Anthology Film Archives - Calendar Events

NEWFILMMAKERS

Wednesday, May 22

NEWFILMMAKERS EXPLORES RELATIONSHIPS BUT DON’T TRY THEM AT HOME

EXPERIMENTAL DOCUMENTARY SERIES
Cody Clarke
REHEARSALS
2012, 73 min, video
An experimental documentary in which fly-on-the-wall footage of the lives of 16 women is collaged to form a day in the life of one woman: an aspiring actress living alone in NYC.

SECOND SHORT FILM PROGRAM
About relationships
Bea Song TU-NA HOUSE (2012, 9 min, video)
Dan Shapiro THE PUSSY (2012, 10 min, video)
Bryce Richardson CLOSING SHOP (2012, 15 min, video)
Tara Eve Davies COLOUR ME BRIGHT (2012, 6 min, video)
Chris Dolman BOX (2012, 15 min, video)
Livia Aranha CHRISTIE (2012, 7 min, video)
Irina Varina A MEMORY (2012, 6 min, video)

FEATURE PRESENTATION
Daniel Berg
THE WAY OF GLASS
2012, 67 min, video
This adaptation of Salinger’s FRANNY AND ZOOEY looks at a college girl in the midst of a spiritual breakdown.

–Wed, May 22, Documentary Series at 6:00, Short Film Program at 7:15, Feature at 8:30.

THE DECAMERON

Wednesday, May 22

The best version of Boccaccio’s classic collection of medieval stories ever made, this film retains the sexiness, impudence, and hilarity of the original. Pasolini himself turns up as the painter’s assistant in the fifth story told on day six, a debate between the historical jurist and politician Forese da Rabatta and Giotto, the most important Italian painter of the fourteenth century.
“Taking 10 tales out of the 100 in Boccaccio’s DECAMERON, Pasolini has created one of the most beautiful, turbulent, and uproarious panoramas of early Renaissance life ever put on film.” –Vincent Canby, NEW YORK TIMES

LEGEND OF SURAM FORTRESS

Wednesday, May 22

“After films set in the 19th and 18th centuries, this one goes all the way back to the Middle Ages, and medieval art, theater, and literature form much of the basis of the style here. While the frontal shooting style of THE COLOR OF POMEGRANATES is partially echoed, a deeper use of space and a much more expansive use of landscape makes the visual style closer to tapestries than to icons.” –Jonathan Rosenbaum, CHICAGO READER

THE VIRGIN SPRING

Thursday, May 23

Set in thirteenth-century Sweden, this film concerns the rape and death of a young girl, her father’s vengeance, and finally his redemption. The script is based on the Swedish ballad “Töre of Vänge’s Daughters” (or “Per Tyrsson’s daughters in Vänge”). Along with Bergman’s SEVENTH SEAL, this film has elements of “medieval noir”, in which film noir is linked “to the apocalyptic and millennial discourses associated with the Middle Ages” (John M. Ganim, “Medieval Noir: Anatomy of a Metaphor,” in Anke Bernau & Bettina Bildhauer’s MEDIEVAL FILM). Both are widely considered to be among the best of films with medieval themes.

SINGLE FRAME: NEW YORK FLUXUS 1964-78

Thursday, May 23

SINGLE FRAME
This calendar offers a double dose of SINGLE FRAME, our regular series devoted to live slide projections. Last December art historian Barbara Moore brought us an incredible overview of the 1960s dance and performance scenes with a slide lecture using images by her late husband, the noted photographer Peter Moore. It was so excellent that we have invited her back for another lecture event focused entirely on the fun-loving Fluxus group. Our second presentation comes from Yuji Agematsu, an insightful artist who specializes in a form of collage that involves archiving bits and pieces of garbage. His evening will feature the premiere of a new multi-projector work that uses rediscovered slides from a trip to France.

