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, 27 Sep 2026 15:40:54 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-62140 <p>This screening is presented on the occasion of the launch of a new LP devoted to the work of Bo Harwood (1946-2022), the composer whose music appears throughout John Cassavetes’s films and whose songs and compositions were often made with Cassavetes’s participation. The record brings together eleven recordings straight from the master tapes held by Bo during his lifetime, including music from THE KILLING OF A CHINESE BOOKIE, A WOMAN UNDER THE INFLUENCE, OPENING NIGHT, and LOVE STREAMS, as well as “Bach Train” and other compositions. The LP will be available for purchase at the screening (with a discounted price for ticket-holders).<br /><br />The event is organized by Yana Foqué, who initiated the project, with the support of the estate of Bo Harwood. It is hosted by Anthology Film Archives, with support from Grazer Kunstverein, where the LP will also be presented.<br /><br />John Cassavetes<br />THE KILLING OF A CHINESE BOOKIE<br />1976, 108 min (1978 re-release version), 35mm<br />Cosmo Vittelli (Ben Gazzara) owns a small Los Angeles strip club, the Crazy Horse West. After paying off a gambling debt to a group of gangsters, he finds himself in their debt once again. What begins as a night of obligation gradually pulls Cosmo into a world of violence, performance, loyalty, and survival. Cassavetes follows Cosmo through the clubs, restaurants, cars, and back rooms of Los Angeles, moving between the artificiality of the stage and the uncertain reality beyond it. With its long takes, abrupt shifts in tone, and performances that move freely between theatricality and intimacy, THE KILLING OF A CHINESE BOOKIE is one of Cassavetes’s most elusive and singular films. A classic, the film is graced by a peerless performance from Ben Gazzara as Cosmo.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61883 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61884 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61928 <p>PSYCHODRAMAS: MASKED FIGURES / MULTIPLE IDENTITIES</p> <p>WHAT’S THIS? (1973, 1.5 min, 16mm-to-digital, silent)<br />A KISS OF DEATH (1974, 9 min, 16mm)<br />6 TO 8AM (1975, 30 min, 16mm-to-digital)<br />EMBRACABLE YOU (1979, 5 min, 16mm-to-digital)<br />ASIAM (1982, 5 min, 16mm, silent)<br />WELCOME TO THE HOUSE OF RAVEN (1997, 3 min, 16mm)<br /><br />Total running time: ca. 60 min.<br /><br /><strong>Merritt will be here in person for both screenings, with the Q&As moderated by filmmakers Peggy Ahwesh (Fri, Sept 25) and David Sherman (Sun, Sept 27).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61885 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, September 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61886 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, September 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61887 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, September 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61888 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61889 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, September 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61890 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61977 <p>Nieves runs a modest inn with her son in the Chilean countryside, leading a quiet life shaped by routine and deferred dreams. When a wandering motorcyclist arrives and falls for her, the prospect of a late-blooming romance offers an unexpected glimpse of happiness – yet their relationship seems destined to falter. Everything changes with the arrival of a filmmaker who casts them in her adaptation of Shakespeare’s “The Tempest”, drawing them into the creative process and gradually blurring the boundaries between performance and reality. As fiction begins to reshape their everyday lives, new emotional possibilities emerge in this playful and deeply human meditation on love, aging, cinema, and the mysterious ways stories transform those who inhabit them.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=09&year=2026#showing-61891 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, September 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62105 <p>Marking the opening of “Combat Breathing Vol. II”, this film program brings together contemporary artworks that emerge from commitments to or embeddedness within political struggles and streams of anti-imperialist thought. Here, moving images function as social productions made for collective engagement, transforming mere viewership into situated modes of cinematic “spect-actor-ship,” to borrow from theorist Augusto Boal. Taken together, these films, informed by various experimental and militant traditions of image-making, model the inseparability of and dynamic correspondences between form and content. Titled “Insurgent Poiesis”, the program simultaneously proposes the moving image as a means for agitational ideological dissemination and a space for poetic invention: a form capable of circulating ideas while remaining open to a multiplicity of meanings, unexpected encounters, and unbounded experimentation. Refusing the fiction of aesthetic autonomy, the film program begins with the recognition that all artistic and cultural productions are ideologically conditioned. The selected films by Tony Cokes, Filipa César, Basel Abbas and Ruanne Abou-Rahme, Shiva Addanki, Colectivo Los Ingrávidos, and Camila Galaz figure the political and philosophical entwinement of poiesis and revolutionary activity: bringing something into existence that did not exist before, producing “a world where many worlds fit – un mundo donde quepan muchos mundos” by any means necessary.<br /><br />Tony Cokes EVIL.35: CARLIN / OWNERS (2012, 8 min, DCP)<br />EVIL.35: CARLIN / OWNERS, like many of Tony Cokes’s recent works, is structured by a simple formal operation: the pairing of found text and found music. These audiovisual combinations, attuned to the historical and ideological convergences and divergences of their source materials, generate further meanings. In this work, Cokes pairs an excerpt from a characteristically cantankerous screed by the late stand-up comedian George Carlin with two songs by the British agit-prop post-punk group Gang of Four. Carlin’s words directly confront the contradictions of liberal capitalist democracy – the absurd state of affairs whereby a small ruling class owns and controls everything, from government officials to the workforce, despite the juridical pretense of universal political equality – while Gang of Four’s rebellious songs allude to the Irish anti-colonial struggle and the commodification of pleasure. Taken together, and aided by Cokes’s cinematic choreography of sound, background color, and text graphics, audiences are engaged as critical readers capable of piercing through neoliberal capitalism’s false naturalizations.<br /><br />Filipa César TRANSMISSION FROM THE LIBERATED ZONES (2015, 30 min, DCP)<br />TRANSMISSION FROM THE LIBERATED ZONES belongs to a body of work by Filipa César concerned with the conditions and aftermaths of the anti-colonial struggle of the PAIGC (African Party for the Independence of Guinea and Cape Verde) against the Portuguese between 1963-74. Departing from the concept of the “Liberated Zones” – used to describe areas freed from colonial domination, and organized and managed by PAIGC guerrilla militants – the film partially reconstructs the memory of these autonomous spaces via archival documents and the contemporary testimonies of four Swedes (diplomat Folke Löfgren, filmmaker Lennart Malmer, filmmaker and psychologist Ingela Romare, and politician Birgitta Dahl), all of whom visited Guinea in the early 1970s. Deeply reflexive of the aesthetic and technological mediation of these insurgent histories, the documents and statements are performatively presented by and visually projected onto a young character in a dark room whose image is, in turn, multiplied as an infinite regression through César’s use of experimental optical effects. Through these inventive means, César’s work opens up struggles as contradictory sites of antagonism and solidarity while projecting the radioactive remnants of liberationist practice into the present and future.<br /><br />Basel Abbas & Ruanne Abou-Rahme OH SHINING STAR TESTIFY (2016-19, 10 min, DCP)<br />OH SHINING STAR TESTIFY is an audiovisual poem that seeks to account for and speculate on the possibilities of fugitive resurgences within, under, and beyond the ruins of colonial catastrophe. It invites us to consider the relation between the destruction of bodies and the erasure of images, and the conditions under which those very bodies and images might once again reappear. The film recursively loops CCTV footage taken from an Israeli military surveillance camera. The footage – temporarily released online following a court injunction – depicts an incident from 2014 when 14-year-old Yusuf ­Shawamreh crossed the “separation fence” erected by the Israeli military, near Hebron, to pick some Akoub – an edible plant used in Palestinian cuisine, which blooms for short periods of time. After crossing the fence, Israeli forces ambushed and shot Yusuf dead. Layering poetic verses and evocative images upon one another, which are sampled from online recordings of quotidian acts of corporeal and infrastructural devastation as well as scenes of defiant social rituals and performances, Abbas and Abou-Rahme’s cine-poem critically situates the serial occurrences of such acts of state terror and their ongoing resistances. Formally guided by an accumulative logic, not unlike that which subjects Palestinian land and people to continual displacement and expropriation by a settler regime, OH SHINING STAR attunes viewers to the enduring, latent animacies of the oppressed and the ecological specter of return.