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 Tue, 12 Dec 2017 09:14:47 -0500 BEYOND CASSAVETES: STRANGERS IN THE CITY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48412 <p>After a stint as movie mogul Joseph E. Levine&rsquo;s European point man, cinematic jack-of-all-trades Rick Carrier returned to New York to write, direct, and shoot his one and only feature film, STRANGERS IN THE CITY. A fraught tale of urban malaise, the story chronicles the shattering travails of a family of recent Puerto Rican immigrants seeking &ndash; and <em>losing</em> &ndash; their way in the Big City. Shot on location in Spanish Harlem with a largely unknown cast, the film poignantly dramatizes the problems of assimilation and stands as a testament to Carrier&rsquo;s tenacity as an independent filmmaker. Projected from the only print currently known to exist!<br /><br />This screening is dedicated to the memory of Rick Carrier (1925-2016), who passed away last year, just a few weeks before this print of his long-lost labor of love finally surfaced.</p> Tuesday, December 12 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48174 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, December 13 EC: THE RULES OF THE GAME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48187 <p>(LA R&Egrave;GLE DU JEU)<br /><br />&ldquo;Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir&rsquo;s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema&rsquo;s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.&rdquo; &ndash;Robin Wood</p> Wednesday, December 13 PLANTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48407 <p>(LAS PLANTAS)<br /><br />NEW YORK PREMIERE!<br /><br />Roberto Doveris&rsquo;s debut feature film revolves around Florencia, a 17-year-old girl responsible for the care of her comatose older brother during the summer. Trying to survive with limited means and no assistance, she becomes obsessed with a comic book called &ldquo;Las Plantas,&rdquo; which depicts an invasion of earth by sentient plants who take possession of human bodies every full moon. At the same time, Florencia is going through her own sexual awakening, meeting strangers through the internet, and her monotonous daily routine begins to merge with the fantasy world of the comics and her own burgeoning desires. Winner of the Grand Jury Prize for Best Film at the Berlinale and associate-produced by Alicia Scherson (THE FUTURE, FAMILY LIFE), PLANTS is &ldquo;a sexually souped-up teen psycho-thriller&hellip;an original coming-of-age tale laced with pop culture&rdquo; (VARIETY).</p> Thursday, December 14 BARBARA HAMMER: LESBIAN HANDS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48399 <p>This program coincides with a comprehensive exhibition at the Leslie-Lohman Museum of Gay and Lesbian Art entitled &ldquo;Barbara Hammer: Evidentiary Bodies&rdquo; that surveys the career of pioneering visual artist and filmmaker Barbara Hammer. On display from October 7, 2017 to January 28, 2018, the exhibition features work from the past 50 years, including photographs, paintings, posters, films, videos, installations, drawings, writings, and more. Encompassing matters of lesbian subjectivity and sexuality, politics and representation, and visceral manifestations of pleasure and discomfort, &ldquo;Evidentiary Bodies&rdquo; tells a story of the relations, imprints, and textures that continue to shape Hammer&rsquo;s oeuvre.<br /><br />In concert with the exhibition, multiple screenings and events will be taking place throughout the city. Here at Anthology we will be hosting a program that focuses on films and videos marked by the intimacy of the body and of touch. The program asks viewers to pay close attention to the use of hands, and the relationship between touch and Hammer&rsquo;s process of film/video making. Whether conveying the pleasure of touch in SYNC TOUCH or the fear of touch in SNOW JOB, this program examines the sensation of contact. As Hammer says, &ldquo;This sight and touch union became the basis of my personal lesbian aesthetic.