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 Mon, 25 May 2026 02:38:56 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61169 <p>Karl Valentin<br />CONFIRMATION DAY / DER FIRMLING<br />(1934, 23 min, 35mm, b&w. In German with no subtitles; English synopsis available.)<br />“Valentin plays a drunken father treating his giggly young son to lunch, and the inspired muddle he creates out of a table, two chairs, an umbrella, and a watch chain rivals some of Laurel and Hardy’s best moments.” –J.R. Jones, CHICAGO READER<br /><br />Jean Vigo<br />A PROPOS DE NICE (1929-30, 30 min, 16mm, silent)<br />TARIS (1931, 9 min, 16mm)<br />&<br />ZERO FOR CONDUCT / ZÉRO DE CONDUITE<br />(1935, 44 min, 16mm, b&w. In French with English subtitles.)<br />An eloquent parable of freedom versus authority, Vigo’s film is set at a boys’ boarding school and undoubtedly echoes Vigo’s own unhappy experiences as a child. Under the pressure of various civic groups the film was removed from screens several months after its release in 1933. It was branded “anti-French” by censors and was not shown again in Paris until 1945.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61199 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61170 <p>Andy Warhol<br />EAT (1963, 35 min, 16mm, silent)<br />“A portrait of artist Robert Indiana, EAT is one of the classics of Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol’s decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time.” –Callie Angell<br /><br />James Sibley Watson & Melville Webber<br />FALL OF THE HOUSE OF USHER (1928, 13 min, 16mm, silent)<br />“Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes.” –Robert A. Haller<br /><br />John & James Whitney<br />FILM EXERCISES 1-5 (1943-45, 18 min, 16mm)<br />“The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.” –William Moritz<br /><br />James Whitney<br />LAPIS (1963-66, 10 min, 16mm)<br />“The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns…. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis.” –P. Adams Sitney<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> Monday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61171 <p>FIREWORKS 1947, 15 min, 16mm-to-35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.<br />RABBIT’S MOON 1950-70, 15 min, 35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.<br />EAUX D’ARTIFICE 1953, 13 min, 16mm<br />SCORPIO RISING 1963, 30 min, 16mm<br />KUSTOM KAR KOMMANDOS 1965, 3 min, 16mm<br /><br />“Scandal, evil, violence, and Fascism, like Hollywood, are centers of fascination for Anger, and his films are the fields in which the dialectic of that fascination is played and fought.” –P. Adams Sitney, VISIONARY FILM<br /><br />“All of [Anger’s] films have been evocations or invocations, attempting to conjure primal forces which, once visually released, are designed to have the effect of ‘casting a spell’ on the audience. […] Not a surrealist who puts blind faith in his own dream images and trusts his dreams to convey an ‘uncommon unconscious,’ Anger works predominantly in archetypal symbol. As the magus, he is the juggler of these symbols, just as in the Tarot, where the Magician is represented by the Juggler and is given the attribution of Mercury, the messenger.” –Carel Rowe, FILM QUARTERLY<br /><br />Total running time: ca. 80 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Tuesday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61203 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61172 <p>MASS FOR THE DAKOTA SIOUX (1963-64, 20 min, 16mm) <br />QUIXOTE (1964-65, 45 min, 16mm)<br />“In MASS and QUIXOTE [Baillie] subtly blends glimpses of the heroic personae with despairing reflections on violence and ecological disaster. […] Despite his sophistication, Baillie remains an innocent; the whole of his cinema exhibits an alternation between two irreconcilable themes: the sheer beauty of the phenomenal world (few films are as graceful to the eye as his, few are as sure of their colors) and the utter despair of forgotten men. It is in QUIXOTE alone that these two themes emerge into a dialectical form, an antithesis of grace and disgrace.” –P. Adams Sitney, VISIONARY FILM<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></p> Tuesday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61200 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61272 <p>“In 2025 we endured the tragic loss of a pair of artists, who in life were united in love: Florence Jacobs, in June, and in October, Ken Jacobs. Together they were the prime movers behind our organization, putting sweat, ingenuity, and vision behind a utopian idea that we all might be able to share the tools, knowledge, space, and resources required for filmmaking, and forge an alternative community of cinema opposed to the practices of capitalism and industry.” –Joe Wakeman, Exec Director, Millennium Film Workshop<br /><br />This screening – programmed by Grahame Weinbren, Vince Warne, and the MFJ editors – celebrates the launch of Millennium Film Journal No. 83. The film descriptions below are drawn from MFJ 83.