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, 13 Sep 2026 11:24:03 -0400 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 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61962 <p>The second in his Fontainhas trilogy, IN VANDA’S ROOM follows heroin addict Vanda Duarte and a group of struggling slum dwellers as they try to make a life amid the demolition of their Lisbon neighborhood. Between Vanda’s raucous coughing fits and the clicks of her butane lighter, Costa’s extreme long takes, filmed in austere digital video, capture the sound of her built environs collapsing around her. Unlike the Barcelona neighborhood in EN CONSTRUCCIÓN, though, Fontainhas was wiped from the map by city officials, irredeemable in the eyes of the state, its inhabitants moved elsewhere. Today, it no longer stands, but remains embalmed in the images of Costa’s film.<br /><br />IN VANDA’S ROOM probes the limit of what cinema is and is capable of, not only in its content, which is bleak and harrowing to be sure, but in its form. Like many films in this series, it is uninterested in the distinction between fiction and documentary, choosing instead to capture life in its essence by whatever means necessary. André Bazin wrote that photography, and by extension cinema, satisfied the deep need that man had for an image that was not an approximation, but was the object itself, “freed from the conditions of time and space that govern it.” Sometimes, truth must be freed from the conditions of the objectively real: Costa proclaimed that he filmed some scenes multiple times until they “became fluidly represented and detached of any melodramatic tone.” Often, truth requires some coaxing.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61952 <p>This program is anchored by the 1996 film CHRONIC, which combines documentary and found footage with scripted scenes (featuring Reeves herself, as well as filmmakers Joe Gibbons, Jeannie Liotta, and Joel Schlemowitz) to form an experimental narrative about a young woman who began mutilating herself as a girl to cope with a traumatic mid-western girlhood. The program also includes early 16mm works like TASTE IT NINE TIMES and THE GIRL’S NERVY, video pieces such as SKINNY TEETH and the previously unseen MOTHERS’ DAY, and an excerpt from a work-in-progress.<br /><br />TASTE IT NINE TIMES (1992, 5.5 min, 16mm)<br />THE GIRL’S NERVY (1995, 5 min, 16mm)<br />SKINNY TEETH (2001, 7 min, VHS-to-digital)<br />CHRONIC (1996, 37.5 min, 16mm)<br />MOTHER’S DAY (1988, 5 min, video)<br />FEAR OF BLUSHING (2001, 5.5 min, 16mm)<br />TRAINS ARE FOR DREAMING (2009, 7 min, 16mm)<br />[work-in-progress] (CELIA, DID YOU KNOW?) (2 min, video)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61948 <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> Sunday, September 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61965 <p>Using a waist-high camera pointed at the ground and a drone that follows above, Nadav Assor’s GROUND EFFECT takes its name from the phenomenon by which drones and helicopters, in the process of mapping the environment, alter the landscape by displacing the ground’s surface. The objective visual recording thus becomes subjective in its effect on the land. Merging the camera footage into one, Assor points out the unique flaws and irreconcilability of objective and subjective ways of perceiving. Likewise, J.P. Sniadecki’s DEMOLITION / CHAIQIAN, produced in association with the Harvard Sensory Ethnography Lab, shakes loose a firm cinematic sense of perception. Shot over the course of three weeks and following a group of migrant demolition workers and city dwellers in Chengdu, China, DEMOLITION / CHAIQIAN imbues heavy demolition equipment with awkwardness and humor and turns cameras on cameras, all while a city is disappearing underfoot amidst a sonic tank of grinding metal, bursting concrete, and electronic beeps. Conversely, in Viktoria Schmid’s W O W (KODAK), structures reappear as demolished portions of the Rochester Kodak factory emerge from towering dust clouds, rhyming with the Lumière brothers’ DEMOLITION D’UN MUR made over a century prior.