https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Mon, 29 Dec 2025 07:05:02 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60535 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60536 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60537 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60551 <p>“RAPT is, paradoxically, both a film which looks back anachronistically toward the silent era and a work which belongs to the vanguard of sound cinema. Part of that paradox can be resolved by an understanding of the film’s complex utilization of music. RAPT employs very little dialogue, and in this respect it is reminiscent of the part-talkie genre…. It is linked to such abstract and hybrid avant-garde works as VAMPYR and L’ÂGE D’OR. The radical nature of RAPT, however, resides in its vision of a cinematic musical score. In making the film, Kirsanoff worked closely with the composers Honegger and Hoerce.” –Lucy Fisher<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60538 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60552 <p>Peter Kubelka<br />MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN (1955, 16 min, 35mm, <span>Made in collaboration with Ferry Radax.</span>)<br />ADEBAR (1957, 1 min, 35mm)<br />SCHWECHATER (1958, 1 min, 16mm)<br />ARNULF RAINER (1960, 7 min, 35mm)<br />OUR TRIP TO AFRICA / UNSERE AFRIKAREISE (1966, 12 min, 16mm)<br />“Peter Kubelka is the perfectionist of the film medium; and, as I honor that quality above all others at this time finding such a lack of it now elsewhere, I would simply like to say: Peter Kubelka is the world’s greatest filmmaker – which is to say, simply: see his films!…by all means/above all else…etcetera.” –Stan Brakhage<br /><br />Len Lye<br />TUSALAVA (1929, 10 min, 16mm, silent)<br />TRADE TATTOO (1937, 5 min, 35mm. Print courtesy of the Austrian Film Museum.)<br />RHYTHM (1957, 1 min, 16mm)<br />FREE RADICALS (1958/79, 4 min, 16mm)<br />A giant of experimental animation, Len Lye was born in New Zealand in 1901. He moved to England in the 1920s and subsequently to New York in 1944, where he spent the last 40 years of his life. A pioneer of ‘scratch’ or ‘direct’ filmmaking, Lye used various tools to mark patterns, shapes, and images directly onto the film’s surface, and often explored the dynamic energy of abstract images propelled into life by lively jazz scores or Pacific-inspired rhythms.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60539 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60540 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60541 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60553 <p>“The unique contribution of Land’s work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly ‘boring’ world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEAR…, his attention turned to the spectator in a series of ‘literal’ films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars.” –Mark Webber, TWO FILMS BY OWEN LAND<br /><br />FLEMING FALOON (1963, 6 min, 16mm)<br />FILM IN WHICH THERE APPEAR EDGE LETTERING, SPROCKET HOLES, DIRT PARTICLES, ETC. (1965-66, 5 min, 16mm, silent)<br />DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent)<br />THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm)<br />INSTITUTIONAL QUALITY (1969, 5 min, 16mm)<br />REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm)<br />WHAT’S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm)<br />THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm)<br />A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm)<br /><br />FILM IN WHICH…, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR… have been preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.<br /><br />Total running time: ca. 70 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong></p> Sunday, January 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60542 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60543 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, January 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60544 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, January 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60545 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60546 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60547 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60490 <p><strong>SPECIAL SCREENING + LIVE PERFORMANCE!</strong><br /><br />Join us for an intimate evening of music and film with guitarist and composer William Tyler (rescheduled from September, when Tyler was forced to postpone), featuring a special screening of TIME INDEFINITE, a visual album co-directed by Elise Tyler and Aaron Anderson. Set to William Tyler’s new album “Time Indefinite”, the film weaves together found footage from his family archives into a poetic meditation on memory, decay, and the passage of time.