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, 12 Jul 2026 06:56:50 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61553 <p>Written and produced by Robert L. Goodwin. With Lew Ayres, Reed Hadley, Duane Grey, Preston Hanson, and Robert L. Goodwin. Preserved by the Smithsonian National Museum of African American History and Culture.<br /><br />This expertly written and mounted drama eavesdrops on four men awaiting execution on death row. In their final hours, as they contemplate the nature of fate, their stories are juxtaposed against the tale of the crucifixion, with the men appearing in flashback biblical scenes that replicate key events in their present-day lives.<br /><br /><em><strong>The screening on Sat, July 11 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61621 <p>“Multitalented performance artist Harry Dodge (BY HOOK OR BY CROOK, CECIL B. DEMENTED) brings to life this innovative story of a butch dyke in San Francisco searching for love and self-discovery. Against a backdrop of stunning landscape cinematography, this bold, lyrical voiceover film evolves from a lesbian lust story to an inventive documentary – delving into explicit descriptions of lesbian sexuality and offering up a quick look at Frank Capra’s 1941 film MEET JOHN DOE before embarking on the fascinating and previously untold history of the Golden Gate Bridge as a suicide landmark. A true San Francisco experience, THE JOY OF LIFE also includes poet Lawrence Ferlinghetti intoning his ode to the City by the Bay, ‘The Changing Light’, and features music from legendary poet-painter (and probable Golden Gate suicide) Weldon Kees.” –FRAMELINE<br /><br /><strong>Jenni Olson in person on Fri, July 10!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61541 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Sunday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61629 <p>Imagining a world without gender, SPACE IS QUITE A LOT OF THINGS takes us on a journey accompanied by jellyfish and disco uncles that explores and expands the trans imaginary. Juli Apponen (CAR WASH) and Max Göran (FILMING DAD’S ASS WHILE HE’S CHOPPING LOGS WITH HIS CHAINSAW) use the power of the frame to reclaim their own pleasure and power, whether from an invisible gaze or from a dad arguing right-wing politics right there in front of you in rural Sweden; and Lasse Långström’s CRY ALLIANCE OF OUR HATRED almost seems to continue the conversation, with the collective rage of Gothenburg’s campy, anarchist queers singing what we can’t always say in words. Reflecting on the life and death of trans ancestors, Zafira Vrba Woodski cries tears made of their own Estrogen gel and Testosterone gel they were gifted after a friend’s death (I’M CONTINUOUSLY CRYING TEARS OF ESTROGEN AND TEARS OF TESTOSTERONE), and Anna Linder’s SPERMWHORE uses hand-processed experimental Super-8mm filmmaking and their own queer extended family to represent radical new visions of creating life.<br /><br />August Joensalo SPACE IS QUITE A LOT OF THINGS 2021, 11 min, DCP<br />Juli Apponen CAR WASH 2018, 5 min, DCP<br />Max Göran FILMING DAD’S ASS WHILE HE’S CHOPPING LOGS WITH HIS CHAINSAW 2018, 23 min, DCP<br />Lasse Långström CRY ALLIANCE OF OUR HATRED 2010, 6 min, DCP<br />Zafira Vrba Woodski I’M CONTINUOUSLY CRYING TEARS OF ESTROGEN AND TEARS OF TESTOSTERONE 2020, 6 min, DCP<br />Anna Linder SPERMWHORE 2016, 12 min, DCP<br /><br />Total running time: ca. 70 min.<br /><br /><strong>Filmmaker and SAQMI founder/artistic director Anna Linder in person on Sun, July 12!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61542 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Sunday, July 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61624 <p>“Pamela Adlon (BETTER THINGS) stars in this whimsical 1980s teen comedy as a girl whose wish to become a boy is fulfilled overnight. When their parents insist they must now choose between being male or female, they sagely quip, ‘Can’t I be both?’ After a crash course in maleness, Willy starts at a new high school, where, of course, complications ensue. Adlon is uncannily boyish as Willy/Milly, while Patty Duke and out gay actor John Glover are in fine form as his parents. Briefly released in 1986, SOMETHING SPECIAL quickly disappeared from view and has been virtually unseen since.” –Jenni Olson<br /><br /><strong>Presented by Jenni Olson in conversation with Jules Rosskam on Fri, July 10!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61543 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Monday, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61627 <p>After concealing his trans identity for decades and distancing himself from intimacy, Ahmad, an Iranian expat now in his 60s, goes to the LGBTQ archives to explore his latent homosexuality and engage in fantasy to reimagine his life as an out, gay trans man. He is assisted by Kieran, a twenty-something nonbinary archivist who is immersed in queer culture and trans community. Though they come from radically different cultures, their bond is strengthened by a shared fascination with Lou Sullivan, a gay transgender AIDS activist whose letters and interviews become the film’s historical core. Pivoting between fantasy, fiction, and fact, DESIRE LINES blends candid interviews, archival materials, and narrative fiction as a framework for exploring the complicated and often unwritten history of transmasculine sexuality.