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 Sat, 01 Oct 2022 17:53:32 -0400 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55257 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Saturday, October 01 JONAS MEKAS, PROG. 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55125 <p>DAL&Iacute; OSTER NEWSREEL (1964, 20 min, 16mm)<br />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;.<br /><br />TIME AND FORTUNE VIETNAM NEWSREEL (1968, 4 min, 16mm. With Adolfas Mekas. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.)<br />A spoof interview with War Minister of Lapland concerning war in Vietnam. A few practical suggestions are given, among them a suggestion to turn the conduction of war over to the mafia. The Minister is played by Adolfas Mekas.<br /><br />SELF-PORTRAIT (1980, 20 min, video. Made in collaboration with Robert Schoenbaum.)<br />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.<br /><br />Total running time: ca. 50 min.</p> Saturday, October 01 JONAS MEKAS, PROG. 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55127 <p>DR. CARL G. JUNG OR LAPIS PHILOSOPHORUM (Filmed 1950 (by Jerome Hill), edited 1991 (by Jonas Mekas), 29 min, 16mm)<br />In the summer of 1950, Jerome Hill went to Zurich with the intention of making a film about Dr. Carl G. Jung. The film focuses on Jung as a person. Jerome Hill recorded for posterity unique and revealing fragments of the daily life of one of the twentieth century&rsquo;s key spiritual and intellectual figures. We see Dr. Jung at work, during his leisure hours, and we hear him expound on the poetry and eternity of stones. After Jerome Hill&rsquo;s death in 1972 the unfinished film was deposited with Anthology Film Archives. I edited the footage with extreme respect for Jerome Hill and Dr. Jung, keeping myself out as much as possible.<br /><br />QUARTET NUMBER ONE (Filmed 1974-85, edited 1991, 8 min, 16mm)<br />Around 1991 I began to worry about the huge amount of unedited footage that I had on my shelves. I had to do something with it before it began to fade. One idea was to begin to edit it all in the form of quartets. This quartet was my first try in that direction. I was not too happy with it and did not continue the project. Instead, I began working on a much bigger idea which resulted in AS I WAS MOVING AHEAD OCCASIONALLY I SAW BRIEF GLIMPSES OF BEAUTY.<br /><br />IMPERFECT 3-IMAGE FILMS (1995, 6 min, 16mm, silent)<br />In 1995 Julius Ziz came up with an idea of films made up of only three images. He asked me to contribute some three-image films of my own to a Three-Image Film Festival he organized at Anthology. This film is my contribution to that genre of cinema. Since my filming style depends a lot on shooting frame by frame, these are imperfect 3-image films.<br /><br />SONG OF THE SALAMANDER (1996, 10 min, 16mm)<br />This film has to do with the early years of my daughter Oona, when she was three or four years old.<br /><br />CINEMA IS NOT 100 YEARS OLD (1996, 4 min, video)<br />The real history of the cinema is the invisible history &ndash; history of friends getting together doing the thing they love &ndash; for us the cinema is beginning with every new buzz of the projector. With every new buzz of our cameras our hearts jump forwards, my friends! Cinema is not 100 years old.<br /><br />Total running time: ca. 60 min.</p> Saturday, October 01 EXPERIMENTS IN OPERA PRESENTS: EVERYTHING FOR DAWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55158 <p>Created in celebration of the 10th anniversary of the composer-driven non-profit opera company Experiments in Opera, EVERYTHING FOR DAWN is an original coming-of-age story spanning the 1990s. Dawn is a teenager coping with the impact of her father&rsquo;s suicide. Her personal tragedy becomes public when his paintings become celebrated as &ldquo;outsider art.&rdquo; With each of the opera&rsquo;s ten episodes written by a different librettist/composer pairing, all under the direction of Alison Moritz, this epic new video opera series examines the ways we seek solace in a broken world, community intersectionality, and the rationale for making art.<br /><br />The libretto for EVERYTHING FOR DAWN was written by Jason Cady, Adrienne Danrich, Lauren D&rsquo;Errico, Krista Knight, Jerry Lieblich, and Jerome A. Parker. The music was written by Clarice Assad, Jason Cady, Melissa Dunphy, Miguel Frasconi, Paul Kerekes, Phil Kline, Pauline Kim, Aaron Siegel, Kamala Sankaram, and Matthew Welch.<br /><br />This screening will feature all 10 episodes, split into three acts, with a brief intermission between each act.<br /><br />For more info about Experiments in Opera visit: <a href="http://experimentsinopera.com/">http://experimentsinopera.com/</a><br /><br />To purchase tickets for this screening visit: <a href="https://www.eventbrite.com/e/everything-for-dawn-premiere-screening-event-tickets-399581187087">https://www.eventbrite.com/e/everything-for-dawn-premiere-screening-event-tickets-399581187087</a></p> Saturday, October 01 METAMORPHOSES: CHRISTINE REBET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55156 <p>Christine Rebet&rsquo;s practice spans works on paper, installations, performance art, and the moving image, but regardless of the medium, drawing stands at the heart of all her projects. Born and raised in Lyon, France, educated in New York and London, and currently working between Paris and NYC, Rebet harnesses the power of drawing and animation to envision and enact various kinds of metamorphoses. Whether abstract, metaphorical, natural, geological, environmental, cultural, or mechanical, the metamorphoses in her works tend to evoke ongoing processes of inner transformations or explorations. On the other hand, they reflect Rebet&rsquo;s interest in non-Western cultural traditions and rituals, as well as in the practice of archaeology, with its preoccupation with &ndash; and attempted reversal of &ndash; the transformations wrought by time. Thematically, Rebet&rsquo;s work focuses on the elaboration of historical traumas in the context of a personal reinterpretation and a consequent reanimation, while aesthetically it&rsquo;s suffused with her inspired, dynamic handling of line, color, and composition.<br /><br />We&rsquo;re pleased to host Rebet for a selection of her moving-image works, as well as a piece she has chosen to place in dialogue with her own films: artist Tacita Dean&rsquo;s DISAPPEARANCE AT SEA (1996). Rebet will be here in person to introduce and discuss the program.<br /><br />BBN [BRAND BAND NEWS] (2005, 3.5 min, 35mm-to-digital)<br />Two sisters &ndash; shot dead &ndash; hitchhike in a field, hoping to be assigned a new life. The wind captures their wish and disseminates it through different broadcasts and lands in a ghostly theater. Tim Br&ouml;ss, an expert in mystery, attempts to distribute the sisters&rsquo; spirits in the voice of a ventriloquist trainee.<br /><br />BLACK CABINET (2007, 5 min, 35mm-to-digital)<br />THE BLACK CABINET is inspired by the heyday of spiritualism in late 19th-century Europe, when mediums introduced oil &ldquo;spirit paintings&rdquo; to summon the dead and bring messages from beyond. Rather than putting the characters in contact with spirits from the past, the s&eacute;ance prefigures the future twentieth century, characterized by despotic rulers.<br /><br />THE SQUARE (2011, 4 min, 16mm-to-digital)<br />&ldquo;THE SQUARE invokes Samuel Beckett&rsquo;s 1981 television piece QUAD, echoing the synchronized footsteps of QUAD&rsquo;s four dancers and the palette of their hooded costumes. With hand-laid trails of powdered wood, metal, plaster, and clay, Rebet&rsquo;s work traces the agonies of confinement and incarceration, while alluding to the simple, ennobling act of the protest march and the liberating shared space of the public square.&rdquo; &ndash;Lillian Davies, ARTFORUM<br /><br />IN THE SOLDIER&rsquo;S HEAD (2015, 4.5 min, 16mm-to-digital)<br />Rebet tells the story of her father who suffered from post-traumatic stress disorder after serving in the Algerian War. This very personal film makes use of a process that consists of filming ink drawings submerged in water, causing ghostly hallucinations to emerge spectre-like in the middle of a desert. The film revives the torment of the soldier&rsquo;s repressed memories, as much as it refers to French society&rsquo;s symptomatic denial of its colonial past.<br /><br />THUNDERBIRD (2018, 5.5 min, 16mm-to-digital)<br />THUNDERBIRD is about Girsu, one of the earliest cities known to mankind. Sumerian Prince Gudea ordered the construction of the city and many temples after dreaming of Thunderbird, the god Ningirsu&rsquo;s lion-headed and winged avatar.