<br /><br />Preceded by:<br />Viktoria Schmid W O W (KODAK) 2018, 2 min, 35mm-to-DCP<br />Nadav Assor GROUND EFFECT 2016, 14 min, digital<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61968 <p>If Jia Zhangke’s breakout film PLATFORM (2000) was about the destruction of China’s social fabric as it transitioned from Mao to Deng Xiaoping, then Jia’s 2006 Golden Lion winner STILL LIFE focuses on the physical destruction of the built environment as the country ventures through another epochal shift. Like Ou Ning’s MEISHI STREET, STILL LIFE is firmly located during what Western observers routinely note as the era of a “rising China.” A few years after the country’s admittance to the WTO, a couple years before Beijing hosted the 2008 Olympics, and during a time of rising GDP, STILL LIFE asks, in literal terms, whether a rising tide indeed lifts all boats. Shot on location in Fengjie, a town along the Yangtze River in central China, the film centers on two people as they search for their spouses in the city, slowly being demolished to make way for the Three Gorges Dam. Slated to be flooded by the dam’s reservoir, the town is replete with hand painted red lines on the sides of buildings that indicate the imminent water levels, offering a stark warning for those below the line to get out while they can. Like Pedro Costa’s IN VANDA’S ROOM, STILL LIFE is filmed on digital video, lending it not only a documentary aesthetic (emblematic of the Urban Generation of Chinese independent filmmakers at the time), but one of uncanny immediacy. Jia, embracing the xianchang spirit of on-the-ground filmmaking, has argued that the documentarian must allow themself to be “seared” by the immediate present. The traces of the people and buildings of Fengjie, though now relocated and demolished, respectively, become irrevocably imprinted on STILL LIFE and its maker.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, September 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61971 <p>The final program of the series is comprised of shorts that condense the myriad affects elucidated by the preceding works. Here, the wrecking ball and excavator become central players as humans largely exit the drama, leaving inanimate objects the task of carrying high tragedy and comedy. In Milèna Trivier’s elegiac 12 AUGUST 2002, the filmmaker frames the demolition of a brick gable from below and against the sky, a towering sentinel pummeled, its pieces sold for scrap. Conversely, in Jacob Burckhardt’s playful JawwZZZ, bright orange excavators lose their menace and become bumbling figures as they devour concrete and shift twisted metal, construction crews hosing down the creatures as zookeepers would elephants. Critique remains pointed though in Dominic Angerame’s IN THE COURSE OF HUMAN EVENTS, an anti-city symphony that, instead of celebrating the triumphs of urban technological progress, explores the remnants of de-industrialization in a black and white moonscape bereft of human presence.<br /><br />William Raban TIME STEPPING (1974, 19 min, 16mm-to-digital)<br />Dominic Angerame IN THE COURSE OF HUMAN EVENTS (1997, 23 min, 16mm)<br />Miléna Trivier 12 AUGUST 2002 (2002, 10 min, video. Voiceover by John Berger.)<br />Anna Thew LFMC DEMOLITION (2004, 9 min, 16mm-to-digital)<br />Jacob Burckhardt JawwZZZ (2024, 15 min, digital. Soundtrack by Lary 7.)<br />Louis Lumière & Auguste Lumière DEMOLITION OF A WALL / DÉMOLITION D’UN MUR (1895, 1.5 min, 35mm-to-DCP)<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61990 <p>VEILED STRUGGLES: QUEERNESS, COLONIALISM, AND MEMORY<br /><br />Valentin Noujaïm<br />OCEANIA<br />2024, 24 min, digital. In French with English subtitles.<br />Sixteen-year-old Najib luxuriates in his summer days of gaming until his mother informs him of a neighbor’s passing. Taking the keys to their apartment, he quickly discovers an unexpected world of painful questions.<br /><br />“OCEANIA is an ode to tenderness. To a new generation that carries on our struggles, that seeks to remember whilst also moving forward. A tribute to love, to the dead and martyrs, and to present history being dismantled and destroyed.” –Valentin Noujaïm<br /><br />Richard Fung<br />SEA IN THE BLOOD<br />2000, 26 min, video<br />“SEA IN THE BLOOD was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It’s hard to work with such personal material, but in the end the work takes on a life of its own. ‘Richard’ is a character. Because of the subject matter – disease and death – I wanted to avoid sentimentality. I’d like the audience to think as well as feel.” –Richard Fung<br /><br />Mohammed Soueid <br />CINEMA FOUAD<br />1994, 28 or 41 min, video. In Arabic with English subtitles.<br />A documentary on the life and ambitions of a young Lebanese trans woman, Khaled El Kurdi. The video follows her journey from soldier to cabaret dancer, in order to raise funds for her gender-affirming operation. Shot in Beirut, CINEMA FOUAD weaves a complex and multi-layered story of sexuality, identity, and desire, and paints a compelling portrait of its subject.<br /><br />Total running time: ca. 85 or 95 min.<br /><br /><strong>Followed by a conversation with writer and curator Adam HajYahia and Yasmina Price!