https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Sun, 02 Mar 2025 22:15:41 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59015 <p>( SCHAFE IN WALES )<br />One of the rarest items in Schlingensief’s filmography, SHEEP IN WALES was his first film based on another writer’s script. Made for German television, it “has an unmistakable style, fascinating for its dense atmosphere, grotesque caricaturing of the protagonists, and the layered dramatic elements that are fragmented into each other” (STUTTGARTER NACHRICHTEN).<br /><br />“Perpetrators and victims in the generational conflict, wolves in Berlin and sheep in Wales. Contrary to popular expectations, but in keeping with Schlingensief’s cosmos, the perpetrators whose criminal desire guarantees survival (as well as the work of art) are the children: the chubby and nimble twins Felix and Jacob. Wolves scurry in the Tegel Forest, a brightly lit subway rumbles through the cold night and unites the protagonists. An adult (Volker Spengler) seeks the children’s friendship in order to exchange desperation and aggression for childlike security and impartiality. […] The fascination of the world of fathers and the sinful thrill of getting rid of them are expressed in what Schlingensief deliberately exaggerates and drives into a macabre grotesque. The emotional layering of the dramaturgical elements, noises, sound and music, largely freed from their narrative connection, releases intensities that lead to direct communication.” –LICHTBLICK-KINO<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, March 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58960 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith’s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories.<br /><br />“In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Sunday, March 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59007 <p>FILMMAKER IN PERSON!<br />Edited by Felix Leitner<br /><br />“It’s quite a gathering at the corner tables at Diener Tattersall in Berlin. Iconic queer performers like Vaginal Davis and Susanne Sachsse, scholars like Marc Siegel, cultural overlords like Rene Pollesch, and great actors of every living generation are drinking heavily and filling up the ashtrays at their late friend Volker Spengler’s favorite bar. But this is not a funeral party. It’s not even funereal. It’s a smoky, raucous wake for an actor of shocking force and dedication; a crude, intense, and untamable lover and joker, and the strangest, funniest person they ever knew. […] Shot over the course of a few gatherings, Hans Broich’s film is put together in the eternal present tense of the corner booth, registering waves of jollity and exhaustion. With glimpses of European theatre culture, Fassbinder’s core ensemble, and the radical camp that originated in 1960s New York, HIGHFALUTIN circles around a character who hated conventionality and probed anarchic, Dionysian ways of life and of acting. Is it possible to offend without being ‘offensive’? Can resistance be a matter of the body and not of the intellect? Is it a good idea to pour gin in an IV? Volker Spengler was a white, European man. But as HIGHFALUTIN shows us, the way he lived gives us a taste of universal liberation.” –Martin Schwartz<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, March 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58998 <p>Gordon Matta-Clark CONICAL INTERSECT 1975, 19 min, 16mm<br />Eric Convents & Roger Steylaerts OFFICE BAROQUE 1977-2005, 44 min, 16mm-to-digital<br /><br />Total running time: ca. 65 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> Sunday, March 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59083 <p>( DIE 120 TAGE VON BOTTROP )<br /><br />This typically anarchic comedy by Christoph Schlingensief finds some of the surviving members of the Fassbinder ensemble attempting to make the Last New German Film, a remake of Pasolini’s THE 120 DAYS OF SODOM. Producer Volker Spengler sends an agent (Schlingensief) to Hollywood where he meets Udo Kier, Kitten Natividad, and Roland Emmerich on a mission to raise money and get ex-Visconti superstar Helmut Berger to appear in the film. Depicting a German cultural scene at the turn of the century that still has not come to terms with the legacy of New German Cinema, Schlingensief tackles the topic once and for all: with endless references both open and obscure, Schlingensief takes the process of de- and reconstruction just far enough to both completely demystify and pay tribute to an era and its heritage. Part parody, part heartfelt homage, THE 120 DAYS OF BOTTROP gives New German Cinema its final coup de grâce.<br /><br />Followed by:<br />Claude-Oliver Rudolph<br />THE FAT REBEL / DER DICKE REBELL<br />1987, 45-min excerpt, 16mm-to-DCP. In German with English subtitles.<br />Though a relatively conventional documentary portrait, compared to HIGHFALUTIN, this film by Claude-Oliver Rudolph (better known as an actor, thanks to his roles in films like Werner Schroeter’s PALERMO OR WOLFSBURG, Wolfgang Petersen’s DAS BOOT and the James Bond movie, THE WORLD IS NOT ENOUGH) sheds a great deal of light on Volker Spengler’s life, career, and outsized personality. [We will be screening the first 45 minutes of the film, omitting only a final 20-minute sequence that documents one of Spengler’s stage performances.]<br /><br />Total running time: ca. 110 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Sunday, March 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59008 <p>FILMMAKER IN PERSON!<br />Edited by Felix Leitner<br /><br />“It’s quite a gathering at the corner tables at Diener Tattersall in Berlin. Iconic queer performers like Vaginal Davis and Susanne Sachsse, scholars like Marc Siegel, cultural overlords like Rene Pollesch, and great actors of every living generation are drinking heavily and filling up the ashtrays at their late friend Volker Spengler’s favorite bar. But this is not a funeral party. It’s not even funereal. It’s a smoky, raucous wake for an actor of shocking force and dedication; a crude, intense, and untamable lover and joker, and the strangest, funniest person they ever knew. […] Shot over the course of a few gatherings, Hans Broich’s film is put together in the eternal present tense of the corner booth, registering waves of jollity and exhaustion. With glimpses of European theatre culture, Fassbinder’s core ensemble, and the radical camp that originated in 1960s New York, HIGHFALUTIN circles around a character who hated conventionality and probed anarchic, Dionysian ways of life and of acting. Is it possible to offend without being ‘offensive’? Can resistance be a matter of the body and not of the intellect? Is it a good idea to pour gin in an IV? Volker Spengler was a white, European man. But as HIGHFALUTIN shows us, the way he lived gives us a taste of universal liberation.” –Martin Schwartz<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, March 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59080 <p>“IN A YEAR OF 13 MOONS resembles Fassbinder’s VERONIKA VOSS in that both films demonstrate how the masquerade of gender cannot be sustained. […] Fassbinder mercilessly lays bare how gender transgression is reviled by society and how the individual suffers from this rejection. And yet, as we shall see, 13 MOONS does lead to QUERELLE in the way it articulates a longing for a space in which contradictory desires can be expressed. […] [Elvira attempts] to move beyond projecting the image others demand of her to experience freely the contradictions of being interchangeably male, female, bisexual, and transgender. Her exercise remains, though, ‘still some kind of hope,’ for 13 MOONS ultimately portrays social and sexual conformity as an inescapable prison. Fassbinder does not romanticize transgender but presents it as a transgression lived every day.” –Alice A. Kuzniar, THE QUEER GERMAN CINEMA<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Monday, March 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59009 <p>FILMMAKER IN PERSON!<br />Edited by Felix Leitner<br /><br />“It’s quite a gathering at the corner tables at Diener Tattersall in Berlin. Iconic queer performers like Vaginal Davis and Susanne Sachsse, scholars like Marc Siegel, cultural overlords like Rene Pollesch, and great actors of every living generation are drinking heavily and filling up the ashtrays at their late friend Volker Spengler’s favorite bar. But this is not a funeral party. It’s not even funereal. It’s a smoky, raucous wake for an actor of shocking force and dedication; a crude, intense, and untamable lover and joker, and the strangest, funniest person they ever knew. […] Shot over the course of a few gatherings, Hans Broich’s film is put together in the eternal present tense of the corner booth, registering waves of jollity and exhaustion. With glimpses of European theatre culture, Fassbinder’s core ensemble, and the radical camp that originated in 1960s New York, HIGHFALUTIN circles around a character who hated conventionality and probed anarchic, Dionysian ways of life and of acting. Is it possible to offend without being ‘offensive’? Can resistance be a matter of the body and not of the intellect? Is it a good idea to pour gin in an IV? Volker Spengler was a white, European man. But as HIGHFALUTIN shows us, the way he lived gives us a taste of universal liberation.” –Martin Schwartz<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> Wednesday, March 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59016 <p>( SCHAFE IN WALES )<br />One of the rarest items in Schlingensief’s filmography, SHEEP IN WALES was his first film based on another writer’s script. Made for German television, it “has an unmistakable style, fascinating for its dense atmosphere, grotesque caricaturing of the protagonists, and the layered dramatic elements that are fragmented into each other” (STUTTGARTER NACHRICHTEN).