<br />&ldquo;The myth is revisited in an almost hypnotic way by Christine Rebet, whose moving images seem to bring the ancient city back to life. In her ink drawings on paper, the artist accompanies her symbolic representations with analyses by archaeologist S&eacute;bastien Rey, with whom she has worked for several years.&rdquo; &ndash;B&eacute;atrice Gross, THE ART NEWSPAPER<br /><br />BREATHE IN BREATHE OUT (2019, 8 min, digital)<br />Inspired by a recent journey in the north of Thailand, this film follows the spiritual journey of a monk as he descends a mountain. On the screen, animal, plant, and architectural transformations evoke nature and its devastation.<br /><br />OTOLITHE (2021, 4 min, digital)<br />OTOLITHE takes its inspiration from fijiri, the traditional songs of pearl divers in the Persian Gulf. These ritual songs accompany them and give them courage during their long voyages at sea; they punctuate the collective work: raising the anchor, hoisting the mainsail or maneuvering the oars. OTOLITHE offers a sublimated repertoire of these ancestral practices, like the collective memory of a past world and an ode to the world&rsquo;s most ancient jewel: the pearl.<br /><br />Plus:<br />Tacita Dean DISAPPEARANCE AT SEA (1996, 14 min, 16mm. Courtesy the artist, Marian Goodman Gallery New York/Paris, Frith Street Gallery, London.)<br />Shot on location at the lighthouse on St Abb&rsquo;s Head in Berwick-upon-Tweed in northern England, this film consists of seven lengthy shots captured by a static camera that alternate between close-ups of the rotating lighthouse bulbs and footage looking out to sea. As the film progresses the scene changes from dusk to nightfall, with the color of the sky shifting through a range of yellows, reds, and purples. It was inspired by the story of Donald Crowhurst (1932-69), a British businessman and amateur sailor who died while attempting a voyage around the world during which he falsified his progress.<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>TO BUY TICKETS CLICK HERE!</strong></a></p> Saturday, October 01 JONAS MEKAS, PROG. 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55129 <p>NOTES ON FILM-MAKERS&rsquo; COOPERATIVE<br />1999, 40 min, digital<br />I tell a brief history of how the Film-Makers&rsquo; Cooperative came into being. I show the original location, and some early photos and documents related to the creation of the Coop, its early days, some of the people involved in it, the New American Cinema Group, etc. Dedicated to Barbara Rubin.<br /><br />AUTOBIOGRAPHY OF A MAN WHO CARRIED HIS MEMORY IN HIS EYES<br />2000, 53 min, video<br />A condensed survey of my first 50 years in New York &ndash; physically and mentally. Made for the Mus&eacute;e d&rsquo;Art Moderne show in Paris.<br /><br />Total running time: ca. 95 min.</p> Sunday, October 02 THE EDUCATION OF SEBASTIAN OR EGYPT REGAINED http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55137 <p>A video record of a mental and physical journey through 5,000 years of Egypt at the End of History; an attempt to reconnect with the Source, with Jean Houston acting as Virgil; as Sebastian watches and absorbs it all from the corner of his eye, focusing on the tip of the Great Pyramid. All very personal, and it goes on and on, perhaps of very little meaning to others, but of crucial importance to myself, a record not for Entertainment or Public Exhibition, but something to share with friends, one long evening. Maybe there is a letter to my friends about a very crucial journey back to Ithaca &ndash; and a present for Sebastian, something that he&rsquo;ll rediscover when he&rsquo;ll be approaching the age when I, Odysseus, began my own travels &ndash; this may serve him as a beginner&rsquo;s map &ndash; the Fates will give him better ones.</p> Sunday, October 02 EC: THE FALL OF THE HOUSE OF USHER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55120 <p>(LA CHUTE DE LA MAISON USHER)<br /><br />Epstein deploys slow-motion, intricate lighting, and stylized sets to create an atmosphere of doom in this famous avant-garde expressionist Poe adaptation (combining both the eponymous tale and another Poe story, &ldquo;The Oval Portrait&rdquo;). Starring Marguerite Gance, wife of French director Abel Gance, it was also made with the participation of a young Luis Bu&ntilde;uel, who served as Epstein&rsquo;s second assistant.<br /><br />&ldquo;Since the French Impressionist school has always considered the cinema to be like a visual symphony, we might call this film by Epstein the cinematic equivalent of Debussy&rsquo;s works.&rdquo; &ndash;Henri Langlois<br /><br />Preceded by:<br />Jean Epstein<br />THE THREE-SIDED MIRROR / LA GLACE &Agrave; TROIS FACES<br />(1927, 38 min, 35mm, silent. French intertitles with English voiceover.)<br />&ldquo;[Epstein&rsquo;s] dependence on the close-up, his obsession with the totemic power of the object, his freewheeling mastery of cutting, variation of camera speed, and trust in the interpretive abilities of the audience, all come to a head with THE THREE-SIDED MIRROR. The fractured narrative follows the relations of three separate women&hellip;with a handsome, stylish, affluent young man. In the course of the film, he breaks an engagement with each of them in turn, tooling off in a sports car to his eventual demise.&rdquo; &ndash;Brad Weismann, SENSES OF CINEMA</p> Sunday, October 02 THE LOVELESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55139 <p>The feature debut of both its directors and its star, Willem Dafoe, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl&rsquo;s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />&ldquo;Bigelow&rsquo;s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre&rsquo;s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow&rsquo;s training in painting and experimental cinema informs the film&rsquo;s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue &ndash; not to mention the evocation of Kenneth Anger&rsquo;s SCORPIO RISING in the camera&rsquo;s close attention to the bikers&rsquo; gleaming chrome and leather.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Monday, October 03 JONAS MEKAS, PROG. 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55131 <p>LETTERS TO FRIENDS&hellip; FROM NOWHERE&hellip; VIDEO LETTER #1<br />1997, 88 min, video<br />By the mid-nineties I had already collected hundreds and hundreds of hours of video material. In 1997 I began to think what to do with it. One way, I thought, was to begin to make some of it available to my friends via video letters. This was the first one. It includes miscellaneous moments from my home life, my life at Anthology Film Archives, travels and meetings with friends in Europe, etc. After the first Letter however I was distracted by other projects and so this LETTER TO FRIENDS remains a unique one. (There was another one, with a Lithuanian narration, intended for Lithuanian &ldquo;consumption.&rdquo; That one also remains a unique try.)<br /><br />LETTER TO JOHN FROM JONAS (1999, 25 min, video)<br />&ldquo;In this video letter to curator John Hanhardt, recorded as a response to a proposal for Anthology Film Archives to merge with the Guggenheim Museum, Mekas declares his conviction that Anthology must remain proudly independent.&rdquo; &ndash;Anthology Film Archives<br /><br />A LETTER TO PENNY ARCADE (2001, 15 min, video)<br />I made this video on June 23rd, 2001, as a video letter to my dear friend Penny Arcade who a few days earlier had asked me why I love New York. I truly and truly love New York! This LETTER TO PENNY ARCADE is also my Love Letter to New York.<br /><br />Total running time: ca. 135 min.</p> Monday, October 03 THE ADDICTION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55148 <p>Amid the fangs and crucifixes that began to proliferate in mid-1990s American cinema, Abel Ferrara turned to the genre for THE ADDICTION, a distinctly personal take on creatures of the night. Philosophy student Kathleen (Lili Taylor) is dragged into an alleyway on her way home from class by Casanova (Annabella Sciorra) and bitten on the neck. She quickly falls ill but realizes this isn&rsquo;t any ordinary disease when she develops an aversion to daylight and a thirst for human blood. Having made a big-budget foray into science fiction two years earlier with BODY SNATCHERS, Ferrara&rsquo;s approach to the vampire movie is in a lower key. Shot on the streets of New York, like so many of his major works, and beautifully filmed in black and white, THE ADDICTION sees the filmmaker working on his own terms and at his very best: raw, shocking, intense, intelligent, and masterful.