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </strong></p> Tuesday, September 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61966 <p>Using a waist-high camera pointed at the ground and a drone that follows above, Nadav Assor’s GROUND EFFECT takes its name from the phenomenon by which drones and helicopters, in the process of mapping the environment, alter the landscape by displacing the ground’s surface. The objective visual recording thus becomes subjective in its effect on the land. Merging the camera footage into one, Assor points out the unique flaws and irreconcilability of objective and subjective ways of perceiving. Likewise, J.P. Sniadecki’s DEMOLITION / CHAIQIAN, produced in association with the Harvard Sensory Ethnography Lab, shakes loose a firm cinematic sense of perception. Shot over the course of three weeks and following a group of migrant demolition workers and city dwellers in Chengdu, China, DEMOLITION / CHAIQIAN imbues heavy demolition equipment with awkwardness and humor and turns cameras on cameras, all while a city is disappearing underfoot amidst a sonic tank of grinding metal, bursting concrete, and electronic beeps. Conversely, in Viktoria Schmid’s W O W (KODAK), structures reappear as demolished portions of the Rochester Kodak factory emerge from towering dust clouds, rhyming with the Lumière brothers’ DEMOLITION D’UN MUR made over a century prior.<br /><br />Preceded by:<br />Viktoria Schmid W O W (KODAK) 2018, 2 min, 35mm-to-DCP<br />Nadav Assor GROUND EFFECT 2016, 14 min, digital<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61960 <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> Wednesday, September 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61992 <p>RE-TELLING: OUR GRANDMOTHERS HAVE KNOWN<br /><br />Valentin Noujaïm<br />BEFORE SHE FORGETS HELIOPOLIS / AVANT D’OUBLIER HELIOPOLIS<br />2018, 23 min, digital. In French with English subtitles.<br />“My family have begun to forget their Egyptian roots and, on asking my grandmother Malo to recount the first part of her life in Cairo, I am confronted by the memories of an exiled Arabic woman, lost in a troubled sea of memories, soon to be erased by the passage of time.” –Valentin Noujaïm<br /><br />Darryl Daley<br />YOULOGY / NO GHOSTS<br />2025, 8 min, digital<br />“YOULOGY / NO GHOSTS explores cyclical motifs of arrival and departure through the artist’s grandmother’s migration to the United Kingdom and her posthumous return to Jamaica, creating a transcendental frame where memory and time merge. In this speculative space, the film navigates beyond the confines of mortality, reimagining a future where inherited stories resist linearity.” –THIRD HORIZON FILM FESTIVAL<br /><br />Barbara Hammer<br />OPTIC NERVE<br />1985, 16 min, 16mm<br />“[A] powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image. Hammer has lent a new voice to the long tradition of personal meditation in the avant-garde of the American independent cinema.” –John Hanhardt, WHITNEY MUSEUM OF AMERICAN ART<br /><br />Razan AlSalah <br />YOUR FATHER WAS BORN 100 YEARS OLD, AND SO WAS THE NAKBA<br />2017, 7 min, digital. In Arabic with English subtitles.<br />“She looks down at her virtual ghost marked with an X. ‘If I were walking, I would have found it, even if it’s not here anymore.’ Oum Amin, a Palestinian grandmother, returns to her hometown Haifa through Google Maps Streetview – today, the only way she can see Palestine. The film consists of images from Google Street View accompanied by an imaginary voiceover written by the artist, that of her grandmother who was never able to return to her hometown in Palestine. This invented memory, narrated in voiceover, is nevertheless set in a real colonial context. In this pixelated, stroboscopic landscape, archival images narrating British and Israeli colonization appear.” –Cinéma du Réel<br /><br />Caroline Monnet<br />IKWÉ<br />2009, 5 min, digital. In Cree and French with English subtitles.<br />“IKWÉ is an experimental film that weaves the narrative of one woman’s (IKWÉ) intimate thoughts with the teachings of her grandmother, the Moon, creating a surreal narrative experience that communicates the power of thoughts and personal reflection. Made by Anishinaabe artist Caroline Monnet, the film reflects the intergenerational transmission of Indigenous knowledge.” –WINNIPEG FILM GROUP / NATIONAL BOARD OF CANADA <br /><br />Jean-Pierre Bekolo<br />GRANDMA’S GRAMMAR / LA GRAMMAIRE DE MA GRAND’MERE<br />1996, 8 min, digital. In French with English subtitles.<br />“An inherited lesson from Djibril Diop Mambéty’s grandmother is transmitted through Jean-Pierre Bekolo’s chronicle of their conversation. Creating a Pan-African exchange, the Cameroonian Bekolo listens to the Senegalese Mambéty root his cinema in his grandmother’s storytelling – a narrative form of returns and repetitions, of continuation and reinvention.” –Yasmina Price<br /><br />Shenny De Los Ángeles & Amanda Morell (iiritu)<br />FLORINDA’S DAUGHTER / HIJA DE FLORINDA<br />2024, 12 min, digital. In English and Spanish with English subtitles.