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, 28 Nov 2020 12:22:23 -0500 HAM ON RYE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52954 <p><strong><br />VIRTUAL THEATRICAL PREMIERE RUN! - ends Tues, Dec 1</strong><br />Tyler Taormina<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase"><strong>HAM ON RYE</strong></a><br />2019, 85 min, digital. Distributed by Factory 25; special thanks to Matt Grady.<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a>, a coming-of-age comedy centered on the nervous excitement of youth and the strange horror of entering adulthood, boasts an expansive ensemble of over one hundred performers, including non-actors, musicians, 90s Nickelodeon child stars, and more, to explore a suburban community&rsquo;s relationship with a prom-like ritual and the decay of the human spirit. It begins with the crowd-pleasing spirit of a John Hughes movie and fades slowly into an off-kilter dystopia with the energy of DAZED AND CONFUSED.</p> <p>&ldquo;Part coming-of-age film, part suburban fever dream, HAM ON RYE is a charming and pleasantly strange amalgam of half-forgotten childhood memories. Reflecting an adolescence spent immersed in 1990s TV culture and a more recent engagement with the international art-house pantheon, Taormina&rsquo;s shape-shifting debut performs a clever sleight of hand, coming on like a slightly surreal teen comedy in the vein of early Richard Linklater before segueing into something far stranger. [&hellip;] Taormina, working with co-writer Eric Berger, displays a keen understanding of this milieu, drawing on his own experiences growing up in Long Island, as well as his background in music (he currently fronts the Los Angeles indie rock band Cloud) and developing kids&rsquo; television shows. Those two very different interests inform the 28-year-old filmmaker&rsquo;s first feature in unique ways and help it stand apart from the typical teen angst parable.&rdquo; &ndash;Jordan Cronk, FILM COMMENT</p> <p>&ldquo;[In HAM ON RYE], things get strange, with an element that may or may not be science-fictional, a sidelong glance at the town&rsquo;s class politics, and a vision of desolation and loneliness, of a quiet headlong leap into the void of the future, that&hellip;has the uncanny echo of a disturbing real-life dream.&rdquo; &ndash;Richard Brody, NEW YORKER</p> <p><strong><br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a> is available <a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">here</a>, through Tuesday, December 1, for a streaming rental fee of $10.</strong></p> <p><strong><strong>The streaming rental also includes access to two pre-recorded Q&amp;As with director Tyler Taormina, one moderated by actor Michael Cera (and including co-writer Eric Berger), the other by filmmaker Dustin Guy Defa.</strong></strong></p> Saturday, November 28 NATIONTIME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52961 <p><em><strong>Virtual theatrical engagement!</strong></em><br /><br />William Greaves<br /><a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives"><strong>NATIONTIME</strong></a><br />1973, 80 min, 16mm-to-digital<br />Filmmaker William Greaves (1926-2014) is best known for his avant-garde meta-documentary SYMBIOPSYCHOTAXIPLASM (1968), but his extraordinary career encompassed over 100 documentary films, the majority focused on African-American history, politics, and culture. One of the major rediscoveries of the past several years, Greaves&rsquo;s 1973 film <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> is a report on the National Black Political Convention held in Gary, Indiana, in 1972. This historic event gathered black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Dr. Betty Shabazz, Richard Hatcher, Amiri Baraka, Charles Diggs, Isaac Hayes, Richard Roundtree, and H. Carl McCall. Narrated by Sidney Poitier and Harry Belafonte, the film was considered too militant for television broadcast at the time and has since circulated only in an edited 58-minute version (under the title NATIONTIME &ndash; GARY). This new 4K restoration from IndieCollect, with funding from Jane Fonda and the Hollywood Foreign Press Association, returns the film to its original 80-minute length and visual quality. NATIONTIME is at once a stirring record of this particular event, an invaluable document of some of the greatest political and cultural figures of the era, and a fascinating depiction of the nuts and bolts of the political process.<br /><br />&ldquo;When black politicians, activists, and artists gathered in Gary, Indiana, for the 1972 National Black Political Convention, the filmmaker William Greaves documented the event. The resulting film buzzes with the long-term historical power of the occasion, and notes the divisions that the organizers struggled to overcome. [&hellip;] Shifting attention between the leaders on the podium and the participants in their seats, and showing the corridors where activists work separately, Greaves contrasts the Convention&rsquo;s practical conflicts with the overwhelming energy that its leaders embody and unleash; the two elements are interwoven on the soundtrack, which features Sidney Poitier reading Greaves&rsquo;s analytical commentary and Harry Belafonte reciting poetry by Baraka and Langston Hughes.&rdquo; &ndash;Richard Brody, THE NEW YORKER<br /><br /><strong>To purchase a streaming rental of <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> - with 50% of the box office benefiting Anthology Film Archives - click <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">here</a>. Please note: Anthology's virtual theatrical engagement is only accessible for those within a 75-mile radius of the theater. If you're further afield, go to the <a href="https://kinomarquee.com/">Kino Marquee website</a> to see if a cinema in your area is presenting a virtual engagement.</strong><br /><br /><br /></p> Saturday, November 28 KILL IT AND LEAVE THIS TOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52881 <p><strong>Virtual theatrical engagement begins Nov 25! Now available for pre-orders <a href="https://vimeo.com/ondemand/killitandleavethistown">here</a>. To watch the trailer, click <a href="https://youtu.be/YXcmhG2eks4">here</a>.