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, 26 Jul 2026 06:57:00 -0400 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 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61589 <p>(aka THE FORGOTTEN ONES / THE YOUNG AND THE DAMNED)<br /><br />Fusing social realist and surrealistic elements, Buñuel’s film unflinchingly portrays the lives of a gang of juvenile delinquents on the destitute streets of Mexico City, led by the ruthless Jaibo (Roberto Cobo). Edging against neorealism but devoid of its sentimentalism, Buñuel zeroes in on the brutalities of life lived in poverty without any undercurrent of redemption. In 1951, Octavio Paz wrote of the film, “The world of LOS OLVIDADOS is peopled by orphans, by loners who seek communion…the quest for the ‘other,’ for our likeness, equals, is the other side of the search for the mother. Or the acceptance of her definitive absence, that knowledge that we are alone.” LOS OLVIDADOS was among Barbara Loden’s favorite films.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, August 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61659 <p>“Marcel Duchamp’s ANÉMIC CINÉMA has fascinated audiences ever since it was first screened 100 years ago. The film alternates between rotoreliefs (spinning discs that create an illusion of three-dimensional space) and naughty French puns (which Man Ray called ‘delicious pornographic anagrams’). Duchamp himself released a spiritual successor to ANÉMIC CINÉMA in 1947 called DISCS, which incorporates numerous elements that aren’t present in the original film, including color, music, and live action re-creations of Duchamp paintings, such as ‘Nude Descending a Staircase, No. 2’ (1912). Around the same time, someone released a mysterious version of ANÉMIC CINÉMA that includes added footage of a young woman and a sequence from a canonical narrative film of the 1920s. (Duchamp claims that he had nothing to do with this version of the film – but can we trust him?) And in recent decades, ANÉMIC CINÉMA has inspired countless experimental films, including works by Peggy Ahwesh, Gustav Deutsch, and Siegfried Fruhauf. Duchamp’s discs continue to spin…” –Justin Remes<br /><br />Marcel Duchamp & Man Ray ANÉMIC CINÉMA 1926, 7 min, 35mm, silent<br />Marcel Duchamp DISCS 1947, 4 min, 16mm-to-DCP<br />Ernst Schmidt, Jr. A SUB-HISTORY OF FILM / EINE SUBGESCHICHTE DES FILMS 1974, 2 min, 16mm-to-DCP, silent<br />Paolo Gioli IMAGES OVERTAKEN BY THE WHEEL OF DUCHAMP / IMMAGINI TRAVOLTE DALLA RUOTA DI DUCHAMP 1994, 12.5 min, 16mm-to-DCP<br />Peggy Ahwesh THE VISION MACHINE 1997, 20 min, 16mm-to-digital<br />Gustav Deutsch FILM IS. A BLINK OF AN EYE / FILM IST. EIN AUGENBLICK 1998, 4 min, 16mm-to-DCP<br />Siegfried Fruhauf THORAX 2019, 8 min, DCP<br />Siegfried Fruhauf BALLET ANÉMIC 2022, 6 min, DCP, silent<br />Marcel Duchamp & Man Ray ANÉMIC CINÉMA #2 [alternate version] 1924-63, 9 min, 35mm-to-digital<br /><br />Total running time: ca. 75 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> Sunday, August 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61590 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin’s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin's own music and poetic narration, added for the 1942 reissue.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61661 <p>This program combines early experimental films and videos by John Cage, Shigeko Kubota, and Hannah Wilke that pay homage to Duchamp in various ways, as well as two different “remakes” – by Abigail Child and Lene Berg – of Duchamp and Man Ray’s lost film, ELSA, BARONESS VON FREYTAG-LORINGHOVEN, SHAVING HER PUBIC HAIR (1921).<br /><br />Shigeko Kubota MARCEL DUCHAMP AND JOHN CAGE 1972, 28.5 min, video<br />Hannah Wilke HANNAH WILKE THROUGH THE LARGE GLASS 1976, 10 min, 16mm-to-DCP, silent<br />John Cage CHESSFILMNOISE 1988, 17 min, 16mm-to-DCP<br />Abigail Child ELSA merdelamerdelamer 2013, 4 min, DCP<br />Lene Berg SHAVING THE BARONESS 2010, 7.5 min, DCP. Courtesy of Filmform.<br /><br />Total running time: 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61698 <p>Michael Dibb<br />OMNIBUS: PIG EARTH<br />1979, 48 min, 16mm-to-DCP<br />PIG EARTH marked John Berger’s return to television after WAYS OF SEEING. The film, boldly using mostly still photographs, is based on Berger’s book of the same name, which was both a work of fiction and a history of French Peasant experience, as told by John “the story teller”, as if in the peasant’s own voices. All of this was given brilliant visual expression in the film through a series of beautifully edited sequences, each constructed from vivid and moving photographs of peasants and their lives, in black and white and color, by Berger’s friend and long-time collaborator, the Swiss photographer Jean Mohr.<br /><br /><br />Michael Dibb<br />OMNIBUS: PARTING SHOTS FROM ANIMALS<br />1980, 50 min, 16mm-to-DCP<br />PARTING SHOTS FROM ANIMALS was inspired by essays by John Berger and developed in collaboration with Chris Rawlence. Shot entirely in the UK, it consists of a diverse series of arresting “films within a film”, each presented as if made about humanity from the perspective of the animals whose lives we may appear to celebrate, but continue to exploit and to destroy. While Berger doesn’t appear in the film and wasn’t directly involved in its making, he narrates to great effect the text he co-wrote to accompany the film’s provocative opening sequence.