Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Thu, 26 May 2016 14:21:12 -0400 RE-VISIONS: ERICKA BECKMAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45821 <p>FILMMAKER IN PERSON!<br /><br />Compared by critic J. Hoberman to Loie Fuller, Maya Deren, and Yvonne Rainer, Ericka Beckman made her initial mark in the late-1970s with a number of technically complicated, intellectually stimulating Super-8 movies. An MFA graduate of CalArts, where she studied under John Baldessari, Beckman quickly realized that her ideas were better expressed in terms of cinema than other plastic or conceptually-oriented forms. She moved to NYC and soon fell in with artists in the burgeoning SoHo community, as well as the developing artist-operated gallery and exhibition spaces. Her highly inventive films tapped into the resources of this vibrant community and were imbued with the new wave style and musical sensibility of the period. Beckman began teaching at the Massachusetts College of Art in the late 80s and has since mentored many students.<br /><br />Intrigued by learning processes and influenced by the theories of Swiss developmental psychology theorist Jean Piaget, in the late 1970s Beckman produced her powerful &ldquo;Super-8 Trilogy,&rdquo; comprised of the works WE IMITATE; WE BREAK-UP (1978), THE BROKEN RULE (1979), and OUT OF HAND (1981). These films were screened in the realms of art galleries, media centers, and cinematheques. Widely written about at the time, and included in the Whitney Biennial and other high-profile shows, the films later nearly disappeared, until they were preserved in 2011, in Super-8-to-16mm blow-ups, by the Moving Image Archiving Program at NYU (WE IMITATE; WE BREAK-UP) and Anthology (THE BROKEN RULE and OUT OF HAND).<br /><br />For the May installment of RE-VISIONS, we will be screening these beautiful preservation prints of the Super-8 Trilogy, alongside Beckman&rsquo;s most recent film, TENSION BUILDING, and an excerpt from THE SUPER 8 SHOW: BEYOND HOME MOVIES, a 1981 television documentary that profiled Super-8mm filmmakers.<br /><br />WE IMITATE; WE BREAK-UP (1978, 30 min, Super 8mm-to-16mm blow-up.)<br />Preserved by the Moving Image Archiving Program at NYU with support from the National Film Preservation Foundation.<br /><br />THE BROKEN RULE (1979, 25 min, Super 8mm-to-16mm blow-up.) Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and The Andy Warhol Foundation for the Visual Arts.<br /><br />OUT OF HAND (1981, 30 min, Super 8mm-to-16mm blow-up.) Preserved by Anthology Film Archives with support from the National Film Preservation Foundation and The Andy Warhol Foundation for the Visual Arts.<br /><br />TENSION BUILDING (2014, 8.5 min, digital)<br /><br />THE SUPER 8 SHOW: BEYOND HOME MOVIES (1981, 7-min excerpt, U-Matic videotape-to-digital.) Produced by John Sanborn and Kit Fitzgerald for WNET/New York.<br /><br />Total running time: ca. 105 min.</p> Thursday, May 26 EC: THE BLOOD OF A POET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45813 <p>(LE SANG D&rsquo;UN PO&Egrave;TE)<br /><br />&ldquo;Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.&rdquo; &ndash;Georges Sadoul</p> Friday, May 27 JIA ZHANGKE, A GUY FROM FENYANG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45661 <p>Distributed by Kino Lorber.<br /><br />The result of a seemingly counter-intuitive pairing of veteran Brazilian director Walter Salles (CENTRAL STATION, ON THE ROAD) and Chinese auteur Jia Zhangke, JIA ZHANGKE, A GUY FROM FENYANG is an unusually fine documentary portrait. Jia began his filmmaking career in the mid-1990s, immediately establishing his immense talent with his astonishing feature debut, XIAO WU, and its even more ambitious and monumental follow-up, PLATFORM, which remains one of the great films of the 2000s. And he has since delivered on this youthful promise, making a series of features, documentaries, and short films over the past 15 years that have established him as the foremost chronicler of a society undergoing immense and often brutal transformations.<br /><br />In A GUY FROM FENYANG, Salles accompanies Jia as he returns to his birthplace, the Shanxi province in Northern China, and to the locations of his films. Documenting encounters between Jia and his actors, friends, and collaborators, Salles gradually constructs a multi-layered portrait of the artist. By filming Jia against the backdrop of the streets and locations that he has known so intimately throughout his life, Salles succeeds not only in creating something far more cinematic than most talking-head documentaries, but in illuminating dimensions of Jia&rsquo;s personality that would otherwise remain hidden and capturing something of the complex relation between the director and his environment. Combining copious interview footage and well-chosen excerpts from Jia&rsquo;s films, A GUY FROM FENYANG is a deceptively casual, ultimately elegant film that reveals a great deal about Jia, his work, and his society.<br /><br />&ldquo;Auteur portraits of fellow auteurs don&rsquo;t always make for illuminating films: the line between sincere mutual appreciation and smug mutual congratulation can be a fine one. Salles, however, gets the balance just about right in A GUY FROM FENYANG, an intelligent, restrained but warmly intimate cinematic conversation with the Sixth Generation Chinese trailblazer.&rdquo; &ndash;Guy Lodge, VARIETY<br /><br /><strong>Alongside A GUY FROM FENYANG, we&rsquo;ll be screening several of Jia&rsquo;s own films; <a href="../../../film_screenings/series/45755">click here</a> for more details.</strong></p> Friday, May 27 EC: ORPHEUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45815 <p>(ORPH&Eacute;E)<br /><br />With Jean Marais.<br /><br />Orpheus and Eurydice, with Death waiting on the corner. Cocteau said, &ldquo;Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS&rsquo;s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.&rdquo;</p> Friday, May 27 STILL LIFE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45763 <p>(SANXIA HAOREN)<br /><br />STILL LIFE is an empathetic portrait of those left behind by a modernizing society and, like Jia&rsquo;s earlier films, a hybrid of documentary and fiction. In STILL LIFE, great changes have come to the town of Fengjie due to the construction of the Three Gorges hydro project: countless families that had lived there for many generations have had to relocate to other cities. Fengjie&rsquo;s old town, which has a 2,000-year history, has been torn down and submerged forever, but its new neighborhood hasn&rsquo;t been finished yet. There are still things that need to be salvaged and yet others that must be left behind. These life-changing choices confront both Sanming, a miner traveling to Fengjie in search of his ex-wife of sixteen years, and Shen Hong, a nurse who has come to look for the husband she hasn&rsquo;t seen in two years. Both Sanming and Shen will find who they&rsquo;re looking for, but in the process they too will have to decide what is worth salvaging in their lives and what they need to let go of.</p> Saturday, May 28 EC: THE BLOOD OF A POET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45814 <p>(LE SANG D&rsquo;UN PO&Egrave;TE)<br /><br />&ldquo;Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.&rdquo; &ndash;Georges Sadoul</p> Saturday, May 28 MOUNTAINS MAY DEPART http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45758 <p>(SHAN HE GU REN)<br /><br />At once an intimate drama and a decades-spanning epic that leaps from the recent past to the present to the speculative near-future, Jia&rsquo;s new film is an intensely moving study of how China&rsquo;s economic boom &ndash; and the culture of materialism it has spawned &ndash; has affected the bonds of family, tradition, and love. The film opens in 1999 to the strains of the Pet Shop Boys&rsquo; &lsquo;Go West,&rsquo; and it&rsquo;s to the West that small-town dance instructor Shen Tao looks when she marries the slick entrepreneur Zhang and soon gives birth to a son, whom Zhang christens Dollar. The chasm between the family&rsquo;s origins and their new life of Western-style wealth grows ever wider as the film leaps ahead to 2014 and finally to 2025, when Dollar is living in Australia and struggling to relearn the mother tongue he has forgotten with the help of an attractive, older college professor. Shooting each of the film&rsquo;s three time periods in a different aspect ratio &ndash; with the square Academy frame gradually expanding to widescreen &ndash; Jia creates a prescient chronicle of his country&rsquo;s path to the future.&rdquo; &ndash;Giovanna Fulvi, TORONTO INTERNATIONAL FILM FESTIVAL</p> Saturday, May 28 EC: BEAUTY AND THE BEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45818 <p>(LA BELLE ET LA B&Ecirc;TE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />&ldquo;Jean Cocteau&rsquo;s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty&rsquo;s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Dor&eacute; extravagance of the Beast&rsquo;s enchanted landscape. In Christian B&eacute;rard&rsquo;s makeup, Jean Marais is a magnificent Beast.&rdquo; &ndash;Pauline Kael</p> Saturday, May 28 JIA ZHANGKE, A GUY FROM FENYANG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45662 <p>Distributed by Kino Lorber.<br /><br />The result of a seemingly counter-intuitive pairing of veteran Brazilian director Walter Salles (CENTRAL STATION, ON THE ROAD) and Chinese auteur Jia Zhangke, JIA ZHANGKE, A GUY FROM FENYANG is an unusually fine documentary portrait. Jia began his filmmaking career in the mid-1990s, immediately establishing his immense talent with his astonishing feature debut, XIAO WU, and its even more ambitious and monumental follow-up, PLATFORM, which remains one of the great films of the 2000s. And he has since delivered on this youthful promise, making a series of features, documentaries, and short films over the past 15 years that have established him as the foremost chronicler of a society undergoing immense and often brutal transformations.