https://www.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 Wed, 14 May 2025 06:26:34 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59267 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59268 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59269 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59377 <p>These two performance recordings from The Kitchen’s archive of 20th-century holdings reflect the improvisatory spirit of this incipient era in Hip-Hop history. MC Sha-Rock, known as the first female MC, commands the stage with razor-sharp, responsive verses as an original member of The Funky 4 + 1, seen in this 1980 performance excerpt from DUBBED IN GLAMOUR. Organized by downtown critic Edit DeAk, the series illuminated talent from New York’s underground. In BREAKERS LIVE, hip-hop pioneer Fab 5 Freddy MCs a night of break-dancing, graffiti, and cyphers. The 1981 show reveals the infinite horizon of freestyle rap culture with performances by the Rock Steady Crew, Swift Kids, and DJ Spy.<br /><br />EXCERPT FROM DUBBED IN GLAMOUR, FUNKY 4 PLUS 1, 1980 JUNE 11<br />1980, 25 min, video. Courtesy of The Kitchen and The Kitchen Archive, c. 1971-1999, Getty Research Institute, Los Angeles (2014.M.6).<br /><br />BREAKERS LIVE, 1981 OCTOBER 2<br />1981, 48 min, video. Courtesy of The Kitchen and The Kitchen Archive, c. 1971-1999, Getty Research Institute, Los Angeles (2014.M.6).<br /><br />Total running time: ca. 75 min.<br /><br /><strong>Followed by a Q&A with Lil Rodney C, an original member of Funky 4 + 1!<br /><br /></strong>Co-presented by RADA Collaborative, a self-sustaining network of BIPOC artists, founded by filmmakers Michèle Stephenson and Joe Brewster, that uses cinema, visual art, and compelling visual storytelling to build narrative agency for creators of color. For more info about RADA Collaborative visit: <a href="https://radastudio.org/rada-collaborative/">https://radastudio.org/rada-collaborative/</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59270 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59271 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59284 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59272 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59265 <p>"In Paris in 1968, Lee Breuer, along with future members of the legendary downtown experimental theater company, Mabou Mines, shot an unscripted, silent satire following a thirteen-year-old boy attempting to make a film against the backdrop of the events of May. Abandoned as unfinished, the footage was resurrected by Breuer’s son Mojo Lorwin, who decided to edit the film, adding dialogue, sound, and music to complete the work. The final film is both in the spirit of his father and his 1960s circle, and a tribute to them." –Jake Perlin, L'ALLIANCE NEW YORK<br /><br /><strong>Followed by a Q&A with co-director Mojo Lorwin, moderated by Frank Hentschker (Executive Director of the Martin E. Segal Theatre Center).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59285 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59273 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59274 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59286 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59275 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59263 <p>Yoseli has a tattoo of the Eiffel Tower on her back and has always wanted to travel to Europe, but she was arrested at the airport for drug trafficking. Nacho is a trans man who was arrested for swindling and started a rock band in jail. Gentle or rough, blonde or shaved, cis or trans, long-term inmates or newly admitted: in this hybrid musical, they all re-enact their lives in a Buenos Aires prison. REAS is a collective work that reinvents the musical genre: the performers dance and sing about their past in prison, relive their life as fiction, and invent, through fantasy and imagination, a possible future for themselves.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59287 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59276 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59277 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59288 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59278 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59279 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59289 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59280 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59281 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59290 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59282 <p><em><strong>U.S. THEATRICAL PREMIERE RUN!