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 Fri, 06 Feb 2026 10:09:29 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60701 <p>(GENESUNG)<br /><br />“The authorities expect the case of Friedel Walter, alias ‘Dr. Mueller,’ to be a straightforward one: he was working as a doctor without proper credentials and under a false name. But Mehlin, the man in charge of his case, knows that there is more to the story. When he was injured fleeing from a concentration camp, resistance worker Irene asked her medical student boyfriend Walter to give him medical care. As it turns out, Walter ended up on the front as a medical worker, was captured by the British and mistakenly registered under the name of the fallen Dr. Mueller. He simply never straightened out the confusion. Years later, while dealing with a particularly difficult case, he recognizes the patient’s wife as his former love Irene and is forced to confront the truth about his past.” –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> Friday, February 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60834 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />STEVE PAXTON: PHYSICAL THINGS<br />2013, 30 min, digital. Performance Engineer: Dick Wolff.<br />In Steve Paxton’s PHYSICAL THINGS, a polyethylene air-inflated structure occupied most of the Armory floor, with a tower rising to the peak of the Armory roof. The audience walked through the structure, encountering slide projections, sounds, and performers. Emerging from the structure, they used small receivers to hear different sounds broadcast from wire loops suspended in a net overhead, thus composing their own sound experience.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />LUCINDA CHILDS: VEHICLE<br />2012, 35 min, digital. Performance engineer: Peter Hirsch.<br />For Lucinda Child’s VEHICLE, Peter Hirsch designed a 70 kHz Doppler sonar system. Childs swung three red fireman’s buckets around inside the ultrasonic sound beams created by transmitters hung on scaffolding. As Childs swung the buckets, the reflected signals mixed with the original 70 kHz signal, and the resulting beat frequency fell in the audible range. These sounds were transmitted to the twelve speakers around the Armory.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />DEBORAH HAY: SOLO<br />2012, 41 min, digital. Performance Engineer: Larry Heilos.<br />For Deborah Hay’s SOLO, Larry Heilos designed the control systems for eight radio-controlled carts that moved around the Armory floor, which were then covered with wooden boxes to make platforms for dancers to stand or lie on. At the rear of the space, eight formally dressed performers operated the radio-control system to move the platforms into and around the space. Composer Jim Tenney acted as the “conductor” of the “orchestra”. Sixteen dancers entered the brightly lit space either walking or riding on a cart. They then walked in solo, duet, or trio formations or rode on the moving platforms, following Hay’s specific rules and choreography. The sound for the performance was David Tudor’s realization of Toshi Ichiyanagi’s work FUNAKAKUSHI.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Friday, February 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60704 <p>Based on a novel by German-Czech author Franz Carl Weiskopf, LISSY centers on a working-class socialist in the Weimar economic crisis whose husband Alfred joins the Nazi Party after losing his job. Though their Nazi membership improves their material conditions, it alienates Lissy from her left-wing parents and friends, many of whom she sees attacked by the Nazis with the consent of the police. Through Lissy’s point of view, Wolf highlights how poverty and unemployment attracted many Germans to fascism. The film captures her gradual realization of fascism’s politics of exclusion and fear, forcing her to question the comfort offered by her husband’s party membership. This act of defiance turns into a gesture of antifascist significance and resistance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60707 <p>(SONNENSUCHER)<br /><br />SUN SEEKERS focuses on the stories of two women, a young orphan named Lutz and Emmi, who are picked up by the police during a raid in Berlin to work in the Soviet and East-German Wismut uranium plant. The film’s style stands out for its anti-heroic aspects, while the narrative boldly shows the resentment felt by the East German workers towards the Soviets, not just because of the past trauma of the war, but also because of the unrealistic production expectations on the part of the latter. The emphasis on these conflicts through an observational cinematic style that captures a variety of social relationships in the plant contradicts the film’s opening intertitles, which patronizingly explain to the viewer that the Wismut project started out of the USSR’s commitment to world peace. Wolf had to wait until 1972 for an official release of SUN SEEKERS; under pressure from the Soviet authorities, the film was not released in 1958 and was shelved for 14 years.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Victoria Rizo Lenshyn, Associate Director of the DEFA Film Library at the University of Massachusetts Amherst!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60836 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />OYVIND FAHLSTRÖM: KISSES SWEETER THAN WINE<br />1996, 71 min, digital. Performance Engineer: Harold Hodges.<br />Öyvind Fahlström’s KISSES SWEETER THAN WINE was a complex, poetic theater performance, with a three-dimensional collage of images and sound that incorporated live actors, elaborate props, and a triptych of slide, movie, and television projections. Engineers developed for Fahlström a pillow that “could sing out while it was bounced on the floor,” a remote-controlled mylar missile circling the Armory, and snowflakes that fell upward. Characters included idiot savants who could memorize enormous amounts of data or make multi-digit calculations in their heads, a girl in a plastic swimming pool filled with Jello, Chinese Sparrows under attack, and Space Girl, who descended in the winch hoist carriage from the ceiling.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60710 <p>(STERNE)<br /><br />A DEFA and Bulgarian co-production, and the winner of the Prix du Jury at the 1959 Cannes Film Festival, STARS was one of the first German-speaking films about the Holocaust, a subject still taboo in West Germany at the time. The film takes place in a small town in Bulgaria, where German soldiers have temporarily stationed groups of Greek Jews who are destined for Auschwitz. Among the soldiers is Walter, a Wehrmacht officer and disillusioned intellectual and painter, who seems to hold nihilistic views. A chance encounter, however, prompts a reflection on his role in the Nazi war machine: he falls in love with Ruth, a Jewish woman, and tries to organize her escape with support from local members of the Bulgarian resistance. Because of the taboo on discussing the Holocaust, the West German government tried to prevent the film’s circulation at international festivals.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Mariana Ivanova, Academic Director of the DEFA Film Library at the University of Massachusetts Amherst!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60838 <p>Barbro Schultz Lundestam & Julie Martin<br />ALEX HAY: GRASS FIELD<br />2013, 40 min, digital. Performance Engineer: Bob Kieronski.<br />For his GRASS FIELD, Alex Hay wore a backpack of specially designed differential amplifiers with a peak gain at low frequencies of 80 db and FM transmitters which picked up brain waves, muscle activity, and eye movement from electrodes placed on Hay’s head and body. These sounds were broadcast to the audience as Hay carefully laid out 64 numbered pieces of cloth. He then sat facing the audience, his face projected on a large screen behind him while Robert Rauschenberg and Steve Paxton systematically picked up the pieces of cloth in numerical order and deposited them in two piles on the floor.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />JOHN CAGE: VARIATIONS VII<br />2007, 41 min, digital. Performance Engineer: Cecil Coker.