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, 19 Jul 2026 07:20:59 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61565 <p>“A series of murders at a race track. A dead man who appears to come back alive to seek revenge years after his execution. Thanks to Franz Josef Gottlieb’s superior direction, THE RACETRACK MURDERS is the best of all Bryan Edgar Wallace adaptations, a true gem of a Krimi [German crime film]…. Gottlieb loves long sweeping camera movements and bizarre angles. We see a fight scene filmed through the legs of the fighters; reflections captured in pools of rain; [and] the exciting atmosphere at a race course including the bookmakers’ bizarre secret hand communication.” –Holger Haase, HALLO, HIER SPRICHT…<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61717 <p>Adolfas Mekas’s second feature film was this adaptation of a Mark Twain short story. Hatfield is a carpetbagger who marries the daughter of a prominent plantation owner in order to humiliate him. He mistreats his wife, but she stoically refuses to complain to her father. Finally, he ties her to a tree and lets bloodhounds tear off her clothes. The girl’s father dies of embarrassment, and, shortly thereafter, she gives birth to a son who grows up and heads west to avenge his mother.<br /><br />“The first half has the deceptively rustic humor of Twain, as a dastardly Northerner marries the daughter of a mellow Southern plantation owner. The man (played by Hurd Hatfield) mistreats the girl to get revenge on the father…even tying her up to a tree with bloodhounds ripping her clothes. All this is done with the right use of mellow silent film techniques of obvious emoting, with the balance of mock seriousness, lampoon, and sentiments sans slush. […] Mekas again shows he has a way with parody and he gets disarmingly innocent performances from his actors.” –VARIETY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61575 <p>This breezy 1980s comedy may be no masterpiece, but it’s saturated with racetrack atmosphere and an appreciation for the characters that make the track their home(-away-from-home). And it also boasts a crazy array of talent in front of and behind the camera: aside from star Richard Dreyfuss, the cast features an incongruously counterculture-heavy lineup including Mary Woronov, Richard Edson, and the New York Dolls’ David Johansen (not to mention Teri Garr, Jennifer Tilly, Allen Garfield, Robbie Coltrane, Cynthia Nixon, and the Mamas and the Papas’ Michelle Phillips), while the film was cut by legendary editor Dede Allen, and scored by Giorgio Moroder! Huh?<br /><br />“The spirit of Damon Runyon hangs heavily over LET IT RIDE, the 1989 feature debut for celebrated commercial director Joe Pytka. Starring Richard Dreyfuss as what used to be called a horse-racing degenerate and Teri Garr as his (what else but) long-suffering wife, LET IT RIDE is jam-packed with generically colorful characters with nicknames like Cheeseburger and Vibes. Its plot, not the most original in the world, has a cab driver named Trotter (Dreyfuss) suddenly realizing that he is walking around lucky, that any horse he bets on is going to come home a winner.” –Kenneth Turan, ESPN<br /><br />Preceded by:<br />Werner Herzog PRECAUTIONS AGAINST FANATICS / MASSNAHMEN GEGEN FANATIKER (1969, 11 min, 16mm-to-DCP. In German with English subtitles.)<br />“This bizarre short lampoons those in the establishment of the time charged with protecting the security and morals of the public. Shot at Munich’s race track, various ‘experts’ feel compelled to protect the thoroughbred horses – draped in bright colored turnout hoods and stable sheets. Its humor was extraordinarily dry and extremely unusual for a German film, to the point that many people did not get it. Others thought it was one of the funniest films ever made in Germany.” –Chris Doherty, FILMFEST MÜNCHEN<br /><br />Julia Sipowicz BEAUTIFUL DAY AT THE TRACK (2023, 3 min, DCP)<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61727 <p>“Consciously self-reflexive and co-written by Hopper and REBEL WITHOUT A CAUSE screenwriter Stewart Stern, THE LAST MOVIE follows a Hollywood movie crew in the midst of making a western in a remote Peruvian village. When production wraps, Hopper, as the baleful stuntman Kansas, remains, attempting to find redemption in the isolation of