Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Wed, 18 Jul 2018 07:04:54 -0400 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49438 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 18 THE RISE AND FALL OF A SMALL FILM COMPANY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49432 <p>(GRANDEUR ET D&Eacute;CADENCE D&rsquo;UN PETIT COMMERCE DE CIN&Eacute;MA)<br /><br />FIRST U.S. THEATRICAL ENGAGEMENT! NEWLY RESTORED!<br /><br />With Jean-Pierre L&eacute;aud, Marie Valera, Jean-Pierre Mocky, and Caroline Champetier. Distributed by Capricci.<br /><br />Appearing not long after his return to commercial filmmaking with EVERY MAN FOR HIMSELF (1980), and following his forays into television with the extraordinary SIX FOIS DEUX (1976) and FRANCE/TOUR/DETOUR/TWO CHILDREN (1978), Jean-Luc Godard&rsquo;s RISE AND FALL OF A SMALL FILM COMPANY is a unique work even within his astonishingly experimental and ever-morphing career. Commissioned by the producers of the French TV series &ldquo;S&eacute;rie Noire&rdquo; to direct a made-for-TV film noir, Godard in fact delivered a typically dense, philosophical, and formally freewheeling meditation on the cinema, acting, and the paradoxical relationship between truth and deception in art. Starring Jean-Pierre L&eacute;aud as Gaspard Bazin, an ambitious, volatile, and womanizing director, and filmmaker Jean-Pierre Mocky as Jean Almereyda, a down-on-his-luck producer attempting to finance Bazin&rsquo;s film adaptation of a James Hadley Chase novel, RISE AND FALL is one of Godard&rsquo;s most playful and frankly funny films (thanks in large part to L&eacute;aud&rsquo;s flair for physical comedy and deadpan absurdity), as well as a profoundly thought-provoking and at times deeply moving work. These screenings of the new restoration &ndash; which was overseen by cinematographer Caroline Champetier and sound designer Francois Musy &ndash; represent its long overdue U.S. theatrical premiere run!<br /><br />&ldquo;&lsquo;You are never better than your last project.&rsquo; This is an old and deeply anxiety-provoking motto in the film industry. Godard is fully aware of this motto in this fresh comedy about the film industry. None other than Jean-Pierre L&eacute;aud plays the uncompromising and womanizing director, who embarks on a cheap TV film project and casts hopeful young actresses, long before his indebted producer has found financial backing for the project. Among those auditioning are the producer&rsquo;s own naive wife, Eurydice. And thus, the fictional layers multiply in the best Godard style in a wonderful and hitherto underseen work, which has a wonderful melancholy 1980s aesthetic thrown into the bargain.&rdquo; &ndash;CPH PIX<br /><br /></p> Wednesday, July 18 THE RISE AND FALL OF A SMALL FILM COMPANY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49433 <p>(GRANDEUR ET D&Eacute;CADENCE D&rsquo;UN PETIT COMMERCE DE CIN&Eacute;MA)<br /><br />FIRST U.S. THEATRICAL ENGAGEMENT! NEWLY RESTORED!<br /><br />With Jean-Pierre L&eacute;aud, Marie Valera, Jean-Pierre Mocky, and Caroline Champetier. Distributed by Capricci.<br /><br />Appearing not long after his return to commercial filmmaking with EVERY MAN FOR HIMSELF (1980), and following his forays into television with the extraordinary SIX FOIS DEUX (1976) and FRANCE/TOUR/DETOUR/TWO CHILDREN (1978), Jean-Luc Godard&rsquo;s RISE AND FALL OF A SMALL FILM COMPANY is a unique work even within his astonishingly experimental and ever-morphing career. Commissioned by the producers of the French TV series &ldquo;S&eacute;rie Noire&rdquo; to direct a made-for-TV film noir, Godard in fact delivered a typically dense, philosophical, and formally freewheeling meditation on the cinema, acting, and the paradoxical relationship between truth and deception in art. Starring Jean-Pierre L&eacute;aud as Gaspard Bazin, an ambitious, volatile, and womanizing director, and filmmaker Jean-Pierre Mocky as Jean Almereyda, a down-on-his-luck producer attempting to finance Bazin&rsquo;s film adaptation of a James Hadley Chase novel, RISE AND FALL is one of Godard&rsquo;s most playful and frankly funny films (thanks in large part to L&eacute;aud&rsquo;s flair for physical comedy and deadpan absurdity), as well as a profoundly thought-provoking and at times deeply moving work. These screenings of the new restoration &ndash; which was overseen by cinematographer Caroline Champetier and sound designer Francois Musy &ndash; represent its long overdue U.S. theatrical premiere run!<br /><br />&ldquo;&lsquo;You are never better than your last project.&rsquo; This is an old and deeply anxiety-provoking motto in the film industry. Godard is fully aware of this motto in this fresh comedy about the film industry. None other than Jean-Pierre L&eacute;aud plays the uncompromising and womanizing director, who embarks on a cheap TV film project and casts hopeful young actresses, long before his indebted producer has found financial backing for the project. Among those auditioning are the producer&rsquo;s own naive wife, Eurydice. And thus, the fictional layers multiply in the best Godard style in a wonderful and hitherto underseen work, which has a wonderful melancholy 1980s aesthetic thrown into the bargain.&rdquo; &ndash;CPH PIX<br /><br /></p> Wednesday, July 18 MADAME X http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49510 <p><br />&ldquo;A dark wit pervades this daring, camp-filled first feature from Indonesian director Lucky Kuswandi. Is it a curling iron? Is it a hair dryer? No, it&rsquo;s Madame X &ndash; the world&rsquo;s first trans superhero! Adam leads a regular life as a hairdresser until she&rsquo;s suddenly chosen by destiny to fight a transphobic gang who commits hate crimes in the nightlife of Jakarta. While training to become a superhero, Adam discovers that the violent gang is connected to a religious right wing party that is about to gain power. Adam realizes she needs to kick some ass for the minorities! A highly original and kitschy film fueled with great energy, self-irony, and a heart of gold.&rdquo; &ndash;MIX COPENHAGEN<br /><br />&ldquo;Fabulous is the only word to describe MADAME X, a candy-colored, fast-paced tale of a transsexual superhero from Indonesia who fights intolerance.