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 Thu, 03 Sep 2026 17:20:52 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-62008 <p>This program gathers rare vintage short films that open a portal to trans feminine interior life between 1967 and 1982. We meet these women in moments of quiet confidence, everyday mundanity, and enduring glamour. Through deeply intimate portraits, these films unearth buried pieces of trans history while illuminating how the world has long constricted trans women’s freedom to be. Made under a police state, these portraits mirror the experiences of trans femmes today. Each woman captured becomes a living testament to ancestral resilience and the enduring necessity of trans documentation.<br /><br />This program is co-curated by Thee Rose and Rosalina Michele for MIX NYC, one of the oldest queer experimental film festivals in the world.<br /><br />Special thanks to the Institute for Studies on Latin American Art (ISLAA); to Bradford Nordeen for providing the digital exhibition files; and to the Film-Makers' Coop for providing the 16mm prints.<br /><br />Nikolai Ursin BEHIND EVERY GOOD MAN (1967, 8 min, 16mm)<br />Marguerite Paris ALL WOMEN ARE EQUAL (1972, 15 min, 16mm. Preserved by MIX NYC and the Women’s Film Preservation Fund via New York Women in Film & Television.)<br />Joseph Horning VALERIE (1975, 16 min, 16mm-to-DCP)<br />Manuel Herreros de Lemos & Mateo Manaure Arilla TRANS (1982, 22 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><strong>Followed by a discussion between curators Thee Rose and Rosalina Michele, moderated by Kristen Lovell (co-director of THE STROLL).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-62138 <p>This program gathers rare vintage short films that open a portal to trans feminine interior life between 1967 and 1982. We meet these women in moments of quiet confidence, everyday mundanity, and enduring glamour. Through deeply intimate portraits, these films unearth buried pieces of trans history while illuminating how the world has long constricted trans women’s freedom to be. Made under a police state, these portraits mirror the experiences of trans femmes today. Each woman captured becomes a living testament to ancestral resilience and the enduring necessity of trans documentation.<br /><br />This program is co-curated by Thee Rose and Rosalina Michele for MIX NYC, one of the oldest queer experimental film festivals in the world.<br /><br />Special thanks to the Institute for Studies on Latin American Art (ISLAA); to Bradford Nordeen for providing the digital exhibition files; and to the Film-Makers' Coop for providing the 16mm prints.<br /><br />Nikolai Ursin BEHIND EVERY GOOD MAN (1967, 8 min, 16mm)<br />Marguerite Paris ALL WOMEN ARE EQUAL (1972, 15 min, 16mm. Preserved by MIX NYC and the Women’s Film Preservation Fund via New York Women in Film & Television.)<br />Joseph Horning VALERIE (1975, 16 min, 16mm-to-DCP)<br />Manuel Herreros de Lemos & Mateo Manaure Arilla TRANS (1982, 22 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><strong>Followed by a discussion between curators Thee Rose and Rosalina Michele, moderated by Kristen Lovell (co-director of THE STROLL).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61936 <p><strong>FILMMAKER IN PERSON!</strong><br /><br />In 2012, Jill Godmilow wrote to Mireia Sallarès, moved by the film she had made in Mexico about women’s orgasms. For Godmilow, who offered to help distribute the film in the U.S., LAS MUERTES CHIQUITAS (THE LITTLE DEATHS) is not a documentary about a problem of Mexican women, it is a film about orgasms as a political issue that affects everyone and raises the question of who can take responsibility for it by speaking out. How to take responsibility for our problems, how to take charge of them by making political films, was the concern that had led Godmilow to engage years earlier with Harun Farocki’s documentary INEXTINGUISHABLE FIRE, which showed how napalm production during the Vietnam War effectively exempted its makers from any responsibility for it. The fact that Farocki’s film had not been seen in the U.S. and that the problem it raised had not gone away, Godmilow decided to recreate it, in order to involve herself in the problem and put it back into circulation. As a statement about what it means today to be an author, and taking account of this complexity by broadening and politicizing the chain of authorship, she titled her replica WHAT FAROCKI TAUGHT. The present film, WHAT GODMILOW TAUGHT (2014), is a film conversation in which Mireia Sallarès captures Jill Godmilow’s commitment to a political life. Sallarès’s film engages with an artistic practice in which having an idea entails a responsibility, and in which grappling with a political problem requires collaborating with others to make useful films.