<br /><br />In A GUY FROM FENYANG, Salles accompanies Jia as he returns to his birthplace, the Shanxi province in Northern China, and to the locations of his films. Documenting encounters between Jia and his actors, friends, and collaborators, Salles gradually constructs a multi-layered portrait of the artist. By filming Jia against the backdrop of the streets and locations that he has known so intimately throughout his life, Salles succeeds not only in creating something far more cinematic than most talking-head documentaries, but in illuminating dimensions of Jia&rsquo;s personality that would otherwise remain hidden and capturing something of the complex relation between the director and his environment. Combining copious interview footage and well-chosen excerpts from Jia&rsquo;s films, A GUY FROM FENYANG is a deceptively casual, ultimately elegant film that reveals a great deal about Jia, his work, and his society.<br /><br />&ldquo;Auteur portraits of fellow auteurs don&rsquo;t always make for illuminating films: the line between sincere mutual appreciation and smug mutual congratulation can be a fine one. Salles, however, gets the balance just about right in A GUY FROM FENYANG, an intelligent, restrained but warmly intimate cinematic conversation with the Sixth Generation Chinese trailblazer.&rdquo; &ndash;Guy Lodge, VARIETY<br /><br /><strong>Alongside A GUY FROM FENYANG, we&rsquo;ll be screening several of Jia&rsquo;s own films; <a href="../../../film_screenings/series/45755">click here</a> for more details.</strong></p> Saturday, May 28 UN CINE COMPARTIDO: NARCISA HIRSCH AND MARIE LOUISE ALEMANN: TESTAMENTO CINEMÁTICO: THE FILMS OF NARCISA HIRSCH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45698 <p>Born in Germany and spending the majority of their lives in Argentina, Narcisa Hirsch (b. 1928) and Marie Louise Alemann (1927-2015) became friends in 1960s Buenos Aires, where their artistic sensibilities drew them away from the German-&eacute;migr&eacute; establishment and toward the city&rsquo;s growing, cosmopolitan counterculture. After working together on street performances and happenings, Hirsch and Alemann began to make films, inspired partly by reports of a growing &lsquo;underground&rsquo; film movement in other parts of the world. Embracing Super 8mm because it was not only cheap and portable but aesthetically exciting as well, Hirsch and Alemann underwent an intensive period of artistic exchange during which they frequently assisted each other with filmmaking projects.<br /><br />Both filmmakers showcase the body in their work, often from a distinctly gendered perspective. Alemann often presents herself and other performers in staged and improvised scenarios, populating urban and rural spaces with odd, menacing, or humorous props and costumes, and paying special attention to the camera&rsquo;s ability to capture and transform a performer&rsquo;s bodily presence. Hirsch, by contrast, constructs an intimate cinema of precarious gestures and lyrical moments, one that raises existential and spiritual questions as it offers unique visualizations of locations such as the interior spaces of her domestic life and the rural landscapes of Patagonia.<br /><br />Their deeply personal films are, in many ways, unique within Latin American experimental cinema of the 1970s and 80s. The films in this pair of programs were selected in order to construct a dialogue of sorts between works that display intriguing affinities and telling differences.<br /><br />Programmed by Federico Windhausen; special thanks to Narcisa Hirsch and Katja Alemann.<br /><br />Shot in 1967 by a young Raymundo Gleyzer, who would later become a major Latin American documentary filmmaker, MARABUNTA captures a one-off happening staged by Hirsch in the lobby of the Coliseo cinema after a screening of Antonioni&rsquo;s BLOW-UP. The program shifts from a filmed event in which a crowd of moviegoers became performers to a film of a performing machine: COME OUT is a short influenced by minimalist music and &lsquo;structuralist&rsquo; cinema. With TALLER, a single-shot film with a soundtrack recorded in Hirsch&rsquo;s studio at tea-time, the subject matter of the program becomes more overtly personal. TESTAMENTO Y VIDA INTERIOR and AMA-ZONA depict various spaces with an eye toward the nuances of light, color, and shadow. Threaded through both films are a suggestive and sparse series of visual meditations on female independence, eroticism, violence, and mortality. The program ends with LA NOCHE BENGAL&Iacute;, a 16mm short that was produced in the film workshop that Werner Nekes conducted in Buenos Aires in 1980. One of its performers is Marie Louise Alemann&rsquo;s daughter, Katja.<br /><br />MARABUNTA (1967, 8 min, 16mm-to-digital, b&amp;w)<br />COME OUT (1970/71, 12 min, 16mm-to-35mm)<br />TALLER (1975 (English version), 11 min, 16mm-to-digital)<br />TESTAMENTO Y VIDA INTERIOR (1976/2001, 11 min, Super 8mm-to-digital)<br />AMA-ZONA (1983/2001, 11 min, Super 8mm-to-digital)<br />LA NOCHE BENGAL&Iacute; (1980, 6 min, 16mm-to-digital)<br /><br />Total running time: ca. 65 min.</p> Saturday, May 28 A TOUCH OF SIN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45761 <p>(TIAN ZHU DING)<br /><br />A significant departure for Jia, the daring, poetic, yet brutal A TOUCH OF SIN focuses on four characters, each living in different provinces, who are driven to violent ends. An angry miner, enraged by widespread corruption in his village, decides to take justice into his own hands. A rootless migrant discovers the infinite possibilities of owning a firearm. A young receptionist, who dates a married man and works at a local sauna, is pushed beyond her limits by an abusive client. And a young factory worker goes from one discouraging job to the next, only to face increasingly degrading circumstances. A TOUCH OF SIN was inspired by four shocking (and true) events that forced the world&rsquo;s fastest growing economy into a period of self-examination.</p> Sunday, May 29 EC: BEAUTY AND THE BEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45819 <p>(LA BELLE ET LA B&Ecirc;TE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />&ldquo;Jean Cocteau&rsquo;s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty&rsquo;s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Dor&eacute; extravagance of the Beast&rsquo;s enchanted landscape. In Christian B&eacute;rard&rsquo;s makeup, Jean Marais is a magnificent Beast.&rdquo; &ndash;Pauline Kael</p> Sunday, May 29 EC: ORPHEUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45816 <p>(ORPH&Eacute;E)<br /><br />With Jean Marais.<br /><br />Orpheus and Eurydice, with Death waiting on the corner. Cocteau said, &ldquo;Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS&rsquo;s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.&rdquo;</p> Sunday, May 29 STILL LIFE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45764 <p>(SANXIA HAOREN)<br /><br />STILL LIFE is an empathetic portrait of those left behind by a modernizing society and, like Jia&rsquo;s earlier films, a hybrid of documentary and fiction. In STILL LIFE, great changes have come to the town of Fengjie due to the construction of the Three Gorges hydro project: countless families that had lived there for many generations have had to relocate to other cities. Fengjie&rsquo;s old town, which has a 2,000-year history, has been torn down and submerged forever, but its new neighborhood hasn&rsquo;t been finished yet. There are still things that need to be salvaged and yet others that must be left behind. These life-changing choices confront both Sanming, a miner traveling to Fengjie in search of his ex-wife of sixteen years, and Shen Hong, a nurse who has come to look for the husband she hasn&rsquo;t seen in two years. Both Sanming and Shen will find who they&rsquo;re looking for, but in the process they too will have to decide what is worth salvaging in their lives and what they need to let go of.</p> Sunday, May 29 JIA ZHANGKE, A GUY FROM FENYANG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45663 <p>Distributed by Kino Lorber.<br /><br />The result of a seemingly counter-intuitive pairing of veteran Brazilian director Walter Salles (CENTRAL STATION, ON THE ROAD) and Chinese auteur Jia Zhangke, JIA ZHANGKE, A GUY FROM FENYANG is an unusually fine documentary portrait. Jia began his filmmaking career in the mid-1990s, immediately establishing his immense talent with his astonishing feature debut, XIAO WU, and its even more ambitious and monumental follow-up, PLATFORM, which remains one of the great films of the 2000s. And he has since delivered on this youthful promise, making a series of features, documentaries, and short films over the past 15 years that have established him as the foremost chronicler of a society undergoing immense and often brutal transformations.<br /><br />In A GUY FROM FENYANG, Salles accompanies Jia as he returns to his birthplace, the Shanxi province in Northern China, and to the locations of his films. Documenting encounters between Jia and his actors, friends, and collaborators, Salles gradually constructs a multi-layered portrait of the artist. By filming Jia against the backdrop of the streets and locations that he has known so intimately throughout his life, Salles succeeds not only in creating something far more cinematic than most talking-head documentaries, but in illuminating dimensions of Jia&rsquo;s personality that would otherwise remain hidden and capturing something of the complex relation between the director and his environment. Combining copious interview footage and well-chosen excerpts from Jia&rsquo;s films, A GUY FROM FENYANG is a deceptively casual, ultimately elegant film that reveals a great deal about Jia, his work, and his society.<br /><br />&ldquo;Auteur portraits of fellow auteurs don&rsquo;t always make for illuminating films: the line between sincere mutual appreciation and smug mutual congratulation can be a fine one. Salles, however, gets the balance just about right in A GUY FROM FENYANG, an intelligent, restrained but warmly intimate cinematic conversation with the Sixth Generation Chinese trailblazer.&rdquo; &ndash;Guy Lodge, VARIETY<br /><br /><strong>Alongside A GUY FROM FENYANG, we&rsquo;ll be screening several of Jia&rsquo;s own films; <a href="../../../film_screenings/series/45755">click here</a> for more details.