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 Sat, 28 Dec 2024 23:59:11 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58711 <p>“Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child’s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.”  –TIME<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Friday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58702 <p>25TH ANNIVERSARY SCREENINGS!<br /><br />On the occasion of the 25th anniversary of its release, we present a long weekend of screenings of Peter Watkins’s monumental, stunningly ambitious, Brechtian historical epic, LA COMMUNE (PARIS, 1871). The culmination of Watkins’s earlier experiments in combining cinema verité techniques with historical recreation or speculation – such as CULLODEN (1964), THE WAR GAME (1965), EDVARD MUNCH (1974), and THE FREETHINKER (1994) – LA COMMUNE takes as its subject the short-lived socialist uprising in Paris during the Franco-Prussian War. In March 1871, Parisians led an uprising against the national government, which fled the capital and re-established itself in Versailles. The radicals established a proletarian government, which became known as the Commune of 1871, and ruled Paris for two months, before it was overthrown by the national French Army.<br /><br />To explore this momentous chapter in French (and Socialist) history, Watkins adopted a radically experimental and collaborative approach that mirrored the communal nature of the Commune itself. Watkins shot the film in a large abandoned factory building, with a cast of more than 220, most of whom were without prior acting experience, and who were responsible not only for interpreting their roles but for researching their characters’ lives and backgrounds. The film combines reenactments with footage of the actors discussing the project, their relationship to their roles, and contemporary politics, while the historical narrative is framed by a boldly anachronistic device: the unfolding events are conveyed via competing television stations – “Commune TV” and “Versailles TV”. An inspired mixture of deeply researched historical inquiry, rousing drama, formal innovation, and media analysis, LA COMMUNE (PARIS, 1871) remains one of the supreme achievements of 21st century cinema.<br /><br />For this 25th anniversary engagement, we’ll be offering screenings of both the 208-minute theatrical cut and the full-length 345-minute version.<br /><br />“Dynamic historical reconstruction in the form of an experimental documentary, Watkins’s six-hour masterpiece is contagiously exciting. Meant to evoke the sensation of revolutionary euphoria, this syncretic work of left-wing modernism is at once immediate and self-reflexive. Watkins restages history in its own ruins, uses the media as a frame, and still imbues his narrative with amazing presence.” –J. Hoberman, VILLAGE VOICE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58712 <p>“FILM PORTRAIT is an autobiography in the sense that it deals explicitly with Jerome’s most personal life’s relationship to film. It draws on film clips taken in his childhood and his whole childhood involvement in art and life. It comes closest to any kind of filmic answer to Proust. […] FILM PORTRAIT is, I believe, the only direct autobiography we have in film. There is Jonas Mekas’s WALDEN, which is diary but not autobiography in a strict sense. We have Cocteau’s BLOOD OF A POET, ORPHEUS, and TESTAMENT OF ORPHEUS. One could say that this last is autobiographical, but it is also allusive and poetic; whereas Jerome’s FILM PORTRAIT is a very straight attempt to present autobiography on film. Of course, subsequently, James Broughton’s TESTAMENT and my own SINCERITY & DUPLICITY series of autobiographical films were very much inspired by Jerome’s FILM PORTRAIT as well as by Jonas’s WALDEN. […] Jerome Hill’s films are great because they are poised on wit and achieve a balance – a gentle, intentional, particularly American balance.” –Stan Brakhage, FILM AT WIT’S END<br /><br />Preceded by:<br />DEATH IN THE FORENOON 1934/66, 2 min, 35mm<br />CANARIES 1969, 4 min, 35mm<br /><br />These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art.<br /><br />Total running time: ca. 90 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, January 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58705 <p>25TH ANNIVERSARY SCREENINGS!