Peru and the arms of a former prostitute. Meanwhile, the local Indians have taken over the abandoned set and begun to stage a ritualistic re-enactment of the production – with Kansas as their sacrificial lamb. Among the most storied productions of the New Hollywood Era, Hopper was given carte blanche by Universal for his next directorial feature after the tremendous commercial success of EASY RIDER, and the writer-director-star took the money and ran – literally – staging THE LAST MOVIE in Peru at farthest remove from the Hollywood machine, with an on-screen entourage in tow that included Kris Kristofferson, Julie Adams, Stella Garcia, Peter Fonda, Dean Stockwell, Toni Basil, Russ Tamblyn, Michelle Phillips, and director Samuel Fuller. Although it won a special award at the Venice Film Festival, THE LAST MOVIE would effectively end Hopper’s career for many years – the Hollywood establishment gleefully writing him off as a self-indulgent madman. Yet the movie remains thrillingly innovative and remarkably contemporary – influenced greatly by the work of Bruce Conner and the French New Wave, as well as the Pop and Abstract artists Hopper revered.” –Jessica Hundley<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61752 <p>Ben Rivers’s deeply unsettling yet visually and texturally exquisite film was shot during the filming of Oliver Laxe’s film, MIMOSAS, and features Laxe himself in the central role. Part documentary, part fable, it is a reimagining of Paul Bowles’s brutal short story, “A Distant Episode” (1947). Like MIMOSAS, it was filmed on 16mm, against the backdrop of the Atlas Mountains and the desert sands of the Moroccan Sahara, where Laxe is seen at work on his film. Soon though, this version of Laxe abandons his set and his crew, and begins to take on the role of Bowles’s protagonist, a professor of linguistics travelling through Morocco in the late 1940s who suffers a rapid descent into misadventure and madness. Standing in strange relation to MIMOSAS, THE SKY TREMBLES displays its own set of thematic concerns and a radically different rhythm and texture. And yet, both films share a dreamlike trajectory, a sense of parallel realities bleeding into each other, and a sometimes terrifying vision of violence as an immutable feature of the landscape.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61576 <p>This breezy 1980s comedy may be no masterpiece, but it’s saturated with racetrack atmosphere and an appreciation for the characters that make the track their home(-away-from-home). And it also boasts a crazy array of talent in front of and behind the camera: aside from star Richard Dreyfuss, the cast features an incongruously counterculture-heavy lineup including Mary Woronov, Richard Edson, and the New York Dolls’ David Johansen (not to mention Teri Garr, Jennifer Tilly, Allen Garfield, Robbie Coltrane, Cynthia Nixon, and the Mamas and the Papas’ Michelle Phillips), while the film was cut by legendary editor Dede Allen, and scored by Giorgio Moroder! Huh?<br /><br />“The spirit of Damon Runyon hangs heavily over LET IT RIDE, the 1989 feature debut for celebrated commercial director Joe Pytka. Starring Richard Dreyfuss as what used to be called a horse-racing degenerate and Teri Garr as his (what else but) long-suffering wife, LET IT RIDE is jam-packed with generically colorful characters with nicknames like Cheeseburger and Vibes. Its plot, not the most original in the world, has a cab driver named Trotter (Dreyfuss) suddenly realizing that he is walking around lucky, that any horse he bets on is going to come home a winner.” –Kenneth Turan, ESPN<br /><br />Preceded by:<br />Werner Herzog PRECAUTIONS AGAINST FANATICS / MASSNAHMEN GEGEN FANATIKER (1969, 11 min, 16mm-to-DCP. In German with English subtitles.)