Anthology Film Archives

Print courtesy of the Joe Dante and Jon Davison Collection at the Academy Film Archive.
The directorial debut of both Joe Dante (THE HOWLING, GREMLINS) and Allan Arkush (ROCK ‘N’ ROLL HIGH SCHOOL), this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman’s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD’s Walter Paisley!

CLICK HERE TO BUY TICKETS NOW!

FREE SCREENINGS!
THE MOVIE ORGY is the legendary, epic-length, found-footage work created by a young Joe Dante, who would soon become one of genre cinema’s modern masters. In 1968, the future director of GREMLINS and INNERSPACE took an apartment’s worth of 16mm prints and, with the help of producer Jon Davison (ROBOCOP), meticulously fashioned them into what is quite possibly the world’s first found footage megamix. Comprised of commercials, news reels, clips from feature films, TV bloopers, and much more, THE MOVIE ORGY is both a fascinating cultural artifact and a wild vortex of mashed-up magnificence. Unavailable to screen for decades and never available on home video, the film has been preserved from the original 16mm reels by AGFA in partnership with Joe Dante and Jon Davison.

CLICK HERE TO BUY TICKETS NOW!

Featuring the world premiere of films made locally with the support of MONO in March and April 2023.

These programs will include films made through the educational initiatives of MONO NO AWARE, a cinema-arts nonprofit organization and film positive community working to promote connectivity through the cinematic experience. Established in 2007 and based in downtown Brooklyn, MONO NO AWARE presents monthly artist-in-person screenings, facilitates equipment rentals, operates a film distribution initiative, maintains wet & dry lab facilities, and hosts an annual exhibition for contemporary artists and international filmmakers whose work incorporates Super-8mm, 16mm, 35mm, or altered light projections.

For more info visit: www.mononoawarefilm.com

CLICK HERE TO BUY TICKETS NOW!

With Arsenio Hall, Michelle Pfeiffer, Joe Pantoliano, David Alan Grier, B.B. King, Rosanna Arquette, Ed Begley, Jr., Carrie Fisher, Paul Bartel, and many others.

“John Landis’s unofficial sequel to KENTUCKY FRIED MOVIE and the bastard child of Joe Dante and Jon Davison’s THE MOVIE ORGY. Like those back-handed tributes to the disreputable entertainments of our youth, AMAZON WOMEN is a smorgasbord of comedy skits…. Overall the result [includes] three or four laugh-out-loud vaudeville sequences and a couple of bona-fide short-form classics.” –Charlie Largent, TRAILERS FROM HELL

“The strongest aftertaste is left by Dante’s bad-taste rendition of movie critics reviewing a failed life, a sequence that eventually turns into a celebrity roast for the dead person, attended by Slappy White, Jackie Vernon, Henny Youngman, Charlie Callas, and Steve Allen – too sinister for comfortable laughs, but queasy in the best Dante manner.” –Jonathan Rosenbaum, CHICAGO READER

CLICK HERE TO BUY TICKETS NOW!

One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin’s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin's own music and poetic narration, added for the 1942 reissue.

CLICK HERE TO BUY TICKETS NOW! 

With John Goodman, Cathy Moriarty, John Sayles, and Dick Miller.

“John Goodman stars as shlockmeister Lawrence Woolsey (affectionately based on William Castle), who turns up in Key West in 1962 to present a preview of his latest horror B-film. This highly enjoyable and provocative teenage comedy, set during the Cuban missile crisis, was directed by Joe Dante and written by Dante regular Charlie Haas and Jerico, who all have a lot of fun with all the period absurdities, especially those provoked by war fever. They’re also adroit in implicitly suggesting some related absurdities of the early 1990s.” –Jonathan Rosenbaum, CHICAGO READER

CLICK HERE TO BUY TICKETS NOW!

“It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. […] [The] best Chaplin films can be seen over and over again with no loss of pleasure – indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.” –André Bazin, WHAT IS CINEMA

A WOMAN (1915, 20 min, 16mm, silent)
THE CURE (1917, 26 min, 16mm, silent)
EASY STREET (1917, 19 min, 16mm, silent)

Total running time: ca. 70 min.

CLICK HERE TO BUY TICKETS NOW! 

Print courtesy of the Joe Dante and Jon Davison Collection at the Academy Film Archive.
The directorial debut of both Joe Dante (THE HOWLING, GREMLINS) and Allan Arkush (ROCK ‘N’ ROLL HIGH SCHOOL), this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman’s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD’s Walter Paisley!

CLICK HERE TO BUY TICKETS NOW!

With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.

Joe Dante’s GREMLINS was produced by Spielberg and became a huge hit, but it’s no E.T. True, its ‘hero,’ Gizmo the mogwai, is an adorable, wide-eyed, furry little creature of unknown origins (by way of Chinatown). But, given as a gift to our human protagonist Billy (Zach Galligan), Gizmo comes along with three rules: never expose it to bright light, never get it wet, and never, EVER feed it after midnight. Needless to say, rules (especially in horror movies) are made to be broken, and soon the placid town of Kingston Falls is overrun with murderous, anarchic, and not at all furry Gremlins, who lay a path of destruction which Dante delights in portraying. GREMLINS is a bona fide 1980s popcorn-movie classic whose mischievous spirit and Looney Tunes-inspired havoc remain fresh forty years later.

CLICK HERE TO BUY TICKETS NOW!

“It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. […] [The] best Chaplin films can be seen over and over again with no loss of pleasure – indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.” –André Bazin, WHAT IS CINEMA

A DAY’S PLEASURE (1919, 19 min, 35mm, silent)
THE IDLE CLASS (1921, 32 min, 35mm, silent)
PAY DAY (1922, 22 min, 35mm, silent)

Total running time: ca. 75 min.

CLICK HERE TO BUY TICKETS NOW! 

In his controversial masterpiece, Chaplin offers both a cutting caricature of Adolf Hitler and a slytweaking ofhis own comic persona. Chaplin, in his first pure talkie, brings his sublimephysicality to two roles: the cruel yet clownish “Tomainian” dictator and the kindly Jewishbarber who is mistaken for him. Featuring Jack Oakie and Paulette Goddard in stellar supportingturns, THE GREAT DICTATOR, boldly going after the fascist leader before the U.S.’s officialentry into World War II, is an audacious amalgam of politics and slapstick that culminates inChaplin’s famously impassioned speech.

CLICK HERE TO BUY TICKETS NOW!

With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.
Rare is a sequel that bests the original, but GREMLINS 2 manages to outsmart and undermine its blockbuster predecessor a hundred times over. A parable for our times (circa 1990), this improbable tale takes place in the towering Manhattan super-building of Clamp Enterprises, where poor furry Gizmo is being used as a guinea pig by gonzo billionaire Daniel Clamp (played with a Donald Trump-like zeal by the rubbery John Glover). Next thing you know Gizmo gets wet and, well, hell breaks loose. Luckily his pals Billy (Zach Galligan), Katie (Phoebe Cates) and Murray (Dick Miller, natch) are there to help save him and New York from the whacked-out antics of the deplorable, deadly Gremlins. Simultaneously a tribute to the great sight gags of Frank Tashlin and a riotous parody of disaster movies in the Irwin Allen mold, this great meta-film is 100% Joe Dante.

CLICK HERE TO BUY TICKETS NOW!

With Arsenio Hall, Michelle Pfeiffer, Joe Pantoliano, David Alan Grier, B.B. King, Rosanna Arquette, Ed Begley, Jr., Carrie Fisher, Paul Bartel, and many others.

“John Landis’s unofficial sequel to KENTUCKY FRIED MOVIE and the bastard child of Joe Dante and Jon Davison’s THE MOVIE ORGY. Like those back-handed tributes to the disreputable entertainments of our youth, AMAZON WOMEN is a smorgasbord of comedy skits…. Overall the result [includes] three or four laugh-out-loud vaudeville sequences and a couple of bona-fide short-form classics.” –Charlie Largent, TRAILERS FROM HELL

“The strongest aftertaste is left by Dante’s bad-taste rendition of movie critics reviewing a failed life, a sequence that eventually turns into a celebrity roast for the dead person, attended by Slappy White, Jackie Vernon, Henny Youngman, Charlie Callas, and Steve Allen – too sinister for comfortable laughs, but queasy in the best Dante manner.” –Jonathan Rosenbaum, CHICAGO READER

CLICK HERE TO BUY TICKETS NOW!

With John Goodman, Cathy Moriarty, John Sayles, and Dick Miller.

“John Goodman stars as shlockmeister Lawrence Woolsey (affectionately based on William Castle), who turns up in Key West in 1962 to present a preview of his latest horror B-film. This highly enjoyable and provocative teenage comedy, set during the Cuban missile crisis, was directed by Joe Dante and written by Dante regular Charlie Haas and Jerico, who all have a lot of fun with all the period absurdities, especially those provoked by war fever. They’re also adroit in implicitly suggesting some related absurdities of the early 1990s.” –Jonathan Rosenbaum, CHICAGO READER

CLICK HERE TO BUY TICKETS NOW!

FREE SCREENINGS!
THE MOVIE ORGY is the legendary, epic-length, found-footage work created by a young Joe Dante, who would soon become one of genre cinema’s modern masters. In 1968, the future director of GREMLINS and INNERSPACE took an apartment’s worth of 16mm prints and, with the help of producer Jon Davison (ROBOCOP), meticulously fashioned them into what is quite possibly the world’s first found footage megamix. Comprised of commercials, news reels, clips from feature films, TV bloopers, and much more, THE MOVIE ORGY is both a fascinating cultural artifact and a wild vortex of mashed-up magnificence. Unavailable to screen for decades and never available on home video, the film has been preserved from the original 16mm reels by AGFA in partnership with Joe Dante and Jon Davison.

CLICK HERE TO BUY TICKETS NOW!

One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin’s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin's own music and poetic narration, added for the 1942 reissue.

CLICK HERE TO BUY TICKETS NOW! 

In his controversial masterpiece, Chaplin offers both a cutting caricature of Adolf Hitler and a slytweaking ofhis own comic persona. Chaplin, in his first pure talkie, brings his sublimephysicality to two roles: the cruel yet clownish “Tomainian” dictator and the kindly Jewishbarber who is mistaken for him. Featuring Jack Oakie and Paulette Goddard in stellar supportingturns, THE GREAT DICTATOR, boldly going after the fascist leader before the U.S.’s officialentry into World War II, is an audacious amalgam of politics and slapstick that culminates inChaplin’s famously impassioned speech.

CLICK HERE TO BUY TICKETS NOW!

With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.

Joe Dante’s GREMLINS was produced by Spielberg and became a huge hit, but it’s no E.T. True, its ‘hero,’ Gizmo the mogwai, is an adorable, wide-eyed, furry little creature of unknown origins (by way of Chinatown). But, given as a gift to our human protagonist Billy (Zach Galligan), Gizmo comes along with three rules: never expose it to bright light, never get it wet, and never, EVER feed it after midnight. Needless to say, rules (especially in horror movies) are made to be broken, and soon the placid town of Kingston Falls is overrun with murderous, anarchic, and not at all furry Gremlins, who lay a path of destruction which Dante delights in portraying. GREMLINS is a bona fide 1980s popcorn-movie classic whose mischievous spirit and Looney Tunes-inspired havoc remain fresh forty years later.

