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, 09 Aug 2026 09:39:45 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61780 <p>“One of the few Spaghetti Westerns starring – and possibly the only one directed by – a woman (Wertmüller worked under the pseudonym ‘Nathan Wich’ after replacing Cristofani), the film is inspired by the notorious American outlaw Belle Starr, played by Elsa Martinelli. Starr was known to ride sidesaddle wearing a black velvet riding habit and feathered hat. Martinelli’s incarnation is almost never seen out of her black leather pants and jacket, but she stays true to Starr’s reputation as a sharpshooter. The tale opens as Starr is outmatched and charmed by fellow gambler Larry Blackie (George Eastman). They form a violent relationship, which climaxes when she decides to beat him to the treasure in a jewel robbery.‬” –Hannah Greenberg<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61600 <p>(LA BELLE ET LA BÊTE)<br /><br />With Jean Marais and Josette Day; score by Georges Auric.<br /><br />“Jean Cocteau’s first full-length movie is perhaps the most sensuously elegant of all filmed fairy tales. As a child escapes from everyday daily life to the magic of a storybook, so, in the film, Beauty’s farm, with its Vermeer simplicity, fades in intensity as we are caught up in the Gustave Doré extravagance of the Beast’s enchanted landscape. In Christian Bérard’s makeup, Jean Marais is a magnificent Beast.” –Pauline Kael<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61783 <p>After her husband is lynched by bandits, Michèle Mercier seeks revenge and turns to an old friend for help (played by star/creator Robert Hossein of RIFIFI). A solitary figure who lives in a ghost town and dons a single black glove before each gunfight, Hossein soon infiltrates the widow’s enemies to force a showdown. This is a French take on the Italians’ take on American genres – a “baguette western.” Inspired by the international success of Sergio Leone’s DOLLARS trilogy, and armed with the catchiest of theme songs via international cult figure Scott Walker, CEMETERY WITHOUT CROSSES offers a Gallic spin on the European gunslinger genre.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61602 <p>(ORPHÉE)<br /><br />With Jean Marais.<br /><br />“Orpheus could only exist on the screen. A drama of the visible and the invisible, ORPHEUS’s Death is like a spy who falls in love with the person being spied upon. The myth of immortality.” –Jean Cocteau<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61763 <p>“Samurai movies often operate similarly to westerns (part of why SEVEN SAMURAI and YOJIMBO were later remade Stateside), but rarely do you see an actual Japanese western.” –Kyle Warner, CITY ON FIRE<br /><br />THE MAN WITH A SHOTGUN is a high point in the first five years of director Seijun Suzuki’s career within Nikkatsu’s “Borderless Action” series. Drawing inspiration from Hollywood and the French New Wave, Suzuki’s works for Nikkatsu blended East and West, movie-fueled fantasies, and gritty realities of life in postwar Japan.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, August 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61759 <p>“SODA POP JOE was made in 1964, during the exuberant period in Czechoslovakia filled with the hope that society was breaking free of the ideological grip of the 1950s and heading towards more freedom. The very choice of the Western and of satirical comedy was in itself already a step in opposition to the official presentation of the Western as ‘a fallen and damaging genre’. In a typical main street of a small town in the far West, a fight takes place between the handsome hero, Joe, and an ugly scoundrel. Joe is an agent for a company that produces the soft drink ‘Kolaloka’ and is trying to enforce the prohibition of alcohol. [SODA POP JOE’s] charm, bravura and humor ensured it 4.5 million viewers and the film is still regularly shown on Czech and Slovak TV stations.” –ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, August 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61770 <p>Juan Sáyago returns to his hometown after serving 18 years in prison for the murder of Raúl Trueba. Although he killed in self-defense, rumors in town circulated during his absence speculating that the victim was killed in cold blood. Sáyago wants to rebuild the life he was denied with his old lover, Mariana Sampedro, but Trueba’s sons have sworn to avenge the murder of their father. This classic Mexican neo-western was the first realized screenplay of Nobel Prize winner Gabriel García Márquez and legendary Mexican novelist Carlos Fuentes. Under the direction of Arturo Ripstein, TIME TO DIE represents one of the earliest examples of New Mexican Cinema and one of the most accomplished Mexican films from the 1960s.