</strong></p> Sunday, May 29 UN CINE COMPARTIDO: NARCISA HIRSCH AND MARIE LOUISE ALEMANN: SENSATIONS AND THRESHOLDS: THE CINEMA OF MARIE LOUISE ALEMANN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45700 <p>Born in Germany and spending the majority of their lives in Argentina, Narcisa Hirsch (b. 1928) and Marie Louise Alemann (1927-2015) became friends in 1960s Buenos Aires, where their artistic sensibilities drew them away from the German-&eacute;migr&eacute; establishment and toward the city&rsquo;s growing, cosmopolitan counterculture. After working together on street performances and happenings, Hirsch and Alemann began to make films, inspired partly by reports of a growing &lsquo;underground&rsquo; film movement in other parts of the world. Embracing Super 8mm because it was not only cheap and portable but aesthetically exciting as well, Hirsch and Alemann underwent an intensive period of artistic exchange during which they frequently assisted each other with filmmaking projects.<br /><br />Both filmmakers showcase the body in their work, often from a distinctly gendered perspective. Alemann often presents herself and other performers in staged and improvised scenarios, populating urban and rural spaces with odd, menacing, or humorous props and costumes, and paying special attention to the camera&rsquo;s ability to capture and transform a performer&rsquo;s bodily presence. Hirsch, by contrast, constructs an intimate cinema of precarious gestures and lyrical moments, one that raises existential and spiritual questions as it offers unique visualizations of locations such as the interior spaces of her domestic life and the rural landscapes of Patagonia.<br /><br />Their deeply personal films are, in many ways, unique within Latin American experimental cinema of the 1970s and 80s. The films in this pair of programs were selected in order to construct a dialogue of sorts between works that display intriguing affinities and telling differences.<br /><br />Programmed by Federico Windhausen; special thanks to Narcisa Hirsch and Katja Alemann.<br /><br />This program begins with AUTOBIOGR&Aacute;FICO 2, a performance for camera, shot by Narcisa Hirsch and featuring Alemann enacting a liberation from physical and mental bonds in a forest. It is followed by two very rare films. The first, titled VANESSA, is a brief and fast-paced portrait of a trans performer in Buenos Aires. The second film was given to Alemann as a gift by Juan Jos&eacute; Mugni, a close friend and fellow filmmaker. It is a tribute to Alemann&rsquo;s face, which she sought to use as an enigmatic and multi-purpose mask in many of her films. Her face is also the focus of LEGITIMA DEFENSA, an allegory of surveillance in which Alemann returns the camera&rsquo;s gaze aggressively; the short is a key link between her cinema and her later work in Butoh performance. Both LEGITIMA DEFENSA and the following film, SENSACI&Oacute;N 77: MIMETISMO, were shot by the filmmaker Claudio Caldini. SENSACI&Oacute;N 77 presents the camera&rsquo;s hide-and-seek game with a disguised Alemann, who appears to be attempting to disappear into the foliage of the Tigre delta region, an area where some of those under threat of political persecution hid during the dictatorship. In a lighter mode, ESCENAS DE MESA takes as its subject the domestic ritual of the communal meal, with a classic 1970s-era Jello ring at its center. Finally, the program concludes with UMBRALES, an exploration of masculinity and desire. Filmed in Buenos Aires and Paris, UMBRALES deserves to be seen as a major work of Latin American queer cinema.<br /><br />This program is funded by the Goethe-Institut Toronto and the Goethe-Institut Buenos Aires.<br /><br />AUTOBIOGR&Aacute;FICO 2 (1974, 5 min, Super 8mm-to-digital)<br />VANESSA (1974, 6 min, Super 8mm-to-digital)<br />Juan Jos&eacute; Mugni UNTITLED (1975, 5.5 min, Super 8mm-to-digital)<br />LEGITIMA DEFENSA / SELF-DEFENSE (1980, 8 min, Super 8mm-to-digital, b&amp;w)<br />SENSACI&Oacute;N 77: MIMETISMO / SENSATION 77: MIMICRY (1977, 8 min, Super 8mm-to-digital, b&amp;w)<br />ESCENAS DE MESA / TABLE SCENES (1979, 7 min, Super 8mm-to-digital)<br />UMBRALES / THRESHOLDS (1980, 19 min, Super 8mm-to-digital)<br /><br />Total running time: ca. 65 min.</p> Sunday, May 29 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45696 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Monday, May 30 JIA ZHANGKE, A GUY FROM FENYANG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45664 <p>Distributed by Kino Lorber.<br /><br />The result of a seemingly counter-intuitive pairing of veteran Brazilian director Walter Salles (CENTRAL STATION, ON THE ROAD) and Chinese auteur Jia Zhangke, JIA ZHANGKE, A GUY FROM FENYANG is an unusually fine documentary portrait. Jia began his filmmaking career in the mid-1990s, immediately establishing his immense talent with his astonishing feature debut, XIAO WU, and its even more ambitious and monumental follow-up, PLATFORM, which remains one of the great films of the 2000s. And he has since delivered on this youthful promise, making a series of features, documentaries, and short films over the past 15 years that have established him as the foremost chronicler of a society undergoing immense and often brutal transformations.<br /><br />In A GUY FROM FENYANG, Salles accompanies Jia as he returns to his birthplace, the Shanxi province in Northern China, and to the locations of his films. Documenting encounters between Jia and his actors, friends, and collaborators, Salles gradually constructs a multi-layered portrait of the artist. By filming Jia against the backdrop of the streets and locations that he has known so intimately throughout his life, Salles succeeds not only in creating something far more cinematic than most talking-head documentaries, but in illuminating dimensions of Jia&rsquo;s personality that would otherwise remain hidden and capturing something of the complex relation between the director and his environment. Combining copious interview footage and well-chosen excerpts from Jia&rsquo;s films, A GUY FROM FENYANG is a deceptively casual, ultimately elegant film that reveals a great deal about Jia, his work, and his society.<br /><br />&ldquo;Auteur portraits of fellow auteurs don&rsquo;t always make for illuminating films: the line between sincere mutual appreciation and smug mutual congratulation can be a fine one. Salles, however, gets the balance just about right in A GUY FROM FENYANG, an intelligent, restrained but warmly intimate cinematic conversation with the Sixth Generation Chinese trailblazer.&rdquo; &ndash;Guy Lodge, VARIETY<br /><br /><strong>Alongside A GUY FROM FENYANG, we&rsquo;ll be screening several of Jia&rsquo;s own films; <a href="../../../film_screenings/series/45755">click here</a> for more details.</strong></p> Monday, May 30 NYWIFT PRESENTS: SHORT FILM PROGRAM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45689 <p>Sarah Kim<br />FATE OF A FRUIT (Director)<br />2014, 8 min, digital<br />When senior widower Don is partially paralyzed with a stroke, living with his divorc&eacute;e son Joe may no longer be an option. Confronted with the limit of their ability to care for each other, they take a ride on a bright Sunday afternoon to reflect on where their relationship has been and where it&rsquo;s going.<br /><br />Ani Simon-Kennedy (Director)<br />NICODEMUS<br />2015, 3.5 min, digital<br />A short documentary about Oaxaca&rsquo;s oldest folk art store on the eve of its shuttering. Nicodemus Bartolo Vasquez opened the doors to his store in 1961. Jarcieria El Arte Oaxaqueno is filled to the brim with treasures of Mexican traditional folk art. Now 83 years old, Nicodemus still sells an eclectic mix of wooden toys, woven baskets, hojalata figures, and tin frames.<br /><br />Olga Goister (Producer) &amp; Alonso Llosa (Director)<br />LIVING LEGEND<br />2015, 17 min, digital<br />The most dangerous drug lord in Peru must face his ultimate fear: moving out of his mother&rsquo;s house.<br /><br />Marisa Vitali (Creator/Producer/Actor)<br />GRACE<br />2015, 13.5 min, digital<br />Today, Janice will face her high-powered ex-husband in family court for the custody of their daughter. As head waitress at the Depot Diner, staying clean and doing the right thing is her priority. When Johnny, her boss, makes a decision that affects her ability to appear in court, Janice has to face her demons of addiction and choose whether to stay clean through life&rsquo;s adversity or &ldquo;screw it&rdquo; and use&hellip;.<br /><br />Lauren Fritz (Writer/Director/Producer)<br />GALLINA<br />2015, 11.5 min, digital<br />Chiara, a young gay woman whose delicate balancing act of being the person she wants to be with the person others want her to be, is knocked off kilter by a strange visit to her ailing father.<br /><br />Sabrina McCormick (Director/Writer/Producer)<br />A GOOD EGG<br />2015, 12.5 min, digital<br />When childless Mimi has a miscarriage and is told she only has a few months left to have a child, she has to decide how far she&rsquo;s willing to go to make her dreams of having a family come true.<br /><br />Total running time: ca. 70 min.<br /><br /></p> Tuesday, May 31 JIA ZHANGKE, A GUY FROM FENYANG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2016#showing-45665 <p>Distributed by Kino Lorber.<br /><br />The result of a seemingly counter-intuitive pairing of veteran Brazilian director Walter Salles (CENTRAL STATION, ON THE ROAD) and Chinese auteur Jia Zhangke, JIA ZHANGKE, A GUY FROM FENYANG is an unusually fine documentary portrait. Jia began his filmmaking career in the mid-1990s, immediately establishing his immense talent with his astonishing feature debut, XIAO WU, and its even more ambitious and monumental follow-up, PLATFORM, which remains one of the great films of the 2000s. And he has since delivered on this youthful promise, making a series of features, documentaries, and short films over the past 15 years that have established him as the foremost chronicler of a society undergoing immense and often brutal transformations.<br /><br />In A GUY FROM FENYANG, Salles accompanies Jia as he returns to his birthplace, the Shanxi province in Northern China, and to the locations of his films. Documenting encounters between Jia and his actors, friends, and collaborators, Salles gradually constructs a multi-layered portrait of the artist. By filming Jia against the backdrop of the streets and locations that he has known so intimately throughout his life, Salles succeeds not only in creating something far more cinematic than most talking-head documentaries, but in illuminating dimensions of Jia&rsquo;s personality that would otherwise remain hidden and capturing something of the complex relation between the director and his environment. Combining copious interview footage and well-chosen excerpts from Jia&rsquo;s films, A GUY FROM FENYANG is a deceptively casual, ultimately elegant film that reveals a great deal about Jia, his work, and his society.