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, 28 Jun 2026 06:48:12 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61502 <p>“Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word ‘symphonia’ was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as ‘cinematographer,’ at source, means ‘writer of movement,’ certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, June 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61387 <p><strong>BEN RIVERS IN PERSON THURS-SAT, JUNE 25-27!</strong><br /><br />U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE<br /><br /><strong>Ben Rivers will be here for Q&As following the 6:30 screenings on Thurs & Fri, June 25 & 26, and following the 5:15 screening on Sat, June 27. The Q&A on Sat, June 27 will be moderated by filmmaker Michael Almereyda!</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61388 <p><strong>BEN RIVERS IN PERSON THURS-SAT, JUNE 25-27!</strong><br /><br />U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE<br /><br /><strong>Ben Rivers will be here for Q&As following the 6:30 screenings on Thurs & Fri, June 25 & 26, and following the 5:15 screening on Sat, June 27. The Q&A on Sat, June 27 will be moderated by filmmaker Michael Almereyda!</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61389 <p><strong>BEN RIVERS IN PERSON THURS-SAT, JUNE 25-27!</strong><br /><br />U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE<br /><br /><strong>Ben Rivers will be here for Q&As following the 6:30 screenings on Thurs & Fri, June 25 & 26, and following the 5:15 screening on Sat, June 27. The Q&A on Sat, June 27 will be moderated by filmmaker Michael Almereyda!</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61503 <p>Preserved by Anthology Film Archives.<br /><br />EYES<br />(1970, 36 min, 16mm, silent)<br />“After wishing for years to be given the opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –Stan Brakhage<br /><br />DEUS EX<br />(1971, 34 min, 16mm, silent)<br />“I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –Stan Brakhage<br /><br />THE ACT OF SEEING WITH ONE’S OWN EYES<br />(1971, 32 min, 16mm, silent)<br />“Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes.” –Hollis Frampton<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> Monday, June 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61390 <p><strong>BEN RIVERS IN PERSON THURS-SAT, JUNE 25-27!</strong><br /><br />U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE<br /><br /><strong>Ben Rivers will be here for Q&As following the 6:30 screenings on Thurs & Fri, June 25 & 26, and following the 5:15 screening on Sat, June 27. The Q&A on Sat, June 27 will be moderated by filmmaker Michael Almereyda!</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61391 <p><strong>BEN RIVERS IN PERSON THURS-SAT, JUNE 25-27!</strong><br /><br />U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE<br /><br /><strong>Ben Rivers will be here for Q&As following the 6:30 screenings on Thurs & Fri, June 25 & 26, and following the 5:15 screening on Sat, June 27. The Q&A on Sat, June 27 will be moderated by filmmaker Michael Almereyda!</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61480 <p><strong>This screening will be introduced by poet Anne Waldman!</strong><br /><br />“In 1975, in an America defined by both the self-mythologizing pomp of the upcoming bicentennial and ongoing sociopolitical turmoil, Bob Dylan and a band of troubadours –including luminaries such as Joan Baez, Allen Ginsberg, and Joni Mitchell – embarked on a now-legendary tour known as the Rolling Thunder Revue, a freewheeling variety show that was part traveling counterculture carnival, part spiritual pilgrimage. Martin Scorsese blends behind-the-scenes archival footage, interviews, and narrative mischief, with a magician’s sleight of hand, into a zeitgeist-defining cultural record that is as much a concert “documentary” as it is a slippery, chimerical investigation into memory, time, truth, and illusion. At the center of it all is the magnetic Dylan, a sphinxlike philosopher-poet singing, with electrifying conviction, to the soul of an anxious nation.” –CRITERION<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61392 <p><strong>BEN RIVERS IN PERSON THURS-SAT, JUNE 25-27!</strong><br /><br />U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE<br /><br /><strong>Ben Rivers will be here for Q&As following the 6:30 screenings on Thurs & Fri, June 25 & 26, and following the 5:15 screening on Sat, June 27. The Q&A on Sat, June 27 will be moderated by filmmaker Michael Almereyda!