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61767 <p>“Millie Perkins stars as an unnamed woman who hires two men – an ex-bounty hunter (Warren Oates) and his sidekick (Will Hitchins) – to take her through the desert on a mysterious revenge mission. The quest becomes more curious when a drifter (Jack Nicholson) begins to follow their trail. Written by Carole Eastman (FIVE EASY PIECES) and unofficially financed by Roger Corman, this film is less a revisionist Western and more a surreal, unsettling narrative set in the American West. As The Woman, Perkins is cold, determined, and unapologetic – a persona few women have been allowed to adopt within the Western genre – and she’s never been better.” –Hannah Greenberg<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61774 <p>“This cult ‘red’ Lithuanian western is both a partial reworking of Kurosawa’s SEVEN SAMURAI and a complex accounting for the legacy of Sovietization and World War II. In 1947, a small farming community is torn between allegiances to the Soviet Union and its Partisan ‘brothers in the woods’ after the village council’s chairman is murdered. Brilliantly shot by Jonas Gricius (Kozintsev’s HAMLET and KING LEAR), this heightened pro- and anti-Soviet drama draws intriguing comparisons with the McCarthyist Hollywood westerns of the 1950s and is directed by one of Lithuanian cinema’s most celebrated figures.” –ACMI (AUSTRALIAN CENTRE FOR THE MOVING IMAGE)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61781 <p>“One of the few Spaghetti Westerns starring – and possibly the only one directed by – a woman (Wertmüller worked under the pseudonym ‘Nathan Wich’ after replacing Cristofani), the film is inspired by the notorious American outlaw Belle Starr, played by Elsa Martinelli. Starr was known to ride sidesaddle wearing a black velvet riding habit and feathered hat. Martinelli’s incarnation is almost never seen out of her black leather pants and jacket, but she stays true to Starr’s reputation as a sharpshooter. The tale opens as Starr is outmatched and charmed by fellow gambler Larry Blackie (George Eastman). They form a violent relationship, which climaxes when she decides to beat him to the treasure in a jewel robbery.‬” –Hannah Greenberg<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61675 <p>FILMMAKER IN PERSON!<br /><br />Berlin-based Afro-Cuban director Ricardo Bacallao is also the writer of this original thriller. Combining an assassination plot with dysfunctional family dynamics driven by hardline exile politics, THE UNCLE’S REQUEST was shot entirely in New York City.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61689 <p>This summer Anthology, Asia Society, and The Japan Foundation, New York, join forces for a celebration of the career of actress Kyoko Kagawa, who for the past 75 years has been one of the shining lights of Japanese cinema, delivering indelible performances in films by Mikio Naruse, Yasujiro Ozu, Kenji Mizoguchi, Kozaburo Yoshimura, Akira Kurosawa, Ishiro Honda, Hirokazu Kore-eda, and many others.<br /><br />The five-film series, “Kyoko Kagawa Rarities”, begins with an opening night screening at Anthology, before continuing uptown at Asia Society for the following three days. The opening night event features an exceedingly rare screening of Mikio Naruse’s LITTLE PEACH, described by Chris Fujiwara as both “a masterpiece of Naruse’s elliptical and unemphatic fifties style” and “one of the harshest of Naruse’s female melodramas.” Known for her iconic roles as the little sister or the enduring daughter, Kagawa here lends her tenderness to the beleaguered adult role of wife to a would-be novelist in perpetual collapse. Echoing SOUND OF THE MOUNTAIN in the many walks and talks with the great Sō Yamamura as paternal figure, with its buoyant bike rides and painful vision of marriage as social fate, the film also gestures at a spiritual afterlife for Ozu’s LATE SPRING.<br /><br />Following this opening night event, “Kyoko Kagawa Rarities” continues at Asia Society through Sunday, August 16, with screenings of FAREWELL TO THE HIGHLAND STATION (Nobuo Nakagawa, 1951), TOKYO RENDEZVOUS (Chihiro Ikeda, 2008), FIVE SISTERS (Seiji Hisamatsu, 1954), and SHOZO, A CAT AND TWO WOMEN (Shiro Toyoda, 1956), featuring imported archival prints and newly translated subtitles.<br /><br />“Kyōko Kagawa Rarities” is programmed by Joseph Eusebio and Akinaru Rokkaku and is a co-presentation of Asia Society, Anthology Film Archives, and The Japan Foundation, New York.