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 Sun, 06 Jul 2025 17:27:11 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59643 <p>(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59646 <p>A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59705 <p>CO-PRESENTED BY THE COLLOQUIUM FOR UNPOPULAR CULTURE<br /><br />In this eclectic spin on the concert film, Ross Lipman transforms footage of one of his celebrated live documentary performances into a new video essay that’s at once an archeological dig and a riveting history. Its underlying subject is the origin of civilization – as comprised entirely of media clips. In the summer of 1971 Philippine dictator Ferdinand Marcos announced the discovery of a tribe of primitive cave dwellers who had lived in complete isolation for thousands of years in the rainforest of Mindanao. The Tasaday indigenous group represented a chance to witness firsthand the roots of our culture, and to explore the very essence of humanity. They also – as we learn – offered Marcos and his cronies a unique political opportunity. THE BOOK OF PARADISE HAS NO AUTHOR presents this stunning story entirely through its portrayal in differing accounts by western media, integrating rare ethnographic footage, vintage television broadcasts, recordings, and still photographs. Reflecting on each other like shards of broken glass, these third-party depictions reveal as much about the telling as the tale – at once detailing the events, and retaining the mystery of our haunting encounter with the Tasaday.<br /><br />“Lipman explores the issues with economy, clarity and a poetic touch. Images of ancient and modern cultures are contrasted – both illustrating the controversy over the alleged cave-dwelling Tasaday and illuminating Lipman’s own philosophy that we’re all in a truth-seeking tribe.” –Victoria Ellison, LA WEEKLY<br /><br />“A marvelous de-construction of ethnographic accounts of the Tasaday. Brilliant!” –Craig Baldwin<br /><br /><em><strong>This screening is co-presented by the Colloquium for Unpopular Culture at NYU, and will be followed by a Q&A with Ross Lipman, moderated by Nick Fraccaro.<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, July 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59707 <p>Restored by UCLA Film & Television Archive, with funding from the National Film Preservation Foundation and The Packard Humanities Institute.<br /><br />“Long known as a legend in the amateur filmmaking community, ex-Vaudevillian Sid Laverents burst into national attention in 2000 at age 92, when he was ‘re-discovered’ by filmmaker/historian Melinda Stone. […] THE SID SAGA is his magnum opus, a feature-length autobiographical work that is not only extremely entertaining, but establishes the importance of amateur cinema as a vital part of our cultural heritage. […] THE SID SAGA is a filmed scrapbook, consisting of still photos, home movies, audio recordings, newspaper clippings, you name it. It’s also a filmic collage joining the archival materials with newly shot footage and animated sequences, on practically every film stock imaginable, all cut together freely in the film’s original edit – which made it extremely difficult to preserve. […] In form, it’s classic Laverents, beginning with the archetypal living room scene in which a suburban neighbor asks Sid about his photo album and ultimately receives much more than she bargained for. It sets Sid off on a biographical quest in which we learn he’s led not just a long life, but seemingly led hundreds. Beginning with his impoverished Dutch immigrant family’s many moves across the country in the early part of the century searching for work, it follows Sid through his marriages and many careers. […] In typical Sid fashion, he handles all aspects of the filmmaking himself, including cinematography, writing, narration, editing, and post-production. In the telling, we learn not just about Sid, but about the supposedly ordinary, yet fantastic worlds in which he traveled. The film is the story of one life and an American century.” –Ross Lipman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59709 <p><em><strong>LIVE SCORE!</strong></em><br /><br />Eleanor Antin<br />THE MAN WITHOUT A WORLD<br />1991, 95 min, 16mm-to-DCP. Restored by Milestone Films, with funding provided by the Sunrise Foundation for Education and the Arts. Original music by klezmer violinist Alicia Svigals (appearing live) and pianist Donald Sosin. Digital picture restoration by llluminate Hollywood. Restoration supervised by Ross Lipman in consultation with Eleanor Antin.<br /><br /><em><strong>The screening of THE MAN WITHOUT A WORLD will feature a live performance by klezmer violinist Alicia Svigals (accompanied by a recording of Donald Sosin’s piano component)! This special presentation is made possible thanks to the support of the Sunrise Foundation.</strong></em><br /><br />THE MAN WITHOUT A WORLD is credited to legendary Soviet director Yevgeny Antinov…but that is far from the whole truth. Antinov is one of several personae created by contemporary filmmaker, artist, author, and performer Eleanor Antin (in her other guises she has embodied Eleanor Nightingale, a nurse in the Crimean War, and Eleanora Antinova, the famous black ballerina in Diaghilev’s Ballet Russe who dreamt of starring in Swan Lake but was only allowed “ethnic” roles such as Pocahontas). Her debut feature is a love letter both to the heyday of silent cinema and to Antin’s mother, a former actress in the Yiddish theater of Poland, who was suffering from Alzheimer’s disease while Antin was at work on the film.<br /><br />“When first discovered in the 1990s [THE MAN WITHOUT A WORLD] was not widely recognized. It had its champions, but was more often overlooked. Like its hero Zevi, who was trapped between his conventional roots and his avant-garde art, the film was too experimental for some, while too traditional for others. It was too risqué, too political, too much – and literally, a film without a world. Today Yevgeny Antinov and his visionary representative Eleanor Antin both seem decades ahead of their time. The film’s swirling, kaleidoscopic mix of poetry, politics, and humanity is the perfect blend for our present moment, and one that’s ripe to at last be truly discovered.” –Ross Lipman<br /><br />Preceded by:<br />Josef Berne<br />DAWN TO DAWN (aka BLACK DAWN)<br />1933, 34 min, 35mm. Restored by UCLA Film & Television Archive in association with Anthology Film Archives as part of the Unseen Cinema Project, with funding from Cineric, the Eastman Kodak Company, the National Film Preservation Foundation, and NT Audio. Laboratory services provided by Cineric and NT Audio. Restoration supervised by Ross Lipman.<br /><br />“DAWN TO DAWN was directed by Josef Berne, a Russian immigrant who worked in the Yiddish cinema and later directed some ‘Soundies’ – the precursor to the music video. Here he tells the tale of a lonely young woman who tends a farm with her domineering and possessive father. What stands out today, as it would have then, is the lyrical eroticism of the film – something truly unusual in American cinema at the time. As DAWN TO DAWN is nearly wordless, it would seem to have been inspired by the sensual cinema of the Czech Gustav Machaty, whose controversial ECSTASY with Hedy Lamarr was made the year before. The scenario is by Seymour Stern, who later become legendary amongst film scholars for his polemical diatribes in Film Culture and other journals.” –Ross Lipman<br /><br />Total running time: ca. 135 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59637 <p>Marcel Broodthaers (1924-76) is widely recognized as one of the icons of postwar art history. Yet his unique cinematic legacy remains one of the most overlooked aspects of his oeuvre. Far from being a mere extension or document of his visual work, Broodthaers’s films – ranging from slapstick comedies and pseudo-documentaries to home movies – form a singular body of work. Through their deliberate amateurism and anachronism, Broodthaers’s films convey a true love for cinema that challenges both conventional and avant-garde film.