<br /><br />&ldquo;A black-and-white, Lower Manhattan-set, revisionist vampire saga, Abel Ferrara&rsquo;s rap-scored, sumptuously shot, sin-obsessed opus establishes an acute, at times lacerating, tension between visual pleasure and narrative scuzz. The movie ponders the mystery of existence by reveling in splatterific materialism &ndash; noisy ERs and bloody bandages, the messy minutiae of urban vampirism.&rdquo; &ndash;J. Hoberman, THE VILLAGE VOICE<br /><br />&ldquo;A quivering nexus of AIDS allegory, identity crisis, historical unease, and socio-economic panic.&rdquo; &ndash;SLANT MAGAZINE</p> Monday, October 03 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55258 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Tuesday, October 04 JONAS MEKAS, PROG. 5 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55133 <p>SILENCE, PLEASE (2000, 6 min, video. To be shown first silently, then with sound.)<br />Made for a billboard projection project in Luxembourg, a project that never became a reality, this video is an exercise in silence and sound.<br /><br />REQUIEM FOR A MANUAL TYPEWRITER (2000, 19 min, video)<br />Taped myself on February 16, 2000, at the Poetry Project reading. All about me struggling to type on a roll of computer paper. It&rsquo;s my tribute to, and celebration of the manual typewriter, the ecstasy of typing on my Olympia Deluxe.<br /><br />REMEDY FOR MELANCHOLY (2000, 20 min, video)<br />Includes four sketches: With Peter Kubelka at St-Michel; our cat Apache and Nina Hagen; children of the School for Violin; Ken Jacobs and his books. Put together in this order on the occasion of the &ldquo;Remedy for Melancholy&rdquo; exhibition at the Contemporary Art Center of Vilnius.<br /><br />EIN M&Auml;RCHEN AUS ALTEN ZEITEN (2001, 6 min, video)<br />The title comes from a poem of a German poet, Heine. The 9/11 event was so beyond normal human comprehension that I had to put it into the category of a fairy tale. I have a pile of old literary magazines from end of 19th century and beginning of the 20th &ndash; and I was searching for some image from the past to introduce this event &ndash; and I found this young girl in her dream of something like she could be thinking about things of long long ago &ndash; since then I have discovered that it was a photograph by a very well-known end-of 19th-century woman photographer, but I do not remember her name right this moment &ndash; The 9/11 event was so beyond my comprehension &ndash; you can understand and react to a death of one, or two persons, but I could not react to the death of 2,500 people &ndash; it was an abstraction, a fairy tale &ndash; that&rsquo;s why I framed my 9/11 film (shot from my roof) with the fairytale, with the image watching this story, the story of 9/11. Like any other fairy tale coming from the past &ndash; by this girl, this child dreaming, listening, and dreaming about the tales coming from the past.<br /><br />FATHER AND DAUGHTER (2005, 4.5 min, digital)<br />Yes, father and daughter. Here is the perfect love, as beautiful as it can be. With Rumple and Shiva, my two cats.<br /><br />Total running time: ca. 60 min.</p> Tuesday, October 04 THE LOVELESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55140 <p>The feature debut of both its directors and its star, Willem Dafoe, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl&rsquo;s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />&ldquo;Bigelow&rsquo;s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre&rsquo;s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow&rsquo;s training in painting and experimental cinema informs the film&rsquo;s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue &ndash; not to mention the evocation of Kenneth Anger&rsquo;s SCORPIO RISING in the camera&rsquo;s close attention to the bikers&rsquo; gleaming chrome and leather.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Tuesday, October 04 JONAS MEKAS, PROG. 6 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55135 <p>NOTES ON UTOPIA<br />Filmed 2003-04, edited 2005, 55 min, digital<br />The Utopia Station project is making me rethink and try to sum-up all my past thoughts on utopia, all the variations of it, including the Garden of Eden, Paradise, utopian social, political and poetic theories, etc. As I am going through this process of rethinking, periodically I videotape my thoughts on the subject. An open-ended video &ndash; more parts may be added to it in the future. My thoughts on it change as time goes, as I am trying to figure it out for myself, the meaning of it, the practice of it, the possibility of it, in the past, today and in the future.<br /><br />A DAYDREAM (2010, 1 min, digital. Editor: Linda Burchill.)<br />It was only a daydream &hellip; between two closed eyelids &hellip; a tree &hellip; in a place I didn&rsquo;t recognize &hellip; a tree full of invisible birds &hellip; in a mysterious conversation &hellip; all very celestial &hellip; dreamy &hellip; I thought it went for a very, very long time &hellip; Then I opened my eyes &hellip; I was amazed how brief it was, the moment &hellip; and how long.<br />&ldquo;Those who dream by day are cognizant of many things which escape those who dream only by night.&rdquo; (Edgar Allan Poe, &ldquo;Eleonora&rdquo;)<br /><br />FIRST CLASS FLIGHT (2011, 19 min, digital)<br />There I am, I am treated with the First Class ticket. Evening. But all the businessmen are already sleeping. I can&rsquo;t sleep. I discover a bar. I talk about Occupy Wall Street, and have another drink in the First Class night bar with lovely, sleepy bar girls.<br /><br />HAPPY EASTER RIDE (2012, 15.5 min, digital. Music by Dalius Naujo Orchestra.)<br /><br />Total running time: ca. 95 min.</p> Tuesday, October 04 THE ADDICTION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55149 <p>Amid the fangs and crucifixes that began to proliferate in mid-1990s American cinema, Abel Ferrara turned to the genre for THE ADDICTION, a distinctly personal take on creatures of the night. Philosophy student Kathleen (Lili Taylor) is dragged into an alleyway on her way home from class by Casanova (Annabella Sciorra) and bitten on the neck. She quickly falls ill but realizes this isn&rsquo;t any ordinary disease when she develops an aversion to daylight and a thirst for human blood. Having made a big-budget foray into science fiction two years earlier with BODY SNATCHERS, Ferrara&rsquo;s approach to the vampire movie is in a lower key. Shot on the streets of New York, like so many of his major works, and beautifully filmed in black and white, THE ADDICTION sees the filmmaker working on his own terms and at his very best: raw, shocking, intense, intelligent, and masterful.<br /><br />&ldquo;A black-and-white, Lower Manhattan-set, revisionist vampire saga, Abel Ferrara&rsquo;s rap-scored, sumptuously shot, sin-obsessed opus establishes an acute, at times lacerating, tension between visual pleasure and narrative scuzz. The movie ponders the mystery of existence by reveling in splatterific materialism &ndash; noisy ERs and bloody bandages, the messy minutiae of urban vampirism.&rdquo; &ndash;J. Hoberman, THE VILLAGE VOICE<br /><br />&ldquo;A quivering nexus of AIDS allegory, identity crisis, historical unease, and socio-economic panic.&rdquo; &ndash;SLANT MAGAZINE</p> Tuesday, October 04 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55259 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Wednesday, October 05 THE LOVELESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55141 <p>The feature debut of both its directors and its star, Willem Dafoe, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl&rsquo;s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />&ldquo;Bigelow&rsquo;s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre&rsquo;s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow&rsquo;s training in painting and experimental cinema informs the film&rsquo;s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue &ndash; not to mention the evocation of Kenneth Anger&rsquo;s SCORPIO RISING in the camera&rsquo;s close attention to the bikers&rsquo; gleaming chrome and leather.