<br /><br />“Perpetrators and victims in the generational conflict, wolves in Berlin and sheep in Wales. Contrary to popular expectations, but in keeping with Schlingensief’s cosmos, the perpetrators whose criminal desire guarantees survival (as well as the work of art) are the children: the chubby and nimble twins Felix and Jacob. Wolves scurry in the Tegel Forest, a brightly lit subway rumbles through the cold night and unites the protagonists. An adult (Volker Spengler) seeks the children’s friendship in order to exchange desperation and aggression for childlike security and impartiality. […] The fascination of the world of fathers and the sinful thrill of getting rid of them are expressed in what Schlingensief deliberately exaggerates and drives into a macabre grotesque. The emotional layering of the dramaturgical elements, noises, sound and music, largely freed from their narrative connection, releases intensities that lead to direct communication.” –LICHTBLICK-KINO<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> Wednesday, March 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59017 <p>( SCHAFE IN WALES )<br />One of the rarest items in Schlingensief’s filmography, SHEEP IN WALES was his first film based on another writer’s script. Made for German television, it “has an unmistakable style, fascinating for its dense atmosphere, grotesque caricaturing of the protagonists, and the layered dramatic elements that are fragmented into each other” (STUTTGARTER NACHRICHTEN).<br /><br />“Perpetrators and victims in the generational conflict, wolves in Berlin and sheep in Wales. Contrary to popular expectations, but in keeping with Schlingensief’s cosmos, the perpetrators whose criminal desire guarantees survival (as well as the work of art) are the children: the chubby and nimble twins Felix and Jacob. Wolves scurry in the Tegel Forest, a brightly lit subway rumbles through the cold night and unites the protagonists. An adult (Volker Spengler) seeks the children’s friendship in order to exchange desperation and aggression for childlike security and impartiality. […] The fascination of the world of fathers and the sinful thrill of getting rid of them are expressed in what Schlingensief deliberately exaggerates and drives into a macabre grotesque. The emotional layering of the dramaturgical elements, noises, sound and music, largely freed from their narrative connection, releases intensities that lead to direct communication.” –LICHTBLICK-KINO<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> Thursday, March 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58991 <p class="p1">LA CLEF REVIVAL PRESENTS: EARTHLIGHT / LE CLAIR DE TERRE<br />Long overlooked, especially in the U.S., the cinema of Guy Gilles has recently begun to be rediscovered, revealing one of the most sensitive visions of its time. In 1970’s EARTHLIGHT, Pierre, a young man who lives in Paris with his father, travels to his native Tunisia in search of his early childhood and distant memories, including that of his long-since-deceased mother. All the poetry of Guy Gilles’ editing and writing, as well as his exploration of the themes of loss, melancholy, and longing, are to be found in this seminal third feature. Gilles worked repeatedly with the actor Patrick Jouané, whose presence illuminates EARTHLIGHT.<br /><br />This special event is co-hosted by La Clef Revival, a collective of activists and artists whose mission is to keep Paris’s historical theatre La Clef running sustainably, and in a manner true to their values: community-run, participatory programming, and a pay-what-you-can ticketing ethos. The screening will be followed by a conversation with members of the collective.<br /><br />For more info about La Clef Revival, <a href="https://www.filmindependent.org/sponsored-projects/cinema-la-clef/">click here</a>.<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> Thursday, March 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59076 <p>The poet Walter Kranz (Kurt Raab) faces a total creative crisis: Once called the “poet of the revolution,” he has not produced a word in two years. What remains are debts, a haranguing wife (Helen Vita), and a dim-witted brother (Volker Spengler) who collects dead flies. But after Kranz kills his rich lover, the blood in his poetic vein is revitalized. Yet, the work turns out to be a plagiarism of a poem by Stefan George. This is when Kranz develops the mania to be George himself. The savings of his glowing admirer (Margit Carstensen) permit him to engage young actors to play, for good pay, an admiring circle of disciples. Among Kranz’s creative exercises is also the attempt to succeed as a homosexual. But then the money is gone, including the funds Kranz stole from his parents and extracted from a prostitute. The “disciples” disappear. Now Kranz turns totally megalomaniac. Fascist ideas overcome him. There is no way to stop the chaos in the madhouse. And this is only a fragment of madness that ensues when Fassbinder, for the first and last time, decides to make a comedy.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Thursday, March 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59012 <p>( DIE DRITTE GENERATION )<br />Fassbinder’s follow-up to his international breakthrough THE MARRIAGE OF MARIA BRAUN is a wildly anarchic satire of guerrilla terrorism in which a band of leftist radicals inadvertently become puppets of the West German government, which uses them to justify its authoritarian policies. Taking aim at the entire spectrum of political ideologies, THE THIRD GENERATION stands as one of Fassbinder’s most provocative and explosively controversial explorations of power and control.<br /><br />“The Baader-Meinhof Gang’s attacks provide the backdrop for Fassbinder’s hectic, funny, prismatically intricate political thriller, from 1979. It begins with a high-rolling businessman (Eddie Constantine), in a chilling modern office high above Berlin, at work with his assistant (Hanna Schygulla), who turns out to be a mole from a revolutionary cell that is plotting spectacular crimes. The teeming cast of characters includes a cynical police detective (Hark Bohm) whose son (Udo Kier) is one of the plotters, and a drug addict (Y Sa Lo) who brings a former Army explosives specialist (Günther Kaufmann) into the group. Slapstick comedy (including a game of keep-away with a volume of Bakunin) and oddball habits (the terrorists dress like prewar gangsters and play Monopoly) contrast with wild visions (as when the detective dreams that ‘capitalism invented terrorism to force the state to protect it better’).” –Richard Brody, NEW YORKER<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, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59029 <p>( TÚ ME ABRASAS )<br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br />Distributed by The Cinema Guild.<br /><br />An adaptation of “Sea Foam”, a chapter in Cesare Pavese’s “Dialogues with Leucò”, Matías Piñeiro’s latest film is an intimate and expansive meditation on death and desire and a thrilling exploration of the possibilities of adapting text to film. In “Sea Foam”, Pavese stages a fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis (played by frequent Piñeiro collaborators Gabi Saidón and María Villar). Sappho has thrown herself into the ocean from heartbreak. Britomartis has fallen off a cliff into the water while fleeing a man. Reuniting at the shore, they discuss life, death, and the bittersweet nature of desire.<br /><br />But Piñeiro, known for his series of metatextual films dealing with the translation and performance of Shakespeare, is not content to simply restage a dialogue and instead infuses the film with footnotes and lacunae: the fragmentary poetry of Sappho, by whom only one complete poem still exists; the circumstances of Pavese’s death, heartbroken in a Turin hotel room; and the science of sea foam with its connections to disease and fertility. In this ebb and flow of death and desire, YOU BURN ME introduces a game of translation and memorization, a game intrinsic to the moving image that may just save Sappho, Pavese, Piñeiro, and the audience from oblivion.<br /><br />“An ingenious and open-ended translation of Pavese’s dialogues, Sappho’s poems (which mostly survive today as fragments of phrases), and various other footnotes from the lives of both writers, YOU BURN ME looks to these source texts not as material to adapt faithfully or ‘visualize,’ but instead as their own potent cinematic form. […] But what’s most fascinating is how Piñeiro goes about his translation, carving out his own richly personal associations from the living remnants of an always unfinished past. And while YOU BURN ME is, in some ways, of a thematic piece with the rest of Piñeiro’s work, it’s also a major leap into new territory. It’s a resolutely intimate and handmade film that burrows even deeper into its filmmaker’s obsessions: the lure of marginalia; the act of reading, translating, drawing, and making music; and the drive to imprint oneself on things for the sake of it.” –Michael Blair, FILM COMMENT<br /><br />Preceded by:<br />PREFACE TO THE LITTLE DIALOGUE / PREFACIO PARA EL DIALOGUITO 2025, 6 min, 16mm-to-DCP. In Spanish with English subtitles.