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, 08 Nov 2026 20:18:54 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62277 <p>Juliet Bashore<br />THE BATTLE OF TUNTENHAUS, PART 1 1991, 24 min, DCP. In German with English subtitles.<br />THE BATTLE OF TUNTENHAUS, PART 2 1992, 19 min, DCP. In German with English subtitles.<br />“The Wall has fallen. Berlin has reunified. But there are new zones of transgression to be carved out and explored. Mainzer Straße is a hot spot of squatters and anti-fascist fights. One of the squats on this notorious street, the Tuntenhaus (‘House of Queers’), becomes a specific target of both their neo-Nazi neighbors and the iron fist of the capitalist state. Juliet Bashore’s legendary documentary follows the daily struggle of the queens and queers to create and defend a place for themselves in the chaos and unrest after the fall of communism. The extraordinary union of the anarchist/autonomous and gay scenes meets the onlooking yet involved sympathizers, who also end up in conflict with the squatters as a result of their filming. The film is a unique testimony to the violent and momentous eviction of the people from the streets.” –THE BEACON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62280 <p>This program compiles 18 short films shot on Super-8mm by West German experimental film makers between 1978 and 1984, and featuring music by Malaria, Reflections, Einstürzende Neubauten, Frieder Butzmann, Die Tödliche Doris, and others.<br /><br />“In the beginning of the 1980s, West Berlin was a walled-off island of decadence in the middle of the communist DDR. An urban culture of bars and clubs was thriving in the city that lived at night. The cheap Super 8 film format, already becoming obsolete in the early 80s, was the cinematic equivalent of punk in Berlin. Cameras and projectors were available at flea markets for next to nothing, and, with the lightweight equipment, screenings could be arranged spontaneously in the seediest of venues. In a fevered frenzy the musicians, photographers, painters, and filmmakers of the city’s underground art scene collaborated in cross-disciplinary joint projects. Underground filmmaking became a cycle somewhat resembling a circular argument: filmmakers, who were often also musicians, started shooting performances given by their colleagues, which in turn would more often than not include screenings of works by their friends, and so on. The best of these films were dark, apocalyptic visions, which combined various techniques in radical experiments of the filmic form. Music, performance and happening fused together in a variety of Super 8 club events (in such legendary places as Risiko and S.O. 36), as well as at the first Super 8 film festival, Interfilm 1, in 1982.” –AVANTO<br /><br />Brand & Maschmann E DOPO? (1981, 3 min, Super-8mm-to-digital. Music by La Loora.)<br />Christoph Doering 3302 (1979, 14.5 min, Super-8mm-to-digital. Music by Die Unbekannten, Flucht Nach Vorn, MDK.)<br />Wolkenstein & Markgraf HÜPFEN 82 (1982, 2 min, Super-8mm-to-digital)<br />Yana Yo SAX (????, 6 min, Super-8mm-to-digital. Music by A. V. Oertzen.)<br />Maye & Rendschmidt OHNE LIEBE GIBT ES KEINEN TOD (1980, 4.5 min, Super-8mm-to-digital)<br />Stiletto Studios’s FORMEL SUPER VIII (1983, 2 min, Super-8mm-to-digital)<br />Walter Gramming HAMMER UND SICHEL (1978, 4.5 min, Super-8mm-to-digital)<br />Georg Marioth MORGENGESÄNGE (1984, 14 min, Super-8mm-to-digital)<br />Hormel & Bühler GELD (1982, 4 min, Super-8mm-to-digital. Music by Malaria.)<br />Notorische Reflexe FRAGMENT VIDEO (1983, 12 min, Super-8mm-to-digital. Music by Notorische Reflexe.)<br />Jörg Buttgereit MEIN PAPI (1981, 7 min, Super-8mm-to-digital. Music by Gundula Schmitz, Max Müller.)<br />Die Tödliche Doris BERLINER KÜCHENMUSIK (1982, 5 min, Super-8mm-to-digital. Music by Die Tödliche Doris.)<br />Frieder Butzmann & Kiesel SPANISH FLY (1979, 5 min, Super-8mm-to-digital)<br />Manfred Jelinski SO WAR DAS SO 36 (1984, 12 min, Super-8mm-to-digital. Music by Carambolage, Die Gelbs, Einstürzende Neubauten, Lorenz Lorenz, Malaria.)<br />Klaus Beyer DIE GLATZE (1983, 1.5 min, Super-8mm-to-digital. Music by Klaus Beyer.)<br />Wolkenstein & Markgraf CRAEX APART (1982, 6 min, Super-8mm-to-digital. Music by Craex Apart.)<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, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62187 <p>NEW YORK PREMIERE! FILMMAKERS IN PERSON!<br /><br />“Following two unconventional documentaries – SPACE DOGS (2019) and DREAMING DOGS (2024) – focused on the lives of stray canines, filmmaking duo Elsa Kremser and Levin Peter return with the narrative feature WHITE SNAIL, where the two protagonists also exhibit a fondness for various animals. Set in contemporary Belarus, the film tells the story of Masha, a blonde, thin, fair-skinned model pursuing her dream job in China, and Misha, a tattooed, thickset painter working at a morgue. Played with extreme naturalness by non-professionals Marya Imbro and Mikhail Senkov, these two loners strike up an unlikely but profound friendship that will force them to confront their secrets and wounds. The worlds to which Masha and Misha belong are completely at odds. But as these characters form a strange bond, the fashion industry and the funeral business reveal equally unlikely coincidences and areas of overlap that subtly proliferate as the plot advances. By depicting how we and our bodies relate to sight and touch, life and death, reality and imagination, flaws and perfection, Kremser and Peter map two universes on to one another, leaving the viewer to determine where they intersect and whether they diverge.” –Cristina Álvarez López, VIENNALE<br /><br />These screenings are co-presented by Deutsches Haus at NYU and Erste Bank, on the occasion of the co-awarding of the 2025 Viennale Erste Bank Film Award to WHITE SNAIL. Since 2011, each annual edition of the Viennale (Vienna International FilmFestival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. Additional support for these screenings has been provided by the Austrian Cultural Forum New York.<br /><br /><strong>Elsa Kremser and Levin Peter will be here for a Q&A following the screening on Sat, Nov 7!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62282 <p>Up until his untimely death earlier this year, filmmaker Peter Sempel had a long and close association with Anthology Film Archives and Jonas Mekas (about whom he made four separate feature-length film portraits over the years). In addition to his collaborations with Jonas, Sempel made numerous other experimental films and documentaries about various artists and musicians. Among his best-known works is this film about the legendary singer, songwriter, and actress Nina Hagen. Far from a conventional artist doc, NINA HAGEN = PUNK + GLORY favors spontaneous, fragmentary, and often home-movie-like glimpses of her daily life, performances, and interactions with family, friends, and colleagues (including Lemmy, George Clinton, Blixa Bargeld, Udo Kier, Dee Dee Ramone, Jonas Mekas, and others). Sempel’s goal is less to narrate Hagen’s biography than to capture her unique energy and charisma, and to shed light on her many sides, on- and off-stage.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62264 <p>Helke Misselwitz<br />BULKY TRASH / SPERRMÜLL<br />1990, 72 min, 35mm-to-DCP. In German with English subtitles.<br />Filmed in the early summer of 1989, this documentary portrays a band of four young musicians who call themselves “Sperrmüll” (“Bulky Trash”), thanks to their proclivity for producing music by drumming on other people’s discarded items. Misselwitz concentrates especially on Enrico, who decides to stay behind when his mother Erika marries in the West, and who insists on maintaining his cultural identity even after the fall of the Wall. The members of “Sperrmüll” wish to remain citizens of their own state, and their attitude towards the looming reunification is one of skepticism. Originally intended as a call for social change, Misselwitz’s film documents the events of the Wende from the perspective of young East Berliners.<br /><br />Preceded by:<br />Petra Tschörtner<br />THE FREE ORCHESTRA / DAS FREIE ORCHESTER<br />1988, 17 min, 35mm-to-DCP. In German with English subtitles.<br />“Day in, day out, Barbara sells screws at a store in the East Berlin Market Hall. She is frustrated about having to tell her customers most of the time: ‘Ham wa nich!’ (‘We don’t have that!’) In the evening, she is the loud and wild singer of the legendary East Berlin avantgarde and punk band Das Freie Orchester. Playing music with her friends helps her escape the monotony of her job, express her dissatisfaction with everyday life in East Germany in the 1980s, and dream of a different life.” –DEFA FILM LIBRARY<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62188 <p>NEW YORK PREMIERE! FILMMAKERS IN PERSON!<br /><br />“Following two unconventional documentaries – SPACE DOGS (2019) and DREAMING DOGS (2024) – focused on the lives of stray canines, filmmaking duo Elsa Kremser and Levin Peter return with the narrative feature WHITE SNAIL, where the two protagonists also exhibit a fondness for various animals. Set in contemporary Belarus, the film tells the story of Masha, a blonde, thin, fair-skinned model pursuing her dream job in China, and Misha, a tattooed, thickset painter working at a morgue. Played with extreme naturalness by non-professionals Marya Imbro and Mikhail Senkov, these two loners strike up an unlikely but profound friendship that will force them to confront their secrets and wounds. The worlds to which Masha and Misha belong are completely at odds. But as these characters form a strange bond, the fashion industry and the funeral business reveal equally unlikely coincidences and areas of overlap that subtly proliferate as the plot advances. By depicting how we and our bodies relate to sight and touch, life and death, reality and imagination, flaws and perfection, Kremser and Peter map two universes on to one another, leaving the viewer to determine where they intersect and whether they diverge.” –Cristina Álvarez López, VIENNALE<br /><br />These screenings are co-presented by Deutsches Haus at NYU and Erste Bank, on the occasion of the co-awarding of the 2025 Viennale Erste Bank Film Award to WHITE SNAIL. Since 2011, each annual edition of the Viennale (Vienna International FilmFestival) has featured the granting of the Viennale Erste Bank Film Award to one or more filmmakers whose films are included within the festival. Designed to showcase the best of Austrian cinema, the Award was founded by Erste Bank, the Viennale’s main sponsor, and is awarded according to the findings of an independent jury. The Award brings a cash prize as well as a residency as a visiting filmmaker organized by Deutsches Haus at NYU. Additional support for these screenings has been provided by the Austrian Cultural Forum New York.<br /><br /><strong>Elsa Kremser and Levin Peter will be here for a Q&A following the screening on Sat, Nov 7!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62272 <p>“Bernd Sahling’s documentary follows the young punk Michael as he struggles to reconcile his identity and the reality of living in East Germany. He eventually applies for an exit permit and leaves for the West not long before the Fall of the Berlin Wall. The film explores Michael’s strained relationship with his mother, his path toward financial and intellectual autonomy, and thematizes the physical as well as the mental barriers one has to overcome in the pursuit of freedom.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62275 <p>“In 1988, the East German state film studio DEFA produced the first – and only – documentary report on the country’s rock and punk scene. whisper & SHOUT sold over a million tickets upon release, largely to young people eager to see their favorite bands on screen and to find out what made it past the censors. Their enthusiasm was natural; director Dieter Schumann’s team had hit the road across the GDR not only to film live performances, but also to interview teenage fans about their place in the subculture, their prospects for the future, and the targets of their rebellion. Shot on 35mm and featuring luminary bands like Feeling B (some of whose members went on to found Rammstein), Silly, Chicorée, and Die Zöllner, whisper & SHOUT is both a generational portrait of music and protest behind the Wall and a unique historical artifact of the East German media’s relationship to its country’s underground.” –GOETHE-INSTITUT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, November 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62221 <p>Jerry Tartaglia<br />HAMLET IN THE RENTED WORLD (A FRAGMENT)<br />1970-73, 27 min, 16mm-to-DCP. © Jack Smith Archive. Courtesy of the Archive and Gladstone.<br />A portrait of Jack Smith fashioned from the debris of an unfinished project: “You might say that [this 27-minute assemblage put together by Jerry Tartaglia on behalf of the Gladstone Gallery from materials discovered in the Jack Smith Archives dating from the early 1970s] is BLONDE COBRA’s sort of sequel… In trying to bring into existence the derangement of a classic text – a project that Smith himself had abandoned – HAMLET IN THE RENTED WORLD is not a preservation but the reconstruction of a deconstruction.” –J. Hoberman, “Jack Smith’s Hamlet in the Rented World,” ACROSS THE MOVI-VERSE<br /><br />Robert Siodmak<br />COBRA WOMAN<br />1944, 72 min, 35mm. With Maria Montez.<br />“[Four days before Richard Nixon was reelected president, I saw the complete TRIUMPH OF THE WILL sans subtitles at the old Anthology Film Archives on Wooster Street and was nauseated.] The next night, either by coincidence or design, I caught a salutary, anti-fascist double bill at the New Yorker theater: DUCK SOUP, which I knew by heart, and COBRA WOMAN, which I knew only by reputation as Jack Smith’s favorite film, later noting that ‘The Cobra Dance’ should be spliced into or shown with TRIUMPH OF THE WILL.” –J. Hoberman, “Triumph of the Will and the Artification of Fascism,” ACROSS THE MOVI-VERSE<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> Tuesday, November 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62256 <p>[BRENNENDE LANGEWEILE]<br /><br />“In the late 1970s, Wolfgang Büld first made a name for himself with his documentary PUNK IN LONDON. The follow-up to this authentic document of youth culture was the ZDF production BORED TEENAGERS, part of the “Das kleine Fernsehspiel” series; it was filmed in 1979 in the wake of the RAF panic – wanted posters are visible in the background several times throughout the film. The movie blends concert footage of the English punk band The Adverts with a loose narrative thread about a young punk named Peter and his hairdresser girlfriend, Karin, as they follow the band – led by TV Smith and Gaye Advert – on their tour through Germany. It is an entertaining yet quirky journey through a late-70s musical subculture.” –OX-FANZINE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, November 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62278 <p>Juliet Bashore<br />THE BATTLE OF TUNTENHAUS, PART 1 1991, 24 min, DCP. In German with English subtitles.<br />THE BATTLE OF TUNTENHAUS, PART 2 1992, 19 min, DCP. In German with English subtitles.<br />“The Wall has fallen. Berlin has reunified. But there are new zones of transgression to be carved out and explored. Mainzer Straße is a hot spot of squatters and anti-fascist fights. One of the squats on this notorious street, the Tuntenhaus (‘House of Queers’), becomes a specific target of both their neo-Nazi neighbors and the iron fist of the capitalist state. Juliet Bashore’s legendary documentary follows the daily struggle of the queens and queers to create and defend a place for themselves in the chaos and unrest after the fall of communism. The extraordinary union of the anarchist/autonomous and gay scenes meets the onlooking yet involved sympathizers, who also end up in conflict with the squatters as a result of their filming. The film is a unique testimony to the violent and momentous eviction of the people from the streets.” –THE BEACON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62223 <p>Wesley Barry<br />THE CREATION OF THE HUMANOIDS<br />1962, 84 min, 16mm<br />“The Now Future arrived in late 1964, when David Bourdon began his lengthy Village Voice review of Andy Warhol’s ‘Flower Paintings’ with a lengthy account of Wesley Barry’s CREATION OF THE HUMANOIDS, a sci-fi cheapster as color-coded as RED DESERT and more impoverished than ALPHAVILLE… ‘The denouement comes when the heroine and the hero (a militant anti-humanoid who goes around throwing bombs at uppity “clickers”) discover themselves to be machines. This is the happy ending of what Andy Warhol calls the best movie he has ever seen.’” –J. Hoberman, “The New Futurism and the Then Zeitgeist,” ACROSS THE MOVI-VERSE<br /><br />Mike Kuchar<br />SINS OF THE FLESHAPOIDS<br />1965, 48 min, 16mm. With Bob Cowan, George Kuchar, Donna Kerness, Gina Zuckerman, Maren Thomas, and Julius Middleman.