<br />“This bizarre short lampoons those in the establishment of the time charged with protecting the security and morals of the public. Shot at Munich’s race track, various ‘experts’ feel compelled to protect the thoroughbred horses – draped in bright colored turnout hoods and stable sheets. Its humor was extraordinarily dry and extremely unusual for a German film, to the point that many people did not get it. Others thought it was one of the funniest films ever made in Germany.” –Chris Doherty, FILMFEST MÜNCHEN<br /><br />Julia Sipowicz BEAUTIFUL DAY AT THE TRACK (2023, 3 min, DCP)<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61755 <p>Oliver Laxe’s stunning film is a breathtakingly shot “Eastern Western” that follows a mysterious caravan carrying a dying sheikh into the Moroccan Atlas Mountains. Somewhere in the desert, a caravan is escorting an elderly sheik to the village where he was born. His last wish is to be buried with his loved ones. But death does not wait. Without their leader, the company grows fearful. And at the foot of a mountain pass, they refuse to continue, entrusting the body to two men who agree to carry on and bring it to its final destination. But who are these men? And do they really know the way? In another world, a mysterious young man is chosen to find the caravan. Richly suggestive and profoundly hypnotic, MIMOSAS is a head-scratcher whose meanings remain elusive even as its imagery and structural gambits lodge deeply in your mind.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61756 <p>Oliver Laxe’s stunning film is a breathtakingly shot “Eastern Western” that follows a mysterious caravan carrying a dying sheikh into the Moroccan Atlas Mountains. Somewhere in the desert, a caravan is escorting an elderly sheik to the village where he was born. His last wish is to be buried with his loved ones. But death does not wait. Without their leader, the company grows fearful. And at the foot of a mountain pass, they refuse to continue, entrusting the body to two men who agree to carry on and bring it to its final destination. But who are these men? And do they really know the way? In another world, a mysterious young man is chosen to find the caravan. Richly suggestive and profoundly hypnotic, MIMOSAS is a head-scratcher whose meanings remain elusive even as its imagery and structural gambits lodge deeply in your mind.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61753 <p>Ben Rivers’s deeply unsettling yet visually and texturally exquisite film was shot during the filming of Oliver Laxe’s film, MIMOSAS, and features Laxe himself in the central role. Part documentary, part fable, it is a reimagining of Paul Bowles’s brutal short story, “A Distant Episode” (1947). Like MIMOSAS, it was filmed on 16mm, against the backdrop of the Atlas Mountains and the desert sands of the Moroccan Sahara, where Laxe is seen at work on his film. Soon though, this version of Laxe abandons his set and his crew, and begins to take on the role of Bowles’s protagonist, a professor of linguistics travelling through Morocco in the late 1940s who suffers a rapid descent into misadventure and madness. Standing in strange relation to MIMOSAS, THE SKY TREMBLES displays its own set of thematic concerns and a radically different rhythm and texture. And yet, both films share a dreamlike trajectory, a sense of parallel realities bleeding into each other, and a sometimes terrifying vision of violence as an immutable feature of the landscape.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61750 <p>The films gathered here all riff on the Western by repurposing, reediting, or manipulating footage – or in the case of THE SONG OF RIO JIM, soundtrack material – taken from classic instances of the genre.<br /><br />Raphael Montañez Ortiz COWBOY AND “INDIAN” FILM 1958, 2 min, 16mm-to-DCPThis film is constructed from randomly spliced pieces of Anthony Mann’s WINCHESTER ’73, which the artist had chopped with an axe and ritually cleansed by shaking the pieces inside a medicine bag while singing Yaqui healing chants.<br /><br />Hans Scheugl <br />SAFETY FILM <br />1968, 4 min, 16mm<br />“SAFETY FILM consists of a Hollywood Western shot directly off a movie screen and restored to its raw form – an act that strips the film of its narrative, reduces its size, and drains all color from the CinemaScope and DeLuxe Color Western.” –MUBI<br /><br />Maurice Lemaître <br />THE SONG OF RIO JIM <br />1978, 6 min, 16mm<br />“This film – designed to pay tribute to Ince and to Hart, ancestors and creators of the cowboy film – has a ‘western’ story but it is not on the image – which is black from beginning to end – but in the sound. […] During the screening, the spectator will thus be able to imagine all possible westerns and anti-westerns.” –LIGHT CONE<br /><br />Peter Tscherkassky <br />INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE <br />2005, 17 min, 35mm<br />“THE GOOD, THE BAD AND THE UGLY is retold through intense, widescreen 35mm warping and warbling techniques. It will change your ideas about the expressive potential of optical printing and sound remixing.” –Sean Uyehara, SAN FRANCISCO INTERNATIONAL FILM FESTIVAL<br /><br />Rebecca Baron & Douglas Goodwin <br />LOSSLESS #3 <br />2008, 10 min, digital<br />Removing key frames from a digital version of John Ford’s THE SEARCHERS, Baron and Goodwin attack the film’s temporal structuring to render a kinetic “painted desert” of the West.