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61701 <p>Prolific artist, philosopher, writer, storyteller and “radical humanist” John Berger is the focus of this vivid four-part cinematic portrait. In 1973, he moved from urban London to the tiny Alpine village of Quincy. THE SEASONS IN QUINCY examines different aspects of Berger’s life in this remote village in the Alps. In four seasonal chapters, the film combines ideas and motifs from his work with the texture and history of his mountain home. In Colin MacCabe’s “Ways of Listening”, Tilda Swinton, a longtime friend and collaborator, joins Berger for a frank and revealing conversation; in “Spring”, directed by Christopher Roth, Berger’s seminal writing on animals is illuminated by local farming practice and set alongside other philosophical approaches to animal consciousness; Bartek Dziadosz and Colin MacCabe’s “A Song for Politics” finds Berger joined by writers Ben Lerner and Akshi Singh, along with MacCabe and Roth, for a lively political discussion of our present moment and its relationship to the past; and finally, in Tilda Swinton’s “Harvest”, Berger’s son and Swinton’s children join their parents for a visually rich journey to Quincy from the Scottish highlands, seeing the countryside anew.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, August 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61663 <p>Charles Atlas & Merce Cunningham<br />WALKAROUND TIME<br />1973, 48 min, 16mm-to-DCP<br />WALKAROUND TIME marks Charles Atlas’s first visual documentation of a Merce Cunningham dance. Its set consists of seven large translucent inflatables screen-printed with images taken from Marcel Duchamp’s “The Bride Stripped Bare by Her Bachelors, Even” (1915-1923), commonly referred to as “The Large Glass”. Artist Jasper Johns, who had been Cunningham’s artistic adviser since 1966, proposed the set idea to Cage, Cunningham, and Duchamp during an after-dinner conversation.<br /><br />“Though the choreography, music and decor were each independently conceived, they shared a common thematic purpose: an homage to the work of Marcel Duchamp. Cunningham has translated Duchamp’s concern with transparency in terms of a dance which explores the possibilities of lateral movement across a proscenium space. Cunningham’s ready-made is the ‘laissez-faire’ movement during the ‘entr’acte’, and when he changes costume on stage it is a nod to the famous nude.” –Charles Atlas<br /><br />Shigeko Kubota & Nam June Paik<br />MERCE BY MERCE BY PAIK PART TWO: MERCE AND MARCEL<br />1978, 13 min, video<br />In MERCE AND MARCEL, Nam June Paik and Shigeko Kubota create a densely textured, transcultural collage that pays tribute to the eponymous artists by addressing the relationship of art and life. Paik and Kubota link art to the movements and gestures of the everyday: “Is this dance?” reads the text over an aerial view of taxis moving through the streets of New York, and the image of a baby’s tottering first steps. A rare interview with Duchamp by Russell Connor is re-edited by Paik in a rapid, stutter-step progression. In a witty temporal layering that Paik terms a “dance of time,” an interview with Cunningham, also by Connor, is intercut and superimposed with the earlier interview of Duchamp: “Time reversible – Time irreversible.”<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> Monday, August 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61665 <p>[JEU D’ÉCHEC AVEC MARCEL DUCHAMP]<br /><br />“Filmed in 1963 the program offers an in-depth dialogue between Duchamp and filmmaker Jean-Marie Drot over a game of chess and a tour of Duchamp’s first one man show at the Pasadena Art Museum in 1963. Duchamp details his life and work only five years before his death in a discussion of his time in the United States after fleeing France in 1915. The discussion touches on his view of the country in social and political terms as well as its impact on his own work, intermingled with visual contemplations on the progression of his artwork from painting to photographs throughout his career.” –ACMI<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, August 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61693 <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> Monday, August 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61593 <p>“It is stupid to treat Charlie as a clown of genius. If there had never been a cinema he would undoubtedly have been a clown of genius, but the cinema has allowed him to raise the comedy of circus and music hall to the highest aesthetic level. Chaplin needed the medium of the cinema to free comedy completely from the limits of space and time imposed by the stage or the circus arena. […] [The] best Chaplin films can be seen over and over again with no loss of pleasure – indeed the very opposite is the case. It is doubtless a fact that the satisfaction derived from certain gags is inexhaustible, so deep does it lie, but it is furthermore supremely true that comic form and aesthetic value owe nothing to surprise. The latter is exhausted the first time around and is replaced by a much more subtle pleasure, namely the delight of anticipating and recognizing perfection.” –André Bazin, WHAT IS CINEMA<br /><br />A WOMAN (1915, 20 min, 16mm)<br />EASY STREET (1917, 19 min, 16mm)<br />THE CURE (1917, 26 min, 16mm)<br />PAY DAY (1922, 22 min, 35mm)<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, August 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61696 <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> Tuesday, August 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61594 <p>CITY LIGHTS, the most cherished film by Charlie Chaplin, is also his ultimate Little Tramp chronicle. The writer-director-star achieved new levels of grace, in both physical comedy and dramatic poignancy, with this silent tale of a lovable vagrant falling for a young blind woman who sells flowers on the street (a magical Virginia Cherrill) and mistakes him for a millionaire. Though this Depression-era smash was made after the advent of sound, Chaplin remained steadfast in his love for the expressive beauty of the pre-talkie form. The result was the epitome of his art and the crowning achievement of silent comedy.</p> Tuesday, August 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61595 <p>CITY LIGHTS, the most cherished film by Charlie Chaplin, is also his ultimate Little Tramp chronicle. The writer-director-star achieved new levels of grace, in both physical comedy and dramatic poignancy, with this silent tale of a lovable vagrant falling for a young blind woman who sells flowers on the street (a magical Virginia Cherrill) and mistakes him for a millionaire. Though this Depression-era smash was made after the advent of sound, Chaplin remained steadfast in his love for the expressive beauty of the pre-talkie form. The result was the epitome of his art and the crowning achievement of silent comedy.</p> Wednesday, August 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61699 <p>Michael Dibb<br />OMNIBUS: PIG EARTH<br />1979, 48 min, 16mm-to-DCP<br />PIG EARTH marked John Berger’s return to television after WAYS OF SEEING. The film, boldly using mostly still photographs, is based on Berger’s book of the same name, which was both a work of fiction and a history of French Peasant experience, as told by John “the story teller”, as if in the peasant’s own voices. All of this was given brilliant visual expression in the film through a series of beautifully edited sequences, each constructed from vivid and moving photographs of peasants and their lives, in black and white and color, by Berger’s friend and long-time collaborator, the Swiss photographer Jean Mohr.<br /><br /><br />Michael Dibb<br />OMNIBUS: PARTING SHOTS FROM ANIMALS<br />1980, 50 min, 16mm-to-DCP<br />PARTING SHOTS FROM ANIMALS was inspired by essays by John Berger and developed in collaboration with Chris Rawlence. Shot entirely in the UK, it consists of a diverse series of arresting “films within a film”, each presented as if made about humanity from the perspective of the animals whose lives we may appear to celebrate, but continue to exploit and to destroy. While Berger doesn’t appear in the film and wasn’t directly involved in its making, he narrates to great effect the text he co-wrote to accompany the film’s provocative opening sequence.<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> Wednesday, August 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61591 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin’s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin's own music and poetic narration, added for the 1942 reissue.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61592 <p>One of the most celebrated and beloved of all silent films, THE GOLD RUSH features Chaplin’s most distinctive alter-ego, the little tramp, as he wins fortune and love in the Yukon. Filled with impressive sight gags and heartrending pathos, the film deserves its reputation as one of the touchstones of modern comedy. This version features Chaplin's own music and poetic narration, added for the 1942 reissue.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61758 <p>“SODA POP JOE was made in 1964, during the exuberant period in Czechoslovakia filled with the hope that society was breaking free of the ideological grip of the 1950s and heading towards more freedom. The very choice of the Western and of satirical comedy was in itself already a step in opposition to the official presentation of the Western as ‘a fallen and damaging genre’. In a typical main street of a small town in the far West, a fight takes place between the handsome hero, Joe, and an ugly scoundrel. Joe is an agent for a company that produces the soft drink ‘Kolaloka’ and is trying to enforce the prohibition of alcohol. [SODA POP JOE’s] charm, bravura and humor ensured it 4.5 million viewers and the film is still regularly shown on Czech and Slovak TV stations.” –ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61596 <p>CITY LIGHTS, the most cherished film by Charlie Chaplin, is also his ultimate Little Tramp chronicle. The writer-director-star achieved new levels of grace, in both physical comedy and dramatic poignancy, with this silent tale of a lovable vagrant falling for a young blind woman who sells flowers on the street (a magical Virginia Cherrill) and mistakes him for a millionaire. Though this Depression-era smash was made after the advent of sound, Chaplin remained steadfast in his love for the expressive beauty of the pre-talkie form. The result was the epitome of his art and the crowning achievement of silent comedy.