<br />“In the winter of 1964-65, even before THE CREATION OF THE HUMANOIDS was listed, along with feathered boas and Warhol’s SLEEP, in a random list of things The New York Times Magazine deemed as ‘generally agreed’ examples of ‘Pure Camp,’ Mike Kuchar – a 22-year-old photo retoucher living in the Bronx – conceived his own 16mm version of Warhol’s favorite movie…the junkyard analog to the cycle of European films that includes RED DESERT, ALPHAVILLE, and THE TENTH VICTIM.” –J. Hoberman, “The New Futurism and the Then Zeitgeist,” ACROSS THE MOVI-VERSE<br /><br />Total running time: ca. 135 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62269 <p>An essential text for anyone with a love for the avant-garde. The explosive soundscapes of industrial music titans Einstürzende Neubauten first shook Berlin – then the whole world – to its core in the 1980s. In LIEBESLIEDER, co-directors Klaus Maeck and Johanna Schenkel wield a fractured feast of killer Neubauten performances from Euro television: ones that highlight the group’s cinematic presence, wild handmade instruments, and totally unique style. For those who are at all curious about industrial or noise music in general, this sweaty documentary is unmissable. For Neubauten fans, this humanizing portrait of their first decade provides a fresh take on the band.<br /><br /><strong>The Fri, Nov 6 screening will be introduced by musician and former Einstürzende Neubauten member Gudrun Gut!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62218 <p>While not as long-standing as the romance with trains, cinema has a love affair with taxis. A cab ride is often more than just a means of getting from one place to another. The taxi is a cinematic apparatus in motion, a confessional, an urban microcosm, a transition, a temporary intimacy, an archive of daily life, a nightmare of forced conversation, an eavesdropper’s dream. Yet beneath such metaphors are material threats: the gig economy, prior and enduring precarities and exploitation of labor, movements of migration conditioned by colonization.<br /><br />POSTCOLONIAL MOTION: TAXIS AND TRAVELOGUES draws together three films combining oral testimonies and the kinetics of transport. Frank Sweeney, Karimah Ashadu, and Timoteus Anggawan Kusno each consider the movements of people, goods and images, tracing how workers warp the barriers of historical categories and economic constraints as they cross borders.<br /><br />Guest-programmed by Yasmina Price, who wrote the introduction and individual film descriptions.<br /><br />Frank Sweeney<br />GO YE AFAR<br />2026, 24 min, DCP<br />Irish research-based artist Frank Sweeney’s latest work, GO YE AFAR (2026), stages a historical examination of economy, religion, national identity, and state power through the nocturnal taxi journey of a Nigerian driver in Dublin and Calabar. Making a link between the IMF’s role in imposing a debt structure on Ireland in the 2010s and the economic dependency still inflicted on the African continent, Sweeney makes a taxi journey an illuminating lens onto the dubious legacies of Catholic missionaries and European philanthropy, global privatization and the erosion of the commons.<br /><br />Karimah Ashadu<br />BROWN GOODS<br />2020, 12 min, DCP<br />BROWN GOODS (2020), by British-born Nigerian artist and director Karimah Ashadu, both shares and reconfigures a similar terrain. The film scans the intermingled economies and geographies of Africa and Europe, conjuring Nigeria from its viewpoint in Germany. The setting is specifically Hamburg, a hub of international trade and multinational corporations. Ashadu’s agile camerawork delves through docks, weaving amongst ship containers and stacks of tires as Emeka – the self-sufficient central figure, excluded from formal work due to his humanitarian status – voices a sharp analysis of manufacturing and industrial monopolies, the politics of resources and global capital.<br /><br />Timoteus Anggawan Kusno<br />OBSCURA<br />2026, 14 min, DCP<br />Indonesian filmmaker and visual artist Timoteus Anggawan Kusno’s OBSCURA (2026) echoes the unsettling, spectral dreaminess and mediatized archival memory of GO YE AFAR. Operating between Indonesia and the Netherlands, the film critically reworks the form of the ethnographic travelogue and colonial imagery through a story of theft (another kind of informal job). Gallery workers liberate a painting and carry it out in a truck, performing how images physically travel, are taken apart, literally unframed and reframed.<br /><br />Total running time: ca. 55 min.<br /><br /><strong>The screening will be followed by a conversation with filmmaker and artist Frank Sweeney!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, November 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62225 <p>Lucio Castro<br />DRUNKEN NOODLES<br />2025, 83 min, DCP. In English and Spanish with English subtitles.<br />When Adnan (Laith Khalifeh) arrives in New York to work at a Lower East Side gallery for the summer, he’s newly single and ready to mingle. He cruises strangers in the park at night and begins a flirtation with a delivery driver. At work, he’s helping to exhibit the recently discovered work of Sal Salandra, a real-world gay artist and elder who crafts tableaus of gay orgies and sex club scenes in vibrant needlepoint. These artworks – and Sal himself, played by Ezriel Kornel – become the connective thread for a time-jumping narrative that unfolds in four parts. Made for little money, with a small crew and total creative control, the latest by Lucio Castro (END OF THE CENTURY) is a delightful, sexually-charged short-story collection with whimsical elements of dreamy magical realism. Released during the full flower of NYC PRIDE season, DRUNKEN NOODLES is well worth watching – or rewatching – before making your Best-of-2026 lists.<br /><br /><strong>We’ll be joined by director Lucio Castro and cast members for a Q&A following the screening!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, November 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62205 <p>With Jeanne Balibar, Mathieu Amalric, Vincent Peirani, Aurore Clement, and Grégoire Colin.<br /><br />Amalric’s seventh feature-length film as a director is both a heartfelt tribute to the legendary chanteuse Barbara (1930-97), and a vehicle for another peerlessly talented French luminary, the actress and singer Jeanne Balibar. Amalric’s films are remarkable for their intuitive freedom, and their emphasis on emotional textures and states of feeling rather than on straightforward narrative construction or easily grasped meanings. BARBARA is a case in point: eschewing anything like a coherent, birth-to-death account of the events of her life, the film instead orchestrates fragments of the singer’s life and performances into a free and quasi-abstract meditation on Barbara’s identity and cultural presence. And by casting Balibar not as Barbara per se but more self-referentially as an actress making a film-within-the-film about the singer, his film becomes an even broader investigation into the concept of biographical filmmaking, representation, and identity. An experimental biopic in the tradition of Stanley Kwan’s CENTER STAGE, Peter Watkins’s EDVARD MUNCH, and Paul Leduc’s FRIDA, it features a typically riveting, charismatic performance from Balibar.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, November 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62209 <p>With Vicky Krieps, Arieh Worthalter, Anne-Sophie Bowen-Chatet, and Sacha Ardilly.