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 Fri, 22 Oct 2021 16:16:51 -0400 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53859 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Friday, October 22 CINEMA 16, PROGRAM 2: DECEMBER 1947 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53880 <p>Robert Anderson THE FEELING OF REJECTION (1947, 21 min, 16mm)<br />&ldquo;The case history of Margaret, a 23-year-old girl who has physical disorders with no physical causes. A psychiatrist shows her the root of her troubles &ndash; childhood overprotection and discouragement of her efforts to express herself, resulting in a crippling fear of failure and a complete inability to assert herself. When Margaret understands her problem, she develops new and healthier habits of behavior.&rdquo; &ndash;NATIONAL FILM BOARD OF CANADA<br /><br />John &amp; James Whitney FILM EXERCISES 1-5 (1943-45, 18 min, 16mm)<br />&ldquo;The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.&rdquo; &ndash;William Moritz<br /><br />John Ferno AND SO THEY LIVE (1940, 25 min, 35mm-to-digital. Edited by Irving Lerner. Courtesy of the Library of Congress and the National Film Preservation Foundation.) <br />&ldquo;Stark, realistic documentary showing poorly educated &lsquo;mountain peoples&rsquo; living in poverty and stricken with disease. Their solace comes in strong family bonds and the prospect of improved educational opportunities. John Ferno had been a cameraman for Joris Ivens and Henri Storck.&rdquo; &ndash;FIELD GUIDE TO SPONSORED FILMS<br /><br />Norman McLaren<br />HEN HOP (1942, 4 min, 35mm-to-digital)<br />&ldquo;This joyful short animation features a dancing hen that transforms into an egg. The film was made without a camera by Norman McLaren, who drew directly onto 35mm movie stock with ordinary pen and ink. Color was added optically.&rdquo; &ndash;NATIONAL FILM BOARD OF CANADA<br />FIVE FOR FOUR (1942, 3 min, 35mm-to-digital)<br />&ldquo;This animated short serves as a wartime savings campaign. Symbolic figures, drawn directly on 35mm film stock, move and dance against a simple painted background. The score is &lsquo;Pinetop&rsquo;s Boogie Woogie,&rsquo; by Albert Ammons.&rdquo; &ndash;NATIONAL FILM BOARD OF CANADA<br /><br />Total running time: ca. 75 min.</p> Friday, October 22 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53860 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Friday, October 22 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53861 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Saturday, October 23 CINEMA 16, PROGRAM 3: MAY 12, 1948 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53882 <p>Arne Sucksdorff WIND FROM THE WEST / VINDEN FR&Aring;N V&Auml;STER (1942, 17 min, 35mm. Print courtesy of the Swedish Film Institute.)<br />&ldquo;A blend of fact and fantasy, set in the land of the Lapps in northernmost Sweden. In a schoolhouse young Nils sits dreamily longing that he might go with the older Lapps on their yearly migration to the mountains. Presently the boy dozes, and in his dream the voice of the Wind from the West speaks to him, and takes him on a visit to the mountains.&rdquo; &ndash;MELBOURNE INTERNATIONAL FILM FESTIVAL<br /><br />AGGRESSION AND DESTRUCTION GAMES: BALLOONS (1941, 17 min, 16mm-to-digital. Produced by the Department of Child Study, Vassar College. Courtesy of Indiana University Libraries Moving Image Archive.)<br />Two boys, both between the ages of four and five, are subjects in a study of aggressive and destructive impulses. The film shows how differently two children, but a few months apart in age and from similar backgrounds, respond to a graduated series of opportunities and invitations to break balloons. Demonstration film of a projective technique developed by L. Joseph Stone.<br /><br />Sergei Eisenstein, Grigori Alexandrov, Eduard Tiss&eacute;, and Sol Lesser DEATH DAY (1931-34, 15 min, 16mm)<br />&ldquo;One of three films released by Upton Sinclair through producer Sol Lesser, DEATH DAY is comprised of footage shot by Sergei Eisenstein for his unfinished film QUE VIVA MEXICO! This short subject focuses on the Day of the Dead festivities and is an homage to the artist Jos&eacute; Guadalupe Posada. Though Eisenstein did not edit this film, his exquisite sense of Mexico and its people, culture and traditions are clearly evident.&rdquo; &ndash;Bruce Posner, UNSEEN CINEMA<br /><br />Paul Rotha THE WORLD IS RICH (1947, 35 min, 35mm. Print courtesy of the British Film Institute.)<br />&ldquo;An early release from the newly created Central Office of Information, [THE WORLD IS RICH] was part of a trend in British documentary towards international subject matter. But it was also an informal sequel to Rotha&rsquo;s 1943 film WORLD OF PLENTY, concerned as it is with the food situation confronted by the globe in the early years after WWII. [&hellip;] The film is frankly promotional &ndash; for the United Nations&rsquo; Food and Agriculture Organization&hellip;yet it is also viscerally angry that humankind and its political systems have allowed famine to occur and persist.&rdquo; &ndash;BFI SCREENONLINE<br /><br />Total running time: ca. 90 min.</p> Saturday, October 23 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53862 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Saturday, October 23 CINEMA 16, PROGRAM 4: MARCH 1951 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53884 <p>[The descriptions for this program are taken from the original Cinema 16 program notes.]