&rdquo; &ndash;VARIETY<br /><br /></p> Thursday, July 19 THE RISE AND FALL OF A SMALL FILM COMPANY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49434 <p>(GRANDEUR ET D&Eacute;CADENCE D&rsquo;UN PETIT COMMERCE DE CIN&Eacute;MA)<br /><br />FIRST U.S. THEATRICAL ENGAGEMENT! NEWLY RESTORED!<br /><br />With Jean-Pierre L&eacute;aud, Marie Valera, Jean-Pierre Mocky, and Caroline Champetier. Distributed by Capricci.<br /><br />Appearing not long after his return to commercial filmmaking with EVERY MAN FOR HIMSELF (1980), and following his forays into television with the extraordinary SIX FOIS DEUX (1976) and FRANCE/TOUR/DETOUR/TWO CHILDREN (1978), Jean-Luc Godard&rsquo;s RISE AND FALL OF A SMALL FILM COMPANY is a unique work even within his astonishingly experimental and ever-morphing career. Commissioned by the producers of the French TV series &ldquo;S&eacute;rie Noire&rdquo; to direct a made-for-TV film noir, Godard in fact delivered a typically dense, philosophical, and formally freewheeling meditation on the cinema, acting, and the paradoxical relationship between truth and deception in art. Starring Jean-Pierre L&eacute;aud as Gaspard Bazin, an ambitious, volatile, and womanizing director, and filmmaker Jean-Pierre Mocky as Jean Almereyda, a down-on-his-luck producer attempting to finance Bazin&rsquo;s film adaptation of a James Hadley Chase novel, RISE AND FALL is one of Godard&rsquo;s most playful and frankly funny films (thanks in large part to L&eacute;aud&rsquo;s flair for physical comedy and deadpan absurdity), as well as a profoundly thought-provoking and at times deeply moving work. These screenings of the new restoration &ndash; which was overseen by cinematographer Caroline Champetier and sound designer Francois Musy &ndash; represent its long overdue U.S. theatrical premiere run!<br /><br />&ldquo;&lsquo;You are never better than your last project.&rsquo; This is an old and deeply anxiety-provoking motto in the film industry. Godard is fully aware of this motto in this fresh comedy about the film industry. None other than Jean-Pierre L&eacute;aud plays the uncompromising and womanizing director, who embarks on a cheap TV film project and casts hopeful young actresses, long before his indebted producer has found financial backing for the project. Among those auditioning are the producer&rsquo;s own naive wife, Eurydice. And thus, the fictional layers multiply in the best Godard style in a wonderful and hitherto underseen work, which has a wonderful melancholy 1980s aesthetic thrown into the bargain.&rdquo; &ndash;CPH PIX<br /><br /></p> Thursday, July 19 THEY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49522 <p><br />Fourteen-year-old J goes by the pronoun &ldquo;They&rdquo; and lives with their parents in the suburbs of Chicago. J is exploring their gender identity while taking hormone blockers to postpone puberty. After two years of medication and therapy, J has to make a decision whether or not to transition. Over this crucial weekend while their parents are away, J&rsquo;s sister Lauren and her maybe/maybe-not Iranian partner Araz arrive to take care of them.<br /><br /></p> Thursday, July 19 THE RISE AND FALL OF A SMALL FILM COMPANY http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49435 <p>(GRANDEUR ET D&Eacute;CADENCE D&rsquo;UN PETIT COMMERCE DE CIN&Eacute;MA)<br /><br />FIRST U.S. THEATRICAL ENGAGEMENT! NEWLY RESTORED!<br /><br />With Jean-Pierre L&eacute;aud, Marie Valera, Jean-Pierre Mocky, and Caroline Champetier. Distributed by Capricci.<br /><br />Appearing not long after his return to commercial filmmaking with EVERY MAN FOR HIMSELF (1980), and following his forays into television with the extraordinary SIX FOIS DEUX (1976) and FRANCE/TOUR/DETOUR/TWO CHILDREN (1978), Jean-Luc Godard&rsquo;s RISE AND FALL OF A SMALL FILM COMPANY is a unique work even within his astonishingly experimental and ever-morphing career. Commissioned by the producers of the French TV series &ldquo;S&eacute;rie Noire&rdquo; to direct a made-for-TV film noir, Godard in fact delivered a typically dense, philosophical, and formally freewheeling meditation on the cinema, acting, and the paradoxical relationship between truth and deception in art. Starring Jean-Pierre L&eacute;aud as Gaspard Bazin, an ambitious, volatile, and womanizing director, and filmmaker Jean-Pierre Mocky as Jean Almereyda, a down-on-his-luck producer attempting to finance Bazin&rsquo;s film adaptation of a James Hadley Chase novel, RISE AND FALL is one of Godard&rsquo;s most playful and frankly funny films (thanks in large part to L&eacute;aud&rsquo;s flair for physical comedy and deadpan absurdity), as well as a profoundly thought-provoking and at times deeply moving work. These screenings of the new restoration &ndash; which was overseen by cinematographer Caroline Champetier and sound designer Francois Musy &ndash; represent its long overdue U.S. theatrical premiere run!<br /><br />&ldquo;&lsquo;You are never better than your last project.&rsquo; This is an old and deeply anxiety-provoking motto in the film industry. Godard is fully aware of this motto in this fresh comedy about the film industry. None other than Jean-Pierre L&eacute;aud plays the uncompromising and womanizing director, who embarks on a cheap TV film project and casts hopeful young actresses, long before his indebted producer has found financial backing for the project. Among those auditioning are the producer&rsquo;s own naive wife, Eurydice. And thus, the fictional layers multiply in the best Godard style in a wonderful and hitherto underseen work, which has a wonderful melancholy 1980s aesthetic thrown into the bargain.&rdquo; &ndash;CPH PIX<br /><br /></p> Thursday, July 19 HENRI CARTIER-BRESSON, PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49469 <p><br />Henri Cartier-Bresson &amp; Herbert Kline<br />RETURN TO LIFE / VICTOIRE DE LA VIE<br />1937, 47 min, 35mm. In French with English subtitles. Screened courtesy of Cin&eacute;-Archives; restored print provided by the Centre national du cin&eacute;ma et de l&rsquo;image anim&eacute;e.