Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 16 Jul 2019 13:24:00 -0400 JONAS MEKAS TRIBUTE SCREENINGS PART 2: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51200 <p>Gideon Bachmann<br />JONAS<br />(1967, 30 min, 16mm-to-digital)<br />This portrait of Jonas was created by Gideon Bachmann, filmmaker, journalist, radio commentator, and founding editor of &ldquo;Cinemages&rdquo; magazine, who would go on to produce a fascinating documentary for German television the following year, UNDERGROUND NEW YORK (1968).<br /><br />Jonas Mekas<br />NOTES FOR JEROME<br />(Filmed 1966/67/74/edited 1978, 45 min, 16mm)<br />&ldquo;During the summer of 1966 I spent two months in Cassis, as a guest of Jerome Hill. I visited him briefly again in 1967, with P. Adams Sitney. The footage of this film comes from those two visits. Later, after Jerome died, I visited his Cassis home in 1974. Footage of that visit constitutes the epilogue of the film. [&hellip;] Those were happy but lonely summers for me, I thought a lot about home. That&rsquo;s why this film, this elegy for Jerome is dedicated &lsquo;to the wind of Lithuania.&rsquo; Sometimes, though, I had a feeling that Jerome was as much of an exile as was I.&rdquo; &ndash;Jonas Mekas<br /><br />Jonas Mekas ROBERT HALLER&rsquo;S WEDDING (1980, 2.5 min, 16mm)<br />&ldquo;Made as a wedding present to Robert Haller and Amy Greenfield. Anthology Film Archives workers are having a good time in this spoof.&rdquo; &ndash;Jonas Mekas<br /><br />Total running time: ca. 80 min.</p> Tuesday, July 16 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51250 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 17 EC: JAMES BROUGHTON, PGM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51217 <p>DREAMWOOD<br />(1972, 45 min, 16mm)<br />&ldquo;A modern day spiritual odyssey in which a man is mysteriously compelled to leave his home and embark on a voyage to a strange, magical island. On the island he faces the most improbable and intense experiences of his life, ranging from total humiliation to a deep sense of oneness with the force of life. Heroic in concept, subtle in execution, DREAMWOOD is a beautiful film by a true master of the medium.&rdquo; &ndash;David Bienstock<br /><br />HIGH KUKUS (1974, 3 min, 16mm)<br />&ldquo;A High Kuku is, of course, a cuckoo haiku. In inventing this form Broughton has concocted zany verses which are &lsquo;high&rsquo; in the sense that they are often metaphysical and are keenly aware of the metacomedy of things.&rdquo; &ndash;Alan Watts<br /><br />Total running time: ca. 55 min.</p> Wednesday, July 17 ONE ON ONE: KEN AND LOUISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51169 <p>Courtesy of the Video Data Bank at the School of the Art Institute of Chicago.<br /><br />Produced while Wendy Clarke was the artist-in-residence at the California Institution for Men in Chino, California, ONE ON ONE is a series of video dialogues between the inmates there, the members of the Church in Ocean Park in Santa Monica, and a group of residents of Crenshaw, Los Angeles. Clarke held a video workshop where inmates from the prison made videotapes introducing themselves to strangers on the outside. The collaborators from Crenshaw and the Church in Ocean Park then created their own video responses. Throughout 1992, fifteen pairs of people communicated via this inside/outside process. The inmates and the outside contributors were to keep their dialogue only to video, never in person or through letters, in hopes of creating a pure video experience for the strangers to exchange. This particular tape features Ken and Louise, whose exchange encompasses a shared passion for music and whose connection is palpable.</p> Thursday, July 18 NATHAN SILVER’S ‘CUTTING MY MOTHER’ http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51267 <p>Nathan Silver has been casting his mother, Cindy, in his independent feature films since 2012. And though Cindy always insists she&rsquo;s &ldquo;not an actress &ndash; I&rsquo;m just your mother,&rdquo; when Nathan cuts almost all her scenes from one of his movies, Cindy&rsquo;s disappointment goes beyond a matter of simple creative differences. In this new documentary series, we follow Nathan and Cindy as they try to repair their relationship over the dinner table, at the synagogue, and, finally, on the set of a film where Nathan cedes the director&rsquo;s chair to a promising new talent: his own mother.<br /><br />This super-sized event &ndash; a fitting coda to our June series, &ldquo;Home Movies: Filmmakers Document Their Families&rdquo; &ndash; will feature a screening of the full four-episode, 38-minute series, as well as the Cindy Silver-directed short film whose creation it documents. In addition we&rsquo;ll host a conversation between Nathan, Cindy, and Harvey Silver, actress Nicole Fuentes, and producer and cinematographer Jarred Alterman. And, as a special bonus, we&rsquo;ll screen one of the films Cindy has graced with her onscreen presence, EXIT ELENA (2012), Nathan&rsquo;s razor-sharp dark comedy about the trials and tribulations of a young nursing assistant who finds herself thrust into the middle of a family in crisis.<br /><br />Nathan Silver<br />CUTTING MY MOTHER<br />(2019, 38 min, digital. Topic (www.topic.com) presents a Nathan Silver Series. Producer and cinematographer: Jarred Alterman.)<br />&ldquo;CUTTING MY MOTHER is both a moving tribute to Cindy Silver and an ingeniously crafted work of first-person meta-cinema. [&hellip;] With each episode of the series, Silver constructs a magic box that similarly interweaves past and present dramatically and on an expanded scale. In their brevity and briskness, the episodes reveal a turbulent depth of experience and give it limpid and crystalline form.&rdquo; &ndash;Richard Brody, THE NEW YORKER<br /><br />Cindy Silver<br />SOLO<br />(2019, 4 min, digital)<br /><br />Nathan Silver<br />EXIT ELENA<br />(2012, 72 min, digital)<br />&ldquo;Silver locates the ordinary madness bubbling just beneath the surface of his own life, and flickers of lunacy abound.&rdquo; &ndash;Calum Marsh, VILLAGE VOICE</p> Thursday, July 18 THE CAGE + GODOT IN SAN QUENTIN (+ DEAD MAN COMING on 7/23 ONLY) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51172 <p>Rick Cluchey<br />THE CAGE<br />(1966, ca. 30 min, 16mm)<br />&ldquo;In 1965 a convict named Rick Cluchey, since released to become a writer, social critic, and reformer, wrote a play called THE CAGE. The drama workshop at San Quentin, another activity group, had performed it and the film workshop decided to jump into something complex for their first major production. [&hellip;] In THE CAGE three prisoners are driven to exploit any means possible to achieve superiority &ndash; some sliver of ego which will make their debasing confinement tolerable. They often fantasize. They go along with each other&rsquo;s games. When a fourth, younger prisoner comes into the symbolic cell, his innocence and insistence on his innocence push the men to crisis.