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 Sat, 29 Nov 2025 20:28:16 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60289 <p>Georges Franju<br />BLOOD OF THE BEASTS / LE SANG DES BÊTES<br />1949, 20 min, 16mm. In French with English subtitles.<br />“This documentary on the slaughterhouses of Paris is one of the great masterpieces of the subversive cinema; here, for once, we are face to face with death, and are neither protected nor cheated. […] A dream-like quality permeates the intense realism of the images; a surrealist intent – akin to Buñuel’s slitting of the eyeball in UN CHIEN ANDALOU – is discernible in this anti-bourgeois film. But the eyeball, however shocking, was fictional; BLOOD OF THE BEASTS is real.” –Amos Vogel, FILM AS A SUBVERSIVE ART<br /><br />Jean Genet<br />UN CHANT D’AMOUR<br />1950, 26 min, 35mm, silent. <strong>Brand-new 35mm print by Anthology!</strong><br />“Genet’s only film – hounded by the censors, unavailable, secret – is an early and remarkably moving attempt to portray homosexual passions. Already a classic, it succeeds as perhaps no other film to intimate the explosive power of frustrated sex…. Like all Genet’s early work, the entire film is, in effect, a single onanistic fantasy, filled with desperate frustration and sensuous nostalgia.” –Amos Vogel, FILM AS A SUBVERSIVE ART<br />“There’s no smoke without fire; UN CHANT D’AMOUR is a communion in which Genet takes us into the prison in order to liberate us from it.” –Derek Jarman<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60230 <p>Pabst brought the war movie into a new era with his first sound film, a mercilessly realistic depiction of the nightmare that scarred a generation, in Germany and beyond. Digging into the trenches with four infantrymen stationed in France in the final months of WWI, Pabst illustrates the harrowing ordeals of battle with unprecedented naturalism, as the men are worn away in body and spirit by firefights, shelling, and the disillusion that greets them on the home front.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60290 <p>“Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr’s most famous film, SERENE VELOCITY (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera’s zoom lens every four frames for twenty-three minutes, can be read as Gehr’s manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself.” –Scott MacDonald, A CRITICAL CINEMA 5<em><strong><br /><br /></strong></em>REVERBERATION (1969, 23 min, 16mm)<br />SERENE VELOCITY (1970, 23 min, 16mm, silent)<br />&<br />STILL<br />1971, 54 min, 16mm. <span id="docs-internal-guid-d23934b8-7fff-25bd-abe4-271a8111682d"><span>Preserved by Anthology Film Archives.<br /><br /></span></span>Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a></p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60238 <p>[DIE 3 GROSCHEN-OPER]<br /><br />The sly melodies of composer Kurt Weill and the daring of dramatist Bertolt Brecht come together on-screen in this classic adaptation of the Weimar-era theatrical sensation. Set in the impoverished back alleys of Victorian London, THE THREEPENNY OPERA follows underworld antihero Mackie Messer (aka Mack the Knife) as he tries to woo Polly Peachum and elude the authorities. With its palpable evocation of corruption and dread, set to Weill’s irresistible score, THE THREEPENNY OPERA remains a benchmark of early sound cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60291 <p>Griffith’s immensely influential silent epic intercuts four parallel tales from history (spanning Babylon, Christ’s Judea, Reformation Europe, and turn-of-the-century America) to embroider a moral tapestry on personal, social, and political repression through the ages. The visual poetry is overwhelming, especially in the massed crowd scenes, and the unbridled eroticism of the Babylon harem scenes demonstrates just what Hollywood lost when it later bowed to the Hays Code. While the (partly self-financed) production ruined Griffith financially and baffled audiences with its multiple plots and labyrinthine structure, it has been enormously influential on generations of filmmakers, including Eisenstein, who studied the film closely.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60223 <p>[DIE BÜCHSE DER PANDORA]<br /><br />Pabst had an innate talent for discovering actresses (including Greta Garbo), and perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama PANDORA’S BOX. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, PANDORA’S BOX is one of silent cinema’s great masterworks.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60292 <p>Viking Eggeling<br />SYMPHONIE DIAGONALE (1924, 8 min, 35mm, silent)<br />“This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance – diagonally – across the black screen.” –FACETS<br /><br />Dwinell Grant<br />COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)<br />“An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.” –Dwinell Grant<br />STOP MOTION TESTS (1942, 3 min, 16mm, silent)<br />A pixillated self-portrait of the filmmaker in his studio.<br />COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />“Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.” –William Moritz<br /><br />Ken Jacobs & Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation.<br />“BLONDE COBRA is an erratic narrative – no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing – on one level – over the situation with style… enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw off.’” –Ken Jacobs<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a><br /><br /></p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60205 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60219 <p>“Brigitte Helm gives a fascinating performance in this incisive portrait of bourgeois languor. A wife, bored with her husband and safe existence, is drawn to a painter and his bohemian milieu. But her fantasies of an alternative life turn against her in the most unrelenting way, as Pabst continues his fascination with female psychology that would culminate in PANDORA’S BOX. Neglected by Pabst scholars, because it was not in keeping with the director’s humanist image, this cool, understated film may be his most modern.