<br /><br />Shiva Addanki A PERMANENT OPIUM WAR (2026, 10 min, DCP)<br />A PERMANENT OPIUM WAR grapples with the historical and geographical underpinnings of statist, imperialist, and global-market infrastructures as they are evoked through the sprawl of the Greater New York metropolitan area. The work both poses and problematizes the presumed distinctions between the Global North and Global South, or First and Third Worlds, tracing how ideological, commercial, and political exchanges materialize across networks linking states and corporations. It approaches these infrastructures from the vantage point of the militant and revolutionary struggles that traverse, contest, and resist their hardwired and concretized forms. Charting connections across disparate coordinates – including Delaney Hall, a privately managed immigrant detention facility in Newark, New Jersey; the persecution of Assata Shakur following her capture after the 1973 Turnpike Shooting; commodity exchanges between poor and developed marketplaces; women’s Naxalite training by Maoist revolutionary insurgents in India; and political spectacles of Hindutva–Zionist alliance – the work assembles a constellation in which these violent structures and liberationist histories become materially and politically entangled.<br /><br />Colectivo Los Ingrávidos FACES IN THE CROWD 2: MEMORIAL (2019, 14 min, 16mm-to-DCP)<br />Shot on expired film stock by the anonymous filmmaking collective Colectivo Los Ingrávidos, FACES IN THE CROWD 2: MEMORIAL is an experimental audiovisual meditation on memory, neoliberal and colonial state violence in Mexico, and the forms of social resistance that emerge in response to it. The film moves through politically mobilized crowds, protest ephemera, and historical traces of organized violence with an expiring breath – as if these images and the memories they carry are themselves at risk of extinction. It embraces the material qualities of analog film through grainy textures, layered images, and an unstable frame, transforming the filmic surface into an alchemical site where memory is simultaneously preserved, fractured, and regenerated.<br /><br />Centered on the fiftieth commemoration of the 1968 Tlatelolco massacre and the nationwide leftist movement that led to it, the resulting work becomes a contemplation on how struggles reemerge and transform, and how protesting crowds become social bodies that carry historical memory and continually innovate practices of dissent. In the work, images and sounds fragment, overlap, and repeat, producing a dreamlike, almost trance-inducing experience rather than a linear or chronological account of events. Such formal disruptions reflect Colectivo Los Ingrávidos’s broader interest in challenging dominant audiovisual languages and resisting the ways mainstream media can organize, discipline, and control perception.<br /><br />Camila Galaz VECINO, VECINO (2022, 20 min, DCP)<br />Set against the backdrop of Chile’s 2019 social uprising, VECINO VECINO returns to a 1986 French television documentary on MAPU Lautaro, a left-wing armed organization that resisted the Pinochet dictatorship. For filmmaker Camila Galaz, the archive is at once historical record and intimate inheritance, as her father was connected to this organization, binding her personal history to the political memory embedded within the footage. Moving between archival and newly filmed material, and incorporating annotations and choreographic scores, the film unsettles the authority of the documentary image by opening a mediated space where memory can be questioned, re-performed, and reimagined. The past emerges not as a fixed record, but as something continually reconstructed through fragments, gestures, and acts of translation. In the potent aftermath of the recent national uprising, VECINO VECINO traces the echoes between generations, reflecting on social and historical questions of inheritance while asking how histories of resistance are encountered, remembered, and embodied.<br /><br />Total running time: ca. 95 min.<br /><br /><strong>Followed by a conversation between KJ Abudu, Basel Abbas and Ruanne Abou-Rahme, Omar Berrada, Camila Galaz, and Adam HajYahia!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61892 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61893 <p>Edgar Allan (Rufus B. Seder) is an aspiring screenwriter who has just come to Hollywood to make it in the movies…only to wind up working as the janitor at a fleabag apartment complex run by the greasy ex-boxer Martin (played by underground film legend George Kuchar). When Edgar begins channeling his frustrations with his kooky neighbors into fodder for his latest screenplay, the vivid murder scenes he writes begin to happen for real. As the bodies begin to pile up and the line between reality and fiction become increasingly blurred, Edgar, who is convinced that the only way to be a real writer is to suffer, is slowly driven mad.<br /><br />SCREAMPLAY is a marvel of campy charm, gothic horror tropes, and astonishingly inventive set design and special effects. Wearing its low-budget resourcefulness on its sleeve, but also genuinely atmospheric and transporting, the spell it casts is all the more remarkable given that it was filmed almost entirely within the confines of the 3,200-square-foot South End Boston loft where director Rufus Butler Seder and his Boston Black and White Movie Company (comprised of fellow students from the city’s School of the Museum of Fine Arts) had previously made a bevy of similarly inspired 16mm short films. Conjured from some of the earliest and still-most-effective cinematic techniques – matte paintings, scale models, ingeniously adaptable sets, animation, highly expressionistic lighting, and the good old-fashioned magic provided by charismatic performers (above all, Seder himself in the central role, and of course the irreplaceable George Kuchar, who broke his ankle during filming of the final fight scene) – SCREAMPLAY is a deliriously entertaining demonstration of the power of low budget invention, and a singularly charming (Boston) salute to Old Hollywood.<br /><br />Premiered (alongside BLOOD SIMPLE) at the 1985 New York Independent Film Festival, initially distributed by Troma (click here for details about our upcoming Troma series), but rarely screened in recent decades, SCREAMPLAY has been newly restored in 4K – scanned from Seder’s personal 16mm print – and is now back in circulation, where it’s poised to charm, delight, and frighten a whole new audience.<br /><br />Preceded by:<br />Rufus Butler Seder<br />IN THE CITY: A TRILOGY (LIVE IN FEAR; SUN RUN; PHANTOM SUBWAYS)<br />1977, 6 min, 16mm-to-DCP<br /><br /><strong>Writer, director, and star Rufus Butler Seder and producer and cinematographer Dennis M. Piana will be here in person on Fri & Sat for Q&As following the evening screenings; they’ll be joined on Fri evening by star Katy Bolger!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62082 <p>Set in Argentina, ALANIS navigates the life of a single sex working parent. Though Alanis faces a deluge of problems with clients that plague every woman selling sex, the real threat to her security and the safety of her child stems from the social workers and laws that construct obstacles under the guise of protecting “precarious” women and children.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62107 <p>“I’m in jail out here, I’m in jail in there.” –Hugh Masekela<br /><br />The prison is the institutionalization of a logic central to the systemic formation and reproduction of racial capitalism and colonialism. It remains the primary form in modernity through which states (either under ostensibly opposing but in truth co-constituting liberal democratic and fascistic guises) manage surplus populations, extract surplus value, break social and kinship relations, and utilize the captive body to control not only those within its walls, but also those on the outside. This film program borrows its title – and something of its poetic and conceptual grammar – from the writing of scholar Nasser Abourahme, who in his book “The Time Beneath the Concrete” brings the prison into immediate relation with the colony and the refugee camp in Palestine. Extending his analysis to the ghetto and the reservation within the U.S. context as additional sites of enclosure, this program with works by Alex Johnston, Sky Hopinka, and Larry Clark attends not only to the violence of imprisonment, but also to the ways such sites have and continue to be made into focal points of struggle by those whose lives they seek to crush and mold. What emerges is a transnational, historically grounded, and situated account of the carceral system that traces the prison’s many reinventions while insisting that the project of enclosure, however violently renewed, is never complete.