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 Mon, 01 Jun 2026 12:18:11 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61310 <p>This film – edited from live recordings of performances in both Warsaw and Tokyo – documents Robert Wilson’s production of “Hamlet: A Monologue”. Adapted from Shakespeare by Wilson and Wolfgang Wiens, “Hamlet: A Monologue” was performed by Wilson himself, who variously embodied each of the play’s characters. In his own words, “Initially, I had thought to do it with a group of actors but eventually I decided I would do it myself, as a challenge: first, because it is a classical text, and then because it’s a work where the concentration is primarily on the text, in addition to the images. I did it as a monologue, a kind of dream memory of the entire play. I restructured the text, beginning seconds before Hamlet dies. So the work is seen as a flashback, with Hamlet speaking the text of Ophelia, Gertrude and all the other characters. The play really takes place in Hamlet’s mind. It begins with his last speech and ends with his last speech.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61330 <p>kekahi wahi (Sancia Miala Shiba Nash & Drew K. Broderick)<br />HO‘OULU HOU<br />2023, 17 min, DCP. In English and Hawaiʻi Creole English with English and Hawaiʻi Creole English subtitles.<br />HO‘OULU HOU honors the life and legacy of ʻĪmaikalani Kalāhele, a Kanaka Maoli (Native Hawaiian) musician, poet, artist, and activist from Nuʻuanu, Oʻahu. For nearly half a century Uncle ʻĪmai has stood as a pillar within various communities in Hawaiʻi, steadfast in his dedication to Native Hawaiian creative expressions and the movement for sovereignty and self-determination. This short film was made in collaboration with Hoʻoulu ʻĀina, a place of refuge in the back of Kalihi valley committed to propagating the health of ʻāina (land) and lāhui (nation).<br /><br />Miranda Yousef<br />ART FOR EVERYBODY<br />2023, 99 min, DCP<br />You’ve seen his cozy cottages, idyllic gardens, and welcoming village streets on everything from canvas to commemorative plates. Both celebrated and disparaged for his kitschy signature settings, the “Painter of Light” Thomas Kinkade rocketed to popularity in the ’90s by marketing himself to American evangelicals and pitting himself against the elite art establishment. Yet beneath the pristine public persona were demons that would drive him to alcoholism, scandal, and death from an overdose in 2012. After his passing, Kinkade’s daughters uncovered a trove of unseen, unexpectedly dark paintings, a discovery that launched an investigation into their father’s true personality. Through the voices of skeptical critics, adoring fans, and Kinkade’s closest friends and family, ART FOR EVERYBODY digs deep into Kinkade’s life and work to elucidate the real man behind the persona. Accomplished editor Miranda Yousef’s directorial debut is an insightful documentary that peels back the layers of Kinkade’s facade, delivering a portrait of a complex man divided by the same forces that continue to pull us apart as a nation.<br /><br />Total running time: ca. 120 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 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61312 <p>This behind-the-scenes film, drawing on rehearsal and performance footage, reveals how Robert Wilson created his unique one-man performance of Hamlet and captures the rich texture of Wilson’s multi-dimensional theatrical style.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61306 <p>Robert Wilson<br />STATIONS<br />1982, 56 min, video<br />“STATIONS is an enigmatic, hauntingly vivid work, in which Wilson envisions the daydreams and fantasies of an eleven-year-old boy as a universe both magical and sinister. Resonating with Wilson’s precise visual stylization, the tape’s pivotal image is a young boy looking through a large window in the kitchen of his home, which becomes the portal for his dramatic, often startling inner fantasies. Fire, metal, wind, glass and water, among other elements, serve as points of departure for a series of elegant pictorial compositions and evocative metaphors. Unfolding without dialogue or spoken language, Wilson’s indelible visions articulate the fear and mystery of the internal life of a child, and his relation to the outside world.” –ELECTRONIC ARTS INTERMIX<br /><br />Robert Wilson<br />LA FEMME À LA CAFETIÈRE<br />1989, 7 min, video<br />Robert Wilson and the dancer Suzushi Hanayagi bring to life Paul Cezanne’s painting, “La Femme à la Cafetière”.