</strong></em><br /><br />A new nonfiction film by Sam Fleischner – director of WAH DO DEM (2009) and STAND CLEAR OF THE CLOSING DOORS (2013), and co-founder of the Rockaway Film Festival – JETTY documents two years of the decades-long federal project of installing granite jetties to protect the Rockaways from the effects of diminishing beaches. Interspersing footage of the people and machines at work with observations from local residents about living where the city meets the water, the film is shot on Super-16mm, accentuating the tactility of all the elements at play: rocks, sand, metal, water, and celluloid. With subtle sound design featuring a pensive, sometimes playful score by Animal Collective, JETTY looks with equanimity at human attempts to out-engineer nature as it reflects on the way that a sense of place informs our lives.<br /><br />“JETTY is an immersive revelation. Bolstered by brilliantly intertwined sound design and score, Sam Fleischner’s patient lens documents the planners and the machines behind a massive shore-infrastructure project on the Rockaway peninsula. Its view of construction and demolition equipment as behemoths with one foot in our world and one foot almost in science-fiction recalls the underseen commercial-ship documentary masterpiece DEAD SLOW AHEAD. However, this isn’t a film of other worlds, but rather a sensory-rich record of human efforts to subdue earthly elements, at least temporarily; human engineering and mechanical tools pushing back against the inexorable tide, one breakwater at a time.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br /><strong>Sam Fleischner will be here in person for Q&As after the 7pm screenings on Thurs, May 15 (moderated by Gina Telaroli), Fri, May 16 (moderated by Amy Taubin), Sun, May 18 (moderated by John Wilson), and Tues, May 20 (moderated by Jason Evans)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59386 <p>Kirk Winslow (1955-2002) was a theater, music, arts and experimental film aficionado who filmed and photographed a number of downtown theater artists in the 1970s and 1980s. Winslow’s single-frame Super-8mm films of Foreman’s reputation-making early plays are genuine wonders that, even without sound (which was such a major element of Foreman’s productions), manage to convey the painterly intensity of these visually striking shows. The program includes fast-paced documentation of Foreman’s version of <em>Threepenny Opera</em> at Lincoln Center starring Raul Julia as Macheath. All the works in this program have been provided by The Fales Library & Special Collections at NYU, which holds the archives of Richard Foreman, Kate Manheim, and Kirk Winslow.<br /><br />Kirk Winslow<br />RHODA IN POTATOLAND (HER FALL STARTS)<br />1975, 18 min, Super-8mm-to-16mm-to-digital, silent. Preserved by The Fales Library & Special Collections, NYU with support from The National Film Preservation Foundation.<br /><br />THREE PENNY OPERA<br />1975, 21 min, Super-8mm-to-digital, silent<br /><br />BOULEVARD DE PARIS, 1978 NYC<br />1978, 18 min, Super-8mm-to-digital, silent<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59291 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59388 <p>Ernie Gehr<br />SOPHIA: THE CLIFFS <br />1972, 123 min, 16mm-on-digital<br />The third play staged by Foreman in 1972, <em>Sophia = (Wisdom): Part 3: The Cliffs</em> was presented at The Film-Makers’ Cinematheque. Filmed by Ernie Gehr (who performed in Foreman’s earlier plays <em>Angelface</em> and <em>Hotel China</em>) with an Auricon camera that captured both picture and sound directly onto 16mm reversal film, this is a complete black-and-white document of the production. The play features performances from Kate Manheim in what would become her recurring character Rhoda, as well as the filmmaker Andrew Noren, esteemed critic J. Hoberman, and early Ontological-Hysteric mainstay Bob Fleischner. Please note that the audibility of the dialogue is challenging and that this screening will include helpful subtitles.<br /><br />Preceded by:<br />Bob Fleischner MAX’S SHIRT (1975, 5 min, 16mm)<br />A short film by Foreman actor Bob Fleischner, who often performed as “Max” in the early plays.<br /><br />“A green shirt on a clothesline that sways and dances with the breeze, which celebrates the joy of living, and the joy of filmmaking.” –Bob Fleischner<br /><br />Total running time: ca. 130 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59292 <p><em><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!</strong></em><br /><br />“MILISUTHANDO is a moving and thought-provoking film that follows the personal journey of Milisuthando Bongela as she comes to terms with her identity in the context of race. Born and raised in the Transkei [a state engineered by the apartheid regime in their effort to further institutionalize racial separation in South Africa], Bongela grew up strangely unaware of the world around her. It was only after the fall of apartheid that she began to comprehend the magnitude of its damage. Through archival footage and a series of intimate interviews and personal reflections, Bongela explores the ways in which race has shaped her life and the lives of those around her and invites her audience to do the same. From the subtle ways in which our ancestors influence our identities to the more overt ways in which racism still exists today, Bongela offers a penetrating look into the anatomy of race in modern