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 Mon, 09 Jun 2025 00:06:24 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59427 <p>Titled after the apocryphal exclamation of Soviet security chief Lavrentiy Beria as he rushed to Stalin’s deathbed, this blackly funny, deliriously immersive satire distills the anticipation and anxiety in the Moscow air, as the Soviet despot lay dying. In the late winter of 1953, the lives of nearly half the planet are in Stalin’s hands. A military surgeon, General Yuri Georgievich Klensky, finds himself a target of the “Doctors’ Plot”: the anti-Semitic conspiracy accusing Jewish doctors in Moscow of planning to assassinate the Soviet elite. Pursued, abused, and marked for the gulags, Yuri is chased and dragged through a Stalinist Soviet nightmare. His desperate, jolting journey encapsulates the madness of the era. KHRUSTALYOV, MY CAR! proved wildly provocative when it was screened at the 1998 Cannes Film Festival, despite being championed as the best film of the festival by that year’s jury president, Martin Scorsese. Foreman kept a poster of the film in his living room.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59456 <p>Richard Sandler<br />THE GODS OF TIMES SQUARE<br />1999, 114 min, digital. An Elara Pictures/Film Desk release.<br />“Over the course of six years in the early-to-mid-’90s, the street photographer Richard Sandler lingered in the heart of the Great White Way with a video camera, capturing the undiminished cacophony around 42nd Street before its antiseptic redevelopment. But THE GODS OF TIMES SQUARE’s title should clue viewers in that this is not simply a portrait of the glimmering bowels of New York City before they were flushed to make way for Mickey Mouse and Carson Daly; GODS is as much a city time capsule as it is a work of urban theology, capturing the preachings, rantings, and teachings of a panoply of street preachers.” –Jon Dieringer, SCREEN SLATE</p> <p>“Richard Sandler’s delightful film interviews apocalyptic preachers from various religions, often uncertain, while the work of wrecking is going on, so that real buildings disappear in the time lapse between one prophecy of destruction and another.” –Marshall Berman, “On the Town: One Hundred Years of Spectacle in Times Square”<br /><br />“Once upon a time, town squares were comment sections, where people brave enough to shout their opinions did it face to face. There is no stronger belief than one’s faith, and what used to be Times Square was a town square on steroids. As the 20th century came to an end, we entered the corporatized Y2K age. Spirituality seemed an essential grounding force, something to unify us. But whose God is supreme? What is God? What is God’s place in the digital age? When Disney invaded Times Square it went up against the smut. It was a magnet for all things good and bad. It was hell with attractions. I still secretly wish to be yelled at whenever I enter Times Square…” –Josh Safdie<br /><br /><em><strong>Richard Sandler will be here in person for a Q&A following the opening night (Fri, June 6) screening, moderated by Joseph A. Berger of The Deuce Film Series!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59464 <p><span>BRAVE NEW YORK<br /></span>2004, 54 min, digital<br /><span>“A cinematographic stroll through the New York district of the East Village. Sandler allows homeless people to speak out. A surprising number of them are war veterans. These tramps probably are not all humorous, nor do they all make sense, but the film maker made a good selection. Some know exactly why America goes to war, others advertise condoms with the stars and stripes on them.” –INTERNATIONAL FILM FESTIVAL ROTTERDAM</span></p> <p dir="ltr"><span>SUBWAY TO THE FORMER EAST VILLAGE<br /></span>2007, 33 min, digital<br /><span>Sandler’s 2007 documentary takes stock of the East Village. Working against gentrification’s erasures, he catalogues the neighborhood’s changes in their particularity: the closing of a community center, a woman’s riff on a fancy new restaurant, new waves of political graffiti following the 9/11 attacks, and increasing evidence of class inequity. His camera is as much of a neighborhood fixture as the chorus of street personalities that buoy the video.</span></p> <p dir="ltr"><span>Total running time: ca. 90 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Tuesday, June 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59467 <p><span>SWAY<br /></span>2006, 35 min, digital<span>“A light-hearted documentary about underground life in the New York subway. The film lasts as long as the average subway journey; about 34 minutes. Richard Sandler took his time making it: he collected material every day for 12 years to tell his story about life under the surface. Journey through an unknown universe, with its own rules, customs, rhythms, colors and sounds.” –INTERNATIONAL FILM FESTIVAL ROTTERDAM</span></p> <p dir="ltr"><span>EVERYBODY IS HURTING<br /></span>2006, 53 min, digital<br /><span>EVERYBODY IS HURTING is a documentary about 9/11/01, and the soul searching and muscular debate that raged in Union Square Park in the weeks following; it ends with a coda of contextual video of the W.T.C. Twin Towers from the previous 10 years.</span></p> <p dir="ltr"><span>Total running time: ca. 90 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Tuesday, June 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59470 <p><span id="docs-internal-guid-dac0b17f-7fff-7f72-bf21-723050ee1d7c"> </span></p> <p dir="ltr"><span>AKA MARTHA’S VINEYARD<br /></span>2025, 36 min, Super-8mm-to-digital, silent<br /><span>“AKA MARTHA’S VINEYARD (work-in-progress) is chapter one of a multi-format documentary that sees the lovely Wampanoag island and its tribal legends thru pre-colonial eyes. I shot on Super-8 Kodachrome, Plus-X, and Tri-X reversal films. This first chapter is an impossible meditation on life before the white man (me).” –Richard Sandler</span></p> <p dir="ltr"><span>RADIOACTIVE CITY<br /></span>2011, 23 min, Super-8mm/16mm-to-digital<br /><span>“The mood in Los Angeles was apocalyptic in the spring of 2011. A meticulous diary report about the city dominated by two important events: the disaster at the nuclear power station in Fukushima and the serious assault on a Giants fan outside the Dodger Stadium.” –INTERNATIONAL FILM FESTIVAL ROTTERDAM</span></p> <p dir="ltr"><span>Total running time: ca. 65 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Wednesday, June 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59532 <p>With Robert Liensol, Douta Seck, Miriam Makeba, and Richard Harrison.