<br /><br />John Klacsmann & Walter Forsberg <br />TECHNICOLOR N.G. <br />2014, 20 min, 16mm, live score<br />In this film, “a Technicolor dye transfer printing error mis-registers a 1967 B-Western, revealing cyan ghosts and cinema’s psychedelic underpinnings.” With a live score by Forsberg and Klacsmann, the film is a mesmerizing investigation into the unseen foundations of the cinematic image of the West.<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> Friday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61667 <p>In the 1970s, Pierre was one of the hottest hustlers in Paris, spending his nights with clients who kept him financially comfortable. But the glory days don’t last forever, and in 2007, where BEFORE I FORGET begins, Pierre’s life is very different. He’s in his 60s, a long-time HIV survivor who struggles with his health and deep financial instability now that his regular benefactors are gone. He finds comfort in going through the motions with young hustlers he hires, and connecting with old colleagues. But the question remains: what will become of him? The final entry in actor-screenwriter-director Jacques Nolot’s “partly autobiographical” trilogy is as unique as it is beguiling, and probably hits different depending on your own place in the gay food chain. Nolot himself saw the film as an important chance to show sides of gay life that few films show, telling Dennis Lim, “The gay community doesn’t appreciate it because it sees itself as always irresistible. I have nothing to do with the typical gay cinema. In fact I’m against it. I choose not to comfort the spectator.” Gays who do appreciate Nolot’s film include iconic director John Waters who called it “the best feel-bad gay movie ever made”, and “brave, funny, gayly incorrect, and smart as a whip,” while Ira Sachs said BEFORE I FORGET “reads like a diary entry and is just as intimate…. The film chronicles…like few films I’ve ever seen, the experience of being alone. The ending is a bravura moment of self-discovery…as defiant a metaphor of queer filmmaking as any I know.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61713 <p>Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S PALACE is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61844 <p>Terraforma EXO & MoMA PS1 present a rare screening of BULLWACKIE IN NEW YORK (Christopher Coy, 1985). Featuring interviews, performances, and fly-on-the-wall footage recorded in and around the White Plains Road studio of the reggae label Wackies, in the North Bronx, the documentary highlights the artist community behind the independent label.<br /><br />After the film, founder Lloyd “Bullwackie” Barnes will be joined by singers Claudette “Lovejoy” Brown and Wayne Jarrett, and Basic Channel co-founder Mark Ernestus, in a conversation moderated by writer and tonal geologist Ryan C. Clarke.<br /><br />This program follows the opening date of Warm Up 2026 at MoMA PS1 on July 24, featuring a Wackies showcase with Bullwackie, Ernestus, Lovejoy, and Jarrett. The live ensemble performance marks the 50th anniversary of both Wackies and MoMA PS1, and is organized in collaboration with experimental music platform Terraforma EXO.<br /><br /><a href="https://www.eventbrite.it/e/bullwackie-friends-in-new-york-tickets-1992428967677"><strong>Click here for tickets!