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, 10 Apr 2026 09:39:15 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61121 <p>Edward O. Bland<br />THE CRY OF JAZZ<br />1959, 34 min, 16mm-to-35mm. Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium.<br />THE CRY OF JAZZ is one of the most radical films of its era and a definitive landmark of the New American Cinema movement. Celebrated by Jonas Mekas and derided by James Baldwin among many others, CRY presents a still controversial and completely riveting analysis of jazz and Black culture that is as searing as it is honest. Intercutting incredible street footage of Chicago African-American life with a staged interracial party, CRY is part essay, part manifesto, and as startling today as it must have been in the late 1950s. Music is provided by the singular Sun Ra and his Arkestra, who are seen and heard performing at the height of their swing heyday. Shot with practically no budget by a volunteer crew numbering some 65 people, THE CRY OF JAZZ was the only film made by Ed Bland who went on to have a distinguished career as composer, arranger, and producer for the likes of Dizzy Gillespie, Elvin Jones, and many, many others.<br /><br />Alain Gomis<br />REWIND & PLAY<br />2022, 65 min, DCP. In English and French with English subtitles.<br />In December 1969, legendary jazz pianist and composer Thelonious Monk ended his European concert tour with a performance at the Salle Pleyel in Paris. Before the show, he was invited to appear on a French television program to perform and answer questions in an intimate setting. Using newly discovered footage from this recording, Alain Gomis reveals the disconnect between Monk and his interviewer, Henri Renaud, whose unwittingly trivializing approach conveys the casual racism and exploitation prevalent in the music industry at large. A fascinating behind-the-scenes documentary with extraordinary rarely-seen performances, REWIND & PLAY offers a unique opportunity to see Monk in a way that very few people did.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61095 <p>Jack Smith<br />SCOTCH TAPE (1962, 3 min, 16mm)<br />A junkyard musical.<br /><br />Jack Smith<br />FLAMING CREATURES <br />1963, 45 min, 16mm, b&w<br />“[Smith] graced the anarchic liberation of new American cinema with graphic and rhythmic power worthy of the best of formal cinema. He has attained for the first time in motion pictures a high level of art which is absolutely lacking in decorum; and a treatment of sex which makes us aware of the restraint of all previous filmmakers.” –FILM CULTURE<br /><br />Ron Rice<br />CHUMLUM (1964, 23 min, 16mm-to-35mm. With Jack Smith, Beverly Grant, Mario Montez, Joel Markman, Frances Francine, Guy Henson, Barry Titus, Zelda Nelson, Gerard Malanga, Barbara Rubin, and Frances Stillman. Music by Angus MacLise. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.)<br />“A hallucinatory micro-epic filmed during lulls in the production of Smith’s NORMAL LOVE and one of the great ‘heroic doses’ of ’60s underground cinema, a movie so sumptuously and serenely psychedelic it appears to have been printed entirely on gauze.” –Chuck Stephens, CINEMA SCOPE<br /><br />Total running time: ca. 75 min.<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong><br /><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61096 <p><span id="docs-internal-guid-cf234417-7fff-6f62-9b0b-c1f3e1fd071e"><span>NO PRESIDENT was Jack Smith’s third feature film. In this version, restored by filmmaker Jerry Tartaglia, the scenes alternate between elaborate tableaux shot at Smith’s Greene Street loft with found footage of former presidential candidate Wendell Willkie. The film features underground stars, including Tally Brown, Jerry Sims, Irving Rosenthal, Donna Kerness, Mario Montez, and Charles Henri Ford.<br /><br /></span></span>“The last of Jack Smith’s 16mm features – austerely black and white, more an exercise in sensibility than craft – evolved out of his November 1967 program, Horror and Fantasy at Midnight. Like Ken Jacobs’s STAR SPANGLED TO DEATH, Horror and Fantasy at Midnight would mix original material with found footage including newsreel footage of the 1940 Republican Convention that nominated Wendell Willkie to run for president. By late March 1968, Horror and Fantasy had coalesced into Kidnapping and Auctioning of Wendell Willkie (sic) by the Love Bandit – an all black-and-white presentation starring writer Irving Rosenthal as the infant Wendell abducted by a mustachioed pirate and sold on the block of a slave market. In early January 1969, the movie had its theatrical premiere as NO PRESIDENT. For musical accompaniment Smith played records and also used the soundtracks of the found material, albeit slowed down for being projected at silent speed. The surviving version NO PRESIDENT alternates scenes shot in the Plaster Foundation with found footage – including a Lowell Thomas travelogue of Sumatra, a clip, apparently from the late 1940s, of an unidentified couple singing ‘A Sunday Kind of Love’, and newsreel footage of candidate Willkie addressing the future Farmers of America. […] Parker Tyler would hail NO PRESIDENT as ‘an even more daring exploitation of the themes in FLAMING CREATURES, and the Selection Committee for the newly established Anthology Film Archives voted to include both in its canon of essential cinema.” –J. Hoberman</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><span> </span></p> Friday, April 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61124 <p>Wally Fall & Anyès Noel PLOWING THE STARS / FOUYÉ ZÉTWAL (2020, 14 min, DCP. In French Creole with English subtitles)<br />“On her way to meet her dad, a woman reflects on her life. Along the way, the country looks empty to her and, slowly, memories of past lives are coming back to her. Is it real? Or is it only a dream?” –THIRD HORIZON FILM FESTIVAL<br /><br />Morgan Quaintance MISSING TIME (2019, 15 min, DCP) <br />“Through a focus on alien abduction, cold war history, and Britain’s colonial history, MISSING TIME is a film that considers the relation between amnesia, concealed histories, state secrecy and the constitution of the self.” –LUX<br /><br />Terence Dixon MEETING THE MAN: JAMES BALDWIN IN PARIS (1971, 26 min, 16mm-to-DCP)<br />“A stunning portrait of meta-textual tension…filled with ingenious, subtle references to the absurd approach the white filmmakers in the room have taken in trying to bottle his perspective for mass consumption…. An invaluable and pertinent insight into the man’s disarming, enrapturing worldview, and a testament to his resilience, unparalleled intellect, and unreserved pride in the face of all the world had to throw at him.” –Nathaniel Brimmer-Beller, FILM DAZE<br /><br />Hussein Shariffe THE DISLOCATION OF AMBER (1975, 32 min, 16mm-to-DCP. In Arabic with English subtitles)<br />“THE DISLOCATION OF AMBER is a documentary film by Sudanese filmmaker Hussein Shariffe about the city of Suakin, a Sudanese port that has become ruins after a long history of civilization and prosperity. The film reflects on the colonial legacy and unfolds as an audiovisual elegy for the city, approached as a living archive where layers of time coexist, while sharp tensions emerge between memory and place.” –METROPOLIS ART CINEMA<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61127 <p>Michelle Parkerson & Ada Gay Griffin<br />A LITANY FOR SURVIVAL: THE LIFE AND WORK OF AUDRE LORDE<br />1995, 90 min, 16mm-to-DCP.