&rdquo; &ndash;Peter Dart, &ldquo;The San Quentin Inmate Film Workshop,&rdquo; JOURNAL OF THE UNIVERSITY FILM ASSOCIATION (1969)<br />&amp;<br />John Reilly<br />GODOT IN SAN QUENTIN<br />(1988, 25 min or 58 min, digital)<br />&ldquo;GODOT IN SAN QUENTIN documents the production of WAITING FOR GODOT by a cast of inmates from San Quentin Prison. Producer and director John Reilly [founder of the Global Village Video Resource Center] and a crew spent four weeks at the maximum-security facility; rehearsal and performance sequences are intercut with footage of daily prison life and discussions with the principal characters. Reilly has said that the inmates &lsquo;do not &ldquo;act&rdquo; because they are not trained actors, but they feel the parts because they have lived the lives of Beckett&rsquo;s characters.&rsquo;&rdquo; &ndash;Clifford Terry, CHICAGO TRIBUNE<br /><br /><strong>Plus, screening only on July 23:<br /></strong>Ken Ellis DEAD MAN COMING (1973, 24 min, 16mm. Print courtesy of the Pacific Film Archive.)<br />This later San Quentin Inmate Film Workshop production provides a glimpse into life inside the prison, via interviews with both inmates and correctional personnel, while also chronicling the experience of two inmates who have recently been paroled, and who discuss how incarceration has affected their lives.</p> Thursday, July 18 EC: LES DAMES DU BOIS DE BOLOGNE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51218 <p><span>Archival print courtesy of the Institut Fran&ccedil;ais.</span><br /><br />Taken from an episode in Diderot&rsquo;s eighteenth-century novel, and updated to the lush social tranquility of occupied Paris, Bresson&rsquo;s film is dominated by two characters: Maria Casares (in her best screen performance), spinning her vengeful web in a white setting full of rare furnishings, and Elina Labourdette, dancing in her apartment in black stockings and top hat. Stylish Cocteau dialogue, slickly elegant photography, and a symbolist sensibility enrich the ornate melodramatics, making this one of the most enjoyable of cinematic romances.</p> Friday, July 19 AMEN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51175 <p>AMEN is a videotape made by eight prisoners in the HIV/AIDS unit at the California Institution for Men in Chino, CA. The men talk to the camera and tell their life stories. The viewer is gradually drawn into their lives as the men talk about their experiences from childhood through drug addiction and HIV diagnosis, to their current state of mind, and their hope and despair about the future. The stories are interwoven, one with another, making a tapestry of their lives.</p> Friday, July 19 WALKING SMOOTH + ONE ON ONE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51178 <p>Gary Glassman<br />WALKING SMOOTH: SELECTIONS FROM PRISON VIDEO WORKSHOP &ndash; CALIFORNIA INSTITUTION FOR MEN IN CHINO<br />(1989, 53 min, digital)<br />&ldquo;From 1986-89, Gary Glassman was the artist in residence at a California men&rsquo;s prison where he taught video skills to inmates. Over those four years, Glassman worked with more than 600 men and women throughout the state prison system; the fruits of his labors [resulted in] WALKING SMOOTH, a 53-minute compilation of 13 videos Glassman completed in collaboration with prison inmates. These modest tapes are as emotionally rich as they are technically spare. Employing video in a variety of ways &ndash; as a form of therapy, a source of humor, a vehicle for poetry &ndash; Glassman attempts to focus on the humanity of the inmates and to restore some of the dignity they&rsquo;ve lost in the course of their ill-fated lives.&rdquo; &ndash;Kristine McKenna, LOS ANGELES TIMES<br />&amp;<br />Wendy Clarke<br />ONE ON ONE: ARNOLD AND AHNEVA<br />(1991, 47 min, digital. Courtesy of the Video Data Bank at the School of the Art Institute of Chicago.)<br />This tape in Wendy Clarke&rsquo;s ONE ON ONE series features Arnold and Ahneva, who in their dialogue together find comfort in sharing their own creative individualities, endeavors, and dreams. Their discussion and newly formed relationship poignantly touch upon the impact of mass incarceration within the Black community.<br /><br /><em><strong>WALKING SMOOTH director Gary Glassman will be here on Monday, July 22, for a Q&amp;A following the screening!</strong></em></p> Friday, July 19 EC: DIARY OF A COUNTRY PRIEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51221 <p>(LE JOURNAL D&rsquo;UN CUR&Eacute; DE CAMPAGNE)<br /><br />&ldquo;Consistent with Bresson&rsquo;s tendency to confront a spiritual perspective with an indifferent world, DIARY is based on the 1937 novel by Georges Bernanos and is among the few film adaptations of a work of literature to equal its source. Structured in the form of a diary kept by an earnest young priest whose labors to stir the souls of his first parish in a provincial village are met with coldness and hostility, the narrative is both a microcosm of the human condition and a via dolorosa that leads, inevitably, to the protagonist&rsquo;s death. [&hellip;] Neither comforting fable nor lofty celebration of pastoral devotion, DIARY is the darkest, most psychologically penetrating movie ever made about a priest and his vocation.&rdquo; &ndash;Tony Pipolo, ARTFORUM</p> Friday, July 19 EC: A MAN ESCAPED, OR THE WIND BLOWS WHERE IT LISTETH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51224 <p>(UN CONDAMN&Eacute; &Agrave; MORT S&rsquo;EST &Eacute;CHAPP&Eacute;, OU LE VENT SOUFFLE O&Ugrave; IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine&rsquo;s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson&rsquo;s film is not merely about process &ndash; it&rsquo;s also a work of intense spirituality and humanity.</p> Saturday, July 20 MICKEY B http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51181 <p>Shot within Northern Ireland&rsquo;s maximum security prison, HMP Maghaberry, with prisoners taking on acting, set building, and continuity, as well as helping with sound, production, even make-up, MICKEY B is a modern adaptation of Shakespeare&rsquo;s MACBETH, whose themes of ambition, betrayal, murder, and revenge are &ndash; as one prisoner observes &ndash; ones that &ldquo;are played out every day in here.&rdquo;<br /><br />&ldquo;With Baskervillian barking in the background and devil-tarot cards flickering across the screen, Lady Macbeth&rsquo;s cadaverous face curls into a nefarious grin. After slathering vermilion lipstick on his stubbled mouth, Lady Macbeth &ndash; or rather, &lsquo;Ladyboy&rsquo; &ndash; and a cavalcade of droog-like witches get together for a spot of skull-duggery, cellblock C-style. Not classic Shakespeare, for sure. This is MICKEY B, the Educational Shakespeare Company&rsquo;s adaptation of the jet-black tragedy MACBETH. [&hellip;] Maghaberry is a maximum security facility and a lot of the inmates are lifers, so there was no way to film outside the prison. That makes the hour-long feature claustrophobic and, at times, uncomfortable viewing. The jail&rsquo;s brickwork and joinery rooms were transformed into a monochrome set over two weekends and its construction necessitated co-operation between prisoners and prison officers.