https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Fri, 27 Mar 2026 06:52:48 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60995 <p>A delirious pop-art noir, MADE IN U.S.A. transforms the pulp detective film into a dazzling collage of color, politics, and cinematic references. Anna Karina plays a Bogart-like private eye drifting through a lollipop-bright landscape of slogans, comic panels, and ideological confusion – a vision of America as pure image. Drawing on the painterly use of bold color and the stylized physical comedy of Jerry Lewis, Godard turns cinematic artifice into a mode of critique. MADE IN U.S.A. stands at the threshold of Godard’s transition from narrative deconstruction to revolutionary form: a film where color, gesture, and absurdity become instruments of subversion.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60944 <p>“Julian of Norwich is considered the first woman to have written a book in English in the 14th century, based on sixteen revelations. Caroline Golum has chosen to portray the mystical anchorite between Christian visions and the desire to write – or between the desire for Christ and literary visions – in the form of an irreverent biopic with an ever-topical feminist approach. […] Even though Golum rejects verisimilitude and does not shy away from psychedelic fantasy overtones, she remains committed to reality. Or rather, to matter. Always rooted in the idea of vision, each shot expresses the joy of arts and crafts, exalting colors, faces, and the pleasure of composition that sets the distance between characters. The film is infused with a joyful, crude sensuality. It is as much about the body as the mind. The physicality that runs through REVELATIONS OF DIVINE LOVE is to be found in the drop of blood that runs down Christ’s torso in Julian’s phantasmagorical visions, in the folds of the impeccable costumes and the immaculate white cloth, in the cardboard walls of the sets, or in the fleshy roundness of an orange. In Julian’s quill scratching the paper. Mischievously reducing Christ’s teaching to a humble but precious hazelnut, REVELATIONS OF DIVINE LOVE uses the religious motif and the quest for transcendence to argue that cinema remains the organizing principle of matter in this world, and that there is perhaps no act more beautiful than that of seeing. Quite a profession of faith.” –Claire Lasolle, FID MARSEILLE<br /><br />“Brimming with the mystery of manifestation, REVELATIONS is a work of sheer will, equal parts spiritual inquiry and cinematic lament. […] The film is about the survival of an artist’s spirit and through its movements it becomes a kind of mirror: sincere, strange, detailed and hand-stitched. More than anything the work asks the question: how do we know that we’re enough?” –Sofia Bohdanowicz, FILMMAKER MAGAZINE<br /><br />“With its slow pace and the deliberate diction of her performers, Golum has produced a film of classical rigor and a not inconsiderable didactic impulse. In visual style, REVELATIONS echoes the Brechtian approach of Manoel de Oliveira, with his clear signifiers of the period coexisting with a haunted, atmospheric modernity. But probably the most apposite points of comparison are the late educational films of Roberto Rossellini.” –Michael Sicinski, IN REVIEW ONLINE<br /><br /><em><strong>Caroline Golum will be here for Q&As after all three screenings, and will be joined on Fri, Mar 27 by actress Tessa Strain! The Q&As will be moderated by Fran Hoepfner (Fri, Mar 27), Jourdain Searles (Sat, Mar 28), and Sarah Friedland (Sun, Mar 29). </strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60992 <p>THE FAMILY JEWELS, a zany tour de force, showcases Jerry Lewis’s virtuosity as both performer and director. The film follows a young heiress, Donna Peyton, who must choose a guardian from among her six eccentric uncles, all played by Lewis, each embodying a distinct comic archetype. As Donna visits each in turn, their absurdities become a playful meditation on identity and performance. Blending slapstick, pathos, and reflexive humor, THE FAMILY JEWELS stands as a dazzling showcase for Lewis’s comic inventiveness. His painterly use of color and precise, architectural framing would leave a lasting impression on Jean-Luc Godard, who shared Lewis’s fascination with the multiplicity of the self.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60964 <p>If you’re reading this blurb in English, raise a flagon of mead to Geoffrey Chaucer, the 14th-century bureaucrat and clerk whose sprawling, bawdy epic “The Canterbury Tales” unwittingly paved the primrose path of our mother tongue. A contemporary of Chaucher’s, scholars suspect Julian of Norwich wrote “Revelations of Divine Love” in or around the same time – the late 14th-century – and just a few days (on foot) north of Chaucher’s London post. Though you won’t hear any English in Pasolini’s adaptation of this pilgrimage portrait, the text’s most iconic and incendiary features are well on display, capturing the sights, sounds, and smells of everyday medieval life with humor darker than a plague pustule! In building out the world outside Julian’s cell, I looked to the “Tales” ensemble – including nuns, merchants, monks, and yeomen – both on screen and on the page for hints at how Middle Aged Jane Does comported themselves.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, March 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60968 <p>Filmdom owes Dutch master Paul Verhoeven a debt of gratitude for so many fine gifts: SHOWGIRLS, STARSHIP TROOPERS and, most importantly, the career of muse Rutger Hauer, who made his screen debut in the Verhoeven-directed 1969 medieval period series FLORIS. Fitting that Verhoeven would tap a fellow landsman for his first American film, the unapologetically erotic 1985 epic FLESH + BLOOD. Though less commercially successful than Verhoeven’s subsequent stateside efforts, this sexy, slovenly romp through battlefields and bedchambers captures the ribald esprit du temps found in the pages of Bocaccio and Chaucer. Any connection found between FLESH and REVELATIONS is tenuous at best (if you, viewer, encounter one, please let us know), though it remains a beloved film among our cast and crew, whose collective penchant for the era leaves room for both the sacred and profane.