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 Fri, 18 Jul 2025 18:05:57 -0400 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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</strong></em><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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</strong></em><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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</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-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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</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-59620 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</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 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59730 <p>(RAM ZA NEKOLIKO POZA)<br /><br />In 1975, Yugoslav filmmaker Karpo Aćimović Godina traveled to Vojvodina (northern Serbia) and captured several dozen residents of local villages and farms on 16mm color film. These were individuals who had artistic, musical, or technological crafts and skills to perform for the camera: from choral singers and amateur potters to carvers of sophisticated wooden instruments. FRAME FOR A FEW POSES is a six-episode documentary financed by the entertainment division of Belgrade TV, in which Godina – without explicit commentary or voice-over – records a vibrant constellation of folk ingenuity and imagination within a particular geographic region. (“Yugoslavia’s Got Talent” could be a fitting alternative title.) Yet the film is also a synecdoche of socialist Yugoslavia itself: a miniature of the country’s ethnic, linguistic, and religious diversity. This respectful and endlessly hilarious tribute to the inexhaustible energy of human (and not merely national or ethnoparticular) creativity has recently been preserved by the Slovenian Cinematheque in collaboration with Serbian and Slovene TV. It will be shown here in two parts, each approximately 90 minutes in length.<br /><br /><em><strong>Screenings will be accompanied by a rare conversation with Karpo Godina in-person.</strong></em><br /><br /><em>Episodes 1-3: Sun, July 20 at 5:00 and Mon, July 21 at 6:15.</em><br /><em>Episodes 4-6: Sun, July 20 at 7:45 and Mon, July 21 at 8:45.</em></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> Sunday, July 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59621 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</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 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59733 <p>(RAM ZA NEKOLIKO POZA)<br /><br />In 1975, Yugoslav filmmaker Karpo Aćimović Godina traveled to Vojvodina (northern Serbia) and captured several dozen residents of local villages and farms on 16mm color film. These were individuals who had artistic, musical, or technological crafts and skills to perform for the camera: from choral singers and amateur potters to carvers of sophisticated wooden instruments. FRAME FOR A FEW POSES is a six-episode documentary financed by the entertainment division of Belgrade TV, in which Godina – without explicit commentary or voice-over – records a vibrant constellation of folk ingenuity and imagination within a particular geographic region. (“Yugoslavia’s Got Talent” could be a fitting alternative title.) Yet the film is also a synecdoche of socialist Yugoslavia itself: a miniature of the country’s ethnic, linguistic, and religious diversity. This respectful and endlessly hilarious tribute to the inexhaustible energy of human (and not merely national or ethnoparticular) creativity has recently been preserved by the Slovenian Cinematheque in collaboration with Serbian and Slovene TV. It will be shown here in two parts, each approximately 90 minutes in length.<br /><br /><em><strong>Screenings will be accompanied by a rare conversation with Karpo Godina in-person.</strong></em><br /><br /><em>Episodes 1-3: Sun, July 20 at 5:00 and Mon, July 21 at 6:15.</em><br /><em>Episodes 4-6: Sun, July 20 at 7:45 and Mon, July 21 at 8:45.<br /><br /></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59622 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</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 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59731 <p>(RAM ZA NEKOLIKO POZA)<br /><br />In 1975, Yugoslav filmmaker Karpo Aćimović Godina traveled to Vojvodina (northern Serbia) and captured several dozen residents of local villages and farms on 16mm color film. These were individuals who had artistic, musical, or technological crafts and skills to perform for the camera: from choral singers and amateur potters to carvers of sophisticated wooden instruments. FRAME FOR A FEW POSES is a six-episode documentary financed by the entertainment division of Belgrade TV, in which Godina – without explicit commentary or voice-over – records a vibrant constellation of folk ingenuity and imagination within a particular geographic region. (“Yugoslavia’s Got Talent” could be a fitting alternative title.) Yet the film is also a synecdoche of socialist Yugoslavia itself: a miniature of the country’s ethnic, linguistic, and religious diversity. This respectful and endlessly hilarious tribute to the inexhaustible energy of human (and not merely national or ethnoparticular) creativity has recently been preserved by the Slovenian Cinematheque in collaboration with Serbian and Slovene TV. It will be shown here in two parts, each approximately 90 minutes in length.