<br /><br />“If I tried to make a film where the content was asking audiences to let go of binary ways of thinking, but the form was operating from within a binary, I don’t think it would be as effective.” –Jules Rosskam<br /><br /><strong>Jules Rosskam in person on Sat, July 11!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61544 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Monday, July 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61545 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Tuesday, July 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61546 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Tuesday, July 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61547 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Wednesday, July 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61631 <p>Amid the coastal landscapes of Ecuador and Peru, the debut feature by Juan Carlos Donoso Gómez reconstructs the fragmented memories of former huaqueros – artifact hunters who participated in the illegal excavation and trade of pre-Hispanic objects. Blending documentary and fiction through dramatic reenactments and firsthand testimonies from looters, archaeologists, and counterfeiters, the film explores the tensions between ancestral knowledge, heritage crime, and the enduring wounds of colonialism. Exquisitely shot on washed-out 16mm film evocative of vintage travelogues, HUAQUERO brushes away the dirt of memory to uncover competing versions of truth while remaining deeply rooted in the local perspectives of the communities whose histories have long been excavated, sold, and erased. A meditation on territory, belonging, and memory, the film explores the fragile line between truth and fiction, authenticity, and forgery, reclaiming the contemporary Andean world as a living, contested landscape still haunted by the legacy of colonialism.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61548 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Wednesday, July 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61549 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Thursday, July 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61636 <p>Pang Ho-cheung announced himself as a major comic voice with this deadpan black comedy, a debut that doubles as a gleeful joke at the film industry’s expense. Bart is a contract killer whose business has gone soft, and his last hope is a demanding new client who will only pay if each killing is captured on video. Bart knows how to shoot a target. He has no idea how to shoot a movie. So he hires Chuen, a broke, unemployed film-school graduate brimming with artistic ambition, to direct his hits. What follows turns the mechanics of murder into a full-blown film production, complete with creative differences, budget panic, and a director who needs every assassination to mean something. Quick, dry, and ruthlessly funny.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61550 <p>REVIVAL RUN – NEWLY RESTORED 35MM PRINT!<br /><br />Collection of the Smithsonian National Museum of African American History and Culture, Gift of the family of Robert L. Goodwin Sr. Preservation of BLACK CHARIOT made possible by a generous grant from the National Film Preservation Foundation. Additional funding by the Earl W. and Amanda Stafford Center for African American Media Arts (CAAMA). Special thanks to Ina Archer & Bleakley McDowell (NMAAHC); Rhea Combs; and George Schmalz (Kino Lorber).<br /><br />A fascinating rediscovery, BLACK CHARIOT is the sole feature film by Robert L. Goodwin, a writer, director, and actor who, in the 1960s, represented one of the very few Black artists working in the television industry. The son of writer, poet, and actress Ruby Berkley Goodwin – who was the author of the 1930s-40s syndicated column, “Hollywood in Bronze”, and appeared in numerous films, television programs, and stage plays throughout the 1940s-50s – Robert Goodwin’s career began when he wrote and produced the 1963 TV movie THE UPPER CHAMBER, a chamber drama about four men on death row that soon led to work writing scripts for television shows such as “Bonanza”, “Julia”, “The Big Valley”, “All in the Family”, and others. While gaining experience on these works-for-hire, Goodwin began marshaling his resources towards his passion project, a feature film that would be produced and financed entirely independently (the money was largely crowd-sourced from within the Black community in Los Angeles). Ultimately realized in 1971, with exterior shots filmed on 35mm and interiors on video, BLACK CHARIOT revolves around the character of Tuck – played by football-player-turned-prolific-actor Bernie Casey (BOXCAR BERTHA, CLEOPATRA JONES, THE