<br />For John Cage’s VARIATIONS VII, thirty photocells were mounted on the performance tables, aimed at ankle level lights situated on the floor under the tables. Sounds from a variety of sources were activated as the performers moved around the tables breaking the beams. Cage also had contact microphones on the performing platform itself and additional contact microphones on household appliances such as a blender, a juicer, a toaster, a fan, etc. He also had sound from radio bands, television bands, and two Geiger counters. In addition, Cage arranged ten open phone lines to places in New York City such as the restaurant Luchow’s, the 14th Street Con Edison electric power station, the ASPCA lost dog kennel, The New York Times press room, and Merce Cunningham’s studio, all of which fed into the overall sound mix.<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60713 <p>(LEUTE MIT FLÜGELN)<br /><br />“This film continues the story of radio operator Ludwig Bartuschek from Kurt Maetzig and Günter Reisch’s 1958 East German classic, THE SAILORS’ SONG. Near the end of the Weimar Republic, Bartuschek is working as a mechanic in the Sperber airplane plant. Director Dehringer offers him the opportunity to train as an airplane builder if he is willing to give up his communist beliefs under oath. Bartuschek will not allow himself to be bought and instead joins the underground resistance movement.” –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> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60716 <p>PROFESSOR MAMLOCK is an adaptation of the homonymous play (1933) by Friedrich Wolf, the director’s father. Written in exile, the play was one of the first artistic encounters with the question of anti-Semitism in Nazi Germany. The film adaptation makes a bold argument that non-resistance in the early years of Nazi rule was tantamount to complicity. MAMLOCK tells the story of an accomplished medical surgeon and Professor at a university hospital. He is a family man of Jewish origin, who believes in Enlightenment ideas of individual freedom, scientific humanism, progress, and the rule of law. When the Nazis take power in 1933, he passionately opposes his Communist son’s resistance activities, convinced that fascism would be a small parenthesis in German history. He only understands the regime’s horror when he is dismissed during the wave of purges of Jews and political opponents from civil service and government jobs. Mamlock’s “wrong decision” becomes a metaphor for collective inertia at times of political crisis; the personal and the political, the private and the public sphere, are clearly interconnected in this fascinating film.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60840 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />ROBERT WHITMAN: TWO HOLES OF WATER – 3<br />2013, 35 min, digital. Performance Engineer: Robby Robinson.<br />In Robert Whitman’s TWO HOLES OF WATER – 3, seven cars carrying film and television projectors drove onto the Armory floor and parked facing the back wall, which was covered with white paper. On the balcony, television cameras shot performances: two girls moving slowly in front of a curved mirror, a girl typing, a small fiber optic camera inside a coat pocket. Whitman fed images of these live performances and off-air television images to the television projectors in the cars. He also cued the drivers to turn on the films of nature subjects he had made previously.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />DAVID TUDOR: BANDONEON ! (A COMBINE)<br />2009, 40 min, digital. Performance Engineer: Fred Waldhauer.<br />In David Tudor’s BANDONEON !, Tudor played the bandoneon while ten contact microphones attached to the instrument picked up the sound, which was then distributed to four processing devices. The output of a forty-channel filter, designed and built by Robert Kironskiwas, fed to twelve speakers and controlled the lights on the balcony. An audio processing and modifying circuit built by Tudor fed four transducers attached to wood and metal structures and a horn speaker located on moving carts on the Armory floor. A proportional control system designed and built by Fred Waldhauer also fed into the lights surrounding the platform and the twelve speakers. The fourth device, designed and built by Lowell Cross, used sound to modify abstract images from television projectors sitting on the floor of the Armory.<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!<br /><br /></strong></a><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60719 <p>(DER GETEILTE HIMMEL)<br /><br />A loose adaptation of writer Christa Wolf’s novel, DIVIDED HEAVEN is one of the most formally experimental DEFA films. The film is visibly influenced by post-war Western European modernist cinema, a clear departure from socialist-realist doctrines prevalent in the GDR at the time. Similar to LISSY and PROFESSOR MAMLOCK, DIVIDED HEAVEN places an individual’s story within the wider social and historical context to explore the interconnection between private life and history. The story centers on a couple: Rita, a rural girl studying to become a teacher who also works in a factory as part of her educational training, and Manfred, a chemist from the city. After losing financial support for one of his engineering projects, Manfred decides to move to West Berlin. Rita, however, refuses to relocate to the West and fails to persuade him to return. Instead of guaranteeing any sense of catharsis, Rita’s decision to stay in East Berlin leaves the narrative open-ended. As in his other films, Wolf’s portrayal of the GDR highlights its contradictions, such as the productivity pressures faced by the workers at Rita’s factory and the social pressures faced by relatives of people who moved to the West. At the same time, his portrayal of West Berlin as a place where everything, according to Rita, “revolves around eating and drinking, getting depressed, and then going to bed,” demonstrates the different worldviews carried by the two societies.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60842 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />ROBERT RAUSCHENBERG: OPEN SCORE<br />1997, 33 min, digital. Performance Engineer: Jim McGee.<br />Robert Rauschenberg’s OPEN SCORE began with a tennis match on the floor of the Armory between Mimi Kanarek and Frank Stella. Bill Kaminski designed a miniature FM transmitter that fit in the handle of the tennis racquet. Each time the ball hit the strings of the racquet, a contact microphone at the head of the racquet produced a “BONG”, which was amplified and heard through the 12 speakers around the Armory. At each “BONG” one of the 48 lights illuminating the performance space went out, and the game ended when the Armory was in complete darkness. At that time a crowd of 300 people entered. Infrared television cameras picked up the group’s movements and projected these images on three large screens hanging in front of the audience. For the second performance, Rauschenberg added a third section, in which Simone Forti, in a cloth sack, sang an Italian love song as Rauschenberg picked her up and put her down at several places on the Armory floor.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />YVONNE RAINER: CARRIAGE DISCRETENESS<br />2013, 40 min, digital. Performance Engineer: Per Biorn.<br />In Yvonne Rainer’s CARRIAGE DISCRETENESS, slats, slabs, cubes, planks, and sheets of different materials, like Masonite, wood, and Styrofoam beams, were spread across the Armory floor. Seated in a high balcony at one end of the space, Rainer transmitted instructions to the performers, who wore portable FM receivers on their wrists, to carry objects from one place to another. Parallel to this were “events”, preprogrammed on ACTAN drum switches by Per Biorn, which included film and slide projections, a super ball and pieces of foam rubber dropped from the ceiling, and a collapsing projection screen. At the end of the piece, Steve Paxton launched himself from the balcony at the rear of the performance space on a swing attached to the ceiling, swinging back and forth until he came to a complete halt.<br /><br />Total running time: ca. 75 min.<br /><br /><strong>Followed by a panel discussion featuring Morgan Griffin, Julie Martin, Wendy Perron, Mimi Gross, and Yvonne Rainer!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /></strong></a></p> <p class="p1"><strong>SERIES PASSES ARE SOLD OUT!</strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong><br /></strong></a><span style="text-decoration: line-through;"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></span></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60722 <p>(DER KLEINE PRINZ)<br /><br />“This highly stylized DEFA adaptation, commissioned by East-German television, of ‘The Little Prince’ (1943) by Antoine de Saint-Exupéry brings to life the existentialist classic in magical artificial landscapes. Originally intended for the launch of color television in the GDR, THE LITTLE PRINCE was filmed in 1965/66 by the DEFA Studio for Feature Films commissioned by Deutscher Fernsehfunk. However, color television was not introduced in the GDR before October 3, 1969. Finally, the film premiered on May 21, 1972, but disappeared in the archives afterwards, thanks to the broadcaster’s failure to obtain the adaptation rights for the text. Before the story became public domain in Germany in 2015, the film was only shown twice with special permission by the literary rights holders, including a screening organized by Wim Wenders in 1995 as part of the series ‘100 Years of Cinema in Berlin.’” –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> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60725 <p>(ICH WAR NEUNZEHN)<br /><br />Wolf mentions in his diaries that he did not hesitate to become a “Vaterlandsverräter” (“fatherland traitor”) in order to fight the Nazi terror. I WAS NINETEEN brilliantly captures the complexity of his experience as a German man joining the Red Army to fight fascism. Modelled on Wolf himself, who was a 19-year-old Red Army soldier when the Soviets broke the German line, the film’s lead character Gregor is a Soviet soldier of German origins who returns to his homeland in the last days of the war. Acting as an interpreter, he and the other Red Army soldiers try to convince the Germans to surrender. The film’s complex themes of belonging, identity, antifascist struggle, and victimhood are underlined by the form, which is itself influenced by Italian neorealism’s ascetic aesthetic, which aimed to capture history by registering its everyday moments. Despite Wolf’s firm commitment to antifascism, the film’s everyday, anti-heroic, and banal encounters in the last days of the war produce a melancholic style, more an aesthetics of mourning than of celebration.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60731 <p>(DER NACKTE MANN AUF DEM SPORTPLATZ)<br /><br />This film explores the relationship between art and power, as well as trauma and memory. It tells the story of Herbert Kemmel, an artist uncomfortable with the official artistic doctrine in the GDR. Kemmel is a sculptor who is pictured as alienated from his social environment, while he seems to be burdened by the fact that people do not understand his work. Kemmel’s alienation is social, but it also has to do with his obsession with the historical traumas of the past. This is expressed in the film’s subtle references to the Buchenwald and Ravensbrück concentration camps and memorial sites, as well as to events in Babi Yar, a ravine outside Kiev where the German army and Ukrainian collaborators executed more than 30,000 Jews and other Ukrainian civilians. The character in the film functions as the director’s double – as Wolf never stopped searching for novel ways to represent the historical traumas of the 20th century.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60775 <p>This program explores the wide and wonderful world of film trailers and previews. Mirroring the “Avant-Garde Ads” series as a whole, it includes bona fide trailers by experimental filmmakers, “fake” trailers for non-existent films, parodies, and collage films that use found trailers as their source materials.<br /><br />John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] (1982, 40 sec, 35mm)<br />Mark Shepard [EZTV No smoking PSA] (ca. 1985, 30 sec, video)<br />Jack Goldstein METRO-GOLDWYN-MAYER (1975, 2 min, 16mm-to-DCP. Courtesy Galerie Buchholz.)<br />Oskar Fischinger COLORATURA / KOLORATUREN (1932, 2 min, 16mm. Commissioned by Froelich as a trailer for a film.)<br />Francis Lee FILM-MAKERS’ SHOWCASE TRAILER (1963, 3 min, 16mm)<br />Curt McDowell AINSLIE TRAILER (1972, 2 min, 16mm)<br />Curt McDowell KATHLEEN TRAILER (for Underground Cinema 12) (1972, 1.5 min, 16mm)<br />Suzan Pitt WHITNEY COMMERCIAL (1973, 3 min, 16mm-to-digital)<br />Alexis Krasilovsky GUERRILLA COMMERCIAL (1973, 1 min, 16mm-to-digital)<br />Tom Rubnitz UNDERCOVER ME! (1988, 2 min, video)<br />George Kuchar TERROR BY TWILIGHT (1988, 6 min, video)<br />Maurice Lemaître FILM ANNONCE (1993, 3 min, 16mm)<br />Heather McAdams FAKE PREVIEWS (1985, 5 min, 16mm)<br />Kerry Laitala COMING ATTRACTIONS (2004, 3 min, 16mm, silent)<br />Peggy Ahwesh BEIRUT OUTTAKES (2007, 7.5 min, digital)<br />Chris Jolly MULTIPLEX (ca. 2012, 3 min, 35mm)<br />Ben Coonley 2008 NEW YORK UNDERGROUND FILM FESTIVAL TRAILER STARRING DR. ZIZMOR (2008, 1 min, digital)<br />Jim Finn NYUFF ’08 TRAILER (2008, 1 min, digital)<br />Jean-Luc Godard OFFICIAL SPOT OF THE 22ND JI.HLAVA IDFF (2018, 1 min, digital)<br />C. Spencer Yeh [Selected Spectacle Theater Trailers] (2012-18, ca. 6 min, 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> Tuesday, February 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60728 <p>Wolf’s 1971 Goya biopic has echoes of Bertolt Brecht’s “Life of Galileo” (1939) and addresses questions regarding the role of the artist in moments of social and political crisis. The painter Goya benefits from the support of the king and the Church but simultaneously believes in freedom of thought and the love of his compatriots. This eventually puts him into conflict with the Church and the royal establishment. The film observes the transformation of the artist’s gaze; the harmless portraits of his early days are followed by grotesque paintings that capture the historical horror of the time. Wolf’s engagement with the past is evidence of his desire to connect it with the 20th century. For example, some sequences feature the Inquisition condemning certain artists and thinkers for their heretical views. These film passages indirectly reference the 1949 László Rajk trial in Hungary and the 1952 Slánský trial in Czechoslovakia, two show trials that purged key members of the Hungarian and the Czechoslovak Communist Parties on fabricated charges of espionage. The oblique suggestion that the Catholic Inquisition and the Stalinists had similar dogmatic views demonstrates Wolf’s melancholy about socialism’s shift from a utopian narrative of liberation to a rigid form of bureaucratic governance and oppression.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, February 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60778 <p>This program showcases a handful of wild, uncanny, and amazingly inventive animated films that are constructed largely from magazine advertisements.<br /><br />Jean-Thomas Bédard THIS IS A RECORDED MESSAGE (1973, 10 min, 16mm-to-digital)<br />Unglee C’EST FOU (1977, 12 min, 16mm-to-DCP)<br />Martha Colburn EVIL OF DRACULA (1997, 2 min, Super-8mm-to-16mm)<br />Martha Colburn WHAT’S ON? (1997, 2 min, 16mm)<br />Jodie Mack YARD WORK IS HARD WORK (2008, 27.5 min, 16mm)<br />Lewis Klahr ALTAIR (1994, 6 min, 16mm)<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> Tuesday, February 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60734 <p>(MAMA, ICH LEBE)<br /><br />“In a Russian POW camp, four Germans determined to end WWII change into Red Army uniforms. Are they patriots or traitors, heroes or opportunists? Although they go to the frontlines, their new Russian comrades are initially unsure whether to trust them. Three of them then accept a mission behind German lines, but they are unprepared to fire upon their countrymen. Meanwhile, the fourth man has fallen in love with Russian radio operator Svetlana. This film, which centers on the difficult moral questions raised in wartime, draws on Wolf’s experiences as a propaganda officer with the Red Army in Germany at the end of WWII. Wolf saw this film as a consolidation and continuation of his 1967 film I WAS NINETEEN.” –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> Wednesday, February 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60783 <p>From 1952 to 1956, Mexico was home to a little-known U.S. propaganda initiative in animation produced by Dibujos Animados, S.A. Backed by the United States Information Agency, these films blurred the line between cultural production and ideological messaging, often without the full awareness of the Mexican animators involved. Combining local animation practices with the abstract modernist style popularized by UPA in mid-century America, the cartoons received limited distribution despite contemporary coverage in the Mexican press. This screening marks only their second known U.S. presentation (the first at the Block Museum of Art, Northwestern University, in 2023), and features newly digitized archival materials and a preceding panel discussion on their historical, aesthetic, and political contexts.