<br /><br />Alex Johnston EVIDENCE OF THE EVIDENCE (2018, 20 min, DCP)<br />The 1971 Attica Prison Rebellion remains a defining moment of radical resistance – not only in the history of prison struggles and the American anti-racist and anti-state movement, but also for international struggles against enclosure and carcerality. The state’s retaking of the prison on the fourth and final day of the uprising, described as the bloodiest one-day encounter between Americans since the Civil War, remains an open wound. EVIDENCE OF THE EVIDENCE examines this fraught and contested history through a granular interrogation of the archival record. Drawing on previously unseen video footage recorded by a state trooper during the four-day rebellion, the film offers a visceral, ground-level account of the events at Attica while tracing how they were simultaneously mediated and narrativized through the images being produced. Recalling Harun Farocki and Andrei Ujică’s seminal VIDEOGRAMS OF A REVOLUTION (1992), the film considers the manifold roles moving images play in producing history and memory – as well as in their erasure and destruction. At a moment of escalating racism and authoritarianism across the West, when prisons and other regimes of enclosure remain indispensable to imperial domination, EVIDENCE OF THE EVIDENCE emerges as a timely and urgent work of agitprop and media criticism.<br /><br />Sky Hopinka SUNFLOWER SIEGE ENGINE (2022, 12 min, DCP)<br />The Occupation of Alcatraz (1969-71) marked a historic moment of indigenous resistance in the United States. Led by Indians of All Tribes (IAT), eighty-nine Native activists and their supporters occupied the abandoned federal prison island, demanding self-determination, tribal sovereignty, and land rights, forcefully recentering the question of indigenous land against the settler-colonial foundations of the U.S. empire. Although the occupation also brought to the fore the many unresolved contradictions within pan-Indian political discourse and organizing, particularly around the contested meanings of sovereignty and indigeneity, its memory and legacy continue to offer a vital site of reflection and empowerment in struggles for land and decolonization. In SUNFLOWER SIEGE ENGINE, distinct moments and scales of resistance are collapsed and woven together: documentation of the Alcatraz occupation; the reclamation of Cahokia and the repatriation of ancestors; and intimate reflections on inhabiting one’s body in the present while looking back upon historical struggles and their continuities, excesses, and impasses. Through experimental visual gestures and poetry, the film meditates on the carceral origins and enduring logic of the reservation system, asking where sovereignty and belligerence converge, and where they break away.<br /><br />Larry Clark AS ABOVE, SO BELOW (1973, 52 min, 16mm-to-DCP)<br />One of the most politically radical films to emerge from the L.A. Rebellion, AS ABOVE, SO BELOW offers an uncompromising portrayal of the formation of revolutionary consciousness, the underground organization of black insurgency in the United States, and the place of these processes within the broader project of Third World liberation. The film centers on Jita-Hadi, who grows up in the structurally abandoned neighborhoods of postwar Chicago. He later joins the Marine Corps, only to become disillusioned when he is deployed across Asia and the Caribbean to suppress leftist governments and protect U.S. imperial and capitalist interests. Returning to an increasingly ghettoized United States, Jita-Hadi is discreetly recruited into a black insurrectionary group. The narrative is interwoven with archival radio broadcasts and film excerpts that evoke the carceral state’s suppression of racialized groups, as well as parodic scenes – including narcotizing church services and the monologues of a black centrist. Through these different registers, the film sharply articulates the internal and external, national and transnational obstacles confronting black liberation.<br /><br />Total running time: ca. 90 min.<br /><br /><strong>Introduced by Chris Knowles.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62085 <p>When the woes of monogamy affect the queer sex life of Dylan and Claudia, the couple enlist the help of sex professionals to reinvigorate their passion. These professionals range from the dominatrixes of the underground nightclub dungeons in Berlin to the sex educational help of Dylan’s mom. Through these sexcapades the women learn about their self-esteem, libido, and all the ways in which they become their mothers.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62109 <p>What characterizes the militant image? What historical conditions produced it and what kinds of histories were, in turn, produced by it? Where might it be found today? This program brings together a selection of contemporary works that frontally engage the legacies and continuities of Third Cinema and the tricontinental geographies of leftist, anti-colonial collaboration and mobilization that were this cultural movement’s primary condition of possibility. These works, as with Third Cinema, refuse clear-cut divisions between formal acuity and socio-political signification, and ground cinema’s documentative, archival, and imaginative powers as useful tools in the ongoing decolonizing process. Such a process involves grappling with the positive and negative lessons of prior movements in order to deduce alternative pathways to liberation.<br /><br />The selected films in this program revisit various sites of unfinished and unfolding anti-colonial struggle, from Ghana and Palestine to Yugoslavia and Algeria. Orienting viewers toward critical reflections on the historical twists and turns of the capitalist world-system on macro and interpersonal scales while remaining firmly rooted in their respective presents, the works by Mila Turajlić, John Akomfrah with Black Audio Film Collective, and Reem Shilleh further articulate the persisting structures of colonialism in their intensifications and mutations following from these mid-twentieth-century decolonization movements. The continuity of said conditions into this millennium can only ever engender, as these films themselves embody, the “perpetual recurrence” of a countervailing militant image.<br /><br />Mila Turajlić<br />CINÉ-GUERRILLAS: SCENES FROM THE LABUDOVIĆ REELS<br />2022, 94 min, DCP<br />Based on resurrected 35mm footage shot by Stevan Labudović, the official cameraman of former Yugoslav President Tito, this documentary by Mila Turajlić takes viewers on an archival road trip through the insurgent historical streams and collaborative Third World networks that constituted and sustained the Algerian anti-colonial struggle from 1954-62. Turajlić follows Labudović’s work in Algeria through intimate interviews with him and Algerian revolutionary contemporaries, matching his newsreel footage – audiovisual testaments to tricontinental solidarity – with excerpts from his diary. Employing only images of the Algerian War not shown from a French perspective, CINÉ-GUERRILLAS wades through the media and propaganda battle that played out during the liberation struggle, where cinema was mobilized as a political weapon of resistance against colonialism and empire as well as a social, imaginative medium of world-making.<br /><br /><strong>The screening will be introduced by artist, filmmaker, and researcher Carmen Amengual!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62089 <p>In KAMA SUTRA: A TALE OF LOVE, Mira Nair examines the stigmatization of sexually promiscuous and unmarried women by the upper class in 16th-century India. The film follows Maya, a servant, who embarks on a journey of self-discovery through the art and spiritual practice of being a courtesan. Though ultimately a film about love, as signaled in the title, the film presents a rare historical fictional account of the spiritual art of working sex in the 16th-century.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62111 <p>What characterizes the militant image? What historical conditions produced it and what kinds of histories were, in turn, produced by it? Where might it be found today? This program brings together a selection of contemporary works that frontally engage the legacies and continuities of Third Cinema and the tricontinental geographies of leftist, anti-colonial collaboration and mobilization that were this cultural movement’s primary condition of possibility. These works, as with Third Cinema, refuse clear-cut divisions between formal acuity and socio-political signification, and ground cinema’s documentative, archival, and imaginative powers as useful tools in the ongoing decolonizing process. Such a process involves grappling with the positive and negative lessons of prior movements in order to deduce alternative pathways to liberation.