<br /><br />Nearly two decades after Anthology’s last survey, and following the publication of “Marcel Broodthaers and Film: A Second of Eternity” (2024) – the first scholarly volume devoted entirely to his cinema – this program offers a rare opportunity to (re)discover Broodthaers’s filmic legacy. At its center is RENDEZ-VOUS MIT JACQUES OFFENBACH (1972), a little-seen compilation movie assembled by the artist himself. Splicing together earlier films and found footage, it exemplifies Broodthaers’s principle of endless reshuffling. Accompanied by his debut film as well as later works, this program offers a brief overview of Broodthaers’s filmmaking.<br /><br />Guest-programmed by Raf Wollaert. The screenings will be presented by Steven Jacobs and Raf Wollaert, editors of “Marcel Broodthaers and Film: A Second of Eternity”, and Bruce Jenkins, a longtime expert on the artist’s films.<br /><br />For more info about “Marcel Broodthaers and Film: A Second of Eternity”, visit: <a href="https://lup.be/book/marcel-broodthaers-and-film/">https://lup.be/book/marcel-broodthaers-and-film/</a> <br /><br />LA CLEF DE L’HORLOGE (POÈME CINÉMATOGRAPHIQUE EN L’HONNEUR DE KURT SCHWITTERS) (1957, 8 min, 16mm)<br />RENDEZ-VOUS MIT JACQUES OFFENBACH (1972, 31 min, 16mm)<br />PROJET POUR UN POISSON (1970, 7 min, 16mm)<br />FIGURES OF WAX (1974, 16 min, 16mm)<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> Friday, July 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59711 <p>João Pedro Rodrigues<br />O FANTASMA<br />2000, 87 min, 35mm-to-DCP. In Portuguese with English subtitles.<br />Sergio is a kinky trash collector who loves dogs and cruising public toilets in Lisbon. One night at work he meets a straight motorcyclist named João, who becomes the object of Sergio’s increasingly dangerous obsession. Sergio goes through João’s trash, steals his stuff, and starts diving deeper into the world of fetish and BDSM, a process that director João Pedro Rodrigues depicts as a devolution from man to latex-bodysuit-clad beast. Rodrigues’s transgressive 2000 debut is a sexually explicit middle finger to assimilationist, sanitized depictions of gay life onscreen. Entrancing and unsettling all at the same time, it takes both subject and audience on an intense journey into a strangely beautiful oblivion. A must-see for any fan of “Narrow Rooms”. <br /><br />“No other contemporary filmmaker engages the complexities and mysteries of desire as fully and forthrightly as João Pedro Rodrigues. His films revolve around characters with all-consuming hungers, and their modus operandi is to follow these obsessive desires to their logical (or illogical) ends. Like some kinky superhero of transgression – Irma Vep meets Tom of Finland – the latex-clad garbage-collector hero of O FANTASMA prowls Lisbon’s nighttime netherworld, traversing boundaries both psychological and physical. Literal trash cinema, Rodrigues’s stunning debut remains his most confrontational work: an anatomy of lust in the form of a trance film.” –Dennis Lim<br /><br />“A sordid city-symphony, with elements of science fiction, about wanting to become garbage. Shot mainly at night, under streetlamps where available, and with nonprofessional actors, O FANTASMA abounds in blurs and shadows that muddle the physical boundaries of sentient beings.” –Shiv Kotecha, 4COLUMNS<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59647 <p>With the exception of MOTION PICTURES NO. 1, PAT’S BIRTHDAY, BREATHING, and GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.<br /><br />FORM PHASES I (1952, 2 min, 16mm)<br />FORM PHASES II (1953, 2 min, 16mm)<br />RECREATION (1956, 1.5 min, 16mm-to-35mm)<br />MOTION PICTURES NO. 1 (1956, 4.5 min, 16mm, silent)<br />JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm)<br />EYEWASH (1959, 3 min, 16mm-to-35mm)<br />BLAZES (1961, 3 min, 16mm-to-35mm)<br />PAT’S BIRTHDAY (1962, 13 min, 16mm, b&w)<br />BREATHING (1963, 5 min, 35mm, b&w)<br />FIST FIGHT (1964, 9 min, 16mm-to-35mm)<br />66 (1966, 5.5 min, 16mm-to-35mm)<br />69 (1969, 4.5 min, 16mm-to-35mm)<br />70 (1970, 5 min, 16mm-to-35mm)<br />GULLS AND BUOYS (1972, 8 min, 16mm)<br />FUJI (1974, 9 min, 16mm-to-35mm)<br />“Roughly speaking [Breer’s] works belong to that category of films generally called ‘abstract’ (though his are also highly ‘concrete’), but differ from everything else that has been done along these lines in one basic respect: Breer is undoubtedly the first filmmaker to have brought to his medium the full heritage of modern painting and the sum of sophisticated experimentation that it represents.” – Noël Burch, FILM QUARTERLY<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59608 <p>(JEŠTĚ NEJSEM, KÝM CHCI BÝT)<br /><br />“Some people are so attuned to the world that they seem to be on hand when history strikes. Czech photographer Libuše Jarcovjáková [who’s been dubbed the ‘Nan Goldin of Czechoslovakia’] is one such figure: born to a family of painters in Prague, she was sixteen and had just begun to take photographs when Soviet tanks entered the city in 1968. As the daughter of ‘politically unreliable people’, she had to learn her craft outside of the university system. She thus chose to work, travel, and explore the night in equal measure, whether as a factory worker in Prague in the late ‘60s, as a fashion photographer in ‘80s Tokyo, as a frequent visitor to Prague’s only queer club in the ‘80s or as a chambermaid in West Berlin from the late ‘80s to early ‘90s. Along the way, she continually took photographs of the places and people surrounding her. She also took numerous self-portraits, and her oeuvre thus gazes in two directions at once: outwards to history and inwards to the photographer chronicling it. This portrait of a portraitist is pieced together from the most appropriate of materials: her archive and her voice. In passing, it also tells a tale of three cities (Prague-Tokyo-West Berlin) across five whirlwind decades.” –Lucía Salas, VIENNALE<br /><br />“1968 Prague, 1979 Tokyo, 1990 Berlin. Part of the Czech counterculture, celebrated fashion photographer, chambermaid at the Intercontinental Hotel. These are some of the stages in Libuše Jarcovjáková’s life. As the child of a Prague artist couple, she was drawn to photography at an early age and it became her great passion. ‘Yes, it’s a compulsion. I am extremely attracted to mirrors and their reflections. I take pictures everywhere, on the train, in the toilet.’ Klára Tasovská has created this film from more than 70,000 photographs as a rapid succession of snapshots of an eventful and dazzling life, which is literally seen through the eyes of the protagonist. The rhythmic montage combines wonderful black-and-white photographs, diary entries, and an outstanding soundtrack to create a sensual overall experience. The audience soon forgets that these are still images. They are drawn into a maelstrom that they cannot escape. This film is a portrait of a different kind: direct, unpretentious, and moving.” –Jury Statement of the Viennale Erste Bank Film Award<br /><br />Since 2011, each annual edition of the Viennale (Vienna International Film Festival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. The 2024 Award was granted to Klara Tasovska’s I'M NOT EVERYTHING I WANT TO BE.