CLICK HERE TO BUY TICKETS NOW!

Surveying the work of filmmaker Tara Najd Ahmadi, this program features seven short works made over the course of the past 12 years, and reveals a developing oeuvre made up of films whose small-scale modesty and admirable concision belie the cumulative power of their insights and ideas concerning cultural identity and the impact of social-political forces on individuals’ lives in the 21st century.

Born and raised in Iran, Najd Ahmadi makes films in a variety of (intentionally unspectacular) modes – the diary film, home movies, and various forms of hand-made animation – but they’re all infused with a dialectical movement between the micro and the macro, the personal and the political, between the gestures and moods of daily life and a profound contemplation of the way imagery reflects and shapes our experiences. Perhaps the most distinctive dimension of Najd Ahmadi’s work is its “conversational” nature: several of her films depict and are structured as conversations, and all of them strive to create a kind of (Socratic) dialogue with the viewer, encouraging us to see other viewpoints, question assumptions, and think through certain ideas.

Though Najd Ahmadi is sadly unable to be here in person for the screening, Anthology is thrilled to present the first solo program devoted to her work in New York City.

“[Tara Najd Ahmadi’s work] reminds us – with an almost painful precision, and at the same time in an almost painfully restrained, understated way – that an act as simple (for many) as a border crossing, can have gigantic implications and can present itself as a gigantic obstacle (for more). It shows us – with a subdued sense of humor – that for many people (and there will be more of us tomorrow) cultural transplantation is no longer an exception, but a norm. It measures the level of resistance present in everyday gestures and words, firmly believing that resistance is not futile, but necessary, and readily available to us all.” –Jurij Meden, AUSTRIAN FILM MUSEUM

“Najd Ahmadi presents powerful vignettes in which hand-made assemblage puppets digest contemporary notions of commodity and exploitation, while other films explore political activism and the power of memory among her generation of Iranian artists living in the West.” –Shannon Fitzgerald, THE PROTAGONIST

MEASURING THE LEVEL OF RESISTANCE (2011, 4 min, 16mm-to-digital)
This hand painted animation explores the idea of resistance as an everyday life activity, using three basic foods: rice, eggs, and pickles. The puppet, which is shown as a preserver of light in the first scene, is boiled, fried, and pickled in three segments. After each cooking scene the resistance of the puppet through time is measured with a diagram. The film was shot on 16mm, and later directly hand painted on positive.

THREE MINUTES OF HEADLESS LIFE (2015, 2.5 min, 16mm-to-digital)
A stop-motion animation shot on 16mm, about a wig that wanders through a variety of texts and ideologies in search of her cultural identity. In her process of artistic production, she stumbles upon photos of Iranian writers and poets such as Forough Farrokhzad, critical thinkers and philosophers such as Michel Foucault, and Dadaist artists such as Marcel Duchamp.

PRODUCTIVE FRUSTRATION (2016, 13.5 min, digital)
A short experimental film investigating an artist’s ongoing, everyday, both conscious and subconscious struggle to remain creatively productive in an exasperating atmosphere. Combining different mediums, different textures, and different means of expression such as stop-motion animation, video, 16mm film, still images, and voiceovers, the film juxtaposes thoughts and memories of both examined and unexamined past, present, and possible future.

A WEEK WITH AZAR (2018, 10.5 min, digital)
This film is based on the true story of Azar, an Iranian computer engineer based in the U.S., who in the winter of 2017 failed to see her ill sister in Isfahan (Iran) for the last time because of Executive Order 13769, commonly known as the travel ban. According to this ban, the nationals of seven countries, including Iran, could not enter the USA. The film’s fragmented narrative structure and aesthetic approach (juxtaposing 16mm film, digital video and still frames) is a reflection of the fragmented life of an immigrant.

AN ART HISTORIAN’S RECIPE (2022, 7 min, 16mm-to-digital)
An homage to a friend, and advisor, art historian Douglas Crimp (1944-2019). In the 1970s, Crimp attempted to publish a Moroccan cookbook in NYC, but his project failed, and the book was never published. The film’s narration consists of excerpts from Crimp’s memoir “Before Pictures”. The footage is a collage of 16mm films shot between 2017 and 2021. Central to the footage are scenes of Crimp preparing a tagine dish (from his unpublished cookbook) with his students at the University of Rochester.

MY SLEEPLESS FRIENDS (2023, 20 min, digital)
This film explores insomnia as a common sociopolitical issue of the 21st century. It juxtaposes intimate conversations with night-life scenes to create a wider portrait of certain cracks in our times through which general unrest and unease are revealed. The interviewed sleepless friends share their stories about sleep deprivation, and each of these narratives opens up a new perspective and possible understanding of restlessness in our current sociopolitical climate.

SURFACING IMAGES (2023, 4.5 min, digital)
Najd Ahmadi’s most recent work is a short experimental documentary about film preservation and the destiny of images that are left on their own. From the works of Dušan Makavejev and Bojana Marijan to the videos of the Iranian revolution and women’s uprising, this film portrays the irresistible urge of images to resurface.

Total running time: ca. 65 min.

CLICK HERE TO BUY TICKETS NOW!

With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.
Rare is a sequel that bests the original, but GREMLINS 2 manages to outsmart and undermine its blockbuster predecessor a hundred times over. A parable for our times (circa 1990), this improbable tale takes place in the towering Manhattan super-building of Clamp Enterprises, where poor furry Gizmo is being used as a guinea pig by gonzo billionaire Daniel Clamp (played with a Donald Trump-like zeal by the rubbery John Glover). Next thing you know Gizmo gets wet and, well, hell breaks loose. Luckily his pals Billy (Zach Galligan), Katie (Phoebe Cates) and Murray (Dick Miller, natch) are there to help save him and New York from the whacked-out antics of the deplorable, deadly Gremlins. Simultaneously a tribute to the great sight gags of Frank Tashlin and a riotous parody of disaster movies in the Irwin Allen mold, this great meta-film is 100% Joe Dante.

CLICK HERE TO BUY TICKETS NOW!

U.S. THEATRICAL PREMIERE RUN!
(PILIGRIMAI)
“A young woman and man reunite for a mission of initially unknown origin and goal. Indre and Paulius are connected by a violent tragedy that killed Matas – her boyfriend, his brother. Spurred on by Paulius’s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Bareiša has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger.” –NEW DIRECTORS/NEW FILMS

“PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something. The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death. Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, PILGRIMS asks itself all these questions, examining not only one single crime, but also larger questions of national identity.” –Lucía Salas, VIENNALE

“Bareiša uses absence as a structuring principle, unfurling the plot by way of rumors and insinuations. Matas’ death is at once the film’s unresolved enigma and its epicenter; by refusing to make it visible and forcing us to picture it ourselves, to conjure our own version of the events, not only does PILGRIMS make its central secret almost unbearably unnerving, it also makes us accomplices in its unearthing. […] PILGRIMS is an austere, chilling watch, yet it writhes with almost uncontainable outbursts of rage and grief.” –Leonardo Goi, MUBI

CLICK HERE TO BUY TICKETS NOW!

In the first of two events this April relating to new or forthcoming books about the great filmmaker, animator, artist, and musicologist Harry Smith, we mark the publication of a revised and expanded edition of Paola Igliori’s invaluable “Harry Smith: American Magus” (Semiotext(e), 2022). First published in 1996, “American Magus” gathered together a wealth of reminiscences from Smith’s fellow artists, collaborators, and friends, including Jordan Belson, Jonas Mekas, Moe Asch, Allen Ginsberg, Robert Frank, John Cohen, M. Henry Jones, and many others. The new edition incorporates entirely new written material, as well as a generous selection of photographs, film stills, and reproductions of his rarely-seen paintings and other works on paper.

To celebrate the appearance of this new edition of “American Magus”, we’ll be screening Igliori’s film portrait of the same name, as well as two of Smith’s most rarely-screened short films. Paola Igliori will be here in person to discuss the book, and Smith’s life and work in general, and will be joined in conversation by composer, multimedia artist, and writer Paul D. Miller, aka DJ Spooky.

Special thanks to Paola Igliori, Hedi El Kholti, and Paul D. Miller.

For more info about the book, visit: https://mitpress.mit.edu/9781635901641/harry-smith/

On Tuesday, April 18, we will also present an event showcasing writer John Szwed’s new biography, “Cosmic Scholar: The Life and Times of Harry Smith”; click here for more details.

Paola Igliori
AMERICAN MAGUS
2002, 93 min, digital
“AMERICAN MAGUS joins a group of contemporaneous documentaries about experimental filmmakers, such as Martina Kudlácek’s IN THE MIRROR OF MAYA DEREN (2002) and Sergio Machado’s AT THE EDGE OF THE EARTH (2001). Each is a rich assortment of image and sound materials unearthed from extensive, in some cases almost miraculous research. And they mingle celebration with lament as they tote up the early deaths and curtailed projects that characterize marginal artistic careers. AMERICAN MAGUS details an especially chaotic and mind-boggling career, that of filmmaker, folklorist and obsessive collector Harry Smith – also a Ruizian theorist well before his time, judging by the account of his early ’60s lecture on Giordano Bruno and the cinema – whose magnificent achievements (his famous folk music recordings honored, near the end of his life, by a Grammy award that prompts his on-stage reflection that ‘in my lifetime, I saw music change the world’) jostle with a myriad of lost, incomplete and indecipherable works.” –Adrian Martin

Preceded by:
Harry Smith
FILM NO. 6 (1948-51, 1.5 min, 16mm, anaglyph 3-D, silent. Preserved by Anthology Film Archives.)
&
FILM NO. 7 (1952, 5.5 min, 16mm-to-35mm blow-up, silent. Preserved by Anthology Film Archives.)
“FILM NO. 6 was shot in anaglyphic stereo, the red and green colors signifying ending and beginning in alchemical lore (cf. Duchamp’s Moustiques Domestique Demistock), and is similar to FILM NO. 7, which contains very intricate, multi-layered images re-photographed by repeated rear-screen projection to build up elaborate constructs reminiscent of Kandinsky’s later geometric paintings, moving in a vibrant, organic, truly symphonic interlacing.” –William Moritz

Total running time: ca. 105 min.

CLICK HERE TO BUY TICKETS NOW!

U.S. THEATRICAL PREMIERE RUN!
(PILIGRIMAI)
“A young woman and man reunite for a mission of initially unknown origin and goal. Indre and Paulius are connected by a violent tragedy that killed Matas – her boyfriend, his brother. Spurred on by Paulius’s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Bareiša has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger.” –NEW DIRECTORS/NEW FILMS

“PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something. The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death. Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, PILGRIMS asks itself all these questions, examining not only one single crime, but also larger questions of national identity.” –Lucía Salas, VIENNALE

“Bareiša uses absence as a structuring principle, unfurling the plot by way of rumors and insinuations. Matas’ death is at once the film’s unresolved enigma and its epicenter; by refusing to make it visible and forcing us to picture it ourselves, to conjure our own version of the events, not only does PILGRIMS make its central secret almost unbearably unnerving, it also makes us accomplices in its unearthing. […] PILGRIMS is an austere, chilling watch, yet it writhes with almost uncontainable outbursts of rage and grief.” –Leonardo Goi, MUBI

CLICK HERE TO BUY TICKETS NOW!