<br /><br />Followed by:<br />Jill Godmilow ECSTATIC ORGASM 7.5-min excerpt from an unfinished film, digital<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> Friday, September 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61939 <p>Jill Godmilow<br />WHAT FAROCKI TAUGHT<br />1997, 30 min, 16mm. Made in collaboration with Gloria Jean Masciarotte & Ted Mandell.<br />WHAT FAROCKI TAUGHT is literally and stubbornly a remake – that is, a perfect replica in color and in English, of Harun Farocki’s black-and-white, 1969 German language film, INEXTINGUISHABLE FIRE. Taking as its subject the political and formal strategies of Farocki’s film about the development of Napalm B by Dow Chemical during the Vietnam War, Godmilow’s unabashedly perfect copy reopens Walter Benjamin’s discussion of art in the age of mechanical reproduction. WHAT FAROCKI TAUGHT thus becomes an agit-prop challenge to the cinéma vérité documentary’s representation of information, history, politics, and “real” human experience. Because Farocki’s film was not in distribution in the U.S. at the time, WHAT FAROCKI TAUGHT was conceived as a gesture of film distribution – taking this small, film footnote to a war, a barnacle stuck on the side of the moth-balled vessel of Vietnam, flicking it forward past the recent, more sophisticated, and successful technologies of Panama and the Persian Gulf, to see if the “ping” of recognition and the radical potential of the documentary film project could be revived.<br /><br />Jill Godmilow<br />SCUM MANIFESTO<br />2016, 27 min, digital. Made in collaboration with Joanna Krakowska & Magda Mosiewicz.<br />When Sherry Millner and Ernest Larsen, the producers of the Facets DVD compilation “Disruptive Film”, couldn’t clear the rights to Delphine Seyrig and Carole Roussopoulos’s 1976 French film, SCUM MANIFESTO, they contacted Jill Godmilow, Queen of Replicas (see WHAT FAROCKI TAUGHT), who decided to produce a perfect Polish copy of this landmark film about the 1967 feminist manifesto – this time with Polish performers and current Polish newsreel of goings-on in the newly super-nationalist Polish state. Exactly as in the 1976 French film, the Poles translate then type up, phrase-by-phrase, Valerie Solanas’s still outrageous and profoundly useful 1967 text, which begins, “Life in this society being, at best, an utter bore and no aspect of society being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and destroy the male sex.”<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> Friday, September 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61937 <p><strong>FILMMAKER IN PERSON!</strong><br /><br />In 2012, Jill Godmilow wrote to Mireia Sallarès, moved by the film she had made in Mexico about women’s orgasms. For Godmilow, who offered to help distribute the film in the U.S., LAS MUERTES CHIQUITAS (THE LITTLE DEATHS) is not a documentary about a problem of Mexican women, it is a film about orgasms as a political issue that affects everyone and raises the question of who can take responsibility for it by speaking out. How to take responsibility for our problems, how to take charge of them by making political films, was the concern that had led Godmilow to engage years earlier with Harun Farocki’s documentary INEXTINGUISHABLE FIRE, which showed how napalm production during the Vietnam War effectively exempted its makers from any responsibility for it. The fact that Farocki’s film had not been seen in the U.S. and that the problem it raised had not gone away, Godmilow decided to recreate it, in order to involve herself in the problem and put it back into circulation. As a statement about what it means today to be an author, and taking account of this complexity by broadening and politicizing the chain of authorship, she titled her replica WHAT FAROCKI TAUGHT. The present film, WHAT GODMILOW TAUGHT (2014), is a film conversation in which Mireia Sallarès captures Jill Godmilow’s commitment to a political life. Sallarès’s film engages with an artistic practice in which having an idea entails a responsibility, and in which grappling with a political problem requires collaborating with others to make useful films.<br /><br />Followed by:<br />Jill Godmilow ECSTATIC ORGASM 7.5-min excerpt from an unfinished film, digital<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> Saturday, September 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61941 <p>From one of the seminal theatrical events of the 1990s – Ron Vawter’s extraordinary performance piece ROY COHN/JACK SMITH – Godmilow crafts a dramatically deft, comic, and terrifying film diptych. Roy Cohn, the homophobic right-wing lawyer and sleazy back-room politico, thunders against the Sodom and Gomorrah of homosexuality at a banquet for the American Society for the Protection of the Family, while across town and light years away, the notorious underground filmmaker of FLAMING CREATURES fame, Jack Smith, in flamboyant harem drag, constructs his