https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Thu, 04 Dec 2025 08:07:43 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60362 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60385 <p>“Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child’s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.”  –TIME<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Friday, December 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60363 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60386 <p>These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art.<br /><br />DEATH IN THE FORENOON (1934/66, 2 min, 35mm)<br />CANARIES (1969, 4 min, 35mm)<br />&<br />FILM PORTRAIT<br />(1971, 81 min, 35mm)<br /><br />“FILM PORTRAIT is an autobiography in the sense that it deals explicitly with Jerome’s most personal life’s relationship to film. It draws on film clips taken in his childhood and his whole childhood involvement in art and life. It comes closest to any kind of filmic answer to Proust. […] FILM PORTRAIT is, I believe, the only direct autobiography we have in film. There is Jonas Mekas’s WALDEN, which is diary but not autobiography in a strict sense. We have Cocteau’s BLOOD OF A POET, ORPHEUS, and TESTAMENT OF ORPHEUS. One could say that this last is autobiographical, but it is also allusive and poetic; whereas Jerome’s FILM PORTRAIT is a very straight attempt to present autobiography on film. Of course, subsequently, James Broughton’s TESTAMENT and my own SINCERITY & DUPLICITY series of autobiographical films were very much inspired by Jerome’s FILM PORTRAIT as well as by Jonas’s WALDEN. […] Jerome Hill’s films are great because they are poised on wit and achieve a balance – a gentle, intentional, particularly American balance.” –Stan Brakhage, FILM AT WIT’S END<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Friday, December 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60355 <p>SPECIAL SCREENING / READING<br /><br />Recall this scene from Billy Wilder’s 1944 classic DOUBLE INDEMNITY: While listening to his boss (Edward G. Robinson) enumerate the ways a person might die by accident, lovestruck insurance rep Walter Neff (Fred MacMurray) alights on a nearly perfect plot for murder.<br /><br />Shiv Kotecha’s 2015 book-length poem EXTRIGUE, takes a similarly actuarial approach, obliterating the plot, sound, and banter of Wilder’s noir in order to showcase the infinity of ways in which language strives to describe what’s seen. All 419 shots of Wilder’s film are rendered into a procedural of glinting objects and part-objects, warping shadows, and twisted shafts of light: “345. A FLAME THAT FADES INTO A PHONE A MAN THAT FADES INTO A MAN A LAMP THAT FADES INTO A BOOK SMOKE THAT FADES INTO A HAT.”<br /><br />Marking ten years since the book’s publication, “EXTRIGUE at Anthology” pairs a new cut of Wilder’s film – slowed to the sludging pace of Kotecha’s written account – with a live marathon reading of the book by the author, friends, writers, and artists, obviating any need to recall the details of Wilder's film in favor of the trembling present tense of the cinematic screen.<br /><br />Readers include Hicham Awad, Omar Berrada, Courtney Bush, Tyler Coburn, Elena Comay del Junco, Mónica de la Torre, Devan Díaz, Kay Gabriel, Peter Goldberg, Rainer Diana Hamilton, Lucy Ives, Benjamin Krusling, Inney Prakash, Kim Rosenfield, Tracy Rosenthal, Suneil Sanzgiri, Sarah Schulman, Stevie Triano, and Joey Yearous-Algozin.<br /><br /><em><strong>Sat, Dec 6 from 4:00 to 9:00.<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60364 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60365 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60366 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60367 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60311 <p>Hans Richter’s THE NEW APARTMENT – produced for a Swiss architectural and interior design exhibition to promote modern approaches to design – is paired here with travel- and tourism-themed films by the great experimental animators Len Lye and Norman McLaren, the trippy bicentennial animation 200, and a fascinating film designed to promote the city of Pittsburgh (on the occasion of its own bicentennial), which was made with contributions from photographer Weegee, avant-garde filmmakers Stan Brakhage, Lye, and Stan Vanderbeek, and photographers W. Eugene Smith and Willard Van Dyke.<br /><br />Hans Richter THE NEW APARTMENT / DIE NEUE WOHNUNG (1930, 28 min, 35mm-to-DCP. Commissioned by Schweizerischer Werkbund (SWB).)<br />Len Lye COLOUR FLIGHT (1938, 4 min, 35mm-to-DCP. Commissioned by Imperial Airways.)<br />Len Lye SWINGING THE LAMBETH WALK (1939, 4 min, 35mm. Commissioned by the British Tourist and Industrial Development Association. Print courtesy The Museum of Modern Art, New York.)<br />Len Lye LIFE’S MUSICAL MINUTE (1953, 2 min, 35mm-to-DCP)<br />Norman McLaren NEW YORK LIGHTBOARD RECORD (1961, 9 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />PITTSBURGH (1959, 28 min, 16mm-to-DCP. Produced by On Film Co.)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60368 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60296 <p>This program collects pre-WWII-era advertisements, many of them experimental animations by renowned avant-garde filmmakers and artists such as Walter Ruttmann, Lotte Reiniger, Hans Richter, Oskar Fischinger, László Moholy-Nagy, and Len Lye. Made when the cinema was still in its infancy, with the lines between different forms of moving-image production not yet fully established, these films are often virtually indistinguishable from the artists’ non-commercial work, and are essentially experimental films made in the service of various products.<br /><br />Walter Ruttmann DER SIEGER (1921, 2 min, 35mm-to-DCP. Ad for Excelsior tires. Courtesy of the Deutsche Kinemathek.)<br />Walter Ruttmann DAS WUNDER (1922, 3 min, 35mm-to-DCP. Ad for Kantorowicz liqueur. Courtesy of the Deutsche Kinemathek.)<br />Lotte Reiniger THE SECRET OF THE MARQUISE / DAS GEHEIMNIS DER MARQUISIN (1922, 2.5 min, 35mm-to-DCP. Ad for Nivea skin cream.)<br />Julius Pinschewer & Lotte Reiniger THE BARCAROLE / DIE BARCAROLE (1924, 3.5 min, 35mm-to-DCP. Ad for Pralinés Mauxion dessert. Courtesy of the Deutsche Kinemathek.)<br />Julius Pinschewer & Guido Seeber FILM (KIPHO) (1925, 5.5 min, 35mm-to-DCP. Ad for the Kino- und Photoausstellung trade show. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm. Ad for the magazine Koelnische Illustrierte Zeitung.)<br />Lotte Lendesdorff & Walter Ruttmann HEALTH TONIC / DER AUFSTIEG (1926, 2 min, 35mm-to-DCP. Ad for the GESOLEI health and art exhibition in Düsseldorf. Courtesy of the Deutsche Kinemathek.)