<br /><br />The screenings are co-presented by the Deutsches Haus at NYU, Erste Bank, and the Czech Center New York.<br /><br /><em><strong>Filmmaker Klára Tasovská and producer Lukáš Kokeš will be here in person!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59638 <p>Marcel Broodthaers (1924-76) is widely recognized as one of the icons of postwar art history. Yet his unique cinematic legacy remains one of the most overlooked aspects of his oeuvre. Far from being a mere extension or document of his visual work, Broodthaers’s films – ranging from slapstick comedies and pseudo-documentaries to home movies – form a singular body of work. Through their deliberate amateurism and anachronism, Broodthaers’s films convey a true love for cinema that challenges both conventional and avant-garde film.<br /><br />Nearly two decades after Anthology’s last survey, and following the publication of “Marcel Broodthaers and Film: A Second of Eternity” (2024) – the first scholarly volume devoted entirely to his cinema – this program offers a rare opportunity to (re)discover Broodthaers’s filmic legacy. At its center is RENDEZ-VOUS MIT JACQUES OFFENBACH (1972), a little-seen compilation movie assembled by the artist himself. Splicing together earlier films and found footage, it exemplifies Broodthaers’s principle of endless reshuffling. Accompanied by his debut film as well as later works, this program offers a brief overview of Broodthaers’s filmmaking.<br /><br />Guest-programmed by Raf Wollaert. The screenings will be presented by Steven Jacobs and Raf Wollaert, editors of “Marcel Broodthaers and Film: A Second of Eternity”, and Bruce Jenkins, a longtime expert on the artist’s films.<br /><br />For more info about “Marcel Broodthaers and Film: A Second of Eternity”, visit: <a href="https://lup.be/book/marcel-broodthaers-and-film/">https://lup.be/book/marcel-broodthaers-and-film/</a> <br /><br />LA CLEF DE L’HORLOGE (POÈME CINÉMATOGRAPHIQUE EN L’HONNEUR DE KURT SCHWITTERS) (1957, 8 min, 16mm)<br />RENDEZ-VOUS MIT JACQUES OFFENBACH (1972, 31 min, 16mm)<br />PROJET POUR UN POISSON (1970, 7 min, 16mm)<br />FIGURES OF WAX (1974, 16 min, 16mm)<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> Saturday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59609 <p>(JEŠTĚ NEJSEM, KÝM CHCI BÝT)<br /><br />“Some people are so attuned to the world that they seem to be on hand when history strikes. Czech photographer Libuše Jarcovjáková [who’s been dubbed the ‘Nan Goldin of Czechoslovakia’] is one such figure: born to a family of painters in Prague, she was sixteen and had just begun to take photographs when Soviet tanks entered the city in 1968. As the daughter of ‘politically unreliable people’, she had to learn her craft outside of the university system. She thus chose to work, travel, and explore the night in equal measure, whether as a factory worker in Prague in the late ‘60s, as a fashion photographer in ‘80s Tokyo, as a frequent visitor to Prague’s only queer club in the ‘80s or as a chambermaid in West Berlin from the late ‘80s to early ‘90s. Along the way, she continually took photographs of the places and people surrounding her. She also took numerous self-portraits, and her oeuvre thus gazes in two directions at once: outwards to history and inwards to the photographer chronicling it. This portrait of a portraitist is pieced together from the most appropriate of materials: her archive and her voice. In passing, it also tells a tale of three cities (Prague-Tokyo-West Berlin) across five whirlwind decades.” –Lucía Salas, VIENNALE<br /><br />“1968 Prague, 1979 Tokyo, 1990 Berlin. Part of the Czech counterculture, celebrated fashion photographer, chambermaid at the Intercontinental Hotel. These are some of the stages in Libuše Jarcovjáková’s life. As the child of a Prague artist couple, she was drawn to photography at an early age and it became her great passion. ‘Yes, it’s a compulsion. I am extremely attracted to mirrors and their reflections. I take pictures everywhere, on the train, in the toilet.’ Klára Tasovská has created this film from more than 70,000 photographs as a rapid succession of snapshots of an eventful and dazzling life, which is literally seen through the eyes of the protagonist. The rhythmic montage combines wonderful black-and-white photographs, diary entries, and an outstanding soundtrack to create a sensual overall experience. The audience soon forgets that these are still images. They are drawn into a maelstrom that they cannot escape. This film is a portrait of a different kind: direct, unpretentious, and moving.” –Jury Statement of the Viennale Erste Bank Film Award<br /><br />Since 2011, each annual edition of the Viennale (Vienna International Film Festival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. The 2024 Award was granted to Klara Tasovska’s I'M NOT EVERYTHING I WANT TO BE.<br /><br />The screenings are co-presented by the Deutsches Haus at NYU, Erste Bank, and the Czech Center New York.<br /><br /><em><strong>Filmmaker Klára Tasovská and producer Lukáš Kokeš will be here in person!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59648 <p>MOTHER’S DAY 1948, 22 min, 16mm<br />FOUR IN THE AFTERNOON 1951, 15 min, 16mm<br />LOONY TOM, THE HAPPY LOVER 1951, 10 min, 16mm<br /><br />“For Broughton, making films did not make him less of a poet; it made him more of a poet. Like Jean Cocteau, Broughton insisted that poetry was not limited to ‘verse,’ and that it was the most precise word to describe his activities. […] His ‘filmic passion’ led him not to commercial cinema…but to a ‘life of vision’ in which he might experience ‘a poetry that would reveal on a large screen what my feelings looked like.’” –Jack Foley, FULL, FRONTAL MYSTERY: THE FILMS OF JAMES BROUGHTON<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59610 <p>(JEŠTĚ NEJSEM, KÝM CHCI BÝT)<br /><br />“Some people are so attuned to the world that they seem to be on hand when history strikes. Czech photographer Libuše Jarcovjáková [who’s been dubbed the ‘Nan Goldin of Czechoslovakia’] is one such figure: born to a family of painters in Prague, she was sixteen and had just begun to take photographs when Soviet tanks entered the city in 1968. As the daughter of ‘politically unreliable people’, she had to learn her craft outside of the university system. She thus chose to work, travel, and explore the night in equal measure, whether as a factory worker in Prague in the late ‘60s, as a fashion photographer in ‘80s Tokyo, as a frequent visitor to Prague’s only queer club in the ‘80s or as a chambermaid in West Berlin from the late ‘80s to early ‘90s. Along the way, she continually took photographs of the places and people surrounding her. She also took numerous self-portraits, and her oeuvre thus gazes in two directions at once: outwards to history and inwards to the photographer chronicling it. This portrait of a portraitist is pieced together from the most appropriate of materials: her archive and her voice. In passing, it also tells a tale of three cities (Prague-Tokyo-West Berlin) across five whirlwind decades.” –Lucía Salas, VIENNALE<br /><br />“1968 Prague, 1979 Tokyo, 1990 Berlin. Part of the Czech counterculture, celebrated fashion photographer, chambermaid at the Intercontinental Hotel. These are some of the stages in Libuše Jarcovjáková’s life. As the child of a Prague artist couple, she was drawn to photography at an early age and it became her great passion. ‘Yes, it’s a compulsion. I am extremely attracted to mirrors and their reflections. I take pictures everywhere, on the train, in the toilet.’ Klára Tasovská has created this film from more than 70,000 photographs as a rapid succession of snapshots of an eventful and dazzling life, which is literally seen through the eyes of the protagonist. The rhythmic montage combines wonderful black-and-white photographs, diary entries, and an outstanding soundtrack to create a sensual overall experience. The audience soon forgets that these are still images. They are drawn into a maelstrom that they cannot escape. This film is a portrait of a different kind: direct, unpretentious, and moving.” –Jury Statement of the Viennale Erste Bank Film Award<br /><br />Since 2011, each annual edition of the Viennale (Vienna International Film Festival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. The 2024 Award was granted to Klara Tasovska’s I'M NOT EVERYTHING I WANT TO BE.<br /><br />The screenings are co-presented by the Deutsches Haus at NYU, Erste Bank, and the Czech Center New York.<br /><br /><em><strong>Filmmaker Klára Tasovská and producer Lukáš Kokeš will be here in person!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59651 <p>THE PLEASURE GARDEN 1953, 38 min, 35mm<br />THE BED 1968, 19 min, 16mm<br />NUPTIAE 1969, 14 min, 16mm<br /><br />“Broughton was and is a poet, sometimes a dramatist. Yet whatever the mode, his style is remarkably consistent: urbane and witty with the persona of the naïve, or the simpleton, or the child. Like the poems, the films record the basic rites of passage, the search for love, the primal relationships, with ironic insight: there are parents who are children, a rube who’s really the artist, a loony wise man.” –P. Adams Sitney<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, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59611 <p>(JEŠTĚ NEJSEM, KÝM CHCI BÝT)<br /><br />“Some people are so attuned to the world that they seem to be on hand when history strikes. Czech photographer Libuše Jarcovjáková [who’s been dubbed the ‘Nan Goldin of Czechoslovakia’] is one such figure: born to a family of painters in Prague, she was sixteen and had just begun to take photographs when Soviet tanks entered the city in 1968. As the daughter of ‘politically unreliable people’, she had to learn her craft outside of the university system. She thus chose to work, travel, and explore the night in equal measure, whether as a factory worker in Prague in the late ‘60s, as a fashion photographer in ‘80s Tokyo, as a frequent visitor to Prague’s only queer club in the ‘80s or as a chambermaid in West Berlin from the late ‘80s to early ‘90s. Along the way, she continually took photographs of the places and people surrounding her. She also took numerous self-portraits, and her oeuvre thus gazes in two directions at once: outwards to history and inwards to the photographer chronicling it. This portrait of a portraitist is pieced together from the most appropriate of materials: her archive and her voice. In passing, it also tells a tale of three cities (Prague-Tokyo-West Berlin) across five whirlwind decades.” –Lucía Salas, VIENNALE<br /><br />“1968 Prague, 1979 Tokyo, 1990 Berlin. Part of the Czech counterculture, celebrated fashion photographer, chambermaid at the Intercontinental Hotel. These are some of the stages in Libuše Jarcovjáková’s life. As the child of a Prague artist couple, she was drawn to photography at an early age and it became her great passion. ‘Yes, it’s a compulsion. I am extremely attracted to mirrors and their reflections. I take pictures everywhere, on the train, in the toilet.’ Klára Tasovská has created this film from more than 70,000 photographs as a rapid succession of snapshots of an eventful and dazzling life, which is literally seen through the eyes of the protagonist. The rhythmic montage combines wonderful black-and-white photographs, diary entries, and an outstanding soundtrack to create a sensual overall experience. The audience soon forgets that these are still images. They are drawn into a maelstrom that they cannot escape. This film is a portrait of a different kind: direct, unpretentious, and moving.” –Jury Statement of the Viennale Erste Bank Film Award<br /><br />Since 2011, each annual edition of the Viennale (Vienna International Film Festival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. The 2024 Award was granted to Klara Tasovska’s I'M NOT EVERYTHING I WANT TO BE.<br /><br />The screenings are co-presented by the Deutsches Haus at NYU, Erste Bank, and the Czech Center New York.<br /><br /><em><strong>Filmmaker Klára Tasovská and producer Lukáš Kokeš will be here in person!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59612 <p>(JEŠTĚ NEJSEM, KÝM CHCI BÝT)<br /><br />“Some people are so attuned to the world that they seem to be on hand when history strikes. Czech photographer Libuše Jarcovjáková [who’s been dubbed the ‘Nan Goldin of Czechoslovakia’] is one such figure: born to a family of painters in Prague, she was sixteen and had just begun to take photographs when Soviet tanks entered the city in 1968. As the daughter of ‘politically unreliable people’, she had to learn her craft outside of the university system. She thus chose to work, travel, and explore the night in equal measure, whether as a factory worker in Prague in the late ‘60s, as a fashion photographer in ‘80s Tokyo, as a frequent visitor to Prague’s only queer club in the ‘80s or as a chambermaid in West Berlin from the late ‘80s to early ‘90s. Along the way, she continually took photographs of the places and people surrounding her. She also took numerous self-portraits, and her oeuvre thus gazes in two directions at once: outwards to history and inwards to the photographer chronicling it. This portrait of a portraitist is pieced together from the most appropriate of materials: her archive and her voice. In passing, it also tells a tale of three cities (Prague-Tokyo-West Berlin) across five whirlwind decades.” –Lucía Salas, VIENNALE<br /><br />“1968 Prague, 1979 Tokyo, 1990 Berlin. Part of the Czech counterculture, celebrated fashion photographer, chambermaid at the Intercontinental Hotel. These are some of the stages in Libuše Jarcovjáková’s life. As the child of a Prague artist couple, she was drawn to photography at an early age and it became her great passion. ‘Yes, it’s a compulsion. I am extremely attracted to mirrors and their reflections. I take pictures everywhere, on the train, in the toilet.’ Klára Tasovská has created this film from more than 70,000 photographs as a rapid succession of snapshots of an eventful and dazzling life, which is literally seen through the eyes of the protagonist. The rhythmic montage combines wonderful black-and-white photographs, diary entries, and an outstanding soundtrack to create a sensual overall experience. The audience soon forgets that these are still images. They are drawn into a maelstrom that they cannot escape. This film is a portrait of a different kind: direct, unpretentious, and moving.” –Jury Statement of the Viennale Erste Bank Film Award<br /><br />Since 2011, each annual edition of the Viennale (Vienna International Film Festival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. The 2024 Award was granted to Klara Tasovska’s I'M NOT EVERYTHING I WANT TO BE.