own private resistance theater from fragments of Arabian Nights kitsch, avant-garde film feuds, and passionate B-movie camp. Vawter performs both men exquisitely in this film about the closet, where silence is powerful, but from which both of these infamous homosexuals from the repressive and punishing 1950s convey privileged knowledge of Queerness in brilliant performances of their own – Cohn using politics as a form of drag and Smith turning drag into an extraordinary form of politics, pathos, and jouissance. Cohn and Smith had nothing in common except their homosexuality and their death from AIDS in the late 1980s; Vawter, who accepts and produces both men through his own voice and body, would himself die of AIDS, just six months after the film was shot.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61943 <p>“In 2006 the Barcelona artist and filmmaker Mireia Sallarès began interviewing, in complete intimacy, about thirty Mexican women, about just that: being women in Mexico and their sexual experiences – their experience with pleasure and also with violence. The result is LAS MUERTES CHIQUITAS, ‘the little deaths’, which, like the French ‘la petite mort’, is a slangy euphemism in Spanish for female orgasm, the post-orgasmic state of unconsciousness that some experience after sex. This wild, five-hour film is revolutionary. […] Sallarès uses the simplest of means, filming by herself, entirely in medium close-ups, as she interviews, among many others, two anthropologists, a performance artist, an AIDS worker, a few sex-workers, a cabaret artist, two psychoanalysts, an historian, two ex-nuns, a journalist, a cross-dressing bisexual-tranny, a housekeeper, an actress, a philosopher, two guerillas, even exiled women from other countries…. She asks them to talk about, at first, their own orgasms. What emerge are extraordinary stories and images of pleasure, and often damage.<br /><br />“The film’s subtitle, ‘An unfinished story of pleasure and violence’, helps connect the dots. There is abundant sexual violence against and around women in Mexico, and effective resistance. Sallarès’s correspondents are prepared to talk about their histories and so the film goes there – not just to the violence but also to the relationship between violence and sexuality, and soon enough to violence, sex, pleasure and spiritual release. These are models to learn from and admire. The critic Helena Braunštajn says this film is a place ‘where pleasure is related to armed struggle, feminicide, transsexuality, women’s liberation theology, prostitution, illness, exile, the plurality of Mexican identity, and the ethical commitment of art to socio-political reality.’ One woman says orgasm is ‘like grabbing onto the wings of an angel who lowers me down to the ground.’ Enough said.” –Jill Godmilow<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61903 <p>Dovzhenko’s second film, attacked by Soviet critics for being so beautifully rendered as to actually lessen its political impact, remains today a “cinematic poem” as the director named it. Episodic, folkloric, and allegorical, it is a mythic search for hidden treasure by two brothers. Dovzhenko wrote: “I did not so much make the picture as sing it out like a songbird.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61904 <p>“An epic canvas covering Ukrainian history from WWI to the Russian Civil War, as experienced in Kiev, and culminating in fighting around the arsenal in the heart of the city. Dovzhenko essentially uses a static camera, but with much use of montage and cross-cutting. […] Where Dovzhenko is clearly distinctive, however, is his placing of human events against the majestic backdrop of nature, in particular the sky. Man and nature are one, as a dying Bolshevik asks his comrades to transport and bury him in his native soil.” –David C. Gillespie, EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61985 <p>“This propulsive cinematic confrontation with Canada’s anti-Black racism explores the pivotal, yet often overlooked, Canadian civil rights movement. Filmmaker Michèle Stephenson (AMERICAN PROMISE; STATELESS; GOING TO MARS: THE NIKKI GIOVANNI PROJECT) artfully weaves a haunting soundscape with dynamic archival footage and intimate new interviews, immersing us in Black life in 1960s Montreal. The film culminates in the 1969 Sir George Williams Affair, where 200 students, many of them Haitian immigrants fleeing the Duvalier regime, occupied a ninth-floor computer lab at Sir George Williams University (now Concordia) to protest blatant institutional bigotry. This rare footage feels hauntingly prescient against the backdrop of recent student protests, serving as a stark reminder that these cycles of resistance are deeply etched in our collective history. By shining a light on these unsung stories, Stephenson reframes the 1960s civil rights movement not as a strictly American phenomenon, but as a continent-wide, ongoing struggle for survival, justice, and dignity.” –FULL FRAME DOCUMENTARY FILM FESTIVAL<br /><br />Preceded by:<br />Dawn Wilkinson DANDELIONS 1995, 5 min, 16mm<br />“In DANDELIONS, Dawn Wilkinson – a Black Canadian woman – bears witness to the experience of being made to feel like an outsider in one’s own home, in one’s own landscape. At one point, Wilkinson observes, ‘I’m Canadian…It’s popular enough to sell beer, but no one can define what it means. And yet they do, they define it every time they ask me where I’m from.’ DANDELIONS is a beautiful and eloquent film that deploys the techniques of a lyrical, interiorized cinema to lay bare the ways in which Western societies foster an idea of whiteness as ‘neutral’ and everything else as ‘other,’ and to illustrate the psychic toll on those who exist outside this construct.” –Jed Rapfogel, CINEASTE<br /><br />Total running time: ca. 105 min.<br /><br /><strong>Michèle Stephenson will be here in person!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61857 <p>Christine Choy & Susan Robeson<br />TEACH OUR CHILDREN<br />1972, 35 min, 16mm-to-DCP<br />This film focuses on the historic 1971 Attica prison rebellion in upstate New York. It targets the conditions that caused prisoners to take drastic steps toward securing their basic rights. The film questions the reactions of prison warden Oswald, New York governor Nelson Rockefeller, and President Nixon, as well as the death of 31 inmates and prison guards from bullets fired by the National Guard. Through on-site footage taken during and following the rebellion, and follow-up interviews with inmates, TEACH OUR CHILDREN relates a powerful message concerning prisoner’s rights and represents an important historical document.<br /><br />Christine Choy & Cynthia Maurizio<br />INSIDE WOMEN INSIDE<br />1978, 21 min, 16mm-to-DCP<br />This film exposes the daily humiliation regularly faced by women in U.S. prisons using firsthand accounts of inmates at the North Carolina Correctional Center for Women and the Correctional Institute for Women at Riker’s Island, New York. Provocative interviews with these women reveal the anger and frustrations of life behind bars. In spite of the realities of their oppression, their optimism and strength are insurmountable.<br /><br />Total running time: ca. 60 min.<br /><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61905 <p>A poetic expression of love for both nature and Ukrainian culture by the man who was alternatively branded a deserter by Ukrainians and a Ukrainian nationalist by Russian Soviets. Dovzhenko champions the progression of life, class struggle, and new attitudes for a town changed by a tractor and a fallen hero.</p> Wednesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61860 <p>Christine Choy<br />FROM SPIKES TO SPINDLES<br />1976, 46 min, 16mm-to-DCP<br />This raw, gutsy portrait of New York’s Chinatown captures the early days of an emerging consciousness in the community. We see a Chinatown rarely depicted, a vibrant community whose young and old join forces to protest police brutality and hostile real estate developers. With bold strokes, it paints an overview of the community and its history, from the early laborers driving spikes into the transcontinental railroad to the garment workers of today.<br /><br />Christine Choy<br />FEI TIEN, GODDESS IN FLIGHT<br />1983, 26 min, 16mm-to-DCP<br />Based on the play, “Pigeons”, by Ginny Lim, this film focuses on the meeting between an older immigrant and a younger American-born woman living in NYC’s Chinatown. The linkages in their pasts and possible futures unfold as their friendship grows.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61906 <p>(PRÄSTÄNKAN)<br /><br />In this lyrical, early Dreyer comedy, a young parson wins a plum parish in 17th-century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fiancée is his sister. Dreyer’s touch is evident in the close-ups of the pastor’s would-be rivals and parishioners, and in a slow pan presaging the 360-degree views of VAMPYR.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61863 <p>Shot in battered women’s shelters, urban and suburban neighborhoods, counseling centers, and even in a county jail where a woman has been incarcerated for the murder of her abusive husband, TO LOVE, HONOR, AND OBEY explores the social, psychological, and cultural factors that contribute to violence against women regardless of ethnicity or economic background. Survivors, safe house administrators, counselors, police officers, and male abusers in counseling explore the many factors that contribute to the pervasiveness of this tragic aspect of American family life. A Third World Newsreel production.