<br /><br /><em><strong>Screenings will be accompanied by a rare conversation with Karpo Godina in-person.</strong></em><br /><br /><em>Episodes 1-3: Sun, July 20 at 5:00 and Mon, July 21 at 6:15.</em><br /><em>Episodes 4-6: Sun, July 20 at 7:45 and Mon, July 21 at 8:45.</em></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> Monday, July 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59623 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</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 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59734 <p>(RAM ZA NEKOLIKO POZA)<br /><br />In 1975, Yugoslav filmmaker Karpo Aćimović Godina traveled to Vojvodina (northern Serbia) and captured several dozen residents of local villages and farms on 16mm color film. These were individuals who had artistic, musical, or technological crafts and skills to perform for the camera: from choral singers and amateur potters to carvers of sophisticated wooden instruments. FRAME FOR A FEW POSES is a six-episode documentary financed by the entertainment division of Belgrade TV, in which Godina – without explicit commentary or voice-over – records a vibrant constellation of folk ingenuity and imagination within a particular geographic region. (“Yugoslavia’s Got Talent” could be a fitting alternative title.) Yet the film is also a synecdoche of socialist Yugoslavia itself: a miniature of the country’s ethnic, linguistic, and religious diversity. This respectful and endlessly hilarious tribute to the inexhaustible energy of human (and not merely national or ethnoparticular) creativity has recently been preserved by the Slovenian Cinematheque in collaboration with Serbian and Slovene TV. It will be shown here in two parts, each approximately 90 minutes in length.<br /><br /><em><strong>Screenings will be accompanied by a rare conversation with Karpo Godina in-person.</strong></em><br /><br /><em>Episodes 1-3: Sun, July 20 at 5:00 and Mon, July 21 at 6:15.</em><br /><em>Episodes 4-6: Sun, July 20 at 7:45 and Mon, July 21 at 8:45.<br /><br /></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, July 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59624 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</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 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59625 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59753 <p>Alejandro is an aspiring toy designer from El Salvador trying to bring his original ideas to life in New York City. As his work visa is close to expiring, his only chance to avoid deportation is an unusual job assisting an eccentric and demanding art critic. Caught between the surreal challenges of the U.S. immigration system and the unpredictable world of New York’s art scene, Alejandro barely navigates a labyrinth of bureaucracy while fighting to pursue his dream. The debut feature film from writer/director Julio Torres, PROBLEMISTA is a bizarre and visually rich comedy that tackles ambition, identity, and survival.<br /><br />Preceded by:<br />Allora & Calzadilla UNDER DISCUSSION (2005, 6 min, digital)<br />Shekhar Bassi FAUX DEPART (2012, 9 min, digital)<br /><br />Total running time: ca. 115 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 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59626 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59756 <p>In NEWS FROM HOME, Akerman pairs long, contemplative shots of 1970s New York with readings of letters from her mother in Belgium, intimate messages filled with love, worry, and routine updates. As the mother’s voice becomes a distant echo over the noise of the city, the film evokes a sense of emotional exile and fragmented belonging, forming a reflection on distance, dislocation, and the tension between personal memory and public space. Akerman’s minimalist style emphasizes stillness and observation, inviting the viewer into a meditative experience of time, place, and absence. NEWS FROM HOME is a profound exploration of migration, and the multiple ways we remain tethered to the places and people we leave behind.