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 Wed, 23 Apr 2025 23:35:48 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59111 <p>REVIVAL ENGAGEMENT – BRAND-NEW RESTORATION!<br />Digitally restored and remastered by Lightbox Film Center and Northeast Historic Film, with funding from the National Film Preservation Foundation, Ron and Suzanne Naples, and Richard Beymer. Restoration supervised by Ross Lipman in consultation with Richard Beymer.<br /><br />“Richard Beymer began one of the most surprising careers in the history of cinema as a child actor in De Sica’s TERMINAL STATION in 1953, appearing alongside Montgomery Clift and Jennifer Jones. He is of course best known for his unforgettable roles in WEST SIDE STORY and TWIN PEAKS. But what did he do between these two milestones? He largely dropped out of Hollywood and became an independent filmmaker. What’s even more unexpected is that the films are revelations. He began with an acclaimed 16mm civil rights documentary called A REGULAR BOUQUET (1964) and then dropped entirely off the grid. His greatest achievement remains THE INNERVIEW, a feature-length experimental film that he ostensibly completed in 1973 and has been revising ever since.<br /><br />A kaleidoscopic tour de force through the process of filmmaking, it’s also a journey through an inner landscape that resonates with the best of 1960s psychedelia. Featuring a stunning performance by lead actress Joanna Frank, as well as the ever-charismatic Beymer himself, THE INNERVIEW offers a parallel vision to the classic American underground of the era. In one of its few public screenings, it caught the attention of the Los Angeles Times’ Kevin Thomas, who wrote, ‘Moving beyond the mystery of love to the mystery of life itself, THE INNERVIEW’s flood of sometimes frightening, sometimes reassuring and always sensual images evokes a gamut of emotions – overpowering feelings of terror, despair and death mingling with a wondrous sense of oneness with nature and the universe.’<br /><br />The original 1973 version is lost beyond recovery, as Richard re-cut not just his original negative but all existing prints, in his ongoing quest for perfection. He’s currently nearing completion of a new cut that integrates substantially different sound and picture. This new project by Lightbox Film Center in collaboration with Northeast Historic Film and the National Film Preservation Foundation restores the 1975 version of the film – the last he completed on film, and in many ways the culmination of his early vision of the work. As Beymer said, ‘I never left the movies. I just made other kinds of movies.’” –Ross Lipman<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Wednesday, April 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59112 <p>REVIVAL ENGAGEMENT – BRAND-NEW RESTORATION!<br />Digitally restored and remastered by Lightbox Film Center and Northeast Historic Film, with funding from the National Film Preservation Foundation, Ron and Suzanne Naples, and Richard Beymer. Restoration supervised by Ross Lipman in consultation with Richard Beymer.<br /><br />“Richard Beymer began one of the most surprising careers in the history of cinema as a child actor in De Sica’s TERMINAL STATION in 1953, appearing alongside Montgomery Clift and Jennifer Jones. He is of course best known for his unforgettable roles in WEST SIDE STORY and TWIN PEAKS. But what did he do between these two milestones? He largely dropped out of Hollywood and became an independent filmmaker. What’s even more unexpected is that the films are revelations. He began with an acclaimed 16mm civil rights documentary called A REGULAR BOUQUET (1964) and then dropped entirely off the grid. His greatest achievement remains THE INNERVIEW, a feature-length experimental film that he ostensibly completed in 1973 and has been revising ever since.<br /><br />A kaleidoscopic tour de force through the process of filmmaking, it’s also a journey through an inner landscape that resonates with the best of 1960s psychedelia. Featuring a stunning performance by lead actress Joanna Frank, as well as the ever-charismatic Beymer himself, THE INNERVIEW offers a parallel vision to the classic American underground of the era. In one of its few public screenings, it caught the attention of the Los Angeles Times’ Kevin Thomas, who wrote, ‘Moving beyond the mystery of love to the mystery of life itself, THE INNERVIEW’s flood of sometimes frightening, sometimes reassuring and always sensual images evokes a gamut of emotions – overpowering feelings of terror, despair and death mingling with a wondrous sense of oneness with nature and the universe.’<br /><br />The original 1973 version is lost beyond recovery, as Richard re-cut not just his original negative but all existing prints, in his ongoing quest for perfection. He’s currently nearing completion of a new cut that integrates substantially different sound and picture. This new project by Lightbox Film Center in collaboration with Northeast Historic Film and the National Film Preservation Foundation restores the 1975 version of the film – the last he completed on film, and in many ways the culmination of his early vision of the work. As Beymer said, ‘I never left the movies. I just made other kinds of movies.’” –Ross Lipman<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Wednesday, April 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59113 <p>REVIVAL ENGAGEMENT – BRAND-NEW RESTORATION!<br />Digitally restored and remastered by Lightbox Film Center and Northeast Historic Film, with funding from the National Film Preservation Foundation, Ron and Suzanne Naples, and Richard Beymer. Restoration supervised by Ross Lipman in consultation with Richard Beymer.<br /><br />“Richard Beymer began one of the most surprising careers in the history of cinema as a child actor in De Sica’s TERMINAL STATION in 1953, appearing alongside Montgomery Clift and Jennifer Jones. He is of course best known for his unforgettable roles in WEST SIDE STORY and TWIN PEAKS. But what did he do between these two milestones? He largely dropped out of Hollywood and became an independent filmmaker. What’s even more unexpected is that the films are revelations. He began with an acclaimed 16mm civil rights documentary called A REGULAR BOUQUET (1964) and then dropped entirely off the grid. His greatest achievement remains THE INNERVIEW, a feature-length experimental film that he ostensibly completed in 1973 and has been revising ever since.