</strong></p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61556 <p>“Arguably Stanley Kubrick’s most perfectly conceived and executed film, this 1956 noirish thriller utilizes an intricate overlapping time structure to depict the planning and execution of a plot to steal $2 million from a racetrack. Adapted by Kubrick from Lionel White’s ‘Clean Break’, with an extraordinary gallery of B players: Sterling Hayden, Marie Windsor, J.C. Flippen, Elisha Cook Jr., Coleen Gray, Vince Edwards, Ted de Corsia, Joe Sawyer, and the unforgettable Timothy Carey. Orson Welles was so taken with this film that after seeing it he declared Kubrick could do no wrong; not to be missed.” –Jonathan Rosenbaum, CHICAGO READER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61560 <p>“Anthony Quinn got his first starring role in BLACK GOLD as a good-hearted American Indian living a hard-scrabble ranch life with his wife and dreaming of seeing his thoroughbred mare, Black Hope, become a Kentucky Derby winner. The mare is unable to walk following the birth of her colt and has to be shot. When the couple, who by now have adopted an orphaned Chinese boy, strike gold on their property and reverse their fortunes, they rename the colt Black Gold and pin their hopes for victory on him. […] The end title of the picture reads: ‘Suggested by the winning of the 1924 Kentucky Derby by the horse Black Gold’, the offspring of a promising horse owned by Native Americans Al and Rosa Hoots. According to legend, it was Al’s deathbed wish that Rosa train Black Gold for a Kentucky Derby victory. The horse exceeded Al’s wishes by capturing both the Kentucky and Louisiana Derby crowns, the only horse to do so until 1996. The widowed Rosa became the second woman to ever own a horse that raced to victory in the ‘Run for the Roses.’ […] Besides Quinn, the most impressive credentials on BLACK GOLD belong to director Phil Karlson [who] would go on to much critical success in the 1950s with a series of realistic, violent crime films: KANSAS CITY CONFIDENTIAL (1952), 99 RIVER STREET (1953), and THE PHENIX CITY STORY (1955).” –Rob Nixon, TURNER CLASSIC MOVIES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61563 <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> Friday, July 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61710 <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 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61557 <p>“Arguably Stanley Kubrick’s most perfectly conceived and executed film, this 1956 noirish thriller utilizes an intricate overlapping time structure to depict the planning and execution of a plot to steal $2 million from a racetrack. Adapted by Kubrick from Lionel White’s ‘Clean Break’, with an extraordinary gallery of B players: Sterling Hayden, Marie Windsor, J.C. Flippen, Elisha Cook Jr., Coleen Gray, Vince Edwards, Ted de Corsia, Joe Sawyer, and the unforgettable Timothy Carey. Orson Welles was so taken with this film that after seeing it he declared Kubrick could do no wrong; not to be missed.” –Jonathan Rosenbaum, CHICAGO READER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61715 <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> Friday, July 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61564 <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> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61719 <p>Bruce Baillie’s magnum opus, the four-reel masterpiece QUICK BILLY (1970), found Baillie synthesizing his previous work to conjure up a breathtakingly ambitious, visually exquisite meditation on the cycle of life. Purporting, for its first three reels, to represent an adaptation of the Tibetan Book of the Dead, QUICK BILLY embodies Baillie’s unsurpassed camera eye, his mastery of editing and superimposition, his profoundly philosophical sensibility, as well as his mischievous sense of humor and bold sense of play. The latter qualities manifest most dramatically in the fourth and final reel, which – in a dramatic stylistic about-face – morphs into a kind of Beat parody of a melodramatic silent-era Western.<br /><br />“One of the masterpieces of the American avant-garde…a rare ‘synoptic’ film that tries to construct an entire cosmos. [It] immerses viewers in a timeless flow of indistinct forms that nearly obliterates self and place – the clarity of an erotic encounter ends when the woman leans forward into darkness. The finale is a parody western in which Baillie satirizes the aggression the rest of his film abjures.” –Fred Camper, CHICAGO READER<br /><br />Preceded by:<br />Toney W. Merritt <br />LONESOME COWBOY <br />1979, 30 sec, 16mm<br />“My late friend and fellow filmmaker, Dean Snider and I had a contest to see who could make the shortest film with a sound track. LONESOME COWBOY, a self portrait, clocked in at 29 