<br /><br />Preceded by: <br />Mona Hatoum MEASURES OF DISTANCE (1988, 15.5 min, video)<br /><br />Total running time: ca. 105 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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59627 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59758 <p>(MABABANGONG BANGUNGOT)<br /><br />The debut feature by Filipino filmmaker Kidlat Tahimik is a playful and subversive reflection on post-colonial identity, modernization, and cultural disillusionment. The film follows Kidlat, a jeepney driver and space-obsessed dreamer from a small Philippine village, who idolizes American progress and Western technology. When he finally travels to Europe, his idealism is confronted by the contradictions of colonial influence, capitalism, and alienation. Tahimik crafts a deeply personal and inventive cinematic journey that critiques neocolonial aspirations with humor and sincerity.<br /><br />Preceded by:<br />Chantal Peñalosa Fong FONG (2023, 12 min, digital)<br /><br />Total running time: ca. 110 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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59628 <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 /><em><strong>Jessica Sarah Rinland will be here in person for Q&As after the 6:30pm Thurs-Sat screenings! The Q&A on Thurs, July 17 will be moderated by filmmaker Jem Cohen. The Q&A on Fri, July 18 will be moderated by writer and curator Joshua Peinado, and the Q&A on Sat, July 19 will be moderated by Majo Micale, who appears in the film.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59760 <p>FAREWELL AMOR follows Walter, an Angolan immigrant in New York, as he reunites with his wife and daughter after 17 years apart. Though now virtual strangers, the three must navigate the tensions of living together in a small apartment. As they struggle to reconnect, a shared love of dance emerges as a powerful tool for healing, helping bridge the emotional distance shaped by years of separation, personal change, and cultural dislocation.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59744 <p>NIC Kay arranges an archive of Black gestural virality across their research project, #blackpeopledancingontheinternet, taking a close look at the textures and tonalities of spectacality. Works like WAIT, WAIT, WAIT (RENEGADE), US FOR IS THIS, and THRU IT ALL, incorporate hypnotic repetition and glitchy documentation – distinctive framing devices for how Blackness is codified and sensationalized on screen. González also interrogates the mediated gaze, blending a range of performance tactics and filmic histories to manipulate spectatorship. In BLUES TIME, the artist uses animation to chronicle the relationship between the body and geography, arranging renderings of their form between cityscapes and syncopated soundscapes.<br /><br />Within their Super-8 black-and-white short, BODY PREFERENCES, Jonathan González captures a subject performing a therapeutic practice entitled Authentic Movement, wherein the clinician watches their patient move with closed eyes. Here, the artist documents the performer as they feel their way through two landmarks of resistance: New York City’s Hudson River Piers – a geography critical to the city’s queer history – and an open-air stage in Barbados, located in one of the few areas on the island not transformed into a plantation.<br /><br />NIC Kay<br />RENEGADE (2022, 2 min, digital)<br />US FOR IS THIS (2021, 2 min, digital)<br />THRU IT ALL (2022, 3 min, digital. Posted to Facebook: May 4, 2017. Video: Tjader Photography. Edit: NIC Kay.)<br /><br />Jonathan González<br />BODY PREFERENCES (DE LA PREFERENCE DU CORPS) (2024, 8 min, video)<br />BLUES TIME (2022, 11 min, digital)<br /><br /><em><strong>Followed by a Q&A with Jonathan Gonzalez & NIC Kay.<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59762 <p>Blending French New Wave aesthetics with Senegalese storytelling, TOUKI BOUKI follows Mory, a cowherd, and Anta, a university student, as they dream of escaping Dakar for a glamorous life in Paris. Determined to leave behind their reality, they fantasize about freedom. With its bold editing, surreal imagery, and jazz-infused score, TOUKI BOUKI is both a road movie and a political allegory. The film embodies a rebellious vision of youth longing for escape, one that critiques the allure of the West while capturing the disillusionment of modern African identity. Both playful and radical, the film remains a powerful statement on desire, exile, and belonging.<br /><br />Preceded by:<br />Karimah Ashadu LAGOS ISLAND (2012, 4 min, digital)<br />SUPERFLEX KWASSA KWASSA (2015, 18 min, digital)<br /><br />Total running time: ca. 115 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 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59658 <p>Barbara Loden’s tough, austere portrait of an alienated woman unmoored in Appalachia was a landmark work of American independent cinema. Loden based her film on a 1960 Sunday News story about a female accomplice to a bank robbery who expressed gratitude to her judge for her twenty-year jail sentence. What kind of woman could be “that passive and numb,” Loden asked? Shot on location amid the ruins of Scranton’s anthracite mining and the rest stops, motels, pubs, and parking lots of Pennsylvania and Connecticut, WANDA tarries with the enigma of a woman “without any redeeming qualities at all” (Loden). A poetic, unsentimental film of unvarnished beauty, the film traces the itinerancy of its unforgettable anti-hero (played by Loden herself), who abandons her life as coalminer’s wife and mother to drift “in the sea of her own insignificance” (as per Berenice Reynaud), across deindustrialized landscapes of precarity.