<br />“Gerard Borràs, the editor of YOU BURN ME, said at the end of our work together, ‘This film could continue being edited forever: let’s finish it.’ He was right and so we found its balance. Still, there was one idea I was not able to include in the feature. Around its premiere at the 2024 Berlinale, I said, ‘I could make a preface to the film around this missing point – after all, Pavese wrote a preface to the book ‘Dialogues with Leucò’ and also one preface to each of its 20 chapters, including ‘Sea Foam’, the chapter we adapted. So, one year after finishing YOU BURN ME, and with all new footage specially shot and edited for the occasion, here is our little preface…” –Matías Piñeiro<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!<br /><br /></a><strong>In conjunction with the week-long premiere run of YOU BURN ME, Matías Piñeiro has guest-curated a selection of works that influenced the making of the new film, <a href="../../../film_screenings/series/59087">Matías Piñerio Selects</a>.</strong> <a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Friday, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59037 <p>This early film by Michelangelo Antonioni bears the first signs of the cinema-changing style for which he would soon be world-famous. LE AMICHE (THE GIRLFRIENDS) is a brilliantly observed, fragmentary depiction of modern bourgeois life, conveyed from the perspective of five Turinese women. As four of the friends try to make sense of the suicide attempt of the fifth, they find themselves examining their own troubled romantic lives. With suggestions of the theme of modern alienation and the fastidious visual abstraction that would define his later masterpieces, Antonioni’s film is a devastating take on doomed love and fraught friendship.<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, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59084 <p>( DIE 120 TAGE VON BOTTROP )<br /><br />This typically anarchic comedy by Christoph Schlingensief finds some of the surviving members of the Fassbinder ensemble attempting to make the Last New German Film, a remake of Pasolini’s THE 120 DAYS OF SODOM. Producer Volker Spengler sends an agent (Schlingensief) to Hollywood where he meets Udo Kier, Kitten Natividad, and Roland Emmerich on a mission to raise money and get ex-Visconti superstar Helmut Berger to appear in the film. Depicting a German cultural scene at the turn of the century that still has not come to terms with the legacy of New German Cinema, Schlingensief tackles the topic once and for all: with endless references both open and obscure, Schlingensief takes the process of de- and reconstruction just far enough to both completely demystify and pay tribute to an era and its heritage. Part parody, part heartfelt homage, THE 120 DAYS OF BOTTROP gives New German Cinema its final coup de grâce.<br /><br />Followed by:<br />Claude-Oliver Rudolph<br />THE FAT REBEL / DER DICKE REBELL<br />1987, 45-min excerpt, 16mm-to-DCP. In German with English subtitles.<br />Though a relatively conventional documentary portrait, compared to HIGHFALUTIN, this film by Claude-Oliver Rudolph (better known as an actor, thanks to his roles in films like Werner Schroeter’s PALERMO OR WOLFSBURG, Wolfgang Petersen’s DAS BOOT and the James Bond movie, THE WORLD IS NOT ENOUGH) sheds a great deal of light on Volker Spengler’s life, career, and outsized personality. [We will be screening the first 45 minutes of the film, omitting only a final 20-minute sequence that documents one of Spengler’s stage performances.]<br /><br />Total running time: ca. 110 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Friday, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59041 <p>( DALLA NUBE ALLA RESISTENZA )<br />Straub-Huillet’s FROM THE CLOUD TO THE RESISTANCE bridges history and myth, and modernity and antiquity. Based on six mythological encounters in Cesar Pavese’s “Dialogues with Leucò”, and on Pavese’s last novel, “The Moon and the Bonfires”, about the savage murders of Italian anti-Fascist resistance fighters during World War II, the film has affinities with HISTORY LESSONS, TOO EARLY/TOO LATE, and a series of films of the 2000s in which they returned to Pavese’s “Dialogues”.<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, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59081 <p>“IN A YEAR OF 13 MOONS resembles Fassbinder’s VERONIKA VOSS in that both films demonstrate how the masquerade of gender cannot be sustained. […] Fassbinder mercilessly lays bare how gender transgression is reviled by society and how the individual suffers from this rejection. And yet, as we shall see, 13 MOONS does lead to QUERELLE in the way it articulates a longing for a space in which contradictory desires can be expressed. […] [Elvira attempts] to move beyond projecting the image others demand of her to experience freely the contradictions of being interchangeably male, female, bisexual, and transgender. Her exercise remains, though, ‘still some kind of hope,’ for 13 MOONS ultimately portrays social and sexual conformity as an inescapable prison. Fassbinder does not romanticize transgender but presents it as a transgression lived every day.” –Alice A. Kuzniar, THE QUEER GERMAN CINEMA<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Saturday, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59030 <p>( TÚ ME ABRASAS )<br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br />Distributed by The Cinema Guild.<br /><br />An adaptation of “Sea Foam”, a chapter in Cesare Pavese’s “Dialogues with Leucò”, Matías Piñeiro’s latest film is an intimate and expansive meditation on death and desire and a thrilling exploration of the possibilities of adapting text to film. In “Sea Foam”, Pavese stages a fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis (played by frequent Piñeiro collaborators Gabi Saidón and María Villar). Sappho has thrown herself into the ocean from heartbreak. Britomartis has fallen off a cliff into the water while fleeing a man. Reuniting at the shore, they discuss life, death, and the bittersweet nature of desire.<br /><br />But Piñeiro, known for his series of metatextual films dealing with the translation and performance of Shakespeare, is not content to simply restage a dialogue and instead infuses the film with footnotes and lacunae: the fragmentary poetry of Sappho, by whom only one complete poem still exists; the circumstances of Pavese’s death, heartbroken in a Turin hotel room; and the science of sea foam with its connections to disease and fertility. In this ebb and flow of death and desire, YOU BURN ME introduces a game of translation and memorization, a game intrinsic to the moving image that may just save Sappho, Pavese, Piñeiro, and the audience from oblivion.<br /><br />“An ingenious and open-ended translation of Pavese’s dialogues, Sappho’s poems (which mostly survive today as fragments of phrases), and various other footnotes from the lives of both writers, YOU BURN ME looks to these source texts not as material to adapt faithfully or ‘visualize,’ but instead as their own potent cinematic form. […] But what’s most fascinating is how Piñeiro goes about his translation, carving out his own richly personal associations from the living remnants of an always unfinished past. And while YOU BURN ME is, in some ways, of a thematic piece with the rest of Piñeiro’s work, it’s also a major leap into new territory. It’s a resolutely intimate and handmade film that burrows even deeper into its filmmaker’s obsessions: the lure of marginalia; the act of reading, translating, drawing, and making music; and the drive to imprint oneself on things for the sake of it.” –Michael Blair, FILM COMMENT<br /><br />Preceded by:<br />PREFACE TO THE LITTLE DIALOGUE / PREFACIO PARA EL DIALOGUITO 2025, 6 min, 16mm-to-DCP. In Spanish with English subtitles.<br />“Gerard Borràs, the editor of YOU BURN ME, said at the end of our work together, ‘This film could continue being edited forever: let’s finish it.’ He was right and so we found its balance. Still, there was one idea I was not able to include in the feature. Around its premiere at the 2024 Berlinale, I said, ‘I could make a preface to the film around this missing point – after all, Pavese wrote a preface to the book ‘Dialogues with Leucò’ and also one preface to each of its 20 chapters, including ‘Sea Foam’, the chapter we adapted. So, one year after finishing YOU BURN ME, and with all new footage specially shot and edited for the occasion, here is our little preface…” –Matías Piñeiro<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!<br /><br /></a><strong>In conjunction with the week-long premiere run of YOU BURN ME, Matías Piñeiro has guest-curated a selection of works that influenced the making of the new film, <a href="../../../film_screenings/series/59087">Matías Piñerio Selects</a>.