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, 01 Nov 2026 20:49:54 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62052 <p>“The first of director Lloyd Kaufman’s official adaptations of William Shakespeare, TROMEO & JULIET is a wild, punk reimagining of The Bard’s eternal doomed romance, only with non-stop gore, nudity, and giant mutant genitals! Set amongst the denizens and outcasts of squalid New Jersey, standing in for a modern vision of Verona, and featuring a screenplay co-written by soon-to-be major director in his own right, James Gunn (SLITHER, GUARDIANS OF THE GALAXY), TROMEO features scream queen Debbie Rochon, Sean Gunn in his on-screen debut, music superstar Lemmy (Motörhead), and Will Keenan as Tromeo.” –VINEGAR SYNDROME<br /><br /><strong>Lead actor Will Keenan will be here in person on Sun, Nov 1 at 3:30!</strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62228 <p>“Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr’s most famous film, SERENE VELOCITY (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera’s zoom lens every four frames for twenty-three minutes, can be read as Gehr’s manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself.” –Scott MacDonald, A CRITICAL CINEMA 5<em><strong><br /><br /></strong></em>REVERBERATION (1969, 23 min, 16mm)<br />SERENE VELOCITY (1970, 23 min, 16mm, silent)<br />&<br />STILL<br />1971, 54 min, 16mm. <span id="docs-internal-guid-d23934b8-7fff-25bd-abe4-271a8111682d"><span>Preserved by Anthology Film Archives.<br /><br /></span></span>Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a></p> Sunday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62062 <p>“A fledgling film crew, led by the lovable, yet blind, director Larry Benjamin, is hard at work making – or at least trying to make – Benjamin’s latest and most ridiculous movie. But problems with a difficult cast, an inexperienced and distracted crew, special effects that don’t quite work, and more are soon upended when members of the production team begin to be murdered in increasingly strange and convoluted ways. Lloyd Kaufman’s twisted take on a meta-movie, TERROR FIRMER is a splatter-fueled shock-fest-cum-murder-mystery which pushes the concept of bad taste to its wildest and most creative extremes, as only Troma can do. Featuring an ensemble cast of Troma alums including Will Keenan (TROMEO AND JULIET), TRENT HAAGA (TALES OF HALLOWEEN), and legendary ‘Scream Queen’ Debbie Rochon (TROMEO AND JULIET), along with guest appearances from esteemed filmmakers Eli Roth (HOSTEL), Joe Lynch (WRONG TURN 2), Matt Stone & Trey Parker (SOUTH PARK) and Lemmy Killmister (of the band Motörhead) as himself, TERROR FIRMER is a wildly over-the-top ode to independent filmmaking.” –VINEGAR SYNDROME<a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><br /></a><strong>Lloyd Kaufman and actor Will Keenan will be here in person for both screenings!</strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62168 <p>This evening features a screening of Eduardo Coutinho’s TWENTY YEARS LATER: A MAN MARKED TO DIE (1984), introduced by the internationally acclaimed and Booker-shortlisted writer Itamar Vieira Junior. The evening also celebrates the English publication (by Verso) of Vieira Junior’s new novel, "Saving the Fire", which presents the ghosts of a family’s past, lost amid the shadows of Brazil’s history. Vieira Junior masterfully blends the intimate journeys of his characters with faithfully rendered elements of Brazilian life in a world where the scars of colonialism still ache.<br /><br />For more info about Itamar Vieira Junior’s "Saving the Fire", visit: <a href="https://www.versobooks.com/products/3303-saving-the-fire">https://www.versobooks.com/products/3303-saving-the-fire </a><br /><br />Special thanks to Johnny Lorenz, who is responsible for the English translation of "Saving the Fire" and will be interpreting for Itamar Vieira Junior during his presentation.<br /><br />Eduardo Coutinho<br />TWENTY YEARS LATER: A MAN MARKED TO DIE / CABRA MARCADO PARA MORRER<br />1984, 119 min, 35mm-to-digital. In Portuguese with English subtitles.<br />“TWENTY YEARS LATER rescues a history doubly interrupted by the brutal military coup of 1964 in Brazil: that of Peasant League activism and of Coutinho’s project, A MAN MARKED TO DIE, a film that was meant to reenact the story of Agrarian Reform struggles leading to the assassination of the Peasant League leader João Pedro Teixeira in 1962. Featuring the leader’s widow and their children, as well as people from a similar community, the film was never finished, and the crew had to flee. In 1981, Coutinho set about locating the actors, in order finally to narrate the history of the Peasant League up to 1964. The 1984 film radiates centripetally from the absence at the core of the interrupted film: its dead protagonist, the assassinated leader. Coutinho was haunted for years by the rushes hidden in a suitcase at a friend’s. He admitted that the original film patronized and idealized the people but claimed to value the unfinished A MAN MARKED TO DIE precisely because of the participation of the organized rural movement. Besides its inordinate value as a record of a traumatic history, the film marks the passage from an idealized documentary representation to a testimonial, reflexive mode incorporating memory and commentary.” –Ivone Margulies<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62057 <p>“When the notorious Diaper Mafia take the students of the Tromaville School For The Very Special hostage, only the Toxic Avenger, and his sidekick Lardass, can save them. However, a horrific explosion creates a portal between Tromaville and its dimensional counterpart, Amortville. While Toxie is trapped in Amortville, Tromaville comes under the control of his evil doppelgänger, the Noxious Avenger. Will Toxie return to Tromaville in time to stop Noxie’s rampage or is he doomed to remain a second-class citizen in Amortville forever? With a veritable cast of dozens, including Lemmy, Al Goldstein, Stan Lee, James Gunn, Hank the Angry Dwarf, Julie Strain, Eli Roth, Hugh Hefner, and Corey Feldman, CITIZEN TOXIE is Lloyd Kaufman’s ‘Tromasterpiece’” –AGFA<br /><br /><strong>Lloyd Kaufman will be here in person on Wed, Oct 28!</strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62170 <p>To celebrate the publication of the English translation of writer Rim Battal’s autobiographical novel <em>I’ll Look Myself in the Eyes</em>, Anthology presents a special screening of MUSTANG (2015), by Turkish filmmaker Deniz Gamze Ergüven, a film that’s closely tied thematically to Battal’s text.<br /><br />In <em>I’ll Look Myself in the Eyes</em> 17-year-old Rim is caught smoking out her window in her home in Marrakesh, Morocco. This minor transgression unleashes the fury of her mother, who demands that Rim complete a gynecological test certifying her virginity. So begins a nuanced journey into the tangled web of a patriarchal society in which various generations of women seem to complicitly preserve the status quo. Ultimately, it is Rim who breaks the cycle of dysfunction, rebels against tradition, confronts betrayal from the women closest to her, and dares to be her true self.