<br /></strong></p> <p>Mariusz Wilczyński<br /><a href="https://vimeo.com/ondemand/killitandleavethistown"><strong>KILL IT AND LEAVE THIS TOWN</strong></a><br />2020, 88 min, digital. In Polish with English subtitles. Distributed by Outsider Pictures.<br />Polish artist Mariusz Wilczyński has been making visually striking, deeply personal short animations, as well as unique live animation performances, for twenty years, a body of work that has won him widespread acclaim in Poland and tributes at institutions around the world, including MoMA, the National Gallery in London, and many others. Fifteen years in the making, KILL IT AND LEAVE THIS TOWN (2020, 88 min) is Wilczyński&rsquo;s first feature-length film. The winner of the Jury Distinction Award at Annecy International Film Festival, the Grand Prize for Feature Animation at the Ottawa International Animation Festival, and a FIPRESCI Award at the 2020 Viennale, it is a hauntingly surreal meditation on aging, mortality, and loss. Adopting an intentionally threadbare visual style that makes visible the traces of its own creation, Wilczyński transmutes heavily autobiographical elements into a radically shape-shifting form in which outer reality and inner consciousness collapse into each other, and in which the laws of time, space, and identity are constantly in flux.</p> <p>KILL IT AND LEAVE THIS TOWN features a voice cast comprising established Polish actors Krystyna Janda (DECALOGUE, A SHORT FILM ABOUT KILLING), Andrzej Chyra (UNITED STATES OF LOVE), and Maja Ostaszewska (THE PIANIST, SCHINDLER&rsquo;S LIST), filmmakers Andrzej Wajda and Zbigniew Rybczyński, and avant-garde jazz musician Tomasz Stańko, as well as a score by renowned Polish composer and musician Tadeusz Nalepa.</p> <p>Co-presented with the Polish Cultural Institute New York, and representing its North American premiere run, this special two-week virtual engagement of KILL IT AND LEAVE THIS TOWN will be supplemented by a program of Wilczyński&rsquo;s earlier short films.</p> <p>&ldquo;Occupying a conceptual space several universes away from (or perhaps, given its intensely personal nature, deeply nested inside) whatever it is we recognize as &lsquo;reality,&rsquo; the scratchy, hand-drawn interior epic&hellip;rewards with one of the most nightmarishly original dystopian visions you are likely to encounter this year.&rdquo; &ndash;Jessica Kiang, VARIETY</p> <p>&ldquo;This is not animation which is there to exalt, or soothe, or celebrate human loveliness: it is animation which takes a fiercely miserable satirical stab at the world and itself, a language which is unreconciled, unaccommodated. [&hellip;] Here is the Neue Sachlichkeit reborn; yet the realism is overwritten by something hallucinatory and nihilistic, but also funny in a bleak Beckettian sort of way. You can watch this film often without being quite sure what is happening or who exactly the various figures are: it is a kind of sleep-talking cinema, a cinema which splurges up scrambled messages from the unconscious, which have their own dark mysterious poetry.&rdquo; &ndash;Peter Bradshaw, THE GUARDIAN</p> <p><strong><a href="https://vimeo.com/ondemand/killitandleavethistown">KILL IT AND LEAVE THIS TOWN</a> will be available starting Wednesday, November 25, for a streaming rental price of $12 (meanwhile, it's available for pre-order now). Discounted prices will be offered for AFA Members ($6) and Polish Cultural Institute New York subscribers ($8). </strong><strong>Discount codes: AFA Members, please email hannah@anthologyfilmarchives.org; Polish Cultural Institute New York subscribers, please email nyc.office@instytutpolski.org.</strong> <br /><br />Purchasing a streaming rental of the feature film will also grant access to the following short films:</p> <p>ALLEGRO MA NON TROPPO (1998, 3 min)<br />TIMES HAVE PASSED / CZASY PRZESZŁY (1998, 3.5 min)<br />CHOP, CHOP, CHOP, CHOPIN&hellip; / SZOP, SZOP, SZOP, SZOPĘ&hellip; (1999, 13 min)<br />FROM THE GREEN HILL (1999, 6 min)<br />FOR MY MOTHER AND ME / MOJEJ MAMIE I SOBIE (2000, 2.5 min)<br />IN THE STILLNESS OF THE NIGHT / WŚR&Oacute;D NOCNEJ CISZY (2000, 2.5 min)<br />DEATH TO FIVE / SMIERĆ NA 5 (2002, 4 min)<br />UNFORTUNATELY / NIESTETY (2004, 13 min)<br />KIZI MIZI (2007, 20 min)</p> <p>Total running time: ca. 75 min.</p> <p><strong>On Thursday, December 3 at 4pm EST, Mariusz Wilczyński will take part in a live Zoom Q&amp;A, moderated by Chris Robinson, Artistic Director of the Ottawa International Animation Festival. Click <a href="../../../film_screenings/calendar?view=list&amp;month=12&amp;year=2020#showing-52893">here</a> for the access details.<br /></strong></p> Saturday, November 28 HAM ON RYE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52955 <p><strong><br />VIRTUAL THEATRICAL PREMIERE RUN! - ends Tues, Dec 1</strong><br />Tyler Taormina<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase"><strong>HAM ON RYE</strong></a><br />2019, 85 min, digital. Distributed by Factory 25; special thanks to Matt Grady.<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a>, a coming-of-age comedy centered on the nervous excitement of youth and the strange horror of entering adulthood, boasts an expansive ensemble of over one hundred performers, including non-actors, musicians, 90s Nickelodeon child stars, and more, to explore a suburban community&rsquo;s relationship with a prom-like ritual and the decay of the human spirit. It begins with the crowd-pleasing spirit of a John Hughes movie and fades slowly into an off-kilter dystopia with the energy of DAZED AND CONFUSED.</p> <p>&ldquo;Part coming-of-age film, part suburban fever dream, HAM ON RYE is a charming and pleasantly strange amalgam of half-forgotten childhood memories. Reflecting an adolescence spent immersed in 1990s TV culture and a more recent engagement with the international art-house pantheon, Taormina&rsquo;s shape-shifting debut performs a clever sleight of hand, coming on like a slightly surreal teen comedy in the vein of early Richard Linklater before segueing into something far stranger. [&hellip;] Taormina, working with co-writer Eric Berger, displays a keen understanding of this milieu, drawing on his own experiences growing up in Long Island, as well as his background in music (he currently fronts the Los Angeles indie rock band Cloud) and developing kids&rsquo; television shows. Those two very different interests inform the 28-year-old filmmaker&rsquo;s first feature in unique ways and help it stand apart from the typical teen angst parable.