<br /><br />Curtis Harrington ON THE EDGE (1949, 6 min, 16mm)<br />Dream or reality? A dark and doom-haunted episode of desperation is acted out by two people in a setting of eerie desolation. A striking new experimental film by Curtis Harrington, producer of FRAGMENT OF SEEKING.<br /><br />THE ATOM STRIKES (Army Pictorial Service/U.S. Army Signal Corps, 1948, 31 min, 35mm-to-digital. Courtesy of A/V Geeks.)<br />First detailed account of the effects of the atomic bomb on Hiroshima, just released: an unprecedented film document. Includes dramatic interview with a survivor.<br /><br />THE WORK OF U.P.A.<br />Cinema 16 proudly presents the first comprehensive compilation of the work of United Productions of America (producers of Columbia&rsquo;s sensational cartoon GERALD MCBOING-BOING) whose outstanding films promise to revolutionize the American cartoon field.<br />Pete Burness TROUBLE INDEMNITY (1950, 7 min, 35mm)<br />John Hubley PUNCHY DE LEON (1950, 7 min, 35mm)<br />Pete Burness BUNGLED BUNGALOW (1950, 7 min, 35mm)<br />Robert Cannon GERALD MCBOING-BOING (1950, 8 min, 35mm. Print courtesy of the Academy Film Archive.)<br /><br />Lester F. Beck HYPNOTIC BEHAVIOR (1949, 25 min, 16mm. Print courtesy of A/V Geeks.)<br />In a series of unstaged, authentic experiments two subjects are hypnotized and in trance experience insensibility to pain; blindness and deafness; eye and arm catalepsy; post-hypnotic amnesia. According to instructions given in the trance state, the same photographs appear amusing to one subject, depressing to the other in a fascinating last sequence. Produced by Dr. Lester F. Beck, Department of Psychology, University of Oregon.<br /><br />Total running time: ca. 95 min.</p> Saturday, October 23 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53863 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Saturday, October 23 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53864 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Sunday, October 24 CINEMA 16, PROGRAM 5: MAY 1953 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53886 <p>[The descriptions for this program are taken from the original Cinema 16 program notes.]<br /><br />CORAL WONDERLAND (1950, 30 min, 16mm-to-digital. Produced by Noel &amp; Kelly Monkman, with commentary by Wilfrid Thomas. Courtesy of A/V Geeks.)<br />A journey into a mysterious universe: Luxurious coral growths and startling, underwater creatures of the island reefs come to life in magnificent color under the microscope.<br /><br />Jiri Trnka SONG OF THE PRAIRIE / ARIE PRERIE (1949, 21 min, 35mm-to-DCP. Courtesy of the Czech National Film Archive.)<br />A delicious satire on Westerns, enacted by Trnka&rsquo;s (THE EMPEROR&rsquo;S NIGHTINGALE) charming puppets, complete with a damsel in distress and a rootin&rsquo; tootin&rsquo; climax.<br /><br />Chester Kessler PLAGUE SUMMER (1951, 17 min, 16mm)<br />The record of a journey of six allegorical characters through landscapes brutalized by war. A hand-drawn adaptation by Chester Kessler of Kenneth Patchen&rsquo;s &ldquo;Journal of Albion Moonlight.&rdquo; &ldquo;Drawn with extraordinary imagination.&rdquo; &ndash;Lewis Jacobs, EXPERIMENT IN FILM<br /><br />Giles Healey MAYA THROUGH THE AGES (1949, 45 min, 16mm)<br />An exploration of the most brilliant New World Civilization of Pre-Columbian times, including Healey&rsquo;s historic trek into the jungles of Chiapas, the discovery of the temples of Bonampak with their unique frescoes, and his unforgettable encounter with the present day descendants of the Mayas, the strange Lacandona Indians, Stone Age survivors in our time.<br /><br />Total running time: ca. 120 min.</p> Sunday, October 24 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53865 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Sunday, October 24 CINEMA 16, PROGRAM 6: MAY 1957: DISTANT JOURNEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53888 <p>Alfr&eacute;d Radok<br />DISTANT JOURNEY<br />1949, 103 min, 35mm-to-DCP. In Czech and German with English subtitles. Distributed by Janus Films.<br />&ldquo;Alfr&eacute;d Radok&rsquo;s unaccountably neglected masterpiece, an unrelenting epic of human suffering and degradation, recounts for all time the horror and the realities of the concentration camp universe. Intentionally intensified, non-realist film techniques (borrowing from both the expressionist and surrealist tradition) add to the dramatic impact of this unique work of film art.&rdquo; &ndash;CINEMA 16 PROGRAM NOTES<br /><br />&ldquo;The most brilliant and the most powerful film on the subject ever made&hellip;departs from stark literalness into a strange, horrible, fantastic grotesqueness that truly comprehends those black barbarities. [&hellip;] A quality of nightmare and madness builds up, until the final episode of mass destruction causes a hypnosis of insanity.&rdquo; &ndash;NEW YORK TIMES</p> Sunday, October 24 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53866 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Sunday, October 24 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53867 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Monday, October 25 CINEMA 16, PROGRAM 7: JANUARY 29, 1958 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53891 <p>An Evening of Poetic &amp; Surrealist Films<br /><br />Robert Vickrey TEXTURE OF DECAY (1953, 11 min, 16mm-to-digital. Digitized by Anthology Film Archives, courtesy of the <a href="https://robertvickrey.com/">Estate of Robert Remsen Vickrey</a>.)