<br /><br />Mathieu Sempala (Liensol), a Black schoolteacher in a small South African village, receives a letter from a childhood friend informing him that his sister is very ill. This letter will be the starting point for a long and terrifying journey to Johannesburg, where his long-lost childhood friend will accompany him through the unfamiliar city. There Sempala will be reunited not only with his sister Josephine, who has turned to sex work to survive, but also with his brother Delius, who leads the dangerous life of an underground trade union leader, and with his son Gasha, whom he finds in prison. In Johannesburg, Sempala is confronted with a world he hasn’t previously known, a city marked by street protests, crime, hatred, and injustice, a world from which there is no return.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59459 <p>the gods of times squareD<br />2006, 44 min, digital<br />This follow-up to THE GODS OF TIMES SQUARE is constructed from some of the most vital outtakes from the earlier film, recuperating footage of more of the unforgettable personalities of Times Square.</p> <p>Preceded by:<br />FOREVER AND SUNSMELL<br />2010, 12.5 min, 16mm-to-digital<br />A more lyrical, city-symphony-like portrait of NYC, FOREVER AND SUNSMELL is set to the eponymous John Cage composition (which adapts a text by E. E. Cummings).</p> <p>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> Wednesday, June 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59262 <p>We continue our longstanding tradition of presenting “The Secret Life of…Anthology Film Archives”, a recurring opportunity to take a peek at the teeming hive of creativity hiding behind the scenes at Anthology, thanks to the film- and video-making efforts of AFA’s staff, friends, fellow-travelers, and devotees.</p> Thursday, June 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59535 <p>With Robert Liensol, Darling Légitimus, Théo Légitimus, Med Hondo, and Georges Hilarion.<br /><br />Based on the play by American playwright Marc Connelly, THE GREEN PASTURES was made for French television by Jean-Christopher Averty, a longtime radio and television director whose television productions were often highly experimental. A typically stylized and visually daring piece, THE GREEN PASTURES presents a boldly modernized version of the Old Testament, here featuring an all-Black cast – including Les Griots luminaries and frequent filmic collaborators Robert Liensol, Théo Légitimus, Med Hondo, and Georges Hilarion – and set to a vibrant soundtrack of jazz tunes.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59538 <p>(LA VIEILLE QUIMBOISEUSE ET LE MAJORDOME)<br /><br />With Robert Liensol and Jenny Alpha.<br /><br />“Eugénie (Alpha) and Armand (Liensol), an elderly couple who were part of the wave of post-war immigration from Martinique, have been living in Paris since 1921. Eugénie, a former dancer with Josephine Baker’s Black Revue, has become a professional quimboiseuse (a practitioner of black magic) for a white clientele. Armand, previously a domestic servant, is retired. During one last walk through the city they face up to their past and their stifled dreams.” –RAVEN ROW<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59489 <p><span id="docs-internal-guid-d423c038-7fff-d1ca-8dcf-0e412146c080"> </span></p> <p dir="ltr"><span>After completing his studies at the GDR’s Deutsche Hochschule für Filmkunst (German Academy of Film Art, now the Film University Babelsberg KONRAD WOLF) in 1967, Iraqi Kais al-Zubaidi worked for the Syrian Broadcasting Corporation, which was in close exchange with the East German DEFA film studios. AWAY FROM HOME (1969) is al-Zubaidi’s first film about the “Palestinian issue”. It marks his transition to work with the PLO’s Department for Culture and Information, for which he served as film delegate for almost 20 years. Palestinian Mahmoud Khalil began his studies at the same school in 1976. His diploma film, HEYDA MOURAD, I AM NOT A DREAMER (1982), is a portrait of a Palestinian woman – heavily injured in an explosion in Beirut – who receives medical treatment and vocational rehabilitation in the GDR.</span></p> <p dir="ltr"><span>Kais al-Zubaidi<br /></span>AWAY FROM HOME<br />1969, 11 min, 16mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Mahmoud Khalil<br /></span>HEIDIA MOURAD – I AM NOT A DREAMER<br />1982, 40 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 55 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Friday, June 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59541 <p>Elsie Haas<br />VOODOO DANCE: A TRIBUTE TO THE PEOPLE OF HAITI<br />Haïti, 1986, 52 min, 16mm-to-DCP. In French with English subtitles. Soundtrack by Toto Bissainthe.<br />This film documents the significant role of Voodoo in Haitian culture from the perspectives of Voodoo priests, government officials, historians and politicians. Attacked by Western clerics and declared a “superstition” by law in 1935, Voodoo has always been a source of empowerment for the average Haitian. And scholars argue that despite the exploitation, romanticization and vilification of voodoo, it remains an authentic and stabilizing cultural base of everyday Haitian society.<br /><br />Preceded by:<br />Sarah Maldoror TOTO BISSAINTHE France/Haïti, 1988, 4 min, 16mm-to-DCP<br />Sarah Maldoror (SAMBIZANGA) began her artistic career at Les Griots, which she co-founded in the late 1950s with Haitian singer Toto Bissainthe, among others. Years later she documented one of Bissainthe’s performances, both on- and off-stage, to make this filmic tribute to her friend and creative partner.<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, June 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59491 <p><span id="docs-internal-guid-69be0d43-7fff-5b90-7955-fda09acd6cc1"> </span></p> <p dir="ltr"><span>In 1976, the Palestine Cinema Institute (PCI) delegated cinematographer Marwan Salamah to the Hochschule für Film und Fernsehen in the GDR. His …FROM THE OLIVE TREE (1987), officially a GDR/PLO coproduction but in fact a one-man effort, tells the story of Paris-based Palestinian painter Samir Salameh. It will be screened alongside Adnan Madanat’s PALESTINIAN VISIONS (1977) – a production of the PCI (and, aside from the existence of a German language version, not related to Germany), Madanat’s film is a portrait of Palestinian painter Ibrahim Ghannam. The program showcases two artists who utilize very different genres to express their ideas and reflections about how to memorialize Palestine on canvas.