</strong> <a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Saturday, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59013 <p>( DIE DRITTE GENERATION )<br />Fassbinder’s follow-up to his international breakthrough THE MARRIAGE OF MARIA BRAUN is a wildly anarchic satire of guerrilla terrorism in which a band of leftist radicals inadvertently become puppets of the West German government, which uses them to justify its authoritarian policies. Taking aim at the entire spectrum of political ideologies, THE THIRD GENERATION stands as one of Fassbinder’s most provocative and explosively controversial explorations of power and control.<br /><br />“The Baader-Meinhof Gang’s attacks provide the backdrop for Fassbinder’s hectic, funny, prismatically intricate political thriller, from 1979. It begins with a high-rolling businessman (Eddie Constantine), in a chilling modern office high above Berlin, at work with his assistant (Hanna Schygulla), who turns out to be a mole from a revolutionary cell that is plotting spectacular crimes. The teeming cast of characters includes a cynical police detective (Hark Bohm) whose son (Udo Kier) is one of the plotters, and a drug addict (Y Sa Lo) who brings a former Army explosives specialist (Günther Kaufmann) into the group. Slapstick comedy (including a game of keep-away with a volume of Bakunin) and oddball habits (the terrorists dress like prewar gangsters and play Monopoly) contrast with wild visions (as when the detective dreams that ‘capitalism invented terrorism to force the state to protect it better’).” –Richard Brody, NEW YORKER<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, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59044 <p>Jean-Daniel Pollet<br />MÉDITERRANÉE<br />1963, 45 min, 35mm-to-DCP. In French with English subtitles. Made in collaboration with Volker Schlöndorff; edited by Jackie Raynal; text by Philippe Sollers.<br />“[Here] Pollet made a work that is the very definition of what French critics like to call an ovni or ufo (as in ‘unidentified filmic object’). [It] has been described as being ‘like a comet in the sky of French cinema,’ an ‘unknown masterpiece,’ and an ‘unprecedented’ work that refuses interpretation even as it has provoked reams of critical writing. Its rhythmic collage of images – a girl on a gurney, a fisherman, Greek ruins, a Sicilian garden, a Spanish corrida – is accompanied by an abstract commentary written by Sollers, and only the somber lyricism of Antoine Duhamel’s score holds the film’s elements together. At first viewing, you fear that [it] might fly apart into incoherent fragments. Instead, over the course of its 45 minutes it invents its own rules, and you realize you’re watching something like the filmic channeling of an ancient ritual.” –Chris Darke, FILM COMMENT<br /><br />Jean-Daniel Pollet<br />BASSAE<br />1964, 9 min, 35mm-to-DCP. In French with English subtitles. Text by Alexandre Astruc.<br />Pollet’s hypnotic visual study of the Greek archaeological site whose Doric temple, constructed by Ictinos and dedicated to Apollo, is one of the best preserved from Greek Antiquity.<br /><br />Total running time: ca. 60 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> Saturday, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59047 <p>“[In HONOR AMONG LOVERS], Dorothy Arzner’s instinct for story, casting, and visuals are employed at the service of some of the era’s finest actors. Her third collaboration with Fredric March proved her star-making skills worked for men too. Businessman Jerry is in love with his secretary Julia and what begins as an office romance evolves into a love triangle with dangerous consequences. Arzner cynically plays on sex and social class distinctions to satisfying effect.” –BRITISH FILM INSTITUTE<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, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59077 <p>The poet Walter Kranz (Kurt Raab) faces a total creative crisis: Once called the “poet of the revolution,” he has not produced a word in two years. What remains are debts, a haranguing wife (Helen Vita), and a dim-witted brother (Volker Spengler) who collects dead flies. But after Kranz kills his rich lover, the blood in his poetic vein is revitalized. Yet, the work turns out to be a plagiarism of a poem by Stefan George. This is when Kranz develops the mania to be George himself. The savings of his glowing admirer (Margit Carstensen) permit him to engage young actors to play, for good pay, an admiring circle of disciples. Among Kranz’s creative exercises is also the attempt to succeed as a homosexual. But then the money is gone, including the funds Kranz stole from his parents and extracted from a prostitute. The “disciples” disappear. Now Kranz turns totally megalomaniac. Fascist ideas overcome him. There is no way to stop the chaos in the madhouse. And this is only a fragment of madness that ensues when Fassbinder, for the first and last time, decides to make a comedy.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Sunday, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59031 <p>( TÚ ME ABRASAS )<br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br />Distributed by The Cinema Guild.<br /><br />An adaptation of “Sea Foam”, a chapter in Cesare Pavese’s “Dialogues with Leucò”, Matías Piñeiro’s latest film is an intimate and expansive meditation on death and desire and a thrilling exploration of the possibilities of adapting text to film. In “Sea Foam”, Pavese stages a fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis (played by frequent Piñeiro collaborators Gabi Saidón and María Villar). Sappho has thrown herself into the ocean from heartbreak. Britomartis has fallen off a cliff into the water while fleeing a man. Reuniting at the shore, they discuss life, death, and the bittersweet nature of desire.<br /><br />But Piñeiro, known for his series of metatextual films dealing with the translation and performance of Shakespeare, is not content to simply restage a dialogue and instead infuses the film with footnotes and lacunae: the fragmentary poetry of Sappho, by whom only one complete poem still exists; the circumstances of Pavese’s death, heartbroken in a Turin hotel room; and the science of sea foam with its connections to disease and fertility. In this ebb and flow of death and desire, YOU BURN ME introduces a game of translation and memorization, a game intrinsic to the moving image that may just save Sappho, Pavese, Piñeiro, and the audience from oblivion.<br /><br />“An ingenious and open-ended translation of Pavese’s dialogues, Sappho’s poems (which mostly survive today as fragments of phrases), and various other footnotes from the lives of both writers, YOU BURN ME looks to these source texts not as material to adapt faithfully or ‘visualize,’ but instead as their own potent cinematic form. […] But what’s most fascinating is how Piñeiro goes about his translation, carving out his own richly personal associations from the living remnants of an always unfinished past. And while YOU BURN ME is, in some ways, of a thematic piece with the rest of Piñeiro’s work, it’s also a major leap into new territory. It’s a resolutely intimate and handmade film that burrows even deeper into its filmmaker’s obsessions: the lure of marginalia; the act of reading, translating, drawing, and making music; and the drive to imprint oneself on things for the sake of it.” –Michael Blair, FILM COMMENT<br /><br />Preceded by:<br />PREFACE TO THE LITTLE DIALOGUE / PREFACIO PARA EL DIALOGUITO 2025, 6 min, 16mm-to-DCP. In Spanish with English subtitles.<br />“Gerard Borràs, the editor of YOU BURN ME, said at the end of our work together, ‘This film could continue being edited forever: let’s finish it.’ He was right and so we found its balance. Still, there was one idea I was not able to include in the feature. Around its premiere at the 2024 Berlinale, I said, ‘I could make a preface to the film around this missing point – after all, Pavese wrote a preface to the book ‘Dialogues with Leucò’ and also one preface to each of its 20 chapters, including ‘Sea Foam’, the chapter we adapted. So, one year after finishing YOU BURN ME, and with all new footage specially shot and edited for the occasion, here is our little preface…” –Matías Piñeiro<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!<br /><br /></a><strong>In conjunction with the week-long premiere run of YOU BURN ME, Matías Piñeiro has guest-curated a selection of works that influenced the making of the new film, <a href="../../../film_screenings/series/59087">Matías Piñerio Selects</a>.</strong> <a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Sunday, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59085 <p>( DIE 120 TAGE VON BOTTROP )<br /><br />This typically anarchic comedy by Christoph Schlingensief finds some of the surviving members of the Fassbinder ensemble attempting to make the Last New German Film, a remake of Pasolini’s THE 120 DAYS OF SODOM. Producer Volker Spengler sends an agent (Schlingensief) to Hollywood where he meets Udo Kier, Kitten Natividad, and Roland Emmerich on a mission to raise money and get ex-Visconti superstar Helmut Berger to appear in the film. Depicting a German cultural scene at the turn of the century that still has not come to terms with the legacy of New German Cinema, Schlingensief tackles the topic once and for all: with endless references both open and obscure, Schlingensief takes the process of de- and reconstruction just far enough to both completely demystify and pay tribute to an era and its heritage. Part parody, part heartfelt homage, THE 120 DAYS OF BOTTROP gives New German Cinema its final coup de grâce.