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60353 <p>Since 1989, Visual AIDS – a New York based non-profit that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy – has mobilized art institutions for Day With(out) Art. A day of mourning and action that uses art to respond to the ongoing HIV and AIDS crisis, Day With(out) Art encourages universities, museums, art institutions, and AIDS organizations to present related programming on or around World AIDS Day, which falls on December 1.<br /><br />This year, Visual AIDS has organized “Meet Us Where We’re At”, a program of six videos that forefront the experiences of drug users and harm reduction practices as they intersect with the ongoing HIV crisis. Commissioned videos by artists in Puerto Rico, Brazil, Nigeria, Germany, and Vietnam journey across a range of spaces revealing the complexity of drug use. Several videos document the visible world of drugs – a harm reduction program in a Berlin park, a night out during Rio’s Carnival – while others reveal private, often hidden spaces where safety is found: bedrooms, underground clinics, and moments of connection between lovers.<br /><br />“Meet Us Where We’re At” speaks not only to the variety of physical locations where contemporary harm reduction is practiced, but also to a broader shift: centering drug users as authors of their own experiences. Rooted in the philosophy of meeting people at their personal reality without judgment, the program affirms the full context of drug use – its pleasures, its risks, and its role in how people survive, care, and connect.<br /><br />Harm reduction has long been central to the AIDS activist movement through practices like needle exchange and safe injection sites, and people who use drugs have been affected by HIV since the earliest days of the epidemic. This program brings their perspectives to the forefront, amplifying the voices of drug users as storytellers, cultural producers, and essential participants in the global response to HIV.<br /><br />The artists in this program were selected by a jury of artists/community workers including Eva Dewa Masyitha, Heather Edney, charles ryan long, and Leo Herrera.<br /><br />Visual AIDS is a New York-based non-profit that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy, because AIDS is not over. For more info, visit: visualaids.org<br /><br />Kenneth Idongesit Usoro VOICES OF RESILIENCE<br />Follows the lives of queer individuals and drug users living with HIV in Nigeria. Through personal interviews and experimental visual storytelling, the film shows the protagonists’ worlds as they seek out underground harm reduction services.<br /><br />Hoàng Thái Anh THE SISTER’S JOURNEY<br />Explores the daily life of a transgender woman in Vietnam using drugs. The film delves into her fear of stigma, the struggles she faces, and the vital role of harm reduction services and healthcare available to her.<br /><br />Gustavo Vinagre & Vinicius Couto THE PASSION ACCORDING TO G.H.B<br />In this magical realist film, a gay man reminisces about his orgy days and chem sex, and considers his future while speaking with an apparition of G.H., a canonical fictional character of Brazilian literature.<br /><br />Camilo Tapia Flores REALCE (HIGHLIGHT)<br />A documentary short following two HIV-positive friends, DJ Deseo and porn actor Fernando Brutto, during one of their performances at Rio de Janeiro’s Carnival. The duo move through the streets of Rio and Carnival “blocos,” sharing their reflections on friendship, undetectability, their relationship with sex, and drug use within their own community.<br /><br />Camila Flores-Fernández GHOST IN THE PARK<br />Traces the narratives of the community of Görlitzer Park, an area in Berlin known for public drug use and trade. Highlighting “drug consumption buses” that promote safer use and aim to reduce HIV transmission among drug users, the space of the bus is taken as an axis through which the experiences and feelings of the community around the park are amplified.<br /><br />José Luis Cortés ¿POR QUÉ TANTO DOLOR? (WHY SO MUCH PAIN?)<br />Instead of asking, “Why so much meth in the gay community?”, Cortés’s experimental film provokes the deeper question, “Why so much pain?” The film delves into the emotional and social wounds that fuel addiction and risk-taking behaviors.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60235 <p>When a coal mine collapses on the frontier between Germany and France, trapping a team of French miners inside, workers on both sides of the border spring into action, putting aside national prejudices and wartime grudges to launch a dangerous rescue operation. Pabst brings a claustrophobic realism to this ticking-clock scenario, using realistic sets and sound design to create the maze of soot-choked shafts where the miners struggle for survival. A gripping disaster film and a stirring plea for international cooperation, KAMERADSCHAFT cemented Pabst’s status as one of the most morally engaged and formally dexterous filmmakers of his time.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60231 <p>Pabst brought the war movie into a new era with his first sound film, a mercilessly realistic depiction of the nightmare that scarred a generation, in Germany and beyond. Digging into the trenches with four infantrymen stationed in France in the final months of WWI, Pabst illustrates the harrowing ordeals of battle with unprecedented naturalism, as the men are worn away in body and spirit by firefights, shelling, and the disillusion that greets them on the home front.