<br /><br />The screenings are co-presented by the Deutsches Haus at NYU, Erste Bank, and the Czech Center New York.<br /><br /><em><strong>Filmmaker Klára Tasovská and producer Lukáš Kokeš will be here in person!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, July 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59649 <p>THE GOLDEN POSITIONS 1970, 32 min, 16mm<br />“A lovely, poetic, humorous, and crystal investigation of mankind standing, sitting, and lying down.” –John Wasserman, SAN FRANCISCO CHRONICLE<br /><br />THIS IS IT 1971, 10 min, 16mm<br />“Broughton’s creation myth, THIS IS IT, places a 2-year-old Adam and a bright apple-red balloon in a backyard garden of Eden, and works a small miracle of the ordinary. And since that miracle is what the film is about, he achieves a kind of casual perfection in matching means and ends.” –Roger Greenspun, NEW YORK TIMES<br /><br />TESTAMENT 1974, 20 min, 16mm<br />“TESTAMENT is James Broughton’s exquisite self-portrait. […] A plethora of rich personal symbols is woven throughout the film, tied together by verbal games, Zen poems, anecdotes, songs, a child’s prayer, dreams and visions.” –Karen Cooper<br /><br />Total running time: ca. 65 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Tuesday, July 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59640 <p>ANONYMOUS WAS A WOMAN ENCORE SCREENING!<br />FILMMAKER IN PERSON!<br />In April and May, Anthology presented a series in conjunction with the Grey Art Museum’s exhibition “Anonymous Was A Woman: The First 25 Years”. Honoring the Anonymous Was A Woman (AWAW) award, which was founded in 1996 by artist and philanthropist Susan Unterberg to redress the lack of institutional support for women visual artists over the age of 40, the exhibition showcases work by a selection of awardees from AWAW’s first 25 years (1996 through 2020), and celebrates the transformative impact women artists have made on contemporary art since the award’s founding.<br /><br />Before the exhibition closes on July 19, we will present one final screening which calls attention to two recipients of the award: filmmaker Beth B (AWAW 1999), as well as renowned artist Ida Applebroog (AWAW 2009), Beth B’s mother and the subject of her 2016 documentary portrait, CALL HER APPLEBROOG. Beth B will be here in person for a Q&A following the screening!<br /><br />Curated by Nancy Princenthal and Vesela Stretenović, the exhibition “Anonymous Was A Woman: The First 25 Years” will be on view at the Grey Art Museum through July 19, 2025. For more info visit: <a href="https://greyartmuseum.nyu.edu/exhibition/anonymous-was-a-woman-the-first-25-years/">https://greyartmuseum.nyu.edu/exhibition/anonymous-was-a-woman-the-first-25-years/</a> <br /><br />Beth B<br />CALL HER APPLEBROOG<br />2016, 70 min, DCP<br />“This deeply personal portrait of acclaimed artist Ida Applebroog was shot with mischievous reverence by her filmmaker daughter, Beth B [the renowned director of No Wave classics like G-MAN (1978), BLACK BOX (1979), THE TRAP DOOR (1980), and VORTEX (1982), and later films such as TWO SMALL BODIES (1993), EXPOSED (2013), and VOYEUR (2017)]. Applebroog, then in her 80s, looks back at how she expressed herself through decades of drawings and paintings, as well as her private journals. With her daughter’s encouragement, she investigates the stranger that is her former self, a woman who found psychological and sexual liberation through art. As Beth B finds a deeper understanding of her mother as a human being, Applebroog shares a newfound appreciation for her own provocative work.” –MoMA DOC FORTNIGHT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, July 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59650 <p>DREAMWOOD<br />(1972, 45 min, 16mm)<br />“A modern day spiritual odyssey in which a man is mysteriously compelled to leave his home and embark on a voyage to a strange, magical island. On the island he faces the most improbable and intense experiences of his life, ranging from total humiliation to a deep sense of oneness with the force of life. Heroic in concept, subtle in execution, DREAMWOOD is a beautiful film by a true master of the medium.” –David Bienstock<br /><br />HIGH KUKUS (1974, 3 min, 16mm)<br />“A High Kuku is, of course, a cuckoo haiku. In inventing this form Broughton has concocted zany verses which are ‘high’ in the sense that they are often metaphysical and are keenly aware of the metacomedy of things.” –Alan Watts<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, July 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59652 <p>Luis Buñuel & Salvador Dalí UN CHIEN ANDALOU (1928, 22 min, 35mm, b&w)<br />Twenty-two minutes of pure, scandalous dream-imagery, a stream of images from which anything that could be given a rational meaning was rigorously excluded. It remains the unsurpassed masterpiece of the surrealist cinema.<br /><br />Luis Buñuel LAND WITHOUT BREAD / LAS HURDES: TIERRA SIN PAN (1932, 28 min, 35mm, b&w. With English narration.)<br />“A documentary describing, matter-of-factly, a region of Spain so ravaged by epidemic poverty that there our worst fantasies find their objective correlative.” –Raymond Durgnat<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59653 <p>“The story is a sequence of moral and surrealist aesthetics. The sexual instinct and the sense of death form the substance of the film. It is a romantic film performed in full surrealistic frenzy.” – Luis Buñuel<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59614 <p>(MONÓLOGO COLECTIVO)<br /><br />The subject of an Anthology mini-retrospective in 2021 – which showcased her short films, her medium-length BLACK POND (2018), and her debut feature, THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER (2019) – Jessica Sarah Rinland returns to present her latest work, COLLECTIVE MONOLOGUE. The new film extends her preoccupation with the intersection between the natural world, the natural sciences, and social and economic history, and continues her investigations into the ways that institutions function. Where BLACK POND focused on a Natural History Society and THOSE THAT explored – in its enigmatic, idiosyncratic way – a variety of museums and labs, COLLECTIVE MONOLOGUE shifts attention to the zoo and the animal shelter. In keeping with her earlier work, though, it’s distinguished by a profoundly empathetic sensitivity to matters both human and animal, a lyrical and textured visual sensibility, and a highly unconventional, counter-intuitive approach to the documentary form.<br /><br />Rinland will also present a program of short films by Argentinian filmmaker Narcisa Hirsch on Saturday, July 19 at 4:30; <a href="../../../film_screenings/calendar?view=list&month=07&year=2025#showing-59630">click here for details</a>.