<br />An epic portrait of the eloquent, award-winning poet, mother, teacher and activist, Audre Lorde, whose writings – spanning five decades – articulated some of the most important social and political visions of the century. From Lorde’s childhood roots in NYC’s Harlem to her battle with breast cancer, this moving film explores a life and a body of work that embodied the connections between the Civil Rights movement, the Women’s movement, and the struggle for lesbian and gay rights. At the heart of this documentary is Lorde’s own challenge to “envision what has not been and work with every fiber of who we are to make the reality and pursuit of that vision irresistible.”<br /><br /><strong>Co-presented by NewFest, New York’s largest presenter of LGBTQ+ film & media; for more info visit: https://newfest.org </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61099 <p>THE FILMS OF DZIGA VERTOV<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“Between 1922 and 1925, a total of 23 issues of Dziga Vertov’s newsreel series KINO-PRAVDA (KINO-TRUTH) appeared (albeit irregularly and in very few copies). Vertov’s goal was to create a kind of ‘screen newspaper’; the title is a tribute to the newspaper Pravda founded by Lenin. Just like the KINONEDELJA (KINO-WEEK) newsreel series (1918-19), the KINO-PRAVDA issues offer a fascinating insight into the early Soviet Union and demonstrate the rapid development of Vertov’s film language. The 22 surviving issues (No. 12 is lost) have been digitized and subtitled in German and English by the Austrian Film Museum.” –AUSTRIAN FILM MUSEUM</p> <p>[<em>For more info about Vertov and the KINONEDELJA and KINO-PRAVDA series, including streaming videos, visit: </em><a href="https://vertov.filmmuseum.at/en"><em>https://vertov.filmmuseum.at/en</em></a>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61130 <p>Isaac Julien<br />YOUNG SOUL REBELS<br />1991, 105 min, 35mm-to-DCP<br />“Isaac Julien’s YOUNG SOUL REBELS is an energetic trip into 1970s Britain and its counterculture groups. Disc Jockeys Caz and Chris run their own underground radio show, blasting northern soul music across the airways. During a broadcast, their friend TJ is killed while cruising in a park. While Caz tries to process the death, Chris comes across a cassette tape from that night which recorded TJ’s last moments. The two are thrown on separate paths as they try to solve their friend’s death and get funk music on air. Julien expertly demonstrates the tension between different social, economic, and racial groups in this part-vibrant coming-of-age, part-crime-solving thriller film. As we’re confronted with the realities of existing within society’s margins, we’re reminded of the solace that comes from being surrounded by good friends and even better music.” –Ollie Coombs, TIFF<br /><br />“From the moment Parliament’s ‘P-Funk Wants to Get Funked Up’ erupts over the opening credits of YOUNG SOUL REBELS – only to be rudely interrupted by Poly Styrene wailing out, ‘Identity is the crisis, can’t you see’ – we know that we’re in for a wild ride. The changes keep coming as an interracial sex act in the bushes turns into a murder, setting off a police investigation and waves of controversy in London’s black community. The year is 1977, and while some people are busy getting ready to celebrate Queen Elizabeth’s Silver Jubilee, others have more important things on their minds. Punks and Teds, National Front and Natty Dreads are fighting in the streets, and the authorities seem more interested in harassing the victim’s friends than in solving the crime. Meanwhile, black DJs Caz and Chris dream of playing music so funky that ‘even the white boys will shake a leg.’ But when Caz meets a cute white punk named Billibud, it’s shagging he wants, not shaking. As the romance and the manhunt both heat up, Chris finds he is a suspect in the murder, and YOUNG SOUL REBELS becomes a riveting look at the forces of race, class and sex that reshaped the U.K. just before the Thatcher years.” –FRAMELINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61100 <p>(KINOGLAZ)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“KINOGLAZ is a didactic work, centered on episodes which articulate major preoccupations of the young Soviet regime: it deals with the manufacture and distribution of bread,…the processing and distribution of meat, celebrates the constructions of youth camps and discusses the problem of alcoholism. It introduces Vertov’s formal adoption of the articulation of filmmaking technique as his subject. It begins, as well, to suggest what we may understand by ‘the negative of time’ as a key ‘to the Communist decoding of reality.’ Looking for ‘the negative of time,’ we find it in the use of reverse motion as analytic strategy.” –Annette Michelson, “From Magician to Epistemologist” <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61134 <p>Barbara McCullough WATER RITUAL #1: AN URBAN RITE OF PURIFICATION (1979, 4 min, 35mm)<br />This cathartic film links the present with the ancestral past. A graceful young African American woman emerges from the ruins of a crumbling building. She disrobes, and slowly approaches a sacred offering space. Fully unclothed, Milanda sits on the ground among objects representing her deteriorating urban environment as well as a female fertility statue on an altar. In her final act of purification, she dispels the societal ills and frustrations rampant in her body and soul.<br /><br />Zeinabu irene Davis CYCLES (1989, 17 min, 16mm-to-DCP)<br />“As a woman anxiously awaits her overdue period, she performs African-based rituals of purification. She cleans house and body, and calls on the spirits (Orishas in the Yoruba tradition), receiving much needed inspiration and assurance in a dream. The film combines beautifully intimate still and moving images of the woman’s body and home space, along with playful stop-motion sequences.” –Jacqueline Stewart, UCLA<br /><br />Ja’tovia Gary QUIET AS IT’S KEPT (2023, 26 min, Super-8mm-and-16mm-to-DCP)<br />“A contemporary cinematic response to ‘The Bluest Eye’, Toni Morrison’s first novel. An evocative illustration of the everyday particulars of colorism and its ravaging effects on the intramural, the film collages together vintage Hollywood, direct animation, original Super 8 and 16mm film footage, and repurposed social media clips. The film considers questions around the book’s themes of internalized and externalized anti-blackness in contemporary culture.” –MEDIA CITY FILM FESTIVAL<br /><br />Julie Dash FOUR WOMEN (1975, 7 min, 16mm-to-DCP)<br />“Set to Nina Simone’s stunning ballad of the same name, this imaginatively choreographed dance interpretation explores four common stereotypes of Black women.” –BLACK FILM ARCHIVE<br /><br />Ayoka Chenzira SYVILLA, THEY DANCE TO HER DRUM (1979, 22 min, 16mm)<br />“SYVILLA portrays the life of African-American concert dancer, Syvilla Fort, whose enormous contributions to the performing arts and her significance as a teacher left an indelible print on successive generations of Black dance-artists.” –CINENOVA<br /><br />Total running time: ca. 80 min.