With John Goodman, Cathy Moriarty, John Sayles, and Dick Miller.

“John Goodman stars as shlockmeister Lawrence Woolsey (affectionately based on William Castle), who turns up in Key West in 1962 to present a preview of his latest horror B-film. This highly enjoyable and provocative teenage comedy, set during the Cuban missile crisis, was directed by Joe Dante and written by Dante regular Charlie Haas and Jerico, who all have a lot of fun with all the period absurdities, especially those provoked by war fever. They’re also adroit in implicitly suggesting some related absurdities of the early 1990s.” –Jonathan Rosenbaum, CHICAGO READER

CLICK HERE TO BUY TICKETS NOW!

A meditation on the transformations of perception produced by loss, Paige Sarlin’s [six years] marks an anniversary of the filmmaker and musician Tony Conrad’s death on April 9th, 2016, with images and sounds created in the apartment in Buffalo, NY, where Sarlin and Conrad lived together.

On the night Tony died, Paige played cello to him for hours as his breathing slowed and changed. [six years] contains excerpts from that audio recorded at Hospice Buffalo and explores the capacity of video to function as a holding space for grief. Balloons will be provided.

To commemorate the premiere (and another anniversary of Tony’s death), Sarlin’s 30-minute video will be preceded by two videos Conrad made with other collaborators.

The screening will be followed by a Q&A with Sarlin and Tony Billoni, performance artist, designer of happenings, and Friend of Tony.

Special thanks to Kathy High, Andrew Lampert, Anna Chiaretta Lavatelli, Tony Oursler, Keith Sanborn, and Anna Scime.

Paige Sarlin
[six years]
2022, 30 min, digital
Like Conrad's classic THE FLICKER, this experimental video begins with a warning and an instruction for the audience. [six years] contains excerpts of audio recorded at Hospice Buffalo on the day that Conrad died and a balloon will be provided as a prosthetic for every viewer. To feel... hold balloon.

Preceded by:
Tony Conrad ACCORDION (1981, 12 min, video)
“Though the accordion can be complex, many people find it relatively easy to learn a simple tune. The first step is to find a good teacher. Once you’ve found a teacher, you must practice regularly to play well.” –from “How to Play the Accordion” by Tameca Jones, 2022

Tony Conrad with Keith Sanborn & Barbara Broughel PALACE OF ERROR 1982/2011, 9 min, 16mm-to-digital
“A theory discourse among three participants, enacted in silhouette.” –Tony Conrad

Total running time: ca. 55 min.

CLICK HERE TO BUY TICKETS NOW!

U.S. THEATRICAL PREMIERE RUN!
(PILIGRIMAI)
“A young woman and man reunite for a mission of initially unknown origin and goal. Indre and Paulius are connected by a violent tragedy that killed Matas – her boyfriend, his brother. Spurred on by Paulius’s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Bareiša has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger.” –NEW DIRECTORS/NEW FILMS

“PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something. The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death. Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, PILGRIMS asks itself all these questions, examining not only one single crime, but also larger questions of national identity.” –Lucía Salas, VIENNALE

“Bareiša uses absence as a structuring principle, unfurling the plot by way of rumors and insinuations. Matas’ death is at once the film’s unresolved enigma and its epicenter; by refusing to make it visible and forcing us to picture it ourselves, to conjure our own version of the events, not only does PILGRIMS make its central secret almost unbearably unnerving, it also makes us accomplices in its unearthing. […] PILGRIMS is an austere, chilling watch, yet it writhes with almost uncontainable outbursts of rage and grief.” –Leonardo Goi, MUBI

CLICK HERE TO BUY TICKETS NOW!

With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.

Joe Dante’s GREMLINS was produced by Spielberg and became a huge hit, but it’s no E.T. True, its ‘hero,’ Gizmo the mogwai, is an adorable, wide-eyed, furry little creature of unknown origins (by way of Chinatown). But, given as a gift to our human protagonist Billy (Zach Galligan), Gizmo comes along with three rules: never expose it to bright light, never get it wet, and never, EVER feed it after midnight. Needless to say, rules (especially in horror movies) are made to be broken, and soon the placid town of Kingston Falls is overrun with murderous, anarchic, and not at all furry Gremlins, who lay a path of destruction which Dante delights in portraying. GREMLINS is a bona fide 1980s popcorn-movie classic whose mischievous spirit and Looney Tunes-inspired havoc remain fresh forty years later.

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With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.
Rare is a sequel that bests the original, but GREMLINS 2 manages to outsmart and undermine its blockbuster predecessor a hundred times over. A parable for our times (circa 1990), this improbable tale takes place in the towering Manhattan super-building of Clamp Enterprises, where poor furry Gizmo is being used as a guinea pig by gonzo billionaire Daniel Clamp (played with a Donald Trump-like zeal by the rubbery John Glover). Next thing you know Gizmo gets wet and, well, hell breaks loose. Luckily his pals Billy (Zach Galligan), Katie (Phoebe Cates) and Murray (Dick Miller, natch) are there to help save him and New York from the whacked-out antics of the deplorable, deadly Gremlins. Simultaneously a tribute to the great sight gags of Frank Tashlin and a riotous parody of disaster movies in the Irwin Allen mold, this great meta-film is 100% Joe Dante.

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FREE SCREENINGS!
THE MOVIE ORGY is the legendary, epic-length, found-footage work created by a young Joe Dante, who would soon become one of genre cinema’s modern masters. In 1968, the future director of GREMLINS and INNERSPACE took an apartment’s worth of 16mm prints and, with the help of producer Jon Davison (ROBOCOP), meticulously fashioned them into what is quite possibly the world’s first found footage megamix. Comprised of commercials, news reels, clips from feature films, TV bloopers, and much more, THE MOVIE ORGY is both a fascinating cultural artifact and a wild vortex of mashed-up magnificence. Unavailable to screen for decades and never available on home video, the film has been preserved from the original 16mm reels by AGFA in partnership with Joe Dante and Jon Davison.

CLICK HERE TO BUY TICKETS NOW!

U.S. THEATRICAL PREMIERE RUN!
(PILIGRIMAI)
“A young woman and man reunite for a mission of initially unknown origin and goal. Indre and Paulius are connected by a violent tragedy that killed Matas – her boyfriend, his brother. Spurred on by Paulius’s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Bareiša has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger.” –NEW DIRECTORS/NEW FILMS

“PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something. The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death. Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, PILGRIMS asks itself all these questions, examining not only one single crime, but also larger questions of national identity.” –Lucía Salas, VIENNALE

“Bareiša uses absence as a structuring principle, unfurling the plot by way of rumors and insinuations. Matas’ death is at once the film’s unresolved enigma and its epicenter; by refusing to make it visible and forcing us to picture it ourselves, to conjure our own version of the events, not only does PILGRIMS make its central secret almost unbearably unnerving, it also makes us accomplices in its unearthing. […] PILGRIMS is an austere, chilling watch, yet it writhes with almost uncontainable outbursts of rage and grief.” –Leonardo Goi, MUBI

CLICK HERE TO BUY TICKETS NOW!

U.S. THEATRICAL PREMIERE RUN!
(PILIGRIMAI)
“A young woman and man reunite for a mission of initially unknown origin and goal. Indre and Paulius are connected by a violent tragedy that killed Matas – her boyfriend, his brother. Spurred on by Paulius’s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Bareiša has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger.” –NEW DIRECTORS/NEW FILMS

“PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something. The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death. Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, PILGRIMS asks itself all these questions, examining not only one single crime, but also larger questions of national identity.” –Lucía Salas, VIENNALE

“Bareiša uses absence as a structuring principle, unfurling the plot by way of rumors and insinuations. Matas’ death is at once the film’s unresolved enigma and its epicenter; by refusing to make it visible and forcing us to picture it ourselves, to conjure our own version of the events, not only does PILGRIMS make its central secret almost unbearably unnerving, it also makes us accomplices in its unearthing. […] PILGRIMS is an austere, chilling watch, yet it writhes with almost uncontainable outbursts of rage and grief.” –Leonardo Goi, MUBI

CLICK HERE TO BUY TICKETS NOW!

We continue our longstanding tradition of presenting “The Secret Life of…Anthology Film Archives”, a recurring opportunity to take a peek at the teeming hive of creativity hiding behind the scenes at Anthology, thanks to the film- and video-making efforts of AFA’s staff, friends, fellow-travelers, and devotees.

CLICK HERE TO BUY TICKETS NOW!

U.S. THEATRICAL PREMIERE RUN!
(PILIGRIMAI)
“A young woman and man reunite for a mission of initially unknown origin and goal. Indre and Paulius are connected by a violent tragedy that killed Matas – her boyfriend, his brother. Spurred on by Paulius’s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Bareiša has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger.” –NEW DIRECTORS/NEW FILMS

“PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something. The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death. Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, PILGRIMS asks itself all these questions, examining not only one single crime, but also larger questions of national identity.” –Lucía Salas, VIENNALE

“Bareiša uses absence as a structuring principle, unfurling the plot by way of rumors and insinuations. Matas’ death is at once the film’s unresolved enigma and its epicenter; by refusing to make it visible and forcing us to picture it ourselves, to conjure our own version of the events, not only does PILGRIMS make its central secret almost unbearably unnerving, it also makes us accomplices in its unearthing. […] PILGRIMS is an austere, chilling watch, yet it writhes with almost uncontainable outbursts of rage and grief.” –Leonardo Goi, MUBI

CLICK HERE TO BUY TICKETS NOW!

[BACK BY POPULAR DEMAND - SCREENING ON 35MM!]

The powerful words of 17th-century poet Arutuin Sayadian, also known as “Sayat Nova” (“King of Siam”) are magnificently captured in this visual pastiche which is both a stylized biography and a tribute to his work. Conceived as a complex series of painterly tableaux that recall Byzantine mosaics, the film is divided into eight sections, which evoke the poet’s childhood and youth, his days as a troubadour at the court of King Heraclius II of Georgia, his retreat to a monastery, and his old age and death. Comprising a series of symbolically rich, almost hallucinatory scenes, this baroque masterpiece was banned in the Soviet Union for its religious sentiment and nonconformity to “Socialist realism”. Paradjanov, a tirelessly outspoken campaigner for human rights, was convicted on a number of trumped-up charges and sentenced to five years of hard labor in the gulag. A wave of protest from the international film community led to his release in 1978.