<br /><br />Robert Wilson<br />LA MORT DE MOLIÈRE<br />1995, 47 min, video<br />A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagining his death in tableaux with text passages recited by Müller himself. “Cinema watches Death at work.” Wilson’s actors watch Molière die: their vigil is hard work. Müller’s comment: “The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière.”<br /><br />Total running time: ca. 115 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61332 <p>Catherine Gund<br />PAINT ME A ROAD OUT OF HERE<br />2024, 90 min, DCP<br />Featuring artists Faith Ringgold and Mary Enoch Elizabeth Baxter, PAINT ME A ROAD OUT OF HERE uncovers the whitewashed history of Faith’s masterpiece “For the Women’s House” and follows its 50-year journey from Rikers Island to the Brooklyn Museum in a heartbreaking, funny, and true parable for a world without mass incarceration.<br /><br /><strong>Followed by a Q&A.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61314 <p>This film documents the coming together of Willem Dafoe, director Robert Wilson, performance artist Marina Abramovic, and singer and composer Anohni, to create an experimental opera based on Marina Abramovic’s biography. Through rehearsal footage and interviews with the artists as they are making the piece, director Giada Colagrande provides insight into this unique collaboration, resulting in an intimate portrait that reveals the dynamics, excitement, and insecurities of making such a poetic and visually stunning theatre work.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61490 <p>CASTRO STREET (1966, 10 min, 16mm. <strong>BRAND NEW PRINT BY ANTHOLOGY FILM ARCHIVES!</strong>)<br />ALL MY LIFE (1966, 3 min, 16mm. <strong>BRAND NEW PRINT BY ANTHOLOGY FILM ARCHIVES!</strong>)<br />VALENTIN DE LAS SIERRAS (1968, 10 min, 16mm. Preserved by Anthology Film Archives.)<br />“In [Baillie’s late 1960s films], the eye of the film-maker quiets his mind with images of reconciliation; the dialectics of cinematic thought become calm in the filming of the privileged moment of reconciliation.” –P. Adams Sitney, VISIONARY FILM<br /><br />QUICK BILLY <br />(1971, 56 min, 16mm)<br />“The essential experience of transformation, between Life and Death, death and birth, or rebirth. In four reels, the first three adapted from the Bardo Thodol, the Tibetan Book of the Dead. The fourth reel is in the form of a black and white one-reeler Western, summarizing the material of the first three reels, which are color and abstract.” –Bruce Baillie<br /><br />Followed by:<br />QUICK BILLY: SIX ROLLS (Numbers 14, 41, 43, 46, 47, and 52)<br />1968-69, 16 min, 16mm, silent. Preserved by Anthology Film Archives.<br />“The ‘rolls’ took the form of a correspondence, or theater, between their author and Stan Brakhage, in the winter of 1968-69. They’re kind of the magic cousins of the film.” –Bruce Baillie<br /><br />Total running time: ca. 100 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Wednesday, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61316 <p>“A few days before the opening of Watermill Center, Robert Wilson is in a race against the clock. After a decades-long international stage career, he looks back at the special laboratory that was the Byrd Hoffman School of Byrds, the artistic community where he got his start, and decides to return to his roots. With his ever-growing coterie of supporters, he takes possession of a vacant building on Long Island to turn it into an art center. Filmmaker Pauline de Grunne captures Wilson’s relationship with this unique endeavor, while his friends, collaborators, and many of the artists he has worked with provide insight into the man and his project.” –INTERNATIONAL FESTIVAL OF FILMS ON ART<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61491 <p><strong>All the films in this program will be screening from prints newly struck by Anthology!</strong><br /><br />Special thanks to Raymond Foye and Cathy Heinrich.<br /><br />ALLURES 1961, 9 min, 16mm<br />RE-ENTRY 1964, 6 min, 16mm<br />PHENOMENA 1965, 6 min, 16mm<br />SAMADHI 1967, 6 min, 16mm<br />MOMENTUM 1968, 6 min, 16mm<br />COSMOS 1969, 5 min, 16mm<br />WORLD 1970, 6 min, 16mm<br />MEDITATION 1971, 7 min, 16mm<br />CHAKRA 1972, 6 min, 16mm<br /><br />“Our greatest abstract film poet: he has found how to combine the vision of the outer and the inner eye.” –Gene Youngblood<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61318 <p>These two short films document the work, history, and spirit of The Watermill Center, which Wilson founded on Long Island in 1992. Occupying a former Western Union research facility on the edge of the Shinnecock Reservation, The Watermill Center in 2006 became a year-round space for artists-in-residence, a “laboratory for creative experimentation, where artists can work at the intersection of disciplines, drawing inspiration from nature and Wilson’s extensive collection of art and artifacts.”