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 Sat, 14 Jun 2025 06:53:11 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59491 <p><span id="docs-internal-guid-69be0d43-7fff-5b90-7955-fda09acd6cc1"> </span></p> <p dir="ltr"><span>In 1976, the Palestine Cinema Institute (PCI) delegated cinematographer Marwan Salamah to the Hochschule für Film und Fernsehen in the GDR. His …FROM THE OLIVE TREE (1987), officially a GDR/PLO coproduction but in fact a one-man effort, tells the story of Paris-based Palestinian painter Samir Salameh. It will be screened alongside Adnan Madanat’s PALESTINIAN VISIONS (1977) – a production of the PCI (and, aside from the existence of a German language version, not related to Germany), Madanat’s film is a portrait of Palestinian painter Ibrahim Ghannam. The program showcases two artists who utilize very different genres to express their ideas and reflections about how to memorialize Palestine on canvas.</span></p> <p dir="ltr"><span>Marwan Salamah<br /></span>…FROM THE OLIVE TREE / …VOM OLIVENBAUM<br />1987, 26 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Adnan Madanat<br /></span>PALESTINIAN VISIONS<br />1977, 30 min, 16mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 60 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59533 <p>With Robert Liensol, Douta Seck, Miriam Makeba, and Richard Harrison.<br /><br />Mathieu Sempala (Liensol), a Black schoolteacher in a small South African village, receives a letter from a childhood friend informing him that his sister is very ill. This letter will be the starting point for a long and terrifying journey to Johannesburg, where his long-lost childhood friend will accompany him through the unfamiliar city. There Sempala will be reunited not only with his sister Josephine, who has turned to sex work to survive, but also with his brother Delius, who leads the dangerous life of an underground trade union leader, and with his son Gasha, whom he finds in prison. In Johannesburg, Sempala is confronted with a world he hasn’t previously known, a city marked by street protests, crime, hatred, and injustice, a world from which there is no return.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59494 <p><span id="docs-internal-guid-dd925fce-7fff-482f-5bff-593c74750985"> </span></p> <p dir="ltr"><span>In 1975 the PLO Department of Culture and Information (DCI) began negotiating a cooperation agreement with the East German DEFA Studio for Documentary Films. In it, DEFA granted the PLO access to the State Film Archive of the GDR. From this resource, Lebanese director Rafiq Hajjar made FROM PALESTINE (1975) for the Democratic Front for the Liberation of Palestine (DFLP), while Kais al-Zubaidi made PALESTINE – A PEOPLE’S RECORD (1982) for the DCI. While Hajjar avoids the use of colonial footage of Palestine for his Leninist film, al-Zubaidi uses any available material to tell a rather linear story of Palestine, deploying the archive for illustration and evidence.</span></p> <p dir="ltr"><span>Rafiq Hajjar<br /></span>FROM PALESTINE / MIN FILASTIN / GEBOREN IN PALÄSTINA<br />1975, 22 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Kais al-Zubaidi<br /></span>PALESTINE – A PEOPLE’S RECORD / FILISTIN – SIGIL SHA’AB / PALÄSTINA – CHRONIK EINES VOLKES<br />1984, 110 min, 35mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 135 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59539 <p>(LA VIEILLE QUIMBOISEUSE ET LE MAJORDOME)<br /><br />With Robert Liensol and Jenny Alpha.<br /><br />“Eugénie (Alpha) and Armand (Liensol), an elderly couple who were part of the wave of post-war immigration from Martinique, have been living in Paris since 1921. Eugénie, a former dancer with Josephine Baker’s Black Revue, has become a professional quimboiseuse (a practitioner of black magic) for a white clientele. Armand, previously a domestic servant, is retired. During one last walk through the city they face up to their past and their stifled dreams.” –RAVEN ROW<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59497 <p><span id="docs-internal-guid-b8f8ce24-7fff-c6de-febe-999c3cfbd019"> </span></p> <p dir="ltr"><span>For the PLO, international networks were vitally important. Its institutions regularly invited delegations from all over the world, among them filmmakers. The PLO’s United Information section was responsible for the shooting permits, chose the camps in which to shoot, and selected the interview partners. The GDR film THE CHILDREN OF PALESTINE (Kurt Tetzlaff, 1980) was produced in the framework of the same cooperation agreement as FROM PALESTINE (Program 3). FREEDOM – WHAT DO I MEAN? (1981) – a collective work by West Germans who came to Lebanon as part of a political exchange on the invitation of the DFLP – focuses on forms of self-organization and discussions around the revolutionary “new Palestinian”.</span></p> <p dir="ltr"><span>Kurt Tetzlaff<br /></span>THE CHILDREN OF PALESTINE / DIE KINDER PALÄSTINAS<br />1980, 54 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Wolfgang Bienek, Robert Krieg, Thomas Reuter, Brigitte Schulz<br /></span>FREEDOM – WHAT DO I MEAN? / FREIHEIT – WIE MEINE ICH DAS?<br />1981, 42 min, video. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 100 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Sunday, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59542 <p>Elsie Haas<br />VOODOO DANCE: A TRIBUTE TO THE PEOPLE OF HAITI<br />Haïti, 1986, 52 min, 16mm-to-DCP. In French with English subtitles. Soundtrack by Toto Bissainthe.<br />This film documents the significant role of Voodoo in Haitian culture from the perspectives of Voodoo priests, government officials, historians and politicians. Attacked by Western clerics and declared a “superstition” by law in 1935, Voodoo has always been a source of empowerment for the average Haitian. And scholars argue that despite the exploitation, romanticization and vilification of voodoo, it remains an authentic and stabilizing cultural base of everyday Haitian society.<br /><br />Preceded by:<br />Sarah Maldoror TOTO BISSAINTHE France/Haïti, 1988, 4 min, 16mm-to-DCP<br />Sarah Maldoror (SAMBIZANGA) began her artistic career at Les Griots, which she co-founded in the late 1950s with Haitian singer Toto Bissainthe, among others. Years later she documented one of Bissainthe’s performances, both on- and off-stage, to make this filmic tribute to her friend and creative partner.