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, 11 Oct 2026 17:48:33 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62065 <p>Bessie Mae Kelley FLOWER FAIRIES (1921, 5 min, 35mm-to-DCP, silent. Restored and distributed by Manitou Productions Inc.)<br />Dave Fleischer EDUCATED FISH (1937, 7.5 min, 35mm. Uncredited animator: Lillian Friedman. Preserved by the Academy Film Archive and UCLA Film & Television Archive in cooperation with Paramount Pictures.)<br />Hermína Týrlová & Ladislav Zástěra FERDA THE ANT / FERDA MRAVENEC (1944, 10 min, 16mm-to-DCP. Courtesy of the Czech National Film Archive.)<br />Mary Ellen Bute COLOR RHAPSODIE (1948, 6 min, 35mm. Made with Ted Nemeth. Preserved by Anthology Film Archives, with assistance from Cineric, Inc.)<br />Brian Borthwick & John Halas THE OWL AND THE PUSSYCAT (1952, 6 min, 35mm-to-DCP. Produced by Joy Batchelor & John Halas.)<br />Tex Avery CRAZY MIXED UP PUP (1954, 6 min, 35mm-to-DCP. Animator: Laverne Harding.)<br />Mort & Millie Goldsholl INTERGALACTIC ZOO (1964, 2.5 min, 16mm-to-DCP)<br />Evelyn Lambart THE HOARDER (1969, 7.5 min, 35mm-to-DCP)<br />Sara Petty FURIES (1977, 3 min, 16mm)<br />Sally Cruikshank FROM YOUR HEAD (1996, 2 min, 35mm. Print courtesy of the Academy Film Archive.)<br /><br />Total running time: ca. 65 min.<br /><br /><strong>The program will be introduced by Rachael Guma and by writer, scholar, and filmmaker Mindy Johnson!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62079 <p>Following their two previous films – GOODBYE GAULEY MOUNTAIN: AN ECOSEXUAL LOVE STORY (2014) and WATER MAKES US WET: AN ECOSEXUAL ADVENTURE (2019) – Annie Sprinkle and Beth Stephens bring us the third chapter in their climate crisis trilogy: PLAYING WITH FIRE: AN ECOSEXUAL EMERGENCY. With the climate crisis worsening with each passing season, the artist/activist duo sound the alarm by enlisting a collective of artists, elders, witches, neighbors, and friends, to examine the ways we can support the health of our dear Earth. Partially narrated by Boulder Creek’s mythical white peacock Albert and culminating in a ceremonial Wedding to Fire in the Redwoods, PLAYING WITH FIRE is a powerful portrait of queer resilience but also a reckoning with the power of fire, with its capacity to heal and its potential to destroy.<br /><br />Co-sponsored by Climate Film Festival and Queer New York International Arts Festival.<br /><br /><strong>Annie Sprinkle & Beth Stephens will be here in person for both screenings, and will present a ten-minute performative introduction before each show, “Ecosex 101”!<br /><br />On Saturday, Sprinkle & Stephens will appear for a post-screening discussion and Q&A led by Barbara Carellas, author of “The Book of Ecstasy”, and on Sunday, Angelo Madsen (director of A BODY TO LIVE IN) will lead a Q&A. Viewers are encouraged to dress up in the themes of fire and ecosex.</strong><br /><br /><strong>After the Saturday screening, all are welcome to join a reception in the lobby. Beth and Annie will honor two legends of golden age adult entertainment and the co-founders of the first pornstar support group, Club 90. Veronica Vera is turning 80 and Veronica Hart is turning 70. Birthday cake will be served, and signed books and merch will be available for purchase.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62130 <p>A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity.<br /><br />“This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL<br /><br /><strong>Director Victoria Hely-Hutchinson will be here in person for the opening night screening, and for the screenings on Sat, Oct 10 at 5:30 and Tues, Oct 13 at 6:30.<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62073 <p>We enter this program with a salacious direct address-cum-invitation in PLEASE RELAX NOW, as Kirchenbauer seduces the viewer from a black box void, stretching the edges of imagination. In LIKE RATS LEAVING A SINKING SHIP, Kirchenbauer layers psychiatric assessments to consider the coherency of a biography, and assess the ways in which individual memory is puppeted by state apparatuses. Both SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR and MOOD MANAGEMENT again push the viewer’s capacity to render a coherent picture of actions, generating a half-constructed image which lends itself only then to a projection. Both works are guided by Kirchenbauer’s music project, COOL FOR YOU. Through essay and material vignettes, UNTITLED SEQUENCE OF GAPS explores light outside of the visible spectrum to consider violence as it attaches to different kinds of visibility and invisibility. To tickle is a form of touch, an intimate act carried out to delight, to excite, or to torment. In THE ISLAND OF PERPETUAL TICKLING (III), Kirchenbauer surrenders to this metaphoric and literal tickle. Noting that it is impossible to tickle oneself, her task requires assistance.