&rdquo;<br /><br />For more info about the exhibition at the Leslie Lohman Museum (26 Wooster Street), visit www.leslielohman.org.<br /><br />Guest-curated by Staci Bu Shea &amp; Carmel Curtis, who also wrote the introduction above.<br /><br />DEATH OF A MARRIAGE (1969, 4 min, Super-8mm)<br />CLEANSED (1969, 7 min, Super-8mm)<br />These are two of the first films Hammer ever made and two of the last films she made while married to a man. Never before screened, they capture Hammer and her former husband interacting together but separately &ndash; walking in the woods, riding horses, taking showers. Throughout both of these pieces Hammer uses her own body to manipulate the way in which we see the images, deploying her hands as mattes and creating layers with the shadows of her body.<br /><br />SYNC TOUCH (1981, 12 min, 16mm)<br />This film explores the tactile and sensual relationship between the process of filmmaking and the intimacy of relationships.<br /><br />SANCTUS (1990, 19 min, 16mm. Restored by the Academy Film Archive.)<br />Through re-photographing images of x-rays, SANCTUS examines the fragility and temporality of both the body and the medium of film emulsion.<br /><br />SNOW JOB: THE MEDIA HYSTERIA OF AIDS (1988, 8 min, digital)<br />SNOW JOB explores the ways in which the mainstream media uses AIDS to perpetuate homophobia and provoke a fear of interacting with the LGBT community.<br /><br />HISTORY OF THE WORLD ACCORDING TO A LESBIAN (1988, 22 min, digital)<br />This rarely-screened short presents a history of humanity that you weren&rsquo;t taught in school.<br /><br />MULTIPLE ORGASM (1976, 6 min, 16mm. Newly restored print! MULTIPLE ORGASM was preserved by Electronic Arts Intermix and the Academy Film Archive through the National Film Preservation Foundation&rsquo;s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the George Lucas Family Foundation.)<br />Hammer enjoys the pleasure of her own hands as we view images of masturbation overlayed with images of landscapes from Capitol Reef National Park in Utah, thus connecting her own body to the body of the Earth.<br /><br />PLACE MATTES (1987, 8 min, 16mm)<br />Hammer uses multiple layers to create a textured collage provoking viewers to reflect on the impact of one&rsquo;s physical presence.<br /><br />Total running time: ca. 90 min.</p> Thursday, December 14 A STOP-MOTION BESTIARY: THE FILMS OF LADISLAS STAREWITCH: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48344 <p>THE MAGIC CLOCK / L&rsquo;HORLOGE MAGIQUE (1928, ca. 30 min, 16mm, b&amp;w)<br /><br />THE TALE OF THE FOX / LE ROMAN DE RENARD<br />(1929-30/1941, 65 min, 35mm/DCP, b&amp;w)<br />One of the first animated feature films in cinema history (it premiered a full year before Disney&rsquo;s SNOW WHITE), and the only film of this scope that Starewitch would make, THE TALE OF THE FOX is a masterpiece of the form. Master Fox, the forest&rsquo;s utmost trickster, harasses the king upon whose lands he lives. Following a particularly wily hoax, however, the king orders Master Fox to be arrested and brought before the court. Inspired by a medieval French fable, THE TALE OF THE FOX is a ceaselessly inventive and wondrous film.<br /><br />Total running time: ca. 100 min.<br /><br />[<strong>Please note: TALE OF THE FOX will be screening on 35mm on Fri, Dec 15, and on DCP (the result of a recent restoration) on Tues, Dec 19.</strong>]</p> Friday, December 15 EMPATHY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48393 <p>SPECIAL SCREENINGS! FILMMAKER IN PERSON!<br /><br />With Em Cominotti.