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59500 <p><span id="docs-internal-guid-4a421e26-7fff-c72b-64ac-a443cf72a21a"> </span></p> <p dir="ltr"><span>Most films by the PLO focused on documenting the present lives of Palestinians in exile. The PLO was prohibited in Israel and the Occupied Territories, and access for Palestinian refugees was forbidden. In rare cases, the organization sent in foreign film crews with instructions about whom and what to document. LAND DAY (1976) by Ghaleb Shaath, manager of the film laboratory of the Palestine Martyrs Works Society (SAMED), is one example. In AIDA (1985), another official PLO/GDR coproduction – but in fact a one-man effort by Marwan Salamah – the children in the PLO’s orphanage in Tunis stay connected with their homeland by living both their heritage and the new social relations of the Palestinian Revolution.</span></p> <p dir="ltr"><span>Ghaleb Shaath<br /></span>LAND DAY<br />1983, 50 min, 16mm-to-DCP. In Arabic and Japanese with English subtitles.</p> <p dir="ltr"><span>Marwan Salamah<br /></span>AIDA<br />1985, 25 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 80 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Sunday, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59536 <p>With Robert Liensol, Darling Légitimus, Théo Légitimus, Med Hondo, and Georges Hilarion.<br /><br />Based on the play by American playwright Marc Connelly, THE GREEN PASTURES was made for French television by Jean-Christopher Averty, a longtime radio and television director whose television productions were often highly experimental. A typically stylized and visually daring piece, THE GREEN PASTURES presents a boldly modernized version of the Old Testament, here featuring an all-Black cast – including Les Griots luminaries and frequent filmic collaborators Robert Liensol, Théo Légitimus, Med Hondo, and Georges Hilarion – and set to a vibrant soundtrack of jazz tunes.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59326 <p>Stan Brakhage<br />SONGS 1-14<br />1964-65, ca. 53 min, 8mm-to-16mm, silent<br />“SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /><br /></p> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59503 <p><span id="docs-internal-guid-2ad8b770-7fff-c6fa-ed18-97a6919402b6"> <span id="docs-internal-guid-9508ac28-7fff-630c-2e1a-51356043584a"> </span></span></p> <p dir="ltr"><span>Kassem Hawal<br /></span>RETURN TO HAIFA / A’ID ILA HAYFA<br />1982, 75 min, 35mm-to-DCP. In Arabic with English subtitles.<br />“The first feature-length Palestinian fictional film, RETURN TO HAIFA adapts Ghassan Kanafani’s 1969 novella by the same name. Filmed in Lebanon during its crushing civil war, the film team relied on the communities of Palestinian life-in-exile and the infrastructures of the Palestinian resistance for its production; per Hawal’s screen notes, resistance fighters went door-to-door in Badawi and Nahr al-Bared refugee camps to furnish the actors for the scenes of mass exodus filmed in Tripoli. What results is a national initiative, at once polemical and cautious, of exodus and its attendant psychologies.” –Kaleem Hawa<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59327 <p>Stan Brakhage<br />MY MOUNTAIN: SONG 27 1968, 25 min, 8mm-to-16mm<br />MY MOUNTAIN: SONG 27: PART 2: RIVERS 1969, 33 min, 8mm-to-16mm<br />SONGS 28-29 1966/86, 21 min, 8mm-to-16mm<br />“MY MOUNTAIN: SONG 27: A study of Arapahoe Peak in all the seasons of two years’ photography…the clouds and weathers that shape its place in landscape – much of the photography a-frame-at-a-time. SONG 27: PART 2: RIVERS: A series of eight films intended to echo the themes of MY MOUNTAIN: SONG 27. SONG 28: Scenes as texture. SONG 29: A portrait of the artist’s mother.” –Stan Brakhage<br />Total running time: ca. 85 min.<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> <br /><br /></p> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59505 <p><span id="docs-internal-guid-35229df4-7fff-a00f-c22c-9098a9d49e4f"> </span></p> <p dir="ltr"><span>Kamal Aljafari<br /></span>A FIDAI FILM<br />2024, 78 min, DCP. In Arabic, English, and Hebrew with English subtitles.<br />In the summer of 1982, the Israeli army invaded Beirut. During this time, it raided the Palestinian Research Center and looted its entire archive. The archive contained historical documents of Palestine, including a collection of still and moving images. Taking this as its departure point, A FIDAI FILM aims to create a counter-narrative to this loss, presenting a form of cinematic sabotage that seeks to reclaim and restore the looted memories of Palestinian history. It’s a poignant exploration of identity, memory, and resistance, told through a unique blend of documentary and experimental filmmaking techniques.</p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Monday, June 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59507 <p><span id="docs-internal-guid-e73db848-7fff-e8a9-9efd-fa144f3fccf9"> </span></p> <p dir="ltr"><span>The West Germans Manfred Vosz and Monica Maurer produced their films with PLO funds and were both loosely connected to the PCI. Vosz’s RASHIDIYA – SCENES FROM A PALESTINIAN REFUGEE CAMP (1977) is a short social reportage with a working-class aesthetic and Brechtian alienation effect, aimed at a politically educated German audience. Maurer worked mainly with the Palestinian Red Crescent Society, whose work she portrayed. Her films have an educational character, a political urgency, and a historical context. Often (as in the case of Maurer’s 1979 film CHILDREN OF PALESTINE, made with Samir Nimr) they also served as evidence before international bodies.</span></p> <p dir="ltr"><span>Manfred Vosz (Friedhelm Fett, Almut Hielscher, Franz Lehmkuhl, Eva Schlensag)<br /></span>RASHIDIYA – SCENES FROM A PALESTINIAN REFUGEE CAMP / RASCHIDIA – SZENEN AUS EINEM PALÄSTINENSISCHEN FLÜCHTLINGSLAGER<br />1977, 20 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Monica Maurer & Samir Nimr<br /></span>CHILDREN OF PALESTINE<br />1979, 40 min, 16mm-to-DCP. In English.