<br />László Moholy-Nagy, György Kepes, and Sybille Pietzsch (uncredited contributors) under the direction of Egon von Tresckow DER FEINSCHMECKER (1934, 2 min, 35mm-to-digital, silent. Ad for Jena Glass.)<br />Oskar Fischinger CIRCLES / KREISE (1933-34, 2 min, 16mm. Commissioned by Tolirag publicity agency.)<br />Oskar Fischinger MURATTI GETS IN THE ACT (1934, 3 min, 16mm. Ad for Muratti Cigarettes.)<br />Oskar Fischinger MURATTI PRIVAT (1935, 2 min, 16mm. Ad for Muratti Cigarettes.)<br />Karel Dodal & Irena Dodalová BUBBLES GAME / HRA BUBLINEK (1936, 2 min, 35mm-to-DCP. Ad for Saponia soap. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová AN AUTUMN SONG / PÍSEŇ PODZIMU (1937, 2 min, 35mm-to-DCP. Ad for the Prokop Čáp [Prokop and Stork] department store. Courtesy of the National Film Archive, Prague.)<br />Len Lye KALEIDOSCOPE (1935, 4 min, 35mm. Ad for Churchman Cigarettes. Print courtesy of the Austrian Filmmuseum.)<br />Gyula Macskássy INCANDESCENT LOVE / IZZÓ SZERELEM (1939, 2 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Gyula Macskássy & György Szénásy LIGHT / FÉNY (1942, 1 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Len Lye THE BIRTH OF A ROBOT (1935, 6.5 min, 35mm. Ad for Shell Lubrication oils. Print courtesy of the Austrian Filmmuseum.)<br />Alexander Hammid & Elmar Klos THE HIGHWAY SINGS / SILNICE ZPÍVÁ (1937, 4 min, 35mm. Ad for Bata tires. Preserved by Anthology Film Archives.)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60369 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60305 <p>Stan Phillips COLORADO LEGEND (1961, 11 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />Stan Phillips BALLAD OF THE COLORADO UTE (1963, 17 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />“Educational/informational films made as commissioned works for the Colorado Department of Public Relations through Western Cine, which was a film laboratory (and Brakhage’s primary lab), but also a production company for educational films for an unknown period in the early 1960s. Although directed by Brakhage’s longtime friend Stan Phillips, Brakhage is credited with ‘photography, editing, and pictorial direction’, and the films bear some hallmarks of his personal style.” –Mark Toscano<br /><br />Stan Brakhage<br />MR. TOMPKINS INSIDE HIMSELF<br />1962, 41 min, 16mm. Print courtesy of the Academy Film Archive.<br />“An educational film made by Brakhage with Western Cine owner John Newell (who also photographed much of the film), based on ‘Mr. Tompkins Learns the Facts of Life’ by George Gamow. Although some of the medical and scientific footage in this film was obtained from separate sources, there is a credit stating ‘Microphotography of Vessels of Living Bat’s Wing, Mouse Lung, Red Blood, Slides, and Photography of Internal Heart of Sheep and External Heart of Living Dog by Stan Brakhage and George Gamow’. Some of this footage was also used by Brakhage in DOG STAR MAN.” –Mark Toscano<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60370 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</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, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60308 <p>This program pairs Jonas Mekas’s FILM MAGAZINE OF THE ARTS – commissioned by Show Magazine, but rejected for containing no references to the magazine itself – with films made for various school systems by Bruce Baillie and Chick Strand; Robert Breer’s PBL #2 (a cartoon history of the black American for broadcast on the NET network); Cathryn Aison and Philip Glass’s SESAME STREET segment, GEOMETRY OF CIRCLES; and Jerome Hiler and Nathaniel Dorsky’s LIBRARY, a moving and lovely paean to New Jersey’s Sussex County Library.<br /><br />Jonas Mekas FILM MAGAZINE OF THE ARTS (1963, 20 min, 16mm. Preserved by Anthology Film Archives.)<br />“In Spring, 1963 Show Magazine called me and asked that I make a film on arts in New York. I told them, why did they want me to make it – didn’t they know I was a bit unusual?… ‘We want something unusual,’ they said. So I went out and made a newsreel on arts. Show people looked at the rough cut of the film and became very angry. ‘But there is nothing about Show Magazine and DuPont fabrics in the movie,’ they said. ‘What has that to do with the arts in New York!’ I said. The battle was short. The film was destroyed. Really, I have no idea what they did with it. This workprint of the first FILM MAGAZINE OF THE ARTS is the only print in existence, as far as I know.” –Jonas Mekas<br /><br />Bruce Baillie HERE I AM (1962, 11 min, 16mm. Preserved by Anthology Film Archives.)<br />“A film for the East Bay Activity Center in Oakland, a school for mentally disturbed children.” –Bruce Baillie<br /><br />Bruce Baillie THE BROOKFIELD RECREATION CENTER (1964, 6 min, 16mm. Preserved by BAMPFA, 2012.)<br />“Made for the Oakland Public Schools on an experimental series of classes in the arts.” –Bruce Baillie<br /><br />Chick Strand CHILDREN ARE OUR FIRST PRIORITY (1972, 12.5 min, 16mm. Print courtesy of the Academy Film Archive.)<br />This extremely rare work by Chick Strand is a sponsored film about Title 1 schools.<br /><br />Robert Breer PBL #2 1968, 1 min, 16mm<br />“A concise, one-minute cartoon history of the black American, commissioned by the Public Broadcast Laboratory and shown on NET network.” –CANYON CINEMA<br /><br />Cathryn Aison & Philip Glass GEOMETRY OF CIRCLES (1979, 2.5 min, digital. Commissioned by SESAME STREET.)<br /><br />Jerome Hiler & Nathaniel Dorsky LIBRARY (1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad.)<br />“[In 1970 Hiler and Dorsky] collaborated on an unexpected and little-known work, an industrial film commissioned by New Jersey’s Sussex County Area Reference Library, whose local branch Dorsky and Hiler frequented first as patrons, then eventually as projectionists and programmers for the library’s 16mm screenings. […] A collaboration with their friends Tony Conrad and his wife, actress Beverly Grant, who contributed, respectively, its minimalist score and voiceover narration, LIBRARY…is a direct complement to both filmmakers’ contemporary diary films and an extension of their somewhat idealized vision of daily life in rural New Jersey. More importantly, the film gives revealing expression to the close correspondence uniting Dorsky and Hiler’s work, and their shared dedication to an ideal of art as a form of spiritual experience and devotion.” –Haden Guest, CINEMA SCOPE<br /><br />Total running time: ca. 75 min.<br /><br />[<strong>Please note: unfortunately, the print of Chick Strand's CHILDREN ARE OUR FIRST PRIORITY is stuck in transit, and will not arrive in time for the first screening on Mon, Nov 17. It will be here in time for the second screening of the program on Mon, Dec 8 at 8:30. Those who do attend the screening on the 17th are welcome to comp tickets for the second screening in December.