<br /><br />“Propelled by a fierce, tour-de-force performance by Vicky Krieps, who is fast becoming one of the most sought-after actors on the international scene, HOLD ME TIGHT is an ingenious memory piece exploring the grief of separation and the paradoxical comforts and claustrophobia of the domestic home. As Clarisse flees her family at daybreak and hits the open road, leaving her husband and two children behind, the film shuttles between time and space, becoming a mental landscape whose contours are gradually revealed like fleeting moments of reminiscence – those that ultimately make up a life. With its beguiling, puzzle-piece structure that builds to a shattering denouement, HOLD ME TIGHT powerfully keeps its audience in a state of hypnotic reverie as we share in the protagonist’s profound sense of disorientation, the sort of disembodied surrealism that uncertainty can unleash. Yet Krieps gives a surprisingly earth-bound, visceral performance as a woman negotiating a new path for herself, all while trying to stay close to those she loves and attempting to make sense of it all.” –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> Friday, November 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62212 <p>Mathieu Amalric<br />MUSIC IS MUSIC<br />2017, 20 min, DCP<br />“In a poetic composition of song, narration, and images, this film follows Canadian soprano and orchestra conductor Barbara Hannigan, accompanied by the Ludwig Orchestra, as she records her album ‘Crazy Girl Crazy’. Why did she choose these three pieces, in essence so different, but which intimately resonate with her: Berio’s ‘Sequenza III’, Berg’s ‘Lulu Suite’, and Gershwin’s ‘Girl Crazy’?” –INTERNATIONAL FESTIVAL OF FILMS ON ART<br /><br />Mathieu Amalric<br />BEFORE IT’S TOO LATE / AVANT QU’IL NE SOIT TROP TARD<br />2023, 65 min, DCP<br />“After 47 years together, the Emerson String Quartet records their last album, ‘Infinite Voyage’, in three days. For this farewell, they invited soprano Barbara Hannigan, and a film was born. Their precise work, the moments of enthusiasm and fear, the research and the jokes, the age limit of these men and Hannigan’s flamboyance, the admiring friendship full of irony and rigor, the profession and yet the discovery, humor as a cog towards concentration, the individual and the group…all this composes a portrait of the usually invisible production of music. Before everyone resumes their path.” –DOCLISBOA<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> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62229 <p>Griffith’s immensely influential silent epic intercuts four parallel tales from history (spanning Babylon, Christ’s Judea, Reformation Europe, and turn-of-the-century America) to embroider a moral tapestry on personal, social, and political repression through the ages. The visual poetry is overwhelming, especially in the massed crowd scenes, and the unbridled eroticism of the Babylon harem scenes demonstrates just what Hollywood lost when it later bowed to the Hays Code. While the (partly self-financed) production ruined Griffith financially and baffled audiences with its multiple plots and labyrinthine structure, it has been enormously influential on generations of filmmakers, including Eisenstein, who studied the film closely.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62193 <p>Mathieu Amalric<br />ZORN I (2010-2016)<br />2017, 54 min, DCP<br />“The tense, but smiling face of maverick composer legend John Zorn listening to music might just restore your faith in human beauty. Every muscle moves in harmony with sounds and chords, it’s like seeing a soul wandering off into another realm. Mathieu Amalric has been filming this zestful musician for more than 12 years now. They first met when the actor and filmmaker narrated Zorn’s vocal album Shir Hashirim live in Paris. Those familiar with Amalric’s haptic cinema will immediately understand what drew him to Zorn and vice versa. They connect through their constant and obsessive drive for feelings and sensations, their tireless energy devoted to the art, their hunger for life. In the style of a home movie, Amalric accompanies Zorn at concerts, city walks, inside the sound studio or at practice.” –Patrick Holzapfel, VIENNALE<br /><br />Mathieu Amalric<br />ZORN II (2016-2018)<br />2018, 59 min, DCP<br />“In the second part of his ongoing portrait of the prolific musician, Amalric shows the artist as a social man. Like a sponge, Zorn takes in whatever surrounds him: people (mostly colleagues from the New York Underground scene), dreams, technology, cinema (screening films by Maya Deren or Harry Smith during his performances), places and the emotions evoked by sounds. […] Amalric chooses a more structured approach than in the first part. Text inserts reveal details about the composer’s life and his philosophy. The camera gets more in tune with Zorn’s eruptive movements, as he goes onstage at sold-out concert halls as if he were just discovering the instruments there during an evening stroll. He plays each note as if it was the first or last, and Amalric tries to film him accordingly.” –Patrick Holzapfel, VIENNALE<br /><br />Total running time: ca. 120 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62230 <p>Viking Eggeling<br />SYMPHONIE DIAGONALE (1924, 8 min, 35mm, silent)<br />“This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance – diagonally – across the black screen.” –FACETS<br /><br />Dwinell Grant<br />COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)<br />“An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.” –Dwinell Grant<br />STOP MOTION TESTS (1942, 3 min, 16mm, silent)<br />A pixillated self-portrait of the filmmaker in his studio.<br />COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />“Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.” –William Moritz<br /><br />Ken Jacobs & Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation.<br />“BLONDE COBRA is an erratic narrative – no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing – on one level – over the situation with style… enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw off.’” –Ken Jacobs<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a><br /><br /></p> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62199 <p>Mathieu Amalric<br />ZORN III (2018-2022)<br />2022, 82 min, DCP. With John Zorn and Barbara Hannigan.<br />“Why can’t Mathieu Amalric stop filming John Zorn? It’s because consciously or unconsciously, he understands that he can only get closer to this man if he imitates his restlessness. It’s this Sisyphean tirelessness, the fact that we must imagine Zorn (whose surname translates into German as anger) as a happy man, which is at the core of his art. He makes music in order to be alive. This time, however, Zorn is not the only protagonist, as the Canadian soprano Barbara Hannigan enters the wild world of the composer. Much more straightforward than its previous iterations, the film captures Hannigan’s rehearsals for a performance of Zorn’s song cycle ‘Jumalattaret’ together with pianist Stephen Gosling. The work pushes her vocal capacities to the limit, with the sudden shifts in register, extended high notes and bird-like chirping demanding everything from her.” –Patrick Holzapfel, VIENNALE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62215 <p>“Like Reger – the character [Austrian novelist and playwright] Thomas Bernhard placed on a museum bench facing a painting by Tintoretto, an ‘Old Master’ if ever there was one – an actor finds himself alone and thwarted after a notorious virus forces the indefinite closure of theaters. He wanders through an empty auditorium, paces the now-useless backstage areas, and bursts out into a street haunted by masked passersby. Having persuaded a firefighter to keep watch over him and his explosives, he pours out – to the guard and the surrounding silence alike – his loathing for, among other things, Heideggerians, a lack of punctuality, people who admire rather than respect, and the State’s appropriation of children. At the intersection of cinema and theater, despair and the will to survive, 1980s Austria and 2020s France, Bernhard’s text takes on a new resonance: ‘And as for culture in this country, your stomach exists only to turn.’” –Marie Hermann, FIDMarseille<br /><br />Preceded by:<br />Mathieu Amalric C’EST PRESQUE AU BOUT DU MONDE (2015, 16 min, digital. With Barbara Hannigan.)<br />“In C’EST PRESQUE AU BOUT DU MONDE, I explore a mystery that fascinates me: where do these inhuman voices come from? From where in the body does the unsettling anomaly of singing originate?” –Mathieu Amalric<br /><br />Total running time: ca. 100 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62231 <p>“Based on a true incident, the film chronicles the wanderings of a woman and child looking for work and lodging in Paris. This is the only plot, and Hanoun has little interest in embellishing it with background and motivation: he never even makes it clear, for example, whether the woman is the child’s mother, guardian or companion. UNE SIMPLE HISTOIRE is, more than a narrative, a formal stylistic exercise so rigorously disciplined and understated that it makes the visual asceticism of Robert Bresson seem almost Fellini-esque by comparison.”  –TIME<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62194 <p>Mathieu Amalric<br />ZORN I (2010-2016)<br />2017, 54 min, DCP<br />“The tense, but smiling face of maverick composer legend John Zorn listening to music might just restore your faith in human beauty. Every muscle moves in harmony with sounds and chords, it’s like seeing a soul wandering off into another realm. Mathieu Amalric has been filming this zestful musician for more than 12 years now. They first met when the actor and filmmaker narrated Zorn’s vocal album Shir Hashirim live in Paris. Those familiar with Amalric’s haptic cinema will immediately understand what drew him to Zorn and vice versa. They connect through their constant and obsessive drive for feelings and sensations, their tireless energy devoted to the art, their hunger for life. In the style of a home movie, Amalric accompanies Zorn at concerts, city walks, inside the sound studio or at practice.” –Patrick Holzapfel, VIENNALE<br /><br />Mathieu Amalric<br />ZORN II (2016-2018)<br />2018, 59 min, DCP<br />“In the second part of his ongoing portrait of the prolific musician, Amalric shows the artist as a social man. Like a sponge, Zorn takes in whatever surrounds him: people (mostly colleagues from the New York Underground scene), dreams, technology, cinema (screening films by Maya Deren or Harry Smith during his performances), places and the emotions evoked by sounds. […] Amalric chooses a more structured approach than in the first part. Text inserts reveal details about the composer’s life and his philosophy. The camera gets more in tune with Zorn’s eruptive movements, as he goes onstage at sold-out concert halls as if he were just discovering the instruments there during an evening stroll. He plays each note as if it was the first or last, and Amalric tries to film him accordingly.” –Patrick Holzapfel, VIENNALE<br /><br />Total running time: ca. 120 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62232 <p>These 35mm prints are the result of a preservation project undertaken by the Museum of Modern Art.<br /><br />DEATH IN THE FORENOON (1934/66, 2 min, 35mm)<br />CANARIES (1969, 4 min, 35mm)<br />&<br />FILM PORTRAIT<br />(1971, 81 min, 35mm)<br /><br />“FILM PORTRAIT is an autobiography in the sense that it deals explicitly with Jerome’s most personal life’s relationship to film. It draws on film clips taken in his childhood and his whole childhood involvement in art and life. It comes closest to any kind of filmic answer to Proust. […] FILM PORTRAIT is, I believe, the only direct autobiography we have in film. There is Jonas Mekas’s WALDEN, which is diary but not autobiography in a strict sense. We have Cocteau’s BLOOD OF A POET, ORPHEUS, and TESTAMENT OF ORPHEUS. One could say that this last is autobiographical, but it is also allusive and poetic; whereas Jerome’s FILM PORTRAIT is a very straight attempt to present autobiography on film. Of course, subsequently, James Broughton’s TESTAMENT and my own SINCERITY & DUPLICITY series of autobiographical films were very much inspired by Jerome’s FILM PORTRAIT as well as by Jonas’s WALDEN. […] Jerome Hill’s films are great because they are poised on wit and achieve a balance – a gentle, intentional, particularly American balance.” –Stan Brakhage, FILM AT WIT’S END<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62233 <p>Ian Hugo<br />BELLS OF ATLANTIS<br />(1952, 10 min, 16mm. Preserved by the Library of Congress through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.)<br />A film poem, based on Anaïs Nin’s HOUSE OF INCEST, narrated by and featuring Nin.<br />“[BELLS OF ATLANTIS was] inspired by the prologue to my HOUSE OF INCEST and the line: ‘I remember my first birth in water.’ The film evoked the watery depths of the lost continent of Atlantis. It is a lyrical journey into prenatal memories, the theme of birth and rebirth from the sea.” –Anaïs Nin<br /><br />Ken Jacobs<br />LITTLE STABS AT HAPPINESS (1959-63, 18 min, 16mm. With Jack Smith.)<br />“Material was cut in as it came out of the camera, embarrassing moments intact. 100’ rolls timed well with music on old 78s. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.” –Ken Jacobs<br /><br />Helen Levitt, Janice Loeb, and James Agee<br />IN THE STREET (1952, 12 min, 16mm, silent. Preserved by Anthology Film Archives.)<br />“Informality is indeed the crucial and virtually definitive quality of IN THE STREET; it is even the guiding principle and vision. […] This is the extreme realization of a classic ‘naturalistic’ genre, the German ‘street film,’ where the street was imaged as the arena of the everyday and random, the channel in which the ‘stream of life’ conveniently became microcosmic.” –Ken Kelman, THE ESSENTIAL CINEMA<br /><br />Willard Maas<br />GEOGRAPHY OF THE BODY (1943, 7 min, 16mm, b&w. Preserved by Anthology with support from The National Film Preservation Foundation.)<br />“The terrors and splendors of the human body as the undiscovered, mysterious continent.” –Willard Maas<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62200 <p>Mathieu Amalric<br />ZORN III (2018-2022)<br />2022, 82 min, DCP. With John Zorn and Barbara Hannigan.<br />“Why can’t Mathieu Amalric stop filming John Zorn? It’s because consciously or unconsciously, he understands that he can only get closer to this man if he imitates his restlessness. It’s this Sisyphean tirelessness, the fact that we must imagine Zorn (whose surname translates into German as anger) as a happy man, which is at the core of his art. He makes music in order to be alive. This time, however, Zorn is not the only protagonist, as the Canadian soprano Barbara Hannigan enters the wild world of the composer. Much more straightforward than its previous iterations, the film captures Hannigan’s rehearsals for a performance of Zorn’s song cycle ‘Jumalattaret’ together with pianist Stephen Gosling. The work pushes her vocal capacities to the limit, with the sudden shifts in register, extended high notes and bird-like chirping demanding everything from her.” –Patrick Holzapfel, VIENNALE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, November 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62195 <p>Mathieu Amalric<br />ZORN I (2010-2016)<br />2017, 54 min, DCP<br />“The tense, but smiling face of maverick composer legend John Zorn listening to music might just restore your faith in human beauty. Every muscle moves in harmony with sounds and chords, it’s like seeing a soul wandering off into another realm. Mathieu Amalric has been filming this zestful musician for more than 12 years now. They first met when the actor and filmmaker narrated Zorn’s vocal album Shir Hashirim live in Paris. Those familiar with Amalric’s haptic cinema will immediately understand what drew him to Zorn and vice versa. They connect through their constant and obsessive drive for feelings and sensations, their tireless energy devoted to the art, their hunger for life. In the style of a home movie, Amalric accompanies Zorn at concerts, city walks, inside the sound studio or at practice.” –Patrick Holzapfel, VIENNALE<br /><br />Mathieu Amalric<br />ZORN II (2016-2018)<br />2018, 59 min, DCP<br />“In the second part of his ongoing portrait of the prolific musician, Amalric shows the artist as a social man. Like a sponge, Zorn takes in whatever surrounds him: people (mostly colleagues from the New York Underground scene), dreams, technology, cinema (screening films by Maya Deren or Harry Smith during his performances), places and the emotions evoked by sounds. […] Amalric chooses a more structured approach than in the first part. Text inserts reveal details about the composer’s life and his philosophy. The camera gets more in tune with Zorn’s eruptive movements, as he goes onstage at sold-out concert halls as if he were just discovering the instruments there during an evening stroll. He plays each note as if it was the first or last, and Amalric tries to film him accordingly.” –Patrick Holzapfel, VIENNALE<br /><br />Total running time: ca. 120 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62321 <p><strong>SOLD OUT! Standby line starts 1 hour prior to showtime</strong></p> <p>CARACOLE (FOR IZCALI)</p> <p>2023, 17.5 min, 16mm, silent<br />“In the last few years I have been making a series of cinematic portraits of young filmmaking friends acting as collaborators in portraiture. There is always a surprise as to what the Bolex reveals of a person that is not revealed with the naked eye. This happened in a very strong way with Jacob while shooting PAVANE. But I was not prepared for the surprise that took place when I looked through the camera at Linda. I suddenly saw her as never before and asked without hesitation if she were Aztec. She responded enthusiastically that indeed she was, in fact, her middle name is Izcali, after the important Aztec festival month of rebirth.” –Nathaniel Dorsky<br /><br />NAOS<br />2022, 12 min, 16mm, silent<br />“A Naos is the inner room of an ancient Greek temple in which the image of the deity celebrated by that temple is depicted (usually in the form of a statue of that deity). Jacob, a young filmmaker, offered to help me with some shooting and became the center of the film itself.” –Nathaniel Dorsky<br /><br />DREAMS REVEAL A WEIGHTLESS WORLD<br />2016/24, 20 min, 16mm, silent<br />“OSSUARY was made up of the Kodachrome outs and trims from more than a decade of shooting and making films in Kodachrome. This new film, DREAMS REVEAL A WEIGHTLESS WORLD, is made from the Kodachrome outs from editing OSSUARY… It is the outs of the outs, so to speak.” –Nathaniel Dorsky<br /><br />Total running time: ca. 55 min.