</p> <p dir="ltr"><span>Total running time: ca. 65 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Tuesday, June 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59383 <p>Markus Zizenbacher<br />THE LIFE OF SEAN DELEAR<br />2024, 82 min, DCP<br />Sean DeLear, or “SeanD”, as he was known to legions of friends and admirers, was a Black gay artist raised in ultra-white Simi Valley, whose dreams of countercultural superstardom drew him to the worlds of performance art, nightlife, music, and drag from LA to NYC to Vienna, where he passed away in 2017. Along the way DeLear befriended artists like Vaginal Davis, John Sex, and Kembra Pfahler; starred in Tone Loc’s “Funky Cold Medina” music video; fronted the pioneering grunge band Glue in full drag; ran the door at Johnny Depp’s notorious Viper Room; cohabitated with notorious cult actress and drunk Susan “Susu” Tyrell; collaborated with the Viennese art collective Gelitin, and inspired love and devotion amongst all who met him, all while living below his means on government assistance. In this “sculptural” attempt to trace DeLear’s incredible life, longtime friend Markus Zizenbacher utilizes DeLear’s home movies, photos, recordings, and teenage writings, as well as new interviews with colleagues and collaborators including Rick Owens, Ann Magnuson, Carla Bozulich, Mike Watt, Scott Ewalt, and Jeppe Laursen, to tell the story of an incredible icon of ecstatic fabulosity whose life and legacy deserve to be remembered for centuries to come.<br /><br />Narrow Rooms is thrilled to co-present the New York Premiere of THE LIFE OF SEAN DELEAR with the Brooklyn-based nightlife and art collective Papi Juice (Oscar Nñ, Adam R., and Mohammed Fayaz), who throw the wildly popular queer gender inclusive New York party of the same name that’s been centering queer POC folks since 2013. <span>Following the screening, please stick around for a panel discussion on the film and DeLear’s legacy, featuring director Markus Zizenbacher, writer Michael Bullock, artist and musician Kembra Pfahler, Papi Juice's Oscar Nñ and DJ Dany Johnson.</span><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59492 <p><span id="docs-internal-guid-69be0d43-7fff-5b90-7955-fda09acd6cc1"> </span></p> <p dir="ltr"><span>In 1976, the Palestine Cinema Institute (PCI) delegated cinematographer Marwan Salamah to the Hochschule für Film und Fernsehen in the GDR. His …FROM THE OLIVE TREE (1987), officially a GDR/PLO coproduction but in fact a one-man effort, tells the story of Paris-based Palestinian painter Samir Salameh. It will be screened alongside Adnan Madanat’s PALESTINIAN VISIONS (1977) – a production of the PCI (and, aside from the existence of a German language version, not related to Germany), Madanat’s film is a portrait of Palestinian painter Ibrahim Ghannam. The program showcases two artists who utilize very different genres to express their ideas and reflections about how to memorialize Palestine on canvas.</span></p> <p dir="ltr"><span>Marwan Salamah<br /></span>…FROM THE OLIVE TREE / …VOM OLIVENBAUM<br />1987, 26 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Adnan Madanat<br /></span>PALESTINIAN VISIONS<br />1977, 30 min, 16mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 60 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Tuesday, June 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59328 <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> Wednesday, June 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59495 <p><span id="docs-internal-guid-dd925fce-7fff-482f-5bff-593c74750985"> </span></p> <p dir="ltr"><span>In 1975 the PLO Department of Culture and Information (DCI) began negotiating a cooperation agreement with the East German DEFA Studio for Documentary Films. In it, DEFA granted the PLO access to the State Film Archive of the GDR. From this resource, Lebanese director Rafiq Hajjar made FROM PALESTINE (1975) for the Democratic Front for the Liberation of Palestine (DFLP), while Kais al-Zubaidi made PALESTINE – A PEOPLE’S RECORD (1982) for the DCI. While Hajjar avoids the use of colonial footage of Palestine for his Leninist film, al-Zubaidi uses any available material to tell a rather linear story of Palestine, deploying the archive for illustration and evidence.</span></p> <p dir="ltr"><span>Rafiq Hajjar<br /></span>FROM PALESTINE / MIN FILASTIN / GEBOREN IN PALÄSTINA<br />1975, 22 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Kais al-Zubaidi<br /></span>PALESTINE – A PEOPLE’S RECORD / FILISTIN – SIGIL SHA’AB / PALÄSTINA – CHRONIK EINES VOLKES<br />1984, 110 min, 35mm-to-DCP. In Arabic with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 135 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Wednesday, June 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59501 <p><span id="docs-internal-guid-4a421e26-7fff-c72b-64ac-a443cf72a21a"> </span></p> <p dir="ltr"><span>Most films by the PLO focused on documenting the present lives of Palestinians in exile. The PLO was prohibited in Israel and the Occupied Territories, and access for Palestinian refugees was forbidden. In rare cases, the organization sent in foreign film crews with instructions about whom and what to document. LAND DAY (1976) by Ghaleb Shaath, manager of the film laboratory of the Palestine Martyrs Works Society (SAMED), is one example. In AIDA (1985), another official PLO/GDR coproduction – but in fact a one-man effort by Marwan Salamah – the children in the PLO’s orphanage in Tunis stay connected with their homeland by living both their heritage and the new social relations of the Palestinian Revolution.</span></p> <p dir="ltr"><span>Ghaleb Shaath<br /></span>LAND DAY<br />1983, 50 min, 16mm-to-DCP. In Arabic and Japanese with English subtitles.</p> <p dir="ltr"><span>Marwan Salamah<br /></span>AIDA<br />1985, 25 min, 16mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 80 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Thursday, June 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59379 <p>Blondell Cummings’s approach to dance was distinctively cinematic: she termed her works “moving pictures” – photographic images charged with kinetic energy, in the vein of stop-motion film. The rhythmic black-and-white tapes featured in this program reveal the choreographer and video artist’s directorial engagement with the screen. In FIRST TAPE, Cummings wields the camera to compose and crystallize her movement vocabularies; the lens is an evocative mediator through which she frames improvisatory gestures inspired by her everyday life and histories of Black female domesticity. Cummings lingers within this realm in THE LADIES AND ME – on stage here, her interpretive process conjures a portrait of longing.<br /><br />Blondell Cummings<br />FIRST TAPE (1975, 24 min, video)<br />THE LADIES AND ME (1980, 31 min, video)<br /><br />Total running time: ca. 60 min.