MAN WHO FELL TO EARTH, THE GLASS SHIELD, etc) – who joins a Black-Panther-like radical group, and is forced to contend with the fallout that ensues from the betrayal of one of its members. Telling its story by means of an affecting flashback structure, and full of fascinating glimpses into the era’s radical Black politics – not to mention the urban landscapes of early-1970s Los Angeles – BLACK CHARIOT also marks the debut of iconic actress Barbara O.Jones, who would later deliver indelible performances in Haile Gerima’s CHILD OF RESISTANCE (1973) and BUSH MAMA (1979), Julie Dash’s DAUGHTERS OF THE DUST(1991), and many other films. <br /><br />Following its premiere in 1971 at the Santa Monica Civic Auditorium, BLACK CHARIOT seems to have been screened only a handful of times, and was long feared lost until it was recently rediscovered by curator Rhea Combs. Over the past several years the film has been carefully restored by the Smithsonian National Museum of African American History and Culture (NMAAHC), and thanks to their efforts, Anthology is able to present a week-long run – its first ever theatrical engagement on the East Coast – with all screenings on 35mm! <br /><br /><em><strong>Fri-Thurs, July 10-16 at 6:45 & 9:00 nightly. The screening on Fri, July 10 at 6:45 will be introduced by Rhea Combs, who is currently Senior Fellow in Contemporary and Global Art at the Baltimore Museum of Art. The screening on Sat, July 11 at 6:45 will be introduced by Ina Archer, artist, filmmaker, and Media Conservation and Digitization Specialist at NMAAHC. Both screenings on Thurs, July 16 will be introduced by Bleakley McDowell, Media Archivist and Conservator at NMAAHC.</strong></em><br /><strong><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Thursday, July 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61640 <p>Almost never screened in North America in this form, Stephen Chow’s original Cantonese theatrical version of SHAOLIN SOCCER arrives at the festival from Universe’s recent 2K digital remaster DCP. For years, the film has too often circulated here in compromised form: old Blu-rays, soft home-video masters, or the notorious English-dubbed Miramax version that cut the film down and sanded away part of its Hong Kong lunacy. Chow plays Sing, a broke Shaolin disciple trying to bring kung fu back to the people before poverty finishes him first. His plan: reunite his washed-up martial-arts brothers, build a soccer team, and enter a tournament where physics, dignity, and basic sportsmanship all get kicked into the upper deck. This was the film that turned Chow into a global cult hero: wire-fu, underdog sports-movie delirium, Bruce Lee worship, Zhao Wei’s tai chi baker, and transcendent lowbrow genius.<br /><strong><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61749 <p>The films gathered here all riff on the Western by repurposing, reediting, or manipulating footage – or in the case of THE SONG OF RIO JIM, soundtrack material – taken from classic instances of the genre.<br /><br />Raphael Montañez Ortiz COWBOY AND “INDIAN” FILM 1958, 2 min, 16mm-to-DCPThis film is constructed from randomly spliced pieces of Anthony Mann’s WINCHESTER ’73, which the artist had chopped with an axe and ritually cleansed by shaking the pieces inside a medicine bag while singing Yaqui healing chants.<br /><br />Hans Scheugl <br />SAFETY FILM <br />1968, 4 min, 16mm<br />“SAFETY FILM consists of a Hollywood Western shot directly off a movie screen and restored to its raw form – an act that strips the film of its narrative, reduces its size, and drains all color from the CinemaScope and DeLuxe Color Western.” –MUBI<br /><br />Maurice Lemaître <br />THE SONG OF RIO JIM <br />1978, 6 min, 16mm<br />“This film – designed to pay tribute to Ince and to Hart, ancestors and creators of the cowboy film – has a ‘western’ story but it is not on the image – which is black from beginning to end – but in the sound. […] During the screening, the spectator will thus be able to imagine all possible westerns and anti-westerns.” –LIGHT CONE<br /><br />Peter Tscherkassky <br />INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE <br />2005, 17 min, 35mm<br />“THE GOOD, THE BAD AND THE UGLY is retold through intense, widescreen 35mm warping and warbling techniques. It will change your ideas about the expressive potential of optical printing and sound remixing.” –Sean Uyehara, SAN FRANCISCO INTERNATIONAL FILM FESTIVAL<br /><br />Rebecca Baron & Douglas Goodwin <br />LOSSLESS #3 <br />2008, 10 min, digital<br />Removing key frames from a digital version of John Ford’s THE SEARCHERS, Baron and Goodwin attack the film’s temporal structuring to render a kinetic “painted desert” of the West.<br /><br />John Klacsmann & Walter Forsberg <br />TECHNICOLOR N.G. <br />2014, 20 min, 16mm, live score<br />In this film, “a Technicolor dye transfer printing error mis-registers a 1967 B-Western, revealing cyan ghosts and cinema’s psychedelic underpinnings.” With a live score by Forsberg and Klacsmann, the film is a mesmerizing investigation into the unseen foundations of the cinematic image of the West.