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 Tue, 13 Jan 2026 05:39:43 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60684 <p>Shari Frilot<br />BLACK NATIONS/QUEER NATIONS?<br />1995, 52 min, video<br />“This experimental documentary chronicles the groundbreaking March 1995 conference on lesbian and gay sexualities in the African diaspora. The conference brought together an array of dynamic scholars, activists, and cultural workers including Essex Hemphill, Kobena Mercer, Barbara Smith, Urvashi Vaid, and Jacqui Alexander to interrogate the economic, political, and social situations of diasporic lesbians, gay men, bisexual, and transgender peoples. The video brings together the highlights of the conference and draws connections between popular culture and contemporary black gay media production. The participants discuss various topics: Black and queer identity, the shortcomings of Black nationalism, and homophobia in Black communities. Drawing upon works such as Isaac Julien's ‘The Attendant’ and Jocelyn Taylor's ‘Bodily Functions,’ this documentary illuminates the importance of this historic conference for Black lesbians and gays.” –THIRD WORLD NEWSREEL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60687 <p>Maureen Blackwood & Isaac Julien<br />THE PASSION OF REMEMBRANCE<br />1986, 80 min, 16mm-to-DCP. Newly remastered by the BFI National Film Archive!<br />“A landmark work in British avant-garde film and video, the Sankofa collective’s greatly influential first film, THE PASSION OF REMEMBRANCE, ambitiously explores themes of racism, homophobia, sexism, and generational tensions as embodied in the reality known by a Black British family over the years. Interweaving two narrative threads – one in which a man and a woman discourse on their own experiences living in the UK, another in which events from three decades in the lives of the Baptiste family are staged – Maureen Blackwood and Isaac Julien tease the accumulated fragments into a spellbinding, heterogeneous mosaic that powerfully evokes the multiplicity of Black experience and identity and critiques the British state’s treatment of its marginalized residents.” –NEW YORK FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60690 <p>Kevin Jerome Everson<br />QUALITY CONTROL<br />2011, 71 min, 16mm-to-DCP<br />“In Kevin Jerome Everson’s captivating and hypnotic feature, several issues are raised but never spoken: what is the role of the human body in contemporary mechanized labor? How can cinema represent the intricacies of daily work outside conventional narrative structures? How can documentary subvert the traditional objectifying gaze, whilst also drawing the spectator into a different sort of everyday intrigue? This is the kind of observational documentary that refuses to give away much of the filmmaker’s stance, allowing the repetitions and rhythms of human bodies to create meaning and stimulate reflection on worlds rarely represented on screen. In a radical act of de-dramatization, Everson’s films focus on the quotidian, the mundane, the unremarkable. Shot on black-and-white 16mm film, and making use of long, static takes, the filmmaker turns a large dry-cleaning site in Alabama into an audio-visual choreography of bodies and machines.” –VIENNALE<br /><br />Preceded by:<br />Kevin Jerome Everson WORKERS LEAVING THE JOB SITE 2013, 7 min, 16mm-to-DCP<br />“The Lumière brothers’ now-iconic first film is reimagined at a job site in Columbus, Mississippi.” –CINÉMA DU RÉEL<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> Wednesday, January 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60664 <p>Cauleen Smith<br />THE VOLCANO MANIFESTO<br />2025, 50 min, digital<br />“Cauleen Smith’s THE VOLCANO MANIFESTO brings together three recent films – MY CALDERA (2022), MINES TO CAVES (2023), and THE DEEP WEST ASSEMBLY (2024) – in an astonishingly ambitious, densely woven meditation on geological and cinematic time, on the wild abyss of volcanoes and the womb of mines and caves (pregnant with meaning!), and on the prelapsarian and the postdiluvian (Deluzian?).” –MUSEUM OF MODERN ART<br /><br />The Otolith Group<br />MEDIUM EARTH<br />2013, 41 min, digital<br />The accumulation of moving images and sounds that make up MEDIUM EARTH comprise an audiovisual essay on the millennial time of geology and the infrastructural unconscious of Southern California. Focused on the ways in which tectonic forces express themselves in boulder outcrops and the hairline fractures of cast concrete, MEDIUM EARTH participates in the cultures of prophecy and forecasting that mediate the experience of seismic upheaval. The desire to evoke the hidden substrata of the planet gives way to a morphological interpretation of the face of the earth. As an experiment in channeling the system of fault lines buried below California, MEDIUM EARTH animates the stresses and strains of physical geographies undergoing continental pressures.<br /><br />Miatta Kawinzi<br />TO TRUST THE GROUND MIGHT FREE US (BEGIN AGAIN)<br />2024, 13 min, digital<br />This experimental film meditates on the reach towards liberation as an ongoing process through the language of landscape and the body, engaging the intersecting historical and contemporary threads linking the West African nation of Liberia and the United States through a visual and textual poetics. Inter-woven imagery of New England forests, Liberian cotton trees and historic sites such as Dozoa (Providence Island), the Atlantic Ocean, gesture, sun beams, color fields, Vai language logograms, and archival findings invite viewers to consider the multiple resonances of landscapes as sites of refuge, sites of violence, sites of reparation, and sites of healing.<br /><br />Total running time: ca. 110 min.<br /><br /><em><strong>The screening on Sat, Jan 10 will be introduced by artist and filmmaker Miatta Kawinzi.