<br /><br />&ldquo;Auteur portraits of fellow auteurs don&rsquo;t always make for illuminating films: the line between sincere mutual appreciation and smug mutual congratulation can be a fine one. Salles, however, gets the balance just about right in A GUY FROM FENYANG, an intelligent, restrained but warmly intimate cinematic conversation with the Sixth Generation Chinese trailblazer.&rdquo; &ndash;Guy Lodge, VARIETY<br /><br /><strong>Alongside A GUY FROM FENYANG, we&rsquo;ll be screening several of Jia&rsquo;s own films; <a href="../../../film_screenings/series/45755">click here</a> for more details.</strong></p> Tuesday, May 31 JIA ZHANGKE, A GUY FROM FENYANG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45666 <p>Distributed by Kino Lorber.<br /><br />The result of a seemingly counter-intuitive pairing of veteran Brazilian director Walter Salles (CENTRAL STATION, ON THE ROAD) and Chinese auteur Jia Zhangke, JIA ZHANGKE, A GUY FROM FENYANG is an unusually fine documentary portrait. Jia began his filmmaking career in the mid-1990s, immediately establishing his immense talent with his astonishing feature debut, XIAO WU, and its even more ambitious and monumental follow-up, PLATFORM, which remains one of the great films of the 2000s. And he has since delivered on this youthful promise, making a series of features, documentaries, and short films over the past 15 years that have established him as the foremost chronicler of a society undergoing immense and often brutal transformations.<br /><br />In A GUY FROM FENYANG, Salles accompanies Jia as he returns to his birthplace, the Shanxi province in Northern China, and to the locations of his films. Documenting encounters between Jia and his actors, friends, and collaborators, Salles gradually constructs a multi-layered portrait of the artist. By filming Jia against the backdrop of the streets and locations that he has known so intimately throughout his life, Salles succeeds not only in creating something far more cinematic than most talking-head documentaries, but in illuminating dimensions of Jia&rsquo;s personality that would otherwise remain hidden and capturing something of the complex relation between the director and his environment. Combining copious interview footage and well-chosen excerpts from Jia&rsquo;s films, A GUY FROM FENYANG is a deceptively casual, ultimately elegant film that reveals a great deal about Jia, his work, and his society.<br /><br />&ldquo;Auteur portraits of fellow auteurs don&rsquo;t always make for illuminating films: the line between sincere mutual appreciation and smug mutual congratulation can be a fine one. Salles, however, gets the balance just about right in A GUY FROM FENYANG, an intelligent, restrained but warmly intimate cinematic conversation with the Sixth Generation Chinese trailblazer.&rdquo; &ndash;Guy Lodge, VARIETY<br /><br /><strong>Alongside A GUY FROM FENYANG, we&rsquo;ll be screening several of Jia&rsquo;s own films; <a href="../../../film_screenings/series/45755">click here</a> for more details.</strong></p> Wednesday, June 01 SHOW & TELL: ERIN ESPELIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45838 <p>Filmmaker, writer, editor, and teacher Erin Espelie is remarkable for having achieved the rare feat of successfully bridging the worlds of cinema and science, both in her moving-image work and in her career as a whole. The author of numerous experimental films, she is a scientist by training (with a degree in molecular biology and genetics), has worked in bacteriology and virology laboratories at the University of Georgia, the University of Wisconsin-Madison, and Cornell University, and has forged a career as an environmental journalist (including serving as the Editor in Chief and columnist for Natural History Magazine) and a lecturer on environmental issues and the documentary arts. Her films reflect this thrillingly multi-disciplinary approach, integrating fascinating investigations into natural phenomena with a poetic approach to photography and cinematic structure that&rsquo;s reminiscent of the work of Robert Beavers, Nathaniel Dorsky, Jeanne Liotta, and others. For her Show &amp; Tell program, Espelie will present a screening of her most recent film, THE LANTHANIDE SERIES, alongside the earlier, three-part work, TRUE-LIFE ADVENTURE.<br /><br />THE LANTHANIDE SERIES<br />(2014, 72 min, digital)<br />&ldquo;I shot the piece over a period of roughly three years in more than five countries and ten U.S. states, aiming my camera at either Aztec obsidian discs or a modern-day black mirror &ndash; that is, a defunct iPad. The novelty in image-capture aside, the piece is a meditation on how technology has been shaping the way we see the world, how we record the present and replay the past. It is also a consideration of the unusual visual and aural properties of rare earth elements (or the Lanthanides of the Periodic Table) and the political and environmental costs of their mining.&rdquo; &ndash;Erin Espelie<br /><br />&ldquo;A gorgeous, informative feature-length tone poem about the rare earth elements. Equal parts Farocki [and Jack] Chambers.&rdquo; &ndash;Michael Sicinski<br /><br />&ldquo;This is a science documentary with curiosity and soul, one willing to examine the mystery of life at its most elemental level.&rdquo; &ndash;Tom Whiteside, DURHAM CINEMATHEQUE<br /><br />TRUE-LIFE ADVENTURE I 2012, 5 min, digital<br />TRUE-LIFE ADVENTURE II 2013, 5 min, digital<br />TRUE-LIFE ADVENTURE III 2013, 6 min, digital<br />In this series, Nature wrote the screenplays, as Roy Disney once said, and the following places and periods were documented in the same vicinity of Gold Run Creek in the Rocky Mountains of Colorado:<br />3 square feet in 3 hours on the summer solstice (TRUE-LIFE ADVENTURE I)<br />30 square feet in 3 hours on the winter solstice (TRUE-LIFE ADVENTURE II)<br />0.3 square feet over 30 days in late summer (TRUE-LIFE ADVENTURE III)<br /><br />&ldquo;In these three epically miniature videos, Espelie documents moments &ndash; both awesome and quotidian &ndash; involving animals and natural environments around Colorado&rsquo;s Gold Run Creek, at the foothills of the Rocky Mountains. The narration is taken from the classic series of Disney documentaries from the 1950s that gives Espelie&rsquo;s trilogy its name, and she manipulates them to further deepen the wonders, mysteries, and unknowability of nature.&rdquo; &ndash;WEXNER CENTER FOR THE ARTS<br /><br />Total running time: ca. 90 min.</p> Wednesday, June 01 JIA ZHANGKE, A GUY FROM FENYANG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45667 <p>Distributed by Kino Lorber.<br /><br />The result of a seemingly counter-intuitive pairing of veteran Brazilian director Walter Salles (CENTRAL STATION, ON THE ROAD) and Chinese auteur Jia Zhangke, JIA ZHANGKE, A GUY FROM FENYANG is an unusually fine documentary portrait. Jia began his filmmaking career in the mid-1990s, immediately establishing his immense talent with his astonishing feature debut, XIAO WU, and its even more ambitious and monumental follow-up, PLATFORM, which remains one of the great films of the 2000s. And he has since delivered on this youthful promise, making a series of features, documentaries, and short films over the past 15 years that have established him as the foremost chronicler of a society undergoing immense and often brutal transformations.<br /><br />In A GUY FROM FENYANG, Salles accompanies Jia as he returns to his birthplace, the Shanxi province in Northern China, and to the locations of his films. Documenting encounters between Jia and his actors, friends, and collaborators, Salles gradually constructs a multi-layered portrait of the artist. By filming Jia against the backdrop of the streets and locations that he has known so intimately throughout his life, Salles succeeds not only in creating something far more cinematic than most talking-head documentaries, but in illuminating dimensions of Jia&rsquo;s personality that would otherwise remain hidden and capturing something of the complex relation between the director and his environment. Combining copious interview footage and well-chosen excerpts from Jia&rsquo;s films, A GUY FROM FENYANG is a deceptively casual, ultimately elegant film that reveals a great deal about Jia, his work, and his society.<br /><br />&ldquo;Auteur portraits of fellow auteurs don&rsquo;t always make for illuminating films: the line between sincere mutual appreciation and smug mutual congratulation can be a fine one. Salles, however, gets the balance just about right in A GUY FROM FENYANG, an intelligent, restrained but warmly intimate cinematic conversation with the Sixth Generation Chinese trailblazer.&rdquo; &ndash;Guy Lodge, VARIETY<br /><br /><strong>Alongside A GUY FROM FENYANG, we&rsquo;ll be screening several of Jia&rsquo;s own films; <a href="../../../film_screenings/series/45755">click here</a> for more details.</strong></p> Thursday, June 02 PAUL SHARITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45853 <p>NEW YORK CITY PREMIERE!<br /><br />FILMMAKER IN PERSON!<br /><br />A crucial figure in 1960s-70s avant-garde film, Paul Sharits was among the pioneers of structuralist cinema, a school of filmmaking that sought to emphasize and explore the formal dimensions and physical properties specific to the medium. A deeply committed and visionary artist, Sharits began exploring the potential of the single frame and the flicker effect in the mid-1960s, and would go on to make numerous films that take as their subject the filmstrip itself. Though his work has been celebrated among avant-garde filmmakers and scholars for decades, in recent years he has also been embraced by the art museum and gallery worlds, and appropriately so, given his persistence in deconstructing 16mm film into such novel forms as multiple projection installations, frozen film frames mounted between plexiglass sheets, and ink-colored partitions for abstract films.