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, 16 Aug 2026 09:38:58 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61787 <p>“György Szomjas’s first feature – made after a decade of short documentaries – is a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with the image of a lone horseman on the empty plain, riding past a rude gallows. THE WIND IS WHISTLING UNDER THEIR FEET concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers, and hard-bitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdag’s films) – a feast of loamy, autumnal colors.” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61685 <p>The award-winning director Iván Acosta reconstructs the bitter and confusing hours following the Twin Towers attack from a video he had recorded and stashed away in a drawer.<br /><br /><strong>Followed by a Q&A with director Iván Acosta!<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61760 <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> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61687 <p>In this tongue-in-cheek comedy, East German Stasi officer Fritz travels to Cuba with orders to thwart a suspected CIA operation against Fidel Castro. In Havana he meets Lola, a young woman who changes the course of his life.<br /><br /><strong>Followed by a Q&A with actor Carlos Enrique Almirante!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61771 <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> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61790 <p>“WHITE SUN OF THE DESERT is the final installment of what might be called a traditional Ostern. It tells the story of Fyodor Sukhov, a Red Army soldier in what would become the Turkmen Soviet Socialist Republic. While clearly drawing on Western cinematic tropes, the film undoubtedly spoke to Soviet audiences regarding issues of nation and empire, reflecting the nationalist ideals of a Russian-dominated Central Asia. Over time, WHITE SUN OF THE DESERT achieved cult status in Russia and other post-Soviet countries. It’s famously watched by Russian cosmonauts before space missions as a good-luck tradition, underscoring its enduring cultural significance.” –PRINCETON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61793 <p>Firepower meets flower power in this outrageous western about two thrill-seeking cowboys who rock the range. Starring John Rubinstein (THE CAR), Don Johnson (TV’s MIAMI VICE), and Dick Van Patten (HIGH ANXIETY) and featuring legendary musicians Country Joe and the Fish and White Lightnin’, this psychedelic trip through the Wild West is an utterly unique film experience. Two cowboys (Rubinstein and Johnson) set out for adventure and join up with a band of rock ‘n’ roll outlaws. But as the two friends are seduced by their own quick-draw ambitions, a deadly rivalry grows between them, and they must struggle to find a path to peace – before they lose more than their reputations…and kill more than their friendship. Hollywood veteran George Englund (THE UGLY AMERICAN) directed this one-of-a-kind cult classic.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61796 <p>“A deliberately miscast Jean-Pierre Léaud – in all of his Parisian, fidgety angst – stars as the legendary Billy the Kid in this shaggy acid western…. Having single-handedly held up the Wells Fargo stagecoach, the improbable hero struggles to transport his loot when he (quite literally) stumbles across Ann and forcibly enlists her help. Cruelty soon gives way to romance and complicity amid a backdrop of farcical vengeance and a haze of trippy surrealism. Edited by Jean Eustache and scored by the filmmaker’s brother, Patrice Moullet, A GIRL IS A GUN is a low-budget riff on the great American westerns, a nod to Howard Hawks, that veers closer to a comedic version of Philippe Garrel’s psychedelic desert Zanzibar films. Shot in just six days with a tiny crew, the film is a strange mix of homage, imagination, spoof, and sonic and visual dissonance enhanced by the extreme otherworldliness of Luc Moullet’s favorite jagged landscape.” –Andréa Picard, TIFF<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61633 <p>[FUTURO FUTURO]<br /><br />In a bleak near-future Brazil where artificial intelligence has triggered a mysterious neurological crisis, K is a forty-year-old man who has lost both his memory and sense of belonging. Drifting through a desolate unnamed city, shaped by deepening social inequality and technological control, he embarks on an absurd and increasingly tragic search for identity and connection. Blending dystopian science fiction with political allegory, director Davi Pretto’s fourth feature crafts a formally daring vision of a collapsing society haunted by environmental catastrophe, class divisions, and the dehumanizing promises of technological progress. Incorporating artificial intelligence into its own visual language, the film is a hypnotic and cautionary portrait of a world that feels both eerily distant and unsettlingly close.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61800 <p>A young man, Kid, stumbles through the Mexican Sierra, shot and half bled to death, carrying a suitcase containing the loot from a bank robbery. Passing out from heat and blood loss, he is found by Charles Dump, a former gold miner living on the outskirts of the ghost town “Deadlock” with his daughter (Klick discovery Mascha Elm-Rabben, later to appear in Werner Schroeter’s BOMBERPILOT and SALOME, and Fassbinder’s WORLD ON A WIRE). As Dump realizes what’s in the suitcase, he tries to come up with a plan to get rid of its owner. As they are joined by Kid’s partner in crime, the sadistic killer Sunshine, the conflict triangle is perfect. Soon it’s everyone for himself in a violent endgame under the glistening sun where only one can walk away with the suitcase. DEADLOCK is a dark, nihilistic tale of greed, corruption and codes of honor. A chamber play of Beckettian proportions, it is also a psychedelic Western as gritty as they come. Boasting admirers ranging from Jodorowsky to Spielberg to Tarantino, DEADLOCK is graced with a soundtrack by legendary Krautrock band CAN.