<br /><br />For more info about the Asia Society screenings visit:<br /><a href="https://asiasociety.org/new-york/kyoko-kagawa-rarities">https://asiasociety.org/new-york/kyoko-kagawa-rarities</a><br /><br />Special thanks to Hiroyuki Kojima (Japan Foundation, New York), Inney Prakash (Asia Society), and Shion Komatsu (Toho).<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61677 <p>A highly personal look at Rosario Suárez, the former prima ballerina of the Ballet Nacional de Cuba, an expressive dancer with a dazzling technique and a singular interpretive style.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61837 <p>A highly personal look at Rosario Suárez, the former prima ballerina of the Ballet Nacional de Cuba, an expressive dancer with a dazzling technique and a singular interpretive style.<br /><br /><strong>Followed by a Q&A with protagonist Rosario Suárez!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61777 <p>Glauber Rocha’s sophomore feature is a scorched-earth allegory about the blind followers of dead-end ideologies. Somewhere in the Brazilian hinterlands of the 1940s, ranch hand Manoel becomes an outlaw after killing his swindling boss. He pledges allegiance to Sebastião, a self-styled holy man who preaches revolt against rich landowners even as he perpetrates unspeakable acts of violent zealotry against the innocent. While the landowners hire a mercenary to take out Sebastião, Manoel and his wife Rosa join cangaceiros Corisco and Dadá, only to find themselves once more in league with evil, deluded forces. Steeped in history, myth, religion, and politics, and suffused with the feverish intensity of the blistering desert, BLACK GOD, WHITE DEVIL is one of the Cinema Novo movement’s most uncompromising statements on current social issues as well as the universal problem of mindless fanaticism.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61679 <p>Daniel Chile<br />THE LAST GAME / EL ÚLTIMO JUEGO<br />2026, 24 min, DCP. In Spanish with English subtitles. New York Premiere!<br />A children’s game turns into something sinister and violent, probing the extremes of human behavior amidst a dystopian reality.<br /><br />Ricardo Vega<br />I LOVE YOU AND I’LL TAKE YOU TO THE MOVIES / TE QUIERO Y TE LLEVO AL CINE<br />1993, 60 min, DCP. In Spanish with English subtitles.<br />Acclaimed for its loose structure, and virtually absent of dialogue, this experimental film focuses on the lives of three young people in 1980s Havana, exploring themes of doubt, fear, and the search for meaning through three related stories.<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> Friday, August 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61784 <p>After her husband is lynched by bandits, Michèle Mercier seeks revenge and turns to an old friend for help (played by star/creator Robert Hossein of RIFIFI). A solitary figure who lives in a ghost town and dons a single black glove before each gunfight, Hossein soon infiltrates the widow’s enemies to force a showdown. This is a French take on the Italians’ take on American genres – a “baguette western.” Inspired by the international success of Sergio Leone’s DOLLARS trilogy, and armed with the catchiest of theme songs via international cult figure Scott Walker, CEMETERY WITHOUT CROSSES offers a Gallic spin on the European gunslinger genre.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61764 <p>“Samurai movies often operate similarly to westerns (part of why SEVEN SAMURAI and YOJIMBO were later remade Stateside), but rarely do you see an actual Japanese western.” –Kyle Warner, CITY ON FIRE<br /><br />THE MAN WITH A SHOTGUN is a high point in the first five years of director Seijun Suzuki’s career within Nikkatsu’s “Borderless Action” series. Drawing inspiration from Hollywood and the French New Wave, Suzuki’s works for Nikkatsu blended East and West, movie-fueled fantasies, and gritty realities of life in postwar Japan.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61681 <p>A highly engaging and dynamic exploration of artist Humberto Castro’s personal life, as well as the Neofigurative aesthetics that define his work.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61785 <p>After her husband is lynched by bandits, Michèle Mercier seeks revenge and turns to an old friend for help (played by star/creator Robert Hossein of RIFIFI). A solitary figure who lives in a ghost town and dons a single black glove before each gunfight, Hossein soon infiltrates the widow’s enemies to force a showdown. This is a French take on the Italians’ take on American genres – a “baguette western.” Inspired by the international success of Sergio Leone’s DOLLARS trilogy, and armed with the catchiest of theme songs via international cult figure Scott Walker, CEMETERY WITHOUT CROSSES offers a Gallic spin on the European gunslinger genre.