<br />Made in collaboration with American activist, left-wing editor, and eventual documentary filmmaker Herbert Kline, and produced by the Centrale Sanitaire Internationale, RETURN TO LIFE is a film about the attempts to provide medical aid to Republican fighters and other victims of Franco&rsquo;s forces during the Spanish Civil War. A deeply moving and vital document of that struggle, it&rsquo;s a key example of filmic war reportage.</p> <p>Henri Cartier-Bresson<br />WITH THE ABRAHAM LINCOLN BRIGADE IN SPAIN<br />1937&ndash;38, 18 min, 35mm<br />Filmed at the same time as RETURN TO LIFE, and thought lost until it was recently discovered in the Abraham Lincoln Brigade Archives (ALBA), this film chronicles the activities of American volunteer troops in Spain before and after their deployment to the front.<br /><br /></p> Friday, July 20 MADAME X: AN ABSOLUTE RULER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49516 <p>(MADAME X: EINE ABSOLUTE HERRSCHEIN)<br /><br />Print courtesy of the Academy Film Archive.<br /><br />Madame X, a harsh, pitiless beauty, the cruel uncrowned ruler of the China Sea, launches an appeal to all women willing to exchange their comfortable and secure but unbearably dull lives for a world of dangers and uncertainties, free from rules and patriarchal tyranny. A variety of women respond to her call, but they soon find themselves swapping one kind of servitude for another, as Madame X demands complete devotion from her shipmates, even the ones she is enamored with. MADAME X transgresses traditional gender roles as well as traditional modes of narrative cinema to create a challenging and allegorical tale of gender liberation.<br /><br /></p> Friday, July 20 HENRI CARTIER-BRESSON, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49472 <p><br />Henri Cartier-Bresson<br />SPAIN WILL LIVE / L&rsquo;ESPAGNE VIVRA<br />1938, 44 min, 35mm. In French with English subtitles. Screened courtesy of Cin&eacute;-Archives; restored print provided by the Centre national du cin&eacute;ma et de l&rsquo;image anim&eacute;e.<br />Immediately following RETURN TO LIFE, Cartier-Bresson made SPAIN WILL LIVE, another documentary about the Spanish Civil War, but a more explicitly activist film than its predecessor. Here Cartier-Bresson and his collaborators (including the film critic and historian Georges Sadoul, who wrote the commentary) aimed to help raise funds for the cause, and to posit the existence of a fascist conspiracy in Europe, orchestrated by Hitler, Mussolini, and Franco, and a threat not only to Spain itself but to Europe as a whole.<br /><br />Henri Cartier-Bresson &amp; Richard Banks<br />THE RETURN / LE RETOUR<br />1945, 33 min, 35mm. In French with English subtitles. Archival print courtesy of the Cin&eacute;math&egrave;que Fran&ccedil;aise.<br />&ldquo;Acclaimed by the Museum of Modern Art as &lsquo;one of the greatest human documents to come out of WWII,&rsquo; this is the moving story of the liberation of French prisoners from Nazi concentration camps. It is a quietly understated film, recorded by U.S. Army Signal Corps cameramen and Cartier-Bresson, himself a prisoner in one of the camps. Scenes include the prisoners being removed to temporary hospitals and their joyful reunions with family and friends in Paris.&rdquo; &ndash;NATIONAL CENTER FOR JEWISH FILM<br /><br /></p> Friday, July 20 KAORI ODA: SHORT FILMS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49496 <p>FILMMAKER IN PERSON!<br />KAORI ODA<br />On the occasion of the North American premiere of her new feature film, TOWARD A COMMON TENDERNESS &ndash; screening as part of the JAPAN CUTS: Festival of New Japanese Film, taking place from July 19-29 at the Japan Society &ndash; Anthology hosts Kaori Oda for two programs devoted to her earlier work. Born in Osaka in 1987, Oda lived in Sarajevo for three years, where she studied with Bela Tarr as part of the Film.Factory program he created for the Sarajevo Film Academy. Admitted on the strength of her debut film, THUS A NOISE SPEAKS, a bracingly frank, formally ingenious exploration of gender identity and family dynamics, Oda emerged with the feature-length ARAGANE. Filmed in a Bosnian coal mine, this impressionistic documentary is an exquisite, mysterious, and elemental portrait of an otherworldly environment and of the gestures of the workers who inhabit it.<br /><br />Oda will be here in person to present both films, as well as four additional shorts, all of which establish her as an unusually versatile and gifted artist.<br /><br />TOWARD A COMMON TENDERNESS screens at the Japan Society on Sunday, July 22 at 2:15; for more info about that screening or about JAPAN CUTS itself, visit: www.japansociety.org/page/programs/film/japan-cuts-2018<br /><br />Special thanks to Kaori Oda, and to Aiko Masubuchi (Japan Society).<br /><br />SHORT FILM PROGRAM:<br />THUS A NOISE SPEAKS<br />2010, 38 min, digital<br />At 23 years of age, while home for summer vacation, Kacchi finally comes out to her parents. They reject the confession, however, and its memory begins to fade away, as if it never existed. Hoping for her parents&rsquo; understanding, and with a little taste for revenge, she decides to make a film of her confession, with the participation of her family.<br /><br />CONNIVING / KO OH<br />2014, 19 min, digital<br />A cowherd, sheep, and the wind, all have an equal presence in the village. Death and life are one and indivisible.<br /><br />FLASH<br />2014, 25 min, digital. In English and Bosnian with English subtitles.<br />In a train from Sarajevo to Zagreb, looking at the landscape of the foreign country from a window, I somehow felt nostalgic and a question crossed my mind. &ldquo;What is my first memory?&rdquo; Could primitive memories be found and shared in human beings? If collective memories exist in us as what is inherited, I would like to know what it is like and to capture them by camera and sound recorder.<br /><br />THEORY OF COLOURS, PROLOGUE<br />2017, 6 min, 16mm-to-digital<br />&ldquo;Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of color&hellip; Color itself is a degree of darkness.&rdquo; &ndash;Johann Wolfgang von Goethe<br /><br />Total running time: ca. 95 min.<br /><br /></p> Saturday, July 21 HENRI CARTIER-BRESSON, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49475 <p><br />The four films in this program document Cartier-Bresson at work, photographing in New York (Gjon Mili&rsquo;s short film), Paris (L&rsquo;AVENTURE MODERNE), the UK (MIDLANDS AT PLAY AND AT WORK), and Qu&eacute;bec (LE QU&Eacute;BEC AS SEEN BY CARTIER-BRESSON).