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61603 <p>Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives.<br /><br />ROSE HOBART (ca. 1936/68, 20 min, 16mm, sound. Preserved by Anthology Film Archives. <strong>Brand-new print!</strong>)<br />CENTURIES OF JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.)<br />THE AVIARY (1954, 11 min, 16mm. Photographed by Rudy Burckhardt.)<br />GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.)<br />NYMPHLIGHT (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.)<br />A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm. Photographed by Rudy Burckhardt; completed by Lawrence Jordan.)<br />ANGEL (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.)<br /><br />“[ROSE HOBART] is a breathtaking example of the potential for surrealistic imagery within a conventional Hollywood film once it is liberated from its narrative causality. […] In Cornell’s later films – both those photographed by Rudy Burckhardt, Stan Brakhage, and Larry Jordan and the collage films which Jordan completed – Joseph Cornell describes the marginal area where the conscious and the unconscious meet. These are films which affirm a sustained present moment in which a quality of reminiscence is implicated.” –P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> <p><br /><br /></p> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61788 <p>“György Szomjas’s first feature – made after a decade of short documentaries – is a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with the image of a lone horseman on the empty plain, riding past a rude gallows. THE WIND IS WHISTLING UNDER THEIR FEET concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers, and hard-bitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdag’s films) – a feast of loamy, autumnal colors.” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61604 <p>Bruce Conner<br />A MOVIE (1958, 12 min, 16mm)<br />COSMIC RAY (1961, 4 min, 16mm)<br />REPORT (1965, 13 min, 16mm)<br />“Conner stands as a kind of twentieth century Peter Breughel. For like the great Flemish master he distorts the visible world in order to penetrate a reality of being rather than appearances; his vision is cosmic in breadth; he deals with some of the most provocative issues, both artistic and otherwise, of his time; and finally, with an evocative ambiguity and painful irony he touches something which we sometimes call the human experience.” –Carl I. Belz, FILM CULTURE<br /><br />COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation’s Avant-Garde Masters Grant program funded by The Film Foundation.<br /><br />Tony Conrad<br />THE FLICKER<br />(1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.)<br />“THE FLICKER is a tremendous harnessing of the raw power, the elemental material of the cinematic medium – light itself – to transport the spectator slowly at first, hardly perceptibly, then accelerating, through a non-objective non-abstract world of sheer energy. Time becomes the compelling pulse of white into black and back, space becomes the unbounded expansion and contraction of force; the screen becomes a new sun, the audience its creatures.” –Ken Kelman<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> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61804 <p>“One of the key movies in the birth of the Australian film industry, MAD DOG MORGAN is as wild, free, and untamed as the pioneer Australian settler turned outlaw it celebrates. Dan Morgan was a real-life figure, a desperado who roamed the bush, committing robberies, drinking rum, killing people at the slightest provocation and generally behaving like a maniac. Obviously not just anyone could play the role, so director Philippe Mora brought in the only actor who could embody Morgan’s peculiar brand of apeshit craziness: Dennis Hopper. Hopper was dead-on perfect for Morgan but, unfortunately for the sanity of the cast and crew, he was also a committed method actor who insisted on getting into the role by drinking at least as much rum as the real Morgan and carrying loaded weapons everywhere. At one point during the shoot Hopper drunkenly took off in a car to visit the real Morgan’s grave. He was picked up in the state of Victoria for drunken driving. When his blood alcohol content was measured he was declared legally dead. His producers got him out of jail but he was forbidden by the court to drive or even to be a passenger in a car in the territory!” –Lars Nilsen<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61808 <p>Barbara Loden<br />THE FRONTIER EXPERIENCE<br />1975, 25 min, 16mm-to-DCP<br />Made for an educational film distributor, Barbara Loden’s under-acknowledged short film was her first directorial effort following her masterpiece, WANDA, and was written by HESTER STREET and CROSSING DELANCEY director Joan Micklin Silver. Based on women’s diaries from the period, it features Loden herself as Delilah Fowler, who struggles to survive and provide for her children during their first year as settlers in the Kansas prairie.<br /><br />Charles Burnett<br />THE HORSE<br />1973, 14 min, 16mm. Preservation print courtesy of the UCLA Film & Television Archive.<br />“In this haunting coming-of-age tale that its director Charles Burnett has described as a ‘kind of allegory of the South,’ an African American boy gently tends to a horse that is to be shot as a group of white men passively look on. Burnett artfully employs a sparse lyricism, juxtaposing the stillness of the rural setting against the disquiet imbued by the impending violence.” –Mark Quigley, UCLA FILM & TELEVISION ARCHIVE<br /><br />Blackhorse Lowe<br />SHIMASANI<br />2009, 15 min, 35mm-to-DCP. In Navajo with English subtitles.<br />In 1934, on the serene Navajo reservation, Mary Jane must decide whether to stay at home with her grandmother (másání) and carry on her traditional lifestyle or seek a new life “just over the mountain.”<br /><br />Blackhorse Lowe<br />METAL BELT<br />2023, 14 min, 16mm-to-DCP. In Navajo and Spanish with English subtitles.