<br /><br /><em><strong>The screening on Fri, April 17 will be followed by a discussion between Yasmina Price and artist, writer, and curator Daniella Brito.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /></p> Sunday, April 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61102 <p>(SHAGHAI, SOVIET!)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“FORWARD, SOVIET! was commissioned by the Moscow soviet for the 1926 elections. Structurally, the film compares prerevolutionary famine and disease with the dynamism of revolutionary life. Then after a sequence on newborn babies, Vertov’s irrepressible futurism bursts forth. Buses and cars hold a political rally without the benefit of their drivers; an extended montage celebrates industrial forms with such gusto as to make Léger’s contemporaneous BALLET MÉCANIQUE seem virtually Luddite.” –J. Hoberman, VILLAGE VOICE <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61137 <p>Med Hondo & Bernard Nantet BALLADE AUX SOURCES (1965, 31 min, 16mm-to-DCP. Collection Ciné-Archives.)<br />“BALLADE AUX SOURCES, Med Hondo’s first film, is a documentary about the journey of an African emigrant through his native land shortly after the independence of North Africa. This film allows us to glimpse the themes that are dear to Med Hondo: pan-Africanism and pre-colonial African history. It is presented as a ‘restoration in progress’ without sound.” –Annabelle Aventurin<br /><br />Ben Caldwell I & I: AN AFRICAN ALLEGORY (1979, 32 min, 16mm-to-digital)<br />“Drawing from Ayi Kwei Armah’s novel, ‘Two Thousand Seasons’, Caldwell meditates on reciprocity and on the concept of ‘I and I’ which postulates no division between people, whereas the splitting of ‘you’ from ‘I’ is an invention of the devil designed to brew trouble in the world.” –Allyson Nadia Field, UCLA<br /><br />Ephraim Asili FLUID FRONTIERS (2017, 23 min, 16mm-to-DCP)<br />“FLUID FRONTIERS is the fifth and final film in the series entitled “The Diaspora Suite”, exploring Asili’s personal relationship to the African Diaspora. Shot along the Detroit River, FLUID FRONTIERS explores the relationship between concepts of resistance and liberation, exemplified by the Underground Railroad, Broadside Press, and artworks of local Detroit Artists. All of the poems are read from original copies of Broadside Press publications by natives of the Detroit/Windsor region, and were shot without rehearsal.” –VIDEO DATA BANK<br /><br />Total running time: ca. 90 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 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61103 <p>(SHESTAIA CHAST MIRA)<br /><br />“What do Jean-Luc Godard, Jean Rouch, Peter Kubelka, Stan Brakhage, Allen Funt, and Santiago Alvarez have in common? All of them were anticipated, if not directly influenced, by the genius of Dziga Vertov, one of the half-dozen most important personalities in the history of cinema, and a key figure in 20th century culture as a whole.” –J. Hoberman, VILLAGE VOICE<br /><br />“[A SIXTH OF THE WORLD] was commissioned by the government trade agency, Gostorg. Vertov called [it] a ‘lyrical cine-poem,’ and he used declamatory titles to address the audience in the manner of Mayakovsky or Whitman. Dramatizing the full expanse of the Soviet Union (as well as demonstrating Vertov’s fast cutting), A SIXTH OF THE WORLD proved his first popular success and attracted considerable attention abroad.” –J. Hoberman, VILLAGE VOICE <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61140 <p>Marlon Riggs<br />BLACK IS…BLACK AIN’T<br />1995, 87 min, 16mm-to-DCP<br />“The final film by Marlon Riggs, BLACK IS…BLACK AIN’T jumps into the middle of explosive debates over Black identity. White Americans have always stereotyped African Americans. But the rigid definitions of ‘Blackness’ that African Americans impose on each other, Riggs claims, have also been devastating. Is there an essential Black identity? Is there a litmus test defining the real Black man and true Black woman? Riggs uses his grandmother’s gumbo as a metaphor for the rich diversity of Black identities. His camera traverses the country, bringing us face to face with Black folks young and old, rich and poor, rural and urban, gay and straight, grappling with the paradox of numerous, often contested definitions of Blackness. […] Riggs’ own urgent quest for self-definition and community, as a Black gay man dying from AIDS, ties the multiple perspectives together. Hooked up to an IV in his hospital bed, Riggs takes strength for his struggle against AIDS from the continual resilience of African Americans in the face of overwhelming oppression. As his death nears, he conjures up the image of a Black community nurturing and celebrating the difference and creativity in each one of us.” –FRAMELINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, April 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61115 <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> Monday, April 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61026 <p>CYCLOPEAN 3D: LIFE WITH A BEAUTIFUL WOMAN (2011, 47 min, digital, silent)<br />Preceded by:<br />FLO ROUNDS A CORNER (1999, 6 min, digital, silent)<br /><br />Total running time: ca. 70 min.<br /><br /><strong>Introduced by Amy Taubin.</strong></p> <p><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></p> Wednesday, April 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61119 <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> Wednesday, April 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61028 <p>THE WHIRLED<br />1956-63 [compiled in early 1990s], 19 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br /><br />THE SKY SOCIALIST: ENVIRONS AND OUT-TAKES<br />Filmed 1964-66/completed 2019, 47 min, 8mm-to-digital, silent. Restored by Anthology Film Archives with support from the National Endowment for the Arts.<br /><br />Total running time: ca. 70 min. <br /><strong><br />Introduced by Amy Taubin.</strong></p> <p><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></p> Wednesday, April 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61128 <p>Michelle Parkerson & Ada Gay Griffin<br />A LITANY FOR SURVIVAL: THE LIFE AND WORK OF AUDRE LORDE<br />1995, 90 min, 16mm-to-DCP.