</strong><br /></a></p> Saturday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61578 <p>(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61745 <p>Craig Baldwin<br />WILD GUNMAN<br />1978, 20 min, 16mm<br />“This film is a meditation on the Marlboro Man, a compilation of images and associations designed to deconstruct this image of masculinity and consumer addiction. Not only the Man himself, but the entire myth of the cowboy and the West are its targets. The film veers from heavily-manipulated optical printer work to straight advertising footage from commercials and B-movies. Though there is no ‘history’ (which is the basis for [Baldwin’s] subsequent films) the style that characterizes all his work is firmly in place. The combination of social satire/deconstruction and recovered film images is used as a detournement – a Situationist attack against the oppression of corporate advertising.” –Tim Maloney, SENSES OF CINEMA<br /><br />Charles I. Levine<br />HORSEOPERA (A WESTERN)<br />1970, 24 min, 16mm<br />“I have used individual shots as loops to achieve a visually harmonic form, in which a variation of particular actions is made to produce a rhythmic structure. The whole panorama of the winning of the West is at hand from horse and wagon to great railroad locomotives that charge across the plains and mountains relentlessly, always watched by the Indians. Stereotyped characters and actions are transformed and become larger than life, building blocks for a plastic mosaic. Epic conflict is in motion between good and evil…the bad guys kill, rape and plunder both the land and the people, nothing is beneath them and they will not let anyone stand in their way. Their greed is unquenchable.” –Charles I. Levine<br /><br />“Mr. Levine’s purpose is…to illustrate the winning of the West as defined by movements, gestures and responses that, in Hollywood Westerns, became as formalized as those in Noh theater. […] The fights with fists and guns, the cavalry charges, the land rushes and the barroom confrontations are repeated in loops so that eventually they become the hieroglyphics of popular history.” –Vincent Canby, NEW YORK TIMES<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61735 <p>“Shot on location in Tucson, Arizona, LONESOME COWBOYS is a homoerotic satire of the Western genre, loosely based on ‘Romeo and Juliet’. Viva stars as Ramona, her lover Julian is played by Tom Hompertz, and Joe Dallesandro, Eric Emerson, and Louis Waldon play a close-knit group of brothers. The film also features brilliant performances by Taylor Mead and by Francis Francine, the star of Jack Smith’s FLAMING CREATURES, as a sheriff who dresses in drag.” –Callie Angell<br /><br />“The film’s production famously caught the attention of local authorities and led to an FBI investigation. As Warhol recounted in his memoir ‘POPism: The Warhol Sixties’: ‘Eventually, the grips, the electricians, and the people who build the sets formed a vigilante committee to run us out of town, just like in a real cowboy movie.’” –SFMOMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61579 <p>(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61738 <p>Matthew Barney<br />CREMASTER 2<br />1999, 79 min, DCP<br />“CREMASTER 2 alternates between the Columbia Icefield in Canada and the Bonneville Salt Flats in Utah. It is a gothic Western premised loosely on the real-life story of Gary Gilmore, who was executed in Utah for murder. Gilmore’s biography is conveyed through a series of fantastic sequences, including a séance to signify his conception and a prison rodeo staged in a cast-salt arena to represent his death by firing squad.” –GUGGENHEIM<br /><br />Preceded by:<br /><br />Mary Lucier<br />ARABESQUE<br />2004, 7 min, digital<br />“[ARABESQUE] explodes into dance, the dance of the bucking horse, the bull, the clown, the rodeo rider. This is the resplendent West, but Lucier undermines its glory with loss. Brilliantly, the artist sets her choreography to George Strait’s Country Western song, ‘I Can Still Make Cheyenne’. The music and the images cascade back over themselves, folding, repositioning, repeating, alive with rapture…and, again, longing.” –Laurel Reuter, NORTH DAKOTA MUSEUM OF ART<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61582 <p>A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61741 <p>Moustapha Alassane<br />AN ADVENTURER’S HOMECOMING / RETOUR D’UN AVENTURIER<br />1966, 34 min, 16mm-to-DCP. In Hausa and French with English subtitles.