<br /><br />A kaleidoscopic tour de force through the process of filmmaking, it’s also a journey through an inner landscape that resonates with the best of 1960s psychedelia. Featuring a stunning performance by lead actress Joanna Frank, as well as the ever-charismatic Beymer himself, THE INNERVIEW offers a parallel vision to the classic American underground of the era. In one of its few public screenings, it caught the attention of the Los Angeles Times’ Kevin Thomas, who wrote, ‘Moving beyond the mystery of love to the mystery of life itself, THE INNERVIEW’s flood of sometimes frightening, sometimes reassuring and always sensual images evokes a gamut of emotions – overpowering feelings of terror, despair and death mingling with a wondrous sense of oneness with nature and the universe.’<br /><br />The original 1973 version is lost beyond recovery, as Richard re-cut not just his original negative but all existing prints, in his ongoing quest for perfection. He’s currently nearing completion of a new cut that integrates substantially different sound and picture. This new project by Lightbox Film Center in collaboration with Northeast Historic Film and the National Film Preservation Foundation restores the 1975 version of the film – the last he completed on film, and in many ways the culmination of his early vision of the work. As Beymer said, ‘I never left the movies. I just made other kinds of movies.’” –Ross Lipman<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Thursday, April 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59155 <p>FILMMAKER IN PERSON!<br /><br />“A single mother (Suzy Amis) comes home one day to find her suburban house in disarray and her two young children missing; a police lieutenant (Fred Ward) turns up and, convinced she murdered the children, proceeds to question her at length. These are the only two characters in this playlike, rather ritualized chamber piece with sadomasochistic overtones, which never strays from the house and its immediate environs. Written and precisely directed by Beth B and shot in Germany, this independent effort is sustained by the talented actors, though how much one warms to the ambiguous goings-on will depend a great deal on one’s own psychosexual predilections.” –Jonathan Rosenbaum, CHICAGO READER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, April 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59114 <p>REVIVAL ENGAGEMENT – BRAND-NEW RESTORATION!<br />Digitally restored and remastered by Lightbox Film Center and Northeast Historic Film, with funding from the National Film Preservation Foundation, Ron and Suzanne Naples, and Richard Beymer. Restoration supervised by Ross Lipman in consultation with Richard Beymer.<br /><br />“Richard Beymer began one of the most surprising careers in the history of cinema as a child actor in De Sica’s TERMINAL STATION in 1953, appearing alongside Montgomery Clift and Jennifer Jones. He is of course best known for his unforgettable roles in WEST SIDE STORY and TWIN PEAKS. But what did he do between these two milestones? He largely dropped out of Hollywood and became an independent filmmaker. What’s even more unexpected is that the films are revelations. He began with an acclaimed 16mm civil rights documentary called A REGULAR BOUQUET (1964) and then dropped entirely off the grid. His greatest achievement remains THE INNERVIEW, a feature-length experimental film that he ostensibly completed in 1973 and has been revising ever since.<br /><br />A kaleidoscopic tour de force through the process of filmmaking, it’s also a journey through an inner landscape that resonates with the best of 1960s psychedelia. Featuring a stunning performance by lead actress Joanna Frank, as well as the ever-charismatic Beymer himself, THE INNERVIEW offers a parallel vision to the classic American underground of the era. In one of its few public screenings, it caught the attention of the Los Angeles Times’ Kevin Thomas, who wrote, ‘Moving beyond the mystery of love to the mystery of life itself, THE INNERVIEW’s flood of sometimes frightening, sometimes reassuring and always sensual images evokes a gamut of emotions – overpowering feelings of terror, despair and death mingling with a wondrous sense of oneness with nature and the universe.’<br /><br />The original 1973 version is lost beyond recovery, as Richard re-cut not just his original negative but all existing prints, in his ongoing quest for perfection. He’s currently nearing completion of a new cut that integrates substantially different sound and picture. This new project by Lightbox Film Center in collaboration with Northeast Historic Film and the National Film Preservation Foundation restores the 1975 version of the film – the last he completed on film, and in many ways the culmination of his early vision of the work. As Beymer said, ‘I never left the movies. I just made other kinds of movies.’” –Ross Lipman<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Thursday, April 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59179 <p>(CHELOVEK S KINO-APPARATOM)<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 />“If Vertov had never made anything other than MAN WITH A MOVIE CAMERA he would still be among the cinema’s greatest masters. A kaleidoscopic city symphony – conjoining Moscow, Kiev, and Odessa in one dizzying metropolis – this is Vertov’s most complex film, matching the rhythms of a day to the cycle of life (birth, death, marriage, divorce) and the mechanisms of movie-making to the logic of production. Made without titles, the movie is at once a documentary portrait of the Soviet people, a reflexive essay on cinematic representation (as dazzling as it is didactic), and an ode to work itself as a process of transformation.” –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> Friday, April 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59174 <p>(  L’ASSASSINO DEI POLIZIOTTI )<br />With Harvey Keitel, John Lydon, and Sylvia Sidney. Music by Ennio Morricone.