<br />An epic portrait of the eloquent, award-winning poet, mother, teacher and activist, Audre Lorde, whose writings – spanning five decades – articulated some of the most important social and political visions of the century. From Lorde’s childhood roots in NYC’s Harlem to her battle with breast cancer, this moving film explores a life and a body of work that embodied the connections between the Civil Rights movement, the Women’s movement, and the struggle for lesbian and gay rights. At the heart of this documentary is Lorde’s own challenge to “envision what has not been and work with every fiber of who we are to make the reality and pursuit of that vision irresistible.”<br /><br /><strong>Co-presented by NewFest, New York’s largest presenter of LGBTQ+ film & media; for more info visit: https://newfest.org </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 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61125 <p>Wally Fall & Anyès Noel PLOWING THE STARS / FOUYÉ ZÉTWAL (2020, 14 min, DCP. In French Creole with English subtitles)<br />“On her way to meet her dad, a woman reflects on her life. Along the way, the country looks empty to her and, slowly, memories of past lives are coming back to her. Is it real? Or is it only a dream?” –THIRD HORIZON FILM FESTIVAL<br /><br />Morgan Quaintance MISSING TIME (2019, 15 min, DCP) <br />“Through a focus on alien abduction, cold war history, and Britain’s colonial history, MISSING TIME is a film that considers the relation between amnesia, concealed histories, state secrecy and the constitution of the self.” –LUX<br /><br />Terence Dixon MEETING THE MAN: JAMES BALDWIN IN PARIS (1971, 26 min, 16mm-to-DCP)<br />“A stunning portrait of meta-textual tension…filled with ingenious, subtle references to the absurd approach the white filmmakers in the room have taken in trying to bottle his perspective for mass consumption…. An invaluable and pertinent insight into the man’s disarming, enrapturing worldview, and a testament to his resilience, unparalleled intellect, and unreserved pride in the face of all the world had to throw at him.” –Nathaniel Brimmer-Beller, FILM DAZE<br /><br />Hussein Shariffe THE DISLOCATION OF AMBER (1975, 32 min, 16mm-to-DCP. In Arabic with English subtitles)<br />“THE DISLOCATION OF AMBER is a documentary film by Sudanese filmmaker Hussein Shariffe about the city of Suakin, a Sudanese port that has become ruins after a long history of civilization and prosperity. The film reflects on the colonial legacy and unfolds as an audiovisual elegy for the city, approached as a living archive where layers of time coexist, while sharp tensions emerge between memory and place.” –METROPOLIS ART CINEMA<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-60911 <p><strong>U.S. PREMIERE!</strong><br /><br />In the early 1990s, as the Wichí community of northern Argentina fought for legal recognition of their ancestral territory, a young man named Miguel Ángel Lorenzo began filming what he knew best: everyday life. With a Hi8 camcorder in hand, he recorded walks through the forest, and shared routines, school gatherings, visits between neighbors, and moments when the outside world intruded – including the presence of a judge. Decades later, filmmaker Daniela Seggiaro returns to these images, assembling a film shaped by Indigenous perspectives and community memory. OUR DEMAND moves beyond the courtroom to reveal a worldview in which land is not property but a living relationship, where language, forest, and communal life are inseparable. The result is a quietly powerful testament to a struggle that is at once legal, cultural, and profoundly existential.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61141 <p>Marlon Riggs<br />BLACK IS…BLACK AIN’T<br />1995, 87 min, 16mm-to-DCP<br />“The final film by Marlon Riggs, BLACK IS…BLACK AIN’T jumps into the middle of explosive debates over Black identity. White Americans have always stereotyped African Americans. But the rigid definitions of ‘Blackness’ that African Americans impose on each other, Riggs claims, have also been devastating. Is there an essential Black identity? Is there a litmus test defining the real Black man and true Black woman? Riggs uses his grandmother’s gumbo as a metaphor for the rich diversity of Black identities. His camera traverses the country, bringing us face to face with Black folks young and old, rich and poor, rural and urban, gay and straight, grappling with the paradox of numerous, often contested definitions of Blackness. […] Riggs’ own urgent quest for self-definition and community, as a Black gay man dying from AIDS, ties the multiple perspectives together. Hooked up to an IV in his hospital bed, Riggs takes strength for his struggle against AIDS from the continual resilience of African Americans in the face of overwhelming oppression. As his death nears, he conjures up the image of a Black community nurturing and celebrating the difference and creativity in each one of us.” –FRAMELINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61135 <p>Barbara McCullough WATER RITUAL #1: AN URBAN RITE OF PURIFICATION (1979, 4 min, 35mm)<br />This cathartic film links the present with the ancestral past. A graceful young African American woman emerges from the ruins of a crumbling building. She disrobes, and slowly approaches a sacred offering space. Fully unclothed, Milanda sits on the ground among objects representing her deteriorating urban environment as well as a female fertility statue on an altar. In her final act of purification, she dispels the societal ills and frustrations rampant in her body and soul.<br /><br />Zeinabu irene Davis CYCLES (1989, 17 min, 16mm-to-DCP)<br />“As a woman anxiously awaits her overdue period, she performs African-based rituals of purification. She cleans house and body, and calls on the spirits (Orishas in the Yoruba tradition), receiving much needed inspiration and assurance in a dream. The film combines beautifully intimate still and moving images of the woman’s body and home space, along with playful stop-motion sequences.” –Jacqueline Stewart, UCLA<br /><br />Ja’tovia Gary QUIET AS IT’S KEPT (2023, 26 min, Super-8mm-and-16mm-to-DCP)<br />“A contemporary cinematic response to ‘The Bluest Eye’, Toni Morrison’s first novel. An evocative illustration of the everyday particulars of colorism and its ravaging effects on the intramural, the film collages together vintage Hollywood, direct animation, original Super 8 and 16mm film footage, and repurposed social media clips. The film considers questions around the book’s themes of internalized and externalized anti-blackness in contemporary culture.” –MEDIA CITY FILM FESTIVAL<br /><br />Julie Dash FOUR WOMEN (1975, 7 min, 16mm-to-DCP)<br />“Set to Nina Simone’s stunning ballad of the same name, this imaginatively choreographed dance interpretation explores four common stereotypes of Black women.” –BLACK FILM ARCHIVE<br /><br />Ayoka Chenzira SYVILLA, THEY DANCE TO HER DRUM (1979, 22 min, 16mm)<br />“SYVILLA portrays the life of African-American concert dancer, Syvilla Fort, whose enormous contributions to the performing arts and her significance as a teacher left an indelible print on successive generations of Black dance-artists.” –CINENOVA<br /><br />Total running time: ca. 80 min.