&rdquo; &ndash;Johnny McDevitt, THE GUARDIAN<br /><br />Preceded by:<br />Simon Wood CATEGORY A MICKEY B (2007, 27 min, digital)<br />This short film explores the making of MICKEY B, its collaborative nature, the stages through which the film had to pass, and the creative restrictions involved.</p> Saturday, July 20 EC: PICKPOCKET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51226 <p>A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky&rsquo;s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket&rsquo;s magical raid on a train station ranks as one of the great tours-de-force of French cinema.</p> Saturday, July 20 CAESAR MUST DIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51184 <p>(CESARE DEVE MORIRE)<br /><br />&ldquo;CAESAR MUST DIE enlarges your notion of what theater and cinema, what art itself, can do &ndash; it dissolves every boundary it meets. Any attempt to pin the movie down reduces it, but this is the setup: A group of prisoners in an Italian maximum-security prison (most with sentences in the teens, some lifers) audition, are cast, and rehearse a production (heavily abridged) of JULIUS CAESAR. Quickly, the roles take over, and we&rsquo;re watching the play itself. But reality intrudes &ndash; a missed line, a suggestion from the director, a prisoner who breaks off to reflect on the connections between his character&rsquo;s dilemmas and his own past or present. [&hellip;] The Taviani brothers were inspired by a production of Dante&rsquo;s DIVINE COMEDY in the Rebibbia prison on the outskirts of Rome, and they went back to Rebibbia to make CAESAR MUST DIE with a cast of inmates and theater director Fabio Cavalli. [&hellip;] Apart from an early and late scene in which the play is performed before an invited audience, CAESAR MUST DIE is in stark black and white, perfect for a world stripped down to its elements. But the oppressive milieu is no match for the language of the play. Finally, men who&rsquo;ll never again see the world outside their prison walls have a way to soar.&rdquo; &ndash;David Edelstein, NEW YORK MAGAZINE</p> Saturday, July 20 EC: AU HASARD BALTHAZAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51227 <p>&ldquo;Bresson interweaves two histories: the story of Balthazar, the donkey, from birth to death, and the human beings to whom the animal belongs. The film joins the two stories organically, in a series of cinematic brush-strokes and short elliptical scenes. Balthazar is the witness/judge: man&rsquo;s life is seen through his eyes &ndash; he sees all and alone carries the burden of universal guilt. His various owners each represent a vice (greed, lust, drunkenness) from which he suffers and finally dies.&rdquo; &ndash;NEW YORK FILM FESTIVAL</p> Saturday, July 20 ART & THE PRISON CRISIS + CONCRETE, STEEL & PAINT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51187 <p>Eric Thiermann<br />ART &amp; THE PRISON CRISIS<br />(1982, 28 min, digital)<br />Photographed in penal installations throughout California, ART &amp; THE PRISON CRISIS depicts the activities, interviews, and artwork of inmates whose lives have been changed by art projects in prison. State officials, program directors, and prison administrations verify the statements made by inmates and prove that the experience of the punishment can also be an experience of the restoration of humanness.<br />&amp;<br />Cindy Burstein &amp; Tony Heriza<br />CONCRETE, STEEL &amp; PAINT<br />(2009, 55 min, digital)<br />This film tells the complex story of men in prison, victims of crime, and an artistic partnership that helps break down barriers between them. As prisoners, victims, and victim advocates collaborate on a mural about healing from crime, their views on punishment, remorse, and forgiveness collide, sometimes harshly. But as the project progresses, mistrust begins to give way to surprising moments of human contact and common purpose. The project challenges each side to recognize and respect the other&rsquo;s essential humanity and worth &ndash; a small, but significant step toward a more healing and restorative form of justice.</p> Saturday, July 20 EC: DIARY OF A COUNTRY PRIEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51222 <p>(LE JOURNAL D&rsquo;UN CUR&Eacute; DE CAMPAGNE)<br /><br />&ldquo;Consistent with Bresson&rsquo;s tendency to confront a spiritual perspective with an indifferent world, DIARY is based on the 1937 novel by Georges Bernanos and is among the few film adaptations of a work of literature to equal its source. Structured in the form of a diary kept by an earnest young priest whose labors to stir the souls of his first parish in a provincial village are met with coldness and hostility, the narrative is both a microcosm of the human condition and a via dolorosa that leads, inevitably, to the protagonist&rsquo;s death. [&hellip;] Neither comforting fable nor lofty celebration of pastoral devotion, DIARY is the darkest, most psychologically penetrating movie ever made about a priest and his vocation.&rdquo; &ndash;Tony Pipolo, ARTFORUM</p> Sunday, July 21 OUR DAYS, ABSOLUTELY, HAVE TO BE ENLIGHTENED + THE DAY HAS CONQUERED THE NIGHT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51190 <p>OUR DAYS, ABSOLUTELY, HAVE TO BE ENLIGHTENED / NOS JOURS, ABSOLUMENT, DOIVENT &Ecirc;TRE ILLUMIN&Eacute;S<br />(2012, 22 min, digital, no dialogue)<br />&ldquo;Orl&eacute;ans, 28 May 2011. The inmates of a prison are singing, unseen by camera or human eye. Outside in the street, people are listening. Carried along by the music, the faces of the listeners who have come for the occasion light up, conveying many possible stories to the camera. On one side, voices; on the other, faces. On one side, sound; on the other the visual image. Between the two, emotional ties begin to form.&rdquo; &ndash;Carlo Chatrian, VISIONS DU R&Eacute;EL<br />&amp;<br />THE DAY HAS CONQUERED THE NIGHT / LE JOUR A VAINCU LA NUIT<br />(2013, 28 min, digital. In French with English subtitles.)<br />The second film to emerge from P&eacute;riot&rsquo;s involvement at Orl&eacute;ans Prison, this work was produced as part of a workshop P&eacute;riot and the musician G&eacute;rald Kurdian led there. It consists of eight shots in which various inmates share their dreams, directly to the camera.<br /><br />&ldquo;Each shot has its own rhythm, its own music, according to the alchemy that adapts to the nature of everyone&rsquo;s dreams. Hallucinations are widespread, confusing dreams while asleep with those while awake, just like rap with electronica. The dream of one finishes, at times, in that of another.