<br /><br />Lt. Fred O’Connor (Harvey Keitel) is a corrupt narcotics detective on the trail of a serial killer who’s been ambushing dirty cops and slitting their throats. But his search gets cut short when Leo Smith, a gay British punk (John Lydon) shows up at O’Connor’s secret second apartment claiming to be the titular psychopath. Fearing Smith will drop the dime on him, O’Connor ties his visitor up and subjects him to torture and beatings, rather than turning him in. But that might be exactly what Smith wants. Is he really a cop killer? Or just a kinky rich kid with a screw loose? So begins a twisted cat and mouse game between two effed up men that plays out like a cross between a grimy 80s cop movie and Joseph Losey’s queer 1963 classic THE SERVANT. Based on a long out-of-print novel by cult author and painter Hugh Fleetwood, COPKILLER is a nasty, freaky little thriller that takes a dim view of policing, but provides the sneering punk legend Lydon (of Sex Pistols and PiL fame) with a meaty role, which he takes full advantage of.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Friday, April 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59178 <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> Saturday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59142 <p>FILMMAKER IN PERSON!<br /><span>This program features two new works by Austrian filmmaker Marieli Fröhlich. The daughter of two luminaries of Austrian culture – experimental filmmaker Peter Kubelka and artist Gertie Fröhlich – Marieli’s immersion in film began as an actress, appearing in features by John Cook, Peter Patzak, and Claude Chabrol, before she embarked on a career as a director after being mentored by Jonas Mekas in New York.<br /><br /></span>The two award-winning films presented here find Fröhlich embracing the realm of documentary and experimental cinema, connected by a poetic style.<br /><br />WHAT IS HAPPENING?: ART IN THE LIFE OF GERTIE FRÖHLICH is a filmic portrait of her mother Gertie Fröhlich, a painter, graphic designer, and curator (among her many achievements are her iconic posters created for the Austrian Film Museum) whose influence on postwar Austrian art has yet to be fully acknowledged, while S T O P is a genuinely innovative, ongoing project that represents a very different kind of portraiture. Within a Warholian “screen test” format, the camera frames each subject casually for a fixed duration with their eyes closed, conjuring up an image that ingeniously fuses interior and exterior. Edited from hundreds of filmed encounters over 15 years, and in contrast to Warhol’s glamourous focus, Fröhlich’s subjects seem to glimmer from an enduring inner beauty regardless of the location or circumstances.<br /><br />Marieli Fröhlich will be here in person!<br /><br />Presented with support from Deutsches Haus at NYU.<br /><br />WHAT IS HAPPENING?: ART IN THE LIFE OF GERTIE FRÖHLICH<br />2018-2023, 30 min, DCP. In English and German with English subtitles.<br />Marieli Fröhlich flips the script in her documentary exploration of her mother’s artistic legacy, exposing the unseen patriarchal force that attempts to erase her rightful place in postwar Austrian Art History. Interwoven with historical interviews, Surreal montages, and dreamlike footage, WHAT IS HAPPENING? is an empowering matrilineal film, in which a female director pays homage to her mother’s creative struggles and triumphs.<br /><br />S T O P<br />2010-2025, 30 min, DCP<br />The average person’s symbiosis with their cell phones subjects them to constant invasiveness that allows no time to reflect, recharge, or maintain equilibrium. S T O P proposes other states of mind by asking people to close their eyes and record a moment without event, progression, or logic. Observing people’s processes (the opposite of acting) gives the audience a similar self-awareness and calm. Could this simple act breach the enforcement of society’s symbolic order and incite a radical awareness of the unconscious effect it has on our individuality and humanity?<br /><br />Total running time: ca. 65 min.<br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Saturday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59177 <p>(ODINNADTSAYI)<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 />“Vertov’s ecstatic paean to industrial development was, like Eisenstein’s OCTOBER, commissioned to celebrate the tenth anniversary of the Bolshevik revolution and was accused of the dread ‘formalism.’” –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> Saturday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59148 <p>This program features the surviving films of performance artist and photographer Mark Morrisroe (1959-89), a pioneer of queer culture in the 1980s, and a friend and collaborator of Nan Goldin, Philip-Lorca diCorcia, and others. In addition to the hundreds of photographs Morrisroe produced while studying at the School of the Museum of Fine Arts in Boston, he created three films: THE LAZIEST GIRL IN TOWN (1981), HELLO FROM BERTHA (1983), and NYMPH-O-MANIAC (1984). These works were filmed in Morrisroe’s apartment or those of his friends – Stephen Tashjian, Jack Pierson, and David Armstrong – and were shot on Super 8 film. Melodramatic, often clownish, and theatrically staged, they present a decadent mise-en-scène of an environment that was deeply personal to the filmmaker. Whether dressed in worn thrift-shop costumes or entirely nude, the actors, including Morrisroe himself, perform roles that blend artifice with personal experiences and fantasies, subverting conventional notions of value and tension in visual representation, of what constitutes fiction for some, and reality for others.<br /><br />Morrisroe’s three surviving films (a fourth, centered on the murder of his cat, was censored immediately after it was shown, and has been lost) all engage with the experimental cinematic language of their time, incorporating elements of horror cinema, a punk ethos, and the outrageousness of artists like Jack Smith, Kenneth Anger, and John Waters. Much like the early screenings of Nan Goldin’s BALLAD OF SEXUAL DEPENDENCY, Morrisroe’s films were often shown in underground punk bars, independent cinemas, and intimate, occasionally deserted classrooms at Tufts University, frequently with the “actors” as the sole audience. These films, like his photographic works, are valuable not only as standalone pieces but also as part of the historical archive of what was theorized as the Boston Group. Ultimately, Morrisroe’s films remain a poignant testament to a delirious, intimate world; the beautiful memory of a home and a chosen family.<br /><br />Guest-programmed by Hugo Bausch Belbachir.