<br /><br />“While most visitors to a zoo are assumed to leave with a greater understanding of the animals housed within, such spaces can reveal just as much about the humans who design and manage them. With COLLECTIVE MONOLOGUE, Jessica Sarah Rinland pursues her ongoing concerns with the relationship between humans and the natural world – particularly as mediated by institutions. At the film’s core are the animals and staff in various Argentinian zoos and shelters – including the Buenos Aires Ecopark, established as a zoo in the late 19th century – capturing not just tender moments of interspecies interaction but also administrative and infrastructural details. […] Beyond its fascinating portrayal of interspecies care, COLLECTIVE MONOLOGUE features remarkable 16mm footage of the resident creatures – and some amazing surveillance camera glimpses of nocturnal anteaters – as well as archival detours, which reveal a parallel inquiry into questions of labor, gender, and colonial conquest over the natural world. With a form that is intricate and precise, while pleasingly fragmented and open in construction, Rinland’s hypnotic approach invites questions about how we not only look at animals, but also share the world with them.” –Andréa Picard, TORONTO INTERNATIONAL FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59615 <p>(MONÓLOGO COLECTIVO)<br /><br />The subject of an Anthology mini-retrospective in 2021 – which showcased her short films, her medium-length BLACK POND (2018), and her debut feature, THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER (2019) – Jessica Sarah Rinland returns to present her latest work, COLLECTIVE MONOLOGUE. The new film extends her preoccupation with the intersection between the natural world, the natural sciences, and social and economic history, and continues her investigations into the ways that institutions function. Where BLACK POND focused on a Natural History Society and THOSE THAT explored – in its enigmatic, idiosyncratic way – a variety of museums and labs, COLLECTIVE MONOLOGUE shifts attention to the zoo and the animal shelter. In keeping with her earlier work, though, it’s distinguished by a profoundly empathetic sensitivity to matters both human and animal, a lyrical and textured visual sensibility, and a highly unconventional, counter-intuitive approach to the documentary form.<br /><br />Rinland will also present a program of short films by Argentinian filmmaker Narcisa Hirsch on Saturday, July 19 at 4:30; <a href="../../../film_screenings/calendar?view=list&month=07&year=2025#showing-59630">click here for details</a>.<br /><br />“While most visitors to a zoo are assumed to leave with a greater understanding of the animals housed within, such spaces can reveal just as much about the humans who design and manage them. With COLLECTIVE MONOLOGUE, Jessica Sarah Rinland pursues her ongoing concerns with the relationship between humans and the natural world – particularly as mediated by institutions. At the film’s core are the animals and staff in various Argentinian zoos and shelters – including the Buenos Aires Ecopark, established as a zoo in the late 19th century – capturing not just tender moments of interspecies interaction but also administrative and infrastructural details. […] Beyond its fascinating portrayal of interspecies care, COLLECTIVE MONOLOGUE features remarkable 16mm footage of the resident creatures – and some amazing surveillance camera glimpses of nocturnal anteaters – as well as archival detours, which reveal a parallel inquiry into questions of labor, gender, and colonial conquest over the natural world. With a form that is intricate and precise, while pleasingly fragmented and open in construction, Rinland’s hypnotic approach invites questions about how we not only look at animals, but also share the world with them.” –Andréa Picard, TORONTO INTERNATIONAL FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59616 <p>(MONÓLOGO COLECTIVO)<br /><br />The subject of an Anthology mini-retrospective in 2021 – which showcased her short films, her medium-length BLACK POND (2018), and her debut feature, THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER (2019) – Jessica Sarah Rinland returns to present her latest work, COLLECTIVE MONOLOGUE. The new film extends her preoccupation with the intersection between the natural world, the natural sciences, and social and economic history, and continues her investigations into the ways that institutions function. Where BLACK POND focused on a Natural History Society and THOSE THAT explored – in its enigmatic, idiosyncratic way – a variety of museums and labs, COLLECTIVE MONOLOGUE shifts attention to the zoo and the animal shelter. In keeping with her earlier work, though, it’s distinguished by a profoundly empathetic sensitivity to matters both human and animal, a lyrical and textured visual sensibility, and a highly unconventional, counter-intuitive approach to the documentary form.<br /><br />Rinland will also present a program of short films by Argentinian filmmaker Narcisa Hirsch on Saturday, July 19 at 4:30; <a href="../../../film_screenings/calendar?view=list&month=07&year=2025#showing-59630">click here for details</a>.<br /><br />“While most visitors to a zoo are assumed to leave with a greater understanding of the animals housed within, such spaces can reveal just as much about the humans who design and manage them. With COLLECTIVE MONOLOGUE, Jessica Sarah Rinland pursues her ongoing concerns with the relationship between humans and the natural world – particularly as mediated by institutions. At the film’s core are the animals and staff in various Argentinian zoos and shelters – including the Buenos Aires Ecopark, established as a zoo in the late 19th century – capturing not just tender moments of interspecies interaction but also administrative and infrastructural details. […] Beyond its fascinating portrayal of interspecies care, COLLECTIVE MONOLOGUE features remarkable 16mm footage of the resident creatures – and some amazing surveillance camera glimpses of nocturnal anteaters – as well as archival detours, which reveal a parallel inquiry into questions of labor, gender, and colonial conquest over the natural world. With a form that is intricate and precise, while pleasingly fragmented and open in construction, Rinland’s hypnotic approach invites questions about how we not only look at animals, but also share the world with them.” –Andréa Picard, TORONTO INTERNATIONAL FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59717 <p>Living in 1960s Yugoslavia meant being crisscrossed and inundated by images originating from East, West, and everywhere in between. This screening of experimental, documentary, and animated shorts (1963-1969) constellates radical – and radically different – aesthetico-political approaches that avant-garde and amateur filmmakers in the SFRY adopted to confront, process, and deconstruct the exigencies of market socialism, environmental disaster, and the afterlife of WWII. From rephotography and archival appropriation to English pop soundtracks, these seven underseen treasures show what it looked, sounded, and felt like to exist in a non-aligned society of foreign images and spectacle. Norman McLaren’s cinema will make an appearance, as will Georg Büchner, John Lennon, Marx, and the spirit of Alain Resnais, whose NIGHT AND FOG at least two films in this program invoke.<br /><br />Erna Banovac ERNA (1963, 3 min, 8mm-to-digital)<br />Ljubiša Grlić REINDEER, DEAR REINDEER / SOBOVI, DRAGI SOBOVI (1963, 3 min, 8mm-to-digital)<br />Stjepan Zaninović A TEAR ON YOUR FACE / SUZA NA LICU (1965, 11 min, 16mm-to-digital)<br />Vladimir Petek ONE HAND 30 SWORDS / JEDNA RUKA 30 MAČEVA (1967, 12 min, 16mm-to-digital)<br />Tatjana Dunja Ivanišević WOMAN / ŽEMSKO (1968, 6 min, 8mm-to-digital)<br />Tatjana Ivančić CITY IN A SHOP WINDOW / GRAD U IZLOGU (1969, 5 min, Super-8mm-to-digital)<br />Želimir Žilnik JUNE TURMOIL / LIPANJSKA GIBANJA (1969, 11 min, 35mm)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59719 <p>This screening assembles six of Vlatko Gilić’s haunting short films. Gilić, born in 1935 in Montenegro, is socialist Yugoslavia’s eeriest cineaste; he directed 13 ultra-macabre films between 1966 and 1980 (garnering a Berlinale Silver Bear and an Oberhausen Grand Prix), after which he entered academia and teaching, retreating from the limelight. Fusing Christian metaphysics/symbolism with politicized allegory, ritual, and myth, Gilić’s films scrutinize humankind – its ever-elusive “nature” – with the use of observational, languid, transcendental technique. The films, as Ben Harrison noted elatedly in 1976, “make use of documentary material, yet their selectivity and structure are as rigorous as lyric poetry…. Like all works of genius, they are untranslatable. One must see them to appreciate them, and having seen them, one can never forget them.” These rarely projected 16mm prints are on loan from the Harvard Film Archive.