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60371 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</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, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60299 <p>Toshio Matsumoto, Genichiro Higuchi, and Masao Yabe<br />BICYCLE IN DREAM / GINRIN<br />1955, 12 min, 35mm-to-DCP. Music by Tôru Takemitsu. Commissioned by the Japan Bicycle Promotion Institute. Courtesy of the National Film Archive of Japan (NFAJ).<br />“Toshio Matsumoto (FUNERAL PARADE OF ROSES) began his filmmaking career by planning, cowriting, and assistant-directing GINRIN, an astonishingly experimental PR film commissioned by the Japan Bicycle Promotion Institute. His collaborators on the project were Shozo Kitadai and Katsuhiro Yamaguchi, members of Japan’s postwar collective Jikken Kobo, the composer Toru Takemitsu and the special effects creator Eiji Tsuburaya, who would go on to do the same for the GODZILLA series.” –Taro Nettleton, ART REVIEW<br /><br />Toshio Matsumoto<br />THE RECORD OF A LONG WHITE LINE / SHIROI NAGAI SEN NO KIROKU<br />1960, 13 min, 35mm-to-DCP. Commissioned by Kansai Electricity.<br />“A short history of the development of Japan’s energy supply after the war, commissioned by the energy company Kansai and made as a stylistically heterogeneous blend of animations, veristic observations, etc.” –INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN<br /><br />Ed Emshwiller<br />FUSION<br />1967, 16 min, 16mm-to-DCP. Commissioned by Spring Mills. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.<br />“A cine-dance film sponsored by Springs Mills to promote a new line of towels designed by Pucci. Dancers throw, move through, dance with, and are draped in a variety of designer towels.” –Ed Emshwiller<br /><br />Total running time: ca. 45 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60372 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60302 <p>This program of post-WWII advertisements encompasses striking commissioned films by experimental film- and video-makers like Jordan Belson, Peter Kubelka, Pat O’Neill, Chick Strand, Dara Birnbaum, and Jeff Preiss, and art-house giants such as Ingmar Bergman, Jean-Luc Godard, David Lynch, and David Cronenberg, and throws in appearances from Frank Zappa, John Waters, and Father Guido Sarducci for good measure.<br /><br />John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] (1982, 40 sec, 35mm)<br />Mark Shepard [EZTV No smoking PSA] (ca. 1985, 30 sec, video)<br />Ingmar Bergman BRIS SOAP COMMERCIALS [selection] (1951, 6.5 min, 35mm-to-DCP. Courtesy of the Swedish Film Institute.)<br />Oskar Fischinger MUNTZ TV (1953, 1.5 min, 16mm. Ad for Muntz TV.)<br />Jordan Belson CHRONICLE (1955, 2 min, 16mm-to-DCP. Ad for the San Francisco Chronicle. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive.)<br />Paul Bartel THE SUBJECT WAS WRINKLES (1960s, 7.5 min, 16mm-to-digital)<br />Len Lye RHYTHM (1957, 1 min, 16mm, b&w. Commissioned (but rejected) by Chrysler.)<br />Peter Kubelka ADEBAR (1957, 1 min, 35mm. Commissioned (but rejected) by Vienna’s Café Adebar.)<br />Peter Kubelka SCHWECHATER (1958, 1 min, 16mm. Commissioned (but rejected) by Schwechater Bier.)<br />Anonymous Commercials for d-c-fix and INKU GF-Kante (1963/65, 4 min, 35mm, b&w. Preserved (2013) by the Austrian Film Museum.)<br />Dwinell Grant PEPSI-COLA-COMMERCIAL (1960, 1 min, 16mm. Preserved by Anthology Film Archives.)<br />Pat O’Neill, Neon Park, and Chick Strand SEARS SOX (1968, 5 min, 16mm. Commissioned by Sears department stores. Print courtesy of the Academy Film Archive.)<br />Ed Seeman & Frank Zappa [Luden’s Cough Drops ad] (1967, 1 min, video)<br />Dara Birnbaum REMY/GRAND CENTRAL: TRAINS AND BOATS AND PLANES (1980, 4 min, video. Commissioned by Remy Martin. Courtesy of the Estate of Dara Birnbaum and Electronic Arts Intermix (EAI), New York.)<br />George Manupelli & William Farley FATHER GUIDO SARDUCCI ON ART SCHOOL (1982, 1 min, video. Ad for the San Francisco Art Institute.)<br />Dara Birnbaum MTV: ARTBREAK (1987, 30 sec, video. Courtesy of the Estate of Dara Birnbaum and Electronic Arts Intermix (EAI), New York.)<br />David Daniels [ABC promo – Michael Jackson] (1987, 12 sec, video)<br />David Daniels [Honda Scooter ad] (1988, 30 sec, video)<br />David Daniels [IDIOT BOX opening sequence] (1990, 30 sec, video)<br />David Daniels [Clearasil ad] (1995, 30 sec, video)<br />M. Henry Jones & Tom Marsan [America’s Best Contacts and Eyeglasses commercial] (1990, 30 sec, video)<br />Jean-Luc Godard [Closed Jeans ads] (1987/88, 2 min, video)<br />Jean-Luc Godard [Nike Air 180 ad] (1991, 15 sec, video)<br />Jean-Luc Godard [Schick Aftershave ad] (1991, 1 min, video)<br />Jean-Luc Godard [Parisienne People Cigarettes ad] (1992, 45 sec, video. Co-directed by Anne-Marie Miéville.)<br />David Cronenberg [Nike Air 180 ad] (1990, 30 sec, video)<br />David Cronenberg [Caramilk ad] (1990, 30 sec, video)<br />David Lynch [Georgia Coffee ads] (1991, 2 min, digital)<br />David Lynch [Michael Jackson Dangerous Short Films intro] (1991, 30 sec, digital)<br />David Lynch [Adidas the Wall ad] (1993, 1 min, digital)<br />David Lynch [Sci Fi Channel interstitials] (1997, 1 min, digital)<br />David Lynch PARISIENNE PEOPLE (1998, 1 min, digital. Ad for Parisienne cigarettes.)<br />David Lynch [Playstation 2 ad] (2000, 1 min, digital)<br />David Lynch [David Lynch Coffee ad] (2011, 4 min, digital)<br />Jeff Preiss NIKE: JOEL / HIPPIES (1993, 1 min, 16mm-to-digital)<br />Jeff Preiss CHERRY COKE: RUGBY (1998, 1 min, 16mm-to-digital)<br />Jeff Preiss YELLOW PAGES: TOUR / CRITIC / GREEN ROOM (1998, 2 min, 16mm-to-digital)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60373 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier will be here in person for Q&As following the screenings Wed-Fri, Dec 3-5! On Thursday, she'll be joined in conversation by filmmaker Peggy Ahwesh and on Friday by filmmaker Jeanne Liotta.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60394 <p>Woronov’s performing career was born in Warhol’s Factory. Becoming an integral part of the Factory scene and of Warhol’s group of “superstars” in 1966, Woronov appeared onstage as part of the Exploding Plastic Inevitable show, and on screen in several of Warhol’s “Screen Tests” and numerous of his films, including THE CHELSEA GIRLS, HEDY, RICHARD AND MARY, and others. KISS THE BOOT documents the “whip dance” that she and Gerard Malanga performed as part of EPI, while HEDY presents the adventures of Hedy Lamarr, as she receives a face-lift, is arrested for shoplifting, and goes on trial to face the accusations of her five former husbands. Mario Montez gives one of his most outstanding performances in the title role and the Velvet Underground contributes a live score, while Woronov makes a memorable appearance as the policewoman who apprehends the sticky-fingered Hedy. This program also includes the short film she made in this period with Warhol’s assistant and collaborator, Gerard Malanga: MARY FOR MARY (1966).