<br />“Jimi flies back to his native village after a long absence and convinces his friends to become cowboys. Renamed Black Cooper, John Kelly, Breaker, Billy Walter, and Queen Christine, they steal horses, terrorize sheepherders, and brawl in the neighborhood saloon to the horror of the locals. Drawing maximum effects from an economy of means, Alassane’s brilliant comedy intertwines central modernization plots in West Africa and Europe after the war (a traveler’s return, the youth problem, the arrival of new technology) with the outlaw gang and frontier-town-under-attack narratives that were mainstays of the western genre. By stripping these stories of their conventional moral weight, he opens his film, ‘the first African western,’ to the widest scope of possible interpretations.” –Jamie Berthe & Sam Di Iorio<br /><br />Kevin Jerome Everson<br />TEN FIVE IN THE GRASS<br />2011, 32 min, Super-8mm-to-digital. Screening courtesy the artist and Picture Palace Pictures.<br />“The black western richly provokes the mythology of the American West and the idea of film genre as a historiographic Imagineering by tacitly revealing how the narrative form has covertly borne a racial and cultural ideal. The genre’s classical themes of nation-building, the civilizing of savage lands, utopianism, and the discreteness of good and evil become refabulated as Everson draws attention to absences, disavowals, and the difference of a culture other than pale riders. Everson’s TEN FIVE IN THE GRASS examines the craft of the black cowboy. The film illustrates Everson’s interest in everyday intellect by observing the rituals of the grooming of horses, riding, and roping. The piece is set in a practice space in Natchez, Mississippi run by Fred Mayberry, a rancher and professional rodeo calf roper.” –Michael B. Gillespie<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> Sunday, July 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61583 <p>A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61672 <p>ARAB FILM AND MEDIA INSTITUTE PRESENTS:<br />DANIELLE ARBID’S ‘IN THE BATTLEFIELDS’<br />Arab Women in the Arts is an annual showcase to honor generations of Arab women who have excelled in and revolutionized all forms of artistic expression. This year’s event will celebrate the Lebanese-French filmmaker Danielle Arbid, a multimedia artist and director whose work explores the themes of war, memory, isolation, sexuality, and transience, primarily through the perspective of women. Her short-, medium-, and feature-length films traverse fiction and documentary – and often include elements inspired by her own life experience. For nearly three decades, Arbid’s films have been celebrated within the spheres of film festivals, while also censored and shunned for their direct confrontations of “taboo” subject matter. Arbid’s audacious determination to engage with forbidden topics, to challenge repressed pasts, and to capture intimate emotions with her lens, make her one of the most innovative Arab women artists today.<br /><br />This summer Arab Women in the Arts will be presenting selected films from Arbid’s career at venues throughout New York City, including Nitehawk Cinema. Here at Anthology, we are delighted to host the opening night event, which will showcase Arbid’s debut feature film, IN THE BATTLEFIELDS (2004).<br /><br />Programmed by Nanor Vosgueritchian. This program is co-presented by ArteEast.<br /><br />Danielle Arbid<br />IN THE BATTLEFIELDS / MAAREK HOB<br />2004, 88 min, DCP. In Arabic with English subtitles.<br />Beirut, 1983. The secret life of 12-year-old Lina (Marianne Feghali) revolves around 18-year-old Siham (Rawya El Chab), her domineering aunt’s maid. In a precarious wartime existence where passion and frustrations overshadow everything, Lina hides and encourages Siham’s clandestine love affairs while Siham shows Lina what her life could be like. But as Lina’s dysfunctional family implodes, class tension, jealousy, and insecurity threaten their vulnerable friendship.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61580 <p>(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61581 <p>(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61650 <p>This program is anchored by the films that were made by Duchamp directly: ANÉMIC CINÉMA and DISCS, the latter of which was made for inclusion in Hans Richter’s project DREAMS THAT MONEY CAN BUY, whose interwoven dream sequences were created by a who’s-who of the French avant-garde art world of the time (Duchamp, Max Ernst, Fernand Léger, Man Ray, Alexander Calder, and Richter himself). The program also includes Duchamp’s collaborations with René Clair & Francis Picabia (ENTR’ACTE) and Maya Deren (WITCH’S CRADLE), his appearances in films by Andy Warhol, and a filmed interview with Duchamp (made on the occasion of a Boston Museum of Fine Art exhibition of the work of Duchamp’s brother, Jacques Villon).