Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Thu, 22 Aug 2019 14:43:33 -0400 CAVALCANTI / CROCKWELL / EGGELING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51292 <p>Alberto Cavalcanti<br />RIEN QUE LES HEURES / NOTHING BUT THE HOURS<br />(1926, 52 min, 35mm)<br />One of the very first &ldquo;city symphonies,&rdquo; this film interweaves documentary, experimental, and narrative elements that together provide vivid images of Paris in the mid-1920s. The Brazilian-born Cavalcanti was at the time a central figure of the French avant-garde, but his fascinating career would later find him making pioneering documentaries for John Grierson&rsquo;s GPO Film Unit in the UK in the 1930s, dramas, noirs, and musicals for Ealing Studios throughout the 1940s, and finally a wide array of films in Brazil, East Germany, France, and Israel in the years before his death in 1982.<br /><br />Douglass Crockwell<br />GLENS FALLS SEQUENCE (1946, 8 min, 16mm)<br />THE LONG BODIES (1947, 6 min, 16mm)<br />Both films preserved by Anthology Film Archives.<br />&ldquo;The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.&rdquo; &ndash;Douglass Crockwell<br /><br />Viking Eggeling<br />SYMPHONIE DIAGONALE<br />(1924, 8 min, 35mm)<br />&ldquo;This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance &ndash; diagonally &ndash; across the black screen.&rdquo; &ndash;FACETS<br /><br />Total running time: ca. 80 min.</p> Thursday, August 22 HAVANA: THE NEW ART OF MAKING RUINS - Filmmaker in person! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51363 <p>(HABANA &ndash; ARTE NUEVO DE HACER RUINAS)<br /><br /><em><strong>FILMMAKER FLORIAN BORCHMEYER IN PERSON!</strong></em><br /><br />The morbid yet romantic appeal that Havana&rsquo;s ruins seem to have for visitors is seldom perceived by its inhabitants, who live in constant fear of their collapse. In this groundbreaking documentary, the filmmakers have pointedly interviewed four of those residents, whose decaying abodes are intrinsically interwoven into their lives: a young woman who writes about ideal worlds, an elderly couple sharing the inhabitable portion of their former mansion, a one-time janitor now living in the ruins of the theater where he once worked, and a divorced couple living in separate crumbling structures. In the midst of the decay, an underlying analysis of the ruins emerges, threaded throughout the film with clear-eyed perception by Cuban writer Antonio Jos&eacute; Ponte. But the eloquence of the film&rsquo;s images is even more powerful than the words, becoming a metaphor for Havana&rsquo;s spiritual decline.</p> Friday, August 23 EC: MAYA DEREN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51293 <p>MESHES OF THE AFTERNOON<br />(1943, 14 min, 16mm, b&amp;w. Co-directed by Alexander Hammid. Music by Teiji Ito from 1959.)<br /><br />AT LAND<br />(1944, 15 min, 16mm, b&amp;w, silent. Photographed by Hella Heyman and Alexander Hammid.)<br /><br />A STUDY IN CHOREOGRAPHY FOR CAMERA<br />(1945, 3 min, 16mm, b&amp;w, silent. By Maya Deren and Talley Beatty.) <br /><br />RITUAL IN TRANSFIGURED TIME<br />(1946, 15 min, 16mm, b&amp;w, silent. Choreographic collaboration with Frank Westbrook. Photographed by Hella Heyman. With Rita Christiani and Frank Westbrook.)<br /><br />&ldquo;MESHES is, one might say, almost expressionist; it externalizes an inner world to the point where it is confounded with the external one. AT LAND has little to do with the inner world of the protagonist, it externalizes the hidden dynamics of the external world, and here the drama results from the activity of the external world. It is as if I had moved from a concern with the life of a fish, to a concern with the sea which accounts for the character of the fish and its life. And RITUAL pulls back even further, to a point of view from which the external world itself is but an element in an entire structure and scheme of metamorphosis: the sea itself changes because of the larger changes of the earth. RITUAL is about the nature and process of change.&rdquo; &ndash;Maya Deren<br /><br />Total running time: ca. 55 min.