<br />Painter Robert Vickrey was well-known in his day for his magical realist style and his technical brilliance (in particular his mastery of the Renaissance technique of egg tempera painting), as well as for his writings on art and the numerous portraits he painted for Time Magazine. Vickrey was also enamored of the cinema, and made several short films of his own as part of the NYC experimental film scene in the 1950s. Rarely screened today, these works include TEXTURE OF DECAY, which concerns a man driven to suicide by the atmosphere of an abandoned house.<br /><br />Charles &amp; Ray Eames HOUSE: AFTER FIVE YEARS OF LIVING (1955, 11 min, 16mm)<br />&ldquo;An exploration of the Eames House and Studio, made five years after Charles and Ray began living there. It is composed entirely of still images shot as 35mm transparencies by Charles between 1949 and 1955.&rdquo; &ndash;EAMES OFFICE<br /><br />Sidney Peterson THE PETRIFIED DOG (1948, 19 min, 16mm)<br />THE PETRIFIED DOG has been preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.<br />&ldquo;With macabre slapstick, Peterson evokes a child&rsquo;s fantasies of birth, love, and death in terms of chiropractors, fights, flights, and eternal triangles. The soundtrack is highly experimental.&rdquo; &ndash;GROVE PRESS FILM CATALOG<br /><br />Herman G. Weinberg AUTUMN FIRE (1931, 23 min, 16mm)<br />&ldquo;Weinberg&rsquo;s second personal film is a poetic evocation of an absent lover as imagined by the central female character, whom Weinberg loved and sought to marry. Very sophisticated editing adds to the misty cinematography. Happily, actress Erna Bergman accepted Weinberg&rsquo;s proposal soon after she saw the film.&rdquo; &ndash;Robert A. Haller<br /><br />Oskar Fischinger MOTION PAINTING 1 (1947, 11 min, 16mm)<br />&ldquo;Volumes could be written about this film which stands in length and complexity as Fischinger&rsquo;s major work. It is perhaps the only one of his films which is truly and completely (or purely) abstract (or absolute). Its images are actors in a complex being which modulates and transforms itself before our eyes, an object and an experience at the same time, something we must feel and contemplate, and meditate through.&rdquo; &ndash;William Moritz, FILM CULTURE<br /><br />Total running time: ca. 80 min.</p> Monday, October 25 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53868 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Monday, October 25 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53869 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Tuesday, October 26 CINEMA 16, PROGRAM 8: MAY 1959 + FEBRUARY 1960 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53893 <p><span style="text-decoration: underline;">MAY 1959:</span><br />[The descriptions for this program are taken from the original Cinema 16 program notes.]<br /><br />John Hubley ADVENTURES OF ASTERISK (1957, 10 min, 35mm. Print courtesy of Cinema Conservancy.)<br />Brilliant, witty and highly original attempt to explain the philosophy of modern art not by narrative, but by purely visual means. Vibraphone: Lionel Hampton.<br /><br />Jean Mitry PACIFIC 231 (1949, 12 min, 16mm. Print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.)<br />The nervous rhythm of Arthur Honegger&rsquo;s celebrated symphonic poem fully captured in a masterpiece of editing and photography.<br /><br />Carmen D&rsquo;Avino THE ROOM (1959, 5 min, 16mm. Preserved by the Academy Film Archive.)<br />A destitute room, transmuted by the startling magic of stop-motion photography into a luxuriant explosion of color. A new work by D&rsquo;Avino (THE BIG O).<br /><br />Integration: The Unsolved Problem<br />Lee Bobker &amp; Lester Becker CRISIS IN LEVITTOWN (1957, 32 min, 16mm. Print courtesy of Indiana University Libraries Moving Image Archive.)<br />Unrehearsed and often startling interviews with residents, filmed during disturbances following arrival of first [Black] family.<br /><br />Robert Cannon &amp; John Hubley BROTHERHOOD OF MAN (1947, 11 min, 35mm-to-digital. Courtesy of the Library of Congress and the National Film Preservation Foundation.)<br />Based on Dr. Benedict&rsquo;s &ldquo;races of Mankind&rdquo;, this triumphant work of film art has already become a contemporary classic.<br /><br />[<em>This program also included a film entitled THE FACE OF THE SOUTH, which was produced by the Department of Social Education and Action of the Presbyterian Church USA in cooperation with the Southern Regional Council, and comprised an illustrated lecture by the then-Executive Director of the SRC, George Mitchell. We were unable to locate this film in any form &ndash; instead, we&rsquo;re combining the May 1959 program with a screening Vogel presented in February 1960. That program was followed by a discussion with James Baldwin; Marshall Stearns (professor and President of the Institute of Jazz Studies); screenwriter Mark Kennedy; and writer and editor Nat Hentoff.</em>]<br /><br /><span style="text-decoration: underline;">FEBRUARY 1960:</span><br />Edward Bland<br />THE CRY OF JAZZ<br />1959, 34 min, 16mm-to-35mm blow-up, b&amp;w. Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium.<br />One of the most radical films of its era and a definitive landmark of the New American Cinema movement. Celebrated by Jonas Mekas and derided by James Baldwin among many others, CRY is one of the earliest and most outspoken documentary films made by an African-American. Produced many years before the blossoming Black Power movement, CRY presents a still controversial and completely riveting analysis of jazz and African-American culture that is as searing as it is honest. Music is provided by the singular Sun Ra and his Arkestra, who are seen and heard performing at the height of their swing heyday. Shot with practically no budget by a volunteer crew numbering some 65 people, THE CRY OF JAZZ was the only film made by Ed Bland who went on to have a distinguished career as composer, arranger, and producer for the likes of Dizzy Gillespie, Elvin Jones, and many, many others.<br /><br />Melvin Van Peebles THREE PICKUP MEN FOR HERRICK (1957, 9 min, 35mm-to-digital)<br />&ldquo;In a desolate urban landscape a group of sad [Black and White men] compete with each other in an ageless ritual. A strange blend of lyricism and social commentary.&rdquo; &ndash;GROVE PRESS FILM CATALOG<br /><br />Total running time: ca. 115 min.<br /><br /><br /></p> Tuesday, October 26 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53870 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Tuesday, October 26 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53871 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Wednesday, October 27 CINEMA 16, PROGRAM 6: MAY 1957: DISTANT JOURNEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53889 <p>Alfr&eacute;d Radok<br />DISTANT JOURNEY<br />1949, 103 min, 35mm-to-DCP. In Czech and German with English subtitles. Distributed by Janus Films.<br />&ldquo;Alfr&eacute;d Radok&rsquo;s unaccountably neglected masterpiece, an unrelenting epic of human suffering and degradation, recounts for all time the horror and the realities of the concentration camp universe. Intentionally intensified, non-realist film techniques (borrowing from both the expressionist and surrealist tradition) add to the dramatic impact of this unique work of film art.&rdquo; &ndash;CINEMA 16 PROGRAM NOTES<br /><br />&ldquo;The most brilliant and the most powerful film on the subject ever made&hellip;departs from stark literalness into a strange, horrible, fantastic grotesqueness that truly comprehends those black barbarities. [&hellip;] A quality of nightmare and madness builds up, until the final episode of mass destruction causes a hypnosis of insanity.&rdquo; &ndash;NEW YORK TIMES</p> Wednesday, October 27 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53872 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Wednesday, October 27 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53873 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Thursday, October 28 WOODLANDS DARK AND DAYS BEWITCHED: A HISTORY OF FOLK HORROR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53895 <p>WOODLANDS DARK AND DAYS BEWITCHED explores the folk horror phenomenon from its beginnings in a trilogy of films &ndash; Michael Reeves&rsquo;s WITCHFINDER GENERAL (1968), Piers Haggard&rsquo;s BLOOD ON SATAN&rsquo;S CLAW (1971), and Robin Hardy&rsquo;s THE WICKER MAN (1973) &ndash; through its proliferation on British television in the 1970s and its culturally specific manifestations in American, Asian, Australian, and European horror, to the genre&rsquo;s revival over the last decade. WOODLANDS is directed by Kier-La Janisse, film writer, programmer, publisher, producer, founder of The Miskatonic Institute of Horror Studies, and author or editor of numerous books including &ldquo;House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films&rdquo; (2012) and &ldquo;Satanic Panic: Pop-Cultural Paranoia in the 1980s&rdquo; (2015). Touching on over 200 films and featuring over 50 interviewees, it investigates the many ways that we alternately celebrate, conceal, and manipulate our own histories in an attempt to find spiritual resonance in our surroundings.<br /><br /></p> Thursday, October 28 THE TWO SIGHTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53874 <p>NY THEATRICAL PREMIERE RUN!<br /><br />The first solo feature from Joshua Bonnetta, THE TWO SIGHTS (AN D&Agrave; SHEALLADH) explores the disappearing tradition of second sight in the Outer Hebrides of Scotland. Devoting the soundtrack to locals&rsquo; accounts of haunting experiences &ndash; phantom horses, ghost voices, and other supernatural phenomena &ndash; Bonnetta connects their testimonies with striking 16mm images and a carefully-curated sonic montage of the physical and aural environment of these enchanted islands. THE TWO SIGHTS is an ethnographic marvel of non-fiction filmmaking that thrills the eyes and ears and invites us into the extra-sensory beyond.