<br /><br />The night opens with a live solo performance by William Tyler, followed by the NYC premiere of the film, and will conclude with a post-screening conversation with William and director Elise Tyler.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60548 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60555 <p>“Stan Laurel and Oliver Hardy are the movies’ greatest comic duo, the quintessential dumb and dumber odd couple. Though critically overshadowed by Chaplin, Keaton, and Lloyd, they were enormously popular, and proved a major influence on Abbott & Costello, Lucille Ball & Vivian Vance, and Jackie Gleason & Art Carney, not to mention Samuel Beckett (they were an inspiration for WAITING FOR GODOT), Roman Polanski (who paid homage to them in his existentialist short films FAT AND LEAN and TWO MEN AND A WARDROBE), and Ken Jacobs (whose ONTIC ANTICS deconstructs one of their films).” –David Mulkins<br /><br />Special thanks to Ken & Flo Jacobs.<br /><br />William A. Seiter<br />SONS OF THE DESERT<br />1933, 68 min, 16mm<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60549 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60556 <p>Fernand Léger & Dudley Murphy<br />BALLET MÉCANIQUE (1924, 19 min, 35mm, silent. Preserved by Anthology Film Archives.)<br />“The two fundamental works of the graphic cinema from the 1920s made without animation were Fernand Léger’s BALLET MÉCANIQUE and Marcel Duchamp’s ANEMIC CINEMA. By extending a metaphor from several of his paintings into film, Léger compared a universe of human actions and everyday objects to the functions of a machine.” –P. Adams Sitney, VISIONARY FILM<br /><br />René Clair & Francis Picabia<br />ENTR’ACTE (1924, 22 min, 35mm)<br />One of the indisputable masterpieces of Dada cinema, ENTR’ACTE was created, as its title suggests, to function as a diversion in between the two acts of Francis Picabia and Erik Satie’s avant-garde ballet RELÂCHE.<br /><br />Man Ray<br />LE RETOUR À LA RAISON (1923, 2 min, 16mm, silent)<br />ÉTOILE DE MER (1927, 13 min, 16mm, silent)<br />EMAK BAKIA (1927, 18 min, 35mm, silent)<br />“All the films I have made have been improvisations. I did not write scenarios. It was automatic cinema. I worked alone. My intention was to set in motion the compositions I made in photography. As for the camera, I use it to capture something I do not want to paint. But I am not interested in producing ‘beautiful photography’ for the cinema.” –Man Ray, “All the Films I Have Made” (1965)<br /><br />Marcel Duchamp & Man Ray<br />ANEMIC CINEMA (1926, 7 min, 35mm, silent)<br />“Duchamp alternates head-on views of his illusion-producing roto-reliefs with similarly turned discs of words, elaborate French puns printed spirally, creating a fluctuation of illusory depth within a very narrow spectrum (from the slightly convex or slightly concave illusions) to the flat readings. In this, his only film, Duchamp typically crystallized the significance of the graphic film.” –P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 85 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, January 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60550 <p>BACK BY POPULAR DEMAND!<br /><br />This past fall, Anthology premiered a new digital restoration of William H. Whyte’s THE SOCIAL LIFE OF SMALL URBAN SPACES (1980), and the response was overwhelming. As a result, we’re bringing it back for an encore run in the New Year!<br /><br />The film emerged from city planner William H. Whyte’s years of research into pedestrian behavior and city dynamics, conducted as part of his Street Life Project. This research resulted both in a film and a book, both of which closely analyzed the functioning of public spaces in various cities, above all in NYC. The book quickly became a classic text within the realm of city planning, and remains beloved not only for the wisdom and elegance of its insights, but for its disarmingly unpretentious, no-nonsense, and often flat-out funny tone. The film version fully embodies all the qualities of the book, and adds one special feature: Whyte’s own voice. Sounding very much like Jimmy Stewart’s city planner cousin, Whyte delivers the narration with an often-self-deprecatory folksiness that’s charmingly at odds with the stentorian tone of most educational films. The film is also effectively a work of street photography. Whyte and his team’s dedication to observing – and recording – the actual behavior of city dwellers, and their sharp eye for the behaviors and gestures that are most revealing of city life, result in a film that is – almost incidentally – a classic city symphony. THE SOCIAL LIFE OF SMALL URBAN SPACES is one of the great films about that strangest of creatures – the city dweller – in its natural habitat.