&rdquo; &ndash;IMPAKT</p> Sunday, July 21 EC: MOUCHETTE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51230 <p>Bresson&rsquo;s second adaptation from Georges Bernanos, MOUCHETTE provides a magnificently unsentimental, heartbreaking portrayal of childhood. Mouchette, for all her charm, never slips into the pathos of Dickens&rsquo;s children. The joys and terrors of youth are conveyed without condescension.</p> Sunday, July 21 DREAMS INSIDE AND OUT + LIONS, PARAKEETS AND OTHER PRISONERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51193 <p>Sylvie Thouard<br />DREAMS INSIDE AND OUT<br />(1990, 52 min, digital)<br />This film documents the history and development of The Family, a repertory theater company composed of former inmates and actors that was born in the aftermath of the 1971 Attica uprising and is well known for Miguel Pi&ntilde;ero&rsquo;s play SHORT EYES. The documentary follows two members of the company, Pancho and Stanley, while they produce STRAIGHT FROM THE GHETTO with a group of prisoners in Rikers Island Correctional Facility, and DREAMS with former inmates. From their work, a unique method emerges that adapts to the institution while drawing its material from the actors&rsquo; life experiences. The plays blend scenes of jail and inner cities, personal aspirations and nightmares, with songs, creating an innovative music hall format.<br />&amp;<br />Frank Q. Dobbs, Thom Murray, and Robert Pierce<br />LIONS, PARAKEETS AND OTHER PRISONERS<br />(1983, 30 min, 16mm)<br />This film casts a spotlight on a program designed to teach inmates to understand and express themselves through writing and reading poetry. The program arose through the work of Grady Hillman, during his time as writer-in-residence at the Windham School System of the Texas Department of Corrections (TDC) from 1981-84. Hillman directed literary activities at 18 prisons and provided the inmate population with guest artists in the areas of creative writing, dance, music, and visual arts. His work resulted in not only this film, but also an anthology of inmate writing entitled &ldquo;Writer&rsquo;s Block.&rdquo;</p> Sunday, July 21 EC: A MAN ESCAPED, OR THE WIND BLOWS WHERE IT LISTETH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51225 <p>(UN CONDAMN&Eacute; &Agrave; MORT S&rsquo;EST &Eacute;CHAPP&Eacute;, OU LE VENT SOUFFLE O&Ugrave; IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine&rsquo;s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson&rsquo;s film is not merely about process &ndash; it&rsquo;s also a work of intense spirituality and humanity.</p> Sunday, July 21 AMEN http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51176 <p>AMEN is a videotape made by eight prisoners in the HIV/AIDS unit at the California Institution for Men in Chino, CA. The men talk to the camera and tell their life stories. The viewer is gradually drawn into their lives as the men talk about their experiences from childhood through drug addiction and HIV diagnosis, to their current state of mind, and their hope and despair about the future. The stories are interwoven, one with another, making a tapestry of their lives.</p> Sunday, July 21 WALKING SMOOTH + ONE ON ONE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51179 <p>Gary Glassman<br />WALKING SMOOTH: SELECTIONS FROM PRISON VIDEO WORKSHOP &ndash; CALIFORNIA INSTITUTION FOR MEN IN CHINO<br />(1989, 53 min, digital)<br />&ldquo;From 1986-89, Gary Glassman was the artist in residence at a California men&rsquo;s prison where he taught video skills to inmates. Over those four years, Glassman worked with more than 600 men and women throughout the state prison system; the fruits of his labors [resulted in] WALKING SMOOTH, a 53-minute compilation of 13 videos Glassman completed in collaboration with prison inmates. These modest tapes are as emotionally rich as they are technically spare. Employing video in a variety of ways &ndash; as a form of therapy, a source of humor, a vehicle for poetry &ndash; Glassman attempts to focus on the humanity of the inmates and to restore some of the dignity they&rsquo;ve lost in the course of their ill-fated lives.&rdquo; &ndash;Kristine McKenna, LOS ANGELES TIMES<br />&amp;<br />Wendy Clarke<br />ONE ON ONE: ARNOLD AND AHNEVA<br />(1991, 47 min, digital. Courtesy of the Video Data Bank at the School of the Art Institute of Chicago.)<br />This tape in Wendy Clarke&rsquo;s ONE ON ONE series features Arnold and Ahneva, who in their dialogue together find comfort in sharing their own creative individualities, endeavors, and dreams. Their discussion and newly formed relationship poignantly touch upon the impact of mass incarceration within the Black community.<br /><br /><em><strong>WALKING SMOOTH director Gary Glassman will be here on Monday, July 22, for a Q&amp;A following the screening!</strong></em></p> Monday, July 22 EC: AU HASARD BALTHAZAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51228 <p>&ldquo;Bresson interweaves two histories: the story of Balthazar, the donkey, from birth to death, and the human beings to whom the animal belongs. The film joins the two stories organically, in a series of cinematic brush-strokes and short elliptical scenes. Balthazar is the witness/judge: man&rsquo;s life is seen through his eyes &ndash; he sees all and alone carries the burden of universal guilt. His various owners each represent a vice (greed, lust, drunkenness) from which he suffers and finally dies.&rdquo; &ndash;NEW YORK FILM FESTIVAL</p> Monday, July 22 MICKEY B http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51182 <p>Shot within Northern Ireland&rsquo;s maximum security prison, HMP Maghaberry, with prisoners taking on acting, set building, and continuity, as well as helping with sound, production, even make-up, MICKEY B is a modern adaptation of Shakespeare&rsquo;s MACBETH, whose themes of ambition, betrayal, murder, and revenge are &ndash; as one prisoner observes &ndash; ones that &ldquo;are played out every day in here.&rdquo;<br /><br />&ldquo;With Baskervillian barking in the background and devil-tarot cards flickering across the screen, Lady Macbeth&rsquo;s cadaverous face curls into a nefarious grin. After slathering vermilion lipstick on his stubbled mouth, Lady Macbeth &ndash; or rather, &lsquo;Ladyboy&rsquo; &ndash; and a cavalcade of droog-like witches get together for a spot of skull-duggery, cellblock C-style. Not classic Shakespeare, for sure. This is MICKEY B, the Educational Shakespeare Company&rsquo;s adaptation of the jet-black tragedy MACBETH. [&hellip;] Maghaberry is a maximum security facility and a lot of the inmates are lifers, so there was no way to film outside the prison. That makes the hour-long feature claustrophobic and, at times, uncomfortable viewing. The jail&rsquo;s brickwork and joinery rooms were transformed into a monochrome set over two weekends and its construction necessitated co-operation between prisoners and prison officers.