</p> Friday, August 23 SUITE HABANA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51366 <p>Fernando P&eacute;rez&rsquo;s poetic ode to Havana is a film of extraordinary pathos. The disjointed lives of ten ordinary residents of Havana are depicted in an eerily mundane silence, devoid of dialogue or a storyline. Only the sounds of crashing waves, honking horns, the flapping wings of pigeons, and intermittent songs hint at the relentless pervasiveness of urban life. Shot in cin&eacute;ma v&eacute;rit&eacute; style, the film portrays these Habaneros with a sense of wonder, as they struggle stoically with their daily chores. We could be merely getting glimpses of a day in the lives of random individuals &ndash; a peanut vendor, a widower whose son has Down syndrome, a doctor aspiring to be an actor. But P&eacute;rez tugs deeply at the heartstrings and knows how to turn the audience, naturally prone to voyeurism, into compassionate witnesses.</p> Friday, August 23 UNKNOWN PLEASURES: A POST-PUNK EXTRAVAGANZA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51310 <p>Last December, film critic, filmmaker, and longtime Anthology fixture Steve Erickson compiled a fascinating and deliriously entertaining collection of psychedelic videos, clips, and performance footage that he presented as part of our occasional &ldquo;Secret Life of AFA&rdquo; series. As a follow-up to that memorable event, he&rsquo;ll be hosting a program that shifts the focus to the realm of post-punk musical culture.<br /><br />&ldquo;Although Johnny Rotten ranted about destroying and revolutionizing rock music, punk very quickly became a new orthodoxy of loud, fast songs played by men with guitar, bass, and drums. Post-punk opened more space up to women and delivered on its promise to break new ground while keeping the same spirit of anger, incorporating elements of&nbsp;&nbsp;funk, reggae, jazz, electronics, and even disco. From exciting live performances by well-known groups to more obscure artists from Germany, Japan, Cameroon, Switzerland, France, and elsewhere, this program surveys the best of the scene. Unlikely TV appearances FTW!&rdquo; &ndash;Steve Erickson</p> Friday, August 23 WE WERE STRANGERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51369 <p>Set in the Cuba of 1933, John Huston&rsquo;s political thriller delves into the despotic rule of Gerardo Machado, a constitutionally elected president who refused to give up power after a prosperous and popular first term (1925-28). Although Huston takes dramatic license through a simplified historical overview, he faithfully captures the political repression and rampant violence unleashed by Machado after his imposed re-election, highlighting the patriotic fervor of the university students and the civic resistance of the Havana citizenry. Although not shot on location, the plot gains authenticity through iconic background views of Havana University, Col&oacute;n Cemetery, and the Malec&oacute;n. The cast boasts Jennifer Jones and John Garfield in the starring roles, with strong supporting performances by former silent-screen heartthrob Gilbert Roland as a poet-revolutionary and Pedro Armend&aacute;riz as a corrupt government official. Fraught with social overtones and allusions to U.S. complicity, the film&rsquo;s suspenseful climate carries the day.</p> Saturday, August 24 EC: ZVENIGORA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51294 <p>Dovzhenko&rsquo;s second film, attacked by Soviet critics for being so beautifully rendered as to actually lessen its political impact, remains today a &ldquo;cinematic poem&rdquo; as the director named it. Episodic, folkloric, and allegorical, it is a mythic search for hidden treasure by two brothers. Dovzhenko wrote: &ldquo;I did not so much make the picture as sing it out like a songbird.&rdquo;</p> Saturday, August 24 OUR MAN IN HAVANA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51373 <p>An all-time favorite, Carol Reed&rsquo;s classic is based on Graham Greene&rsquo;s witty adaptation of his own novel. Shot on location just two months after the fall of the Batista regime, the story is set in pre-revolutionary Havana, and captures the unstable political period in which the film is set. The plot revolves around Jim Wormald (Alec Guinness), a vacuum cleaner salesman who is recruited by British intelligence as an unlikely spy. Reed captures the messy congestion of the old commercial quarter, as well as the ritzy side of Havana&rsquo;s urban sprawl, rendering the city an unwitting accomplice to Jim&rsquo;s improvised attempt at international espionage. His daughter&rsquo;s expensive tastes demand his full compliance with his handler&rsquo;s expectations, and he will concoct improbable reports to make ends meet. The superb cast includes Noel Coward, Ralph Richardson, Maureen O&rsquo;Hara, Jo Morrow, and Ernie Kovacs as the murderous chief of police.