<br /><br />PROGRAM 1:<br />THE LAZIEST GIRL IN TOWN<br />1981, 24 min, Super-8mm-to-DCP<br /><br />HELLO FROM BERTHA<br />1983, 17 min, Super-8mm-to-DCP<br /><br />Total running time: ca. 45 min.<br /><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Saturday, April 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59176 <p>(ENTUZIASM: SIMFONIYA DONBASSA)<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 />ENTHUSIASM is Vertov’s vision of the transformation of social energies in a progressive society. The film is remarkable for its experimental use of sound and montage. Vertov himself invented special lightweight recording equipment to register the sounds of workers in the mines and factories of the Don Basin in this film. It is the best example of his theory of cinema which brings together “the film-eye and the radio-ear.” At one point he described the film as a “symphony of noises.”<br /><br />“I would never have believed it possible to assemble mechanical noises to create such beauty. One of the most superb symphonies I have known. Dziga Vertov is a musician.” –Charles Chaplin <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, April 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59175 <p>(TRI PESNI O LENINYE)<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 />“Vertov’s ‘official’ Soviet masterpiece – a hagiographic compilation of lyrically edited stock footage and cinema’s first direct interviews – was the most successful (and compromised) movie he ever made.” –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 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59150 <p>This 2-day program features the surviving films of performance artist and photographer Mark Morrisroe (1959-89), a pioneer of queer culture in the 1980s, and a friend and collaborator of Nan Goldin, Philip-Lorca diCorcia, and others. In addition to the hundreds of photographs Morrisroe produced while studying at the School of the Museum of Fine Arts in Boston, he created three films: THE LAZIEST GIRL IN TOWN (1981), HELLO FROM BERTHA (1983), and NYMPH-O-MANIAC (1984). These works were filmed in Morrisroe’s apartment or those of his friends – Stephen Tashjian, Jack Pierson, and David Armstrong – and were shot on Super 8 film. Melodramatic, often clownish, and theatrically staged, they present a decadent mise-en-scène of an environment that was deeply personal to the filmmaker. Whether dressed in worn thrift-shop costumes or entirely nude, the actors, including Morrisroe himself, perform roles that blend artifice with personal experiences and fantasies, subverting conventional notions of value and tension in visual representation, of what constitutes fiction for some, and reality for others.<br /><br />Morrisroe’s three surviving films (a fourth, centered on the murder of his cat, was censored immediately after it was shown, and has been lost) all engage with the experimental cinematic language of their time, incorporating elements of horror cinema, a punk ethos, and the outrageousness of artists like Jack Smith, Kenneth Anger, and John Waters. Much like the early screenings of Nan Goldin’s BALLAD OF SEXUAL DEPENDENCY, Morrisroe’s films were often shown in underground punk bars, independent cinemas, and intimate, occasionally deserted classrooms at Tufts University, frequently with the “actors” as the sole audience. These films, like his photographic works, are valuable not only as standalone pieces but also as part of the historical archive of what was theorized as the Boston Group. Ultimately, Morrisroe’s films remain a poignant testament to a delirious, intimate world; the beautiful memory of a home and a chosen family.<br /><br />Guest-programmed by Hugo Bausch Belbachir.<a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><br /><br /></a>PROGRAM 2:<br />NYMPH-O-MANIAC<br />1984, 45 min, Super-8mm-to-DCP<a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><br /></a><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il"><br />CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Sunday, April 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59146 <p>To celebrate the publication of his new book, “The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde”, the renowned film scholar Tom Gunning will be visiting NYC to take part in special events at multiple venues (organized by curator David Schwartz). Here at Anthology, we will present a screening devoted to work by Ernie Gehr, who is the subject of two separate essays in “The Attractions of the Moving Image”. Both Gunning and Gehr will be here in person for a post-screening conversation.<br /><br />“The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde” has been edited by Daniel Morgan, and is published by the University of Chicago Press; click <a href="https://press.uchicago.edu/ucp/books/book/chicago/A/bo238329918.html">here</a> for more info.<br /><br />Special thanks to Ernie Gehr; Tom Gunning; David Schwartz; Light Industry; and the Museum of the Moving Image.<br /><br />UNTITLED 1977 1977, 4 min, 16mm, silent<br />“UNTITLED (1977) also explores the contradictions of the apparent penetration of space that perspective seems to offer through the dynamic of the film lens. But here, rather than the aggressive and rather contradictory effects of the zoom lens [as in SERENE VELOCITY], Gehr deals with a gradually changing plane of focus. We begin with a nearly undefinable image – a sense of motion and color, that’s about all. Slowly the focus sharpens and we recognize a swirl of snow with an undefined color mass beyond. As the focus continues to change, the zone of recognizability stretches further into the background, until the soft color mass solidifies into a firm brick wall.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />REAR WINDOW 1986, 10 min, 16mm, silent<br />“Few of Gehr’s films are as beautiful as this, or as delicate. […] [U]nlike the views of street traffic or sidewalks given in other films, this rear-window vantage point turns toward the other side of city life, where folks hang their laundry out to dry. Gehr focuses his camera on the most quotidian of sights and reveals a drama of light and space as breathtaking as the cityscapes in SIDE/WALK/SHUTTLE.