<br /><br />The selected films in this program revisit various sites of unfinished and unfolding anti-colonial struggle, from Ghana and Palestine to Yugoslavia and Algeria. Orienting viewers toward critical reflections on the historical twists and turns of the capitalist world-system on macro and interpersonal scales while remaining firmly rooted in their respective presents, the works by Mila Turajlić, John Akomfrah with Black Audio Film Collective, and Reem Shilleh further articulate the persisting structures of colonialism in their intensifications and mutations following from these mid-twentieth-century decolonization movements. The continuity of said conditions into this millennium can only ever engender, as these films themselves embody, the “perpetual recurrence” of a countervailing militant image.<br /><br />John Akomfrah & Black Audio Film Collective<br />TESTAMENT<br />1988, 80 min, 16mm-to-DCP<br />TESTAMENT is among the earliest feature-length works created by the pioneering UK-based art group, Black Audio Film Collective (of which John Akomfrah was a founding member). Synthesizing the languages of Third Cinema and avant-garde montage with the lamentational affects of postcolonial disillusionment, TESTAMENT offers a probing spectral meditation on the condition of the African postcolony. The film’s protagonist, Abena, is an exiled activist turned television reporter who returns to Ghana two decades after the 1966 coup that brought an end to President Kwame Nkrumah’s experiment in Pan-African socialism. Adrift in a “war zone of memories,” Abena is caught in the cleavage between public history and private memory. Characteristic of the collective’s now-signature blend of archival documents, fictional sequences, and layered sound scores, TESTAMENT enfolds depopulated frames, frigid tones, allegories of mourning, and a cast of enigmatic characters to evoke an emotional landscape of loss and arrested political possibility.<br /><br /><strong>Introduced by Christian Nyampeta.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62092 <p>Set in the alternate universe of Trashtown (but filmed in the American South), Annapurna Sriram’s debut feature film FUCKTOYS is a surrealist queer black comedy about a young woman on a mission to break a curse. Throughout a chaotic 24-hour journey, the protagonist (and her compatriots) navigate the intersecting oppressive systems of capitalism that make hustlers out of us all in pursuit of a spiritual, if not ecstatic, release of the body and soul.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62113 <p>What characterizes the militant image? What historical conditions produced it and what kinds of histories were, in turn, produced by it? Where might it be found today? This program brings together a selection of contemporary works that frontally engage the legacies and continuities of Third Cinema and the tricontinental geographies of leftist, anti-colonial collaboration and mobilization that were this cultural movement’s primary condition of possibility. These works, as with Third Cinema, refuse clear-cut divisions between formal acuity and socio-political signification, and ground cinema’s documentative, archival, and imaginative powers as useful tools in the ongoing decolonizing process. Such a process involves grappling with the positive and negative lessons of prior movements in order to deduce alternative pathways to liberation.<br /><br />The selected films in this program revisit various sites of unfinished and unfolding anti-colonial struggle, from Ghana and Palestine to Yugoslavia and Algeria. Orienting viewers toward critical reflections on the historical twists and turns of the capitalist world-system on macro and interpersonal scales while remaining firmly rooted in their respective presents, the works by Mila Turajlić, John Akomfrah with Black Audio Film Collective, and Reem Shilleh further articulate the persisting structures of colonialism in their intensifications and mutations following from these mid-twentieth-century decolonization movements. The continuity of said conditions into this millennium can only ever engender, as these films themselves embody, the “perpetual recurrence” of a countervailing militant image.<br /><br />Reem Shilleh<br />PERPETUAL RECURRENCES<br />2016, 60 min, DCP<br />A meta-reflection on the militant image and its contemporary reappearances, PERPETUAL RECURRENCES montages scenes extracted from numerous films and videos created over the last four decades by Palestinians and about Palestine, tracking thematic, gestural, and compositional repetitions between works produced during the Palestinian revolutionary period of 1968-82, the period following the 1993 Oslo Accords, and the volatile twenty-first century. Through Reem Shilleh’s methodical stitching together of repeating filmic occurrences – with respect to location, political discourse, mise-en-scene, objects, and so on – various scenes become unfixed from their narrative contexts and historical conditions, inviting expansive associations and haunting correspondences. Meandering in a seemingly improvised fashion between cinematic fragments of classroom instruction and conversing militants gathered under trees to handheld camera shots of refugee camps and moving car shots of streets, checkpoints, and landscapes, Shilleh’s vast media traversal materializes an equally lyrical and deconstructive reimagination of exercises in film programming.<br /><br /><strong>Introduced by Tiffany Malakooti.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62094 <p>Taking the avatar of the dominatrix as its starting point, this short film program gathers together various films made – across a 40-year period – by or in collaboration with those who have experience in the leathersex scene. As an avatar of working sex, the figure of the dominatrix is elusive in so far as she uses the theater of the scene of “violation” to both pursue and obfuscate her desires. Though cinema longs to unmask the dominatrix to witness her “true” self, this program instead finds pleasure in the artifice of the scene wherein various characters find themselves at the mercy of the seductive and controlling gaze of the dominatrix. The shorts here range from documentary exercises of sadism, like Ione Wang’s WHEN I LOOK AT YOU, I SEE ME, to the electric pop-music video work of Beth B’s THE DOMINATRIX SLEEPS TONIGHT, made for the band Dominatrix. Shorts by Azian Nurudin and Michelle Handelman from the late 1980s and early 1990s invite a reconsideration of race, power, and aesthetics through their respectively overlooked and censored films, while M.M. Serra and Maria Beatty’s work demonstrates the aesthetic bliss that emerges from submitting to the fantasies of a powerful woman.<br /><br />Azian Nurudin NANCY’S NIGHTMARE (1988, 5 min, digital)<br />Michelle Handelman CATSCAN (1989, 6 min, Super-8mm-to-digital. Made with with Monte Cazazza.)<br />M.M. Serra & Jennifer Reeves DARLING INTERNATIONAL (1999, 22 min, 16mm-to-digital)<br />Maria Beatty THE BLACK GLOVE (1996, 30 min, digital)<br />Beth B THE DOMINATRIX SLEEPS TONIGHT (1984, 4 min, video)<br />Ione Wang WHEN I LOOK AT YOU, I SEE ME (2024, 7 min, digital)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62115 <p>POSTSCRIPTS OF MODERNITY, PART 1<br />The promises and outcomes of modernity – nation-states and capitalist economies, along with their alienating and extractivist logics and infrastructures – have produced immeasurable catastrophic damage to peoples and living environments across racial and class lines. Throughout their reign, these violent systems have not simply been justified by the values of universality, individual freedom, and liberal secular democracy; they have been produced through them, eliminating and exploiting all that does not measure up or conform to their suffocating parameters.<br /><br />Central to modernity, and to modern discourse more broadly, is the capture of technology as a transhistorical practice and its transformation into a supposedly modern conception governed by the logic of progress. “Postscripts of Modernity” is a film program that engages these catastrophic and violent legacies while demonstrating how film, itself a modern technology, might visualize and facilitate other social relations – in other words, how existing at-hand technologies, currently governed by the reign of capital, might be appropriated and subverted to achieve ends nonsynchronous with their intended uses. The works by Hong Kong Documentary Filmmakers, Bahar Noorizadeh, and Nadir Bouhmouch disavow modernity’s violence not by returning to an imagined precolonial or precapitalist past, but by insisting on a kind of crude presentism. Their diverse aesthetic interventions within the political contexts they respectively work in embrace whatever tools are currently available within modernity as material for the struggle against it.<br /><br />Hong Kong Documentary Filmmakers<br />TAKING BACK THE LEGISLATURE<br />2020, 45 min, DCP<br />July 1, 2019 – the 22nd anniversary of Hong Kong’s handover to China after the end of British Imperial Rule – marks a critical moment in the region, considered, on the one hand, as a celebration of the establishment of the Hong Kong Special Administrative Region and, on the other, as an occasion of mourning, anger, and mounting political frustration for pro-democracy groups, eventually culminating in an unprecedented act of social upheaval. As protesters question the effectiveness of months of non-violent demonstrations against the proposed extradition law, a group begins to contemplate a more radical course of action: storming the Legislative Council. Filmed from within the movement by anonymous filmmakers on handheld cameras, TAKING BACK THE LEGISLATURE follows the protesters through the escalating hours of confrontation. The camera captures heated debates among demonstrators over the risks of occupying the building, as well as their encounters with pro-democracy legislators who urge them to reconsider their actions. As frustration gives way to determination, protesters equipped with helmets, masks, and makeshift tools eventually break through the Legislative Council’s defenses and enter the chamber.