<br /><br />MUSTANG, co-written by Alice Winocour, similarly explores the internalized psychological and moral impact of the patriarchy, through the story of five orphaned sisters growing up with their grandmother and uncle. When, on their way home from school, they play an innocent game with a group of boys on the beach, their grandmother flies into a rage, accusing them of having “pleasured themselves” and forbidding them from leaving the house. Things quickly escalate with the threat of arranged marriages. As in Rim’s novel, we see how far families can go wrong in their perceived mission of protecting the purity of their girls.<br /><br />The screening will be followed by a bilingual reading from the novel by author Rim Battal and her translator Liza Tripp, along with a discussion and audience Q&A.<br /><br />For more info about <em>I’ll Look Myself in the Eyes</em>, visit: <a href="https://www.galiotpress.com/authors/rim-battal">https://www.galiotpress.com/authors/rim-battal</a> <br /><br />Deniz Gamze Ergüven<br />MUSTANG<br />2015, 97 min, 35mm-to-DCP. In Turkish with English subtitles.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62255 <p>[BRENNENDE LANGEWEILE]<br /><br />“In the late 1970s, Wolfgang Büld first made a name for himself with his documentary PUNK IN LONDON. The follow-up to this authentic document of youth culture was the ZDF production BORED TEENAGERS, part of the “Das kleine Fernsehspiel” series; it was filmed in 1979 in the wake of the RAF panic – wanted posters are visible in the background several times throughout the film. The movie blends concert footage of the English punk band The Adverts with a loose narrative thread about a young punk named Peter and his hairdresser girlfriend, Karin, as they follow the band – led by TV Smith and Gaye Advert – on their tour through Germany. It is an entertaining yet quirky journey through a late-70s musical subculture.” –OX-FANZINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62166 <p>This program of artist films and videos is presented in conjunction with The Drawing Center’s current exhibition “Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong”, opening on October 23, 2026 and on view until January 2027. The screening showcases a selection of artist pieces that extend the exhibition's visual essay on shared historical, poetic, and philosophical concerns, with Hong Kong and New York as twin points of reference and Eastern thought and Western philosophy as its guiding frameworks.<br /><br />“Form, Shadow, Motion: Selections from the Burger Collection, Hong Kong” is organized by Olivia Shao, Burger Collection & TOY Meets Art Curator.<br /><br />Cici Wu UNFINISHED RETURN OF YU MAN HON (2019, 19 min, 16mm-to-DCP)<br />Tang Kwok Hin GRANDPA TANG (2017, 13 min, DCP)<br />Chan Hau Chun THE MEMORY OF A CICADA IS LONGER THAN ITS LIFE (2024, 12 min, DCP. Music and sound: Chui Chi Yin.)<br />Simon Liu PROCEDURES (2026, 17 min, 16mm-to-DCP)<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, November 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62258 <p>[RANDALE UND LIEBE – ROCKER, POPPER, TEDS UND PUNKS]<br /><br />“Thomas Schmitt’s film offers unique insights into the alternative subculture of 1980s Cologne. Depending on the concert, the Blue-Shell attracted rockers, punks, and Teddy Boys, while the Café d’Or was a popular hangout for the ‘Popper’ crowd. RANDALE UND LIEBE – ROCKER, POPPER, TEDS UND PUNKS is a magnificent document of its time.” –COLOGNE CINEMA NIGHTS<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62261 <p>Michael Braun<br />NO FUTURE – KEIN BOCK AUF ILLUSIONEN<br />1981, 44 min, 16mm-to-DCP. In German with English subtitles.<br />“In 1981, film and television producer Michael Braun made this film (which for a long time circulated only on atrociously poor-quality VHS copies) about the punk scene in Duisburg, featuring Willi Wucher, the band ARTLESS, and – here and there – Bernie Blitz (RIP). It is a journey back to the early 1980s, to the Ruhr region…back when the area was even bleaker than it is today. In the 80s, Braun hosted the ‘Michael Braun Talkshow’ on WDR television, featuring guests such as the bands DAF and Östro 430; the show was an early precursor to today's late-night talk shows.” –COMPUTERSTAAT<br /><br />Detlev Puls<br />ALLET UNITED – PUNK IM POTT<br />1983, 25 min, 16mm-to-DCP. In German with English subtitles.<br />This short film – made for German television during the summer of 1983 – focuses on the punk scene in the industrial Ruhr region, and features the bands Die Kanzlers and Starkbier, members of which later went on to form Body Checks.<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, November 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62172 <p>This screening – presented on the occasion of the Robert Blackburn Printmaking Workshop’s exhibition “Asilah Oui: Robert Blackburn in Morocco” – pairs two films that explore the links between Morocco and New York: Shalom Gorewitz’s MELEHI (1984) and Hisham Aïdi’s A THOUSAND AND ONE BERBER NIGHTS (2023), which together examine two pioneers of Moroccan art in the twentieth century.<br /><br />Commissioned as part of his 1984 solo exhibition at the Bronx Museum, MELEHI documents the work and life of renowned Moroccan painter and Asilah Cultural Moussem founder Mohamed Melehi through his projects as a teacher, painter, and modernist. Forty years after its production, MELEHI provides a career snapshot of the artist contextualized by his influences across the Moroccan landscape, placing him in the larger history of Morocco and its visual culture.<br /><br />A THOUSAND AND ONE BERBER NIGHTS delves into the transatlantic career of dancer, actor, and choreographer Hassan Ouakrim. In the late 1950s, Ouakrim was a young dancer and actor in Morocco. Little did he know that he would soon become the protegé of La Mama Theatre founder Ellen Stewart, performing across America, forming friendships with the likes of jazz virtuosos Ornette Coleman and Randy Weston, and becoming a pioneer in spreading Berber dance and music in North America.<br /><br />“Asilah Oui: Robert Blackburn in Morocco” at the Blackburn Study Center, September 15-December 12, 2026, focuses on the first decade of the Asilah Cultural Moussem. Established in 1978, this international festival brought together printmakers, musicians, intellectuals, and poets from around the globe to create, as founders Mohamed Benaissa and Mohamad Melehi described it, “a permanent center for cultural diffusion, rich in authenticity and steeped in heritage.” The exhibition illuminates how Robert Blackburn’s Printmaking Workshop served as a conduit in connecting the Moussem’s international artists.