NEW YORK FLUXUS 1964-78
A slide lecture by Barbara Moore.
After its introduction in Europe (1962-63), Fluxus came to New York, its first major performances taking place in Spring 1964 at George Maciunas’s loft on Canal Street. From that time until Maciunas’s death in 1978, Peter Moore was the fly on the Fluxus wall, recording its ephemeral events and non-events as part of his much larger documentation of 30 years in the development of performance art. Once more mining the remarkable Peter Moore photographic archive, art historian and writer Barbara Moore covers this thrillingly formative period with plentiful detail, personal reminiscences, and a host of famous and never-before-publicly-shown photographs in vintage slideshow format.

SANSHO THE BAILIFF

Thursday, May 23

“Mizoguchi’s packed compositions express the harrowing pull of the narrative line – and the residual humanity that tugs against it. Every positive action in this movie has an opposite reaction, leaving an increment of glory in defeat. […] The movie explores the strengths and the tenuousness of family ties in scenes that are freshets of feeling. In Mizoguchi, as in Faulkner, the past isn’t dead – as Faulkner said, ‘It’s not even past.’ When Sansho sees the freed and elevated Zushio, he exclaims, ‘It’s like a fairy tale! A slave becoming a governor!’ But in this fairy tale no one lives happily ever after. Terrifying and cathartic, SANSHO THE BAILIFF is a morality play without easy moralism.” –Michael Sragow, CRITERION COLLECTION

KEN JACOBS PGM 1

Friday, May 24

ORCHARD STREET (1955, 12 min, 16mm-to-35mm blow-up. Preserved by The Museum of Modern Art with support from the Celeste Bartos Fund for Film Preservation.)
ARTIE AND MARTY ROSENBLATT’S BABY PICTURES (1963, 4 min, 8mm, sound on tape)
AIRSHAFT (1967, 4 min, 16mm)
JERRY TAKES A BACK SEAT, THEN PASSES OUT OF THE PICTURE (1975, 15 min, 8mm-to-16mm blow-up)
THE WINTER FOOTAGE (1964, 50 min, 8mm-to-16mm blow-up)
Total running time: ca. 90 min.

ROBIN AND MARIAN

Friday, May 24

Lester’s film tells the later history of the legendary outlaw Robin Hood. Rather than portraying him as an energetic (and perpetual) youth, this film presents a man who has faced disappointment and is scarred from his years of warfare with Richard the Lionheart in the Holy Land. After twenty years of fighting, Robin Hood returns to Sherwood to reunite with Maid Marion who is now an abbess. ROBIN AND MARION fearlessly shows the death of the hero, a common representation in medieval and later texts of the Robin Hood story though not a feature in other films.

KEN JACOBS PGM 2

Friday, May 24

THE WHIRLED (1956-63 [compiled in early 1990s], 19 min, 16mm. Preserved by Anthology Film Archives.)
BAUD’LARIAN CAPERS (A MUSICAL WITH NAZIS AND JEWS) (1963, 25 min, 16mm)
BOB FLEISCHNER DYING (2009, 3 min, digital video)
HOT DOGS AT THE MET (2009, 10 min, digital video)
LISA AND JOEY IN CONNECTICUT, JANUARY ’65: “YOU’VE COME BACK!” “YOU’RE STILL HERE!” (1965, 18 min, 8mm-to-16mm)
Total running time: ca. 80 min.

DON QUIXOTE

Friday, May 24

“This masterful adaptation of Cervantes' novel features Nikolai Cherkasov (IVAN THE TERRIBLE) as Quixote, who is so impressed with tales of chivalry that he becomes a knight errant and takes up arms to defend the poor and oppressed. Kozintsev brings a great sense of color, spectacle, and comedy to the table, but preserves Don Quixote’s dignity.” –FACETS

STAN BRAKHAGE PGM 3

Saturday, May 25

All films are silent.
LOVING (1956, 4 min, 16mm)
PASHT (1965, 5 min, 16mm)
FIRE OF WATERS (1965, 10 min, 16mm, b&w, sound)
THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm)
THE WEIR-FALCON SAGA (1970, 29 min, 16mm)
SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm)
SEXUAL MEDITATION: ROOM WITH A VIEW (1971, 4 min, 16mm, b&w)
THE SHORES OF PHOS: A FABLE (1972, 10 min, 16mm)
A selection from some of Brakhage’s most densely mysterious works.
Total running time: ca. 95 min.