</p> Saturday, August 24 EC: ARSENAL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51295 <p>&ldquo;An epic canvas covering Ukrainian history from WWI to the Russian Civil War, as experienced in Kiev, and culminating in fighting around the arsenal in the heart of the city. Dovzhenko essentially uses a static camera, but with much use of montage and cross-cutting. [&hellip;] Where Dovzhenko is clearly distinctive, however, is his placing of human events against the majestic backdrop of nature, in particular the sky. Man and nature are one, as a dying Bolshevik asks his comrades to transport and bury him in his native soil.&rdquo; &ndash;David C. Gillespie, EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA</p> Saturday, August 24 BITTER SUGAR - Filmmaker in person on Sat, Aug 24! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51376 <p>(AZ&Uacute;CAR AMARGA)<br /><br />One of the most accomplished of Cuban-American filmmakers, Le&oacute;n Ichaso delivers a compelling love story derailed by the repressive and crumbling values of the surrounding society. Weaving together fiction and docudrama, the film is set in Havana in the midst of the &ldquo;special period,&rdquo; a term used by the government to define the country&rsquo;s downward spiral after the collapse of the Soviet Union. Ren&eacute; Lav&aacute;n and Mayte Vil&aacute;n deliver engaging performances as two lovers on opposite sides of the ideological spectrum. Le&oacute;n&rsquo;s incisive look into the economic and moral nightmare is also complemented by a sensitive exploration of the treatment of AIDS victims in Cuba, with strong supporting roles by Larry Villanueva as the rebellious brother and Miguel Gutierrez as their father, a psychiatrist who moonlights as a jazz pianist to survive. Filmed in black and white, BITTER SUGAR is suffused with images of natural beauty and political outrage.<br /><br /><em><strong>Director Le&oacute;n Ichaso will be here in person for the screening on Sat, Aug 24 at 9:15!</strong></em></p> Saturday, August 24 MEMORIES OF UNDERDEVELOPMENT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51379 <p>(MEMORIAS DEL SUBDESARROLLO)<br /><br />Restored by Cineteca di Bologna at L'Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematogr&aacute;ficos (ICAIC). Restoration funded by The George Lucas Family Foundation and The Film Foundation's World Cinema Project.<br /><br />Unquestionably one of the most highly regarded films by one of Cuba&rsquo;s greatest directors, Tom&aacute;s Guti&eacute;rrez Alea&rsquo;s MEMORIES takes the viewer on an introspective journey as its alienated protagonist idles away the hours wandering through Havana, with an ever-growing ambivalence toward the new order. Based on a novel by Edmundo Desnoes, the film is set in the wake of the Bay of Pigs invasion. Sergio, a disaffected intellectual, has chosen to remain behind after his wife and parents leave the country for Miami. He is curious to see &ldquo;what happens,&rdquo; but his multilayered ruminations, interspersed with striking personal flashbacks, amorous fantasies, and actual newsreel footage, ultimately lead him toward a collision course with himself. As the protagonist, Sergio Corrieri gives a compelling and nuanced portrayal of a man paralyzed by a deep sense of disengagement as he contemplates his own fate in a post-revolutionary Cuba.</p> Sunday, August 25 JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 5 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51395 <p><strong><em>INTRODUCED BY RICHARD FOREMAN!<br /><br /></em></strong>Stan Brakhage 15 SONG TRAITS (1965, ca. 2-min excerpt, 8mm-to-16mm, silent)<br />This part of Brakhage&rsquo;s 8mm SONGS cycle comprises brief portraits of family and friends, culminating with Jonas Mekas.