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60661 <p>QUEER TIME <br />Marlon Riggs<br />TONGUES UNTIED<br />1989, 55 min, video<br />“TONGUES UNTIED was a life-changing event for me. It was the first time I had seen such an honest, raw and powerful film that uncompromisingly tackled the interplay of desire, race and racism, homophobia, sexuality, gender, HIV and class – from a Black Queer perspective. Formally, the film was groundbreaking. It gripped me in its surreal mix of first-person testimonial, poetry, staged performances, dance and activism. The blend was made more exhilarating by Riggs’ interweaving of vignettes with his on-camera declarations, dynamic composition and riveting editing style. In some ways the film is an ethnography of the Black Queer literary and arts movement that was flourishing in the 1980s and early ’90s and affecting the culture through language, fashion, dance, music, scholarship, cinema and politics, just as the specter of HIV and AIDS was rapidly decimating its members.” –Thomas Allen Harris, DOCUMENTARY MAGAZINE<br /><br />Preceded by:<br />Sedat Pakay JAMES BALDWIN: FROM ANOTHER PLACE (1973, 12 min, 35mm-to-DCP)<br />Sedat Pakay OUTTAKES FROM SEDAT PAKAY’S “JAMES BALDWIN: FROM ANOTHER PLACE” (1973/2022, 10 min, 35mm-to-DCP)<br />“Turkish artist Sedat Pakay designs an intimate, luminous sketch of James Baldwin during a stay in Istanbul. From leisurely moving about his room to the activity of the city and its curious denizens, the author/activist comfortably expounds on his sense of privacy, sexuality and expat tendencies. New facets of this encounter are revealed in the recently compiled and restored OUTTAKES FROM SEDAT PAKAY’S ‘JAMES BALDWIN: FROM ANOTHER PLACE’.” –Brittany Gravely, HARVARD FILM ARCHIVE<br /><br />Tourmaline & Sasha Wortzel HAPPY BIRTHDAY, MARSHA! (2017, 14 min, digital)<br />A film about iconic transgender artist and activist, Marsha “Pay it No Mind” Johnson, and her life in the hours before she ignited the 1969 Stonewall Riots in New York City.<br /><br />Total running time: ca. 95 min.<br /><br /><em><strong>The screening on Fri, Jan 9 will be followed by a Q&A with Yasmina Price and artist, writer, and curator Daniella Brito.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60667 <p>Keisha Rae Witherspoon T (2019, 14 min, digital)<br />A film crew follows three grieving participants of Miami’s annual T Ball, where folks assemble to model R.I.P. T-shirts and innovative costumes designed in honor of their dead.<br /><br />Crystal Z Campbell GO-RILLA MEANS WAR (2017, 19 min, digital)<br />GO-RILLA MEANS WAR is a filmic relic of gentrification featuring 35mm film salvaged from a now demolished Black Civil Rights Theater in Bedford-Stuyvesant, Brooklyn. After finding the film unfinished and un-canned on the floor of The Slave Theater, Campbell collaborated with the unknown director (presumably amateur filmmaker Judge John Phillips who owned the Slave Theater) to finish the film. A secret Black fraternal organization dominates the visual narrative, accompanied by a parable that binds intersections of development, cultural preservation, and erasure.<br /><br />Edward Owens REMEMBRANCE: A PORTRAIT STUDY (1967, 6 min, 16mm)<br />“A filmic portrait of the artist’s mother, Mildered Owens, and her friends Irene Collins and Nettie Thomas, set to a score of 50s and 60s hit songs. Using Baroque lighting techniques, Owens captures the three women drinking and lounging one evening.” –TATE MODERN<br /><br />Edward Owens PRIVATE IMAGININGS AND NARRATIVE FACTS (1968-70, 9 min, 16mm)<br />“A montage of still and moving images, mixing and alternating black people and white people, fantasy and reality, a presidential suite and a mother’s kitchen: a sensitive, poetic evocation in the manner of the film-maker’s REMEMBRANCE. Brilliantly colored and nostalgic, it comprises a magical transformation of painterly collage and still photographic sensibility into filmic time and space.” –Charles Boultenhouse<br /><br />Isaac Julien<br />LOOKING FOR LANGSTON<br />1989, 45 min, 16mm-to-DCP<br />“LOOKING FOR LANGSTON, shot in sumptuous black and white, is a lyrical exploration – and recreation – of the private world of the poet, novelist, playwright, columnist, and social activist Langston Hughes (1902-67) and his fellow Black artists and writers who formed the Harlem Renaissance of the 1920s. At the time of its making, Julien was part of the Sankofa Film and Video Collective which was set up to promote the development of independent Black filmmaking. He was supported by the film critic and curator Mark Nash, who worked on the original archival and film research. The result is a landmark film in the exploration of artistic expression, the nature of desire and the reciprocity of the gaze which became a key work in what B. Ruby Rich named ‘New Queer Cinema’.” –BERLINALE<br /><br />Total running time: ca. 95 min.<br /><br /><em><strong>The screening on Sat, Jan 10 will be followed by a Q&A with Yasmina Price and artist and archivist Shan Wallace.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60693 <p>Zora Neale Hurston FIELDWORK FOOTAGE (ca. 1928, 11 min, 16mm-to-digital. Courtesy of the Zora Neale Hurston Trust.)<br />“Under the tutelage of anthropologist Franz Boas (her former Columbia professor) and Harlem Renaissance arts patron Charlotte Osgood Mason, Zora Neale Hurston spent nearly two years, from 1927 to 1929, studying the folkloric customs, work songs, spirituals, and vernacular language of African American communities along the River Road and from New Orleans to Florida – observations that culminated in her 1935 collection ‘Mules and Men’.” –MAYSLES DOCUMENTARY CENTER<br /><br />Miatta Kawinzi SWEAT/TEARS/SEA (2017, 6 min, digital)<br />“[A] meditation on alternative temporalities of feeling, experience, and linguistic unfolding. Here movement (bodily, textual & spatial) becomes a way of thinking through questions of positionality regarding the self and environment.” –Miatta Kawinzi<br /><br />Sara Gómez I’M GOING TO SANTIAGO / IRÉ A SANTIAGO (1964, 15 min, 35mm-to-digital)<br />“Sara Gómez (1943-74) was Cuba’s first woman filmmaker, making 19 documentaries that offer uniquely intimate and inquisitive portraits of those whom history could forget: women, Afro-descendent people, the young and the very old. One of her first films, IRÉ A SANTIAGO portrays the city of Santiago de Cuba in a highly energetic and playful style of direct cinema, connecting the contemporary people, and spaces of this eastern city, to a past of slavery and resistance music, dance, and daily life.” –Susan Lord<br /><br />Darol Olu Kae KEEPING TIME (2023, 32 min, digital)<br />“KEEPING TIME is a meditation on what it means to maintain continuity with the past – told through the kaleidoscopic journey of a young drummer who must learn how to guide a multi-generational band into the future after being named their new bandleader. The Pan Afrikan Peoples Arkestra (The Ark) has been a legend in Los Angeles’s avant-garde jazz community for over 60 years. But since the death of its founder, pianist and composer Horace Tapscott, the band has spent the last three decades ebbing with the tide of history. KEEPING TIME follows Mekala Session as he struggles to honor his musical forebears while establishing a new path forward.” –Darol Olu Kae<br /><br />John Akomfrah<br />LAST ANGEL OF HISTORY<br />1995, 45 min, video<br />“Crafted by the influential British outfit Black Audio Film Collective (now Smoking Dogs, and still making great films), The Last Angel of History is a tantalising blend of sci-fi parable and essay film which also happens to be a crucial primer on the aesthetics and dynamics of contemporary Afrofuturism – it’s the first film to include the recently minted term. Compelling interviews with musicians, writers and cultural critics – plus archival video and photography – are interwoven with the fictional story of the “data thief”, who must travel through time and space in search of the code that holds the key to his future. It all adds up to a strange and moving invocation for the international black diaspora to discover its own histories, so long kept hidden from official records.” –Ashley Clarke, THE GUARDIAN<br /><br />Total running time: ca. 115 min.