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61683 <p>A female playwright explores the Cuban exodus through real-life testimonies of their experiences in countries all over the globe, including Iceland, Spain, and Angola. ADIÓS CUBA resonates strongly with today’s immigrant crisis worldwide.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61778 <p>Glauber Rocha’s sophomore feature is a scorched-earth allegory about the blind followers of dead-end ideologies. Somewhere in the Brazilian hinterlands of the 1940s, ranch hand Manoel becomes an outlaw after killing his swindling boss. He pledges allegiance to Sebastião, a self-styled holy man who preaches revolt against rich landowners even as he perpetrates unspeakable acts of violent zealotry against the innocent. While the landowners hire a mercenary to take out Sebastião, Manoel and his wife Rosa join cangaceiros Corisco and Dadá, only to find themselves once more in league with evil, deluded forces. Steeped in history, myth, religion, and politics, and suffused with the feverish intensity of the blistering desert, BLACK GOD, WHITE DEVIL is one of the Cinema Novo movement’s most uncompromising statements on current social issues as well as the universal problem of mindless fanaticism.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61787 <p>“György Szomjas’s first feature – made after a decade of short documentaries – is a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with the image of a lone horseman on the empty plain, riding past a rude gallows. THE WIND IS WHISTLING UNDER THEIR FEET concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers, and hard-bitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdag’s films) – a feast of loamy, autumnal colors.” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61685 <p>The award-winning director Iván Acosta reconstructs the bitter and confusing hours following the Twin Towers attack from a video he had recorded and stashed away in a drawer.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61760 <p>“SODA POP JOE was made in 1964, during the exuberant period in Czechoslovakia filled with the hope that society was breaking free of the ideological grip of the 1950s and heading towards more freedom. The very choice of the Western and of satirical comedy was in itself already a step in opposition to the official presentation of the Western as ‘a fallen and damaging genre’. In a typical main street of a small town in the far West, a fight takes place between the handsome hero, Joe, and an ugly scoundrel. Joe is an agent for a company that produces the soft drink ‘Kolaloka’ and is trying to enforce the prohibition of alcohol. [SODA POP JOE’s] charm, bravura and humor ensured it 4.5 million viewers and the film is still regularly shown on Czech and Slovak TV stations.” –ROTTERDAM FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61687 <p>In this tongue-in-cheek comedy, East German Stasi officer Fritz travels to Cuba with orders to thwart a suspected CIA operation against Fidel Castro. In Havana he meets Lola, a young woman who changes the course of his life.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61771 <p>Juan Sáyago returns to his hometown after serving 18 years in prison for the murder of Raúl Trueba. Although he killed in self-defense, rumors in town circulated during his absence speculating that the victim was killed in cold blood. Sáyago wants to rebuild the life he was denied with his old lover, Mariana Sampedro, but Trueba’s sons have sworn to avenge the murder of their father. This classic Mexican neo-western was the first realized screenplay of Nobel Prize winner Gabriel García Márquez and legendary Mexican novelist Carlos Fuentes. Under the direction of Arturo Ripstein, TIME TO DIE represents one of the earliest examples of New Mexican Cinema and one of the most accomplished Mexican films from the 1960s.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, August 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61790 <p>“WHITE SUN OF THE DESERT is the final installment of what might be called a traditional Ostern. It tells the story of Fyodor Sukhov, a Red Army soldier in what would become the Turkmen Soviet Socialist Republic. While clearly drawing on Western cinematic tropes, the film undoubtedly spoke to Soviet audiences regarding issues of nation and empire, reflecting the nationalist ideals of a Russian-dominated Central Asia. Over time, WHITE SUN OF THE DESERT achieved cult status in Russia and other post-Soviet countries. It’s famously watched by Russian cosmonauts before space missions as a good-luck tradition, underscoring its enduring cultural significance.” –PRINCETON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61793 <p>Firepower meets flower power in this outrageous western about two thrill-seeking cowboys who rock the range. Starring John Rubinstein (THE CAR), Don Johnson (TV’s MIAMI VICE), and Dick Van Patten (HIGH ANXIETY) and featuring legendary musicians Country Joe and the Fish and White Lightnin’, this psychedelic trip through the Wild West is an utterly unique film experience. Two cowboys (Rubinstein and Johnson) set out for adventure and join up with a band of rock ‘n’ roll outlaws. But as the two friends are seduced by their own quick-draw ambitions, a deadly rivalry grows between them, and they must struggle to find a path to peace – before they lose more than their reputations…and kill more than their friendship. Hollywood veteran George Englund (THE UGLY AMERICAN) directed this one-of-a-kind cult classic.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, August 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61796 <p>“A deliberately miscast Jean-Pierre Léaud – in all of his Parisian, fidgety angst – stars as the legendary Billy the Kid in this shaggy acid western…. Having single-handedly held up the Wells Fargo stagecoach, the improbable hero struggles to transport his loot when he (quite literally) stumbles across Ann and forcibly enlists her help. Cruelty soon gives way to romance and complicity amid a backdrop of farcical vengeance and a haze of trippy surrealism. Edited by Jean Eustache and scored by the filmmaker’s brother, Patrice Moullet, A GIRL IS A GUN is a low-budget riff on the great American westerns, a nod to Howard Hawks, that veers closer to a comedic version of Philippe Garrel’s psychedelic desert Zanzibar films. Shot in just six days with a tiny crew, the film is a strange mix of homage, imagination, spoof, and sonic and visual dissonance enhanced by the extreme otherworldliness of Luc Moullet’s favorite jagged landscape.” –Andréa Picard, TIFF<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61633 <p>[FUTURO FUTURO]<br /><br />In a bleak near-future Brazil where artificial intelligence has triggered a mysterious neurological crisis, K is a forty-year-old man who has lost both his memory and sense of belonging. Drifting through a desolate unnamed city, shaped by deepening social inequality and technological control, he embarks on an absurd and increasingly tragic search for identity and connection. Blending dystopian science fiction with political allegory, director Davi Pretto’s fourth feature crafts a formally daring vision of a collapsing society haunted by environmental catastrophe, class divisions, and the dehumanizing promises of technological progress. Incorporating artificial intelligence into its own visual language, the film is a hypnotic and cautionary portrait of a world that feels both eerily distant and unsettlingly close.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61800 <p>A young man, Kid, stumbles through the Mexican Sierra, shot and half bled to death, carrying a suitcase containing the loot from a bank robbery. Passing out from heat and blood loss, he is found by Charles Dump, a former gold miner living on the outskirts of the ghost town “Deadlock” with his daughter (Klick discovery Mascha Elm-Rabben, later to appear in Werner Schroeter’s BOMBERPILOT and SALOME, and Fassbinder’s WORLD ON A WIRE). As Dump realizes what’s in the suitcase, he tries to come up with a plan to get rid of its owner. As they are joined by Kid’s partner in crime, the sadistic killer Sunshine, the conflict triangle is perfect. Soon it’s everyone for himself in a violent endgame under the glistening sun where only one can walk away with the suitcase. DEADLOCK is a dark, nihilistic tale of greed, corruption and codes of honor. A chamber play of Beckettian proportions, it is also a psychedelic Western as gritty as they come. Boasting admirers ranging from Jodorowsky to Spielberg to Tarantino, DEADLOCK is graced with a soundtrack by legendary Krautrock band CAN.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, August 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61603 <p>Unless otherwise noted, all the films in this program are silent. With the exception of GNIR REDNOW, all films have been preserved by Anthology Film Archives.<br /><br />ROSE HOBART (ca. 1936/68, 20 min, 16mm, sound. Preserved by Anthology Film Archives. <strong>Brand-new print!</strong>)<br />CENTURIES OF JUNE (1955, 10 min, 16mm. Photographed by Stan Brakhage.)<br />THE AVIARY (1954, 11 min, 16mm. Photographed by Rudy Burckhardt.)<br />GNIR REDNOW (1955, 5 min, 16mm. Photographed by Stan Brakhage.)<br />NYMPHLIGHT (1957, 8 min, 16mm. Photographed by Rudy Burckhardt.)<br />A LEGEND FOR FOUNTAINS (1957/65, 17 min, 16mm. Photographed by Rudy Burckhardt; completed by Lawrence Jordan.)