<br /><br />Takahiko Iimura FILMMAKERS (1969, ca. 5-min excerpt, 16mm)<br />&ldquo;This is a film portrait of filmmakers whom I was most interested in at the time&hellip;shot during my first visit in U.S.A., 1966-1968, and then completed in Japan, 1969, with &lsquo;comments&rsquo; literally pointing out in words what I see in the picture at the moment (like an English lesson). Each filmmaker&rsquo;s part is about 5 minutes. [&hellip;] A part of Jonas Mekas is shot by himself and Akiko Iimura. Intentionally the film &lsquo;borrowed&rsquo; the technique of the filmmaker in his part.&rdquo; &ndash;Takahiko Iimura<br /><br />Jonas Mekas<br />BIRTH OF A NATION<br />(1997, 85 min, 16mm)<br />&ldquo;One hundred and sixty portraits, appearances, sketches and glimpses of avant-garde, independent filmmakers and film activists between 1955 and 1996. Why BIRTH OF A NATION? Because the avant-garde / independents of cinema IS a nation in itself. We are surrounded by a commercial cinema Nation in the same way as the indigenous people of the United States or any other country are surrounded by the Ruling Powers. We are the invisible, but essential nation of cinema. We are Cinema.&rdquo; &ndash;Jonas Mekas<br /><br />Total running time: ca. 95 min.</p> Sunday, August 25 ONE WAY OR ANOTHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51383 <p>(DE CIERTA MANERA)<br /><br />Considered a masterpiece of Cuban cinema, ONE WAY OR ANOTHER provides a glimpse into the art of Sara G&oacute;mez, an extraordinary talent whose untimely death from asthma at the age of 31 cut her legacy short. The film focuses on the poor black neighborhoods of Havana shortly after the 1959 Revolution.<br /><br />&ldquo;Ingeniously combining documentary and fiction, the film tells the story of a forward-thinking female schoolteacher who strikes up a relationship with a traditionally-minded machista bus driver. G&oacute;mez, a trained musician and ethnographer, was a native of the Havana neighborhood of Guanabacoa, traditionally considered one of the epicenters of Afro-Cuban culture, and she brings a penetrating criticism of racism, sexism, and classism, and their persistence in Cuba&rsquo;s revolutionary society. Unfortunately, G&oacute;mez&rsquo;s tragic death left the film incomplete. Tom&aacute;s Guti&eacute;rrez Alea, together with filmmaker Julio Garc&iacute;a Espinosa, ultimately finished the film in 1974 according to G&oacute;mez&rsquo;s original vision.&rdquo; &ndash;Andrew S. Vargas, REMEZCLA</p> Sunday, August 25 EC: EARTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51296 <p>(ZEMLYA)<br /><br />A poetic expression of love for both nature and Ukrainian culture by the man who was alternatively branded a deserter by Ukrainians and a Ukrainian nationalist by Russian Soviets. Dovzhenko champions the progression of life, class struggle, and new attitudes for a town changed by a tractor and a fallen hero.</p> Sunday, August 25 UNA NOCHE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51386 <p>&ldquo;Nervous desperation is the energy of UNA NOCHE, a sexually charged and tense film that takes place over the course of one very long day in Havana, as three teenagers scheme to put together a raft that will transport them the 90 dangerous miles across the ocean to Miami. The kids who play the leads are wonderful in their roles, with that superb naturalism and intuitive power that can come with non-professionals. Havana jumps off the screen in a visceral way. You can smell it, feel it, like a living presence. The entire atmosphere is jagged with rampant sexuality, street harassment, open prostitution, and cruel jokes. Every interaction takes on a sexualized tone, bordering on violence&hellip;. You can sense the exhaustion. [In her debut film] Mulloy has a great eye for the unique, the special, in this landscape.&rdquo; &ndash;Sheila O&rsquo;Malley, ROGEREBERT.COM</p> Sunday, August 25 BITTER SUGAR - Filmmaker in person on Sat, Aug 24! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51377 <p>(AZ&Uacute;CAR AMARGA)<br /><br />One of the most accomplished of Cuban-American filmmakers, Le&oacute;n Ichaso delivers a compelling love story derailed by the repressive and crumbling values of the surrounding society. Weaving together fiction and docudrama, the film is set in Havana in the midst of the &ldquo;special period,&rdquo; a term used by the government to define the country&rsquo;s downward spiral after the collapse of the Soviet Union. Ren&eacute; Lav&aacute;n and Mayte Vil&aacute;n deliver engaging performances as two lovers on opposite sides of the ideological spectrum. Le&oacute;n&rsquo;s incisive look into the economic and moral nightmare is also complemented by a sensitive exploration of the treatment of AIDS victims in Cuba, with strong supporting roles by Larry Villanueva as the rebellious brother and Miguel Gutierrez as their father, a psychiatrist who moonlights as a jazz pianist to survive. Filmed in black and white, BITTER SUGAR is suffused with images of natural beauty and political outrage.<br /><br /><em><strong>Director Le&oacute;n Ichaso will be here in person for the screening on Sat, Aug 24 at 9:15!</strong></em></p> Monday, August 26 HAVANA: THE NEW ART OF MAKING RUINS - Filmmaker in person! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51364 <p>(HABANA &ndash; ARTE NUEVO DE HACER RUINAS)<br /><br /><em><strong>FILMMAKER FLORIAN BORCHMEYER IN PERSON!</strong></em><br /><br />The morbid yet romantic appeal that Havana&rsquo;s ruins seem to have for visitors is seldom perceived by its inhabitants, who live in constant fear of their collapse. In this groundbreaking documentary, the filmmakers have pointedly interviewed four of those residents, whose decaying abodes are intrinsically interwoven into their lives: a young woman who writes about ideal worlds, an elderly couple sharing the inhabitable portion of their former mansion, a one-time janitor now living in the ruins of the theater where he once worked, and a divorced couple living in separate crumbling structures. In the midst of the decay, an underlying analysis of the ruins emerges, threaded throughout the film with clear-eyed perception by Cuban writer Antonio Jos&eacute; Ponte. But the eloquence of the film&rsquo;s images is even more powerful than the words, becoming a metaphor for Havana&rsquo;s spiritual decline.</p> Monday, August 26 ONE WAY OR ANOTHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51384 <p>(DE CIERTA MANERA)<br /><br />Considered a masterpiece of Cuban cinema, ONE WAY OR ANOTHER provides a glimpse into the art of Sara G&oacute;mez, an extraordinary talent whose untimely death from asthma at the age of 31 cut her legacy short. The film focuses on the poor black neighborhoods of Havana shortly after the 1959 Revolution.<br /><br />&ldquo;Ingeniously combining documentary and fiction, the film tells the story of a forward-thinking female schoolteacher who strikes up a relationship with a traditionally-minded machista bus driver. G&oacute;mez, a trained musician and ethnographer, was a native of the Havana neighborhood of Guanabacoa, traditionally considered one of the epicenters of Afro-Cuban culture, and she brings a penetrating criticism of racism, sexism, and classism, and their persistence in Cuba&rsquo;s revolutionary society. Unfortunately, G&oacute;mez&rsquo;s tragic death left the film incomplete. Tom&aacute;s Guti&eacute;rrez Alea, together with filmmaker Julio Garc&iacute;a Espinosa, ultimately finished the film in 1974 according to G&oacute;mez&rsquo;s original vision.&rdquo; &ndash;Andrew S. Vargas, REMEZCLA</p> Tuesday, August 27 WE WERE STRANGERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51370 <p>Set in the Cuba of 1933, John Huston&rsquo;s political thriller delves into the despotic rule of Gerardo Machado, a constitutionally elected president who refused to give up power after a prosperous and popular first term (1925-28). Although Huston takes dramatic license through a simplified historical overview, he faithfully captures the political repression and rampant violence unleashed by Machado after his imposed re-election, highlighting the patriotic fervor of the university students and the civic resistance of the Havana citizenry. Although not shot on location, the plot gains authenticity through iconic background views of Havana University, Col&oacute;n Cemetery, and the Malec&oacute;n. The cast boasts Jennifer Jones and John Garfield in the starring roles, with strong supporting performances by former silent-screen heartthrob Gilbert Roland as a poet-revolutionary and Pedro Armend&aacute;riz as a corrupt government official. Fraught with social overtones and allusions to U.S. complicity, the film&rsquo;s suspenseful climate carries the day.