</p> Monday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62201 <p>Mathieu Amalric<br />ZORN III (2018-2022)<br />2022, 82 min, DCP. With John Zorn and Barbara Hannigan.<br />“Why can’t Mathieu Amalric stop filming John Zorn? It’s because consciously or unconsciously, he understands that he can only get closer to this man if he imitates his restlessness. It’s this Sisyphean tirelessness, the fact that we must imagine Zorn (whose surname translates into German as anger) as a happy man, which is at the core of his art. He makes music in order to be alive. This time, however, Zorn is not the only protagonist, as the Canadian soprano Barbara Hannigan enters the wild world of the composer. Much more straightforward than its previous iterations, the film captures Hannigan’s rehearsals for a performance of Zorn’s song cycle ‘Jumalattaret’ together with pianist Stephen Gosling. The work pushes her vocal capacities to the limit, with the sudden shifts in register, extended high notes and bird-like chirping demanding everything from her.” –Patrick Holzapfel, VIENNALE<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, November 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62323 <p><strong>SOLD OUT! Standby line starts 1 hour prior to showtime</strong></p> <p>CARELESS PASSAGE<br />2024, 20 min, 16mm, silent<br />“More than ever, origins have been on my mind. In the case of CARELESS PASSAGE, the origins of sight. Particularly, how, after millions of years, our ancestors developed that bubble-like globe that allowed them to see the world. Subsequently, I found that, before this liquid-filled sphere developed, a form of sight existed whereby a small ‘pinhole’ on the surface of an organism allowed a bit of light in to reflect on an interior surface. I had the delightful realization that ‘cinema’ preceded eyesight itself. (I knew it all along). My film, as usual, is a walk around town but haunted by surrogate shapes of ‘bubbles,’ ‘eyes’ and soupy things in emergence. Squares, those uniquely human shapes enter as well and try to find their place in a slippery world.” –Jerome Hiler<br /><br />WORDS OF MERCURY<br />2011, 25 min, 16mm, silent<br />“WORDS OF MERCURY is my loving farewell to color reversal 16mm film. The Bolex camera, which has served me so well for over fifty years, became a container for a process of distillation. I wanted to extract as much as I could from my remaining rolls of Ektachrome 7285. Film emulsion is so rich with latent colors and images, it was a simple decision to make a film of superimpositions which were all shot in the camera. […] The film takes a journey from darkness and a bare world through the seasonal spreading of seeds to a place almost choked and repugnant with color – a place that invites death. The final couplet from Shakespeare’s ‘Love’s Labour’s Lost’ speaking of the place of death, supplies me with my title. I seem to make the same film again and again in different ways.” –Jerome Hiler<br /><br />NEW SHORES<br />1971-87/2014, 35 min, 16mm, silent<br />“Like [IN THE STONE HOUSE], NEW SHORES consists of earlier footage edited in recent years. It could be seen as a sequel to IN THE STONE HOUSE especially since it begins with a cross-country journey to the West Coast, where I settled, and concludes with a visit, in 1987, to the ‘stone house’ in rural New Jersey. Even though there is some sort of time line that can be imagined, the film stands on its own. It is simply a series of episodes that touch upon facets of living in a new area with new weather, new people, new identities and stubborn old fears.” –Jerome Hiler<br /><br />Total running time: ca. 85 min.</p> Tuesday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62176 <p>COLLECTED FILM AND VIDEO WORKS 1976-84<br />PRESENTED BY FILM RESTORATIONIST PETER CONHEIM<br />Formed in the wreckage of the Kent State shootings in 1973, where co-founders Gerald V. Casale and Mark Mothersbaugh were students during the massacre, and still blowing the horn five decades later, Akron’s DEVO would take their subversive pop-art to staggering mainstream success. All the while, they considered themselves to be filmmakers as much as they were a “band.”<br /><br />From their first film onward (1976’s THE BEGINNING WAS THE END: THE TRUTH ABOUT DE-EVOLUTION), they fused their love of Dadaist image-making with their constantly shapeshifting music, confounding their record label by plowing their meager promo budgets into companion films for songs. This program unveils painstaking new restorations and reconstructions of much of this pivotal work (including SATISFACTION, FREEDOM OF CHOICE, WHIP IT, and much more) alongside a host of rarely (and never)-seen live footage, encounters with hapless interviewers, and other spud ephemera, curated specially for Anthology Film Archives by film archivist and musician Peter Conheim (Mono Pause, ex-Negativland, Wet Gate, et al).<br /><br />Total running time: ca. 80 min + discussion and Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, November 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62325 <p><strong>SOLD OUT! Standby line starts 1 hour prior to showtime</strong></p> <div></div> <p>“For the past several years California experienced an extreme drought. But this past winter good fortune brought a bountiful amount of storms and liquid refreshment. The spring that followed took on magical and celebratory qualities of energy, joy, fullness, and rebirth. In walking distance from my apartment is San Francisco’s Arboretum located in Golden Gate Park. I decided that I would make a film now on a single subject and that subject would be the light – not the objects, but the sacredness of the light itself in this splendid garden. What I did not know is that the great beauty of this magnificent spring would bring forth not one, but seven films, each one immediately following the previous. I began to photograph on the second week of February and finished the editing of the seventh film during the last days of December.<br /><br />These seven films spontaneously manifested as the stages of life: early childhood, youth, maturity, old age, and death. ELOHIM was photographed in early spring, the week of the lunar new year, the very spirit of creation. ABATON was photographed a few weeks later in the full ripeness of spring, the very purity and intoxication of passion. CODA was photographed in late spring, in the aftermath of this purity, the first shades of mortality and knowledge. ODE, photographed in early summer, is a soft textured song of the fallen, the dissonant reds of death, seeds, and rebirth. SEPTEMBER is indeed, Indian summer, the halcyon swan song of earthly blessings. MONODY, shot in the fading autumnal glory is an energized declaration of the end. And EPILOGUE, photographed in early December, rests in quietude, the garden’s energy now descending into the dark, damp earth.” –Nathaniel Dorsky, 2017<br /><br />ELOHIM (2017, 31 min, 16mm, silent)<br />ABATON (2017, 19 min, 16mm, silent)<br />CODA (2017, 16 min, 16mm, silent)<br />ODE (2017, 20 min, 16mm, silent)<br />SEPTEMBER (2017, 20 min, 16mm, silent)<br />MONODY (2017, 16 min, 16mm, silent)<br />EPILOGUE (2017, 15 min, 16mm, silent)<br /><br />Total running time: ca. 140 min.<br /><br /></p> Wednesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62178 <p>NEW YORK PREMIERE!