<br /><br />Andy Warhol SCREEN TEST (ST79): MARCEL DUCHAMP (1966, 4 min, 16mm-to-DCP, silent. Collection of The Andy Warhol Museum, Pittsburgh. Contribution The Andy Warhol Foundation for the Visual Arts, Inc.)<br />René Clair & Francis Picabia ENTR’ACTE (1924, 22 min, 35mm)<br />Marcel Duchamp & Man Ray ANÉMIC CINÉMA (1926, 7 min, 35mm, silent)<br />Maya Deren WITCH’S CRADLE (1944, 12.5 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />Marcel Duchamp DISCS (1947, 4 min, 16mm-to-DCP)<br />Andy Warhol DUCHAMP OPENING (1963, 4 min, 16mm-to-DCP, silent. Collection of The Andy Warhol Museum, Pittsburgh. Contribution The Andy Warhol Foundation for the Visual Arts, Inc.)<br /><br />Total running time: ca. 60 min.<br /><br /><strong>Introduced by Justin Remes.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61584 <p>A magnificent drama about a thief, his techniques, motives, and secret existence. The plot is modeled loosely on Dostoevsky’s CRIME AND PUNISHMENT, but the rigorous intensity of the treatment is pure Bresson, as he tells the compelling story of an insignificant man who drifts into crime and finally finds grace in a prison cell. The famous scene of the pickpocket’s magical raid on a train station ranks as one of the great tours-de-force of French cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61692 <p>“Set at the twilight of the century, WALK THE WALK follows a family of three that splits apart, each member trying to find their own way in post-historical Europe. Abel (Jacques Martial), an athlete, travels to Eastern Europe, encountering the ruins of the Soviet project; the microbiologist Nellie (Laure Duthilleul) remains in southern France, undertaking an inward voyage; their teenage daughter Raye (Betsabée Haas) journeys eastward from Marseille after a potential exposure to HIV. It is well known that Kramer’s DOC’S KINGDOM (1988) and ROUTE ONE/USA (1989) drew inspiration from John Berger and Jean Mohr’s book ‘A Fortunate Man’. However, WALK THE WALK may be the Kramer film closest to the style and concerns of Berger’s writing of the period – particularly ‘To the Wedding’, his 1995 novel about a split family traveling across post-Cold War Europe and grappling with the daughter’s HIV diagnosis. Kramer sent a series of letters to Berger in the early 1990s in the lead up to WALK THE WALK. In one of these letters (from 1994), Kramer wrote of the film: ‘abel is NOT me. You are not me. Yet…borderlines of consciousness and character blurr’ [sic].” –Benjamin Crais<br /><br /><strong>The screening on Fri, July 31 will be introduced by film critic and curator Benjamin Crais.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61652 <p>“Duchamp discovered that instead of creating something entirely new, he could produce art by modifying or recontextualizing objects that already existed. Among his ‘found objects’ were a bicycle wheel, a snow shovel, and (of course) a urinal. In the aftermath of this Duchampian revolution, filmmakers too began to realize that they didn’t need to create ex nihilo. Rather than shooting original footage, they could simply rework footage that already existed. The first filmmaker to appropriate Duchamp’s strategy of appropriation was Joseph Cornell, who made the first found footage film, ROSE HOBART, in 1936. (It should come as no surprise that Cornell once said, ‘I feel my debt [to Duchamp] is real & great.’) Ever since the release of ROSE HOBART, filmmakers have experimented with preexisting footage, often creating films that either directly or indirectly acknowledge Duchamp as the progenitor of this tradition.” –Justin Remes<br /><br />Joseph Cornell ROSE HOBART ca. 1936/68, 20 min, 16mm, sound. Preserved by Anthology Film Archives.<br />Gianfranco Baruchello & Alberto Grifi UNCERTAIN VERIFICATION / VERIFICA INCERTA 1964-65, 31 min, 16mm-to-DCP<br />Hollis Frampton THE BIRTH OF MAGELLAN: CADENZA I 1977-80, 5 min, 16mm<br />Phil Solomon THE PASSAGE OF THE BRIDE 1980, 6 min, 16mm, silent<br />Peter Tscherkassky TRAIN AGAIN 2021, 20 min, 35mm-to-DCP<br /><br />Total running time: ca. 85 min. Introduced by Justin Remes.