<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61835 <p>Made with an all-women cast and crew, WOMEN’S HAPPY TIME COMMUNE is an improvised comedy/western – a lively immersion into the feminist ferment of the early 1970s. From the 1972 distribution flyer: “An anarchic, unconventional movie in which the Old West is the stomping ground for a motley crew of young and middle-aged women who are considering banding together to form a commune. Having met by chance they merge (are dragged, cajoled), clash and ultimately separate in disarray of scenes that are alternately picturesque, infuriating, incomplete, yet always colorful.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61642 <p>NYAFF Secret Screening Returns! Stay tuned. It’s headed to Anthology Film Archives on July 17!<br /><strong><em><br />Title: no.<br /><br />Country: no.<br /><br />Runtime:</em></strong><em> we know, you don’t. It’s a secret screening. A runtime is a clue, a clue is cheating, and we’ve met you.<br /></em><strong><em><br />Rating:</em></strong><em> also no. Nice try.<br /></em><strong><em><br />ADVISORY: Clear the whole evening. Make no assumptions. That’s all.</em></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><br /><br /><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61711 <p>Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S PALACE is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61726 <p>“Consciously self-reflexive and co-written by Hopper and REBEL WITHOUT A CAUSE screenwriter Stewart Stern, THE LAST MOVIE follows a Hollywood movie crew in the midst of making a western in a remote Peruvian village. When production wraps, Hopper, as the baleful stuntman Kansas, remains, attempting to find redemption in the isolation of Peru and the arms of a former prostitute. Meanwhile, the local Indians have taken over the abandoned set and begun to stage a ritualistic re-enactment of the production – with Kansas as their sacrificial lamb. Among the most storied productions of the New Hollywood Era, Hopper was given carte blanche by Universal for his next directorial feature after the tremendous commercial success of EASY RIDER, and the writer-director-star took the money and ran – literally – staging THE LAST MOVIE in Peru at farthest remove from the Hollywood machine, with an on-screen entourage in tow that included Kris Kristofferson, Julie Adams, Stella Garcia, Peter Fonda, Dean Stockwell, Toni Basil, Russ Tamblyn, Michelle Phillips, and director Samuel Fuller. Although it won a special award at the Venice Film Festival, THE LAST MOVIE would effectively end Hopper’s career for many years – the Hollywood establishment gleefully writing him off as a self-indulgent madman. Yet the movie remains thrillingly innovative and remarkably contemporary – influenced greatly by the work of Bruce Conner and the French New Wave, as well as the Pop and Abstract artists Hopper revered.” –Jessica Hundley<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61644 <p>NORTH AMERICAN PREMIERE – 4K RESTORATION!<br /><br />Kwak Jae-yong’s romantic comedy began life as a series of blog posts, supposedly true tales of one young man’s relationship, and grew into one of the defining popular films of early-2000s Korean cinema. A shy, mild-mannered student, played by Cha Tae-hyun, finds his quiet life completely upended by a fierce and wholly unpredictable young woman, played by Gianna Jun in the star-making role that made her an icon across Asia. Their courtship careens through public humiliation, slapstick, and sudden, real heartbreak, and the film swings between broad comedy and genuine ache without missing a step. A massive sleeper hit, endlessly imitated since, it returns in a gorgeous new 4K restoration.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61732 <p>In Holly Fisher’s experimental, feminist feature, she explores ideas of the Western while visually constructing a story about gender relations. Interweaving and layering images from Ford’s MY DARLING CLEMENTINE (from a silent Super-8mm print she discovered in a NYC hardware store), she uses optical printing, postcards of Renaissance paintings of women, footage of women working in a Maine herring factory, feminist poetry, and excerpts from a pulp-Western author’s autobiography, in an attempt to, in her words, “understand how to make a structure that puts women as the subject, not the object.” She has further observed, “It’s a Western filtered through a post-feminist movement sensibility…It shows what I think is happening in my film, which is that history is relative to who is writing it and when.”<br /><br />Preceded by:<br />Esther Shatavsky <br />BEDTIME STORY 1981, 6 min, 16mm-to-35mm, silent. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.<br />“Among the most striking avant-garde films to emerge from 1980s New York. The piece is a silent, strobing cut-up, optically-printed from a bit of the old TV western ‘Gunsmoke’ depicting a woman in crisis, trapped by the frame that surrounds her.” –LIGHT INDUSTRY<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!