“Paradjanov’s greatest film. […] The striking use of tableau-like frames recalls the shallow space of movies made roughly a century ago, while the gorgeous uses of color and the wild poetic conceits seem to derive from some utopian cinema of the future, at once ‘difficult’ and immediate, cryptic and ravishing.” –Jonathan Rosenbaum, CHICAGO READER

U.S. THEATRICAL PREMIERE RUN!
(PILIGRIMAI)
“A young woman and man reunite for a mission of initially unknown origin and goal. Indre and Paulius are connected by a violent tragedy that killed Matas – her boyfriend, his brother. Spurred on by Paulius’s obsessive need to recount and relive the events that led to his death, they find themselves caught up in the past. Skillfully doling out narrative information piece by piece and layer upon layer in scenes marked by elegant, sinister single takes, Lithuanian filmmaker Laurynas Bareiša has created a foreboding, yet ultimately hopeful portrait of people racked with trauma and unresolved anger.” –NEW DIRECTORS/NEW FILMS

“PILGRIMS is a work of fiction that emerges directly from elements of reality: a newspaper article, the space occupied by a small town, and its surroundings. A young man and a young woman drive from Vilnius to a village to find out something. The viewer is given very little information, and as the film proceeds, we slowly start to understand what happened and what reunites them. There is a sense of familiarity, and of sharing the trauma of a horrible event. They both have a profound need to understand, but they couldn’t be more different. One moves with aggressiveness, the other moves with care, but they both need the same thing: to be in contact with the last people and spaces Matas was in contact with, to sink into his waters, to believe that a person’s presence remains beyond death. Where does violence come from? Is it personal? Is it historical? Is it embedded in the land? As they move through the events, PILGRIMS asks itself all these questions, examining not only one single crime, but also larger questions of national identity.” –Lucía Salas, VIENNALE

“Bareiša uses absence as a structuring principle, unfurling the plot by way of rumors and insinuations. Matas’ death is at once the film’s unresolved enigma and its epicenter; by refusing to make it visible and forcing us to picture it ourselves, to conjure our own version of the events, not only does PILGRIMS make its central secret almost unbearably unnerving, it also makes us accomplices in its unearthing. […] PILGRIMS is an austere, chilling watch, yet it writhes with almost uncontainable outbursts of rage and grief.” –Leonardo Goi, MUBI

CLICK HERE TO BUY TICKETS NOW!

NEW YORK THEATRICAL PREMIERE RUN!
Waste on the shores, waste on the mountains. On ocean floors and deep down in the earth. The term “matter out of place” refers to objects in a place they originally do not belong. And there are many such objects in the places Nikolaus Geyrhalter visits for this film.

Using his trademark style of mostly static, prolonged, and masterfully composed takes – which he’s developed over the course of thirty years in films such as PRIPYAT (1999), ELSEWHERE (2001), OUR DAILY BREAD (2005), HOMO SAPIENS (2016), and EARTH (2019) – Geyrhalter traces immense amounts of waste across our planet. He travels from the mountain tops of Switzerland to the coasts of Greece and Albania, into an Austrian refuse incinerator and then to Nepal and the Maldives, and finally to the deserts of Nevada. On his journey, Geyrhalter illustrates the endless, Sisyphean struggle of people to gain control over the vast amounts of waste that we produce every single day.

“For his monumental study of displacement, Geyrhalter has traveled across continents, mapping a new kind of landscape that has become detached from geographical or climatic conditions under palm trees, on mountains, at rivers, in the snow. Washed up, blown in, piled up, caught or left somewhere – where once the forces of nature were at work, garbage now dominates the shape of things. […] In equally delicately composed images, the filmmaker focuses on the machines and people who work away at these garbage landscapes. They excavate and compact, collect and sort, sweep and rake, move one thing this way and the other that way with grapplers or hands. Well-formed and without comment, the inner workings of a self-sustaining system are revealed in which a process of alienation is underway that causes problem and solution to drift apart.” –Sylvia Görke, DOK LEIPZIG

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Presented By NYXO Records.

Founded in 2014, Onyx Collective is an evolving experimental group that features an ever-changing constellation of musicians and that serves as a nexus for a community of downtown NYC musicians and artists. Over two evenings in April, Onyx Collective will present a selection of films that have emerged from this group of collaborators and that feature scores by members of the Collective.

Daniel Regan LIFE IN DEBT 2021, 13 min, 8mm-to-digital. Music by 22note.
Working from archival 8mm footage shot between 2017-20, in Venice, California, and on his travels around the globe, Daniel Regan constructs – from the vantage of pandemic isolation – a cathartic vision of the world of before and a portrait of the way we once were.

Mike Swoop CLASSIFIED 2020, 11 min, 16mm-to-digital. Music by Onyx Collective.
A pair of spies adopt unusual disguises for an assignment in which their handler employs psychedelics to encrypt a message through music. A notion that challenges what we claim to know about this universal tongue.

Mike Swoop XYNOPHILES 2022, 25 min, digital. Music by Onyx Collective.
Mysticism or brainwashing? Alien or immigrant? Attempting to strong-arm a foreign group, otherworldly beings battle internally to understand their real purpose. XYNOPHILES was filmed in NYC during the height of the 2020 pandemic lock-down.

Mike Swoop SHIELDS 2022, 8 min, 8mm-to-digital. Music by Isaiah Barr.
Although the heyday of graffiti is long past, its spirit remains on display through the lens of the late Lance De Los Reyes, aka RAMBO. Filmed in a vacant lower Manhattan building that was once the site of a studio Lance shared with fellow artist and collaborator Curtis Kulig, SHIELDS is an elegant and perceptive tribute to an artist, father, and mystic.

Joshua Woods NO PLACE LIKE HOME 2022, 8 min, 16mm-to-digital. Music by Onyx Collective.
This film follows Onyx Collective in 2020 from New York to Paris for the Banlieues Bleues Jazz Festival. A poetic, pre-pandemic portrait of the group, the film boasts a score featuring field recordings from Onyx Collective sessions in 2016-17.

Total running time: ca. 70 min.

CLICK HERE TO BUY TICKETS NOW!

NEW YORK THEATRICAL PREMIERE RUN!
Waste on the shores, waste on the mountains. On ocean floors and deep down in the earth. The term “matter out of place” refers to objects in a place they originally do not belong. And there are many such objects in the places Nikolaus Geyrhalter visits for this film.

Using his trademark style of mostly static, prolonged, and masterfully composed takes – which he’s developed over the course of thirty years in films such as PRIPYAT (1999), ELSEWHERE (2001), OUR DAILY BREAD (2005), HOMO SAPIENS (2016), and EARTH (2019) – Geyrhalter traces immense amounts of waste across our planet. He travels from the mountain tops of Switzerland to the coasts of Greece and Albania, into an Austrian refuse incinerator and then to Nepal and the Maldives, and finally to the deserts of Nevada. On his journey, Geyrhalter illustrates the endless, Sisyphean struggle of people to gain control over the vast amounts of waste that we produce every single day.

“For his monumental study of displacement, Geyrhalter has traveled across continents, mapping a new kind of landscape that has become detached from geographical or climatic conditions under palm trees, on mountains, at rivers, in the snow. Washed up, blown in, piled up, caught or left somewhere – where once the forces of nature were at work, garbage now dominates the shape of things. […] In equally delicately composed images, the filmmaker focuses on the machines and people who work away at these garbage landscapes. They excavate and compact, collect and sort, sweep and rake, move one thing this way and the other that way with grapplers or hands. Well-formed and without comment, the inner workings of a self-sustaining system are revealed in which a process of alienation is underway that causes problem and solution to drift apart.” –Sylvia Görke, DOK LEIPZIG

CLICK HERE TO BUY TICKETS NOW!

With Christine Choy. Original Score by Onyx Collective.
Brash and opinionated, Christine Choy is a documentarian, cinematographer, professor, and quintessential New Yorker whose films and teaching have influenced a generation of artists. In 1989, Choy began documenting three leaders of the Tiananmen Square pro-democracy protests who had escaped to political exile following the June 4th massacre. That project was abandoned when funding ran out and has remained unseen and incomplete until now. In their debut feature, directors Ben Klein and Violet Columbus follow Choy as she travels to Taiwan, Maryland, and Paris in order to share the archival footage with the dissidents who have remained in exile since 1989. Driven by Choy’s iconoclastic voice, THE EXILES is about the enduring love for one’s home, the fragility of historical record and remembrance, and the power of film to intervene and bear witness.

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Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives.

ROSE HOBART (ca. 1936/68, 20 min, 16mm, sound)
COTILLION (ca. 1940s-1968, 8 min, 16mm, b&w. Completed by Larry Jordan.)
THE MIDNIGHT PARTY (ca. 1940s-1968, 3.5 min, 16mm, b&w. Completed by Larry Jordan.)
THE CHILDREN’S PARTY (ca. 1940s-1968, 8 min, 16mm. Completed by Larry Jordan.)
CENTURIES OF JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.)
THE AVIARY (1954, 11 min, 16mm, b&w. Photographed by Rudy Burckhardt.)
GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.)
NYMPHLIGHT (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.)
A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm, b&w. Photographed by Rudy Burckhardt; completed by Larry Jordan.)
ANGEL (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.)

“[ROSE HOBART] is a breathtaking example of the potential for surrealistic imagery within a conventional Hollywood film once it is liberated from its narrative causality. […] In Cornell’s later films – both those photographed by Rudy Burckhardt, Stan Brakhage, and Larry Jordan and the collage films which Jordan completed – Joseph Cornell describes the marginal area where the conscious and the unconscious meet. These are films which affirm a sustained present moment in which a quality of reminiscence is implicated.” –P. Adams Sitney, VISIONARY FILM

Total running time: ca. 105 min.

CLICK HERE TO BUY TICKETS NOW!

NEW YORK THEATRICAL PREMIERE RUN!
Waste on the shores, waste on the mountains. On ocean floors and deep down in the earth. The term “matter out of place” refers to objects in a place they originally do not belong. And there are many such objects in the places Nikolaus Geyrhalter visits for this film.

Using his trademark style of mostly static, prolonged, and masterfully composed takes – which he’s developed over the course of thirty years in films such as PRIPYAT (1999), ELSEWHERE (2001), OUR DAILY BREAD (2005), HOMO SAPIENS (2016), and EARTH (2019) – Geyrhalter traces immense amounts of waste across our planet. He travels from the mountain tops of Switzerland to the coasts of Greece and Albania, into an Austrian refuse incinerator and then to Nepal and the Maldives, and finally to the deserts of Nevada. On his journey, Geyrhalter illustrates the endless, Sisyphean struggle of people to gain control over the vast amounts of waste that we produce every single day.

“For his monumental study of displacement, Geyrhalter has traveled across continents, mapping a new kind of landscape that has become detached from geographical or climatic conditions under palm trees, on mountains, at rivers, in the snow. Washed up, blown in, piled up, caught or left somewhere – where once the forces of nature were at work, garbage now dominates the shape of things. […] In equally delicately composed images, the filmmaker focuses on the machines and people who work away at these garbage landscapes. They excavate and compact, collect and sort, sweep and rake, move one thing this way and the other that way with grapplers or hands. Well-formed and without comment, the inner workings of a self-sustaining system are revealed in which a process of alienation is underway that causes problem and solution to drift apart.” –Sylvia Görke, DOK LEIPZIG

CLICK HERE TO BUY TICKETS NOW!

Bruce Conner
A MOVIE (1958, 12 min, 16mm)
COSMIC RAY (1961, 4 min, 16mm)
REPORT (1965, 13 min, 16mm)
“Conner stands as a kind of twentieth century Peter Breughel. For like the great Flemish master he distorts the visible world in order to penetrate a reality of being rather than appearances; his vision is cosmic in breadth; he deals with some of the most provocative issues, both artistic and otherwise, of his time; and finally, with an evocative ambiguity and painful irony he touches something which we sometimes call the human experience.” –Carl I. Belz, FILM CULTURE

COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation’s Avant-Garde Masters Grant program funded by The Film Foundation.