<br /><br /><em><strong>The screening on opening night, Fri, July 25, will include a talk by series guest-programmer Elena Gorfinkel!<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59728 <p>“A vibrant and idiosyncratic avant-garde scene once quietly simmered beneath the surface of Slovenian film production – a scene we are only now beginning to truly rediscover and, albeit belatedly, recognize as an exciting blind spot in the canon of Slovenian film history. Unlike the clearly defined manifestos and theory-driven concepts such as antifilm in Zagreb or alternative film in Belgrade, Slovenia never formed a unified movement. Instead, it was shaped by a constellation of unique individuals, each exploring the language of film in their own way. Some worked at the intersection of documentary and poetry (Vinko Rozman), others combined aesthetic precision with political subversion (Karpo Godina). Some approached animation from a highly conceptualistic angle (Tone Rački), while others pushed the boundaries of film’s materiality (Davorin Marc) or explored the limits of kinetic energy of the camera as the “dislocated third eye” (OM Production). This program offers a brief, vertiginous glimpse into the breadth of Slovenian experimental film – from the dizzying cycles of history and freedom, to the euphoria of love, the endless spinning of celluloid, and a four-movement meditation on rotation itself.” –Matevž Jerman<br /><br />Vinko Rozman PRAGUE SPRING / PRAŠKA POMLAD (1969, 11 min, 8mm-to-DCP)<br />Karpo Godina FRIED BRAINS OF PUPILIJA FERKEVERK / GRATINIRANI MOŽGANI PUPILIJE FERKEVERK (1970, 12 min, 35mm-to-DCP)<br />Tone Rački LOVE AT FIRST SIGHT / LJUBEZEN NA PRVI POGLED (1972, 3 min, Super-8mm-to-DCP)<br />Davorin Marc EVERYTHING IS SPINNING / VSE SE VRTI (1978, 2 min, Super-8mm-to-DCP)<br />Sulejman Ferenčak / OM Production DISLOCATED THIRD EYE SERIES: BISMILLAH /IN FOUR MOVEMENTS/ / SERIJA DISLOCIRANO TRETJE OKO: BISMILLAH /V ŠTIRIH STAVKIH/ (1984, 31 min, Super-8mm-to-DCP)<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 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59736 <p>(ALI JE BILO KAJ AVANTGARDNEGA!)<br /><br />Co-directed by Matevž Jerman (filmmaker, film programmer, and restorationist at the Slovenian Cinematheque) and Jurij Meden (writer, scholar, head curator at the Austrian Film Museum, and formerly the head of the program department at the Slovenian Cinematheque), ALPE-ADRIA UNDERGROUND! is an exhilarating and inspiring deep dive into the rich realm of experimental films that were produced in Slovenia during the period of socialism (1945-91), albeit mostly outside the prevailing state production. Orchestrating a dizzying sampling of mind-boggling imagery, dynamic editing and scoring, and highly perceptive interviews from the artists themselves, as well as various scholars, curators, and other participants, ALPE-ADRIA UNDERGROUND! persuasively and elegantly demonstrates that postwar Slovenia was a true hotbed of filmic innovation.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59662 <p>Katja Raganelli’s moving tribute to and portrait of Barbara Loden, made one decade after the success of WANDA, is a riveting and poignant documentary of the filmmaker at work and reflecting on the lessons of her career. Produced for German television for a series of films Raganelli directed in conversation with women filmmakers, I AM WANDA presents an intimate account of the visionary actor-writer-director in the flow of her life as an acting teacher, artist, and mother. Tinged with solemnity and sincerity, Loden’s lessons to her students about performing vulnerability, and her reflexive sense of self, shine through. Raganelli, who was unaware Loden was ill during the shoot, recalled, “I still remember her whispering: ‘Life goes on, life never ends.’”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59666 <p>Norman Felton<br />STUDIO ONE: THE HOLLYWOOD COMPLEX<br />1957, 60 min, 16mm-to-digital. With Tony Randall, David Opatoshu, William Redfield, Michael Tolan, Barbara Loden, and Lawrence Fletcher.