https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Sun, 06 Sep 2026 10:47:52 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61943 <p>“In 2006 the Barcelona artist and filmmaker Mireia Sallarès began interviewing, in complete intimacy, about thirty Mexican women, about just that: being women in Mexico and their sexual experiences – their experience with pleasure and also with violence. The result is LAS MUERTES CHIQUITAS, ‘the little deaths’, which, like the French ‘la petite mort’, is a slangy euphemism in Spanish for female orgasm, the post-orgasmic state of unconsciousness that some experience after sex. This wild, five-hour film is revolutionary. […] Sallarès uses the simplest of means, filming by herself, entirely in medium close-ups, as she interviews, among many others, two anthropologists, a performance artist, an AIDS worker, a few sex-workers, a cabaret artist, two psychoanalysts, an historian, two ex-nuns, a journalist, a cross-dressing bisexual-tranny, a housekeeper, an actress, a philosopher, two guerillas, even exiled women from other countries…. She asks them to talk about, at first, their own orgasms. What emerge are extraordinary stories and images of pleasure, and often damage.<br /><br />“The film’s subtitle, ‘An unfinished story of pleasure and violence’, helps connect the dots. There is abundant sexual violence against and around women in Mexico, and effective resistance. Sallarès’s correspondents are prepared to talk about their histories and so the film goes there – not just to the violence but also to the relationship between violence and sexuality, and soon enough to violence, sex, pleasure and spiritual release. These are models to learn from and admire. The critic Helena Braunštajn says this film is a place ‘where pleasure is related to armed struggle, feminicide, transsexuality, women’s liberation theology, prostitution, illness, exile, the plurality of Mexican identity, and the ethical commitment of art to socio-political reality.’ One woman says orgasm is ‘like grabbing onto the wings of an angel who lowers me down to the ground.’ Enough said.” –Jill Godmilow<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61903 <p>Dovzhenko’s second film, attacked by Soviet critics for being so beautifully rendered as to actually lessen its political impact, remains today a “cinematic poem” as the director named it. Episodic, folkloric, and allegorical, it is a mythic search for hidden treasure by two brothers. Dovzhenko wrote: “I did not so much make the picture as sing it out like a songbird.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61904 <p>“An epic canvas covering Ukrainian history from WWI to the Russian Civil War, as experienced in Kiev, and culminating in fighting around the arsenal in the heart of the city. Dovzhenko essentially uses a static camera, but with much use of montage and cross-cutting. […] Where Dovzhenko is clearly distinctive, however, is his placing of human events against the majestic backdrop of nature, in particular the sky. Man and nature are one, as a dying Bolshevik asks his comrades to transport and bury him in his native soil.” –David C. Gillespie, EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61985 <p>“This propulsive cinematic confrontation with Canada’s anti-Black racism explores the pivotal, yet often overlooked, Canadian civil rights movement. Filmmaker Michèle Stephenson (AMERICAN PROMISE; STATELESS; GOING TO MARS: THE NIKKI GIOVANNI PROJECT) artfully weaves a haunting soundscape with dynamic archival footage and intimate new interviews, immersing us in Black life in 1960s Montreal. The film culminates in the 1969 Sir George Williams Affair, where 200 students, many of them Haitian immigrants fleeing the Duvalier regime, occupied a ninth-floor computer lab at Sir George Williams University (now Concordia) to protest blatant institutional bigotry. This rare footage feels hauntingly prescient against the backdrop of recent student protests, serving as a stark reminder that these cycles of resistance are deeply etched in our collective history. By shining a light on these unsung stories, Stephenson reframes the 1960s civil rights movement not as a strictly American phenomenon, but as a continent-wide, ongoing struggle for survival, justice, and dignity.” –FULL FRAME DOCUMENTARY FILM FESTIVAL<br /><br />Preceded by:<br />Dawn Wilkinson DANDELIONS 1995, 5 min, 16mm<br />“In DANDELIONS, Dawn Wilkinson – a Black Canadian woman – bears witness to the experience of being made to feel like an outsider in one’s own home, in one’s own landscape. At one point, Wilkinson observes, ‘I’m Canadian…It’s popular enough to sell beer, but no one can define what it means. And yet they do, they define it every time they ask me where I’m from.’ DANDELIONS is a beautiful and eloquent film that deploys the techniques of a lyrical, interiorized cinema to lay bare the ways in which Western societies foster an idea of whiteness as ‘neutral’ and everything else as ‘other,’ and to illustrate the psychic toll on those who exist outside this construct.” –Jed Rapfogel, CINEASTE<br /><br />Total running time: ca. 105 min.<br /><br /><strong>Michèle Stephenson will be here in person!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61857 <p>Christine Choy & Susan Robeson<br />TEACH OUR CHILDREN<br />1972, 35 min, 16mm-to-DCP<br />This film focuses on the historic 1971 Attica prison rebellion in upstate New York. It targets the conditions that caused prisoners to take drastic steps toward securing their basic rights. The film questions the reactions of prison warden Oswald, New York governor Nelson Rockefeller, and President Nixon, as well as the death of 31 inmates and prison guards from bullets fired by the National Guard. Through on-site footage taken during and following the rebellion, and follow-up interviews with inmates, TEACH OUR CHILDREN relates a powerful message concerning prisoner’s rights and represents an important historical document.<br /><br />Christine Choy & Cynthia Maurizio<br />INSIDE WOMEN INSIDE<br />1978, 21 min, 16mm-to-DCP<br />This film exposes the daily humiliation regularly faced by women in U.S. prisons using firsthand accounts of inmates at the North Carolina Correctional Center for Women and the Correctional Institute for Women at Riker’s Island, New York. Provocative interviews with these women reveal the anger and frustrations of life behind bars. In spite of the realities of their oppression, their optimism and strength are insurmountable.<br /><br />Total running time: ca. 60 min.<br /><br /><strong>The screening on Wed, Sept 9 will be introduced by JT Takagi (Third World Newsreel) and will be followed by a reception.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61905 <p>A poetic expression of love for both nature and Ukrainian culture by the man who was alternatively branded a deserter by Ukrainians and a Ukrainian nationalist by Russian Soviets. Dovzhenko champions the progression of life, class struggle, and new attitudes for a town changed by a tractor and a fallen hero.</p> Wednesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61860 <p>Christine Choy<br />FROM SPIKES TO SPINDLES<br />1976, 46 min, 16mm-to-DCP<br />This raw, gutsy portrait of New York’s Chinatown captures the early days of an emerging consciousness in the community. We see a Chinatown rarely depicted, a vibrant community whose young and old join forces to protest police brutality and hostile real estate developers. With bold strokes, it paints an overview of the community and its history, from the early laborers driving spikes into the transcontinental railroad to the garment workers of today.<br /><br />Christine Choy<br />FEI TIEN, GODDESS IN FLIGHT<br />1983, 26 min, 16mm-to-DCP<br />Based on the play, “Pigeons”, by Ginny Lim, this film focuses on the meeting between an older immigrant and a younger American-born woman living in NYC’s Chinatown. The linkages in their pasts and possible futures unfold as their friendship grows.<br /><br />Total running time: ca. 75 min.<br /><br /><strong>The screening on Wed, Sept 9 will be introduced by Mei Lum (W.O.W. Project). The screening on Sun, Sept 13 will be followed by a talk with Professor Minju Bae, NYU.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61906 <p>(PRÄSTÄNKAN)<br /><br />In this lyrical, early Dreyer comedy, a young parson wins a plum parish in 17th-century Norway, but is obliged to marry the widow of his deceased predecessor and pretend his attractive young fiancée is his sister. Dreyer’s touch is evident in the close-ups of the pastor’s would-be rivals and parishioners, and in a slow pan presaging the 360-degree views of VAMPYR.