<br /><br />The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit: <a href="https://millenniumfilmjournal.com/donations/donation-form/">https://millenniumfilmjournal.com/donations/donation-form/</a> <br /><br />Ken Jacobs NISSAN ARIANA WINDOW (1968, 15 min, 16mm, silent)<br />“NISSAN ARIANA WINDOW is 3/4’s of our daughter’s name. She was just a kid when these pictures were taken. Some were taken before she was born: pregnant Flo together with pregnant cat China sunning themselves under the skylight. Andrew Noren likes the movie.” –Ken Jacobs<br /><br />Sarah Ballard FULL OUT (2025, 14 min, 16mm-to-digital)<br />“Ballard calls to mind the notion of cinema as a type of hypnotism and reverie both exhilarating and disorienting: the sheer, gravity-defying, delirious movement of both the cheerleaders and the camera brings the film round (and round) to first experimental cinematic principles again, while also resonating with a long, cyclical history of the allure and uneasy ethics of imaging women’s states of being.” –Sarah Keller<br /><br />Karthik Pandian ANOKA (2025, 12 min, 16mm-to-digital)<br />“Pandian plays various conversations on top of visuals that progressively go from abstract to concrete. The film is filled with chuckles and jovial voices in various languages – Spanish, K’iche’, Lakota, Ojibwe, Tamil, and Sanskrit – finding delight and surprise in the commonalities across languages.” –Soham Gadre<br /><br />Oscar Ruiz Navia TIGERS CAN BE SEEN IN THE RAIN (2025, 15 min, 16mm-to-digital)<br />“Ruiz’s embalmment of time is guided by memory as much as reality, the hauntological dimensions of public space informed by the sister who called him Papeto. TIGERS CAN BE SEEN IN THE RAIN slowly reveals its raison d’etre as an act of custodial care, enshrining the memory of one human being as a node within a grander network of cultural history.” –Nick Kouhi<br /><br />@welcometo_blue SELECTED WORKS (2025, 5 min, digital)<br />“There’s a pervasive sense of voyeurism, a loneliness, a fascination with light, movement, a blurry shoegaze haze, tiny slices of infinity. Many of them – notably, the extraordinary 2.5-minute short film THE SCENT SANG A SONG – seemed to be filmed in an abandoned elementary school, a liminal space of fluorescent light fixtures, chain-link fences, portable classrooms, windows overlooking palm trees silhouetted against a dark sky.” –Vince Warne<br /><br />Chiara Caterina OBJECT D’ENIGME (2026, 18 min, digital)<br />“One viewer may be led to the horrors of misogyny, another to the agonies of identity loss, a third to the idea of temptation prompted by the forbidden. All may share an appreciation of the beauties of the ghostly grey LiDAR images and the pure pleasures of precisely composed cinema.” –Grahame Weinbren<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, May 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61204 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61293 <p>This film follows the 1984 landmark production of “Einstein on the Beach” staged at the Brooklyn Academy of Music. It was the first time since 1976 that its creators, composer Philip Glass and designer/director Robert Wilson, had collaborated on the re-staging of this untraditional opera. The work is examined through the insights of Glass and Wilson and incorporates rehearsal footage with scenes of the actual performance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61320 <p>Max Woertendyke<br />WOMAN IN THE SKY<br />2025, 16 min, DCP<br />WOMAN IN THE SKY tells the extraordinary story of Magda Salvesen, who met Abstract Expressionist Jon Schueler in Scotland in 1970. A few months after their introduction, he wrote a will leaving her his entire body of work. Since Schueler’s death in 1992, Salvesen has secured his legacy and ensured its preservation, with his paintings included in over 70 world renowned collections. Reflecting on three decades as Schueler’s partner, and even more as the unlikely guardian of his artistic output, Salvesen offers an intimate portrait of both a widow and art historian fiercely committed to her late husband’s creative memory. What emerges is an epic love story writ small across hundreds of canvases and thousands of pieces of archival grade paper.<br /><br />Julio Torres<br />PROBLEMISTA<br />2024, 104 min, DCP<br />Alejandro (Julio Torres) is an aspiring toy designer from El Salvador, struggling to bring his unusual ideas to life in New York City. As time on his work visa runs out, a job assisting an erratic art-world outcast (Tilda Swinton) becomes his only hope to stay in the country and realize his dream. From writer/director Julio Torres comes a surreal adventure through the equally treacherous worlds of New York City and the U.S. Immigration system.<br /><br />Total running time: ca. 125 min.<br /><br /><strong>Introduced by Max Woertendyke, and followed by a Q&A.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61296 <p>Filmmaker Unknown. Preserved by Anthology Film Archives and the New York Public Library.<br /><br />Overture for KA MOUNTAIN AND GUARDenia TERRACE was performed live by Robert Wilson and the Byrd Hoffman School of Byrds at 147 Spring Street, NYC, for six hours each day, from 6-9AM and 6-9PM, between April 24-30, 1972. The sizeable cast featured such downtown luminaries as dance critic and poet Edwin Denby, dancer Andy De Groat, theater critic Stefan Brecht, and Wilson’s grandmother, Alma Hamilton. This preservation print was made directly from the 16mm camera original which was discovered in Anthology’s basement along with a group of empty film cans. Archivists at Anthology and the New York Public Library for the Performing Arts (the repository of the Robert Wilson Audio/Visual Collection) were able to salvage the film and identified it as the most extensive extant documentation of OVERTURE. No soundtrack has surfaced for this film, but its majestic images and wild inventiveness are like a music all their own.