CATHERINE DE HEILBRONN

Saturday, May 25

“Rohmer returned to THE MARQUISE OF O author Heinrich von Kleist for this gorgeous staging (from Rohmer’s own translation) of the author’s popular medieval play, performed at the Théâtre des Amandiers in Nanterre in 1979 and filmed for French television. Pascale Ogier stars as the beautiful armourer’s daughter who becomes infatuated with a gallant knight and leaves home to follow him, whereupon she finds herself in the crosshairs of a jealous rival, Kunigunde de Thurneck (played by frequent Rohmer muse Arielle Dombasle).” –Film Society of Lincoln Center

THE TEXT OF LIGHT

Saturday, May 25

Brakhage’s tour-de-force exploration of refracted light in an ashtray. “All that is, is light.” –Dun Scotus Erigena

KEN JACOBS PGM 3

Saturday, May 25

THE DOCTOR’S DREAM (1978, 23 min, 16mm)
PERFECT FILM (1985, 22 min, 16mm)
WHAT HAPPENED ON 23RD STREET IN 1901 (2009, 14 min, digital video)
THE SURGING SEA OF HUMANITY (2006, 11 min, digital video)
Total running time: ca. 75 min.

ONIBABA

Saturday, May 25

“A creepy, interesting, and visually striking [film], set in the 16th century in the midst of a civil war, about two poor women who live in the marshes and support themselves by luring wounded samurai to their deaths and then selling their possessions. Things get more complicated when the partnership is threatened by the younger of the two women becoming romantically involved with a neighbor, and the film builds to a macabre and eerie climax.” –Jonathan Rosenbaum, CHICAGO READER

BIRTHDAY CELEBRATION FOR KEN JACOBS!

Saturday, May 25

Join all of us at Anthology in celebrating the 80th birthday of legendary filmmaker Ken Jacobs!

Special reception in the lobby between programs.

KEN JACOBS PGM 4

Saturday, May 25

GLOBE (1969, 22 min, 16mm, Pulfrich 3D)
INSISTENT CLAMOR (2005, 22 min, digital video)
BRAIN OPERATIONS (2009, 22 min, digital video)
MAKE LIGHT ON FILM (1995, 15 min, 16mm, Pulfrich 3D)
Total running time: ca. 85 min.

KURONEKO

Saturday, May 25

“As it slides between realism and extreme artifice, using cinematic and theatrical devices, KURONEKO becomes increasingly, pleasurably difficult to predict. It’s alternately abstract and down to earth, recognizable and strange, and consistently surprising. […] Using spare dialogue…Mr. Shindo creates a supernatural story that combines folkloric elements with social commentary and a touchingly sad love story.” –Manohla Dargis, NEW YORK TIMES

THE PITTSBURGH TRILOGY

Sunday, May 26

EYES
1970, 36 min, 16mm, silent.
“After wishing for years to be given-the-opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –S.B.
&
DEUS EX
1971, 34 min, 16mm, silent.
“I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –S.B.
&
THE ACT OF SEEING WITH ONE’S OWN EYES
1971, 32 min, 16mm, silent.
“…Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of others.” –Hollis Frampton
Total running time: ca. 105 minutes.

TRISTAN AND ISOLDE

Sunday, May 26

Lagrange’s TRISTAN AND ISOLDE cannot precisely be described as narrative. Episodes from the story of the doomed lovers are evoked though “images of violence and explicit eroticism.” Only Isolde speaks; the rest of the story is told through visual sequences that sometimes draw on medieval iconography, representing “the naked myth set beyond anecdotal tradition” (Jean Marcel, “Le Dernière métamorphose de Tristan: Yvan Lagrange”).