<br /><br />In collaboration with Project for Public Spaces (an organization that grew out of Whyte’s Street Life Project) and the Municipal Art Society of New York (which acted as the film’s initial distributor and where Whyte was a board member), Anthology has restored the film, and we’re thrilled to bring it back for these encore screenings.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60660 <p>QUEER TIME <br />Marlon Riggs<br />TONGUES UNTIED<br />1989, 55 min, video<br />“TONGUES UNTIED was a life-changing event for me. It was the first time I had seen such an honest, raw and powerful film that uncompromisingly tackled the interplay of desire, race and racism, homophobia, sexuality, gender, HIV and class – from a Black Queer perspective. Formally, the film was groundbreaking. It gripped me in its surreal mix of first-person testimonial, poetry, staged performances, dance and activism. The blend was made more exhilarating by Riggs’ interweaving of vignettes with his on-camera declarations, dynamic composition and riveting editing style. In some ways the film is an ethnography of the Black Queer literary and arts movement that was flourishing in the 1980s and early ’90s and affecting the culture through language, fashion, dance, music, scholarship, cinema and politics, just as the specter of HIV and AIDS was rapidly decimating its members.” –Thomas Allen Harris, DOCUMENTARY MAGAZINE<br /><br />Preceded by:<br />Sedat Pakay JAMES BALDWIN: FROM ANOTHER PLACE (1973, 12 min, 35mm-to-DCP)<br />Sedat Pakay OUTTAKES FROM SEDAT PAKAY’S “JAMES BALDWIN: FROM ANOTHER PLACE” (1973/2022, 10 min, 35mm-to-DCP)<br />“Turkish artist Sedat Pakay designs an intimate, luminous sketch of James Baldwin during a stay in Istanbul. From leisurely moving about his room to the activity of the city and its curious denizens, the author/activist comfortably expounds on his sense of privacy, sexuality and expat tendencies. New facets of this encounter are revealed in the recently compiled and restored OUTTAKES FROM SEDAT PAKAY’S ‘JAMES BALDWIN: FROM ANOTHER PLACE’.” –Brittany Gravely, HARVARD FILM ARCHIVE<br /><br />Tourmaline & Sasha Wortzel HAPPY BIRTHDAY, MARSHA! (2017, 14 min, digital)<br />A film about iconic transgender artist and activist, Marsha “Pay it No Mind” Johnson, and her life in the hours before she ignited the 1969 Stonewall Riots in New York City.<br /><br />Total running time: ca. 95 min.<br /><br /><strong>The screening on Fri, Jan 9 will be followed by a Q&A with Yasmina Price and other participants TBA.</strong><br /><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60575 <p>Želimir Žilnik<br />EIGHTY PLUS / RESTITUCIJA, ILI, SAN I JAVA STARE GARDE<br />2025, 118 min, digital. In Serbian and German with English subtitles.<br />After six decades living in Germany, jazz pianist Stevan returns home to Serbia. Following a lengthy legal process, he is allowed to inherit the neglected mansion previously bequeathed to him by his parents thanks to post-socialist restitution. A series of encounters and reunions then opens an unexpected new chapter in Stevan’s life. Full of humanism and tenderness, this film seems more necessary than ever in today’s world. Ten years ago, Doclisboa organized the first ever complete retrospective of Želimir Žilnik’s work, and it is a delight to continue to follow his ever-surprising creations.<br /><br /><strong>The screenings will be followed by Q&As between Želimir Žilnik and Boris Nelepo (Doclisboa)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60576 <p>Želimir Žilnik<br />EIGHTY PLUS / RESTITUCIJA, ILI, SAN I JAVA STARE GARDE<br />2025, 118 min, digital. In Serbian and German with English subtitles.<br />After six decades living in Germany, jazz pianist Stevan returns home to Serbia. Following a lengthy legal process, he is allowed to inherit the neglected mansion previously bequeathed to him by his parents thanks to post-socialist restitution. A series of encounters and reunions then opens an unexpected new chapter in Stevan’s life. Full of humanism and tenderness, this film seems more necessary than ever in today’s world. Ten years ago, Doclisboa organized the first ever complete retrospective of Želimir Žilnik’s work, and it is a delight to continue to follow his ever-surprising creations.