<br /><br />PLEASE RELAX NOW (2014, 12 min, DCP)<br />LIKE RATS LEAVING A SINKING SHIP (2012, 24.5 min, DCP)<br />SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR (2016, 3.5 min, DCP)<br />MOOD MANAGEMENT 2017, 2 min, DCPUNTITLED SEQUENCE OF GAPS (2020, 12.5 min, DCP)<br />THE ISLAND OF PERPETUAL TICKLING (III) (2018, 13 min, DCP)<br /><br />Total running time: ca. 75 min.<br /><br /><strong><span id="docs-internal-guid-7f8f0a83-7fff-8d0f-0713-7d60c204d391">Filmmaker Vika Kirchenbauer in person for both screenings!</span></strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62131 <p>A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity.<br /><br />“This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL<br /><br /><strong>Director Victoria Hely-Hutchinson will be here in person for the opening night screening, and for the screenings on Sat, Oct 10 at 5:30 and Tues, Oct 13 at 6:30.<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62076 <p>In the second program of our 2-part retrospective devoted to Vika Kirchenbauer, we dive deeper into the politics of labor in contemporary art, as the artist offers us a WELCOME ADDRESS, directly calling into question the art economy’s coded-progressive positioning of difference and diversity as symbolic cultural currency. Considering the foul, late-stage capitalist “Experience Economy,” YOU ARE BORING troubles the nature of looking. THE CAPACITY FOR ADEQUATE ANGER positions still images from the artist’s presumable childhood archive, gaps of nothingness, and the essay form to offer a critique of the production of contemporary art in the face of upward mobility, mapping subjectivity and political agency. To close this program with a thorough and considered look at the complicit role of artists and art institutions, COMPASSION AND INCONVENIENCE takes us back to 18th century London to trace the first public exhibitions of contemporary art, when materiality intersects with ideology via Liberalism and Enlightenment, taking to task the economic and colonial interests that define/d the “pursuit of refinement.”<br /><br />WELCOME ADDRESS (2017, 9 min, DCP)<br />YOU ARE BORING! (2015, 14 min, DCP)<br />THE CAPACITY FOR ADEQUATE ANGER (2021, 15 min, DCP)<br />COMPASSION AND INCONVENIENCE (2024, 30 min, DCP)<br /><br />Total running time: ca. 75 min.<br /><br /><strong><span id="docs-internal-guid-e938f1c7-7fff-b088-a068-003c8b5a79cc">Filmmaker Vika Kirchenbauer in person for both screenings!</span></strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62132 <p>A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity.<br /><br />“This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL<br /><br /><strong>Director Victoria Hely-Hutchinson will be here in person for the opening night screening, and for the screenings on Sat, Oct 10 at 5:30 and Tues, Oct 13 at 6:30.<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, October 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62095 <p>Taking the avatar of the dominatrix as its starting point, this short film program gathers together various films made – across a 40-year period – by or in collaboration with those who have experience in the leathersex scene. As an avatar of working sex, the figure of the dominatrix is elusive in so far as she uses the theater of the scene of “violation” to both pursue and obfuscate her desires. Though cinema longs to unmask the dominatrix to witness her “true” self, this program instead finds pleasure in the artifice of the scene wherein various characters find themselves at the mercy of the seductive and controlling gaze of the dominatrix. The shorts here range from documentary exercises of sadism, like Ione Wang’s WHEN I LOOK AT YOU, I SEE ME, to the electric pop-music video work of Beth B’s THE DOMINATRIX SLEEPS TONIGHT, made for the band Dominatrix. Shorts by Azian Nurudin and Michelle Handelman from the late 1980s and early 1990s invite a reconsideration of race, power, and aesthetics through their respectively overlooked and censored films, while M.M. Serra and Maria Beatty’s work demonstrates the aesthetic bliss that emerges from submitting to the fantasies of a powerful woman.