MARKETA LAZAROVA

Sunday, May 26

“In 1960s Czechoslovakia, historical themes provided a way in which controversial ideas could be smuggled onto the screen, but they had their own artistic raison d’être as well. Filmed under treacherous conditions in the mountains of southern Bohemia, MARKÉTA LAZAROVÁ plays out a parallel between barbarism and ‘civilized’ brutality in the 13th century with a dazzling visual sensibility and uncanny realism, both physical and psychological. Its achievement in dynamic, widescreen cinematography at the time was paralleled only by the Japanese and Soviet epic film styles. […] Vlácil creates a narrative that is more poetic than linear, like a dream of an ancient age.” –PACIFIC FILM ARCHIVE

KEN JACOBS PGM 5

Sunday, May 26

AMERICA AT WAR (2011, 30 min, digital video, anaglyph 3D)
ANOTHER OCCUPATION (2011, 15 min, digital video)
SEEKING THE MONKEY KING (2011, 40 min, digital video)
Total running time: ca. 90 min.

KEN JACOBS PGM 6

Sunday, May 26

KEATON’S COPS (1991, 23 min, 16mm)
HIS FAVORITE WIFE IMPROVED (OR THE VIRTUE OF BAD RECEPTION) (2008, 2 min, digital video)
WE ARE CHARMING (2007, 1 min, digital video)
HANKY PANKY JANUARY 1902 (2007, 1 min, digital video)
NYMPH (2007, 2 min, digital video)
ALONE AT LAST (2008, 2 min, digital video)
THE DISCOVERY (2008, 5 min, digital video)
LOVE STORY (2008, 3 min, digital video)
DISORIENT EXPRESS (1996, 30 min, 35mm)
Total running time: 75 min.

THE DECAMERON

Sunday, May 26

LEGEND OF SURAM FORTRESS

Monday, May 27

THE VIRGIN SPRING

Monday, May 27

SANSHO THE BAILIFF

Tuesday, May 28

THE PROPHECY OF THE SEERESS

Tuesday, May 28

On the brink of Iceland’s financial meltdown, a CEO in Reykjavik visits a tarot card reader in a desperate attempt to avert his fate. Suddenly the two are transported to another time and place. In a parallel world Odin, the father of the Viking gods, has sought out a Wise Woman to hear her knowledge of the past, present, and future. He wants to know if there is anything he can do to avoid the predicted destruction of the world.
&
Amy Guggenheim THE SNAKE AND THE PARROT (2012, 19 min, video)

ROBIN AND MARIAN

Tuesday, May 28

NEWFILMMAKERS

Wednesday, May 29

NEWFILMMAKERS INTRODUCES ITS FIRSTLOOK PROGRAM FOR ROUGH CUT FILMS

DOCUMENTARY SERIES
Chyung Sun
THE PRICE OF PLEASURE
2007, 90 min, video
Once relegated to the margins of society, pornography has emerged as one of the most visible and profitable sectors of the cultural industries at the same time that its content has become more overtly sexist and racist. This eye-opening and disturbing film tackles this seeming paradox.

EXPERIMENTAL SHORT FILM PROGRAM
Peter Valente THE DESERTS OF LOVE (2012, 15 min, video)
Jenny Plante THE SECOND NURSE (2013, 15 min, video)
Michael Reynolds RAIMONO’S RUXPIN (2012, 10 min, video)
Joseph Dwyer THE DIDDLER (2012, 16 min, video)

FIRSTLOOK FEATURE PRESENTATION
FirstLook gives you the opportunity to see a rough cut of a new film.
Doug Bollinger
GRAVEDIGGER
A scary new feature recently shot in New Jersey, which is already a scary place.

–Wed, May 29, Documentary Series at 6:00, Short Film Program at 7:00, Feature at 8:00.