<br /><br />Bahar Noorizadeh<br />AFTER SCARCITY<br />2018, 30 min, DCP<br />Can computational utopias offer a way out of the techno-capitalist monopolization of the present? In the Soviet Union of the 1960s, cyberneticians imagined computers as machines of communism, and cybernetics as a way to address the mounting difficulties of the planned economy. AFTER SCARCITY follows cyberneticians such as Viktor Glushkov, among others, who proposed that networked computers could overcome the vast bureaucratic inefficiencies of central planning and make possible a fully automated planned economy. If history, at its best, is a blueprint for science fiction, then revisiting these contingent histories of economic technology might open a path to the future beyond the speculative binds of the capitalist order.<br /><br />The work reconstructs this socialist cybernetic history through a deliberately futuristic visual language. Digitally generated landscapes, partly built from LiDAR scans, move through swarms of floating points that trace monasteries and city streets, compressing decades of history into a speculative space. These contingent pasts become prototypes for fictive futures, suggesting that digital socialism was not alien to the communist project, and that computation need not condemn us to the techno-capitalist present. The result is less a conventional historical documentary than a simulation of an alternative technological history with the past appearing as a prototype for a future that never arrived.<br /><br />Total running time: ca. 80 min.<br /><br /><strong>Introduced by Harris Chowdhary.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62097 <p>Positioned as a rebuke to the colonial fantasy of THE WORLD OF SUZIE WONG (1960), MY NAME AIN’T SUZIE spans three decades of the life of a girl from a poor fishing village who makes a name for herself as a courtesan in the Wan Chai red light district in Hong Kong. Over the course of the film, MY NAME AIN’T SUZIE confronts and redresses the occidental fantasies of the East through the protagonists’ interactions with her clients.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62117 <p>The promises and outcomes of modernity – nation-states and capitalist economies, along with their alienating and extractivist logics and infrastructures – have produced immeasurable catastrophic damage to peoples and living environments across racial and class lines. Throughout their reign, these violent systems have not simply been justified by the values of universality, individual freedom, and liberal secular democracy; they have been produced through them, eliminating and exploiting all that does not measure up or conform to their suffocating parameters.<br /><br />Central to modernity, and to modern discourse more broadly, is the capture of technology as a transhistorical practice and its transformation into a supposedly modern conception governed by the logic of progress. “Postscripts of Modernity” is a film program that engages these catastrophic and violent legacies while demonstrating how film, itself a modern technology, might visualize and facilitate other social relations – in other words, how existing at-hand technologies, currently governed by the reign of capital, might be appropriated and subverted to achieve ends nonsynchronous with their intended uses. The works by Hong Kong Documentary Filmmakers, Bahar Noorizadeh, and Nadir Bouhmouch disavow modernity’s violence not by returning to an imagined precolonial or precapitalist past, but by insisting on a kind of crude presentism. Their diverse aesthetic interventions within the political contexts they respectively work in embrace whatever tools are currently available within modernity as material for the struggle against it.<br /><br />Nadir Bouhmouch<br />AMUSSU<br />2019, 100 min, DCP<br />The people of the Moroccan village of Imider may live alongside the largest silver mine in Africa, but they have reaped few of its benefits. The mine’s encroachment upon their communal life has rendered their existence increasingly precarious, contributing to water scarcity and threatening the community’s almond orchards, oasis, and traditional ways of life. In 2011, the villagers responded by shutting down a pipeline supplying water to the mine and establishing a protest camp around it, inaugurating a struggle that would last to this day. Rather than centering scenes of confrontation, arrest, intimidation, and police violence, which are all part of the fight against the infrastructures of this pipeline, AMUSSU turns its attention to the everyday life, resilience, and creativity of those who sustain the struggle. Conceived as a participatory filmic project, AMUSSU was produced through collective decision-making guided by the community’s Agraw protocol, while community members not only learned to operate film equipment but also participated directly in filming. In this sense, the film constitutes both a formal and methodological intervention into the practice of radical independent cinema. Years after the initial uprising, the protest camp has evolved into a small, largely self-sufficient community, where music, theater, poetry, and other artistic practices have emerged as a revolutionary vernacular. These forms of expression do more than accompany the struggle, as they become part of its infrastructure, sustaining collective memory, solidarity, and an ongoing demand for land, water, and a life lived with dignity.<br /><br /><strong>Introduced by Alma Chaouachi.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62100 <p>In SEDUCTION: THE CRUEL WOMAN, Wanda is a dominatrix and gallerist who invites patrons to witness her scenes with her submissives. Inspired by the Marquis de Sade’s “Venus in Furs”, writer-directors Monika Treut and Elfi Mikesch spin Sade’s tale of power, apathy, and pleasure to foreground the role the spectator (both imagined and real) plays in enabling these violating acts to occur.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62086 <p>When the woes of monogamy affect the queer sex life of Dylan and Claudia, the couple enlist the help of sex professionals to reinvigorate their passion. These professionals range from the dominatrixes of the underground nightclub dungeons in Berlin to the sex educational help of Dylan’s mom. Through these sexcapades the women learn about their self-esteem, libido, and all the ways in which they become their mothers.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, October 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61996 <p>Anthology’s Members-Only screenings feature sneak-previews of upcoming features, programs of rare materials from Anthology’s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, and discounted AFA publications. But with these screenings – free, open only to members, and including special receptions – we sweeten the pot even further.<br /><br />For the next Members-Only event, we’ll present two episodes of THE TWILIGHT ZONE – the classic TIME ENOUGH AT LAST and the timely, extreme-heat-themed THE MIDNIGHT SUN – screening from 16mm prints that reside in Anthology’s collection (thanks to a donation by David Mulkins). The screening will culminate with a special, unannounced film!<br /><br />Become a member at our box office, or at anthologyfilmarchives.org<br /><br />John Brahm<br />TIME ENOUGH AT LAST<br />1959, 27 min, 16mm. Written by Rod Serling. With Burgess Meredith.<br /><br />Anton Leader<br />THE MIDNIGHT SUN<br />1961, 27 min, 16mm. Written by Rod Serling. With Lois Nettleton.<br /><br />Plus, a special surprise!<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, October 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62083 <p>Set in Argentina, ALANIS navigates the life of a single sex working parent. Though Alanis faces a deluge of problems with clients that plague every woman selling sex, the real threat to her security and the safety of her child stems from the social workers and laws that construct obstacles under the guise of protecting “precarious” women and children.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, October 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62119 <p>LABORING IMAGES, IMAGING LABOR, PART 1<br />In 1895, cinema’s inaugural image was made by Louis Lumière in France. Autologically titled LA SORTIE DE L’USINE LUMIÈRE À LYON (WORKERS LEAVING THE LUMIÈRE FACTORY IN LYON), the silent black-and-white film holds its frame still as workers exit the factory gates. Replete with historical and symbolic connotations, this early image – revisited and reexamined by Harun Farocki nearly a century later – both refers to cinematic technology’s inextricable relationship with emergent forms of modern industrial labor while it simultaneously stages the factory floor, long imagined as labor’s primary site of exploitation and organization, as being left behind.