<br /><br />Jessie Jeffrey Dunn Rovinelli&rsquo;s feature film debut, EMPATHY follows Em, a heroin-addicted professional escort as she moves between New York City, Pittsburgh, and Los Angeles. Combining frank images of the actual labor of sex work with intimate portraits of Em&rsquo;s interpersonal life, the film is an alternately humorous and harrowing look at a seldom-depicted side of American life as well as a meditation on the performativity at the core of documentary filmmaking and the sex industry alike. Shot on a mixture of 16mm and HD digital video in luxuriant long takes, its disciplined style foregrounds the sensual texture of the everyday while playing with the conventions of narrative cinema, focusing on the profound interrelation of performance and identity within the socioeconomic fabric of the U.S. Written in close collaboration with its subject/star, Em Cominotti, EMPATHY resonates with the documentary/fiction hybrid form that numerous filmmakers have explored to fascinating ends in recent years. But it distinguishes itself thanks to its interest in and sensitivity to the many dimensions of its protagonist&rsquo;s life, and the honesty with which it explores a realm of experience more often depicted with palpably exploitative motives.<br /><br />&ldquo;Can performance and reality be separated? Does it matter? [&hellip;] Full of tenderness and, yes, empathy for its subject&hellip;the suggestion of happiness despite all, even for the briefest of moments, feels sublime.&rdquo; &ndash;Kazu Watanabe, SCREEN SLATE<br /><br />&ldquo;Rovinelli and Cominotti seem to be pursuing bigger, more abstract questions concerning what it means to be a person in the first place. For a film that feels so small and personal, its ambition is immense.&rdquo; &ndash;Dan Sullivan, FILM COMMENT</p> Friday, December 15 EC: THE RULES OF THE GAME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48188 <p>(LA R&Egrave;GLE DU JEU)<br /><br />&ldquo;Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir&rsquo;s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema&rsquo;s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.&rdquo; &ndash;Robin Wood</p> Saturday, December 16 A STOP-MOTION BESTIARY: THE FILMS OF LADISLAS STAREWITCH: PROGRAM 2: RUSSIAN FILMS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48347 <p>LA BELLE LUCANIDE / PREKRASNYA LUKANIDA (1910, 6 min, 35mm, b&amp;w)<br />THE CAMERAMAN&rsquo;S REVENGE / MEST&rsquo; KINEMATOGRAFICHESKOGO OPERATORA (1911, 10 min, 16mm, b&amp;w)<br />THE INSECTS&rsquo; CHRISTMAS / ROZHDESTVO OBITATELEJ LESA (1911, 6 min, 35mm, b&amp;w)<br />THE DRAGONFLY AND THE ANT / STREKOZA I MURAVEJ (1911, 6 min, 35mm, b&amp;w)<br />THE NIGHT BEFORE CHRISTMAS / NOCH&rsquo; PERED ROZHDESTVOM (1912, 24 min, 35mm, b&amp;w)<br />HAPPY SCENES FROM INSECT LIFE / VESELYE SCENY IZ ZHIZNI ZHIVOTNYH (1912, 5 min, 35mm, b&amp;w)<br />A JOURNEY TO THE MOON / PUTESHESTVIE NA LUNU (1912, 6 min, 35mm, b&amp;w)<br />THE LILY OF BELGIUM / LILIYA BEL&rsquo;GII (1915, 13 min, 35mm, b&amp;w)<br />MARS&rsquo;S STEPSON / PASYNOK MARSA (1914, 9 min, 35mm, b&amp;w)<br />Total running time: 90 min.</p> Saturday, December 16 EMPATHY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48394 <p>SPECIAL SCREENINGS! FILMMAKER IN PERSON!<br /><br />With Em Cominotti.<br /><br />Jessie Jeffrey Dunn Rovinelli&rsquo;s feature film debut, EMPATHY follows Em, a heroin-addicted professional escort as she moves between New York City, Pittsburgh, and Los Angeles. Combining frank images of the actual labor of sex work with intimate portraits of Em&rsquo;s interpersonal life, the film is an alternately humorous and harrowing look at a seldom-depicted side of American life as well as a meditation on the performativity at the core of documentary filmmaking and the sex industry alike. Shot on a mixture of 16mm and HD digital video in luxuriant long takes, its disciplined style foregrounds the sensual texture of the everyday while playing with the conventions of narrative cinema, focusing on the profound interrelation of performance and identity within the socioeconomic fabric of the U.S. Written in close collaboration with its subject/star, Em Cominotti, EMPATHY resonates with the documentary/fiction hybrid form that numerous filmmakers have explored to fascinating ends in recent years. But it distinguishes itself thanks to its interest in and sensitivity to the many dimensions of its protagonist&rsquo;s life, and the honesty with which it explores a realm of experience more often depicted with palpably exploitative motives.