<br />A Peyote Western set in 1860s New Mexico territory, METAL BELT recounts a story about the American Indian slave trade in the southwest and one Navajo woman’s fight for freedom and her spiritual journey home.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61669 <p>For the fourth anniversary of “Narrow Rooms”, curator Adam Baran selects the film that first inspired him to become a cinephile and filmmaker, and no surprise, it’s a dark and twisted thriller with pretty obvious gay overtones. Alfred Hitchcock’s superb 1951 suspense thriller begins with the accidental meeting between tennis player Guy Haines and a stranger named Bruno, who casually suggests the two carry out his “perfect murder” scheme. Bruno will kill Guy’s cheating wife, and Guy can kill Bruno’s hated father. Since the two have no motive or place in each other’s lives, no one would suspect the other person of the crimes. Guy shrugs the idea off as a joke, but when Bruno makes the first move, he insists Guy make good on his end of the bargain, or else! Closeted gay actor Farley Granger, who played gay three years earlier in Hitchcock’s ROPE, and troubled actor Robert Walker are both at their very best in this adaptation of “Talented Mr. Ripley” author Patricia Highsmith’s debut novel. Featuring some of Hitchcock’s most inventive visual sequences, including the jaw-dropping merry-go-round finale, it’s a smorgasbord of queer, cinephilic energy. We’ll also be screening the rarely shown “UK” or “Preview” version, which makes the flirtation between Granger and Walker’s characters even more explicit!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61791 <p>“WHITE SUN OF THE DESERT is the final installment of what might be called a traditional Ostern. It tells the story of Fyodor Sukhov, a Red Army soldier in what would become the Turkmen Soviet Socialist Republic. While clearly drawing on Western cinematic tropes, the film undoubtedly spoke to Soviet audiences regarding issues of nation and empire, reflecting the nationalist ideals of a Russian-dominated Central Asia. Over time, WHITE SUN OF THE DESERT achieved cult status in Russia and other post-Soviet countries. It’s famously watched by Russian cosmonauts before space missions as a good-luck tradition, underscoring its enduring cultural significance.” –PRINCETON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61797 <p>“A deliberately miscast Jean-Pierre Léaud – in all of his Parisian, fidgety angst – stars as the legendary Billy the Kid in this shaggy acid western…. Having single-handedly held up the Wells Fargo stagecoach, the improbable hero struggles to transport his loot when he (quite literally) stumbles across Ann and forcibly enlists her help. Cruelty soon gives way to romance and complicity amid a backdrop of farcical vengeance and a haze of trippy surrealism. Edited by Jean Eustache and scored by the filmmaker’s brother, Patrice Moullet, A GIRL IS A GUN is a low-budget riff on the great American westerns, a nod to Howard Hawks, that veers closer to a comedic version of Philippe Garrel’s psychedelic desert Zanzibar films. Shot in just six days with a tiny crew, the film is a strange mix of homage, imagination, spoof, and sonic and visual dissonance enhanced by the extreme otherworldliness of Luc Moullet’s favorite jagged landscape.” –Andréa Picard, TIFF<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61704 <p>Easily the rowdiest of Downey’s early films (which is saying quite a lot), the truly incomparable NO MORE EXCUSES interweaves five short scenarios into one raucous amalgamation. A dazed Yankee Civil War soldier (played by Downey) mysteriously awakens in early-1960s NYC where, naturally, he heads to Yankee Stadium; Alan Abel, Director of the Society for Indecency to Naked Animals (SINA), speaks from the heart of his group’s moral crusade to clothe all animals; Charles J. Guiteau repeatedly bungles his assassination attempts on President James Garfield; a priestly pervert and a chimp (yes, a chimp) engage with a plus-sized lover; and, in what just might be the most disorienting portion, Downey visits the seriously swinging singles scene that is the original T.G.I. Friday’s on the Upper East Side. Unpredictable and unhinged, NO MORE EXCUSES is downright funny, and art brut to the max.<br /><br />Followed by:<br />ALAN ABEL – PROFESSIONAL MEDIA PRANKSTER<br />56 min, video<br />A compilation of hoaxes, spoofs and pranks pulled off by Abel over the years, this unique program features off-air recordings, news coverage, and raw footage of the master prankster in his element.<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> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61801 <p>A young man, Kid, stumbles through the Mexican Sierra, shot and half bled to death, carrying a suitcase containing the loot from a bank robbery. Passing out from heat and blood loss, he is found by Charles Dump, a former gold miner living on the outskirts of the ghost town “Deadlock” with his daughter (Klick discovery Mascha Elm-Rabben, later to appear in Werner Schroeter’s BOMBERPILOT and SALOME, and Fassbinder’s WORLD ON A WIRE). As Dump realizes what’s in the suitcase, he tries to come up with a plan to get rid of its owner. As they are joined by Kid’s partner in crime, the sadistic killer Sunshine, the conflict triangle is perfect. Soon it’s everyone for himself in a violent endgame under the glistening sun where only one can walk away with the suitcase. DEADLOCK is a dark, nihilistic tale of greed, corruption and codes of honor. A chamber play of Beckettian proportions, it is also a psychedelic Western as gritty as they come. Boasting admirers ranging from Jodorowsky to Spielberg to Tarantino, DEADLOCK is graced with a soundtrack by legendary Krautrock band CAN.