<br /><br /><em><strong>The screening on Fri, Jan 16 will be followed by a Q&A with Yasmina Price, artist and filmmaker Miatta Kawinzi, and scholar Erich Kessel, Jr.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60585 <p>On his 18th birthday, Cliff’s baby sister Cookie gives him a joint and liquor and orders him to go out and lose his virginity. Cliff heads to the seamy side of Toronto, meets a crew of sex workers, and almost instantly falls hard for the hunky hustler Butch. Cliff starts accompanying Butch on visits to kinky clients and bringing him home to hang out with the equally besotted Cookie. But can Cliff and Butch actually make it work? Or will Butch’s demons drive a wedge between them? Based on short stories by Canadian director and provocateur Bruce LaBruce which were first published in his and G.B. Jones’s groundbreaking queercore zine J.D.’s, SUGAR is a grimy coming-of-age tale that’s rarely been seen since its release in 2004. The film features stellar performances by Andre Noble (who tragically passed away following the film’s premiere), Brendan Fehr, Sarah Polley, and Maury Chaykin, and a script co-written by DOC NYC’s Artistic Director Jaie Laplante, who will join us to introduce the film and take questions after the screening!<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60588 <p>“A MIXTAPE FOR STOM is a personal documentary about my close friend, Stom Sogo. Structured as a response to his final email to me, the film combines personal voiceover, archival material, and interviews with artists, filmmakers, and family members. Stom was more than a filmmaker; he was a catalyst within the New York experimental film community at the turn of the millennium. Working as a projectionist at Anthology Film Archives, he organized screenings and built a network that connected and inspired a generation of underground artists. His work – often characterized by strobing visuals, re-photography, and layered sound – was deeply personal, shaped by his experiences of illness and marginalization. In making this film, I wanted not only to honor Stom’s artistic contribution but also to understand the forces that shaped his life and led to his death from a drug overdose. A MIXTAPE FOR STOM is a tribute, but also a reckoning: an exploration of memory, loss, and the difficulty of reconciling an artist’s creative brilliance with the troubling aspects of their life that surface only after they are gone.” –Adrian Goycoolea<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60673 <p>John Coney<br />SPACE IS THE PLACE<br />1974, 85 min, 35mm-to-DCP<br />“If Afrofuturism has a key player, it’s Sun Ra. Born Herman Poole Blount in segregated Alabama in 1914, Ra spent years developing a diverse portfolio as a musician with his legendary Arkestra (jazz, big band, blues, proto-electronica); and an opaque, mythical persona which blended cosmological ideas with ancient Egyptian mysticism. In 1971, Ra served as artist-in-residence at California’s UC Berkeley and offered a course entitled African-American Studies 198 (also known as Sun Ra 171, The Black Man in the Universe or The Black Man in the Cosmos). The teachings of his course inspired his one and only feature film – the cult classic SPACE IS THE PLACE. In it, Ra engages in a cosmic card game with a blindingly white-suited megapimp (the hilariously oleaginous Ray Johnson) to determine the fate of the black race. What follows is a brilliant and bizarre melange of comedy, musical performance and occasionally lurid blaxploitation aesthetics. It also, crucially, has a number of serious points to make about the plight of young urban blacks in a harsh, post-civil rights climate: ‘Space’ is unambiguously posited by Ra as a utopian refuge for African Americans.” –Ashley Clarke, THE GUARDIAN<br /><br />Preceded by:<br />Ephraim Asili POINTS ON A SPACE AGE (2007, 33 min, digital)<br />“Described as ‘A Video Film on Space and the Music of the Omniverse,’ POINTS ON A SPACE AGE is an appropriately free-form documentary about musician and poet Sun Ra and his Arkestra. Deriving its title (as well as the text for its intertitles and chapter headings) from Sun Ra’s poetry and writing collection ‘The Immeasurable Equation’, Asili’s film mingles video footage of the contemporary Arkestra (helmed by Marshall Allen since Sun Ra’s death in 1993) with video interviews about Sun Ra, the cosmic potential of jazz and music more generally, and archival sources, most prominently audio of John F. Kennedy detailing the US’s interstellar ambitions.” –Jesse Cumming, CINEMA SCOPE<br /><br />Cauleen Smith THE CHANGING SAME (2001, 9 min, 35mm-to-DCP)<br />“Interweaving science fiction, noir, and tragic romance with touches of documentary naturalism, Smith imagines a disorienting vision of Earth on which two extraterrestrials are stationed to assimilate with unseen ‘incubators.’ THE CHANGING SAME is a brief but intricately layered commentary on the boundaries impressed on race, and between the natural and the alien.” –FILM AT LINCOLN CENTER<br /><br />Total running time: ca. 130 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60591 <p>These special screenings pay tribute to Japanese film- and video-maker Stom Sogo (1975-2012), an artist who has been close to our hearts here at Anthology ever since the mid-1990s, when he was a staff member and an important part of the community. In fact, as Adrian Goycoolea’s new documentary portrait of Sogo illustrates, he was part of a generation of artists and experimental film enthusiasts who, in the mid-to-late 1990s, contributed to shaping a new chapter in Anthology’s history, pushing it beyond its more museum-like, Essential Cinema-focused 1970s incarnation. Stom’s most important legacy, though, is his extraordinary body of work, which, despite his untimely death at the age of 36, consists of dozens of extraordinary and radical films and videos. This weekend of screenings – which includes two programs surveying Sogo’s work – marks the premiere of Goycoolea’s brand-new portrait, A MIXTAPE FOR STOM, which explores his life, his art, and his impact on his fellow artists and friends.