<br /><br /><em><strong>The screening on Fri, April 17 will be followed by a discussion between Yasmina Price and artist, writer, and curator Daniella Brito.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /></p> Friday, April 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61056 <p>“Giacobbe (Pierre Clémenti) is a frustrated drama student who is saved from suicide by a man who looks exactly like him. This other Giacobbe is suave and capable of action – qualities the first Giacobbe lacks. As the boundary between the two men begins to erode, Giacobbe II and his revolutionary ideas take over: he builds a guillotine, teaches his fellow students how to make Molotov cocktails, and unleashes a kind of theatrical anarchy onto the streets of Rome.” –Chris Shields, SCREEN SLATE<br /><br />“An homage to the French New Wave, and more particularly to Jean-Luc Godard, who fascinated Bertolucci when he made this film, PARTNER is a Brechtian patchwork on schizophrenia haunted by the ghosts of Artaud and especially Dostoevsky (whose novel ‘The Double’ is obsessed with the dissolution of moral identity). The critique of consumer society in the context of the 1968 youth revolution is expressed through Roland Barthes, as Tina Aumont recites his essay ‘Soap-Powders and Detergents’ (from ‘Mythologies’), probing their political power of separation and purification. The film also slips in a nod to Cocteau, with Aumont's heavily made-up eyelids evoking ORPHEUS.” –Nina Verneret<br /><br />Preceded by:<br />Paola Rispoli JAKOB IL REALE E SOSIA IL VERO (1968, 11 min, 35mm-to-DCP. Courtesy of the Cineteca di Bologna.)<br />“In this mysterious and magnificent small documentary, hardly ever seen or distributed…it is April 1968 and Bernardo Bertolucci is shooting PARTNER. We see him doing takes, retakes, discussing and giving directions. With him are the director of photography Ugo Piccone, as well as actors Pierre Clémenti, Tina Aumont, Ninetto Davoli… We can see that cinema for Bertolucci is constant exploration and self-exploration.” –Andrea Meneghelli<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, April 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61116 <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> Saturday, April 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61131 <p>Isaac Julien<br />YOUNG SOUL REBELS<br />1991, 105 min, 35mm-to-DCP<br />“Isaac Julien’s YOUNG SOUL REBELS is an energetic trip into 1970s Britain and its counterculture groups. Disc Jockeys Caz and Chris run their own underground radio show, blasting northern soul music across the airways. During a broadcast, their friend TJ is killed while cruising in a park. While Caz tries to process the death, Chris comes across a cassette tape from that night which recorded TJ’s last moments. The two are thrown on separate paths as they try to solve their friend’s death and get funk music on air. Julien expertly demonstrates the tension between different social, economic, and racial groups in this part-vibrant coming-of-age, part-crime-solving thriller film. As we’re confronted with the realities of existing within society’s margins, we’re reminded of the solace that comes from being surrounded by good friends and even better music.” –Ollie Coombs, TIFF<br /><br />“From the moment Parliament’s ‘P-Funk Wants to Get Funked Up’ erupts over the opening credits of YOUNG SOUL REBELS – only to be rudely interrupted by Poly Styrene wailing out, ‘Identity is the crisis, can’t you see’ – we know that we’re in for a wild ride. The changes keep coming as an interracial sex act in the bushes turns into a murder, setting off a police investigation and waves of controversy in London’s black community. The year is 1977, and while some people are busy getting ready to celebrate Queen Elizabeth’s Silver Jubilee, others have more important things on their minds. Punks and Teds, National Front and Natty Dreads are fighting in the streets, and the authorities seem more interested in harassing the victim’s friends than in solving the crime. Meanwhile, black DJs Caz and Chris dream of playing music so funky that ‘even the white boys will shake a leg.’ But when Caz meets a cute white punk named Billibud, it’s shagging he wants, not shaking. As the romance and the manhunt both heat up, Chris finds he is a suspect in the murder, and YOUNG SOUL REBELS becomes a riveting look at the forces of race, class and sex that reshaped the U.K. just before the Thatcher years.” –FRAMELINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61064 <p>“Roland Barthes famously said, ‘Garbo’s is the Face, [Audrey] Hepburn’s is the Event.’ The facial showdown between Idea and Event is played out again in LES HAUTES SOLITUDES, Philippe Garrel’s black-and-white silent film of 1974.” –Jonathan Romney, FILM COMMENT<br /><br />“Watching LES HAUTES SOLITUDES calls to mind Romain Gary’s suicide note: ‘Nothing to do with Jean Seberg.’ It is above all a portrait: filmed just a few years before Seberg’s disappearance, it captures in documentary fashion her pale, drawn face, her moments of despair, her swallowed pills, the suspension of a smile or a sidelong glance at the camera. Against this, Tina Aumont’s dark-haired silhouette and insouciant youth form a quiet counterpoint – self-absorbed, silky-skinned, unburdened. The PERSONA reference is inescapable. Like Bergman’s film, LES HAUTES SOLITUDES enacts a dialogue between two women who accompany and converse with each other, who embrace and support one another – though the editing keeps pulling them apart.” –Nina Verneret<br /><br /><em><strong>The screening on Sat, April 18 will be followed by a discussion between series curator Nina Verneret and writer and editor Beatrice Loayza.</strong></em><br /><strong><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61122 <p>Edward O. Bland<br />THE CRY OF JAZZ<br />1959, 34 min, 16mm-to-35mm. Restored by Anthology Film Archives with funding provided by The Film Foundation. Lab work by Cineric Inc.; sound restoration by BluWave Audio. Additional support from The Orphans Film Symposium.<br />THE CRY OF JAZZ is one of the most radical films of its era and a definitive landmark of the New American Cinema movement. Celebrated by Jonas Mekas and derided by James Baldwin among many others, CRY presents a still controversial and completely riveting analysis of jazz and Black culture that is as searing as it is honest. Intercutting incredible street footage of Chicago African-American life with a staged interracial party, CRY is part essay, part manifesto, and as startling today as it must have been in the late 1950s. Music is provided by the singular Sun Ra and his Arkestra, who are seen and heard performing at the height of their swing heyday. Shot with practically no budget by a volunteer crew numbering some 65 people, THE CRY OF JAZZ was the only film made by Ed Bland who went on to have a distinguished career as composer, arranger, and producer for the likes of Dizzy Gillespie, Elvin Jones, and many, many others.