<br /><br /><em><strong>The screening on Sat, Mar 28 will be introduced by Caroline Golum and REVELATIONS’ art director Grant Stoops!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61002 <p>Godard’s NOUVELLE VAGUE revisits the theme of the double through the spectral presence of Alain Delon, who reappears as two incarnations of the same man. Godard transforms this narrative of death and return into an allegory of cinema itself – its repetition, mirroring, and resurrection through images. The film’s fragmented dialogue and reflective surfaces turn identity into a play of echoes and reversals. Paired with Jerry Lewis’s THE NUTTY PROFESSOR, NOUVELLE VAGUE appears as its philosophical mirror: where Lewis celebrates transformation through performance, Godard reflects on repetition and return.<br /><br />[<em>Please note: sadly, the 35mm print we had hoped to borrow proved to be unavailable, so we'll be screening NOUVELLE VAGUE digitally.</em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60945 <p>“Julian of Norwich is considered the first woman to have written a book in English in the 14th century, based on sixteen revelations. Caroline Golum has chosen to portray the mystical anchorite between Christian visions and the desire to write – or between the desire for Christ and literary visions – in the form of an irreverent biopic with an ever-topical feminist approach. […] Even though Golum rejects verisimilitude and does not shy away from psychedelic fantasy overtones, she remains committed to reality. Or rather, to matter. Always rooted in the idea of vision, each shot expresses the joy of arts and crafts, exalting colors, faces, and the pleasure of composition that sets the distance between characters. The film is infused with a joyful, crude sensuality. It is as much about the body as the mind. The physicality that runs through REVELATIONS OF DIVINE LOVE is to be found in the drop of blood that runs down Christ’s torso in Julian’s phantasmagorical visions, in the folds of the impeccable costumes and the immaculate white cloth, in the cardboard walls of the sets, or in the fleshy roundness of an orange. In Julian’s quill scratching the paper. Mischievously reducing Christ’s teaching to a humble but precious hazelnut, REVELATIONS OF DIVINE LOVE uses the religious motif and the quest for transcendence to argue that cinema remains the organizing principle of matter in this world, and that there is perhaps no act more beautiful than that of seeing. Quite a profession of faith.” –Claire Lasolle, FID MARSEILLE<br /><br />“Brimming with the mystery of manifestation, REVELATIONS is a work of sheer will, equal parts spiritual inquiry and cinematic lament. […] The film is about the survival of an artist’s spirit and through its movements it becomes a kind of mirror: sincere, strange, detailed and hand-stitched. More than anything the work asks the question: how do we know that we’re enough?” –Sofia Bohdanowicz, FILMMAKER MAGAZINE<br /><br />“With its slow pace and the deliberate diction of her performers, Golum has produced a film of classical rigor and a not inconsiderable didactic impulse. In visual style, REVELATIONS echoes the Brechtian approach of Manoel de Oliveira, with his clear signifiers of the period coexisting with a haunted, atmospheric modernity. But probably the most apposite points of comparison are the late educational films of Roberto Rossellini.” –Michael Sicinski, IN REVIEW ONLINE<br /><br /><em><strong>Caroline Golum will be here for Q&As after all three screenings, and will be joined on Fri, Mar 27 by actress Tessa Strain! The Q&As will be moderated by Fran Hoepfner (Fri, Mar 27), Jourdain Searles (Sat, Mar 28), and Sarah Friedland (Sun, Mar 29). </strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60998 <p>Jerry Lewis’s THE NUTTY PROFESSOR transforms the Jekyll and Hyde story into an incisive comedy about performance, identity, and the constructed self. Beneath the slapstick lies a sharp reflection on masculinity and self-invention through artifice. In dialogue with Godard’s NOUVELLE VAGUE (1990), Lewis’s film reveals cinema’s fascination with doubling – the split between the authentic and the manufactured, the self and its image. Whereas Lewis externalizes this tension through comic exaggeration, Godard internalizes it as haunting repetition. Both explore subjectivity as something always in flux.<br /><br />[<strong><em>Please note: sadly, the 35mm print we had hoped to borrow proved to be unavailable, so we'll be screening NUTTY PROFESSOR on DCP.</em></strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60953 <p>John Boorman’s Arthurian adaptation cast its spell on me way back in 2013, when it screened as part of Anthology’s seminal series, “The Middle Ages on Film”, co-curated by scholar Martha Driver. How could I have anticipated that, by decade’s end, I’d be hard at work on a medieval film of my very own? This series was my entry point into the tropes and triumphs of the genre, a foundational piece of curation that guided my viewing habits and research during the eight-year process of bringing REVELATIONS to life. Although my film bears little superficial resemblance to the Knights of the Round table, it shares with EXCALIBUR a central struggle between duty and dread.<br /><br /><em><strong>The screening on Sun, Mar 29 will be introduced by Caroline Golum and REVELATIONS’ composer Zach Koeber!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61009 <p>KEEP YOUR RIGHT UP is a delirious fusion of slapstick, philosophy, and pop performance. Playing “the Idiot” – a filmmaker modeled on Dostoevsky’s Prince Myshkin – and channeling Jerry Lewis, Godard turns everyday gestures into comic studies of the body as a malfunctioning machine. The French band Les Rita Mitsouko strives to find the right harmony. A solitary man seeks connection with others, yet feels he has landed on the wrong planet. A group of travelers, like Ulysses before them, tries to reach its destination. One of Godard’s funniest and most overlooked works, the film becomes a meditation on art, motion, and existence, transforming physical comedy into metaphysical reflection.