<br /><br />Gjon Mili HENRI CARTIER-BRESSON PHOTOGRAPHING THE CHINESE NEW YEAR, NYC (1956, 3 min, 35mm-to-digital. Courtesy Howard Greenberg Gallery, New York.)<br />Roger Kahane L&rsquo;AVENTURE MODERNE (1962, 29 min, 35mm-to-digital)<br />Douglas Hickox &amp; Henri Cartier-Bresson MIDLANDS AT PLAY AND AT WORK (1963, 24 min, 35mm. Print courtesy of the Cin&eacute;math&egrave;que Fran&ccedil;aise.)<br />Wolf Koenig LE QU&Eacute;BEC AS SEEN BY CARTIER-BRESSON / QU&Eacute;BEC VU PAR CARTIER-BRESSON (1969, 10 min, 16mm. Print courtesy of the National Film Board of Canada.)<br /><br />Total running time: ca. 70 min.</p> Saturday, July 21 HENRI CARTIER-BRESSON, PGM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49478 <p><br />Henri Cartier-Bresson CALIFORNIA IMPRESSIONS (1970, 25 min, 35mm-to-digital)<br />Henri Cartier-Bresson SOUTHERN EXPOSURES (1971, 25 min, 35mm-to-digital)<br />&ldquo;In 1969 and 1970, Cartier-Bresson made two documentaries for CBS News, CALIFORNIA IMPRESSIONS and SOUTHERN EXPOSURES, which provided him with the opportunity to work in color. They are travelogues about grassroots America, two visual essays, without a voiceover narration, which play on editing effects and the inherent power of scenes captured by the camera eye. The mosaic form of these two documentaries clearly renders the sense of America exploding at the time, with its pacifist demonstrations against the war in Vietnam, the struggle for civil rights, the religious phenomenon. [&hellip;] Carter-Bresson is an unhindered traveler; his gaze is often sarcastic when filming American folklore, with its choirs, drum majorettes, its charity meetings and its religious celebrations. His camera is always on the move, filming faces in close-up, ways of moving, dancing or gesticulating. In a few off-the-cuff shots, the photographer-filmmaker describes a human reality through an inspired gaze devoid of any touristic overtones.&rdquo; &ndash;Serge Toubiana</p> Saturday, July 21 KAORI ODA: ARAGANE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49498 <p>FILMMAKER IN PERSON!<br />KAORI ODA<br />On the occasion of the North American premiere of her new feature film, TOWARD A COMMON TENDERNESS &ndash; screening as part of the JAPAN CUTS: Festival of New Japanese Film, taking place from July 19-29 at the Japan Society &ndash; Anthology hosts Kaori Oda for two programs devoted to her earlier work. Born in Osaka in 1987, Oda lived in Sarajevo for three years, where she studied with Bela Tarr as part of the Film.Factory program he created for the Sarajevo Film Academy. Admitted on the strength of her debut film, THUS A NOISE SPEAKS, a bracingly frank, formally ingenious exploration of gender identity and family dynamics, Oda emerged with the feature-length ARAGANE. Filmed in a Bosnian coal mine, this impressionistic documentary is an exquisite, mysterious, and elemental portrait of an otherworldly environment and of the gestures of the workers who inhabit it.<br /><br />Oda will be here in person to present both films, as well as four additional shorts, all of which establish her as an unusually versatile and gifted artist.<br /><br />TOWARD A COMMON TENDERNESS screens at the Japan Society on Sunday, July 22 at 2:15; for more info about that screening or about JAPAN CUTS itself, visit: www.japansociety.org/page/programs/film/japan-cuts-2018<br /><br />Special thanks to Kaori Oda, and to Aiko Masubuchi (Japan Society).<br /><br />ARAGANE<br />2015, 68 min, DCP. In Bosnian with English subtitles.<br />&ldquo;ARAGANE is, on the surface, a documentary about a Bosnian coalmine. As Oda takes us underground, the surroundings are illuminated solely by the available light of the miners&rsquo; headlamps, creating a state of sensual semi-blindness that both attunes us to the dangers of the mine and &ndash; with the beams cutting arcs of light through the blackness and casting shadows on the cavern walls &ndash; becomes an organic metaphor for the roots of cinema itself. [&hellip;] Oda attempts to understand her subjects through an embodied presence that moves beyond distanced knowledge and towards intimate entanglement.&rdquo; &ndash;TORONTO INTERNATIONAL FILM FESTIVAL<br /><br />&ldquo;What&rsquo;s astonishing to me about ARAGANE is that it literally reinvents my idea of what cinema is and can be &ndash; and not only because it unfolds mostly in darkness (yet a darkness that is constantly shifting and changing, at every instant, in relation to the few pinpoints of light), but also because it has an exquisite formal and even abstract beauty that is complemented, complicated, and sometimes even contradicted throughout by a continuous human presence. [&hellip;] The only film I can think of that seems remotely comparable is Lucien Castaing-Taylor and Verena Paravel&rsquo;s 2012 LEVIATHAN, but Oda&rsquo;s handling of human presence surpasses that film in so many ways that it seems worth mentioning the earlier film only in terms of contrast.&rdquo; &ndash;Jonathan Rosenbaum<br /><br /></p> Saturday, July 21 HENRI CARTIER-BRESSON, PGM 5: Jean Renoir http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49481 <p><br />Cartier-Bresson served as an assistant to the great filmmaker Jean Renoir on three films in the 1930s: LA VIE EST &Agrave; NOUS, A DAY IN THE COUNTRY (which was left unfinished, and only edited into a medium-length work after the war), and THE RULES OF THE GAME. We&rsquo;ll be screening the first two films in this program.<br /><br />Jean Renoir<br />LA VIE EST &Agrave; NOUS<br />1936, 63 min, 35mm. In French with English subtitles. Archival print provided by the Centre national du cin&eacute;ma et de l&rsquo;image anim&eacute;e.<br />&ldquo;A lyrical film essay, a truly collective effort by some of the finest writers, directors, and cinematographers working in France in the thirties, yet one that bears the strong imprint of Jean Renoir, who supervised the project. It was the first militant left-wing film made in France, in support of the Communist Party, and was banned by the censor and thus only screened in local cinemas to &lsquo;subscribers&rsquo; to Cin&eacute;-libert&eacute;, the magazine of the left-wing group of cineastes. The film is an amalgam of sketches, documentary and pseudo-documentary sequences&hellip;. In Renoir&rsquo;s canon this film might be said to be LE CRIME DE M. LANGE in macrocosm &ndash; a film about all the M. Langes, indeed, a film made in the collective spirit of that Popular Front-inspired tale.