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60239 <p>[DIE 3 GROSCHEN-OPER]<br /><br />The sly melodies of composer Kurt Weill and the daring of dramatist Bertolt Brecht come together on-screen in this classic adaptation of the Weimar-era theatrical sensation. Set in the impoverished back alleys of Victorian London, THE THREEPENNY OPERA follows underworld antihero Mackie Messer (aka Mack the Knife) as he tries to woo Polly Peachum and elude the authorities. With its palpable evocation of corruption and dread, set to Weill’s irresistible score, THE THREEPENNY OPERA remains a benchmark of early sound cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60242 <p>“Pabst’s adaptation of the Pierre Benoit novel is far rarer, and far odder, than the better-known silent version by Jacques Feyder. Lieutenant de Saint-Avit tells his tale of a city peopled by a strange race, the meeting of a dapper Parisian friend therein, and the mysterious, goddess-like creature Antinéa (Brigitte Helm), who reigns over the land. The film was shot partly in North Africa, but like Josef von Sternberg’s ‘locations,’ it offers a highly artificial world, at once sensual and dazzling, yet coolly filmed through a scrim of social and psychological observation.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60361 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60227 <p>[TAGEBUCH EINER VERLORENEN]<br /><br />“The second and final collaboration between Pabst and Louise Brooks is a provocative adaptation of Margarethe Böhme’s notorious novel, in which the naive daughter of a middle-class pharmacist is seduced by her father’s assistant, only to be disowned and sent to a repressive home for wayward girls. She escapes, searches for her child, and ends up in a high-class brothel, only to turn the tables on the society which had abused her.” –Thomas Gladysz<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60362 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60385 <p>“Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child’s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.”  –TIME<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Friday, December 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60363 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60386 <p>These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art.<br /><br />DEATH IN THE FORENOON (1934/66, 2 min, 35mm)<br />CANARIES (1969, 4 min, 35mm)<br />&<br />FILM PORTRAIT<br />(1971, 81 min, 35mm)<br /><br />“FILM PORTRAIT is an autobiography in the sense that it deals explicitly with Jerome’s most personal life’s relationship to film. It draws on film clips taken in his childhood and his whole childhood involvement in art and life. It comes closest to any kind of filmic answer to Proust. […] FILM PORTRAIT is, I believe, the only direct autobiography we have in film. There is Jonas Mekas’s WALDEN, which is diary but not autobiography in a strict sense. We have Cocteau’s BLOOD OF A POET, ORPHEUS, and TESTAMENT OF ORPHEUS. One could say that this last is autobiographical, but it is also allusive and poetic; whereas Jerome’s FILM PORTRAIT is a very straight attempt to present autobiography on film. Of course, subsequently, James Broughton’s TESTAMENT and my own SINCERITY & DUPLICITY series of autobiographical films were very much inspired by Jerome’s FILM PORTRAIT as well as by Jonas’s WALDEN. […] Jerome Hill’s films are great because they are poised on wit and achieve a balance – a gentle, intentional, particularly American balance.” –Stan Brakhage, FILM AT WIT’S END<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Friday, December 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60355 <p>SPECIAL SCREENING / READING<br /><br />Recall this scene from Billy Wilder’s 1944 classic DOUBLE INDEMNITY: While listening to his boss (Edward G. Robinson) enumerate the ways a person might die by accident, lovestruck insurance rep Walter Neff (Fred MacMurray) alights on a nearly perfect plot for murder.<br /><br />Shiv Kotecha’s 2015 book-length poem EXTRIGUE, takes a similarly actuarial approach, obliterating the plot, sound, and banter of Wilder’s noir in order to showcase the infinity of ways in which language strives to describe what’s seen. All 419 shots of Wilder’s film are rendered into a procedural of glinting objects and part-objects, warping shadows, and twisted shafts of light: “345. A FLAME THAT FADES INTO A PHONE A MAN THAT FADES INTO A MAN A LAMP THAT FADES INTO A BOOK SMOKE THAT FADES INTO A HAT.”<br /><br />Marking ten years since the book’s publication, “EXTRIGUE at Anthology” pairs a new cut of Wilder’s film – slowed to the sludging pace of Kotecha’s written account – with a live marathon reading of the book by the author, friends, writers, and artists, obviating any need to recall the details of Wilder's film in favor of the trembling present tense of the cinematic screen.<br /><br />Readers include Hicham Awad, Omar Berrada, Courtney Bush, Tyler Coburn, Elena Comay del Junco, Mónica de la Torre, Devan Díaz, Kay Gabriel, Peter Goldberg, Rainer Diana Hamilton, Lucy Ives, Benjamin Krusling, Inney Prakash, Kim Rosenfield, Tracy Rosenthal, Suneil Sanzgiri, Sarah Schulman, Stevie Triano, and Joey Yearous-Algozin.<br /><br /><em><strong>Sat, Dec 6 from 4:00 to 9:00.<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60364 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60365 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60366 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, December 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60367 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60311 <p>Hans Richter’s THE NEW APARTMENT – produced for a Swiss architectural and interior design exhibition to promote modern approaches to design – is paired here with travel- and tourism-themed films by the great experimental animators Len Lye and Norman McLaren, the trippy bicentennial animation 200, and a fascinating film designed to promote the city of Pittsburgh (on the occasion of its own bicentennial), which was made with contributions from photographer Weegee, avant-garde filmmakers Stan Brakhage, Lye, and Stan Vanderbeek, and photographers W. Eugene Smith and Willard Van Dyke.<br /><br />Hans Richter THE NEW APARTMENT / DIE NEUE WOHNUNG (1930, 28 min, 35mm-to-DCP. Commissioned by Schweizerischer Werkbund (SWB).)