<br /><br />Azian Nurudin NANCY’S NIGHTMARE (1988, 5 min, digital)<br />Michelle Handelman CATSCAN (1989, 6 min, Super-8mm-to-digital. Made with with Monte Cazazza.)<br />M.M. Serra & Jennifer Reeves DARLING INTERNATIONAL (1999, 22 min, 16mm-to-digital)<br />Maria Beatty THE BLACK GLOVE (1996, 30 min, digital)<br />Beth B THE DOMINATRIX SLEEPS TONIGHT (1984, 4 min, video)<br />Ione Wang WHEN I LOOK AT YOU, I SEE ME (2024, 7 min, digital)<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> Tuesday, October 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62133 <p>A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity.<br /><br />“This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL<br /><br /><strong>Director Victoria Hely-Hutchinson will be here in person for the opening night screening, and for the screenings on Sat, Oct 10 at 5:30 and Tues, Oct 13 at 6:30.<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, October 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62102 <p>In SEDUCTION: THE CRUEL WOMAN, Wanda is a dominatrix and gallerist who invites patrons to witness her scenes with her submissives. Inspired by the Marquis de Sade’s “Venus in Furs”, writer-directors Monika Treut and Elfi Mikesch spin Sade’s tale of power, apathy, and pleasure to foreground the role the spectator (both imagined and real) plays in enabling these violating acts to occur.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, October 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62067 <p>Lotte Reiniger GALATHEA (1935, 11 min, 35mm-to-DCP)<br />Jack Kinney THE STORY OF MENSTRUATION (1946, 10 min, 16mm. Conceptual design by Sylvia Holland.)<br />Allan Crick THE FIGUREHEAD (1952, 7.5 min, 35mm-to-DCP. Co-written and co-produced by Joy Batchelor.)<br />Alexander Alexeieff, Irmgard Messant-Serelle, Claire Parker, and Georges Violet PURE BEAUTÉ (1954, 1 min, 35mm-to-DCP)<br />Clorinda Warny PETIT BONHEUR (1972, 8 min, 35mm-to-DCP)<br />Faith Hubley W.O.W. (WOMEN OF THE WORLD) (1975, 10 min, 35mm)<br />Eugene Fedorenko EVERY CHILD (1979, 6 min, 35mm-to-DCP. Animator: Rose Newlove.)<br />Caroline Leaf ENTRE DEUX SOEURS (1990, 10 min, 35mm-to-DCP)<br />Signe Baumane BIRTH (2009, 11 min, DCP)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, October 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62069 <p>Alice Cohen, Esther Crow, Rachael Guma, Alexis Outlaw-Clark, Amari Outlaw-Clark, and Kelly Spivey<br />SUNFLOWER LANE: CYCLES<br />2026, 20 min, DCP<br /><br />Plus:<br />Caroline Leaf & Veronika Soul INTERVIEW (1979, 13 min, 35mm-to-DCP)<br />Sandy Moore THE LIVES OF FIRECRACKERS (1979, 12 min, 16mm-to-DCP. Digitally restored by Anthology Film Archives.)<br />Faith Hubley MY UNIVERSE INSIDE OUT (1996, 24 min, 35mm)<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> Thursday, October 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61975 <p>Most kinky queers in NYC know all about the Mineshaft, the legendary, long-shuttered NYC sex club in the Meatpacking District that was in operation from 1976 to 1985. But across the Atlantic, France’s first “hard” gay BDSM sex club was also called Mineshaft, and it has remained a sacred space for BDSM and fetish sex in Marseille since its opening in 1967. In this pair of short experimental documentaries, director Lazare Lazarus and friends excavate the archive left by the Mineshaft’s founder Jean-Pierre Fouque. Chapter 1 tells the story of the squatters who took over Fouque’s apartment after his death in 2022 and discovered his archive, while illuminating aspects of the club owner’s life – his lovers, political views, activism, and more. Chapter 2, co-directed with Lupa Charon Gateff, is more of a found-footage experimental porno mixtape, using the Mineshaft’s archive of hardcore gay porn and BDSM videotapes to take us into the dungeons of Europe, both real and imagined. These two shorts will be followed by Emre Busse’s FISTULE, which invites the audience into a realm where an anal fissure serves as a dramatic springboard, exposing the absurdity of societal norms with a mix of tragedy, camp, and sexuality. If you’re a fan of the films of Liz Purchell (ASK ANY BUDDY), Ryan A. White (RAW! UNCUT! VIDEO!), and Yann Gonzalez (KNIFE + HEART), you’ll find much to enjoy in this month’s program.<br /><br />Lazare Lazarus<br />LES FANTÔMES DU HARD, CHAPTER 1<br />2023, 35 min, DCP. In French with English subtitles.