<br /><br />Winner of the Silver Hugo Award in the New Directors Competition at the Chicago International Film Festival, this atmospheric and mystical debut feature by Karla Badillo tells the story of Rafaela, a young nun from a dwindling congregation who embarks on a pilgrimage after the arrival of a new archbishop. Along the way, she encounters travelers from diverse walks of life, and her journey becomes a lyrical and often poignant meditation on faith, doubt, and resilience in a world shaped by both spiritual and material forces. Featuring a stellar ensemble cast of professional actors – including Natalia Solián (HUESERA: THE BONE WOMAN), Cecilia Suárez (THE HOUSE OF FLOWERS), and Raúl Briones (LA COCINA) – alongside non-professional performers, the film offers a quietly critical lens on devotion and institutional life, reimagining the spiritual cinema of Luis Buñuel through a contemporary, distinctly female perspective, and tracing the winding path between belief, destiny, and self-discovery.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, November 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62180 <p>This special screening is presented in conjunction with “Theresa Hak Kyung Cha: Multiple Offerings”, a retrospective on view at Artists Space through November 21. The program features cinematic works by artists and filmmakers represented in “Apparatus, Cinematographic Apparatus: Selected Writing”, a seminal volume edited by Theresa Hak Kyung Cha (1951-82) and published in the 1980s by Tanam Press, an independent, artist-led publishing entity. Alongside these films will be a few examples of Cha’s work from the mid-1970s, including her notable structuralist piece PERMUTATIONS, a 1976 work composed of six shots filmed at one-second intervals that examines what the artist calls, “Film Time and Film Space.” The artist’s sister appears in a frame that echoes the format of a passport photo; Cha herself appears once. Through the repetition and permutation of these images, the sequence creates a rhythmic flicker, generating an optical sense of movement.<br /><br />Cha was deeply influenced by both canonical and contemporary films from around the world, and by cinema theory, and actively explored the distinctions between the film, its author, and the spectator. Among the filmmakers whose work illuminates these concerns is Dziga Vertov, whose 1929 film MAN WITH A MOVIE CAMERA offers a radical exploration of cinematic perception and the possibilities of the medium, using dynamic editing, multiple exposures, split screens, and self-reflexive images of the camera and filmmaking process. Jean-Marie Straub and Danièle Huillet’s 1977 film EVERY REVOLUTION IS A THROW OF THE DICE brings together Stéphane Mallarmé’s poem “A Throw of the Dice Will Never Abolish Chance” with a collective recitation staged at Père-Lachaise Cemetery, beside the wall where the last defenders of the Paris Commune were executed in 1871. The film’s interweaving of literary text, historical memory, and the material conditions of its own performance resonates with Cha’s sustained interest in the relationship between language, image, and the conditions of viewing. Taken together, the program brings into view the formal, literary, and cinematic correspondences that run through Cha’s work.<br /><br />Co-presented by Anthology Film Archives and Artists Space, with an introduction by a special guest. For more info about the Artists Space exhibition visit: <a href="https://artistsspace.org/exhibitions/theresa-hak-kyung-cha-multiple-offerings">https://artistsspace.org/exhibitions/theresa-hak-kyung-cha-multiple-offerings</a> <br /><br />Dziga Vertov<br />MAN WITH A MOVIE CAMERA / CHELOVEK S KINO-APPARATOM<br />1929, 90 min, 35mm, silent. With no intertitles.<br /><br />Preceded by:<br />Theresa Hak Kyung Cha PERMUTATIONS (1976, 10 min, 16mm)<br />Theresa Hak Kyung Cha TRANSLATIONS FROM A WILLOW TREE (1976, 4 min, Super-8mm-to-DCP)<br />Jean-Marie Straub & Danièle Huillet EVERY REVOLUTION IS A THROW OF THE DICE / TOUTE RÉVOLUTION EST UN COUP DE DÉS (1977, 11 min, 35mm)<br /><br />Total running time: ca. 120 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, November 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62284 <p>A pinnacle of the art of filmic portraiture, Gregory Markopoulos’s GALAXIE comprises thirty short portraits of men and women from across the spectrum of the mid-1960s cultural scene in New York City. Its subjects include many of Markopoulos’s fellow experimental filmmakers – Storm De Hirsch, George & Mike Kuchar, Jonas Mekas, Shirley Clarke, Amy Taubin, and Ed Emshwiller – as well as figures from the literary and art worlds, including Parker Tyler, Jasper Johns, W.H. Auden, Allen Ginsberg, Kenneth Kelman, Maurice Sendak, Susan Sontag, and others. In keeping with Markopoulos’s short-form masterpieces MING GREEN, BLISS, and SORROWS, each of the individual portraits in GALAXIE was edited entirely in-camera, a near-miraculous feat given the intricate use of multiple layers of superimposition, all of it achieved by rewinding and making additional passes through the single 100-foot (ca. 3-minute) roll of 16mm film during the shoot. Initially intending to produce only a handful of portraits, Markopoulos ended up filming 40 different chapters, and ultimately incorporated the first 30 into the completed work (presented in the order they were created). Each of the portraits represents an exquisite visual record of the encounter between subject and filmmaker, while the film as a whole provides an extraordinary opportunity to observe the gradual development of Markopoulos’s approach to portraiture and in-camera editing.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62182 <p>SPECIAL SCREENING – FILMMAKERS IN PERSON!<br /><br />Eve Sussman, Simon Lee, Angela Christlieb<br />NO FOOD NO MONEY NO JEWELS<br />2026, 35 min, DCP<br />A group of factory workers – Bear, Rabbit, Owl, Pig, and Donkey – are caught in a cycle of ridiculous labor, endlessly moving water around a scaffolding tower. Shot on a theater stage, where the characters are unable to exit, and at the Frankfurt Zoo, its own kind of stage with caged protagonists, NO FOOD NO MONEY NO JEWELS follows the trials and tribulations of workers clocking in at a makeshift factory. The film is both a literal and cinematic collage, merging vérité footage with a constructed theatrical set: a shifting arrangement of life-size found photographs make up the backdrop for each scene. The script combines original text, channelings of famous people, and rewrites of stories from House at Pooh Corner. In NO FOOD…, food becomes an object of obsession as the workers kill time in the break-room, search for treasure, and collude against the boss. What emerges is a story about work, authority, and the desire to escape. The film culminates in an epiphany: “Never stop dancing,” as the characters waltz and the theater, with them in it, spins off into space.<br /><br /><strong>SNEAK PREVIEW!</strong><br />Angela Christlieb<br />NOTES FROM THE INTERZONE<br />2026, 34 min, DCP<br />“NOTES FROM THE INTERZONE is based on diary fragments and anecdotes created since my first stay in New York in 1997 – a personal journey into the world of imagination, interwoven from dream journals, cinematic fragments, and real memories. The film begins in the present: New York, a city in a state of political upheaval. Everything seems familiar, yet nothing is normal anymore. From here, an associative journey opens inward – into an in-between world where reality, dream, and memory overlap into a fever dream of images, voices, and thoughts. A time loop leads back to 1997. In a first-person narrative, we encounter a woman living in a Russian house in East Brooklyn – surrounded by Latino gangs, salsa music, and a jealous Russian man. As she tries to write a screenplay, heat, noise, and unrest keep her awake. At night, she zaps through TV channels and becomes fixated on programs about paranormal phenomena. With each passing night, objects and furniture begin to take on a life of their own – the boundary between dream and reality dissolves.” –Angela Christlieb<br /><br />Screening between the two films:<br />Simon Lee LISTEN PUNK (HOFFA) (2015, 4 min, DCP)<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, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62287 <p>Few contemporary filmmakers have demonstrated such a sustained commitment to the form of cinematic portraiture as Friedl vom Gröller, whose work is represented throughout this series. While most of her films are notably (and proudly) small in scale, MAX TURNHEIM is an exception, an ever-expanding collection of portraits of a subject she has returned to repeatedly throughout the years.