<br /><br />On the occasion of the 25th anniversary of its release, we present a long weekend of screenings of Peter Watkins’s monumental, stunningly ambitious, Brechtian historical epic, LA COMMUNE (PARIS, 1871). The culmination of Watkins’s earlier experiments in combining cinema verité techniques with historical recreation or speculation – such as CULLODEN (1964), THE WAR GAME (1965), EDVARD MUNCH (1974), and THE FREETHINKER (1994) – LA COMMUNE takes as its subject the short-lived socialist uprising in Paris during the Franco-Prussian War. In March 1871, Parisians led an uprising against the national government, which fled the capital and re-established itself in Versailles. The radicals established a proletarian government, which became known as the Commune of 1871, and ruled Paris for two months, before it was overthrown by the national French Army.<br /><br />To explore this momentous chapter in French (and Socialist) history, Watkins adopted a radically experimental and collaborative approach that mirrored the communal nature of the Commune itself. Watkins shot the film in a large abandoned factory building, with a cast of more than 220, most of whom were without prior acting experience, and who were responsible not only for interpreting their roles but for researching their characters’ lives and backgrounds. The film combines reenactments with footage of the actors discussing the project, their relationship to their roles, and contemporary politics, while the historical narrative is framed by a boldly anachronistic device: the unfolding events are conveyed via competing television stations – “Commune TV” and “Versailles TV”. An inspired mixture of deeply researched historical inquiry, rousing drama, formal innovation, and media analysis, LA COMMUNE (PARIS, 1871) remains one of the supreme achievements of 21st century cinema.<br /><br />For this 25th anniversary engagement, we’ll be offering screenings of both the 208-minute theatrical cut and the full-length 345-minute version.<br /><br />“Dynamic historical reconstruction in the form of an experimental documentary, Watkins’s six-hour masterpiece is contagiously exciting. Meant to evoke the sensation of revolutionary euphoria, this syncretic work of left-wing modernism is at once immediate and self-reflexive. Watkins restages history in its own ruins, uses the media as a frame, and still imbues his narrative with amazing presence.” –J. Hoberman, VILLAGE VOICE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, January 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58713 <p>Ian Hugo<br />BELLS OF ATLANTIS<br />(1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.)<br />A film poem, based on Anaïs Nin’s HOUSE OF INCEST, narrated by and featuring Nin.<br />“[BELLS OF ATLANTIS was] inspired by the prologue to my HOUSE OF INCEST and the line: ‘I remember my first birth in water.’ The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea.” –Anaïs Nin<br /><br />Ken Jacobs<br />LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)<br />“Material was cut in as it came out of the camera, embarrassing moments intact. 100’ rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.” –Ken Jacobs<br /><br />Helen Levitt, Janice Loeb, and James Agee<br />IN THE STREET (1952, 12 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />“Informality is indeed the crucial and virtually definitive quality of IN THE STREET; it is even the guiding principle and vision. […] This is the extreme realization of a classic ‘naturalistic’ genre, the German ‘street film,’ where the street was imaged as the arena of the everyday and random, the channel in which the ‘stream of life’ conveniently became microcosmic.” –Ken Kelman, THE ESSENTIAL CINEMA<br /><br />Willard Maas<br />GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.)<br />“The terrors and splendors of the human body as the undiscovered, mysterious continent.” –Willard Maas<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, January 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58714 <p>“Original 1905 film shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.” –Ken Jacobs<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a></p> Saturday, January 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58706 <p>25TH ANNIVERSARY SCREENINGS!<br /><br />On the occasion of the 25th anniversary of its release, we present a long weekend of screenings of Peter Watkins’s monumental, stunningly ambitious, Brechtian historical epic, LA COMMUNE (PARIS, 1871). The culmination of Watkins’s earlier experiments in combining cinema verité techniques with historical recreation or speculation – such as CULLODEN (1964), THE WAR GAME (1965), EDVARD MUNCH (1974), and THE FREETHINKER (1994) – LA COMMUNE takes as its subject the short-lived socialist uprising in Paris during the Franco-Prussian War. In March 1871, Parisians led an uprising against the national government, which fled the capital and re-established itself in Versailles. The radicals established a proletarian government, which became known as the Commune of 1871, and ruled Paris for two months, before it was overthrown by the national French Army.