<br /><br />The first feature-length documentary about Sharits, Fran&ccedil;ois Miron&rsquo;s new film is both a perceptive exploration of his oeuvre by a filmmaker who has clearly studied and thought deeply about Sharits&rsquo;s work for many years, and a revealing account of his often troubled life. Featuring extended clips from interviews and other footage of Sharits, as well as new interviews with other filmmakers, scholars, and family members, the documentary sketches a portrait of a tormented, deeply romantic artist, always courting disaster but also cursed by an inherited mental condition. PAUL SHARITS is both a terrific introduction to Sharits&rsquo;s life and work, and, for those with a longstanding interest in the filmmaker, a treasure trove of rare footage, illuminating commentary, and archival materials.</p> Thursday, June 02 THE THOUGHTS THAT ONCE WE HAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45842 <p>NEW YORK THEATRICAL PREMIERE RUN!<br /><br />FILMMAKER IN PERSON!<br /><br />Special thanks to Ryan Krivoshey (Grasshopper Film).<br /><br />Having long since established himself as one of America&rsquo;s foremost practitioners of the essay film with acclaimed works such as EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER (1974), RED HOLLYWOOD (1996), and LOS ANGELES PLAYS ITSELF (2003), Thom Andersen returns with a brand-new feature-length work based on French philosopher Gilles Deleuze&rsquo;s writings on the cinema. Constructed entirely from film excerpts, which are knitted together purely via chapter headings and intertitles drawn from Deleuze, THE THOUGHTS THAT ONCE WE HAD is Andersen&rsquo;s freest and most intuitive essay film yet. It combines an astonishing and idiosyncratic range of materials, encompassing D.W. Griffith and Dziga Vertov, Laurel &amp; Hardy and the Marx Brothers, Hitler and Patty Hearst, Maria Montez and Debra Paget, Hank Ballard and Chubby Checker, and much, much more. Juxtaposing these varied clips in highly personal, often mysterious, but always thought-provoking ways, Andersen has created a film that will enflame your love of the cinema even as it invites you to more deeply understand the art form and its relationship to the world.<br /><br />&ldquo;Andersen has crafted a film lover&rsquo;s dream, inspired by the cinema theory of Gilles Deleuze, but based mostly on his own lifelong erudite engagement with the history and seductive power of the movies. Whether zeroing in on lyrical abstraction, ruminating on Nazis, communists, and spies, or comparing Maria Montez and Debra Paget&rsquo;s Orientalist snake dances, this is a gift for anyone who believes in cinema as art, as a form of thought, and as a source of great pleasure. [&hellip;] [Andersen] repositions for the future Deleuze&rsquo;s propositions that &lsquo;the essence of cinema has thought as its higher purpose,&rsquo; and that &lsquo;cinema must film not the world, but belief in the world.&rsquo;&rdquo; &ndash;VANCOUVER INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A complex, free-flowing enquiry into the forms and preoccupations of 20th-century cinema. In some ways a companion piece to&hellip;Jean-Luc Godard&rsquo;s HISTOIRE(S) DU CIN&Eacute;MA, THOUGHTS is a treat for cinephiles.&rdquo; &ndash;MELBOURNE INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A wordless, associative, haunted journey &ndash; sometimes rueful and sobering, sometimes very funny.&rdquo; &ndash;THE GUARDIAN<br /><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON FOR Q&amp;As AFTER THE SCREENINGS OF 'THE THOUGHTS THAT ONCE WE HAD' ON FRIDAY, JUNE 3 &amp; SUNDAY, JUNE 5.&nbsp; HE WILL ALSO BE HERE TO INTRODUCE THE SCREENING OF PROGRAM 1 ON FRIDAY, JUNE 3 AT 9:15, AND TO INTRODUCE AND ANSWER QUESTIONS AFTER PROGRAM 2 ON SATURDAY, JUNE 4 AT 4:30.</strong><br /><br /><strong><a href="../../../film_screenings/series/45881">Alongside this premiere engagement, we&rsquo;ll be presenting a comprehensive retrospective of Thom Andersen&rsquo;s work, click here for more details.<br /></a></strong></p> Friday, June 03 PAUL SHARITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45854 <p>NEW YORK CITY PREMIERE!<br /><br />FILMMAKER IN PERSON!<br /><br />A crucial figure in 1960s-70s avant-garde film, Paul Sharits was among the pioneers of structuralist cinema, a school of filmmaking that sought to emphasize and explore the formal dimensions and physical properties specific to the medium. A deeply committed and visionary artist, Sharits began exploring the potential of the single frame and the flicker effect in the mid-1960s, and would go on to make numerous films that take as their subject the filmstrip itself. Though his work has been celebrated among avant-garde filmmakers and scholars for decades, in recent years he has also been embraced by the art museum and gallery worlds, and appropriately so, given his persistence in deconstructing 16mm film into such novel forms as multiple projection installations, frozen film frames mounted between plexiglass sheets, and ink-colored partitions for abstract films.<br /><br />The first feature-length documentary about Sharits, Fran&ccedil;ois Miron&rsquo;s new film is both a perceptive exploration of his oeuvre by a filmmaker who has clearly studied and thought deeply about Sharits&rsquo;s work for many years, and a revealing account of his often troubled life. Featuring extended clips from interviews and other footage of Sharits, as well as new interviews with other filmmakers, scholars, and family members, the documentary sketches a portrait of a tormented, deeply romantic artist, always courting disaster but also cursed by an inherited mental condition. PAUL SHARITS is both a terrific introduction to Sharits&rsquo;s life and work, and, for those with a longstanding interest in the filmmaker, a treasure trove of rare footage, illuminating commentary, and archival materials.</p> Friday, June 03 THE FILMS OF THOM ANDERSEN: PROGRAM 1 - ANDERSEN IN PERSON! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45928 <p><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON TO INTRODUCE THE 9:15 SCREENING ON FRI, JUNE 3!</strong><br /><br />OLIVIA&rsquo;S PLACE<br />(1966, 5 min, 16mm)<br />&ldquo;Olivia may have felt no need to change, but the world around her was not bound by such an impractical sentiment. OLIVIA&rsquo;S PLACE is gone. The site where it used to stand is now a sort of plaza between two large old wood frame houses that were moved to their present location from elsewhere in the city. One of these houses is occupied by a restaurant, the other is occupied by the California Heritage Museum.&rdquo; &ndash;Morgan Fisher<br /><br />Thom Andersen &amp; Malcolm Brodwick<br />--- ------- (aka THE ROCK &lsquo;N&rsquo; ROLL MOVIE)<br />(1967, 11 min, 16mm)<br />This is one of the greatest of all experimental rock &lsquo;n&rsquo; roll films &ndash; formally rigorous, visually gorgeous, and rhythmically dynamic.<br /><br />EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER<br />(1967-74, 59 min, 16mm-to-35mm. 35mm restored print courtesy of the UCLA Film &amp; Television Archive.)<br />&ldquo;One of the best essay films ever made on a cinematic subject, [MUYBRIDGE] adroitly combines biography, history, film theory, and philosophical reflection. Muybridge&rsquo;s photographic studies of animal locomotion in the 1870s were a major forerunner of movies; even more interesting are his subsequent studies of diverse people, photographed against neutral backgrounds. Andersen&rsquo;s perspectives on Muybridge are multifaceted and often surprising (characteristically, the film&rsquo;s opening quotation is from Mao), and he presents Muybridge&rsquo;s photographic sequences in various ways to spell out the many meanings of this fascinating precinematic work.&rdquo; &ndash;Jonathan Rosenbaum, CHICAGO READER<br /><br />Total running time: ca. 85 min.</p> Friday, June 03 THE FILMS OF THOM ANDERSEN: PROGRAM 2 - ANDERSEN IN PERSON! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45930 <p><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON TO INTRODUCE AND ANSWER QUESTIONS AFTER THE 4:30 SCREENING ON SAT, JUNE 4!</strong><br /><br />GET OUT OF THE CAR<br />(2010, 34 min, 16mm. In English and Spanish with English subtitles.)<br />A miniature city symphony composed of advertising signs, building facades, fragments of music and conversation, and unmarked sites of vanished cultural landmarks. Taking its cue from the Richard Berry song whose title it shares, the film&rsquo;s musical fragments compose an impressionistic survey of popular music made in Los Angeles across the 20th century, with an emphasis on 50s jazz/R&amp;B and 90s corridos!<br /><br />THE TONY LONGO TRILOGY<br />(2014, 14 min, digital)<br />&ldquo;A stumble through the studio backlots, [this film] is comprised of three sections, all culled from the supporting appearances in Los Angeles-shot films by the beefy Tony Longo, referred to by Andersen in the opening title card as an &lsquo;axiom of the American action cinema.&rsquo; The three segments present variations as to what results when the focus is shifted from the foreground (the star) to the background: here, poor Tony Longo who, it seems, was destined to never catch a break.&rdquo; &ndash;Mark Peranson<br /><br />Thom Andersen &amp; Andrew Kim<br />CALIFORNIA SUN<br />(2015, 4 min, digital, b&amp;w/color. Music by the Farmingdale Sound Machine.)<br />Created for the opening track of the Farmingdale Sound Machine album, &ldquo;Maximum Amusement,&rdquo; which was itself inspired by Andersen&rsquo;s LOS ANGELES PLAYS ITSELF, Andersen&rsquo;s first music video reveals his collage technique to be perfectly suited to the form.<br /><br />A TRAIN ARRIVES AT THE STATION<br />(2016, 16 min, digital, b&amp;w/color)<br />Just what it says more or less&hellip;<br /><br />Total running time: ca. 70 min.</p> Saturday, June 04 RECENT SHARITS PRESERVATIONS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45857 <p>Alongside our screenings of Fran&ccedil;ois Miron&rsquo;s documentary PAUL SHARITS, we offer a program of Sharits&rsquo;s own work. Featuring recently preserved rarities from throughout his career, this selection encompasses one of Sharits&rsquo;s Fluxus films (WORD MOVIE), an excerpt from one of his extraordinary film installations (DAMAGED FILM LOOP), Sharits&rsquo;s recently discovered sole 3D work (3-D MOVIE), a colorfully kinetic 2-screen projection (TIRGU JIU), and an astonishing experiment in filmstrip re-photography (EPISODIC GENERATION), as well as an episode of Gerald O&rsquo;Grady&rsquo;s Buffalo, NY, public television show FILM-MAKERS, featuring a studio interview with Sharits focusing on his work.