<br /><br />Lazare Lazarus & Lupa Charon Gateff<br />LES FANTÔMES DU HARD, CHAPTER 2<br />2024, 24 min, DCP. In French with English subtitles.<br /><br />Emre Busse<br />FISTULE<br />2026, 17 min, DCP<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> Thursday, October 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62011 <p>The openness and non-judgement that characterized the National Sex Forum meant that the films it produced depicted not only sex acts without scripting or simulation, but also frank discussions of participants’ sexual desires and experiences. Most straightforward in its treatment of these discussions is WARDELL POMEROY TAKES A SEX HISTORY, in which the titular doctor and former Alfred Kinsey collaborator interviews sexologist-in-training Janice Epp on her past relationships, sexual preferences, childhood awareness of puberty, present-day masturbation habits, and other aspects of her sexual identity. In this program, SEX HISTORY is accompanied by three more erotic portraits, each of them both candid and playful.<br /><br />Betty Brown & Rikki Ripp SEXUAL FANTASY PARTY (1973, 12 min, SD-video-to-DCP)<br />Honey Lee Cottrell SWEET DREAMS (1979, 14 min, 16mm-to-DCP. Featuring Patrick Califia.)<br />Laird Sutton WARDELL POMEROY TAKES A SEX HISTORY (1977, 35 min, 16mm)<br />Curt McDowell CONFESSIONS (1972, 11 min, 16mm)<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> <br /><br />Introduced by film historian and programmer Elizabeth Purchell.</p> Friday, October 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62013 <p>ACTIVE PARTNERS: FOUR FILMS ON SEX AND DISABILITY<br /><br />Reflecting on the National Sex Forum (NSF) and Multi-Media Resource Center (MMRC), Ted McIlvenna often said that his proudest achievement was his work producing films on the sexuality of people with disabilities. These films dealt frankly with a subject seldom addressed either in erotic and sexually explicit cinema or in educational media about physical disability. They used a combination of candid narration and explicit visuals to explore the possibilities of sexual expression for disabled people, particularly those with able-bodied partners. The first two films in this program were directed by Laird Sutton for the NSF, while the latter two were produced by the University of Minnesota and San Francisco State University, and distributed by the MMRC.<br /><br />Laird Sutton JUST WHAT CAN YOU DO (1972, 23 min, 16mm)<br />Laird Sutton TOUCHING (1972, 17 min, 16mm)<br />Theodore M. Cole & Sandra S. Cole ARTIST’S FANTASY (1975, 15 min, 16mm)<br />Marvin Silverman ACTIVE PARTNERS (1979, 8 min, 16mm)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> <br /><br />Introduced by Vinegar Syndrome co-owner and co-founder Joe Rubin.</p> Friday, October 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61915 <p>(STACHKA)<br /><br />Eisenstein’s interest in the Freudian father complex drives this psychological scenario in which non-actors step forward to acknowledge the viewer, illustrating Eisenstein’s desire to penetrate to the heart of cinema, sidestepping realism by ‘being real.’ Governmental restrictions made STRIKE the only completed film of a series intended to portray the road to revolution.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62015 <p>From the late 1960s through the early 1980s, politically active gay and lesbian filmmakers like Arthur J. Bressan, Jr. and the Mariposa Film Group made didactic agitprop documentaries and narrative films on the liberation movement taking place in the streets around them. But alongside these works were smaller – in scope, length, and film gauge – and often more experimental works that shed light on the ideology of gay liberation in a less didactic mode. The two films in this program directed by Laird Sutton for the National Sex Forum take the form of casual, unstructured conversations between trios of gay men and lesbians. The others – which were, apart from FREEDOM DAY PARADE, distributed by the Multi-Media Resource Center – use documentary and satire to explore the concerns and culture of the gay liberation movement.<br /><br />Wakefield Poole FREEDOM DAY PARADE (1974, 11 min, 16mm-to-DCP)<br />Laird Sutton GAY WOMEN SPEAK (1979, 15 min, 16mm. Featuring Phyllis Lyon.)