seconds. Dean’s film, HEY!, was a single frame with a fleeting image of bales of hay. The prize? The loser, me, paid for breakfast at the U.S. Restaurant on Columbus Avenue.” –Toney W. Merritt<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61567 <p>Wiseman’s 1985 documentary is about the Belmont Race Track, one of the world’s leading racetracks for thoroughbred racing. The film highlights the training, maintaining and racing of thoroughbred horses. Everyday occurrences are shown: in the backstretch – the grooming, feeding, shoeing, and caring for horses and the preparation for races; at the practice track the various aspects of training, exercising, and timing the horses; at the paddock – the pre-race presentation of the horses; and in the grandstand – betting and watching the races. The film also includes sequences showing the variety of work done by trainers, jockeys, jockey agents, grooms, hot walkers, stable hands, and veterinarians.<br /><br />“Wiseman wanders around Belmont finding ripe, illustrative material, most of which fits into the abiding themes of his films, the melancholia peculiar to industrial societies, the emotional wages of materialism. Horse racing is a small industry comparatively, but it serves as a rich microcosm.” –Tom Shales, WASHINGTON POST<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61722 <p>“Staged at the Factory with a rented horse, this is a homoerotic parody of the Western genre. The acting out of Ronald Tavel’s script (followed with difficulty from cue cards held up off-screen) takes place on a set crowded with evidence of the film’s production: mounted lights, a boom mic, assorted onlookers, and the Factory doors and telephone all visible in the frame. The film may be shown with either two or three reels. The ‘action’ occurs in Reels 1 & 3; Reel 2, a 33-minute ‘documentary’ shot of the horse standing in front of the Factory doors, may be shown either in the middle or at the end of the film.” –Callie Angell<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61561 <p>“Anthony Quinn got his first starring role in BLACK GOLD as a good-hearted American Indian living a hard-scrabble ranch life with his wife and dreaming of seeing his thoroughbred mare, Black Hope, become a Kentucky Derby winner. The mare is unable to walk following the birth of her colt and has to be shot. When the couple, who by now have adopted an orphaned Chinese boy, strike gold on their property and reverse their fortunes, they rename the colt Black Gold and pin their hopes for victory on him. […] The end title of the picture reads: ‘Suggested by the winning of the 1924 Kentucky Derby by the horse Black Gold’, the offspring of a promising horse owned by Native Americans Al and Rosa Hoots. According to legend, it was Al’s deathbed wish that Rosa train Black Gold for a Kentucky Derby victory. The horse exceeded Al’s wishes by capturing both the Kentucky and Louisiana Derby crowns, the only horse to do so until 1996. The widowed Rosa became the second woman to ever own a horse that raced to victory in the ‘Run for the Roses.’ […] Besides Quinn, the most impressive credentials on BLACK GOLD belong to director Phil Karlson [who] would go on to much critical success in the 1950s with a series of realistic, violent crime films: KANSAS CITY CONFIDENTIAL (1952), 99 RIVER STREET (1953), and THE PHENIX CITY STORY (1955).” –Rob Nixon, TURNER CLASSIC MOVIES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61725 <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 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61729 <p>Walter De Maria<br />HARD CORE<br />1969, 26.5 min, 16mm-to-DCP<br />“As minimal and sublime as De Maria’s sculptures, HARD CORE is a beautifully-shot Western distilled to the purest elements: a wide-open landscape and gunfight showdown. De Maria composed the sound for the film and cast fellow artist Michael Heizer as one of the gunfighters. The film was commissioned by James Newman of the Dilexi Foundation of San Francisco as part of a project to bring artists’ works to broadcast television. The film aired on KQED TV, San Francisco, in 1969.” –Ava Tews<br /><br />James Benning<br />DESERET<br />1995, 82 min, 16mm<br />“James Benning marks the centennial of Utah’s statehood with his excellent experimental documentary, DESERET. As befits its structuralist maker, the film examines the imposition of human design, both physical and conceptual, on nature. A chain of beautiful, static shots frame details of Utah’s landscapes, from windswept waters, to snowy pines, to immobile oil derricks and silent government buildings. Meanwhile, texts from the New York Times describing the state’s social history, 1852 to the