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61865 <p>Pearl Bowser & Christine Choy<br />NAMIBIA, INDEPENDENCE NOW<br />1985, 55 min, 16mm-to-DCP<br />This moving film was shot inside refugee settlements in Zambia and Angola in the mid-1980s. It examines how exiled Namibians worked to free their country from illegal South African exploitation and prepare for their country's independence. It shows many aspects of their daily life in exile, especially the women, who were at the forefront of the independence struggle. It focuses on the activities of exiled Namibian independence leader General Toivo ya Toivo, filmed just weeks after his negotiated release from a South African prison.<br /><br />Christine Choy<br />REORIENTING AFRICA<br />2016, 37 min, DCP<br />This later work by Christine Choy focuses on Chinese workers and Chinese economic development in Ghana, Africa.<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61907 <p>Shot by the great German cinematographers Karl Freund and Rudolph Maté, MICHAEL concerns the unconsummated homosexual love between a painter and his manipulative, larcenous model. The Danish director Benjamin Christensen stars as artist Claude Zoret, modeled in part after Rodin, whose irrepressible love finds its most complete expression in his last painting.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61873 <p>Restored by the Academy Film Archive and The Film Foundation, in association with the Museum of Chinese in America. Restoration funding provided by the Hobson/Lucas Family Foundation, with additional support provided by Todd Phillips.<br /><br />“On a hot summer night in Detroit, Ronald Ebens, an autoworker, killed a young Chinese-American engineer with a baseball bat. Although he confessed, he never spent a day in jail. This gripping Academy Award-nominated film relentlessly probes the implications of the murder in the streets of Detroit, for the families of those involved, and for the American justice system. Not so much a documentary murder investigation as a meticulously constructed meditation on the race relations, economic forces, and failings of the American legal system that comprised the backdrop for the murder of a Chinese-American automotive engineer in Detroit in 1982, WHO KILLED VINCENT CHIN? remains a stirring, absorbing elegy for justice unserved. Drawing from interviews with Chin’s family and friends and Chin’s killer, automotive assembly-line worker Ron Ebens, along with a wealth of archival footage, WHO KILLED VINCENT CHIN? paints a complex and tragically relevant portrait of an America roiled by socioeconomic unease, the crisis of the automotive industry, and the prevalence of xenophobia.” –NEW YORK FILM FESTIVAL<br /><br />“The most important political documentary of the 1980s.” –Bill Nichols<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61908 <p>(LA PASSION DE JEANNE D’ARC)<br /><br />Spiritual rapture and institutional hypocrisy are brought to stark, vivid life in one of the most transcendent achievements of the silent era. Chronicling the trial of Joan of Arc in the final hours leading up to her execution, Dreyer depicts her torment with startling immediacy, employing an array of techniques – including expressionistic lighting, interconnected sets, and painfully intimate close-ups – to immerse viewers in her subjective experience. Anchoring Dreyer’s audacious formal experimentation is a legendary performance by Renée Falconetti, whose haunted face channels both the agony and the ecstasy of martyrdom.<br /><br /><span>“With THE PASSION OF JOAN OF ARC, there occurs a most striking change in both the film-maker’s style and his intensity of thematic concentration. A few potent shots in previous movies hardly promise the unique and brilliant imagery which here bursts forth frame after frame. […] The vision of JOAN is inspired or demoniac. Her passion is observed with clinical detail in the sharp-etched, stark compositions, many relentless close-ups. But this is also loving detail, for Joan is the first of Dreyer’s possessed, a lineage which may be traced through the victims of VAMPYR to Anne in DAY OF WRATH and Johannes in ORDET; characters who work out their passions throughout the process of their films with peculiar intensity and directness, so that identification with the director himself is implicit.” –Ken Kelman, FILM CULTURE<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61858 <p>Christine Choy & Susan Robeson<br />TEACH OUR CHILDREN<br />1972, 35 min, 16mm-to-DCP<br />This film focuses on the historic 1971 Attica prison rebellion in upstate New York. It targets the conditions that caused prisoners to take drastic steps toward securing their basic rights. The film questions the reactions of prison warden Oswald, New York governor Nelson Rockefeller, and President Nixon, as well as the death of 31 inmates and prison guards from bullets fired by the National Guard. Through on-site footage taken during and following the rebellion, and follow-up interviews with inmates, TEACH OUR CHILDREN relates a powerful message concerning prisoner’s rights and represents an important historical document.