<br /><br />Co-presented by RADA Collaborative, a self-sustaining network of BIPOC artists, founded by filmmakers Michèle Stephenson and Joe Brewster, that uses cinema, visual art, and compelling visual storytelling to build narrative agency for creators of color. For more info about RADA Collaborative visit: <a href="https://radastudio.org/rada-collaborative/">https://radastudio.org/rada-collaborative/</a><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59498 <p><span id="docs-internal-guid-b8f8ce24-7fff-c6de-febe-999c3cfbd019"> </span></p> <p dir="ltr"><span>For the PLO, international networks were vitally important. Its institutions regularly invited delegations from all over the world, among them filmmakers. The PLO’s United Information section was responsible for the shooting permits, chose the camps in which to shoot, and selected the interview partners. The GDR film THE CHILDREN OF PALESTINE (Kurt Tetzlaff, 1980) was produced in the framework of the same cooperation agreement as FROM PALESTINE (Program 3). FREEDOM – WHAT DO I MEAN? (1981) – a collective work by West Germans who came to Lebanon as part of a political exchange on the invitation of the DFLP – focuses on forms of self-organization and discussions around the revolutionary “new Palestinian”.</span></p> <p dir="ltr"><span>Kurt Tetzlaff<br /></span>THE CHILDREN OF PALESTINE / DIE KINDER PALÄSTINAS<br />1980, 54 min, 35mm-to-DCP. In German with English subtitles.</p> <p dir="ltr"><span>Wolfgang Bienek, Robert Krieg, Thomas Reuter, Brigitte Schulz<br /></span>FREEDOM – WHAT DO I MEAN? / FREIHEIT – WIE MEINE ICH DAS?<br />1981, 42 min, video. In German with English subtitles.</p> <p dir="ltr"><span>Total running time: ca. 100 min.</span></p> <div><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></div> Thursday, June 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59544 <p>Stan Vanderbeek <br />SNAPSHOTS OF THE CITY<br />1961, 5 min, 16mm<br />Stan Vanderbeek shot (and retitled) Claes Oldenburg’s first happening, “Snapshots in the City”, described by Al Hansen as a “Shinbone Alley aftermath of Hiroshima in Manhattan.”<br /><br />Ray Wisniewski <br />DOOMSHOW <br />1962-63, 10 min, 16mm. Preserved by Anthology Film Archives.<br />Late ‘61, the NY Times reported “a group of young people in a grubby little gallery protesting with a vehemence recalling the belief of primitive witch doctors.” [“The Doom Show” artists (Boris Lurie, Stanley Fischer, and Sam Goodman)] “have mutilated toys, singed dolls, attacked machines and ravaged the girlie magazines.” Peace activist Ray Wisniewski filmed the show’s deinstallation, describing it as “a ritual fire dance” in “the shadow of the shadow” over a nuclear test site.<br /><br />Ken Jacobs & Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation.<br />Jack Smith: “Why shave when I can’t think of a reason for living?” Fashioned by Ken Jacobs from the wreckage of Bob Fleischner’s unfinished film, BLONDE COBRA received its theatrical premiere, along with Smith’s FLAMING CREATURES, at the Bleecker Street Cinema at midnight (4/29/63). Writing in the next week’s Village Voice, Jonas Mekas declared it the masterpiece of the new Baudelairean cinema, “hardly surpassable in perversion, in richness, in beauty, in sadness, in tragedy.”<br /><br />Jonas Mekas & Adolfas Mekas<br />THE BRIG<br />1964, 68 min, 35mm. Edited by Adolfas Mekas.<br /><br />Followed by:<br />Storm De Hirsch NEWSREEL: JONAS IN THE BRIG (1964, 5 min, 16mm. Preserved by Anthology Film Archives with support from The Andy Warhol Foundation for the Visual Arts.)<br />The Living Theatre’s most radical work reduced ex-marine Kenneth Brown’s memory-drama of punitive incarceration to an absurd, violent, monotonous routine of abuse and degradation. Director Judith Malina employed the logic of a Happening. The play was shut down twice. Jonas Mekas filmed its final performance as a documentary, as he was documented in turn by Storm De Hirsch.<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59448 <p><span id="docs-internal-guid-5f40f1b4-7fff-07e1-019b-87bd1e194801"> </span></p> <p dir="ltr"><span>THE DELLS is the first feature-length film by Nellie Kluz, who for the past 15 years has been making short nonfiction films about collective rituals and the infrastructures that support them, as well as working as a cinematographer and camera operator for other filmmakers’ projects, including HOW TO WITH JOHN WILSON.</span></p> <p dir="ltr"><span>THE DELLS observes the clash between fantasy and reality faced by international student workers newly arrived in Wisconsin Dells, Wisconsin – the self-described “Waterpark Capital of the World.” Coming from countries like Turkey, Romania, Jamaica, Thailand, and the Dominican Republic, these students land in the American Midwest via the State Department’s Summer Work Travel program. Issued temporary J-1 visas, they work low-paying jobs as lifeguards, housekeepers, and servers, living in dormitories tucked behind a glut of tourist attractions. The film follows the rhythms of an ensemble cast of “J-1s” as they work, party, and cruise around town in taxis. Students weather the myriad headaches of making ends meet in the U.S. – car troubles, job losses, long work hours – thanks to their friendships and youthful optimism. We see their hopes for a summer of American luck and prosperity rub up against their actual experiences, which are by turns disappointing, funny, and transcendent.</span></p> <p dir="ltr"><span>“THE DELLS captures the contradiction of the American Dream, where hopeful fantasies of life in the U.S. are grounded by the daily trials of being underpaid, overworked, and far from home.” –WEXNER CENTER FOR THE ARTS<br /><br /></span><em><strong>Nellie Kluz will be here in person for all three shows, for Q&As moderated by Josh Citarella (Fri, June 20), John Wilson (Sat, June 21), and Emily Mester (Sun, June 22).</strong></em><br /><span><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59452 <p><span id="docs-internal-guid-0ed61e3d-7fff-bf82-2894-7ce30dfdaa29"> </span><span>Alongside our screenings of her first feature film, THE DELLS, we present a program of Nellie Kluz’s earlier work, a group of nonfiction shorts that explore various hidden or neglected corners of American society and culture.