&rdquo; &ndash;Jordan Cronk, FILM COMMENT</p> <p>&ldquo;[In HAM ON RYE], things get strange, with an element that may or may not be science-fictional, a sidelong glance at the town&rsquo;s class politics, and a vision of desolation and loneliness, of a quiet headlong leap into the void of the future, that&hellip;has the uncanny echo of a disturbing real-life dream.&rdquo; &ndash;Richard Brody, NEW YORKER</p> <p><strong><br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a> is available <a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">here</a>, through Tuesday, December 1, for a streaming rental fee of $10.</strong></p> <p><strong><strong>The streaming rental also includes access to two pre-recorded Q&amp;As with director Tyler Taormina, one moderated by actor Michael Cera (and including co-writer Eric Berger), the other by filmmaker Dustin Guy Defa.</strong></strong></p> Sunday, November 29 NATIONTIME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52962 <p><em><strong>Virtual theatrical engagement!</strong></em><br /><br />William Greaves<br /><a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives"><strong>NATIONTIME</strong></a><br />1973, 80 min, 16mm-to-digital<br />Filmmaker William Greaves (1926-2014) is best known for his avant-garde meta-documentary SYMBIOPSYCHOTAXIPLASM (1968), but his extraordinary career encompassed over 100 documentary films, the majority focused on African-American history, politics, and culture. One of the major rediscoveries of the past several years, Greaves&rsquo;s 1973 film <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> is a report on the National Black Political Convention held in Gary, Indiana, in 1972. This historic event gathered black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Dr. Betty Shabazz, Richard Hatcher, Amiri Baraka, Charles Diggs, Isaac Hayes, Richard Roundtree, and H. Carl McCall. Narrated by Sidney Poitier and Harry Belafonte, the film was considered too militant for television broadcast at the time and has since circulated only in an edited 58-minute version (under the title NATIONTIME &ndash; GARY). This new 4K restoration from IndieCollect, with funding from Jane Fonda and the Hollywood Foreign Press Association, returns the film to its original 80-minute length and visual quality. NATIONTIME is at once a stirring record of this particular event, an invaluable document of some of the greatest political and cultural figures of the era, and a fascinating depiction of the nuts and bolts of the political process.<br /><br />&ldquo;When black politicians, activists, and artists gathered in Gary, Indiana, for the 1972 National Black Political Convention, the filmmaker William Greaves documented the event. The resulting film buzzes with the long-term historical power of the occasion, and notes the divisions that the organizers struggled to overcome. [&hellip;] Shifting attention between the leaders on the podium and the participants in their seats, and showing the corridors where activists work separately, Greaves contrasts the Convention&rsquo;s practical conflicts with the overwhelming energy that its leaders embody and unleash; the two elements are interwoven on the soundtrack, which features Sidney Poitier reading Greaves&rsquo;s analytical commentary and Harry Belafonte reciting poetry by Baraka and Langston Hughes.&rdquo; &ndash;Richard Brody, THE NEW YORKER<br /><br /><strong>To purchase a streaming rental of <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> - with 50% of the box office benefiting Anthology Film Archives - click <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">here</a>. Please note: Anthology's virtual theatrical engagement is only accessible for those within a 75-mile radius of the theater. If you're further afield, go to the <a href="https://kinomarquee.com/">Kino Marquee website</a> to see if a cinema in your area is presenting a virtual engagement.</strong><br /><br /><br /></p> Sunday, November 29 KILL IT AND LEAVE THIS TOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52882 <p><strong>Virtual theatrical engagement begins Nov 25! Now available for pre-orders <a href="https://vimeo.com/ondemand/killitandleavethistown">here</a>. To watch the trailer, click <a href="https://youtu.be/YXcmhG2eks4">here</a>.<br /></strong></p> <p>Mariusz Wilczyński<br /><a href="https://vimeo.com/ondemand/killitandleavethistown"><strong>KILL IT AND LEAVE THIS TOWN</strong></a><br />2020, 88 min, digital. In Polish with English subtitles. Distributed by Outsider Pictures.<br />Polish artist Mariusz Wilczyński has been making visually striking, deeply personal short animations, as well as unique live animation performances, for twenty years, a body of work that has won him widespread acclaim in Poland and tributes at institutions around the world, including MoMA, the National Gallery in London, and many others. Fifteen years in the making, KILL IT AND LEAVE THIS TOWN (2020, 88 min) is Wilczyński&rsquo;s first feature-length film. The winner of the Jury Distinction Award at Annecy International Film Festival, the Grand Prize for Feature Animation at the Ottawa International Animation Festival, and a FIPRESCI Award at the 2020 Viennale, it is a hauntingly surreal meditation on aging, mortality, and loss. Adopting an intentionally threadbare visual style that makes visible the traces of its own creation, Wilczyński transmutes heavily autobiographical elements into a radically shape-shifting form in which outer reality and inner consciousness collapse into each other, and in which the laws of time, space, and identity are constantly in flux.</p> <p>KILL IT AND LEAVE THIS TOWN features a voice cast comprising established Polish actors Krystyna Janda (DECALOGUE, A SHORT FILM ABOUT KILLING), Andrzej Chyra (UNITED STATES OF LOVE), and Maja Ostaszewska (THE PIANIST, SCHINDLER&rsquo;S LIST), filmmakers Andrzej Wajda and Zbigniew Rybczyński, and avant-garde jazz musician Tomasz Stańko, as well as a score by renowned Polish composer and musician Tadeusz Nalepa.