&rdquo; &ndash;PACIFIC FILM ARCHIVE<br /><br />Jean Renoir<br />A DAY IN THE COUNTRY / PARTIE DE CAMPAGNE<br />1946, 41 min, 35mm. In French with English subtitles.<br />Based on a story by Guy de Maupassant, this is a tenderly comic idyll about a city family&rsquo;s picnic in the French countryside and the romancing of the mother and grown daughter by two local men. Conceived as a short feature, the project had nearly finished production in 1936 when Renoir was called away for THE LOWER DEPTHS. Shooting was abandoned then, but the film was completed with the existing footage by Renoir&rsquo;s team and released in its current form in 1946, after the director had already moved on to Hollywood. The result is a warmly humanist vignette that ranks among Renoir&rsquo;s most lyrical works, with a love for nature imbuing its every beautiful frame.<br /><br /></p> Saturday, July 21 EC: CHARLES CHAPLIN, PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49523 <p>&ldquo;It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. [&hellip;] [The] best Chaplin films can be seen over and over again with no loss of pleasure &ndash; indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.&rdquo; &ndash;Andr&eacute; Bazin, WHAT IS CINEMA<br /><br />CHARLES CHAPLIN, PROGRAM 1<br />All the Chaplin shorts in this and the following programs are silent.<br />A WOMAN 1915, 20 min, 16mm, b&amp;w<br />EASY STREET 1917, 19 min, 16mm, b&amp;w<br />A DOG&rsquo;S LIFE 1918, 33 min, 35mm, b&amp;w<br /><br />Total running time: ca. 75 min.</p> Sunday, July 22 HENRI CARTIER-BRESSON, PGM 6 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49484 <p><br />Robert Delpire FLAGRANTS D&Eacute;LITS (1967, 30 min, 35mm-to-digital)<br />&ldquo;A montage film of Cartier-Bresson&rsquo;s most famous photographs, with original music by Diego Masson. [&hellip;] Delpire was not only a witness to Cartier-Bresson&rsquo;s oeuvre, but also, most importantly, the one who had a first look at each photographic experiment.&rdquo; &ndash;Serge Toubiana<br /><br />Cornell Capa THE DECISIVE MOMENT (1973, 18 min, 35mm-to-digital)<br />Commissioned by Scholastic Magazines, Inc. and the ICP in 1973, and overseen by ICP founder Cornell Capa, this film presents a slideshow of Cartier-Bresson&rsquo;s photographs, with commentary from the photographer himself.<br /><br />Robert Delpire CONTACTS: HENRI CARTIER-BRESSON (1994, 12 min, 35mm-to-digital)<br />&ldquo;CONTACTS investigates the smooth surface of the contact sheet. With its crab shots and slight zoom-ins, the camera enters the photographs of Cartier-Bresson in order to reveal their geometry and beauty.&rdquo; &ndash;Serge Toubiana<br /><br />Sarah Moon POINT D&rsquo;INTERROGATION (1994, 38 min, digital)<br />This documentary portrait includes footage of Cartier-Bresson in his Paris and Provence homes, as well as numerous stills of his works. He talks about his passion for drawing, offers his opinion on different types of photography, and shares photos of himself.<br /><br />Total running time: ca. 105 min.<br /><br /></p> Sunday, July 22 EC: CHARLES CHAPLIN, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49524 <p>&ldquo;It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. [&hellip;] [The] best Chaplin films can be seen over and over again with no loss of pleasure &ndash; indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.&rdquo; &ndash;Andr&eacute; Bazin, WHAT IS CINEMA<br /><br />CHARLES CHAPLIN, PROGRAM 2<br />SHOULDER ARMS (1918, 37 min, 35mm, b&amp;w)<br />A DAY&rsquo;S PLEASURE (1919, 19 min, 35mm, b&amp;w)<br />THE IDLE CLASS (1921, 32 min, 35mm, b&amp;w)<br /><br />Total running time: ca. 95 min.</p> Sunday, July 22 HENRI CARTIER-BRESSON, PGM 7: THE IMPASSIONED EYE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49487 <p><br />Heinz B&uuml;tler<br />HENRI CARTIER-BRESSON: THE IMPASSIONED EYE / HENRI CARTIER-BRESSON &ndash; BIOGRAPHIE EINES BLICKS<br />2003, 52 min, digital. In English, French, and Italian with English subtitles.<br />Produced to coincide with a major retrospective at the Biblioth&egrave;que Nationale de France, as well as the formation of the Henri Cartier-Bresson Foundation in Paris, THE IMPASSIONED EYE was made with the full participation of Cartier-Bresson himself, shortly before his death at the age of 95. Providing the photographer with an opportunity to look back over his life and work, the film also incorporates interviews with actress Isabelle Huppert, playwright Arthur Miller, publisher Robert Delpire, and the Magnum photographers Elliott Erwitt, Josef Koudelka, and Ferdinando Scianna, all of whom share their very personal views of the work and personality of Cartier-Bresson.<br /><br /></p> Sunday, July 22 EC: CHARLES CHAPLIN, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49525 <p>&ldquo;It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. [&hellip;] [The] best Chaplin films can be seen over and over again with no loss of pleasure &ndash; indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.&rdquo; &ndash;Andr&eacute; Bazin, WHAT IS CINEMA<br /><br />CHARLES CHAPLIN, PROGRAM 3<br />PAY DAY (1922, 22 min, 35mm, b&amp;w)<br />THE PILGRIM (1923, 41 min, 35mm, b&amp;w)<br /><br />Total running time: ca. 70 min.</p> Sunday, July 22 HENRI CARTIER-BRESSON, PGM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49470 <p><br />Henri Cartier-Bresson &amp; Herbert Kline<br />RETURN TO LIFE / VICTOIRE DE LA VIE<br />1937, 47 min, 35mm. In French with English subtitles. Screened courtesy of Cin&eacute;-Archives; restored print provided by the Centre national du cin&eacute;ma et de l&rsquo;image anim&eacute;e.<br />Made in collaboration with American activist, left-wing editor, and eventual documentary filmmaker Herbert Kline, and produced by the Centrale Sanitaire Internationale, RETURN TO LIFE is a film about the attempts to provide medical aid to Republican fighters and other victims of Franco&rsquo;s forces during the Spanish Civil War. A deeply moving and vital document of that struggle, it&rsquo;s a key example of filmic war reportage.