<br /><br />“With her 2011 short YOUNG BIRD SEASON, a vivid and hilarious group portrait of competitive pigeon racers, Nellie Kluz entered the documentary field with a fully formed vision, tackling subjects in the realm of Americana with equal parts embedded fascination and playful comedic distance. Her subsequent body of short films has further honed these concerns.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br />YOUNG BIRD SEASON (2011, 19 min, DCP)<br /></span>The film is a window into the rhythms and logistics of pigeon racing, the guys who fly, and the birds themselves.<br /><span><br />GOLD PARTY (2013, 17 min, DCP)</span><br />Gold is a commodity that thrives in uncertain economic climates, and rising gold prices have created a boom industry around precious metal scrap. Observing dealers as they buy and process gold, this documentary is a window into one small corner of a global economic market.<br /><span><br />MUST SEE (2016, 13 min, DCP)</span><br />All over America, rain or shine, Pilgrims journey together.<br /><span><br />SERPENTS AND DOVES (2018, 30 min, DCP)</span><br />This film peers behind the scenes at a Christian passion play staged in the Ozark mountains.<br /><span><br />Total running time: ca. 85 min.<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> <div><span><br /></span></div> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59548 <p>Jonas Mekas AWARD PRESENTATION TO ANDY WARHOL (1964, 12 min, 16mm)<br />“The Independent Film Award for 1964 is presented to Andy Warhol. We see Andy among his leading stars, Baby Jane Holzer, Gerry Malanga, Ivy Nicholson, and we see the editor of Film Culture, Jonas Mekas, presenting the award: a basket of fruit – mushrooms, carrots and apples, bananas – which then, they all eat with great pleasure.” –Jonas Mekas<br /><br />Ron Rice<br />THE FLOWER THIEF<br />1960, 59 min, 16mm. With Taylor Mead. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. <br />THE FLOWER THIEF starred the poet Taylor Mead traipsing through San Francisco along with a cluster of North Beach habitués. PULL MY DAISY consecrated a beat aristocracy. Bronx-born Ron Rice – a decade younger than Kerouac and Ginsberg – was more like the unknown beatnik, arriving from New York to rake over the coals of the dying North Beach scene. Two years later, the movie got a near rave review from the NY Times.<br /><br />Michael Snow<br />NEW YORK EYE & EAR CONTROL<br />1964, 34 min, 16mm<br />Michael Snow came to New York from Toronto in 1964. He saw underground movies, discovered Albert Ayler and made his first real film, an insolently casual and seemingly inexplicable vehicle for his trademark Walking Woman, scored in a single session by Ayler and his partners in improvisation Don Cherry, Sonny Murray, Gary Peacock, Roswell Rudd, and John Tchicai. Unlike Taylor Mead, the Walking Woman was not compared to Chaplin.<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> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59546 <p>PROGRAM 2: EARLY SUPERSTARS<br />Jonas Mekas AWARD PRESENTATION TO ANDY WARHOL (1964, 12 min, 16mm)<br />“The Independent Film Award for 1964 is presented to Andy Warhol. We see Andy among his leading stars, Baby Jane Holzer, Gerry Malanga, Ivy Nicholson, and we see the editor of Film Culture, Jonas Mekas, presenting the award: a basket of fruit – mushrooms, carrots and apples, bananas – which then, they all eat with great pleasure.” –Jonas Mekas<br /><br />Ron Rice<br />THE FLOWER THIEF<br />1960, 59 min, 16mm. With Taylor Mead. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation. <br />THE FLOWER THIEF starred the poet Taylor Mead traipsing through San Francisco along with a cluster of North Beach habitués. PULL MY DAISY consecrated a beat aristocracy. Bronx-born Ron Rice – a decade younger than Kerouac and Ginsberg – was more like the unknown beatnik, arriving from New York to rake over the coals of the dying North Beach scene. Two years later, the movie got a near rave review from the NY Times.<br /><br />Michael Snow<br />NEW YORK EYE & EAR CONTROL<br />1964, 34 min, 16mm<br />Michael Snow came to New York from Toronto in 1964. He saw underground movies, discovered Albert Ayler and made his first real film, an insolently casual and seemingly inexplicable vehicle for his trademark Walking Woman, scored in a single session by Ayler and his partners in improvisation Don Cherry, Sonny Murray, Gary Peacock, Roswell Rudd, and John Tchicai. Unlike Taylor Mead, the Walking Woman was not compared to Chaplin.<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> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59449 <p><span id="docs-internal-guid-5f40f1b4-7fff-07e1-019b-87bd1e194801"> </span></p> <p dir="ltr"><span>THE DELLS is the first feature-length film by Nellie Kluz, who for the past 15 years has been making short nonfiction films about collective rituals and the infrastructures that support them, as well as working as a cinematographer and camera operator for other filmmakers’ projects, including HOW TO WITH JOHN WILSON.</span></p> <p dir="ltr"><span>THE DELLS observes the clash between fantasy and reality faced by international student workers newly arrived in Wisconsin Dells, Wisconsin – the self-described “Waterpark Capital of the World.” Coming from countries like Turkey, Romania, Jamaica, Thailand, and the Dominican Republic, these students land in the American Midwest via the State Department’s Summer Work Travel program. Issued temporary J-1 visas, they work low-paying jobs as lifeguards, housekeepers, and servers, living in dormitories tucked behind a glut of tourist attractions. The film follows the rhythms of an ensemble cast of “J-1s” as they work, party, and cruise around town in taxis. Students weather the myriad headaches of making ends meet in the U.S. – car troubles, job losses, long work hours – thanks to their friendships and youthful optimism. We see their hopes for a summer of American luck and prosperity rub up against their actual experiences, which are by turns disappointing, funny, and transcendent.</span></p> <p dir="ltr"><span>“THE DELLS captures the contradiction of the American Dream, where hopeful fantasies of life in the U.S. are grounded by the daily trials of being underpaid, overworked, and far from home.” –WEXNER CENTER FOR THE ARTS<br /><br /></span><em><strong>Nellie Kluz will be here in person for all three shows, for Q&As moderated by Josh Citarella (Fri, June 20), John Wilson (Sat, June 21), and Emily Mester (Sun, June 22).