<br /><br />Followed by:<br />Claude-Oliver Rudolph<br />THE FAT REBEL / DER DICKE REBELL<br />1987, 45-min excerpt, 16mm-to-DCP. In German with English subtitles.<br />Though a relatively conventional documentary portrait, compared to HIGHFALUTIN, this film by Claude-Oliver Rudolph (better known as an actor, thanks to his roles in films like Werner Schroeter’s PALERMO OR WOLFSBURG, Wolfgang Petersen’s DAS BOOT and the James Bond movie, THE WORLD IS NOT ENOUGH) sheds a great deal of light on Volker Spengler’s life, career, and outsized personality. [We will be screening the first 45 minutes of the film, omitting only a final 20-minute sequence that documents one of Spengler’s stage performances.]<br /><br />Total running time: ca. 110 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Sunday, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59089 <p>Tacita Dean<br />MICHAEL HAMBURGER<br />2007, 27 min, 16mm<br />“Continuing her recent collection of film portraits, Tacita Dean’s MICHAEL HAMBURGER is a moving portrayal of the poet and translator, a resident of Middleton in Suffolk and great friend of W.G. Sebald. […] For its 28 minutes, the film quietly observes the poet in his study and among the apple trees in his garden. Sunlight dissolves the frames of the windows, the most insubstantial of thresholds between this home, only one-room-deep, and what lies outdoors; a rainbow marks its watery geometry in the sky; and the apples age upon the ground, shrunken, and yet somehow becoming more intensely themselves. […] Unwilling, perhaps unable, to talk of his past and his migrations, most especially fleeing Nazism in 1933, he talks poignantly, instead, of his apple trees, of where they have come from, and of their careful cross-breeding. Purity is dismissed, and one senses with an awkward pathos that the poet is translating himself.” –FILM AND VIDEO UMBRELLA<br /><br />“Dean’s film recasts [W.G. Sebald’s friend, the poet and translator Michael] Hamburger, a Jewish exile, as an intrepid protagonist whose psychic weariness is manifest in his obsession with cultivated apple varieties, particularly those commercially obsolete, a subtle reference to the ethnic categorization and genocide that motivated Hamburger’s exile. Shot on 16mm film, the film’s low, interior light and muted colors are punctuated by glimpses of intense yellows, apple-skin reds, and bright exterior shots, perhaps an allusion to Hamburger’s resilience.” –Courtney J. Martin, ARTFORUM<br /><br />Hollis Frampton<br />ZORNS LEMMA<br />1970, 60 min, DCP (Mar 9) + 16mm (Mar 16). Preserved by Anthology Film Archives.<br />“A major poetic work. Created and put together by a very clear eye-head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don’t understand it the first time you see it, don’t despair, see it again! When you finally ‘get it,’ a small light, possibly a candle, will light itself inside your forehead.” –Ernie Gehr<br /><br />Total running time: ca. 90 min.<strong><br /><br /><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BUY TICKETS NOW!</a></strong></p> Sunday, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59032 <p>( TÚ ME ABRASAS )<br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br />Distributed by The Cinema Guild.<br /><br />An adaptation of “Sea Foam”, a chapter in Cesare Pavese’s “Dialogues with Leucò”, Matías Piñeiro’s latest film is an intimate and expansive meditation on death and desire and a thrilling exploration of the possibilities of adapting text to film. In “Sea Foam”, Pavese stages a fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis (played by frequent Piñeiro collaborators Gabi Saidón and María Villar). Sappho has thrown herself into the ocean from heartbreak. Britomartis has fallen off a cliff into the water while fleeing a man. Reuniting at the shore, they discuss life, death, and the bittersweet nature of desire.<br /><br />But Piñeiro, known for his series of metatextual films dealing with the translation and performance of Shakespeare, is not content to simply restage a dialogue and instead infuses the film with footnotes and lacunae: the fragmentary poetry of Sappho, by whom only one complete poem still exists; the circumstances of Pavese’s death, heartbroken in a Turin hotel room; and the science of sea foam with its connections to disease and fertility. In this ebb and flow of death and desire, YOU BURN ME introduces a game of translation and memorization, a game intrinsic to the moving image that may just save Sappho, Pavese, Piñeiro, and the audience from oblivion.<br /><br />“An ingenious and open-ended translation of Pavese’s dialogues, Sappho’s poems (which mostly survive today as fragments of phrases), and various other footnotes from the lives of both writers, YOU BURN ME looks to these source texts not as material to adapt faithfully or ‘visualize,’ but instead as their own potent cinematic form. […] But what’s most fascinating is how Piñeiro goes about his translation, carving out his own richly personal associations from the living remnants of an always unfinished past. And while YOU BURN ME is, in some ways, of a thematic piece with the rest of Piñeiro’s work, it’s also a major leap into new territory. It’s a resolutely intimate and handmade film that burrows even deeper into its filmmaker’s obsessions: the lure of marginalia; the act of reading, translating, drawing, and making music; and the drive to imprint oneself on things for the sake of it.” –Michael Blair, FILM COMMENT<br /><br />Preceded by:<br />PREFACE TO THE LITTLE DIALOGUE / PREFACIO PARA EL DIALOGUITO 2025, 6 min, 16mm-to-DCP. In Spanish with English subtitles.<br />“Gerard Borràs, the editor of YOU BURN ME, said at the end of our work together, ‘This film could continue being edited forever: let’s finish it.’ He was right and so we found its balance. Still, there was one idea I was not able to include in the feature. Around its premiere at the 2024 Berlinale, I said, ‘I could make a preface to the film around this missing point – after all, Pavese wrote a preface to the book ‘Dialogues with Leucò’ and also one preface to each of its 20 chapters, including ‘Sea Foam’, the chapter we adapted. So, one year after finishing YOU BURN ME, and with all new footage specially shot and edited for the occasion, here is our little preface…” –Matías Piñeiro<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!<br /><br /></a><strong>In conjunction with the week-long premiere run of YOU BURN ME, Matías Piñeiro has guest-curated a selection of works that influenced the making of the new film, <a href="../../../film_screenings/series/59087">Matías Piñerio Selects</a>.</strong> <a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Monday, March 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59054 <p>( EL HOMBRE ROBADO )<br />“Piñeiro’s sparkling debut film breathlessly follows a clever, capricious young woman as she carefully interweaves friends and lovers into an intricate web of secretive yet often unexpectedly compassionate games. Together with her best friend and fellow tour guide at a rival Buenos Aires historical museum, Piñeiro’s headstrong heroine attempts to tame the unpredictable course of her heart, eccentrically drawing inspiration from Sarmiento’s magnum opus, ‘Facundo’. With its grainy 16mm black-and-white cinematography, its political sub- and super-texts and its compelling portrait of impetuous youth, THE STOLEN MAN recalls the alternately sober and sprightly nouvelle vague of Jean Eustache and Jacques Rivette.” –HARVARD FILM ARCHIVE<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, March 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59002 <p>Anthology Film Archives is pleased to invite members at the Contributor, Donor, and Preservation donor tiers to an exclusive free screening of preservation works-in-progress. This program inaugurates a new effort by Anthology to provide greater insight into the archive’s process, and to showcase new preservations in advance of their public premieres. Works will be selected and introduced by John Klacsmann, Anthology’s Archivist.<br /><br />To sign up, renew, or upgrade your membership in person, visit Anthology’s box office during opening hours, or you can do so online at <a href="http://www.anthologyfilmarchives.org/support">www.anthologyfilmarchives.org/support</a><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> Tuesday, March 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59033 <p>( TÚ ME ABRASAS )<br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br />Distributed by The Cinema Guild.<br /><br />An adaptation of “Sea Foam”, a chapter in Cesare Pavese’s “Dialogues with Leucò”, Matías Piñeiro’s latest film is an intimate and expansive meditation on death and desire and a thrilling exploration of the possibilities of adapting text to film. In “Sea Foam”, Pavese stages a fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis (played by frequent Piñeiro collaborators Gabi Saidón and María Villar). Sappho has thrown herself into the ocean from heartbreak. Britomartis has fallen off a cliff into the water while fleeing a man. Reuniting at the shore, they discuss life, death, and the bittersweet nature of desire.