<br /><br />This screening is organized by the Robert Blackburn Printmaking Workshop, and co-presented with the Bronx Museum. For more info about the exhibition, visit: <a href="https://www.rbpmw-efanyc.org/asilah-oui">https://www.rbpmw-efanyc.org/asilah-oui</a> <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, November 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62263 <p>Helke Misselwitz<br />BULKY TRASH / SPERRMÜLL<br />1990, 72 min, 35mm-to-DCP. In German with English subtitles.<br />Filmed in the early summer of 1989, this documentary portrays a band of four young musicians who call themselves “Sperrmüll” (“Bulky Trash”), thanks to their proclivity for producing music by drumming on other people’s discarded items. Misselwitz concentrates especially on Enrico, who decides to stay behind when his mother Erika marries in the West, and who insists on maintaining his cultural identity even after the fall of the Wall. The members of “Sperrmüll” wish to remain citizens of their own state, and their attitude towards the looming reunification is one of skepticism. Originally intended as a call for social change, Misselwitz’s film documents the events of the Wende from the perspective of young East Berliners.<br /><br />Preceded by:<br />Petra Tschörtner<br />THE FREE ORCHESTRA / DAS FREIE ORCHESTER<br />1988, 17 min, 35mm-to-DCP. In German with English subtitles.<br />“Day in, day out, Barbara sells screws at a store in the East Berlin Market Hall. She is frustrated about having to tell her customers most of the time: ‘Ham wa nich!’ (‘We don’t have that!’) In the evening, she is the loud and wild singer of the legendary East Berlin avantgarde and punk band Das Freie Orchester. Playing music with her friends helps her escape the monotony of her job, express her dissatisfaction with everyday life in East Germany in the 1980s, and dream of a different life.” –DEFA FILM LIBRARY<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, November 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62266 <p>Wolfgang Büld<br />GIRLS BITE BACK aka WOMEN IN ROCK<br />1980, 45 min, 16mm-to-DCP. In English and German with English subtitles.<br />“Canvassing a selection of female musicians squarely at the forefront of the post-punk tide, director Wolfgang Büld finds plenty of restless, spiky personalities and intriguing approaches to music and performance. Metal-heads Girlschool, tribal dub merchants The Slits, No Wave experimentalists Mania D, and operatic rock diva Nina Hagen are all featured in live performances, but best of all is a supremely sarcastic Siouxsie Sioux, filmed and interviewed on tour in Berlin.” –SCHAMROCK<br /><br />LiLiPUT<br />ROAD MOVIE<br />1982/2006, 29 min, Super-8mm-to-digital<br />Recorded in 1982 by the legendary all-female Swiss punk band LiLiPUT (née Kleenex) while on the road, the film captures both the exhilaration and the tedium of touring.<br /><br />Total running time: ca. 80 min.<br /><br /><strong>Introduced by musician Gudrun Gut!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, November 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62174 <p>THE THEATER OF THE MATTERS & TAUFIC PRESENT:<br />JEAN-CLAUDE ROUSSEAU’S ‘THE PASTORAL CONCERT’ + ‘LAST STOP FOR THE CIRCULAR TICKET’<br />This book launch event celebrates the release of Jean-Claude Rousseau’s unclassifiable, long-unavailable film text, The Pastoral Concert, published for the first time in English this October by Taufic. The evening will culminate in a special premiere screening of Rousseau’s new feature film, LAST STOP FOR THE CIRCULAR TICKET (winner of a Jury Special Mention at this year’s FIDMarseille), alongside his 2006 short, FAUX DÉPART.<br /><br />The Pastoral Concert marks the first English translation of Rousseau’s early written work Le Concert champêtre, begun in 1968, some fifteen years before his debut film. Rousseau continued shaping the work as a screenplay until its rejection by the Centre National de la Cinématographie in 1983. Unrealized, Le Concert champêtre became the matrix from which Rousseau’s subsequent films would emerge.<br /><br />Taking its title and three central characters (A, B, and C) from the eponymous painting long attributed to Giorgione and now to Titian, The Pastoral Concert begins as a letter written by a young man to his cousin in the countryside on the eve of her wedding, before mutating into a diary entry, a screenplay, and finally a film imagined through the failure of its own realization. In this restless fluctuation between registers, The Pastoral Concert expresses, in the words of Jean-Marie Straub, “something magnificent [and] entirely different from a screenplay or a découpage.”<br /><br />Translated from the French by artist and filmmaker Kevin Weil, this edition includes an extensive appendix of extra-diegetic materials written by Rousseau, as well as correspondence with contemporaries such as Dominique Noguez, Marcel Hanoun, and Jean-Marie Straub, which form a picture of the work’s early reception.<br /><br />For more info about The Pastoral Concert visit: <a href="https://taufic.org/the-pastoral-concert">https://taufic.org/the-pastoral-concert</a><br /><br />Jean-Claude Rousseau<br />LAST STOP FOR THE CIRCULAR TICKET / DERNIER ARRÊT POUR LE BILLET CIRCULAIRE<br />2026, 87 min, DCP. No dialogue.<br />Rousseau’s longest film since THE ENCLOSED VALLEY from 1995 (the summit of his 8mm era), LAST STOP FOR THE CIRCULAR TICKET refers to the looped ferry route that plies the waters of Lake Como in Northern Italy. Firmly grounded in place, Rousseau’s solitary camera finds desolate poetry in the void of the spectacular landscape and in the anonymous crowds of passengers seemingly entranced at the edge of an abyss. Musical chords and voices magnify their gestures and the movement of the vessel on the lake. Closing the circle, the specter of the end looms: “On the ferry, among the travelers, I recognized Mrs. Death…”<br /><br />Preceded by:<br />Jean-Claude Rousseau FAUX DÉPART (2006, 13 min, DCP. No dialogue.)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, November 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62268 <p>An essential text for anyone with a love for the avant-garde. The explosive soundscapes of industrial music titans Einstürzende Neubauten first shook Berlin – then the whole world – to its core in the 1980s. In LIEBESLIEDER, co-directors Klaus Maeck and Johanna Schenkel wield a fractured feast of killer Neubauten performances from Euro television: ones that highlight the group’s cinematic presence, wild handmade instruments, and totally unique style. For those who are at all curious about industrial or noise music in general, this sweaty documentary is unmissable. For Neubauten fans, this humanizing portrait of their first decade provides a fresh take on the band.<br /><br /><strong>The Fri, Nov 6 screening will be introduced by musician and former Einstürzende Neubauten member Gudrun Gut!