</p> <p>Henri Cartier-Bresson<br />WITH THE ABRAHAM LINCOLN BRIGADE IN SPAIN<br />1937&ndash;38, 18 min, 35mm<br />Filmed at the same time as RETURN TO LIFE, and thought lost until it was recently discovered in the Abraham Lincoln Brigade Archives (ALBA), this film chronicles the activities of American volunteer troops in Spain before and after their deployment to the front.<br /><br /></p> Sunday, July 22 EC: THE GOLD RUSH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49526 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin&rsquo;s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin&rsquo;s own music and poetic narration, added for his 1942 reissue.</p> Monday, July 23 HENRI CARTIER-BRESSON, PGM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49473 <p><br />Henri Cartier-Bresson<br />SPAIN WILL LIVE / L&rsquo;ESPAGNE VIVRA<br />1938, 44 min, 35mm. In French with English subtitles. Screened courtesy of Cin&eacute;-Archives; restored print provided by the Centre national du cin&eacute;ma et de l&rsquo;image anim&eacute;e.<br />Immediately following RETURN TO LIFE, Cartier-Bresson made SPAIN WILL LIVE, another documentary about the Spanish Civil War, but a more explicitly activist film than its predecessor. Here Cartier-Bresson and his collaborators (including the film critic and historian Georges Sadoul, who wrote the commentary) aimed to help raise funds for the cause, and to posit the existence of a fascist conspiracy in Europe, orchestrated by Hitler, Mussolini, and Franco, and a threat not only to Spain itself but to Europe as a whole.<br /><br />Henri Cartier-Bresson &amp; Richard Banks<br />THE RETURN / LE RETOUR<br />1945, 33 min, 35mm. In French with English subtitles. Archival print courtesy of the Cin&eacute;math&egrave;que Fran&ccedil;aise.<br />&ldquo;Acclaimed by the Museum of Modern Art as &lsquo;one of the greatest human documents to come out of WWII,&rsquo; this is the moving story of the liberation of French prisoners from Nazi concentration camps. It is a quietly understated film, recorded by U.S. Army Signal Corps cameramen and Cartier-Bresson, himself a prisoner in one of the camps. Scenes include the prisoners being removed to temporary hospitals and their joyful reunions with family and friends in Paris.&rdquo; &ndash;NATIONAL CENTER FOR JEWISH FILM<br /><br /></p> Monday, July 23 THE CIRCUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49528 <p>&ldquo;One of the loveliest screen experiences! Perhaps the quintessential Chaplin film!&rdquo; &ndash;Vincent Canby, NEW YORK TIMES<br /><br />When we first meet Chaplin&rsquo;s Tramp in this comic gem, he&rsquo;s in typical straits: broke, hungry, destined to fall in love and just as sure to lose the girl. Mistaken for a pickpocket and pursued by a peace officer into a circus tent, the Tramp becomes a star when delighted patrons think his escape from John Law is an act.</p> Monday, July 23 HENRI CARTIER-BRESSON, PGM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49476 <p><br />The four films in this program document Cartier-Bresson at work, photographing in New York (Gjon Mili&rsquo;s short film), Paris (L&rsquo;AVENTURE MODERNE), the UK (MIDLANDS AT PLAY AND AT WORK), and Qu&eacute;bec (LE QU&Eacute;BEC AS SEEN BY CARTIER-BRESSON).<br /><br />Gjon Mili HENRI CARTIER-BRESSON PHOTOGRAPHING THE CHINESE NEW YEAR, NYC (1956, 3 min, 35mm-to-digital. Courtesy Howard Greenberg Gallery, New York.)<br />Roger Kahane L&rsquo;AVENTURE MODERNE (1962, 29 min, 35mm-to-digital)<br />Douglas Hickox &amp; Henri Cartier-Bresson MIDLANDS AT PLAY AND AT WORK (1963, 24 min, 35mm. Print courtesy of the Cin&eacute;math&egrave;que Fran&ccedil;aise.)<br />Wolf Koenig LE QU&Eacute;BEC AS SEEN BY CARTIER-BRESSON / QU&Eacute;BEC VU PAR CARTIER-BRESSON (1969, 10 min, 16mm. Print courtesy of the National Film Board of Canada.)<br /><br />Total running time: ca. 70 min.</p> Monday, July 23 EC: THE GOLD RUSH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49527 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin&rsquo;s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin&rsquo;s own music and poetic narration, added for his 1942 reissue.</p> Tuesday, July 24 HENRI CARTIER-BRESSON, PGM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49479 <p><br />Henri Cartier-Bresson CALIFORNIA IMPRESSIONS (1970, 25 min, 35mm-to-digital)<br />Henri Cartier-Bresson SOUTHERN EXPOSURES (1971, 25 min, 35mm-to-digital)<br />&ldquo;In 1969 and 1970, Cartier-Bresson made two documentaries for CBS News, CALIFORNIA IMPRESSIONS and SOUTHERN EXPOSURES, which provided him with the opportunity to work in color. They are travelogues about grassroots America, two visual essays, without a voiceover narration, which play on editing effects and the inherent power of scenes captured by the camera eye. The mosaic form of these two documentaries clearly renders the sense of America exploding at the time, with its pacifist demonstrations against the war in Vietnam, the struggle for civil rights, the religious phenomenon. [&hellip;] Carter-Bresson is an unhindered traveler; his gaze is often sarcastic when filming American folklore, with its choirs, drum majorettes, its charity meetings and its religious celebrations. His camera is always on the move, filming faces in close-up, ways of moving, dancing or gesticulating. In a few off-the-cuff shots, the photographer-filmmaker describes a human reality through an inspired gaze devoid of any touristic overtones.&rdquo; &ndash;Serge Toubiana</p> Tuesday, July 24 HENRI CARTIER-BRESSON, PGM 6 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49485 <p><br />Robert Delpire FLAGRANTS D&Eacute;LITS (1967, 30 min, 35mm-to-digital)<br />&ldquo;A montage film of Cartier-Bresson&rsquo;s most famous photographs, with original music by Diego Masson. [&hellip;] Delpire was not only a witness to Cartier-Bresson&rsquo;s oeuvre, but also, most importantly, the one who had a first look at each photographic experiment.