<br /><br />Andy Warhol<br />HEDY<br />1966, 66 min, 16mm-to-DCP. Digital restoration courtesy of The Andy Warhol Museum.<br /><br />Preceded by:<br />Andy Warhol KISS THE BOOT (1966, 4 min, 16mm-to-DCP, silent. Digital restoration courtesy of The Andy Warhol Museum.)<br />Gerard Malanga MARY FOR MARY (1966, 16 min, 16mm-to-DCP)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60357 <p>Founded in 1995, the Women’s Film Preservation Fund of New York Women in Film and Television is the only program in the world dedicated to preserving the cultural legacy of women in the industry through preserving films made by women. Since its founding, the WFPF has preserved over 150 women-led films, including works by early feminists, women of color, social activists, and artists that represent a unique and irreplaceable part of our nation’s cultural legacy.<br /><br />On the occasion of its 30th anniversary, the WFPF has curated a program – comprising 1960s-90s experimental films preserved through its efforts – that explores themes of second wave feminism, gender identity, and sexuality.<br /><br />This program is part of WFPF of New York Women in Film and Television’s milestone anniversary series, celebrating 30 years of preserving women’s cinematic history; for more info visit: https://www.nywift.org/wfpf/ <br /><br />Liane Brandon SOMETIMES I WONDER WHO I AM (1970, 5 min, 16mm-to-DCP. <strong>U.S. preservation premiere!</strong>)<br />Anne Chamberlain A FEMINIST FILM (1988, 1 min, 16mm, silent. Courtesy of the UCLA Film & Television Archive. <strong>Preservation premiere!</strong>)<br />Anne Chamberlain PRE-MENSTRUAL (1992, 1 min, 16mm, silent. Courtesy of the UCLA Film & Television Archive. <strong>Preservation premiere!</strong>)<br />Susan Brockman DEPOT (1974, 11 min, 16mm)<br />Geri Ashur & Peter Schlaifer MAKE OUT (1970, 5 min, 16mm. Voiceover script: Geri Ashur, Andrea Eagan, Marcia Salo Rissi, and Deborah Shaffer.)<br />Jan Oxenberg HOME MOVIE (1973, 12 min, 16mm-to-DCP)<br />Rachel Reichman A CHILD’S INTRODUCTION TO THE WONDERS OF SPACE (1979, 12 min, 16mm)<br />Lisa Crafts DESIRE PIE (1976, 5 min, 16mm-to-35mm)<br />Margaret Conneely MISTER E. (1960, 11.5 min, 16mm. Print courtesy of Chicago Film Archives.)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60397 <p>In SILENT NIGHT, BLOODY NIGHT, a man arrives in a small town in order to sell his family mansion – a former insane asylum – only to find it occupied by an axe-wielding madman bent on revenge against the town elders. Co-produced by Lloyd Kaufman (just two years before he would launch Troma Entertainment), featuring legendary character actor John Carradine, and marking Woronov’s second collaboration with her then-husband Theodore Gershuny, SILENT NIGHT, BLOODY NIGHT is a slasher film that plays like an underground, art cinema take on the genre. And no wonder, given the involvement of Gershuny (whose first film was the 1966 experimental short AMERICAN ROULETTE) and Woronov, who were presumably responsible for casting half of the bit parts with their Warhol Factory associates, including Candy Darling, Ondine, Tally Brown, and Jack Smith!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60401 <p>Andy Warhol<br />QUEEN OF CHINA (HANOI HANNA)<br />1966, 66 min, 16mm-to-digital. Scenario by Ronald Tavel. With Mary Woronov, Susan Bottomly, Angelina “Pepper” Davis, and Ingrid Superstar. Digital restoration courtesy of The Andy Warhol Museum.<br />“QUEEN OF CHINA (HANOI HANNA) – which was incorporated into Warhol’s hugely successful, three-hour-plus, two-screen film, THE CHELSEA GIRLS – based on Ronald Tavel’s scenario, loosely refers to the real-life radio show host who broadcast antiwar propaganda to American soldiers in Vietnam. It is Mary Woronov’s showcase piece, in which she metes out physical and psychological abuse to Susan Bottomly, Angelina ‘Pepper’ Davis, and Ingrid Superstar in a room at the Chelsea Hotel. At first, the cast tries to accurately adhere to Tavel’s scenario, but by reel two it all falls apart—the performers begin to use their real names and exhibit a sort of residual stress disorder that permeates the rest of the film.” –MUSEUM OF MODERN ART<br /><br />Preceded by:<br />Andy Warhol MARY WORONOV SCREEN TEST (ST357) (1966, 4 min, 16mm-to-DCP, silent. Digital restoration courtesy of The Andy Warhol Museum.)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: MARY WORONOV (2009-2011, 4 min, digital)<br />[Documentation of John Vaccaro’s “Conquest of the Universe”] (ca. 1967, ca. 15 min, 16mm-to-DCP, silent)<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> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60326 <p>Harun Farocki<br />A DAY IN THE LIFE OF A CONSUMER / EIN TAG IM LEBEN DER ENDVERBRAUCHER<br />1993, 44 min, DCP. In German with English subtitles.<br />“Harun Farocki plunders 40 years of advertising films, which he orchestrates to constitute an ironic 24 hours in the life of typical consumers, mixing different colors, periods, and various ‘ideologies of well being’ to hold up a mirror to our times, values, worries, hopes. This collage of ‘beautiful images,’ gleeful and chaotic, deconstructs not only the domestic reference points which punctuate our daily life, but also gives full rein to an off-beat humor in the tradition of Brechtian distanciation.” –Andrei Ujica<br /><br />Preceded by:<br />Andrew Lampert BENETTON (2004, 4.5 min, 16mm-to-digital, silent)<br />Nam June Paik & Jud Yalkut WAITING FOR COMMERCIALS 1966-72 (1992, 6.5 min, video)<br />Peter Kubelka POETRY AND TRUTH / DICHTUNG UND WAHRHEIT (1996-2003, 13 min, 16mm)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60320 <p>This program pays tribute to the sponsored film category of the Public Service Announcement, with several works (by Hans Richter, Len Lye, and Norman McLaren) made during WWII, as well as Carl Dreyer’s anti-speeding cautionary tale, THEY CAUGHT THE FERRY, Niki de Saint Phalle and her son Philip Mathews’s ads raising awareness about AIDS, David Lynch’s anti-littering spot, and more.<br /><br />Hans Richter INFLATION (1928, 3 min, 35mm-to-DCP. Courtesy of the Deutsche Kinemathek.)<br />Len Lye MUSICAL POSTER NO. 1 (1940, 3 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye KILL OR BE KILLED (1942, 18 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye NEWSPAPER TRAIN (1942, 6 min, 35mm-to-DCP)<br />Len Lye WORK PARTY (1942, 7 min, 35mm-to-DCP)<br />Norman McLaren V FOR VICTORY (1941, 2 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren FIVE FOR FOUR (1942, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren KEEP YOUR MOUTH SHUT (1944, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Carl Th. Dreyer THEY CAUGHT THE FERRY / DE NÅEDE FÆRGEN (1948, 11 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Philip Mathews, Niki de Saint Phalle, and Silvio Barandun AIDS (Public Service Announcements) (1990, 4 min, video. Directed by Philip Mathews and animated by Steve Dovas, Barbara Nislick, and Tony Luamaco. Based on the book “AIDS: You Can’t Catch It Holding Hands”.)