</p> <p>Co-presented with the Polish Cultural Institute New York, and representing its North American premiere run, this special two-week virtual engagement of KILL IT AND LEAVE THIS TOWN will be supplemented by a program of Wilczyński&rsquo;s earlier short films.</p> <p>&ldquo;Occupying a conceptual space several universes away from (or perhaps, given its intensely personal nature, deeply nested inside) whatever it is we recognize as &lsquo;reality,&rsquo; the scratchy, hand-drawn interior epic&hellip;rewards with one of the most nightmarishly original dystopian visions you are likely to encounter this year.&rdquo; &ndash;Jessica Kiang, VARIETY</p> <p>&ldquo;This is not animation which is there to exalt, or soothe, or celebrate human loveliness: it is animation which takes a fiercely miserable satirical stab at the world and itself, a language which is unreconciled, unaccommodated. [&hellip;] Here is the Neue Sachlichkeit reborn; yet the realism is overwritten by something hallucinatory and nihilistic, but also funny in a bleak Beckettian sort of way. You can watch this film often without being quite sure what is happening or who exactly the various figures are: it is a kind of sleep-talking cinema, a cinema which splurges up scrambled messages from the unconscious, which have their own dark mysterious poetry.&rdquo; &ndash;Peter Bradshaw, THE GUARDIAN</p> <p><strong><a href="https://vimeo.com/ondemand/killitandleavethistown">KILL IT AND LEAVE THIS TOWN</a> will be available starting Wednesday, November 25, for a streaming rental price of $12 (meanwhile, it's available for pre-order now). Discounted prices will be offered for AFA Members ($6) and Polish Cultural Institute New York subscribers ($8). </strong><strong>Discount codes: AFA Members, please email hannah@anthologyfilmarchives.org; Polish Cultural Institute New York subscribers, please email nyc.office@instytutpolski.org.</strong> <br /><br />Purchasing a streaming rental of the feature film will also grant access to the following short films:</p> <p>ALLEGRO MA NON TROPPO (1998, 3 min)<br />TIMES HAVE PASSED / CZASY PRZESZŁY (1998, 3.5 min)<br />CHOP, CHOP, CHOP, CHOPIN&hellip; / SZOP, SZOP, SZOP, SZOPĘ&hellip; (1999, 13 min)<br />FROM THE GREEN HILL (1999, 6 min)<br />FOR MY MOTHER AND ME / MOJEJ MAMIE I SOBIE (2000, 2.5 min)<br />IN THE STILLNESS OF THE NIGHT / WŚR&Oacute;D NOCNEJ CISZY (2000, 2.5 min)<br />DEATH TO FIVE / SMIERĆ NA 5 (2002, 4 min)<br />UNFORTUNATELY / NIESTETY (2004, 13 min)<br />KIZI MIZI (2007, 20 min)</p> <p>Total running time: ca. 75 min.</p> <p><strong>On Thursday, December 3 at 4pm EST, Mariusz Wilczyński will take part in a live Zoom Q&amp;A, moderated by Chris Robinson, Artistic Director of the Ottawa International Animation Festival. Click <a href="../../../film_screenings/calendar?view=list&amp;month=12&amp;year=2020#showing-52893">here</a> for the access details.<br /></strong></p> Sunday, November 29 HAM ON RYE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52956 <p><strong><br />VIRTUAL THEATRICAL PREMIERE RUN! - ends Tues, Dec 1</strong><br />Tyler Taormina<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase"><strong>HAM ON RYE</strong></a><br />2019, 85 min, digital. Distributed by Factory 25; special thanks to Matt Grady.<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a>, a coming-of-age comedy centered on the nervous excitement of youth and the strange horror of entering adulthood, boasts an expansive ensemble of over one hundred performers, including non-actors, musicians, 90s Nickelodeon child stars, and more, to explore a suburban community&rsquo;s relationship with a prom-like ritual and the decay of the human spirit. It begins with the crowd-pleasing spirit of a John Hughes movie and fades slowly into an off-kilter dystopia with the energy of DAZED AND CONFUSED.</p> <p>&ldquo;Part coming-of-age film, part suburban fever dream, HAM ON RYE is a charming and pleasantly strange amalgam of half-forgotten childhood memories. Reflecting an adolescence spent immersed in 1990s TV culture and a more recent engagement with the international art-house pantheon, Taormina&rsquo;s shape-shifting debut performs a clever sleight of hand, coming on like a slightly surreal teen comedy in the vein of early Richard Linklater before segueing into something far stranger. [&hellip;] Taormina, working with co-writer Eric Berger, displays a keen understanding of this milieu, drawing on his own experiences growing up in Long Island, as well as his background in music (he currently fronts the Los Angeles indie rock band Cloud) and developing kids&rsquo; television shows. Those two very different interests inform the 28-year-old filmmaker&rsquo;s first feature in unique ways and help it stand apart from the typical teen angst parable.&rdquo; &ndash;Jordan Cronk, FILM COMMENT</p> <p>&ldquo;[In HAM ON RYE], things get strange, with an element that may or may not be science-fictional, a sidelong glance at the town&rsquo;s class politics, and a vision of desolation and loneliness, of a quiet headlong leap into the void of the future, that&hellip;has the uncanny echo of a disturbing real-life dream.&rdquo; &ndash;Richard Brody, NEW YORKER</p> <p><strong><br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a> is available <a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">here</a>, through Tuesday, December 1, for a streaming rental fee of $10.</strong></p> <p><strong><strong>The streaming rental also includes access to two pre-recorded Q&amp;As with director Tyler Taormina, one moderated by actor Michael Cera (and including co-writer Eric Berger), the other by filmmaker Dustin Guy Defa.</strong></strong></p> Monday, November 30 NATIONTIME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52963 <p><em><strong>Virtual theatrical engagement!