&rdquo; &ndash;Serge Toubiana<br /><br />Cornell Capa THE DECISIVE MOMENT (1973, 18 min, 35mm-to-digital)<br />Commissioned by Scholastic Magazines, Inc. and the ICP in 1973, and overseen by ICP founder Cornell Capa, this film presents a slideshow of Cartier-Bresson&rsquo;s photographs, with commentary from the photographer himself.<br /><br />Robert Delpire CONTACTS: HENRI CARTIER-BRESSON (1994, 12 min, 35mm-to-digital)<br />&ldquo;CONTACTS investigates the smooth surface of the contact sheet. With its crab shots and slight zoom-ins, the camera enters the photographs of Cartier-Bresson in order to reveal their geometry and beauty.&rdquo; &ndash;Serge Toubiana<br /><br />Sarah Moon POINT D&rsquo;INTERROGATION (1994, 38 min, digital)<br />This documentary portrait includes footage of Cartier-Bresson in his Paris and Provence homes, as well as numerous stills of his works. He talks about his passion for drawing, offers his opinion on different types of photography, and shares photos of himself.<br /><br />Total running time: ca. 105 min.<br /><br /></p> Tuesday, July 24 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49439 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, July 25 THE CIRCUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49529 <p>&ldquo;One of the loveliest screen experiences! Perhaps the quintessential Chaplin film!&rdquo; &ndash;Vincent Canby, NEW YORK TIMES<br /><br />When we first meet Chaplin&rsquo;s Tramp in this comic gem, he&rsquo;s in typical straits: broke, hungry, destined to fall in love and just as sure to lose the girl. Mistaken for a pickpocket and pursued by a peace officer into a circus tent, the Tramp becomes a star when delighted patrons think his escape from John Law is an act.</p> Wednesday, July 25 HENRI CARTIER-BRESSON, PGM 5: Jean Renoir http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49482 <p><br />Cartier-Bresson served as an assistant to the great filmmaker Jean Renoir on three films in the 1930s: LA VIE EST &Agrave; NOUS, A DAY IN THE COUNTRY (which was left unfinished, and only edited into a medium-length work after the war), and THE RULES OF THE GAME. We&rsquo;ll be screening the first two films in this program.<br /><br />Jean Renoir<br />LA VIE EST &Agrave; NOUS<br />1936, 63 min, 35mm. In French with English subtitles. Archival print provided by the Centre national du cin&eacute;ma et de l&rsquo;image anim&eacute;e.<br />&ldquo;A lyrical film essay, a truly collective effort by some of the finest writers, directors, and cinematographers working in France in the thirties, yet one that bears the strong imprint of Jean Renoir, who supervised the project. It was the first militant left-wing film made in France, in support of the Communist Party, and was banned by the censor and thus only screened in local cinemas to &lsquo;subscribers&rsquo; to Cin&eacute;-libert&eacute;, the magazine of the left-wing group of cineastes. The film is an amalgam of sketches, documentary and pseudo-documentary sequences&hellip;. In Renoir&rsquo;s canon this film might be said to be LE CRIME DE M. LANGE in macrocosm &ndash; a film about all the M. Langes, indeed, a film made in the collective spirit of that Popular Front-inspired tale.&rdquo; &ndash;PACIFIC FILM ARCHIVE<br /><br />Jean Renoir<br />A DAY IN THE COUNTRY / PARTIE DE CAMPAGNE<br />1946, 41 min, 35mm. In French with English subtitles.<br />Based on a story by Guy de Maupassant, this is a tenderly comic idyll about a city family&rsquo;s picnic in the French countryside and the romancing of the mother and grown daughter by two local men. Conceived as a short feature, the project had nearly finished production in 1936 when Renoir was called away for THE LOWER DEPTHS. Shooting was abandoned then, but the film was completed with the existing footage by Renoir&rsquo;s team and released in its current form in 1946, after the director had already moved on to Hollywood. The result is a warmly humanist vignette that ranks among Renoir&rsquo;s most lyrical works, with a love for nature imbuing its every beautiful frame.<br /><br /></p> Thursday, July 26 EC: JOSEPH CORNELL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49531 <p>Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives.<br /><br />ROSE HOBART (ca. 1936, 20 min, 16mm, sound)<br />COTILLION (ca. 1940s-1968, 8 min, 16mm, b&amp;w. Completed by Larry Jordan.)<br />THE MIDNIGHT PARTY (ca. 1940s-1968, 3.5 min, 16mm, b&amp;w. Completed by Larry Jordan.)<br />THE CHILDREN&rsquo;S PARTY (ca. 1940s-1968, 8 min, 16mm. Completed by Larry Jordan.)<br />CENTURIES OF JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.)<br />THE AVIARY (1954, 11 min, 16mm, b&amp;w. Photographed by Rudy Burckhardt.)<br />GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.)<br />NYMPHLIGHT (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.)<br />A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm, b&amp;w. Photographed by Rudy Burckhardt; completed by Larry Jordan.)<br />ANGEL (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.)<br /><br />The poet of magic realities. Pioneer of recycled (found) images. ROSE HOBART and the Trilogy (COTILLION, MIDNIGHT PARTY &amp; CHILDREN&rsquo;S PARTY) are some of the earliest collage films created. The others were directed by Cornell (and photographed by Stan Brakhage and Rudy Burckhardt) at some of his favorite locations.<br /><br />Total running time: ca. 105 min.</p> Thursday, July 26 HENRI CARTIER-BRESSON, PGM 7: THE IMPASSIONED EYE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49488 <p><br />Heinz B&uuml;tler<br />HENRI CARTIER-BRESSON: THE IMPASSIONED EYE / HENRI CARTIER-BRESSON &ndash; BIOGRAPHIE EINES BLICKS<br />2003, 52 min, digital. In English, French, and Italian with English subtitles.<br />Produced to coincide with a major retrospective at the Biblioth&egrave;que Nationale de France, as well as the formation of the Henri Cartier-Bresson Foundation in Paris, THE IMPASSIONED EYE was made with the full participation of Cartier-Bresson himself, shortly before his death at the age of 95. Providing the photographer with an opportunity to look back over his life and work, the film also incorporates interviews with actress Isabelle Huppert, playwright Arthur Miller, publisher Robert Delpire, and the Magnum photographers Elliott Erwitt, Josef Koudelka, and Ferdinando Scianna, all of whom share their very personal views of the work and personality of Cartier-Bresson.