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60946 <p>“Julian of Norwich is considered the first woman to have written a book in English in the 14th century, based on sixteen revelations. Caroline Golum has chosen to portray the mystical anchorite between Christian visions and the desire to write – or between the desire for Christ and literary visions – in the form of an irreverent biopic with an ever-topical feminist approach. […] Even though Golum rejects verisimilitude and does not shy away from psychedelic fantasy overtones, she remains committed to reality. Or rather, to matter. Always rooted in the idea of vision, each shot expresses the joy of arts and crafts, exalting colors, faces, and the pleasure of composition that sets the distance between characters. The film is infused with a joyful, crude sensuality. It is as much about the body as the mind. The physicality that runs through REVELATIONS OF DIVINE LOVE is to be found in the drop of blood that runs down Christ’s torso in Julian’s phantasmagorical visions, in the folds of the impeccable costumes and the immaculate white cloth, in the cardboard walls of the sets, or in the fleshy roundness of an orange. In Julian’s quill scratching the paper. Mischievously reducing Christ’s teaching to a humble but precious hazelnut, REVELATIONS OF DIVINE LOVE uses the religious motif and the quest for transcendence to argue that cinema remains the organizing principle of matter in this world, and that there is perhaps no act more beautiful than that of seeing. Quite a profession of faith.” –Claire Lasolle, FID MARSEILLE<br /><br />“Brimming with the mystery of manifestation, REVELATIONS is a work of sheer will, equal parts spiritual inquiry and cinematic lament. […] The film is about the survival of an artist’s spirit and through its movements it becomes a kind of mirror: sincere, strange, detailed and hand-stitched. More than anything the work asks the question: how do we know that we’re enough?” –Sofia Bohdanowicz, FILMMAKER MAGAZINE<br /><br />“With its slow pace and the deliberate diction of her performers, Golum has produced a film of classical rigor and a not inconsiderable didactic impulse. In visual style, REVELATIONS echoes the Brechtian approach of Manoel de Oliveira, with his clear signifiers of the period coexisting with a haunted, atmospheric modernity. But probably the most apposite points of comparison are the late educational films of Roberto Rossellini.” –Michael Sicinski, IN REVIEW ONLINE<br /><br /><em><strong>Caroline Golum will be here for Q&As after all three screenings, and will be joined on Fri, Mar 27 by actress Tessa Strain! The Q&As will be moderated by Fran Hoepfner (Fri, Mar 27), Jourdain Searles (Sat, Mar 28), and Sarah Friedland (Sun, Mar 29). </strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61006 <p>Jerry Lewis stars as Warren Nefron, a hapless man so overwhelmed by modern life that he repeatedly tries (and fails) to end it. Beneath the film’s chaotic surface lies a sense of despair and alienation, as Lewis turns his trademark clown persona inward, exploring themes of failure and the collapse of control. The film’s disjointed structure, deadpan absurdity, and reflexive humor anticipate Jean-Luc Godard’s KEEP YOUR RIGHT UP (1987), in which Godard similarly recasts the filmmaker as a clown adrift in a universe of unraveling meaning. Both artists turn comedy into philosophy, finding, within absurd repetition and breakdown, a darkly comic portrait of modern existence and a fragile faith in cinema itself.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60969 <p>Filmdom owes Dutch master Paul Verhoeven a debt of gratitude for so many fine gifts: SHOWGIRLS, STARSHIP TROOPERS and, most importantly, the career of muse Rutger Hauer, who made his screen debut in the Verhoeven-directed 1969 medieval period series FLORIS. Fitting that Verhoeven would tap a fellow landsman for his first American film, the unapologetically erotic 1985 epic FLESH + BLOOD. Though less commercially successful than Verhoeven’s subsequent stateside efforts, this sexy, slovenly romp through battlefields and bedchambers captures the ribald esprit du temps found in the pages of Bocaccio and Chaucer. Any connection found between FLESH and REVELATIONS is tenuous at best (if you, viewer, encounter one, please let us know), though it remains a beloved film among our cast and crew, whose collective penchant for the era leaves room for both the sacred and profane.<br /><br /><em><strong>The screening on Sat, Mar 28 will be introduced by Caroline Golum and REVELATIONS’ art director Grant Stoops!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61015 <p>In AFTER THE RECONCILIATION, Anne-Marie Miéville – Jean-Luc Godard’s longtime partner and collaborator – transforms the everyday exchanges between men and women into a lucid meditation on love, language, and the difficulty of understanding. Staged almost entirely in conversation, and featuring Miéville and Godard among the cast, the film follows four characters whose attempts to speak through their disappointments reveal the limits of desire and language. Infused with literary and philosophical allusions to Conrad, Heidegger, and Tolstoy, Miéville’s film is at once philosophical and tender, exposing how intimacy and communication, like cinema itself, are forever on the verge of collapse.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61012 <p>As both director and star, Jerry Lewis fuses inventive slapstick with Freudian farce, turning the trappings of 1960s domestic comedy inside out. Playing a psychiatrist who adopts multiple identities to “cure” his fiancée’s neurotic patients, Lewis exposes the porous boundary between role-playing, desire, and the self. Like Anne-Marie Miéville’s AFTER THE RECONCILIATION (1989), the film stages the impossibility of harmony between the sexes within the very medium of dialogue. Both filmmakers treat language as a structural impasse – where speech yields not resolution but an endless play of misunderstanding.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60949 <p>More than any other film in this series, Andy Milligan’s 15th century-set, New York City-shot “shlock” masterpiece is REVELATIONS’ closest ancestor. Our humble peewee backlot in deep Ridgewood, Queens (supplemented by out-of-town-jaunts to Bryn Athyn, PA, and the Belt Parkway) pales in comparison to the resourceful wretchedness of Milligan’s medieval spooktacular! Made on a frayed shoestring budget in Gothic revival churches (and, occasionally, the basement of Milligan’s Staten Island home), this bloody, barely-hour-long bricolage of medieval torture tactics, vampire legends, and subaltern queerness ranks, for this filmmaker/critic, alongside LANCELOT DU LAC as the best low-budget medieval period film ever made.