<br />Len Lye COLOUR FLIGHT (1938, 4 min, 35mm-to-DCP. Commissioned by Imperial Airways.)<br />Len Lye SWINGING THE LAMBETH WALK (1939, 4 min, 35mm. Commissioned by the British Tourist and Industrial Development Association. Print courtesy The Museum of Modern Art, New York.)<br />Len Lye LIFE’S MUSICAL MINUTE (1953, 2 min, 35mm-to-DCP)<br />Norman McLaren NEW YORK LIGHTBOARD RECORD (1961, 9 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />PITTSBURGH (1959, 28 min, 16mm-to-DCP. Produced by On Film Co.)<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, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60368 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60296 <p>This program collects pre-WWII-era advertisements, many of them experimental animations by renowned avant-garde filmmakers and artists such as Walter Ruttmann, Lotte Reiniger, Hans Richter, Oskar Fischinger, László Moholy-Nagy, and Len Lye. Made when the cinema was still in its infancy, with the lines between different forms of moving-image production not yet fully established, these films are often virtually indistinguishable from the artists’ non-commercial work, and are essentially experimental films made in the service of various products.<br /><br />Walter Ruttmann DER SIEGER (1921, 2 min, 35mm-to-DCP. Ad for Excelsior tires. Courtesy of the Deutsche Kinemathek.)<br />Walter Ruttmann DAS WUNDER (1922, 3 min, 35mm-to-DCP. Ad for Kantorowicz liqueur. Courtesy of the Deutsche Kinemathek.)<br />Lotte Reiniger THE SECRET OF THE MARQUISE / DAS GEHEIMNIS DER MARQUISIN (1922, 2.5 min, 35mm-to-DCP. Ad for Nivea skin cream.)<br />Julius Pinschewer & Lotte Reiniger THE BARCAROLE / DIE BARCAROLE (1924, 3.5 min, 35mm-to-DCP. Ad for Pralinés Mauxion dessert. Courtesy of the Deutsche Kinemathek.)<br />Julius Pinschewer & Guido Seeber FILM (KIPHO) (1925, 5.5 min, 35mm-to-DCP. Ad for the Kino- und Photoausstellung trade show. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm. Ad for the magazine Koelnische Illustrierte Zeitung.)<br />Lotte Lendesdorff & Walter Ruttmann HEALTH TONIC / DER AUFSTIEG (1926, 2 min, 35mm-to-DCP. Ad for the GESOLEI health and art exhibition in Düsseldorf. Courtesy of the Deutsche Kinemathek.)<br />László Moholy-Nagy, György Kepes, and Sybille Pietzsch (uncredited contributors) under the direction of Egon von Tresckow DER FEINSCHMECKER (1934, 2 min, 35mm-to-digital, silent. Ad for Jena Glass.)<br />Oskar Fischinger CIRCLES / KREISE (1933-34, 2 min, 16mm. Commissioned by Tolirag publicity agency.)<br />Oskar Fischinger MURATTI GETS IN THE ACT (1934, 3 min, 16mm. Ad for Muratti Cigarettes.)<br />Oskar Fischinger MURATTI PRIVAT (1935, 2 min, 16mm. Ad for Muratti Cigarettes.)<br />Karel Dodal & Irena Dodalová BUBBLES GAME / HRA BUBLINEK (1936, 2 min, 35mm-to-DCP. Ad for Saponia soap. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová AN AUTUMN SONG / PÍSEŇ PODZIMU (1937, 2 min, 35mm-to-DCP. Ad for the Prokop Čáp [Prokop and Stork] department store. Courtesy of the National Film Archive, Prague.)<br />Len Lye KALEIDOSCOPE (1935, 4 min, 35mm. Ad for Churchman Cigarettes. Print courtesy of the Austrian Filmmuseum.)<br />Gyula Macskássy INCANDESCENT LOVE / IZZÓ SZERELEM (1939, 2 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Gyula Macskássy & György Szénásy LIGHT / FÉNY (1942, 1 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Len Lye THE BIRTH OF A ROBOT (1935, 6.5 min, 35mm. Ad for Shell Lubrication oils. Print courtesy of the Austrian Filmmuseum.)<br />Alexander Hammid & Elmar Klos THE HIGHWAY SINGS / SILNICE ZPÍVÁ (1937, 4 min, 35mm. Ad for Bata tires. Preserved by Anthology Film Archives.)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60369 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, December 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60305 <p>Stan Phillips COLORADO LEGEND (1961, 11 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />Stan Phillips BALLAD OF THE COLORADO UTE (1963, 17 min, 16mm-to-DCP. Photography, Editing, and Pictorial Direction by Stan Brakhage. Produced for the State of Colorado.)<br />“Educational/informational films made as commissioned works for the Colorado Department of Public Relations through Western Cine, which was a film laboratory (and Brakhage’s primary lab), but also a production company for educational films for an unknown period in the early 1960s. Although directed by Brakhage’s longtime friend Stan Phillips, Brakhage is credited with ‘photography, editing, and pictorial direction’, and the films bear some hallmarks of his personal style.” –Mark Toscano<br /><br />Stan Brakhage<br />MR. TOMPKINS INSIDE HIMSELF<br />1962, 41 min, 16mm. Print courtesy of the Academy Film Archive.<br />“An educational film made by Brakhage with Western Cine owner John Newell (who also photographed much of the film), based on ‘Mr. Tompkins Learns the Facts of Life’ by George Gamow. Although some of the medical and scientific footage in this film was obtained from separate sources, there is a credit stating ‘Microphotography of Vessels of Living Bat’s Wing, Mouse Lung, Red Blood, Slides, and Photography of Internal Heart of Sheep and External Heart of Living Dog by Stan Brakhage and George Gamow’. Some of this footage was also used by Brakhage in DOG STAR MAN.” –Mark Toscano<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60370 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60308 <p>This program pairs Jonas Mekas’s FILM MAGAZINE OF THE ARTS – commissioned by Show Magazine, but rejected for containing no references to the magazine itself – with films made for various school systems by Bruce Baillie and Chick Strand; Robert Breer’s PBL #2 (a cartoon history of the black American for broadcast on the NET network); Cathryn Aison and Philip Glass’s SESAME STREET segment, GEOMETRY OF CIRCLES; and Jerome Hiler and Nathaniel Dorsky’s LIBRARY, a moving and lovely paean to New Jersey’s Sussex County Library.<br /><br />Jonas Mekas FILM MAGAZINE OF THE ARTS (1963, 20 min, 16mm. Preserved by Anthology Film Archives.)