Tony Conrad
THE FLICKER
(1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.)
“THE FLICKER is a tremendous harnessing of the raw power, the elemental material of the cinematic medium – light itself – to transport the spectator slowly at first, hardly perceptibly, then accelerating, through a non-objective non-abstract world of sheer energy. Time becomes the compelling pulse of white into black and back, space becomes the unbounded expansion and contraction of force; the screen becomes a new sun, the audience its creatures.” –Ken Kelman

Total running time: ca. 65 min.

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Alberto Cavalcanti
RIEN QUE LES HEURES / NOTHING BUT THE HOURS
1926, 52 min, 35mm
One of the very first “city symphonies,” this film interweaves documentary, experimental, and narrative elements that together provide vivid images of Paris in the mid-1920s. The Brazilian-born Cavalcanti was at the time a central figure of the French avant-garde, but his fascinating career would later find him making pioneering documentaries for John Grierson’s GPO Film Unit in the UK in the 1930s, dramas, noirs, and musicals for Ealing Studios throughout the 1940s, and finally a wide array of films in Brazil, East Germany, France, and Israel in the years before his death in 1982.

Douglass Crockwell
GLENS FALLS SEQUENCE (1946, 8 min, 16mm)
THE LONG BODIES (1947, 6 min, 16mm)
Both films preserved by Anthology Film Archives.
“The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.” –Douglass Crockwell

Total running time: ca. 70 min.

CLICK HERE TO BUY TICKETS NOW!

NEW YORK THEATRICAL PREMIERE RUN!
Waste on the shores, waste on the mountains. On ocean floors and deep down in the earth. The term “matter out of place” refers to objects in a place they originally do not belong. And there are many such objects in the places Nikolaus Geyrhalter visits for this film.

Using his trademark style of mostly static, prolonged, and masterfully composed takes – which he’s developed over the course of thirty years in films such as PRIPYAT (1999), ELSEWHERE (2001), OUR DAILY BREAD (2005), HOMO SAPIENS (2016), and EARTH (2019) – Geyrhalter traces immense amounts of waste across our planet. He travels from the mountain tops of Switzerland to the coasts of Greece and Albania, into an Austrian refuse incinerator and then to Nepal and the Maldives, and finally to the deserts of Nevada. On his journey, Geyrhalter illustrates the endless, Sisyphean struggle of people to gain control over the vast amounts of waste that we produce every single day.

“For his monumental study of displacement, Geyrhalter has traveled across continents, mapping a new kind of landscape that has become detached from geographical or climatic conditions under palm trees, on mountains, at rivers, in the snow. Washed up, blown in, piled up, caught or left somewhere – where once the forces of nature were at work, garbage now dominates the shape of things. […] In equally delicately composed images, the filmmaker focuses on the machines and people who work away at these garbage landscapes. They excavate and compact, collect and sort, sweep and rake, move one thing this way and the other that way with grapplers or hands. Well-formed and without comment, the inner workings of a self-sustaining system are revealed in which a process of alienation is underway that causes problem and solution to drift apart.” –Sylvia Görke, DOK LEIPZIG

CLICK HERE TO BUY TICKETS NOW!

NEW YORK THEATRICAL PREMIERE RUN!
Waste on the shores, waste on the mountains. On ocean floors and deep down in the earth. The term “matter out of place” refers to objects in a place they originally do not belong. And there are many such objects in the places Nikolaus Geyrhalter visits for this film.

Using his trademark style of mostly static, prolonged, and masterfully composed takes – which he’s developed over the course of thirty years in films such as PRIPYAT (1999), ELSEWHERE (2001), OUR DAILY BREAD (2005), HOMO SAPIENS (2016), and EARTH (2019) – Geyrhalter traces immense amounts of waste across our planet. He travels from the mountain tops of Switzerland to the coasts of Greece and Albania, into an Austrian refuse incinerator and then to Nepal and the Maldives, and finally to the deserts of Nevada. On his journey, Geyrhalter illustrates the endless, Sisyphean struggle of people to gain control over the vast amounts of waste that we produce every single day.

“For his monumental study of displacement, Geyrhalter has traveled across continents, mapping a new kind of landscape that has become detached from geographical or climatic conditions under palm trees, on mountains, at rivers, in the snow. Washed up, blown in, piled up, caught or left somewhere – where once the forces of nature were at work, garbage now dominates the shape of things. […] In equally delicately composed images, the filmmaker focuses on the machines and people who work away at these garbage landscapes. They excavate and compact, collect and sort, sweep and rake, move one thing this way and the other that way with grapplers or hands. Well-formed and without comment, the inner workings of a self-sustaining system are revealed in which a process of alienation is underway that causes problem and solution to drift apart.” –Sylvia Görke, DOK LEIPZIG

CLICK HERE TO BUY TICKETS NOW!

For the last four years John Szwed has been tracing the life of Harry Smith, a man who’s been called many things: polymath, autodidact, genius, but also a bum and an art mooch who never had a job. Smith was a witness and a player in a period that began in the 1940s, unfolded in the ’50s, and exploded in the ’60s, and that brought about major revolutions in the arts, the social sciences, and in society itself. He closely observed and then ignored the lines between the low and high arts, the folk and the fine, the commonplace and the esoteric, and by consistently moving across these artistic registers in his work he was able to see not just the cultural but the aesthetic value of otherwise ignored arts, suspecting or knowing, all the while, that everything in the world is connected. For this special event, Szwed will be here in person to speak of that search and the writing of Smith’s biography, “Cosmic Scholar”, focusing on his painting, film, and music work to see how an underground scholar changed the world in no small measure.

For more info about “Cosmic Scholar”, which will be published in August 2023, visit: https://us.macmillan.com/books/9780374282240/cosmic-scholar

On Friday, April 7, we will also present an event celebrating the publication of a revised and expanded edition of Paola Igliori’s “Harry Smith: American Magus”; click here for more details.

CLICK HERE TO BUY TICKETS NOW!

NEW YORK THEATRICAL PREMIERE RUN!
Waste on the shores, waste on the mountains. On ocean floors and deep down in the earth. The term “matter out of place” refers to objects in a place they originally do not belong. And there are many such objects in the places Nikolaus Geyrhalter visits for this film.

Using his trademark style of mostly static, prolonged, and masterfully composed takes – which he’s developed over the course of thirty years in films such as PRIPYAT (1999), ELSEWHERE (2001), OUR DAILY BREAD (2005), HOMO SAPIENS (2016), and EARTH (2019) – Geyrhalter traces immense amounts of waste across our planet. He travels from the mountain tops of Switzerland to the coasts of Greece and Albania, into an Austrian refuse incinerator and then to Nepal and the Maldives, and finally to the deserts of Nevada. On his journey, Geyrhalter illustrates the endless, Sisyphean struggle of people to gain control over the vast amounts of waste that we produce every single day.

“For his monumental study of displacement, Geyrhalter has traveled across continents, mapping a new kind of landscape that has become detached from geographical or climatic conditions under palm trees, on mountains, at rivers, in the snow. Washed up, blown in, piled up, caught or left somewhere – where once the forces of nature were at work, garbage now dominates the shape of things. […] In equally delicately composed images, the filmmaker focuses on the machines and people who work away at these garbage landscapes. They excavate and compact, collect and sort, sweep and rake, move one thing this way and the other that way with grapplers or hands. Well-formed and without comment, the inner workings of a self-sustaining system are revealed in which a process of alienation is underway that causes problem and solution to drift apart.” –Sylvia Görke, DOK LEIPZIG

CLICK HERE TO BUY TICKETS NOW!

NEW YORK THEATRICAL PREMIERE RUN!
Waste on the shores, waste on the mountains. On ocean floors and deep down in the earth. The term “matter out of place” refers to objects in a place they originally do not belong. And there are many such objects in the places Nikolaus Geyrhalter visits for this film.

Using his trademark style of mostly static, prolonged, and masterfully composed takes – which he’s developed over the course of thirty years in films such as PRIPYAT (1999), ELSEWHERE (2001), OUR DAILY BREAD (2005), HOMO SAPIENS (2016), and EARTH (2019) – Geyrhalter traces immense amounts of waste across our planet. He travels from the mountain tops of Switzerland to the coasts of Greece and Albania, into an Austrian refuse incinerator and then to Nepal and the Maldives, and finally to the deserts of Nevada. On his journey, Geyrhalter illustrates the endless, Sisyphean struggle of people to gain control over the vast amounts of waste that we produce every single day.

“For his monumental study of displacement, Geyrhalter has traveled across continents, mapping a new kind of landscape that has become detached from geographical or climatic conditions under palm trees, on mountains, at rivers, in the snow. Washed up, blown in, piled up, caught or left somewhere – where once the forces of nature were at work, garbage now dominates the shape of things. […] In equally delicately composed images, the filmmaker focuses on the machines and people who work away at these garbage landscapes. They excavate and compact, collect and sort, sweep and rake, move one thing this way and the other that way with grapplers or hands. Well-formed and without comment, the inner workings of a self-sustaining system are revealed in which a process of alienation is underway that causes problem and solution to drift apart.” –Sylvia Görke, DOK LEIPZIG

CLICK HERE TO BUY TICKETS NOW!

Restored by Anthology Film Archives and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Outfest UCLA Legacy Project, Colorlab, and Audio Mechanics.

For her first feature film, Lizzie Borden collaborated with a small feminist group of four white middle class women in New York in the 1970s. Her intention was to explore their thoughts and ideas as well as the dynamics that animated their relationships and discussions. Adopting a radically experimental approach to nonfiction filmmaking, Borden combined interactions with the women themselves, dramatized sequences made in collaboration with the group, and interviews with other women in their orbit, such as artist Joan Jonas. Even more unusually, and especially as the group’s attitude towards the film project grew increasingly contentious, Borden incorporated their responses (and others’) to various in-progress versions of the film itself, creating a kind of socio-filmic feedback loop that foregrounds and transcends many of the intrinsic limitations of the documentary form.

Despite these attempts to engage with and incorporate their criticisms, the women in the group continued to take issue with and protest the film following its completion. Three of the women picketed the film’s initial screenings in 1976 (which took place at Anthology, and at the Edinburgh International Film Festival). Borden soon withdrew the film from circulation, and it languished virtually unseen for 40 years, until Anthology revived it on the occasion of our preservation of BORN IN FLAMES in 2016. Despite this tumultuous production and exhibition history, REGROUPING is an extraordinary film: a clear-eyed, tough-minded contribution to feminist thought, a still provocative exploration of female experience, group dynamics, and political work, and a fascinating attempt to rethink the conventions, methodology, and possibilities of documentary cinema.

REGROUPING will screen on 16mm on April 21 & 26, and on DCP on May 3.

CLICK HERE TO BUY TICKETS NOW!

Two young scientists (Adrien Brody and Sarah Polley) are experts in genetic engineering. When they propose some unorthodox experiments to the pharmaceutical company they work for, the company forbids it. Undeterred, the lovers begin to conduct their experiments in secret, and the result is Den, a new species – a hybrid of human and animal – endowed with amazing abilities.