present, are read in voice over. Just as the terrain is contained within human constructs – Indian paints mark rocks, graffiti mark the Indian paintings, the graffiti are enclosed in the filmmaker’s frame – the state’s human inhabitants are circumscribed by the stringent codes of Brigham Young and his burgeoning Mormon sect…and that group’s resistance to outside control and interference. (DESERET was the people’s original choice, rejected by Washington, for the state’s name.) Benning imposes his own strictly defined filmic formula, and it’s that intriguing complicity that gives DESERET the authority to transcend mere prettiness.” –Hazel-Dawn Dumpert, LA WEEKLY<br /><br />Total running time: ca. 115 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 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61558 <p>“Arguably Stanley Kubrick’s most perfectly conceived and executed film, this 1956 noirish thriller utilizes an intricate overlapping time structure to depict the planning and execution of a plot to steal $2 million from a racetrack. Adapted by Kubrick from Lionel White’s ‘Clean Break’, with an extraordinary gallery of B players: Sterling Hayden, Marie Windsor, J.C. Flippen, Elisha Cook Jr., Coleen Gray, Vince Edwards, Ted de Corsia, Joe Sawyer, and the unforgettable Timothy Carey. Orson Welles was so taken with this film that after seeing it he declared Kubrick could do no wrong; not to be missed.” –Jonathan Rosenbaum, CHICAGO READER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61731 <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> Sunday, July 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61734 <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> Sunday, July 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61568 <p>Wiseman’s 1985 documentary is about the Belmont Race Track, one of the world’s leading racetracks for thoroughbred racing. The film highlights the training, maintaining and racing of thoroughbred horses. Everyday occurrences are shown: in the backstretch – the grooming, feeding, shoeing, and caring for horses and the preparation for races; at the practice track the various aspects of training, exercising, and timing the horses; at the paddock – the pre-race presentation of the horses; and in the grandstand – betting and watching the races. The film also includes sequences showing the variety of work done by trainers, jockeys, jockey agents, grooms, hot walkers, stable hands, and veterinarians.<br /><br />“Wiseman wanders around Belmont finding ripe, illustrative material, most of which fits into the abiding themes of his films, the melancholia peculiar to industrial societies, the emotional wages of materialism. Horse racing is a small industry comparatively, but it serves as a rich microcosm.” –Tom Shales, WASHINGTON POST<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, July 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61716 <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> Monday, July 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61737 <p>“CREMASTER 2 alternates between the Columbia Icefield in Canada and the Bonneville Salt Flats in Utah. It is a gothic Western premised loosely on the real-life story of Gary Gilmore, who was executed in Utah for murder. Gilmore’s biography is conveyed through a series of fantastic sequences, including a séance to signify his conception and a prison rodeo staged in a cast-salt arena to represent his death by firing squad.” –GUGGENHEIM<br /><br />Preceded by:Mary Lucier ARABESQUE 2004, 7 min, digital“[ARABESQUE] explodes into dance, the dance of the bucking horse, the bull, the clown, the rodeo rider. This is the resplendent West, but Lucier undermines its glory with loss. Brilliantly, the artist sets her choreography to George Strait’s Country Western song, ‘I Can Still Make Cheyenne’. The music and the images cascade back over themselves, folding, repositioning, repeating, alive with rapture…and, again, longing.” –Laurel Reuter, NORTH DAKOTA MUSEUM OF ART<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> Monday, July 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61740 <p>Moustapha Alassane<br />AN ADVENTURER’S HOMECOMING / RETOUR D’UN AVENTURIER<br />1966, 34 min, 16mm-to-DCP. In Hausa and French with English subtitles.