<br /><br /><em><strong>The screening on Wed, Mar 25 will be introduced by Caroline Golum and REVELATIONS’ editor Zach Clark!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60999 <p>Jerry Lewis’s THE NUTTY PROFESSOR transforms the Jekyll and Hyde story into an incisive comedy about performance, identity, and the constructed self. Beneath the slapstick lies a sharp reflection on masculinity and self-invention through artifice. In dialogue with Godard’s NOUVELLE VAGUE (1990), Lewis’s film reveals cinema’s fascination with doubling – the split between the authentic and the manufactured, the self and its image. Whereas Lewis externalizes this tension through comic exaggeration, Godard internalizes it as haunting repetition. Both explore subjectivity as something always in flux.<br /><br />[<strong><em>Please note: sadly, the 35mm print we had hoped to borrow proved to be unavailable, so we'll be screening NUTTY PROFESSOR on DCP.</em></strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, March 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60961 <p>It’s no accident that our film is dedicated to the memory of Roger Corman (stay for the end of the credits!), who passed away while we were editing REVELATIONS. No one could stuff ten pounds into a five-pound bag quite like America’s indie godfather, whose suite of Edgar Allen Poe adaptations comprise the crown jewels in a crowded filmography of low-budget masterpieces. Despite initial concerns that THE MASQUE OF THE RED DEATH would receive (unfavorable) comparisons to Ingmar Bergman’s THE SEVENTH SEAL, the two films offer a Goofus-and-Gallant-esque read on the Middle Ages. In Bergman we encounter an austere, verging on nihilistic portrait of everyday medieval life, while Corman – via charismatic star Vincent Price – embraces the innate absurdity of medieval nobility to paint a cautionary tale of willful ignorance and decadence in the face of looming catastrophe.<br /><br /><em><strong>The screening on Thurs, Mar 26 will be introduced by Caroline Golum and REVELATIONS’ star Tessa Strain and assistant director Sydney Buchan!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, March 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60957 <p>Harnessing the awesome power of splendid decor and costumes, hearty “boys will be boys” camaraderie, and swashbuckling action, director Michael Curtiz surreptitiously steers this unapologetically anti-capitalist English folktale into some jolly, richly-hued antifascist waters. Like all great “medievalistic” works, ROBIN HOOD understands the utility of the Middle Ages as a bellwether for our own time. This ethos was an essential component for REVELATIONS, where Julian of Norwich’s life and work acted as a divining rod to sniff out the similarities between our respective centuries. And much like early drafts of REVELATIONS, the first script for ROBIN HOOD was written in a clumsy hybrid modern-and-medieval English jargon. I like to think both films split the difference quite elegantly, combining the medieval era’s lyrical prose with equal parts finishing school flourish and plain-old American English!<br /><br /><em><strong>The screening on Thurs, Mar 26 will be introduced by Caroline Golum and REVELATIONS’ costume designer Nell Simon!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, March 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61003 <p>Godard’s NOUVELLE VAGUE revisits the theme of the double through the spectral presence of Alain Delon, who reappears as two incarnations of the same man. Godard transforms this narrative of death and return into an allegory of cinema itself – its repetition, mirroring, and resurrection through images. The film’s fragmented dialogue and reflective surfaces turn identity into a play of echoes and reversals. Paired with Jerry Lewis’s THE NUTTY PROFESSOR, NOUVELLE VAGUE appears as its philosophical mirror: where Lewis celebrates transformation through performance, Godard reflects on repetition and return.<br /><br />[<em>Please note: sadly, the 35mm print we had hoped to borrow proved to be unavailable, so we'll be screening NOUVELLE VAGUE digitally.</em>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, March 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60965 <p>If you’re reading this blurb in English, raise a flagon of mead to Geoffrey Chaucer, the 14th-century bureaucrat and clerk whose sprawling, bawdy epic “The Canterbury Tales” unwittingly paved the primrose path of our mother tongue. A contemporary of Chaucher’s, scholars suspect Julian of Norwich wrote “Revelations of Divine Love” in or around the same time – the late 14th-century – and just a few days (on foot) north of Chaucher’s London post. Though you won’t hear any English in Pasolini’s adaptation of this pilgrimage portrait, the text’s most iconic and incendiary features are well on display, capturing the sights, sounds, and smells of everyday medieval life with humor darker than a plague pustule! In building out the world outside Julian’s cell, I looked to the “Tales” ensemble – including nuns, merchants, monks, and yeomen – both on screen and on the page for hints at how Middle Aged Jane Does comported themselves.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60962 <p>It’s no accident that our film is dedicated to the memory of Roger Corman (stay for the end of the credits!), who passed away while we were editing REVELATIONS. No one could stuff ten pounds into a five-pound bag quite like America’s indie godfather, whose suite of Edgar Allen Poe adaptations comprise the crown jewels in a crowded filmography of low-budget masterpieces. Despite initial concerns that THE MASQUE OF THE RED DEATH would receive (unfavorable) comparisons to Ingmar Bergman’s THE SEVENTH SEAL, the two films offer a Goofus-and-Gallant-esque read on the Middle Ages. In Bergman we encounter an austere, verging on nihilistic portrait of everyday medieval life, while Corman – via charismatic star Vincent Price – embraces the innate absurdity of medieval nobility to paint a cautionary tale of willful ignorance and decadence in the face of looming catastrophe.