CLICK HERE TO BUY TICKETS NOW!

“From 1970 to 1972, Arthur Ginsberg and Video Free America recorded the private life of a not so average American couple – Carel Row and Ferd Eggan. She is a porn actress and filmmaker; he is a bisexual junkie. The video vérité camera captures the desires and frustrations of their evolving relationship and their responses to the ongoing videotaping exercise. The tape, a study in ‘the effect of living too close to an electronic medium,’ reveals attitudes and discussions that also render it a fascinating social document of the West Coast counterculture. Produced before the landmark PBS documentary AN AMERICAN FAMILY, this project foregrounds the role played by media in contemporary life by positioning a video crew within the living space of a couple. Like a number of documentary projects at the time, THE CONTINUING STORY OF CAREL AND FERD was originally shown as a 3-channel video installation on 8 monitors, with a live camera feed of the audience, and often with Carel and Ferd present. This one-hour tape was broadcast on WNET’s series ‘Video and Television Review’ in 1975, and features an interview with Carel, Ferd, and Ginsberg five years later.” –Surveying the First Decade, VIDEO DATA BANK

Followed by:
Carel Rowe
FERDISH
2007, 30 min, digital
A glom of “Ferd” and “Kaddish”, FERDISH finds CAREL AND FERD’s co-star, Carel Rowe, continuing the experiment begun by the earlier film. In 2004, Carel taped Ferd on her farm in Vermont. Topics included drugs, sex, AIDS, psychotherapy, the vanishing of American politics, and death.

Total running time: ca. 95 min.

CLICK HERE TO BUY TICKETS NOW!

(GRÄNS)
Disfigured since birth, a Swedish customs officer is equipped with an extraordinary sense of smell. But when a man with similar features joins her security line at the airport, her abilities are challenged for the first time. She can sense he is hiding something, and she is unspeakably attracted to him. As the two discover their bond, she uncovers his true identity, while also realizing the truth about herself.

CLICK HERE TO BUY TICKETS NOW!

DISRUPTED BY THE HAND
“Disrupted by the Hand: Program 1” is a deep dive into the hypnotic filmic disruptions of Nazlı Dinçel. BETWEEN RELATING AND USE uses laser-engraved on-screen text to question the internal ethnographic desire to look inward, while THE SHAPE OF SURFACE disembodies limbs amid the historic ruins of Aphrodite’s city. What is revealed and not revealed are probed via intimacy and patriarchy (HER SILENT SEAMING) and equally exposed in UNTITLED. INSTRUCTIONS ON HOW TO MAKE A FILM is exactly what you think it is, plus farming.

The second program of Dinçel’s work weaves together their three SOLITARY ACTS (which each explore the masturbatory impulse and the relationship of genital to hand), with HANDS:OXES, a gestural, textural embrace of song and skin, and LEAFLESS, a treatise on body and landscape and the landscape of a body. Concluding the program, INABILITY demonstrates that bodies, like materials, will inevitably fail us.

Following both programs, Nazlı Dinçel will be joined in conversation by curator Angelo Madsen Minax!

DISRUPTED BY THE HAND: NAZLI DINÇEL PROGRAM 1
BETWEEN RELATING AND USE 2018, 9 min, 16mm
SHAPE OF SURFACE 2017, 9 min, 16mm
HER SILENT SEAMING 2014, 11 min, 16mm
UNTITLED 2016, 12 min, digital
INSTRUCTIONS ON HOW TO MAKE A FILM 2018, 13 min, 16mm

Total running time: ca. 60 min (plus Q&A).

CLICK HERE TO BUY TICKETS NOW!

(VON WEGEN ‘SCHICKSAL’)
“During the heady months of insurrection that marked 1968 across the globe, Helga Reidemeister (then a social worker) became part of a student-led struggle on behalf of the neglected residents of the Märkisches Viertel, the biggest housing estate in West Berlin at the time. Her second film [made on the estate], IS THIS FATE? is an…intense and unflinching document of the Bruder family and one in which the filmmaker’s interventionism and will constitute an important metatextual layer. The film opens with the family’s determined but exhausted matriarch Irene watching rushes on an editing table, in which one of her four children  denounces Reidemeister’s desire to film their familial conflicts. ‘[The children] just don’t see that our family’s problems are not unique to us,’ Irene says, countering Tolstoy’s thesis that ‘every unhappy family is unhappy in its own way’. Violence is the focus of IS THIS FATE and it is what the verbose and charismatic cast of six variously analyze, refute, and justify. The film is a unique document of the second and third generation’s reckoning with their nation’s legacy – though despite the mother’s keenness to blame society, this geographically specific specter is never named. But it is also a hyperbolic, noisy case study for ideas about nature vs. nurture, the welfare state, and how to live together.” –ANOTHER SCREEN

CLICK HERE TO BUY TICKETS NOW!

DISRUPTED BY THE HAND
“Disrupted by the Hand: Program 1” is a deep dive into the hypnotic filmic disruptions of Nazlı Dinçel. BETWEEN RELATING AND USE uses laser-engraved on-screen text to question the internal ethnographic desire to look inward, while THE SHAPE OF SURFACE disembodies limbs amid the historic ruins of Aphrodite’s city. What is revealed and not revealed are probed via intimacy and patriarchy (HER SILENT SEAMING) and equally exposed in UNTITLED. INSTRUCTIONS ON HOW TO MAKE A FILM is exactly what you think it is, plus farming.

The second program of Dinçel’s work weaves together their three SOLITARY ACTS (which each explore the masturbatory impulse and the relationship of genital to hand), with HANDS:OXES, a gestural, textural embrace of song and skin, and LEAFLESS, a treatise on body and landscape and the landscape of a body. Concluding the program, INABILITY demonstrates that bodies, like materials, will inevitably fail us.

Following both programs, Nazlı Dinçel will be joined in conversation by curator Angelo Madsen Minax!

DISRUPTED BY THE HAND: NAZLI DINÇEL PROGRAM 2
SOLITARY ACTS 4 2015, 8 min, 16mm
HANDS:OXES 2017, 1 min, 16mm
SOLITARY ACTS 5 2015, 6 min, 16mm
LEAFLESS 2011, 8 min, 16mm
SOLITARY ACTS 6 2015, 11 min,16mm
INABILITY 2016, 4 min, 16mm, silent

Total running time: ca. 45 min (plus Q&A).

CLICK HERE TO BUY TICKETS NOW!

In his one-of-a-kind fiction/documentary hybrid, the pioneering William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a breakup scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies.

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The “sequel” to SYMBIOPSYCHOTAXIPLASM sees TAKE ONE actors Audrey Henningham and Shannon Baker reunited in a more personal, metatheatrical exploration of the effects of the passage of time on technology, the artistic process, and relationships – real and fabricated.

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Sara Gómez
MI APORTE
1969, 33 min, 16mm-to-digital. In Spanish with English subtitles. Courtesy of the Vulnerable Media Lab at Queen’s University, Canada.
“In 1972 the Federation of Cuban Women commissioned Gómez to make a film about women’s contribution to the sugar harvest. MI APORTE (“My Contribution”) was the result: a 33-minute ‘report’ on women’s lives 13 years after the ‘triumph of the Revolution.’ The film is a model of feminist consciousness-raising documentary form – self-reflexive, critical, direct. The ‘report’ is a series of testimonials and portraits of how difficult it is for women to contribute as full citizens due to machismo. The film was censored by the FMC and has rarely been screened on or off the Island.” –Susan Lord

Jean-Bernard Bucky, Norman Jacobson, and Robert Peyton
REPORT
1970, 56 min, 16mm-to-digital. Photographed by Ed Emshwiller. Courtesy of Jean-Bernard Bucky.
REPORT was digitized through a partnership between Anthology Film Archives and Lightbox Film Center at University of the Arts, with funding from Ron and Suzanne Naples. Special thanks to Jean-Bernard Bucky, Robert Peyton, Max Bienstock, and Jesse Pires.

“Shot during the 1968/69 school year at University of California Berkeley, REPORT was created as part of Norman Jacobson’s experimental political science course ‘Toward an Expression of the Idea of Freedom’. The film, which features cinematography by avant-garde filmmaker Ed Emshwiller, merges fiction and documentary as it portrays the widening generation gap within the university, and in society at large. At the center of the film is an uncertain teacher and the students who challenge him. The filmmakers sought to not only capture this scenario but the real-life experiences and opinions of the students in the class. Combining scripted elements, on-the-street interviews, behind-the-scenes conversations, and cinema verité footage of the demonstrations and police crackdown connected to the Third World Liberation Front campus protests, REPORT is a complex portrait of American higher education at a particularly tumultuous time in history. As issues surrounding free speech on college campuses continue to dominate our public discourse, REPORT is a fascinating time capsule from the epicenter of student activism.” –LIGHTBOX FILM CENTER

Total running time: ca. 95 min.

CLICK HERE TO BUY TICKETS NOW!

(GRÄNS)
Disfigured since birth, a Swedish customs officer is equipped with an extraordinary sense of smell. But when a man with similar features joins her security line at the airport, her abilities are challenged for the first time. She can sense he is hiding something, and she is unspeakably attracted to him. As the two discover their bond, she uncovers his true identity, while also realizing the truth about herself.

CLICK HERE TO BUY TICKETS NOW!

Arthur Barron
16 IN WEBSTER GROVES
1966, 52 min, 16mm

&

Arthur Barron
WEBSTER GROVES REVISITED
1966, 52 min, 16mm
“Alone, [16 IN WEBSTER GROVES] is an interesting portrayal of a prototypical upper middle class, largely white American suburb of a certain time period. But in tandem with WEBSTER GROVES REVISITED, Barron’s project takes on a self-reflexiveness that is also an examination of the documentary process, particularly that sort practiced by network news film crews of the era. In the latter film, Barron examines the effect that observation has had on both the observed and the observer. The films shun the traditional ‘objective’ model of journalism, as well as the strict observational direct cinema practices being pioneered by the Drew Associates production company around the same time. Seen as one unit, the films have more in common with the French cinema vérité approach, in which the filmmaker is an actor (though not necessarily on-camera) whose presence and influence is made clear to the viewer. In WEBSTER GROVES REVISITED, narrator/reporter Charles Kuralt pulls back the production curtain to show viewers still photos of the cameraman in action, a technique intended to draw attention to the filmmakers’ manipulation of reality. Barron uses the setting of Webster Groves High School to implicitly criticize attitudes about class stratification, the perils of capitalism, political apathy, and racial segregation.” –Raphaela Neihausen, STRANGER THAN FICTION

CLICK HERE TO BUY TICKETS NOW!

Two young scientists (Adrien Brody and Sarah Polley) are experts in genetic engineering. When they propose some unorthodox experiments to the pharmaceutical company they work for, the company forbids it. Undeterred, the lovers begin to conduct their experiments in secret, and the result is Den, a new species – a hybrid of human and animal – endowed with amazing abilities.

CLICK HERE TO BUY TICKETS NOW!