<br />“In Spring, 1963 Show Magazine called me and asked that I make a film on arts in New York. I told them, why did they want me to make it – didn’t they know I was a bit unusual?… ‘We want something unusual,’ they said. So I went out and made a newsreel on arts. Show people looked at the rough cut of the film and became very angry. ‘But there is nothing about Show Magazine and DuPont fabrics in the movie,’ they said. ‘What has that to do with the arts in New York!’ I said. The battle was short. The film was destroyed. Really, I have no idea what they did with it. This workprint of the first FILM MAGAZINE OF THE ARTS is the only print in existence, as far as I know.” –Jonas Mekas<br /><br />Bruce Baillie HERE I AM (1962, 11 min, 16mm. Preserved by Anthology Film Archives.)<br />“A film for the East Bay Activity Center in Oakland, a school for mentally disturbed children.” –Bruce Baillie<br /><br />Bruce Baillie THE BROOKFIELD RECREATION CENTER (1964, 6 min, 16mm. Preserved by BAMPFA, 2012.)<br />“Made for the Oakland Public Schools on an experimental series of classes in the arts.” –Bruce Baillie<br /><br />Chick Strand CHILDREN ARE OUR FIRST PRIORITY (1972, 12.5 min, 16mm. Print courtesy of the Academy Film Archive.)<br />This extremely rare work by Chick Strand is a sponsored film about Title 1 schools.<br /><br />Robert Breer PBL #2 1968, 1 min, 16mm<br />“A concise, one-minute cartoon history of the black American, commissioned by the Public Broadcast Laboratory and shown on NET network.” –CANYON CINEMA<br /><br />Cathryn Aison & Philip Glass GEOMETRY OF CIRCLES (1979, 2.5 min, digital. Commissioned by SESAME STREET.)<br /><br />Jerome Hiler & Nathaniel Dorsky LIBRARY (1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad.)<br />“[In 1970 Hiler and Dorsky] collaborated on an unexpected and little-known work, an industrial film commissioned by New Jersey’s Sussex County Area Reference Library, whose local branch Dorsky and Hiler frequented first as patrons, then eventually as projectionists and programmers for the library’s 16mm screenings. […] A collaboration with their friends Tony Conrad and his wife, actress Beverly Grant, who contributed, respectively, its minimalist score and voiceover narration, LIBRARY…is a direct complement to both filmmakers’ contemporary diary films and an extension of their somewhat idealized vision of daily life in rural New Jersey. More importantly, the film gives revealing expression to the close correspondence uniting Dorsky and Hiler’s work, and their shared dedication to an ideal of art as a form of spiritual experience and devotion.” –Haden Guest, CINEMA SCOPE<br /><br />Total running time: ca. 75 min.<br /><br />[<strong>Please note: unfortunately, the print of Chick Strand's CHILDREN ARE OUR FIRST PRIORITY is stuck in transit, and will not arrive in time for the first screening on Mon, Nov 17. It will be here in time for the second screening of the program on Mon, Dec 8 at 8:30. Those who do attend the screening on the 17th are welcome to comp tickets for the second screening in December.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60371 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60299 <p>Toshio Matsumoto, Genichiro Higuchi, and Masao Yabe<br />BICYCLE IN DREAM / GINRIN<br />1955, 12 min, 35mm-to-DCP. Music by Tôru Takemitsu. Commissioned by the Japan Bicycle Promotion Institute. Courtesy of the National Film Archive of Japan (NFAJ).<br />“Toshio Matsumoto (FUNERAL PARADE OF ROSES) began his filmmaking career by planning, cowriting, and assistant-directing GINRIN, an astonishingly experimental PR film commissioned by the Japan Bicycle Promotion Institute. His collaborators on the project were Shozo Kitadai and Katsuhiro Yamaguchi, members of Japan’s postwar collective Jikken Kobo, the composer Toru Takemitsu and the special effects creator Eiji Tsuburaya, who would go on to do the same for the GODZILLA series.” –Taro Nettleton, ART REVIEW<br /><br />Toshio Matsumoto<br />THE RECORD OF A LONG WHITE LINE / SHIROI NAGAI SEN NO KIROKU<br />1960, 13 min, 35mm-to-DCP. Commissioned by Kansai Electricity.<br />“A short history of the development of Japan’s energy supply after the war, commissioned by the energy company Kansai and made as a stylistically heterogeneous blend of animations, veristic observations, etc.” –INTERNATIONAL SHORT FILM FESTIVAL OBERHAUSEN<br /><br />Ed Emshwiller<br />FUSION<br />1967, 16 min, 16mm-to-DCP. Commissioned by Spring Mills. Courtesy of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.<br />“A cine-dance film sponsored by Springs Mills to promote a new line of towels designed by Pucci. Dancers throw, move through, dance with, and are draped in a variety of designer towels.” –Ed Emshwiller<br /><br />Total running time: ca. 45 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60372 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60302 <p>This program of post-WWII advertisements encompasses striking commissioned films by experimental film- and video-makers like Jordan Belson, Peter Kubelka, Pat O’Neill, Chick Strand, Dara Birnbaum, and Jeff Preiss, and art-house giants such as Ingmar Bergman, Jean-Luc Godard, David Lynch, and David Cronenberg, and throws in appearances from Frank Zappa, John Waters, and Father Guido Sarducci for good measure.<br /><br />John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] (1982, 40 sec, 35mm)<br />Mark Shepard [EZTV No smoking PSA] (ca. 1985, 30 sec, video)<br />Ingmar Bergman BRIS SOAP COMMERCIALS [selection] (1951, 6.5 min, 35mm-to-DCP. Courtesy of the Swedish Film Institute.)<br />Oskar Fischinger MUNTZ TV (1953, 1.5 min, 16mm. Ad for Muntz TV.)<br />Jordan Belson CHRONICLE (1955, 2 min, 16mm-to-DCP. Ad for the San Francisco Chronicle. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive.)<br />Paul Bartel THE SUBJECT WAS WRINKLES (1960s, 7.5 min, 16mm-to-digital)<br />Len Lye RHYTHM (1957, 1 min, 16mm, b&w. Commissioned (but rejected) by Chrysler.)<br />Peter Kubelka ADEBAR (1957, 1 min, 35mm. Commissioned (but rejected) by Vienna’s Café Adebar.)