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61707 <p>ABEL RAISES CAIN is a much-needed exposé of the unprecedented life and career of infamous media hoaxer Alan Abel and his accomplice/wife, Jeanne. Filled with interviews and truly outrageous archival footage, this immensely charming documentary is a true family film made by their daughter, Jenny and her husband, Jeff Hockett. They provide a rollicking first-hand account of what it was like growing up with professional prankster parents. Alan worked tirelessly to plant insane stories in the news and was never afraid to go to ridiculous lengths in order to expose what he believed to be an injustice. ABEL RAISES CAIN takes the audience on an up-close tour of the many elaborate schemes that he pulled off over the years, all designed to provoke, amuse, and prod people to question everything that they see and believe.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61811 <p>“The sensational notion of Ferreri’s DON’T TOUCH THE WHITE WOMAN is to set an honest-to-God Western in the ruins of Les Halles, the wholesale food market, which Zola called ‘the belly of Paris’…. Ferreri replaces that demolished culinary circus with all the ingredients needed for a grand-scale horse opera: the same male leads as LA GRANDE BOUFFE, and no less a white woman than Catherine Deneuve, plus all the open spaces and horses that a European Western freak could ask for. The result is slightly surreal, satirically aimed slapstick, with the Forces of American Imperialism battling the Combined Resources of the Third World. Marcello Mastroianni, as General Custer, slaps his gloves and stamps his boot in deference to Puritanism and a picture of Richard Nixon; Michel Piccoli, deftly lampooning an American accent as Buffalo Bill, recounts past exploits in a local bar; a host of ‘Indians’ – mainly Chileans, Colombians, Vietnamese, and Ugo Tognazzi – plot their strategies before the final massacre. But Ferreri’s own strategy is to take off from this semi-allegory into a relaxed appreciation of sheer buffoonery, turning various locations (including Notre Dame) into facets of his private sandbox and appearing himself as an interested reporter.” –Jonathan Rosenbaum<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61814 <p>“Based on original documents from the Mexican-American War (1846-48), this film tells the story of the young warrior Ulzana, who is out to avenge the extermination of his tribe. In 1822, the Mimbreño Apache tribe enter into an agreement with a Mexican mining company, relinquishing all mining rights and guaranteeing the safety of the copper town of Santa Rita del Cobre, as well as its access roads. In return, the company guarantees the livelihood of the Native Americans, who hardly have any hunting grounds left. However, American companies are also interested in the precious metal deposits. Under their orders, mining engineer and geologist Johnson attempts to expel the Mimbreños. When the annual food rations are handed out in Santa Rita, Johnson massacres the Native Americans with army cannon. For this savage slaughter, he receives a huge reward. Ulzana assumes the role of chief, leads the few surviving Mimbreños to a neighboring Apache tribe, and vows to avenge the atrocity perpetrated against his people. During the attack on the American settlement, a life-and-death struggle ensues between Johnson and Ulzana.<br /><br />Between 1966 and 1985, the East German DEFA Studio for Feature Films adapted the Western film genre for socialism, while also attempting a gesture of solidarity with the Indigenous nations of North America. Nevertheless, films such as this one include the representation of unacceptable practices, cultural appropriation, as well as racist and stereotypical depictions, characterization, language and imagery.” — DEFA FILM LIBRARY, UMass Amherst<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> <br /><br />These screenings are sponsored by the German Film Office, an initiative of the Goethe-Institut and German Films; special thanks to Sara Stevenson.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1438/german_film_office-logo-v1-formatkey-jpg-default.jpg" alt="" width="60" height="53" /></p> Sunday, August 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61705 <p>Easily the rowdiest of Downey’s early films (which is saying quite a lot), the truly incomparable NO MORE EXCUSES interweaves five short scenarios into one raucous amalgamation. A dazed Yankee Civil War soldier (played by Downey) mysteriously awakens in early-1960s NYC where, naturally, he heads to Yankee Stadium; Alan Abel, Director of the Society for Indecency to Naked Animals (SINA), speaks from the heart of his group’s moral crusade to clothe all animals; Charles J. Guiteau repeatedly bungles his assassination attempts on President James Garfield; a priestly pervert and a chimp (yes, a chimp) engage with a plus-sized lover; and, in what just might be the most disorienting portion, Downey visits the seriously swinging singles scene that is the original T.G.I. Friday’s on the Upper East Side. Unpredictable and unhinged, NO MORE EXCUSES is downright funny, and art brut to the max.<br /><br />Followed by:<br />ALAN ABEL – PROFESSIONAL MEDIA PRANKSTER<br />56 min, video<br />A compilation of hoaxes, spoofs and pranks pulled off by Abel over the years, this unique program features off-air recordings, news coverage, and raw footage of the master prankster in his element.<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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61805 <p>“One of the key movies in the birth of the Australian film industry, MAD DOG MORGAN is as wild, free, and untamed as the pioneer Australian settler turned outlaw it celebrates. Dan Morgan was a real-life figure, a desperado who roamed the bush, committing robberies, drinking rum, killing people at the slightest provocation and generally behaving like a maniac. Obviously not just anyone could play the role, so director Philippe Mora brought in the only actor who could embody Morgan’s peculiar brand of apeshit craziness: Dennis Hopper. Hopper was dead-on perfect for Morgan but, unfortunately for the sanity of the cast and crew, he was also a committed method actor who insisted on getting into the role by drinking at least as much rum as the real Morgan and carrying loaded weapons everywhere. At one point during the shoot Hopper drunkenly took off in a car to visit the real Morgan’s grave. He was picked up in the state of Victoria