<br /><br /><strong>The screenings will be followed by Q&As between Želimir Žilnik and Boris Nelepo (Doclisboa)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60663 <p>Cauleen Smith<br />THE VOLCANO MANIFESTO<br />2025, 50 min, digital<br />“Cauleen Smith’s THE VOLCANO MANIFESTO brings together three recent films – MY CALDERA (2022), MINES TO CAVES (2023), and THE DEEP WEST ASSEMBLY (2024) – in an astonishingly ambitious, densely woven meditation on geological and cinematic time, on the wild abyss of volcanoes and the womb of mines and caves (pregnant with meaning!), and on the prelapsarian and the postdiluvian (Deluzian?).” –MUSEUM OF MODERN ART<br /><br />The Otolith Group<br />MEDIUM EARTH<br />2013, 41 min, digital<br />The accumulation of moving images and sounds that make up MEDIUM EARTH comprise an audiovisual essay on the millennial time of geology and the infrastructural unconscious of Southern California. Focused on the ways in which tectonic forces express themselves in boulder outcrops and the hairline fractures of cast concrete, MEDIUM EARTH participates in the cultures of prophecy and forecasting that mediate the experience of seismic upheaval. The desire to evoke the hidden substrata of the planet gives way to a morphological interpretation of the face of the earth. As an experiment in channeling the system of fault lines buried below California, MEDIUM EARTH animates the stresses and strains of physical geographies undergoing continental pressures.<br /><br />Miatta Kawinzi<br />TO TRUST THE GROUND MIGHT FREE US (BEGIN AGAIN)<br />2024, 13 min, digital<br />This experimental film meditates on the reach towards liberation as an ongoing process through the language of landscape and the body, engaging the intersecting historical and contemporary threads linking the West African nation of Liberia and the United States through a visual and textual poetics. Inter-woven imagery of New England forests, Liberian cotton trees and historic sites such as Dozoa (Providence Island), the Atlantic Ocean, gesture, sun beams, color fields, Vai language logograms, and archival findings invite viewers to consider the multiple resonances of landscapes as sites of refuge, sites of violence, sites of reparation, and sites of healing.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60579 <p>Nate Lavey<br />THE STRONGEST LIGHTNING STRIKES NOT FROM DARK SKIES<br />2025, 16 min, DCP. <strong>North American premiere!</strong><br />As the Olympian gods struggle to make sense of the end of their empire, a rebellion rises from the valley below. The film stars only poets who recite a script in dactylic hexameter – the meter of Greek epic – and examines how the forces of power often fail to recognize the frailty of their rule. Meanwhile, the oppressed realize they need not wait for the perfect storm to strike. The romantic title of the film, borrowed from Karl Marx’s unfinished play “Oulanem”, suggests that revolution and love both have the power to create sudden and magnificent disequilibrium.<br /><br />Angela Summereder<br />B FOR BARTLEBY / B WIE BARTLEBY<br />2025, 72 min, 16mm-to-DCP. In English and German with English subtitles. <strong>North American premiere!</strong><br />Melville’s short story is the starting point. “I would prefer not to,” Bartleby’s notorious line, runs like a common thread through the essayistic montage. It connects sequences from Straub and Huillet’s HISTORY LESSONS (1972) with dialogue between Benedikt Zulauf, who appeared in the Brecht adaptation, and the filmmaker. The making of B FOR BARTLEBY fulfils a long-held wish of Summereder’s late partner, who was terminally ill at the time of production. As “essay” means roughly “rehearsal” in Spanish, B FOR BARTLEBY is a reflection on retelling and appropriation of literary material.<br /><br />Total running time: ca. 90 min.<br /><br /><strong>Filmmaker Nate Lavey will be here in person!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60666 <p>Keisha Rae Witherspoon T (2019, 14 min, digital)<br />A film crew follows three grieving participants of Miami’s annual T Ball, where folks assemble to model R.I.P. T-shirts and innovative costumes designed in honor of their dead.<br /><br />Crystal Z Campbell GO-RILLA MEANS WAR (2017, 19 min, digital)<br />GO-RILLA MEANS WAR is a filmic relic of gentrification featuring 35mm film salvaged from a now demolished Black Civil Rights Theater in Bedford-Stuyvesant, Brooklyn. After finding the film unfinished and un-canned on the floor of The Slave Theater, Campbell collaborated with the unknown director (presumably amateur filmmaker Judge John Phillips who owned the Slave Theater) to finish the film. A secret Black fraternal organization dominates the visual narrative, accompanied by a parable that binds intersections of development, cultural preservation, and erasure.