<br /><br />Alain Gomis<br />REWIND & PLAY<br />2022, 65 min, DCP. In English and French with English subtitles.<br />In December 1969, legendary jazz pianist and composer Thelonious Monk ended his European concert tour with a performance at the Salle Pleyel in Paris. Before the show, he was invited to appear on a French television program to perform and answer questions in an intimate setting. Using newly discovered footage from this recording, Alain Gomis reveals the disconnect between Monk and his interviewer, Henri Renaud, whose unwittingly trivializing approach conveys the casual racism and exploitation prevalent in the music industry at large. A fascinating behind-the-scenes documentary with extraordinary rarely-seen performances, REWIND & PLAY offers a unique opportunity to see Monk in a way that very few people did.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, April 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61068 <p>In May 1968, Garrel joined his friends on the barricades of Paris, and THE VIRGIN’S BED, begun just a few months later, echoes with that period’s rebellious spirit. Clémenti plays a Christ reluctant to assume his earthly mission. As the Virgin Mary, Zouzou attempts to reconcile him with his duty. But Garrel invokes the Christian narrative only to reject a strict retelling of that story. Made without a script and under the influence of LSD, THE VIRGIN’S BED is minimally concerned with traditional religion. With an episodic and non-chronological narrative, Garrel’s film reminds us of the contestatory attitude of the ’68 generation for whom Jesus was a hippie avant la lettre.<br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></p> Saturday, April 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61074 <p>LA RÉVOLUTION N’EST QU’UN DÉBUT. CONTINUONS LE COMBAT<br />1968, 22 min, 16mm-to-DCP, silent. Courtesy of the Cinémathèque Française.<br />“Pierre Clémenti’s [1968 film] follows the actor and filmmaker during the May ’68 protests, which occurred during the making of Bernardo Bertolucci’s PARTNER in Italy. The film documents Clémenti’s extensive travels between the demonstrations in Paris and the set of Bertolucci’s film in Rome, thereby capturing his double life as both activist and artist. Intercut with footage of student protests and police presence – which features indelible slogans like ‘Power to the imagination,’ ‘Theater in the streets,’ and ‘Poetry in the Streets’ – are layered images of family (such as his son Balthazar) and friends (including celebrated actor and singer Jean Pierre Kalfon [and Tina Aumont]).” –Jon Gartenberg<br /><br />POSITANO<br />1969, 28 min, 16mm-to-DCP, silent. Courtesy of the Cinémathèque Française.<br />“Perched on the rocks of the island [of Positano], the house of Frédéric Pardo and Tina Aumont became, in 1968, a meeting place for the French ‘underground.’ Clémenti lived in Pardo and Aumont’s house for some time and, in POSITANO, created images of dazzling sensuality. Beyond Clémenti’s infatuation with the faces and bodies he captures, often naked, in the Mediterranean landscape, the film reveals the beauty of a utopia where communal living and creativity was achieved at the height of the late 1960s counterculture.” –Jon Gartenberg<br /><br />Total running time: ca. 55 min.<br /><strong><br />The screening will be introduced by writer and publisher Stephanie LaCava (whose Small Press Books published a translation of Clémenti’s <a href="https://shop.smallpressnyc.com/products/a-few-personal-messages">“A Few Personal Messages”</a> in 2022).</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 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61138 <p>Med Hondo & Bernard Nantet BALLADE AUX SOURCES (1965, 31 min, 16mm-to-DCP. Collection Ciné-Archives.)<br />“BALLADE AUX SOURCES, Med Hondo’s first film, is a documentary about the journey of an African emigrant through his native land shortly after the independence of North Africa. This film allows us to glimpse the themes that are dear to Med Hondo: pan-Africanism and pre-colonial African history. It is presented as a ‘restoration in progress’ without sound.” –Annabelle Aventurin<br /><br />Ben Caldwell I & I: AN AFRICAN ALLEGORY (1979, 32 min, 16mm-to-digital)<br />“Drawing from Ayi Kwei Armah’s novel, ‘Two Thousand Seasons’, Caldwell meditates on reciprocity and on the concept of ‘I and I’ which postulates no division between people, whereas the splitting of ‘you’ from ‘I’ is an invention of the devil designed to brew trouble in the world.” –Allyson Nadia Field, UCLA<br /><br />Ephraim Asili FLUID FRONTIERS (2017, 23 min, 16mm-to-DCP)<br />“FLUID FRONTIERS is the fifth and final film in the series entitled “The Diaspora Suite”, exploring Asili’s personal relationship to the African Diaspora. Shot along the Detroit River, FLUID FRONTIERS explores the relationship between concepts of resistance and liberation, exemplified by the Underground Railroad, Broadside Press, and artworks of local Detroit Artists. All of the poems are read from original copies of Broadside Press publications by natives of the Detroit/Windsor region, and were shot without rehearsal.” –VIDEO DATA BANK<br /><br />Total running time: ca. 90 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 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61076 <p>Print from the CSC-Cineteca Nazionale (Rome).<br /><br />“To the viewers, this movie is not a story, but a card game. This is why the beginning is not credible, nor is the ending. You are the players. Play well and win.” –opening title of ARCANA<br /><br />“Madame Tarantino (Lucia Bosé), a fraudulent psychic, runs a clairvoyant practice in which her unnamed son (Maurizio Degli Esposti) is the one who holds genuine supernatural powers. She is as manipulative as he is dark and brooding, which leads to a fixation on a young woman (Tina Aumont). Both corrupting forces – charlatanism and black magic – collide and sow chaos throughout the community.<br /><br />As the word “arcana” suggests, mystery lies at the heart of the film. It remains deliberately unclear what the film is ultimately about: authoritarian governments, gender-assigned roles, the disintegration of patriarchal society, psychedelics, incest, repressed sexuality.