<br />In THE HOLLYWOOD COMPLEX – a drama of generational estrangement, class shame, and the oppositions of West- and East-Coast worlds, television, and moviemaking – Sam Garson (a penniless Lower East Side schmatte vendor) travels to visit his producer son in Hollywood. Al is embarrassed by his father and socially shuns him, while Al’s roommate befriends the older man. Loden appeared on several anthology tele-dramas of the late 1950s and early 1960s, often in supporting, secondary roles. Such is the case for this appearance on “Studio One”, wherein Loden plays the character Darlene, a showgirl girlfriend of one of the Hollywood producer son’s friends. We will screen THE HOLLYWOOD COMPLEX alongside some of Loden’s other television appearances, including as the pratfall sidekick gal to Ernie Kovacs’s broadcast comic experiments.<br /><br />Plus:<br />Excerpts from THE ERNIE KOVACS SHOW (1956) (Courtesy of Ediad Productions.)<br />Barbara Loden on THE DICK CAVETT SHOW (1971)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59737 <p>(ALI JE BILO KAJ AVANTGARDNEGA!)<br /><br />Co-directed by Matevž Jerman (filmmaker, film programmer, and restorationist at the Slovenian Cinematheque) and Jurij Meden (writer, scholar, head curator at the Austrian Film Museum, and formerly the head of the program department at the Slovenian Cinematheque), ALPE-ADRIA UNDERGROUND! is an exhilarating and inspiring deep dive into the rich realm of experimental films that were produced in Slovenia during the period of socialism (1945-91), albeit mostly outside the prevailing state production. Orchestrating a dizzying sampling of mind-boggling imagery, dynamic editing and scoring, and highly perceptive interviews from the artists themselves, as well as various scholars, curators, and other participants, ALPE-ADRIA UNDERGROUND! persuasively and elegantly demonstrates that postwar Slovenia was a true hotbed of filmic innovation.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59670 <p>Michael Elliott<br />CBS PLAYHOUSE: THE GLASS MENAGERIE<br />1966, 103 min, 2" video-to-DCP. With Shirley Booth, Hal Holbrook, Barbara Loden, and Pat Hingle.<br />After her success (and Tony Award) for her role as the Marilyn Monroe-inspired character in Arthur Miller’s AFTER THE FALL, Barbara Loden expressed her ambivalence towards Hollywood, frustrated by the roles that remained out of reach. THE GLASS MENAGERIE, an adaptation of Tennessee Williams’s 1948 play for “CBS Playhouse”, was shot in London in 1966, directed by Michael Elliott and produced by David Susskind. In this delicate chamber drama, Loden stars in the role of Laura, opposite Hal Holbrook (then mainly known for his one-man show, “Mark Twain Tonight”) and Pat Hingle, who was previously cast as Ginny’s (Loden) father in SPLENDOR IN THE GRASS. THE GLASS MENAGERIE was discovered in 2016 by archival researcher Jane Klain of The Paley Center, and reconstructed and restored by archivist Dan Wingate.<br /><br />Plus:<br />Barbara Loden interviewed with John Lennon and Yoko Ono on THE MIKE DOUGLAS SHOW (1971)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59740 <p>“After a series of experimental shorts such as MASQUERADE BALL (1971), FEAST (1972), and BALUUN CANAAN (1974), Franci Slak transitioned from alternative/amateur to semi-professional filmmaking with DAILY NEWS (1979), a film widely considered to be the first Slovenian experimental feature-length film. It was shot on Super-8mm and later blown up to 16mm. Experimental cinema is usually non-narrative driven, relying heavily on the expressive qualities and interactions between images/sounds. Franci Slak has embraced this conceptual approach with a certain almost insane intensity. He has diligently collected images over the course of a year, images ranging from pure abstractions to concrete representations of the world, thus creating a whirlpool of personal mythology driven by an absolute freedom of expression of a kind ordinarily unseen within professional film production.” –Silvan Furlan<br /><br />[<em><strong>DAILY NEWS will also screen on Saturday, July 19 at 8:30, as part of the series <a href="../../../film_screenings/series/59715">"Interceptions: Yugoslavia in the Image World"</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 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59674 <p>Montgomery Clift stars as a New Deal-era bureaucrat tasked with evicting tenants from their land for a hydroelectric dam project in the Tennessee River Valley. An octogenarian matriarch (Van Fleet) refuses to relinquish her island property in the name of “progress,” as romance develops between the government agent and her granddaughter (Remick). Shot on location, Kazan’s Chekhovian Cinemascope staging of tradition contra modernity also features Barbara Loden in her first small film role.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59678 <p>A tale of unfulfilled teenage desire set in Kansas circa 1928, Elia Kazan’s hothouse parable (with an Academy Award-winning screenplay by playwright William Inge) examines the toll of Puritanical social propriety and sexual repression on high-school sweethearts Bud Stamper (Beatty in his Hollywood debut), the child of oil wealth, and the fragile Deanie (Wood). Loden’s role as Bud’s tempestuous flapper sister Ginny provides a prominent foil to the film’s critique of Puritanical small-town mores, a portrayal that Bosley Crowther described as “all fireworks and whirling razor blades.