&rdquo; &ndash;Johnny McDevitt, THE GUARDIAN<br /><br />Preceded by:<br />Simon Wood CATEGORY A MICKEY B (2007, 27 min, digital)<br />This short film explores the making of MICKEY B, its collaborative nature, the stages through which the film had to pass, and the creative restrictions involved.</p> Monday, July 22 EC: MOUCHETTE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51231 <p>Bresson&rsquo;s second adaptation from Georges Bernanos, MOUCHETTE provides a magnificently unsentimental, heartbreaking portrayal of childhood. Mouchette, for all her charm, never slips into the pathos of Dickens&rsquo;s children. The joys and terrors of youth are conveyed without condescension.</p> Monday, July 22 EC: DIARY OF A COUNTRY PRIEST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51223 <p>(LE JOURNAL D&rsquo;UN CUR&Eacute; DE CAMPAGNE)<br /><br />&ldquo;Consistent with Bresson&rsquo;s tendency to confront a spiritual perspective with an indifferent world, DIARY is based on the 1937 novel by Georges Bernanos and is among the few film adaptations of a work of literature to equal its source. Structured in the form of a diary kept by an earnest young priest whose labors to stir the souls of his first parish in a provincial village are met with coldness and hostility, the narrative is both a microcosm of the human condition and a via dolorosa that leads, inevitably, to the protagonist&rsquo;s death. [&hellip;] Neither comforting fable nor lofty celebration of pastoral devotion, DIARY is the darkest, most psychologically penetrating movie ever made about a priest and his vocation.&rdquo; &ndash;Tony Pipolo, ARTFORUM</p> Tuesday, July 23 THE CAGE + GODOT IN SAN QUENTIN (+ DEAD MAN COMING on 7/23 ONLY) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51173 <p>Rick Cluchey<br />THE CAGE<br />(1966, ca. 30 min, 16mm)<br />&ldquo;In 1965 a convict named Rick Cluchey, since released to become a writer, social critic, and reformer, wrote a play called THE CAGE. The drama workshop at San Quentin, another activity group, had performed it and the film workshop decided to jump into something complex for their first major production. [&hellip;] In THE CAGE three prisoners are driven to exploit any means possible to achieve superiority &ndash; some sliver of ego which will make their debasing confinement tolerable. They often fantasize. They go along with each other&rsquo;s games. When a fourth, younger prisoner comes into the symbolic cell, his innocence and insistence on his innocence push the men to crisis.&rdquo; &ndash;Peter Dart, &ldquo;The San Quentin Inmate Film Workshop,&rdquo; JOURNAL OF THE UNIVERSITY FILM ASSOCIATION (1969)<br />&amp;<br />John Reilly<br />GODOT IN SAN QUENTIN<br />(1988, 25 min or 58 min, digital)<br />&ldquo;GODOT IN SAN QUENTIN documents the production of WAITING FOR GODOT by a cast of inmates from San Quentin Prison. Producer and director John Reilly [founder of the Global Village Video Resource Center] and a crew spent four weeks at the maximum-security facility; rehearsal and performance sequences are intercut with footage of daily prison life and discussions with the principal characters. Reilly has said that the inmates &lsquo;do not &ldquo;act&rdquo; because they are not trained actors, but they feel the parts because they have lived the lives of Beckett&rsquo;s characters.&rsquo;&rdquo; &ndash;Clifford Terry, CHICAGO TRIBUNE<br /><br /><strong>Plus, screening only on July 23:<br /></strong>Ken Ellis DEAD MAN COMING (1973, 24 min, 16mm. Print courtesy of the Pacific Film Archive.)<br />This later San Quentin Inmate Film Workshop production provides a glimpse into life inside the prison, via interviews with both inmates and correctional personnel, while also chronicling the experience of two inmates who have recently been paroled, and who discuss how incarceration has affected their lives.</p> Tuesday, July 23 CAESAR MUST DIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51185 <p>(CESARE DEVE MORIRE)<br /><br />&ldquo;CAESAR MUST DIE enlarges your notion of what theater and cinema, what art itself, can do &ndash; it dissolves every boundary it meets. Any attempt to pin the movie down reduces it, but this is the setup: A group of prisoners in an Italian maximum-security prison (most with sentences in the teens, some lifers) audition, are cast, and rehearse a production (heavily abridged) of JULIUS CAESAR. Quickly, the roles take over, and we&rsquo;re watching the play itself. But reality intrudes &ndash; a missed line, a suggestion from the director, a prisoner who breaks off to reflect on the connections between his character&rsquo;s dilemmas and his own past or present. [&hellip;] The Taviani brothers were inspired by a production of Dante&rsquo;s DIVINE COMEDY in the Rebibbia prison on the outskirts of Rome, and they went back to Rebibbia to make CAESAR MUST DIE with a cast of inmates and theater director Fabio Cavalli. [&hellip;] Apart from an early and late scene in which the play is performed before an invited audience, CAESAR MUST DIE is in stark black and white, perfect for a world stripped down to its elements. But the oppressive milieu is no match for the language of the play. Finally, men who&rsquo;ll never again see the world outside their prison walls have a way to soar.&rdquo; &ndash;David Edelstein, NEW YORK MAGAZINE</p> Tuesday, July 23 EC: AU HASARD BALTHAZAR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51229 <p>&ldquo;Bresson interweaves two histories: the story of Balthazar, the donkey, from birth to death, and the human beings to whom the animal belongs. The film joins the two stories organically, in a series of cinematic brush-strokes and short elliptical scenes. Balthazar is the witness/judge: man&rsquo;s life is seen through his eyes &ndash; he sees all and alone carries the burden of universal guilt. His various owners each represent a vice (greed, lust, drunkenness) from which he suffers and finally dies.&rdquo; &ndash;NEW YORK FILM FESTIVAL</p> Tuesday, July 23 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51251 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 24 ART & THE PRISON CRISIS + CONCRETE, STEEL & PAINT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51188 <p>Eric Thiermann<br />ART &amp; THE PRISON CRISIS<br />(1982, 28 min, digital)<br />Photographed in penal installations throughout California, ART &amp; THE PRISON CRISIS depicts the activities, interviews, and artwork of inmates whose lives have been changed by art projects in prison. State officials, program directors, and prison administrations verify the statements made by inmates and prove that the experience of the punishment can also be an experience of the restoration of humanness.