<br /><br /><strong>This program will be presented by Derek G. Larson (FDU) with David Joselit (Harvard) and McKenzie Wark (The New School).</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /></p> Wednesday, February 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60737 <p>SOLO SUNNY tells the story of a woman’s struggle for artistic expression and self-realization in a patriarchal world. Sunny is a former factory worker who sings for a pop band called Tornadoes. Her search for meaning is simultaneously a quest for artistic and sexual independence as well as for a more fulfilling social role. As it chronicles Sunny’s quest to gain independence as an artist and a woman, the film depicts East Berlin nightlife and its urban spaces, including run-down apartments and public buildings. With her androgynous characteristics and punk-inspired appearance, Sunny’s depiction takes on a queer dimension. Wolf’s emphasis on her everyday fight against conformist patterns of behavior, her desire for freedom, and her dissatisfaction with patriarchal oppression points to unresolved contradictions in the GDR, whose state ideology allegedly supported gender equality. As we follow Sunny through the city, the run-down apartment buildings and the urban infrastructure communicate the fatigue of a society stuck in the past, unable to move on and provide a fresh narrative to motivate its citizens. The film’s melancholy seems to acknowledge the decline of past utopias – to which Wolf was committed to the very end – and an attachment to a present time that nevertheless cannot offer a new collective vision of the future.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60744 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />“Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It’s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. ‘You’ve never succeeded at anything and you never will’, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. ‘And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.’ These are the film’s most celebrated lines…a sort of brutalist alternative to the famous line from LOVE STORY: ‘Love means never having to say you’re sorry.’” –Dave Kehr, FILM COMMENT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60795 <p class="p1">This program celebrates the future of cinema through the eyes of the youngest filmmakers ever. Short films made by kids from the past and the present will be intertwined with experimental works by adult filmmakers who are inspired by young children. The intergenerational thread aims to reverse the traditional adult-child relationship by putting the child at the center – because it is from children and their unique way of looking at the world and playing with media that we can learn about the future of cinema. The program is informed by the new book “Children Reinventing Cinema: Snapshots of the Early 21st Century” (meson press, 2025), coauthored by Alexandra Schneider and Wanda Strauven.<br /><br />The screening will be followed by a discussion with the filmmakers present.<br /><br />Programmed by Ava Witonsky & Wanda Strauven.<br /><br />Nurit Hediger IPAD Netherlands, 2013, 2 sec, digital, silent<br />A two-second trip to the moon and back, made on an IPAD by a six-year-old girl.<br /><br />Kobe Vlemings & Mingus Vets ONCE UPON A TIME… / OOIT EENS OP EEN KEER… Belgium, 2016, 1 min, digital.<br />In Dutch with English subtitles.In what seems like a parody of energy drink commercials, two hand-drawn figures come to life and challenge each other in a boxing ring. One of the figures is Fritpak, a bag of French fries.<br /><br />Yvonne Andersen LET’S MAKE A FILM U.S., 1970, 13 min, 16mm-to-digital<br />Filmed at Yellow Ball Workshop, where children of various ages learn the basic techniques of animation.<br /><br />Norman McLaren NEIGHBOURS Canada, 1952, 8 min, 16mm-to-digital<br />An antiwar film about two neighbors fighting over a flower.<br /><br />ZebMingus (Mingus Vets) THE FILM OF TOM AND FLEUR / DE FILM VAN TOM EN FLEUR Belgium, 2025, 5.5 min, digital. In Dutch with English subtitles.<br />A poetic love story drawn and animated by ZebMingus, one of the Fritpak animators of ONCE UPON A TIME….<br /><br />Atticus Echeverria & Paul Echeverria (green before “green”) U.S., 2023, 16.5 min, digital<br />An intergenerational and intimate experimental film that alternates Polaroid pictures taken by the filmmaker as a young boy with digital footage taken by his son between the ages of 17 months and 3.5 years old.<br /><br />Paul Fillinger GROWING, GROWING… U.S., 1971, 10.5 min, 16mm-to-digital<br />An experimental nature film in which young children explore the mystery of plant growth while singing along, writing, reciting, and filming.<br /><br />SINGIES Netherlands/Italy/Belgium, 2012-21, 3 min, digital. Compiled by Wanda Strauven.<br />A compilation of digital videos made by children today, transforming filming into singing.<br /><br />Phil Lerner MY OWN YARD TO PLAY IN U.S., 1959, 7 min, 16mm-to-digital, silent<br />An ode to children’s imagination and their inventive bricolage, by which they turn every object into a plaything. Photographed on the streets of New York.<br /><br />DeeDee Halleck CHILDREN MAKE MOVIES U.S., 1961, 9 min, 16mm<br />Kids learn the technique of film scratching and make their own version of McLaren’s NEIGHBOURS.<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60748 <p class="p1">MODERN ROMANCE may be Albert Brooks’s least-known film, but it’s arguably his greatest – the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist’s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who’s very nearly psychotic. Painfully funny, with the emphasis on “funny.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60785 <p>The focus of this program is on billboards and other forms of street advertising, as documented by an eclectic collection of filmmakers including William Klein, Tony Ganz & Rhody Streeter, Manuel DeLanda, Thom Anderson, and Anthology’s own Jaye Bartell.<br /><br />William Klein BROADWAY BY LIGHT (1958, 12 min, 35mm-to-DCP. Newly restored!)<br />Tony Ganz & Rhody Streeter SIGN PAINTERS (1972, 6 min, 16mm)<br />Manuel DeLanda ISM ISM (1979, 8 min, Super 8mm-to-16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.)<br />Jaye Bartell WHEN HOLES TASTE GOOD WE’LL PUT THEM IN OUR BREAD (2025, ca. 5 min, DCP)<br />Thom Andersen GET OUT OF THE CAR (2010, 34 min, 16mm)<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> Friday, February 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60752 <p class="p1">If you think the Pialat and Albert Brooks films depict romantic relationships in a less-than-flattering light, behold Żuławski’s POSSESSION, in which the psychic violence of those films erupts into literal violence of the most outrageous and over-the-top variety. A nihilistic, no-holds-barred portrait of a disintegrating marriage, featuring highly stylized, career-best performances by Isabelle Adjani and Sam Neill, POSSESSION starts as psychodrama, develops into queasy supernatural horror, and ends up exploding all known genres. A film of rampant and astonishingly sustained hysteria, its craziness equaled only by its fecund imagination and deep conviction, POSSESSION is the definition of a film that’s not for the faint of heart. It may just have the power to annihilate Valentine’s Day once and for all.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60790 <p>With Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, Candy Darling, Tally Brown, and Ultra Violet.<br /><br />Downtown fixture Elwyn “Wynn” Chamberlain painted Frank O’Hara and Allen Ginsberg, produced an early Charles Ludlam play, and turned to film in 1970 with this crude, merciless consumerist satire. Inspired by a snowed-in weekend stuck watching television, BRAND X gleefully parodies boob-tube banality with copious nudity, a wicked sense of humor, and a who’s-who cast featuring Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, and Candy Darling. “The first truly entertaining Entertainment film of the new consciousness,” heralded Jonas Mekas, but Chamberlain moved on, burning his paintings and relocating his family to India in the mid-70s. His latter-day artistic output consisted solely of a series of novels.