</strong></em><br /><span><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59550 <p>Harry Smith<br />FILM NO. 16 (OZ: THE TIN WOODMAN’S DREAM)<br />1967, 15 min, 35mm, silent<br />In 1962, Allen Ginsberg and Timothy Leary managed to interest wealthy investors in an animated version of THE WIZARD OF OZ. Using a multi-plane camera of his own design, Smith produced 12 minutes of full color cell animation (most likely under the influence of LSD) before the backers withdrew.<br /><br />Aldo Tambellini <br />BLACK TRIP<br />1965, 5 min, 16mm<br />First shown as part of Group Central’s Black Zero which included slides and films projected on dancers, Ben Morea’s noise machine, and a blinding shaft of white light directed at the audience. Experiencing what he called a “theater of the senses,” Village Voice drama critic Michael Smith reported “the eyes can’t cope with the data and the sense of space goes vague; meanwhile, wild sounds have deadened the sense of time…. I think the secret ingredient is LSD.”<br /><br />Jud Yalkut<br />D.M.T.<br />1966, 3 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />In advance of Warhol’s “Exploding Plastic Inevitable,” hallucinationist Jackie Cassen put together a light show named DMT for dimethyltryptamine (a psychedelic drug that produced brief but intense trips) that ran across St. Marks Place at the Dom just before the EPI opened. Yalkut’s three-minute flicker film, partially scored to the Beatles, was constructed out of stroboscopic solo dancing, moiré patterns, and Cassen’s slides.<br /><br />Jud Yalkut<br />US DOWN BY THE RIVERSIDE<br />1966, 3 min, 16mm<br />Yalkut’s companion piece to D.M.T. was filmed at the Riverside Museum in the spring of 1966, where a few weeks after the EPI, USCO created a unified psychedelic environment. (Their use of the term “be-in” predates by nine months that of the vast gathering in Golden Gate Park.)<br /><br />Jud Yalkut <br />KUSAMA’S SELF-OBLITERATION<br />1967, 24 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />Yayoi Kusama’s “Self-Obliteration” premiered in mid-June 1967 at Tambellini’s Black Gate on Second Avenue. Yalkut filmed the most orgiastic part of the performance and used it as the climax of this half-hour which would have its world premiere and win a prize at the Knokke-Le-Zoute Experimental Film Festival in December 1967.<br /><br />Jud Yalkut<br />NAKED RADIO HAPPENING<br />1967, 6 min, 16mm-to-digital, silent. Digitized by Anthology Film Archives.<br />Unused material: Yalkut documented Kusama’s Body Festivals throughout the so-called Summer of Love, including one staged in the studio of WBAI and broadcast live on Bob Fass’s late night Radio Unnameable.<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, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59453 <p><span id="docs-internal-guid-0ed61e3d-7fff-bf82-2894-7ce30dfdaa29"> </span><span>Alongside our screenings of her first feature film, THE DELLS, we present a program of Nellie Kluz’s earlier work, a group of nonfiction shorts that explore various hidden or neglected corners of American society and culture.<br /><br />“With her 2011 short YOUNG BIRD SEASON, a vivid and hilarious group portrait of competitive pigeon racers, Nellie Kluz entered the documentary field with a fully formed vision, tackling subjects in the realm of Americana with equal parts embedded fascination and playful comedic distance. Her subsequent body of short films has further honed these concerns.” –Eric Allen Hatch, NEW/NEXT FILM FEST<br /><br />YOUNG BIRD SEASON (2011, 19 min, DCP)<br /></span>The film is a window into the rhythms and logistics of pigeon racing, the guys who fly, and the birds themselves.<br /><span><br />GOLD PARTY (2013, 17 min, DCP)</span><br />Gold is a commodity that thrives in uncertain economic climates, and rising gold prices have created a boom industry around precious metal scrap. Observing dealers as they buy and process gold, this documentary is a window into one small corner of a global economic market.<br /><span><br />MUST SEE (2016, 13 min, DCP)</span><br />All over America, rain or shine, Pilgrims journey together.<br /><span><br />SERPENTS AND DOVES (2018, 30 min, DCP)</span><br />This film peers behind the scenes at a Christian passion play staged in the Ozark mountains.<br /><span><br />Total running time: ca. 85 min.<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> <div><span><br /></span></div> Sunday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59552 <p>Barbara Rubin<br />CHRISTMAS ON EARTH<br />1963, 29 min, 16mm double-projection. Preserved by Anthology Film Archives.<br />“Bursting and burning with hallucinations, shooting her first movie, with the excitement of a holy nun…” –Jonas Mekas on Barbara Rubin, Village Voice (7/25/63)<br /><br />Andrew Noren<br />THE ADVENTURES OF THE EXQUISITE CORPSE, PART I: HUGE PUPILS (formerly KODAK GHOST POEMS, PART I)<br />1967, 61 min, 16mm, silent<br />Originally called THE NEW YORK MISERIES, then KODAK GHOST POEMS, and finally HUGE PUPILS, Noren’s definitive portrait of the male, heterosexual artist as a young boho with a movie camera is notable for its lush texture, lyrical idealization of life on the Lower East Side, lust for light, and graphic carnality.<br /><br />“Made all other film diaries look a little strange in their modesty.” –P. Adams Sitney<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, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59450 <p><span id="docs-internal-guid-5f40f1b4-7fff-07e1-019b-87bd1e194801"> </span></p> <p dir="ltr"><span>THE DELLS is the first feature-length film by Nellie Kluz, who for the past 15 years has been making short nonfiction films about collective rituals and the infrastructures that support them, as well as working as a cinematographer and camera operator for other filmmakers’ projects, including HOW TO WITH JOHN WILSON.</span></p> <p dir="ltr"><span>THE DELLS observes the clash between fantasy and reality faced by international student workers newly arrived in Wisconsin Dells, Wisconsin – the self-described “Waterpark Capital of the World.” Coming from countries like Turkey, Romania, Jamaica, Thailand, and the Dominican Republic, these students land in the American Midwest via the State Department’s Summer Work Travel program. Issued temporary J-1 visas, they work low-paying jobs as lifeguards, housekeepers, and servers, living in dormitories tucked behind a glut of tourist attractions. The film follows the rhythms of an ensemble cast of “J-1s” as they work, party, and cruise around town in taxis. Students weather the myriad headaches of making ends meet in the U.S. – car troubles, job losses, long work hours – thanks to their friendships and youthful optimism. We see their hopes for a summer of American luck and prosperity rub up against their actual experiences, which are by turns disappointing, funny, and transcendent.