</span></p> <p dir="ltr"><span>Marwan Salamah<br /></span>…FROM THE OLIVE TREE / …VOM OLIVENBAUM<br />1987, 26 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Adnan Madanat<br /></span>PALESTINIAN VISIONS<br />1977, 30 min, 16mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 60 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59533 <p>With Robert Liensol, Douta Seck, Miriam Makeba, and Richard Harrison.<br /><br />Mathieu Sempala (Liensol), a Black schoolteacher in a small South African village, receives a letter from a childhood friend informing him that his sister is very ill. This letter will be the starting point for a long and terrifying journey to Johannesburg, where his long-lost childhood friend will accompany him through the unfamiliar city. There Sempala will be reunited not only with his sister Josephine, who has turned to sex work to survive, but also with his brother Delius, who leads the dangerous life of an underground trade union leader, and with his son Gasha, whom he finds in prison. In Johannesburg, Sempala is confronted with a world he hasn’t previously known, a city marked by street protests, crime, hatred, and injustice, a world from which there is no return.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59494 <p><span id="docs-internal-guid-dd925fce-7fff-482f-5bff-593c74750985"> </span></p> <p dir="ltr"><span>In 1975 the PLO Department of Culture and Information (DCI) began negotiating a cooperation agreement with the East German DEFA Studio for Documentary Films. In it, DEFA granted the PLO access to the State Film Archive of the GDR. From this resource, Lebanese director Rafiq Hajjar made FROM PALESTINE (1975) for the Democratic Front for the Liberation of Palestine (DFLP), while Kais al-Zubaidi made PALESTINE – A PEOPLE’S RECORD (1982) for the DCI. While Hajjar avoids the use of colonial footage of Palestine for his Leninist film, al-Zubaidi uses any available material to tell a rather linear story of Palestine, deploying the archive for illustration and evidence.</span></p> <p dir="ltr"><span>Rafiq Hajjar<br /></span>FROM PALESTINE / MIN FILASTIN / GEBOREN IN PALÄSTINA<br />1975, 22 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Kais al-Zubaidi<br /></span>PALESTINE – A PEOPLE’S RECORD / FILISTIN – SIGIL SHA’AB / PALÄSTINA – CHRONIK EINES VOLKES<br />1984, 110 min, 35mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 135 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59539 <p>(LA VIEILLE QUIMBOISEUSE ET LE MAJORDOME)<br /><br />With Robert Liensol and Jenny Alpha.<br /><br />“Eugénie (Alpha) and Armand (Liensol), an elderly couple who were part of the wave of post-war immigration from Martinique, have been living in Paris since 1921. Eugénie, a former dancer with Josephine Baker’s Black Revue, has become a professional quimboiseuse (a practitioner of black magic) for a white clientele. Armand, previously a domestic servant, is retired. During one last walk through the city they face up to their past and their stifled dreams.” –RAVEN ROW<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59497 <p><span id="docs-internal-guid-b8f8ce24-7fff-c6de-febe-999c3cfbd019"> </span></p> <p dir="ltr"><span>For the PLO, international networks were vitally important. Its institutions regularly invited delegations from all over the world, among them filmmakers. The PLO’s United Information section was responsible for the shooting permits, chose the camps in which to shoot, and selected the interview partners. The GDR film THE CHILDREN OF PALESTINE (Kurt Tetzlaff, 1980) was produced in the framework of the same cooperation agreement as FROM PALESTINE (Program 3). FREEDOM – WHAT DO I MEAN? (1981) – a collective work by West Germans who came to Lebanon as part of a political exchange on the invitation of the DFLP – focuses on forms of self-organization and discussions around the revolutionary “new Palestinian”.</span></p> <p dir="ltr"><span>Kurt Tetzlaff<br /></span>THE CHILDREN OF PALESTINE / DIE KINDER PALÄSTINAS<br />1980, 54 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Wolfgang Bienek, Robert Krieg, Thomas Reuter, Brigitte Schulz<br /></span>FREEDOM – WHAT DO I MEAN? / FREIHEIT – WIE MEINE ICH DAS?<br />1981, 42 min, video. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 100 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Sunday, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59542 <p>Elsie Haas<br />VOODOO DANCE: A TRIBUTE TO THE PEOPLE OF HAITI<br />Haïti, 1986, 52 min, 16mm-to-DCP. In French with English subtitles. Soundtrack by Toto Bissainthe.<br />This film documents the significant role of Voodoo in Haitian culture from the perspectives of Voodoo priests, government officials, historians and politicians. Attacked by Western clerics and declared a “superstition” by law in 1935, Voodoo has always been a source of empowerment for the average Haitian. And scholars argue that despite the exploitation, romanticization and vilification of voodoo, it remains an authentic and stabilizing cultural base of everyday Haitian society.<br /><br />Preceded by:<br />Sarah Maldoror TOTO BISSAINTHE France/Haïti, 1988, 4 min, 16mm-to-DCP<br />Sarah Maldoror (SAMBIZANGA) began her artistic career at Les Griots, which she co-founded in the late 1950s with Haitian singer Toto Bissainthe, among others. Years later she documented one of Bissainthe’s performances, both on- and off-stage, to make this filmic tribute to her friend and creative partner.<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, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59500 <p><span id="docs-internal-guid-4a421e26-7fff-c72b-64ac-a443cf72a21a"> </span></p> <p dir="ltr"><span>Most films by the PLO focused on documenting the present lives of Palestinians in exile. The PLO was prohibited in Israel and the Occupied Territories, and access for Palestinian refugees was forbidden. In rare cases, the organization sent in foreign film crews with instructions about whom and what to document. LAND DAY (1976) by Ghaleb Shaath, manager of the film laboratory of the Palestine Martyrs Works Society (SAMED), is one example. In AIDA (1985), another official PLO/GDR coproduction – but in fact a one-man effort by Marwan Salamah – the children in the PLO’s orphanage in Tunis stay connected with their homeland by living both their heritage and the new social relations of the Palestinian Revolution.