<br />Tom Rubnitz SUMMER OF LOVE PSA (1990, 30 sec, video)<br />David Lynch WE CARE ABOUT NEW YORK (1991, 1 min, digital. Commissioned by the New York Dept of Sanitation.)<br />Jeff Preiss JACKSON SONG (1990, 2 min, 16mm-to-digital. Commissioned by Burger King.)<br />Rachael Guma EXTRA ULTRA SUPER GAL (2024, 3.5 min, DCP)<br />Pat Lehman DRUG ABUSE (1972, 1 min, video)<br />Cliff Roth THE REAGANS SPEAK OUT ON DRUGS (1988, 7 min, video-to-16mm)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60404 <p>Alta Leigh was an attractive young model with the future in her hands…until her pornographer boyfriend, George, tricked her into committing “suicide” on camera. Devastated by the incident, Alta’s lover, Camilla, hatches a bizarre plot to avenge her death: find an exact lookalike of Alta to drive George insane. Starring the iconic Mary Woronov, former Belgian beauty queen Monique van Vooren, Warhol acolyte Ondine, and produced by Oliver Stone, SUGAR COOKIES is arthouse exploitation with a heady mix of Hitchcock mystery and Paul Bartel weirdness.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60323 <p>In contrast to the previous works in the series, which comprise films or advertisements sponsored by various companies or industries, this program consists of films made independently by artists that engage with or intervene in advertising. The first section showcases the rare but fascinating instances in which artists (such as Richard Serra, Carlotta Schoolman, Chris Burden, Lynn Hershman Leeson, and Stan Douglas) have actually purchased TV airtime for their own purposes, as well as finding room for works like Vito Acconci’s ELECTION TAPE ’84, Muntadas’s THIS IS NOT AN ADVERTISEMENT, and Harun Farocki’s MUSIC-VIDEO, which were displayed on public advertising billboards. The second part of the program finds artists making films that adopt the form of ads or otherwise satirize or critique advertising.<br /><br /><span style="text-decoration: underline;">1. Buying time (artists buying their own advertising time):</span><br />Richard Serra & Carlotta Schoolman TELEVISION DELIVERS PEOPLE (1973, 6.5 min, video)<br />Chris Burden THE TV COMMERCIALS 1973-1977 (1973-77/2000, 4 min, video)<br />Lynn Hershman Leeson COMMERCIAL FOR MYSELF (1978, 46 sec, video)<br />Vito Acconci ELECTION TAPE ’84 (1984, 2 min, video)<br />Muntadas THIS IS NOT AN ADVERTISEMENT (1985, 5 min, video)<br />Stan Douglas TELEVISION SPOTS (1987-88, ca. 5 min, video)<br />Harun Farocki MUSIC-VIDEO / MUSIKVIDEO (2000, 1 min, video)<br /><br /><span style="text-decoration: underline;">2. Films that adopt the format/language of ads:</span><br />Joan Logue 30 SECOND PORTRAITS: NEW YORK ARTISTS (1982, 15 min, video. Made in collaboration with the artists.)<br />Thom Andersen MELTING (1965, 6 min, 16mm)<br />Michael Smith MIKE (1987, 3.5 min, video)<br />Valie Export A PERFECT PAIR (1987, 13.5 min, video)<br />Kristin Lucas INFORECEPTOR (1994, 5 min, digital)<br />Tony Cokes AD VICE (1999, 6.5 min, digital)<br />Ilana Harris-Babou REPARATION HARDWARE (2018, 4 min, digital)<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60262 <p>Paul Vecchiali<br />ENCORE<br />1988, 87 min, 35mm-to-DCP. In French with English subtitles.<br />It’s 1978 and Louis (Jean-Louis Rolland) is living a mundane life with a job, a wife, and a daughter. One day, an unexpected sexual encounter helps Louis realize he’s gay. He comes out, leaves his family, and over the next ten years pursues love and sex with the reckless intensity of a besotted teenager. Director Paul Vecchiali’s ENCORE is an emotionally complex story about a flawed, messy, gay protagonist experiencing a sexual awakening during the AIDS epidemic. Each new scene unfolds via bravura long takes and moves the story forward one year, making the film a beguiling marriage of theatrical and cinematic techniques. Wistful musical numbers, in the vein of Jacques Demy’s UNE CHAMBRE EN VILLE and Chantal Akerman’s GOLDEN EIGHTIES, complete Vecchiali’s visionary narrative. ENCORE was the first commercial French film to deal with HIV/AIDS, and Vecchiali’s refusal to turn his protagonist into a “perfect victim” sets it apart from other similar dramas of this and later eras. Rarely screened, it's ripe for rediscovery by gay and queer audiences.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60331 <p>Harun Farocki<br />EVERYBODY A BERLINER KINDL / JEDER EIN BERLINER KINDL 1966, 4 min, 16mm-to-DCP<br />“[This film] deals with advertising for Berliner Kindl, a local beer. It is a matter of the act of self-refutation, an act which is, however, far more than an ironically positioned, merely aesthetic ‘gesture’ – it is evidently related to the manner in which one approaches politics, political speeches and political semiotics.” –Klaus Kreimeier<br /><br />THE APPEARANCE / DER AUFTRITT<br />1996, 40 min, 16mm-to-DCP. In German with English subtitles.<br />“Farocki once again takes us into the world of advertising. An advertising agency has to pitch a marketing concept to an optician’s consortium, represented by the manager who is the first to see the campaign. The logo submitted, ‘Eyedentity’, is examined from every angle: it must simultaneously express both the company’s dynamism and its reliability! A fascinating, dispassionate glimpse behind closed doors, where every detail is dramatized to win that lucrative contract.” –Jörg Becker<br /><br />STILL LIFE / STILLEBEN<br />1997, 56 min, 16mm-to-DCP. In German with English subtitles.<br />According to Farocki, today’s photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life – the “still life”. The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary “still life”: a cheese-board, beer glasses, and an expensive watch.