<br /><br /><em><strong>The screening on Thurs, Mar 26 will be introduced by Caroline Golum and REVELATIONS’ star Tessa Strain and assistant director Sydney Buchan!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60950 <p>More than any other film in this series, Andy Milligan’s 15th century-set, New York City-shot “shlock” masterpiece is REVELATIONS’ closest ancestor. Our humble peewee backlot in deep Ridgewood, Queens (supplemented by out-of-town-jaunts to Bryn Athyn, PA, and the Belt Parkway) pales in comparison to the resourceful wretchedness of Milligan’s medieval spooktacular! Made on a frayed shoestring budget in Gothic revival churches (and, occasionally, the basement of Milligan’s Staten Island home), this bloody, barely-hour-long bricolage of medieval torture tactics, vampire legends, and subaltern queerness ranks, for this filmmaker/critic, alongside LANCELOT DU LAC as the best low-budget medieval period film ever made.<br /><br /><em><strong>The screening on Wed, Mar 25 will be introduced by Caroline Golum and REVELATIONS’ editor Zach Clark!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60970 <p>Filmdom owes Dutch master Paul Verhoeven a debt of gratitude for so many fine gifts: SHOWGIRLS, STARSHIP TROOPERS and, most importantly, the career of muse Rutger Hauer, who made his screen debut in the Verhoeven-directed 1969 medieval period series FLORIS. Fitting that Verhoeven would tap a fellow landsman for his first American film, the unapologetically erotic 1985 epic FLESH + BLOOD. Though less commercially successful than Verhoeven’s subsequent stateside efforts, this sexy, slovenly romp through battlefields and bedchambers captures the ribald esprit du temps found in the pages of Bocaccio and Chaucer. Any connection found between FLESH and REVELATIONS is tenuous at best (if you, viewer, encounter one, please let us know), though it remains a beloved film among our cast and crew, whose collective penchant for the era leaves room for both the sacred and profane.<br /><br /><em><strong>The screening on Sat, Mar 28 will be introduced by Caroline Golum and REVELATIONS’ art director Grant Stoops!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60954 <p>John Boorman’s Arthurian adaptation cast its spell on me way back in 2013, when it screened as part of Anthology’s seminal series, “The Middle Ages on Film”, co-curated by scholar Martha Driver. How could I have anticipated that, by decade’s end, I’d be hard at work on a medieval film of my very own? This series was my entry point into the tropes and triumphs of the genre, a foundational piece of curation that guided my viewing habits and research during the eight-year process of bringing REVELATIONS to life. Although my film bears little superficial resemblance to the Knights of the Round table, it shares with EXCALIBUR a central struggle between duty and dread.<br /><br /><em><strong>The screening on Sun, Mar 29 will be introduced by Caroline Golum and REVELATIONS’ composer Zach Koeber!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61037 <p>In a series of languid gestures, “New Body, Same Trash: Program 1”, moves us through three encounters drawing on memory and observation – firstly with the animal world, secondly with the socio-historical world, and lastly, the ecological world. In Carlos Llaó’s paced study, GREY AT NIGHT, a wolf transforms into a human, observing the behaviors of young people on the outskirts of Barcelona. Pol Merchan drops us deep into a memoryscape with EL JARDIN DE LOS FAUNOS, to retrace the life and work of Spanish comic artist Nazario Luque, as he defines queer culture in a post-Franco dictatorship window of discovery. Another portrait film, entrancing and circuitous, BELLY OF A GLACIER yolks the grief of ontogeny to the melting of the Rhône Glacier in Switzerland.<br /><br />Filmmaker Ohan Breiding will be here in person on Fri, April 3!<br /><br />Carlos Llaó GREY AT NIGHT / SON PARDOS (2023, 30 min, DCP)<br />Pol Merchan GARDEN OF FAUNS / EL JARDÍN DE LOS FAUNOS (2022, 25 min, DCP)<br />Ohan Breiding BELLY OF A GLACIER (2024, 33 min, DCP)<br /><br />Total running time: ca. 95 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61043 <p>HEIGHTENED SCRUTINY follows Chase Strangio, ACLU attorney and the first out trans person to argue before the Supreme Court, as he fights a high-stakes legal battle to overturn Tennessee’s ban on gender-affirming care for transgender youth (U.S. v. Skrmetti). The film exposes the dangerous role of mainstream media in fueling anti-trans legislation, uncovering how biased coverage drives hate, endangers lives, and threatens democracy itself. With insights from journalists like Jelani Cobb, Lydia Polgreen, and Gina Chua, and activists like Laverne Cox, the story dismantles anti-trans disinformation and highlights its devastating real-world impact. As SCOTUS prepares to rule on the case, HEIGHTENED SCRUTINY reveals the fight for bodily autonomy as a fight for the soul of democracy, offering a powerful call to action against bigotry and injustice.<br /><br /><em><strong>Following the screening on Sat, April 4, there will be a Q&A with Sam Feder, Mila (the star of the film), and Lala Holston-Zannell (ACLU), moderated by Joey Carducci.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Saturday, April 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60958 <p>Harnessing the awesome power of splendid decor and costumes, hearty “boys will be boys” camaraderie, and swashbuckling action, director Michael Curtiz surreptitiously steers this unapologetically anti-capitalist English folktale into some jolly, richly-hued antifascist waters. Like all great “medievalistic” works, ROBIN HOOD understands the utility of the Middle Ages as a bellwether for our own time. This ethos was an essential component for REVELATIONS, where Julian of Norwich’s life and work acted as a divining rod to sniff out the similarities between our respective centuries. And much like early drafts of REVELATIONS, the first script for ROBIN HOOD was written in a clumsy hybrid modern-and-medieval English jargon. I like to think both films split the difference quite elegantly, combining the medieval era’s lyrical prose with equal parts finishing school flourish and plain-old American English!<br /><br /><em><strong>The screening on Thurs, Mar 26 will be introduced by Caroline Golum and REVELATIONS’ costume designer Nell Simon!