</span></p> <p dir="ltr"><span>Ghaleb Shaath<br /></span>LAND DAY<br />1983, 50 min, 16mm-to-DCP. In Arabic and Japanese with English subtitles.</p> <p dir="ltr"><span>Marwan Salamah<br /></span>AIDA<br />1985, 25 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 80 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Sunday, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59536 <p>With Robert Liensol, Darling Légitimus, Théo Légitimus, Med Hondo, and Georges Hilarion.<br /><br />Based on the play by American playwright Marc Connelly, THE GREEN PASTURES was made for French television by Jean-Christopher Averty, a longtime radio and television director whose television productions were often highly experimental. A typically stylized and visually daring piece, THE GREEN PASTURES presents a boldly modernized version of the Old Testament, here featuring an all-Black cast – including Les Griots luminaries and frequent filmic collaborators Robert Liensol, Théo Légitimus, Med Hondo, and Georges Hilarion – and set to a vibrant soundtrack of jazz tunes.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59326 <p>Stan Brakhage<br />SONGS 1-14<br />1964-65, ca. 53 min, 8mm-to-16mm, silent<br />“SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /><br /></p> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59503 <p><span id="docs-internal-guid-2ad8b770-7fff-c6fa-ed18-97a6919402b6"> <span id="docs-internal-guid-9508ac28-7fff-630c-2e1a-51356043584a"> </span></span></p> <p dir="ltr"><span>Kassem Hawal<br /></span>RETURN TO HAIFA / A’ID ILA HAYFA<br />1982, 75 min, 35mm-to-DCP. In Arabic with English subtitles.<br />“The first feature-length Palestinian fictional film, RETURN TO HAIFA adapts Ghassan Kanafani’s 1969 novella by the same name. Filmed in Lebanon during its crushing civil war, the film team relied on the communities of Palestinian life-in-exile and the infrastructures of the Palestinian resistance for its production; per Hawal’s screen notes, resistance fighters went door-to-door in Badawi and Nahr al-Bared refugee camps to furnish the actors for the scenes of mass exodus filmed in Tripoli. What results is a national initiative, at once polemical and cautious, of exodus and its attendant psychologies.” –Kaleem Hawa<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59327 <p>Stan Brakhage<br />MY MOUNTAIN: SONG 27 1968, 25 min, 8mm-to-16mm<br />MY MOUNTAIN: SONG 27: PART 2: RIVERS 1969, 33 min, 8mm-to-16mm<br />SONGS 28-29 1966/86, 21 min, 8mm-to-16mm<br />“MY MOUNTAIN: SONG 27: A study of Arapahoe Peak in all the seasons of two years’ photography…the clouds and weathers that shape its place in landscape – much of the photography a-frame-at-a-time. SONG 27: PART 2: RIVERS: A series of eight films intended to echo the themes of MY MOUNTAIN: SONG 27. SONG 28: Scenes as texture. SONG 29: A portrait of the artist’s mother.” –Stan Brakhage<br />Total running time: ca. 85 min.<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> <br /><br /></p> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59505 <p><span id="docs-internal-guid-35229df4-7fff-a00f-c22c-9098a9d49e4f"> </span></p> <p dir="ltr"><span>Kamal Aljafari<br /></span>A FIDAI FILM<br />2024, 78 min, DCP. In Arabic, English, and Hebrew with English subtitles.<br />In the summer of 1982, the Israeli army invaded Beirut. During this time, it raided the Palestinian Research Center and looted its entire archive. The archive contained historical documents of Palestine, including a collection of still and moving images. Taking this as its departure point, A FIDAI FILM aims to create a counter-narrative to this loss, presenting a form of cinematic sabotage that seeks to reclaim and restore the looted memories of Palestinian history. It’s a poignant exploration of identity, memory, and resistance, told through a unique blend of documentary and experimental filmmaking techniques.</p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59507 <p><span id="docs-internal-guid-e73db848-7fff-e8a9-9efd-fa144f3fccf9"> </span></p> <p dir="ltr"><span>The West Germans Manfred Vosz and Monica Maurer produced their films with PLO funds and were both loosely connected to the PCI. Vosz’s RASHIDIYA – SCENES FROM A PALESTINIAN REFUGEE CAMP (1977) is a short social reportage with a working-class aesthetic and Brechtian alienation effect, aimed at a politically educated German audience. Maurer worked mainly with the Palestinian Red Crescent Society, whose work she portrayed. Her films have an educational character, a political urgency, and a historical context. Often (as in the case of Maurer’s 1979 film CHILDREN OF PALESTINE, made with Samir Nimr) they also served as evidence before international bodies.</span></p> <p dir="ltr"><span>Manfred Vosz (Friedhelm Fett, Almut Hielscher, Franz Lehmkuhl, Eva Schlensag)<br /></span>RASHIDIYA – SCENES FROM A PALESTINIAN REFUGEE CAMP / RASCHIDIA – SZENEN AUS EINEM PALÄSTINENSISCHEN FLÜCHTLINGSLAGER<br />1977, 20 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Monica Maurer & Samir Nimr<br /></span>CHILDREN OF PALESTINE<br />1979, 34 min, 16mm-to-DCP. In English.</p> <p dir="ltr"><span>Total running time: ca. 60 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Tuesday, June 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59383 <p>Markus Zizenbacher<br />THE LIFE OF SEAN DELEAR<br />2024, 82 min, DCP<br />Sean DeLear, or “SeanD”, as he was known to legions of friends and admirers, was a Black gay artist raised in ultra-white Simi Valley, whose dreams of countercultural superstardom drew him to the worlds of performance art, nightlife, music, and drag from LA to NYC to Vienna, where he passed away in 2017. Along the way DeLear befriended artists like Vaginal Davis, John Sex, and Kembra Pfahler; starred in Tone Loc’s “Funky Cold Medina” music video; fronted the pioneering grunge band Glue in full drag; ran the door at Johnny Depp’s notorious Viper Room; cohabitated with notorious cult actress and drunk Susan “Susu” Tyrell; collaborated with the Viennese art collective Gelitin, and inspired love and devotion amongst all who met him, all while living below his means on government assistance. In this “sculptural” attempt to trace DeLear’s incredible life, longtime friend Markus Zizenbacher utilizes DeLear’s home movies, photos, recordings, and teenage writings, as well as new interviews with colleagues and collaborators including Rick Owens, Ann Magnuson, Carla Bozulich, Mike Watt, Scott Ewalt, and Jeppe Laursen, to tell the story of an incredible icon of ecstatic fabulosity whose life and legacy deserve to be remembered for centuries to come.