<br />&amp;<br />Cindy Burstein &amp; Tony Heriza<br />CONCRETE, STEEL &amp; PAINT<br />(2009, 55 min, digital)<br />This film tells the complex story of men in prison, victims of crime, and an artistic partnership that helps break down barriers between them. As prisoners, victims, and victim advocates collaborate on a mural about healing from crime, their views on punishment, remorse, and forgiveness collide, sometimes harshly. But as the project progresses, mistrust begins to give way to surprising moments of human contact and common purpose. The project challenges each side to recognize and respect the other&rsquo;s essential humanity and worth &ndash; a small, but significant step toward a more healing and restorative form of justice.</p> Wednesday, July 24 HERMAN’S HOUSE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51196 <p>&ldquo;Herman Wallace, a Southerner and a Black Panther&hellip;went [to prison] on a bank-robbery charge in the early 1970s, was later convicted of murdering a prison guard, and has spent the past 30 years in solitary confinement. [&hellip;] Brooklyn artist Jackie Sumell struck up a friendship with Wallace more than a decade ago. They&rsquo;ve been in close contact &ndash; writing, calling, visiting &ndash; ever since. At one point during their talks, she asked him what a man in solitary confinement would imagine for his dream home. He told her, in detail, and that became their project. He designed it, she put together architectural drawings and a model for gallery shows (along with a precise wood re-creation of his current cage), and now she&rsquo;s looking for land in New Orleans to build it, where they hope it will become a youth center. [&hellip;] HERMAN&rsquo;S HOUSE documents the friendship and the process. Bhalla&rsquo;s style as a director is effectively unostentatious &ndash; he hangs back with simple shots and straightforward interviews, gently letting us in on the gravity (and crazy hope) of the project, as well as the quiet and articulate dignity of the prisoner. HERMAN&rsquo;S HOUSE is a gorgeous, humane, and surprising piece of work.&rdquo; &ndash;Brendan Kiley, THE STRANGER</p> Wednesday, July 24 OUR DAYS, ABSOLUTELY, HAVE TO BE ENLIGHTENED + THE DAY HAS CONQUERED THE NIGHT http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51191 <p>OUR DAYS, ABSOLUTELY, HAVE TO BE ENLIGHTENED / NOS JOURS, ABSOLUMENT, DOIVENT &Ecirc;TRE ILLUMIN&Eacute;S<br />(2012, 22 min, digital, no dialogue)<br />&ldquo;Orl&eacute;ans, 28 May 2011. The inmates of a prison are singing, unseen by camera or human eye. Outside in the street, people are listening. Carried along by the music, the faces of the listeners who have come for the occasion light up, conveying many possible stories to the camera. On one side, voices; on the other, faces. On one side, sound; on the other the visual image. Between the two, emotional ties begin to form.&rdquo; &ndash;Carlo Chatrian, VISIONS DU R&Eacute;EL<br />&amp;<br />THE DAY HAS CONQUERED THE NIGHT / LE JOUR A VAINCU LA NUIT<br />(2013, 28 min, digital. In French with English subtitles.)<br />The second film to emerge from P&eacute;riot&rsquo;s involvement at Orl&eacute;ans Prison, this work was produced as part of a workshop P&eacute;riot and the musician G&eacute;rald Kurdian led there. It consists of eight shots in which various inmates share their dreams, directly to the camera.<br /><br />&ldquo;Each shot has its own rhythm, its own music, according to the alchemy that adapts to the nature of everyone&rsquo;s dreams. Hallucinations are widespread, confusing dreams while asleep with those while awake, just like rap with electronica. The dream of one finishes, at times, in that of another.&rdquo; &ndash;IMPAKT</p> Thursday, July 25 VIENNALE ExtraVALUE FILM AWARD WINNERS: WOLFGANG FISCHER’S ‘STYX' http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51269 <p>Since 2011, each annual edition of the Viennale (Vienna International Film Festival) has featured the granting of the ExtraVALUE Film Award to one or more Austrian filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale&rsquo;s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a one-month residency as a visiting film scholar hosted and organized by Deutsches Haus at NYU. Anthology has presented the award-winning films in the past, and we continue the tradition this year with special screenings of the 2018 winners, Wolfgang Fischer&rsquo;s STYX and Sara Fattahi&rsquo;s CHAOS, both of which explore the subjects of emigration and displacement.<br /><br /><strong><em>Both filmmakers will be here in person to present their work!<br /><br /></em></strong>This program is co-presented by Erste Bank and Deutsches Haus at NYU.<br /><br />Special thanks to the filmmakers, and to Paolo Calamita (Viennale); Juliane Camfield &amp; Sarah Girner (Deutsches Haus at NYU); Ruth Goubran (Erste Bank); and Jimmy Weaver (Film Movement).<br /><br />Wolfgang Fischer<br />STYX<br />(2018, 94 min, DCP. In English and German with English subtitles. With Susanne Wolff.)<br />Premiering at the Berlinale, where it opened the Panorama Special section, STYX is a work of unrelenting intensity and technical brilliance. ER doctor Rike (Susanne Wolff) embarks on a solo sailing trip to Ascension Island in the Atlantic. When Rike comes across a sinking ship of refugees, she is quickly torn out of her contented and idealized world and must make a momentous decision. Aptly named after the mythological river that separates the living from the dead, STYX is an astute modern-day parable of Western indifference in the face of marginalized suffering. Carrying practically the entire film, Wolff is riveting as a woman pushed to her physical, psychological and moral limits.<br /><br />&ldquo;A blunt, breathless, and astoundingly unsentimental morality play that&rsquo;s told with the intensity of a ticking-clock thriller.&rdquo; &ndash;David Ehrlich, INDIEWIRE<br /><br />&ldquo;Like the small sailboat on which it is set, Wolfgang Fischer&rsquo;s extraordinarily gripping account of a one-woman solo voyage across the Atlantic that is suddenly interrupted when she comes across a sinking trawler overloaded with refugees, is brisk, efficient, and thrillingly dynamic. This is ALL IS LOST with a spinning moral compass and a topical dimension that proves even more gripping than its brilliantly achieved visceral action.&rdquo; &ndash;Jessica Kiang, VARIETY</p> Thursday, July 25 DREAMS INSIDE AND OUT + LIONS, PARAKEETS AND OTHER PRISONERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51194 <p>Sylvie Thouard<br />DREAMS INSIDE AND OUT<br />(1990, 52 min, digital)<br />This film documents the history and development of The Family, a repertory theater company composed of former inmates and actors that was born in the aftermath of the 1971 Attica uprising and is well known for Miguel Pi&ntilde;ero&rsquo;s play SHORT EYES. The documentary follows two members of the company, Pancho and Stanley, while they produce STRAIGHT FROM THE GHETTO with a group of prisoners in Rikers Island Correctional Facility, and DREAMS with former inmates. From their work, a unique method emerges that adapts to the institution while drawing its material from the actors&rsquo; life experiences. The plays blend scenes of jail and inner cities, personal aspirations and nightmares, with songs, creating an innovative music hall format.