<br /><br /></p> Thursday, July 26 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49451 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Friday, July 27 EC: THE BLOOD OF A POET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49532 <p>(LE SANG D&rsquo;UN PO&Egrave;TE)<br /><br />&ldquo;Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.&rdquo; &ndash;Georges Sadoul</p> Friday, July 27 EC: ORPHEUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49534 <p>(ORPH&Eacute;E)<br /><br />With Jean Marais.<br /><br />&ldquo;Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS&rsquo;s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.&rdquo; &ndash;Jean Cocteau</p> Friday, July 27 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49452 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Friday, July 27 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49453 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Saturday, July 28 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49454 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Saturday, July 28 EC: BEAUTY AND THE BEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49536 <p>(LA BELLE ET LA B&Ecirc;TE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />&ldquo;Jean Cocteau&rsquo;s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty&rsquo;s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Dor&eacute; extravagance of the Beast&rsquo;s enchanted landscape. In Christian B&eacute;rard&rsquo;s makeup, Jean Marais is a magnificent Beast.&rdquo; &ndash;Pauline Kael</p> Saturday, July 28 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49455 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Saturday, July 28 EC: THE BLOOD OF A POET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49533 <p>(LE SANG D&rsquo;UN PO&Egrave;TE)<br /><br />&ldquo;Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.&rdquo; &ndash;Georges Sadoul</p> Saturday, July 28 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49456 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Sunday, July 29 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49457 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Sunday, July 29 EC: ORPHEUS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49535 <p>(ORPH&Eacute;E)<br /><br />With Jean Marais.<br /><br />&ldquo;Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS&rsquo;s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.&rdquo; &ndash;Jean Cocteau</p> Sunday, July 29 EC: BEAUTY AND THE BEAST http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49537 <p>(LA BELLE ET LA B&Ecirc;TE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />&ldquo;Jean Cocteau&rsquo;s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty&rsquo;s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Dor&eacute; extravagance of the Beast&rsquo;s enchanted landscape. In Christian B&eacute;rard&rsquo;s makeup, Jean Marais is a magnificent Beast.&rdquo; &ndash;Pauline Kael</p> Sunday, July 29 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49458 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Sunday, July 29 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49459 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Monday, July 30 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49460 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Monday, July 30 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49461 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Tuesday, July 31 SCARRED HEARTS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2018#showing-49462 <p>(INIMI CICATRIZATE)<br /><br />NEW YORK THEATRICAL PREMIERE RUN!<br /><br />Distributed by Big World Pictures. SCARRED HEARTS will screen on 35mm on opening night, and DCP for the remainder of the run.<br /><br />Filmmaker Radu Jude received widespread acclaim in 2015 for AFERIM!, an immersive tale of the persecution of the Roma people in 19th-century Romania that resembled a Romanian Western. His new feature, SCARRED HEARTS, is another richly detailed and fully lived-in period piece, albeit one whose subject matter and setting are entirely distinct: it is based on the extraordinary writings of Max Blecher, whose body of work was both predicated upon and flew in the face of the profound illness that dominated his life and resulted in his tragically early death in 1938, at the age of 28.<br /><br />SCARRED HEARTS is an adaptation of Blecher&rsquo;s heavily autobiographical account of a young man&rsquo;s experiences within the closed world of the sanitarium where he&rsquo;s admitted following a diagnosis of tuberculosis of the spine. Jude and his cast bring to vivid life both the protagonist Emanuel&rsquo;s inner world and the community of doctors, nurses, and fellow patients that he finds himself a part of. Surreal in its isolation from the world at large, the sanitarium nevertheless reflects the tumultuous and disturbing events roiling Europe. Jude&rsquo;s stylistic approach &ndash; adopting an aspect ratio that evokes an earlier cinematic era, filming largely in medium-to-long shot, and filling the frame with a wealth of detail &ndash; is highly distinctive and beautifully rendered. The effect is to emphasize atmosphere, character dynamics, and above all an extraordinary sense of place, rather than dramatic incident, resulting in a film that you ultimately come to inhabit as much as watch.<br /><br />&ldquo;This fanatically detailed, intellectually furious drama&hellip;unfolds [Emanuel&rsquo;s] horrific treatment, involving long needles, tight wraps, and a full-body cast, with an unflinching and fascinated specificity that contrasts with the teeming theatrical tableaux in which [Jude] films life in the lavish facility. The medical regimen provides a background for the slow-motion whirl of young intellectuals, politicians, and socialites who turn the hospital into a microcosm of European diseases of the soul. [&hellip;] The unstinting exertions of the medical personnel and the patients&rsquo; high-toned intelligence are as useless against disease as they are against Hitler and his local epigones.&rdquo; &ndash;Richard Brody, NEW YORKER<br /><br /></p> Tuesday, July 31