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60754 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />In making DEPRISA, DEPRISA, director Carlos Saura populated his cast with actual denizens of the Madrid streets to tell the story of youth on the edge of doom. Angela (Berta Socuéllamos) is a young waitress who turns her back on society when she meets and falls in love with Pablo (José Antonio Valdelomar), a reckless criminal delinquent. Along with Pablo’s gang of car thieves, the pair embark on a drug- and disco-fueled robbery spree as they hurtle toward oblivion. Winner of the Golden Bear at the Berlin Film Festival, this raw, startlingly naturalistic tale of love outside the law reflects the turmoil of a generation navigating the social upheavals of post-Franco Spanish society.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60793 <p>This program gathers a selection of found-footage films that make use of advertising – mainly for fashion, beauty, and kitchen and bath items – and that in various ways critique and/or subvert the highly gendered marketing of these products. Featuring works by Gunvor Nelson & Dorothy Wiley, Stephanie Wuertz & Sasha Janerus, and Bradley Eros & Tim Geraghty, the program is anchored by a special live liquid-light projection performance by Genevieve HK!<br /><br />Genevieve HK<br />ELIXIR OF LIFE<br />2025, ca. 20 min, overhead liquid light and video projection, sound, found glass<br /><br />Preceded by:<br />Gunvor Nelson & Dorothy Wiley SCHMEERGUNTZ (1966, 15 min, 16mm)<br />Stephanie Wuertz & Sasha Janerus CALGON (2014, 15 min, 16mm-to-digital)<br />Bradley Eros & Tim Geraghty EAU DE CINEMA {THE AVANT AD} (2014, 2 min, 16mm-to-digital)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60766 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />This unnerving journey into madness and murder features an unforgettable star turn by Millie Perkins that will sear itself onto your retinas. Perkins plays a tormented woman whose repressed memories of childhood abuse surface in some highly undesirable ways, compelling her to pick up a razor and go after men she sees on TV. An anomaly in the career of director Matt Cimber (who previously specialized in softcore and blaxploitation fare), this movie could only have been made outside of the studio system. A wonderful bonus: the film’s widescreen cinematography comes courtesy of a young Dean Cundey, who’d go on to shoot HALLOWEEN two years later.<br /><br /><strong>Introduced by Payton McCarty-Simas on Fri, Feb 20!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60797 <p>TVTV<br />ADLAND<br />1974, 59 min, video<br />Radical video collective TVTV (Top Value Television) turns its critical eye to the world of advertising in ADLAND, subtitled “Where Commercials Come From”. Focusing on the reality behind the image, and specifically on the strategies of Madison Avenue, they interview prominent 1970s admen such as George Lois and Jerry Della Femina. They also go behind the scenes of commercial shoots, where such figures as Ronald McDonald and the precocious child actor Mason Reese are put through grinding routines, only to reveal themselves as jaded pros off-camera. In this clear-eyed look at the manipulation inherent in advertising, the TVTV crew meets its match in the relentless cynicism and masculine braggadocio of the seasoned admen; ultimately, TVTV conveys respect for the savvy and skills of these shrewd veterans.<br /><br />Jason Simon<br />PRODUCTION NOTES: FAST FOOD FOR THOUGHT<br />1986, 28 min, video<br />PRODUCTION NOTES allows us to eavesdrop on the business decisions behind the creation of our daily diet of television commercials. This excellent tape undertakes to explode the address of seven TV ads by means of repetition, slow motion, and “production notes”– memos sent from the advertising agency to the production company prior to filming the spots, to describe the intentions, desires, strategies, and ideology of the commercials and their creators. Stripping the commercial sequences of their glitz and fast pacing is a powerful technique that allows the viewer to examine the jingles with which they may have happily hummed along.<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, February 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60770 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />DER FAN deserves a place alongside AUDITION and POSSESSION as an essential art-horror experience. Simone (the magnetic Désirée Nosbusch) is a teenage runaway who is obsessed with the pop singer known as “R”. Soon, that obsession takes over her life. When “R” uses Simone with machine-like coldness, she plots her revenge with an unholy ceremony that’s equally romantic and horrifying. Fueled by a killer minimalist synth soundtrack from Rheingold and a gorgeous design aesthetic, DER FAN is a subversive and electric shocker that goes harder than you’d ever expect it to go.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60799 <p>This program pairs Jerome Hiler and Nathaniel Dorsky’s recently rediscovered and digitized sponsored film LIBRARY (1970), which was commissioned by New Jersey’s Sussex County Area Reference Library, with Hiler’s later sponsored film, SEASONS OF A MOUNTAIN VINEYARD (2003), a lyrical chronicle of the painstaking, delicate process of winemaking.<br /><br />Jerome Hiler & Nathaniel Dorsky<br />LIBRARY<br />1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad.<br />“[In 1970 Hiler and Dorsky] collaborated on an unexpected and little-known work, an industrial film commissioned by New Jersey’s Sussex County Area Reference Library, whose local branch Dorsky and Hiler frequented first as patrons, then eventually as projectionists and programmers for the library’s 16mm screenings. […] A collaboration with their friends Tony Conrad and his wife, actress Beverly Grant, who contributed, respectively, its minimalist score and voiceover narration, LIBRARY…is a direct complement to both filmmakers’ contemporary diary films and an extension of their somewhat idealized vision of daily life in rural New Jersey. More importantly, the film gives revealing expression to the close correspondence uniting Dorsky and Hiler’s work, and their shared dedication to an ideal of art as a form of spiritual experience and devotion.” –Haden Guest, CINEMA SCOPE<br /><br />Jerome Hiler<br />SEASONS OF A MOUNTAIN VINEYARD<br />2003, 30 min, 16mm-to-DCP<br />“The seasons are of supreme importance to me, even in the Bay Area. With one exception, all my films follow a pattern of development from a stark ‘winter’ beginning to a rich, flowering or ‘summer’ conclusion. This is true even of the documentaries MUSIC MAKES A CITY and SEASONS OF A MOUNTAIN VINEYARD.” –Jerome Hiler, CINEMA SCOPE<br /><br />With:<br />Alex Baker LES VALSEUSES (2025, 6 min, Super-8mm-to-digital)<br />This short film by filmmaker, photographer, and writer Alex Baker provides a glimpse into the realm of Les Valseuses, a vineyard located near Arbois in the Jura, France. Helmed by Antoine and Julia, Les Valseuses produces natural wines that reflect their unique and lush region.<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> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60749 <p class="p1">MODERN ROMANCE may be Albert Brooks’s least-known film, but it’s arguably his greatest – the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist’s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who’s very nearly psychotic. Painfully funny, with the emphasis on “funny.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60801 <p>From the 1950s through the 1970s, Chicago’s Goldsholl Design & Film Associates was responsible for some of the most innovative and inventive advertising and sponsored films of its era. The firm was created and run by Morton and Millie Goldsholl, both of whom were heavily influenced by the Bauhaus artist, photographer, filmmaker, and designer, László Moholy-Nagy, with whom they studied at the Chicago School of Design (which he had founded in 1939). Moholy-Nagy’s influence – and the influence of the many artists he invited to the school, such as Buñuel and Dalí – was unmistakably evident in their advertising work, which often made use of animation, collage, and other techniques drawn from avant-garde art and filmmaking. In 2006, the Goldsholl film collection was donated to Chicago Film Archives, which has lovingly preserved and promoted their extraordinary body of work, including their countless commercials and industrial films, their own filmic experiments, their travel films, and more. This program, organized in collaboration with Chicago Film Archives, comprises a selection of some of their most memorable films, with an emphasis on their most stylistically and formally experimental works.