<br />&amp;<br />Frank Q. Dobbs, Thom Murray, and Robert Pierce<br />LIONS, PARAKEETS AND OTHER PRISONERS<br />(1983, 30 min, 16mm)<br />This film casts a spotlight on a program designed to teach inmates to understand and express themselves through writing and reading poetry. The program arose through the work of Grady Hillman, during his time as writer-in-residence at the Windham School System of the Texas Department of Corrections (TDC) from 1981-84. Hillman directed literary activities at 18 prisons and provided the inmate population with guest artists in the areas of creative writing, dance, music, and visual arts. His work resulted in not only this film, but also an anthology of inmate writing entitled &ldquo;Writer&rsquo;s Block.&rdquo;</p> Thursday, July 25 HERMAN’S HOUSE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51197 <p>&ldquo;Herman Wallace, a Southerner and a Black Panther&hellip;went [to prison] on a bank-robbery charge in the early 1970s, was later convicted of murdering a prison guard, and has spent the past 30 years in solitary confinement. [&hellip;] Brooklyn artist Jackie Sumell struck up a friendship with Wallace more than a decade ago. They&rsquo;ve been in close contact &ndash; writing, calling, visiting &ndash; ever since. At one point during their talks, she asked him what a man in solitary confinement would imagine for his dream home. He told her, in detail, and that became their project. He designed it, she put together architectural drawings and a model for gallery shows (along with a precise wood re-creation of his current cage), and now she&rsquo;s looking for land in New Orleans to build it, where they hope it will become a youth center. [&hellip;] HERMAN&rsquo;S HOUSE documents the friendship and the process. Bhalla&rsquo;s style as a director is effectively unostentatious &ndash; he hangs back with simple shots and straightforward interviews, gently letting us in on the gravity (and crazy hope) of the project, as well as the quiet and articulate dignity of the prisoner. HERMAN&rsquo;S HOUSE is a gorgeous, humane, and surprising piece of work.&rdquo; &ndash;Brendan Kiley, THE STRANGER</p> Friday, July 26 LLANITO + LITTLE BOY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51205 <p>LLANITO<br />(1971, 52 min, 16mm)<br />Lyon&rsquo;s first film in New Mexico, featuring Willie Jaramillo (later the subject of Lyon&rsquo;s film WILLIE) as a boy of twelve.<br /><br />&ldquo;Made not long after Lyon and his family started living on a plot of land north of Bernalillo, LLANITO was the first of several films Lyon shot around this area of the Southwest. In grainy black-and-white images, Lyon recorded time spent with a group of developmentally disabled Catholics praying the Rosary, Native American men who break into a bit of traditional dance by the side of a road, locals hanging out in a pool hall, and an elderly Native American woman castigating her drunken son at home. [&hellip;] LLANITO includes several episodes with a group of seemingly happy-go-lucky Chicano boys&hellip;who wander through Bernalillo&rsquo;s back roads, playing in dusty ravines, junk piles, and railroad tracks. They visit the gravesite of a guy they heard died in a fight, and later share a soda together at a diner. &lsquo;Do they pay you for doing that?&rsquo;, a boy named Willie Jaramillo asks Danny directly, inquiring about his camera. &lsquo;They said that you might be just a spy or something.&rsquo;&rdquo; &ndash;Ed Halter, &ldquo;A SPY OR SOMETHING&rdquo;: THE CINEMA OF DANNY LYON<br /><br />LITTLE BOY<br />(1977, 53 min, 16mm)<br />Named for the atomic bomb built in New Mexico and dropped on Hiroshima, this is Lyon&rsquo;s portrait of late-70s New Mexico &ndash; a look beneath the Sunbelt.<br /><br />&ldquo;A kind of grand summa, Lyon&rsquo;s epic view of America focused through the lens of contemporary New Mexico. Its bleak, man-made environment is superimposed uneasily on a harsh, unforgiving landscape, and explosively charges with clashing subcultures&hellip;. Robust, pulsating with energy, but also clouded by a kind of doomed fatality.&rdquo; &ndash;Thomas Albright, SAN FRANCISCO CHRONICLE</p> Friday, July 26 ONE ON ONE: KEN AND LOUISE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51170 <p>Courtesy of the Video Data Bank at the School of the Art Institute of Chicago.<br /><br />Produced while Wendy Clarke was the artist-in-residence at the California Institution for Men in Chino, California, ONE ON ONE is a series of video dialogues between the inmates there, the members of the Church in Ocean Park in Santa Monica, and a group of residents of Crenshaw, Los Angeles. Clarke held a video workshop where inmates from the prison made videotapes introducing themselves to strangers on the outside. The collaborators from Crenshaw and the Church in Ocean Park then created their own video responses. Throughout 1992, fifteen pairs of people communicated via this inside/outside process. The inmates and the outside contributors were to keep their dialogue only to video, never in person or through letters, in hopes of creating a pure video experience for the strangers to exchange. This particular tape features Ken and Louise, whose exchange encompasses a shared passion for music and whose connection is palpable.</p> Friday, July 26 WILLIE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51207 <p>Shifting between black-and-white images from Willie Jaramillo&rsquo;s childhood and color footage of him as a young man, Danny and Nancy Lyon create a realistic and unsentimental film about the circumstances of Willie&rsquo;s life both in and out of New Mexico prisons. The filmmakers use this form less to focus attention on what might be construed too simplistically as the childhood roots of his later criminal behavior, and more to lend ambiguity to his story, for Willie is not a criminal in the common sense of the word.</p> Saturday, July 27 EC: MOUCHETTE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51232 <p>Bresson&rsquo;s second adaptation from Georges Bernanos, MOUCHETTE provides a magnificently unsentimental, heartbreaking portrayal of childhood. Mouchette, for all her charm, never slips into the pathos of Dickens&rsquo;s children. The joys and terrors of youth are conveyed without condescension.</p> Saturday, July 27 MURDERERS + WANDERER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51209 <p>MURDERERS<br />(2006, 30 min, digital)<br />This film tells the story of five murderers in three different states: Jessie Ruiz, who served eight and a half years for beating a man to death with a baseball bat; Pinkie and Mojo, whom Lyon interviews in an Arkansas prison; Harold Davey Cassel, the subject of Lyon&rsquo;s extraordinary book, &ldquo;Like a Thief&rsquo;s Dream&rdquo;; and Michael Guzman, who first appeared in Lyon&rsquo;s WILLIE.