<br /><br />&ldquo;In the past, the gift of receiving visual or aural signs from the future was handed down from generation to generation on the Outer Hebrides islands off the Scottish coast. Between 2017 and 2019, Canadian artist Joshua Bonnetta set about exploring their landscapes and collecting the oral history of this visionary gift. As in his previous documentary feature, EL MAR LA MAR, co-directed with J.P. Sniadecki in the Sonoran desert, this work of ethnographic collection creates a sensorial world populated by ghosts: stories of engulfed villages, beached whales, drowned horses, Gaelic songs, and voices carrying messages of personal or community events. A project stamped with historical materialism yet no less deeply formalist, if we recall that P. Adams Sitney famously described the North American avant-garde as visionary; and that Bonnetta is no less of a filmmaker than an acoustician. The two sights in the title are those of a film in which image and sound each follow their own course while also being portents that interact in a game of anticipation, of echoes and unison. At times on alert, at times in torpor, the spectator is enveloped in a world as vivid as it is unreal; &lsquo;a thin place&rsquo; in the words of a woman whose beautiful consolatory singing stirs the sea into soft ripples, at the extremely thin frontier between sky and sea, between foreknowledge and memory.&rdquo; &ndash;Antoine Thirion, CIN&Eacute;MA DU R&Eacute;EL<br /><br />Fri-Thurs, Oct 22-28 at 6:45 &amp; 9:00 nightly. Additional screenings on Sat &amp; Sun at 4:30.<br /><br /><em><strong>Immediately following the week-long engagement of THE TWO SIGHTS, Anthology will present the series &ldquo;Folk Horror&rdquo; (Oct 28-Nov 11). That program will highlight a subgenre of horror films that could almost be kissing cousins of THE TWO SIGHTS, which evokes some of the same atmosphere in a nonfictional context. For more details of &ldquo;Folk Horror&rdquo;, click here.</strong></em></p> Thursday, October 28 WITCHFINDER GENERAL aka THE CONQUEROR WORM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53898 <p>One of the highpoints of 1960s horror cinema, WITCHFINDER GENERAL is a fictionalized account of 17th-century witch-hunter Matthew Hopkins, who, claiming to have been appointed &ldquo;Witch Finder Generall&rdquo; by Parliament during the English Civil War, proceeded to wreak murderous havoc throughout the country. Terrifically entertaining and genuinely horrific, as much for its unflinching portrait of moral corruption as for its depiction of archaic torture and execution, WITCHFINDER GENERAL was released in the U.S. as THE CONQUEROR WORM in order to capitalize on the success of Roger Corman&rsquo;s and Vincent Price&rsquo;s recent series of Poe adaptations. Graced with an uncharacteristically restrained but altogether extraordinary performance from Price, and helmed by the gifted Michael Reeves (SHE BEAST, THE SORCERERS), who died of an overdose at the age of 25 shortly after completing the film, it&rsquo;s a peerlessly chilling masterpiece.<br /><br /><br /></p> Friday, October 29 THE BLOOD ON SATAN’S CLAW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53902 <p>&ldquo;Patrick Wymark plays a local judge skeptical of fears relating to the supernatural, but who is forced to reckon with the strange happenings in his town: children discovering strange body parts and then mysteriously losing their own, people falling ill and going mad, not to mention the group of young people who have decided to form a coven and stage their own Black Mass. [&hellip;] THE BLOOD ON SATAN&rsquo;S CLAW&hellip;impressively captures malevolence as an all-encompassing, almost cosmic energy, a force that permeates both people and the air they breathe and the ground on which they walk. If there is a true spiritual forebear for the small yet highly-discussed wave of modern films that are revisiting folk horror, it&rsquo;s this one.&rdquo; &ndash;Stephanie Monohan, SCREEN SLATE<br /><br /><br /></p> Friday, October 29 WHISTLE AND I’LL COME TO YOU + ROBIN REDBREAST (free screenings!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53905 <p>Jonathan Miller<br />WHISTLE AND I&rsquo;LL COME TO YOU<br />1968, 42 min, 16mm-to-digital<br />&ldquo;A masterpiece of economical horror that remains every bit as chilling as the day it was first broadcast, this was the first, and arguably the best, of the M.R. James adaptations that peppered BBC schedules during the late 1960s and 70s, and an advance warning of a new tradition of Christmas ghost stories. [&hellip;] Absorbing the lessons of Val Lewton&rsquo;s legendary team at RKO Studios in the early 1940s&hellip;Miller uses suggestion rather than direct representation, and builds and sustains an eerie atmosphere with a diverse array of stylistic devices &ndash; exaggerated sound and lighting effects, high and low camera angles, disorienting extreme close-ups, teasingly obstructing our view with trees, railings or other objects. The ghostly manifestations, particularly the Professor&rsquo;s dream/hallucination on the beach, conjure terror from the minimum of special effects.&rdquo; &ndash;Mark Duguid, BFI SCREENONLINE<br />&amp;<br />James McTaggart<br />ROBIN REDBREAST<br />1970, 70 min, 16mm-to-digital. Written by John Bowen.<br />Well-known in the UK, where it was broadcast on television as part of the extraordinary &ldquo;Play for Today&rdquo; strand, but relatively obscure in the U.S., ROBIN REDBREAST is a particularly pure example of folk horror, and an unmistakable influence on THE WICKER MAN. Norah Palmer (Anna Cropper) is a television script editor who temporarily moves to a remote English country village to rebuild her life. At first, she finds that the villagers are friendly, if a little eccentric. When she becomes pregnant after a dalliance with the handsome villager Rob, she begins to suspect the locals of conspiring against her, preventing her from leaving the village for her home in London. Combining unsettling folk rituals and insular regional communities, with a tone that&rsquo;s at once absurdist and genuinely scary, ROBIN REDBREAST was directed by the renowned producer/director James McTaggart, from a script by John Bowen, who was responsible for numerous memorable teleplays and novels during the 1960s-80s.