</strong></a> </p> Saturday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61646 <p>Few films have detonated on the festival circuit quite like Takashi Miike’s hardcore adaptation of Hideo Yamamoto’s manga. A quarter-century on, it has lost none of its power to shock. In Tokyo’s yakuza netherworld, the masochistic enforcer Kakihara finds his path crossing that of Ichi, a crybaby psycho killer engineered for violence by forces he barely grasps. Split-cheeked, peroxide-blond, and addicted to pain, Kakihara searches for the missing boss he loved and the sadist who can finally hurt him badly enough. His quarry turns out to be Ichi, a weeping wreck of a man conditioned into a human weapon by a manipulator with his own designs. Miike stages the carnage as nightmare slapstick and tender horror by turns, and Asano gives one of the great performances of his career. A landmark of Japanese extreme cinema, and one of NYAFF’s foundational obsessions.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61565 <p>“A series of murders at a race track. A dead man who appears to come back alive to seek revenge years after his execution. Thanks to Franz Josef Gottlieb’s superior direction, THE RACETRACK MURDERS is the best of all Bryan Edgar Wallace adaptations, a true gem of a Krimi [German crime film]…. Gottlieb loves long sweeping camera movements and bizarre angles. We see a fight scene filmed through the legs of the fighters; reflections captured in pools of rain; [and] the exciting atmosphere at a race course including the bookmakers’ bizarre secret hand communication.” –Holger Haase, HALLO, HIER SPRICHT…<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61717 <p>Adolfas Mekas’s second feature film was this adaptation of a Mark Twain short story. Hatfield is a carpetbagger who marries the daughter of a prominent plantation owner in order to humiliate him. He mistreats his wife, but she stoically refuses to complain to her father. Finally, he ties her to a tree and lets bloodhounds tear off her clothes. The girl’s father dies of embarrassment, and, shortly thereafter, she gives birth to a son who grows up and heads west to avenge his mother.<br /><br />“The first half has the deceptively rustic humor of Twain, as a dastardly Northerner marries the daughter of a mellow Southern plantation owner. The man (played by Hurd Hatfield) mistreats the girl to get revenge on the father…even tying her up to a tree with bloodhounds ripping her clothes. All this is done with the right use of mellow silent film techniques of obvious emoting, with the balance of mock seriousness, lampoon, and sentiments sans slush. […] Mekas again shows he has a way with parody and he gets disarmingly innocent performances from his actors.” –VARIETY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61575 <p>This breezy 1980s comedy may be no masterpiece, but it’s saturated with racetrack atmosphere and an appreciation for the characters that make the track their home(-away-from-home). And it also boasts a crazy array of talent in front of and behind the camera: aside from star Richard Dreyfuss, the cast features an incongruously counterculture-heavy lineup including Mary Woronov, Richard Edson, and the New York Dolls’ David Johansen (not to mention Teri Garr, Jennifer Tilly, Allen Garfield, Robbie Coltrane, Cynthia Nixon, and the Mamas and the Papas’ Michelle Phillips), while the film was cut by legendary editor Dede Allen, and scored by Giorgio Moroder! Huh?<br /><br />“The spirit of Damon Runyon hangs heavily over LET IT RIDE, the 1989 feature debut for celebrated commercial director Joe Pytka. Starring Richard Dreyfuss as what used to be called a horse-racing degenerate and Teri Garr as his (what else but) long-suffering wife, LET IT RIDE is jam-packed with generically colorful characters with nicknames like Cheeseburger and Vibes. Its plot, not the most original in the world, has a cab driver named Trotter (Dreyfuss) suddenly realizing that he is walking around lucky, that any horse he bets on is going to come home a winner.” –Kenneth Turan, ESPN<br /><br />Preceded by:<br />Werner Herzog PRECAUTIONS AGAINST FANATICS / MASSNAHMEN GEGEN FANATIKER (1969, 11 min, 16mm-to-DCP. In German with English subtitles.)<br />“This bizarre short lampoons those in the establishment of the time charged with protecting the security and morals of the public. Shot at Munich’s race track, various ‘experts’ feel compelled to protect the thoroughbred horses – draped in bright colored turnout hoods and stable sheets. Its humor was extraordinarily dry and extremely unusual for a German film, to the point that many people did not get it. Others thought it was one of the funniest films ever made in Germany.” –Chris Doherty, FILMFEST MÜNCHEN<br /><br />Julia Sipowicz BEAUTIFUL DAY AT THE TRACK (2023, 3 min, DCP)<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61727 <p>“Consciously self-reflexive and co-written by Hopper and REBEL WITHOUT A CAUSE screenwriter Stewart Stern, THE LAST MOVIE follows a Hollywood