<br />Peter Kubelka SCHWECHATER (1958, 1 min, 16mm. Commissioned (but rejected) by Schwechater Bier.)<br />Anonymous Commercials for d-c-fix and INKU GF-Kante (1963/65, 4 min, 35mm, b&w. Preserved (2013) by the Austrian Film Museum.)<br />Dwinell Grant PEPSI-COLA-COMMERCIAL (1960, 1 min, 16mm. Preserved by Anthology Film Archives.)<br />Pat O’Neill, Neon Park, and Chick Strand SEARS SOX (1968, 5 min, 16mm. Commissioned by Sears department stores. Print courtesy of the Academy Film Archive.)<br />Ed Seeman & Frank Zappa [Luden’s Cough Drops ad] (1967, 1 min, video)<br />Dara Birnbaum REMY/GRAND CENTRAL: TRAINS AND BOATS AND PLANES (1980, 4 min, video. Commissioned by Remy Martin. Courtesy of the Estate of Dara Birnbaum and Electronic Arts Intermix (EAI), New York.)<br />George Manupelli & William Farley FATHER GUIDO SARDUCCI ON ART SCHOOL (1982, 1 min, video. Ad for the San Francisco Art Institute.)<br />Dara Birnbaum MTV: ARTBREAK (1987, 30 sec, video. Courtesy of the Estate of Dara Birnbaum and Electronic Arts Intermix (EAI), New York.)<br />David Daniels [ABC promo – Michael Jackson] (1987, 12 sec, video)<br />David Daniels [Honda Scooter ad] (1988, 30 sec, video)<br />David Daniels [IDIOT BOX opening sequence] (1990, 30 sec, video)<br />David Daniels [Clearasil ad] (1995, 30 sec, video)<br />M. Henry Jones & Tom Marsan [America’s Best Contacts and Eyeglasses commercial] (1990, 30 sec, video)<br />Jean-Luc Godard [Closed Jeans ads] (1987/88, 2 min, video)<br />Jean-Luc Godard [Nike Air 180 ad] (1991, 15 sec, video)<br />Jean-Luc Godard [Schick Aftershave ad] (1991, 1 min, video)<br />Jean-Luc Godard [Parisienne People Cigarettes ad] (1992, 45 sec, video. Co-directed by Anne-Marie Miéville.)<br />David Cronenberg [Nike Air 180 ad] (1990, 30 sec, video)<br />David Cronenberg [Caramilk ad] (1990, 30 sec, video)<br />David Lynch [Georgia Coffee ads] (1991, 2 min, digital)<br />David Lynch [Michael Jackson Dangerous Short Films intro] (1991, 30 sec, digital)<br />David Lynch [Adidas the Wall ad] (1993, 1 min, digital)<br />David Lynch [Sci Fi Channel interstitials] (1997, 1 min, digital)<br />David Lynch PARISIENNE PEOPLE (1998, 1 min, digital. Ad for Parisienne cigarettes.)<br />David Lynch [Playstation 2 ad] (2000, 1 min, digital)<br />David Lynch [David Lynch Coffee ad] (2011, 4 min, digital)<br />Jeff Preiss NIKE: JOEL / HIPPIES (1993, 1 min, 16mm-to-digital)<br />Jeff Preiss CHERRY COKE: RUGBY (1998, 1 min, 16mm-to-digital)<br />Jeff Preiss YELLOW PAGES: TOUR / CRITIC / GREEN ROOM (1998, 2 min, 16mm-to-digital)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60373 <p><strong>U.S. THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DEC 3-5!</strong><br /><br />Among the many films that French filmmaker Marie Losier has made over the years, some of the most memorable have been highly unconventional, visually and conceptually inspired filmic portraits of a variety of figures. Whether she’s collaborating with Richard Foreman in THE ONTOLOGICAL COWBOY (2005), Tony Conrad in DREAMINIMALIST (2008), Alan Vega in ALAN VEGA: JUST A MILLION DREAMS (2014), George and Mike Kuchar in numerous short films, Genesis Breyer P-Orridge and their partner Lady Jaye in THE BALLAD OF GENESIS AND LADY JAYE (2011), cross-dressing Lucha Libre wrestler Cassandro in CASSANDRO, THE EXOTICO! (2018), or musician Felix Kubin in FELIX IN WONDERLAND (2019), Losier does much more than simply document the artists and personalities she works with, channeling their sensibilities and entering into their creative universes. Her new feature film – which reflects a years-long collaboration – captures the dynamic and provocative essence of Peaches, the trailblazing, taboo-shattering singer, songwriter, and performance artist. PEACHES GOES BANANAS takes an intimate look at Peaches’ playful and intoxicating world both on and off stage. Capturing her volcanic energy, her outrageous concerts, her relationships with family and friends, and her persistent exploding of the boundaries of gender, form and identity, Losier’s film is a creative fusion between filmmaker and subject.<br /><em><strong><br />Marie Losier in person Wed-Fri!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60394 <p>Woronov’s performing career was born in Warhol’s Factory. Becoming an integral part of the Factory scene and of Warhol’s group of “superstars” in 1966, Woronov appeared onstage as part of the Exploding Plastic Inevitable show, and on screen in several of Warhol’s “Screen Tests” and numerous of his films, including THE CHELSEA GIRLS, HEDY, RICHARD AND MARY, and others. KISS THE BOOT documents the “whip dance” that she and Gerard Malanga performed as part of EPI, while HEDY presents the adventures of Hedy Lamarr, as she receives a face-lift, is arrested for shoplifting, and goes on trial to face the accusations of her five former husbands. Mario Montez gives one of his most outstanding performances in the title role and the Velvet Underground contributes a live score, while Woronov makes a memorable appearance as the policewoman who apprehends the sticky-fingered Hedy. This program also includes the short film she made in this period with Warhol’s assistant and collaborator, Gerard Malanga: MARY FOR MARY (1966).<br /><br />Andy Warhol<br />HEDY<br />1966, 66 min, 16mm-to-DCP. Digital restoration courtesy of The Andy Warhol Museum.<br /><br />Preceded by:<br />Andy Warhol KISS THE BOOT (1966, 4 min, 16mm-to-DCP, silent. Digital restoration courtesy of The Andy Warhol Museum.)<br />Gerard Malanga MARY FOR MARY (1966, 16 min, 16mm-to-DCP)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60357 <p>Founded in 1995, the Women’s Film Preservation Fund of New York Women in Film and Television is the only program in the world dedicated to preserving the cultural legacy of women in the industry through preserving films made by women. Since its founding, the WFPF has preserved over 150 women-led films, including works by early feminists, women of color, social activists, and artists that represent a unique and irreplaceable part of our nation’s cultural legacy.