<br /><br />All films preserved by Anthology Film Archives.<br /><br />WORD MOVIE 1966, 4 min, 16mm<br />DAMAGED FILM LOOP 1973-74, 4 min, 16mm, silent, excerpt from two-projector installation<br />3-D MOVIE 1975, 8 min, 16mm, silent, anaglyph 3D<br />TIRGU JIU 1977, 10 min, 16mm, silent, 2-screen projection<br />EPISODIC GENERATION 1977-78, 30 min, 16mm<br />FILM-MAKERS: PAUL SHARITS 1976, 30 min, video<br /><br />Total running time: ca. 90 min.</p> Saturday, June 04 THE THOUGHTS THAT ONCE WE HAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45843 <p>NEW YORK THEATRICAL PREMIERE RUN!<br /><br />FILMMAKER IN PERSON!<br /><br />Special thanks to Ryan Krivoshey (Grasshopper Film).<br /><br />Having long since established himself as one of America&rsquo;s foremost practitioners of the essay film with acclaimed works such as EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER (1974), RED HOLLYWOOD (1996), and LOS ANGELES PLAYS ITSELF (2003), Thom Andersen returns with a brand-new feature-length work based on French philosopher Gilles Deleuze&rsquo;s writings on the cinema. Constructed entirely from film excerpts, which are knitted together purely via chapter headings and intertitles drawn from Deleuze, THE THOUGHTS THAT ONCE WE HAD is Andersen&rsquo;s freest and most intuitive essay film yet. It combines an astonishing and idiosyncratic range of materials, encompassing D.W. Griffith and Dziga Vertov, Laurel &amp; Hardy and the Marx Brothers, Hitler and Patty Hearst, Maria Montez and Debra Paget, Hank Ballard and Chubby Checker, and much, much more. Juxtaposing these varied clips in highly personal, often mysterious, but always thought-provoking ways, Andersen has created a film that will enflame your love of the cinema even as it invites you to more deeply understand the art form and its relationship to the world.<br /><br />&ldquo;Andersen has crafted a film lover&rsquo;s dream, inspired by the cinema theory of Gilles Deleuze, but based mostly on his own lifelong erudite engagement with the history and seductive power of the movies. Whether zeroing in on lyrical abstraction, ruminating on Nazis, communists, and spies, or comparing Maria Montez and Debra Paget&rsquo;s Orientalist snake dances, this is a gift for anyone who believes in cinema as art, as a form of thought, and as a source of great pleasure. [&hellip;] [Andersen] repositions for the future Deleuze&rsquo;s propositions that &lsquo;the essence of cinema has thought as its higher purpose,&rsquo; and that &lsquo;cinema must film not the world, but belief in the world.&rsquo;&rdquo; &ndash;VANCOUVER INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A complex, free-flowing enquiry into the forms and preoccupations of 20th-century cinema. In some ways a companion piece to&hellip;Jean-Luc Godard&rsquo;s HISTOIRE(S) DU CIN&Eacute;MA, THOUGHTS is a treat for cinephiles.&rdquo; &ndash;MELBOURNE INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A wordless, associative, haunted journey &ndash; sometimes rueful and sobering, sometimes very funny.&rdquo; &ndash;THE GUARDIAN<br /><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON FOR Q&amp;As AFTER THE SCREENINGS OF 'THE THOUGHTS THAT ONCE WE HAD' ON FRIDAY, JUNE 3 &amp; SUNDAY, JUNE 5.&nbsp; HE WILL ALSO BE HERE TO INTRODUCE THE SCREENING OF PROGRAM 1 ON FRIDAY, JUNE 3 AT 9:15, AND TO INTRODUCE AND ANSWER QUESTIONS AFTER PROGRAM 2 ON SATURDAY, JUNE 4 AT 4:30.</strong><br /><br /><strong><a href="../../../film_screenings/series/45881">Alongside this premiere engagement, we&rsquo;ll be presenting a comprehensive retrospective of Thom Andersen&rsquo;s work, click here for more details.<br /></a></strong></p> Saturday, June 04 PAUL SHARITS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45855 <p>NEW YORK CITY PREMIERE!<br /><br />FILMMAKER IN PERSON!<br /><br />A crucial figure in 1960s-70s avant-garde film, Paul Sharits was among the pioneers of structuralist cinema, a school of filmmaking that sought to emphasize and explore the formal dimensions and physical properties specific to the medium. A deeply committed and visionary artist, Sharits began exploring the potential of the single frame and the flicker effect in the mid-1960s, and would go on to make numerous films that take as their subject the filmstrip itself. Though his work has been celebrated among avant-garde filmmakers and scholars for decades, in recent years he has also been embraced by the art museum and gallery worlds, and appropriately so, given his persistence in deconstructing 16mm film into such novel forms as multiple projection installations, frozen film frames mounted between plexiglass sheets, and ink-colored partitions for abstract films.<br /><br />The first feature-length documentary about Sharits, Fran&ccedil;ois Miron&rsquo;s new film is both a perceptive exploration of his oeuvre by a filmmaker who has clearly studied and thought deeply about Sharits&rsquo;s work for many years, and a revealing account of his often troubled life. Featuring extended clips from interviews and other footage of Sharits, as well as new interviews with other filmmakers, scholars, and family members, the documentary sketches a portrait of a tormented, deeply romantic artist, always courting disaster but also cursed by an inherited mental condition. PAUL SHARITS is both a terrific introduction to Sharits&rsquo;s life and work, and, for those with a longstanding interest in the filmmaker, a treasure trove of rare footage, illuminating commentary, and archival materials.</p> Saturday, June 04 THE FILMS OF THOM ANDERSEN: RED HOLLYWOOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45893 <p>&ldquo;Thom Andersen and No&euml;l Burch&rsquo;s provocative documentary examines Red Hollywood &ndash; films by screenwriters and directors who were communists, ex-communists, or sympathizers, and were in someway implicated by the Hollywood investigations of the House Committee on Un-American Activities. Drawing on their extensive research; the reminiscences of Paul Jarrico, Ring Lardner, Jr., Alfred Levitt, and Abraham Polonsky; and an array of arresting film clips, the video reveals the extent to which the Hollywood left was able to tint Hollywood cinema with its political convictions. Taking issue with Billy Wilder&rsquo;s oft-quoted put-down, &lsquo;Of the Unfriendly Ten, only two had talent, the other eight were just unfriendly,&rsquo; RED HOLLYWOOD reveals a largely neglected Hollywood legacy: films committed to raising questions regarding class, gender, and racism. They questioned the System itself &ndash; whether capitalism or the studio &ndash; and were answered with the blacklist.&rdquo; &ndash;PACIFIC FILM ARCHIVE</p> Saturday, June 04 THE FILMS OF THOM ANDERSEN: LOS ANGELES PLAYS ITSELF http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45896 <p>&ldquo;This brilliant and often hilarious video essay assembles clips from 191 movies set in Los Angeles, juxtaposing their fantasies with the real city as seen by a loyal and well-informed native. That might sound like a slender premise for 169 minutes, but after five viewings I still feel I&rsquo;ve only scratched the surface of this epic meditation. Andersen focuses on the city&rsquo;s people and architecture, but his wisecracking discourse is broad enough to encompass a wealth of local folklore, a bittersweet tribute to car culture, a critical history of mass transit in southern California, and a song of nostalgia for lost neighborhoods and lifestyles. Absorbing and revelatory, this is film criticism of the highest order.&rdquo; &ndash;Jonathan Rosenbaum, CHICAGO READER</p> Sunday, June 05 THE THOUGHTS THAT ONCE WE HAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45844 <p>NEW YORK THEATRICAL PREMIERE RUN!<br /><br />FILMMAKER IN PERSON!<br /><br />Special thanks to Ryan Krivoshey (Grasshopper Film).<br /><br />Having long since established himself as one of America&rsquo;s foremost practitioners of the essay film with acclaimed works such as EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER (1974), RED HOLLYWOOD (1996), and LOS ANGELES PLAYS ITSELF (2003), Thom Andersen returns with a brand-new feature-length work based on French philosopher Gilles Deleuze&rsquo;s writings on the cinema. Constructed entirely from film excerpts, which are knitted together purely via chapter headings and intertitles drawn from Deleuze, THE THOUGHTS THAT ONCE WE HAD is Andersen&rsquo;s freest and most intuitive essay film yet. It combines an astonishing and idiosyncratic range of materials, encompassing D.W. Griffith and Dziga Vertov, Laurel &amp; Hardy and the Marx Brothers, Hitler and Patty Hearst, Maria Montez and Debra Paget, Hank Ballard and Chubby Checker, and much, much more. Juxtaposing these varied clips in highly personal, often mysterious, but always thought-provoking ways, Andersen has created a film that will enflame your love of the cinema even as it invites you to more deeply understand the art form and its relationship to the world.<br /><br />&ldquo;Andersen has crafted a film lover&rsquo;s dream, inspired by the cinema theory of Gilles Deleuze, but based mostly on his own lifelong erudite engagement with the history and seductive power of the movies. Whether zeroing in on lyrical abstraction, ruminating on Nazis, communists, and spies, or comparing Maria Montez and Debra Paget&rsquo;s Orientalist snake dances, this is a gift for anyone who believes in cinema as art, as a form of thought, and as a source of great pleasure. [&hellip;] [Andersen] repositions for the future Deleuze&rsquo;s propositions that &lsquo;the essence of cinema has thought as its higher purpose,&rsquo; and that &lsquo;cinema must film not the world, but belief in the world.&rsquo;&rdquo; &ndash;VANCOUVER INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A complex, free-flowing enquiry into the forms and preoccupations of 20th-century cinema. In some ways a companion piece to&hellip;Jean-Luc Godard&rsquo;s HISTOIRE(S) DU CIN&Eacute;MA, THOUGHTS is a treat for cinephiles.&rdquo; &ndash;MELBOURNE INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A wordless, associative, haunted journey &ndash; sometimes rueful and sobering, sometimes very funny.