</p> Thursday, August 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61762 <p>“Samurai movies often operate similarly to westerns (part of why SEVEN SAMURAI and YOJIMBO were later remade Stateside), but rarely do you see an actual Japanese western.” –Kyle Warner, CITY ON FIRE<br /><br />THE MAN WITH A SHOTGUN is a high point in the first five years of director Seijun Suzuki’s career within Nikkatsu’s “Borderless Action” series. Drawing inspiration from Hollywood and the French New Wave, Suzuki’s works for Nikkatsu blended East and West, movie-fueled fantasies, and gritty realities of life in postwar Japan.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61597 <p>(LE SANG D’UN POÈTE)<br /><br />“Adolescent angels wandering about, black boxers with perfect bodies taking flight, school-children in capes killing each other with snowballs, a mirror becomes a swimming pool, and the hallways of a furnished hotel turn into a labyrinth.” –Georges Sadoul<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61766 <p>“Millie Perkins stars as an unnamed woman who hires two men – an ex-bounty hunter (Warren Oates) and his sidekick (Will Hitchins) – to take her through the desert on a mysterious revenge mission. The quest becomes more curious when a drifter (Jack Nicholson) begins to follow their trail. Written by Carole Eastman (FIVE EASY PIECES) and unofficially financed by Roger Corman, this film is less a revisionist Western and more a surreal, unsettling narrative set in the American West. As The Woman, Perkins is cold, determined, and unapologetic – a persona few women have been allowed to adopt within the Western genre – and she’s never been better.” –Hannah Greenberg<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61598 <p>(LA BELLE ET LA BÊTE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />“Jean Cocteau’s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty’s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Doré extravagance of the Beast’s enchanted landscape. In Christian Bérard’s makeup, Jean Marais is a magnificent Beast.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61769 <p>Juan Sáyago returns to his hometown after serving 18 years in prison for the murder of Raúl Trueba. Although he killed in self-defense, rumors in town circulated during his absence speculating that the victim was killed in cold blood. Sáyago wants to rebuild the life he was denied with his old lover, Mariana Sampedro, but Trueba’s sons have sworn to avenge the murder of their father. This classic Mexican neo-western was the first realized screenplay of Nobel Prize winner Gabriel García Márquez and legendary Mexican novelist Carlos Fuentes. Under the direction of Arturo Ripstein, TIME TO DIE represents one of the earliest examples of New Mexican Cinema and one of the most accomplished Mexican films from the 1960s.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61773 <p>“This cult ‘red’ Lithuanian western is both a partial reworking of Kurosawa’s SEVEN SAMURAI and a complex accounting for the legacy of Sovietization and World War II. In 1947, a small farming community is torn between allegiances to the Soviet Union and its Partisan ‘brothers in the woods’ after the village council’s chairman is murdered. Brilliantly shot by Jonas Gricius (Kozintsev’s HAMLET and KING LEAR), this heightened pro- and anti-Soviet drama draws intriguing comparisons with the McCarthyist Hollywood westerns of the 1950s and is directed by one of Lithuanian cinema’s most celebrated figures.” –ACMI (AUSTRALIAN CENTRE FOR THE MOVING IMAGE)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61601 <p>(ORPHÉE)<br /><br />With Jean Marais.<br /><br />“Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS’s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.” –Jean Cocteau<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61742 <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> Saturday, August 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61599 <p>(LA BELLE ET LA BÊTE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />“Jean Cocteau’s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty’s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Doré extravagance of the Beast’s enchanted landscape. In Christian Bérard’s makeup, Jean Marais is a magnificent Beast.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61776 <p>Glauber Rocha’s sophomore feature is a scorched-earth allegory about the blind followers of dead-end ideologies. Somewhere in the Brazilian hinterlands of the 1940s, ranch hand Manoel becomes an outlaw after killing his swindling boss. He pledges allegiance to Sebastião, a self-styled holy man who preaches revolt against rich landowners even as he perpetrates unspeakable acts of violent zealotry against the innocent. While the landowners hire a mercenary to take out Sebastião, Manoel and his wife Rosa join cangaceiros Corisco and Dadá, only to find themselves once more in league with evil, deluded forces. Steeped in history, myth, religion, and politics, and suffused with the feverish intensity of the blistering desert, BLACK GOD, WHITE DEVIL is one of the Cinema Novo movement’s most uncompromising statements on current social issues as well as the universal problem of mindless fanaticism.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 08