<br />Laird Sutton A GAY VIEW: MALE (1975, 17 min, 16mm)<br />Jan Oxenberg A COMEDY IN SIX UNNATURAL ACTS (1975, 27 min, 16mm-to-DCP)<br />Sharrie Farrell SANDY & MADELINE’S FAMILY (1973, 30 min, 16mm)<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61916 <p>(BRONENOSETS POTEMKIN)<br /><br />“POTEMKIN used [Eisenstein’s] new set of rules to create what has been called the most perfect and concise example of film structure. Like STRIKE, [POTEMKIN] has no hero, only the masses, and no plot, only an incident plucked from the pre-history of the Revolution.” –Standish Lawder, EISENSTEIN AND CONSTRUCTIVISM<br /><br />“POTEMKIN was the first work to embody, in their most tangible form, various principles of construction peculiar to the medium: montage (or editing) and parallel action (the expansion of time through spatial manipulation); or, in sum, the purely formal deployment of objective action to create psychological dimensions. Eisenstein was not the first ‘film artist,’ but he was the first to be so pure, the first to use photography like painting in movement, photography like verbal imagery. As set down in his writings, his own theories inform us of this. Yet POTEMKIN must be seen to be believed.” –Parker Tyler<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62017 <p>THE PERSONAL AND THE POLITICAL: SEXUALITY, ROMANCE AND WOMEN’S LIB<br /><br />This program uses the cliché adage of second-wave feminism as a conceptual framework, bringing together films focused on individual and paired bodies with those concerned with the social and the political. Two playful Multi-Media Resource Center (MMRC) shorts that use visual and narrative tools to invert expectations of heterosexual gender performance are followed by films from the MMRC catalog (SELF-HEALTH, HOOKERS) and the Los Angeles underground (HIDDEN MEMORIES, I DON’T KNOW), departing in key ways from doctrinaire women’s liberation ideology. In these films, sexuality, romance, physical health, and communal solidarity are woven into a patchwork that renders women’s political and social identities more multifaceted than either dominant patriarchy or the mainstream feminist movement envisaged.<br /><br />Sam Joseph & Mariko Tse FIRST DATE (1977, 5 min, 8mm-to-DCP)<br />Anne Severson I CHANGE I AM THE SAME (1969, 1 min, 16mm)<br />Catherine Allen, Judy Irola, Allie Light, and Joan Musante SELF-HEALTH (1974, 23 min, 16mm-to-DCP)<br />Jacqueline Frazier HIDDEN MEMORIES (1977, 10 min, 16mm-to-DCP)<br />Penelope Spheeris I DON’T KNOW (1970, 20 min, 16mm-to-DCP)<br />George Csicsery HOOKERS (1975, 25 min, 16mm)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61917 <p>(STAROYE I NOVOYE)<br /><br />With OLD AND NEW, also known as THE GENERAL LINE, Eisenstein developed and perfected his theories of “mise-en-cadre,” using the montage of characters in the foreground and background to conjure meanings, and “overtonal montage,” bringing silent film to its zenith.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62019 <p>James Broughton, prolific poet-filmmaker and member of Anthology’s own Essential Cinema Selection Committee, was one of many Bay Area experimental filmmakers whose work was distributed by the Multi-Media Resource Center. Generally advertised in the “Erotic Fantasy” section of the distributor’s catalogs, Broughton’s films were recontextualized by their inclusion, their sensuality and spirituality understood as components of a holistic understanding of sexuality for the sex educator or therapist. In this special edition of Anthology’s Broughton Essential Cinema program, three characteristic works of the filmmaker’s late 60s-early 70s output are preceded by a very special entry in the National Sex Forum filmography, in which Broughton himself is bathed and massaged by erotic masseur Kenneth Ray Stubbs.<br /><br />Laird Sutton JAMES (1979, 10 min, 16mm-to-DCP)<br />James Broughton THE BED (1968, 19 min, 16mm)<br />James Broughton NUPTIAE (1969, 14 min, 16mm)<br />James Broughton THE GOLDEN POSITIONS (1970, 32 min, 16mm)<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, October 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61918 <p>(OKTYABR)<br /><br />“An imaginary document projected on actual locations, OCTOBER is the Soviet equivalent of the Sistine Chapel – an artist commissioned by the state has represented the sacred origins of the universe. Woodrow Wilson had famously hailed D.W. Griffith’s THE BIRTH OF A NATION (1915) as ‘history written with lightning,’ but Eisenstein’s cosmic newsreel cum theoretical film poem goes beyond THE BIRTH OF A NATION, as well as his