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Wednesday, October 05 THE ADDICTION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55150 <p>Amid the fangs and crucifixes that began to proliferate in mid-1990s American cinema, Abel Ferrara turned to the genre for THE ADDICTION, a distinctly personal take on creatures of the night. Philosophy student Kathleen (Lili Taylor) is dragged into an alleyway on her way home from class by Casanova (Annabella Sciorra) and bitten on the neck. She quickly falls ill but realizes this isn&rsquo;t any ordinary disease when she develops an aversion to daylight and a thirst for human blood. Having made a big-budget foray into science fiction two years earlier with BODY SNATCHERS, Ferrara&rsquo;s approach to the vampire movie is in a lower key. Shot on the streets of New York, like so many of his major works, and beautifully filmed in black and white, THE ADDICTION sees the filmmaker working on his own terms and at his very best: raw, shocking, intense, intelligent, and masterful.<br /><br />&ldquo;A black-and-white, Lower Manhattan-set, revisionist vampire saga, Abel Ferrara&rsquo;s rap-scored, sumptuously shot, sin-obsessed opus establishes an acute, at times lacerating, tension between visual pleasure and narrative scuzz. The movie ponders the mystery of existence by reveling in splatterific materialism &ndash; noisy ERs and bloody bandages, the messy minutiae of urban vampirism.&rdquo; &ndash;J. Hoberman, THE VILLAGE VOICE<br /><br />&ldquo;A quivering nexus of AIDS allegory, identity crisis, historical unease, and socio-economic panic.&rdquo; &ndash;SLANT MAGAZINE</p> Wednesday, October 05 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55260 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Thursday, October 06 EC: NANOOK OF THE NORTH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55122 <p>Flaherty&rsquo;s pioneering ethnographic film depicts the struggle for survival of Inuit hunter Nanook and his family. Though rife with staged scenes, anachronisms, and an indulgence in the myth of the &ldquo;noble savage&rdquo; (Nanook was in fact an Inuit man named Allakariallak, who hunted not with harpoons and spears but with a rifle), NANOOK OF THE NORTH is a work of great lyricism, simplicity of design, and genuine affection for its protagonists, and its force is undiminished almost 100 years after it was made.</p> Thursday, October 06 THE LOVELESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55142 <p>The feature debut of both its directors and its star, Willem Dafoe, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl&rsquo;s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />&ldquo;Bigelow&rsquo;s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre&rsquo;s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow&rsquo;s training in painting and experimental cinema informs the film&rsquo;s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue &ndash; not to mention the evocation of Kenneth Anger&rsquo;s SCORPIO RISING in the camera&rsquo;s close attention to the bikers&rsquo; gleaming chrome and leather.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Thursday, October 06 EC: MAN OF ARAN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55121 <p>Flaherty&rsquo;s third major film portrays the lives of a family of fisher folk on the Aran Islands off the coast of Galway, Ireland. Flaherty selected the location and subjects because of their isolation as the westernmost outpost of European civilization. In addition, the daily struggle between the islanders and the sea perfectly suited his interests and concerns. The scenes at sea are breathtaking.<br /><br />&ldquo;His passionate devotion to the portrayal of human gesture and of a man&rsquo;s fight for his family makes the film an incomparable account of human dignity. Better than anyone, Flaherty knew how to show the true face of Man.&rdquo; &ndash;Georges Sadoul</p> Thursday, October 06 THE ADDICTION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55151 <p>Amid the fangs and crucifixes that began to proliferate in mid-1990s American cinema, Abel Ferrara turned to the genre for THE ADDICTION, a distinctly personal take on creatures of the night. Philosophy student Kathleen (Lili Taylor) is dragged into an alleyway on her way home from class by Casanova (Annabella Sciorra) and bitten on the neck. She quickly falls ill but realizes this isn&rsquo;t any ordinary disease when she develops an aversion to daylight and a thirst for human blood. Having made a big-budget foray into science fiction two years earlier with BODY SNATCHERS, Ferrara&rsquo;s approach to the vampire movie is in a lower key. Shot on the streets of New York, like so many of his major works, and beautifully filmed in black and white, THE ADDICTION sees the filmmaker working on his own terms and at his very best: raw, shocking, intense, intelligent, and masterful.<br /><br />&ldquo;A black-and-white, Lower Manhattan-set, revisionist vampire saga, Abel Ferrara&rsquo;s rap-scored, sumptuously shot, sin-obsessed opus establishes an acute, at times lacerating, tension between visual pleasure and narrative scuzz. The movie ponders the mystery of existence by reveling in splatterific materialism &ndash; noisy ERs and bloody bandages, the messy minutiae of urban vampirism.&rdquo; &ndash;J. Hoberman, THE VILLAGE VOICE<br /><br />&ldquo;A quivering nexus of AIDS allegory, identity crisis, historical unease, and socio-economic panic.&rdquo; &ndash;SLANT MAGAZINE</p> Thursday, October 06 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55261 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Friday, October 07 LUIS OSPINA, PROG. 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55169 <p>ACT OF FAITH / ACTO DE FE (1970, 17 min, Super-8mm-to-digital)<br />Shot in Los Angeles, while Ospina was attending the UCLA Film School, ACT OF FAITH is an adaptation of Jean-Paul Sartre&rsquo;s short story &ldquo;Erostratus&rdquo;, about a man on the verge of despair who decides to buy a gun and go out to kill at random.<br /><br />SELF-PORTRAIT (ASLEEP) / AUTORRETRATO (DORMIDO) (1971, 4 min, Super-8mm-to-digital)<br />&ldquo;We all know that Andy Warhol made a film lasting more than 5 hours of a man sleeping. After viewing it, I asked myself, &lsquo;What would happen if I removed Warhol&rsquo;s tedious passages?&rsquo; This is why I decided to film myself sleeping during 10 hours with an automatic shutter that took a frame every 10 seconds to make the only film directed by a sleeping man.&rdquo; &ndash;Luis Ospina<br /><br />LISTEN, LOOK! / OIGA, VEA! (1972, 28 min, 16mm-to-digital. Co-directed by Carlos Mayolo.)<br />A film about the consequences of the sixth Pan American Games on the city of Cali, seen from the point of view of those who could not afford to enter the stadiums.<br /><br />THE BOMBING OF WASHINGTON / EL BOMBARDEO DE WASHINGTON (1972, 1 min, 16mm-to-digital)<br />By means of found footage and creative editing, the film creates the illusion that Washington has been bombed from the air.<br /><br />ASUNCI&Oacute;N (1975, 17 min, 16mm-to-digital. Co-directed by Carlos Mayolo.)<br />In this joyful and impertinent short film, a housemaid takes revenge on her masters.<br /><br />THE VAMPIRES OF POVERTY / AGARRANDO PUEBLO (1978, 29 min, 16mm-to-digital. Co-directed by Carlos Mayolo.)<br />&ldquo;Made with Carlos Mayolo, THE VAMPIRES OF POVERTY is a classic and still provocative work exploring the role of film in social and political life. Following a film crew&rsquo;s search for the most abject subject to exploit in their &lsquo;militant&rsquo; film, the work is a landmark in the history of documentary film questioning the values and motivations of so-called &lsquo;political&rsquo; filmmakers.&rdquo; &ndash;TATE MODERN<br /><br />&ldquo;Deliberately detached from the accusatory militant left, Luis Ospina and Carlos Mayolo launch in 1978 what could be called their cinematic-political thesis: THE VAMPIRES OF POVERTY, an outrageous protest of national and international documentary models, which at the time &ndash; and even today &ndash; shamelessly exploited all kinds of third-world suffering (referred to by the directors as &ldquo;poverty-porn&rdquo;) and exported it to European television stations and festivals. Counter-informative from beginning to end and in every sense of the word, the film mixes staged and real scenes of a typical film crew commissioned by a German television channel to seek out<br />archetypical social horrors, trampling over the basic principles of professional ethics, the meaning of information and, naturally, sociological research.&rdquo; &ndash;Isleni Cruz Carvajal, DOCUMENTARY IN LATIN AMERICA<br /><br />Total running time: ca. 100 min.