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61040 <p>Steeped in language, excess, and the relationship to the apparatus of filmmaking, “New Body, Same Trash: Program 2” introduces us to the textual discourse of two lovers examining their mode of self-making in LUMINOUS MATTER. NOTES ON A SIREN moves us deeper into self-creation via image-making, interrogating the camera’s propensity to fetishize. The warped, queer-as-fuck mind of Cinema of Gender Transgression alum Lasse Långström (to whose work we devoted a retrospective in 2019) is back with THE LESBIAN ALIEN DARKROOM FISTING OPERETTA ON VENUS, which reflects their refined commitment to craft and camp. In this new film, a captain of Sea Butches is on a holy assignment to find the strongest vibrator in the world, which is the blessed weapon of destruction to a tower of gentrifiers. Finally, THIS UNREMARKABLE LIFE – an episode of Hoarders, a human rat-cam, and a direct-address that only a freak could love – is an incongruous picture of a picture of a picture, a beautiful, disgusting travesty of a spectacle.<br /><br />Filmmakers Justice Jamal Jones and Jake Brush will be here in person on Sat, April 4!<br /><br />Moss Berke & Bianca Arnold LUMINOUS MATTER (2025, 15 min, DCP)<br />Justice Jamal Jones NOTES ON A SIREN (2022, 11 min, DCP)<br />Lasse Långström THE LESBIAN ALIEN DARKROOM FISTING OPERETTA ON VENUS (2024, 15 min, DCP)<br />Jake Brush THIS UNREMARKABLE LIFE (2025, 18 min, DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60966 <p>If you’re reading this blurb in English, raise a flagon of mead to Geoffrey Chaucer, the 14th-century bureaucrat and clerk whose sprawling, bawdy epic “The Canterbury Tales” unwittingly paved the primrose path of our mother tongue. A contemporary of Chaucher’s, scholars suspect Julian of Norwich wrote “Revelations of Divine Love” in or around the same time – the late 14th-century – and just a few days (on foot) north of Chaucher’s London post. Though you won’t hear any English in Pasolini’s adaptation of this pilgrimage portrait, the text’s most iconic and incendiary features are well on display, capturing the sights, sounds, and smells of everyday medieval life with humor darker than a plague pustule! In building out the world outside Julian’s cell, I looked to the “Tales” ensemble – including nuns, merchants, monks, and yeomen – both on screen and on the page for hints at how Middle Aged Jane Does comported themselves.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61050 <p>DISCLOSURE is an eye-opening look at transgender depictions in film and television, revealing how Hollywood simultaneously reflects and manufactures our deepest anxieties about gender. Leading trans thinkers and artists, including Laverne Cox, Lilly Wachowski, Yance Ford, Mj Rodriguez, Jamie Clayton, and Chaz Bono, share their reactions and resistance to some of Hollywood’s most beloved moments. Grappling with films like A FLORIDA ENCHANTMENT, DOG DAY AFTERNOON, THE CRYING GAME, and BOYS DON’T CRY, and with shows like THE JEFFERSONS, The L-WORD, and POSE, they trace a history that is at once dehumanizing, yet also evolving, complex, and sometimes humorous. What emerges is a fascinating story of dynamic interplay between trans representation on screen, society’s beliefs, and the reality of trans lives.<br /><br /><strong>Sam Feder in person on Sun, April 5!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61041 <p>Steeped in language, excess, and the relationship to the apparatus of filmmaking, “New Body, Same Trash: Program 2” introduces us to the textual discourse of two lovers examining their mode of self-making in LUMINOUS MATTER. NOTES ON A SIREN moves us deeper into self-creation via image-making, interrogating the camera’s propensity to fetishize. The warped, queer-as-fuck mind of Cinema of Gender Transgression alum Lasse Långström (to whose work we devoted a retrospective in 2019) is back with THE LESBIAN ALIEN DARKROOM FISTING OPERETTA ON VENUS, which reflects their refined commitment to craft and camp. In this new film, a captain of Sea Butches is on a holy assignment to find the strongest vibrator in the world, which is the blessed weapon of destruction to a tower of gentrifiers. Finally, THIS UNREMARKABLE LIFE – an episode of Hoarders, a human rat-cam, and a direct-address that only a freak could love – is an incongruous picture of a picture of a picture, a beautiful, disgusting travesty of a spectacle.<br /><br />Filmmakers Justice Jamal Jones and Jake Brush will be here in person on Sat, April 4!<br /><br />Moss Berke & Bianca Arnold LUMINOUS MATTER (2025, 15 min, DCP)<br />Justice Jamal Jones NOTES ON A SIREN (2022, 11 min, DCP)<br />Lasse Långström THE LESBIAN ALIEN DARKROOM FISTING OPERETTA ON VENUS (2024, 15 min, DCP)<br />Jake Brush THIS UNREMARKABLE LIFE (2025, 18 min, DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61094 <p>With Gibson Gowland, ZaSu Pitts, and Jean Hersholt.<br /><br />“Reduced from an eight-and-a-half-hour running time to slightly over two hours, [GREED] is perhaps more famous for the butcher job performed on it than for Stroheim’s great and genuine accomplishment. Though usually discussed as a masterpiece of realism (it was based on a novel by the naturalist writer Frank Norris), it is equally sublime in its high stylization, which ranges from the highly Brechtian spectacle of ZaSu Pitts making love to her gold coins to deep-focus compositions every bit as advanced as those in CITIZEN KANE. It is probably the most modern in feel of all silent films, establishing ideas that would not be developed until decades later.” –Dave Kehr, CHICAGO READER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61038 <p>In a series of languid gestures, “New Body, Same Trash: Program 1”, moves us through three encounters drawing on memory and observation – firstly with the animal world, secondly with the socio-historical world, and lastly, the ecological world. In Carlos Llaó’s paced study, GREY AT NIGHT, a wolf transforms into a human, observing the behaviors of young people on the outskirts of Barcelona. Pol Merchan drops us deep into a memoryscape with EL JARDIN DE LOS FAUNOS, to retrace the life and work of Spanish comic artist Nazario Luque, as he defines queer culture in a post-Franco dictatorship window of discovery. Another portrait film, entrancing and circuitous, BELLY OF A GLACIER yolks the grief of ontogeny to the melting of the Rhône Glacier in Switzerland.