own BATTLESHIP POTEMKIN, in drafting the past to serve the requirements of the present. No less than the revolutionaries who made October, Eisenstein understood himself as history’s tool. Thus consecrated to the Bolshevik faith, his OCTOBER is a perfect tautology – it clarifies and improves on history in the service of objective historical necessity.” –J. Hoberman, THE RED ATLANTIS: COMMUNIST CULTURE IN THE ABSENCE OF COMMUNISM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62021 <p>EROTIC FANTASY: BEESON AND BEYOND<br /><br />While the bulk of the National Sex Forum’s (NSF) in-house productions were directed by Laird Sutton, a Methodist minister like co-founder Ted McIlvenna, the organization’s more experimental output was mostly helmed by Constance (or Coni) Beeson. A photojournalist-turned-filmmaker, Beeson’s films on women’s sexuality were cited as inspirations by her contemporary Barbara Hammer. In this program, presented in chronological order, three Beeson films produced for the NSF, each depicting sexual encounters layered in double-exposure and pastoral imagery, are bookended by classic works of expressive erotic cinema that, though not distributed by the Multi-Media Resource Center, would be at home in its catalogs.<br /><br />José Rodriguez-Soltero JEROVI (1965, 11 min, 16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.)<br />Coni Beeson THE NOW (1970, 14 min, 16mm)<br />Coni Beeson HOLDING (1971, 15 min, 16mm)<br />Coni Beeson STAMEN (1972, 15 min, 16mm)<br />Chick Strand FEVER DREAM (1979, 7 min, 16mm)<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> Sunday, October 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62023 <p>The majority of Laird Sutton’s work for the National Sex Forum (NSF) consisted of “pattern films,” so termed for their portrayal of a real couple’s (or individual’s, or group’s) sexual pattern. According to a 1979 NSF brochure, “actors are not used in these films; the participants are ordinary people behaving and responding sexually as they usually do…. The persons to be filmed are interviewed about their sexual patterns. Once sexual activity commences, no directions are given. Every effort is made to allow the individuals to feel at ease.” Reflecting their use in structured therapeutic sessions, this selection of pattern films is preceded by a short from the Multi-Media Resource Center’s “Humor and Mood Alteration” collection, meant to dispel unease ahead of these candid portraits.<br /><br />Greg Von Buchau LOVE TOAD (1971, 2 min, 16mm-to-DCP)<br />Laird Sutton POSSIBILITIES (1973, 12 min, 16mm)<br />Laird Sutton QUIET AFTERNOON (1975, 20 min, 16mm-to-DCP)<br />Edd Dundas NICK AND JON (1976, 20 min, 16mm)<br />Laird Sutton BOTH/AND (1975, 25 min, 16mm)<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, October 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62025 <p>The majority of Laird Sutton’s work for the National Sex Forum (NSF) consisted of “pattern films,” so termed for their portrayal of a real couple’s (or individual’s, or group’s) sexual pattern. According to a 1979 NSF brochure, “actors are not used in these films; the participants are ordinary people behaving and responding sexually as they usually do…The persons to be filmed are interviewed about their sexual patterns. Once sexual activity commences, no directions are given. Every effort is made to allow the individuals to feel at ease.” Reflecting their use in structured therapeutic sessions, this selection of pattern films is preceded by a short from the Multi-Media Resource Center’s “Humor and Mood Alteration” collection, meant to dispel unease ahead of these candid portraits.<br /><br />Laird Sutton & Bill Chamberlain TITLES AVAILABLE (1972, 7 min, 16mm-to-DCP)<br />Laird Sutton FULLNESS (1975, 13 min, 16mm)<br />Ann Hershey WE ARE OURSELVES (1975, 15 min, 16mm)<br />Laird Sutton JIM & VERN (1979, 15 min, 16mm)<br />Laird Sutton A RIPPLE IN TIME (1975, 20 min, 16mm)<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> <br /><br />Introduced by documentary filmmaker Robert James.</p> Tuesday, October 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62158 <p>(IVAN GROZNY)<br /><br />“The first time in history a man has committed suicide by cinema,” quipped Dovzhenko. A state-sanctioned production, Ivan’s opulent furs and jewels color the black-and-white machinations by a demonic Czar bent on making his subjects’ lives a living hell – a statement pointed with outrage directly at Stalin.