</strong></em><br /><br />William Greaves<br /><a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives"><strong>NATIONTIME</strong></a><br />1973, 80 min, 16mm-to-digital<br />Filmmaker William Greaves (1926-2014) is best known for his avant-garde meta-documentary SYMBIOPSYCHOTAXIPLASM (1968), but his extraordinary career encompassed over 100 documentary films, the majority focused on African-American history, politics, and culture. One of the major rediscoveries of the past several years, Greaves&rsquo;s 1973 film <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> is a report on the National Black Political Convention held in Gary, Indiana, in 1972. This historic event gathered black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Dr. Betty Shabazz, Richard Hatcher, Amiri Baraka, Charles Diggs, Isaac Hayes, Richard Roundtree, and H. Carl McCall. Narrated by Sidney Poitier and Harry Belafonte, the film was considered too militant for television broadcast at the time and has since circulated only in an edited 58-minute version (under the title NATIONTIME &ndash; GARY). This new 4K restoration from IndieCollect, with funding from Jane Fonda and the Hollywood Foreign Press Association, returns the film to its original 80-minute length and visual quality. NATIONTIME is at once a stirring record of this particular event, an invaluable document of some of the greatest political and cultural figures of the era, and a fascinating depiction of the nuts and bolts of the political process.<br /><br />&ldquo;When black politicians, activists, and artists gathered in Gary, Indiana, for the 1972 National Black Political Convention, the filmmaker William Greaves documented the event. The resulting film buzzes with the long-term historical power of the occasion, and notes the divisions that the organizers struggled to overcome. [&hellip;] Shifting attention between the leaders on the podium and the participants in their seats, and showing the corridors where activists work separately, Greaves contrasts the Convention&rsquo;s practical conflicts with the overwhelming energy that its leaders embody and unleash; the two elements are interwoven on the soundtrack, which features Sidney Poitier reading Greaves&rsquo;s analytical commentary and Harry Belafonte reciting poetry by Baraka and Langston Hughes.&rdquo; &ndash;Richard Brody, THE NEW YORKER<br /><br /><strong>To purchase a streaming rental of <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> - with 50% of the box office benefiting Anthology Film Archives - click <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">here</a>. Please note: Anthology's virtual theatrical engagement is only accessible for those within a 75-mile radius of the theater. If you're further afield, go to the <a href="https://kinomarquee.com/">Kino Marquee website</a> to see if a cinema in your area is presenting a virtual engagement.</strong><br /><br /><br /></p> Monday, November 30 KILL IT AND LEAVE THIS TOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52883 <p><strong>Virtual theatrical engagement begins Nov 25! Now available for pre-orders <a href="https://vimeo.com/ondemand/killitandleavethistown">here</a>. To watch the trailer, click <a href="https://youtu.be/YXcmhG2eks4">here</a>.<br /></strong></p> <p>Mariusz Wilczyński<br /><a href="https://vimeo.com/ondemand/killitandleavethistown"><strong>KILL IT AND LEAVE THIS TOWN</strong></a><br />2020, 88 min, digital. In Polish with English subtitles. Distributed by Outsider Pictures.<br />Polish artist Mariusz Wilczyński has been making visually striking, deeply personal short animations, as well as unique live animation performances, for twenty years, a body of work that has won him widespread acclaim in Poland and tributes at institutions around the world, including MoMA, the National Gallery in London, and many others. Fifteen years in the making, KILL IT AND LEAVE THIS TOWN (2020, 88 min) is Wilczyński&rsquo;s first feature-length film. The winner of the Jury Distinction Award at Annecy International Film Festival, the Grand Prize for Feature Animation at the Ottawa International Animation Festival, and a FIPRESCI Award at the 2020 Viennale, it is a hauntingly surreal meditation on aging, mortality, and loss. Adopting an intentionally threadbare visual style that makes visible the traces of its own creation, Wilczyński transmutes heavily autobiographical elements into a radically shape-shifting form in which outer reality and inner consciousness collapse into each other, and in which the laws of time, space, and identity are constantly in flux.</p> <p>KILL IT AND LEAVE THIS TOWN features a voice cast comprising established Polish actors Krystyna Janda (DECALOGUE, A SHORT FILM ABOUT KILLING), Andrzej Chyra (UNITED STATES OF LOVE), and Maja Ostaszewska (THE PIANIST, SCHINDLER&rsquo;S LIST), filmmakers Andrzej Wajda and Zbigniew Rybczyński, and avant-garde jazz musician Tomasz Stańko, as well as a score by renowned Polish composer and musician Tadeusz Nalepa.</p> <p>Co-presented with the Polish Cultural Institute New York, and representing its North American premiere run, this special two-week virtual engagement of KILL IT AND LEAVE THIS TOWN will be supplemented by a program of Wilczyński&rsquo;s earlier short films.</p> <p>&ldquo;Occupying a conceptual space several universes away from (or perhaps, given its intensely personal nature, deeply nested inside) whatever it is we recognize as &lsquo;reality,&rsquo; the scratchy, hand-drawn interior epic&hellip;rewards with one of the most nightmarishly original dystopian visions you are likely to encounter this year.&rdquo; &ndash;Jessica Kiang, VARIETY</p> <p>&ldquo;This is not animation which is there to exalt, or soothe, or celebrate human loveliness: it is animation which takes a fiercely miserable satirical stab at the world and itself, a language which is unreconciled, unaccommodated. [&hellip;] Here is the Neue Sachlichkeit reborn; yet the realism is overwritten by something hallucinatory and nihilistic, but also funny in a bleak Beckettian sort of way. You can watch this film often without being quite sure what is happening or who exactly the various figures are: it is a kind of sleep-talking cinema, a cinema which splurges up scrambled messages from the unconscious, which have their own dark mysterious poetry.