</p> Tuesday, August 27 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51256 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, August 28 SUITE HABANA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51367 <p>Fernando P&eacute;rez&rsquo;s poetic ode to Havana is a film of extraordinary pathos. The disjointed lives of ten ordinary residents of Havana are depicted in an eerily mundane silence, devoid of dialogue or a storyline. Only the sounds of crashing waves, honking horns, the flapping wings of pigeons, and intermittent songs hint at the relentless pervasiveness of urban life. Shot in cin&eacute;ma v&eacute;rit&eacute; style, the film portrays these Habaneros with a sense of wonder, as they struggle stoically with their daily chores. We could be merely getting glimpses of a day in the lives of random individuals &ndash; a peanut vendor, a widower whose son has Down syndrome, a doctor aspiring to be an actor. But P&eacute;rez tugs deeply at the heartstrings and knows how to turn the audience, naturally prone to voyeurism, into compassionate witnesses.</p> Wednesday, August 28 MEMORIES OF UNDERDEVELOPMENT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51380 <p>(MEMORIAS DEL SUBDESARROLLO)<br /><br />Restored by Cineteca di Bologna at L'Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematogr&aacute;ficos (ICAIC). Restoration funded by The George Lucas Family Foundation and The Film Foundation's World Cinema Project.<br /><br />Unquestionably one of the most highly regarded films by one of Cuba&rsquo;s greatest directors, Tom&aacute;s Guti&eacute;rrez Alea&rsquo;s MEMORIES takes the viewer on an introspective journey as its alienated protagonist idles away the hours wandering through Havana, with an ever-growing ambivalence toward the new order. Based on a novel by Edmundo Desnoes, the film is set in the wake of the Bay of Pigs invasion. Sergio, a disaffected intellectual, has chosen to remain behind after his wife and parents leave the country for Miami. He is curious to see &ldquo;what happens,&rdquo; but his multilayered ruminations, interspersed with striking personal flashbacks, amorous fantasies, and actual newsreel footage, ultimately lead him toward a collision course with himself. As the protagonist, Sergio Corrieri gives a compelling and nuanced portrayal of a man paralyzed by a deep sense of disengagement as he contemplates his own fate in a post-revolutionary Cuba.</p> Wednesday, August 28 WE WERE STRANGERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51371 <p>Set in the Cuba of 1933, John Huston&rsquo;s political thriller delves into the despotic rule of Gerardo Machado, a constitutionally elected president who refused to give up power after a prosperous and popular first term (1925-28). Although Huston takes dramatic license through a simplified historical overview, he faithfully captures the political repression and rampant violence unleashed by Machado after his imposed re-election, highlighting the patriotic fervor of the university students and the civic resistance of the Havana citizenry. Although not shot on location, the plot gains authenticity through iconic background views of Havana University, Col&oacute;n Cemetery, and the Malec&oacute;n. The cast boasts Jennifer Jones and John Garfield in the starring roles, with strong supporting performances by former silent-screen heartthrob Gilbert Roland as a poet-revolutionary and Pedro Armend&aacute;riz as a corrupt government official. Fraught with social overtones and allusions to U.S. complicity, the film&rsquo;s suspenseful climate carries the day.</p> Thursday, August 29 EC: MICHAEL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51297 <p>Shot by the great German cinematographers Karl Freund and Rudolph Mat&eacute;, MICHAEL concerns the unconsummated homosexual love between a painter and his manipulative, larcenous model. The Danish director Benjamin Christensen stars as artist Claude Zoret, modeled in part after Rodin, whose irrepressible love finds its most complete expression in his last painting.