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, October 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61994 <p>Rosalyn Drexler (1926-2025) was a category-defying creative force. Over the course of her multidecade career, she worked as a painter (creating some of the first examples of Pop art), a novelist, an Obie-award-winning playwright, a film critic, an occasional nightclub singer, and briefly, a professional wrestler.<br /><br />The documentary WHO DOES SHE THINK SHE IS? (1975) provides a window into Drexler’s extraordinary creative universe. Set against the backdrop of the lost artistic demimonde of 20th-century New York, the film – directed by Patricia Lewis Jaffe and Gaby Rodgers – shows the artist rehearsing her madcap cabaret performances, cooking for her family in her art-strewn Manhattan apartment, and speaking candidly about her art, writing, and life. As Newsweek critic Jack Kroll remarks in the film, “[Drexler’s] essential insight is that people and things are completely insane, and she speaks from inside the whale.”<br /><br />The documentary will be accompanied by never-before-seen home movies shot by Drexler and her husband Sherman in the 1940-50s, as well as a panel discussion. The screening coincides with a major exhibition of her work from the 1960s at Garth Greenan Gallery at 25 Greene Street; for more info about the exhibition visit: https://www.garthgreenan.com/ <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62028 <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62031 <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62000 <p>Formed in late 1964 by Ed Sanders and Tuli Kupferberg, alongside drummer Ken Weaver – anarchic East Village beat poets who could barely play their instruments – The Fugs are credited as the first true underground band. Their lo-fi folk music could be challenging and weird but they had a knack for catchy pop songs, such as “Supergirl” and ‘Slum Goddess”. One of the most crucial figures in countercultural history, Sanders founded the Peace Eye bookstore and the arts journal “F*** You: A Magazine of the Arts”, and, among other late-1960s antics, attempted to levitate the Pentagon and staged a funeral for flower power in San Francisco. Chuck Smith’s vital documentary features eye-popping archival footage and interviews with Sanders, Aline & R. Crumb, Lenny Kaye, Penny Arcade, Jeffrey Lewis, and many others, to tell the story of NYC’s original punks.<br /><br /><strong>The screening will be followed by a Q&A with Penny Arcade, Steven Taylor and other participants from 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, October 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62033 <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62002 <p>With Anne Waldman. Producer: Sarah Riggs; Executive Producer: Martin Scorsese.<br /><br />Poet/filmmaker Alystyre Julian’s OUTRIDER is a kinetic portal into fast-speaking poet Anne Waldman’s transcendent role as a visionary word-worker, from her “hearthome” in Greenwich Village and The Poetry Project at St. Mark’s Church, to the Jack Kerouac School of Disembodied Poetics at Naropa University in Boulder, Colorado, and outwards to Big Sur, Morocco, and Mexico. OUTRIDER is a portal to her path of imagination, her vow to poetry and activism, and her vortex of artists/collaborators: Patti Smith, Bob Dylan, Thurston Moore, Meredith Monk, Allen Ginsberg, Laurie Anderson, Douglas Dunn, Eileen Myles, Amiri Baraka, James Brandon Lewis, Cecilia Vicuña, Pat Steir, Ha-Yang Kim, Daniel Carter, Eleni Sikelianos, Bob Holman, Janice Lowe, No Land, Akilah Oliver, Lee Ann Brown, Brenda Coultas, and many others. Guided by ancestors of the Beat generation and poetic kinships with radical female musicians, OUTRIDER channels the ancient, bardic tradition – celebrating the thunderous power of poetry.<br /><br />Preceded by:<br />Richard Levine AFTER BASHŌ 2026, 8 min, DCP<br />Twenty haikus by Bob Holman – written while he was following “A Narrow Path Into the Interior,” the walk that Japan’s National Poet, Matsuo Bashō, took in 1689 – are the starting point of this animated collaboration by filmmaker Richard Levine, musician Phillip Johnston, and poet Bob Holman. The poems originally appeared in The New Yorker magazine.<br /><br /><strong>Followed by a Q&A with Alystyre Julian & Anne Waldman!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62035 <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 24