&rdquo; &ndash;THE GUARDIAN<br /><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON FOR Q&amp;As AFTER THE SCREENINGS OF 'THE THOUGHTS THAT ONCE WE HAD' ON FRIDAY, JUNE 3 &amp; SUNDAY, JUNE 5.&nbsp; HE WILL ALSO BE HERE TO INTRODUCE THE SCREENING OF PROGRAM 1 ON FRIDAY, JUNE 3 AT 9:15, AND TO INTRODUCE AND ANSWER QUESTIONS AFTER PROGRAM 2 ON SATURDAY, JUNE 4 AT 4:30.</strong><br /><br /><strong><a href="../../../film_screenings/series/45881">Alongside this premiere engagement, we&rsquo;ll be presenting a comprehensive retrospective of Thom Andersen&rsquo;s work, click here for more details.<br /></a></strong></p> Sunday, June 05 VISION FESTIVAL 21: SPACE IS THE PLACE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45871 <p>Anthology Film Archives collaborates once again with Arts For Art to present an evening of films as part of Vision Festival 21. This year&rsquo;s film program is devoted entirely to Sun Ra, celebrating the legacy of this multi-dimensional master of sound and vibration. The festival will also feature a performance by the Sun Ra Arkestra on Wednesday, June 8, at Judson Memorial Church.<br /><br />Arts For Art celebrates 21 years of the multi-arts FreeJazz Vision Festival in NYC. The one-week event, taking place from June 5-12, will showcase global artists ranging from new talents to legendary figures in music, dance, visual art, film, and poetry. Additionally, the festival will include panel discussions on the challenges of the art world as well as on social responsibilities and justice. For more info, visit: www.artsforart.org<br /><br />John Coney<br />SPACE IS THE PLACE<br />(1974, 85 min, 35mm)<br />Sun Ra &ndash; space-age prophet, Pharaonic jester, shaman-philosopher and avant-jazz keyboardist/bandleader &ndash; lands his spaceship in Oakland, having been presumed lost in space for a few years. With Black Power on the rise, Ra disembarks and proclaims himself &ldquo;the alter-destiny.&rdquo; He holds a myth vs. reality rap session with inner-city youth at a rec center, threatening &ldquo;to chain you up and take you with me, like they did you in Africa&rdquo; if they resist his plea to go to outer space. He duels at cards with The Overseer, a satanic overlord, with the fate of the black race at stake. Ra wins the right to a world concert, which features great performance footage of the Arkestra. Agents sent by the Overseer attempt to assassinate Ra, but he vanishes, rescues his people, and departs in his spaceship from the exploding planet Earth.</p> Sunday, June 05 THE FILMS OF THOM ANDERSEN: JUKE: PASSAGES FROM THE FILMS OF SPENCER WILLIAMS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45899 <p>Commissioned by the Museum of Modern Art.<br /><br />&ldquo;During the 1940s, Spencer Williams directed nine &lsquo;race films&rsquo; for Sack Entertainment in central Texas, and he acted in eight of these films. Only one has yet to be rediscovered. In JUKE, I attempt to reclaim his work, to demonstrate its originality and beauty as well as its documentary value. Williams returns always to the same theme: the struggle between the sacred and the profane, the church and the juke joint, gospel and blues. He portrays both with equal conviction. The church always prevails, but he gives the devil his due.&rdquo; &ndash;Thom Andersen<br /><br />With:<br />Spencer Williams<br />THE BLOOD OF JESUS<br />(1941, 56 min, 35mm, b&amp;w. Print courtesy of The Jones Film and Video Collection, Southern Methodist University.)<br />Williams&rsquo;s debut film is a visionary morality tale about a woman who is accidentally shot to death by her husband. Facing death, she must choose between Hell, represented as urban life, and Zion, represented as pastoral, rural America.</p> Sunday, June 05 VISION FESTIVAL 21: SUN RA: A JOYFUL NOISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45873 <p>Anthology Film Archives collaborates once again with Arts For Art to present an evening of films as part of Vision Festival 21. This year&rsquo;s film program is devoted entirely to Sun Ra, celebrating the legacy of this multi-dimensional master of sound and vibration. The festival will also feature a performance by the Sun Ra Arkestra on Wednesday, June 8, at Judson Memorial Church.<br /><br />Arts For Art celebrates 21 years of the multi-arts FreeJazz Vision Festival in NYC. The one-week event, taking place from June 5-12, will showcase global artists ranging from new talents to legendary figures in music, dance, visual art, film, and poetry. Additionally, the festival will include panel discussions on the challenges of the art world as well as on social responsibilities and justice. For more info, visit: www.artsforart.org<br /><br />Phill Niblock<br />THE MAGIC SUN<br />(1966, 17 min, digital)<br />Composer, photographer, and filmmaker Phill Niblock&rsquo;s classic of experimental underground filmmaking boasts a sensational soundtrack by pianist Sun Ra and the members of his Solar Arkestra. Shot in the mid-60s, when the Arkestra was based in NYC, this film was produced using a unique negative process and ultra-tight close-ups on the moving hands and mouths of the musicians. The result is a virtually abstract music film, mastered from a new print in all its incredibly sharp black-and-white glory.<br /><br />Robert Mugge<br />SUN RA: A JOYFUL NOISE<br />(1980, 60 min, 16mm)<br />A JOYFUL NOISE documents performances by Sun Ra and his Arkestra in Philadelphia, Washington D.C., and Baltimore, and also features interviews and rehearsal footage, including an interview with Ra himself, surrounded by the Egyptian artifacts and antiquities that were an important element of his &ldquo;mythocracy.&rdquo; The Philadelphia performances took place at Danny&rsquo;s Hollywood Palace and on the rooftop of the Philadelphia International Center, while the Baltimore performance took place in the Famous Ballroom, hosted by the Left Bank Jazz Society.</p> Sunday, June 05 THE THOUGHTS THAT ONCE WE HAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45845 <p>NEW YORK THEATRICAL PREMIERE RUN!<br /><br />FILMMAKER IN PERSON!<br /><br />Special thanks to Ryan Krivoshey (Grasshopper Film).<br /><br />Having long since established himself as one of America&rsquo;s foremost practitioners of the essay film with acclaimed works such as EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER (1974), RED HOLLYWOOD (1996), and LOS ANGELES PLAYS ITSELF (2003), Thom Andersen returns with a brand-new feature-length work based on French philosopher Gilles Deleuze&rsquo;s writings on the cinema. Constructed entirely from film excerpts, which are knitted together purely via chapter headings and intertitles drawn from Deleuze, THE THOUGHTS THAT ONCE WE HAD is Andersen&rsquo;s freest and most intuitive essay film yet. It combines an astonishing and idiosyncratic range of materials, encompassing D.W. Griffith and Dziga Vertov, Laurel &amp; Hardy and the Marx Brothers, Hitler and Patty Hearst, Maria Montez and Debra Paget, Hank Ballard and Chubby Checker, and much, much more. Juxtaposing these varied clips in highly personal, often mysterious, but always thought-provoking ways, Andersen has created a film that will enflame your love of the cinema even as it invites you to more deeply understand the art form and its relationship to the world.<br /><br />&ldquo;Andersen has crafted a film lover&rsquo;s dream, inspired by the cinema theory of Gilles Deleuze, but based mostly on his own lifelong erudite engagement with the history and seductive power of the movies. Whether zeroing in on lyrical abstraction, ruminating on Nazis, communists, and spies, or comparing Maria Montez and Debra Paget&rsquo;s Orientalist snake dances, this is a gift for anyone who believes in cinema as art, as a form of thought, and as a source of great pleasure. [&hellip;] [Andersen] repositions for the future Deleuze&rsquo;s propositions that &lsquo;the essence of cinema has thought as its higher purpose,&rsquo; and that &lsquo;cinema must film not the world, but belief in the world.&rsquo;&rdquo; &ndash;VANCOUVER INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A complex, free-flowing enquiry into the forms and preoccupations of 20th-century cinema. In some ways a companion piece to&hellip;Jean-Luc Godard&rsquo;s HISTOIRE(S) DU CIN&Eacute;MA, THOUGHTS is a treat for cinephiles.&rdquo; &ndash;MELBOURNE INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A wordless, associative, haunted journey &ndash; sometimes rueful and sobering, sometimes very funny.&rdquo; &ndash;THE GUARDIAN<br /><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON FOR Q&amp;As AFTER THE SCREENINGS OF 'THE THOUGHTS THAT ONCE WE HAD' ON FRIDAY, JUNE 3 &amp; SUNDAY, JUNE 5.&nbsp; HE WILL ALSO BE HERE TO INTRODUCE THE SCREENING OF PROGRAM 1 ON FRIDAY, JUNE 3 AT 9:15, AND TO INTRODUCE AND ANSWER QUESTIONS AFTER PROGRAM 2 ON SATURDAY, JUNE 4 AT 4:30.</strong><br /><br /><strong><a href="../../../film_screenings/series/45881">Alongside this premiere engagement, we&rsquo;ll be presenting a comprehensive retrospective of Thom Andersen&rsquo;s work, click here for more details.<br /></a></strong></p> Monday, June 06 THE FILMS OF THOM ANDERSEN: RECONVERSION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45902 <p>(RECONVERS&Atilde;O)<br /><br />&ldquo;With RECONVERS&Atilde;O, Andersen opens another fascinating chapter of his ongoing investigation of architectural landscapes, their filmic representation, and their relation to history, by focusing on 17 buildings and projects by the often-controversial Portuguese architect Eduardo Souto de Moura &ndash; winner of the 2011 Pritzker Prize. Echoing Dziga Vertov&rsquo;s concepts and Eadweard Muybridge&rsquo;s techniques (shooting only one or two frames per second), Andersen masterfully brings forward what makes Souto de Moura an original: the incorporation of the passing of time into architectural designs, positing them within a history fraught with class struggle and societal changes, in a continuum with ruins &ndash; from which they may originate, and to which they will return &ndash; and with nature &ndash; which they frame, and by which they are framed.&rdquo; &ndash;REDCAT</p> Monday, June 06 THE THOUGHTS THAT ONCE WE HAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45846 <p>NEW YORK THEATRICAL PREMIERE RUN!<br /><br />FILMMAKER IN PERSON!