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59742 <p>“Long thought lost, the experimental films of Vasko Pregelj (1948-85) – digitized and partially restored by the Slovenian Cinematheque – reveal a prodigious teenage auteur whose surreal, grotesque, and baroquely poetic visions defy time. Created in the late 1960s while he was still a high school student, Pregelj’s films weave the formal innovation of early avant-garde cinema with the lyrical introspection of later experimental movements. Echoing the intellectual weight of his artistic lineage – his father was the famous Slovenian painter Marij Pregelj, his grandfather writer Ivan Pregelj – his works brim with painterly compositions, sculptural symbolism, and philosophical meditations on impermanence. Through recurring motifs of clocks, fire, decay, and repetition, his 8mm films transform ephemeral emotions into visual poetry. NOCTURNE (1965), a monochrome 8mm masterpiece of melancholic still lifes and multi-exposure imagery, stands as a haunting elegy of form. Complemented by new soundscapes from avant-garde musician Tine Vrabič – Nitz, Pregelj’s oeuvre re-emerges as a tragic yet visionary cornerstone of Slovenian experimental cinema.” –Matevž Jerman<br /><br />DREAMS / SANJE (1966, 5 min, 8mm-to-DCP)<br />FANTASY / FANTAZIJA (1965, 8 min, 8mm-to-DCP)<br />OLD COURTYARD / STARO DVORIŠČE (1967, 10 min, 8mm-to-DCP)<br />REQUIEM / REKVIJEM (1966, 14 min, 8mm-to-DCP)<br />NOCTURNE / NOKTURNO (1965, 12 min, 8mm-to-DCP)<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> Sunday, July 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59682 <p>WANDA was not Loden’s only film: she made two 16mm educational shorts for the Learning Corporation of America, both shot by WANDA’s cinematographer Nicholas Proferes. THE FRONTIER EXPERIENCE – which was written by Joan Micklin Silver (HESTER STREET) – draws on the 1860s diaries of Kansan frontierswoman Delilah Fowler. Shot on location in Coldwater and Protection, Kansas, FRONTIER presages the premise of one erstwhile inheritor, Kelly Reichardt’s MEEK’S CUTOFF, in its approach to gendered precarity and endurance on the plains. THE BOY WHO LIKED DEER, a film concerning pre-teen emotions and boys’ anti-social impulses, was scripted by novelist Dinitia Smith (McCarthy). These films screen alongside the educational shorts made for LCA by Loden’s contemporary and collaborator Joan Micklin Silver. As an intersecting body of work, they speak to the ways the “useful” cinematic mode became a venue for women filmmakers’ experimentation outside of Hollywood.<br /><br /><strong><em>The screening on Sunday, July 27 will be followed by a conversation with Learning Corporation of America producer, Linda Gottlieb, who was a collaborator and friend of Joan Micklin Silver.</em></strong><br /><br />Barbara Loden<br />THE FRONTIER EXPERIENCE<br />1975, 25 min, 16mm-to-DCP<br /><br />Barbara Loden<br />THE BOY WHO LIKED DEER<br />1975, 18 min, 16mm-to-DCP<br /><br />Joan Micklin Silver<br />THE IMMIGRANT EXPERIENCE<br />1972, 28 min, 16mm<br /><br />Joan Micklin Silver<br />THE CASE OF THE ELEVATOR DUCK<br />1973, 17 min, 16mm. Courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.<br /><br />Joan Micklin Silver<br />THE FUR COAT CLUB<br />1974, 18 min, 16mm. Courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.<br /><br />Total running time: ca. 110 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 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59738 <p>(ALI JE BILO KAJ AVANTGARDNEGA!)<br /><br />Co-directed by Matevž Jerman (filmmaker, film programmer, and restorationist at the Slovenian Cinematheque) and Jurij Meden (writer, scholar, head curator at the Austrian Film Museum, and formerly the head of the program department at the Slovenian Cinematheque), ALPE-ADRIA UNDERGROUND! is an exhilarating and inspiring deep dive into the rich realm of experimental films that were produced in Slovenia during the period of socialism (1945-91), albeit mostly outside the prevailing state production. Orchestrating a dizzying sampling of mind-boggling imagery, dynamic editing and scoring, and highly perceptive interviews from the artists themselves, as well as various scholars, curators, and other participants, ALPE-ADRIA UNDERGROUND! persuasively and elegantly demonstrates that postwar Slovenia was a true hotbed of filmic innovation.