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />SIDE/WALK/SHUTTLE 1991, 41 min, 16mm<br />“SIDE/WALK/SHUTTLE presents one of America’s most photographed cities, San Francisco, in images that confound us with their unfamiliar viewpoint and trajectory. […] Shot from a glass-enclosed elevator that climbs to a restaurant at the top of the Fairmont Hotel, Gehr’s film ascends only as high as that tall building and the city’s hills. The sense of aerial feats comes entirely from the variety of camera angles Gehr manages to achieve. […] SIDE/WALK/SHUTTLE images our nation’s history of expansion toward horizon, its dream of manifest destiny, but with a late-twentieth-century irony that avoids despair over history’s deceptions by carving out a space for contemplation within this vista.” –Tom Gunning, “Radical Light: Alternative Film & Video in the San Francisco Bay Area, 1945-2000”<br /><br />THIS SIDE OF PARADISE 1991, 15 min, 16mm, silent<br />“THIS SIDE OF PARADISE deals with another circulation of people and their goods across the borders and directional circuits of a big city. Gehr was in West Berlin in 1989 to record some sound for a film, and stumbled upon an improvised flea market where Poles, weekend visitors from the Eastern Bloc, were trying to sell random objects they had brought with them for Western currency, which they could exchange on the black market at home for substantial profit. […] The history of Gehr’s family as refugees and immigrants during the period of World War II has undoubtedly sharpened his awareness of the precariousness of finding a place in a world given to violent upheavals and reworkings of borders.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />Total running time: ca. 75 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!<br /><br /></a>[This screening is sold out. A standby line will form beforehand. We have also added an encore screening of Ernie Gehr's films on Monday, May 5 at 7:00. Tom Gunning will not be present at that screening, but Ernie Gehr will be in person. <a href="../../../film_screenings/calendar?view=list&month=05&year=2025#showing-59310">Click here for that encore screening.</a>]<a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><br /><br /></a></strong></p> Monday, April 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59144 <p>With the support of the Carolee Schneemann Foundation and Electronic Arts Intermix, Anthology presents newly restored 16mm prints of Carolee Schneemann’s PLUMB LINE and VIET-FLAKES, alongside the rarely screened RED NEWS. The program pairs Schneemann’s films with Joseph Cornell’s ROSE HOBART and Peggy Ahwesh’s THE FALLING SKY to examine how found footage can be used for dynamic investigations of memory, politics, and cinematic poetics.<br /><br />Carolee Schneemann’s PLUMB LINE (1968-71) offers a fragmented portrait of a collapsing relationship, merging intimate imagery with experimental techniques. VIET-FLAKES (1962-67), a searing anti-war collage, recontextualizes found photographs of Vietnam War atrocities, while RED NEWS (1962-67) considers the interplay between media, entertainment, and violence. Cornell’s ROSE HOBART (1936), a cornerstone of found-footage cinema, transforms a forgotten Hollywood film into a surreal, dreamlike meditation on longing and nostalgia. Peggy Ahwesh’s THE FALLING SKY (2017) extends this tradition by repurposing animated news to interrogate our collective interests, fears, and obsessions. Together these works trace a lineage of experimental filmmaking that activates archival material to reveal new layers of meaning.<br /><br />A conversation with Peggy Ahwesh, Rachel Churner, John Klacsmann, Karl McCool, and Kenneth White follows the screening.<br /><br />Guest-programmed by Kenneth White, Assistant Professor of Modern and Contemporary Art History and Visual Studies, The New School, and Rachel Churner, director of the Carolee Schneemann Foundation. Schneemann’s films have been preserved through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.<br /><br />Carolee Schneemann PLUMB LINE 1968-71, 14.5 min, 16mm<br />Carolee Schneemann VIET-FLAKES 1962-67, 8.5 min, 16mm<br />Carolee Schneemann RED NEWS 1962-67, 2.5 min, 16mm<br />Joseph Cornell ROSE HOBART ca. 1936/68, 20 min, 16mm. Preserved by Anthology Film Archives.<br />Peggy Ahwesh THE FALLING SKY 2017, 9.5 min, digital<br /><br />Total running time: ca. 60 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Tuesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59236 <p>OPENING NIGHT!<br />Prismatic Ground kicks off its fifth edition with the newly discovered Third World Newsreel short PALESTINE WILL WIN (Jean-Pierre Olivier de Sardan, 1969), followed by the New York premiere of Rajee Samarasinghe’s powerful feature debut YOUR TOUCH MAKES OTHERS INVISIBLE. <br /><br />Jean-Pierre Olivier de Sardan<br />PALESTINE WILL WIN<br />1969, 29 min, 16mm-to-digital<br />This French agitprop ode to the Palestinian struggle was thought lost until recently rediscovered in the Third World Newsreel collection by archivist Draye Wilson. Composed of still photographs and a bit of Vietnam footage from Joris Ivens, its re-emergence echoes a call for global solidarity.<br /><br />“I didn’t try to make a big film, but just wanted to have a propaganda film, an intelligent one and, in fact, that is how it worked out. At that time, support for the Palestinian struggle was growing, so there were many activist committees that needed such a film.” –Jean-Pierre Olivier de Sardan<br /><br />Rajee Samarasinghe<br />YOUR TOUCH MAKES OTHERS INVISIBLE<br />2025, 70 min, DCP<br />Sri Lanka ranks among the highest in the number of enforced disappearances in the world and most of the disappeared are Tamils. Fusing allegorical magic realism and investigative documentary, and made collaboratively with impacted locals clandestinely in a region still occupied by the military, this film is a lyrical examination of these missing persons through 26 years of civil war in Sri Lanka. The nonfiction elements are structured by a fictional narrative thread which tells the surreal tale of a mother who loses her son to a supernatural entity plaguing her community – a nod to the actual disappearances in the region.<br /><br />Followed by a Q&A with Rajee Samarasinghe.