KURONEKO

Wednesday, May 29

DON QUIXOTE

Wednesday, May 29

THE DECAMERON

Thursday, May 30

CATALYSTS (or, EXPOUNDED CINEMA) PRESENTS: Peggy Ahwesh & Keith Sanborn’s THE DEADMAN

Thursday, May 30

CATALYSTS (or, EXPOUNDED CINEMA) PRESENTS:
Peggy Ahwesh & Keith Sanborn’s THE DEADMAN
CATALYSTS is a new series wherein avant-garde filmmakers reveal the secret sources and inspirations for a specific film from their body of work by a show-and-tell presentation through readings, films, music, images, dreams, documents, private tales, or exhibits demonstrating the roots and branches of experimental personal cinema: Exegesis by demo. Each invited artist will be asked to develop and deliver a presentation that gives the audience insight into their original research on the personal, cultural, or historical source materials of the particular film being discussed. Each work chosen shall be rich in hybrid sources for a complex mixture of influences and inspirations.
Curated by Bradley Eros.

For this edition, Peggy Ahwesh and Keith Sanborn will explore the secret beatle messages and spiritual ambience which gave rise to their two-headed monster: THE DEADMAN. Bataille, Hegel, Lacan, Goya, de Sade, Danish specialty porn, Bimbonic initiatic rites, and the Dionysian festival of the goat will be included in this ill-guided tour of the Pathosformeln invoked in the making of the film.

THE DEADMAN
1990, 37 min, 16mm
A loose adaptation of Georges Bataille’s text of the same name. The protagonist, Marie, leaves the deathbed of her lover to explore to the limit her shattered identity. Neither ‘erotic’ nor ‘pornographic’ quite captures the sense of the agonistic limits she shatters in recollecting herself in confrontation with death. Nor is it a matter, for the filmmakers, of style, but the embrace of something less amenable to direct description.

SANSHO THE BAILIFF

Thursday, May 30

STUDENT

Friday, May 31

NEW YORK THEATRICAL PREMIERE RUN!
STUDENT is co-presented by the Global Film Initiative and is part of the Global Lens 2013 film series. For more information, visit www.globalfilm.org.
Darezhan Omirbayev, one of the greatest of the remarkable wave of filmmakers who emerged from Central Asia in the 1980s and 90s, made his mark with a series of masterful, minimalist, highly trenchant films including KAIRAT (1992), KILLER (1998), and THE ROAD (2001), all deeply perceptive portraits of Kazakh society. More recently he has gravitated towards (free) adaptations of Russian literary classics – his last feature, SHUGA, was based on Tolstoy’s ANNA KARENINA, and his newest, STUDENT, represents his version of Dostoyevsky’s CRIME AND PUNISHMENT.
Transposing the story to Kazakhstan’s capital, Almaty, a world of brutal, unrestrained economic competition and corruption, STUDENT demonstrates Omirbayev’s sensitivity to the moral, ethical, and emotional toll taken by 21st-century capitalism, a phenomenon he’s well-placed to comment on, given the profound transformations that the free-market economy has wreaked on the societies of Kazakhstan and the other formerly Soviet countries of Central Asia. Ali, the protagonist of STUDENT, inhabits a world in which social Darwinism seems to be the law of the land, and his actions follow from the idea that, “If competition is the principle of life, then logically we come to the conclusion that it’s alright to kill your competitor.” Filmed in Omirbayev’s customarily deadpan, uninflected style, STUDENT is a powerful piece of work, artfully fitting Dostoyevsky’s time-honored narrative to the grim realities of present-day Kazakhstan.

“You cannot look away from Darezhan Omirbaev's STUDENT, as you can't look away from any of the Kazakh director's films, for each and every shot is quietly but powerfully charged. It always seems a minute charge until a simple shot’s condensation of narrative expression and emotional nuance sneaks up on you.” – Daniel Kasman, MUBI

“With its deadpan performances, retro visual style, and crime-story plot, [STUDENT] almost feels like an Aki Kaurismaki movie but without the jokes or rockabilly music, just the despair. […] Omirbayev once again offers a quietly scathing portrait of his homeland, which, on the evidence here, is on the verge of losing its soul in the pursuit of Range Rovers, banal soap operas, and other ephemeral pleasures.” –Leslie Felperin, VARIETY

“Omirbayev puts to rest any notion…that adaptations of Dostoyevsky’s great CRIME AND PUNISHMENT have been exhausted. Not only is his aesthetic singular – lean, pared down to nicely textured basics, excision of extraneous images and sounds – but the overall social, political, and geographical context is so unique that it affords him the opportunity to spin the entire narrative in an uncharted direction.” – Howard Feinstein, SCREEN

UNBOUND

Friday, May 31

ABIGAIL CHILD’S ‘UNBOUND’ & ‘A SHAPE OF ERROR’
Anthology is pleased to present the NYC premieres of both Abigail Child’s new feature film A SHAPE OF ERROR, and an expanded, ‘exploded’ version of the same material, entitled UNBOUND.