<br />“Jimi flies back to his native village after a long absence and convinces his friends to become cowboys. Renamed Black Cooper, John Kelly, Breaker, Billy Walter, and Queen Christine, they steal horses, terrorize sheepherders, and brawl in the neighborhood saloon to the horror of the locals. Drawing maximum effects from an economy of means, Alassane’s brilliant comedy intertwines central modernization plots in West Africa and Europe after the war (a traveler’s return, the youth problem, the arrival of new technology) with the outlaw gang and frontier-town-under-attack narratives that were mainstays of the western genre. By stripping these stories of their conventional moral weight, he opens his film, ‘the first African western,’ to the widest scope of possible interpretations.” –Jamie Berthe & Sam Di Iorio<br /><br />Kevin Jerome Everson<br />TEN FIVE IN THE GRASS<br />2011, 32 min, Super-8mm-to-digital. Screening courtesy the artist and Picture Palace Pictures.<br />“The black western richly provokes the mythology of the American West and the idea of film genre as a historiographic Imagineering by tacitly revealing how the narrative form has covertly borne a racial and cultural ideal. The genre’s classical themes of nation-building, the civilizing of savage lands, utopianism, and the discreteness of good and evil become refabulated as Everson draws attention to absences, disavowals, and the difference of a culture other than pale riders. Everson’s TEN FIVE IN THE GRASS examines the craft of the black cowboy. The film illustrates Everson’s interest in everyday intellect by observing the rituals of the grooming of horses, riding, and roping. The piece is set in a practice space in Natchez, Mississippi run by Fred Mayberry, a rancher and professional rodeo calf roper.” –Michael B. Gillespie<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Tuesday, July 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61744 <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> Tuesday, July 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61747 <p>“An opening title describes Benning’s effort as a combination of images found in the desert landscape from Death Valley and the Mexican border with the entire sound track of the English-language version of Richard Dindo’s 1994 Swiss documentary, ERNESTO CHE GUEVARA, THE BOLIVIAN JOURNAL. Benning has added a few ambient sounds, but otherwise you might say that UTOPIA is two separate movies running on parallel tracks. There turns out to be more synchronicity than you might expect. Thanks to Dindo’s sound track the eye winds up narrativizing the images; even when there’s no apparent relation, the imagination tends to impose one. The sound track has so much narrative and political power in its own right that even if you kept your eyes closed you’d still have plenty to keep you engaged. Once you decide to keep them open, however, the issue becomes not only what sort of images Benning brings to the material but what convergences between sound and image are staged in the mind of each spectator. Most of Dindo’s documentary follows the last days of Che Guevara as a revolutionary guerrilla in the wilds of Bolivia, mainly alternating between a narration of his activities (recited by Judith Burnett) and quotations from his journals (recited by filmmaker Robert Kramer); there are also statements by Castro, Guevara, and others in Spanish. Benning’s images are always landscape shots of one sort or another, and the camera is almost always stationary; nearly all of his shots are handsome, and some are breathtakingly beautiful.” –Jonathan Rosenbaum, CHICAGO READER<br /><br />Preceded by:<br />Adison Norbury <br />CLOSE TO THE KNIVES <br />2025, 1 min, 8mm-to-DCP<br />Original Super-8 footage shot in Monument Valley and Texas’s Guadalupe Mountains illustrates an excerpt from David Wojnarowicz’s stream-of-consciousness memoir.<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, July 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61834 <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> Wednesday, July 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61720 <p>Bruce Baillie’s magnum opus, the four-reel masterpiece QUICK BILLY (1970), found Baillie synthesizing his previous work to conjure up a breathtakingly ambitious, visually exquisite meditation on the cycle of life. Purporting, for its first three reels, to represent an adaptation of the Tibetan Book of the Dead, QUICK BILLY embodies Baillie’s unsurpassed camera eye, his mastery of editing and superimposition, his profoundly philosophical sensibility, as well as his mischievous sense of humor and bold sense of play. The latter qualities manifest most dramatically in the fourth and final reel, which – in a dramatic stylistic about-face – morphs into a kind of Beat parody of a melodramatic silent-era Western.