<br /><br />Filmmaker Ohan Breiding will be here in person on Fri, April 3!<br /><br />Carlos Llaó GREY AT NIGHT / SON PARDOS (2023, 30 min, DCP)<br />Pol Merchan GARDEN OF FAUNS / EL JARDÍN DE LOS FAUNOS (2022, 25 min, DCP)<br />Ohan Breiding BELLY OF A GLACIER (2024, 33 min, DCP)<br /><br />Total running time: ca. 95 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61051 <p>DISCLOSURE is an eye-opening look at transgender depictions in film and television, revealing how Hollywood simultaneously reflects and manufactures our deepest anxieties about gender. Leading trans thinkers and artists, including Laverne Cox, Lilly Wachowski, Yance Ford, Mj Rodriguez, Jamie Clayton, and Chaz Bono, share their reactions and resistance to some of Hollywood’s most beloved moments. Grappling with films like A FLORIDA ENCHANTMENT, DOG DAY AFTERNOON, THE CRYING GAME, and BOYS DON’T CRY, and with shows like THE JEFFERSONS, The L-WORD, and POSE, they trace a history that is at once dehumanizing, yet also evolving, complex, and sometimes humorous. What emerges is a fascinating story of dynamic interplay between trans representation on screen, society’s beliefs, and the reality of trans lives.<br /><br /><strong>Sam Feder in person on Sun, April 5!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, April 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61044 <p>HEIGHTENED SCRUTINY follows Chase Strangio, ACLU attorney and the first out trans person to argue before the Supreme Court, as he fights a high-stakes legal battle to overturn Tennessee’s ban on gender-affirming care for transgender youth (U.S. v. Skrmetti). The film exposes the dangerous role of mainstream media in fueling anti-trans legislation, uncovering how biased coverage drives hate, endangers lives, and threatens democracy itself. With insights from journalists like Jelani Cobb, Lydia Polgreen, and Gina Chua, and activists like Laverne Cox, the story dismantles anti-trans disinformation and highlights its devastating real-world impact. As SCOTUS prepares to rule on the case, HEIGHTENED SCRUTINY reveals the fight for bodily autonomy as a fight for the soul of democracy, offering a powerful call to action against bigotry and injustice.<br /><br /><em><strong>Following the screening on Sat, April 4, there will be a Q&A with Sam Feder, Mila (the star of the film), and Lala Holston-Zannell (ACLU), moderated by Joey Carducci.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Tuesday, April 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61018 <p><span id="docs-internal-guid-98919f3b-7fff-cc4f-9730-928b07be30e1"> </span></p> <p dir="ltr">LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith. Preserved by Anthology Film Archives.)<br />BLONDE COBRA (1959-63, 35 min, 16mm-to-35mm blow-up. Made in collaboration with Bob Fleischner. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation.)<br />ARTIE AND MARTY ROSENBLATT’S BABY PICTURES (1963, 4 min, 8mm-to-16mm, silent. Preserved by Anthology Film Archives. <strong>Preservation Premiere!</strong>)<br />GLOBE (1969, 22 min, 16mm, Pulfrich 3D. Preserved by Anthology Film Archives through the Avant-Garde Masters Program funded by The Film Foundation and administered by the National Film Preservation Foundation.)<br /><br />Total running time: ca. 85 min.<br /><br /><strong>Introduced by Anthology's Archivist, John Klacsmann.</strong></p> <p dir="ltr"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61112 <p>Mati Diop A THOUSAND SUNS / MILLE SOLEILS (2013, 45 min, 35mm-to-DCP. In Wolof with English subtitles.)<br />“[A THOUSAND SUNS is a] documentary about Magaye Niang, the lead actor of TOUKI-BOUKI, the 1972 classic made by the director’s legendary filmmaker uncle Djibril Diop Mambéty. Shot in Dakar and Alaska, MILLE SOLEILS mystifies as it searches for an origin, its lineage and its transcendent deviations, flouting its own premise as fantasy merges with reality: the sad-eyed cattle herder who embodied the seminal role in TOUKI-BOUKI forty years ago is now filled with longing for the vanished past and a future that was never meant to be.” –Andréa Picard, VIENNALE<br /><br />Onyeka Igwe A SO-CALLED ARCHIVE (2020, 20 min, DCP) <br />“A SO-CALLED ARCHIVE interrogates the decomposing repositories of Empire with a forensic lens. Blending footage shot over the past year in two separate colonial archive buildings – one in Lagos, Nigeria, and the other in Bristol, United Kingdom – this double portrait considers the ‘sonic shadows’ that colonial images continue to generate, despite the disintegration of their memory and their materials.” –Mason Leaver-Yap, LUX<br /><br />Ulysses Jenkins MASS OF IMAGES (1978, 4 min, DCP)<br />“MASS OF IMAGES engages elements of both performance and video art to address myriad racial stereotypes of African Americans in the media. Using blurred black-and-white film accompanied by a low humming sound, Jenkins employed exaggerated staging to mirror the ridiculousness and prevalence of stereotypical images.” –HAMMER MUSEUM<br /><br />Maxime Jean-Baptiste NOU VOIX (2018, 14 min, DCP. In French with English subtitles.)<br />“NOU VOIX is an autobiographical video based on my father’s participation as a Guyanese extra in the French film JEAN GALMOT AVENTURIER (1990). By replaying part of the film, my father and I try to reveal voices that were covered up by the staging of the film.” –Maxime Jean-Baptiste<br /><br />The Otolith Group MASCON: A MASSIVE CONCENTRATION OF BLACK EXPERIENTIAL ENERGY (2024, 36 min, DCP)<br />“Think of MASCON: A MASSIVE CONCENTRATION OF BLACK EXPERIENTIAL ENERGY as an audiovisual investigation into the gestures, geometries, grammars and geographies that compose the forms and the forces of the films of Ousmane Sembene and Djibril Diop Mambety from 1963 to 2004. As an audiovisual mosaic of still moving images and sounds that summons the borderless imagination of the cine-Sahel. As digital morphologies that assail the imagination with the expansive deformation, compacted compression and amassed concentration that Stephen Henderson calls ‘Mascon’ or ‘a massive concentration of black experiential energy’.” –Otolith Group<br /><br />Total running time: ca. 125 min.<br /><br /><strong>The screening will be followed by a Q&A with Yasmina Price and other participants TBA.