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59686 <p>The narrative of Loden’s career beyond WANDA was mythically full of almosts, in which promising opportunities dangled before her and disappeared, among them her axed role in THE SWIMMER, in which she was replaced by Janice Rule. FADE IN was perhaps the most unusual: a low-budget production which piggy-backed on the set of a more profligate feature, the Terrence Stamp western BLUE. Set in the red-rock landscape of Moab, FADE IN concerns a budding and improbable city-country romance between a Los Angeles film editor (which would have represented Loden’s first stint as leading lady) and a brawny Utah rancher (a young Burt Reynolds). After editorial meddling by producers at Paramount, the film became the first pseudonymous “Allen Smithee” vehicle, and was shelved until its relegation to TV broadcast in 1973. This is a rare screening of a film which, thanks to its unusual production history, is rarely shown theatrically.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59690 <p>Loden’s WANDA had a latent feminist sensibility, if not an overtly expressed feminist politics. While some feminist audiences of the film saw little of an affirmative model within it, WANDA also was exhibited in early women’s film festivals of the 1970-80s, where it was often programmed alongside the films here assembled. In a contemporaneous, parallel track of women’s filmmaking, women on the cusp of the feminist movement’s second wave began to analyze the problems they faced in their daily lives. Across non-fiction and avant-garde modes, these films embodied an emergent collective feminist voice using distinct strategies: collage, disruption, self-narration. Nelson and Wiley’s agitational montage in SCHMEERGUNTZ takes aim at the disjunction between glossy advertising images of a feminine mythos and housework’s unglamorous muck; in the feminist consciousness-raising films made for Newsreel, JANIE’S JANIE and THE WOMAN’S FILM, an incendiary voice diagnoses and illuminates the crux of women’s shared oppressions.<br /><br />Gunvor Nelson & Dorothy Wiley SCHMEERGUNTZ (1965, 25 min, 16mm)<br />Newsreel (Louise Alaimo, Judy Smith, and Ellen Sorren) THE WOMAN’S FILM (1970, 40 min, 16mm. Preserved by New York Women in Film and Television (NYWIFT).)<br />Newsreel (Geri Ashur, Peter Barton, Marilyn Mulford, and Stephanie Palewski) JANIE’S JANIE (1971, 25 min, 16mm-to-DCP. With Janie Geise.)<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> Monday, July 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59780 <p>(aka THE FORGOTTEN ONES / THE YOUNG AND THE DAMNED)<br /><br />Fusing social realist and surrealistic elements, Buñuel’s film unflinchingly portrays the lives of a gang of juvenile delinquents on the destitute streets of Mexico City, led by the ruthless Jaibo (Roberto Cobo). Edging against neorealism but devoid of its sentimentalism, Buñuel zeroes in on the brutalities of life lived in poverty without any undercurrent of redemption. In 1951, Octavio Paz wrote of the film, “The world of LOS OLVIDADOS is peopled by orphans, by loners who seek communion…the quest for the ‘other,’ for our likeness, equals, is the other side of the search for the mother. Or the acceptance of her definitive absence, that knowledge that we are alone.” LOS OLVIDADOS was among Barbara Loden’s favorite films.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, July 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59675 <p>Montgomery Clift stars as a New Deal-era bureaucrat tasked with evicting tenants from their land for a hydroelectric dam project in the Tennessee River Valley. An octogenarian matriarch (Van Fleet) refuses to relinquish her island property in the name of “progress,” as romance develops between the government agent and her granddaughter (Remick). Shot on location, Kazan’s Chekhovian Cinemascope staging of tradition contra modernity also features Barbara Loden in her first small film role.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, July 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59692 <p>(HADAKA NO SHIMA)<br /><br />Kaneto Shindo’s largely dialogue-free film of rural endurance on an island on the Seto Sea details the life of a family of farmers who must travel to a nearby island to gather water to irrigate their crops. Shindo, before his turn to supernatural horror subjects in ONIBABA and KURONEKO, shot with professional actors on an uninhabited landmass in the Hiroshima region. As Haden Guest notes, “The family works tirelessly, with no time to meaningfully engage with one another, let alone speak. Like the iconic briefcase-clutching ‘salarymen’ who drove the economy of fifties Japan ever forward, the farmers remain locked in a perpetual work cycle that excludes them from the world they indefatigably uphold.” Loden noted that in depicting the arduousness of Wanda Goronski’s drift, especially through the coal-mining landscape, she “wanted to show the time it takes to get from here to there”, elsewhere referencing how such regions required a lot of walking, “like in THE NAKED ISLAND.