</p> Saturday, October 30 THE WICKER MAN (Final Cut) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53908 <p>After receiving an anonymous letter about a missing 12-year-old girl, devoutly Christian Police Sergeant Neil Howie (Woodward) travels by seaplane to a remote Scottish island to investigate. But the islanders welcome neither his badge nor religious devotion, for Lord Summerisle (Christopher Lee) and his devoted followers worship only the pagan gods of old &ndash; and those gods demand a sacrifice. Howie fears for the missing girl&rsquo;s life and follows every possible lead to find her &ndash; despite the islanders&rsquo; interference &ndash; before she becomes a human sacrificial lamb.<br /><br /></p> Saturday, October 30 MESSIAH OF EVIL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53912 <p>&ldquo;MESSIAH OF EVIL marks the unsettling directorial debut by husband and wife team Gloria Katz and Willard Huyck, who were later to become screenwriting collaborators on AMERICAN GRAFFITI and INDIANA JONES AND THE TEMPLE OF DOOM, among other films. When a woman arrives at a small seaside town to visit her artist father, all she finds is an empty house and his bizarre journal entries of warnings. As she searches for him in vain, she encounters an interesting trio researching an old legend about a &lsquo;Blood Moon.&rsquo; They soon learn the secret of the town, one that has turned the local dead into eye-bleeding, flesh-eating zombies who terrorize all in this slow-paced, peculiarly moody classic of low-budget American independent filmmaking.&rdquo; &ndash;HARVARD FILM ARCHIVE<br /><br />Preceded by:<br />Larry Yust THE LOTTERY (1969, 18 min, 16mm. Provided with permission from Encyclopaedia Britannica, Inc.)<br />Produced by Encyclop&aelig;dia Britannica as an educational film, this adaptation of Shirley Jackson&rsquo;s famously chilling short story was a classroom staple throughout the 1970s, and surely one of the most disturbing films to be intentionally unleashed on young minds (aside of course from those predicated on grisly car crashes). THE LOTTERY was directed by Larry Yust (the son of longtime Encyclop&aelig;dia Britannica editor-in-chief Walter Yust), a prolific director of educational films who would go on to make the cult classic HOMEBODIES (1974). It also features the screen debut of the great Ed Begley Jr.<br /><br /><br /></p> Saturday, October 30 MURRAIN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53915 <p>British writer Nigel Kneale is one of the most interesting figures of postwar British film and television. He&rsquo;s best known &ndash; both in the UK and beyond &ndash; for his &ldquo;Quatermass&rdquo; serials (originally created for television, but successfully adapted for the big screen by Hammer Film Productions), while within Great Britain he&rsquo;s also acclaimed for his 1954 television adaptation of Orwell&rsquo;s NINETEEN EIGHTY-FOUR, his modern ghost story THE STONE TAPE (1972), and other works. Most of his films and teleplays lean towards science fiction or conventional horror, but MURRAIN &ndash; made for the short-lived anthology series &ldquo;Against the Crowd&rdquo; &ndash; is nothing if not folk horror. MURRAIN concerns a veterinarian who arrives in a small village in order to treat a virus afflicting the local livestock, only to discover that the villagers have already diagnosed the problem: a solitary old woman who they&rsquo;re convinced is a witch. Engaging with the themes of reason, superstition, prejudice, and gender conflict that course throughout the genre, MURRAIN is a beautifully understated but peerlessly unsettling example of the form.<br /><br />PLUS: A SURPRISE SHORT FILM!<br /><br /><br /></p> Sunday, October 31 LET’S SCARE JESSICA TO DEATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53918 <p>&ldquo;A forgotten gem of a fascinating period of U.S. filmmaking. Though it has the title of a horror film and a few obligatory scares, by and large it&rsquo;s a nuanced drama about mental illness. The title character is a timid woman recently released from a psychiatric ward; she and her husband move to a small town to start life over at a calmer pace. The title promises a psychotic breakdown and it does occur, but it arrives slowly and sadly. Jessica claims to be haunted by the ghost of a local story she hears, but (as in a Val Lewton film) her greatest fear is of herself. [&hellip;] In its central relationship (and the complexity with which it&rsquo;s portrayed) the film often resembles Ingmar Bergman&rsquo;s THROUGH A GLASS DARKLY, though it&rsquo;s hardly a slavish Bergman imitation in the way that Woody Allen&rsquo;s would be in the 80s and 90s. JESSICA shares with other enduring American films of its era a proud sense of regionalism and a tone that&rsquo;s generally conversational and unpretentious.&rdquo; &ndash;Ben Sachs, CINE-FILE</p> Sunday, October 31 VIY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2021#showing-53952 <p>Based on the classic novella by Nikolai Gogol &ndash; and previously adapted by Mario Bava as BLACK SUNDAY &ndash; the first horror film ever produced in the Soviet Union remains genuinely frightening. In 19th century Russia, a seminary student is forced to spend three nights with the corpse of a beautiful young witch. But when she rises from the dead to seduce him, it will summon a nightmare of fear, desire, and the ultimate demonic mayhem.