<br />“Through a series of black-and-white tableaux, this poetry film follows the journey of Young Naomi in Everglades, Florida. She learns from Florinda, her grandmother, about the ancestral practices of caring for the land and nurturing grief in the face of environmental challenges. As the story unfolds, we grow to understand Florinda’s indigenous teachings of controlled burns and the importance of embracing fire rather than suppressing it. As the prescribed burns ignite from Florinda’s hands, an archival portal is birthed.” –BROOKLYN ACADEMY OF MUSIC<br /><br />Total running time: ca. 85 min.<br /><br /><strong>Followed by a conversation between Yasmina Price and writer, editor, and critic Jessica Lynne!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </strong></p> Wednesday, September 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61969 <p>If Jia Zhangke’s breakout film PLATFORM (2000) was about the destruction of China’s social fabric as it transitioned from Mao to Deng Xiaoping, then Jia’s 2006 Golden Lion winner STILL LIFE focuses on the physical destruction of the built environment as the country ventures through another epochal shift. Like Ou Ning’s MEISHI STREET, STILL LIFE is firmly located during what Western observers routinely note as the era of a “rising China.” A few years after the country’s admittance to the WTO, a couple years before Beijing hosted the 2008 Olympics, and during a time of rising GDP, STILL LIFE asks, in literal terms, whether a rising tide indeed lifts all boats. Shot on location in Fengjie, a town along the Yangtze River in central China, the film centers on two people as they search for their spouses in the city, slowly being demolished to make way for the Three Gorges Dam. Slated to be flooded by the dam’s reservoir, the town is replete with hand painted red lines on the sides of buildings that indicate the imminent water levels, offering a stark warning for those below the line to get out while they can. Like Pedro Costa’s IN VANDA’S ROOM, STILL LIFE is filmed on digital video, lending it not only a documentary aesthetic (emblematic of the Urban Generation of Chinese independent filmmakers at the time), but one of uncanny immediacy. Jia, embracing the xianchang spirit of on-the-ground filmmaking, has argued that the documentarian must allow themself to be “seared” by the immediate present. The traces of the people and buildings of Fengjie, though now relocated and demolished, respectively, become irrevocably imprinted on STILL LIFE and its maker.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61963 <p>The second in his Fontainhas trilogy, IN VANDA’S ROOM follows heroin addict Vanda Duarte and a group of struggling slum dwellers as they try to make a life amid the demolition of their Lisbon neighborhood. Between Vanda’s raucous coughing fits and the clicks of her butane lighter, Costa’s extreme long takes, filmed in austere digital video, capture the sound of her built environs collapsing around her. Unlike the Barcelona neighborhood in EN CONSTRUCCIÓN, though, Fontainhas was wiped from the map by city officials, irredeemable in the eyes of the state, its inhabitants moved elsewhere. Today, it no longer stands, but remains embalmed in the images of Costa’s film.<br /><br />IN VANDA’S ROOM probes the limit of what cinema is and is capable of, not only in its content, which is bleak and harrowing to be sure, but in its form. Like many films in this series, it is uninterested in the distinction between fiction and documentary, choosing instead to capture life in its essence by whatever means necessary. André Bazin wrote that photography, and by extension cinema, satisfied the deep need that man had for an image that was not an approximation, but was the object itself, “freed from the conditions of time and space that govern it.” Sometimes, truth must be freed from the conditions of the objectively real: Costa proclaimed that he filmed some scenes multiple times until they “became fluidly represented and detached of any melodramatic tone.” Often, truth requires some coaxing.