<br /><br />WANDERER<br />(2018, 48 min, digital)<br />WANDERER &ndash; a follow-up to the &ldquo;New Mexico trilogy&rdquo; &ndash; finds Lyon revisiting some of the subjects of his past work, in particular the family of Willie Jaramillo, who first appeared in Lyon&rsquo;s LLANITO (1971) and later became the protagonist of the feature-length documentary, WILLIE (1985). Willie died in the Sandoval County jail in Bernalillo in 1992, and here his family members and friends &ndash; including Willie&rsquo;s younger brother Ferney, Ferney&rsquo;s friend Dennis Baca, his sister Gloria, and his niece Janice &ndash; speak candidly and emotionally about Willie, and about the tragedies and struggles of their own lives.</p> Saturday, July 27 EC: LES DAMES DU BOIS DE BOLOGNE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51219 <p><span>Archival print courtesy of the Institut Fran&ccedil;ais.</span><br /><br />Taken from an episode in Diderot&rsquo;s eighteenth-century novel, and updated to the lush social tranquility of occupied Paris, Bresson&rsquo;s film is dominated by two characters: Maria Casares (in her best screen performance), spinning her vengeful web in a white setting full of rare furnishings, and Elina Labourdette, dancing in her apartment in black stockings and top hat. Stylish Cocteau dialogue, slickly elegant photography, and a symbolist sensibility enrich the ornate melodramatics, making this one of the most enjoyable of cinematic romances.</p> Saturday, July 27 CHILDHOOD + BORN TO FILM + TWO FATHERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51211 <p>CHILDHOOD<br />(2018, 26 min, 8mm-to-digital)<br />The prequel to Lyon&rsquo;s BORN TO FILM and TWO FATHERS, his two previous &ldquo;family&rdquo; films, CHILDHOOD covers the years 1942-56. Shot entirely on 8mm by Lyon&rsquo;s father, Dr. Ernst F. Lyon, the remarkable footage was edited by Lyon in 2016. Beginning in 1942, the footage documents the artist&rsquo;s birth and his father&rsquo;s departure to Utah during WWII. The great blizzard of 1946 is shown in Queens, as is the 1950 LIRR Thanksgiving railroad crash, an event witnessed by Lyon as a child, and shown here via Fox News footage. CHILDHOOD ends with the artist at 14, as his father films his grandfather&rsquo;s 80th birthday party. &ldquo;Opa&rdquo; walks off with a cane, an homage to Chaplin, and CHILDHOOD ends with the only close-up in the film, a yellow rose.<br /><br />BORN TO FILM<br />(1982, 33 min, 16mm)<br />&ldquo;Intimately autobiographical, interspersing footage of Lyon&rsquo;s own young son with film shot in the 1930s by Lyon&rsquo;s father, a doctor who emigrated from Germany. [&hellip;] Lyon&rsquo;s passionate vision has deepened and grown in resonance and the film is not just family or even social history, but about human continuity, the power of instinct to survive, the grace that love and play bring to it, the wonder of being alive.&rdquo; &ndash;Thomas Albright, SAN FRANCISCO CHRONICLE<br /><br />TWO FATHERS<br />(2005, 30 min, digital)<br />Raphael, the child star of BORN TO FILM, is now a 27-year-old who returns to his father&rsquo;s farm to plant corn and &ldquo;experience fatherhood.&rdquo; Intercut is a film that takes place in the worlds of Germany in the 1920s and Queens in the 1940s, as Dr. Ernst Lyon&rsquo;s remarkable photo-albums bring to life worlds long gone. TWO FATHERS is a filmic meditation on life, age, family, and death.<br /><br />Total running time: ca. 95 min.</p> Sunday, July 28 EC: LES DAMES DU BOIS DE BOLOGNE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51220 <p><span>Archival print courtesy of the Institut Fran&ccedil;ais.</span><br /><br />Taken from an episode in Diderot&rsquo;s eighteenth-century novel, and updated to the lush social tranquility of occupied Paris, Bresson&rsquo;s film is dominated by two characters: Maria Casares (in her best screen performance), spinning her vengeful web in a white setting full of rare furnishings, and Elina Labourdette, dancing in her apartment in black stockings and top hat. Stylish Cocteau dialogue, slickly elegant photography, and a symbolist sensibility enrich the ornate melodramatics, making this one of the most enjoyable of cinematic romances.</p> Sunday, July 28 EL MOJADO + EL OTRO LADO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51213 <p>EL MOJADO<br />(1974, 18 min, 16mm-to-digital)<br />EL MOJADO focuses on an undocumented worker from rural Chihuahua whom Lyon came to regard as &ldquo;a genius.&rdquo; Every spring Lyon would meet him near the border and smuggle him past the border patrol into the United States. Eddie introduced Lyon to the whole unbelievable world of &ldquo;illegal aliens.&rdquo;<br /><br />&ldquo;[H]is skill in creating a flow of superbly composed images is great enough to bring to mind Antonioni.&rdquo; &ndash;Kevin Thomas, LOS ANGELES TIMES<br /><br />EL OTRO LADO<br />(1978, 58 min, 16mm)<br />&ldquo;The songs sung throughout the film convey the workers&rsquo; optimism and strength in their spirit. In the corridos of the orchard, they sing with great humor of their ridiculous situation: &lsquo;Our problem could easily be solved. Give each of us a gringita, then we can immigrate. As soon as we have a green card we can be divorced.&rsquo;&rdquo; &ndash;Danny Lyon</p> Sunday, July 28 AFA MEMBERS ONLY: MI VIDA LOCA http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2019#showing-51240 <p>AFA MEMBERS ONLY &ndash; FREE SCREENING!<br /><br />Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology&rsquo;s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings &ndash; free and open only to members &ndash; we sweeten the pot even further.<br /><br />This calendar we highlight Allison Anders&rsquo;s pioneering early 1990s film, MI VIDA LOCA, which depicts the experiences of a group of women from the streets of Los Angeles&rsquo;s Echo Park neighborhood. A kind of sneak preview of our August series, &ldquo;A Real Young Girl: Coming of Age&rdquo;, which focuses on coming-of-age films directed by women, this screening features an archival 35mm print from the UCLA Film &amp; Television Archive.<br /><br />Become a member at our box office, or at anthologyfilmarchives.org<br /><br />35mm print courtesy of the Sundance Collection at the UCLA Film &amp; Television Archive.<br /><br />Sad Girl, Mousie, Whisper, and Giggles are just some of the women whose voices and perspectives help shape this film about a Latino street gang in L.A.&rsquo;s Echo Park neighborhood. Made with a mix of actors and non-actors, with the guidance of local gang members, the film begins with the relationship between Sad Girl and Mousie, life-long best friends turned enemies after Sad Girl becomes pregnant by Mousie&rsquo;s boyfriend. This is just one of the central plotlines dealing with women&rsquo;s relationships in a film that at its core is about sisterhood, women&rsquo;s agency, and learning to survive.<br /><br /><strong>Reception at 7:00!</strong></p> Monday, July 29