<br /><br />Vlatko Gilić<br />HOMO HOMINI (1968, 4 min, 16mm)<br />PULL, PULL / ZATEGNI DELE (1969, 10 min, 16mm)<br />IN CONTINUO (1970, 11 min, 16mm)<br />ONE DAY MORE / DAN VIŠE (1971, 11 min, 16mm)<br />JUDAS / JUDA (1971, 11 min, 16mm)<br />POWER / MOČ (1972, 34 min, 16mm)<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59617 <p>(MONÓLOGO COLECTIVO)<br /><br />The subject of an Anthology mini-retrospective in 2021 – which showcased her short films, her medium-length BLACK POND (2018), and her debut feature, THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER (2019) – Jessica Sarah Rinland returns to present her latest work, COLLECTIVE MONOLOGUE. The new film extends her preoccupation with the intersection between the natural world, the natural sciences, and social and economic history, and continues her investigations into the ways that institutions function. Where BLACK POND focused on a Natural History Society and THOSE THAT explored – in its enigmatic, idiosyncratic way – a variety of museums and labs, COLLECTIVE MONOLOGUE shifts attention to the zoo and the animal shelter. In keeping with her earlier work, though, it’s distinguished by a profoundly empathetic sensitivity to matters both human and animal, a lyrical and textured visual sensibility, and a highly unconventional, counter-intuitive approach to the documentary form.<br /><br />Rinland will also present a program of short films by Argentinian filmmaker Narcisa Hirsch on Saturday, July 19 at 4:30; <a href="../../../film_screenings/calendar?view=list&month=07&year=2025#showing-59630">click here for details</a>.<br /><br />“While most visitors to a zoo are assumed to leave with a greater understanding of the animals housed within, such spaces can reveal just as much about the humans who design and manage them. With COLLECTIVE MONOLOGUE, Jessica Sarah Rinland pursues her ongoing concerns with the relationship between humans and the natural world – particularly as mediated by institutions. At the film’s core are the animals and staff in various Argentinian zoos and shelters – including the Buenos Aires Ecopark, established as a zoo in the late 19th century – capturing not just tender moments of interspecies interaction but also administrative and infrastructural details. […] Beyond its fascinating portrayal of interspecies care, COLLECTIVE MONOLOGUE features remarkable 16mm footage of the resident creatures – and some amazing surveillance camera glimpses of nocturnal anteaters – as well as archival detours, which reveal a parallel inquiry into questions of labor, gender, and colonial conquest over the natural world. With a form that is intricate and precise, while pleasingly fragmented and open in construction, Rinland’s hypnotic approach invites questions about how we not only look at animals, but also share the world with them.” –Andréa Picard, TORONTO INTERNATIONAL FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59721 <p>In Yugoslavia, cameraless cinema thrived. This screening gathers six under-watched gems of avant-garde animation, collage, and recycled film. Non-live-action image-making in the SFRY took different routes: stop-motion and direct-to-film etching appear alongside other types of lens-based tinkering. Some operationalize optics to hallucinatory ends – rotoscoping in the case of Divna Jovanović and pseudo-kaleidoscopic grids in Almažan’s MEDUZA SAJANA (a declared homage to Georges Méliès but closer in spirit to the ethereal poetics of James Broughton and the intergalactic Jordan Belson) – while others rely on electro audioscapes, as in the frenetic anti-agit-props of Zoran Jovanović. Concluding with a bang, Vlada Petrić’s scandalously forgotten LIGHT-PLAY is both a tribute to László Moholy-Nagy and a trance-inducing jewel of cine-pyrotechnics in its own right. From fantasy and dreams to analytic cinephagia, these films unravel the cinematic unconscious either by inverting the apparatus’s terms and conditions – or by omitting the camera entirely.<br /><br />Boštjan Hladnik FANTASTIC BALLAD / FANTASTIČNA BALADA (1957, 11 min, 35mm)<br />Divna Jovanović TRANSFORMATION / PREOBRAŽAJ (1973, 3 min, 35mm-to-digital)<br />Slavko Almažan MEDUZA SAJANA (1976, 15 min, 35mm)<br />Zoran Jovanović ANTIDOGMIN (1976, 7 min, 35mm)<br />Zoran Jovanović MARXIANS / MARKSIJANCI (1984, 9 min, 35mm)<br />Vlada Petrić LIGHT-PLAY: A TRIBUTE TO MOHOLY-NAGY (1988, 28 min, 16mm)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59630 <p>Alongside the NYC premiere run of her own new film (COLLECTIVE MONOLOGUE – <a href="../../../film_screenings/calendar?view=list&month=07&year=2025#showing-59614">click here for details</a>), Jessica Sarah Rinland will present a program devoted to the work of Argentine filmmaker and artist Narcisa Hirsch (1928-2024).<br /><br />“The program showcases a series of recently restored films that Hirsch made between 1973-77, two for her friend and one for her daughter. Narcisa talks over images she recorded of people she loves, their gestures, portraits, their bodies within landscapes, photographs, details of their rooms, their family archives. The projector is sometimes heard in the background as she watches the images and talks to them as if the person were sitting in front of her: ‘I wanted to write you a letter, but not a letter. A declaration of love.’ We’ll also be screening Hirsch’s 1978 film, SURELY BACH CLOSED THE DOOR WHEN HE WANTED TO WORK, in which she films her friends’ faces, including her own. Later, she records their voices as they reflect on their own image, as well as her voice reacting to her own face. Narcisa repeats this exercise often as she ages, each time reflecting on how she, as a woman, is learning to ‘look at herself from the outside.’” –Jessica Sarah Rinland<br /><br />Curated by Jessica Sarah Rinland. Restored films courtesy the Estate of Narcisa Hirsch and Microscope Gallery, New York.<br /><br />RAFAEL EN RIO (1977, 4 min, Super-8mm-to-DCP)<br />ANDREA (1973, 10 min, 16mm-to-DCP)<br />RAFAEL (1975, 11 min, Super-8mm-to-DCP)<br />SURELY BACH CLOSED THE DOOR WHEN HE WANTED TO WORK / SEGURO QUE BACH CERRABA LA PUERTA CUANDO QUERIA TRABAJABAR (1978, 30 min, Super-8mm-to-DCP)<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, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59723 <p>This bipartite program brings three (ex-)Yugoslav avant-garde works from 1982 into dialogue with three from the last decade (2015-24), all invested – in different and contradictory ways – in interrogating the effects of ultra-processed mass culture on mind and body. From Iveković’s enfleshment of the televisual cut to Bezovšek’s recent and bombastic subversion of infinite Insta scrolls, these six works bring image and sound ecologies (’80s and contemporary, analog and digital) to bear on real, physical beings. All made or co-directed by women, the films and videos sharply exclaim that inventive critical engagement with the media environments that envelop us never went away – it only descended underground.