<br /><br />PERIODICAL EFFECT (2001, 9.5 min, digital)<br />SILVER PLAY (2002, 16 min, digital)<br />SLOW DEATH (2000, 15.5 min, Super 8mm-to-digital)<br />PS WHEN YOU THOUGHT YOU ARE GOING TO DIE (2003, 18 min, digital)<br />REPEAT (2006, 9.5 min, digital)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60676 <p>Ousmane Sembène<br />CEDDO<br />1977, 116 min, 35mm-to-DCP. In Wolof with English subtitles.<br />In precolonial Senegal, members of the Ceddo (or “outsiders”) kidnap Princess Dior Yacine after her father, the king, pledges loyalty to an ascendant Islamic faction that plans to convert the entire clan to its faith. Attempts to recapture her fail, provoking further division and eventual war between the animistic Ceddo and the fundamentalist Muslims, with Christian missionaries and slave traders from Europe caught in the middle. Yet when the victor prevails, conflict still doesn’t end – and the return of the princess and her still-revered power may very well topple the new order. Banned in Sembène’s native Senegal upon its original release, CEDDO is an ambitious, multilayered epic that explores the combustible interstices among ancient tradition, religious colonization, political opportunism, and individual freedom.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60595 <p>Anthology is honored to host the Memorial for filmmaker Jill Godmilow, who passed away in September at the age of 81. Jill produced a varied body of moving-image works over the course of more than fifty years, encompassing beautifully crafted documentary portraits, invaluable recordings of experimental theater pieces, a fictional feature based on the lives of Gertrude Stein and Alice B. Toklas, “remakes” of agit-prop classics (WHAT FAROCKI TAUGHT and SCUM MANIFESTO), an animated film about the domestication of sheep, and a pioneering documentary-fiction hybrid (FAR FROM POLAND). She was a fighter, both politically (as evidenced by her always deeply socially-engaged cinema as well as her activism) and personally (she defied multiple alarming medical diagnoses over the past decade-plus). And perhaps most importantly, she was a crucial part of the film cultural community in New York and beyond, thanks to her work as a filmmaker; her parallel career as a teacher, scholar, and writer; and her founding in 1985 of the non-profit Laboratory for Icon & Idiom, which evolved into IndieCollect, an organization dedicated to the rescue, restoration and reactivation of independent cinema.<br /><br /><strong>Organized by the IndieCollect team, family members, and collaborators of Jill’s, the Memorial will take place on Sunday, January 18 from 2 to 4pm, with refreshments to follow. Info about reservations will be available shortly.</strong></p> Sunday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60679 <p>Zeinabu irene Davis<br />COMPENSATION<br />1999, 92 min, 35mm-to-DCP. Newly restored!<br />A landmark of independent cinema, COMPENSATION is a moving, ambitious portrait of the struggles of Deaf African Americans and the complexities of loving relationships at the bookends of the 20th century. In extraordinary dual performances, Michelle A. Banks and John Earl Jelks play Malindy and Arthur, a couple in 1910 Chicago, as well as Malaika and Nico, a couple living in the same city almost eighty years later. Their stories are deftly interwoven through the creative use of archival photography, an original score featuring ragtime and African percussion, and an editing style both lyrical and tender. Malindy, an industrious, intelligent dressmaker, falls for Arthur, an illiterate migrant from Mississippi, along the shore of Lake Michigan. On the same beach in the present, Malaika, an inspired and resilient graphic artist, softens before a brash yet endearing children’s librarian, Nico. Each pair faces the obstacles of their time as Black Americans, including structural racism and emerging pandemics. COMPENSATION remains a groundbreaking story of inclusion and visibility that bears witness to the social forces and prejudices that stand in the way of love.<br /><br />Preceded by:<br />Cauleen Smith CHRONICLES OF A LYING SPIRIT (BY KELLY GABRON) 1992, 2 min, 16mm<br />“[This film] is less a depiction of ‘reality’ than an exploration of the implications of the mediation of Black history by film, television, magazines and newspapers. Using her alter ego, Kelly Gabron, Smith fabricates a personal history of her emergence as an artist from white-male-dominated American history (and American film history). […] The film’s barrage of image, text and voice is repeated twice, and is followed by a coda. That most viewers see the second presentation of the imagery differently from the original presentation demonstrates one problem with trusting any media representation.” –Scott MacDonald<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> Sunday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60593 <p>These special screenings pay tribute to Japanese film- and video-maker Stom Sogo (1975-2012), an artist who has been close to our hearts here at Anthology ever since the mid-1990s, when he was a staff member and an important part of the community. In fact, as Adrian Goycoolea’s new documentary portrait of Sogo illustrates, he was part of a generation of artists and experimental film enthusiasts who, in the mid-to-late 1990s, contributed to shaping a new chapter in Anthology’s history, pushing it beyond its more museum-like, Essential Cinema-focused 1970s incarnation. Stom’s most important legacy, though, is his extraordinary body of work, which, despite his untimely death at the age of 36, consists of dozens of extraordinary and radical films and videos. This weekend of screenings – which includes two programs surveying Sogo’s work – marks the premiere of Goycoolea’s brand-new portrait, A MIXTAPE FOR STOM, which explores his life, his art, and his impact on his fellow artists and friends.