<br /><br />But Piñeiro, known for his series of metatextual films dealing with the translation and performance of Shakespeare, is not content to simply restage a dialogue and instead infuses the film with footnotes and lacunae: the fragmentary poetry of Sappho, by whom only one complete poem still exists; the circumstances of Pavese’s death, heartbroken in a Turin hotel room; and the science of sea foam with its connections to disease and fertility. In this ebb and flow of death and desire, YOU BURN ME introduces a game of translation and memorization, a game intrinsic to the moving image that may just save Sappho, Pavese, Piñeiro, and the audience from oblivion.<br /><br />“An ingenious and open-ended translation of Pavese’s dialogues, Sappho’s poems (which mostly survive today as fragments of phrases), and various other footnotes from the lives of both writers, YOU BURN ME looks to these source texts not as material to adapt faithfully or ‘visualize,’ but instead as their own potent cinematic form. […] But what’s most fascinating is how Piñeiro goes about his translation, carving out his own richly personal associations from the living remnants of an always unfinished past. And while YOU BURN ME is, in some ways, of a thematic piece with the rest of Piñeiro’s work, it’s also a major leap into new territory. It’s a resolutely intimate and handmade film that burrows even deeper into its filmmaker’s obsessions: the lure of marginalia; the act of reading, translating, drawing, and making music; and the drive to imprint oneself on things for the sake of it.” –Michael Blair, FILM COMMENT<br /><br />Preceded by:<br />PREFACE TO THE LITTLE DIALOGUE / PREFACIO PARA EL DIALOGUITO 2025, 6 min, 16mm-to-DCP. In Spanish with English subtitles.<br />“Gerard Borràs, the editor of YOU BURN ME, said at the end of our work together, ‘This film could continue being edited forever: let’s finish it.’ He was right and so we found its balance. Still, there was one idea I was not able to include in the feature. Around its premiere at the 2024 Berlinale, I said, ‘I could make a preface to the film around this missing point – after all, Pavese wrote a preface to the book ‘Dialogues with Leucò’ and also one preface to each of its 20 chapters, including ‘Sea Foam’, the chapter we adapted. So, one year after finishing YOU BURN ME, and with all new footage specially shot and edited for the occasion, here is our little preface…” –Matías Piñeiro<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!<br /><br /></a><strong>In conjunction with the week-long premiere run of YOU BURN ME, Matías Piñeiro has guest-curated a selection of works that influenced the making of the new film, <a href="../../../film_screenings/series/59087">Matías Piñerio Selects</a>.</strong> <a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Tuesday, March 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59057 <p>“‘This is not a film about my father’, says Mariano Llinás again and again in CLORINDO TESTA. But each repetition only proves the contrary: this film is indeed about his father, the artist, art critic, advertising editor, flâneur and renowned Buenos Aires intellectual Julio Llinás. The complex structure of this mockumentary has the mind behind LA FLOR pretend to make a film about Clorindo Testa using a book written about him by the filmmaker’s father, although his research into the work of the famous architect and painter ends up being nothing more than a diversion, a sleight of hand to disguise the project’s personal nature. Since Julio and Clorindo were not only well-known intellectuals but also good friends, Llinas’s film tries to understand their particular, often tense relationship, the political context in which they worked and the history of artistic movements in Argentina in the 20th century, tracing out a lineage that can also be applied to its national cinema. Through self-referential jokes, conversations with family members and quotes from the book, CLORINDO TESTA becomes a bittersweet comedy about the passing of time, the relationship between art and life, and a film about friendship, family and the fictions we invent to face our history.” –Diego Lerer, VIENNALE<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> Tuesday, March 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59034 <p>( TÚ ME ABRASAS )<br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br />Distributed by The Cinema Guild.<br /><br />An adaptation of “Sea Foam”, a chapter in Cesare Pavese’s “Dialogues with Leucò”, Matías Piñeiro’s latest film is an intimate and expansive meditation on death and desire and a thrilling exploration of the possibilities of adapting text to film. In “Sea Foam”, Pavese stages a fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis (played by frequent Piñeiro collaborators Gabi Saidón and María Villar). Sappho has thrown herself into the ocean from heartbreak. Britomartis has fallen off a cliff into the water while fleeing a man. Reuniting at the shore, they discuss life, death, and the bittersweet nature of desire.<br /><br />But Piñeiro, known for his series of metatextual films dealing with the translation and performance of Shakespeare, is not content to simply restage a dialogue and instead infuses the film with footnotes and lacunae: the fragmentary poetry of Sappho, by whom only one complete poem still exists; the circumstances of Pavese’s death, heartbroken in a Turin hotel room; and the science of sea foam with its connections to disease and fertility. In this ebb and flow of death and desire, YOU BURN ME introduces a game of translation and memorization, a game intrinsic to the moving image that may just save Sappho, Pavese, Piñeiro, and the audience from oblivion.<br /><br />“An ingenious and open-ended translation of Pavese’s dialogues, Sappho’s poems (which mostly survive today as fragments of phrases), and various other footnotes from the lives of both writers, YOU BURN ME looks to these source texts not as material to adapt faithfully or ‘visualize,’ but instead as their own potent cinematic form. […] But what’s most fascinating is how Piñeiro goes about his translation, carving out his own richly personal associations from the living remnants of an always unfinished past. And while YOU BURN ME is, in some ways, of a thematic piece with the rest of Piñeiro’s work, it’s also a major leap into new territory. It’s a resolutely intimate and handmade film that burrows even deeper into its filmmaker’s obsessions: the lure of marginalia; the act of reading, translating, drawing, and making music; and the drive to imprint oneself on things for the sake of it.” –Michael Blair, FILM COMMENT<br /><br />Preceded by:<br />PREFACE TO THE LITTLE DIALOGUE / PREFACIO PARA EL DIALOGUITO 2025, 6 min, 16mm-to-DCP. In Spanish with English subtitles.<br />“Gerard Borràs, the editor of YOU BURN ME, said at the end of our work together, ‘This film could continue being edited forever: let’s finish it.’ He was right and so we found its balance. Still, there was one idea I was not able to include in the feature. Around its premiere at the 2024 Berlinale, I said, ‘I could make a preface to the film around this missing point – after all, Pavese wrote a preface to the book ‘Dialogues with Leucò’ and also one preface to each of its 20 chapters, including ‘Sea Foam’, the chapter we adapted. So, one year after finishing YOU BURN ME, and with all new footage specially shot and edited for the occasion, here is our little preface…” –Matías Piñeiro<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!<br /><br /></a><strong>In conjunction with the week-long premiere run of YOU BURN ME, Matías Piñeiro has guest-curated a selection of works that influenced the making of the new film, <a href="../../../film_screenings/series/59087">Matías Piñerio Selects</a>.</strong> <a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Wednesday, March 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58971 <p>Audrey Chen [UNTITLED] (2021, 17 min, digital)<br />Sydney Spann ATTACHED OR DETACHED (PARTIAL DISAPPEARANCE) (2021, 24 min, digital)<br />Annabelle Playe AD ASTRA (2021, 38 min, digital)<br />crys cole VALID FOREVERRRRRRRRRR… (PT.1) (2021, 19 min, digital)<br />Total running time: ca. 100 min.<br /><br /><img src="https://issueprojectroom.org/themes/custom/ipr/logo.png" alt="" width="75" height="58" /><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> Wednesday, March 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59038 <p>This early film by Michelangelo Antonioni bears the first signs of the cinema-changing style for which he would soon be world-famous. LE AMICHE (THE GIRLFRIENDS) is a brilliantly observed, fragmentary depiction of modern bourgeois life, conveyed from the perspective of five Turinese women. As four of the friends try to make sense of the suicide attempt of the fifth, they find themselves examining their own troubled romantic lives. With suggestions of the theme of modern alienation and the fastidious visual abstraction that would define his later masterpieces, Antonioni’s film is a devastating take on doomed love and fraught friendship.