<br /><br />&ldquo;Can performance and reality be separated? Does it matter? [&hellip;] Full of tenderness and, yes, empathy for its subject&hellip;the suggestion of happiness despite all, even for the briefest of moments, feels sublime.&rdquo; &ndash;Kazu Watanabe, SCREEN SLATE<br /><br />&ldquo;Rovinelli and Cominotti seem to be pursuing bigger, more abstract questions concerning what it means to be a person in the first place. For a film that feels so small and personal, its ambition is immense.&rdquo; &ndash;Dan Sullivan, FILM COMMENT</p> Saturday, December 16 A STOP-MOTION BESTIARY: THE FILMS OF LADISLAS STAREWITCH: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48349 <p>BABYLAS&rsquo;S MARRIAGE / LE MARIAGE DE BABYLAS (1921, 15 min, 35mm, b&amp;w)<br />THE SCARECROW / L&rsquo;&Eacute;POUVANTAIL (1921, 17 min, 35mm, b&amp;w)<br />THE VOICE OF THE NIGHTINGALE / LA VOIX DU ROSSIGNOL (1923, 13 min, 35mm, b&amp;w)<br />THE QUEEN OF THE BUTTERFLIES / LA REINE DES PAPILLONS 1927, 23 min, 35mm, b&amp;w<br />Total running time: ca. 75 min.</p> Saturday, December 16 TRIBUTE TO LESLIE TRUMBULL (1933-2017) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48401 <p>In 1963, Leslie Trumbull, recently arrived in New York from the Midwest and working as an editor at Prentice-Hall Publishers, attended a screening of Gregory Markopoulos&rsquo;s TWICE A MAN. A few days later he presented himself at the Film-Makers&rsquo; Cooperative and volunteered his services. Leslie ended up running the Coop from that year until the early 1990s, when the effects of a severe stroke made it difficult for him to put in the time the job required. Through his stewardship of the organization, he became an important and cherished member of the avant-garde film community in New York City and throughout the U.S. Since he believed that the Coop should treat all the films it distributed equally, he never expressed personal preferences towards particular films or filmmakers. Over the years, however, friends discovered the films that gave him special pleasure. This tribute encompasses some of them. It&rsquo;s a long program, but we&rsquo;ll take a break in the middle to share a beer (Leslie&rsquo;s favored Brooklyn Lager).<br /><br />Organized and hosted by film critic Amy Taubin. Special thanks to Gordon Ball, Robert Beavers, Ken Jacobs, Tony Pipolo, MM Serra, and Micaela Trumbull.<br /><br />Kenneth Anger KUSTOM KAR KOMMANDOS (1965, 3 min, 16mm)<br />Willard Maas GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&amp;w. Preserved by Anthology with support from The National Film Preservation Foundation.)<br />Marie Menken GO! GO! GO! (1962-64, 12 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />Gordon Ball MILLBROOK (1985, 9 min, 16mm)<br />Ken Jacobs GLOBE (1969, 22 min, 16mm, Pulfrich 3D. Preserved by Anthology Film Archives through the Avant-Garde Masters Program funded by The Film Foundation and administered by the National Film Preservation Foundation)<br /><br />(intermission)<br /><br />Tom Chomont OBLIVION (1969, 4.5 min, 16mm)<br />Robert Beavers EARLY MONTHLY SEGMENTS (1968-70/2002, 33 min, 35mm, silent. Courtesy Temenos Archive.)<br />Gregory Markopoulos TWICE A MAN (1963, 49 min, 16mm. Courtesy Temenos Archive.)<br /><br />With additional films and excerpts to be announced.<br /><br />Total running time: ca. 145 min.</p> Sunday, December 17 EC: THE RULES OF THE GAME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48189 <p>(LA R&Egrave;GLE DU JEU)<br /><br />&ldquo;Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir&rsquo;s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema&rsquo;s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.&rdquo; &ndash;Robin Wood</p> Sunday, December 17 A STOP-MOTION BESTIARY: THE FILMS OF LADISLAS STAREWITCH: PROGRAM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48351 <p>IN THE CLAWS OF THE SPIDER / DANS LES GRIFFES DE L&rsquo;ARAIGN&Eacute;E (1920, 25 min, 35mm, b&amp;w)<br />LOVE IN BLACK AND WHITE / AMOUR NOIR ET BLANC (1923, 22 min, 35mm, b&amp;w)<br />THE EYES OF THE DRAGON / LES YEUX DU DRAGON (1925, 26 min, 35mm, b&amp;w)<br />Total running time: ca. 80 min.