<br /><br />ARCANA is a parable of the palpable madness of 1970s Milan, where spiritualism serves to exorcise a community confined within the beliefs and superstitions of religion and a suffocating authoritarian society. The style is surrealist in its use of symbols – a donkey hoisted to the roof of a building, for instance – and thriller-like, hypnotic, somewhere between Buñuel and Jodorowsky. A box office failure upon its release, it is nonetheless a film that deserves to be rediscovered.” –Nina Verneret<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61132 <p>Isaac Julien<br />YOUNG SOUL REBELS<br />1991, 105 min, 35mm-to-DCP<br />“Isaac Julien’s YOUNG SOUL REBELS is an energetic trip into 1970s Britain and its counterculture groups. Disc Jockeys Caz and Chris run their own underground radio show, blasting northern soul music across the airways. During a broadcast, their friend TJ is killed while cruising in a park. While Caz tries to process the death, Chris comes across a cassette tape from that night which recorded TJ’s last moments. The two are thrown on separate paths as they try to solve their friend’s death and get funk music on air. Julien expertly demonstrates the tension between different social, economic, and racial groups in this part-vibrant coming-of-age, part-crime-solving thriller film. As we’re confronted with the realities of existing within society’s margins, we’re reminded of the solace that comes from being surrounded by good friends and even better music.” –Ollie Coombs, TIFF<br /><br />“From the moment Parliament’s ‘P-Funk Wants to Get Funked Up’ erupts over the opening credits of YOUNG SOUL REBELS – only to be rudely interrupted by Poly Styrene wailing out, ‘Identity is the crisis, can’t you see’ – we know that we’re in for a wild ride. The changes keep coming as an interracial sex act in the bushes turns into a murder, setting off a police investigation and waves of controversy in London’s black community. The year is 1977, and while some people are busy getting ready to celebrate Queen Elizabeth’s Silver Jubilee, others have more important things on their minds. Punks and Teds, National Front and Natty Dreads are fighting in the streets, and the authorities seem more interested in harassing the victim’s friends than in solving the crime. Meanwhile, black DJs Caz and Chris dream of playing music so funky that ‘even the white boys will shake a leg.’ But when Caz meets a cute white punk named Billibud, it’s shagging he wants, not shaking. As the romance and the manhunt both heat up, Chris finds he is a suspect in the murder, and YOUNG SOUL REBELS becomes a riveting look at the forces of race, class and sex that reshaped the U.K. just before the Thatcher years.” –FRAMELINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61079 <p>“Cult film fans may know Tinto Brass for sleazy epics like CALIGULA (1979) and SALON KITTY (1976)…but there exists an earlier strand of his career, one altogether more offbeat and politically-charged, especially his trio of pop psychedelic experiments: DEADLY SWEET (1967), ATTRACTION (1969), and the trippiest, most mind-boggling of them all, THE HOWL, loosely inspired by the classic beatnik poem by Allen Ginsberg. A beautiful young bride named Anita (Tina Aumont) escapes oppressive modern society by jilting her conformist business tycoon fiancé at the altar and setting off on a wacky, globe-trotting adventure across increasingly bizarre lands. Her travelling companion is Coso, a Charlie Chaplinesque circus clown prone to surreal philosophical musings and outrageous disguises. Together these amiable anarchists visit a sex-club hotel (where Anita gets intimate with guests male, female, and animal), escape from a family of naked bourgeois cannibals living up a tree, encounter an array of talking animals and a philosophy-spouting rock, start a riot in a political prison, liberate a town from a sadistic army, battle a wind-up midget dictator and freak-out in psychedelic orgies with naked hippie girls. […] At the center of the whirlwind rests a super-charged performance from Tina Aumont, who remains articulate and captivating with her extraordinarily expressive, doe-like eyes, no matter how off-the-wall Brass’ imagination gets.” –Andrew Pragasam, THE SPINNING IMAGE<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61069 <p>In May 1968, Garrel joined his friends on the barricades of Paris, and THE VIRGIN’S BED, begun just a few months later, echoes with that period’s rebellious spirit. Clémenti plays a Christ reluctant to assume his earthly mission. As the Virgin Mary, Zouzou attempts to reconcile him with his duty. But Garrel invokes the Christian narrative only to reject a strict retelling of that story. Made without a script and under the influence of LSD, THE VIRGIN’S BED is minimally concerned with traditional religion. With an episodic and non-chronological narrative, Garrel’s film reminds us of the contestatory attitude of the ’68 generation for whom Jesus was a hippie avant la lettre.<br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></p> Monday, April 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61083 <p>A towering terror from the end of the 1970s giallo boom, TORSO finds director Sergio Martino reveling in the genre’s time-honored traditions while also laying the groundwork for the modern slasher. It delivers copious violence, sleaze, and one of the tensest cat-and-mouse games ever committed to celluloid. A maniac prowls the streets of Perugia, targeting attractive university students. Alarmed at the plummeting life expectancy of the student body, Jane (Suzy Kendall) and her friends (including Tina Aumont) elope to a secluded country villa to discover that, far from having left the terror behind, they’ve brought it with them…<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, April 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61086 <p>“Fellini’s most extravagant and courageous dream. […] Fellini’s version of the life of Casanova is similar to an effulgent carnival. The film is permeated with a grandiose style, so brilliant in visual effects that the sexuality of the hero becomes more comic than concupiscent. Although Fellini had read most, if not all, of Casanova’s autobiography (twelve volumes!), he makes the episodes of seduction a showcase for his own philosophies of life from youth to old age. The casting, mostly from open calls, exhibits the director’s quest for unusual faces; Casanova is a gallery of grotesques. There seems to be some conjecture about how Donald Sutherland was cast as Casanova, because his enactment of the role is strictly symbolic. The opening sequence of the film, with its stunning imagery of Venice at carnival time, the gigantic head of Venus rising from the Grand Canal, prepares one for an onslaught of memorable images.” –Albert Johnson, FILM QUARTERLY</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, April 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61090 <p>Ivan Galietti<br />ANTI STAR TINA AUMONT<br />2025 (work in progress), ca. 30 min, digital. In English, French, and Italian with English subtitles.