for drunken driving. When his blood alcohol content was measured he was declared legally dead. His producers got him out of jail but he was forbidden by the court to drive or even to be a passenger in a car in the territory!” –Lars Nilsen<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61708 <p>ABEL RAISES CAIN is a much-needed exposé of the unprecedented life and career of infamous media hoaxer Alan Abel and his accomplice/wife, Jeanne. Filled with interviews and truly outrageous archival footage, this immensely charming documentary is a true family film made by their daughter, Jenny and her husband, Jeff Hockett. They provide a rollicking first-hand account of what it was like growing up with professional prankster parents. Alan worked tirelessly to plant insane stories in the news and was never afraid to go to ridiculous lengths in order to expose what he believed to be an injustice. ABEL RAISES CAIN takes the audience on an up-close tour of the many elaborate schemes that he pulled off over the years, all designed to provoke, amuse, and prod people to question everything that they see and believe.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61809 <p>Barbara Loden<br />THE FRONTIER EXPERIENCE<br />1975, 25 min, 16mm-to-DCP<br />Made for an educational film distributor, Barbara Loden’s under-acknowledged short film was her first directorial effort following her masterpiece, WANDA, and was written by HESTER STREET and CROSSING DELANCEY director Joan Micklin Silver. Based on women’s diaries from the period, it features Loden herself as Delilah Fowler, who struggles to survive and provide for her children during their first year as settlers in the Kansas prairie.<br /><br />Charles Burnett<br />THE HORSE<br />1973, 14 min, 16mm. Preservation print courtesy of the UCLA Film & Television Archive.<br />“In this haunting coming-of-age tale that its director Charles Burnett has described as a ‘kind of allegory of the South,’ an African American boy gently tends to a horse that is to be shot as a group of white men passively look on. Burnett artfully employs a sparse lyricism, juxtaposing the stillness of the rural setting against the disquiet imbued by the impending violence.” –Mark Quigley, UCLA FILM & TELEVISION ARCHIVE<br /><br />Blackhorse Lowe<br />SHIMASANI<br />2009, 15 min, 35mm-to-DCP. In Navajo with English subtitles.<br />In 1934, on the serene Navajo reservation, Mary Jane must decide whether to stay at home with her grandmother (másání) and carry on her traditional lifestyle or seek a new life “just over the mountain.”<br /><br />Blackhorse Lowe<br />METAL BELT<br />2023, 14 min, 16mm-to-DCP. In Navajo and Spanish with English subtitles.<br />A Peyote Western set in 1860s New Mexico territory, METAL BELT recounts a story about the American Indian slave trade in the southwest and one Navajo woman’s fight for freedom and her spiritual journey home.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61798 <p>“A deliberately miscast Jean-Pierre Léaud – in all of his Parisian, fidgety angst – stars as the legendary Billy the Kid in this shaggy acid western…. Having single-handedly held up the Wells Fargo stagecoach, the improbable hero struggles to transport his loot when he (quite literally) stumbles across Ann and forcibly enlists her help. Cruelty soon gives way to romance and complicity amid a backdrop of farcical vengeance and a haze of trippy surrealism. Edited by Jean Eustache and scored by the filmmaker’s brother, Patrice Moullet, A GIRL IS A GUN is a low-budget riff on the great American westerns, a nod to Howard Hawks, that veers closer to a comedic version of Philippe Garrel’s psychedelic desert Zanzibar films. Shot in just six days with a tiny crew, the film is a strange mix of homage, imagination, spoof, and sonic and visual dissonance enhanced by the extreme otherworldliness of Luc Moullet’s favorite jagged landscape.” –Andréa Picard, TIFF<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, August 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61815 <p>“Based on original documents from the Mexican-American War (1846-48), this film tells the story of the young warrior Ulzana, who is out to avenge the extermination of his tribe. In 1822, the Mimbreño Apache tribe enter into an agreement with a Mexican mining company, relinquishing all mining rights and guaranteeing the safety of the copper town of Santa Rita del Cobre, as well as its access roads. In return, the company guarantees the livelihood of the Native Americans, who hardly have any hunting grounds left. However, American companies are also interested in the precious metal deposits. Under their orders, mining engineer and geologist Johnson attempts to expel the Mimbreños. When the annual food rations are handed out in Santa Rita, Johnson massacres the Native Americans with army cannon. For this savage slaughter, he receives a huge reward. Ulzana assumes the role of chief, leads the few surviving Mimbreños to a neighboring Apache tribe, and vows to avenge the atrocity perpetrated against his people. During the attack on the American settlement, a life-and-death struggle ensues between Johnson and Ulzana.<br /><br />Between 1966 and 1985, the East German DEFA Studio for Feature Films adapted the Western film genre for socialism, while also attempting a gesture of solidarity with the Indigenous nations of North America. Nevertheless, films such as this one include the representation of unacceptable practices, cultural appropriation, as well as racist and stereotypical depictions, characterization, language and imagery.” — DEFA FILM LIBRARY, UMass Amherst<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> <br /><br />These screenings are sponsored by the German Film Office, an initiative of the Goethe-Institut and German Films; special thanks to Sara Stevenson.