<br /><br /></p> Sunday, October 31 WITCHFINDER GENERAL aka THE CONQUEROR WORM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53899 <p>One of the highpoints of 1960s horror cinema, WITCHFINDER GENERAL is a fictionalized account of 17th-century witch-hunter Matthew Hopkins, who, claiming to have been appointed &ldquo;Witch Finder Generall&rdquo; by Parliament during the English Civil War, proceeded to wreak murderous havoc throughout the country. Terrifically entertaining and genuinely horrific, as much for its unflinching portrait of moral corruption as for its depiction of archaic torture and execution, WITCHFINDER GENERAL was released in the U.S. as THE CONQUEROR WORM in order to capitalize on the success of Roger Corman&rsquo;s and Vincent Price&rsquo;s recent series of Poe adaptations. Graced with an uncharacteristically restrained but altogether extraordinary performance from Price, and helmed by the gifted Michael Reeves (SHE BEAST, THE SORCERERS), who died of an overdose at the age of 25 shortly after completing the film, it&rsquo;s a peerlessly chilling masterpiece.<br /><br /><br /></p> Monday, November 01 PENDA’S FEN (free screenings!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53921 <p>&ldquo;PENDA&rsquo;S FEN is Clarke&rsquo;s first unqualified masterpiece, and a stirring argument for the effective collaboration between writer and director that could occur in television. The tale of the visionary maturation of a teenaged boy in the Midlands of England, this Romantic work differs from the more realistically grounded stories in [Clarke&rsquo;s] oeuvre, yet David Rudkin&rsquo;s script, heavy with ideas, relies upon Clarke&rsquo;s straightforward direction and thoughtful but unobtrusive editing to function coherently. The protean text portrays the boy, Stephen, in a period when doubts spurred by visions impel him to interrogate his identity. The episodic film shifts through multilayered themes &ndash; political, spiritual, sexual, familial, cultural and historical, even linguistic &ndash; without ever losing momentum. And yet, underlying all that&hellip;is fundamentally an inquiry into English identity, a search that drives so many of Clarke&rsquo;s films.&rdquo; &ndash;Nicolas Rapold, SENSES OF CINEMA</p> Monday, November 01 THE BLOOD ON SATAN’S CLAW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53903 <p>&ldquo;Patrick Wymark plays a local judge skeptical of fears relating to the supernatural, but who is forced to reckon with the strange happenings in his town: children discovering strange body parts and then mysteriously losing their own, people falling ill and going mad, not to mention the group of young people who have decided to form a coven and stage their own Black Mass. [&hellip;] THE BLOOD ON SATAN&rsquo;S CLAW&hellip;impressively captures malevolence as an all-encompassing, almost cosmic energy, a force that permeates both people and the air they breathe and the ground on which they walk. If there is a true spiritual forebear for the small yet highly-discussed wave of modern films that are revisiting folk horror, it&rsquo;s this one.&rdquo; &ndash;Stephanie Monohan, SCREEN SLATE<br /><br /><br /></p> Tuesday, November 02 THE WICKER MAN (Final Cut) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53909 <p>After receiving an anonymous letter about a missing 12-year-old girl, devoutly Christian Police Sergeant Neil Howie (Woodward) travels by seaplane to a remote Scottish island to investigate. But the islanders welcome neither his badge nor religious devotion, for Lord Summerisle (Christopher Lee) and his devoted followers worship only the pagan gods of old &ndash; and those gods demand a sacrifice. Howie fears for the missing girl&rsquo;s life and follows every possible lead to find her &ndash; despite the islanders&rsquo; interference &ndash; before she becomes a human sacrificial lamb.<br /><br /></p> Tuesday, November 02 MESSIAH OF EVIL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53913 <p>&ldquo;MESSIAH OF EVIL marks the unsettling directorial debut by husband and wife team Gloria Katz and Willard Huyck, who were later to become screenwriting collaborators on AMERICAN GRAFFITI and INDIANA JONES AND THE TEMPLE OF DOOM, among other films. When a woman arrives at a small seaside town to visit her artist father, all she finds is an empty house and his bizarre journal entries of warnings. As she searches for him in vain, she encounters an interesting trio researching an old legend about a &lsquo;Blood Moon.&rsquo; They soon learn the secret of the town, one that has turned the local dead into eye-bleeding, flesh-eating zombies who terrorize all in this slow-paced, peculiarly moody classic of low-budget American independent filmmaking.&rdquo; &ndash;HARVARD FILM ARCHIVE<br /><br />Preceded by:<br />Larry Yust THE LOTTERY (1969, 18 min, 16mm. Provided with permission from Encyclopaedia Britannica, Inc.)<br />Produced by Encyclop&aelig;dia Britannica as an educational film, this adaptation of Shirley Jackson&rsquo;s famously chilling short story was a classroom staple throughout the 1970s, and surely one of the most disturbing films to be intentionally unleashed on young minds (aside of course from those predicated on grisly car crashes). THE LOTTERY was directed by Larry Yust (the son of longtime Encyclop&aelig;dia Britannica editor-in-chief Walter Yust), a prolific director of educational films who would go on to make the cult classic HOMEBODIES (1974). It also features the screen debut of the great Ed Begley Jr.