<br /><br />Special thanks to Ryan Krivoshey (Grasshopper Film).<br /><br />Having long since established himself as one of America&rsquo;s foremost practitioners of the essay film with acclaimed works such as EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER (1974), RED HOLLYWOOD (1996), and LOS ANGELES PLAYS ITSELF (2003), Thom Andersen returns with a brand-new feature-length work based on French philosopher Gilles Deleuze&rsquo;s writings on the cinema. Constructed entirely from film excerpts, which are knitted together purely via chapter headings and intertitles drawn from Deleuze, THE THOUGHTS THAT ONCE WE HAD is Andersen&rsquo;s freest and most intuitive essay film yet. It combines an astonishing and idiosyncratic range of materials, encompassing D.W. Griffith and Dziga Vertov, Laurel &amp; Hardy and the Marx Brothers, Hitler and Patty Hearst, Maria Montez and Debra Paget, Hank Ballard and Chubby Checker, and much, much more. Juxtaposing these varied clips in highly personal, often mysterious, but always thought-provoking ways, Andersen has created a film that will enflame your love of the cinema even as it invites you to more deeply understand the art form and its relationship to the world.<br /><br />&ldquo;Andersen has crafted a film lover&rsquo;s dream, inspired by the cinema theory of Gilles Deleuze, but based mostly on his own lifelong erudite engagement with the history and seductive power of the movies. Whether zeroing in on lyrical abstraction, ruminating on Nazis, communists, and spies, or comparing Maria Montez and Debra Paget&rsquo;s Orientalist snake dances, this is a gift for anyone who believes in cinema as art, as a form of thought, and as a source of great pleasure. [&hellip;] [Andersen] repositions for the future Deleuze&rsquo;s propositions that &lsquo;the essence of cinema has thought as its higher purpose,&rsquo; and that &lsquo;cinema must film not the world, but belief in the world.&rsquo;&rdquo; &ndash;VANCOUVER INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A complex, free-flowing enquiry into the forms and preoccupations of 20th-century cinema. In some ways a companion piece to&hellip;Jean-Luc Godard&rsquo;s HISTOIRE(S) DU CIN&Eacute;MA, THOUGHTS is a treat for cinephiles.&rdquo; &ndash;MELBOURNE INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A wordless, associative, haunted journey &ndash; sometimes rueful and sobering, sometimes very funny.&rdquo; &ndash;THE GUARDIAN<br /><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON FOR Q&amp;As AFTER THE SCREENINGS OF 'THE THOUGHTS THAT ONCE WE HAD' ON FRIDAY, JUNE 3 &amp; SUNDAY, JUNE 5.&nbsp; HE WILL ALSO BE HERE TO INTRODUCE THE SCREENING OF PROGRAM 1 ON FRIDAY, JUNE 3 AT 9:15, AND TO INTRODUCE AND ANSWER QUESTIONS AFTER PROGRAM 2 ON SATURDAY, JUNE 4 AT 4:30.</strong><br /><br /><strong><a href="../../../film_screenings/series/45881">Alongside this premiere engagement, we&rsquo;ll be presenting a comprehensive retrospective of Thom Andersen&rsquo;s work, click here for more details.<br /></a></strong></p> Tuesday, June 07 THE FILMS OF THOM ANDERSEN: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45891 <p>GET OUT OF THE CAR<br />(2010, 34 min, 16mm. In English and Spanish with English subtitles.)<br />A miniature city symphony composed of advertising signs, building facades, fragments of music and conversation, and unmarked sites of vanished cultural landmarks. Taking its cue from the Richard Berry song whose title it shares, the film&rsquo;s musical fragments compose an impressionistic survey of popular music made in Los Angeles across the 20th century, with an emphasis on 50s jazz/R&amp;B and 90s corridos!<br /><br />THE TONY LONGO TRILOGY<br />(2014, 14 min, digital)<br />&ldquo;A stumble through the studio backlots, [this film] is comprised of three sections, all culled from the supporting appearances in Los Angeles-shot films by the beefy Tony Longo, referred to by Andersen in the opening title card as an &lsquo;axiom of the American action cinema.&rsquo; The three segments present variations as to what results when the focus is shifted from the foreground (the star) to the background: here, poor Tony Longo who, it seems, was destined to never catch a break.&rdquo; &ndash;Mark Peranson<br /><br />Thom Andersen &amp; Andrew Kim<br />CALIFORNIA SUN<br />(2015, 4 min, digital, b&amp;w/color. Music by the Farmingdale Sound Machine.)<br />Created for the opening track of the Farmingdale Sound Machine album, &ldquo;Maximum Amusement,&rdquo; which was itself inspired by Andersen&rsquo;s LOS ANGELES PLAYS ITSELF, Andersen&rsquo;s first music video reveals his collage technique to be perfectly suited to the form.<br /><br />A TRAIN ARRIVES AT THE STATION<br />(2016, 16 min, digital, b&amp;w/color)<br />Just what it says more or less&hellip;<br /><br />Total running time: ca. 70 min.</p> Tuesday, June 07 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45832 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, June 08 THE FILMS OF THOM ANDERSEN: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45888 <p>MELTING<br />(1965, 6 min, 16mm)<br />&ldquo;MELTING shows the natural monostructural disintegration of a strawberry sundae, its passage from rigidity to softness, from edibility to waste. The spoon resting on the plate refers to the human presence, which lurks behind the screen, declining to interfere with what transpires.&rdquo; &ndash;T.A.<br /><br />OLIVIA&rsquo;S PLACE<br />(1966, 5 min, 16mm)<br />&ldquo;Olivia may have felt no need to change, but the world around her was not bound by such an impractical sentiment. OLIVIA&rsquo;S PLACE is gone. The site where it used to stand is now a sort of plaza between two large old wood frame houses that were moved to their present location from elsewhere in the city. One of these houses is occupied by a restaurant, the other is occupied by the California Heritage Museum.&rdquo; &ndash;Morgan Fisher<br /><br />Thom Andersen &amp; Malcolm Brodwick<br />--- ------- (aka THE ROCK &lsquo;N&rsquo; ROLL MOVIE)<br />(1967, 11 min, 16mm)<br />This is one of the greatest of all experimental rock &lsquo;n&rsquo; roll films &ndash; formally rigorous, visually gorgeous, and rhythmically dynamic.<br /><br />EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER<br />(1967-74, 59 min, 16mm-to-35mm. 35mm restored print courtesy of the UCLA Film &amp; Television Archive.)<br />&ldquo;One of the best essay films ever made on a cinematic subject, [MUYBRIDGE] adroitly combines biography, history, film theory, and philosophical reflection. Muybridge&rsquo;s photographic studies of animal locomotion in the 1870s were a major forerunner of movies; even more interesting are his subsequent studies of diverse people, photographed against neutral backgrounds. Andersen&rsquo;s perspectives on Muybridge are multifaceted and often surprising (characteristically, the film&rsquo;s opening quotation is from Mao), and he presents Muybridge&rsquo;s photographic sequences in various ways to spell out the many meanings of this fascinating precinematic work.&rdquo; &ndash;Jonathan Rosenbaum, CHICAGO READER<br /><br />Total running time: ca. 85 min.</p> Wednesday, June 08 THE THOUGHTS THAT ONCE WE HAD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2016#showing-45847 <p>NEW YORK THEATRICAL PREMIERE RUN!<br /><br />FILMMAKER IN PERSON!<br /><br />Special thanks to Ryan Krivoshey (Grasshopper Film).<br /><br />Having long since established himself as one of America&rsquo;s foremost practitioners of the essay film with acclaimed works such as EADWEARD MUYBRIDGE, ZOOPRAXOGRAPHER (1974), RED HOLLYWOOD (1996), and LOS ANGELES PLAYS ITSELF (2003), Thom Andersen returns with a brand-new feature-length work based on French philosopher Gilles Deleuze&rsquo;s writings on the cinema. Constructed entirely from film excerpts, which are knitted together purely via chapter headings and intertitles drawn from Deleuze, THE THOUGHTS THAT ONCE WE HAD is Andersen&rsquo;s freest and most intuitive essay film yet. It combines an astonishing and idiosyncratic range of materials, encompassing D.W. Griffith and Dziga Vertov, Laurel &amp; Hardy and the Marx Brothers, Hitler and Patty Hearst, Maria Montez and Debra Paget, Hank Ballard and Chubby Checker, and much, much more. Juxtaposing these varied clips in highly personal, often mysterious, but always thought-provoking ways, Andersen has created a film that will enflame your love of the cinema even as it invites you to more deeply understand the art form and its relationship to the world.<br /><br />&ldquo;Andersen has crafted a film lover&rsquo;s dream, inspired by the cinema theory of Gilles Deleuze, but based mostly on his own lifelong erudite engagement with the history and seductive power of the movies. Whether zeroing in on lyrical abstraction, ruminating on Nazis, communists, and spies, or comparing Maria Montez and Debra Paget&rsquo;s Orientalist snake dances, this is a gift for anyone who believes in cinema as art, as a form of thought, and as a source of great pleasure. [&hellip;] [Andersen] repositions for the future Deleuze&rsquo;s propositions that &lsquo;the essence of cinema has thought as its higher purpose,&rsquo; and that &lsquo;cinema must film not the world, but belief in the world.&rsquo;&rdquo; &ndash;VANCOUVER INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A complex, free-flowing enquiry into the forms and preoccupations of 20th-century cinema. In some ways a companion piece to&hellip;Jean-Luc Godard&rsquo;s HISTOIRE(S) DU CIN&Eacute;MA, THOUGHTS is a treat for cinephiles.&rdquo; &ndash;MELBOURNE INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;A wordless, associative, haunted journey &ndash; sometimes rueful and sobering, sometimes very funny.&rdquo; &ndash;THE GUARDIAN<br /><br /><strong>THOM ANDERSEN WILL BE HERE IN PERSON FOR Q&amp;As AFTER THE SCREENINGS OF 'THE THOUGHTS THAT ONCE WE HAD' ON FRIDAY, JUNE 3 &amp; SUNDAY, JUNE 5.&nbsp; HE WILL ALSO BE HERE TO INTRODUCE THE SCREENING OF PROGRAM 1 ON FRIDAY, JUNE 3 AT 9:15, AND TO INTRODUCE AND ANSWER QUESTIONS AFTER PROGRAM 2 ON SATURDAY, JUNE 4 AT 4:30.</strong><br /><br /><strong><a href="../../../film_screenings/series/45881">Alongside this premiere engagement, we&rsquo;ll be presenting a comprehensive retrospective of Thom Andersen&rsquo;s work, click here for more details.<br /></a></strong></p> Wednesday, June 08