<br /><br />Christine Choy & Cynthia Maurizio<br />INSIDE WOMEN INSIDE<br />1978, 21 min, 16mm-to-DCP<br />This film exposes the daily humiliation regularly faced by women in U.S. prisons using firsthand accounts of inmates at the North Carolina Correctional Center for Women and the Correctional Institute for Women at Riker’s Island, New York. Provocative interviews with these women reveal the anger and frustrations of life behind bars. In spite of the realities of their oppression, their optimism and strength are insurmountable.<br /><br />Total running time: ca. 60 min.<br /><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61866 <p>Pearl Bowser & Christine Choy<br />NAMIBIA, INDEPENDENCE NOW<br />1985, 55 min, 16mm-to-DCP<br />This moving film was shot inside refugee settlements in Zambia and Angola in the mid-1980s. It examines how exiled Namibians worked to free their country from illegal South African exploitation and prepare for their country's independence. It shows many aspects of their daily life in exile, especially the women, who were at the forefront of the independence struggle. It focuses on the activities of exiled Namibian independence leader General Toivo ya Toivo, filmed just weeks after his negotiated release from a South African prison.<br /><br />Christine Choy<br />REORIENTING AFRICA<br />2016, 37 min, DCP<br />This later work by Christine Choy focuses on Chinese workers and Chinese economic development in Ghana, Africa.<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61909 <p>“Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.” –C.D.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61876 <p>“HA HA SHANGHAI is an outlier in [Choy’s] oeuvre. Far more personal than most of her other films, this documentary is a family affair that features her mother and son as characters, and her daughter Ku-Ling Siegel behind the lens. Christine herself describes the film as a ‘documentary journal,’ and while HA HA SHANGHAI begins as a personal history, it soon develops into a Kafkaesque farce. In the film, [Choy] returns to Shanghai after 30 years to search for the title of a house built by her mother. She reconnects with friends of her family and a local choir teacher. She storms into government buildings with frenetic energy, demanding to see paperwork. When things seem dire, Christine visits a fortune teller and a palm reader, grasping at straws lost to time. Through anecdotes and recollections, she interrogates the modernization of China as well as the Cultural Revolution, the events of which caused the family home to be lost in the first place. […] Although HA HA SHANGHAI is rooted in Christine’s personal experience, it tells a larger tale of how much China has changed since she left.” –Violet Columbus & Ben Klein<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61910 <p>(VREDENS DAG)<br /><br />“Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61913 <p>A farmer’s family is torn apart by faith, sanctity, and love – one child believes he’s Jesus Christ, a second proclaims himself agnostic, and the third falls in love with a fundamentalist’s daughter. Layering multiple stories of faith and rebellion, Dreyer’s adaptation of Kaj Munk’s play is a meditation on faith and fanaticism.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61861 <p>Christine Choy<br />FROM SPIKES TO SPINDLES<br />1976, 46 min, 16mm-to-DCP<br />This raw, gutsy portrait of New York’s Chinatown captures the early days of an emerging consciousness in the community. We see a Chinatown rarely depicted, a vibrant community whose young and old join forces to protest police brutality and hostile real estate developers. With bold strokes, it paints an overview of the community and its history, from the early laborers driving spikes into the transcontinental railroad to the garment workers of today.<br /><br />Christine Choy<br />FEI TIEN, GODDESS IN FLIGHT<br />1983, 26 min, 16mm-to-DCP<br />Based on the play, “Pigeons”, by Ginny Lim, this film focuses on the meeting between an older immigrant and a younger American-born woman living in NYC’s Chinatown. The linkages in their pasts and possible futures unfold as their friendship grows.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61914 <p>“GERTRUD is as towering a master work in the narrative sound cinema as Brakhage’s THE ART OF VISION is in the nonnarrative cinema. Every detail, every motion, every word in GERTRUD has its right place, its own voice, and contributes to the whole and is beautiful. […] Every generation states its own position on love. GERTRUD is Dreyer’s statement on love, and it is pure, radiant, and perfect, like a ring.” –Jonas Mekas, MOVIE JOURNAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61874 <p>Restored by the Academy Film Archive and The Film Foundation, in association with the Museum of Chinese in America. Restoration funding provided by the Hobson/Lucas Family Foundation, with additional support provided by Todd Phillips.