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61322 <p>Bruce Conner<br />THE WHITE ROSE<br />1967, 7 min, 35mm<br />A work born of Bruce Conner’s profound friendship with artist Jay DeFeo, THE WHITE ROSE captures the 1965 removal, from her first-floor San Francisco apartment, of DeFeo’s eponymous painting, a monumental work that she began in the late 1950s and worked on obsessively for eight years, eventually layering over two thousand pounds of paint onto the canvas. The intimate black and white film captures the fabled painting’s last moments in the apartment’s bay window recess, a space covered in chunks of paint as though an extension of the work, which Conner likened to a site-specific environment and “a temple”. Sutured by Conner’s sharp, rhythmic editing and set to music from Miles Davis’s album “Sketches of Spain”, THE WHITE ROSE is a tender document of artistic friendship, and an affectionate record of a key moment in Beat Generation art history.<br /><br />Elizabeth Nichols<br />FLYING LESSONS<br />2024, 84 min, DCP<br />At a community meeting held to address their gentrifying landlord’s aggressive treatment of longtime tenants, filmmaker Elizabeth Nichols meets Philly Abe, an older punk artist who swiftly becomes the younger woman’s muse, attentive neighbor, and friend. While tracking Philly’s activism and struggles in the face of harassment, Nichols surfaces her life story through extraordinarily candid conversations, as well as a gloriously SD video archive of concert footage and DIY downtown New York films by the likes of Todd Verow and Mike Kuchar in which the fabulously brash Abe starred. The magnetic pull between artist and filmmaker yields something beguiling and precious, celebrating the fiery Philly even as she and the world she fought to protect are being actively extinguished.<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> Saturday, May 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61299 <p>Robert Wilson<br />VIDEO 50<br />1978, 52 min, video<br />“VIDEO 50 is an extraordinary video sketchbook, a highly original, visually dramatic and frequently humorous collection of one hundred abbreviated ‘episodes’ produced for television. Unfolding as a series of thirty-second vignettes, this enigmatic essay in style is characterized by a deadpan theatricality, symbolist imagery, surrealist juxtapositions and repetition of key visual motifs. Indelible images, precisely composed – a man teetering above a waterfall, a floating chair, a winking eye, a parrot against the New York skyline – are accompanied by an ‘architectural’ sound score that includes spoken ‘phonetic patterns’ rather than words. Fusing his surprising visual logic and rhythms with unexpected temporal manipulations, Wilson creates a work of startling wit and poetry.” –ELECTRONIC ARTS INTERMIX<br /><br />Robert Wilson<br />DEAFMAN GLANCE<br />1981, 27 min, video<br />“This haunting work for television has been excerpted and adapted from Wilson’s five-hour ‘silent opera’ of the same title. Wilson tells a stark and stylized story of murder, using time and space, light and movement, and isolated sound in place of spoken words. The ritualistic action, which moves from a spartan kitchen through the silent halls, stairways and rooms of a lonely house, is both dreamlike and sinister. A somber, menacing woman washes white dishes and a gleaming carving knife, pours milk into a glass, and then slowly attacks first one young boy and then another. Not a word of dialogue is uttered. Suggesting the disparate worlds of both ancient Greek tragedy and contemporary tabloid headlines, DEAFMAN GLANCE harbors paradox: the events are terrifying but not violent; characters are both real and symbols of reality; pacing reduces action to abstraction; and morality and mortality are ambiguous.” –ELECTRONIC ARTS INTERMIX<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> Saturday, May 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61324 <p>Alain Resnais<br />ALL THE WORLD’S MEMORY / TOUTE LA MÉMOIRE DU MONDE<br />1957, 21 min, 35mm-to-DCP. In French with English subtitles.<br />This recently restored early short by Alain Resnais pays homage to the National Library of France. For centuries, the library has served as a repository for all the country’s publications, and more: Maps, prints, comic books, priceless manuscripts, gems, and medals all form part of the collection. Much like Susan Orlean’s “The Library Book”, ALL THE WORLD’S MEMORY takes us on an impressive and impressionistic tour, from the reading rooms, to the stunning architecture, to the stacks and the physical plant. We also accompany a new arrival to the library – a recently published book – on its journey from reception to cataloguing to the moment it takes its place on a shelf, joining millions of other items that have made their home here for centuries. ALL THE WORLD’S MEMORY is a unique look at the effort to catalogue as much knowledge as possible in one of the world’s great libraries. The film has been restored in 2K thanks to l’Agence du Court-Métrage and the support of the CNC.<br /><br />Tanya Lukin Linklater<br />AN AMPLIFICATION THROUGH MANY MINDS<br />2019, 36 min, DCP<br />In 2018 Tanya Lukin Linklater began visiting the Alaska Commercial Collection at the Hearst Museum of Anthropology, University of California Berkeley. These visits included spending time with Sugpiaq parkas (made of cormorant and gut), Sugpiaq sewing bags from Kodiak, Alaska, and Unangan baskets from the Aleutian Chain. AN AMPLIFICATION THROUGH MANY MINDS is a video structured in three parts, documenting Linklater’s time with items at the Phoebe A. Hearst Museum of Anthropology’s on-site and off-site collections storage; a process of embodied inquiry at SFMOMA featuring three dancers responding to the life of ancestral belongings in museum collections; and a return to the collections storage to enliven the place with dance.