<br /><br />“An allegorical reflection upon physiosocial existence in the world. This to-date 13-part, long-term portrait of Max Turnheim brings the abundance of Friedl vom Gröller’s gaze to complete fruition. The film conceives its portrait through the compression of an entire phase of life, including separation from the parental home, the finding of an individual path, and a renewed longing for middle class institutions. The point of departure for all this content is a face seen over the course of time.” –Alejandro Bachmann<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62234 <p>“Original 1905 film shot and probably directed by G.W. ‘Billy’ Bitzer, rescued via a paper print filed for copyright purposes with the Library of Congress. It is most reverently examined here, absolutely loved, with a new movie, almost as a side effect, coming into being.” –Ken Jacobs<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a></p> Saturday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62196 <p>Mathieu Amalric<br />ZORN I (2010-2016)<br />2017, 54 min, DCP<br />“The tense, but smiling face of maverick composer legend John Zorn listening to music might just restore your faith in human beauty. Every muscle moves in harmony with sounds and chords, it’s like seeing a soul wandering off into another realm. Mathieu Amalric has been filming this zestful musician for more than 12 years now. They first met when the actor and filmmaker narrated Zorn’s vocal album Shir Hashirim live in Paris. Those familiar with Amalric’s haptic cinema will immediately understand what drew him to Zorn and vice versa. They connect through their constant and obsessive drive for feelings and sensations, their tireless energy devoted to the art, their hunger for life. In the style of a home movie, Amalric accompanies Zorn at concerts, city walks, inside the sound studio or at practice.” –Patrick Holzapfel, VIENNALE<br /><br />Mathieu Amalric<br />ZORN II (2016-2018)<br />2018, 59 min, DCP<br />“In the second part of his ongoing portrait of the prolific musician, Amalric shows the artist as a social man. Like a sponge, Zorn takes in whatever surrounds him: people (mostly colleagues from the New York Underground scene), dreams, technology, cinema (screening films by Maya Deren or Harry Smith during his performances), places and the emotions evoked by sounds. […] Amalric chooses a more structured approach than in the first part. Text inserts reveal details about the composer’s life and his philosophy. The camera gets more in tune with Zorn’s eruptive movements, as he goes onstage at sold-out concert halls as if he were just discovering the instruments there during an evening stroll. He plays each note as if it was the first or last, and Amalric tries to film him accordingly.” –Patrick Holzapfel, VIENNALE<br /><br />Total running time: ca. 120 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62289 <p>“[S]hot with a high-speed camera…FILM NO. 5 (SMILE) reveals John Lennon’s face, recorded at 333 frames per second for an extended duration, outdoors, in color, and accompanied by a sound track of outdoor sounds recorded at the same time the imagery was recorded. FILM NO. 5 (SMILE) divides roughly into two halves, one continuous shot each. During the first half, the film is a meditation on Lennon’s face, which is so still that on first viewing I wasn’t entirely sure for a while that the film was live action and not an optically printed photograph of Lennon smiling slightly. Though almost nothing happens in any conventional sense, however, the intersection of the high speed filming and our extended gaze creates continuous, subtle transformations. […] While the second shot is more active than the first, the amount of activity remains minimal by conventional standards (and unusually so even for avant-garde film). It is as though those of us in the theater and Lennon are meditating on each other from opposite sides of the cinematic apparatus, joined together by Ono in a lovely, hypnotic stasis.” –Scott MacDonald, “Yoko Ono: Ideas on Film”<br /><br />Preceded by:<br />Yoko Ono<br />FLUXFILM NO. 16: aka NO. 4: BOTTOMS<br />1966, 6 min, 16mm-to-digital, silent. Camera: Jeff Perkins, Anthony Cox. Starring: Susannah Campbell, Philip Corner, Anthony Cox, Bici Hendricks, Geoffrey Hendricks, Kyoko Ono, Yoko Ono, Ben Patterson, Jeff Perkins, Susan Poland, Jerry Sablo, Carolee Schneemann, James Tenney, Pieter Vanderbeck, Verne Williams.<br />“The rebellious, erotic, liberatory nature of the film, which reflects the tenor of Fluxus, acts in direct opposition to the nineteenth-century scientific treatment of the body as a ‘dynamic field of action in need of regulation and control.’” –Chrissie Iles, “Erotic Conceptualism: The Films of Yoko Ono”<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62206 <p>With Jeanne Balibar, Mathieu Amalric, Vincent Peirani, Aurore Clement, and Grégoire Colin.<br /><br />Amalric’s seventh feature-length film as a director is both a heartfelt tribute to the legendary chanteuse Barbara (1930-97), and a vehicle for another peerlessly talented French luminary, the actress and singer Jeanne Balibar. Amalric’s films are remarkable for their intuitive freedom, and their emphasis on emotional textures and states of feeling rather than on straightforward narrative construction or easily grasped meanings. BARBARA is a case in point: eschewing anything like a coherent, birth-to-death account of the events of her life, the film instead orchestrates fragments of the singer’s life and performances into a free and quasi-abstract meditation on Barbara’s identity and cultural presence. And by casting Balibar not as Barbara per se but more self-referentially as an actress making a film-within-the-film about the singer, his film becomes an even broader investigation into the concept of biographical filmmaking, representation, and identity. An experimental biopic in the tradition of Stanley Kwan’s CENTER STAGE, Peter Watkins’s EDVARD MUNCH, and Paul Leduc’s FRIDA, it features a typically riveting, charismatic performance from Balibar.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2026#showing-62292 <p>These two programs pair Warhol’s seminal and often exquisite SCREEN TESTS – the silent, black-and-white, three-and-a-half minute filmic portraits he made between 1964-66, which grew to encompass 472 separate reels, portraying 189 individual subjects (many of them sitting for multiple portraits) – with Conrad Ventur’s 21st-century remakes. For Ventur’s (ongoing) project, he has sought out as many of the surviving SCREEN TESTees as possible, and restaged their portraits, resulting in a poetic tribute to Warhol’s films and to the transformations wrought by time.<br /><br /><strong>Conrad Ventur in person on Sat, Nov 21!</strong><br /><br />Andy Warhol STEVE BALKIN [ST14] (1964, 4.5 min, 16mm-to-digital, silent)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: STEVE BALKIN (2010, 4 min, digital, silent)<br /><br />Andy Warhol RANDY BOURSCHEIDT [ST29] (1966, 4.5 min, 16mm-to-digital, silent)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: RANDY BOURSCHEIDT (2011, 4 min, digital, silent)<br /><br />Andy Warhol JOHN GIORNO [ST116] (1964, 4 min, 16mm-to-digital, silent)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: JOHN GIORNO (2011, 4 min, digital, silent)<br /><br />Andy Warhol BIBBE HANSEN [ST128] (1965, 4 min, 16mm-to-digital, silent)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: BIBBE HANSEN (2009, 4 min, digital, silent)<br /><br />Andy Warhol SALLY KIRKLAND [ST181] (1964, 4.5 min, 16mm-to-digital, silent)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: SALLY KIRKLAND (2010, 4 min, digital, silent)<br /><br />Andy Warhol BILLY LINICH [ST194] (1964, 4 min, 16mm-to-digital, silent)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: BILLY LINICH (2009, 4 min, digital, silent)<br /><br />Andy Warhol TAYLOR MEAD [ST209] (1964, 4.5 min, 16mm-to-digital, silent)<br />Conrad Ventur 13 MOST BEAUTIFUL / SCREEN TESTS REVISITED: TAYLOR MEAD (2010, 2.5 min, digital, silent)<br /><br />All Warhol SCREEN TESTS: Collection of The Andy Warhol Museum, Pittsburgh; Contribution The Andy Warhol Foundation for the Visual Arts, Inc.<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, November 21