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Wednesday, April 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59508 <p>A BLACK SCREEN TOO (Rhayne Vermette, 2024, 2 min, 16mm)<br />ADIEU UGARIT (Samy Benammar, 2024, 16 min)<br />WINTER PORTRAIT (Fernando Saldivia Yanez, 2024, 9 min)<br />BUSEOK (Kyujae Park, 2024, 18 min)<br />HOW HE DIED IS NOT CONTROVERSIAL (Gio Lingao, 2025, 14 min)<br />EMPTY RIDER (Lawrence Lek, 2025, 15 min)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59238 <p>This program features five films from the “Tokyo Reels” collection, offering a glimpse into the multifaceted narratives of the Palestinian struggle. “The Tokyo Reels” is a research project that traces Palestinian revolutionary cinema’s political and cultural entanglements. By restoring a collection of films screened in Japanese leftist circles during the 1970s and 1980s, the project explores the historical and ideological conditions that shaped the anti-colonial networks of global solidarity with the Palestinian revolution. These five films – made by Iraqi, Egyptian, German, and Japanese filmmakers – move beyond simplistic portrayals of victimhood, revealing the revolution as a space of contradiction and complexity, where loss intertwines with hope and local resistance resonates with international solidarity. The program highlights the diverse perspectives and creative expressions that emerged during this turbulent era and that shaped cinematic solidarities around Palestine.<br /><br />Founded in 1999, “Senses of Cinema” is a quarterly online journal devoted to the serious and eclectic discussion of film. Institutionally non-aligned and widely read around the world, “Senses” has published thousands of articles (all freely available) on a rich spectrum of independent, experimental, and mainstream cinema. This event announces the publication of Issue 113, featuring a dossier on cinematic solidarities with Palestine. For more info and to subscribe and support, visit: https://www.sensesofcinema.com/ <br /><br />Shirak Soreen THE GAME (1973, 16 min, 16mm-to-digital. In Arabic with English subtitles.)<br />Sami Al-Salamoni COWBOY (1973, 15 min, 16mm-to-digital. In English.)<br />Sabih Al-Zoohiri THE FIELD (1977, 11 min, 16mm-to-digital. In Arabic with English subtitles.)<br />NHK (Japan Broadcasting Corporation) THE ROAD TO A PALESTINIAN STATE (1974, 29 min, 16mm-to-digital. In Japanese with English subtitles.)<br />Monica Maurer WHY? (Japanese version) (1982, 28 min, 16mm-to-digital. In Japanese with English subtitles.)<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> Thursday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59311 <p>Karl Valentin<br />CONFIRMATION DAY / DER FIRMLING<br />(1934, 23 min, 35mm, b&w. In German with no subtitles; English synopsis available.)<br />“Valentin plays a drunken father treating his giggly young son to lunch, and the inspired muddle he creates out of a table, two chairs, an umbrella, and a watch chain rivals some of Laurel and Hardy’s best moments.” –J.R. Jones, CHICAGO READER<br /><br />Jean Vigo<br />A PROPOS DE NICE (1929-30, 30 min, 16mm, silent)<br />TARIS (1931, 9 min, 16mm)<br />&<br />ZERO FOR CONDUCT / ZÉRO DE CONDUITE<br />(1935, 44 min, 16mm, b&w. In French with English subtitles.)<br />An eloquent parable of freedom versus authority, Vigo’s film is set at a boys’ boarding school and undoubtedly echoes Vigo’s own unhappy experiences as a child. Under the pressure of various civic groups the film was removed from screens several months after its release in 1933. It was branded “anti-French” by censors and was not shown again in Paris until 1945.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59302 <p>Razan AlSalah<br />A STONE’S THROW<br />2024, 40 min, digital<br />In A STONE’S THROW, Razan AlSalah traces her father’s double exile – first from his birthplace of Haifa to Beirut, then, from Beirut to Zirku Island, the nature preserve turned oil platform; first, by the Nakba, then by the necessity of work. The film dwells on the Haifa-Kirkuk oil pipeline. Established under British colonial rule, it was then bombed in 1936 by Palestinian laborers. Routes of capitalist extraction shadow AlSalah’s father’s exile, like petroleum clinging to a bird’s wing.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59312 <p>Andy Warhol<br />EAT (1963, 35 min, 16mm, silent)<br />“A portrait of artist Robert Indiana, EAT is one of the classics of Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol’s decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time.” –Callie Angell<br /><br />James Sibley Watson & Melville Webber<br />FALL OF THE HOUSE OF USHER (1928, 13 min, 16mm, silent)<br />“Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes.” –Robert A. Haller<br /><br />John & James Whitney<br />FILM EXERCISES 1-5 (1943-45, 18 min, 16mm)<br />“The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.” –William Moritz<br /><br />James Whitney<br />LAPIS (1963-66, 10 min, 16mm)<br />“The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns…. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis.” –P. Adams Sitney<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> Friday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59509 <p>Kumar Shahani<br />BHAVANTARANA / IMMANENCE<br />1991, 65 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art. Screened with permission of the XPD Division, Ministry of External Affairs, Government of India.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59510 <p>CENTER (Burak Çevik, 2024, 6 min, 16mm)<br />ENDINGS (Isiah Medina & Philip Hoffman, 2024, 9 min)<br />TYPHOON DIARY / 风球日记 (Grace Zhang, 2024, 6 min)<br />ADRIFT POTENTIAL (Leonardo Pirondi, 2024, 12 min)<br />THE WORLD DOESN’T END WHEN YOU DO (marlow magdalene, 2024, 10 min)<br />GO BETWEEN (Chris Kennedy, 2024, 6 min, 16mm)<br />GOOD FRIDAY / 受难日 (Xiaolu Wang, 2025, 9 min)<br />LAS ANIMAS (Matt Feldman, 2025, 14 min, 16mm)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59511 <p>SOME STRINGS PTS. I & II (Various Filmmakers, 96 min)<br /><br />Featuring: Khaled Abdulwahed, Wiame Haddad, Youssef Chebbi, Christophe Clavert, Sarah Beddington, Valentin Noujaïm, Yosr Gasmi, Mauro Mazzochi, Wendelien Van Oldenborgh & Cathleen Schuster & Marcel Dickhage, Julie Courel, M’hand Abadou Djezairi & Marcel Mrejen, Amie Barouh, Mohamed Bourouissa, Valerie Massadian, Ismaïl Bahri & Youssef Chebbi, Soumeya Ait Ahmed & Nadir Bouhmouch, Philippe Parreno, Claire Fontaine, Ismaël Bahri, Pierre Creton, Virgil Vernier, Yohei Yamakado, Saif Fradj & Mahshid Mahboubifar, Alexia Roux & Saad Chakali, Fernanda Pessoa, Jayce Salloum, Kaseu & Valerie Osouf, Idit Elia Nathan.