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61863 <p>Shot in battered women’s shelters, urban and suburban neighborhoods, counseling centers, and even in a county jail where a woman has been incarcerated for the murder of her abusive husband, TO LOVE, HONOR, AND OBEY explores the social, psychological, and cultural factors that contribute to violence against women regardless of ethnicity or economic background. Survivors, safe house administrators, counselors, police officers, and male abusers in counseling explore the many factors that contribute to the pervasiveness of this tragic aspect of American family life. A Third World Newsreel production.<br /><br /><strong>The screening will be introduced by Sanjna Selva (A-Doc).</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61865 <p>Pearl Bowser & Christine Choy<br />NAMIBIA, INDEPENDENCE NOW<br />1985, 55 min, 16mm-to-DCP<br />This moving film was shot inside refugee settlements in Zambia and Angola in the mid-1980s. It examines how exiled Namibians worked to free their country from illegal South African exploitation and prepare for their country's independence. It shows many aspects of their daily life in exile, especially the women, who were at the forefront of the independence struggle. It focuses on the activities of exiled Namibian independence leader General Toivo ya Toivo, filmed just weeks after his negotiated release from a South African prison.<br /><br />Christine Choy<br />REORIENTING AFRICA<br />2016, 37 min, DCP<br />This later work by Christine Choy focuses on Chinese workers and Chinese economic development in Ghana, Africa.<br /><br />Total running time: ca. 95 min.<br /><br /><strong>The screening on Thurs, Sept 10 will be introduced by Sanjna Selva (A-Doc).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61907 <p>Shot by the great German cinematographers Karl Freund and Rudolph Maté, MICHAEL concerns the unconsummated homosexual love between a painter and his manipulative, larcenous model. The Danish director Benjamin Christensen stars as artist Claude Zoret, modeled in part after Rodin, whose irrepressible love finds its most complete expression in his last painting.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61873 <p>Restored by the Academy Film Archive and The Film Foundation, in association with the Museum of Chinese in America. Restoration funding provided by the Hobson/Lucas Family Foundation, with additional support provided by Todd Phillips.<br /><br />“On a hot summer night in Detroit, Ronald Ebens, an autoworker, killed a young Chinese-American engineer with a baseball bat. Although he confessed, he never spent a day in jail. This gripping Academy Award-nominated film relentlessly probes the implications of the murder in the streets of Detroit, for the families of those involved, and for the American justice system. Not so much a documentary murder investigation as a meticulously constructed meditation on the race relations, economic forces, and failings of the American legal system that comprised the backdrop for the murder of a Chinese-American automotive engineer in Detroit in 1982, WHO KILLED VINCENT CHIN? remains a stirring, absorbing elegy for justice unserved. Drawing from interviews with Chin’s family and friends and Chin’s killer, automotive assembly-line worker Ron Ebens, along with a wealth of archival footage, WHO KILLED VINCENT CHIN? paints a complex and tragically relevant portrait of an America roiled by socioeconomic unease, the crisis of the automotive industry, and the prevalence of xenophobia.” –NEW YORK FILM FESTIVAL<br /><br />“The most important political documentary of the 1980s.” –Bill Nichols<br /><br /><strong>The screening on Fri, Sept 11 will be introduced by Shannon Lee of Asian American Arts Alliance (A4). The screening on Sun, Sept 13 will be introduced by Gerry Leonard (A-Doc).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61908 <p>(LA PASSION DE JEANNE D’ARC)<br /><br />Spiritual rapture and institutional hypocrisy are brought to stark, vivid life in one of the most transcendent achievements of the silent era. Chronicling the trial of Joan of Arc in the final hours leading up to her execution, Dreyer depicts her torment with startling immediacy, employing an array of techniques – including expressionistic lighting, interconnected sets, and painfully intimate close-ups – to immerse viewers in her subjective experience. Anchoring Dreyer’s audacious formal experimentation is a legendary performance by Renée Falconetti, whose haunted face channels both the agony and the ecstasy of martyrdom.