<br /><br /><br /></p> Wednesday, November 03 CINESYMPOSIA, PROGRAM 3: SIMULACRA AND STIMULATION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53960 <p>In 1995, bourgeois philosopher Jean Baudrillard argued that, &ldquo;The grand philosophical question used to be &lsquo;why is there something rather than nothing?&rsquo; Today the true question is &lsquo;why is there nothing rather than something?&rsquo;&rdquo; What emerges from a class enchanted by the way it views itself? What secretes from the gulf that smothers flesh and fantasy? What is it that lies between love, sex, and mechanized death? What does s(t)imulation distract from &ndash; or awaken? This program features three snarls of existential excess, works that wrangle the void of reality.<br /><br />Vex Ashley and Four Chambers <strong>AUTOMATON</strong> (2021, 3 min, digital)<br />cherry brice jr. <strong>sweet pie&mdash;or,goodbyetoLoathing(&mdash;or,goodbyetoMetrograph)</strong> (2021, 8 min, digital)<br />Stephen Quay &amp; Timothy Quay <strong>MASKA</strong> (2010, 23 min, digital)</p> Wednesday, November 03 WHISTLE AND I’LL COME TO YOU + ROBIN REDBREAST (free screenings!) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53906 <p>Jonathan Miller<br />WHISTLE AND I&rsquo;LL COME TO YOU<br />1968, 42 min, 16mm-to-digital<br />&ldquo;A masterpiece of economical horror that remains every bit as chilling as the day it was first broadcast, this was the first, and arguably the best, of the M.R. James adaptations that peppered BBC schedules during the late 1960s and 70s, and an advance warning of a new tradition of Christmas ghost stories. [&hellip;] Absorbing the lessons of Val Lewton&rsquo;s legendary team at RKO Studios in the early 1940s&hellip;Miller uses suggestion rather than direct representation, and builds and sustains an eerie atmosphere with a diverse array of stylistic devices &ndash; exaggerated sound and lighting effects, high and low camera angles, disorienting extreme close-ups, teasingly obstructing our view with trees, railings or other objects. The ghostly manifestations, particularly the Professor&rsquo;s dream/hallucination on the beach, conjure terror from the minimum of special effects.&rdquo; &ndash;Mark Duguid, BFI SCREENONLINE<br />&amp;<br />James McTaggart<br />ROBIN REDBREAST<br />1970, 70 min, 16mm-to-digital. Written by John Bowen.<br />Well-known in the UK, where it was broadcast on television as part of the extraordinary &ldquo;Play for Today&rdquo; strand, but relatively obscure in the U.S., ROBIN REDBREAST is a particularly pure example of folk horror, and an unmistakable influence on THE WICKER MAN. Norah Palmer (Anna Cropper) is a television script editor who temporarily moves to a remote English country village to rebuild her life. At first, she finds that the villagers are friendly, if a little eccentric. When she becomes pregnant after a dalliance with the handsome villager Rob, she begins to suspect the locals of conspiring against her, preventing her from leaving the village for her home in London. Combining unsettling folk rituals and insular regional communities, with a tone that&rsquo;s at once absurdist and genuinely scary, ROBIN REDBREAST was directed by the renowned producer/director James McTaggart, from a script by John Bowen, who was responsible for numerous memorable teleplays and novels during the 1960s-80s.</p> Wednesday, November 03 THE WICKER MAN (Final Cut) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53910 <p>After receiving an anonymous letter about a missing 12-year-old girl, devoutly Christian Police Sergeant Neil Howie (Woodward) travels by seaplane to a remote Scottish island to investigate. But the islanders welcome neither his badge nor religious devotion, for Lord Summerisle (Christopher Lee) and his devoted followers worship only the pagan gods of old &ndash; and those gods demand a sacrifice. Howie fears for the missing girl&rsquo;s life and follows every possible lead to find her &ndash; despite the islanders&rsquo; interference &ndash; before she becomes a human sacrificial lamb.<br /><br /></p> Thursday, November 04 WITCHFINDER GENERAL aka THE CONQUEROR WORM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2021#showing-53900 <p>One of the highpoints of 1960s horror cinema, WITCHFINDER GENERAL is a fictionalized account of 17th-century witch-hunter Matthew Hopkins, who, claiming to have been appointed &ldquo;Witch Finder Generall&rdquo; by Parliament during the English Civil War, proceeded to wreak murderous havoc throughout the country. Terrifically entertaining and genuinely horrific, as much for its unflinching portrait of moral corruption as for its depiction of archaic torture and execution, WITCHFINDER GENERAL was released in the U.S. as THE CONQUEROR WORM in order to capitalize on the success of Roger Corman&rsquo;s and Vincent Price&rsquo;s recent series of Poe adaptations. Graced with an uncharacteristically restrained but altogether extraordinary performance from Price, and helmed by the gifted Michael Reeves (SHE BEAST, THE SORCERERS), who died of an overdose at the age of 25 shortly after completing the film, it&rsquo;s a peerlessly chilling masterpiece.<br /><br /><br /></p> Thursday, November 04