<br /><br />Matthew Leifheit<br />YOUR GIORGIO<br />2018, 12 min, DCP<br />YOUR GIORGIO is based on the love letters of the late queer photographer George Platt Lynes. Filmed on location at Yale University, it depicts a sexualized experience of the archive, in which the researcher’s subjects come alive as amorous ghosts.<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> Saturday, May 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61302 <p>One of the great unrealized theatrical productions of the 20th century, “the CIVIL warS” would have been the legendary avant-garde filmmaker’s magnum opus: a twelve-hour historical opera in six distinct parts, each rehearsed in a different country (Germany, France, Japan, Italy, the Netherlands, and the U.S.) for a holistic performance at the 1984 Summer Olympics in Los Angeles. Over the course of the project’s ill-fated conception, Howard Brookner – who had previously made the documentary BURROUGHS (1983) – follows Wilson, composers Philip Glass and David Byrne, and several production troupes as they seek to perfect an epic that encompasses the American Civil War, the life and death of Frederick the Great, and the unification of Italy, along with imagery from Frank L. Baum, Jules Verne, and Mathew Brady. Struggling to procure timely funding and constantly negotiating with striking Italian theater unions, Wilson nonetheless proves himself a force of nature, determined to follow through on his outsize dream of a Gesamtkunstwerk that brilliantly fuses art and life.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61326 <p>Coco Fusco<br />TO LIVE IN JUNE WITH YOUR TONGUE HANGING OUT / VIVER IN JUNIO CON LA LENGUA AFUERA<br />2018, 24 min, DCP. In Spanish with English subtitles. Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York.<br /><br />Till Schauder & Sara Nodjoumi<br />A REVOLUTION ON CANVAS<br />2023, 95 min, DCP. In English and Farsi with English subtitles.<br /><br />Total running time: ca. 125 min.<br /><br /><strong>Followed by a Q&A.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61305 <p>Robert Wilson<br />STATIONS<br />1982, 56 min, video<br />“STATIONS is an enigmatic, hauntingly vivid work, in which Wilson envisions the daydreams and fantasies of an eleven-year-old boy as a universe both magical and sinister. Resonating with Wilson’s precise visual stylization, the tape’s pivotal image is a young boy looking through a large window in the kitchen of his home, which becomes the portal for his dramatic, often startling inner fantasies. Fire, metal, wind, glass and water, among other elements, serve as points of departure for a series of elegant pictorial compositions and evocative metaphors. Unfolding without dialogue or spoken language, Wilson’s indelible visions articulate the fear and mystery of the internal life of a child, and his relation to the outside world.” –ELECTRONIC ARTS INTERMIX<br /><br />Robert Wilson<br />LA FEMME À LA CAFETIÈRE<br />1989, 7 min, video<br />Robert Wilson and the dancer Suzushi Hanayagi bring to life Paul Cezanne’s painting, “La Femme à la Cafetière”.<br /><br />Robert Wilson<br />LA MORT DE MOLIÈRE<br />1995, 24 min, video<br />A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagining his death in tableaux with text passages recited by Müller himself. “Cinema watches Death at work.” Wilson’s actors watch Molière die: their vigil is hard work. Müller’s comment: “The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière.”<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> Sunday, May 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61328 <p>Jean Eustache<br />ALIX’S PICTURES / LES PHOTOS D’ALIX<br />1980, 15 min, 35mm-to-DCP. In French with English subtitles.<br />Winner of the 1982 Cesar Award for Best Short Film, LES PHOTOS D’ALIX is Jean Eustache’s playful meditation on the ambiguity of images and the elusiveness of interpretation. In a room, a young woman (Alix Cléo-Roubaud) describes to a young man (Boris Eustache, the director’s son) the stories, techniques, and meanings behind several of her meticulously composed black-and-white photographs. But at some point her explanations don’t seem to match what we see. Is this because language can never accurately account for the visual? Because the viewer is being asked to perform more than a surface-level comprehension of art? Because Eustache is perpetrating some sort of absurdist practical joke? Or all of the above?<br /><br />Rachel Elizabeth Seed<br />A PHOTOGRAPHIC MEMORY<br />2025, 85 min, DCP<br />Rachel Elizabeth Seed was only 18 months old when her journalist/photographer mother passed away. Thanks to a trove of archival material, though, she was able to reconstruct her life piece by piece and discover the mother she never quite knew in this Film Independent Spirit Award-nominated doc.<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, May 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61308 <p>This documentary chronicles the production of THE BLACK RIDER, a theatrical collaboration between Robert Wilson, Tom Waits, and William S. Burroughs. Adapted from August Apel’s supernatural short story “Der Freischütz” (which was made famous by Friedrich Kind and Carl Maria von Weber’s 1821 opera), THE BLACK RIDER premiered at the Thalia Theater in Hamburg, Germany, in 1990. Janssen and Quinke’s film – one of the finest filmic portraits of Wilson and his process – encompasses documentation of the production’s rehearsals, interviews with Wilson, Waits, and Burroughs, and excerpts of scenes from the opening night performance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61310 <p>This film – edited from live recordings of performances in both Warsaw and Tokyo – documents Robert Wilson’s production of “Hamlet: A Monologue”. Adapted from Shakespeare by Wilson and Wolfgang Wiens, “Hamlet: A Monologue” was performed by Wilson himself, who variously embodied each of the play’s characters. In his own words, “Initially, I had thought to do it with a group of actors but eventually I decided I would do it myself, as a challenge: first, because it is a classical text, and then because it’s a work where the concentration is primarily on the text, in addition to the images. I did it as a monologue, a kind of dream memory of the entire play. I restructured the text, beginning seconds before Hamlet dies. So the work is seen as a flashback, with Hamlet speaking the text of Ophelia, Gertrude and all the other characters. The play really takes place in Hamlet’s mind. It begins with his last speech and ends with his last speech.