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, November 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62271 <p>“Bernd Sahling’s documentary follows the young punk Michael as he struggles to reconcile his identity and the reality of living in East Germany. He eventually applies for an exit permit and leaves for the West not long before the Fall of the Berlin Wall. The film explores Michael’s strained relationship with his mother, his path toward financial and intellectual autonomy, and thematizes the physical as well as the mental barriers one has to overcome in the pursuit of freedom.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62259 <p>[RANDALE UND LIEBE – ROCKER, POPPER, TEDS UND PUNKS]<br /><br />“Thomas Schmitt’s film offers unique insights into the alternative subculture of 1980s Cologne. Depending on the concert, the Blue-Shell attracted rockers, punks, and Teddy Boys, while the Café d’Or was a popular hangout for the ‘Popper’ crowd. RANDALE UND LIEBE – ROCKER, POPPER, TEDS UND PUNKS is a magnificent document of its time.” –COLOGNE CINEMA NIGHTS<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62186 <p>NEW YORK PREMIERE! FILMMAKERS IN PERSON!<br /><br />“Following two unconventional documentaries – SPACE DOGS (2019) and DREAMING DOGS (2024) – focused on the lives of stray canines, filmmaking duo Elsa Kremser and Levin Peter return with the narrative feature WHITE SNAIL, where the two protagonists also exhibit a fondness for various animals. Set in contemporary Belarus, the film tells the story of Masha, a blonde, thin, fair-skinned model pursuing her dream job in China, and Misha, a tattooed, thickset painter working at a morgue. Played with extreme naturalness by non-professionals Marya Imbro and Mikhail Senkov, these two loners strike up an unlikely but profound friendship that will force them to confront their secrets and wounds. The worlds to which Masha and Misha belong are completely at odds. But as these characters form a strange bond, the fashion industry and the funeral business reveal equally unlikely coincidences and areas of overlap that subtly proliferate as the plot advances. By depicting how we and our bodies relate to sight and touch, life and death, reality and imagination, flaws and perfection, Kremser and Peter map two universes on to one another, leaving the viewer to determine where they intersect and whether they diverge.” –Cristina Álvarez López, VIENNALE<br /><br />These screenings are co-presented by Deutsches Haus at NYU and Erste Bank, on the occasion of the co-awarding of the 2025 Viennale Erste Bank Film Award to WHITE SNAIL. Since 2011, each annual edition of the Viennale (Vienna International FilmFestival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. Additional support for these screenings has been provided by the Austrian Cultural Forum New York.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62274 <p>“In 1988, the East German state film studio DEFA produced the first – and only – documentary report on the country’s rock and punk scene. whisper & SHOUT sold over a million tickets upon release, largely to young people eager to see their favorite bands on screen and to find out what made it past the censors. Their enthusiasm was natural; director Dieter Schumann’s team had hit the road across the GDR not only to film live performances, but also to interview teenage fans about their place in the subculture, their prospects for the future, and the targets of their rebellion. Shot on 35mm and featuring luminary bands like Feeling B (some of whose members went on to found Rammstein), Silly, Chicorée, and Die Zöllner, whisper & SHOUT is both a generational portrait of music and protest behind the Wall and a unique historical artifact of the East German media’s relationship to its country’s underground.” –GOETHE-INSTITUT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62277 <p>Juliet Bashore<br />THE BATTLE OF TUNTENHAUS, PART 1 1991, 24 min, DCP. In German with English subtitles.<br />THE BATTLE OF TUNTENHAUS, PART 2 1992, 19 min, DCP. In German with English subtitles.<br />“The Wall has fallen. Berlin has reunified. But there are new zones of transgression to be carved out and explored. Mainzer Straße is a hot spot of squatters and anti-fascist fights. One of the squats on this notorious street, the Tuntenhaus (‘House of Queers’), becomes a specific target of both their neo-Nazi neighbors and the iron fist of the capitalist state. Juliet Bashore’s legendary documentary follows the daily struggle of the queens and queers to create and defend a place for themselves in the chaos and unrest after the fall of communism. The extraordinary union of the anarchist/autonomous and gay scenes meets the onlooking yet involved sympathizers, who also end up in conflict with the squatters as a result of their filming. The film is a unique testimony to the violent and momentous eviction of the people from the streets.” –THE BEACON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62280 <p>This program compiles 18 short films shot on Super-8mm by West German experimental film makers between 1978 and 1984, and featuring music by Malaria, Reflections, Einstürzende Neubauten, Frieder Butzmann, Die Tödliche Doris, and others.<br /><br />“In the beginning of the 1980s, West Berlin was a walled-off island of decadence in the middle of the communist DDR. An urban culture of bars and clubs was thriving in the city that lived at night. The cheap Super 8 film format, already becoming obsolete in the early 80s, was the cinematic equivalent of punk in Berlin. Cameras and projectors were available at flea markets for next to nothing, and, with the lightweight equipment, screenings could be arranged spontaneously in the seediest of venues. In a fevered frenzy the musicians, photographers, painters, and filmmakers of the city’s underground art scene collaborated in cross-disciplinary joint projects. Underground filmmaking became a cycle somewhat resembling a circular argument: filmmakers, who were often also musicians, started shooting performances given by their colleagues, which in turn would more often than not include screenings of works by their friends, and so on. The best of these films were dark, apocalyptic visions, which combined various techniques in radical experiments of the filmic form. Music, performance and happening fused together in a variety of Super 8 club events (in such legendary places as Risiko and S.O. 36), as well as at the first Super 8 film festival, Interfilm 1, in 1982.” –AVANTO<br /><br />Brand & Maschmann E DOPO? (1981, 3 min, Super-8mm-to-digital. Music by La Loora.)<br />Christoph Doering 3302 (1979, 14.5 min, Super-8mm-to-digital. Music by Die Unbekannten, Flucht Nach Vorn, MDK.)<br />Wolkenstein & Markgraf HÜPFEN 82 (1982, 2 min, Super-8mm-to-digital)<br />Yana Yo SAX (????, 6 min, Super-8mm-to-digital. Music by A. V. Oertzen.)<br />Maye & Rendschmidt OHNE LIEBE GIBT ES KEINEN TOD (1980, 4.5 min, Super-8mm-to-digital)<br />Stiletto Studios’s FORMEL SUPER VIII (1983, 2 min, Super-8mm-to-digital)<br />Walter Gramming HAMMER UND SICHEL (1978, 4.5 min, Super-8mm-to-digital)<br />Georg Marioth MORGENGESÄNGE (1984, 14 min, Super-8mm-to-digital)<br />Hormel & Bühler GELD (1982, 4 min, Super-8mm-to-digital. Music by Malaria.)