</p> Thursday, August 29 UNA NOCHE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51387 <p>&ldquo;Nervous desperation is the energy of UNA NOCHE, a sexually charged and tense film that takes place over the course of one very long day in Havana, as three teenagers scheme to put together a raft that will transport them the 90 dangerous miles across the ocean to Miami. The kids who play the leads are wonderful in their roles, with that superb naturalism and intuitive power that can come with non-professionals. Havana jumps off the screen in a visceral way. You can smell it, feel it, like a living presence. The entire atmosphere is jagged with rampant sexuality, street harassment, open prostitution, and cruel jokes. Every interaction takes on a sexualized tone, bordering on violence&hellip;. You can sense the exhaustion. [In her debut film] Mulloy has a great eye for the unique, the special, in this landscape.&rdquo; &ndash;Sheila O&rsquo;Malley, ROGEREBERT.COM</p> Thursday, August 29 MEMORIES OF UNDERDEVELOPMENT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51381 <p>(MEMORIAS DEL SUBDESARROLLO)<br /><br />Restored by Cineteca di Bologna at L'Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematogr&aacute;ficos (ICAIC). Restoration funded by The George Lucas Family Foundation and The Film Foundation's World Cinema Project.<br /><br />Unquestionably one of the most highly regarded films by one of Cuba&rsquo;s greatest directors, Tom&aacute;s Guti&eacute;rrez Alea&rsquo;s MEMORIES takes the viewer on an introspective journey as its alienated protagonist idles away the hours wandering through Havana, with an ever-growing ambivalence toward the new order. Based on a novel by Edmundo Desnoes, the film is set in the wake of the Bay of Pigs invasion. Sergio, a disaffected intellectual, has chosen to remain behind after his wife and parents leave the country for Miami. He is curious to see &ldquo;what happens,&rdquo; but his multilayered ruminations, interspersed with striking personal flashbacks, amorous fantasies, and actual newsreel footage, ultimately lead him toward a collision course with himself. As the protagonist, Sergio Corrieri gives a compelling and nuanced portrayal of a man paralyzed by a deep sense of disengagement as he contemplates his own fate in a post-revolutionary Cuba.</p> Friday, August 30 EC: THE PARSON’S WIDOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51298 <p>(PR&Auml;ST&Auml;NKAN)<br /><br />In this lyrical, early Dreyer comedy, a young parson wins a plum parish in 17th-century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fianc&eacute;e is his sister. Dreyer&rsquo;s touch is evident in the close-ups of the pastor&rsquo;s would-be rivals and parishioners, and in a slow pan presaging the 360-degree views of VAMPYR.</p> Friday, August 30 OUR MAN IN HAVANA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51374 <p>An all-time favorite, Carol Reed&rsquo;s classic is based on Graham Greene&rsquo;s witty adaptation of his own novel. Shot on location just two months after the fall of the Batista regime, the story is set in pre-revolutionary Havana, and captures the unstable political period in which the film is set. The plot revolves around Jim Wormald (Alec Guinness), a vacuum cleaner salesman who is recruited by British intelligence as an unlikely spy. Reed captures the messy congestion of the old commercial quarter, as well as the ritzy side of Havana&rsquo;s urban sprawl, rendering the city an unwitting accomplice to Jim&rsquo;s improvised attempt at international espionage. His daughter&rsquo;s expensive tastes demand his full compliance with his handler&rsquo;s expectations, and he will concoct improbable reports to make ends meet. The superb cast includes Noel Coward, Ralph Richardson, Maureen O&rsquo;Hara, Jo Morrow, and Ernie Kovacs as the murderous chief of police.</p> Friday, August 30 EC: THE PASSION OF JOAN OF ARC http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51299 <p>(LA PASSION DE JEANNE D&rsquo;ARC)<br /><br />Spiritual rapture and institutional hypocrisy are brought to stark, vivid life in one of the most transcendent achievements of the silent era. Chronicling the trial of Joan of Arc in the final hours leading up to her execution, Dreyer depicts her torment with startling immediacy, employing an array of techniques &ndash; including expressionistic lighting, interconnected sets, and painfully intimate close-ups &ndash; to immerse viewers in her subjective experience. Anchoring Dreyer&rsquo;s audacious formal experimentation is a legendary performance by Ren&eacute;e Falconetti, whose haunted face channels both the agony and the ecstasy of martyrdom.