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61330 <p>kekahi wahi (Sancia Miala Shiba Nash & Drew K. Broderick)<br />HO‘OULU HOU<br />2023, 17 min, DCP. In English and Hawaiʻi Creole English with English and Hawaiʻi Creole English subtitles.<br />HO‘OULU HOU honors the life and legacy of ʻĪmaikalani Kalāhele, a Kanaka Maoli (Native Hawaiian) musician, poet, artist, and activist from Nuʻuanu, Oʻahu. For nearly half a century Uncle ʻĪmai has stood as a pillar within various communities in Hawaiʻi, steadfast in his dedication to Native Hawaiian creative expressions and the movement for sovereignty and self-determination. This short film was made in collaboration with Hoʻoulu ʻĀina, a place of refuge in the back of Kalihi valley committed to propagating the health of ʻāina (land) and lāhui (nation).<br /><br />Miranda Yousef<br />ART FOR EVERYBODY<br />2023, 99 min, DCP<br />You’ve seen his cozy cottages, idyllic gardens, and welcoming village streets on everything from canvas to commemorative plates. Both celebrated and disparaged for his kitschy signature settings, the “Painter of Light” Thomas Kinkade rocketed to popularity in the ’90s by marketing himself to American evangelicals and pitting himself against the elite art establishment. Yet beneath the pristine public persona were demons that would drive him to alcoholism, scandal, and death from an overdose in 2012. After his passing, Kinkade’s daughters uncovered a trove of unseen, unexpectedly dark paintings, a discovery that launched an investigation into their father’s true personality. Through the voices of skeptical critics, adoring fans, and Kinkade’s closest friends and family, ART FOR EVERYBODY digs deep into Kinkade’s life and work to elucidate the real man behind the persona. Accomplished editor Miranda Yousef’s directorial debut is an insightful documentary that peels back the layers of Kinkade’s facade, delivering a portrait of a complex man divided by the same forces that continue to pull us apart as a nation.<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> Monday, June 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61312 <p>This behind-the-scenes film, drawing on rehearsal and performance footage, reveals how Robert Wilson created his unique one-man performance of Hamlet and captures the rich texture of Wilson’s multi-dimensional theatrical style.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61306 <p>Robert Wilson<br />STATIONS<br />1982, 56 min, video<br />“STATIONS is an enigmatic, hauntingly vivid work, in which Wilson envisions the daydreams and fantasies of an eleven-year-old boy as a universe both magical and sinister. Resonating with Wilson’s precise visual stylization, the tape’s pivotal image is a young boy looking through a large window in the kitchen of his home, which becomes the portal for his dramatic, often startling inner fantasies. Fire, metal, wind, glass and water, among other elements, serve as points of departure for a series of elegant pictorial compositions and evocative metaphors. Unfolding without dialogue or spoken language, Wilson’s indelible visions articulate the fear and mystery of the internal life of a child, and his relation to the outside world.” –ELECTRONIC ARTS INTERMIX<br /><br />Robert Wilson<br />LA FEMME À LA CAFETIÈRE<br />1989, 7 min, video<br />Robert Wilson and the dancer Suzushi Hanayagi bring to life Paul Cezanne’s painting, “La Femme à la Cafetière”.<br /><br />Robert Wilson<br />LA MORT DE MOLIÈRE<br />1995, 24 min, video<br />A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagining his death in tableaux with text passages recited by Müller himself. “Cinema watches Death at work.” Wilson’s actors watch Molière die: their vigil is hard work. Müller’s comment: “The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière.”<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> Tuesday, June 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61332 <p>Catherine Gund<br />PAINT ME A ROAD OUT OF HERE<br />2024, 90 min, DCP<br />Featuring artists Faith Ringgold and Mary Enoch Elizabeth Baxter, PAINT ME A ROAD OUT OF HERE uncovers the whitewashed history of Faith’s masterpiece “For the Women’s House” and follows its 50-year journey from Rikers Island to the Brooklyn Museum in a heartbreaking, funny, and true parable for a world without mass incarceration.<br /><br /><strong>Followed by a Q&A.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61314 <p>This film documents the coming together of Willem Dafoe, director Robert Wilson, performance artist Marina Abramovic, and singer and composer Anohni, to create an experimental opera based on Marina Abramovic’s biography. Through rehearsal footage and interviews with the artists as they are making the piece, director Giada Colagrande provides insight into this unique collaboration, resulting in an intimate portrait that reveals the dynamics, excitement, and insecurities of making such a poetic and visually stunning theatre work.