</span></p> <p dir="ltr"><span>“THE DELLS captures the contradiction of the American Dream, where hopeful fantasies of life in the U.S. are grounded by the daily trials of being underpaid, overworked, and far from home.” –WEXNER CENTER FOR THE ARTS<br /><br /></span><em><strong>Nellie Kluz will be here in person for all three shows, for Q&As moderated by Josh Citarella (Fri, June 20), John Wilson (Sat, June 21), and Emily Mester (Sun, June 22).</strong></em><br /><span><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59554 <p>[This program continues the tradition of Hoberman’s double-projector “Pedagogical Projections”, which became a legendary part of his classes at NYU and Cooper Union over the years.]<br /><br />See the ‘60s end with a bang and a whimper. Cosmic journeys pass in what might be a single violent night. Fantasies fissure as urban guerrillas talk themselves to death while hallucinating acid freaks revolt (at least in their mind).<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> Sunday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59556 <p>Peter Emmanuel Goldman <br />PESTILENT CITY<br />1965, 16 min, 16mm-to-DCP<br />A “romantically rancid…NYC scherzo of sleaze, dereliction, working stiffs, stumblebums, loitering, malingering, playing, and passing out, filmed in Times Square and along the Deuce…it sticks in your head and beads on your skin…” –Chuck Stephens, CINEMA SCOPE<br /><br />Shirley Clarke<br />THE COOL WORLD<br />1964, 104 min, 35mm. Print courtesy of Zipporah Films and preserved by the Library of Congress Packard Campus for National Audio-Visual Conservation from the original camera negatives in the Zipporah Films Collection.<br />“The white race has been reduced to an alien presence from another planet,” Village Voice critic Andrew Sarris complained of Shirley Clarke’s most underground film, a near verité portrait of a teenage gang leader shot on location in Harlem. The movie opened in April 1964 two days before the New York World’s Fair and was still running downtown when Harlem exploded that summer. <br /><br />Total running time: ca. 125 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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59560 <p>Carolee Schneemann <br />MEAT JOY<br />1964 (re-edited 2010), 10.5 min, 16mm-to-DCP.  Preserved by Electronic Arts Intermix through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.<br />The most outré of Happenings, MEAT JOY was a delirious hodgepodge of near naked humans, dead chickens, pop music, and copious body paint – infantile yet erotic, more polymorphous in its perversity than FLAMING CREATURES. Village Voice critics were underwhelmed. Yvonne Rainer walked out.<br /><br />Peter Moore <br />STOCKHAUSEN’S ORIGINALE: DOUBLETAKES<br />1964/94, 30 min, 16mm. New Print by Anthology! Special thanks to Barbara Moore.<br />Produced by Charlotte Moorman and directed by Allan Kaprow, New York’s first uptown Happening featured a galaxy of downtown stars, a breakout performance by Nam June Paik, and a half dozen Fluxus members picketing outside to protest “cultural imperialism.”<br /><br />Newsreel<br />GARBAGE aka GARBAGE DEMONSTRATION (NEWSREEL #5)<br />1968, 11 min, 16mm-to-DCP<br />Newsreel’s first film documents Up Against the Wall Motherfuckers’s first action, namely transporting refuse accumulated during the epic NYC sanitation workers strike from the Lower East Side to Lincoln Center, a demonstration described as “cultural exchange.”<br /><br />Jud Yalkut<br />METAMEDIA: A FILM JOURNAL OF INTERMEDIA AND THE AVANT-GARDE 1966-1970<br />1972, 50 min, 16mm, silent. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />Timothy Leary at the Village Theatre, Kusama at the Cooper Square Playhouse, Hermann Nitsch “Orgy-Mystery” at the Filmmakers’ Cinematheque; Living Theatre’s “Paradise Now” at BAM; 7th Annual New York Avant Garde Festival, Wards Island, “Television as a creative medium” Howard Wise Gallery and more.<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> Tuesday, June 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59330 <p>STAN BRAKHAGE<br />THE ANIMALS OF EDEN AND AFTER 1970, 35 min, 16mm<br />SEXUAL MEDITATION: ROOM WITH A VIEW 1971, 4 min, 16mm. Preserved by Anthology Film Archives.<br />THE SHORES OF PHOS: A FABLE 1972, 10 min, 16mm<br />THE WOLD-SHADOW 1972, 3 min, 16mm<br />THE RIDDLE OF LUMEN 1972, 14 min, 16mm<br />SINCERITY: REEL NO. 1 1973, 27 min, 16mm<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, June 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59367 <p>SILENT WITNESSES is an imaginative journey through the history of Colombia – and its cinema – during the tumultuous first half of the 20th century, using exclusively the surviving footage of Colombian silent cinema. This melodrama tells the impossible love story between Efraín and Alicia, set against the political upheaval in the early 1900s. The story begins with Efraín falling in love with Alicia, a woman promised to Uribe, a powerful and vengeful strongman. Their romance quickly unfolds into a journey through the heart of the jungle, where Efraín witnesses the dire conditions of peasants in the southern region and the birth of an armed rebellion. This film is the last work of the late Luis Ospina, one of the most influential filmmakers in Latin American cinema, and the debut feature of producer and film critic Jerónimo Atehortúa.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59331 <p>Preserved by Anthology Film Archives.<br /><br />“All that is, is light.” –Johannes Scotus Erigena<br /><br />“[Brakhage shot] THE TEXT OF LIGHT in (through) a large crystal ashtray. This magnificent film – a slow montage of iridescent splays of light and shifting landscapes of sheer color, which acknowledges debts to Turner and American Romantic landscape painters as well as to James Davis, the pioneer film-maker of light projections – is the culmination of Brakhage’s exploration of anamorphosis.” –P. Adams Sitney, VISIONARY FILM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Wednesday, June 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59473 <p><span id="docs-internal-guid-f1d4258b-7fff-c57d-af36-3728614bb17e"> </span></p> <p dir="ltr"><span>Jean-Claude Rousseau<br /></span>JEUNE FEMME À SA FENÊTRE LISANT UNE LETTRE<br />1983, 47 min, Super-8mm-to-DCP. In French with English subtitles.