</p> Sunday, December 17 EMPATHY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48395 <p>SPECIAL SCREENINGS! FILMMAKER IN PERSON!<br /><br />With Em Cominotti.<br /><br />Jessie Jeffrey Dunn Rovinelli&rsquo;s feature film debut, EMPATHY follows Em, a heroin-addicted professional escort as she moves between New York City, Pittsburgh, and Los Angeles. Combining frank images of the actual labor of sex work with intimate portraits of Em&rsquo;s interpersonal life, the film is an alternately humorous and harrowing look at a seldom-depicted side of American life as well as a meditation on the performativity at the core of documentary filmmaking and the sex industry alike. Shot on a mixture of 16mm and HD digital video in luxuriant long takes, its disciplined style foregrounds the sensual texture of the everyday while playing with the conventions of narrative cinema, focusing on the profound interrelation of performance and identity within the socioeconomic fabric of the U.S. Written in close collaboration with its subject/star, Em Cominotti, EMPATHY resonates with the documentary/fiction hybrid form that numerous filmmakers have explored to fascinating ends in recent years. But it distinguishes itself thanks to its interest in and sensitivity to the many dimensions of its protagonist&rsquo;s life, and the honesty with which it explores a realm of experience more often depicted with palpably exploitative motives.<br /><br />&ldquo;Can performance and reality be separated? Does it matter? [&hellip;] Full of tenderness and, yes, empathy for its subject&hellip;the suggestion of happiness despite all, even for the briefest of moments, feels sublime.&rdquo; &ndash;Kazu Watanabe, SCREEN SLATE<br /><br />&ldquo;Rovinelli and Cominotti seem to be pursuing bigger, more abstract questions concerning what it means to be a person in the first place. For a film that feels so small and personal, its ambition is immense.&rdquo; &ndash;Dan Sullivan, FILM COMMENT</p> Sunday, December 17 A STOP-MOTION BESTIARY: THE FILMS OF LADISLAS STAREWITCH: PROGRAM 5 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48353 <p>THE FROGS WHO WANTED A KING / LES GRENOUILLES QUI DEMANDENT UN ROI (1922, 17 min, 35mm, b&amp;w)<br />THE TOWN RAT AND THE COUNTRY RAT / LE RAT DE VILLE ET LE RAT DES CHAMPS (1926, 10 min, 35mm, b&amp;w)<br />THE ANT AND THE GRASSHOPPER / LA CIGALE ET LA FOURMI (1927, 16 min, 35mm, b&amp;w)<br />THE LION AND THE FLY / LE LION ET LE MOUCHERON (1932, 8 min, 35mm, b&amp;w)<br />THE OLD LION / LE LION DEVENU VIEUX (1932, 9 min, 35mm, b&amp;w)<br />HOW A CIN&Eacute; MARIONETTE IS BORN AND COMES TO LIFE / COMMENT NA&Icirc;T ET S&rsquo;ANIME UNE CIN&Eacute;-MARIONNETTE (1932, 3 min, 35mm, b&amp;w)<br />Total running time: ca. 70 min.</p> Sunday, December 17 A STOP-MOTION BESTIARY: THE FILMS OF LADISLAS STAREWITCH: PROGRAM 6 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48355 <p>THE MASCOT (aka PUPPET LOVE) / F&Eacute;TICHE MASCOTTE (1933, 21 min, 35mm, b&amp;w)<br />THE RINGMASTER / F&Eacute;TICHE PRESTIDIGITATEUR (1934, 12 min, 35mm, b&amp;w)<br />THE MASCOT&rsquo;S MARRIAGE / F&Eacute;TICHE SE MARIE (1935, 15 min, 35mm, b&amp;w)<br />THE NAVIGATOR / F&Eacute;TICHE EN VOYAGE DE NOCES (1936, 12 min, 35mm, b&amp;w)<br />THE MASCOT AND THE MERMAIDS / F&Eacute;TICHE CHEZ LES SIR&Egrave;NES (1937, 16 min, 35mm, b&amp;w)<br />Total running time: ca. 80 min.</p> Monday, December 18 EC: DIARIES, NOTES & SKETCHES (WALDEN) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48190 <p>Filmed 1964-68; edited 1968-69. &ldquo;Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it&rsquo;s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don&rsquo;t get it at all.&rdquo; &ndash;J.M.<br /><br />&ldquo;I make home movies &ndash; therefore I live. I live &ndash; therefore I make home movies.