<br />Notorische Reflexe FRAGMENT VIDEO (1983, 12 min, Super-8mm-to-digital. Music by Notorische Reflexe.)<br />Jörg Buttgereit MEIN PAPI (1981, 7 min, Super-8mm-to-digital. Music by Gundula Schmitz, Max Müller.)<br />Die Tödliche Doris BERLINER KÜCHENMUSIK (1982, 5 min, Super-8mm-to-digital. Music by Die Tödliche Doris.)<br />Frieder Butzmann & Kiesel SPANISH FLY (1979, 5 min, Super-8mm-to-digital)<br />Manfred Jelinski SO WAR DAS SO 36 (1984, 12 min, Super-8mm-to-digital. Music by Carambolage, Die Gelbs, Einstürzende Neubauten, Lorenz Lorenz, Malaria.)<br />Klaus Beyer DIE GLATZE (1983, 1.5 min, Super-8mm-to-digital. Music by Klaus Beyer.)<br />Wolkenstein & Markgraf CRAEX APART (1982, 6 min, Super-8mm-to-digital. Music by Craex Apart.)<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> Sunday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62187 <p>NEW YORK PREMIERE! FILMMAKERS IN PERSON!<br /><br />“Following two unconventional documentaries – SPACE DOGS (2019) and DREAMING DOGS (2024) – focused on the lives of stray canines, filmmaking duo Elsa Kremser and Levin Peter return with the narrative feature WHITE SNAIL, where the two protagonists also exhibit a fondness for various animals. Set in contemporary Belarus, the film tells the story of Masha, a blonde, thin, fair-skinned model pursuing her dream job in China, and Misha, a tattooed, thickset painter working at a morgue. Played with extreme naturalness by non-professionals Marya Imbro and Mikhail Senkov, these two loners strike up an unlikely but profound friendship that will force them to confront their secrets and wounds. The worlds to which Masha and Misha belong are completely at odds. But as these characters form a strange bond, the fashion industry and the funeral business reveal equally unlikely coincidences and areas of overlap that subtly proliferate as the plot advances. By depicting how we and our bodies relate to sight and touch, life and death, reality and imagination, flaws and perfection, Kremser and Peter map two universes on to one another, leaving the viewer to determine where they intersect and whether they diverge.” –Cristina Álvarez López, VIENNALE<br /><br />These screenings are co-presented by Deutsches Haus at NYU and Erste Bank, on the occasion of the co-awarding of the 2025 Viennale Erste Bank Film Award to WHITE SNAIL. Since 2011, each annual edition of the Viennale (Vienna International FilmFestival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. Additional support for these screenings has been provided by the Austrian Cultural Forum New York.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62282 <p>Up until his untimely death earlier this year, filmmaker Peter Sempel had a long and close association with Anthology Film Archives and Jonas Mekas (about whom he made four separate feature-length film portraits over the years). In addition to his collaborations with Jonas, Sempel made numerous other experimental films and documentaries about various artists and musicians. Among his best-known works is this film about the legendary singer, songwriter, and actress Nina Hagen. Far from a conventional artist doc, NINA HAGEN = PUNK + GLORY favors spontaneous, fragmentary, and often home-movie-like glimpses of her daily life, performances, and interactions with family, friends, and colleagues (including Lemmy, George Clinton, Blixa Bargeld, Udo Kier, Dee Dee Ramone, Jonas Mekas, and others). Sempel’s goal is less to narrate Hagen’s biography than to capture her unique energy and charisma, and to shed light on her many sides, on- and off-stage.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62264 <p>Helke Misselwitz<br />BULKY TRASH / SPERRMÜLL<br />1990, 72 min, 35mm-to-DCP. In German with English subtitles.<br />Filmed in the early summer of 1989, this documentary portrays a band of four young musicians who call themselves “Sperrmüll” (“Bulky Trash”), thanks to their proclivity for producing music by drumming on other people’s discarded items. Misselwitz concentrates especially on Enrico, who decides to stay behind when his mother Erika marries in the West, and who insists on maintaining his cultural identity even after the fall of the Wall. The members of “Sperrmüll” wish to remain citizens of their own state, and their attitude towards the looming reunification is one of skepticism. Originally intended as a call for social change, Misselwitz’s film documents the events of the Wende from the perspective of young East Berliners.<br /><br />Preceded by:<br />Petra Tschörtner<br />THE FREE ORCHESTRA / DAS FREIE ORCHESTER<br />1988, 17 min, 35mm-to-DCP. In German with English subtitles.<br />“Day in, day out, Barbara sells screws at a store in the East Berlin Market Hall. She is frustrated about having to tell her customers most of the time: ‘Ham wa nich!’ (‘We don’t have that!’) In the evening, she is the loud and wild singer of the legendary East Berlin avantgarde and punk band Das Freie Orchester. Playing music with her friends helps her escape the monotony of her job, express her dissatisfaction with everyday life in East Germany in the 1980s, and dream of a different life.” –DEFA FILM LIBRARY<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62188 <p>NEW YORK PREMIERE! FILMMAKERS IN PERSON!<br /><br />“Following two unconventional documentaries – SPACE DOGS (2019) and DREAMING DOGS (2024) – focused on the lives of stray canines, filmmaking duo Elsa Kremser and Levin Peter return with the narrative feature WHITE SNAIL, where the two protagonists also exhibit a fondness for various animals. Set in contemporary Belarus, the film tells the story of Masha, a blonde, thin, fair-skinned model pursuing her dream job in China, and Misha, a tattooed, thickset painter working at a morgue. Played with extreme naturalness by non-professionals Marya Imbro and Mikhail Senkov, these two loners strike up an unlikely but profound friendship that will force them to confront their secrets and wounds. The worlds to which Masha and Misha belong are completely at odds. But as these characters form a strange bond, the fashion industry and the funeral business reveal equally unlikely coincidences and areas of overlap that subtly proliferate as the plot advances. By depicting how we and our bodies relate to sight and touch, life and death, reality and imagination, flaws and perfection, Kremser and Peter map two universes on to one another, leaving the viewer to determine where they intersect and whether they diverge.” –Cristina Álvarez López, VIENNALE<br /><br />These screenings are co-presented by Deutsches Haus at NYU and Erste Bank, on the occasion of the co-awarding of the 2025 Viennale Erste Bank Film Award to WHITE SNAIL. Since 2011, each annual edition of the Viennale (Vienna International FilmFestival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. Additional support for these screenings has been provided by the Austrian Cultural Forum New York.