<br /><br /><span>“With THE PASSION OF JOAN OF ARC, there occurs a most striking change in both the film-maker’s style and his intensity of thematic concentration. A few potent shots in previous movies hardly promise the unique and brilliant imagery which here bursts forth frame after frame. […] The vision of JOAN is inspired or demoniac. Her passion is observed with clinical detail in the sharp-etched, stark compositions, many relentless close-ups. But this is also loving detail, for Joan is the first of Dreyer’s possessed, a lineage which may be traced through the victims of VAMPYR to Anne in DAY OF WRATH and Johannes in ORDET; characters who work out their passions throughout the process of their films with peculiar intensity and directness, so that identification with the director himself is implicit.” –Ken Kelman, FILM CULTURE<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61858 <p>Christine Choy & Susan Robeson<br />TEACH OUR CHILDREN<br />1972, 35 min, 16mm-to-DCP<br />This film focuses on the historic 1971 Attica prison rebellion in upstate New York. It targets the conditions that caused prisoners to take drastic steps toward securing their basic rights. The film questions the reactions of prison warden Oswald, New York governor Nelson Rockefeller, and President Nixon, as well as the death of 31 inmates and prison guards from bullets fired by the National Guard. Through on-site footage taken during and following the rebellion, and follow-up interviews with inmates, TEACH OUR CHILDREN relates a powerful message concerning prisoner’s rights and represents an important historical document.<br /><br />Christine Choy & Cynthia Maurizio<br />INSIDE WOMEN INSIDE<br />1978, 21 min, 16mm-to-DCP<br />This film exposes the daily humiliation regularly faced by women in U.S. prisons using firsthand accounts of inmates at the North Carolina Correctional Center for Women and the Correctional Institute for Women at Riker’s Island, New York. Provocative interviews with these women reveal the anger and frustrations of life behind bars. In spite of the realities of their oppression, their optimism and strength are insurmountable.<br /><br />Total running time: ca. 60 min.<br /><br /><strong>The screening on Wed, Sept 9 will be introduced by JT Takagi (Third World Newsreel) and will be followed by a reception.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, September 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61866 <p>Pearl Bowser & Christine Choy<br />NAMIBIA, INDEPENDENCE NOW<br />1985, 55 min, 16mm-to-DCP<br />This moving film was shot inside refugee settlements in Zambia and Angola in the mid-1980s. It examines how exiled Namibians worked to free their country from illegal South African exploitation and prepare for their country's independence. It shows many aspects of their daily life in exile, especially the women, who were at the forefront of the independence struggle. It focuses on the activities of exiled Namibian independence leader General Toivo ya Toivo, filmed just weeks after his negotiated release from a South African prison.<br /><br />Christine Choy<br />REORIENTING AFRICA<br />2016, 37 min, DCP<br />This later work by Christine Choy focuses on Chinese workers and Chinese economic development in Ghana, Africa.<br /><br />Total running time: ca. 95 min.<br /><br /><strong>The screening on Thurs, Sept 10 will be introduced by Sanjna Selva (A-Doc).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61909 <p>“Imagine that we are sitting in a very ordinary room. Suddenly we are told that there is a corpse behind the door. Instantly, the room we are sitting in has taken on another look. The light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. This is the effect I wanted to produce in VAMPYR.” –C.D.