<br /><br />Edward Owens REMEMBRANCE: A PORTRAIT STUDY (1967, 6 min, 16mm)<br />“A filmic portrait of the artist’s mother, Mildered Owens, and her friends Irene Collins and Nettie Thomas, set to a score of 50s and 60s hit songs. Using Baroque lighting techniques, Owens captures the three women drinking and lounging one evening.” –TATE MODERN<br /><br />Edward Owens PRIVATE IMAGININGS AND NARRATIVE FACTS (1968-70, 9 min, 16mm)<br />“A montage of still and moving images, mixing and alternating black people and white people, fantasy and reality, a presidential suite and a mother’s kitchen: a sensitive, poetic evocation in the manner of the film-maker’s REMEMBRANCE. Brilliantly colored and nostalgic, it comprises a magical transformation of painterly collage and still photographic sensibility into filmic time and space.” –Charles Boultenhouse<br /><br />Isaac Julien<br />LOOKING FOR LANGSTON<br />1989, 45 min, 16mm-to-DCP<br />“LOOKING FOR LANGSTON, shot in sumptuous black and white, is a lyrical exploration – and recreation – of the private world of the poet, novelist, playwright, columnist, and social activist Langston Hughes (1902-67) and his fellow Black artists and writers who formed the Harlem Renaissance of the 1920s. At the time of its making, Julien was part of the Sankofa Film and Video Collective which was set up to promote the development of independent Black filmmaking. He was supported by the film critic and curator Mark Nash, who worked on the original archival and film research. The result is a landmark film in the exploration of artistic expression, the nature of desire and the reciprocity of the gaze which became a key work in what B. Ruby Rich named ‘New Queer Cinema’.” –BERLINALE<br /><br />Total running time: ca. 95 min.<br /><br /><strong>The screening on Sat, Jan 10 will be followed by a Q&A with Yasmina Price and other participants TBA.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60581 <p>Manel Raga Raga<br />FIREWOOD / LLENYA<br />2025, 17 min, DCP. In Castilian with English subtitles. <strong>North American premiere!</strong><br />All the clocks at my grandparents’ house have stopped.<br /><br />Carlos Conceição<br />TIGER BAY / BAÍA DOS TIGRES<br />2025, 71 min, DCP. In Portuguese with English subtitles. <strong>North American premiere!</strong><br />The history and mythology of a deserted island off the south-west African coast are recounted in the form of a dystopian parable. In this tale, a character undergoes brainwashing in order to escape the burden of memory in a world to which he no longer feels connected.<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, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60557 <p>“The few facts that are known about Maclaine are, at best, sketchy. He was a published poet, a sort of down and out San Francisco bohemian who later became one of the psychic casualties of that scene. His last years were spent at Sunnyacres, a state mental hospital in Fairfield, California. These films, along with Ron Rice’s, are clearly the most significant work to come out of the beat period.” –J.J. Murphy<br /><br />All films preserved by Anthology Film Archives.<br /><br />THE MAN WHO INVENTED GOLD (1957, 14 min, 16mm)<br />BEAT (1958, 6 min, 16mm)<br />SCOTCH HOP (1959, 5.5 min, 16mm)<br />THE END (1953, 35 min, 16mm)<br />Total running time: ca. 65 min.<br /><br />[<em><strong>THE MAN WHO INVENTED GOLD, BEAT, and SCOTCH HOP are not part of the Essential Cinema collection, but they are included here as a special bonus.</strong></em>]<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Sunday, January 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60672 <p>John Coney<br />SPACE IS THE PLACE<br />1974, 85 min, 35mm-to-DCP<br />“If Afrofuturism has a key player, it’s Sun Ra. Born Herman Poole Blount in segregated Alabama in 1914, Ra spent years developing a diverse portfolio as a musician with his legendary Arkestra (jazz, big band, blues, proto-electronica); and an opaque, mythical persona which blended cosmological ideas with ancient Egyptian mysticism. In 1971, Ra served as artist-in-residence at California’s UC Berkeley and offered a course entitled African-American Studies 198 (also known as Sun Ra 171, The Black Man in the Universe or The Black Man in the Cosmos). The teachings of his course inspired his one and only feature film – the cult classic SPACE IS THE PLACE. In it, Ra engages in a cosmic card game with a blindingly white-suited megapimp (the hilariously oleaginous Ray Johnson) to determine the fate of the black race. What follows is a brilliant and bizarre melange of comedy, musical performance and occasionally lurid blaxploitation aesthetics. It also, crucially, has a number of serious points to make about the plight of young urban blacks in a harsh, post-civil