<br />ANGEL (1957, 3 min, 16mm. Photographed by Rudy Burckhardt.)<br /><br />“[ROSE HOBART] is a breathtaking example of the potential for surrealistic imagery within a conventional Hollywood film once it is liberated from its narrative causality. […] In Cornell’s later films – both those photographed by Rudy Burckhardt, Stan Brakhage, and Larry Jordan and the collage films which Jordan completed – Joseph Cornell describes the marginal area where the conscious and the unconscious meet. These are films which affirm a sustained present moment in which a quality of reminiscence is implicated.” –P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> <p><br /><br /></p> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61788 <p>“György Szomjas’s first feature – made after a decade of short documentaries – is a bold attempt at a goulash western, set on the puszta, or Great Hungarian Plain, in 1837. Mixing Miklós Jancsó imagery and a Sergio Leone narrative, this ballad-like saga opens with the image of a lone horseman on the empty plain, riding past a rude gallows. THE WIND IS WHISTLING UNDER THEIR FEET concerns the vengeful return of a legendary betyár (outlaw), briefly a hero to the local herdsmen who oppose the state building a canal across their grazing land. Although Szomjas works from ethnographic records and archival material, it is hardly surprising that this violent, primitivist film would be more popular with Hungarian audiences than critics. Replete with young guns, crooked sheriffs, tavern brawlers, and hard-bitten plug-uglies, this widescreen film is strikingly shot by Elémer Ragályi (cinematographer for most of Gyula Gazdag’s films) – a feast of loamy, autumnal colors.” –J. Hoberman<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61604 <p>Bruce Conner<br />A MOVIE (1958, 12 min, 16mm)<br />COSMIC RAY (1961, 4 min, 16mm)<br />REPORT (1965, 13 min, 16mm)<br />“Conner stands as a kind of twentieth century Peter Breughel. For like the great Flemish master he distorts the visible world in order to penetrate a reality of being rather than appearances; his vision is cosmic in breadth; he deals with some of the most provocative issues, both artistic and otherwise, of his time; and finally, with an evocative ambiguity and painful irony he touches something which we sometimes call the human experience.” –Carl I. Belz, FILM CULTURE<br /><br />COSMIC RAY and REPORT have been preserved by Anthology through the National Film Preservation Foundation’s Avant-Garde Masters Grant program funded by The Film Foundation.<br /><br />Tony Conrad<br />THE FLICKER<br />(1966, 30 min, 16mm. Preserved by Anthology with funding provided by the National Film Preservation Foundation.)<br />“THE FLICKER is a tremendous harnessing of the raw power, the elemental material of the cinematic medium – light itself – to transport the spectator slowly at first, hardly perceptibly, then accelerating, through a non-objective non-abstract world of sheer energy. Time becomes the compelling pulse of white into black and back, space becomes the unbounded expansion and contraction of force; the screen becomes a new sun, the audience its creatures.” –Ken Kelman<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61804 <p>“One of the key movies in the birth of the Australian film industry, MAD DOG MORGAN is as wild, free, and untamed as the pioneer Australian settler turned outlaw it celebrates. Dan Morgan was a real-life figure, a desperado who roamed the bush, committing robberies, drinking rum, killing people at the slightest provocation and generally behaving like a maniac. Obviously not just anyone could play the role, so director Philippe Mora brought in the only actor who could embody Morgan’s peculiar brand of apeshit craziness: Dennis Hopper. Hopper was dead-on perfect for Morgan but, unfortunately for the sanity of the cast and crew, he was also a committed method actor who insisted on getting into the role by drinking at least as much rum as the real Morgan and carrying loaded weapons everywhere. At one point during the shoot Hopper drunkenly took off in a car to visit the real Morgan’s grave. He was picked up in the state of Victoria for drunken driving. When his blood alcohol content was measured he was declared legally dead. His producers got him out of jail but he was forbidden by the court to drive or even to be a passenger in a car in the territory!” –Lars Nilsen<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, August 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61808 <p>Barbara Loden<br />THE FRONTIER EXPERIENCE<br />1975, 25 min, 16mm-to-DCP<br />Made for an educational film distributor, Barbara Loden’s under-acknowledged short film was her first directorial effort following her masterpiece, WANDA, and was written by HESTER STREET and CROSSING DELANCEY director Joan Micklin Silver. Based on women’s diaries from the period, it features Loden herself as Delilah Fowler, who struggles to survive and provide for her children during their first year as settlers in the Kansas prairie.