</p> Friday, October 07 THE ADDICTION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55152 <p>Amid the fangs and crucifixes that began to proliferate in mid-1990s American cinema, Abel Ferrara turned to the genre for THE ADDICTION, a distinctly personal take on creatures of the night. Philosophy student Kathleen (Lili Taylor) is dragged into an alleyway on her way home from class by Casanova (Annabella Sciorra) and bitten on the neck. She quickly falls ill but realizes this isn&rsquo;t any ordinary disease when she develops an aversion to daylight and a thirst for human blood. Having made a big-budget foray into science fiction two years earlier with BODY SNATCHERS, Ferrara&rsquo;s approach to the vampire movie is in a lower key. Shot on the streets of New York, like so many of his major works, and beautifully filmed in black and white, THE ADDICTION sees the filmmaker working on his own terms and at his very best: raw, shocking, intense, intelligent, and masterful.<br /><br />&ldquo;A black-and-white, Lower Manhattan-set, revisionist vampire saga, Abel Ferrara&rsquo;s rap-scored, sumptuously shot, sin-obsessed opus establishes an acute, at times lacerating, tension between visual pleasure and narrative scuzz. The movie ponders the mystery of existence by reveling in splatterific materialism &ndash; noisy ERs and bloody bandages, the messy minutiae of urban vampirism.&rdquo; &ndash;J. Hoberman, THE VILLAGE VOICE<br /><br />&ldquo;A quivering nexus of AIDS allegory, identity crisis, historical unease, and socio-economic panic.&rdquo; &ndash;SLANT MAGAZINE</p> Friday, October 07 THE LOVELESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55143 <p>The feature debut of both its directors and its star, Willem Dafoe, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl&rsquo;s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />&ldquo;Bigelow&rsquo;s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre&rsquo;s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow&rsquo;s training in painting and experimental cinema informs the film&rsquo;s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue &ndash; not to mention the evocation of Kenneth Anger&rsquo;s SCORPIO RISING in the camera&rsquo;s close attention to the bikers&rsquo; gleaming chrome and leather.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Friday, October 07 PURE BLOOD / PURA SANGRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55171 <p>&ldquo;A key work of what Carlos Mayolo described as &lsquo;G&oacute;tico tropical&rsquo; (Tropical Gothic) cinema, PURE BLOOD marks a development in the work of the Grupo de Cali filmmakers following the suicide of Andr&eacute;s Caicedo in 1977. Shifting from documentary works to experiment with narrative feature films, Ospina created a unique hybrid that mixes genre conventions with intellectual parody. PURE BLOOD is a biting satire on Colombian landowners, social divisions and the vampirism at the heart of capitalism in Latin America. Inspired by a story from Ospina&rsquo;s youth, the film follows the &lsquo;Monster of the Valley&rsquo;, an urban legend of a figure who prayed on the bodies and blood of young men. The film centers on a bedridden sugar tycoon who communicates with the outside world by closed circuit TV and is kept alive by blood transfusions.&rdquo; &ndash;TATE MODERN</p> Friday, October 07 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55262 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Saturday, October 08 ANDRÉS CAICEDO: A FEW GOOD FRIENDS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55175 <p>(ANDR&Eacute;S CAICEDO: UNOS POCOS BUENOS AMIGOS)<br /><br />&ldquo;Using the unfinished film, ANGELITA Y MIGUEL &Aacute;NGEL, by Andr&eacute;s Caicedo and Carlos Mayolo, as a structuring device, friends of prolific film critic and writer Andr&eacute;s Caicedo, an unforgettable figure of the group of Cali in the 1970s who left an incredible amount of texts, reflect upon his life, his work, and his suicide at the age of 25, testify to his influence in the cultural life of Colombia, and remember his strong and touching personality.&rdquo; &ndash;DOCLISBOA<br /><br />Preceded by:<br />Jorge Nieto &amp; Luis Ospina<br />IN SEARCH OF &ldquo;MARIA&rdquo; / EN BUSCA DE &ldquo;MARIA&rdquo;<br />1985, 16 min, 16mm-to-DCP. In Spanish with English subtitles. Karen Lamassonne: Art Direction. Courtesy of the Cinemateca de Bogota.<br />&ldquo;Based on the only four surviving shots of the first Colombian silent film, MAR&Iacute;A (1921), by directors M&aacute;ximo Calvo (Colombia) and Alfredo del Diestro (Spain), IN SEARCH OF &lsquo;MARIA&rsquo; combines historical research, interviews, and scenic reconstruction to rescue the memory of a lost film.&rdquo; &ndash;DOCLISBOA<br /><br />Total running time: ca. 100 min.</p> Saturday, October 08 THE ADDICTION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55153 <p>Amid the fangs and crucifixes that began to proliferate in mid-1990s American cinema, Abel Ferrara turned to the genre for THE ADDICTION, a distinctly personal take on creatures of the night. Philosophy student Kathleen (Lili Taylor) is dragged into an alleyway on her way home from class by Casanova (Annabella Sciorra) and bitten on the neck. She quickly falls ill but realizes this isn&rsquo;t any ordinary disease when she develops an aversion to daylight and a thirst for human blood. Having made a big-budget foray into science fiction two years earlier with BODY SNATCHERS, Ferrara&rsquo;s approach to the vampire movie is in a lower key. Shot on the streets of New York, like so many of his major works, and beautifully filmed in black and white, THE ADDICTION sees the filmmaker working on his own terms and at his very best: raw, shocking, intense, intelligent, and masterful.<br /><br />&ldquo;A black-and-white, Lower Manhattan-set, revisionist vampire saga, Abel Ferrara&rsquo;s rap-scored, sumptuously shot, sin-obsessed opus establishes an acute, at times lacerating, tension between visual pleasure and narrative scuzz. The movie ponders the mystery of existence by reveling in splatterific materialism &ndash; noisy ERs and bloody bandages, the messy minutiae of urban vampirism.&rdquo; &ndash;J. Hoberman, THE VILLAGE VOICE<br /><br />&ldquo;A quivering nexus of AIDS allegory, identity crisis, historical unease, and socio-economic panic.&rdquo; &ndash;SLANT MAGAZINE</p> Saturday, October 08 PURE BLOOD / PURA SANGRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55172 <p>&ldquo;A key work of what Carlos Mayolo described as &lsquo;G&oacute;tico tropical&rsquo; (Tropical Gothic) cinema, PURE BLOOD marks a development in the work of the Grupo de Cali filmmakers following the suicide of Andr&eacute;s Caicedo in 1977. Shifting from documentary works to experiment with narrative feature films, Ospina created a unique hybrid that mixes genre conventions with intellectual parody. PURE BLOOD is a biting satire on Colombian landowners, social divisions and the vampirism at the heart of capitalism in Latin America. Inspired by a story from Ospina&rsquo;s youth, the film follows the &lsquo;Monster of the Valley&rsquo;, an urban legend of a figure who prayed on the bodies and blood of young men. The film centers on a bedridden sugar tycoon who communicates with the outside world by closed circuit TV and is kept alive by blood transfusions.&rdquo; &ndash;TATE MODERN</p> Saturday, October 08 THE LOVELESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55144 <p>The feature debut of both its directors and its star, Willem Dafoe, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl&rsquo;s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />&ldquo;Bigelow&rsquo;s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre&rsquo;s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow&rsquo;s training in painting and experimental cinema informs the film&rsquo;s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue &ndash; not to mention the evocation of Kenneth Anger&rsquo;s SCORPIO RISING in the camera&rsquo;s close attention to the bikers&rsquo; gleaming chrome and leather.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Saturday, October 08 ENEMY IMAGES, PROG. 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55117 <p>Working for the popular education arm of the GDR&rsquo;s state film production, DEFA, Peter Ulbrich traveled to Vietnam in 1957 and made several optimistic short films, among them WHERE ONCE SAT KINGS and THE FISHERMEN FROM VINH-MOC, both of which depict a country recently liberated from foreign domination and now on a steady path to socialism. When on his second trip to Vietnam in 1966 he witnessed the havoc wreaked by U.S. bombers, Ulbrich made the compilation film THINK OF MY COUNTRY, a scorching indictment of the U.S. intervention identifying the destruction of a socialist society as its driving motive. <br /><br />Accompanying footage from various unidentified sources, the voice-over presents a Vietnamese village mayor as the film&rsquo;s narrator, introducing us to the harrowing effects of the U.S. air raids as well as the skillful (and successful) resistance of the Vietnamese. Presenting captured U.S. pilots as anti-heroes, his account culminates in the question: &ldquo;Who made them into what they have become?