“In Rome for a year at the American Academy, I created imaginary home movies of scenes from the life of Mary and Percy Shelley. I was attracted to these authors – their life of poetry, politics, and sexual invention – and inspired by my previous fictionalizing of home movies in COVERT ACTION and THE FUTURE IS BEHIND YOU. I worked with non-actors, the seasons, and the extraordinary architecture and landscapes of Italy where the Shelleys were in exile for six of their eight years together. The result was a feature film, A SHAPE OF ERROR, gorgeous, emotional, and harnessed to the narrative. I wanted to go further and abetted by digital technology, I have ‘exploded’ the film. The result is UNBOUND, digressive, looped, unpredictable, symphonic, spontaneous, messy – like life and memory.” –A.C.

“So exuberant, so visually gorgeous…ahead of the curve…mixing narrative, avant-garde and expanded cinema.” –Tina Wasserman

“[A]t once a mischievous scuttling of BBC costume drama and the creative anachronism of home movies before the invention of film. The results are of a kind that only Child could achieve: a playful mastery of form, and never-wavering attention to the past’s connection with the present.” –Jim Supanick

UNBOUND
2012, 75 min, digital video. Music by Zeena Parkins.
The ‘exploded’ version of A SHAPE OF ERROR.

STUDENT

Friday, May 31

STUDENT

Saturday, June 01

STUDENT

Saturday, June 01

STUDENT

Saturday, June 01

ONIBABA

Saturday, June 01

A SHAPE OF ERROR

Sunday, June 02

ABIGAIL CHILD’S ‘UNBOUND’ & ‘A SHAPE OF ERROR’
Anthology is pleased to present the NYC premieres of both Abigail Child’s new feature film A SHAPE OF ERROR, and an expanded, ‘exploded’ version of the same material, entitled UNBOUND.

“In Rome for a year at the American Academy, I created imaginary home movies of scenes from the life of Mary and Percy Shelley. I was attracted to these authors – their life of poetry, politics, and sexual invention – and inspired by my previous fictionalizing of home movies in COVERT ACTION and THE FUTURE IS BEHIND YOU. I worked with non-actors, the seasons, and the extraordinary architecture and landscapes of Italy where the Shelleys were in exile for six of their eight years together. The result was a feature film, A SHAPE OF ERROR, gorgeous, emotional, and harnessed to the narrative. I wanted to go further and abetted by digital technology, I have ‘exploded’ the film. The result is UNBOUND, digressive, looped, unpredictable, symphonic, spontaneous, messy – like life and memory.” –A.C.

“So exuberant, so visually gorgeous…ahead of the curve…mixing narrative, avant-garde and expanded cinema.” –Tina Wasserman

“[A]t once a mischievous scuttling of BBC costume drama and the creative anachronism of home movies before the invention of film. The results are of a kind that only Child could achieve: a playful mastery of form, and never-wavering attention to the past’s connection with the present.” –Jim Supanick

A SHAPE OF ERROR
2012, 70 min, digital video. Music by Zeena Parkins.

STUDENT

Sunday, June 02

STUDENT

Sunday, June 02

KURONEKO

Sunday, June 02

STUDENT

Sunday, June 02

ROBIN AND MARIAN

Monday, June 03

STUDENT

Monday, June 03

STUDENT

Monday, June 03

LEGEND OF SURAM FORTRESS

Monday, June 03

STUDENT

Tuesday, June 04

DON QUIXOTE

Tuesday, June 04

STUDENT

Tuesday, June 04

TRISTAN AND ISOLDE

Tuesday, June 04