<br /><br />Charles Burnett<br />THE HORSE<br />1973, 14 min, 16mm. Preservation print courtesy of the UCLA Film & Television Archive.<br />“In this haunting coming-of-age tale that its director Charles Burnett has described as a ‘kind of allegory of the South,’ an African American boy gently tends to a horse that is to be shot as a group of white men passively look on. Burnett artfully employs a sparse lyricism, juxtaposing the stillness of the rural setting against the disquiet imbued by the impending violence.” –Mark Quigley, UCLA FILM & TELEVISION ARCHIVE<br /><br />Blackhorse Lowe<br />SHIMASANI<br />2009, 15 min, 35mm-to-DCP. In Navajo with English subtitles.<br />In 1934, on the serene Navajo reservation, Mary Jane must decide whether to stay at home with her grandmother (másání) and carry on her traditional lifestyle or seek a new life “just over the mountain.”<br /><br />Blackhorse Lowe<br />METAL BELT<br />2023, 14 min, 16mm-to-DCP. In Navajo and Spanish with English subtitles.<br />A Peyote Western set in 1860s New Mexico territory, METAL BELT recounts a story about the American Indian slave trade in the southwest and one Navajo woman’s fight for freedom and her spiritual journey home.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61669 <p>For the fourth anniversary of “Narrow Rooms”, curator Adam Baran selects the film that first inspired him to become a cinephile and filmmaker, and no surprise, it’s a dark and twisted thriller with pretty obvious gay overtones. Alfred Hitchcock’s superb 1951 suspense thriller begins with the accidental meeting between tennis player Guy Haines and a stranger named Bruno, who casually suggests the two carry out his “perfect murder” scheme. Bruno will kill Guy’s cheating wife, and Guy can kill Bruno’s hated father. Since the two have no motive or place in each other’s lives, no one would suspect the other person of the crimes. Guy shrugs the idea off as a joke, but when Bruno makes the first move, he insists Guy make good on his end of the bargain, or else! Closeted gay actor Farley Granger, who played gay three years earlier in Hitchcock’s ROPE, and troubled actor Robert Walker are both at their very best in this adaptation of “Talented Mr. Ripley” author Patricia Highsmith’s debut novel. Featuring some of Hitchcock’s most inventive visual sequences, including the jaw-dropping merry-go-round finale, it’s a smorgasbord of queer, cinephilic energy. We’ll also be screening the rarely shown “UK” or “Preview” version, which makes the flirtation between Granger and Walker’s characters even more explicit!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61791 <p>“WHITE SUN OF THE DESERT is the final installment of what might be called a traditional Ostern. It tells the story of Fyodor Sukhov, a Red Army soldier in what would become the Turkmen Soviet Socialist Republic. While clearly drawing on Western cinematic tropes, the film undoubtedly spoke to Soviet audiences regarding issues of nation and empire, reflecting the nationalist ideals of a Russian-dominated Central Asia. Over time, WHITE SUN OF THE DESERT achieved cult status in Russia and other post-Soviet countries. It’s famously watched by Russian cosmonauts before space missions as a good-luck tradition, underscoring its enduring cultural significance.” –PRINCETON<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, August 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61797 <p>“A deliberately miscast Jean-Pierre Léaud – in all of his Parisian, fidgety angst – stars as the legendary Billy the Kid in this shaggy acid western…. Having single-handedly held up the Wells Fargo stagecoach, the improbable hero struggles to transport his loot when he (quite literally) stumbles across Ann and forcibly enlists her help. Cruelty soon gives way to romance and complicity amid a backdrop of farcical vengeance and a haze of trippy surrealism. Edited by Jean Eustache and scored by the filmmaker’s brother, Patrice Moullet, A GIRL IS A GUN is a low-budget riff on the great American westerns, a nod to Howard Hawks, that veers closer to a comedic version of Philippe Garrel’s psychedelic desert Zanzibar films. Shot in just six days with a tiny crew, the film is a strange mix of homage, imagination, spoof, and sonic and visual dissonance enhanced by the extreme otherworldliness of Luc Moullet’s favorite