<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> Wednesday, March 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59035 <p>( TÚ ME ABRASAS )<br />U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON!<br />Distributed by The Cinema Guild.<br /><br />An adaptation of “Sea Foam”, a chapter in Cesare Pavese’s “Dialogues with Leucò”, Matías Piñeiro’s latest film is an intimate and expansive meditation on death and desire and a thrilling exploration of the possibilities of adapting text to film. In “Sea Foam”, Pavese stages a fictional dialogue between the ancient Greek poet Sappho and the nymph Britomartis (played by frequent Piñeiro collaborators Gabi Saidón and María Villar). Sappho has thrown herself into the ocean from heartbreak. Britomartis has fallen off a cliff into the water while fleeing a man. Reuniting at the shore, they discuss life, death, and the bittersweet nature of desire.<br /><br />But Piñeiro, known for his series of metatextual films dealing with the translation and performance of Shakespeare, is not content to simply restage a dialogue and instead infuses the film with footnotes and lacunae: the fragmentary poetry of Sappho, by whom only one complete poem still exists; the circumstances of Pavese’s death, heartbroken in a Turin hotel room; and the science of sea foam with its connections to disease and fertility. In this ebb and flow of death and desire, YOU BURN ME introduces a game of translation and memorization, a game intrinsic to the moving image that may just save Sappho, Pavese, Piñeiro, and the audience from oblivion.<br /><br />“An ingenious and open-ended translation of Pavese’s dialogues, Sappho’s poems (which mostly survive today as fragments of phrases), and various other footnotes from the lives of both writers, YOU BURN ME looks to these source texts not as material to adapt faithfully or ‘visualize,’ but instead as their own potent cinematic form. […] But what’s most fascinating is how Piñeiro goes about his translation, carving out his own richly personal associations from the living remnants of an always unfinished past. And while YOU BURN ME is, in some ways, of a thematic piece with the rest of Piñeiro’s work, it’s also a major leap into new territory. It’s a resolutely intimate and handmade film that burrows even deeper into its filmmaker’s obsessions: the lure of marginalia; the act of reading, translating, drawing, and making music; and the drive to imprint oneself on things for the sake of it.” –Michael Blair, FILM COMMENT<br /><br />Preceded by:<br />PREFACE TO THE LITTLE DIALOGUE / PREFACIO PARA EL DIALOGUITO 2025, 6 min, 16mm-to-DCP. In Spanish with English subtitles.<br />“Gerard Borràs, the editor of YOU BURN ME, said at the end of our work together, ‘This film could continue being edited forever: let’s finish it.’ He was right and so we found its balance. Still, there was one idea I was not able to include in the feature. Around its premiere at the 2024 Berlinale, I said, ‘I could make a preface to the film around this missing point – after all, Pavese wrote a preface to the book ‘Dialogues with Leucò’ and also one preface to each of its 20 chapters, including ‘Sea Foam’, the chapter we adapted. So, one year after finishing YOU BURN ME, and with all new footage specially shot and edited for the occasion, here is our little preface…” –Matías Piñeiro<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!<br /><br /></a><strong>In conjunction with the week-long premiere run of YOU BURN ME, Matías Piñeiro has guest-curated a selection of works that influenced the making of the new film, <a href="../../../film_screenings/series/59087">Matías Piñerio Selects</a>.</strong> <a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Thursday, March 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58972 <p>Maayan Tsadka<br />SONIC BOTANY: RA’ASH ADAMA (EARTHNOISE)<br />2021, 55 min, digital<br /><br />Annea Lockwood<br />PIANO BURNING<br />2021, 59 min, digital. Performed by Vanessa Tomlinson. Curated by Lawrence English (Room40) and presented as part of Brisbane Festival 2021. Film by Greg Harm (Tangible Media).<br /><br />Total running time: ca. 120 min.<br /><br /><img src="https://issueprojectroom.org/themes/custom/ipr/logo.png" alt="" width="75" height="58" /><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> Thursday, March 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59048 <p>“[In HONOR AMONG LOVERS], Dorothy Arzner’s instinct for story, casting, and visuals are employed at the service of some of the era’s finest actors. Her third collaboration with Fredric March proved her star-making skills worked for men too. Businessman Jerry is in love with his secretary Julia and what begins as an office romance evolves into a love triangle with dangerous consequences. Arzner cynically plays on sex and social class distinctions to satisfying effect.” –BRITISH FILM INSTITUTE<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> Thursday, March 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58974 <p>An Arbelos Films release. Digitally restored by Lightbox Film Center in collaboration with the British Film Institute and Cinenova. Restoration funding provided by Ron and Suzanne Naples. Restoration supervised by: Ross Lipman, Corpus Fluxus.<br /><br />Over the course of a single nightshift, a West London hotel clerk (U.K. counterculture icon Jordan, and previously the star of Derek Jarman’s JUBILEE) plays mute witness to a nocturnal constellation of guests ranging from punk rockers and scenester magicians to seemingly staid businessmen and old-world gentry. As the hours march deeper into night and the varied clientele depart the waking world, the hotel transforms into an otherworldly, liminal space swaying between the everyday and the enchanting.<br /><br />Gorgeously photographed by filmmaker Jon Jost, with a soundtrack by Simon Jeffes of the legendary Penguin Cafe Orchestra, NIGHTSHIFT is both a potent snapshot of London’s early-1980s art scene (actor/poet Heathcote Williams and filmmaker Anne Rees-Mogg also star) and a bold, instantly engrossing artistic statement from director Robina Rose. Newly restored by Lightbox Film Center, and back in circulation thanks to Arbelos Films, NIGHTSHIFT is a beguiling masterwork of surreal, somnambulant cinema that casts a resonant and bewitching spell.<br /><br />“Some films [emerge from the archives] as though you had yourself wished them into being. One such gleaming jewel of ‘archive fever’ from the past year is NIGHTSHIFT, an extraordinary work of oneiric imagination, punkish sensibility, and a requiem to women’s labor in the hazy terrain of night work. […] Jon Jost provides his runic cinematographic eye (and appears briefly in the film) and the film’s stunning 16mm images suspend in their gelatinous amber the dusty charms of the hotel’s Vermeer-ish ambiance, conveying the peculiar liminality of being awake while others sleep, tending to the rhythms of night’s minutiae.” –Elena Gorfinkel, MUBI<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, March 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59000 <p>RECORD RELEASE EVENT<br /><br />Tobe Hooper’s THE TEXAS CHAIN SAW MASSACRE (1974) stands as one of the most influential horror films of the 20th century, establishing various tropes that would be seen in slasher films for decades to come. Its DIY soundtrack has proven important too, inspiring underground musicians to create their own homespun cacophony, be they foreboding drones or industrial soundscapes. Composed and performed by Hooper and Wayne Bell, the soundtrack was thought to be impossible to release officially; the original tapes were presumably lost. But now, more than 50 years after the film’s release, the soundtrack has been issued by Waxwork. To celebrate, THE TEXAS CHAIN SAW MASSACRE will be screened on 35mm and will be preceded by a set by musician Aaron Dilloway, who has called the soundtrack “ground zero for noise music.”<br /><br />Tobe Hooper<br />THE TEXAS CHAIN SAW MASSACRE<br />1974, 83 min, 35mm<br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il"><br />CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, March 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58975 <p>An Arbelos Films release. Digitally restored by Lightbox Film Center in collaboration with the British Film Institute and Cinenova. Restoration funding provided by Ron and Suzanne Naples. Restoration supervised by: Ross Lipman, Corpus Fluxus.<br /><br />Over the course of a single nightshift, a West London hotel clerk (U.K. counterculture icon Jordan, and previously the star of Derek Jarman’s JUBILEE) plays mute witness to a nocturnal constellation of guests ranging from punk rockers and scenester magicians to seemingly staid businessmen and old-world gentry. As the hours march deeper into night and the varied clientele depart the waking world, the hotel transforms into an otherworldly, liminal space swaying between the everyday and the enchanting.<br /><br />Gorgeously photographed by filmmaker Jon Jost, with a soundtrack by Simon Jeffes of the legendary Penguin Cafe Orchestra, NIGHTSHIFT is both a potent snapshot of London’s early-1980s art scene (actor/poet Heathcote Williams and filmmaker Anne Rees-Mogg also star) and a bold, instantly engrossing artistic statement from director Robina Rose. Newly restored by Lightbox Film Center, and back in circulation thanks to Arbelos Films, NIGHTSHIFT is a beguiling masterwork of surreal, somnambulant cinema that casts a resonant and bewitching spell.