Two young scientists (Adrien Brody and Sarah Polley) are experts in genetic engineering. When they propose some unorthodox experiments to the pharmaceutical company they work for, the company forbids it. Undeterred, the lovers begin to conduct their experiments in secret, and the result is Den, a new species – a hybrid of human and animal – endowed with amazing abilities.

CLICK HERE TO BUY TICKETS NOW!

“The British TV documentary SEVEN UP! introduced the world to a group of ordinary British schoolchildren in 1964, and every seven years since, director Michael Apted has rounded up those same people to quiz them about their lives and loves, achievements and disappointments. This seventh installment is utterly fascinating, drawing heavily on footage from the previous movies to follow each child on the journey into middle age. Yet the subjects speak frankly about the pressure of growing up in public, the narrowness of Apted’s questions, and the emotional trauma they’ve come to expect from having their lives measured every seven years. SEVEN UP! may have been a film that examined individuals, but 49 UP is a film about individuals being examined.” –J.R. Jones, CHICAGO READER

CLICK HERE TO BUY TICKETS NOW!

(GRÄNS)
Disfigured since birth, a Swedish customs officer is equipped with an extraordinary sense of smell. But when a man with similar features joins her security line at the airport, her abilities are challenged for the first time. She can sense he is hiding something, and she is unspeakably attracted to him. As the two discover their bond, she uncovers his true identity, while also realizing the truth about herself.

CLICK HERE TO BUY TICKETS NOW!

“Trained as a sculptor at Royal College of Art, Darcy Lange (1946-2005, New Zealand) subsequently began working with video, creating remarkable studies of people at work that draw from conceptual art, documentary traditions and structuralist videomaking. Using film, photography and video – often shot simultaneously– he recorded people at work in English factories, mines and schools and in agricultural communities in New Zealand and Spain. Presented without commentary, his long, often unedited observations of workers aimed to convey the image of work ‘as work, as an occupation, as an activity, as creativity and as a time consumer’ and stressed the ‘responsibility to keep questioning the nature and power of realism’. […] An increasing interest in exploring the critical potential of video for its capability to provide live and taped feedback and the relationship between the camera, subject and spectator marked a shift in Lange’s work. In his series WORK STUDIES IN SCHOOLS 1976–77, the studies of teachers in action were extended by the videotaping of the teachers’ and pupils’ reactions to these recordings, inviting them to speak for themselves. Seen by the artist as a means of personal assessment and ‘an educational process’ – as well as a means of exposing the process of its making – WORK STUDIES IN SCHOOLS also became studies of videotaping as a work activity in itself.” –TATE

These screenings will be introduced by curator, writer and lecturer, Mercedes Vicente, who is an Associate Lecturer of Critical and Contextual Studies at the London Metropolitan University, and previously at the University of Arts London and the Royal College of Art. Vicente has curated numerous exhibitions and screenings on Darcy Lange at institutions such as Tate Modern, Ikon Gallery, Cabinet, Camera Austria, and CCA NTU Singapore. She is the editor of “Darcy Lange: Study of an Artist at Work” (2008) and the author of a forthcoming monograph on the artist (Palgrave MacMillan, 2023).

CLICK HERE TO BUY TICKETS NOW!

“From 1970 to 1972, Arthur Ginsberg and Video Free America recorded the private life of a not so average American couple – Carel Row and Ferd Eggan. She is a porn actress and filmmaker; he is a bisexual junkie. The video vérité camera captures the desires and frustrations of their evolving relationship and their responses to the ongoing videotaping exercise. The tape, a study in ‘the effect of living too close to an electronic medium,’ reveals attitudes and discussions that also render it a fascinating social document of the West Coast counterculture. Produced before the landmark PBS documentary AN AMERICAN FAMILY, this project foregrounds the role played by media in contemporary life by positioning a video crew within the living space of a couple. Like a number of documentary projects at the time, THE CONTINUING STORY OF CAREL AND FERD was originally shown as a 3-channel video installation on 8 monitors, with a live camera feed of the audience, and often with Carel and Ferd present. This one-hour tape was broadcast on WNET’s series ‘Video and Television Review’ in 1975, and features an interview with Carel, Ferd, and Ginsberg five years later.” –Surveying the First Decade, VIDEO DATA BANK

Followed by:
Carel Rowe
FERDISH
2007, 30 min, digital
A glom of “Ferd” and “Kaddish”, FERDISH finds CAREL AND FERD’s co-star, Carel Rowe, continuing the experiment begun by the earlier film. In 2004, Carel taped Ferd on her farm in Vermont. Topics included drugs, sex, AIDS, psychotherapy, the vanishing of American politics, and death.

Total running time: ca. 95 min.

CLICK HERE TO BUY TICKETS NOW!

Restored by Anthology Film Archives and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation. Special thanks to Outfest UCLA Legacy Project, Colorlab, and Audio Mechanics.

For her first feature film, Lizzie Borden collaborated with a small feminist group of four white middle class women in New York in the 1970s. Her intention was to explore their thoughts and ideas as well as the dynamics that animated their relationships and discussions. Adopting a radically experimental approach to nonfiction filmmaking, Borden combined interactions with the women themselves, dramatized sequences made in collaboration with the group, and interviews with other women in their orbit, such as artist Joan Jonas. Even more unusually, and especially as the group’s attitude towards the film project grew increasingly contentious, Borden incorporated their responses (and others’) to various in-progress versions of the film itself, creating a kind of socio-filmic feedback loop that foregrounds and transcends many of the intrinsic limitations of the documentary form.

Despite these attempts to engage with and incorporate their criticisms, the women in the group continued to take issue with and protest the film following its completion. Three of the women picketed the film’s initial screenings in 1976 (which took place at Anthology, and at the Edinburgh International Film Festival). Borden soon withdrew the film from circulation, and it languished virtually unseen for 40 years, until Anthology revived it on the occasion of our preservation of BORN IN FLAMES in 2016. Despite this tumultuous production and exhibition history, REGROUPING is an extraordinary film: a clear-eyed, tough-minded contribution to feminist thought, a still provocative exploration of female experience, group dynamics, and political work, and a fascinating attempt to rethink the conventions, methodology, and possibilities of documentary cinema.

REGROUPING will screen on 16mm on April 21 & 26, and on DCP on May 3.

CLICK HERE TO BUY TICKETS NOW!

(VON WEGEN ‘SCHICKSAL’)
“During the heady months of insurrection that marked 1968 across the globe, Helga Reidemeister (then a social worker) became part of a student-led struggle on behalf of the neglected residents of the Märkisches Viertel, the biggest housing estate in West Berlin at the time. Her second film [made on the estate], IS THIS FATE? is an…intense and unflinching document of the Bruder family and one in which the filmmaker’s interventionism and will constitute an important metatextual layer. The film opens with the family’s determined but exhausted matriarch Irene watching rushes on an editing table, in which one of her four children  denounces Reidemeister’s desire to film their familial conflicts. ‘[The children] just don’t see that our family’s problems are not unique to us,’ Irene says, countering Tolstoy’s thesis that ‘every unhappy family is unhappy in its own way’. Violence is the focus of IS THIS FATE and it is what the verbose and charismatic cast of six variously analyze, refute, and justify. The film is a unique document of the second and third generation’s reckoning with their nation’s legacy – though despite the mother’s keenness to blame society, this geographically specific specter is never named. But it is also a hyperbolic, noisy case study for ideas about nature vs. nurture, the welfare state, and how to live together.” –ANOTHER SCREEN

CLICK HERE TO BUY TICKETS NOW!

Sara Gómez
MI APORTE
1969, 33 min, 16mm-to-digital. In Spanish with English subtitles. Courtesy of the Vulnerable Media Lab at Queen’s University, Canada.
“In 1972 the Federation of Cuban Women commissioned Gómez to make a film about women’s contribution to the sugar harvest. MI APORTE (“My Contribution”) was the result: a 33-minute ‘report’ on women’s lives 13 years after the ‘triumph of the Revolution.’ The film is a model of feminist consciousness-raising documentary form – self-reflexive, critical, direct. The ‘report’ is a series of testimonials and portraits of how difficult it is for women to contribute as full citizens due to machismo. The film was censored by the FMC and has rarely been screened on or off the Island.” –Susan Lord

Jean-Bernard Bucky, Norman Jacobson, and Robert Peyton
REPORT
1970, 56 min, 16mm-to-digital. Photographed by Ed Emshwiller. Courtesy of Jean-Bernard Bucky.
REPORT was digitized through a partnership between Anthology Film Archives and Lightbox Film Center at University of the Arts, with funding from Ron and Suzanne Naples. Special thanks to Jean-Bernard Bucky, Robert Peyton, Max Bienstock, and Jesse Pires.

“Shot during the 1968/69 school year at University of California Berkeley, REPORT was created as part of Norman Jacobson’s experimental political science course ‘Toward an Expression of the Idea of Freedom’. The film, which features cinematography by avant-garde filmmaker Ed Emshwiller, merges fiction and documentary as it portrays the widening generation gap within the university, and in society at large. At the center of the film is an uncertain teacher and the students who challenge him. The filmmakers sought to not only capture this scenario but the real-life experiences and opinions of the students in the class. Combining scripted elements, on-the-street interviews, behind-the-scenes conversations, and cinema verité footage of the demonstrations and police crackdown connected to the Third World Liberation Front campus protests, REPORT is a complex portrait of American higher education at a particularly tumultuous time in history. As issues surrounding free speech on college campuses continue to dominate our public discourse, REPORT is a fascinating time capsule from the epicenter of student activism.” –LIGHTBOX FILM CENTER

Total running time: ca. 95 min.

CLICK HERE TO BUY TICKETS NOW!

Arthur Barron
16 IN WEBSTER GROVES
1966, 52 min, 16mm

&

Arthur Barron
WEBSTER GROVES REVISITED
1966, 52 min, 16mm
“Alone, [16 IN WEBSTER GROVES] is an interesting portrayal of a prototypical upper middle class, largely white American suburb of a certain time period. But in tandem with WEBSTER GROVES REVISITED, Barron’s project takes on a self-reflexiveness that is also an examination of the documentary process, particularly that sort practiced by network news film crews of the era. In the latter film, Barron examines the effect that observation has had on both the observed and the observer. The films shun the traditional ‘objective’ model of journalism, as well as the strict observational direct cinema practices being pioneered by the Drew Associates production company around the same time. Seen as one unit, the films have more in common with the French cinema vérité approach, in which the filmmaker is an actor (though not necessarily on-camera) whose presence and influence is made clear to the viewer. In WEBSTER GROVES REVISITED, narrator/reporter Charles Kuralt pulls back the production curtain to show viewers still photos of the cameraman in action, a technique intended to draw attention to the filmmakers’ manipulation of reality. Barron uses the setting of Webster Groves High School to implicitly criticize attitudes about class stratification, the perils of capitalism, political apathy, and racial segregation.” –Raphaela Neihausen, STRANGER THAN FICTION

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“Trained as a sculptor at Royal College of Art, Darcy Lange (1946-2005, New Zealand) subsequently began working with video, creating remarkable studies of people at work that draw from conceptual art, documentary traditions and structuralist videomaking. Using film, photography and video – often shot simultaneously– he recorded people at work in English factories, mines and schools and in agricultural communities in New Zealand and Spain. Presented without commentary, his long, often unedited observations of workers aimed to convey the image of work ‘as work, as an occupation, as an activity, as creativity and as a time consumer’ and stressed the ‘responsibility to keep questioning the nature and power of realism’. […] An increasing interest in exploring the critical potential of video for its capability to provide live and taped feedback and the relationship between the camera, subject and spectator marked a shift in Lange’s work. In his series WORK STUDIES IN SCHOOLS 1976–77, the studies of teachers in action were extended by the videotaping of the teachers’ and pupils’ reactions to these recordings, inviting them to speak for themselves. Seen by the artist as a means of personal assessment and ‘an educational process’ – as well as a means of exposing the process of its making – WORK STUDIES IN SCHOOLS also became studies of videotaping as a work activity in itself.” –TATE

These screenings will be introduced by curator, writer and lecturer, Mercedes Vicente, who is an Associate Lecturer of Critical and Contextual Studies at the London Metropolitan University, and previously at the University of Arts London and the Royal College of Art. Vicente has curated numerous exhibitions and screenings on Darcy Lange at institutions such as Tate Modern, Ikon Gallery, Cabinet, Camera Austria, and CCA NTU Singapore. She is the editor of “Darcy Lange: Study of an Artist at Work” (2008) and the author of a forthcoming monograph on the artist (Palgrave MacMillan, 2023).