<br /><br />CARRIE AT STILL (1998, 27 min, Super-8mm-to-digital)<br />YA PRIVATE SKY (2001, 3.5 min, digital)<br />SYNC-UP ELEMENT (2007, 23 min, digital)<br />PAST (ca. 2011/12, 16 min, digital)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60589 <p>“A MIXTAPE FOR STOM is a personal documentary about my close friend, Stom Sogo. Structured as a response to his final email to me, the film combines personal voiceover, archival material, and interviews with artists, filmmakers, and family members. Stom was more than a filmmaker; he was a catalyst within the New York experimental film community at the turn of the millennium. Working as a projectionist at Anthology Film Archives, he organized screenings and built a network that connected and inspired a generation of underground artists. His work – often characterized by strobing visuals, re-photography, and layered sound – was deeply personal, shaped by his experiences of illness and marginalization. In making this film, I wanted not only to honor Stom’s artistic contribution but also to understand the forces that shaped his life and led to his death from a drug overdose. A MIXTAPE FOR STOM is a tribute, but also a reckoning: an exploration of memory, loss, and the difficulty of reconciling an artist’s creative brilliance with the troubling aspects of their life that surface only after they are gone.” –Adrian Goycoolea<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60691 <p>Kevin Jerome Everson<br />QUALITY CONTROL<br />2011, 71 min, 16mm-to-DCP<br />“In Kevin Jerome Everson’s captivating and hypnotic feature, several issues are raised but never spoken: what is the role of the human body in contemporary mechanized labor? How can cinema represent the intricacies of daily work outside conventional narrative structures? How can documentary subvert the traditional objectifying gaze, whilst also drawing the spectator into a different sort of everyday intrigue? This is the kind of observational documentary that refuses to give away much of the filmmaker’s stance, allowing the repetitions and rhythms of human bodies to create meaning and stimulate reflection on worlds rarely represented on screen. In a radical act of de-dramatization, Everson’s films focus on the quotidian, the mundane, the unremarkable. Shot on black-and-white 16mm film, and making use of long, static takes, the filmmaker turns a large dry-cleaning site in Alabama into an audio-visual choreography of bodies and machines.” –VIENNALE<br /><br />Preceded by:<br />Kevin Jerome Everson WORKERS LEAVING THE JOB SITE 2013, 7 min, 16mm-to-DCP<br />“The Lumière brothers’ now-iconic first film is reimagined at a job site in Columbus, Mississippi.” –CINÉMA DU RÉEL<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> Sunday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60682 <p>Cheryl Dunye<br />THE WATERMELON WOMAN<br />1996, 84 min, 16mm-to-DCP<br />Cheryl Dunye made cinematic history with THE WATERMELON WOMAN, the first American feature to be directed by a Black lesbian as well as an incisive, humorous critique of classic Hollywood’s racist stereotypes. Dunye plays a video store employee and burgeoning filmmaker who sets out to make a documentary on the Watermelon Woman (Lisa Marie Bronson), an actress who specialized in “mammy” roles for Hollywood productions of the 1930s and 40s. As Cheryl uncovers the Watermelon Woman’s identity she not only learns about a secret behind-the-scenes interracial romance but also begins one of her own with Diana (Guinevere Turner), a white woman who arouses the ire of Cheryl’s best friend Tamara (Valerie Walker). A landmark of the New Queer Cinema, THE WATERMELON WOMAN testifies to the power of excavating legacies of oppression and in the process creates a progressive legacy of its own.<br /><br />Preceded by:<br />Cheryl Dunye SHE DON’T FADE (1991, 24 min, video)<br />SHE DON’T FADE chronicles the sexual pursuits of Shae Clarke, a single Black lesbian. Clarke, played by Dunye herself, defines and readily demonstrates her ‘new approach to women.’ Dunye cleverly combines humor and storytelling to relay a tale of adventure and conquest within the realm of sexuality.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, January 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60688 <p>Maureen Blackwood & Isaac Julien<br />THE PASSION OF REMEMBRANCE<br />1986, 80 min, 16mm-to-DCP. Newly remastered by the BFI National Film Archive!<br />“A landmark work in British avant-garde film and video, the Sankofa collective’s greatly influential first film, THE PASSION OF REMEMBRANCE, ambitiously explores themes of racism, homophobia, sexism, and generational tensions as embodied in the reality known by a Black British family over the years. Interweaving two narrative threads – one in which a man and a woman discourse on their own experiences living in the UK, another in which events from three decades in the lives of the Baptiste family are staged – Maureen Blackwood and Isaac Julien tease the accumulated fragments into a spellbinding, heterogeneous mosaic that powerfully evokes the multiplicity of Black experience and identity and critiques the British state’s treatment of its marginalized residents.” –NEW YORK FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60685 <p>Shari Frilot<br />BLACK NATIONS/QUEER NATIONS?<br />1995, 52 min, video<br />“This experimental documentary chronicles the groundbreaking March 1995 conference on lesbian and gay sexualities in the African diaspora. The conference brought together an array of dynamic scholars, activists, and cultural workers including Essex Hemphill, Kobena Mercer, Barbara Smith, Urvashi Vaid, and Jacqui Alexander to interrogate the economic, political, and social situations of diasporic lesbians, gay men, bisexual, and transgender peoples. The video brings together the highlights of the conference and draws connections between popular culture and contemporary black gay media production. The participants discuss various topics: Black and queer identity, the shortcomings of Black nationalism, and homophobia in Black communities. Drawing upon works such as Isaac Julien's ‘The Attendant’ and Jocelyn Taylor's ‘Bodily Functions,’ this documentary illuminates the importance of this historic conference for Black lesbians and gays.” –THIRD WORLD NEWSREEL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60597 <p>After opening a shoebox, Diego is struck by severe fatigue that leaves him bedridden, while his friend Liz suffers from mysterious insomnia while preparing a stage production. Encouraged by his mother and Liz, Diego seeks help from doctors, motivational coaches, and ultimately a revealing tarot reading. When Liz needs more space for her production, Diego offers his patio, sparking intimate conversations about memory and their shared struggles. As her stage production reaches completion, Diego is the first to witness it. A simple and smart film about grief infused with elegant humor, A SKYLESS ROOF – the fourth feature by Tijuana-born, self-taught filmmaker Diego Hernández, who stars alongside his mother and friends – won the Best Mexican Film Award at FICUNAM.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60694 <p>Zora Neale Hurston FIELDWORK FOOTAGE (ca. 1928, 11 min, 16mm-to-digital. Courtesy of the Zora Neale Hurston Trust.)