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59512 <p>DANCING OTHELLO / BRIHANNALA KI KHELKAKI (Ashish Avikunthak, 2002, 18 min, 16mm)<br />VAKRATUNDA SWAHA (Ashish Avikunthak, 2010, 22 min, 35mm)<br />END NOTE / ANTARAL (Ashish Avikunthak, 2005, 18 min, 16mm)<br />KALIGHAT FETISH / KALIGHAT ATHIKATHA (Ashish Avikunthak, 1999, 22 min, 16mm)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59513 <p>TUKTUIT (Lindsay McCintyre, 2025, 15 min)<br /><br />Tadhg O’Sullivan<br />TO THE MOON<br />2020, 80 min<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59514 <p>HEART SHAPED (Sofia Theodore-Pierce & Grace Mitchell, 2025, 13 min)<br /><br />Ruiqi Lu<br />CONTACT LENS / 河马皮肤<br />2024, 78 min<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59515 <p>Kumar Shahani<br />THE BAMBOO FLUTE / BIRAH BHARYO GHAR AANGAN KONE<br />2000, 84 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art. Screened with permission of the XPD Division, Ministry of External Affairs, Government of India.<br /><br />Followed by a discussion with Ashish Avikunthak.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59516 <p>NECESSARY TRIP (Kevin Jerome Everson, 2024, 5 min)<br /><br />Kaori Oda<br />UNDERGROUND<br />2024, 83 min<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59517 <p>Courtney Stephens and Shiv Kotecha present:<br />FILMS AND POEMS FROM THE FIFTH SEASON<br />“They tell me there are four / seasons, but I believe in a fifth one” writes Etel Adnan, “which is your space / and your time.” Referencing Adnan, the poet Rainer Diana Hamilton defines this fifth season as a way for poetic form to burst forth and sense the social. Featuring films and readings by filmmakers and poets, “The Fifth Season” brings together works that exceed the expectations of their genres in order to share language in modes of transfigured time. With works and performances by Courtney Bush, JJJJJerome Ellis, Rainer Diana Hamilton, Shiv Kotecha, Tiziana La Melia, and Courtney Stephens, “The Fifth Season” is imagined as a night of exception, probing Lacan’s definition of the voice as a standalone object, not unlike the eye.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59518 <p>Kumar Shahani<br />KASBA<br />1990, 115 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59519 <p>SOME STRINGS PTS. III & IV (Various Filmmakers, 110 min)<br /><br />Featuring: Pablo Sigg, Apichatpong Weerasethakul, Igniacio Agüero, Bani Khoshnoudi, Dora Garcia, Khristine Gillard, Mohammad Hammash & Filip Momikj,Axelle Poisson, Kyoshi Sugita, Michaël Andrianaly, Aude Fourel, Anne Penders, Jerónimo Atehortúa Arteaga, Idit Elia Nathan, Eva Giolo, Sepideh Farsi, Eric Baudelaire & Claire Atherton & Marius Atherton, Franssou Prenant, Ellie Ga, Francis Alÿs, Marielle Chabal, Ben Russell, Kiswensida Parfait, Kabore, Yannick Kergoat, Silvia Maglioni & Graeme Thomson, Taysir Batniji, Mitra Farahani.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59520 <p>Kumar Shahani<br />THE KHAYAL SAGA / KHAYAL GATHA<br />1988, 103 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art. Thanks to Rewati Shahani, Uttara Shahani, and Rimli Bhattacharya.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59521 <p>LET’S MAKE LOVE AND LISTEN TO DEATH FROM ABOVE (Ayanna Dozier, 2023, 6 min)<br />IT’S JUST BUSINESS, BABY (Ayanna Dozier, 2023, 6 min)<br />BOUNDED INTIMACY (Ayanna Dozier, 2024, 6 min)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59522 <p>HEMEL (Danielle Adobi Dean, 2024, 30 min)<br /><br />Tadhg O’Sullivan<br />THE SWALLOW<br />2024, 69 min<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59523 <p>A MESSAGE FROM HUMBOLDT (Matt Feldman, 2025, 7 min, 16mm)<br /><br />Nicolás Onischuk<br />TO TRANSLATE ONE’S OWN<br />2025, 60 min<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59524 <p>ARTIST SPOTLIGHT: CHO SEOUNGHO<br /><br />FORWARD, BACK, SIDE, FORWARD AGAIN (1995, 11 min)<br />ws.3 (2003, 6 min)<br />HORIZONTAL INTIMACY (2010, 8 min)<br />I LEFT MY SILENT HOUSE (2007, 9 min)<br />SHIFTED HORIZON (2009, 6 min)<br />BLUE DESERT (2011, 12 min)<br />LATENCY/CONTEMPLATION 1 (2016, 7 min)<br />LATE AUGUST 1993 (2024, 10 min)<br />NO RE (2024, 7 min)<br /><br />Guest Curated by Joshua Minsoo Kim.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59525 <p>SOME STRINGS PTS. V & VI (Various Filmmakers, 84 min)<br /><br />Featuring: Newton Ifeanyi Aduaka, Sarah Wood, Ali Arkady, Alain Kassanda, Annik Leroy & Julie Morel, Monica Maurer & Milena Fiore, Philip Rizk, 2024, Douglas Gordon, Declan Clarke, Genesis Valenzuela, Vincent Guillibert, Dania Reymond-Boughenou, Wilmarc Val, Primo Mauridi, Ghassan Salhab, Ugo Rondinone.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59310 <p>To celebrate the publication of Tom Gunning's new book, “The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde”, Anthology present a program devoted to work by Ernie Gehr, who is the subject of two separate essays in “The Attractions of the Moving Image”.<br /><br />“The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde” has been edited by Daniel Morgan, and is published by the University of Chicago Press; <a href="https://press.uchicago.edu/ucp/books/book/chicago/A/bo238329918.html">click here for more info</a>.<br /><br />Special thanks to Ernie Gehr; Tom Gunning; David Schwartz; Light Industry; and the Museum of the Moving Image.<br /><br />UNTITLED 1977 (1977, 4 min, 16mm, silent)<br />“UNTITLED (1977) also explores the contradictions of the apparent penetration of space that perspective seems to offer through the dynamic of the film lens. But here, rather than the aggressive and rather contradictory effects of the zoom lens [as in SERENE VELOCITY], Gehr deals with a gradually changing plane of focus. We begin with a nearly undefinable image – a sense of motion and color, that’s about all. Slowly the focus sharpens and we recognize a swirl of snow with an undefined color mass beyond. As the focus continues to change, the zone of recognizability stretches further into the background, until the soft color mass solidifies into a firm brick wall.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />REAR WINDOW (1986, 10 min, 16mm, silent)<br />“Few of Gehr’s films are as beautiful as this, or as delicate. […] [U]nlike the views of street traffic or sidewalks given in other films, this rear-window vantage point turns toward the other side of city life, where folks hang their laundry out to dry. Gehr focuses his camera on the most quotidian of sights and reveals a drama of light and space as breathtaking as the cityscapes in SIDE/WALK/SHUTTLE.