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61973 <p>In a San Francisco apartment, in 1985, Bert is just about to fall asleep when a stranger named J.R. calls. “You hard?” he asks Bert, and the two begin a hot and heavy phone sex session that soon turns into a nightly routine. Over the span of a year, we watch as Bert (Tom Wagner) and J.R. (Joseph Stachura) explore their fantasies, get each other off, and forge a deeper connection that allows them to open up to each other about their fears and sorrows surrounding the AIDS epidemic, all without ever meeting face to face. Playwright Robert Chesley wryly called his groundbreaking 1986 play JERKER “a pornographic elegy with redeeming social value and a hymn to the queer men of San Francisco,” which perhaps sought to preempt the inevitable criticism and censorship of the play’s unabashedly sex-positive dialogue. Hugh Harrison’s smart, rarely seen 1991 adaptation combines the rich, raunchy text of Chesley’s play with the shot-on-video aesthetics of late 1980s gay adult films, making us feel as if we’re watching an especially well-written Jeff Stryker or Joey Stefano movie. Help us celebrate the 40th anniversary of JERKER’s theatrical premiere with this very special screening.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, September 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61927 <p>PSYCHODRAMAS: MASKED FIGURES / MULTIPLE IDENTITIES</p> <p>WHAT’S THIS? (1973, 1.5 min, 16mm-to-digital, silent)<br />A KISS OF DEATH (1974, 9 min, 16mm)<br />6 TO 8AM (1975, 30 min, 16mm-to-digital)<br />EMBRACABLE YOU (1979, 5 min, 16mm-to-digital)<br />ASIAM (1982, 5 min, 16mm, silent)<br />WELCOME TO THE HOUSE OF RAVEN (1997, 3 min, 16mm)<br /><br />Total running time: ca. 60 min.<br /><br /><strong>Merritt will be here in person for both screenings, with the Q&As moderated by filmmakers Peggy Ahwesh (Fri, Sept 25) and David Sherman (Sun, Sept 27).</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 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61878 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</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 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61930 <p>FINE FRENCH PHRASES AND OTHER FABLES (1976, 4 min, 16mm-to-digital)<br />FALL WORKS (1978, 3.5 min, 16mm-to-digital, silent)<br />GREEN MOUNTAIN (1978, 1.5 min, 16mm-to-digital)<br />EF (1979, 4 min, 16mm, silent)<br />LONESOME COWBOY (1979, 30 sec, 16mm)<br />NOTES (1979, 1 min, 16mm-to-digital, silent)<br />THREE MASKED PIECES (1979, 1 min, 16mm-to-digital, silent)<br />SMALL EVENTS (1979, 2 min, 16mm-to-digital)<br />BY THE SEA (1982, 1.5 min, 16mm, silent)<br />CONQUEST PIECE (1982, 6 min, 16mm)<br />NOT A MUSIC VIDEO (1987, 7 min, 16mm)<br /><br />Total running time: ca. 40 min.<br /><br /><strong>Merritt will be here in person for both screenings, with the Q&As moderated by filmmaker Lynne Sachs (Fri, Sept 25) and writer and film programmer Yasmina Price (Sat, Sept 26).</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 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61879 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</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 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61933 <p>VISION QUESTS (2009, 15 min, digital)<br />AT EDEN’S HEART (2021, 3 min, digital)<br />BLACK OAK FALLEN (2021, 9 min, digital)<br />A FIRE’S POEM (2022, 4 min, digital)<br />APART – A PART (2024, 6.5 min, digital)<br />THE BIRDS AND THE BEASTS (2025, 4 min, digital)<br />SOUL – WHAT LIES WITHIN (2026, 5 min, digital)<br />FRAGMENT #9 – ON THE ASYMMETRY OF BROKEN BRANCHES (2026, 1.5 min, digital)<br /><br />Total running time: ca. 55 min.<br /><br /><strong>Merritt will be here in person for a Q&A moderated by curator and scholar Maya Cade.</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 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61882 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</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 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61931 <p>FINE FRENCH PHRASES AND OTHER FABLES (1976, 4 min, 16mm-to-digital)<br />FALL WORKS (1978, 3.5 min, 16mm-to-digital, silent)<br />GREEN MOUNTAIN (1978, 1.5 min, 16mm-to-digital)<br />EF (1979, 4 min, 16mm, silent)<br />LONESOME COWBOY (1979, 30 sec, 16mm)<br />NOTES (1979, 1 min, 16mm-to-digital, silent)<br />THREE MASKED PIECES (1979, 1 min, 16mm-to-digital, silent)<br />SMALL EVENTS (1979, 2 min, 16mm-to-digital)<br />BY THE SEA (1982, 1.5 min, 16mm, silent)<br />CONQUEST PIECE (1982, 6 min, 16mm)<br />NOT A MUSIC VIDEO (1987, 7 min, 16mm)<br /><br />Total running time: ca. 40 min.<br /><br /><strong>Merritt will be here in person for both screenings, with the Q&As moderated by filmmaker Lynne Sachs (Fri, Sept 25) and writer and film programmer Yasmina Price (Sat, Sept 26).</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 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61880 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</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 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61881 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</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 26