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61490 <p>CASTRO STREET (1966, 10 min, 16mm. <strong>BRAND NEW PRINT BY ANTHOLOGY FILM ARCHIVES!</strong>)<br />ALL MY LIFE (1966, 3 min, 16mm. <strong>BRAND NEW PRINT BY ANTHOLOGY FILM ARCHIVES!</strong>)<br />VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. Preserved by Anthology Film Archives.)<br />“In [Baillie’s late 1960s films], the eye of the film-maker quiets his mind with images of reconciliation; the dialectics of cinematic thought become calm in the filming of the privileged moment of reconciliation.” –P. Adams Sitney, VISIONARY FILM<br /><br />QUICK BILLY <br />(1971, 56 min, 16mm)<br />“The essential experience of transformation, between Life and Death, death and birth, or rebirth. In four reels, the first three adapted from the Bardo Thodol, the Tibetan Book of the Dead. The fourth reel is in the form of a black and white one-reeler Western, summarizing the material of the first three reels, which are color and abstract.” –Bruce Baillie<br /><br />Followed by:<br />QUICK BILLY: SIX ROLLS (Numbers 14, 41, 43, 46, 47, and 52)<br />1968-69, 16 min, 16mm, silent. Preserved by Anthology Film Archives.<br />“The ‘rolls’ took the form of a correspondence, or theater, between their author and Stan Brakhage, in the winter of 1968-69. They’re kind of the magic cousins of the film.” –Bruce Baillie<br /><br />Total running time: ca. 100 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Wednesday, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61316 <p>“A few days before the opening of Watermill Center, Robert Wilson is in a race against the clock. After a decades-long international stage career, he looks back at the special laboratory that was the Byrd Hoffman School of Byrds, the artistic community where he got his start, and decides to return to his roots. With his ever-growing coterie of supporters, he takes possession of a vacant building on Long Island to turn it into an art center. Filmmaker Pauline de Grunne captures Wilson’s relationship with this unique endeavor, while his friends, collaborators, and many of the artists he has worked with provide insight into the man and his project.” –INTERNATIONAL FESTIVAL OF FILMS ON ART<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61491 <p><strong>All the films in this program will be screening from prints newly struck by Anthology!</strong><br /><br />Special thanks to Raymond Foye and Cathy Heinrich.<br /><br />ALLURES 1961, 9 min, 16mm<br />RE-ENTRY 1964, 6 min, 16mm<br />PHENOMENA 1965, 6 min, 16mm<br />SAMADHI 1967, 6 min, 16mm<br />MOMENTUM 1968, 6 min, 16mm<br />COSMOS 1969, 5 min, 16mm<br />WORLD 1970, 6 min, 16mm<br />MEDITATION 1971, 7 min, 16mm<br />CHAKRA 1972, 6 min, 16mm<br /><br />“Our greatest abstract film poet: he has found how to combine the vision of the outer and the inner eye.” –Gene Youngblood<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, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61318 <p>These two short films document the work, history, and spirit of The Watermill Center, which Wilson founded on Long Island in 1992. Occupying a former Western Union research facility on the edge of the Shinnecock Reservation, The Watermill Center in 2006 became a year-round space for artists-in-residence, a “laboratory for creative experimentation, where artists can work at the intersection of disciplines, drawing inspiration from nature and Wilson’s extensive collection of art and artifacts.”<br /><br />Stefan Kurt<br />WATERMILL 1993<br />1993, 20 min, digital<br /><br />Tomek Jeziorski<br />WATERMILL CENTER BYRD HOFFMAN SUMMER PROGRAM 2009<br />2010, 38 min, digital<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, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61300 <p>Robert Wilson<br />VIDEO 50<br />1978, 52 min, video<br />“VIDEO 50 is an extraordinary video sketchbook, a highly original, visually dramatic and frequently humorous collection of one hundred abbreviated ‘episodes’ produced for television. Unfolding as a series of thirty-second vignettes, this enigmatic essay in style is characterized by a deadpan theatricality, symbolist imagery, surrealist juxtapositions and repetition of key visual motifs. Indelible images, precisely composed – a man teetering above a waterfall, a floating chair, a winking eye, a parrot against the New York skyline – are accompanied by an ‘architectural’ sound score that includes spoken ‘phonetic patterns’ rather than words. Fusing his surprising visual logic and rhythms with unexpected temporal manipulations, Wilson creates a work of startling wit and poetry.” –ELECTRONIC ARTS INTERMIX<br /><br />Robert Wilson<br />DEAFMAN GLANCE<br />1981, 27 min, video<br />“This haunting work for television has been excerpted and adapted from Wilson’s five-hour ‘silent opera’ of the same title. Wilson tells a stark and stylized story of murder, using time and space, light and movement, and isolated sound in place of spoken words. The ritualistic action, which moves from a spartan kitchen through the silent halls, stairways and rooms of a lonely house, is both dreamlike and sinister. A somber, menacing woman washes white dishes and a gleaming carving knife, pours milk into a glass, and then slowly attacks first one young boy and then another. Not a word of dialogue is uttered. Suggesting the disparate worlds of both ancient Greek tragedy and contemporary tabloid headlines, DEAFMAN GLANCE harbors paradox: the events are terrifying but not violent; characters are both real and symbols of reality; pacing reduces action to abstraction; and morality and mortality are ambiguous.” –ELECTRONIC