society. […] MILISUTHANDO is a deeply personal narrative and a powerful reminder of the importance of understanding our history and the impact it has on our present and future.” –Nancy Pappas, SEATTLE INTERNATIONAL FILM FESTIVAL<br /><br />“MILISUTHANDO is a portrait of me and South Africa, growing up together in the aftermath of apartheid. The moment one realizes they are black in the world is always traumatic. This film is the scenic route of my coming down from that moment. In it, I am tracing who I was before I entered the white world, who I became when I was inside it, and finally, what kind of human being can I be outside of its bounds? Throughout, I am exploring whether it is possible to live out the meaning of my name, Milisuthando (bearer of love where there is none), in a society where the laws have changed but people’s hearts remain locked in racial conditioning. The film takes place in Three Universes. Over Three Decades. Exploring Three Selves. Driven by my exploratory narrative voice and a compelling cast of my family, friends, foes, and some historical figures, the film braids these universes across time in a non-linear manner, meditating on difficult questions about power, fear, love and unrequited grace.” –Milisuthando Bongela<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59390 <p>PAIN(T) AND VERTICAL MOBILITY<br />1973, 99 min, video. Digitized by The Fales Library & Special Collections, NYU.<br />The raw footage presented in this program comes from recently discovered videos that document sections of two Foreman plays that ran back-to-back in repertory at 141 Wooster from April to May, 1974. Likely never screened before, these fascinating deep cuts are very low-fi in nature, yet they give a fairly full sense of how the plays unfolded. The footage includes Part One of <em>Pain(t)</em> and Part One of <em>Vertical Mobility</em>. Foreman’s voice is sometimes quietly audible on the audio track giving directions to the cameraperson, as this may have been shot in part to help raise funds for a feature film version that he was hoping to make. Far from straight documentation, these are fascinating records of two key plays that represent Foreman working at the height of his early genius. Performers include Kate and Nora Manheim, Bob Fleischner, Stuart Sherman, Mimi Johnson, John Matturi, Jim Jennings, and former Anthology theater manager Charles Bergengren amongst others.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59381 <p>“I don’t think there’s a room in this building I haven’t fucked in.”<br /><br />In 1978, famed gay porn director Jack Deveau and his partner Robert Alvarez shot and edited this fantastic, orgiastic ode to the Adonis Theater, one of Times Square’s most-beloved gay porn palaces from 1975 to 1990. Over the course of one afternoon into evening, a group of men converge at the Adonis, looking for as much sex as they can handle before the day is done. Hung-riest among them are legendary porn stars Jack Wrangler and Malo, playing co-workers who both wind up at the theater unbeknownst to each other. Jack and Malo join other cruisers – including a doctor, a flasher, a hustler, and a guy they call “The Jingler” – in screwing their way across every inch of the theater, while scenes from other films from Deveau’s porn production company Hand-in-Hand Films play on the big screen. A delightfully dirty ode to a bygone gay cruising space made with Deveau’s light-hearted, Hollywood-influenced touch, A NIGHT AT THE ADONIS is one of the greatest films of gay porn’s golden age, featuring an all-star cast with very big…personalities.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59316 <p>FIREWORKS 1947, 15 min, 16mm-to-35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.<br />RABBIT’S MOON 1950-70, 15 min, 35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.<br />EAUX D’ARTIFICE 1953, 13 min, 16mm<br />SCORPIO RISING 1963, 30 min, 16mm<br />KUSTOM KAR KOMMANDOS 1965, 3 min, 16mm<br /><br />“Scandal, evil, violence, and Fascism, like Hollywood, are centers of fascination for Anger, and his films are the fields in which the dialectic of that fascination is played and fought.” –P. Adams Sitney, VISIONARY FILM<br /><br />“All of [Anger’s] films have been evocations or invocations, attempting to conjure primal forces which, once visually released, are designed to have the effect of ‘casting a spell’ on the audience. […] Not a surrealist who puts blind faith in his own dream images and trusts his dreams to convey an ‘uncommon unconscious,’ Anger works predominantly in archetypal symbol. As the magus, he is the juggler of these symbols, just as in the Tarot, where the Magician is represented by the Juggler and is given the attribution of Mercury, the messenger.” –Carel Rowe, FILM QUARTERLY<br /><br />Total running time: ca. 80 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Saturday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59392 <p><strong>Q&A WITH P. ADAMS SITNEY + AMY TAUBIN!