&rdquo;<br /><br />Alongside Ulbrich&rsquo;s work, we&rsquo;ll be screening 100, an atypically conceptual film by DEFA documentarists Walter Heynowski and Gerhard Scheumann, &ldquo;two of the most clever political propagandists of our time&rdquo; (Amos Vogel, writing in 1974). 100 is a sobering illustration of the legend that American soldiers who used the term &ldquo;Vietnamese,&rdquo; instead of referring to their opponents as &ldquo;animals,&rdquo; were forced to do one hundred push-ups.<br /><br />Peter Ulbrich WHERE ONCE SAT KINGS / WO EINST K&Ouml;NIGE SASSEN (1957, 9 min, 35mm. In German with projected English subtitles. Archival print courtesy of the Bundesarchiv.)<br />Peter Ulbrich THE FISHERMEN FROM VINH-MOC / DIE FISCHER VON VINH-MOC (1958, 17 min, 35mm. In German with projected English subtitles. Archival print courtesy of the Bundesarchiv.)<br />Peter Ulbrich THINK OF MY COUNTRY / DENKT AN MEIN LAND (1966, 19 min, 35mm, b&amp;w. In German with projected English subtitles. Archival print courtesy of the Deutsche Kinemathek.)<br />Walter Heynowski &amp; Gerhard Scheumann 100 (1971, 6 min, 35mm. No dialogue. Archival print courtesy of the Deutsche Kinemathek.)<br /><br />Total running time: ca. 55 min.</p> Sunday, October 09 THE ADDICTION http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55154 <p>Amid the fangs and crucifixes that began to proliferate in mid-1990s American cinema, Abel Ferrara turned to the genre for THE ADDICTION, a distinctly personal take on creatures of the night. Philosophy student Kathleen (Lili Taylor) is dragged into an alleyway on her way home from class by Casanova (Annabella Sciorra) and bitten on the neck. She quickly falls ill but realizes this isn&rsquo;t any ordinary disease when she develops an aversion to daylight and a thirst for human blood. Having made a big-budget foray into science fiction two years earlier with BODY SNATCHERS, Ferrara&rsquo;s approach to the vampire movie is in a lower key. Shot on the streets of New York, like so many of his major works, and beautifully filmed in black and white, THE ADDICTION sees the filmmaker working on his own terms and at his very best: raw, shocking, intense, intelligent, and masterful.<br /><br />&ldquo;A black-and-white, Lower Manhattan-set, revisionist vampire saga, Abel Ferrara&rsquo;s rap-scored, sumptuously shot, sin-obsessed opus establishes an acute, at times lacerating, tension between visual pleasure and narrative scuzz. The movie ponders the mystery of existence by reveling in splatterific materialism &ndash; noisy ERs and bloody bandages, the messy minutiae of urban vampirism.&rdquo; &ndash;J. Hoberman, THE VILLAGE VOICE<br /><br />&ldquo;A quivering nexus of AIDS allegory, identity crisis, historical unease, and socio-economic panic.&rdquo; &ndash;SLANT MAGAZINE</p> Sunday, October 09 ENEMY IMAGES, PROG. 2: IN THE YEAR OF THE PIG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55119 <p>Emile de Antonio<br />IN THE YEAR OF THE PIG<br />1968, 104 min, 35mm, b&amp;w<br />&ldquo;IN THE YEAR OF THE PIG is an assemblage of news footage and interviews that presents an overview of the Vietnam War; Ho Chi Minh is the hero, and the theme is not, as might be expected, the tragic destruction of Vietnam but the triumph of Vietnam over the American colossus.&rdquo; &ndash;Pauline Kael, THE NEW YORKER<br /><br />&ldquo;IN THE YEAR OF THE PIG was/is an organizing weapon, a collage/history of the people&rsquo;s struggle in Vietnam. That collage was made with the help of the DRV [Democratic Republic of Vietnam], the NLF [National Liberation Front], French Marxists, film and television friends of the Czech Democratic Republic, the German Democratic Republic, U.S. deserters, antiwar veterans, and the antiwar movement itself. It was made when the Movement was young, large, high on struggle and emotion, and without knowledge of what had happened in Vietnam, when it happened and why.&rdquo; &ndash;Emile de Antonio, responding in 1983 to Bill Nichols&rsquo;s description of IN THE YEAR OF THE PIG as a typical example of a &ldquo;left-liberal film&rdquo;<br /><br />When Emile de Antonio set out to collect archival footage for IN THE YEAR OF THE PIG, his already existing relations to East German film institutions became instrumental. The prestigious Documentary Film Festival in Leipzig &ndash; where de Antonio had presented his earlier films, POINT OF ORDER (1964) and RUSH TO JUDGMENT (1966), and where IN THE YEAR OF THE PIG would pick up a Silver Dove Award in 1968 &ndash; helped him contact North Vietnamese representatives, and the East German State Film Archive invited him to search their collection for useful footage. It was probably during his archive visit in East Berlin in 1967 that de Antonio met Peter Ulbrich. Their starkly different cinematic styles and situations in life notwithstanding, the two filmmakers maintained a regular correspondence that lasted until a few months before de Antonio passed away in 1989. In one of his last letters to Ulbrich, de Antonio proposed co-directing a film on Hansjoachim Tiedge, a famous West German double agent seeking refuge in the GDR in 1985.</p> Sunday, October 09 THE LOVELESS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55145 <p>The feature debut of both its directors and its star, Willem Dafoe, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl&rsquo;s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />&ldquo;Bigelow&rsquo;s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre&rsquo;s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow&rsquo;s training in painting and experimental cinema informs the film&rsquo;s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue &ndash; not to mention the evocation of Kenneth Anger&rsquo;s SCORPIO RISING in the camera&rsquo;s close attention to the bikers&rsquo; gleaming chrome and leather.&rdquo; &ndash;HARVARD FILM ARCHIVE</p> Sunday, October 09 FLAHERTY NYC, PROG. 1: let me introduce myself http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55207 <p>In a personal practice of honesty around the perspective of those who are framing our experiences, asinnajaq begins this month-long screening series with an introduction. This program includes films by asinnajaq as well as her father, Jobie Weetaluktuk.<br /><br />Jobie Weetaluktuk INUKSHOP (2009, 2 min, digital)<br />asinnajaq THREE THOUSAND (2017, 14 min, digital)<br />Jobie Weetaluktuk UMIAQ SKIN BOAT (2008, 31 min, Betacam-to-digital)<br /><br />Total running time: ca. 50 min.<br /><br /><strong>With Jobie Weetaluktuk in person. Additional guests TBA. Moderated by asinnajaq, filmmaker and curator.</strong></p> Monday, October 10 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55263 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Tuesday, October 11 GOODBYE TO CALI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55178 <p>(ADI&Oacute;S A CALI)<br /><br />&ldquo;This two-chapter documentary series made for regional TV is made up of a crucial moment in Cali and Ospina&rsquo;s relationship with his hometown: a crossroads where the rupture with the big city of his youth becomes inevitable and painful. The first part, &ldquo;Cali plano X plano&rdquo; (&ldquo;Cali Frame by Frame&rdquo;), is a counterpoint of image and sound on the destruction of architectural heritage. The second, &ldquo;Adi&oacute;s a Cali / &iexcl;Ah, diosa Kali!&rdquo; (&ldquo;Goodbye to Cali / Oh, Goddess Kali&rdquo;), brings together opposing testimonies of local artists who have discussed the topic of the city and the demolishers that have been striving to destroy it.&rdquo; &ndash;CARTAGENA DE INDIAS INTERNATIONAL FILM FESTIVAL (FICCI)</p> Tuesday, October 11 KHRUSTALYOV, MY CAR! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55160 <p>REVIVAL ENGAGEMENT!<br /><br />(KHRUSTALYOV, MASHINU!)<br /><br />Titled after the apocryphal exclamation of Soviet security chief Lavrentiy Beria as he rushed to Stalin&rsquo;s deathbed, this blackly funny, deliriously immersive satire distills the anticipation and anxiety in the Moscow air, as the Soviet despot lay dying. In the late winter of 1953, the lives of nearly half the planet are in Stalin&rsquo;s hands. A military surgeon, General Yuri Georgievich Klensky, finds himself a target of the &ldquo;Doctors&rsquo; Plot&rdquo;: the anti-Semitic conspiracy accusing Jewish doctors in Moscow of planning to assassinate the Soviet elite. Pursued, abused, and marked for the gulags, Yuri is chased and dragged through a Stalinist Soviet nightmare. His desperate, jolting journey encapsulates the madness of the era. Directed by Aleksei German (HARD TO BE A GOD), KHRUSTALYOV, MY CAR! proved wildly provocative when it was screened at the 1998 Cannes Film Festival, despite being championed as the best film of the festival by that year&rsquo;s jury president, Martin Scorsese.