ARTS INTERMIX<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> Thursday, June 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61482 <p>As a complement to our Jordan Belson Essential Cinema program (on Wed, June 3), curator Raymond Foye will present a selection of Belson rarities, featuring films, VHS, audio recordings, and visuals. Foye has worked with Belson, and later his widow Catherine Heinrich, since 2001. As director of the estate, he is presently organizing a fourth solo exhibition of Belson’s visual art, opening at the Matthew Marks Gallery in Los Angeles in June 2026. Here at Anthology, we will be screening new prints of LIGHT (1973) and INFINITY (1979) (works not included in our EC program), plus the rarely screened AUTOBIOGRAPHY (1953), which features appearances by Christopher Maclaine, Harry Smith, Philip Lamantia, and others. We will examine works from the Belson archives, including notebooks and kinetic sculptures, as well as excerpts from Belson’s personal VHS worktapes, which are currently being preserved by the Pacific Film Archive.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61294 <p>This film follows the 1984 landmark production of “Einstein on the Beach” staged at the Brooklyn Academy of Music. It was the first time since 1976 that its creators, composer Philip Glass and designer/director Robert Wilson, had collaborated on the re-staging of this untraditional opera. The work is examined through the insights of Glass and Wilson and incorporates rehearsal footage with scenes of the actual performance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61394 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61297 <p>Filmmaker Unknown. Preserved by Anthology Film Archives and the New York Public Library.<br /><br />Overture for KA MOUNTAIN AND GUARDenia TERRACE was performed live by Robert Wilson and the Byrd Hoffman School of Byrds at 147 Spring Street, NYC, for six hours each day, from 6-9AM and 6-9PM, between April 24-30, 1972. The sizeable cast featured such downtown luminaries as dance critic and poet Edwin Denby, dancer Andy De Groat, theater critic Stefan Brecht, and Wilson’s grandmother, Alma Hamilton. This preservation print was made directly from the 16mm camera original which was discovered in Anthology’s basement along with a group of empty film cans. Archivists at Anthology and the New York Public Library for the Performing Arts (the repository of the Robert Wilson Audio/Visual Collection) were able to salvage the film and identified it as the most extensive extant documentation of OVERTURE. No soundtrack has surfaced for this film, but its majestic images and wild inventiveness are like a music all their own.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61303 <p>One of the great unrealized theatrical productions of the 20th century, “the CIVIL warS” would have been the legendary avant-garde filmmaker’s magnum opus: a twelve-hour historical opera in six distinct parts, each rehearsed in a different country (Germany, France, Japan, Italy, the Netherlands, and the U.S.) for a holistic performance at the 1984 Summer Olympics in Los Angeles. Over the course of the project’s ill-fated conception, Howard Brookner – who had previously made the documentary BURROUGHS (1983) – follows Wilson, composers Philip Glass and David Byrne, and several production troupes as they seek to perfect an epic that encompasses the American Civil War, the life and death of Frederick the Great, and the unification of Italy, along with imagery from Frank L. Baum, Jules Verne, and Mathew Brady. Struggling to procure timely funding and constantly negotiating with striking Italian theater unions, Wilson nonetheless proves himself a force of nature, determined to follow through on his outsize dream of a Gesamtkunstwerk that brilliantly fuses art and life.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61395 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61396 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61450 <p>Robert Frank & Alfred Leslie <br />PULL MY DAISY <br />1959, 28 min, 35mm<br />For this film – now considered the Beat film par excellence – Frank and Leslie enlisted the participation of Jack Kerouac, who offered in place of an original screenplay an unfinished stageplay, “The Beat Generation,” based on an incident in the life of Neal Cassady and his wife Carolyn. In an attempt to fit in with their suburban neighbors, the Cassadys invite a respectable neighborhood bishop over for dinner. But Neal’s Beat friends (including Allen Ginsberg) crash the party, with anarchically comic results. Though seemingly improvised, the film was in fact scripted and rehearsed, with Kerouac’s unforgettable voiceover narration mixed together from four separate takes. <br /><br />Pamela Mayo (with Barbara Rubin)<br />EMOUNA<br />1973, 18 min, 16mm-to-DCP. Digitally restored by Anthology Film Archives.<br />EMOUNA incorporates the unfinished Ginsberg portrait ALLEN FOR ALLEN, by Barbara Rubin, the legendary filmmaker (CHRISTMAS ON EARTH) and underground cultural luminary.<br />“Psychic photography in white trails on black is one of the mysteries of this film. Allen Ginsberg and friends are the characters, the continuity of life in spite of the stagnation of an oppressive society. The work includes images of Barbara Rubin, the legendary figure of the early underground film era.” –Pamela Mayo<br /><br />Nam June Paik & Shigeko Kubota<br />ALLAN ’N’ ALLEN’S COMPLAINT<br />1982, 28.5 min, video<br />“In ALLAN ‘N’ ALLEN’S COMPLAINT, the influence of Jewish fathers on their sons and the complexity of familial relationships are explored in a witty, poignant portrait of two artists. Beat poet Allen Ginsberg (whose father Louis was a poet in his own right) and performance artist/sculptor Allan Kaprow (whose father is a high-powered lawyer) are the sons who struggle with and against the influences of these patriarchal figures.” –EAI<br /><br />Ai Weiwei<br />ALLEN & AI<br />1990/2026, 9.5 min, video. Produced and edited by Davo Liver & Aliah Rosenthal.