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1438/german_film_office-logo-v1-formatkey-jpg-default.jpg" alt="" width="60" height="53" /></p> Monday, August 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61806 <p>“One of the key movies in the birth of the Australian film industry, MAD DOG MORGAN is as wild, free, and untamed as the pioneer Australian settler turned outlaw it celebrates. Dan Morgan was a real-life figure, a desperado who roamed the bush, committing robberies, drinking rum, killing people at the slightest provocation and generally behaving like a maniac. Obviously not just anyone could play the role, so director Philippe Mora brought in the only actor who could embody Morgan’s peculiar brand of apeshit craziness: Dennis Hopper. Hopper was dead-on perfect for Morgan but, unfortunately for the sanity of the cast and crew, he was also a committed method actor who insisted on getting into the role by drinking at least as much rum as the real Morgan and carrying loaded weapons everywhere. At one point during the shoot Hopper drunkenly took off in a car to visit the real Morgan’s grave. He was picked up in the state of Victoria for drunken driving. When his blood alcohol content was measured he was declared legally dead. His producers got him out of jail but he was forbidden by the court to drive or even to be a passenger in a car in the territory!” –Lars Nilsen<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61802 <p>A young man, Kid, stumbles through the Mexican Sierra, shot and half bled to death, carrying a suitcase containing the loot from a bank robbery. Passing out from heat and blood loss, he is found by Charles Dump, a former gold miner living on the outskirts of the ghost town “Deadlock” with his daughter (Klick discovery Mascha Elm-Rabben, later to appear in Werner Schroeter’s BOMBERPILOT and SALOME, and Fassbinder’s WORLD ON A WIRE). As Dump realizes what’s in the suitcase, he tries to come up with a plan to get rid of its owner. As they are joined by Kid’s partner in crime, the sadistic killer Sunshine, the conflict triangle is perfect. Soon it’s everyone for himself in a violent endgame under the glistening sun where only one can walk away with the suitcase. DEADLOCK is a dark, nihilistic tale of greed, corruption and codes of honor. A chamber play of Beckettian proportions, it is also a psychedelic Western as gritty as they come. Boasting admirers ranging from Jodorowsky to Spielberg to Tarantino, DEADLOCK is graced with a soundtrack by legendary Krautrock band CAN.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61812 <p>“The sensational notion of Ferreri’s DON’T TOUCH THE WHITE WOMAN is to set an honest-to-God Western in the ruins of Les Halles, the wholesale food market, which Zola called ‘the belly of Paris’…. Ferreri replaces that demolished culinary circus with all the ingredients needed for a grand-scale horse opera: the same male leads as LA GRANDE BOUFFE, and no less a white woman than Catherine Deneuve, plus all the open spaces and horses that a European Western freak could ask for. The result is slightly surreal, satirically aimed slapstick, with the Forces of American Imperialism battling the Combined Resources of the Third World. Marcello Mastroianni, as General Custer, slaps his gloves and stamps his boot in deference to Puritanism and a picture of Richard Nixon; Michel Piccoli, deftly lampooning an American accent as Buffalo Bill, recounts past exploits in a local bar; a host of ‘Indians’ – mainly Chileans, Colombians, Vietnamese, and Ugo Tognazzi – plot their strategies before the final massacre. But Ferreri’s own strategy is to take off from this semi-allegory into a relaxed appreciation of sheer buffoonery, turning various locations (including Notre Dame) into facets of his private sandbox and appearing himself as an interested reporter.” –Jonathan Rosenbaum<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61794 <p>Firepower meets flower power in this outrageous western about two thrill-seeking cowboys who rock the range. Starring John Rubinstein (THE CAR), Don Johnson (TV’s MIAMI VICE), and Dick Van Patten (HIGH ANXIETY) and featuring legendary musicians Country Joe and the Fish and White Lightnin’, this psychedelic trip through the Wild West is an utterly unique film experience. Two cowboys (Rubinstein and Johnson) set out for adventure and join up with a band of rock ‘n’ roll outlaws. But as the two friends are seduced by their own quick-draw ambitions, a deadly rivalry grows between them, and they must struggle to find a path to peace – before they lose more than their reputations…and kill more than their friendship. Hollywood veteran George Englund (THE UGLY AMERICAN) directed this one-of-a-kind cult classic.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61605 <p>Alberto Cavalcanti<br />RIEN QUE LES HEURES / NOTHING BUT THE HOURS<br />1926, 52 min, 35mm<br />One of the very first “city symphonies,” this film interweaves documentary, experimental, and narrative elements that together provide vivid images of Paris in the mid-1920s. The Brazilian-born Cavalcanti was at the time a central figure of the French avant-garde, but his fascinating career would later find him making pioneering documentaries for John Grierson’s GPO Film Unit in the UK in the 1930s, dramas, noirs, and musicals for Ealing Studios throughout the 1940s, and finally a wide array of films in Brazil, East Germany, France, and Israel in the years before his death in 1982.<br /><br />Douglass Crockwell<br />GLENS FALLS SEQUENCE (1946, 8 min, 16mm)<br />THE LONG BODIES (1947, 6 min, 16mm)<br />Both films preserved by Anthology Film Archives.<br />“The basic idea was to paint continuing pictures on various layers with plastic paint, adding at times and removing at times, and to a certain extent these early attempts were successful.” –Douglass Crockwell<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> Thursday, August 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61817 <p>With DEAD MAN, his first period piece, Jim Jarmusch imagined the nineteenth-century American West as an existential wasteland, delivering a surreal reckoning with the ravages of industrialization, the country’s legacy of violence and prejudice, and the natural cycle of life and death. Accountant William Blake (Johnny Depp) has hardly arrived in the godforsaken outpost of Machine before he’s caught in the middle of a fatal lovers’ quarrel. Wounded and on the lam, Blake falls under the watch of the outcast Nobody (Gary Farmer), who guides his companion on a spiritual journey, teaching him to dispense poetic justice along the way. Featuring austerely beautiful black-and-white photography by Robby Müller and a live-wire score by Neil Young, DEAD MAN is a profound and unique revision of the western genre.