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, July 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59687 <p>The narrative of Loden’s career beyond WANDA was mythically full of almosts, in which promising opportunities dangled before her and disappeared, among them her axed role in THE SWIMMER, in which she was replaced by Janice Rule. FADE IN was perhaps the most unusual: a low-budget production which piggy-backed on the set of a more profligate feature, the Terrence Stamp western BLUE. Set in the red-rock landscape of Moab, FADE IN concerns a budding and improbable city-country romance between a Los Angeles film editor (which would have represented Loden’s first stint as leading lady) and a brawny Utah rancher (a young Burt Reynolds). After editorial meddling by producers at Paramount, the film became the first pseudonymous “Allen Smithee” vehicle, and was shelved until its relegation to TV broadcast in 1973. This is a rare screening of a film which, thanks to its unusual production history, is rarely shown theatrically.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59748 <p>(CUANDO LAS NUBES ESCONDEN LA SOMBRA)<br /><br />U.S. PREMIERE!<br /><br />María travels to Puerto Williams, at the southern tip of Chile, to star in a film. But when a powerful storm prevents the crew from arriving, she finds herself stranded and alone. As she seeks relief for a sudden bout of severe back pain, María begins to discover the rhythms of life in the world’s southernmost city – and with it, an unresolved chapter from her own past. The latest film by acclaimed director José Luis Torres Leiva features María Alché – the Argentine director of A FAMILY SUBMERGED and star of Lucrecia Martel’s THE HOLY GIRL – in a quietly luminous performance. Meditative and atmospheric, the film unfolds like a diary of solitude and revelation, capturing the fragile beauty of place, memory, and the passage of time.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59659 <p>Barbara Loden’s tough, austere portrait of an alienated woman unmoored in Appalachia was a landmark work of American independent cinema. Loden based her film on a 1960 Sunday News story about a female accomplice to a bank robbery who expressed gratitude to her judge for her twenty-year jail sentence. What kind of woman could be “that passive and numb,” Loden asked? Shot on location amid the ruins of Scranton’s anthracite mining and the rest stops, motels, pubs, and parking lots of Pennsylvania and Connecticut, WANDA tarries with the enigma of a woman “without any redeeming qualities at all” (Loden). A poetic, unsentimental film of unvarnished beauty, the film traces the itinerancy of its unforgettable anti-hero (played by Loden herself), who abandons her life as coalminer’s wife and mother to drift “in the sea of her own insignificance” (as per Berenice Reynaud), across deindustrialized landscapes of precarity.<br /><br /><em><strong>The screening on opening night, Fri, July 25, will include a talk by series guest-programmer Elena Gorfinkel!<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59679 <p>A tale of unfulfilled teenage desire set in Kansas circa 1928, Elia Kazan’s hothouse parable (with an Academy Award-winning screenplay by playwright William Inge) examines the toll of Puritanical social propriety and sexual repression on high-school sweethearts Bud Stamper (Beatty in his Hollywood debut), the child of oil wealth, and the fragile Deanie (Wood). Loden’s role as Bud’s tempestuous flapper sister Ginny provides a prominent foil to the film’s critique of Puritanical small-town mores, a portrayal that Bosley Crowther described as “all fireworks and whirling razor blades.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2025#showing-59635 <p>This selection of structural and diaristic films provides an intimate encounter with cinematic light and time. Stillness, rhythm, and movement emerge to reveal captivatingly simple yet complex paths. Migrating through the United States, Patagonia, the UK, and circling back again, we witness animals, plants, and humans navigating cycles of life and death. Culminating with the magnificent frigate bird, existence appears as wondrous and fleeting as the passing of a day. Part of an ongoing series inspired by place, this program pays homage to the city of Galveston, Texas, a small barrier town along the Gulf of Mexico that withstood the deadliest natural disaster of the 20th century.<br /><br />Guest-programmed by Lili Chin.<br /><br />Christopher Harris 28.IV.81 BEDOUIN SPARK (2009, 3 min, 16mm)<br />Bette Gordon & James Benning THE UNITED STATES OF AMERICA (1975, 27 min, 16mm. Preserved by Anthology Film Archives with support from The National Film Preservation Foundation.)<br />Narcisa Hirsch DIARIOS PATAGONICOS I (1970, 11 min, Super-8mm-to-digital)<br />Emily Chao AS LONG AS THERE IS BREATH (2020, 2 min, 16mm-to-digital)<br />Jayne Parker TRIFORIUM (2021, 7.5 min, 16mm-to-digital)<br />Gary Beydler HAND HELD DAY (1975, 6 min, 16mm)<br />Nancy Graves AVES: THE MAGNIFICENT FRIGATE BIRD, GREAT FLAMINGO (1973, 23 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> Thursday, July 31