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61876 <p>“HA HA SHANGHAI is an outlier in [Choy’s] oeuvre. Far more personal than most of her other films, this documentary is a family affair that features her mother and son as characters, and her daughter Ku-Ling Siegel behind the lens. Christine herself describes the film as a ‘documentary journal,’ and while HA HA SHANGHAI begins as a personal history, it soon develops into a Kafkaesque farce. In the film, [Choy] returns to Shanghai after 30 years to search for the title of a house built by her mother. She reconnects with friends of her family and a local choir teacher. She storms into government buildings with frenetic energy, demanding to see paperwork. When things seem dire, Christine visits a fortune teller and a palm reader, grasping at straws lost to time. Through anecdotes and recollections, she interrogates the modernization of China as well as the Cultural Revolution, the events of which caused the family home to be lost in the first place. […] Although HA HA SHANGHAI is rooted in Christine’s personal experience, it tells a larger tale of how much China has changed since she left.” –Violet Columbus & Ben Klein<br /><br /><strong>The screening will feature an introduction and Q&A with Ku-Ling Yurman, cinematographer and daughter of Christine Choy!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61910 <p>(VREDENS DAG)<br /><br />“Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61913 <p>A farmer’s family is torn apart by faith, sanctity, and love – one child believes he’s Jesus Christ, a second proclaims himself agnostic, and the third falls in love with a fundamentalist’s daughter. Layering multiple stories of faith and rebellion, Dreyer’s adaptation of Kaj Munk’s play is a meditation on faith and fanaticism.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61861 <p>Christine Choy<br />FROM SPIKES TO SPINDLES<br />1976, 46 min, 16mm-to-DCP<br />This raw, gutsy portrait of New York’s Chinatown captures the early days of an emerging consciousness in the community. We see a Chinatown rarely depicted, a vibrant community whose young and old join forces to protest police brutality and hostile real estate developers. With bold strokes, it paints an overview of the community and its history, from the early laborers driving spikes into the transcontinental railroad to the garment workers of today.<br /><br />Christine Choy<br />FEI TIEN, GODDESS IN FLIGHT<br />1983, 26 min, 16mm-to-DCP<br />Based on the play, “Pigeons”, by Ginny Lim, this film focuses on the meeting between an older immigrant and a younger American-born woman living in NYC’s Chinatown. The linkages in their pasts and possible futures unfold as their friendship grows.<br /><br />Total running time: ca. 75 min.<br /><br /><strong>The screening on Wed, Sept 9 will be introduced by Mei Lum (W.O.W. Project). The screening on Sun, Sept 13 will be followed by a talk with Professor Minju Bae, NYU.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61914 <p>“GERTRUD is as towering a master work in the narrative sound cinema as Brakhage’s THE ART OF VISION is in the nonnarrative cinema. Every detail, every motion, every word in GERTRUD has its right place, its own voice, and contributes to the whole and is beautiful. […] Every generation states its own position on love. GERTRUD is Dreyer’s statement on love, and it is pure, radiant, and perfect, like a ring.” –Jonas Mekas, MOVIE JOURNAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61874 <p>Restored by the Academy Film Archive and The Film Foundation, in association with the Museum of Chinese in America. Restoration funding provided by the Hobson/Lucas Family Foundation, with additional support provided by Todd Phillips.<br /><br />“On a hot summer night in Detroit, Ronald Ebens, an autoworker, killed a young Chinese-American engineer with a baseball bat. Although he confessed, he never spent a day in jail. This gripping Academy Award-nominated film relentlessly probes the implications of the murder in the streets of Detroit, for the families of those involved, and for the American justice system. Not so much a documentary murder investigation as a meticulously constructed meditation on the race relations, economic forces, and failings of the American legal system that comprised the backdrop for the murder of a Chinese-American automotive engineer in Detroit in 1982, WHO KILLED VINCENT CHIN? remains a stirring, absorbing elegy for justice unserved. Drawing from interviews with Chin’s family and friends and Chin’s killer, automotive assembly-line worker Ron Ebens, along with a wealth of archival footage, WHO KILLED VINCENT CHIN? paints a complex and tragically relevant portrait of an America roiled by socioeconomic unease, the crisis of the automotive industry, and the prevalence of xenophobia.” –NEW YORK FILM FESTIVAL<br /><br />“The most important political documentary of the 1980s.” –Bill Nichols<br /><br /><strong>The screening on Fri, Sept 11 will be introduced by Shannon Lee of Asian American Arts Alliance (A4). The screening on Sun, Sept 13 will be introduced by Gerry Leonard (A-Doc).