&rdquo; &ndash;Peter Bradshaw, THE GUARDIAN</p> <p><strong><a href="https://vimeo.com/ondemand/killitandleavethistown">KILL IT AND LEAVE THIS TOWN</a> will be available starting Wednesday, November 25, for a streaming rental price of $12 (meanwhile, it's available for pre-order now). Discounted prices will be offered for AFA Members ($6) and Polish Cultural Institute New York subscribers ($8). </strong><strong>Discount codes: AFA Members, please email hannah@anthologyfilmarchives.org; Polish Cultural Institute New York subscribers, please email nyc.office@instytutpolski.org.</strong> <br /><br />Purchasing a streaming rental of the feature film will also grant access to the following short films:</p> <p>ALLEGRO MA NON TROPPO (1998, 3 min)<br />TIMES HAVE PASSED / CZASY PRZESZŁY (1998, 3.5 min)<br />CHOP, CHOP, CHOP, CHOPIN&hellip; / SZOP, SZOP, SZOP, SZOPĘ&hellip; (1999, 13 min)<br />FROM THE GREEN HILL (1999, 6 min)<br />FOR MY MOTHER AND ME / MOJEJ MAMIE I SOBIE (2000, 2.5 min)<br />IN THE STILLNESS OF THE NIGHT / WŚR&Oacute;D NOCNEJ CISZY (2000, 2.5 min)<br />DEATH TO FIVE / SMIERĆ NA 5 (2002, 4 min)<br />UNFORTUNATELY / NIESTETY (2004, 13 min)<br />KIZI MIZI (2007, 20 min)</p> <p>Total running time: ca. 75 min.</p> <p><strong>On Thursday, December 3 at 4pm EST, Mariusz Wilczyński will take part in a live Zoom Q&amp;A, moderated by Chris Robinson, Artistic Director of the Ottawa International Animation Festival. Click <a href="../../../film_screenings/calendar?view=list&amp;month=12&amp;year=2020#showing-52893">here</a> for the access details.<br /></strong></p> Monday, November 30 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2020#showing-52942 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Monday, November 30 HAM ON RYE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52957 <p><strong><br />VIRTUAL THEATRICAL PREMIERE RUN! - ends Tues, Dec 1</strong><br />Tyler Taormina<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase"><strong>HAM ON RYE</strong></a><br />2019, 85 min, digital. Distributed by Factory 25; special thanks to Matt Grady.<br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a>, a coming-of-age comedy centered on the nervous excitement of youth and the strange horror of entering adulthood, boasts an expansive ensemble of over one hundred performers, including non-actors, musicians, 90s Nickelodeon child stars, and more, to explore a suburban community&rsquo;s relationship with a prom-like ritual and the decay of the human spirit. It begins with the crowd-pleasing spirit of a John Hughes movie and fades slowly into an off-kilter dystopia with the energy of DAZED AND CONFUSED.</p> <p>&ldquo;Part coming-of-age film, part suburban fever dream, HAM ON RYE is a charming and pleasantly strange amalgam of half-forgotten childhood memories. Reflecting an adolescence spent immersed in 1990s TV culture and a more recent engagement with the international art-house pantheon, Taormina&rsquo;s shape-shifting debut performs a clever sleight of hand, coming on like a slightly surreal teen comedy in the vein of early Richard Linklater before segueing into something far stranger. [&hellip;] Taormina, working with co-writer Eric Berger, displays a keen understanding of this milieu, drawing on his own experiences growing up in Long Island, as well as his background in music (he currently fronts the Los Angeles indie rock band Cloud) and developing kids&rsquo; television shows. Those two very different interests inform the 28-year-old filmmaker&rsquo;s first feature in unique ways and help it stand apart from the typical teen angst parable.&rdquo; &ndash;Jordan Cronk, FILM COMMENT</p> <p>&ldquo;[In HAM ON RYE], things get strange, with an element that may or may not be science-fictional, a sidelong glance at the town&rsquo;s class politics, and a vision of desolation and loneliness, of a quiet headlong leap into the void of the future, that&hellip;has the uncanny echo of a disturbing real-life dream.&rdquo; &ndash;Richard Brody, NEW YORKER</p> <p><strong><br /><a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">HAM ON RYE</a> is available <a href="https://factory25.vhx.tv/checkout/anthology-film-archives-presents-ham-on-rye/purchase">here</a>, through Tuesday, December 1, for a streaming rental fee of $10.</strong></p> <p><strong><strong>The streaming rental also includes access to two pre-recorded Q&amp;As with director Tyler Taormina, one moderated by actor Michael Cera (and including co-writer Eric Berger), the other by filmmaker Dustin Guy Defa.</strong></strong></p> Tuesday, December 01 NATIONTIME http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52964 <p><em><strong>Virtual theatrical engagement!</strong></em><br /><br />William Greaves<br /><a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives"><strong>NATIONTIME</strong></a><br />1973, 80 min, 16mm-to-digital<br />Filmmaker William Greaves (1926-2014) is best known for his avant-garde meta-documentary SYMBIOPSYCHOTAXIPLASM (1968), but his extraordinary career encompassed over 100 documentary films, the majority focused on African-American history, politics, and culture. One of the major rediscoveries of the past several years, Greaves&rsquo;s 1973 film <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> is a report on the National Black Political Convention held in Gary, Indiana, in 1972. This historic event gathered black voices from across the political spectrum, among them Jesse Jackson, Dick Gregory, Coretta Scott King, Dr. Betty Shabazz, Richard Hatcher, Amiri Baraka, Charles Diggs, Isaac Hayes, Richard Roundtree, and H. Carl McCall. Narrated by Sidney Poitier and Harry Belafonte, the film was considered too militant for television broadcast at the time and has since circulated only in an edited 58-minute version (under the title NATIONTIME &ndash; GARY). This new 4K restoration from IndieCollect, with funding from Jane Fonda and the Hollywood Foreign Press Association, returns the film to its original 80-minute length and visual quality. NATIONTIME is at once a stirring record of this particular event, an invaluable document of some of the greatest political and cultural figures of the era, and a fascinating depiction of the nuts and bolts of the political process.