</strong><br />This program consists of two shorts and other surprises that have recently come to light, with special guests P. Adams Sitney and Amy Taubin in conversation about Richard Foreman.<br /><br />Ken Jacobs BOOK OF SPLENDORS, PART TWO, BOOK OF LEVERS: ACTION AT A DISTANCE (1977, 3 min, 16mm-to-digital. Digitized by The Fales Library & Special Collections, NYU.)<br />Foreman’s longtime friend Ken Jacobs situated himself in the audience of the legendary Ontological-Hysteric theater space at 491 Broadway to shoot this whiplash-inducing single-frame study of a dynamic play filled with frantic action, full frontal nudity, and so much more. Newly digitized from the camera roll discovered in Foreman’s archives.<br /><br />Berenice Reynaud<br />PAVANE FOR A MISSING PLAY <br />1979, 36 min, 16mm-to-DCP. Digital Restoration by Anthology Film Archives.<strong> Premiere!</strong><br />Foreman spent the early months of 1979 rehearsing a play called <em>Madness and Tranquility (My Head Was a Sledgehammer)</em>, which he abruptly cancelled very shortly before its scheduled opening. Film critic and longtime CalArts professor Berenice Reynaud documented those rehearsals and used the footage in this rarely screened essay film, which had long been considered lost. Miraculously, Anthology has recently rediscovered the original 16mm elements and has digitally restored the film for this occasion. A truly exciting find that presents the only known footage of an important, albeit lost, Foreman work.<br /><br />Plus additional special surprises!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59250 <p><em><strong>SPECIAL SCREENINGS! FILMMAKER IN PERSON!</strong></em><br /><br />1939, somewhere in the American Midwest: to combat former child-prodigy writer Barbara Fowler’s (Hannah Gross) debilitating agoraphobia, she and her pulp-fiction scribe husband, Richard (Peter Vack) move to the countryside where they become entwined in a love triangle with their deeply religious maid (Deragh Campbell) in this trance-like examination of a world destined for extinction.<br /><br />“[Graham Swon] has made a name for himself over the past ten years while working with cinephile-minded directors like Ricky D’Ambrose, Ted Fendt, Dan Sallitt, and Gina Telaroli. If there’s one thing that unites them it’s a strong sense of intellectualism, a sharp attention to place, and a willingness to rethink traditional cinematic forms. As a filmmaker Swon has been rethinking the conventions and possibilities of cinematic storytelling across his two features to date, THE WORLD IS FULL OF SECRETS (2018) and AN EVENING SONG. [The new film] is a 1930s-set melodrama depicting a love-triangle between real-life writer Barbara Newhall Follett, a pulp fiction novelist, Richard, and their maid, Martha. In actuality the film is an impressionistic work focused on time, memory, and identity that’s filled with dueling voice-over tracks from all the main characters and a near constant stream of dissolves. It was also shot on a custom-built camera rig that reflected the images through a large format photography camera, onto a plate of ground glass, and then into a digital cinema camera. The result is an image that is hazy and filled with intense vignetting, looking completely out of time.” –Joshua Bogatin, SENSES OF CINEMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59394 <p>Richard Foreman<br />OUT OF THE BODY TRAVEL<br />1976, 42 min, video. Writer/Director/Narrator: Richard Foreman. Photographer: Babette Mangolte. Performers: Students of the American Dance Festival. Produced for the American Dance Festival.<br />“In this translation of Foreman’s theatrical sensibility to video, the artist’s own voice propels the interaction of elaborate wordplay and stylized tableaux of people and objects. A ‘young woman who finds herself surrounded by the relics of Western culture’ is the starting point for Foreman’s loosely constructed narrative. The coupling of language and image, male and female, the self and the other results in an evocative and often erotic series of tensions. Disruptive devices – loud buzzers, disjunctive images – repeatedly interrupt the tape’s ordered compositions and linguistic structure. In Foreman’s world, representation is symbolic, language qualifies the image, and the body is distanced from the self.” –EAI<br /><br />Richard Foreman<br />CITY ARCHIVES<br />1978, 28 min, video<br />“Foreman produced CITY ARCHIVES, a labyrinthine collage of image and language, at the invitation of the Walker Art Center in Minneapolis. The tape centers on the perspective of an outsider – the foreigner as Other – towards a city and its artifacts. Foreman’s signature visual and verbal puns and carefully composed compositions result in an often humorous dialogue on the role of documents as evidence, and the relationship of text and image. While questioning the positions from which one views information, Foreman constructs and then deconstructs the central metaphor of an archive as a receptacle of information and knowledge.” –EAI<br /><br />Stuart Sherman<br />SECOND SPECTACLE<br />1976, 10-min excerpt (originally 45 min), video. Preserved by EAI in collaboration with the Fales Library & Special Collections, NYU and the Barbara L. Goldsmith Preservation Lab, NYU Libraries.