<br /><br />Film selection TBA.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60745 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />“Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It’s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. ‘You’ve never succeeded at anything and you never will’, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. ‘And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.’ These are the film’s most celebrated lines…a sort of brutalist alternative to the famous line from LOVE STORY: ‘Love means never having to say you’re sorry.’” –Dave Kehr, FILM COMMENT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60804 <p>Strange as it may seem, the British General Post Office (GPO) exerted a major impact on British documentary cinema of the 1930s-40s – and by extension on the history of non-fiction filmmaking itself. This was thanks to the formation and development of the GPO Film Unit, and in particular to the efforts of John Grierson, who would become one of the fathers of documentary film. During his years running the GPO Film Unit, Grierson transformed traditional notions of the practice of nonfiction filmmaking, bringing a new degree of social engagement and political expression, and establishing the GPO as a hotbed of talent and filmic innovation by hiring and encouraging artists such as Alberto Cavalcanti, Humphrey Jennings, Len Lye, Norman McLaren, Lotte Reiniger, and others. During its heyday, the GPO Film Unit created some of the most canonical documentary films of all time, including classics like SONG OF CEYLON (1934), NIGHT MAIL (1936), SPARE TIME (1939), and many others. This program showcases some of the more stylistically unconventional films produced by the Unit, above all the experimental or even abstract animations created by Lye, McLaren, and Reiniger (with the addition of McLaren’s later film made for Canada Post, following his emigration to North America).<br /><br />Alberto Cavalcanti COAL FACE (1935, 11 min, 35mm-to-DCP)<br />Len Lye A COLOUR BOX (1935, 3 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from 35mm Eastmancolor restoration by the BFI National Archive and made available by Ngā Taonga Sound & Vision.)<br />Len Lye RAINBOW DANCE (1936, 4 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material preserved and made available by Ngā Taonga Sound & Vision.)<br />Len Lye TRADE TATTOO (1937, 5 min, 35mm. Screening courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Print courtesy of the Austrian Film Museum.)<br />Len Lye N OR NW (1937, 7.5 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material made available by Ngā Taonga Sound & Vision.)<br />Lotte Reiniger THE H.P.O. (1938, 4 min, 35mm-to-DCP)<br />Lotte Reiniger THE TOCHER (1938, 5 min, 35mm-to-DCP)<br />Norman McLaren LOVE ON THE WING (1938, 4 min, 35mm-to-DCP)<br />Norman McLaren MAIL EARLY (1941, 2 min, 35mm-to-DCP. Commissioned by the National Film Board of Canada as an advertisement for Canada Post.)<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60807 <p>This program represents a kind of sneak preview of an upcoming Anthology retrospective devoted to the singular James Sibley Watson, Jr., the Rochester millionaire (an heir to the Western Union fortune) and polymath who was at once a medical doctor, a philanthropist, a co-editor of and contributor to the important American modernist literary journal The Dial, a pioneer in the development of motion picture X-ray photography, and the creator (with poet and art historian Melville Webber) of the avant-garde classics FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1932), which were some of the very first American experimental films. Watson also made two extraordinary sponsored films, for Rochester-based Bausch & Lomb and Kodak, both of which display the visual invention and expressionistic sensibility of his independently produced films. We’ll be screening both here, alongside another film commissioned by Kodak 85 years later, by Anthology’s Archivist, John Klacsmann.<br /><br />James Sibley Watson & Melville Webber<br />THE EYES OF SCIENCE<br />1930, 12 min, 35mm-to-DCP. Commissioned by Bausch & Lomb. Courtesy of the George Eastman Museum; preservation funded by the National Film Preservation Foundation and Chace Productions, Inc.<br />“The optical company Bausch & Lomb of Rochester, New York, contracted Watson and Webber to create this corporate industrial film to showcase the company’s extensive catalog of lenses and other optical instruments, displaying their practical applications in industry and everyday life. […] THE EYES OF SCIENCE easily straddles the fields of avant-garde and industrial filmmaking, making both a fascinating object of form and style, as well as a highly educational, entertaining, and informative piece of film and industrial history. The film bears a resemblance to the Kodak industrial film HIGHLIGHTS AND SHADOWS inasmuch as it is filtered through the ‘lenses’ of Watson and Webber’s elegant and eclectic signature avant-garde style, demonstrated two years earlier in THE FALL OF THE HOUSE OF USHER.” –GEORGE EASTMAN MUSEUM<br /><br />James Sibley Watson<br />HIGHLIGHTS AND SHADOWS<br />1938, 54 min, 35mm-to-DCP. Commissioned by Kodak. Courtesy of the George Eastman Museum; preservation funded by the National Endowment for the Arts.<br />“In 1937, the Eastman Kodak Company took a novel approach [to corporate filmmaking] and engaged the highly regarded Rochester avant-garde filmmaker, author, and physician Dr. James Sibley Watson Jr. to produce an industrial film on Kodak’s manufacturing process for film and cameras. Watson crafted a dazzling visual ballet that stands on its own as an aesthetically rewarding and educationally inspiring tour of the massive Kodak factories. Utilizing the multiple exposure imagery he had used to such great effect in FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1933), Watson makes tool and die drill presses, assembly lines of camera parts, and the film coating process every bit as expressive and interesting as an MGM historic drama. This film captures the repetitive labor of hundreds of Kodak employees as a synchronized ballet, each part carefully crafted to create the whole. It is also a historical record of the inventions that mechanized motion picture and still photographic film production and raised it to an economic level that allowed Kodak to lead the world in photographic imaging. […] HIGHLIGHTS AND SHADOWS premiered at a meeting of the American Society of Cinematographers in Hollywood in June 1938. A number of successful screenings followed, including one at New York City’s Waldorf Astoria Hotel on August 18, 1938, before an audience of camera enthusiasts and photographic dealers. Although it was never released theatrically, the film was distributed by Kodak in 16mm prints free of charge and demonstrated all over the country for more than a year.” –GEORGE EASTMAN MUSEUM<br /><br />Followed by:<br />John Klacsmann A 100 FOOT ROLL OF KODAK 7222 EASTMAN DOUBLE-X NEGATIVE FILM (CAT 846 9421) COMMISSIONED BY THE TRUSTEES OF INDIANA UNIVERSITY AND THE INDIANA UNIVERSITY LIBRARIES MOVING IMAGE ARCHIVE IN CELEBRATION OF THE 100th ANNIVERSARY OF 16MM FILM (2023) (2023, 3 min, 16mm)<br /><br />Viktoria Schmidt WOW (KODAK) (2018, 2 min, 35mm-to-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> Monday, February 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60811 <p>Alain Resnais’s THE SONG OF STYRENE – one of the greatest of all sponsored films – which transforms the industrial production of plastics into a hypnotic symphony of eye-popping colors, rhythms, and textures, is here paired with three other visually astounding and mind-altering sponsored films about similarly “futuristic” industrial products: Hans Richter’s THE BIRTH OF COLOR (which documents the production of dyes from coal tar), Ferdinand Khittl’s THE MAGIC RIBBON (about the invention and applications of magnetic tape), and Pierre Moretti’s MODULO: VARIATIONS ON A DESIGN (a wordless visual paean to an experimental car prototype designed for Ferrari by the Italian design firm Pininfarina).