<br /><br />On the occasion of its 30th anniversary, the WFPF has curated a program – comprising 1960s-90s experimental films preserved through its efforts – that explores themes of second wave feminism, gender identity, and sexuality.<br /><br />This program is part of WFPF of New York Women in Film and Television’s milestone anniversary series, celebrating 30 years of preserving women’s cinematic history; for more info visit: https://www.nywift.org/wfpf/ <br /><br />Liane Brandon SOMETIMES I WONDER WHO I AM (1970, 5 min, 16mm-to-DCP. <strong>U.S. preservation premiere!</strong>)<br />Anne Chamberlain A FEMINIST FILM (1988, 1 min, 16mm, silent. Courtesy of the UCLA Film & Television Archive. <strong>Preservation premiere!</strong>)<br />Anne Chamberlain PRE-MENSTRUAL (1992, 1 min, 16mm, silent. Courtesy of the UCLA Film & Television Archive. <strong>Preservation premiere!</strong>)<br />Susan Brockman DEPOT (1974, 11 min, 16mm)<br />Geri Ashur & Peter Schlaifer MAKE OUT (1970, 5 min, 16mm. Voiceover script: Geri Ashur, Andrea Eagan, Marcia Salo Rissi, and Deborah Shaffer.)<br />Jan Oxenberg HOME MOVIE (1973, 12 min, 16mm-to-DCP)<br />Rachel Reichman A CHILD’S INTRODUCTION TO THE WONDERS OF SPACE (1979, 12 min, 16mm)<br />Lisa Crafts DESIRE PIE (1976, 5 min, 16mm-to-35mm)<br />Margaret Conneely MISTER E. (1960, 11.5 min, 16mm. Print courtesy of Chicago Film Archives.)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60397 <p>In SILENT NIGHT, BLOODY NIGHT, a man arrives in a small town in order to sell his family mansion – a former insane asylum – only to find it occupied by an axe-wielding madman bent on revenge against the town elders. Co-produced by Lloyd Kaufman (just two years before he would launch Troma Entertainment), featuring legendary character actor John Carradine, and marking Woronov’s second collaboration with her then-husband Theodore Gershuny, SILENT NIGHT, BLOODY NIGHT is a slasher film that plays like an underground, art cinema take on the genre. And no wonder, given the involvement of Gershuny (whose first film was the 1966 experimental short AMERICAN ROULETTE) and Woronov, who were presumably responsible for casting half of the bit parts with their Warhol Factory associates, including Candy Darling, Ondine, Tally Brown, and Jack Smith!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, December 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60401 <p>Andy Warhol<br />QUEEN OF CHINA (HANOI HANNA)<br />1966, 66 min, 16mm-to-digital. Scenario by Ronald Tavel. With Mary Woronov, Susan Bottomly, Angelina “Pepper” Davis, and Ingrid Superstar. Digital restoration courtesy of The Andy Warhol Museum.<br />“QUEEN OF CHINA (HANOI HANNA) – which was incorporated into Warhol’s hugely successful, three-hour-plus, two-screen film, THE CHELSEA GIRLS – based on Ronald Tavel’s scenario, loosely refers to the real-life radio show host who broadcast antiwar propaganda to American soldiers in Vietnam. It is Mary Woronov’s showcase piece, in which she metes out physical and psychological abuse to Susan Bottomly, Angelina ‘Pepper’ Davis, and Ingrid Superstar in a room at the Chelsea Hotel. At first, the cast tries to accurately adhere to Tavel’s scenario, but by reel two it all falls apart—the performers begin to use their real names and exhibit a sort of residual stress disorder that permeates the rest of the film.” –MUSEUM OF MODERN ART<br /><br />Preceded by:<br />Andy Warhol MARY WORONOV SCREEN TEST (ST357) (1966, 4 min, 16mm-to-DCP, silent. Digital restoration courtesy of The Andy Warhol Museum.)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: MARY WORONOV (2009-2011, 4 min, digital)<br />[Documentation of John Vaccaro’s “Conquest of the Universe”] (ca. 1967, ca. 15 min, 16mm-to-DCP, silent)<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60326 <p>Harun Farocki<br />A DAY IN THE LIFE OF A CONSUMER / EIN TAG IM LEBEN DER ENDVERBRAUCHER<br />1993, 44 min, DCP. In German with English subtitles.<br />“Harun Farocki plunders 40 years of advertising films, which he orchestrates to constitute an ironic 24 hours in the life of typical consumers, mixing different colors, periods, and various ‘ideologies of well being’ to hold up a mirror to our times, values, worries, hopes. This collage of ‘beautiful images,’ gleeful and chaotic, deconstructs not only the domestic reference points which punctuate our daily life, but also gives full rein to an off-beat humor in the tradition of Brechtian distanciation.” –Andrei Ujica<br /><br />Preceded by:<br />Andrew Lampert BENETTON (2004, 4.5 min, 16mm-to-digital, silent)<br />Nam June Paik & Jud Yalkut WAITING FOR COMMERCIALS 1966-72 (1992, 6.5 min, video)<br />Peter Kubelka POETRY AND TRUTH / DICHTUNG UND WAHRHEIT (1996-2003, 13 min, 16mm)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60320 <p>This program pays tribute to the sponsored film category of the Public Service Announcement, with several works (by Hans Richter, Len Lye, and Norman McLaren) made during WWII, as well as Carl Dreyer’s anti-speeding cautionary tale, THEY CAUGHT THE FERRY, Niki de Saint Phalle and her son Philip Mathews’s ads raising awareness about AIDS, David Lynch’s anti-littering spot, and more.<br /><br />Hans Richter INFLATION (1928, 3 min, 35mm-to-DCP. Courtesy of the Deutsche Kinemathek.)<br />Len Lye MUSICAL POSTER NO. 1 (1940, 3 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye KILL OR BE KILLED (1942, 18 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye NEWSPAPER TRAIN (1942, 6 min, 35mm-to-DCP)<br />Len Lye WORK PARTY (1942, 7 min, 35mm-to-DCP)<br />Norman McLaren V FOR VICTORY (1941, 2 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren FIVE FOR FOUR (1942, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren KEEP YOUR MOUTH SHUT (1944, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Carl Th. Dreyer THEY CAUGHT THE FERRY / DE NÅEDE FÆRGEN (1948, 11 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Philip Mathews, Niki de Saint Phalle, and Silvio Barandun AIDS (Public Service Announcements) (1990, 4 min, video. Directed by Philip Mathews and animated by Steve Dovas, Barbara Nislick, and Tony Luamaco. Based on the book “AIDS: You Can’t Catch It Holding Hands”.)