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61896 <p>“An intentionally elementary meditation on certain primary functions of film, that could be said to be at the roots of film editing as such – expectations, exploring the picture, perceptual memory, relationships between on-screen and off-screen space – all explored in a series of free-standing sequence shots of perfect simplicity.” –Noël Burch<br /><br />“This cinema ‘au feminin’ reminds us what the imperialist eye had repressed: different modes of editing impulses; what is seen and heard alters our perspective.” –Serge Daney, CAHIERS DU CINÉMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61911 <p>(VREDENS DAG)<br /><br />“Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61898 <p>Jackie Raynal<br />MY LAST INTERVIEW WITH ÉRIC ROHMER / MA DERNIÈRE INTERVIEW AVEC ÉRIC ROHMER<br />2010, 18 min, digital<br />In 2009, just months before he passed away at the age of 89, Raynal recorded an interview with the great filmmaker Éric Rohmer, for whom she had served as an editor on several films, including SUZANNE’S CAREER (1963), THE BAKERY GIRL OF MONCEAU (1963), and LA COLLECTIONNEUSE (1967). This is an invaluable record of Rohmer and of his longstanding collaboration with Raynal.<br /><br />Jackie Raynal<br />GOUGNETTE<br />2008, 44 min, digital<br />“GOUGNETTE (‘disheveled’ in the Camargue dialect) is a tribute to the memory of my parents (who died in 1983 and 1995) – Resistance fighters during World War II and Communists in the South of France. Through filmed and audio interviews with my parents and people who knew them – recorded between 1979 and 2005 – this film retraces their lives within the context of their political activism.” –Jackie Raynal<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61912 <p>(VREDENS DAG)<br /><br />“Carl Dreyer’s art begins to unfold at the point where most other directors give up. Witchcraft and martyrdom are his themes – but his witches don’t ride broomsticks, they ride the erotic fears of their persecutors. It is a world that suggests a dreadful fusion of Hawthorne and Kafka.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61900 <p>With Jackie Raynal, Sid Geffen, Suzanne Fenn, and Gary Indiana.<br />“HOTEL NEW YORK can be seen as a description of a fight; the fight of an immigrant with her new city and the fight of a filmmaker with her desire to make films within precarious boundaries. In HOTEL NEW YORK Jackie Raynal plays and wins.” –CAHIERS DU CINÉMA<br /><br />“One day in New York, I took my linen to a small Chinese laundry. Then I forgot it for a few weeks. When I went back, the laundry wasn’t there anymore, the building had been demolished! I was haunted by the thought of my bedsheets gone forever with the laundry. This experience was the starting point for the NEW YORK HOTEL script. I wanted to write and make this film to show how everything is transient over there. Things change all the time and are immediately replaced, much quicker than in Europe. The story stemmed from my own experience and impressions as a foreigner. It’s a comedy-drama.” –Jackie Raynal, LIBÉRATION<br /><br />Preceded by:<br />Éric Rohmer<br />SIX IN PARIS / PARIS VU PAR…: PLACE DE L’ÉTOILE<br />1965, 16 min, 35mm-to-DCP. In French with English subtitles.<br />Jackie Raynal was the editor on all of the short films that comprise the French New Wave omnibus film SIX IN PARIS, each of which focuses on a single Paris neighborhood. Arguably the highlight of the collection, Rohmer’s PLACE DE L’ÉTOILE spins a silent-comedy-like tale in and around the chaotic roundabout anchored by the Arc de Triomphe.<br /><br />“A film that is both perfect and unusual in form, closed in on itself, and that seems to have nothing to say, but which actually says everything. A pure diamond.” –Luc Moullet<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61902 <p>During her years running and programming the legendary Bleecker Street Cinema, Jackie Raynal discovered or premiered countless now-beloved films, not least of which was Jim Jarmusch’s debut feature, PERMANENT VACATION. For this special screening, Raynal will present the film in person, and speak about her early advocacy of Jarmusch’s work.