<br /><br />Hans Richter THE BIRTH OF COLOR / DIE GEBURT DER FARBE (1938, ca. 25 min, 35mm-to-DCP. Commissioned by Swiss chemical and dye company Geigy. © Novartis AG.)<br />Alain Resnais THE SONG OF STYRENE / LE CHANT DU STYRÈNE (1958, 13 min, 35mm-to-DCP. Narration by Raymond Queneau. Commissioned by French industrial group Pechiney.)<br />Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND (1959, 21 min, 35mm-to-DCP)<br />Pierre Moretti MODULO: VARIATIONS ON A DESIGN (1973, 7 min, 35mm-to-DCP)<br /><br />Total running time: ca. 70 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60814 <p>In 2019 Anthology organized an extensive series entitled “Films for the Fair: The World’s Fair & the Cinema”, which consisted in large part of films produced for presentation at the various World’s Fairs throughout the 20th century, many of which were strikingly experimental in style or concept. In the context of “Avant-Garde Ads”, we present a handful of films from that series that are by important avant-garde filmmakers (such as Shirley Clarke and Alexander Hammid) and/or that are themselves highly experimental in style, especially in their use of multiple screens (exemplified by the 15-screen Eames film, THINK).<br /><br />Shirley Clarke BRUSSELS LOOPS: MELTING POT / BRIDGES / OCCUPATIONS (1957, 9 min, 16mm-to-digital)<br />Edgard Varèse, Le Corbusier, and Iannis Xenakis LE POÈME ÉLECTRONIQUE (1958, 8.5 min, 35mm-to-DCP. Digital reconstruction courtesy of the Eye Filmmuseum.)<br />Charles & Ray Eames THINK (1964, 15 min, 15-screen 35mm-to-digital. Reconstructed by the Library of Congress.)<br />Francis Thompson & Alexander Hammid TO BE ALIVE! (1964, 18 min, 35mm-to-digital. Film courtesy of SC Johnson.)<br />Roman Kroitor, Colin Low & Hugh O’Connor IN THE LABYRINTH (1967, 21 min, 5-screen 35mm-to-digital)<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> Tuesday, February 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60817 <p>Some of the strangest of all religious-themed films are collected here, including two films that (like those in the previous program) were commissioned for World’s Fairs – Rolf Forsberg & Tom Rook’s singular allegory, PARABLE (1964) and Charles Gagnon’s profoundly upsetting collage-film critique of militarism, violence, and the emptiness of postwar consumer culture, THE EIGHTH DAY (1967) – as well as A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA, a portrait of a countercultural Christian group made by the avant-garde filmmaker Owen Land following his own religious conversion, and Martha Colburn’s DON’T KILL THE WEATHERMAN!, which was commissioned by Philadelphia’s Rosenbach Museum and makes use of pictures from an illuminated manuscript in the museum’s collection.<br /><br />Rolf Forsberg & Tom Rook PARABLE (1964, 20 min, 16mm-to-digital. Produced by the Lutheran Council for the 1964 New York World’s Fair.)<br />Charles Gagnon THE EIGHTH DAY (1967, 14 min, 16mm. Produced by Charles Gagnon for the Christian Pavilion at Expo 67, Montreal.)<br />Owen Land A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm. Preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.)<br />Martha Colburn DON’T KILL THE WEATHERMAN! (2007, 4 min, digital)<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> Tuesday, February 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60822 <p>The program that opened the first half of “Avant-Garde Ads” last November collected pre-WWII-era advertisements, many of them experimental animations by renowned avant-garde filmmakers and artists such as Walter Ruttmann, Lotte Reiniger, Hans Richter, Oskar Fischinger, László Moholy-Nagy, and Len Lye. Made when the cinema was still in its infancy, with the lines between different forms of moving-image production not yet fully established, these films are often virtually indistinguishable from the artists’ non-commercial work, and are essentially experimental films made in the service of various products. The program was a major highlight of the series, and to provide those who missed it with one more opportunity to remedy that, we’re presenting this encore screening, supplemented with a handful of later advertisements produced in the 1950s, by Fischinger, Jordan Belson, and Dwinell Grant.<br /><br />Walter Ruttmann DER SIEGER (1921, 2 min, 35mm-to-DCP. Ad for Excelsior tires. Courtesy of the Deutsche Kinemathek.)<br />Walter Ruttmann DAS WUNDER (1922, 3 min, 35mm-to-DCP. Ad for Kantorowicz liqueur. Courtesy of the Deutsche Kinemathek.)<br />Lotte Reiniger THE SECRET OF THE MARQUISE / DAS GEHEIMNIS DER MARQUISIN (1922, 2.5 min, 35mm-to-DCP. Ad for Nivea skin cream.)<br />Julius Pinschewer & Lotte Reiniger THE BARCAROLE / DIE BARCAROLE (1924, 3.5 min, 35mm-to-DCP. Ad for Pralinés Mauxion dessert. Courtesy of the Deutsche Kinemathek.)<br />Julius Pinschewer & Guido Seeber FILM (KIPHO) (1925, 5.5 min, 35mm-to-DCP. Ad for the Kino- und Photoausstellung trade show. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm. Ad for the magazine Koelnische Illustrierte Zeitung.)<br />Lotte Lendesdorff & Walter Ruttmann HEALTH TONIC / DER AUFSTIEG (1926, 2 min, 35mm-to-DCP. Ad for the GESOLEI health and art exhibition in Düsseldorf. Courtesy of the Deutsche Kinemathek.)<br />Oskar Fischinger CIRCLES / KREISE (1933-34, 2 min, 16mm. Commissioned by Tolirag publicity agency.)<br />Oskar Fischinger MURATTI PRIVAT (1935, 2 min, 16mm. Ad for Muratti Cigarettes.)<br />Oskar Fischinger MUNTZ TV (1953, 1.5 min, 16mm. Ad for Muntz TV.)<br />Karel Dodal & Irena Dodalová BUBBLES GAME / HRA BUBLINEK (1936, 2 min, 35mm-to-DCP. Ad for Saponia soap. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová AN AUTUMN SONG / PÍSEŇ PODZIMU (1937, 2 min, 35mm-to-DCP. Ad for the Prokop Čáp [Prokop and Stork] department store. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová THE SOUNDS OF OUTER SPACE / ZNĚJÍCÍ VESMÍR (1936, 2 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />Len Lye KALEIDOSCOPE (1935, 4 min, 35mm. Ad for Churchman Cigarettes. Print courtesy of the Austrian Filmmuseum.)<br />Gyula Macskássy INCANDESCENT LOVE / IZZÓ SZERELEM (1939, 2 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Gyula Macskássy & György Szénásy LIGHT / FÉNY (1942, 1 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Len Lye THE BIRTH OF A ROBOT (1935, 6.5 min, 35mm. Ad for Shell Lubrication oils. Print courtesy of the Austrian Filmmuseum.)<br />Jordan Belson CHRONICLE (1955, 2 min, 16mm-to-DCP. Ad for the San Francisco Chronicle. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive.)<br />Dwinell Grant PEPSI-COLA-COMMERCIAL (1960, 1 min, 16mm. Preserved by Anthology Film Archives.)<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> Wednesday, February 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60600 <p>Deep in the Peruvian Amazon lowlands, Meshia, a Matsigenka Indigenous teenager, discovers Ivan, a boy who vanished two years ago and was presumed dead. Determined to save him, she travels upriver to a town, where he urgently needs eye surgery to halt an infection threatening his sight. As Ivan wrestles with the trauma of his mysterious past, Meshia becomes entranced by urban life and enters a local beauty pageant, chasing fragile dreams of transformation. A quiet bond forms between them, but when a stranger with sinister intentions appears, their connection is put at risk. Shot on 16mm, Super 8, and digital formats, PUNKU – “gateway” in Quechua – the latest film by J.D. Fernández Molero, playfully blurs the line between the seen and unseen, opening a portal into overlapping realities.<br /><br /><strong>Followed by a Q&A with J.D. Fernández Molero!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60786 <p>The focus of this program is on billboards and other forms of street advertising, as documented by an eclectic collection of filmmakers including William Klein, Tony Ganz & Rhody Streeter, Manuel DeLanda, Thom Anderson, and Anthology’s own Jaye Bartell.<br /><br />William Klein BROADWAY BY LIGHT (1958, 12 min, 35mm-to-DCP. Newly restored!)<br />Tony Ganz & Rhody Streeter SIGN PAINTERS (1972, 6 min, 16mm)<br />Manuel DeLanda ISM ISM (1979, 8 min, Super 8mm-to-16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.)