<br />“Sherman created and performed eighteen Spectacles in total, twelve of which were solo performances and six of which involved groups of people. In his second Spectacle, Sherman performs with Stefan Brecht, Richard Foreman and Kate Manheim in a series of choreographed skits.” –EAI<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59317 <p>MASS FOR THE DAKOTA SIOUX (1963-64, 20 min, 16mm) <br />QUIXOTE (1964-65, 45 min, 16mm)<br />“In MASS and QUIXOTE [Baillie] subtly blends glimpses of the heroic personae with despairing reflections on violence and ecological disaster. […] Despite his sophistication, Baillie remains an innocent; the whole of his cinema exhibits an alternation between two irreconcilable themes: the sheer beauty of the phenomenal world (few films are as graceful to the eye as his, few are as sure of their colors) and the utter despair of forgotten men. It is in QUIXOTE alone that these two themes emerge into a dialectical form, an antithesis of grace and disgrace.” –P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 70 min. <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59396 <p>Richard Foreman TOP OF THE POP (1987, 3 min, video)<br />A music video directed by Foreman for actress/singer Jessica Harper, who performed in his early plays before appearing in De Palma’s PHANTOM OF THE PARADISE and Argento’s SUSPIRA.<br /><br />Richard Foreman RADIO RICK IN HEAVEN, RADIO RICHARD IN HELL (1987, 15 min, 16mm-to-digital. Preserved by The Fales Library & Special Collections, NYU with support from The National Film Preservation Foundation.)<br />Shot by the incredible cinematographer, photographer, and filmmaker Babette Mangolte, this rarely-screened film first appeared as part of Foreman’s 1987 play <em>Film Is Evil: Radio Is Good</em>.<br /><br />Richard Foreman TOTAL RAIN (1989, 28 min, video. With Kate Manheim, Ron Vawter, and Richard Foreman. Digitized by The Fales Library & Special Collections, NYU.)<br />In this “video play”, which was shown on WGBH/WNET’s series, “New Television”, playwright/director Richard Foreman explores his relationship with actors, and examines the impact of William Faulkner’s <em>The Sound and the Fury</em> – and in particular the character of Quentin Compson – on his work.<br /><br />Richard Foreman SYMPHONY OF RATS: SPEECH #2 (1988, 7 min, video. Digitized by The Fales Library & Special Collections, NYU.)<br />A short video of Foreman performing as a robot’s talking head, this piece was made for the original 1988 production of <em>Symphony of Rats</em> that he wrote and directed for The Wooster Group.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59258 <p><em><strong>SPECIAL SCREENINGS! FILMMAKER IN PERSON!</strong></em><br /><br />1939, somewhere in the American Midwest: to combat former child-prodigy writer Barbara Fowler’s (Hannah Gross) debilitating agoraphobia, she and her pulp-fiction scribe husband, Richard (Peter Vack) move to the countryside where they become entwined in a love triangle with their deeply religious maid (Deragh Campbell) in this trance-like examination of a world destined for extinction.<br /><br />“[Graham Swon] has made a name for himself over the past ten years while working with cinephile-minded directors like Ricky D’Ambrose, Ted Fendt, Dan Sallitt, and Gina Telaroli. If there’s one thing that unites them it’s a strong sense of intellectualism, a sharp attention to place, and a willingness to rethink traditional cinematic forms. As a filmmaker Swon has been rethinking the conventions and possibilities of cinematic storytelling across his two features to date, THE WORLD IS FULL OF SECRETS (2018) and AN EVENING SONG. [The new film] is a 1930s-set melodrama depicting a love-triangle between real-life writer Barbara Newhall Follett, a pulp fiction novelist, Richard, and their maid, Martha. In actuality the film is an impressionistic work focused on time, memory, and identity that’s filled with dueling voice-over tracks from all the main characters and a near constant stream of dissolves. It was also shot on a custom-built camera rig that reflected the images through a large format photography camera, onto a plate of ground glass, and then into a digital cinema camera. The result is an image that is hazy and filled with intense vignetting, looking completely out of time.” –Joshua Bogatin, SENSES OF CINEMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59398 <p>Richard Foreman<br />ONCE EVERY DAY<br />2012, 67 min, digital<br />ONCE EVERY DAY boldly pushes Foreman’s entirely unique theatrical vision into unexplored digital territories. Highly visual, complexly edited, and without a conventional narrative “story,” ONCE EVERY DAY nevertheless circles a secret theme as it zeroes in on a group of 25 people acting out a series of semi-ritualistic behavior patterns. But their eccentric