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61020 <p>THE DOCTOR’S DREAM (1977, 24 min, 16mm, b&w.)<br />Preserved by SUNY Binghamton through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.<br /><br />DISORIENT EXPRESS (1996, 30 min, 35mm, silent)<br /><br />GEORGETOWN LOOP (1996, 11 min, 16mm, silent)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61114 <p>Gaston Kaboré<br />GOD’S GIFT / WEND KUUNI<br />1982, 75 min, 35mm-to-DCP. In More with English subtitles. Digitally restored by the Cinémathèque Royale de Belgique.<br />“WEND KUUNI is a landmark in African filmmakers’ attempts to ‘return to the sources’ of their culture, to recover a ‘usable’ African past to solve the problems of the African present. Kaboré adapts the measured rhythms of traditional African storytelling to create an authentically African cinematic language. He retells an ancient fable about a mute, memoryless orphan, driven from his homeland, who is renamed Wend Kuuni (‘God’s Gift’) by the grateful village which adopts him. Kaboré uses this simple tale to demonstrate that traditional Mossi values can still provide answers to many problems besetting modern Africa, fractured by rural dislocation, refugees, and political conflict.” –CALIFORNIA NEWSREEL<br /><span id="docs-internal-guid-c010c837-7fff-d9d1-c1b4-44168f729204"><span><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></span></p> Thursday, April 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61022 <p>Programs 3 & 4 present selected late works that foreground Jacobs’s experiments with volumetric 3-D space. Working in tandem with his computer co-conspirators Nisi Ariana, Antoine Catala, and Viktor Timofeev, Jacobs largely focused on creating “Eternalisms” – flickering, oscillating 3D images that can be seen without the need for glasses. Jacobs employed this process to reframe and revivify his street photography, video footage, and even found footage.<br /><br />Working seven days a week with his talented team over the last several years, Jacobs increased his productivity and expanded his output in ways that are both startling and inspiring. Expect to encounter his premiere foray into skateboard videos (WHEN TIMOFEEV MOVES, EVERYTHING MOVES), an abstract essay (FAILURE), cross-eyed 3D works, animations, and even “eternalized” documentation of his 2023 exhibit UP THE ILLUSION at the Broadway Windows on 10th St. and Broadway. All the works in these shows – most especially HOFFMANN STUDENT – demonstrate how Jacobs’s cinematic concerns largely developed out of, and ultimately returned to, his early training as a painter.<br /><br />Programs 3 & 4 are guest-programmed by Andrew Lampert. Please note, several of the works in these programs involve flashing or rapidly flickering images.<br /><br />THE WHOLE SHEBANG (2019, 5 min, digital)<br />HOFFMAN STUDENT (2022, 4.5 min, digital)<br />ASPIRING TO MUSIC (2021, 7 min, digital)<br />IN FRONT OF ANTHOLOGY (2021, 2 min, digital)<br />WHEN TIMOFEEV MOVES, EVERYTHING MOVES (2022, 12.5 min, digital)<br />DIMSUM AND DRAGONS (2019, 9 min, digital)<br />UP THE ILLUSION (2023, 23 min, digital)<br /><br />Total running time ca: 70 min.<br /><br /><strong>Followed by a Q&A with Jacobs’s collaborators, video editors Viktor Timofeev & Antoine Catala, moderated by Andrew Lampert.</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61118 <p>Thomas Allen Harris<br />VINTAGE: FAMILIES OF VALUE<br />1995, 72 min, 16mm<br />VINTAGE is an experimental documentary which looks at three African American families through the eyes of lesbian and gay siblings – including the filmmaker and his younger brother. Three groups of queer siblings use video cameras to articulate the multiple stories that co-exist within the space of family, negotiating sexuality as a point of departure to explore these relationships. VINTAGE crosses the boundaries of truth, gender, time, and power to create a collective and autobiographical portrait of modern American families.<br /><br />Preceded by:<br />Cheryl Dunye AN UNTITLED PORTRAIT (1993, 3 min, DCP)<br />Dunye employs home movies, old film clips, and her own spare visuals to sketch an oblique portrait of her older brother. The soundtrack, built around memory and anecdotes, grapples with the difficulties of portraiture while also revealing, almost as asides, pointed moments from Dunye’s family history.<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61024 <p>Programs 3 & 4 present selected late works that foreground Jacobs’s experiments with volumetric 3-D space. Working in tandem with his computer co-conspirators Nisi Ariana, Antoine Catala, and Viktor Timofeev, Jacobs largely focused on creating “Eternalisms” – flickering, oscillating 3D images that can be seen without the need for glasses. Jacobs employed this process to reframe and revivify his street photography, video footage, and even found footage.<br /><br />Working seven days a week with his talented team over the last several years, Jacobs increased his productivity and expanded his output in ways that are both startling and inspiring. Expect to encounter his premiere foray into skateboard videos (WHEN TIMOFEEV MOVES, EVERYTHING MOVES), an abstract essay (FAILURE), cross-eyed 3D works, animations, and even “eternalized” documentation of his 2023 exhibit UP THE ILLUSION at the Broadway Windows on 10th St. and Broadway. All the works in these shows – most especially HOFFMANN STUDENT – demonstrate how Jacobs’s cinematic concerns largely developed out of, and ultimately returned to, his early training as a painter.<br /><br />Programs 3 & 4 are guest-programmed by Andrew Lampert. Please note, several of the works in these programs involve flashing or rapidly flickering images.<br /><br />THE LOWDOWN ON THE ETERNALISM AND ITS LIMITATION IN CONVEYING REALITY (2024, 2 min, digital)<br />BMT (2025, 2 min, digital)<br />A SPIN THROUGH NIGHT CITY (2017, 4 min, digital)<br />FROM INTRODUCTION TO ORSON WELLES’ FALSTAFF; CHIMES AT MIDNIGHT (2022, 4.5 min, digital)<br />CARTOONISH 1-10 (2021, 10 min, digital)<br />EAT THE RICH: ALIGNING PERSPECTIVES AND OTHER CHALLENGES TO VIEWERS (2022, 10 min, digital)<br />FAILURE (2019, 28 min, digital)<br /><br />Total running time ca: 65 min.<br /><br /><strong>Introduced by Andrew Lampert and by Jacobs’s collaborators, video editors Viktor Timofeev & Antoine Catala.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 09