<br />“Under the tutelage of anthropologist Franz Boas (her former Columbia professor) and Harlem Renaissance arts patron Charlotte Osgood Mason, Zora Neale Hurston spent nearly two years, from 1927 to 1929, studying the folkloric customs, work songs, spirituals, and vernacular language of African American communities along the River Road and from New Orleans to Florida – observations that culminated in her 1935 collection ‘Mules and Men’.” –MAYSLES DOCUMENTARY CENTER<br /><br />Miatta Kawinzi SWEAT/TEARS/SEA (2017, 6 min, digital)<br />“[A] meditation on alternative temporalities of feeling, experience, and linguistic unfolding. Here movement (bodily, textual & spatial) becomes a way of thinking through questions of positionality regarding the self and environment.” –Miatta Kawinzi<br /><br />Sara Gómez I’M GOING TO SANTIAGO / IRÉ A SANTIAGO (1964, 15 min, 35mm-to-digital)<br />“Sara Gómez (1943-74) was Cuba’s first woman filmmaker, making 19 documentaries that offer uniquely intimate and inquisitive portraits of those whom history could forget: women, Afro-descendent people, the young and the very old. One of her first films, IRÉ A SANTIAGO portrays the city of Santiago de Cuba in a highly energetic and playful style of direct cinema, connecting the contemporary people, and spaces of this eastern city, to a past of slavery and resistance music, dance, and daily life.” –Susan Lord<br /><br />Darol Olu Kae KEEPING TIME (2023, 32 min, digital)<br />“KEEPING TIME is a meditation on what it means to maintain continuity with the past – told through the kaleidoscopic journey of a young drummer who must learn how to guide a multi-generational band into the future after being named their new bandleader. The Pan Afrikan Peoples Arkestra (The Ark) has been a legend in Los Angeles’s avant-garde jazz community for over 60 years. But since the death of its founder, pianist and composer Horace Tapscott, the band has spent the last three decades ebbing with the tide of history. KEEPING TIME follows Mekala Session as he struggles to honor his musical forebears while establishing a new path forward.” –Darol Olu Kae<br /><br />John Akomfrah<br />LAST ANGEL OF HISTORY<br />1995, 45 min, video<br />“Crafted by the influential British outfit Black Audio Film Collective (now Smoking Dogs, and still making great films), The Last Angel of History is a tantalising blend of sci-fi parable and essay film which also happens to be a crucial primer on the aesthetics and dynamics of contemporary Afrofuturism – it’s the first film to include the recently minted term. Compelling interviews with musicians, writers and cultural critics – plus archival video and photography – are interwoven with the fictional story of the “data thief”, who must travel through time and space in search of the code that holds the key to his future. It all adds up to a strange and moving invocation for the international black diaspora to discover its own histories, so long kept hidden from official records.” –Ashley Clarke, THE GUARDIAN<br /><br />Total running time: ca. 115 min.<br /><br /><em><strong>The screening on Fri, Jan 16 will be followed by a Q&A with Yasmina Price, artist and filmmaker Miatta Kawinzi, and scholar Erich Kessel, Jr.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60558 <p>“Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it’s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don’t get it at all.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, January 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60607 <p>This is the Sex Pistols film that ultimately blew up the band and their relationship with McLaren. Originally called WHO KILLED BAMBI, with a script written by McLaren and Roger Ebert for Russ Meyer to direct, this mockumentary starring McLaren as the Svengali manager of a punk band was ultimately directed by Julien Temple, and features Steve Jones, Helen Wellington Lloyd, Sue Catwoman, and Sid Vicious singing “My Way”.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60610 <p>Malcolm McLaren<br />OXFORD STREET<br />1969-71, 20 min, 16mm-to-DCP<br />Recently, three reels from McLaren’s final-year student project at Goldsmith’s Art School were unexpectedly rediscovered. The project comprised a portrait of London’s Oxford Street (a boulevard that was designed for an army and later developed into a commercial hub), a subject which would continue to fascinate McLaren throughout his life, as evidenced by his 1991 TV movie, THE GHOSTS OF OXFORD STREET. The footage was shot by fellow student Jamie Reid, and includes glimpses of Vivienne Westwood, McLaren’s girlfriend at the time.<br /><br />Malcolm McLaren<br />THE GHOSTS OF OXFORD STREET<br />1991, 53 min, video<br />McLaren’s lifelong interest in London thoroughfare Oxford Street finally manifested in (completed) filmic form in this made-for-TV 1991 Christmas special. Acting as a kind of master-of-ceremonies, McLaren explores the history of the street, reminisces about his own personal memories of the district, and orchestrates an extraordinary collection of performances and cameos by everyone from Sinéad O’Connor, Tom Jones, and The Happy Mondays, to Rebel MC, Shane MacGowan, Kirsty MacColl, and Leigh Bowery.<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, January 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60604 <p>“The Trace of the Land” presents short moving-image works that engage contested land through creative and improvisational methodologies. The program brings together artists working across disparate histories of dispossession and violence, from redlining in Chicago to French colonial rule in Algeria, the settler-colonial destruction of the Gaza Strip, Brazil’s military oppression of Indigenous communities, and more. Engaging diverse counter-cartographic methods, these artists foreground embodiment, quotidian gestures, myth, and collective storytelling in their filmmaking. Their work privileges alternative approaches to perception and cultural memory, creating space for narratives of everyday resistance and communal belonging.<br /><br />This screening is organized by editors Shoghig Halajian and Suzy Halajian, with Brooklyn reading room, writing space, and independent publisher Wendy’s Subway, as part of a series of programs from January 23-25, 2026 celebrating the publication of their co-edited anthology, “A Grammar Built with Rocks” (2025). The book brings together feminist-decolonial texts, visual works, and poetry that examine the ties between bodies and land in contexts of dispossession and ecological crisis. Through movement, transience, and improvisation, it highlights artistic practices that imagine new forms of place-making and being-together.