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61585 <p>Luis Buñuel & Salvador Dalí UN CHIEN ANDALOU (1928, 22 min, 35mm, b&w)<br />Twenty-two minutes of pure, scandalous dream-imagery, a stream of images from which anything that could be given a rational meaning was rigorously excluded. It remains the unsurpassed masterpiece of the surrealist cinema.<br /><br />Luis Buñuel LAND WITHOUT BREAD / LAS HURDES: TIERRA SIN PAN (1932, 28 min, 35mm, b&w. With English narration.)<br />“A documentary describing, matter-of-factly, a region of Spain so ravaged by epidemic poverty that there our worst fantasies find their objective correlative.” –Raymond Durgnat<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61588 <p>“The story is a sequence of moral and surrealist aesthetics. The sexual instinct and the sense of death form the substance of the film. It is a romantic film performed in full surrealistic frenzy.” – Luis Buñuel<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61655 <p>While Duchamp is arguably the father of found-footage filmmaking, many of the films that have been directly or indirectly inspired by his approach have stopped short of representing true (i.e., mostly or entirely un-edited or -manipulated) ready-mades. This program, however, collects a number of films that have more fully embraced Duchamp’s gesture of recontextualizing objects (in this case filmic objects) without significantly altering them. The “found” films represented here include home movies, news reports, color test strips, corporate films, soundtracks, and other film materials that have been liberated from archives, labs, or street vendors, and re-presented by their new, “adopted” authors.<br /><br />Ken Jacobs ARTIE AND MARTY ROSENBLATT’S BABY PICTURES 1963, 4 min, 8mm-to-16mm, silent. Preserved by Anthology Film Archives.<br />Albert Fine READYMADE 1966, 2.5 min, 16mm-to-digital, silent<br />Muntadas TRANSFER 1975, 19 min, video<br />Phil Solomon THE PASSAGE OF THE BRIDE 1980, 6 min, 16mm, silent<br />Ken Jacobs PERFECT FILM 1985, 24 min, 16mm<br />Peter Tscherkassky SHOT/COUNTERSHOT 1987, 11 sec, 16mm, silent<br />Luther Price SHELLY WINTERS 2010, 8 min, 16mm. Restored by Anthology 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> Saturday, August 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61695 <p>The first great success of renowned Swiss filmmaker Alain Tanner, THE SALAMANDER also represents one of his many collaborations with John Berger: between 1966-76 the pair made four films together (including Tanner’s most famous, the 1976 feature, JONAH WHO WILL BE 25 IN THE YEAR 2000). THE SALAMANDER begins with a succession of enigmatic images: a man is shown cleaning his gun; the gun goes off; furtively, a woman’s face appears. From this mysterious opening, Tanner and Berger build a metaphorical scenario: two men, a journalist and a writer, are determined to discover the truth about this woman. Each uses his own weapons: documentary research in one case, boundless imagination in the other. But gradually, both courses of action prove futile. The beauty of the film lies in its capacity to develop a theme without ever belaboring its message: that reality outruns all efforts to grasp it. As played by Bulle Ogier, Rosemonde remains a definitive incarnation of post-1968 freedom.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61657 <p>Duchamp’s canonical painting, “Nude Descending the Stairs”, has exerted a profound influence on artists and has generated an enormous amount of commentary by art critics and scholars, but less recognized are the ways it has resonated with and inspired film and video artists. This program focuses on moving-image works – many of them made in the last 15 years – that evoke, adapt, or pay homage to this seminal painting, in a wide variety of ways.<br /><br />Shigeko Kubota VIDEO INSTALLATIONS 1970-1994 1994, 3-min excerpt, video<br />Robert Huot NUDE DESCENDING THE STAIRS 1970, 9.5 min, 16mm, silent<br />Dan Browne NUDE DESCENDING (AFTER DUCHAMP) 2013, 2 min, digital<br />Patrice Kirchhofer NDUE 2014, 20 min, digital. Soundtrack: John Cage’s “Music for Marcel Duchamp”.<br />Wenhua Shi DESCENDING A STAIRCASE 2013-16, 7 min, digital<br />Dianna Barrie & Richard Tuohy NUDE DESCENDING 2026, 10 min, 16mm<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 01