<br /><br />​​&ldquo;One of the most disturbing Russian films of all time, KHRUSTALYOV, MY CAR! provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded Moscow during the final days of Stalin&rsquo;s regime. Seven years in the making, Aleksei German&rsquo;s angry masterpiece is an extraordinary example of cinematic modernism and a visceral interrogation of the calamity of the Stalinist era. [...] Loosely adapted by German and his wife Svetlana Karmalita from the dissident poet Joseph Brodsky&rsquo;s story &lsquo;In a Room and a Half&rsquo;, KHRUSTALYOV is partly founded in history but largely based on the filmmaker&rsquo;s memory of growing up. The plot is not difficult to follow, but the meaning and significance is overwhelming and elusive due to the film&rsquo;s fragmentary visual logic and maddening detail, incongruous connections and hysterical tone. The viewer is purposefully disorientated while following fragments and dead-ends at a dizzying speed and through mumbled snatches of dialogue. As if in a nightmare, there is no clear sense of what is going on; whose perspective we are viewing the action from and how it all fits together.&rdquo; &ndash;Greg Dolgopolov, SENSES OF CINEMA</p> Tuesday, October 11 AT YOUR FEET / AT YOUR HEAD / AT YOUR SERVICE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55181 <p>AT YOUR FEET / AL PIE (1991, 26 min, digital)<br />A film about shoeshiners in the streets of Cali. A pure piece of direct cinema in the first installment of the crafts trilogy.<br /><br />AT YOUR HEAD / AL PELO (1991, 26 min, digital)<br />Hairdressers in Cali discuss life, work, dreams, beauty, fashion, and homosexuality. The filmmaker is having a haircut too. Second installment of the crafts trilogy.<br /><br />AT YOUR SERVICE / A LA CARRERA (1991, 26 min, digital)<br />The taxi drivers of Cali, both those working the day shift and those working the night shift, talk about work, customers, and violence, revealing their vision of the city, real or fantasized. Third installment of the crafts trilogy.</p> Tuesday, October 11 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55264 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Wednesday, October 12 OUR FILM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55184 <p>(NUESTRA PEL&Iacute;CULA)<br /><br />Before his imminent death from AIDS, Colombian artist Lorenzo Jaramillo looks back over his life through the prism of the five senses. Like Wim Wenders in LIGHTNING OVER WATER, Ospina films his friend while speaking with passion about painting, cinema, and many other topics. OUR FILM is a moving portrait of a brilliant mind.<br /><br /></p> Wednesday, October 12 KHRUSTALYOV, MY CAR! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55161 <p>REVIVAL ENGAGEMENT!<br /><br />(KHRUSTALYOV, MASHINU!)<br /><br />Titled after the apocryphal exclamation of Soviet security chief Lavrentiy Beria as he rushed to Stalin&rsquo;s deathbed, this blackly funny, deliriously immersive satire distills the anticipation and anxiety in the Moscow air, as the Soviet despot lay dying. In the late winter of 1953, the lives of nearly half the planet are in Stalin&rsquo;s hands. A military surgeon, General Yuri Georgievich Klensky, finds himself a target of the &ldquo;Doctors&rsquo; Plot&rdquo;: the anti-Semitic conspiracy accusing Jewish doctors in Moscow of planning to assassinate the Soviet elite. Pursued, abused, and marked for the gulags, Yuri is chased and dragged through a Stalinist Soviet nightmare. His desperate, jolting journey encapsulates the madness of the era. Directed by Aleksei German (HARD TO BE A GOD), KHRUSTALYOV, MY CAR! proved wildly provocative when it was screened at the 1998 Cannes Film Festival, despite being championed as the best film of the festival by that year&rsquo;s jury president, Martin Scorsese.<br /><br />​​&ldquo;One of the most disturbing Russian films of all time, KHRUSTALYOV, MY CAR! provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded Moscow during the final days of Stalin&rsquo;s regime. Seven years in the making, Aleksei German&rsquo;s angry masterpiece is an extraordinary example of cinematic modernism and a visceral interrogation of the calamity of the Stalinist era. [...] Loosely adapted by German and his wife Svetlana Karmalita from the dissident poet Joseph Brodsky&rsquo;s story &lsquo;In a Room and a Half&rsquo;, KHRUSTALYOV is partly founded in history but largely based on the filmmaker&rsquo;s memory of growing up. The plot is not difficult to follow, but the meaning and significance is overwhelming and elusive due to the film&rsquo;s fragmentary visual logic and maddening detail, incongruous connections and hysterical tone. The viewer is purposefully disorientated while following fragments and dead-ends at a dizzying speed and through mumbled snatches of dialogue. As if in a nightmare, there is no clear sense of what is going on; whose perspective we are viewing the action from and how it all fits together.&rdquo; &ndash;Greg Dolgopolov, SENSES OF CINEMA</p> Wednesday, October 12 THE SUPREME UNEASINESS: INCESSANT PORTRAIT OF FERNANDO VALLEJO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55187 <p>(LA DESAZ&Oacute;N SUPREMA: RETRATO INCESANTE DE FERNANDO VALLEJO)<br /><br />Freely expressing his loves and hates, controversial Colombian writer Fernando Vallejo (living in Mexico) breaks with an ingrained literary tradition: that of the omniscient writer who sees and knows everything. The film covers not only his literary output but also his many other interests: cinema, music, science, and politics. Made with the full support and participation of the author, it provides a portrait of one of the finest of Spanish-language writers.</p> Wednesday, October 12 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55265 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Thursday, October 13 A PAPER TIGER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55190 <p>(UN TIGRE DE PAPEL)<br /><br />The life of Pedro Manrique Figueroa, a pioneer of collage in Colombia, is like an adventure novel that is both incomplete and contradictory. Taking his life and work as a pretext, this mockumentary takes the viewer on a journey through history from the year 1934 up until 1981, when the artist mysteriously disappeared from view. A PAPER TIGER is itself a collage, where art and politics rub shoulders, and where truth and lies are placed side by side.</p> Thursday, October 13 KHRUSTALYOV, MY CAR! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55162 <p>REVIVAL ENGAGEMENT!<br /><br />(KHRUSTALYOV, MASHINU!)<br /><br />Titled after the apocryphal exclamation of Soviet security chief Lavrentiy Beria as he rushed to Stalin&rsquo;s deathbed, this blackly funny, deliriously immersive satire distills the anticipation and anxiety in the Moscow air, as the Soviet despot lay dying. In the late winter of 1953, the lives of nearly half the planet are in Stalin&rsquo;s hands. A military surgeon, General Yuri Georgievich Klensky, finds himself a target of the &ldquo;Doctors&rsquo; Plot&rdquo;: the anti-Semitic conspiracy accusing Jewish doctors in Moscow of planning to assassinate the Soviet elite. Pursued, abused, and marked for the gulags, Yuri is chased and dragged through a Stalinist Soviet nightmare. His desperate, jolting journey encapsulates the madness of the era. Directed by Aleksei German (HARD TO BE A GOD), KHRUSTALYOV, MY CAR! proved wildly provocative when it was screened at the 1998 Cannes Film Festival, despite being championed as the best film of the festival by that year&rsquo;s jury president, Martin Scorsese.