<br />This program features an extended excerpt from ANTI STAR TINA AUMONT, a work-in-progress portrait of Tina Aumont by her longtime friend, artist and filmmaker Ivan Galietti (POMPEII NEW YORK). Through private moments, never-before-seen interviews, and film clips, this homage attempts to reveal the human being beyond the media clichés.<br /><br />Preceded by:<br />Frédéric Pardo<br />HOME MOVIE: NEW YORK<br />1968, 20 min, 8mm-to-DCP, silent. Courtesy of the Cinémathèque Française.<br /><br />Total running time: ca. 55 min.<br /><br /><em><strong>Ivan Galietti will be here in person for the screening on Wed, April 22!</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 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61030 <p>“For more than fifty years, Ken Jacobs was primarily focused on expanding beyond cinema’s traditional two-dimensional surface, creating unprecedented experiences of spatial depth the eye ordinarily cannot see. Whether through nuances of choreographed movement in 3D shadow plays, the use of dual projectors to reveal hidden spaces in 100-year-old films, the expressive transformations of mysterious abstractions, or the animated gesturing of ordinary street objects, Jacobs intensifies and reimagines vision itself. The digital works in this program employ two depth techniques, the Nervous Magic Lantern and the Eternalisms. They center on his lifelong interests in turn-of-the-20th-century photography and the moving image, with the final piece incorporating sound from the early days of radio.” –Steve Anker<br /><br />AMOROUS INTERLUDES (2007, 8 min, digital)<br />THE SURGING SEA OF HUMANITY (2006, 10.5 min, digital)<br />THINGS TO COME (2019/22, 31.5 min, digital)<br />KRYPTON IS DOOMED (2005, 34.5 min, digital)<br /><br />Total running time: ca. 90 min.<br /><br /><strong>Introduced by Steve Anker.</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 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61080 <p>“Cult film fans may know Tinto Brass for sleazy epics like CALIGULA (1979) and SALON KITTY (1976)…but there exists an earlier strand of his career, one altogether more offbeat and politically-charged, especially his trio of pop psychedelic experiments: DEADLY SWEET (1967), ATTRACTION (1969), and the trippiest, most mind-boggling of them all, THE HOWL, loosely inspired by the classic beatnik poem by Allen Ginsberg. A beautiful young bride named Anita (Tina Aumont) escapes oppressive modern society by jilting her conformist business tycoon fiancé at the altar and setting off on a wacky, globe-trotting adventure across increasingly bizarre lands. Her travelling companion is Coso, a Charlie Chaplinesque circus clown prone to surreal philosophical musings and outrageous disguises. Together these amiable anarchists visit a sex-club hotel (where Anita gets intimate with guests male, female, and animal), escape from a family of naked bourgeois cannibals living up a tree, encounter an array of talking animals and a philosophy-spouting rock, start a riot in a political prison, liberate a town from a sadistic army, battle a wind-up midget dictator and freak-out in psychedelic orgies with naked hippie girls. […] At the center of the whirlwind rests a super-charged performance from Tina Aumont, who remains articulate and captivating with her extraordinarily expressive, doe-like eyes, no matter how off-the-wall Brass’ imagination gets.” –Andrew Pragasam, THE SPINNING IMAGE<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61072 <p>In May 1968, Garrel joined his friends on the barricades of Paris, and THE VIRGIN’S BED, begun just a few months later, echoes with that period’s rebellious spirit. Clémenti plays a Christ reluctant to assume his earthly mission. As the Virgin Mary, Zouzou attempts to reconcile him with his duty. But Garrel invokes the Christian narrative only to reject a strict retelling of that story. Made without a script and under the influence of LSD, THE VIRGIN’S BED is minimally concerned with traditional religion. With an episodic and non-chronological narrative, Garrel’s film reminds us of the contestatory attitude of the ’68 generation for whom Jesus was a hippie avant la lettre.<br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></p> Thursday, April 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61032 <p>“Ken Jacobs loved New York City. This real passion was at the very heart of Jacobs’s work from his first film, ORCHARD STREET, until the end of his life. One of his early interests was in stereo slide photography; he carried his double-lens camera on daily walks and while hanging out with family and friends. Then, in the early 2000s Jacobs discovered a method through which single still images could be transformed to create illusions of depth for the unaided eye. Using this technique, he immersed himself in finding details of city streets that spring to spatial life in unexpected and often witty ways. Jacobs produced hundreds of what he called “eternalisms,” many of which he collected into individual structured albums that have rarely been publicly shown. This program includes three albums that draw upon an array of New York’s visual details, one that vivifies the formal splendor of clouds seen from an airplane window, and one that creates a macabre dance by animating his own drawings. All titles in this program are premieres.” –Steve Anker<br /><br />BOOK OF ETERNALISMS 43 (2025, 13 min, digital)<br />TOURISTS OF THE FAMILIAR 70 (2024, 17 min, digital)<br />ABOVE THE RAIN (2019, 13 min, digital)<br />MANHATTAN IS AN ISLAND (2023, 21.5 min, digital)<br />HOBGOBLIN BALL (2023, 5.5 min, digital)<br /><br />Total running time: ca. 75 min.<br /><br /><strong>Introduced by Steve Anker.</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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2026#showing-61065 <p>“Roland Barthes famously said, ‘Garbo’s is the Face, [Audrey] Hepburn’s is the Event.’ The facial showdown between Idea and Event is played out again in LES HAUTES SOLITUDES, Philippe Garrel’s black-and-white silent film of 1974.” –Jonathan Romney, FILM COMMENT<br /><br />“Watching LES HAUTES SOLITUDES calls to mind Romain Gary’s suicide note: ‘Nothing to do with Jean Seberg.’ It is above all a portrait: filmed just a few years before Seberg’s disappearance, it captures in documentary fashion her pale, drawn face, her moments of despair, her swallowed pills, the suspension of a smile or a sidelong glance at the camera. Against this, Tina Aumont’s dark-haired silhouette and insouciant youth form a quiet counterpoint – self-absorbed, silky-skinned, unburdened. The PERSONA reference is inescapable. Like Bergman’s film, LES HAUTES SOLITUDES enacts a dialogue between two women who accompany and converse with each other, who embrace and support one another – though the editing keeps pulling them apart.” –Nina Verneret<br /><br /><em><strong>The screening on Sat, April 18 will be followed by a discussion between series curator Nina Verneret and writer and editor Beatrice Loayza.</strong></em><br /><strong><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 23