<br />Tom Rubnitz SUMMER OF LOVE PSA (1990, 30 sec, video)<br />David Lynch WE CARE ABOUT NEW YORK (1991, 1 min, digital. Commissioned by the New York Dept of Sanitation.)<br />Jeff Preiss JACKSON SONG (1990, 2 min, 16mm-to-digital. Commissioned by Burger King.)<br />Rachael Guma EXTRA ULTRA SUPER GAL (2024, 3.5 min, DCP)<br />Pat Lehman DRUG ABUSE (1972, 1 min, video)<br />Cliff Roth THE REAGANS SPEAK OUT ON DRUGS (1988, 7 min, video-to-16mm)<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60404 <p>Alta Leigh was an attractive young model with the future in her hands…until her pornographer boyfriend, George, tricked her into committing “suicide” on camera. Devastated by the incident, Alta’s lover, Camilla, hatches a bizarre plot to avenge her death: find an exact lookalike of Alta to drive George insane. Starring the iconic Mary Woronov, former Belgian beauty queen Monique van Vooren, Warhol acolyte Ondine, and produced by Oliver Stone, SUGAR COOKIES is arthouse exploitation with a heady mix of Hitchcock mystery and Paul Bartel weirdness.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, December 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60323 <p>In contrast to the previous works in the series, which comprise films or advertisements sponsored by various companies or industries, this program consists of films made independently by artists that engage with or intervene in advertising. The first section showcases the rare but fascinating instances in which artists (such as Richard Serra, Carlotta Schoolman, Chris Burden, Lynn Hershman Leeson, and Stan Douglas) have actually purchased TV airtime for their own purposes, as well as finding room for works like Vito Acconci’s ELECTION TAPE ’84, Muntadas’s THIS IS NOT AN ADVERTISEMENT, and Harun Farocki’s MUSIC-VIDEO, which were displayed on public advertising billboards. The second part of the program finds artists making films that adopt the form of ads or otherwise satirize or critique advertising.<br /><br /><span style="text-decoration: underline;">1. Buying time (artists buying their own advertising time):</span><br />Richard Serra & Carlotta Schoolman TELEVISION DELIVERS PEOPLE (1973, 6.5 min, video)<br />Chris Burden THE TV COMMERCIALS 1973-1977 (1973-77/2000, 4 min, video)<br />Lynn Hershman Leeson COMMERCIAL FOR MYSELF (1978, 46 sec, video)<br />Vito Acconci ELECTION TAPE ’84 (1984, 2 min, video)<br />Muntadas THIS IS NOT AN ADVERTISEMENT (1985, 5 min, video)<br />Stan Douglas TELEVISION SPOTS (1987-88, ca. 5 min, video)<br />Harun Farocki MUSIC-VIDEO / MUSIKVIDEO (2000, 1 min, video)<br /><br /><span style="text-decoration: underline;">2. Films that adopt the format/language of ads:</span><br />Joan Logue 30 SECOND PORTRAITS: NEW YORK ARTISTS (1982, 15 min, video. Made in collaboration with the artists.)<br />Thom Andersen MELTING (1965, 6 min, 16mm)<br />Michael Smith MIKE (1987, 3.5 min, video)<br />Valie Export A PERFECT PAIR (1987, 13.5 min, video)<br />Kristin Lucas INFORECEPTOR (1994, 5 min, digital)<br />Tony Cokes AD VICE (1999, 6.5 min, digital)<br />Ilana Harris-Babou REPARATION HARDWARE (2018, 4 min, digital)<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60262 <p>Paul Vecchiali<br />ENCORE<br />1988, 87 min, 35mm-to-DCP. In French with English subtitles.<br />It’s 1978 and Louis (Jean-Louis Rolland) is living a mundane life with a job, a wife, and a daughter. One day, an unexpected sexual encounter helps Louis realize he’s gay. He comes out, leaves his family, and over the next ten years pursues love and sex with the reckless intensity of a besotted teenager. Director Paul Vecchiali’s ENCORE is an emotionally complex story about a flawed, messy, gay protagonist experiencing a sexual awakening during the AIDS epidemic. Each new scene unfolds via bravura long takes and moves the story forward one year, making the film a beguiling marriage of theatrical and cinematic techniques. Wistful musical numbers, in the vein of Jacques Demy’s UNE CHAMBRE EN VILLE and Chantal Akerman’s GOLDEN EIGHTIES, complete Vecchiali’s visionary narrative. ENCORE was the first commercial French film to deal with HIV/AIDS, and Vecchiali’s refusal to turn his protagonist into a “perfect victim” sets it apart from other similar dramas of this and later eras. Rarely screened, it's ripe for rediscovery by gay and queer audiences.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60331 <p>Harun Farocki<br />EVERYBODY A BERLINER KINDL / JEDER EIN BERLINER KINDL 1966, 4 min, 16mm-to-DCP<br />“[This film] deals with advertising for Berliner Kindl, a local beer. It is a matter of the act of self-refutation, an act which is, however, far more than an ironically positioned, merely aesthetic ‘gesture’ – it is evidently related to the manner in which one approaches politics, political speeches and political semiotics.” –Klaus Kreimeier<br /><br />THE APPEARANCE / DER AUFTRITT<br />1996, 40 min, 16mm-to-DCP. In German with English subtitles.<br />“Farocki once again takes us into the world of advertising. An advertising agency has to pitch a marketing concept to an optician’s consortium, represented by the manager who is the first to see the campaign. The logo submitted, ‘Eyedentity’, is examined from every angle: it must simultaneously express both the company’s dynamism and its reliability! A fascinating, dispassionate glimpse behind closed doors, where every detail is dramatized to win that lucrative contract.” –Jörg Becker<br /><br />STILL LIFE / STILLEBEN<br />1997, 56 min, 16mm-to-DCP. In German with English subtitles.<br />According to Farocki, today’s photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life – the “still life”. The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary “still life”: a cheese-board, beer glasses, and an expensive watch.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, December 12