<br /><br />“On a hot summer night in Detroit, Ronald Ebens, an autoworker, killed a young Chinese-American engineer with a baseball bat. Although he confessed, he never spent a day in jail. This gripping Academy Award-nominated film relentlessly probes the implications of the murder in the streets of Detroit, for the families of those involved, and for the American justice system. Not so much a documentary murder investigation as a meticulously constructed meditation on the race relations, economic forces, and failings of the American legal system that comprised the backdrop for the murder of a Chinese-American automotive engineer in Detroit in 1982, WHO KILLED VINCENT CHIN? remains a stirring, absorbing elegy for justice unserved. Drawing from interviews with Chin’s family and friends and Chin’s killer, automotive assembly-line worker Ron Ebens, along with a wealth of archival footage, WHO KILLED VINCENT CHIN? paints a complex and tragically relevant portrait of an America roiled by socioeconomic unease, the crisis of the automotive industry, and the prevalence of xenophobia.” –NEW YORK FILM FESTIVAL<br /><br />“The most important political documentary of the 1980s.” –Bill Nichols<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61896 <p>“An intentionally elementary meditation on certain primary functions of film, that could be said to be at the roots of film editing as such – expectations, exploring the picture, perceptual memory, relationships between on-screen and off-screen space – all explored in a series of free-standing sequence shots of perfect simplicity.” –Noël Burch<br /><br />“This cinema ‘au feminin’ reminds us what the imperialist eye had repressed: different modes of editing impulses; what is seen and heard alters our perspective.” –Serge Daney, CAHIERS DU CINÉMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61911 <p>(VREDENS DAG)<br /><br />“Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61898 <p>Jackie Raynal<br />MY LAST INTERVIEW WITH ÉRIC ROHMER / MA DERNIÈRE INTERVIEW AVEC ÉRIC ROHMER<br />2010, 18 min, digital<br />In 2009, just months before he passed away at the age of 89, Raynal recorded an interview with the great filmmaker Éric Rohmer, for whom she had served as an editor on several films, including SUZANNE’S CAREER (1963), THE BAKERY GIRL OF MONCEAU (1963), and LA COLLECTIONNEUSE (1967). This is an invaluable record of Rohmer and of his longstanding collaboration with Raynal.<br /><br />Jackie Raynal<br />GOUGNETTE<br />2008, 44 min, digital<br />“GOUGNETTE (‘disheveled’ in the Camargue dialect) is a tribute to the memory of my parents (who died in 1983 and 1995) – Resistance fighters during World War II and Communists in the South of France. Through filmed and audio interviews with my parents and people who knew them – recorded between 1979 and 2005 – this film retraces their lives within the context of their political activism.” –Jackie Raynal<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61912 <p>(VREDENS DAG)<br /><br />“Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61900 <p>With Jackie Raynal, Sid Geffen, Suzanne Fenn, and Gary Indiana.<br />“HOTEL NEW YORK can be seen as a description of a fight; the fight of an immigrant with her new city and the fight of a filmmaker with her desire to make films within precarious boundaries. In HOTEL NEW YORK Jackie Raynal plays and wins.” –CAHIERS DU CINÉMA<br /><br />“One day in New York, I took my linen to a small Chinese laundry. Then I forgot it for a few weeks. When I went back, the laundry wasn’t there anymore, the building had been demolished! I was haunted by the thought of my bedsheets gone forever with the laundry. This experience was the starting point for the NEW YORK HOTEL script. I wanted to write and make this film to show how everything is transient over there. Things change all the time and are immediately replaced, much quicker than in Europe. The story stemmed from my own experience and impressions as a foreigner. It’s a comedy-drama.” –Jackie Raynal, LIBÉRATION<br /><br />Preceded by:<br />Éric Rohmer<br />SIX IN PARIS / PARIS VU PAR…: PLACE DE L’ÉTOILE<br />1965, 16 min, 35mm-to-DCP. In French with English subtitles.<br />Jackie Raynal was the editor on all of the short films that comprise the French New Wave omnibus film SIX IN PARIS, each of which focuses on a single Paris neighborhood. Arguably the highlight of the collection, Rohmer’s PLACE DE L’ÉTOILE spins a silent-comedy-like tale in and around the chaotic roundabout anchored by the Arc de Triomphe.<br /><br />“A film that is both perfect and unusual in form, closed in on itself, and that seems to have nothing to say, but which actually says everything. A pure diamond.” –Luc Moullet<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 16