<br /><br />“One of the masterpieces of the American avant-garde…a rare ‘synoptic’ film that tries to construct an entire cosmos. [It] immerses viewers in a timeless flow of indistinct forms that nearly obliterates self and place – the clarity of an erotic encounter ends when the woman leans forward into darkness. The finale is a parody western in which Baillie satirizes the aggression the rest of his film abjures.” –Fred Camper, CHICAGO READER<br /><br />Preceded by:<br />Toney W. Merritt <br />LONESOME COWBOY <br />1979, 30 sec, 16mm<br />“My late friend and fellow filmmaker, Dean Snider and I had a contest to see who could make the shortest film with a sound track. LONESOME COWBOY, a self portrait, clocked in at 29 seconds. Dean’s film, HEY!, was a single frame with a fleeting image of bales of hay. The prize? The loser, me, paid for breakfast at the U.S. Restaurant on Columbus Avenue.” –Toney W. Merritt<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61723 <p>“Staged at the Factory with a rented horse, this is a homoerotic parody of the Western genre. The acting out of Ronald Tavel’s script (followed with difficulty from cue cards held up off-screen) takes place on a set crowded with evidence of the film’s production: mounted lights, a boom mic, assorted onlookers, and the Factory doors and telephone all visible in the frame. The film may be shown with either two or three reels. The ‘action’ occurs in Reels 1 & 3; Reel 2, a 33-minute ‘documentary’ shot of the horse standing in front of the Factory doors, may be shown either in the middle or at the end of the film.” –Callie Angell<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, July 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61620 <p>“Multitalented performance artist Harriet ‘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 /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61537 <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 /><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. Further screenings (TBA) will be introduced by Ina Archer and Bleakley McDowell (NMAAHC).<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Friday, July 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61623 <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 /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61538 <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 /><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. Further screenings (TBA) will be introduced by Ina Archer and Bleakley McDowell (NMAAHC).<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Friday, July 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61552 <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 /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61577 <p>With the exception of MOTION PICTURES NO. 1, PAT’S BIRTHDAY, BREATHING, and GULLS AND BUOYS, all of the films in this program were preserved by Anthology with generous support from the Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts.<br /><br />FORM PHASES I (1952, 2 min, 16mm)<br />FORM PHASES II (1953, 2 min, 16mm)<br />RECREATION (1956, 1.5 min, 16mm-to-35mm)<br />MOTION PICTURES NO. 1 (1956, 4.5 min, 16mm, silent)<br />JAMESTOWN BALOOS (1957, 6 min, 16mm-to-35mm)<br />EYEWASH (1959, 3 min, 16mm-to-35mm)<br />BLAZES (1961, 3 min, 16mm-to-35mm)<br />PAT’S BIRTHDAY (1962, 13 min, 16mm, b&w)<br />BREATHING (1963, 5 min, 35mm, b&w)<br />FIST FIGHT (1964, 9 min, 16mm-to-35mm)<br />66 (1966, 5.5 min, 16mm-to-35mm)<br />69 (1969, 4.5 min, 16mm-to-35mm)<br />70 (1970, 5 min, 16mm-to-35mm)<br />GULLS AND BUOYS (1972, 8 min, 16mm)<br />FUJI (1974, 9 min, 16mm-to-35mm)<br />“Roughly speaking [Breer’s] works belong to that category of films generally called ‘abstract’ (though his are also highly ‘concrete’), but differ from everything else that has been done along these lines in one basic respect: Breer is undoubtedly the first filmmaker to have brought to his medium the full heritage of modern painting and the sum of sophisticated experimentation that it represents.” – Noël Burch, FILM QUARTERLY<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 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61539 <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 /><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. Further screenings (TBA) will be introduced by Ina Archer and Bleakley McDowell (NMAAHC).<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Saturday, July 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61626 <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 /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61540 <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 /><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. Further screenings (TBA) will be introduced by Ina Archer and Bleakley McDowell (NMAAHC).<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></strong></p> Saturday, July 11