<br /><br />“Some films [emerge from the archives] as though you had yourself wished them into being. One such gleaming jewel of ‘archive fever’ from the past year is NIGHTSHIFT, an extraordinary work of oneiric imagination, punkish sensibility, and a requiem to women’s labor in the hazy terrain of night work. […] Jon Jost provides his runic cinematographic eye (and appears briefly in the film) and the film’s stunning 16mm images suspend in their gelatinous amber the dusty charms of the hotel’s Vermeer-ish ambiance, conveying the peculiar liminality of being awake while others sleep, tending to the rhythms of night’s minutiae.” –Elena Gorfinkel, MUBI<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, March 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59039 <p>This early film by Michelangelo Antonioni bears the first signs of the cinema-changing style for which he would soon be world-famous. LE AMICHE (THE GIRLFRIENDS) is a brilliantly observed, fragmentary depiction of modern bourgeois life, conveyed from the perspective of five Turinese women. As four of the friends try to make sense of the suicide attempt of the fifth, they find themselves examining their own troubled romantic lives. With suggestions of the theme of modern alienation and the fastidious visual abstraction that would define his later masterpieces, Antonioni’s film is a devastating take on doomed love and fraught friendship.<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, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58976 <p>An Arbelos Films release. Digitally restored by Lightbox Film Center in collaboration with the British Film Institute and Cinenova. Restoration funding provided by Ron and Suzanne Naples. Restoration supervised by: Ross Lipman, Corpus Fluxus.<br /><br />Over the course of a single nightshift, a West London hotel clerk (U.K. counterculture icon Jordan, and previously the star of Derek Jarman’s JUBILEE) plays mute witness to a nocturnal constellation of guests ranging from punk rockers and scenester magicians to seemingly staid businessmen and old-world gentry. As the hours march deeper into night and the varied clientele depart the waking world, the hotel transforms into an otherworldly, liminal space swaying between the everyday and the enchanting.<br /><br />Gorgeously photographed by filmmaker Jon Jost, with a soundtrack by Simon Jeffes of the legendary Penguin Cafe Orchestra, NIGHTSHIFT is both a potent snapshot of London’s early-1980s art scene (actor/poet Heathcote Williams and filmmaker Anne Rees-Mogg also star) and a bold, instantly engrossing artistic statement from director Robina Rose. Newly restored by Lightbox Film Center, and back in circulation thanks to Arbelos Films, NIGHTSHIFT is a beguiling masterwork of surreal, somnambulant cinema that casts a resonant and bewitching spell.<br /><br />“Some films [emerge from the archives] as though you had yourself wished them into being. One such gleaming jewel of ‘archive fever’ from the past year is NIGHTSHIFT, an extraordinary work of oneiric imagination, punkish sensibility, and a requiem to women’s labor in the hazy terrain of night work. […] Jon Jost provides his runic cinematographic eye (and appears briefly in the film) and the film’s stunning 16mm images suspend in their gelatinous amber the dusty charms of the hotel’s Vermeer-ish ambiance, conveying the peculiar liminality of being awake while others sleep, tending to the rhythms of night’s minutiae.” –Elena Gorfinkel, MUBI<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, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59042 <p>( DALLA NUBE ALLA RESISTENZA )<br />Straub-Huillet’s FROM THE CLOUD TO THE RESISTANCE bridges history and myth, and modernity and antiquity. Based on six mythological encounters in Cesar Pavese’s “Dialogues with Leucò”, and on Pavese’s last novel, “The Moon and the Bonfires”, about the savage murders of Italian anti-Fascist resistance fighters during World War II, the film has affinities with HISTORY LESSONS, TOO EARLY/TOO LATE, and a series of films of the 2000s in which they returned to Pavese’s “Dialogues”.<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, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58977 <p>An Arbelos Films release. Digitally restored by Lightbox Film Center in collaboration with the British Film Institute and Cinenova. Restoration funding provided by Ron and Suzanne Naples. Restoration supervised by: Ross Lipman, Corpus Fluxus.<br /><br />Over the course of a single nightshift, a West London hotel clerk (U.K. counterculture icon Jordan, and previously the star of Derek Jarman’s JUBILEE) plays mute witness to a nocturnal constellation of guests ranging from punk rockers and scenester magicians to seemingly staid businessmen and old-world gentry. As the hours march deeper into night and the varied clientele depart the waking world, the hotel transforms into an otherworldly, liminal space swaying between the everyday and the enchanting.<br /><br />Gorgeously photographed by filmmaker Jon Jost, with a soundtrack by Simon Jeffes of the legendary Penguin Cafe Orchestra, NIGHTSHIFT is both a potent snapshot of London’s early-1980s art scene (actor/poet Heathcote Williams and filmmaker Anne Rees-Mogg also star) and a bold, instantly engrossing artistic statement from director Robina Rose. Newly restored by Lightbox Film Center, and back in circulation thanks to Arbelos Films, NIGHTSHIFT is a beguiling masterwork of surreal, somnambulant cinema that casts a resonant and bewitching spell.<br /><br />“Some films [emerge from the archives] as though you had yourself wished them into being. One such gleaming jewel of ‘archive fever’ from the past year is NIGHTSHIFT, an extraordinary work of oneiric imagination, punkish sensibility, and a requiem to women’s labor in the hazy terrain of night work. […] Jon Jost provides his runic cinematographic eye (and appears briefly in the film) and the film’s stunning 16mm images suspend in their gelatinous amber the dusty charms of the hotel’s Vermeer-ish ambiance, conveying the peculiar liminality of being awake while others sleep, tending to the rhythms of night’s minutiae.” –Elena Gorfinkel, MUBI<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, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-58978 <p>An Arbelos Films release. Digitally restored by Lightbox Film Center in collaboration with the British Film Institute and Cinenova. Restoration funding provided by Ron and Suzanne Naples. Restoration supervised by: Ross Lipman, Corpus Fluxus.<br /><br />Over the course of a single nightshift, a West London hotel clerk (U.K. counterculture icon Jordan, and previously the star of Derek Jarman’s JUBILEE) plays mute witness to a nocturnal constellation of guests ranging from punk rockers and scenester magicians to seemingly staid businessmen and old-world gentry. As the hours march deeper into night and the varied clientele depart the waking world, the hotel transforms into an otherworldly, liminal space swaying between the everyday and the enchanting.<br /><br />Gorgeously photographed by filmmaker Jon Jost, with a soundtrack by Simon Jeffes of the legendary Penguin Cafe Orchestra, NIGHTSHIFT is both a potent snapshot of London’s early-1980s art scene (actor/poet Heathcote Williams and filmmaker Anne Rees-Mogg also star) and a bold, instantly engrossing artistic statement from director Robina Rose. Newly restored by Lightbox Film Center, and back in circulation thanks to Arbelos Films, NIGHTSHIFT is a beguiling masterwork of surreal, somnambulant cinema that casts a resonant and bewitching spell.<br /><br />“Some films [emerge from the archives] as though you had yourself wished them into being. One such gleaming jewel of ‘archive fever’ from the past year is NIGHTSHIFT, an extraordinary work of oneiric imagination, punkish sensibility, and a requiem to women’s labor in the hazy terrain of night work. […] Jon Jost provides his runic cinematographic eye (and appears briefly in the film) and the film’s stunning 16mm images suspend in their gelatinous amber the dusty charms of the hotel’s Vermeer-ish ambiance, conveying the peculiar liminality of being awake while others sleep, tending to the rhythms of night’s minutiae.” –Elena Gorfinkel, MUBI<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, March 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2025#showing-59055 <p>( EL HOMBRE ROBADO )<br />“Piñeiro’s sparkling debut film breathlessly follows a clever, capricious young woman as she carefully interweaves friends and lovers into an intricate web of secretive yet often unexpectedly compassionate games. Together with her best friend and fellow tour guide at a rival Buenos Aires historical museum, Piñeiro’s headstrong heroine attempts to tame the unpredictable course of her heart, eccentrically drawing inspiration from Sarmiento’s magnum opus, ‘Facundo’. With its grainy 16mm black-and-white cinematography, its political sub- and super-texts and its compelling portrait of impetuous youth, THE STOLEN MAN recalls the alternately sober and sprightly nouvelle vague of Jean Eustache and Jacques Rivette.” –HARVARD FILM ARCHIVE<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, March 15