movie crew in the midst of making a western in a remote Peruvian village. When production wraps, Hopper, as the baleful stuntman Kansas, remains, attempting to find redemption in the isolation of Peru and the arms of a former prostitute. Meanwhile, the local Indians have taken over the abandoned set and begun to stage a ritualistic re-enactment of the production – with Kansas as their sacrificial lamb. Among the most storied productions of the New Hollywood Era, Hopper was given carte blanche by Universal for his next directorial feature after the tremendous commercial success of EASY RIDER, and the writer-director-star took the money and ran – literally – staging THE LAST MOVIE in Peru at farthest remove from the Hollywood machine, with an on-screen entourage in tow that included Kris Kristofferson, Julie Adams, Stella Garcia, Peter Fonda, Dean Stockwell, Toni Basil, Russ Tamblyn, Michelle Phillips, and director Samuel Fuller. Although it won a special award at the Venice Film Festival, THE LAST MOVIE would effectively end Hopper’s career for many years – the Hollywood establishment gleefully writing him off as a self-indulgent madman. Yet the movie remains thrillingly innovative and remarkably contemporary – influenced greatly by the work of Bruce Conner and the French New Wave, as well as the Pop and Abstract artists Hopper revered.” –Jessica Hundley<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, July 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61752 <p>Ben Rivers’s deeply unsettling yet visually and texturally exquisite film was shot during the filming of Oliver Laxe’s film, MIMOSAS, and features Laxe himself in the central role. Part documentary, part fable, it is a reimagining of Paul Bowles’s brutal short story, “A Distant Episode” (1947). Like MIMOSAS, it was filmed on 16mm, against the backdrop of the Atlas Mountains and the desert sands of the Moroccan Sahara, where Laxe is seen at work on his film. Soon though, this version of Laxe abandons his set and his crew, and begins to take on the role of Bowles’s protagonist, a professor of linguistics travelling through Morocco in the late 1940s who suffers a rapid descent into misadventure and madness. Standing in strange relation to MIMOSAS, THE SKY TREMBLES displays its own set of thematic concerns and a radically different rhythm and texture. And yet, both films share a dreamlike trajectory, a sense of parallel realities bleeding into each other, and a sometimes terrifying vision of violence as an immutable feature of the landscape.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61576 <p>This breezy 1980s comedy may be no masterpiece, but it’s saturated with racetrack atmosphere and an appreciation for the characters that make the track their home(-away-from-home). And it also boasts a crazy array of talent in front of and behind the camera: aside from star Richard Dreyfuss, the cast features an incongruously counterculture-heavy lineup including Mary Woronov, Richard Edson, and the New York Dolls’ David Johansen (not to mention Teri Garr, Jennifer Tilly, Allen Garfield, Robbie Coltrane, Cynthia Nixon, and the Mamas and the Papas’ Michelle Phillips), while the film was cut by legendary editor Dede Allen, and scored by Giorgio Moroder! Huh?<br /><br />“The spirit of Damon Runyon hangs heavily over LET IT RIDE, the 1989 feature debut for celebrated commercial director Joe Pytka. Starring Richard Dreyfuss as what used to be called a horse-racing degenerate and Teri Garr as his (what else but) long-suffering wife, LET IT RIDE is jam-packed with generically colorful characters with nicknames like Cheeseburger and Vibes. Its plot, not the most original in the world, has a cab driver named Trotter (Dreyfuss) suddenly realizing that he is walking around lucky, that any horse he bets on is going to come home a winner.” –Kenneth Turan, ESPN<br /><br />Preceded by:<br />Werner Herzog PRECAUTIONS AGAINST FANATICS / MASSNAHMEN GEGEN FANATIKER (1969, 11 min, 16mm-to-DCP. In German with English subtitles.)<br />“This bizarre short lampoons those in the establishment of the time charged with protecting the security and morals of the public. Shot at Munich’s race track, various ‘experts’ feel compelled to protect the thoroughbred horses – draped in bright colored turnout hoods and stable sheets. Its humor was extraordinarily dry and extremely unusual for a German film, to the point that many people did not get it. Others thought it was one of the funniest films ever made in Germany.” –Chris Doherty, FILMFEST MÜNCHEN<br /><br />Julia Sipowicz BEAUTIFUL DAY AT THE TRACK (2023, 3 min, DCP)<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61755 <p>Oliver Laxe’s stunning film is a breathtakingly shot “Eastern Western” that follows a mysterious caravan carrying a dying sheikh into the Moroccan Atlas Mountains. Somewhere in the desert, a caravan is escorting an elderly sheik to the village where he was born. His last wish is to be buried with his loved ones. But death does not wait. Without their leader, the company grows fearful. And at the foot of a mountain pass, they refuse to continue, entrusting the body to two men who agree to carry on and bring it to its final destination. But who are these men? And do they really know the way? In another world, a mysterious young man is chosen to find the caravan. Richly suggestive and profoundly hypnotic, MIMOSAS is a head-scratcher whose meanings remain elusive even as its imagery and structural gambits lodge deeply in your mind.