<br /><br />To explore this momentous chapter in French (and Socialist) history, Watkins adopted a radically experimental and collaborative approach that mirrored the communal nature of the Commune itself. Watkins shot the film in a large abandoned factory building, with a cast of more than 220, most of whom were without prior acting experience, and who were responsible not only for interpreting their roles but for researching their characters’ lives and backgrounds. The film combines reenactments with footage of the actors discussing the project, their relationship to their roles, and contemporary politics, while the historical narrative is framed by a boldly anachronistic device: the unfolding events are conveyed via competing television stations – “Commune TV” and “Versailles TV”. An inspired mixture of deeply researched historical inquiry, rousing drama, formal innovation, and media analysis, LA COMMUNE (PARIS, 1871) remains one of the supreme achievements of 21st century cinema.<br /><br />For this 25th anniversary engagement, we’ll be offering screenings of both the 208-minute theatrical cut and the full-length 345-minute version.<br /><br />“Dynamic historical reconstruction in the form of an experimental documentary, Watkins’s six-hour masterpiece is contagiously exciting. Meant to evoke the sensation of revolutionary euphoria, this syncretic work of left-wing modernism is at once immediate and self-reflexive. Watkins restages history in its own ruins, uses the media as a frame, and still imbues his narrative with amazing presence.” –J. Hoberman, VILLAGE VOICE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, January 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58715 <p>DUO CONCERTANTES (1962-64, 6 min, 16mm, b&w)<br />HAMFAT ASAR (1965, 13 min, 16mm, b&w)<br />GYMNOPEDIES (1968, 6 min, 16mm)<br />THE OLD HOUSE, PASSING (1966, 45 min, 16mm, b&w. Preserved by Anthology Film Archives.)<br />OUR LADY OF THE SPHERE (1968, 9 min, 35mm)<br />“With a taste for nostalgic romanticism…Jordan creates a magical universe of work using old steel engravings and collectable memorabilia. His 50-year pursuit into the subconscious mind gives him a place in the annals of cinema as a prolific animator on a voyage into the surreal psychology of the inner self.” –Jackie Leger<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, January 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58716 <p>Humphrey Jennings<br />LISTEN TO BRITAIN (1941, 19 min, 35mm)<br />Jennings’s film is a masterpiece of sound mixing; it creates an audio landscape of Britain during the war, with images both accompanying and conflicting with the multitude of sounds.<br /><br />Dimitri Kirsanoff<br />MÉNILMONTANT (1924-25, 38 min, 35mm, silent)<br />“[T]o a remarkable degree, MÉNILMONTANT seems an autonomous creation, as sophisticated and demanding as any narrative film of the silent period, without obvious imitators. Although Richard Abel has astutely called attention to aspects the film shares with Abel Gance’s LA ROUE (1923) and Leon Moussinac’s LE BRASIER ARDENT (1923)…and with Jean Epstein’s COEUR FIDELE (1923)…any comparison of the film as a whole with those admirable works would have to underline the intensity, uniqueness, and exceptional rigor of Kirsanoff’s achievement.” –P. Adams Sitney, THE CINEMA OF POETRY<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, January 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58703 <p>25TH ANNIVERSARY SCREENINGS!<br /><br />On the occasion of the 25th anniversary of its release, we present a long weekend of screenings of Peter Watkins’s monumental, stunningly ambitious, Brechtian historical epic, LA COMMUNE (PARIS, 1871). The culmination of Watkins’s earlier experiments in combining cinema verité techniques with historical recreation or speculation – such as CULLODEN (1964), THE WAR GAME (1965), EDVARD MUNCH (1974), and THE FREETHINKER (1994) – LA COMMUNE takes as its subject the short-lived socialist uprising in Paris during the Franco-Prussian War. In March 1871, Parisians led an uprising against the national government, which fled the capital and re-established itself in Versailles. The radicals established a proletarian government, which became known as the Commune of 1871, and ruled Paris for two months, before it was overthrown by the national French Army.