<br /><br />&ldquo;When black politicians, activists, and artists gathered in Gary, Indiana, for the 1972 National Black Political Convention, the filmmaker William Greaves documented the event. The resulting film buzzes with the long-term historical power of the occasion, and notes the divisions that the organizers struggled to overcome. [&hellip;] Shifting attention between the leaders on the podium and the participants in their seats, and showing the corridors where activists work separately, Greaves contrasts the Convention&rsquo;s practical conflicts with the overwhelming energy that its leaders embody and unleash; the two elements are interwoven on the soundtrack, which features Sidney Poitier reading Greaves&rsquo;s analytical commentary and Harry Belafonte reciting poetry by Baraka and Langston Hughes.&rdquo; &ndash;Richard Brody, THE NEW YORKER<br /><br /><strong>To purchase a streaming rental of <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">NATIONTIME</a> - with 50% of the box office benefiting Anthology Film Archives - click <a href="https://kinomarquee.com/film/nationtime/5f6a0c618da3b700019cd7a9/anthology-film-archives">here</a>. Please note: Anthology's virtual theatrical engagement is only accessible for those within a 75-mile radius of the theater. If you're further afield, go to the <a href="https://kinomarquee.com/">Kino Marquee website</a> to see if a cinema in your area is presenting a virtual engagement.</strong><br /><br /><br /></p> Tuesday, December 01 KILL IT AND LEAVE THIS TOWN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52884 <p><strong>Virtual theatrical engagement begins Nov 25! Now available for pre-orders <a href="https://vimeo.com/ondemand/killitandleavethistown">here</a>. To watch the trailer, click <a href="https://youtu.be/YXcmhG2eks4">here</a>.<br /></strong></p> <p>Mariusz Wilczyński<br /><a href="https://vimeo.com/ondemand/killitandleavethistown"><strong>KILL IT AND LEAVE THIS TOWN</strong></a><br />2020, 88 min, digital. In Polish with English subtitles. Distributed by Outsider Pictures.<br />Polish artist Mariusz Wilczyński has been making visually striking, deeply personal short animations, as well as unique live animation performances, for twenty years, a body of work that has won him widespread acclaim in Poland and tributes at institutions around the world, including MoMA, the National Gallery in London, and many others. Fifteen years in the making, KILL IT AND LEAVE THIS TOWN (2020, 88 min) is Wilczyński&rsquo;s first feature-length film. The winner of the Jury Distinction Award at Annecy International Film Festival, the Grand Prize for Feature Animation at the Ottawa International Animation Festival, and a FIPRESCI Award at the 2020 Viennale, it is a hauntingly surreal meditation on aging, mortality, and loss. Adopting an intentionally threadbare visual style that makes visible the traces of its own creation, Wilczyński transmutes heavily autobiographical elements into a radically shape-shifting form in which outer reality and inner consciousness collapse into each other, and in which the laws of time, space, and identity are constantly in flux.</p> <p>KILL IT AND LEAVE THIS TOWN features a voice cast comprising established Polish actors Krystyna Janda (DECALOGUE, A SHORT FILM ABOUT KILLING), Andrzej Chyra (UNITED STATES OF LOVE), and Maja Ostaszewska (THE PIANIST, SCHINDLER&rsquo;S LIST), filmmakers Andrzej Wajda and Zbigniew Rybczyński, and avant-garde jazz musician Tomasz Stańko, as well as a score by renowned Polish composer and musician Tadeusz Nalepa.</p> <p>Co-presented with the Polish Cultural Institute New York, and representing its North American premiere run, this special two-week virtual engagement of KILL IT AND LEAVE THIS TOWN will be supplemented by a program of Wilczyński&rsquo;s earlier short films.</p> <p>&ldquo;Occupying a conceptual space several universes away from (or perhaps, given its intensely personal nature, deeply nested inside) whatever it is we recognize as &lsquo;reality,&rsquo; the scratchy, hand-drawn interior epic&hellip;rewards with one of the most nightmarishly original dystopian visions you are likely to encounter this year.&rdquo; &ndash;Jessica Kiang, VARIETY</p> <p>&ldquo;This is not animation which is there to exalt, or soothe, or celebrate human loveliness: it is animation which takes a fiercely miserable satirical stab at the world and itself, a language which is unreconciled, unaccommodated. [&hellip;] Here is the Neue Sachlichkeit reborn; yet the realism is overwritten by something hallucinatory and nihilistic, but also funny in a bleak Beckettian sort of way. You can watch this film often without being quite sure what is happening or who exactly the various figures are: it is a kind of sleep-talking cinema, a cinema which splurges up scrambled messages from the unconscious, which have their own dark mysterious poetry.&rdquo; &ndash;Peter Bradshaw, THE GUARDIAN</p> <p><strong><a href="https://vimeo.com/ondemand/killitandleavethistown">KILL IT AND LEAVE THIS TOWN</a> will be available starting Wednesday, November 25, for a streaming rental price of $12 (meanwhile, it's available for pre-order now). Discounted prices will be offered for AFA Members ($6) and Polish Cultural Institute New York subscribers ($8). </strong><strong>Discount codes: AFA Members, please email hannah@anthologyfilmarchives.org; Polish Cultural Institute New York subscribers, please email nyc.office@instytutpolski.org.</strong> <br /><br />Purchasing a streaming rental of the feature film will also grant access to the following short films:</p> <p>ALLEGRO MA NON TROPPO (1998, 3 min)<br />TIMES HAVE PASSED / CZASY PRZESZŁY (1998, 3.5 min)<br />CHOP, CHOP, CHOP, CHOPIN&hellip; / SZOP, SZOP, SZOP, SZOPĘ&hellip; (1999, 13 min)<br />FROM THE GREEN HILL (1999, 6 min)<br />FOR MY MOTHER AND ME / MOJEJ MAMIE I SOBIE (2000, 2.5 min)<br />IN THE STILLNESS OF THE NIGHT / WŚR&Oacute;D NOCNEJ CISZY (2000, 2.5 min)<br />DEATH TO FIVE / SMIERĆ NA 5 (2002, 4 min)<br />UNFORTUNATELY / NIESTETY (2004, 13 min)<br />KIZI MIZI (2007, 20 min)</p> <p>Total running time: ca. 75 min.</p> <p><strong>On Thursday, December 3 at 4pm EST, Mariusz Wilczyński will take part in a live Zoom Q&amp;A, moderated by Chris Robinson, Artistic Director of the Ottawa International Animation Festival. Click <a href="../../../film_screenings/calendar?view=list&amp;month=12&amp;year=2020#showing-52893">here</a> for the access details.