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62272 <p>“Bernd Sahling’s documentary follows the young punk Michael as he struggles to reconcile his identity and the reality of living in East Germany. He eventually applies for an exit permit and leaves for the West not long before the Fall of the Berlin Wall. The film explores Michael’s strained relationship with his mother, his path toward financial and intellectual autonomy, and thematizes the physical as well as the mental barriers one has to overcome in the pursuit of freedom.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62275 <p>“In 1988, the East German state film studio DEFA produced the first – and only – documentary report on the country’s rock and punk scene. whisper & SHOUT sold over a million tickets upon release, largely to young people eager to see their favorite bands on screen and to find out what made it past the censors. Their enthusiasm was natural; director Dieter Schumann’s team had hit the road across the GDR not only to film live performances, but also to interview teenage fans about their place in the subculture, their prospects for the future, and the targets of their rebellion. Shot on 35mm and featuring luminary bands like Feeling B (some of whose members went on to found Rammstein), Silly, Chicorée, and Die Zöllner, whisper & SHOUT is both a generational portrait of music and protest behind the Wall and a unique historical artifact of the East German media’s relationship to its country’s underground.” –GOETHE-INSTITUT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, November 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62221 <p>Jerry Tartaglia<br />HAMLET IN THE RENTED WORLD (A FRAGMENT)<br />1970-73, 27 min, 16mm-to-DCP. © Jack Smith Archive. Courtesy of the Archive and Gladstone.<br />A portrait of Jack Smith fashioned from the debris of an unfinished project: “You might say that [this 27-minute assemblage put together by Jerry Tartaglia on behalf of the Gladstone Gallery from materials discovered in the Jack Smith Archives dating from the early 1970s] is BLONDE COBRA’s sort of sequel… In trying to bring into existence the derangement of a classic text – a project that Smith himself had abandoned – HAMLET IN THE RENTED WORLD is not a preservation but the reconstruction of a deconstruction.” –J. Hoberman, “Jack Smith’s Hamlet in the Rented World,” ACROSS THE MOVI-VERSE<br /><br />Robert Siodmak<br />COBRA WOMAN<br />1944, 72 min, 35mm. With Maria Montez.<br />“[Four days before Richard Nixon was reelected president, I saw the complete TRIUMPH OF THE WILL sans subtitles at the old Anthology Film Archives on Wooster Street and was nauseated.] The next night, either by coincidence or design, I caught a salutary, anti-fascist double bill at the New Yorker theater: DUCK SOUP, which I knew by heart, and COBRA WOMAN, which I knew only by reputation as Jack Smith’s favorite film, later noting that ‘The Cobra Dance’ should be spliced into or shown with TRIUMPH OF THE WILL.” –J. Hoberman, “Triumph of the Will and the Artification of Fascism,” ACROSS THE MOVI-VERSE<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> Tuesday, November 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62256 <p>[BRENNENDE LANGEWEILE]<br /><br />“In the late 1970s, Wolfgang Büld first made a name for himself with his documentary PUNK IN LONDON. The follow-up to this authentic document of youth culture was the ZDF production BORED TEENAGERS, part of the “Das kleine Fernsehspiel” series; it was filmed in 1979 in the wake of the RAF panic – wanted posters are visible in the background several times throughout the film. The movie blends concert footage of the English punk band The Adverts with a loose narrative thread about a young punk named Peter and his hairdresser girlfriend, Karin, as they follow the band – led by TV Smith and Gaye Advert – on their tour through Germany. It is an entertaining yet quirky journey through a late-70s musical subculture.” –OX-FANZINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, November 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62278 <p>Juliet Bashore<br />THE BATTLE OF TUNTENHAUS, PART 1 1991, 24 min, DCP. In German with English subtitles.<br />THE BATTLE OF TUNTENHAUS, PART 2 1992, 19 min, DCP. In German with English subtitles.<br />“The Wall has fallen. Berlin has reunified. But there are new zones of transgression to be carved out and explored. Mainzer Straße is a hot spot of squatters and anti-fascist fights. One of the squats on this notorious street, the Tuntenhaus (‘House of Queers’), becomes a specific target of both their neo-Nazi neighbors and the iron fist of the capitalist state. Juliet Bashore’s legendary documentary follows the daily struggle of the queens and queers to create and defend a place for themselves in the chaos and unrest after the fall of communism. The extraordinary union of the anarchist/autonomous and gay scenes meets the onlooking yet involved sympathizers, who also end up in conflict with the squatters as a result of their filming. The film is a unique testimony to the violent and momentous eviction of the people from the streets.” –THE BEACON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62223 <p>Wesley Barry<br />THE CREATION OF THE HUMANOIDS<br />1962, 84 min, 16mm<br />“The Now Future arrived in late 1964, when David Bourdon began his lengthy Village Voice review of Andy Warhol’s ‘Flower Paintings’ with a lengthy account of Wesley Barry’s CREATION OF THE HUMANOIDS, a sci-fi cheapster as color-coded as RED DESERT and more impoverished than ALPHAVILLE… ‘The denouement comes when the heroine and the hero (a militant anti-humanoid who goes around throwing bombs at uppity “clickers”) discover themselves to be machines. This is the happy ending of what Andy Warhol calls the best movie he has ever seen.’” –J. Hoberman, “The New Futurism and the Then Zeitgeist,” ACROSS THE MOVI-VERSE<br /><br />Mike Kuchar<br />SINS OF THE FLESHAPOIDS<br />1965, 48 min, 16mm. With Bob Cowan, George Kuchar, Donna Kerness, Gina Zuckerman, Maren Thomas, and Julius Middleman.<br />“In the winter of 1964-65, even before THE CREATION OF THE HUMANOIDS was listed, along with feathered boas and Warhol’s SLEEP, in a random list of things The New York Times Magazine deemed as ‘generally agreed’ examples of ‘Pure Camp,’ Mike Kuchar – a 22-year-old photo retoucher living in the Bronx – conceived his own 16mm version of Warhol’s favorite movie…the junkyard analog to the cycle of European films that includes RED DESERT, ALPHAVILLE, and THE TENTH VICTIM.” –J. Hoberman, “The New Futurism and the Then Zeitgeist,” ACROSS THE MOVI-VERSE<br /><br />Total running time: ca. 135 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62269 <p>An essential text for anyone with a love for the avant-garde. The explosive soundscapes of industrial music titans Einstürzende Neubauten first shook Berlin – then the whole world – to its core in the 1980s. In LIEBESLIEDER, co-directors Klaus Maeck and Johanna Schenkel wield a fractured feast of killer Neubauten performances from Euro television: ones that highlight the group’s cinematic presence, wild handmade instruments, and totally unique style. For those who are at all curious about industrial or noise music in general, this sweaty documentary is unmissable. For Neubauten fans, this humanizing portrait of their first decade provides a fresh take on the band.