<br /><br />“Laboring Images, Imaging Labor” departs from this visually rendered tension by considering how labor constitutes film and how film, in turn, gives form to structurally occluded and socially dispersed realities and conditions of labor. Moving from reflections on the position of labor under communist social formations; to the uncounted, feminized work of social reproduction; to the psychic and gestural labors of revolutionary dreaming and fugitive plotting; to the co-constitutive relationships between racialization and ascendant regimes of gig and AI-training labor, the films gathered here ask what makes – and unmakes – the laboring social body and the formations it sustains. The works of Sara Gómez, Dina Mimi, Maissa Maatouk, Nicolas Gourault, and Jean-Marie Straub and Danièle Huillet show us not only what comprises the systemic category of labor under global capitalism, but how moving images make labor’s multiple, stratified realities perceptible.<br /><br />Sara Gómez ABOUT EXTRA HOURS AND VOLUNTEER WORK / SOBRE HORAS EXTRAS Y TRABAJO VOLUNTARIO (1973, 9 min, 16mm-to-DCP)<br />At the 1973 congress of the Confederation of Cuban Workers, textile workers debate the value and necessity of unpaid overtime and “voluntary work” within the country’s economic development plans. Sara Gómez edits their testimonies against voice-over, intertitles, and images of Fidel Castro, Che Guevara, and Ho Chi Minh working alongside laborers. Revolutionary rhetoric fills the screen as workers describe unnecessary overtime, administrative disorder, and tasks performed for their symbolic rather than practical value. One woman recalls being sent three times to move the same stones, each time to a different place. Neither a rejection of collective labor nor an affirmation of its official representation, EXTRA HOURS AND VOLUNTARY WORK asks what voluntarism means when organized through institutional pressure, and whether labor undertaken in the name of revolution can remain emancipatory when workers have little power over its purpose or conditions.<br /><br />Sara Gómez YEAR ONE / AÑO UNO (1972, 9 min, 16mm-to-DCP)<br />In YEAR ONE, Sara Gómez turns to the period immediately after childbirth, foregrounding the care and material support required of new mothers. Postnatal care emerges not as a private concern or a given resource but as a collective responsibility, bringing the intimate labor of feeding, healing, and sustaining life into the political field of revolutionary transformation. By attending to forms of work historically naturalized as feminine – and therefore rendered invisible or unremunerated – the film considers how women’s emancipation depends upon a reorganization of everyday life. Gómez locates the revolution not only in the transformation of economic production but also in the institutions, social relations, and infrastructures through which life is reproduced. YEAR ONE asks what forms of collective provision might relieve women of the unequal burdens of care, and what a revolution must make possible for those whose bodies and labor sustain its future.<br /><br />Dina Mimi THOUSAND THRASHING ARMS (2024, 13 min, DCP)<br />Frantz Fanon famously observed that “the first thing which the native learns is to stay in his place, and not to go beyond certain limits.” Against the enforced stillness of colonial order, the native dreams of “jumping, swimming, running, climbing.” Drawing on Fanon’s account of the colonized body and its fugitive dream life, THOUSAND THRASHING ARMS examines the relationship between liberation struggle, dreaming, and movement. Through an elusive montage of statues, animals, and bodies wrapped in cloth, the film traces figures held captive, traversing tunnels, resisting underground, or struggling to emerge. The body appears as an instrument of control, a site of resistance, and a vessel of rebellion, while movement becomes double-edged – both disciplined and made productive – exceeding the limits imposed upon it. The image of labor performed, pixelated, stretched, and overlayered, is material, political, and oneiric – the labor of dreaming and revolting, rehearsing in sleep what the waking body is forbidden to do; what it will one day do during wakeful hours.<br /><br />Maissa Maatouk EXERCISE IN WAITING, (2023, 7 min, DCP)<br />In the wake of Lebanon’s 2019 economic collapse, Beirut witnessed the rapid expansion of the gig economy and digital labor platforms that drew surplus labor into new circuits of capitalist valorization. EXERCISE IN WAITING follows migrant service workers managed through the city’s dominant delivery app in 2023, which mediates among customers, restaurants and shops, and couriers. Set in Beirut’s Manara neighborhood, the film observes the vacant lots where couriers gather to rest between deliveries. With minimal poetic intervention, it dwells on the uneasy temporality of waiting and the restless immanence registered in the workers’ gestures as they oscillate between agitation and stillness. Always passing through or pausing between orders, the men rest amid seemingly impervious yellow chamomile flowers.<br /><br />Nicolas Gourault THEIR EYES (2025, 23 min, DCP)<br />How does a machine learn to read the world? THEIR EYES follows online microworkers in the Global South whose task is to train the artificial intelligence used by self-driving cars in the Global North. Through testimonies and screen recordings, the film attends to the workers’ encounters with images of U.S. streets: identifying objects, interpreting movements, and translating visual ambiguity into data. Yet these acts of looking are not entirely contained by the task. As workers reflect on the distant worlds passing across their screens, they devise small ways of organizing, withholding, and interfering with the system that coordinates their labor. The film considers how geographically dispersed workers are made to inhabit the machine’s vision – and how their own forms of attention might exceed it.<br /><br />Total running time: ca. 65 min.<br /><br /><strong>Introduced by Nour Annan.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, October 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62087 <p>When the woes of monogamy affect the queer sex life of Dylan and Claudia, the couple enlist the help of sex professionals to reinvigorate their passion. These professionals range from the dominatrixes of the underground nightclub dungeons in Berlin to the sex educational help of Dylan’s mom. Through these sexcapades the women learn about their self-esteem, libido, and all the ways in which they become their mothers.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, October 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62121 <p>LABORING IMAGES, IMAGING LABOR, PART 2<br />In 1895, cinema’s inaugural image was made by Louis Lumière in France. Autologically titled LA SORTIE DE L’USINE LUMIÈRE À LYON (WORKERS LEAVING THE LUMIÈRE FACTORY IN LYON), the silent black-and-white film holds its frame still as workers exit the factory gates. Replete with historical and symbolic connotations, this early image – revisited and reexamined by Harun Farocki nearly a century later – both refers to cinematic technology’s inextricable relationship with emergent forms of modern industrial labor while it simultaneously stages the factory floor, long imagined as labor’s primary site of exploitation and organization, as being left behind.<br /><br />“Laboring Images, Imaging Labor” departs from this visually rendered tension by considering how labor constitutes film and how film, in turn, gives form to structurally occluded and socially dispersed realities and conditions of labor. Moving from reflections on the position of labor under communist social formations; to the uncounted, feminized work of social reproduction; to the psychic and gestural labors of revolutionary dreaming and fugitive plotting; to the co-constitutive relationships between racialization and ascendant regimes of gig and AI-training labor, the films gathered here ask what makes – and unmakes – the laboring social body and the formations it sustains. The works of Sara Gómez, Dina Mimi, Maissa Maatouk, Nicolas Gourault, and Jean-Marie Straub and Danièle Huillet show us not only what comprises the systemic category of labor under global capitalism, but how moving images make labor’s multiple, stratified realities perceptible.<br /><br />Jean-Marie Straub & Danièle Huillet<br />SICILIA!<br />1999, 66 min, 35mm<br />Adapted from Elio Vittorini’s antifascist novel “Conversations in Sicily”, Straub and Huillet’s SICILIA! follows Silvestro, a migrant returning to his native island after fifteen years in New York to visit his mother. Silvestro’s journey unfolds through a series of encounters: with an orange seller unable to live from his crop, fellow passengers, and a knife grinder searching for blades to sharpen. Their highly composed conversations move between hunger, unemployment, migration, socialism, and the dignity of an honest day’s work. The return home offers neither restoration nor escape; instead, it reveals how displacement binds distant geographies through shared conditions of dispossession. Straub and Huillet locate antifascism within speech, memory, and the gestures of working people, whose experiences resist the language imposed upon them by the state. In the film’s stark images and carefully measured voices, labor becomes both a record of exploitation and a living repository of the substance necessary for revolution.