rights climate: ‘Space’ is unambiguously posited by Ra as a utopian refuge for African Americans.” –Ashley Clarke, THE GUARDIAN<br /><br />Preceded by:<br />Ephraim Asili POINTS ON A SPACE AGE (2007, 33 min, digital)<br />“Described as ‘A Video Film on Space and the Music of the Omniverse,’ POINTS ON A SPACE AGE is an appropriately free-form documentary about musician and poet Sun Ra and his Arkestra. Deriving its title (as well as the text for its intertitles and chapter headings) from Sun Ra’s poetry and writing collection ‘The Immeasurable Equation’, Asili’s film mingles video footage of the contemporary Arkestra (helmed by Marshall Allen since Sun Ra’s death in 1993) with video interviews about Sun Ra, the cosmic potential of jazz and music more generally, and archival sources, most prominently audio of John F. Kennedy detailing the US’s interstellar ambitions.” –Jesse Cumming, CINEMA SCOPE<br /><br />Cauleen Smith THE CHANGING SAME (2001, 9 min, 35mm-to-DCP)<br />“Interweaving science fiction, noir, and tragic romance with touches of documentary naturalism, Smith imagines a disorienting vision of Earth on which two extraterrestrials are stationed to assimilate with unseen ‘incubators.’ THE CHANGING SAME is a brief but intricately layered commentary on the boundaries impressed on race, and between the natural and the alien.” –FILM AT LINCOLN CENTER<br /><br />Total running time: ca. 130 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60583 <p>THE PHOTOGRAPHER’S CLAIRVOYANCE – FROM 1896 TO 2025<br /><br />THE ADVENTURES OF GABRIEL VEYRE AROUND THE WORLD<br />1896-1935, 33 min, 35mm-to-DCP<br />Gabriel Veyre was a cinematographer for the Lumière brothers and an inventor of cinema. Traveling with his camera, he was dedicated to capturing the wonderful vitality of the world around him on film for the first time. The first set of films, produced between 1896 and 1900, were shot in locations ranging from France to Indochina, Mexico, Japan, and Canada, and are presented in restored copies. The second set of films were shot in Morocco between 1934 and 1935. These color films reveal not only the conditions of life in the country, but also Veyre’s agile and sensitive approach to filmmaking.<br /><br />Hassen Ferhani<br />STUDIO BAUMETTES<br />2025, 33 min, DCP. In French with English subtitles. North American premiere!<br />“In the spring of 2025, the National Centre for Visual Arts and Lieux Fictifs invited me to make a film with inmates at the Baumettes Prison (Marseille). I set out with no preconceptions and with two references: TO SANG FOTOSTUDIO, a film by Johan van der Keuken, and the book “La Chambre claire” by Roland Barthes.” –Hassen Ferhani<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> Sunday, January 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60675 <p>Ousmane Sembène<br />CEDDO<br />1977, 116 min, 35mm-to-DCP. In Wolof with English subtitles.<br />In precolonial Senegal, members of the Ceddo (or “outsiders”) kidnap Princess Dior Yacine after her father, the king, pledges loyalty to an ascendant Islamic faction that plans to convert the entire clan to its faith. Attempts to recapture her fail, provoking further division and eventual war between the animistic Ceddo and the fundamentalist Muslims, with Christian missionaries and slave traders from Europe caught in the middle. Yet when the victor prevails, conflict still doesn’t end – and the return of the princess and her still-revered power may very well topple the new order. Banned in Sembène’s native Senegal upon its original release, CEDDO is an ambitious, multilayered epic that explores the combustible interstices among ancient tradition, religious colonization, political opportunism, and individual freedom.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60577 <p>Želimir Žilnik<br />EIGHTY PLUS / RESTITUCIJA, ILI, SAN I JAVA STARE GARDE<br />2025, 118 min, digital. In Serbian and German with English subtitles.<br />After six decades living in Germany, jazz pianist Stevan returns home to Serbia. Following a lengthy legal process, he is allowed to inherit the neglected mansion previously bequeathed to him by his parents thanks to post-socialist restitution. A series of encounters and reunions then opens an unexpected new chapter in Stevan’s life. Full of humanism and tenderness, this film seems more necessary than ever in today’s world. Ten years ago, Doclisboa organized the first ever complete retrospective of Želimir Žilnik’s work, and it is a delight to continue to follow his ever-surprising creations.<br /><br /><strong>The screenings will be followed by Q&As between Želimir Žilnik and Boris Nelepo (Doclisboa)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 11