<br /><br />“A fairytale oat opera that howls in the moonlight, Jim Jarmusch’s most uncompromising feature picks up where Kafka’s ‘Amerika’ leaves off, with the innocent young hero – a Cleveland accountant named William Blake – hurtling into the mysterious, limitless west. Set in the 1870s and filled with creepy period details, DEAD MAN equally suggests an imaginary, post-apocalyptic 1970s, the wilderness populated by degenerate hippies and acid-ripped loners.” –J. Hoberman, VILLAGE VOICE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61606 <p>All films in this program have been preserved by Anthology Film Archives.<br /><br />MESHES OF THE AFTERNOON<br />(1943, 14 min, 16mm, b&w. Co-directed by Alexander Hammid. Music by Teiji Ito from 1959.)<br /><br />AT LAND<br />(1944, 15 min, 16mm, b&w, silent. Photographed by Hella Heyman and Alexander Hammid.)<br /><br />A STUDY IN CHOREOGRAPHY FOR CAMERA<br />(1945, 3 min, 16mm, b&w, silent. By Maya Deren and Talley Beatty.) <br /><br />RITUAL IN TRANSFIGURED TIME<br />(1946, 15 min, 16mm, b&w, silent. Choreographic collaboration with Frank Westbrook. Photographed by Hella Heyman. With Rita Christiani and Frank Westbrook.)<br /><br />“MESHES is, one might say, almost expressionist; it externalizes an inner world to the point where it is confounded with the external one. AT LAND has little to do with the inner world of the protagonist, it externalizes the hidden dynamics of the external world, and here the drama results from the activity of the external world. It is as if I had moved from a concern with the life of a fish, to a concern with the sea which accounts for the character of the fish and its life. And RITUAL pulls back even further, to a point of view from which the external world itself is but an element in an entire structure and scheme of metamorphosis: the sea itself changes because of the larger changes of the earth. RITUAL is about the nature and process of change.” –Maya Deren<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> Thursday, August 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61821 <p>“The Western goes Northern in Zacharias Kunuk’s masterful third feature, co-directed with ATANARJUAT actor Natar Ungalaaq. Drawing inspiration from John Ford’s seminal 1954 Western THE SEARCHERS (from which MALIGLUTIT takes its English title, sans article), this captivating, crystalline rescue-revenge story, set across the Arctic tundra of 1913 Nunavut, has an Inuk caribou hunter (Benjamin Kunuk) in pursuit of marauders who ravaged his home and abducted his wife. Co-writers Kunuk and Norman Cohn…cleverly absorb and undress the archetypes of the Western, telling a generic tale of violent retribution that forgoes the cowboy-‘Indian’ binary. Cinematographer Jonathan Frantz (also co-producer) captures the immensity of the barren frozen landscape on a scale befitting Ford’s Monument Valley vistas. The cast, many non-actors, is entirely Inuit; Inuk throat singer Tanya Tagaq contributes to the soundtrack.” –THE CINEMATHEQUE<br /><br />“With a tale as timeless as the landscape in which it is set, Canada’s foremost Inuk filmmaker has provided us with another classic.” –TIFF<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61824 <p>“Oregon, 1845. Three pioneer families in covered wagons are making the treacherous journey west led by Stephen Meek when they realize he no longer knows the way. Is Meek incompetent, or is this sabotage? That question soon becomes the least of their worries as their water supplies dwindle and a Native American man is discovered following them, eventually to be taken prisoner. Isolated from the men’s deliberations, the three women (Shirley Henderson, Michelle Williams, and Zoe Kazan) are tasked not only with maintaining a sense of normality in the face of a harrowing trip, but also transporting a certain form of civilization, as they move precious heirlooms across the country. The first (and to date, only) period piece in Reichardt’s filmography, MEEK’S CUTOFF finds her every bit as comfortable working in this mode.” –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 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61610 <p>Tony Ganz THE NEW DEAL (1968, 5 min, 16mm-to-DCP)<br />Derek Lamb HOUSEMOVING (1969, 7.5 min, 16mm-to-DCP. Cinematographer and Production Assistant: Tony Ganz.)<br />Tony Ganz THE BOARD (1971, 6 min, 16mm-to-DCP)<br />Tony Ganz & Rhody Streeter Y.E.S. (1972, 8 min, 16mm-to-DCP)<br />Rhody Streeter CLAREMONT STABLES (1972, 9 min, 16mm)<br />Rhody Streeter & Tony Ganz HUBERT’S (1972, 6 min, 16mm)<br />Tony Ganz & Rhody Streeter MUZAK (1972, 5.5 min, 16mm. New restoration courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.)<br />Tony Ganz & Rhody Streeter BASKIN ROBBINS (1972, 4 min, 16mm)<br />Claudia Weill & Tony Ganz FRAN (1968, 18 min, 16mm. Archival print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.)<br /><br />Plus: excerpts from Tony Ganz and Rhody Streeter’s episode of Robert Gardner’s interview program, “Screening Room”.<br /><br />Total running time: ca. 90 min.<br /><br /><strong>Tony Ganz & Rhody Streeter will be here in person for Q&As after the screenings on Fri & Sat, Aug 28 & 29!