jagged landscape.” –Andréa Picard, TIFF<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61704 <p>Easily the rowdiest of Downey’s early films (which is saying quite a lot), the truly incomparable NO MORE EXCUSES interweaves five short scenarios into one raucous amalgamation. A dazed Yankee Civil War soldier (played by Downey) mysteriously awakens in early-1960s NYC where, naturally, he heads to Yankee Stadium; Alan Abel, Director of the Society for Indecency to Naked Animals (SINA), speaks from the heart of his group’s moral crusade to clothe all animals; Charles J. Guiteau repeatedly bungles his assassination attempts on President James Garfield; a priestly pervert and a chimp (yes, a chimp) engage with a plus-sized lover; and, in what just might be the most disorienting portion, Downey visits the seriously swinging singles scene that is the original T.G.I. Friday’s on the Upper East Side. Unpredictable and unhinged, NO MORE EXCUSES is downright funny, and art brut to the max.<br /><br />Followed by:<br />ALAN ABEL – PROFESSIONAL MEDIA PRANKSTER<br />56 min, video<br />A compilation of hoaxes, spoofs and pranks pulled off by Abel over the years, this unique program features off-air recordings, news coverage, and raw footage of the master prankster in his element.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61801 <p>A young man, Kid, stumbles through the Mexican Sierra, shot and half bled to death, carrying a suitcase containing the loot from a bank robbery. Passing out from heat and blood loss, he is found by Charles Dump, a former gold miner living on the outskirts of the ghost town “Deadlock” with his daughter (Klick discovery Mascha Elm-Rabben, later to appear in Werner Schroeter’s BOMBERPILOT and SALOME, and Fassbinder’s WORLD ON A WIRE). As Dump realizes what’s in the suitcase, he tries to come up with a plan to get rid of its owner. As they are joined by Kid’s partner in crime, the sadistic killer Sunshine, the conflict triangle is perfect. Soon it’s everyone for himself in a violent endgame under the glistening sun where only one can walk away with the suitcase. DEADLOCK is a dark, nihilistic tale of greed, corruption and codes of honor. A chamber play of Beckettian proportions, it is also a psychedelic Western as gritty as they come. Boasting admirers ranging from Jodorowsky to Spielberg to Tarantino, DEADLOCK is graced with a soundtrack by legendary Krautrock band CAN.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61707 <p>ABEL RAISES CAIN is a much-needed exposé of the unprecedented life and career of infamous media hoaxer Alan Abel and his accomplice/wife, Jeanne. Filled with interviews and truly outrageous archival footage, this immensely charming documentary is a true family film made by their daughter, Jenny and her husband, Jeff Hockett. They provide a rollicking first-hand account of what it was like growing up with professional prankster parents. Alan worked tirelessly to plant insane stories in the news and was never afraid to go to ridiculous lengths in order to expose what he believed to be an injustice. ABEL RAISES CAIN takes the audience on an up-close tour of the many elaborate schemes that he pulled off over the years, all designed to provoke, amuse, and prod people to question everything that they see and believe.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=08&year=2026#showing-61811 <p>“The sensational notion of Ferreri’s DON’T TOUCH THE WHITE WOMAN is to set an honest-to-God Western in the ruins of Les Halles, the wholesale food market, which Zola called ‘the belly of Paris’…. Ferreri replaces that demolished culinary circus with all the ingredients needed for a grand-scale horse opera: the same male leads as LA GRANDE BOUFFE, and no less a white woman than Catherine Deneuve, plus all the open spaces and horses that a European Western freak could ask for. The result is slightly surreal, satirically aimed slapstick, with the Forces of American Imperialism battling the Combined Resources of the Third World. Marcello Mastroianni, as General Custer, slaps his gloves and stamps his boot in deference to Puritanism and a picture of Richard Nixon; Michel Piccoli, deftly lampooning an American accent as Buffalo Bill, recounts past exploits in a local bar; a host of ‘Indians’ – mainly Chileans, Colombians, Vietnamese, and Ugo Tognazzi – plot their strategies before the final massacre. But Ferreri’s own strategy is to take off from this semi-allegory into a relaxed appreciation of sheer buffoonery, turning various locations (including Notre Dame) into facets of his private sandbox and appearing himself as an interested reporter.” –Jonathan Rosenbaum<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, August 22