</p> Saturday, August 31 EC: VAMPYR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51300 <p>&ldquo;Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.&rdquo; &ndash;C.D.</p> Saturday, August 31 EC: DAY OF WRATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2019#showing-51301 <p>(VREDENS DAG)<br /><br />&ldquo;Carl Dreyer&rsquo;s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes &ndash; but his witches don&rsquo;t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.&rdquo; &ndash;Pauline Kael</p> Saturday, August 31 EC: ORDET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51497 <p>A farmer&rsquo;s family is torn apart by faith, sanctity, and love &ndash; one child believes he&rsquo;s Jesus Christ, a second proclaims himself agnostic, and the third falls in love with a fundamentalist&rsquo;s daughter. Layering multiple stories of faith and rebellion, Dreyer&rsquo;s adaptation of Kaj Munk&rsquo;s play is a meditation on faith and fanaticism.</p> Sunday, September 01 EC: GERTRUD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51498 <p>&ldquo;GERTRUD is as towering a master work in the narrative sound cinema as Brakhage&rsquo;s THE ART OF VISION is in the nonnarrative cinema. Every detail, every motion, every word in GERTRUD has its right place, its own voice, and contributes to the whole and is beautiful. [&hellip;] Every generation states its own position on love. GERTRUD is Dreyer&rsquo;s statement on love, and it is pure, radiant, and perfect, like a ring.&rdquo; &ndash;Jonas Mekas, MOVIE JOURNAL</p> Sunday, September 01 EC: DAY OF WRATH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51302 <p>(VREDENS DAG)<br /><br />&ldquo;Carl Dreyer&rsquo;s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes &ndash; but his witches don&rsquo;t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.&rdquo; &ndash;Pauline Kael</p> Tuesday, September 03 JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 6 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51434 <p><strong><em>INTRODUCED BY MARINA ABRAMOVIC!<br /><br /></em></strong>Andrew Lampert QUESTION A DAY (Questions for Jonas Mekas) (2008, 10.5 min, digital)<br />In 2008, Lampert, employed as the film archivist of Anthology Film Archives, endeavored to ask Jonas Mekas one trivial or profound question a day. This is a selection.<br /><br />Jonas Mekas<br />SLEEPLESS NIGHTS STORIES<br />(2011, 114 min, digital)<br />&ldquo;This film originated from my readings of the ONE THOUSAND AND ONE NIGHTS. But unlike the Arabian tales, my stories are all from real life, though at times they too wander into somewhere else, beyond the everyday routine reality. There are some twenty-five different stories in my movie. Their protagonists are all my good friends and I myself am an inseparable part of the stories. The storyteller of the Arabian Nights was also part of his or her tales. The subjects of the stories cover a wide range of emotions, geographies, personal anxieties, anecdotes. These are not very big stories, not for the Big Screen: these are all personal big stories&hellip; And yes, you&rsquo;ll also find some provocations&hellip; But that&rsquo;s me, one &lsquo;me&rsquo; of many. The very question &lsquo;What is a story?&rsquo; is a provocative question.&rdquo; &ndash;Jonas Mekas</p> Tuesday, September 03 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51257 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, September 04 NOTES ON AN AMERICAN FILM DIRECTOR AT WORK: MARTIN SCORSESE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2019#showing-51436 <p>&ldquo;I originally met Martin Scorsese when he was still a film student at the New York University. He used to come to my film screenings. But our real friendship began when he made his first feature film, WHO&rsquo;S THAT KNOCKING AT MY DOOR. I was asked to make a film about Marty to introduce a retrospective of his films. As it happened, Marty was shooting THE DEPARTED at that time. I asked him if I could follow him for a week or two, and he said yes. So that&rsquo;s how this film happened. It&rsquo;s a chamber kind of movie, a personal tribute to a friend.&rdquo; &ndash;Jonas Mekas</p> Wednesday, September 04