<br />June 3, 1990. New York City. On his 64th birthday, Allen Ginsberg gathers a handful of friends in his downtown apartment. Among them, a young, unknown Chinese artist documents the day. His name is Ai Weiwei. The tape survives. Nothing “historic” happens and yet, everything is there.</p> <p>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, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61405 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61453 <p>Peter Whitehead<br />WHOLLY COMMUNION<br />1965, 33 min, 16mm<br />The documentary that effectively launched Peter Whitehead’s career, WHOLLY COMMUNION captures the historic event at the Royal Albert Hall on June 11, 1965, where an audience of 7,000 witnessed the first meeting of American and English Beat poets. Among the performers featured are Allen Ginsberg, Lawrence Ferlinghetti, Alexander Trocchi, Gregory Corso and Adrian Mitchell.<br /><br />Iain Sinclair & Robert Klinkert<br />AH! SUNFLOWER<br />1967, 29 min, 16mm-to-digital<br />This film was commissioned by German television and directed by UK poet and author Iain Sinclair and Dutch filmmaker Robert Klinkert. It chronicles Ginsberg’s 1967 visit to London,and his participation in both the Hyde Park Dope Rally and the Congress of the Dialectics of Liberation at London’s renowned music venue, the Roundhouse. A revealing portrait of Ginsberg and the countercultural London literary scene of the time, AH! SUNFLOWER – which was virtually lost until its release on DVD in 2007, and has since become extremely scarce once again – is perhaps best known for having inspired Sinclair’s first prose work, “The Kodak Mantra Diaries”, which itself recounted the chaotic experience of the film shoot. This rare screening is not to be missed!<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> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61397 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61398 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61456 <p>Assisted by Adolfas Mekas & Sheldon Rochlin.<br /><br />Poetry interludes written and spoken by Allen Ginsberg. Score by Lucia Dlugoszewski. Folksongs by Sara & Caither Wiley and Tom Sankey. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.<br /><br />Overshadowed by his 16mm diaristic work of later years, Jonas Mekas’s debut film, GUNS OF THE TREES, a feature-length experimental narrative shot on 35mm, is nonetheless a foundational work both within his own filmography and within the nascent New American Cinema movement. As such, it qualifies as a crucial crossroads between the possibilities of narrative filmmaking and the pioneering avant-garde cinema that was to come. Influenced equally by European New Wave and American Beat cinema – specifically SHADOWS (1959) and PULL MY DAISY (1959) – GUNS OF THE TREES is a time capsule of cultural upheavaland of the burgeoning independent film movement of the early 1960s.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61406 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61459 <p>FIRING LINE: THE AVANT GARDE<br />1968, 51 min, video. Courtesy of the Hoover Institution Archives.<br />Allen Ginsberg’s 1968 appearance on William F. Buckley, Jr.’s television program “Firing Line” is one of the most memorable in the 33-year history of the program (no mean feat, given somefierce competition). This is thanks both to Ginsberg’s vibrant, sharp, and unflappable performance, but also to the surprising degree to which the usually combative and dismissive Buckley seems genuinely hypnotized by Ginsberg’s charm offensive. Though Buckley’s reactionary conservatism is ever apparent (especially in his typically snide introduction, in which he describes Ginsberg as politically “sort of radical, sort of pro-Socialist, sort of not-quite-bright”, and further observes, “he will wear his hair long until everybody else does, then he will cut it”), he seems as delighted with the poet’s sheer presence and largeness of spirit as any of Ginsberg’s fans. Miraculously he allows Ginsberg to interrupt him repeatedly and, even more shocking, lets him deliver both a minute-long hare krishna chant and a five-minute reading of his poem, “Wales Visitation” (to which Buckley responds simply, “I kind of like that!”). These performances aside, the two debate topics ranging from hippie culture and the ethics of warfare to racial relations and police brutality.<br /><br />Richard O. Moore<br />U.S.A. POETRY (NO. 2): ALLEN GINSBERG AND LAWRENCE FERLINGHETTI<br />1966, ca. 30 min, 16mm-to-digital<br />Created for San Francisco’s public television station KQED by poet-turned-documentarian Richard O. Moore, the invaluable series U.S.A. POETRY featured films on some of the most important poets of the time, including Robert Duncan, Michael McClure, Anne Sexton, Kenneth Koch, John Ashbery, Frank O’Hara, Ed Sanders, Denise Levertov, Charles Olson, and Robert Creeley (this episode will screen in our Creeley centennial series in May). In the second episode, which focuses on Allen Ginsberg and Lawrence Ferlinghetti, we see Ginsberg at the City Lights bookshop, in the studio of painter Bob Levyne, at home, and on a nationwide tour, as well as reading from several of his poems.Z<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61399 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07