impulses are aborted in unpredictable ways with each new attempt at action or development. As the film cuts between colored tableaus, bleached-out action sequences, expressionistic black-and-white confrontations, and slow immersion in pure light, we repeatedly hear the voices of the invisible director (Foreman) and his technicians, whispering off-camera instructions and comments to the characters – who are of course “actors” as well as disturbed and inhibited human beings. The implicit question of the film becomes: could this be life itself – visibly re-making itself as art? During the production, Foreman controlled one camera while three or four others also shot their own footage. Foreman then spent well over a year editing the footage into what he called “a time-mosaic of ‘re-formatted consciousness.’” As in much of his theater, the film continuously shifts back and forth between evoking (and echoing) a very particular “art-making” process, while sliding again and again into ecstasy and radical, free-floating anxiety.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59253 <p>This film, by visual artist, independent filmmaker, cinematographer, and still photographer Al Santana, captures the rich legacy of ancient African religions practiced in the United States. It provides rare insight into the practices and beliefs of the Akan and Yoruba religions and illustrates how mass media has been used to ridicule and denigrate these belief systems. The director provides intimate and respectful studies of an Egungun ancestral communion ceremony and daily life in the Yoruba village of Oyotunji in Sheldon, South Carolina, the only traditional African village of its kind in the U.S. VOICES OF THE GODS includes contemporary and historical examples of the influences of these religions in secular African-American culture, which in turn has influenced mainstream American society, culture, and politics.<br /><br /><strong>Filmmaker Al Santana will be here on Monday, May 26 for a Q&A following the screening!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59400 <p>Richard Foreman<br />NOW YOU SEE IT NOW YOU DON’T<br />2017, 70 min, digital. Presented by Bridge Film and the Ontological-Hysteric Theater, and produced by Sophie Haviland.<br /><br />Quite possibly Foreman’s strongest digital video, NOW YOU SEE IT NOW YOU DON’T has never been publicly screened. It brings together a variety of different elements, including excerpts from Foreman’s own public talks about his work, a 1984 sound recording of his French-language theatrical adaptation of Kathy Acker’s <em>My Life My Death by Pier Paolo Pasolini</em>, text from Leo Charney’s book “Empty Moments: Cinema, Modernity, and Drift”, and music from John Zorn and John Cage. These materials are integrated into a typically dense and confounding aural, linguistic, and visual web, one that’s in many ways like a filmic analogue of his theater work. But NOW YOU SEE IT NOW YOU DON’T is distinguished by the addition of various kinds of image processing, a liberal and eccentric use of onscreen text, and an uncharacteristically personal, reflective tone.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59529 <p>Granted rare access to Ndeup, a spiritual healing ceremony practiced by Lebou peoples in Senegal, filmmaker and writer Manthia Diawara – with input from a cadre of scientists and academics – wonders what connections, if any, can be made between the possession ritual and Western logic. AI: AFRICAN INTELLIGENCE imagines generative ways of utilizing and thinking about “machine learning”, which Diawara fears might otherwise elide specific cultural practices like Ndeup.<br /><br />“Considering the confluence of tradition and modernity, Diawara questions how we could move from disembodied machines towards a more humane and spiritual control of algorithms. Could Africa be the context of emergence for such improbable algorithms?” –BERLINALE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59402 <p>Richard Foreman<br />MAD LOVE<br />2018, 71 min, digital. Presented by Bridge Film, the Ontological-Hysteric Theater, and produced by Sophie Haviland.<br /><br />Shot in his Soho loft, MAD LOVE continues Foreman’s intricately edited forays into digital filmmaking. It is very similar to NOW YOU SEE IT NOW YOU DON’T in its textures, visual approach, and use of sound and onscreen text. But befitting the small-scale, domestic condition of its production (it’s a literal chamber play), MAD LOVE is a tighter, more focused piece of work, with a smaller cast of characters and a more circumscribed set of motifs. Less free-wheeling than NOW YOU SEE IT, it nevertheless finds Foreman pushing his image-processing even further, at times almost into the realm of animation or even abstraction.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59257 <p>Granted rare access to Ndeup, a spiritual healing ceremony practiced by Lebou peoples in Senegal, filmmaker and writer Manthia Diawara – with input from a cadre of scientists and academics – wonders what connections, if any, can be made between the possession ritual and Western logic. AI: AFRICAN INTELLIGENCE imagines generative ways of utilizing and thinking about “machine learning”, which Diawara fears might otherwise elide specific cultural practices like Ndeup.