<br /><br />To explore this momentous chapter in French (and Socialist) history, Watkins adopted a radically experimental and collaborative approach that mirrored the communal nature of the Commune itself. Watkins shot the film in a large abandoned factory building, with a cast of more than 220, most of whom were without prior acting experience, and who were responsible not only for interpreting their roles but for researching their characters’ lives and backgrounds. The film combines reenactments with footage of the actors discussing the project, their relationship to their roles, and contemporary politics, while the historical narrative is framed by a boldly anachronistic device: the unfolding events are conveyed via competing television stations – “Commune TV” and “Versailles TV”. An inspired mixture of deeply researched historical inquiry, rousing drama, formal innovation, and media analysis, LA COMMUNE (PARIS, 1871) remains one of the supreme achievements of 21st century cinema.<br /><br />For this 25th anniversary engagement, we’ll be offering screenings of both the 208-minute theatrical cut and the full-length 345-minute version.<br /><br />“Dynamic historical reconstruction in the form of an experimental documentary, Watkins’s six-hour masterpiece is contagiously exciting. Meant to evoke the sensation of revolutionary euphoria, this syncretic work of left-wing modernism is at once immediate and self-reflexive. Watkins restages history in its own ruins, uses the media as a frame, and still imbues his narrative with amazing presence.” –J. Hoberman, VILLAGE VOICE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, January 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58717 <p>With Buster Keaton, Marion Mack, Glen Cavendar, Jim Farley, and Joseph Keaton.“<br /><br />In the funniest of all silent feature comedy classics, the imperturbable Buster Keaton is cast as a daring Federal Spy with an outlandish plan to change the course of the Civil War. This sophisticated and grotesque screen farce – eloquently touching, uproariously hilarious – is a perfect example of Keaton’s art. Engulfed by switches, stolen engines, valves, and other mechanical contrivances, the immortal comedian – an engine driver literally on the wrong side of the tracks – solemnly attempts to behave normally in a world which is plainly bewitched.” –CINEMA 16 program notes, 1958<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Tuesday, January 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58718 <p>With Buster Keaton, Marion Mack, Glen Cavendar, Jim Farley, and Joseph Keaton.“<br /><br />In the funniest of all silent feature comedy classics, the imperturbable Buster Keaton is cast as a daring Federal Spy with an outlandish plan to change the course of the Civil War. This sophisticated and grotesque screen farce – eloquently touching, uproariously hilarious – is a perfect example of Keaton’s art. Engulfed by switches, stolen engines, valves, and other mechanical contrivances, the immortal comedian – an engine driver literally on the wrong side of the tracks – solemnly attempts to behave normally in a world which is plainly bewitched.” –CINEMA 16 program notes, 1958<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Wednesday, January 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58719 <p>“RAPT is, paradoxically, both a film which looks back anachronistically toward the silent era and a work which belongs to the vanguard of sound cinema. Part of that paradox can be resolved by an understanding of the film’s complex utilization of music. RAPT employs very little dialogue, and in this respect it is reminiscent of the part-talkie genre…. It is linked to such abstract and hybrid avant-garde works as VAMPYR and L’ÂGE D’OR. The radical nature of RAPT, however, resides in its vision of a cinematic musical score. In making the film, Kirsanoff worked closely with the composers Honegger and Hoerce.” –Lucy Fisher<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Thursday, January 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58720 <p>Peter Kubelka<br />MOSAIC IN CONFIDENCE / MOSAIK IM VERTRAUEN (1955, 16 min, 35mm, <span>Made in collaboration with Ferry Radax.</span>)<br />ADEBAR (1957, 1 min, 35mm)<br />SCHWECHATER (1958, 1 min, 16mm)<br />ARNULF RAINER (1960, 7 min, 35mm)<br />OUR TRIP TO AFRICA / UNSERE AFRIKAREISE (1966, 12 min, 16mm)<br />“Peter Kubelka is the perfectionist of the film medium; and, as I honor that quality above all others at this time finding such a lack of it now elsewhere, I would simply like to say: Peter Kubelka is the world’s greatest filmmaker – which is to say, simply: see his films!…by all means/above all else…etcetera.” –Stan Brakhage<br /><br />Len Lye<br />TUSALAVA (1929, 10 min, 16mm, silent)<br />RHYTHM (1957, 1 min, 16mm)<br />FREE RADICALS (1958/79, 4 min, 16mm)<br />A giant of experimental animation, Len Lye was born in New Zealand in 1901. He moved to England in the 1920s and subsequently to New York in 1944, where he spent the last 40 years of his life. A pioneer of ‘scratch’ or ‘direct’ filmmaking, Lye used various tools to mark patterns, shapes, and images directly onto the film’s surface, and often explored the dynamic energy of abstract images propelled into life by lively jazz scores or Pacific-inspired rhythms.