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In the late 1970s, American director Wallace Potts set out to make a film about a studly Parisian sex worker whose life revolved around “the body, sex, and money.” Highly in-demand hustler Karl Forest, playing a version of himself named “Jean-Paul”, sat for interviews with Potts about his sexual history, his real life, and his fantasies, which Potts vividly realized in wild pornographic scenes shot by French cinematographer François About (EQUATION TO AN UNKNOWN) and Oscar-winning Spanish-Cuban cinematographer Néstor Almendros (DAYS OF HEAVEN). Next Potts turned to his lover, world famous ballet icon Rudolf Nureyev, to choreograph striptease scenes performed by Forest for his nightclub act. LE BEAU MEC was well-reviewed when it premiered at the legendary Adonis Theater in Times Square, but wasn’t released on VHS until 1984 and remained known only by select gay hardcore aficionados. Luckily, the original elements were found a few years ago and the film has been restored to its breathtaking glory. A must see for gay erotica enthusiasts, it’s a fascinating, unflinching portrait of a type every gay man knows from Instagram, Twitter, or OnlyFans: the self-obsessed gym bunny muscle god, who we pretend to loathe but secretly worship. We’re very lucky to present the New York premiere of the stunning new restoration of LE BEAU MEC, with special guests in attendance to introduce the film.

“I think if you can understand and be moved by Jean Genet’s ‘Querelle de Brest’ then you will be moved by Jean-Paul Doux. Jean-Paul is a boy, or rather, a man obsessed with sex…homosexual sex. He has been ever since his childhood in the south of France. LE BEAU MEC is a portrait of Jean-Paul. The film partly consists of a tape-recorded interview between Jean-Paul and myself. Sometimes the interview is superimposed over images that visualize or counterpoint what Jean-Paul is saying. At other times the interview stops and his fantasies take over. What I wanted to do was not to analyze how his fantasies came about but simply to visualize them. I wanted to evoke the same feelings by these fantasies in the spectator that Jean-Paul probably feels. That is, if you can feel his fantasies then you can understand him.” –Wallace Potts

“Forest re-creates his own past for the film; thus, the viewer gets a firsthand lesson in modern mythmaking filled with emotional and sexual dynamics that, even if they are pure fiction, are universal.” –LE SALON

In his one-of-a-kind fiction/documentary hybrid, the pioneering William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a breakup scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies.

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(LE SANG D’UN POÈTE)

“Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.” –Georges Sadoul

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Jean Rouch
HIPPOPOTAMUS HUNT / BATAILLE SUR LE GRAND FLEUVE
1951, 35 min, 16mm. In French with English subtitles.
HIPPOPOTAMUS HUNT follows a group of 21 Sorko fishermen as they embark on a banghawi, or a hippopotamus hunt by harpoon. Though generally considered one of his more orthodox ethnographic films (its aim being, ostensibly, to capture a “traditional” way of life on celluloid), for Rouch, making HIPPOPOTAMUS HUNT was hugely transformative – “the beginning,” he has said, of the practice he came to call shared anthropology. When he returned to Niger to show the Kodachrome footage to the community, Rouch catalyzed a dialogue that not only deepened his understanding of the Sorko and their traditions, but also gave the Sorko insight into the nature of his ethnographic enterprise. “For the first time, the work [was] judged not by a thesis committee but by the very people the anthropologist went out to observe.” In addition to the criticisms they offered (which Rouch took into account for his final cut of the film), several members of the community approached Rouch about making their own films. Those films then gave rise to new conversations, critiques, and questions, which, in turn, gave birth to new collaborations. In this way, HIPPOPOTAMUS HUNT – screening for the first time with English subtitles – is the linchpin of Rouch’s cinematic archive and participatory practice.

Jean Rouch
JAGUAR
1957-67, 92 min, 16mm-to-DCP. In French with English subtitles.
Seeing himself on screen in HIPPOPOTAMUS HUNT, Damouré Zika approached Rouch about making a real film together, meaning a fiction film. Rouch was studying migration patterns among Nigerien youth who would leave to find work in the coastal hubs of colonial West Africa. Intrigued by Zika’s idea, the filmmaker improvised a loose script and cast Zika in the role of the intrepid and charming adventurer who sets off from Niger in search of prosperity in the Gold Coast. Shooting with a spring-wound Bell & Howell prior to the advent of synch-sound, Rouch later asked Zika and the film’s other star, Lam Ibrahima Dia, to record a voice-over while they watched rushes of the film projected onto a screen. Bending genres as disparate as the road trip film, the buddy film, the hero’s journey, and ethnographic documentary, JAGUAR is unlike any other film of its time. Rouch said in an interview: “JAGUAR is my first feature-length film, it’s my first fiction film and it has marked me permanently. All the films I do now are always JAGUAR.”

Total running time: ca. 135 min.

On Sun, May 21, guest-curator Jamie Berthe, from The Gallatin School of Individualized Study, New York University, will introduce HIPPOPOTAMUS HUNT, while Faye Ginsburg, Professor of Anthropology and the Director of the Center for Media, Culture and History at NYU, will introduce JAGUAR.

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(LA BELLE ET LA BÊTE)

With Jean Marais and Josette Day; score by Georges Auric.

“Jean Cocteau’s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty’s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Doré extravagance of the Beast’s enchanted landscape. In Christian Bérard’s makeup, Jean Marais is a magnificent Beast.” –Pauline Kael

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Jean Rouch
MOI, UN NOIR
1958, 70 min, 16mm-to-DCP. In French with English subtitles.
Working as a research assistant for Rouch, Oumarou Ganda saw the rushes of JAGUAR and was sure he could do a better job. Together they crafted a character inspired by Ganda’s own story: Edward G. Robinson, a young migrant dockhand and veteran of the French colonial war in Indochina who struggles to find his place in the messy and frequently violent rhythms of colonial modernity. Initially banned in the colonial territories – where it was still illegal for Africans to speak frankly about their lives on film – and selected by Jean-Luc Godard as one of the best films of 1959, MOI, UN NOIR is a cinematic revelation. Using techniques pioneered in JAGUAR, and born out of the kinetic energy between Rouch and Ganda, the film is at once an analysis, a critique, and a fantasy dealing with the harsh realities and rich interior lives of the exploited working class under colonial rule.

Oumarou Ganda
CABASCABO
1969, 45 min, 16mm-to-DCP. In Djerma and French with English subtitles.
Like MOI, UN NOIR, Ganda’s impressive debut feature chronicles the return of an African soldier who fought for France in Indochina. Released in 1968, it took Ganda roughly a decade after shooting MOI, UN NOIR to secure the political freedom and creative support he needed to write, shoot, and edit the film independently. Made as a sort of corrective to what Ganda viewed as the failings of Rouch’s film, this rarely-screened, recently-restored classic of post-independence African cinema wrestles with the complexity of colonial subjectivities, exploring how historical violence seeps into personal relationships. The film also endures, however ambivalently, as a testament to Rouch’s commitment to cinematic dialogue.

Total running time: ca. 120 min.

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(ORPHÉE)

With Jean Marais.

“Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS’s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.” –Jean Cocteau

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(LA BELLE ET LA BÊTE)

With Jean Marais and Josette Day; score by Georges Auric.

“Jean Cocteau’s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty’s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Doré extravagance of the Beast’s enchanted landscape. In Christian Bérard’s makeup, Jean Marais is a magnificent Beast.” –Pauline Kael

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(LA PYRAMIDE HUMAINE)
Taking educated, middle-class teens in the Ivory Coast as its subjects of study, THE HUMAN PYRAMID not only documents the way racism shapes the social worlds navigated by this group of European and African high schoolers, the conceit is that it can also contribute to overcoming it. Filming in Abidjan just prior to independence amidst a landscape of radical political transition, Rouch invites several Black and white students who rarely mingle to share in a creative process. Together they dream up characters and a loose storyline; Rouch is folded into the diegetic space where viewers see him showing the students rushes and soliciting their input along the way. A film within a film about the making of the film. A precursor to the vérité classic CHRONICLE OF A SUMMER, the film’s narrative wheels are greased by roleplay, desire, fantasy, the blurring of categories, the crossing of boundaries, the pull of the poetic, the friction of human encounters, and the magic of cinematic resolution – as Richard Brody has suggested, “a D.I.Y. WEST SIDE STORY”.

The screening on Sun, April 30 will be introduced by guest-curator Jamie Berthe, from The Gallatin School of Individualized Study, New York University, and Faye Ginsburg, Professor of Anthropology and the Director of the Center for Media, Culture and History at NYU.

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(ORPHÉE)

With Jean Marais.

“Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS’s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.” –Jean Cocteau

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(CHRONIQUE D’UN ÉTÉ)
When renowned sociologist Edgar Morin sees Rouch’s film work, he invites Rouch to bring his ethnographic methods back to France and shoot closer to home. Pushing self-reflexivity and technical experimentation (including with synch-sound) to new lengths, the resulting collaboration between these two figures redefined the postwar cinematic landscape and launched the vérité movement. Carved out of the historical violence of its moment and woven from the stories and dreams of everyday people, the film starts by posing the question, “Are you happy?” In its refusal to privilege any single story or point of view, CHRONICLE OF A SUMMER creates an open cinematic space where the messy and complex interplay between historical, political, and personal entanglements is given room to breathe on screen. In spite of the film’s enormous impact, Morin remains dissatisfied with the final cut to this day.

The screening on Sun, April 30 will be introduced by Sam Di Iorio, associate professor of French at Hunter College and the CUNY Graduate Center. The screening on Fri, May 19 will be introduced by Stefanos Geroulanos, Professor of History at NYU. The screening on Sat, May 20 will be introduced by Faye Ginsburg, Professor of Anthropology and the Director of the Center for Media, Culture and History at NYU.

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(LE SANG D’UN POÈTE)

“Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.” –Georges Sadoul

CLICK HERE TO BUY TICKETS NOW!