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61827 <p>“A bank job getaway gone awry – seen that before. But not quite like Alex Cox’s version of bandits on the lam seeking shelter in a deserted desert town. Well, seemingly deserted. The bandits, in this case, are Clash front man Joe Strummer, Cox regular Sy Richardson, Dick Rude, and, in tow, Courtney Love. The dusty, hellish town has two occupants: a gang of sun-addled desperadoes, many drawn from The Pogues, and the memory of other movies made here in the Andalusian desert of THE GOOD, THE BAD AND THE UGLY and dozens of other spaghetti westerns. Cox has written at length about Italian oaters and in this arid tribute he recalls their sweeping vistas and dire motivations. Shoot-outs ensue, revelry and indulgence abound, and all the while the wicked women of the town try to con the visiting villains out of their loot. Arch, indulgent, and antiheroic, this film reads like a Peckinpah pic but from the other side of the camera. ‘I turned down the opportunity to direct THE THREE AMIGOS and made STRAIGHT TO HELL instead,’ says a cocky Cox. Watch for cameos by Dennis Hopper, Grace Jones, Jim Jarmusch, and Elvis Costello. [This recently restored director’s cut] is six minutes longer than the original 1987 release – and crueler.” –PACIFIC FILM ARCHIVE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61831 <p>“Abandoned by her family as an unwed mother and sold as a prostitute to soldiers by a traveling salesman, Josephine Monaghan (Suzy Amis) decides to live as a man. As ‘Jo,’ she settles in the shabby mining town of Ruby City and becomes a frontiersman. She learns to shoot, raise and shear sheep, and eventually earns enough money to buy property and a herd of her own. When a cattle company starts buying land – and killing homesteaders that stand in their way – she is forced to consider what she has made of her life as a man, all unthinkable as a society woman. Increasingly relevant today, the film can be seen, in the words of the New York Times’s Stephen Holden, as ‘an allegorical critique of sex and power and men’s-club values in America.’” –Hannah Greenberg<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61615 <p>Tony Ganz & Rhody Streeter<br />THE BEST OF YOUR LIFE (aka SUN CITY) (1971, 8.5 min, 16mm-to-DCP)<br />HONEYMOON HOTEL (1971, 3.5 min, 16mm-to-DCP)<br />RISEN INDEED (aka CAMPUS CRUSADE FOR CHRIST) (1972, 5.5 min, 16mm-to-DCP)<br />HOI – VILLAGE LIFE IN TONGA (1967-69, 8.5-min excerpt, 16mm-to-DCP)<br />HELP-LINE (1972, 5.5 min, 16mm-to-DCP)<br />WOMAN UNLIMITED (1972, 4 min, 16mm-to-DCP)<br />SIGN PAINTERS (aka SIGNS) (1972, 6 min, 16mm-to-DCP)<br />BOWERY MEN’S SHELTER (1973, 10 min, 16mm-to-DCP)<br />A TRIP THROUGH THE BROOKS HOME (1971-73, 7.5 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61818 <p>With DEAD MAN, his first period piece, Jim Jarmusch imagined the nineteenth-century American West as an existential wasteland, delivering a surreal reckoning with the ravages of industrialization, the country’s legacy of violence and prejudice, and the natural cycle of life and death. Accountant William Blake (Johnny Depp) has hardly arrived in the godforsaken outpost of Machine before he’s caught in the middle of a fatal lovers’ quarrel. Wounded and on the lam, Blake falls under the watch of the outcast Nobody (Gary Farmer), who guides his companion on a spiritual journey, teaching him to dispense poetic justice along the way. Featuring austerely beautiful black-and-white photography by Robby Müller and a live-wire score by Neil Young, DEAD MAN is a profound and unique revision of the western genre.<br /><br />“A fairytale oat opera that howls in the moonlight, Jim Jarmusch’s most uncompromising feature picks up where Kafka’s ‘Amerika’ leaves off, with the innocent young hero – a Cleveland accountant named William Blake – hurtling into the mysterious, limitless west. Set in the 1870s and filled with creepy period details, DEAD MAN equally suggests an imaginary, post-apocalyptic 1970s, the wilderness populated by degenerate hippies and acid-ripped loners.” –J. Hoberman, VILLAGE VOICE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61611 <p>Tony Ganz THE NEW DEAL (1968, 5 min, 16mm-to-DCP)<br />Derek Lamb HOUSEMOVING (1969, 7.5 min, 16mm-to-DCP. Cinematographer and Production Assistant: Tony Ganz.)<br />Tony Ganz THE BOARD (1971, 6 min, 16mm-to-DCP)<br />Tony Ganz & Rhody Streeter Y.E.S. (1972, 8 min, 16mm-to-DCP)<br />Rhody Streeter CLAREMONT STABLES (1972, 9 min, 16mm)<br />Rhody Streeter & Tony Ganz HUBERT’S (1972, 6 min, 16mm)<br />Tony Ganz & Rhody Streeter MUZAK (1972, 5.5 min, 16mm. New restoration courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.)<br />Tony Ganz & Rhody Streeter BASKIN ROBBINS (1972, 4 min, 16mm)<br />Claudia Weill & Tony Ganz FRAN (1968, 18 min, 16mm. Archival print courtesy of the Reserve Film and Video Collection of The New York Public Library for the Performing Arts.)<br /><br />Plus: excerpts from Tony Ganz and Rhody Streeter’s episode of Robert Gardner’s interview program, “Screening Room”.<br /><br />Total running time: ca. 90 min.<br /><br /><strong>Tony Ganz & Rhody Streeter will be here in person for Q&As after the screenings on Fri & Sat, Aug 28 & 29!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61828 <p>“A bank job getaway gone awry – seen that before. But not quite like Alex Cox’s version of bandits on the lam seeking shelter in a deserted desert town. Well, seemingly deserted. The bandits, in this case, are Clash front man Joe Strummer, Cox regular Sy Richardson, Dick Rude, and, in tow, Courtney Love. The dusty, hellish town has two occupants: a gang of sun-addled desperadoes, many drawn from The Pogues, and the memory of other movies made here in the Andalusian desert of THE GOOD, THE BAD AND THE UGLY and dozens of other spaghetti westerns. Cox has written at length about Italian oaters and in this arid tribute he recalls their sweeping vistas and dire motivations. Shoot-outs ensue, revelry and indulgence abound, and all the while the wicked women of the town try to con the visiting villains out of their loot. Arch, indulgent, and antiheroic, this film reads like a Peckinpah pic but from the other side of the camera. ‘I turned down the opportunity to direct THE THREE AMIGOS and made STRAIGHT TO HELL instead,’ says a cocky Cox. Watch for cameos by Dennis Hopper, Grace Jones, Jim Jarmusch, and Elvis Costello. [This recently restored director’s cut] is six minutes longer than the original 1987 release – and crueler.” –PACIFIC FILM ARCHIVE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 29