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60408 <p>“Based on the short story ‘The Racer’ by Ib Melchior, DEATH RACE 2000 is set in a post-apocalyptic USA in the year 2000, where various contestants are preparing to take part in the homicidal, coast-to-coast road rally, the Transcontinental Road Race, which is watched avidly by the entire nation. Themed cars, echoing professional wrestling personas, include Frankenstein (driven by star David Carradine), Calamity Jane (Mary Woronov), Machine Gun Joe (Sylvester Stallone), Matilda the Hun, and Nero the Hero – a Roman gladiator-style vehicle. Watch for a road-kill cameo from John Landis.” –David Savage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60376 <p>To celebrate the publication of a new edition of George and Mike Kuchar’s beloved memoir, “Reflections from a Cinematic Cesspool”, we gleefully present five programs of the twin brothers’ delightful and inimitable movies. Raised in the Bronx, George and Mike were 8mm filmmaking dynamos whose endless resourcefulness, sardonic style, and far out subject matter made them darlings of the 1960s underground. Working together and eventually apart, over the ensuing decades the Kuchars made hundreds of brazen and often deliriously campy films and videos that earned them global cult hero status. Where would the world be today without the Kuchars? It’s harrowing to think.<br /><br />First published in 1997, and long unavailable, “Reflections…” is both memoir and manifesto, an irreverent, hilarious, and deeply personal dispatch from two of the most beautifully deranged minds in independent film history. Back in print thanks to Inpatient Press, the book is a treasure trove of riotous stories and secrets about the Kuchars’ lives and careers. These screenings will focus on deep cuts from their seemingly bottomless oeuvre, with rarely screened 16mm films from each of the brothers, a program of new digital works by Mike, and more.<br /><br />For more info about “Reflections from a Cinematic Cesspool”, visit: https://mitpress.mit.edu/9781965874240/reflections-from-a-cinematic-cesspool/ <br /><br />Guest-programmed by Andrew Lampert, the editor of “The George Kuchar Reader” (2014). Special thanks to Mitch Anzuoni (Inpatient Press) and Michelle Silva.<br /><br />PROGRAM 1: VIDEOS BY MIKE KUCHAR<br /><br />THE VOICE IN THE MAN (2023, 40 min, digital)<br />STARBOUND (2012, 47 min, digital)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60411 <p>“As new principal Miss Togar (Mary Woronov) says, ‘The minute there’s not a teacher in the room the entire school erupts into a shameless display of adolescent abandon!’ Initially conceived by Roger Corman as DISCO HIGH SCHOOL, Alan Arkush rejiggered the project for the Ramones, who wrote ‘Rock ‘n’ Roll High School’ and ‘I Want You Around’ for the soundtrack. (Dee Dee complained that Arkush made them look ‘like Martians.’)” –Rachel Churner<br /><br />“Underneath its chipper, anything-for-a-laugh grin, ROCK ‘N’ ROLL is as subversive as teen movies get, with an ending that, for all its absurdity, is still surprisingly shocking. It’s hard to imagine a similar conclusion being shot today.” –Zack Handlen, THE ONION<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60378 <p>To celebrate the publication of a new edition of George and Mike Kuchar’s beloved memoir, “Reflections from a Cinematic Cesspool”, we gleefully present five programs of the twin brothers’ delightful and inimitable movies. Raised in the Bronx, George and Mike were 8mm filmmaking dynamos whose endless resourcefulness, sardonic style, and far out subject matter made them darlings of the 1960s underground. Working together and eventually apart, over the ensuing decades the Kuchars made hundreds of brazen and often deliriously campy films and videos that earned them global cult hero status. Where would the world be today without the Kuchars? It’s harrowing to think.<br /><br />First published in 1997, and long unavailable, “Reflections…” is both memoir and manifesto, an irreverent, hilarious, and deeply personal dispatch from two of the most beautifully deranged minds in independent film history. Back in print thanks to Inpatient Press, the book is a treasure trove of riotous stories and secrets about the Kuchars’ lives and careers. These screenings will focus on deep cuts from their seemingly bottomless oeuvre, with rarely screened 16mm films from each of the brothers, a program of new digital works by Mike, and more.<br /><br />For more info about “Reflections from a Cinematic Cesspool”, visit: https://mitpress.mit.edu/9781965874240/reflections-from-a-cinematic-cesspool/ <br /><br />Guest-programmed by Andrew Lampert, the editor of “The George Kuchar Reader” (2014). Special thanks to Mitch Anzuoni (Inpatient Press) and Michelle Silva.<br /><br />PROGRAM 2: 16MM FILMS BY MIKE KUCHAR<br /><br />TALES OF THE BRONX (1970, 16 min, 16mm)<br />DIDGERIDOO (1972, 10 min, 16mm)<br />FARAWAY PLACES (1974, 9.5 min, 16mm)<br />FABLE FOR A NEW AGE (1984, 30 min, 16mm)<br />TONE POEM (1984, 6 min, 16mm)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60415 <p>“Paul and Mary Bland (Paul Bartel and Mary Woronov), a married couple stuck in the 1950s who sleep in twin beds, hit upon a scheme to murder classified-ad swingers in order to put a down payment on the upscale country restaurant of their dreams. Their plan is discovered by a Chicano thief (Robert Beltran), who not only wants in, but wants Mary – and wants Paul out of the way, permanently. Bartel’s exploration of race and class in Los Angeles is told in cartoon-like tones, echoing his roots in animation. Bartel’s most acclaimed film, it set the bar for his sophisticated, subversive, eccentric comic vision of American society.” –David Savage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60418 <p>Bruce & Norman Yonemoto<br />SPALDING GRAY’S MAP OF L.A.<br />1984, 27 min, video<br />The Yonemotos collaborated with performance artist Spalding Gray and actors Mary Woronov and Marshall Efron on this satire of the mythology of Los Angeles, juxtaposing a parodic fictional narrative with Gray’s autobiographical monologues. The ironic re-enactment of the New York artist’s encounter with the excess of Los Angeles focuses on the Southern Californian obsession with cars as cultural and consumer icons.<br /><br />Bruce & Norman Yonemoto<br />KAPPA<br />1986, 26 min, video. Made in collaboration with Mike Kelley.<br />Deconstructing the myth of Oedipus within the framework of an ancient Japanese folk story, the Yonemotos craft a highly charged discourse of loss and desire. Quoting from Buñuel, Freud, pop media and art, they place the symbology of Western psychosexual analytical theory into a cross-cultural context, juxtaposing the Oedipal and Kappa myths in a delirious collusion of form and content. The Kappa, a malevolent Japanese water imp, is played with eerie intensity by artist Mike Kelley; actress Mary Woronov plays Jocasta as a vamp from a Hollywood exploitation film.<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60380 <p>To celebrate the publication of a new edition of George and Mike Kuchar’s beloved memoir, “Reflections from a Cinematic Cesspool”, we gleefully present five programs of the twin brothers’ delightful and inimitable movies. Raised in the Bronx, George and Mike were 8mm filmmaking dynamos whose endless resourcefulness, sardonic style, and far out subject matter made them darlings of the 1960s underground. Working together and eventually apart, over the ensuing decades the Kuchars made hundreds of brazen and often deliriously campy films and videos that earned them global cult hero status. Where would the world be today without the Kuchars? It’s harrowing to think.