<br /><br />Sanja Iveković PERSONAL CUTS / OSOBNI REZOVI (1982, 4 min, video-to-digital)<br />Olga Pajek TOO MUCH (1982, 9 min, 8mm-to-digital)<br />Juliana Terek & Miroslav Bata Petrović PERSONAL DISCIPLINE / LIČNA DISCIPLINA (1982, 28 min, 16mm-to-digital)<br />Doplgenger FRAGMENTS UNTITLED #3 (2015, 6 min, digital)<br />Kumjana Novakova IT COULD BE A FILM / MOŽEŠE DA BIDE FILM (2016, 8 min, digital)<br />Sara Bezovšek THE FUTURE… IS JUST LIKE YOU IMAGINED / PRIHODNOST… JE TOČNO TAKŠNA, KOT STE SI JO ZAMISLILI (2024, 13 min, digital)<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> Saturday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59618 <p>(MONÓLOGO COLECTIVO)<br /><br />The subject of an Anthology mini-retrospective in 2021 – which showcased her short films, her medium-length BLACK POND (2018), and her debut feature, THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER (2019) – Jessica Sarah Rinland returns to present her latest work, COLLECTIVE MONOLOGUE. The new film extends her preoccupation with the intersection between the natural world, the natural sciences, and social and economic history, and continues her investigations into the ways that institutions function. Where BLACK POND focused on a Natural History Society and THOSE THAT explored – in its enigmatic, idiosyncratic way – a variety of museums and labs, COLLECTIVE MONOLOGUE shifts attention to the zoo and the animal shelter. In keeping with her earlier work, though, it’s distinguished by a profoundly empathetic sensitivity to matters both human and animal, a lyrical and textured visual sensibility, and a highly unconventional, counter-intuitive approach to the documentary form.<br /><br />Rinland will also present a program of short films by Argentinian filmmaker Narcisa Hirsch on Saturday, July 19 at 4:30; <a href="../../../film_screenings/calendar?view=list&month=07&year=2025#showing-59630">click here for details</a>.<br /><br />“While most visitors to a zoo are assumed to leave with a greater understanding of the animals housed within, such spaces can reveal just as much about the humans who design and manage them. With COLLECTIVE MONOLOGUE, Jessica Sarah Rinland pursues her ongoing concerns with the relationship between humans and the natural world – particularly as mediated by institutions. At the film’s core are the animals and staff in various Argentinian zoos and shelters – including the Buenos Aires Ecopark, established as a zoo in the late 19th century – capturing not just tender moments of interspecies interaction but also administrative and infrastructural details. […] Beyond its fascinating portrayal of interspecies care, COLLECTIVE MONOLOGUE features remarkable 16mm footage of the resident creatures – and some amazing surveillance camera glimpses of nocturnal anteaters – as well as archival detours, which reveal a parallel inquiry into questions of labor, gender, and colonial conquest over the natural world. With a form that is intricate and precise, while pleasingly fragmented and open in construction, Rinland’s hypnotic approach invites questions about how we not only look at animals, but also share the world with them.” –Andréa Picard, TORONTO INTERNATIONAL FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59725 <p>Franci Slak<br />DAILY NEWS<br />1979, 75 min, Super-8mm-to-DCP<br />Socialist Slovenia’s first feature-length experimental film, DAILY NEWS was shot in 1980 on Super-8mm by then-26-year-old Franci Slak, who would go on to become an acclaimed industry director. As its title suggests, the film is a diary in which the author records his observations of the outside world; as Silvan Furlan writes, it “evokes with a certain nostalgia those golden days of the underground, when the freedom of filmmaking was written in capital letters.” Film theorist Jože Dolmark appraised it best: “the film contains a desire to record (not strictly chronologically) the experience of a lived day: what happened to you, what you experienced, or which is more interesting, what you would like the day to look like, according to how you’ve imagined it. I think the entire power of DAILY NEWS lies in this desire of Franci’s for what remained unspoken, what slipped, what remained outside the edges, and what we’ll never know.” The film has been nearly impossible to see for decades; this is the world premiere of its digital restoration, completed in 2025 by the Slovenian Cinematheque.<br /><br />[<em><strong>DAILY NEWS will also screen on Saturday, July 26 at 8:30, as part of the series <a href="../../../film_screenings/series/59726">"Everything Spins: Experimental Film in the Socialist Republic of Slovenia, 1960s-80s"</a>.</strong></em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59619 <p>(MONÓLOGO COLECTIVO)<br /><br />The subject of an Anthology mini-retrospective in 2021 – which showcased her short films, her medium-length BLACK POND (2018), and her debut feature, THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER (2019) – Jessica Sarah Rinland returns to present her latest work, COLLECTIVE MONOLOGUE. The new film extends her preoccupation with the intersection between the natural world, the natural sciences, and social and economic history, and continues her investigations into the ways that institutions function. Where BLACK POND focused on a Natural History Society and THOSE THAT explored – in its enigmatic, idiosyncratic way – a variety of museums and labs, COLLECTIVE MONOLOGUE shifts attention to the zoo and the animal shelter. In keeping with her earlier work, though, it’s distinguished by a profoundly empathetic sensitivity to matters both human and animal, a lyrical and textured visual sensibility, and a highly unconventional, counter-intuitive approach to the documentary form.<br /><br />Rinland will also present a program of short films by Argentinian filmmaker Narcisa Hirsch on Saturday, July 19 at 4:30; <a href="../../../film_screenings/calendar?view=list&month=07&year=2025#showing-59630">click here for details</a>.<br /><br />“While most visitors to a zoo are assumed to leave with a greater understanding of the animals housed within, such spaces can reveal just as much about the humans who design and manage them. With COLLECTIVE MONOLOGUE, Jessica Sarah Rinland pursues her ongoing concerns with the relationship between humans and the natural world – particularly as mediated by institutions. At the film’s core are the animals and staff in various Argentinian zoos and shelters – including the Buenos Aires Ecopark, established as a zoo in the late 19th century – capturing not just tender moments of interspecies interaction but also administrative and infrastructural details. […] Beyond its fascinating portrayal of interspecies care, COLLECTIVE MONOLOGUE features remarkable 16mm footage of the resident creatures – and some amazing surveillance camera glimpses of nocturnal anteaters – as well as archival detours, which reveal a parallel inquiry into questions of labor, gender, and colonial conquest over the natural world. With a form that is intricate and precise, while pleasingly fragmented and open in construction, Rinland’s hypnotic approach invites questions about how we not only look at animals, but also share the world with them.” –Andréa Picard, TORONTO INTERNATIONAL FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 19