<br /><span>Rousseau’s first film, shot in Super-8mm, is an experiential meditation on vision via an encounter with Johannes Vermeer. For this rare screening, we present a new 2K digitization of the film’s sole copy, preserved on a single roll of Kodachrome color-reversal film. The DCP was supervised by Rousseau himself in collaboration with a group of students and teachers at Elías Querejeta Zine Eskola, led by Manuel Asín and Carlos Saldaña.</span></p> <p dir="ltr"><span>“In JEUNE FEMME…, the reels follow one another like the exhibition of a lack, that is to say, like an evocation of desire. No project to accomplish, no editing to follow. Each reel remains whole…. It is hard to see the landscape through the window. A street, a canal, the view of Delft, the port maybe. We are indoors, bathed in daylight. On the wall, the maps are bigger than the paintings, but we do not know where we are. The woman is by the window. She is standing, reading a letter. She has forgotten what the landscape is about after staring at the letter for too long. It could be any landscape, any pinpoint on the map…” –Jean-Claude Rousseau at New York University, February 12, 1988</span></p> <p dir="ltr"><span>Jean-Claude Rousseau<br /></span>KEEP IN TOUCH<br />1987, 25 min, Super-8mm-to-16mm. In English and French with English subtitles.<br /><span>“KEEP IN TOUCH explores waiting periods. The filmmaker sits at a table in a room in New York, blank stationary paper in front of him. He turns on a lamp, leafs through an erotic magazine. Meanwhile, we hear various messages left on an answering machine: whispers punctuated by “love, love, love”; switching French to English, the voice tells of a move back into an old apartment. Another, in English, surprised by the answering machine, half-heartedly solicits a second date. The film explores this pause; the time between the initial encounter and the waiting period. The persistent hum of the city is perceptible, pierced by an ambulance siren.” –Érik Bullot</span></p> <p dir="ltr"><span>Total running time: ca. 75 min.<br /><br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59476 <p><span>Jean-Claude Rousseau</span><br />LES ANTIQUITÉS DE ROME<br />1989, 105 min, Super-8mm-to-16mm. In French with English subtitles.<br />Rousseau’s first feature-length film, a work of ellipses and absences, is made up of seven parts plus one.<br /><span><br />“Each of the first seven moments consists of a view, or rather a vision, of a Roman monument or one of its aspects, captured from a hotel window or from the street, in several shots, with vehicles or human beings passing by, or not. The seventh ends with one of the characters closing the shutters of the two bedroom windows, eyelids lowering and hiding the world from us, or what we believe it to be.” –Bertrand Ogilvie<br /><br />“I often use poetic texts because they imply the liberation of the elements, the liberation of words. Poetry is already about seeing more than understanding; it is already about seeing the elements.<br /><br />Newcomer, who looks for Rome in Rome,<br />And little of Rome in Rome can perceive<br /><br />This is seen, and at the same time, we feel the meaning intuitively, without the need for discourse. It is through the very positioning of the elements, as with words in poetry, that this intuition becomes possible. Thus, in LES ANTIQUITÉS DE ROME, the two lines of Du Bellay’s sonnet gave direction and already contained the film.” –Jean-Claude Rousseau<br /><br />Preceded by:<br />Jean-Claude Rousseau</span><br />VENISE N’EXISTE PAS <br />1984, 11 min, Super-8mm-to-16mm<span><br />From the window of a hotel room, a sliver of Venice.<br /><br />“VENISE N’EXISTE PAS deciphers the Italian city in a very paradoxical way. We find the same harshness of appearance, the sharp cut of ambient sounds, the end to end of the Super 8 reels, the window and the variations of light, the comings and goings of the filmmaker from the bed to the window…. By concluding with a postcard that remains blurred for a very long time, VENISE N’EXISTE PAS exposes the difficult crystallization of the image. From the bed to the window, from the bedroom to the journey, the filmmaker attempts to approach an image hidden from view, deferred or even dispatched from one place to another.” –Érik Bullot<br /><br />Total running time: ca. 120 min.<br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2025#showing-59479 <p><span id="docs-internal-guid-67d674e9-7fff-8fbd-17f9-5728eeabee04"></span>In the mid-1980s, Rousseau visited the Fontaine de Vaucluse in Southern France, a grotto along the Sourgue river where, at springtime, a violent torrent of water suddenly gushes forth. Rousseau would continually return to this site over the next ten years, drawn by the primordial pull of this strange phenomenon, the inspiration for many folktales and legends. He brought along a Super-8mm camera given to him by his parents, and the accumulation of this material resulted in his seminal second feature, LA VALLÉE CLOSE.<span><br /><br />“LA VALLÉE CLOSE emerged from different elements and I was watching the elements orient themselves without being able to say where it was leading. These different vectors were converging at a single place and making the film itself this nexus: Petrarch, a geography book, a Giorgione painting, an erotic photo, an abandoned factory, the fountain at Vaucluse, and then inspiring correspondences between all these, as if validating them, the text by Lucretius on the movement of atoms, or more exactly, Bergson’s summary of it that he did in a book for philosophy students.” –Jean-Claude Rousseau interviewed by Cyril Neyrat<br /><br />“Every shot (frame, image, light) of LA VALLÉE CLOSE issues a roll of the dice, and casts into nothingness three-quarters of contemporary film – along with its directors of photography.” –Jean-Marie Straub<br /></span><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong><br />CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 27