<br /><br /><strong>Introduced by Perwana Nazif.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, October 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62090 <p>In KAMA SUTRA: A TALE OF LOVE, Mira Nair examines the stigmatization of sexually promiscuous and unmarried women by the upper class in 16th-century India. The film follows Maya, a servant, who embarks on a journey of self-discovery through the art and spiritual practice of being a courtesan. Though ultimately a film about love, as signaled in the title, the film presents a rare historical fictional account of the spiritual art of working sex in the 16th-century.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, October 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62098 <p>Positioned as a rebuke to the colonial fantasy of THE WORLD OF SUZIE WONG (1960), MY NAME AIN’T SUZIE spans three decades of the life of a girl from a poor fishing village who makes a name for herself as a courtesan in the Wan Chai red light district in Hong Kong. Over the course of the film, MY NAME AIN’T SUZIE confronts and redresses the occidental fantasies of the East through the protagonists’ interactions with her clients.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, October 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-61997 <p>We continue our longstanding tradition of presenting “The Secret Life of…Anthology Film Archives”, a recurring opportunity to take a peek at the teeming hive of creativity hiding behind the scenes at Anthology, thanks to the film- and video-making efforts of AFA’s staff, friends, fellow-travelers, and devotees.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, October 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62101 <p>In SEDUCTION: THE CRUEL WOMAN, Wanda is a dominatrix and gallerist who invites patrons to witness her scenes with her submissives. Inspired by the Marquis de Sade’s “Venus in Furs”, writer-directors Monika Treut and Elfi Mikesch spin Sade’s tale of power, apathy, and pleasure to foreground the role the spectator (both imagined and real) plays in enabling these violating acts to occur.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, October 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62123 <p>READ MY DESIRE, PART 1<br />Social orders are resisted and overturned not merely because the dominant classes create unlivable conditions for the dominated classes, but also because the dominated classes actively and transgenerationally imagine, prefigure, and desire the realization of alternative social relations that cannot be accommodated by the present order. Such disruptive, exorbitant, and irrepressible desires – often structurally designated as queer – are the focus of this program. “Read My Desire” invokes the work of philosopher Joan Copjec and echoes her formulations that desire precisely emerges from the divisions within the subject which cannot be reduced to social identity or captured by historical regimes.<br /><br />Bringing together historical and contemporary works to explore cinema’s desire-producing capacity as well as the often-elided place of desire, love, eroticism, and sensuality in social movements and associated streams of cultural production, the program traverses multiple geographies and genres, including sci-fi, music video, mythical fable, narrative drama, parodic documentary, and experimental film. The selected works by Marlon Riggs, Valentin Noujaïm, Michelle Parkerson, Peng Zuqiang, Jumana Manna, and Naomi Rincon Gallardo theorize the function of desire in reorienting the horizons of liberation struggles and affirming subjectivities at continual risk of erasure.</p> <p>Marlon Riggs<br />ANTHEM<br />1991, 9 min, DCP<br />“Every time we kiss we confirm the new world coming.” This is one among many of the defiant phrases voiced in Marlon Riggs’s experimental and agitational music video, which politicizes black male homoeroticism through its African rhythm-informed combination of socially charged images, symbols, dance, text, and spoken poetry. Produced during an era marked by state-backed cultural repression, neoliberalization, and an escalating HIV epidemic, Riggs’s audiovisual manifesto calls on its viewers to “pervert the language” – an act it reflexively performs through its appropriation of a popular and desire-inducing commercial form for the ends of black queer revolution.<br /><br />Valentin Noujaïm<br />OCEANIA<br />2024, 24 min, 16mm-to-DCP<br />Set in the apartment complex of a quiet French suburb, Valentin Noujaïm’s short film revolves around the entwined personal and socio-political yearnings of its teenage diasporic protagonist, Najib. Upon learning of the passing of an elderly Algerian neighbor from his mother, Najib takes the keys to the deceased man’s apartment only to discover a world of unanswered questions, from letters penned by a former lover to archival videos of pan-African cultural festivals, and other ephemera. An ode to the often-unconscious drives of desire, OCEANIA gestures toward the oblique modes by which past struggles are continually carried on but also transformed by newer generations.<br /><br />Michelle Parkerson<br />ODDS AND ENDS<br />1993, 28 min, DCP<br />ODDS AND ENDS is a pioneering work of science fiction that capaciously mobilizes the speculative dimensions of the genre to center black lesbian militancy and futurity. The campy intergalactic fable unfolds in the year 2096 – by way of striking allegorical correspondences with the conditions of the fascistic present – in which a cast of black women warriors wage a battle against “ultra-right-wing clones” who seek their annihilation. Michelle Parkerson’s new-age short uncovers psychic and fleshly sites of desire and sexuality within revolutionary movements through its lead character, Lieutenant Loz Wayard, a courageous young amazon, who learns the price of passion when her beloved Sephra takes on the ultimate sacrifice for the struggle.<br /><br />Total running time: ca. 65 min.<br /><br /><strong>Introduced by Carlos Motta.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62071 <p>We enter this program with a salacious direct address-cum-invitation in PLEASE RELAX NOW, as Kirchenbauer seduces the viewer from a black box void, stretching the edges of imagination. In LIKE RATS LEAVING A SINKING SHIP, Kirchenbauer layers psychiatric assessments to consider the coherency of a biography, and assess the ways in which individual memory is puppeted by state apparatuses. Both SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR and MOOD MANAGEMENT again push the viewer’s capacity to render a coherent picture of actions, generating a half-constructed image which lends itself only then to a projection. Both works are guided by Kirchenbauer’s music project, COOL FOR YOU. Through essay and material vignettes, UNTITLED SEQUENCE OF GAPS explores light outside of the visible spectrum to consider violence as it attaches to different kinds of visibility and invisibility. To tickle is a form of touch, an intimate act carried out to delight, to excite, or to torment. In THE ISLAND OF PERPETUAL TICKLING (III), Kirchenbauer surrenders to this metaphoric and literal tickle. Noting that it is impossible to tickle oneself, her task requires assistance.<br /><br />PLEASE RELAX NOW (2014, 12 min, DCP)<br />LIKE RATS LEAVING A SINKING SHIP (2012, 24.5 min, DCP)<br />SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR (2016, 3.5 min, DCP)<br />MOOD MANAGEMENT 2017, 2 min, DCPUNTITLED SEQUENCE OF GAPS (2020, 12.5 min, DCP)<br />THE ISLAND OF PERPETUAL TICKLING (III) (2018, 13 min, DCP)<br /><br />Total running time: ca. 75 min.<br /><br /><strong><span id="docs-internal-guid-7f8f0a83-7fff-8d0f-0713-7d60c204d391">Filmmaker Vika Kirchenbauer in person for both screenings!</span></strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62125 <p>READ MY DESIRE, PART 2<br />Social orders are resisted and overturned not merely because the dominant classes create unlivable conditions for the dominated classes, but also because the dominated classes actively and transgenerationally imagine, prefigure, and desire the realization of alternative social relations that cannot be accommodated by the present order. Such disruptive, exorbitant, and irrepressible desires – often structurally designated as queer – are the focus of this program. “Read My Desire” invokes the work of philosopher Joan Copjec and echoes her formulations that desire precisely emerges from the divisions within the subject which cannot be reduced to social identity or captured by historical regimes.<br /><br />Bringing together historical and contemporary works to explore cinema’s desire-producing capacity as well as the often-elided place of desire, love, eroticism, and sensuality in social movements and associated streams of cultural production, the program traverses multiple geographies and genres, including sci-fi, music video, mythical fable, narrative drama, parodic documentary, and experimental film. The selected works by Marlon Riggs, Valentin Noujaïm, Michelle Parkerson, Peng Zuqiang, Jumana Manna, and Naomi Rincon Gallardo theorize the function of desire in reorienting the horizons of liberation struggles and affirming subjectivities at continual risk of erasure.