<br /><br />Related events will be held at the Center for Art, Research and Alliances, and Wendy’s Subway. For more information visit: <a href="https://wendyssubway.com">https://wendyssubway.com</a><br /><br />Julien Creuzet CROSSROADS (2022, 7.5 min, digital)<br />CROSSROADS is the second video by Julien Creuzet that uses a character with a transparent body – a type of alter-ego for the artist. Here, his body is inhabited by feathers, fruits, shipwrecks, and viruses. He carries along what has shaped him: his obsessions, new experiences, and elements of the flora that surrounds him. Here, he learns to dance in the bèlè style. A legacy of the musical traditions of the enslaved peoples of Martinique, bèlè combines music and movement to create new forms of emotional expression, thereby becoming a vital form of resistance.<br /><br />Cauleen Smith LESSONS IN SEMAPHORE (2015, 4.5 min, 16mm, silent)<br />In this 16mm silent film, shot on the South Side of Chicago in 2016, choreographer taisha paggett dances with two flags in an attempt to communicate in semaphore. She meets a young boy, Malik, who appears to speak her language. The film plays out like a celebration of dialogue, despite the silence that surrounds it.<br /><br />Christine Rebet IN THE SOLDIER’S HEAD (2015, 4.5 min, 16mm-to-digital)<br />This film evokes the traumas of war through the prism of the hallucinations of a soldier. Inspired by the artist’s father, a soldier in Algeria who then suffered from post-traumatic stress disorder, the video depicts the delusions flowing from a mind ravaged by violence: a vision grown from the inside out. Specters are conjured as the inanimate comes to life. Whirring machines sputter, gears turn and levers crank, reflecting the ceaselessly firing synapses of a hyperactive psyche. The helmet, like the soldier’s head itself, becomes a crucible for burning delusions fed by the violated land. Taking formal cues from the optical illusions and landscapes drawn in pre-cinematic entertainment, Rebet addresses issues of historical trauma through personal reinterpretation.<br /><br />Ana Vaz APIYEMIYEKÎ? (2019, 27.5 min, digital)<br />APIYEMIYEKÎ? is a cinematographic portrait that departs from Brazilian educator and indigenous rights militant Egydio Schwade’s archive – Casa da Cultura de Urubuí – found in his home at Presidente Figueiredo (Amazonas), where over 3,000 drawings made by the Waimiri-Atroari, a people native to the Brazilian Amazon, during their first literacy process are currently kept. The drawings document and construct a collective visual memory from their learning process, perspective, and territory while attesting to a series of violent attacks to which they were submitted during the Military Dictatorship in Brazil.<br /><br />Beatriz Santiago Muñoz THE BLACK CAVE / LA CUEVA NEGRA (2013, 20 min, digital)<br />LA CUEVA NEGRA explores the Paso del Indio, an indigenous burial site in Puerto Rico discovered during the construction of a highway, and eventually paved over. Informed by interviews with local residents and archaeologists involved in the excavation, Beatriz Santiago Muñoz’s video offers a reflection on the origins and meanings of the site, which becomes, in the process, an allegory for the island’s convoluted history. The camera tracks two teenage boys wandering through the area, their freedom of movement and sense of curiosity symbolizing the romantic but ultimately misguided desire to find and preserve paradise.<br /><br />Basma al-Sharif DEEP SLEEP (2014, 13 min, Super-8mm-to-digital)<br />“Temporarily restricted from travel to the Gaza Strip because of border conflict, I undertook the study and practice of autohypnosis with the purpose of bi-locating into multiple places at once. Paired with field recordings rendered into a binaural beat soundtrack, DEEP SLEEP is made up of a year’s worth of bi-location sessions recorded onto Super-8mm film. The result is a movement through the ruins of ancient civilizations as embedded in modern civilization-in-ruins. DEEP SLEEP draws from the historical avant-garde cinema to produce an invitation to move through landscapes and transcend geographical borders in a collective act that discards memory in exchange for a visceral present." –Basma al-Sharif<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> Friday, January 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60613 <p>McLaren created this one-hour compilation of his work for the eponymous exhibition at the Pompidou Center in Paris. It encompasses clips from THE GREAT ROCK ‘N’ ROLL SWINDLE, music videos, lectures, fashion shows, his interactive multimedia self-portrait entitled, “The Casino of Authenticity and Karaoke”, commissioned by the Bonnefanten Museum, and an ad he wrote the copy for and performed in for Virgin Atlantic Airlines.<br /><br />Preceded by:<br />Malcolm McLaren BEING MALCOLM (selection from “Les Chroniques de Malcolm”) (2000-01, ca. 10 min, video)<br />A selection of 3-minute interstitials commissioned by French TV, Canal Jimmy. Given carte blanche, McLaren created a series of philosophical films about many of his obsessions. One film, “Shoppertainment”, which proposes the idea that shopping has become entertainment, won the “Ithème” award for Best Cultural TV program.<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, January 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60559 <p>Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.<br /><br />“The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, [Hermann] Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60616 <p>COMPLETE WORLDS END PARIS CATWALK SHOWS<br />1981-1984, 82 min, video<br />Leading up to his first solo album, “Duck Rock”, McLaren brought his obsession for “the look of music and the sound of fashion” to its apotheosis with the four Worlds End fashion collections he designed with Vivienne Westwood, which were shown during the Paris prêt à porter: “Nostalgia of Mud”, featuring the Buffalo Gal (1981), “Punkature S/S” (1983), “Witches A/W” (1983-84), and “Worlds End S/S” (1984). McLaren’s soundtracks for these shows demonstrate the evolution of “Duck Rock”, from demo to completed album. The recently discovered documentation of these catwalk shows will be presented here publicly for the first time!<br /><br />Malcolm McLaren<br />DUCK ROCK<br />1981-83, 48 min, video<br />This one-hour music video of McLaren’s first solo album was the first long-form music video ever made. The seminal record, produced by Trevor Horn, introduced World Music and Hip Hop (with recordings from South Africa, South and Central America, Appalachia and NYC), as well as graffiti art (by then-unknown Keith Haring, Dondi White) to the mainstream.