<br /><br />Narrow Rooms is thrilled to co-present the New York Premiere of THE LIFE OF SEAN DELEAR with the Brooklyn-based nightlife and art collective Papi Juice (Oscar Nñ, Adam R., and Mohammed Fayaz), who throw the wildly popular queer gender inclusive New York party of the same name that’s been centering queer POC folks since 2013. <span>Following the screening, please stick around for a panel discussion on the film and DeLear’s legacy, featuring director Markus Zizenbacher, writer Michael Bullock, artist and musician Kembra Pfahler, Papi Juice's Oscar Nñ and DJ Dany Johnson.</span><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59492 <p><span id="docs-internal-guid-69be0d43-7fff-5b90-7955-fda09acd6cc1"> </span></p> <p dir="ltr"><span>In 1976, the Palestine Cinema Institute (PCI) delegated cinematographer Marwan Salamah to the Hochschule für Film und Fernsehen in the GDR. His …FROM THE OLIVE TREE (1987), officially a GDR/PLO coproduction but in fact a one-man effort, tells the story of Paris-based Palestinian painter Samir Salameh. It will be screened alongside Adnan Madanat’s PALESTINIAN VISIONS (1977) – a production of the PCI (and, aside from the existence of a German language version, not related to Germany), Madanat’s film is a portrait of Palestinian painter Ibrahim Ghannam. The program showcases two artists who utilize very different genres to express their ideas and reflections about how to memorialize Palestine on canvas.</span></p> <p dir="ltr"><span>Marwan Salamah<br /></span>…FROM THE OLIVE TREE / …VOM OLIVENBAUM<br />1987, 26 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Adnan Madanat<br /></span>PALESTINIAN VISIONS<br />1977, 30 min, 16mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 60 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Tuesday, June 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59328 <p>“Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word ‘symphonia’ was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as ‘cinematographer,’ at source, means ‘writer of movement,’ certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, June 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59495 <p><span id="docs-internal-guid-dd925fce-7fff-482f-5bff-593c74750985"> </span></p> <p dir="ltr"><span>In 1975 the PLO Department of Culture and Information (DCI) began negotiating a cooperation agreement with the East German DEFA Studio for Documentary Films. In it, DEFA granted the PLO access to the State Film Archive of the GDR. From this resource, Lebanese director Rafiq Hajjar made FROM PALESTINE (1975) for the Democratic Front for the Liberation of Palestine (DFLP), while Kais al-Zubaidi made PALESTINE – A PEOPLE’S RECORD (1982) for the DCI. While Hajjar avoids the use of colonial footage of Palestine for his Leninist film, al-Zubaidi uses any available material to tell a rather linear story of Palestine, deploying the archive for illustration and evidence.</span></p> <p dir="ltr"><span>Rafiq Hajjar<br /></span>FROM PALESTINE / MIN FILASTIN / GEBOREN IN PALÄSTINA<br />1975, 22 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Kais al-Zubaidi<br /></span>PALESTINE – A PEOPLE’S RECORD / FILISTIN – SIGIL SHA’AB / PALÄSTINA – CHRONIK EINES VOLKES<br />1984, 110 min, 35mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 135 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Wednesday, June 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59501 <p><span id="docs-internal-guid-4a421e26-7fff-c72b-64ac-a443cf72a21a"> </span></p> <p dir="ltr"><span>Most films by the PLO focused on documenting the present lives of Palestinians in exile. The PLO was prohibited in Israel and the Occupied Territories, and access for Palestinian refugees was forbidden. In rare cases, the organization sent in foreign film crews with instructions about whom and what to document. LAND DAY (1976) by Ghaleb Shaath, manager of the film laboratory of the Palestine Martyrs Works Society (SAMED), is one example. In AIDA (1985), another official PLO/GDR coproduction – but in fact a one-man effort by Marwan Salamah – the children in the PLO’s orphanage in Tunis stay connected with their homeland by living both their heritage and the new social relations of the Palestinian Revolution.</span></p> <p dir="ltr"><span>Ghaleb Shaath<br /></span>LAND DAY<br />1983, 50 min, 16mm-to-DCP. In Arabic and Japanese with English subtitles.</p> <p dir="ltr"><span>Marwan Salamah<br /></span>AIDA<br />1985, 25 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 80 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Thursday, June 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59379 <p>Blondell Cummings’s approach to dance was distinctively cinematic: she termed her works “moving pictures” – photographic images charged with kinetic energy, in the vein of stop-motion film. The rhythmic black-and-white tapes featured in this program reveal the choreographer and video artist’s directorial engagement with the screen. In FIRST TAPE, Cummings wields the camera to compose and crystallize her movement vocabularies; the lens is an evocative mediator through which she frames improvisatory gestures inspired by her everyday life and histories of Black female domesticity. Cummings lingers within this realm in THE LADIES AND ME – on stage here, her interpretive process conjures a portrait of longing.<br /><br />Blondell Cummings<br />FIRST TAPE (1975, 24 min, video)<br />THE LADIES AND ME (1980, 31 min, video)<br /><br />Total running time: ca. 60 min.