<br /></strong></p> Tuesday, December 01 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52943 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Tuesday, December 01 TAIWAN B-MOVIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52895 <p><br /><strong>For more info about the "Taiwan B-Movies" series click <a href="../../../film_screenings/series/52830">here</a>.</strong></p> Wednesday, December 02 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52944 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Wednesday, December 02 Mariusz Wilczyński Q&A http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52893 <p><strong>In connection with Anthology's online engagement of his new feature film <a href="../../../film_screenings/series/52876">KILL IT AND LEAVE THIS TOWN</a>, filmmaker Mariusz Wilczyński will take part in a live Zoom Q&amp;A on Thursday, December 3 at 4pm EST. The discussion will be moderated by Chris Robinson, Artistic Director of the Ottawa International Animation Festival. Audience questions will be taken via the Zoom chat window.</strong></p> <p><strong>For more info about <a href="../../../film_screenings/series/52876">KILL IT AND LEAVE THIS TOWN</a>, click <a href="../../../film_screenings/series/52876">here</a>.&nbsp; Access details for the Q&amp;A are below:</strong></p> <p>Anthology Film Archives is inviting you to a scheduled Zoom meeting.<br /><br />Topic: Marius Wilczynski Q&amp;A<br />Time: Dec 3, 2020 04:00 PM Eastern Time (US and Canada)<br /><br />Join Zoom Meeting<br /><a href="https://zoom.us/j/98971801196">https://zoom.us/j/98971801196</a><br /><br />Meeting ID: 989 7180 1196<br />One tap mobile<br />+19294362866,,98971801196# US (New York)<br />+13017158592,,98971801196# US (Washington D.C)<br /><br />Dial by your location<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; +1 929 436 2866 US (New York)<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; +1 301 715 8592 US (Washington D.C)<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; +1 312 626 6799 US (Chicago)<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; +1 346 248 7799 US (Houston)<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; +1 669 900 6833 US (San Jose)<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; +1 253 215 8782 US (Tacoma)<br />Meeting ID: 989 7180 1196<br />Find your local number: https://zoom.us/u/abecjFffl<br /><br /><br /><br /></p> Thursday, December 03 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52945 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Thursday, December 03 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52946 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Friday, December 04 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52947 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Saturday, December 05 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52948 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Sunday, December 06 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52949 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Monday, December 07 ANTHOLOGY’S INAUGURAL FILM PROGRAM REBORN! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2020#showing-52950 <p><strong><br />Available to stream for free starting Monday, November 30</strong></p> <p>When Anthology Film Archives first opened in 1970, its inaugural screening &ndash; presented during a private event on November 30 &ndash; showcased four highlights from the foundational repertory cycle that would come to be known as the Essential Cinema Repertory Collection. Though today the Essential Cinema represents only one component of Anthology&rsquo;s wide-ranging programming, in the institution&rsquo;s first iteration &ndash; which occupied the specially-designed Invisible Cinema at Joseph Papp&rsquo;s Public Theater on Lafayette Street &ndash; it comprised the entirety of Anthology&rsquo;s exhibition program. The opening night screening aimed to demonstrate the historical and formal range of the nascent collection &ndash; albeit in a concentrated form, to leave room for opening night partying (no pesky pandemic then). The four films represented a short survey of film history, spanning from the turn of the century (with Georges M&eacute;li&egrave;s&rsquo;s 1904 VOYAGE ACROSS THE IMPOSSIBLE), all the way up to the (then-)present day with a brand-new film by filmmaker, painter, and Anthology&rsquo;s founding patron, Jerome Hill (CANARIES). Formally, the early-cinema special-effect experiments of M&eacute;li&egrave;s were juxtaposed with the innovations of Hill (who combined live-action photography with animation by scratching directly on the filmstrip), Harry Smith (a master of collage animation), and Joseph Cornell (whose MIDNIGHT PARTY &ndash; brought to completion by filmmaker Lawrence Jordan in 1968, but assembled in an unfinished form in the 1940s &ndash; is a pioneering found-footage film).</p> <p>For our first 50th anniversary (online) offering, we recreate this opening night program, with high-quality digital versions of all four films. The M&eacute;li&egrave;s and Jerome Hill works are generously provided by Flicker Alley and the Museum of Modern Art (respectively), while Harry Smith&rsquo;s FILM NO. 11 (MIRROR ANIMATIONS) will be presented from a digital transfer created from Anthology&rsquo;s 2016 restoration.</p> <p>Later in December, we will be presenting a mirror-image program, in which each film in the original lineup will be paired with more recent films made in the decades since 1970. Stay tuned for more details!</p> <p>Special thanks to Joshua Hoover (Flicker Alley), Eleanor Savage (Jerome Foundation), and Katie Trainor (MoMA).</p> <p>Georges M&eacute;li&egrave;s VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE &Agrave; TRAVERS L&rsquo;IMPOSSIBLE (1904, 20 min, 35mm-to-digital)<br />Joseph Cornell THE MIDNIGHT PARTY (ca. 1940s/1968, 3.5 min, 16mm-to-digital. Completed by Lawrence Jordan.)<br />Jerome Hill CANARIES (1969, 4 min, 35mm-to-digital)<br />Harry Smith FILM NO. 11 (MIRROR ANIMATIONS) (ca. 1957, 4 min, 16mm-to-digital. Restored by Anthology Film Archives.)</p> <p>Total running time: ca. 35 min.</p> Tuesday, December 08