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Thursday, January 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58721 <p>All films in this program have been preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br /><br />PUSSY ON A HOT TIN ROOF 1961, 14 min, 8mm-to-16mm<br />“It glows with the embers of desire! It smokes with the revelation of men and women longing for robust temptations that will make them sizzle into maturity with a furnace-blast of unrestrained animalism. A film for young and old to enjoy.” –George Kuchar<br /><br />TOOTSIES IN AUTUMN 1963, 15 min, 8mm-to-16mm<br />A cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness.<br /><br />LUST FOR ECSTASY: A DRAMA OF OBSESSIONS IN THE LANGUAGE OF SENSATIONALISM<br />1963, 52 min, 8mm-to-16mm<br />“LUST FOR ECSTASY is my most ambitious attempt since my last film…. I wrote many of the pungent scenes on the D train, and when I arrived on the set I ripped them up and let my emotional whims make chopped meat out of the performances and the story…. Yes, LUST FOR ECSTASY is my subconscious, my own naked lusts that sweep across the screen in 8mm and color with full fidelity sound.” –G.K.<br /><br />Total running time: ca. 85 min.<br /><br />[<strong><em>LUST FOR ECSTASY is not part of the Essential Cinema collection, but is included here as a special bonus.</em></strong>]<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a></strong></p> Friday, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58774 <p>With a stunning mix of the surreal and the naturalistic, Djibril Diop Mambéty paints a vivid, fractured portrait of Senegal in the early 1970s. In this French New Wave-influenced fantasy-drama, two young lovers long to leave Dakar for the glamour and comforts of France, but their escape plan is beset by complications both concrete and mystical. Characterized by dazzling imagery and music, the alternately manic and meditative TOUKI BOUKI is widely considered one of the most important African films ever made.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58722 <p>“The unique contribution of Land’s work lies in the fusion of intellectual reason and, significantly, the humor that distances it from the supposedly ‘boring’ world of avant-garde film. Having explored the basic properties of the celluloid strip itself in early works such as FILM IN WHICH THERE APPEAR…, his attention turned to the spectator in a series of ‘literal’ films that question the illusionary nature of cinema through the use of word play and visual ambiguity. His work often parodies experimental film itself by mimicking his contemporaries and mocking the solemn approach of film theorists and scholars.” –Mark Webber, TWO FILMS BY OWEN LAND<br /><br />FLEMING FALOON (1963, 6 min, 16mm)<br />FILM IN WHICH THERE APPEAR EDGE LETTERING, SPROCKET HOLES, DIRT PARTICLES, ETC. (1965-66, 5 min, 16mm, silent)<br />DIPLOTERATOLOGY (1967/78, 7 min, 16mm, silent)<br />THE FILM THAT RISES TO THE SURFACE OF CLARIFIED BUTTER (1968, 9 min, 16mm)<br />INSTITUTIONAL QUALITY (1969, 5 min, 16mm)<br />REMEDIAL READING COMPREHENSION (1970, 5 min, 16mm)<br />WHAT’S WRONG WITH THIS PICTURE? (1972, 13 min, 16mm)<br />THANK YOU JESUS FOR THE ETERNAL PRESENT (1973, 6 min, 16mm)<br />A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm)<br /><br />FILM IN WHICH…, INSTITUTIONAL QUALITY, and FILM OF THEIR 1973 SPRING TOUR… have been preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.<br /><br />Total running time: ca. 70 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong></p> Friday, January 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58778 <p>Restored by The Museum of Modern Art with support from The Film Foundation, and mastered in HD from a 35mm negative.<br /><br />“Bill Gunn manufactured a seductive and radical Trojan Horse with his highly-stylized, experimental take on a vampire film. Boldly misappropriating the funds intended to deliver just another formulaic Blaxploitation horror film to Hollywood, he instead offered a meditation on eroticism, Afro-diasporic identities, religion and power. GANJA & HESS is an aesthetic feast, pairing the regal Marlene Clark and Duane Jones (NIGHT OF THE LIVING DEAD) in a narrative that involves a cursed dagger, murder, anthropology and madness. An unprecedentedly complex and intimate depiction of Black sexuality, the film is also an exercise in cultural autonomy.” –Yasmina Price<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, January 10