<br /><br />Co-presented by RADA Collaborative, a self-sustaining network of BIPOC artists, founded by filmmakers Michèle Stephenson and Joe Brewster, that uses cinema, visual art, and compelling visual storytelling to build narrative agency for creators of color. For more info about RADA Collaborative visit: <a href="https://radastudio.org/rada-collaborative/">https://radastudio.org/rada-collaborative/</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59498 <p><span id="docs-internal-guid-b8f8ce24-7fff-c6de-febe-999c3cfbd019"> </span></p> <p dir="ltr"><span>For the PLO, international networks were vitally important. Its institutions regularly invited delegations from all over the world, among them filmmakers. The PLO’s United Information section was responsible for the shooting permits, chose the camps in which to shoot, and selected the interview partners. The GDR film THE CHILDREN OF PALESTINE (Kurt Tetzlaff, 1980) was produced in the framework of the same cooperation agreement as FROM PALESTINE (Program 3). FREEDOM – WHAT DO I MEAN? (1981) – a collective work by West Germans who came to Lebanon as part of a political exchange on the invitation of the DFLP – focuses on forms of self-organization and discussions around the revolutionary “new Palestinian”.</span></p> <p dir="ltr"><span>Kurt Tetzlaff<br /></span>THE CHILDREN OF PALESTINE / DIE KINDER PALÄSTINAS<br />1980, 54 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Wolfgang Bienek, Robert Krieg, Thomas Reuter, Brigitte Schulz<br /></span>FREEDOM – WHAT DO I MEAN? / FREIHEIT – WIE MEINE ICH DAS?<br />1981, 42 min, video. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 100 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Thursday, June 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59544 <p>Stan Vanderbeek <br />SNAPSHOTS OF THE CITY<br />1961, 5 min, 16mm<br />Stan Vanderbeek shot (and retitled) Claes Oldenburg’s first happening, “Snapshots in the City”, described by Al Hansen as a “Shinbone Alley aftermath of Hiroshima in Manhattan.”<br /><br />Ray Wisniewski <br />DOOMSHOW <br />1962-63, 10 min, 16mm. Preserved by Anthology Film Archives.<br />Late ‘61, the NY Times reported “a group of young people in a grubby little gallery protesting with a vehemence recalling the belief of primitive witch doctors.” [“The Doom Show” artists (Boris Lurie, Stanley Fischer, and Sam Goodman)] “have mutilated toys, singed dolls, attacked machines and ravaged the girlie magazines.” Peace activist Ray Wisniewski filmed the show’s deinstallation, describing it as “a ritual fire dance” in “the shadow of the shadow” over a nuclear test site.<br /><br />Ken Jacobs & Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation.<br />Jack Smith: “Why shave when I can’t think of a reason for living?” Fashioned by Ken Jacobs from the wreckage of Bob Fleischner’s unfinished film, BLONDE COBRA received its theatrical premiere, along with Smith’s FLAMING CREATURES, at the Bleecker Street Cinema at midnight (4/29/63). Writing in the next week’s Village Voice, Jonas Mekas declared it the masterpiece of the new Baudelairean cinema, “hardly surpassable in perversion, in richness, in beauty, in sadness, in tragedy.”<br /><br />Jonas Mekas & Adolfas Mekas<br />THE BRIG<br />1964, 68 min, 35mm. Edited by Adolfas Mekas.<br /><br />Followed by:<br />Storm De Hirsch NEWSREEL: JONAS IN THE BRIG (1964, 5 min, 16mm. Preserved by Anthology Film Archives with support from The Andy Warhol Foundation for the Visual Arts.)<br />The Living Theatre’s most radical work reduced ex-marine Kenneth Brown’s memory-drama of punitive incarceration to an absurd, violent, monotonous routine of abuse and degradation. Director Judith Malina employed the logic of a Happening. The play was shut down twice. Jonas Mekas filmed its final performance as a documentary, as he was documented in turn by Storm De Hirsch.<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59448 <p><span id="docs-internal-guid-5f40f1b4-7fff-07e1-019b-87bd1e194801"> </span></p> <p dir="ltr"><span>THE DELLS is the first feature-length film by Nellie Kluz, who for the past 15 years has been making short nonfiction films about collective rituals and the infrastructures that support them, as well as working as a cinematographer and camera operator for other filmmakers’ projects, including HOW TO WITH JOHN WILSON.</span></p> <p dir="ltr"><span>THE DELLS observes the clash between fantasy and reality faced by international student workers newly arrived in Wisconsin Dells, Wisconsin – the self-described “Waterpark Capital of the World.” Coming from countries like Turkey, Romania, Jamaica, Thailand, and the Dominican Republic, these students land in the American Midwest via the State Department’s Summer Work Travel program. Issued temporary J-1 visas, they work low-paying jobs as lifeguards, housekeepers, and servers, living in dormitories tucked behind a glut of tourist attractions. The film follows the rhythms of an ensemble cast of “J-1s” as they work, party, and cruise around town in taxis. Students weather the myriad headaches of making ends meet in the U.S. – car troubles, job losses, long work hours – thanks to their friendships and youthful optimism. We see their hopes for a summer of American luck and prosperity rub up against their actual experiences, which are by turns disappointing, funny, and transcendent.</span></p> <p dir="ltr"><span>“THE DELLS captures the contradiction of the American Dream, where hopeful fantasies of life in the U.S. are grounded by the daily trials of being underpaid, overworked, and far from home.” –WEXNER CENTER FOR THE ARTS<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59452 <p><span id="docs-internal-guid-0ed61e3d-7fff-bf82-2894-7ce30dfdaa29"> </span><span>Alongside our screenings of her first feature film, THE DELLS, we present a program of Nellie Kluz’s earlier work, a group of nonfiction shorts that explore various hidden or neglected corners of American society and culture.<br /><br />“With her 2011 short YOUNG BIRD SEASON, a vivid and hilarious group portrait of competitive pigeon racers, Nellie Kluz entered the documentary field with a fully formed vision, tackling subjects in the realm of Americana with equal parts embedded fascination and playful comedic distance. Her subsequent body of short films has further honed these concerns.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br />YOUNG BIRD SEASON (2011, 19 min, DCP)<br /></span>The film is a window into the rhythms and logistics of pigeon racing, the guys who fly, and the birds themselves.<br /><span><br />GOLD PARTY (2013, 17 min, DCP)</span><br />Gold is a commodity that thrives in uncertain economic climates, and rising gold prices have created a boom industry around precious metal scrap. Observing dealers as they buy and process gold, this documentary is a window into one small corner of a global economic market.<br /><span><br />MUST SEE (2016, 13 min, DCP)</span><br />All over America, rain or shine, Pilgrims journey together.