<br /><br />Peng Zuqiang<br />SIGHT LEAK<br />2022, 12 min, 16mm & Super-8mm-to-DCP<br />Peng Zuqiang’s SIGHT LEAK takes as its departure point Roland Barthes’s visit to China in 1973, using the French theorist’s published travel notes and his renowned writing on love and desire as source texts for exploring the objective and subjective machinations of class and looking. Shot on black-and-white film, SIGHT LEAK brims with minimal haptic images, from framed close-ups of body parts to natural and urban landscapes sensuously sculpted by plays of light and shadow. In the film, Peng’s camera trails behind a local tourist who travels through different spaces and gatherings, seemingly never looking at anyone, yet always silently looking at someone. Counterposing foreign and local projections – whether they be filmic, ideological, or psychic – SIGHT LEAK subtly alludes to the problematics of homoerotic imperial (mis)recognition while holding out the possibility for desire to produce non-normative, subterranean collectivities.<br /><br />Jumana Manna<br />BLESSED BLESSED OBLIVION<br />2010, 21 min, DCP<br />This early work by Jumana Manna offers a portrait of masculine performativity in East Jerusalem, as manifested in gyms, body shops, and hairdressing parlors. Inspired by Kenneth Anger’s SCORPIO RISING (1963), the video employs visual collage and a dynamic musical soundtrack as ironic commentary. Anger’s depiction of leather-clad bikers serves as a counterpoint to the social scene Manna portrays in BLESSED BLESSED OBLIVION, that of stereotyped male “thug” culture in Palestine. Close-up fragments construct an eroticized and parodic montage of bodies, cars, and locations, intersected by snippets of often-humorous dialogue and a monologue about the art of a car wash. Psychologizing the characters while also being seduced by them, Manna’s conflicted desires mirror those of her male protagonist who drifts from abject rants to declamations of heroic poetry and unashamed self-praise.<br /><br />Naomi Rincon Gallardo<br />PATLACHE ANT NEST<br />2025, 21 min, DCP<br />PATLACHE ANT NEST, the latest work by Naomi Rincon Gallardo, is a fable inspired by the image and description of an ambiguous figure called Patlache who appears in the Florentine Codex, a sixteenth-century colonial ethnographic research document about Mesoamerica created by a Spanish missionary priest. The Patlache was described in racially coded and gender disruptive terms – as a filthy woman with a penis and body hair who practices lesbian love. Merging camp DIY aesthetics and surreal, indigenous forms of storytelling, Gallardo mythically rearticulates the archival capture of this figure in PATLACHE ANT NEST with a cast of costumed characters representing toothed vaginas, leafcutter ants, and a cactus. Over the course of the film, the Patlache character transforms into a dome-like architectural structure bearing an entrance that leads to an underground, patriarchy-free dwelling of lesbian sociality and flourishing.<br /><br />Total running time: ca. 60 min.<br /><br /><strong>Introduced by Omar Alsayyed.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62127 <p><strong>FILMMAKER IN PERSON!</strong><br /><br />A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity.<br /><br />“This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL</p> <p><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62075 <p>In the second program of our 2-part retrospective devoted to Vika Kirchenbauer, we dive deeper into the politics of labor in contemporary art, as the artist offers us a WELCOME ADDRESS, directly calling into question the art economy’s coded-progressive positioning of difference and diversity as symbolic cultural currency. Considering the foul, late-stage capitalist “Experience Economy,” YOU ARE BORING troubles the nature of looking. THE CAPACITY FOR ADEQUATE ANGER positions still images from the artist’s presumable childhood archive, gaps of nothingness, and the essay form to offer a critique of the production of contemporary art in the face of upward mobility, mapping subjectivity and political agency. To close this program with a thorough and considered look at the complicit role of artists and art institutions, COMPASSION AND INCONVENIENCE takes us back to 18th century London to trace the first public exhibitions of contemporary art, when materiality intersects with ideology via Liberalism and Enlightenment, taking to task the economic and colonial interests that define/d the “pursuit of refinement.”<br /><br />WELCOME ADDRESS (2017, 9 min, DCP)<br />YOU ARE BORING! (2015, 14 min, DCP)<br />THE CAPACITY FOR ADEQUATE ANGER (2021, 15 min, DCP)<br />COMPASSION AND INCONVENIENCE (2024, 30 min, DCP)<br /><br />Total running time: ca. 75 min.<br /><br /><strong><span id="docs-internal-guid-e938f1c7-7fff-b088-a068-003c8b5a79cc">Filmmaker Vika Kirchenbauer in person for both screenings!</span></strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62128 <p><strong>FILMMAKER IN PERSON!</strong><br /><br />A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity.<br /><br />“This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL</p> <p><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62078 <p>Following their two previous films – GOODBYE GAULEY MOUNTAIN: AN ECOSEXUAL LOVE STORY (2014) and WATER MAKES US WET: AN ECOSEXUAL ADVENTURE (2019) – Annie Sprinkle and Beth Stephens bring us the third chapter in their climate crisis trilogy: PLAYING WITH FIRE: AN ECOSEXUAL EMERGENCY. With the climate crisis worsening with each passing season, the artist/activist duo sound the alarm by enlisting a collective of artists, elders, witches, neighbors, and friends, to examine the ways we can support the health of our dear Earth. Partially narrated by Boulder Creek’s mythical white peacock Albert and culminating in a ceremonial Wedding to Fire in the Redwoods, PLAYING WITH FIRE is a powerful portrait of queer resilience but also a reckoning with the power of fire, with its capacity to heal and its potential to destroy.<br /><br />Co-sponsored by Climate Film Festival and Queer New York International Arts Festival.<br /><br /><strong>Annie Sprinkle & Beth Stephens will be here in person for both screenings, and will present a ten-minute performative introduction before each show, “Ecosex 101”!<br /><br />On Saturday, Sprinkle & Stephens will appear for a post-screening discussion and Q&A led by Barbara Carellas, author of “The Book of Ecstasy”, and on Sunday, Angelo Madsen (director of A BODY TO LIVE IN) will lead a Q&A. Viewers are encouraged to dress up in the themes of fire and ecosex.</strong><br /><br /><strong>After the Saturday screening, all are welcome to join a reception in the lobby. Beth and Annie will honor two legends of golden age adult entertainment and the co-founders of the first pornstar support group, Club 90. Veronica Vera is turning 80 and Veronica Hart is turning 70. Birthday cake will be served, and signed books and merch will be available for purchase.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2026#showing-62129 <p><strong>FILMMAKER IN PERSON!</strong><br /><br />A strange and unusual mixture of warts-and-all family portraiture, subtle exposé of class and privilege, and minimalist depiction of a particular setting that’s rendered with an almost miraculously tactile sense of presence, photographer and filmmaker Victoria Hely-Hutchinson’s VACANCES is a deceptively unassuming film. Filmed over the course of a decade at the property in Provence inhabited by Hely-Hutchinson’s outrageously uninhibited grandmother, a bohemian Austro-Hungarian countess and family matriarch, VACANCES grew out of Hely-Hutchinson’s 2016 short film of the same name, and is something of a filmic complement to her autobiographical 2023 book, “I Left My Grandmother’s House”. The documentary delves, with a grace and open-endedness that belies its analytical bite, into both the bigger-than-life personality of “granny” as well as the sometimes strained dynamics among the rest of the family, including Hely-Hutchinson’s grandfather, mother, and siblings. Unique in suggesting by turns cinema vérité, reality TV, chamber theater, and the minimalism of landscape cinema, VACANCES is a profoundly singular work – a film whose technique is nearly invisible, but which sneaks up on you with its trenchant perceptions, layered meanings, and emotional and filmic complexity.<br /><br />“This time-lapse film, shot over a period of ten years, follows members of several generations of a wealthy aristocratic family with Austro-Hungarian roots. The entire film is set in a Provençal villa, whose social heart is the swimming pool, around which the women gather to exchange various observations and, surreptitiously, gossip. The center of the family is the aging matriarch, who likes to talk about her extravagant, promiscuous life, but at the same time commands all the attention and authority of those around her. However, her influence gradually weakens with each passing generation.” –JI.HLAVA INTERNATIONAL DOCUMENTARY FILM FESTIVAL</p> <p><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 10