<br /><br /><strong>The Fri, Nov 6 screening will be introduced by musician and former Einstürzende Neubauten member Gudrun Gut!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62218 <p>While not as long-standing as the romance with trains, cinema has a love affair with taxis. A cab ride is often more than just a means of getting from one place to another. The taxi is a cinematic apparatus in motion, a confessional, an urban microcosm, a transition, a temporary intimacy, an archive of daily life, a nightmare of forced conversation, an eavesdropper’s dream. Yet beneath such metaphors are material threats: the gig economy, prior and enduring precarities and exploitation of labor, movements of migration conditioned by colonization.<br /><br />POSTCOLONIAL MOTION: TAXIS AND TRAVELOGUES draws together three films combining oral testimonies and the kinetics of transport. Frank Sweeney, Karimah Ashadu, and Timoteus Anggawan Kusno each consider the movements of people, goods and images, tracing how workers warp the barriers of historical categories and economic constraints as they cross borders.<br /><br />Guest-programmed by Yasmina Price, who wrote the introduction and individual film descriptions.<br /><br />Frank Sweeney<br />GO YE AFAR<br />2026, 24 min, DCP<br />Irish research-based artist Frank Sweeney’s latest work, GO YE AFAR (2026), stages a historical examination of economy, religion, national identity, and state power through the nocturnal taxi journey of a Nigerian driver in Dublin and Calabar. Making a link between the IMF’s role in imposing a debt structure on Ireland in the 2010s and the economic dependency still inflicted on the African continent, Sweeney makes a taxi journey an illuminating lens onto the dubious legacies of Catholic missionaries and European philanthropy, global privatization and the erosion of the commons.<br /><br />Karimah Ashadu<br />BROWN GOODS<br />2020, 12 min, DCP<br />BROWN GOODS (2020), by British-born Nigerian artist and director Karimah Ashadu, both shares and reconfigures a similar terrain. The film scans the intermingled economies and geographies of Africa and Europe, conjuring Nigeria from its viewpoint in Germany. The setting is specifically Hamburg, a hub of international trade and multinational corporations. Ashadu’s agile camerawork delves through docks, weaving amongst ship containers and stacks of tires as Emeka – the self-sufficient central figure, excluded from formal work due to his humanitarian status – voices a sharp analysis of manufacturing and industrial monopolies, the politics of resources and global capital.<br /><br />Timoteus Anggawan Kusno<br />OBSCURA<br />2026, 14 min, DCP<br />Indonesian filmmaker and visual artist Timoteus Anggawan Kusno’s OBSCURA (2026) echoes the unsettling, spectral dreaminess and mediatized archival memory of GO YE AFAR. Operating between Indonesia and the Netherlands, the film critically reworks the form of the ethnographic travelogue and colonial imagery through a story of theft (another kind of informal job). Gallery workers liberate a painting and carry it out in a truck, performing how images physically travel, are taken apart, literally unframed and reframed.<br /><br />Total running time: ca. 55 min.<br /><br /><strong>The screening will be followed by a conversation with filmmaker and artist Frank Sweeney!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, November 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62225 <p>Lucio Castro<br />DRUNKEN NOODLES<br />2025, 83 min, DCP. In English and Spanish with English subtitles.<br />When Adnan (Laith Khalifeh) arrives in New York to work at a Lower East Side gallery for the summer, he’s newly single and ready to mingle. He cruises strangers in the park at night and begins a flirtation with a delivery driver. At work, he’s helping to exhibit the recently discovered work of Sal Salandra, a real-world gay artist and elder who crafts tableaus of gay orgies and sex club scenes in vibrant needlepoint. These artworks – and Sal himself, played by Ezriel Kornel – become the connective thread for a time-jumping narrative that unfolds in four parts. Made for little money, with a small crew and total creative control, the latest by Lucio Castro (END OF THE CENTURY) is a delightful, sexually-charged short-story collection with whimsical elements of dreamy magical realism. Released during the full flower of NYC PRIDE season, DRUNKEN NOODLES is well worth watching – or rewatching – before making your Best-of-2026 lists.<br /><br /><strong>We’ll be joined by director Lucio Castro and cast members for a Q&A following the screening!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, November 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62205 <p>With Jeanne Balibar, Mathieu Amalric, Vincent Peirani, Aurore Clement, and Grégoire Colin.<br /><br />Amalric’s seventh feature-length film as a director is both a heartfelt tribute to the legendary chanteuse Barbara (1930-97), and a vehicle for another peerlessly talented French luminary, the actress and singer Jeanne Balibar. Amalric’s films are remarkable for their intuitive freedom, and their emphasis on emotional textures and states of feeling rather than on straightforward narrative construction or easily grasped meanings. BARBARA is a case in point: eschewing anything like a coherent, birth-to-death account of the events of her life, the film instead orchestrates fragments of the singer’s life and performances into a free and quasi-abstract meditation on Barbara’s identity and cultural presence. And by casting Balibar not as Barbara per se but more self-referentially as an actress making a film-within-the-film about the singer, his film becomes an even broader investigation into the concept of biographical filmmaking, representation, and identity. An experimental biopic in the tradition of Stanley Kwan’s CENTER STAGE, Peter Watkins’s EDVARD MUNCH, and Paul Leduc’s FRIDA, it features a typically riveting, charismatic performance from Balibar.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, November 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62209 <p>With Vicky Krieps, Arieh Worthalter, Anne-Sophie Bowen-Chatet, and Sacha Ardilly.