<br /><br />​​&ldquo;One of the most disturbing Russian films of all time, KHRUSTALYOV, MY CAR! provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded Moscow during the final days of Stalin&rsquo;s regime. Seven years in the making, Aleksei German&rsquo;s angry masterpiece is an extraordinary example of cinematic modernism and a visceral interrogation of the calamity of the Stalinist era. [...] Loosely adapted by German and his wife Svetlana Karmalita from the dissident poet Joseph Brodsky&rsquo;s story &lsquo;In a Room and a Half&rsquo;, KHRUSTALYOV is partly founded in history but largely based on the filmmaker&rsquo;s memory of growing up. The plot is not difficult to follow, but the meaning and significance is overwhelming and elusive due to the film&rsquo;s fragmentary visual logic and maddening detail, incongruous connections and hysterical tone. The viewer is purposefully disorientated while following fragments and dead-ends at a dizzying speed and through mumbled snatches of dialogue. As if in a nightmare, there is no clear sense of what is going on; whose perspective we are viewing the action from and how it all fits together.&rdquo; &ndash;Greg Dolgopolov, SENSES OF CINEMA</p> Thursday, October 13 GOODBYE TO CALI http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55179 <p>(ADI&Oacute;S A CALI)<br /><br />&ldquo;This two-chapter documentary series made for regional TV is made up of a crucial moment in Cali and Ospina&rsquo;s relationship with his hometown: a crossroads where the rupture with the big city of his youth becomes inevitable and painful. The first part, &ldquo;Cali plano X plano&rdquo; (&ldquo;Cali Frame by Frame&rdquo;), is a counterpoint of image and sound on the destruction of architectural heritage. The second, &ldquo;Adi&oacute;s a Cali / &iexcl;Ah, diosa Kali!&rdquo; (&ldquo;Goodbye to Cali / Oh, Goddess Kali&rdquo;), brings together opposing testimonies of local artists who have discussed the topic of the city and the demolishers that have been striving to destroy it.&rdquo; &ndash;CARTAGENA DE INDIAS INTERNATIONAL FILM FESTIVAL (FICCI)</p> Thursday, October 13 BALLOONS UMBRELLAS & SNOW http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55266 <p>Baxter St is proud to present <em>Balloons Umbrellas &amp; Snow</em>, a solo show of lens-based work by the New York-based artist Matthew Placek. Taking place concurrently at Baxter St&rsquo;s gallery at 126 Baxter Street and at Anthology Film Archives, this exhibition draws from a growing archive of 35mm film photographs taken by Placek over the past three decades. <em>Balloons Umbrellas &amp; Snow</em> consists of a selection of photographs from his archive installed at Baxter St, and the first public presentation of Placek&rsquo;s ongoing eponymous video work on view at Anthology Film Archives. Conceived to be experienced in tandem, the multi-site exhibition continues Placek&rsquo;s ongoing exploration of memory as well his commitment to capturing presence, in particular the places and people in his community and the relationships between them across time.<br /><br />The exhibition will be on view both at Baxter St. (126 Baxter Street, NYC) and at Anthology Film Archives, where it will be viewable through October 15, from noon to 5pm, Tuesday through Saturday (with extended hours on September 7 and September 15 until 8pm).<br /><br /><em>Balloons Umbrellas &amp; Snow</em> is presented by Baxter St. at CCNY and made possible with support from the Rockefeller Brothers Fund.<br /><br />ABOUT MATTHEW PLACEK<br />Born in Ohio, Matthew Placek relocated to New York City in 1997 to pursue his interests in photography, video, and installation. His commitment to capturing presence, whether as a sense of place, the passage of time, and/or the relationships between people, has led to his multimedia output. Placek&rsquo;s practice is durational and also engaged with the archive. Of primary concern to Placek is negotiating uninterrupted concentration from both his viewers and subjects, which he does through expanding the formal and conceptual notions of portraiture. As our attention spans diminish due to the spatio-temporal dislocations of our era, the frenzied use of cell phones and social media, he aims to cultivate a moment with the sitter that lasts longer than a glance and can generate immersive and resonant experiences.<br /><br />Placek has collaborated with notable contemporary artists such as Marina Abramovic, Julian Schnabel, David Salle, Vanessa Beecroft, Richard Prince, Brice Marden, Cindy Sherman, James Ivory, and Yoko Ono. His individual and collaborative work has been exhibited at The Museum of Modern Art, New York, The Kitchen, Deitch Projects, Mary Boone Gallery, Galleria Lia Rumma, the Sundance Film Festival&rsquo;s &ldquo;New Frontier,&rdquo; The Toronto International Film Festival, The Stockholm International Film Festival, The National Young Arts Foundation and the National Monument Fort Jay at Governors Island. He has been awarded grants from The National Young Arts Foundation and the Rockefeller Brothers Fund. His residencies include The Pocantico Center at the Rockefeller estate and Marfa, Texas.<br /><br /><a href="https://www.baxterst.org/">For more info about Baxter St., click here.</a></p> Friday, October 14 PURE BLOOD / PURA SANGRE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55173 <p>&ldquo;A key work of what Carlos Mayolo described as &lsquo;G&oacute;tico tropical&rsquo; (Tropical Gothic) cinema, PURE BLOOD marks a development in the work of the Grupo de Cali filmmakers following the suicide of Andr&eacute;s Caicedo in 1977. Shifting from documentary works to experiment with narrative feature films, Ospina created a unique hybrid that mixes genre conventions with intellectual parody. PURE BLOOD is a biting satire on Colombian landowners, social divisions and the vampirism at the heart of capitalism in Latin America. Inspired by a story from Ospina&rsquo;s youth, the film follows the &lsquo;Monster of the Valley&rsquo;, an urban legend of a figure who prayed on the bodies and blood of young men. The film centers on a bedridden sugar tycoon who communicates with the outside world by closed circuit TV and is kept alive by blood transfusions.&rdquo; &ndash;TATE MODERN</p> Friday, October 14 KHRUSTALYOV, MY CAR! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55163 <p>REVIVAL ENGAGEMENT!<br /><br />(KHRUSTALYOV, MASHINU!)<br /><br />Titled after the apocryphal exclamation of Soviet security chief Lavrentiy Beria as he rushed to Stalin&rsquo;s deathbed, this blackly funny, deliriously immersive satire distills the anticipation and anxiety in the Moscow air, as the Soviet despot lay dying. In the late winter of 1953, the lives of nearly half the planet are in Stalin&rsquo;s hands. A military surgeon, General Yuri Georgievich Klensky, finds himself a target of the &ldquo;Doctors&rsquo; Plot&rdquo;: the anti-Semitic conspiracy accusing Jewish doctors in Moscow of planning to assassinate the Soviet elite. Pursued, abused, and marked for the gulags, Yuri is chased and dragged through a Stalinist Soviet nightmare. His desperate, jolting journey encapsulates the madness of the era. Directed by Aleksei German (HARD TO BE A GOD), KHRUSTALYOV, MY CAR! proved wildly provocative when it was screened at the 1998 Cannes Film Festival, despite being championed as the best film of the festival by that year&rsquo;s jury president, Martin Scorsese.<br /><br />​​&ldquo;One of the most disturbing Russian films of all time, KHRUSTALYOV, MY CAR! provides the audience with a firsthand experience of the madness, paranoia and absurdity that pervaded Moscow during the final days of Stalin&rsquo;s regime. Seven years in the making, Aleksei German&rsquo;s angry masterpiece is an extraordinary example of cinematic modernism and a visceral interrogation of the calamity of the Stalinist era. [...] Loosely adapted by German and his wife Svetlana Karmalita from the dissident poet Joseph Brodsky&rsquo;s story &lsquo;In a Room and a Half&rsquo;, KHRUSTALYOV is partly founded in history but largely based on the filmmaker&rsquo;s memory of growing up. The plot is not difficult to follow, but the meaning and significance is overwhelming and elusive due to the film&rsquo;s fragmentary visual logic and maddening detail, incongruous connections and hysterical tone. The viewer is purposefully disorientated while following fragments and dead-ends at a dizzying speed and through mumbled snatches of dialogue. As if in a nightmare, there is no clear sense of what is going on; whose perspective we are viewing the action from and how it all fits together.&rdquo; &ndash;Greg Dolgopolov, SENSES OF CINEMA</p> Friday, October 14 OUR FILM http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2022#showing-55185 <p>(NUESTRA PEL&Iacute;CULA)<br /><br />Before his imminent death from AIDS, Colombian artist Lorenzo Jaramillo looks back over his life through the prism of the five senses. Like Wim Wenders in LIGHTNING OVER WATER, Ospina films his friend while speaking with passion about painting, cinema, and many other topics. OUR FILM is a moving portrait of a brilliant mind.<br /><br /></p> Friday, October 14