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />SIDE/WALK/SHUTTLE (1991, 41 min, 16mm)<br />“SIDE/WALK/SHUTTLE presents one of America’s most photographed cities, San Francisco, in images that confound us with their unfamiliar viewpoint and trajectory. […] Shot from a glass-enclosed elevator that climbs to a restaurant at the top of the Fairmont Hotel, Gehr’s film ascends only as high as that tall building and the city’s hills. The sense of aerial feats comes entirely from the variety of camera angles Gehr manages to achieve. […] SIDE/WALK/SHUTTLE images our nation’s history of expansion toward horizon, its dream of manifest destiny, but with a late-twentieth-century irony that avoids despair over history’s deceptions by carving out a space for contemplation within this vista.” –Tom Gunning, “Radical Light: Alternative Film & Video in the San Francisco Bay Area, 1945-2000”<br /><br />THIS SIDE OF PARADISE (1991, 15 min, 16mm, silent)<br />“THIS SIDE OF PARADISE deals with another circulation of people and their goods across the borders and directional circuits of a big city. Gehr was in West Berlin in 1989 to record some sound for a film, and stumbled upon an improvised flea market where Poles, weekend visitors from the Eastern Bloc, were trying to sell random objects they had brought with them for Western currency, which they could exchange on the black market at home for substantial profit. […] The history of Gehr’s family as refugees and immigrants during the period of World War II has undoubtedly sharpened his awareness of the precariousness of finding a place in a world given to violent upheavals and reworkings of borders.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />Total running time: ca. 75 min.</p> Monday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59240 <p>Although the law is meant to provide justice, in reality, its execution and implementation ultimately expose, determine, and codify a strata of citizenship that keeps certain members of society from full subjectivity under its rule. People of color, women, and queer folks, for example, are still treated as second-class citizens and have historically been denied privileges and legal protections by the state. In a different sense, non-human animals, as well, are stripped of agency and subject to widespread abuse without protection. These prejudices of the law can be exemplified in the history of medieval witch trials of women and non-human animals. The unifying factor through which these subjects get deemed witches is that they have acquired a power not typically afforded to them by the rule of law. In transgressing their allotted roles, they bring the failings of the justice system to light and are duly punished to maintain the prevailing social hierarchy.<br /><br />The films in this program present playful vignettes of absurd historical witch trials and medieval courts whose rules created the basis of our current systemic injustices. In doing so – and through their campy and/or experimental form – these films poke fun at the seriousness of contemporary courts and the regard with which the judicial system is held as the epitome of civilization. The filmmakers make a farce of the law’s theatricality and self-righteousness, inviting audiences to delight in deviancy and misbehavior.<br /><br />Guest-programmed and presented by Afriti Bankwalla and Gabriel Espaillat.<br /><br />Special thanks to Emily Hubley and the Hubley Studio, as well as Electronic Arts Intermix.<br /><br />Faith Hubley WITCH MADNESS (2000, 8 min, 35mm)<br />30,000 years ago, women were revered for their wisdom, strength, compassion, and magic. This golden age was not to last: WITCH MADNESS traces the violent persecution of women throughout history, climaxing in the frenzy of the European witch hunts of the Renaissance, which resulted in the murder of hundreds and thousands, perhaps millions of women. Stunning images depict the savage oppression of females by their male inquisitors, a nightmarish parade of beheadings, burning, and torture in the name of justice. The film explores a disturbing aspect of human nature. The flame of love is soon rekindled, and balance and oneness are achieved.<br /><br />The Wooster Group RHYME ‘EM TO DEATH (1994, 10.5 min, video)<br />Drawing on a moment from Victor Hugo’s “Hunchback of Notre Dame” in which Esmerelda’s pet goat (who has extraordinary abilities) is accused of being the devil in disguise, this film expands the scene to incorporate transcripts of 15th-century court documents in which animals were tried as witches.<br /><br />Sharlene Bamboat & Alexis Mitchell BUGS AND BEASTS BEFORE THE LAW (2018, 33 min, 16mm-to-digital)<br />An essay film about the medieval practice of putting animals and inanimate objects on trial. In recounting details about the practice’s legal and religious histories, the film interrogates supposed dichotomies between animate/inanimate, human/animal, and natural/man-made, finding them less clearly delineated than more modern ideologies might lead us to believe.<br /><br />Lydia Kuzak 536 (2024, 27 min, digital)<br />536 is a unique take on the internet mukbang phenomenon, in which a person films themself consuming large quantities of food. In this reversal of the witch hunt, three Irish pagan witches capture an Englishman and find themselves unable to control their desire.<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59358 <p>“When filmmaking couple Joe Brewster and Michèle Stephenson’s 5-year-old son Idris and his best friend, Seun, both African-American, are accepted into the highly prestigious and almost exclusively white Dalton School, the proud parents embark on an amazingly ambitious project to document the two boys’ entire educations. Spanning 13 years, the resulting film offers a coming-of-age story rivaled perhaps only by Michael Apted’s UP series in scope. AMERICAN PROMISE is compelling both for its intimate focus on the lives of these middle-class families and in what it has to say about the struggle for identity of even the most talented African-American boys in a society that still often fears and dismisses them.” –Jennifer Dworkin, FILM COMMENT<br /><br /><strong>Michèle Stephenson in person!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 06