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61756 <p>Oliver Laxe’s stunning film is a breathtakingly shot “Eastern Western” that follows a mysterious caravan carrying a dying sheikh into the Moroccan Atlas Mountains. Somewhere in the desert, a caravan is escorting an elderly sheik to the village where he was born. His last wish is to be buried with his loved ones. But death does not wait. Without their leader, the company grows fearful. And at the foot of a mountain pass, they refuse to continue, entrusting the body to two men who agree to carry on and bring it to its final destination. But who are these men? And do they really know the way? In another world, a mysterious young man is chosen to find the caravan. Richly suggestive and profoundly hypnotic, MIMOSAS is a head-scratcher whose meanings remain elusive even as its imagery and structural gambits lodge deeply in your mind.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61753 <p>Ben Rivers’s deeply unsettling yet visually and texturally exquisite film was shot during the filming of Oliver Laxe’s film, MIMOSAS, and features Laxe himself in the central role. Part documentary, part fable, it is a reimagining of Paul Bowles’s brutal short story, “A Distant Episode” (1947). Like MIMOSAS, it was filmed on 16mm, against the backdrop of the Atlas Mountains and the desert sands of the Moroccan Sahara, where Laxe is seen at work on his film. Soon though, this version of Laxe abandons his set and his crew, and begins to take on the role of Bowles’s protagonist, a professor of linguistics travelling through Morocco in the late 1940s who suffers a rapid descent into misadventure and madness. Standing in strange relation to MIMOSAS, THE SKY TREMBLES displays its own set of thematic concerns and a radically different rhythm and texture. And yet, both films share a dreamlike trajectory, a sense of parallel realities bleeding into each other, and a sometimes terrifying vision of violence as an immutable feature of the landscape.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61750 <p>The films gathered here all riff on the Western by repurposing, reediting, or manipulating footage – or in the case of THE SONG OF RIO JIM, soundtrack material – taken from classic instances of the genre.<br /><br />Raphael Montañez Ortiz COWBOY AND “INDIAN” FILM 1958, 2 min, 16mm-to-DCPThis film is constructed from randomly spliced pieces of Anthony Mann’s WINCHESTER ’73, which the artist had chopped with an axe and ritually cleansed by shaking the pieces inside a medicine bag while singing Yaqui healing chants.<br /><br />Hans Scheugl <br />SAFETY FILM <br />1968, 4 min, 16mm<br />“SAFETY FILM consists of a Hollywood Western shot directly off a movie screen and restored to its raw form – an act that strips the film of its narrative, reduces its size, and drains all color from the CinemaScope and DeLuxe Color Western.” –MUBI<br /><br />Maurice Lemaître <br />THE SONG OF RIO JIM <br />1978, 6 min, 16mm<br />“This film – designed to pay tribute to Ince and to Hart, ancestors and creators of the cowboy film – has a ‘western’ story but it is not on the image – which is black from beginning to end – but in the sound. […] During the screening, the spectator will thus be able to imagine all possible westerns and anti-westerns.” –LIGHT CONE<br /><br />Peter Tscherkassky <br />INSTRUCTIONS FOR A LIGHT AND SOUND MACHINE <br />2005, 17 min, 35mm<br />“THE GOOD, THE BAD AND THE UGLY is retold through intense, widescreen 35mm warping and warbling techniques. It will change your ideas about the expressive potential of optical printing and sound remixing.” –Sean Uyehara, SAN FRANCISCO INTERNATIONAL FILM FESTIVAL<br /><br />Rebecca Baron & Douglas Goodwin <br />LOSSLESS #3 <br />2008, 10 min, digital<br />Removing key frames from a digital version of John Ford’s THE SEARCHERS, Baron and Goodwin attack the film’s temporal structuring to render a kinetic “painted desert” of the West.<br /><br />John Klacsmann & Walter Forsberg <br />TECHNICOLOR N.G. <br />2014, 20 min, 16mm, live score<br />In this film, “a Technicolor dye transfer printing error mis-registers a 1967 B-Western, revealing cyan ghosts and cinema’s psychedelic underpinnings.” With a live score by Forsberg and Klacsmann, the film is a mesmerizing investigation into the unseen foundations of the cinematic image of the West.