<br /><span><br />SERPENTS AND DOVES (2018, 30 min, DCP)</span><br />This film peers behind the scenes at a Christian passion play staged in the Ozark mountains.<br /><span><br />Total running time: ca. 85 min.<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> <div><span><br /></span></div> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59546 <p>PROGRAM 2: EARLY SUPERSTARS<br />Jonas Mekas AWARD PRESENTATION TO ANDY WARHOL (1964, 12 min, 16mm)<br />“The Independent Film Award for 1964 is presented to Andy Warhol. We see Andy among his leading stars, Baby Jane Holzer, Gerry Malanga, Ivy Nicholson, and we see the editor of Film Culture, Jonas Mekas, presenting the award: a basket of fruit – mushrooms, carrots and apples, bananas – which then, they all eat with great pleasure.” –Jonas Mekas<br /><br />Ron Rice<br />THE FLOWER THIEF<br />1960, 59 min, 16mm. With Taylor Mead. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. <br />THE FLOWER THIEF starred the poet Taylor Mead traipsing through San Francisco along with a cluster of North Beach habitués. PULL MY DAISY consecrated a beat aristocracy. Bronx-born Ron Rice – a decade younger than Kerouac and Ginsberg – was more like the unknown beatnik, arriving from New York to rake over the coals of the dying North Beach scene. Two years later, the movie got a near rave review from the NY Times.<br /><br />Michael Snow<br />NEW YORK EYE & EAR CONTROL<br />1964, 34 min, 16mm<br />Michael Snow came to New York from Toronto in 1964. He saw underground movies, discovered Albert Ayler and made his first real film, an insolently casual and seemingly inexplicable vehicle for his trademark Walking Woman, scored in a single session by Ayler and his partners in improvisation Don Cherry, Sonny Murray, Gary Peacock, Roswell Rudd, and John Tchicai. Unlike Taylor Mead, the Walking Woman was not compared to Chaplin.<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> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59548 <p>Jonas Mekas AWARD PRESENTATION TO ANDY WARHOL (1964, 12 min, 16mm)<br />“The Independent Film Award for 1964 is presented to Andy Warhol. We see Andy among his leading stars, Baby Jane Holzer, Gerry Malanga, Ivy Nicholson, and we see the editor of Film Culture, Jonas Mekas, presenting the award: a basket of fruit – mushrooms, carrots and apples, bananas – which then, they all eat with great pleasure.” –Jonas Mekas<br /><br />Ron Rice<br />THE FLOWER THIEF<br />1960, 59 min, 16mm. With Taylor Mead. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. <br />THE FLOWER THIEF starred the poet Taylor Mead traipsing through San Francisco along with a cluster of North Beach habitués. PULL MY DAISY consecrated a beat aristocracy. Bronx-born Ron Rice – a decade younger than Kerouac and Ginsberg – was more like the unknown beatnik, arriving from New York to rake over the coals of the dying North Beach scene. Two years later, the movie got a near rave review from the NY Times.<br /><br />Michael Snow<br />NEW YORK EYE & EAR CONTROL<br />1964, 34 min, 16mm<br />Michael Snow came to New York from Toronto in 1964. He saw underground movies, discovered Albert Ayler and made his first real film, an insolently casual and seemingly inexplicable vehicle for his trademark Walking Woman, scored in a single session by Ayler and his partners in improvisation Don Cherry, Sonny Murray, Gary Peacock, Roswell Rudd, and John Tchicai. Unlike Taylor Mead, the Walking Woman was not compared to Chaplin.<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> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59449 <p><span id="docs-internal-guid-5f40f1b4-7fff-07e1-019b-87bd1e194801"> </span></p> <p dir="ltr"><span>THE DELLS is the first feature-length film by Nellie Kluz, who for the past 15 years has been making short nonfiction films about collective rituals and the infrastructures that support them, as well as working as a cinematographer and camera operator for other filmmakers’ projects, including HOW TO WITH JOHN WILSON.</span></p> <p dir="ltr"><span>THE DELLS observes the clash between fantasy and reality faced by international student workers newly arrived in Wisconsin Dells, Wisconsin – the self-described “Waterpark Capital of the World.” Coming from countries like Turkey, Romania, Jamaica, Thailand, and the Dominican Republic, these students land in the American Midwest via the State Department’s Summer Work Travel program. Issued temporary J-1 visas, they work low-paying jobs as lifeguards, housekeepers, and servers, living in dormitories tucked behind a glut of tourist attractions. The film follows the rhythms of an ensemble cast of “J-1s” as they work, party, and cruise around town in taxis. Students weather the myriad headaches of making ends meet in the U.S. – car troubles, job losses, long work hours – thanks to their friendships and youthful optimism. We see their hopes for a summer of American luck and prosperity rub up against their actual experiences, which are by turns disappointing, funny, and transcendent.</span></p> <p dir="ltr"><span>“THE DELLS captures the contradiction of the American Dream, where hopeful fantasies of life in the U.S. are grounded by the daily trials of being underpaid, overworked, and far from home.” –WEXNER CENTER FOR THE ARTS<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59550 <p>Harry Smith<br />FILM NO. 16 (OZ: THE TIN WOODMAN’S DREAM)<br />1967, 15 min, 35mm, silent<br />In 1962, Allen Ginsberg and Timothy Leary managed to interest wealthy investors in an animated version of THE WIZARD OF OZ. Using a multi-plane camera of his own design, Smith produced 12 minutes of full color cell animation (most likely under the influence of LSD) before the backers withdrew.<br /><br />Aldo Tambellini <br />BLACK TRIP<br />1965, 5 min, 16mm<br />First shown as part of Group Central’s Black Zero which included slides and films projected on dancers, Ben Morea’s noise machine, and a blinding shaft of white light directed at the audience. Experiencing what he called a “theater of the senses,” Village Voice drama critic Michael Smith reported “the eyes can’t cope with the data and the sense of space goes vague; meanwhile, wild sounds have deadened the sense of time…. I think the secret ingredient is LSD.”<br /><br />Jud Yalkut<br />D.M.T.