<br /><br />“Considering the confluence of tradition and modernity, Diawara questions how we could move from disembodied machines towards a more humane and spiritual control of algorithms. Could Africa be the context of emergence for such improbable algorithms?” –BERLINALE<br /><br /><strong>Filmmaker Manthia Diawara will be here in person after the screening on Tuesday, May 27, for a Q&A moderated by Boukary Sawadogo (Associate Professor of Cinema Studies and Black Studies at CUNY)!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59404 <p>Richard Foreman<br />A FILM NAMED THIS POSSIBLE WORLD<br />[ca. 2017], 26 min, digital. Presented by Bridge Film and the Ontological-Hysteric Theater, and produced by Sophie Haviland.<br />A rather mysterious discovery, A FILM NAMED THIS POSSIBLE WORLD was only found on Foreman’s computer after his death in January. Featuring music by John Zorn, and filmed as part of a Bridge Project workshop in an abandoned school in Kyoto, the video makes full use of all the tools in Foreman’s digital arsenal. The Japanese performers feel like they are almost in a trance as they perform various actions while at times staring into the camera. Foreman’s distinctive voice appears on the soundtrack, and his text is often superimposed in creative, highly graphic ways atop the image. The work has never been publicly screened.<br /><br />Richard Foreman<br />NOTHING TO BE AFRAID OF<br />[ca. 2017], 30 min, digital<br />Another newly uncovered work, NOTHING TO BE AFRAID OF is stylistically related to A FILM NAMED THIS POSSIBLE WORLD and Foreman’s other experimental late works. Largely black and white or monochrome, in this work one can really feel Foreman’s deep desire to disturb the image. Intermittent snippets of voice and music guide us through an abstract space inhabited by people caught up in various entanglements and predicaments. It’s a true underground movie.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59406 <p>Henry Hills<br />ASTRONOME: A NIGHT AT THE OPERA<br />2010, 63 min, digital<br />Richard Foreman’s collaboration with John Zorn was as loud and wild and cerebral as you can imagine. Experimental film stalwart Henry Hills filmed ten different performances with multiple cameras in order to create this frenetic document of the production from every vantage point. While other documents of Foreman performances tend to be constructed from long takes that follow actions and dialogue, Hills edits his footage in a way that provides a sense of the whole show, the entire stage, and all the things that you might not have been able to focus on as it all unfurled in performance. It’s a remarkable work that gets at the psychic feeling of the performance as much as it does the physical reality of how it was staged.<br /><br />Preceded by:<br />Henry Hills<br />KING RICHARD<br />2005, 20 min, digital<br />“Focusing on the periphery of [Foreman’s 2004 production, <em>Cowboy Rufus Rules the Universe</em>] – the elaborate set design and lighting, the non-speaking supporting cast (the so-called ‘stage crew’) with their frantic movement patterns, props, and recurrent imagery, removed from their specific context; i.e., those elements that are ‘typical’ of his recent work, rather than the principals & texts which distinguish one play from the next – Hills utilizes a range of disruptive shooting & editing techniques (as well as color & density alterations) which mimic disruptive theatrical tropes Foreman frequently draws upon to emphasize his non-narrative bias and humorously aggressive relation to his audience. This strand interweaves with a charming yet revealing interview on the set by pre-teen protagonist Emma Bernstein around which the piece is structured. Music is arranged using a selection of Foreman’s sound loops.” –Henry Hills<br /><br />Total running time: ca. 85 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59527 <p>This film, by visual artist, independent filmmaker, cinematographer, and still photographer Al Santana, captures the rich legacy of ancient African religions practiced in the United States. It provides rare insight into the practices and beliefs of the Akan and Yoruba religions and illustrates how mass media has been used to ridicule and denigrate these belief systems. The director provides intimate and respectful studies of an Egungun ancestral communion ceremony and daily life in the Yoruba village of Oyotunji in Sheldon, South Carolina, the only traditional African village of its kind in the U.S. VOICES OF THE GODS includes contemporary and historical examples of the influences of these religions in secular African-American culture, which in turn has influenced mainstream American society, culture, and politics.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 27