&rdquo; &ndash;from the soundtrack<br /><br /><strong><em>PLEASE NOTE: In honor of Jonas&rsquo;s 95<sup>th</sup>&nbsp;birthday, we will also be screening some of his more rarely screened works between December 19-22. Click <a href="../../../film_screenings/series/48356">here</a> for more details.</em></strong></p> Monday, December 18 EC: REMINISCENCES OF A JOURNEY TO LITHUANIA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48191 <p>Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.<br /><br />&ldquo;The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.&rdquo; &ndash;J.M.<br /><br /><strong><em>PLEASE NOTE: In honor of Jonas&rsquo;s 95<sup>th</sup> birthday, we will also be screening some of his more rarely screened works between December 19-22. Click <a href="../../../film_screenings/series/48356">here</a> for more details.</em></strong></p> Tuesday, December 19 A STOP-MOTION BESTIARY: THE FILMS OF LADISLAS STAREWITCH: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48345 <p>THE MAGIC CLOCK / L&rsquo;HORLOGE MAGIQUE (1928, ca. 30 min, 16mm, b&amp;w)<br /><br />THE TALE OF THE FOX / LE ROMAN DE RENARD<br />(1929-30/1941, 65 min, 35mm/DCP, b&amp;w)<br />One of the first animated feature films in cinema history (it premiered a full year before Disney&rsquo;s SNOW WHITE), and the only film of this scope that Starewitch would make, THE TALE OF THE FOX is a masterpiece of the form. Master Fox, the forest&rsquo;s utmost trickster, harasses the king upon whose lands he lives. Following a particularly wily hoax, however, the king orders Master Fox to be arrested and brought before the court. Inspired by a medieval French fable, THE TALE OF THE FOX is a ceaselessly inventive and wondrous film.<br /><br />Total running time: ca. 100 min.<br /><br />[<strong>Please note: TALE OF THE FOX will be screening on 35mm on Fri, Dec 15, and on DCP (the result of a recent restoration) on Tues, Dec 19.</strong>]</p> Tuesday, December 19 JONAS MEKAS: 95 AND COUNTING: IN BETWEEN: 1964-68 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48358 <p>&ldquo;Filmed in 1964-68. Edited in 1978. The material for this film is footage that didn&rsquo;t find a place in the WALDEN reels. Some of it begins in between LOST, LOST, LOST and WALDEN. It&rsquo;s mostly New York, and some travel footage. The City friends: Richard Foreman, Amy Taubin, Mel Lyman, Peter Beard, David Wise, Andrew Meyer, Salvador Dali, Jerome Hill, David Stone and Barbara Stone, my brother Adolfas filming DOUBLE BARRELLED DETECTIVE STORY, Diane di Prima, Allen Ginsberg, Norman Mailer, Ed Sanders, Gordon Ball, Henry Romney, Jack Smith, Shirley Clarke, Louis Brigante, Jane Holzer, etc. etc.&rdquo; &ndash;Jonas Mekas</p> Tuesday, December 19 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48175 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, December 20 JONAS MEKAS: 95 AND COUNTING: SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48360 <p>DAL&Iacute; OSTER NEWSREEL (1964, 20 min, 16mm, b&amp;w)<br />&ldquo;This was filmed on January 24, 1964, during Prof. Oster&rsquo;s demonstration of moir&eacute; patterns. He is shown with Salvador Dal&iacute;. Sound: Voices of Prof. Oster and Salvador Dal&iacute;.&rdquo; &ndash;Jonas Mekas<br /><br />SELF PORTRAIT (1980, 20 min, video. Preserved by Anthology Film Archives.)<br />&ldquo;One twenty-minute take, a soliloquy, myself talking about myself. Taped in collaboration with Robert Schoenbaum, at the house/porch of Sally Dixon, St. Paul.&rdquo; &ndash;Jonas Mekas<br /><br />ROBERT HALLER&rsquo;S WEDDING (1980, 2.5 min, 16mm)<br />&ldquo;Made as a wedding present to Robert Haller and Amy Greenfield. Anthology Film Archives workers are having a good time in this spoof.&rdquo; &ndash;Jonas Mekas<br /><br />WILLIAMSBURG, BROOKLYN (1949/2002, 15 min, 16mm, silent)<br />&ldquo;Footage I shot in 1950, my first year in New York, more precisely, in Brooklyn. Williamsburg was a small miserable part of Brooklyn inhabited at that time mostly by Lithuanian immigrants and Hassids. That was my new home. Miserable home but home. And I knew that Henry Miller had lived in Williamsburg, I passed his house every day. So I was happy to be there. And I was free! I was free and I had just acquired my first Bolex camera.