated by recurring figures and worlds like King Undertime, Nephew, and the whimsical Albert’s Forest. It’s surreal, funny, occasionally unnerving, and best of all, completely detached from the fine art world.” –“I Love Undertime Slopper”, Ari Temkin<br /><br />John Smith BEING JOHN SMITH (2024, 27 min, digital)<br />“The film sparkles with the filmmaker’s skillful employment of the inbuilt powers of cinema to refer to self-confessed flaws and insecurities. Is it <em>flippant, facetious, ironic, wry, ironical, cynical, dry, poignant</em>? Do we feel by the end of the film that we’ve come to know the filmmaker? Hardly. He warned us not to believe him.” –“War in Pieces Continued”, Grahame Weinbren<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 19