<br /><br />“Jim Jarmusch’s first feature displays the first hints of the deadpan, minimalist-cool style that he would refine in his breakthrough STRANGER THAN PARADISE (1987). Young, alienated hipster Aloysius Christopher Parker (Chris Parker) wanders an eerily vacant Manhattan searching for a sense of meaning while encountering an array of idiosyncratic characters. Downtown fixtures Sara Driver, Eric Mitchell, and John Lurie (who composed the film’s score) are among the eccentrics and vagabonds populating this existential urban odyssey.” –CRITERION<br /><br />Preceded by:<br />Jacques Rozier<br />PAPARAZZI<br />1964, 23 min, 16mm-to-DCP. In French with English subtitles.<br />“One of two documentaries Jacques Rozier made chronicling the making of Jean-Luc Godard’s CONTEMPT, PAPARAZZI focuses on the intense media frenzy that accompanied star Brigitte Bardot’s every move, offering a revealing look at the nature of modern celebrity culture.” –CRITERION<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61983 <p>This evening features a rare screening of John Smith’s SLOW GLASS (1988-91) – which uses the art of glassmaking as a prism to explore themes of memory and transformation – preceded by Marie Menken’s ode to New York City on speed, GO! GO! GO! (1964). Both films utilize layered imagery, in different ways, to alter our perception of time and space. The event celebrates the publication of “Frozen Features”, a new book of photographs by Jason Fulford. For nearly thirty years, Fulford has built a practice on the conviction that meaning lives less inside any single photograph than in the sequence and the things that happen around it – individual pictures forced to rhyme, echo, or collapse into dissonance against their neighbors, across books, exhibitions, publishing, and performance. “Frozen Features” pushes that instinct one step further, into a visual language of layers randomly composed from images made between 1996 and 2026. The results invite us to find the mystical lodged inside the everyday, felt before it’s understood. Fulford will introduce the films, and books will be available for purchase.<br /><br />For more info about “Frozen Features”, visit: https://loosejoints.biz/products/frozen-features <br /><br />Marie Menken GO! GO! GO! (1962-64, 12 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />John Smith SLOW GLASS (1988-91, 40 min, 16mm)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61955 <p>Documenting the demolition of homes to make way for the M11 highway in East London, John Smith argues that BLIGHT “exploits the ambiguities of its material to produce new meanings and metaphors, fictionalizing reality through framing and editing strategies.” Though the houses are torn down and the residents move away, Smith also consecrates BLIGHT as an archive of visual and oral memory for the residents. Whereas BLIGHT is unambiguous in its representation of antipathy toward the destruction of a community, José Luis Guerín’s EN CONSTRUCCIÓN navigates the nuanced attitudes of people affected by infrastructural changes in a Barcelona neighborhood. In long-takes of (sometimes staged) interactions and crumbling walls, Guerín and his team of Pompeu Fabra University students capture a community being buried under the promise of a better future.<br /><br />Preceded by:<br />John Smith BLIGHT 1994-96, 14 min, 16mm-to-digital. Collaboration with Jocelyn Pook.<br /><br />Total running time: ca. 145 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, September 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61946 <p>“In 1964, an enterprising psychologist (Dr. Everett Shostrom) persuaded a 30-year-old waitress and single mother, to take part in filmed psychotherapy sessions, with three of the most influential psychologists of the 20th century. The resulting series, THREE APPROACHES TO PSYCHOTHERAPY (1965), was primary training material in the field for decades. With the immersive double projection of THE GLORIA OF YOUR IMAGINATION, Reeves creates an intricate, superimposed montage of Gloria’s unguarded sessions with numerous film artifacts of her lifetime: newsreels, home movies, commercials, a beauty pageant, Cold War propaganda, and educational films. The result sees viewers absorbing the culture of that era directly through Reeves’s mix of intimate storytelling and sense of curiosity.” –WEXNER CENTER FOR THE ARTS<br /><br /><strong>The screening on Fri, Sept 18 will involve 16mm + digital dual projection; the screenings on Sat & Sun, Sept 19 & 20 will be of the single-channel DCP version of the film.