&rdquo; &ndash;Jonas Mekas<br /><br />A VISIT TO HANS RICHTER (2003, 9 min, 16mm)<br />A compilation of all the appearances of Hans Richter in Jonas Mekas&rsquo;s films. The result is a new work, a singular contemporary document, which does not only capture Richter, but shows him embedded in his environment.<br /><br />I LEAVE CHELSEA HOTEL (2009, 4 min, 16mm-to-digital, b&amp;w)<br />&ldquo;I exit the Chelsea Hotel and proceed towards Seventh Avenue where I catch a taxi.&rdquo; &ndash;Jonas Mekas<br /><br />Total running time: ca. 75 min.</p> Wednesday, December 20 JONAS MEKAS: 95 AND COUNTING: PARADISE NOT YET LOST (aka OONA’S THIRD YEAR) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48362 <p>&ldquo;The film is&hellip;constructed as a letter to [Jonas&rsquo;s daughter] Oona, &lsquo;to serve her, some day, as a distant reminder of how the world around her looked during the third year of her life.&rsquo; [&hellip;] The title, PARADISE NOT YET LOST, suggests that through Oona and the growth of his family, Mekas finds some hope of redemption. To that end, Mekas passes on some of the lessons he&rsquo;s learned to his daughter: &lsquo;I&rsquo;m talking to you, Oona. Be idealistic, don&rsquo;t be practical. Seek the insignificant small but essential qualities, essential to life.&rsquo; [&hellip;] As we live after the Fall (and for Mekas, the devastating Fall occurred when he was forced to leave Lithuania), we can only catch glimpses of Paradise, in fragments. Mekas&rsquo;s great accomplishment, then, is to persist in filming Paradise wherever he can, despite the darkness and struggle that surrounds him.&rdquo; &ndash;Genevieve Yue, SENSES OF CINEMA</p> Wednesday, December 20 JONAS MEKAS: 95 AND COUNTING: A WALK + MYSTERIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48364 <p>A WALK<br />(1990, 58 min, video)<br />&ldquo;On a rainy day, I have a walk through the early SoHo. I begin my walk on 80 Wooster Street [the one-time home of Anthology] and continue towards the Williamsburg bridge, where, 58 minutes later, still raining, my walk ends. As I walk, occasionally I talk about what I see or I tell some totally unrelated little stories that come to my mind as I walk. This video was my early exercise in the one-shot video form. There are no cuts in this video.&rdquo; &ndash;Jonas Mekas<br />&amp;<br />MYSTERIES<br />(1966/2002, 34 min, 16mm)<br />A document of a Living Theater performance in Cassis, France, this piece was filmed in 1966 but only edited and released in 2002, with a newly commissioned score by Philip Glass.</p> Thursday, December 21 JONAS MEKAS: 95 AND COUNTING: BIRTH OF A NATION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48366 <p>&ldquo;One hundred and sixty portraits or rather 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</p> Thursday, December 21 JONAS MEKAS: 95 AND COUNTING: HE STANDS IN A DESERT COUNTING THE SECONDS OF HIS LIFE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2017#showing-48368 <p>&ldquo;Both a simply happy and a profoundly ecstatic film. There is an undercurrent of domestic tranquility, of people who are at home with each other. [&hellip;] The film begins with the title &ldquo;He stands in a desert counting the seconds of his life&rdquo;; it ends with the title repeated in the past tense: &ldquo;He stood in the desert&hellip;&rdquo; This is in effect a double past tense, achievable only at the film&rsquo;s end: the filmmaker remembering himself remembering the past. For a film of memories, [it] is amazingly devoid of easy sentimentality, perhaps because Mekas has chosen to remember his past not in the long years recalled by an aching, ill-defined nostalgia but in the intense seconds of ecstasy.&rdquo; &ndash;Fred Camper, SENSES OF CINEMA</p> Friday, December 22