<br /><br />Total running time: ca. 135 min.<br /><br /><strong>The screening on Sat, Jan 24 will be followed by a discussion with Young Kim, photographer Bob Gruen, and artist and director Nick Egan!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60560 <p>All films in this program are b&w and silent.<br /><br />THE CONJUROR / L’ILLUSIONISTE FIN DE SIÈCLE (1899, 1 min, 35mm)<br />TRIP TO THE MOON / VOYAGE DANS LA LUNE (1902, 12 min, 35mm)<br />THE PALACE OF THE ARABIAN NIGHTS / LE PALAIS DES MILLE ET UNE NUITS (1905, 21 min, 35mm)<br />MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE (1906, 18 min, 35mm)<br />DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF À L’HUILE (1907, 5 min, 35mm)<br /><br />Magician, master of special effects, Méliès broke with the realistic (Lumière) mode of cinema and celebrated unlimited fantasy and artificiality (in its best sense).<br /><br />“All early filmmakers were fascinated at first with the camera’s possibilities for tricks and illusionism. In fact, many were magicians before becoming filmmakers. But it was Georges Méliès, the French magician, producer of spectacles, actor, artist, and poet, who had the imagination and enthusiasm to fully exploit its marvels. His films are spectacles that amaze and delight. He created fantastic visions – all of them curious, some of them comic.” –MUSEUM OF MODERN ART<br /><br />Total running time: ca. 60 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60611 <p>Malcolm McLaren<br />OXFORD STREET<br />1969-71, 20 min, 16mm-to-DCP<br />Recently, three reels from McLaren’s final-year student project at Goldsmith’s Art School were unexpectedly rediscovered. The project comprised a portrait of London’s Oxford Street (a boulevard that was designed for an army and later developed into a commercial hub), a subject which would continue to fascinate McLaren throughout his life, as evidenced by his 1991 TV movie, THE GHOSTS OF OXFORD STREET. The footage was shot by fellow student Jamie Reid, and includes glimpses of Vivienne Westwood, McLaren’s girlfriend at the time.<br /><br />Malcolm McLaren<br />THE GHOSTS OF OXFORD STREET<br />1991, 53 min, video<br />McLaren’s lifelong interest in London thoroughfare Oxford Street finally manifested in (completed) filmic form in this made-for-TV 1991 Christmas special. Acting as a kind of master-of-ceremonies, McLaren explores the history of the street, reminisces about his own personal memories of the district, and orchestrates an extraordinary collection of performances and cameos by everyone from Sinéad O’Connor, Tom Jones, and The Happy Mondays, to Rebel MC, Shane MacGowan, Kirsty MacColl, and Leigh Bowery.<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> Saturday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60619 <p>McLaren returned to his roots as a visual artist in June 2008 with SHALLOW 1-21, a series of twenty-one “Musical Paintings” – short films created from re-worked clips from pornography set to music that he composed. It premiered in Art Basel Projects, and was shown by Creative Time in Times Square, New York; the Royal Academy of Arts, London; the Baltic Centre for Contemporary Art, Gateshead; and the Pennsylvania Academy of Fine Arts in Philadelphia.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60561 <p>The films on this program are hand-tinted and silent.<br /><br />A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 min, 35mm)<br />THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 min, 35mm)<br />VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE À TRAVERS L’IMPOSSIBLE (1904, 20 min, 35mm)<br />THE HUNCHBACK FAIRY / LA FÉE CARABOSSE (1906, 13 min, 35mm)<br /><br />Total running time: ca. 50 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60562 <p>All films in this program are b&w and silent.<br /><br />EXTRAORDINARY ILLUSIONS / ILLUSIONS FUNAMBULESQUES (1903, 3 min, 16mm)<br />THE ENCHANTED WELL / LE PUITS FANTASTIQUE (1903, 3 min, 16mm)<br />TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 min, 35mm)<br />THE APPARITION / LE REVENANT (1903, 3 min, 16mm)<br />THE DOCTOR’S SECRET / HYDROTHÉRAPIE FANTASTIQUE (1909, 11 min, 35mm)<br />SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D’UN BUVEUR (1909, 5 min, 35mm)<br /><br />Total running time: ca. 55 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60622 <p>With a title inspired by Walter Benjamin’s “The Arcades Project”, McLaren’s second and final video art work – and the final moving-image work of his career – represents a major homage to Charles Baudelaire’s concept of the flâneur, and to Situationism. Manipulating clips from French film advertising, starting with the Lumière Brothers and spanning the entire 20th century, the work is set mainly to his 1994 album, “Paris” (which had sampled these ads), with McLaren’s own spoken narration threaded throughout. It was first shown in its completed form at the Swiss Institute, NY, in February 2010.<br /><br /><strong>The screening on Sun, Jan 25 will be followed by a discussion with Young Kim and Eugenia Melian, the producer of the album “Paris”! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60617 <p>COMPLETE WORLDS END PARIS CATWALK SHOWS<br />1981-1984, 82 min, video<br />Leading up to his first solo album, “Duck Rock”, McLaren brought his obsession for “the look of music and the sound of fashion” to its apotheosis with the four Worlds End fashion collections he designed with Vivienne Westwood, which were shown during the Paris prêt à porter: “Nostalgia of Mud”, featuring the Buffalo Gal (1981), “Punkature S/S” (1983), “Witches A/W” (1983-84), and “Worlds End S/S” (1984). McLaren’s soundtracks for these shows demonstrate the evolution of “Duck Rock”, from demo to completed album. The recently discovered documentation of these catwalk shows will be presented here publicly for the first time!<br /><br />Malcolm McLaren<br />DUCK ROCK<br />1981-83, 48 min, video<br />This one-hour music video of McLaren’s first solo album was the first long-form music video ever made. The seminal record, produced by Trevor Horn, introduced World Music and Hip Hop (with recordings from South Africa, South and Central America, Appalachia and NYC), as well as graffiti art (by then-unknown Keith Haring, Dondi White) to the mainstream.<br /><br />Total running time: ca. 135 min.<br /><br /><strong>The screening on Sat, Jan 24 will be followed by a discussion with Young Kim, photographer Bob Gruen, and artist and director Nick Egan!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, January 26