<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61667 <p>In the 1970s, Pierre was one of the hottest hustlers in Paris, spending his nights with clients who kept him financially comfortable. But the glory days don’t last forever, and in 2007, where BEFORE I FORGET begins, Pierre’s life is very different. He’s in his 60s, a long-time HIV survivor who struggles with his health and deep financial instability now that his regular benefactors are gone. He finds comfort in going through the motions with young hustlers he hires, and connecting with old colleagues. But the question remains: what will become of him? The final entry in actor-screenwriter-director Jacques Nolot’s “partly autobiographical” trilogy is as unique as it is beguiling, and probably hits different depending on your own place in the gay food chain. Nolot himself saw the film as an important chance to show sides of gay life that few films show, telling Dennis Lim, “The gay community doesn’t appreciate it because it sees itself as always irresistible. I have nothing to do with the typical gay cinema. In fact I’m against it. I choose not to comfort the spectator.” Gays who do appreciate Nolot’s film include iconic director John Waters who called it “the best feel-bad gay movie ever made”, and “brave, funny, gayly incorrect, and smart as a whip,” while Ira Sachs said BEFORE I FORGET “reads like a diary entry and is just as intimate…. The film chronicles…like few films I’ve ever seen, the experience of being alone. The ending is a bravura moment of self-discovery…as defiant a metaphor of queer filmmaking as any I know.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61713 <p>Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S PALACE is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61578 <p>(UN CONDAMNÉ À MORT S’EST ÉCHAPPÉ, OU LE VENT SOUFFLE OÙ IL VEUT)<br /><br />With the simplest of concepts and sparest of techniques, Bresson made one of the most suspenseful jailbreak films of all time. Based on the account of an imprisoned French Resistance leader, this unbelievably taut and methodical marvel follows the fictional Fontaine’s single-minded pursuit of freedom, detailing the planning and execution of his escape with gripping precision. But Bresson’s film is not merely about process – it’s also a work of intense spirituality and humanity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61745 <p>Craig Baldwin<br />WILD GUNMAN<br />1978, 20 min, 16mm<br />“This film is a meditation on the Marlboro Man, a compilation of images and associations designed to deconstruct this image of masculinity and consumer addiction. Not only the Man himself, but the entire myth of the cowboy and the West are its targets. The film veers from heavily-manipulated optical printer work to straight advertising footage from commercials and B-movies. Though there is no ‘history’ (which is the basis for [Baldwin’s] subsequent films) the style that characterizes all his work is firmly in place. The combination of social satire/deconstruction and recovered film images is used as a detournement – a Situationist attack against the oppression of corporate advertising.” –Tim Maloney, SENSES OF CINEMA<br /><br />Charles I. Levine<br />HORSEOPERA (A WESTERN)<br />1970, 24 min, 16mm<br />“I have used individual shots as loops to achieve a visually harmonic form, in which a variation of particular actions is made to produce a rhythmic structure. The whole panorama of the winning of the West is at hand from horse and wagon to great railroad locomotives that charge across the plains and mountains relentlessly, always watched by the Indians. Stereotyped characters and actions are transformed and become larger than life, building blocks for a plastic mosaic. Epic conflict is in motion between good and evil…the bad guys kill, rape and plunder both the land and the people, nothing is beneath them and they will not let anyone stand in their way. Their greed is unquenchable.” –Charles I. Levine<br /><br />“Mr. Levine’s purpose is…to illustrate the winning of the West as defined by movements, gestures and responses that, in Hollywood Westerns, became as formalized as those in Noh theater. […] The fights with fists and guns, the cavalry charges, the land rushes and the barroom confrontations are repeated in loops so that eventually they become the hieroglyphics of popular history.” –Vincent Canby, NEW YORK TIMES<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61735 <p>“Shot on location in Tucson, Arizona, LONESOME COWBOYS is a homoerotic satire of the Western genre, loosely based on ‘Romeo and Juliet’. Viva stars as Ramona, her lover Julian is played by Tom Hompertz, and Joe Dallesandro, Eric Emerson, and Louis Waldon play a close-knit group of brothers. The film also features brilliant performances by Taylor Mead and by Francis Francine, the star of Jack Smith’s FLAMING CREATURES, as a sheriff who dresses in drag.” –Callie Angell<br /><br />“The film’s production famously caught the attention of local authorities and led to an FBI investigation. As Warhol recounted in his memoir ‘POPism: The Warhol Sixties’: ‘Eventually, the grips, the electricians, and the people who build the sets formed a vigilante committee to run us out of town, just like in a real cowboy movie.’” –SFMOMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 25