<br />Jaye Bartell WHEN HOLES TASTE GOOD WE’LL PUT THEM IN OUR BREAD (2025, ca. 5 min, DCP)<br />Thom Andersen GET OUT OF THE CAR (2010, 34 min, 16mm)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60805 <p>Strange as it may seem, the British General Post Office (GPO) exerted a major impact on British documentary cinema of the 1930s-40s – and by extension on the history of non-fiction filmmaking itself. This was thanks to the formation and development of the GPO Film Unit, and in particular to the efforts of John Grierson, who would become one of the fathers of documentary film. During his years running the GPO Film Unit, Grierson transformed traditional notions of the practice of nonfiction filmmaking, bringing a new degree of social engagement and political expression, and establishing the GPO as a hotbed of talent and filmic innovation by hiring and encouraging artists such as Alberto Cavalcanti, Humphrey Jennings, Len Lye, Norman McLaren, Lotte Reiniger, and others. During its heyday, the GPO Film Unit created some of the most canonical documentary films of all time, including classics like SONG OF CEYLON (1934), NIGHT MAIL (1936), SPARE TIME (1939), and many others. This program showcases some of the more stylistically unconventional films produced by the Unit, above all the experimental or even abstract animations created by Lye, McLaren, and Reiniger (with the addition of McLaren’s later film made for Canada Post, following his emigration to North America).<br /><br />Alberto Cavalcanti COAL FACE (1935, 11 min, 35mm-to-DCP)<br />Len Lye A COLOUR BOX (1935, 3 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from 35mm Eastmancolor restoration by the BFI National Archive and made available by Ngā Taonga Sound & Vision.)<br />Len Lye RAINBOW DANCE (1936, 4 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material preserved and made available by Ngā Taonga Sound & Vision.)<br />Len Lye TRADE TATTOO (1937, 5 min, 35mm. Screening courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Print courtesy of the Austrian Film Museum.)<br />Len Lye N OR NW (1937, 7.5 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material made available by Ngā Taonga Sound & Vision.)<br />Lotte Reiniger THE H.P.O. (1938, 4 min, 35mm-to-DCP)<br />Lotte Reiniger THE TOCHER (1938, 5 min, 35mm-to-DCP)<br />Norman McLaren LOVE ON THE WING (1938, 4 min, 35mm-to-DCP)<br />Norman McLaren MAIL EARLY (1941, 2 min, 35mm-to-DCP. Commissioned by the National Film Board of Canada as an advertisement for Canada Post.)<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60755 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />In making DEPRISA, DEPRISA, director Carlos Saura populated his cast with actual denizens of the Madrid streets to tell the story of youth on the edge of doom. Angela (Berta Socuéllamos) is a young waitress who turns her back on society when she meets and falls in love with Pablo (José Antonio Valdelomar), a reckless criminal delinquent. Along with Pablo’s gang of car thieves, the pair embark on a drug- and disco-fueled robbery spree as they hurtle toward oblivion. Winner of the Golden Bear at the Berlin Film Festival, this raw, startlingly naturalistic tale of love outside the law reflects the turmoil of a generation navigating the social upheavals of post-Franco Spanish society.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60808 <p>This program represents a kind of sneak preview of an upcoming Anthology retrospective devoted to the singular James Sibley Watson, Jr., the Rochester millionaire (an heir to the Western Union fortune) and polymath who was at once a medical doctor, a philanthropist, a co-editor of and contributor to the important American modernist literary journal The Dial, a pioneer in the development of motion picture X-ray photography, and the creator (with poet and art historian Melville Webber) of the avant-garde classics FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1932), which were some of the very first American experimental films. Watson also made two extraordinary sponsored films, for Rochester-based Bausch & Lomb and Kodak, both of which display the visual invention and expressionistic sensibility of his independently produced films. We’ll be screening both here, alongside another film commissioned by Kodak 85 years later, by Anthology’s Archivist, John Klacsmann.<br /><br />James Sibley Watson & Melville Webber<br />THE EYES OF SCIENCE<br />1930, 12 min, 35mm-to-DCP. Commissioned by Bausch & Lomb. Courtesy of the George Eastman Museum; preservation funded by the National Film Preservation Foundation and Chace Productions, Inc.<br />“The optical company Bausch & Lomb of Rochester, New York, contracted Watson and Webber to create this corporate industrial film to showcase the company’s extensive catalog of lenses and other optical instruments, displaying their practical applications in industry and everyday life. […] THE EYES OF SCIENCE easily straddles the fields of avant-garde and industrial filmmaking, making both a fascinating object of form and style, as well as a highly educational, entertaining, and informative piece of film and industrial history. The film bears a resemblance to the Kodak industrial film HIGHLIGHTS AND SHADOWS inasmuch as it is filtered through the ‘lenses’ of Watson and Webber’s elegant and eclectic signature avant-garde style, demonstrated two years earlier in THE FALL OF THE HOUSE OF USHER.” –GEORGE EASTMAN MUSEUM<br /><br />James Sibley Watson<br />HIGHLIGHTS AND SHADOWS<br />1938, 54 min, 35mm-to-DCP. Commissioned by Kodak. Courtesy of the George Eastman Museum; preservation funded by the National Endowment for the Arts.<br />“In 1937, the Eastman Kodak Company took a novel approach [to corporate filmmaking] and engaged the highly regarded Rochester avant-garde filmmaker, author, and physician Dr. James Sibley Watson Jr. to produce an industrial film on Kodak’s manufacturing process for film and cameras. Watson crafted a dazzling visual ballet that stands on its own as an aesthetically rewarding and educationally inspiring tour of the massive Kodak factories. Utilizing the multiple exposure imagery he had used to such great effect in FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1933), Watson makes tool and die drill presses, assembly lines of camera parts, and the film coating process every bit as expressive and interesting as an MGM historic drama. This film captures the repetitive labor of hundreds of Kodak employees as a synchronized ballet, each part carefully crafted to create the whole. It is also a historical record of the inventions that mechanized motion picture and still photographic film production and raised it to an economic level that allowed Kodak to lead the world in photographic imaging. […] HIGHLIGHTS AND SHADOWS premiered at a meeting of the American Society of Cinematographers in Hollywood in June 1938. A number of successful screenings followed, including one at New York City’s Waldorf Astoria Hotel on August 18, 1938, before an audience of camera enthusiasts and photographic dealers. Although it was never released theatrically, the film was distributed by Kodak in 16mm prints free of charge and demonstrated all over the country for more than a year.” –GEORGE EASTMAN MUSEUM<br /><br />Followed by:<br />John Klacsmann A 100 FOOT ROLL OF KODAK 7222 EASTMAN DOUBLE-X NEGATIVE FILM (CAT 846 9421) COMMISSIONED BY THE TRUSTEES OF INDIANA UNIVERSITY AND THE INDIANA UNIVERSITY LIBRARIES MOVING IMAGE ARCHIVE IN CELEBRATION OF THE 100th ANNIVERSARY OF 16MM FILM (2023) (2023, 3 min, 16mm)<br /><br />Viktoria Schmidt WOW (KODAK) (2018, 2 min, 35mm-to-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> Thursday, February 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60771 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />DER FAN deserves a place alongside AUDITION and POSSESSION as an essential art-horror experience. Simone (the magnetic Désirée Nosbusch) is a teenage runaway who is obsessed with the pop singer known as “R”. Soon, that obsession takes over her life. When “R” uses Simone with machine-like coldness, she plots her revenge with an unholy ceremony that’s equally romantic and horrifying. Fueled by a killer minimalist synth soundtrack from Rheingold and a gorgeous design aesthetic, DER FAN is a subversive and electric shocker that goes harder than you’d ever expect it to go.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 19