<br /><br />“Propelled by a fierce, tour-de-force performance by Vicky Krieps, who is fast becoming one of the most sought-after actors on the international scene, HOLD ME TIGHT is an ingenious memory piece exploring the grief of separation and the paradoxical comforts and claustrophobia of the domestic home. As Clarisse flees her family at daybreak and hits the open road, leaving her husband and two children behind, the film shuttles between time and space, becoming a mental landscape whose contours are gradually revealed like fleeting moments of reminiscence – those that ultimately make up a life. With its beguiling, puzzle-piece structure that builds to a shattering denouement, HOLD ME TIGHT powerfully keeps its audience in a state of hypnotic reverie as we share in the protagonist’s profound sense of disorientation, the sort of disembodied surrealism that uncertainty can unleash. Yet Krieps gives a surprisingly earth-bound, visceral performance as a woman negotiating a new path for herself, all while trying to stay close to those she loves and attempting to make sense of it all.” –Andréa Picard, TIFF<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, November 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62212 <p>Mathieu Amalric<br />MUSIC IS MUSIC<br />2017, 20 min, DCP<br />“In a poetic composition of song, narration, and images, this film follows Canadian soprano and orchestra conductor Barbara Hannigan, accompanied by the Ludwig Orchestra, as she records her album ‘Crazy Girl Crazy’. Why did she choose these three pieces, in essence so different, but which intimately resonate with her: Berio’s ‘Sequenza III’, Berg’s ‘Lulu Suite’, and Gershwin’s ‘Girl Crazy’?” –INTERNATIONAL FESTIVAL OF FILMS ON ART<br /><br />Mathieu Amalric<br />BEFORE IT’S TOO LATE / AVANT QU’IL NE SOIT TROP TARD<br />2023, 65 min, DCP<br />“After 47 years together, the Emerson String Quartet records their last album, ‘Infinite Voyage’, in three days. For this farewell, they invited soprano Barbara Hannigan, and a film was born. Their precise work, the moments of enthusiasm and fear, the research and the jokes, the age limit of these men and Hannigan’s flamboyance, the admiring friendship full of irony and rigor, the profession and yet the discovery, humor as a cog towards concentration, the individual and the group…all this composes a portrait of the usually invisible production of music. Before everyone resumes their path.” –DOCLISBOA<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, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62229 <p>Griffith’s immensely influential silent epic intercuts four parallel tales from history (spanning Babylon, Christ’s Judea, Reformation Europe, and turn-of-the-century America) to embroider a moral tapestry on personal, social, and political repression through the ages. The visual poetry is overwhelming, especially in the massed crowd scenes, and the unbridled eroticism of the Babylon harem scenes demonstrates just what Hollywood lost when it later bowed to the Hays Code. While the (partly self-financed) production ruined Griffith financially and baffled audiences with its multiple plots and labyrinthine structure, it has been enormously influential on generations of filmmakers, including Eisenstein, who studied the film closely.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62193 <p>Mathieu Amalric<br />ZORN I (2010-2016)<br />2017, 54 min, DCP<br />“The tense, but smiling face of maverick composer legend John Zorn listening to music might just restore your faith in human beauty. Every muscle moves in harmony with sounds and chords, it’s like seeing a soul wandering off into another realm. Mathieu Amalric has been filming this zestful musician for more than 12 years now. They first met when the actor and filmmaker narrated Zorn’s vocal album Shir Hashirim live in Paris. Those familiar with Amalric’s haptic cinema will immediately understand what drew him to Zorn and vice versa. They connect through their constant and obsessive drive for feelings and sensations, their tireless energy devoted to the art, their hunger for life. In the style of a home movie, Amalric accompanies Zorn at concerts, city walks, inside the sound studio or at practice.” –Patrick Holzapfel, VIENNALE<br /><br />Mathieu Amalric<br />ZORN II (2016-2018)<br />2018, 59 min, DCP<br />“In the second part of his ongoing portrait of the prolific musician, Amalric shows the artist as a social man. Like a sponge, Zorn takes in whatever surrounds him: people (mostly colleagues from the New York Underground scene), dreams, technology, cinema (screening films by Maya Deren or Harry Smith during his performances), places and the emotions evoked by sounds. […] Amalric chooses a more structured approach than in the first part. Text inserts reveal details about the composer’s life and his philosophy. The camera gets more in tune with Zorn’s eruptive movements, as he goes onstage at sold-out concert halls as if he were just discovering the instruments there during an evening stroll. He plays each note as if it was the first or last, and Amalric tries to film him accordingly.” –Patrick Holzapfel, VIENNALE<br /><br />Total running time: ca. 120 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62230 <p>Viking Eggeling<br />SYMPHONIE DIAGONALE (1924, 8 min, 35mm, silent)<br />“This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance – diagonally – across the black screen.” –FACETS<br /><br />Dwinell Grant<br />COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)<br />“An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.” –Dwinell Grant<br />STOP MOTION TESTS (1942, 3 min, 16mm, silent)<br />A pixillated self-portrait of the filmmaker in his studio.<br />COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />“Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.” –William Moritz<br /><br />Ken Jacobs & Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation.<br />“BLONDE COBRA is an erratic narrative – no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing – on one level – over the situation with style… enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw off.’” –Ken Jacobs<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a><br /><br /></p> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62199 <p>Mathieu Amalric<br />ZORN III (2018-2022)<br />2022, 82 min, DCP. With John Zorn and Barbara Hannigan.<br />“Why can’t Mathieu Amalric stop filming John Zorn? It’s because consciously or unconsciously, he understands that he can only get closer to this man if he imitates his restlessness. It’s this Sisyphean tirelessness, the fact that we must imagine Zorn (whose surname translates into German as anger) as a happy man, which is at the core of his art. He makes music in order to be alive. This time, however, Zorn is not the only protagonist, as the Canadian soprano Barbara Hannigan enters the wild world of the composer. Much more straightforward than its previous iterations, the film captures Hannigan’s rehearsals for a performance of Zorn’s song cycle ‘Jumalattaret’ together with pianist Stephen Gosling. The work pushes her vocal capacities to the limit, with the sudden shifts in register, extended high notes and bird-like chirping demanding everything from her.” –Patrick Holzapfel, VIENNALE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 14