<br /><br />First published in 1997, and long unavailable, “Reflections…” is both memoir and manifesto, an irreverent, hilarious, and deeply personal dispatch from two of the most beautifully deranged minds in independent film history. Back in print thanks to Inpatient Press, the book is a treasure trove of riotous stories and secrets about the Kuchars’ lives and careers. These screenings will focus on deep cuts from their seemingly bottomless oeuvre, with rarely screened 16mm films from each of the brothers, a program of new digital works by Mike, and more.<br /><br />For more info about “Reflections from a Cinematic Cesspool”, visit: https://mitpress.mit.edu/9781965874240/reflections-from-a-cinematic-cesspool/ <br /><br />Guest-programmed by Andrew Lampert, the editor of “The George Kuchar Reader” (2014). Special thanks to Mitch Anzuoni (Inpatient Press) and Michelle Silva.<br /><br />PROGRAM 3: 16MM FILMS BY GEORGE KUCHAR<br /><br />LEISURE (1966, 10 min, 16mm)<br />PORTRAIT OF RAMONA (1971, 25 min, 16mm)<br />THE SUNSHINE SISTERS (1972, 36 min, 16mm)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60420 <p>The directorial debut of both Joe Dante and Allan Arkush, this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman’s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD’s Walter Paisley!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60382 <p>To celebrate the publication of a new edition of George and Mike Kuchar’s beloved memoir, “Reflections from a Cinematic Cesspool”, we gleefully present five programs of the twin brothers’ delightful and inimitable movies. Raised in the Bronx, George and Mike were 8mm filmmaking dynamos whose endless resourcefulness, sardonic style, and far out subject matter made them darlings of the 1960s underground. Working together and eventually apart, over the ensuing decades the Kuchars made hundreds of brazen and often deliriously campy films and videos that earned them global cult hero status. Where would the world be today without the Kuchars? It’s harrowing to think.<br /><br />First published in 1997, and long unavailable, “Reflections…” is both memoir and manifesto, an irreverent, hilarious, and deeply personal dispatch from two of the most beautifully deranged minds in independent film history. Back in print thanks to Inpatient Press, the book is a treasure trove of riotous stories and secrets about the Kuchars’ lives and careers. These screenings will focus on deep cuts from their seemingly bottomless oeuvre, with rarely screened 16mm films from each of the brothers, a program of new digital works by Mike, and more.<br /><br />For more info about “Reflections from a Cinematic Cesspool”, visit: https://mitpress.mit.edu/9781965874240/reflections-from-a-cinematic-cesspool/ <br /><br />Guest-programmed by Andrew Lampert, the editor of “The George Kuchar Reader” (2014). Special thanks to Mitch Anzuoni (Inpatient Press) and Michelle Silva.<br /><br />PROGRAM 4: A GEORGE KUCHAR CHRISTMAS</p> <p>XMAS 1987 NEW YEARS (1987, 12.5 min, video)<br />THE HOLIDAY XMAS VIDEO OF 1991 (1991, 21 min, video)<br />LUMPS OF JOY (2004, 14 min, video)<br />HOLIDAY HANG 2006 (2006, 10 min, video)<br />FRIGID ESCAPADES (2007, 10 min, video)<br />THE UNMENTIONABLES (2009, 14.5 min, video)<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60423 <p>With Jacqueline Bisset, Ray Sharkey, Mary Woronov, Robert Beltran, Ed Begley Jr., Wallace Shawn, Paul Bartel, and Paul Mazursky.<br /><br />“Written with LA novelist-screenwriter Bruce Wagner, SCENES is Bartel’s answer to the bed-hopping French farce, updated for the age of DYNASTY and LIFESTYLES OF THE RICH AND FAMOUS. Jacqueline Bisset stars as Clare, a TV actress with a career stuck in re-runs and a freshly buried husband who died of auto-erotic strangulation. Her next-door neighbor, Lisabeth (Mary Woronov) is recently divorced. The two women decide that what they need most at this moment in their lives is to sleep with each other’s manservants (Ray Sharkey and Robert Beltran), who, meanwhile, have made a sexual wager of their own. Complicating matters is the sudden appearance of Lisabeth’s brother (Ed Begley, Jr.) who shows up with a new bride, To-Bel von Cartier (Arnetia Walker).” –David Savage<br /><br />“At its best, SCENES FROM THE CLASS STRUGGLE plays like a cross between Buñuel and the Marx Brothers.” –Jay Carr, BOSTON GLOBE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60427 <p>Steeped in irony, MADE IN HOLLYWOOD depicts the personal and cultural mediation of reality and fantasy, desire and identity, by the myths of television and cinema. Quoting from a catalogue of popular styles and sources, from TV commercials to THE WIZARD OF OZ, the Yonemotos construct a parable of the Hollywood image-making industry from a pastiche of narrative clichés: A small-town ingenue goes West to find her dream and loses her innocence; the patriarch of a Hollywood studio nears death; a New York couple seeks screenwriting fame and fortune in the movies. With deadpan humor and hyperbolic visual stylization, the Yonemotos layer artifice upon artifice, constructing an image-world where reality and representation, truth and simulation, are meaningless distinctions.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60384 <p>All films in this program have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br /><br />I WAS A TEENAGE RUMPOT (1960, 10 min, 8mm-to-16mm)<br />George and Mike here stumbled upon something big: their names were Arline, Edie, and Harry. A documentary about people like you and me, people with a zest for life.<br />PUSSY ON A HOT TIN ROOF (1961, 14 min, 8mm-to-16mm)<br />“It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy.” –George Kuchar<br />SYLVIA’S PROMISE (ca. 1962, 9 min, 8mm-to-16mm)<br />“Love comes in all sizes, but in this case love needs to diet! Sylvia makes a promise, but can she keep it?” –George Kuchar<br />BORN OF THE WIND (1962, 24 min, 8mm-to-16mm)<br />“A tender and realistic story of a scientist who falls in love with a mummy he has restored to life… 2,000 years as a mummy couldn’t quench her thirst for love!” –George Kuchar<br />TOOTSIES IN AUTUMN (1963, 15 min, 8mm-to-16mm)<br />A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness.<br /><br />Total running time: ca. 75 min.<br /><br />[<em>I WAS A TEENAGE RUMPOT, SYLVIA’S PROMISE, and BORN OF THE WIND are not part of the Essential Cinema collection, but are included here as a special bonus.