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, September 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61947 <p>“In 1964, an enterprising psychologist (Dr. Everett Shostrom) persuaded a 30-year-old waitress and single mother, to take part in filmed psychotherapy sessions, with three of the most influential psychologists of the 20th century. The resulting series, THREE APPROACHES TO PSYCHOTHERAPY (1965), was primary training material in the field for decades. With the immersive double projection of THE GLORIA OF YOUR IMAGINATION, Reeves creates an intricate, superimposed montage of Gloria’s unguarded sessions with numerous film artifacts of her lifetime: newsreels, home movies, commercials, a beauty pageant, Cold War propaganda, and educational films. The result sees viewers absorbing the culture of that era directly through Reeves’s mix of intimate storytelling and sense of curiosity.” –WEXNER CENTER FOR THE ARTS<br /><br /><strong>The screening on Fri, Sept 18 will involve 16mm + digital dual projection; the screenings on Sat & Sun, Sept 19 & 20 will be of the single-channel DCP version of the film.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61957 <p>At the end of SPLITTING, a 1974 film recording of a building “cut” radical sculptor and architect Gordon Matta-Clark made to an abandoned family home in suburban New Jersey, the audience is told that the work was “demolished for urban ‘renewal’.” SPLITTING thus becomes an afterimage of a site-specific and self-destructive artistic thesis, but one that is nonetheless arresting in its visual expressiveness and solemn beauty. Conversely, in MEISHI STREET, Zhang Jinli fights tooth and nail to save his restaurant from demolition in preparation for the 2008 Beijing Olympics. Given a digital video camera by U-teque Collective member Ou Ning to document his efforts, Zhang turns the lens on himself as he makes and hangs protest banners outside his restaurant and visits neighbors, projecting the voice of his Dazhalan neighborhood into a condemned future.<br /><br />Preceded by:<br />Gordon Matta-Clark SPLITTING 1974, 11 min, Super-8mm-to-digital, silent<br /><br />Total running time: ca. 100 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61959 <p>Rather than engendering solidarity and empathy through the depiction of destruction of social and material Palestinian life in the present tense, Cynthia Madansky’s STILL LIFE chooses instead to take spectators on a tour of the Occupied Territories after the bulldozers have rumbled through and the bombs have fallen. Hanging its power on aftermath, STILL LIFE reaches instead for a set of festering implications and associations triggered via images, musical composition, and spoken questions. Like many of the other films in this series, NO OTHER LAND preserves in the visual archive what will likely be lost. Shot over the course of five years and by a collective of four directors from Palestine and Israel, NO OTHER LAND shocks in its immediacy and palpable danger as an SOS call from Masafer Yatta, a front line of the Palestinian struggle.<br /><br />Preceded by:<br />Cynthia Madansky STILL LIFE 2004, 15 min, Super-8mm-to-digital. Sound design by Zeena Parkins.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61950 <p>WHEN IT WAS BLUE rejoices in the splendor of nature as the camera eye traverses land and sea in a montage of diverse ecosystems from the Americas to Iceland and New Zealand. Reeves creates colorful, organic textures and forms, inspired by elements of the natural world, using an array of direct-on-film techniques. This abstract imagery is superimposed upon wildlife footage, generating depth while merging the powerful intricacies of nature with an artist’s reverence for it. With her Bolex, Reeves hurries to “capture” the natural world before it vanishes. An original score by Reeves’s collaborator, composer and performer Skúli Sverrisson, transports the audience to a realm at once haunting, urgent, and rapturous.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, September 19