<br />1966, 3 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />In advance of Warhol’s “Exploding Plastic Inevitable,” hallucinationist Jackie Cassen put together a light show named DMT for dimethyltryptamine (a psychedelic drug that produced brief but intense trips) that ran across St. Marks Place at the Dom just before the EPI opened. Yalkut’s three-minute flicker film, partially scored to the Beatles, was constructed out of stroboscopic solo dancing, moiré patterns, and Cassen’s slides.<br /><br />Jud Yalkut<br />US DOWN BY THE RIVERSIDE<br />1966, 3 min, 16mm<br />Yalkut’s companion piece to D.M.T. was filmed at the Riverside Museum in the spring of 1966, where a few weeks after the EPI, USCO created a unified psychedelic environment. (Their use of the term “be-in” predates by nine months that of the vast gathering in Golden Gate Park.)<br /><br />Jud Yalkut <br />KUSAMA’S SELF-OBLITERATION<br />1967, 24 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />Yayoi Kusama’s “Self-Obliteration” premiered in mid-June 1967 at Tambellini’s Black Gate on Second Avenue. Yalkut filmed the most orgiastic part of the performance and used it as the climax of this half-hour which would have its world premiere and win a prize at the Knokke-Le-Zoute Experimental Film Festival in December 1967.<br /><br />Jud Yalkut<br />NAKED RADIO HAPPENING<br />1967, 6 min, 16mm-to-digital, silent. Digitized by Anthology Film Archives.<br />Unused material: Yalkut documented Kusama’s Body Festivals throughout the so-called Summer of Love, including one staged in the studio of WBAI and broadcast live on Bob Fass’s late night Radio Unnameable.<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, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59453 <p><span id="docs-internal-guid-0ed61e3d-7fff-bf82-2894-7ce30dfdaa29"> </span><span>Alongside our screenings of her first feature film, THE DELLS, we present a program of Nellie Kluz’s earlier work, a group of nonfiction shorts that explore various hidden or neglected corners of American society and culture.<br /><br />“With her 2011 short YOUNG BIRD SEASON, a vivid and hilarious group portrait of competitive pigeon racers, Nellie Kluz entered the documentary field with a fully formed vision, tackling subjects in the realm of Americana with equal parts embedded fascination and playful comedic distance. Her subsequent body of short films has further honed these concerns.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br />YOUNG BIRD SEASON (2011, 19 min, DCP)<br /></span>The film is a window into the rhythms and logistics of pigeon racing, the guys who fly, and the birds themselves.<br /><span><br />GOLD PARTY (2013, 17 min, DCP)</span><br />Gold is a commodity that thrives in uncertain economic climates, and rising gold prices have created a boom industry around precious metal scrap. Observing dealers as they buy and process gold, this documentary is a window into one small corner of a global economic market.<br /><span><br />MUST SEE (2016, 13 min, DCP)</span><br />All over America, rain or shine, Pilgrims journey together.<br /><span><br />SERPENTS AND DOVES (2018, 30 min, DCP)</span><br />This film peers behind the scenes at a Christian passion play staged in the Ozark mountains.<br /><span><br />Total running time: ca. 85 min.<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> <div><span><br /></span></div> Sunday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59552 <p>Barbara Rubin<br />CHRISTMAS ON EARTH<br />1963, 29 min, 16mm double-projection. Preserved by Anthology Film Archives.<br />“Bursting and burning with hallucinations, shooting her first movie, with the excitement of a holy nun…” –Jonas Mekas on Barbara Rubin, Village Voice (7/25/63)<br /><br />Andrew Noren<br />THE ADVENTURES OF THE EXQUISITE CORPSE, PART I: HUGE PUPILS (formerly KODAK GHOST POEMS, PART I)<br />1967, 61 min, 16mm, silent<br />Originally called THE NEW YORK MISERIES, then KODAK GHOST POEMS, and finally HUGE PUPILS, Noren’s definitive portrait of the male, heterosexual artist as a young boho with a movie camera is notable for its lush texture, lyrical idealization of life on the Lower East Side, lust for light, and graphic carnality.<br /><br />“Made all other film diaries look a little strange in their modesty.” –P. Adams Sitney<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> Sunday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59450 <p><span id="docs-internal-guid-5f40f1b4-7fff-07e1-019b-87bd1e194801"> </span></p> <p dir="ltr"><span>THE DELLS is the first feature-length film by Nellie Kluz, who for the past 15 years has been making short nonfiction films about collective rituals and the infrastructures that support them, as well as working as a cinematographer and camera operator for other filmmakers’ projects, including HOW TO WITH JOHN WILSON.</span></p> <p dir="ltr"><span>THE DELLS observes the clash between fantasy and reality faced by international student workers newly arrived in Wisconsin Dells, Wisconsin – the self-described “Waterpark Capital of the World.” Coming from countries like Turkey, Romania, Jamaica, Thailand, and the Dominican Republic, these students land in the American Midwest via the State Department’s Summer Work Travel program. Issued temporary J-1 visas, they work low-paying jobs as lifeguards, housekeepers, and servers, living in dormitories tucked behind a glut of tourist attractions. The film follows the rhythms of an ensemble cast of “J-1s” as they work, party, and cruise around town in taxis. Students weather the myriad headaches of making ends meet in the U.S. – car troubles, job losses, long work hours – thanks to their friendships and youthful optimism. We see their hopes for a summer of American luck and prosperity rub up against their actual experiences, which are by turns disappointing, funny, and transcendent.</span></p> <p dir="ltr"><span>“THE DELLS captures the contradiction of the American Dream, where hopeful fantasies of life in the U.S. are grounded by the daily trials of being underpaid, overworked, and far from home.” –WEXNER CENTER FOR THE ARTS<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59554 <p>[This program continues the tradition of Hoberman’s double-projector “Pedagogical Projections”, which became a legendary part of his classes at NYU and Cooper Union over the years.]<br /><br />See the ‘60s end with a bang and a whimper. Cosmic journeys pass in what might be a single violent night. Fantasies fissure as urban guerrillas talk themselves to death while hallucinating acid freaks revolt (at least in their mind).<br /><br />Total running time: ca. 130 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 22