</em>]<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, December 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60398 <p>In SILENT NIGHT, BLOODY NIGHT, a man arrives in a small town in order to sell his family mansion – a former insane asylum – only to find it occupied by an axe-wielding madman bent on revenge against the town elders. Co-produced by Lloyd Kaufman (just two years before he would launch Troma Entertainment), featuring legendary character actor John Carradine, and marking Woronov’s second collaboration with her then-husband Theodore Gershuny, SILENT NIGHT, BLOODY NIGHT is a slasher film that plays like an underground, art cinema take on the genre. And no wonder, given the involvement of Gershuny (whose first film was the 1966 experimental short AMERICAN ROULETTE) and Woronov, who were presumably responsible for casting half of the bit parts with their Warhol Factory associates, including Candy Darling, Ondine, Tally Brown, and Jack Smith!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60314 <p>The films included here were designed to promote and celebrate the still-novel technology of radio broadcasting. Most were commissioned by the Dutch company Philips Radio, which produced numerous promotional films, in various countries and by numerous different filmmakers, throughout the 1930s and beyond, many of them strikingly experimental in form.<br /><br />Hans Richter EUROPA RADIO (1931, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter FROM LIGHTNING TO TELEVISION / VAN BLIKSEMSCHICHT TOT TELEVISIE (1936, 29 min, 35mm-to-DCP. Commissioned by Philips Radio. Digitally restored by EYE Filmmuseum, and screened with the permission of Royal Philips / Philips Company Archives.)<br />Karel Dodal & Irena Dodalová THE WIZARD OF TONES / ČARODĚJ TÓNŮ (1936, 1.5 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová THE SOUNDS OF OUTER SPACE / ZNĚJÍCÍ VESMÍR (1936, 2 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />George Pal THE BALLET OF RED RADIOVALVES (1938, 2.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />George Pal THE SHIP OF THE ETHER (1936, 7.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />Jószef Misik KERMESSE FANTASTIQUE (1951, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />Joop Geesink THE TRAVELLING TUNE (1962, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60405 <p>Alta Leigh was an attractive young model with the future in her hands…until her pornographer boyfriend, George, tricked her into committing “suicide” on camera. Devastated by the incident, Alta’s lover, Camilla, hatches a bizarre plot to avenge her death: find an exact lookalike of Alta to drive George insane. Starring the iconic Mary Woronov, former Belgian beauty queen Monique van Vooren, Warhol acolyte Ondine, and produced by Oliver Stone, SUGAR COOKIES is arthouse exploitation with a heady mix of Hitchcock mystery and Paul Bartel weirdness.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60317 <p>These films focus mainly on then-novel communications technologies, including magnetic tape, new postal methods, and above all, computing (and its potential for creating new kinds of imagery). Reflecting the radical nature of these technologies, the sponsored films included here adopt highly experimental approaches to sound, image, and editing.<br /><br />Charles & Ray Eames A COMMUNICATIONS PRIMER (1953, 22 min, 35mm-to-DCP. Screened by permission © Eames Office, LLC (eamesoffice.com). All rights reserved.)<br />Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND (1959, 21 min, 35mm-to-DCP)<br />Edgar Reitz COMMUNICATION / KOMMUNIKATION – TECHNIK DER VERSTÄNDIGUNG (1961, 11 min, 35mm-to-DCP. Commissioned by the German Post Office.)<br />Bernard Longpré TEST 0558 (1965, 4 min, 16mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />John Whitney, Sr. EXPERIMENTS IN MOTION GRAPHICS (1968, 12 min, 16mm)<br />Raymond Brousseau & Bernard Longpré DIMENSION SOLEILS (1970, 4 min, 16mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Lillian Schwartz PIXILLATION (1970, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br />Lillian Schwartz & Ken Knowlton UFOS (1971, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br />Lillian Schwartz ENIGMA (1972, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60409 <p>“Based on the short story ‘The Racer’ by Ib Melchior, DEATH RACE 2000 is set in a post-apocalyptic USA in the year 2000, where various contestants are preparing to take part in the homicidal, coast-to-coast road rally, the Transcontinental Road Race, which is watched avidly by the entire nation. Themed cars, echoing professional wrestling personas, include Frankenstein (driven by star David Carradine), Calamity Jane (Mary Woronov), Machine Gun Joe (Sylvester Stallone), Matilda the Hun, and Nero the Hero – a Roman gladiator-style vehicle. Watch for a road-kill cameo from John Landis.” –David Savage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60406 <p>Alta Leigh was an attractive young model with the future in her hands…until her pornographer boyfriend, George, tricked her into committing “suicide” on camera. Devastated by the incident, Alta’s lover, Camilla, hatches a bizarre plot to avenge her death: find an exact lookalike of Alta to drive George insane. Starring the iconic Mary Woronov, former Belgian beauty queen Monique van Vooren, Warhol acolyte Ondine, and produced by Oliver Stone, SUGAR COOKIES is arthouse exploitation with a heady mix of Hitchcock mystery and Paul Bartel weirdness.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60266 <p>NEW YORK PREMIERE!<br />Celeste Rojas Mugica<br />AN OSCILLATING SHADOW / UNA SOMBRA OSCILANTE<br />Chile, 2024, 72 min, DCP. In Spanish with English subtitles.<br />“A game played by two – a father and a daughter. This game, involving chemicals in a film lab, becomes a bridge between two generations who understand and experience photography in very different ways. Will they be able to understand each other? Will they reconnect after the scars of a violent national history, exile, and complex family dynamics? Artist Celeste Rojas Mugica crafts a hybrid, first-person film that reconstructs, with singular humor and a precise touch, the memory of her father amid the political violence of Chile’s dictatorship. Winner of the Jury Special Mention at FIDMarseille 2024, AN OSCILLATING SHADOW embraces the ontology of cinema to explore how images from the past can still illuminate our present selves – especially within our most intimate and sensitive circles.” –Matías Piñeiro</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60421 <p>The directorial debut of both Joe Dante and Allan Arkush, this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman’s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD’s Walter Paisley!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 17