<br /><br />Stefan Kurt<br />WATERMILL 1993<br />1993, 20 min, digital<br /><br />Tomek Jeziorski<br />WATERMILL CENTER BYRD HOFFMAN SUMMER PROGRAM 2009<br />2010, 38 min, digital<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61300 <p>Robert Wilson<br />VIDEO 50<br />1978, 52 min, video<br />“VIDEO 50 is an extraordinary video sketchbook, a highly original, visually dramatic and frequently humorous collection of one hundred abbreviated ‘episodes’ produced for television. Unfolding as a series of thirty-second vignettes, this enigmatic essay in style is characterized by a deadpan theatricality, symbolist imagery, surrealist juxtapositions and repetition of key visual motifs. Indelible images, precisely composed – a man teetering above a waterfall, a floating chair, a winking eye, a parrot against the New York skyline – are accompanied by an ‘architectural’ sound score that includes spoken ‘phonetic patterns’ rather than words. Fusing his surprising visual logic and rhythms with unexpected temporal manipulations, Wilson creates a work of startling wit and poetry.” –ELECTRONIC ARTS INTERMIX<br /><br />Robert Wilson<br />DEAFMAN GLANCE<br />1981, 27 min, video<br />“This haunting work for television has been excerpted and adapted from Wilson’s five-hour ‘silent opera’ of the same title. Wilson tells a stark and stylized story of murder, using time and space, light and movement, and isolated sound in place of spoken words. The ritualistic action, which moves from a spartan kitchen through the silent halls, stairways and rooms of a lonely house, is both dreamlike and sinister. A somber, menacing woman washes white dishes and a gleaming carving knife, pours milk into a glass, and then slowly attacks first one young boy and then another. Not a word of dialogue is uttered. Suggesting the disparate worlds of both ancient Greek tragedy and contemporary tabloid headlines, DEAFMAN GLANCE harbors paradox: the events are terrifying but not violent; characters are both real and symbols of reality; pacing reduces action to abstraction; and morality and mortality are ambiguous.” –ELECTRONIC ARTS INTERMIX<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61482 <p>As a complement to our Jordan Belson Essential Cinema program (on Wed, June 3), curator Raymond Foye will present a selection of Belson rarities, featuring films, VHS, audio recordings, and visuals. Foye has worked with Belson, and later his widow Catherine Heinrich, since 2001. As director of the estate, he is presently organizing a fourth solo exhibition of Belson’s visual art, opening at the Matthew Marks Gallery in Los Angeles in June 2026. Here at Anthology, we will be screening new prints of LIGHT (1973) and INFINITY (1979) (works not included in our EC program), plus the rarely screened AUTOBIOGRAPHY (1953), which features appearances by Christopher Maclaine, Harry Smith, Philip Lamantia, and others. We will examine works from the Belson archives, including notebooks and kinetic sculptures, as well as excerpts from Belson’s personal VHS worktapes, which are currently being preserved by the Pacific Film Archive.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61294 <p>This film follows the 1984 landmark production of “Einstein on the Beach” staged at the Brooklyn Academy of Music. It was the first time since 1976 that its creators, composer Philip Glass and designer/director Robert Wilson, had collaborated on the re-staging of this untraditional opera. The work is examined through the insights of Glass and Wilson and incorporates rehearsal footage with scenes of the actual performance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61394 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61297 <p>Filmmaker Unknown. Preserved by Anthology Film Archives and the New York Public Library.<br /><br />Overture for KA MOUNTAIN AND GUARDenia TERRACE was performed live by Robert Wilson and the Byrd Hoffman School of Byrds at 147 Spring Street, NYC, for six hours each day, from 6-9AM and 6-9PM, between April 24-30, 1972. The sizeable cast featured such downtown luminaries as dance critic and poet Edwin Denby, dancer Andy De Groat, theater critic Stefan Brecht, and Wilson’s grandmother, Alma Hamilton. This preservation print was made directly from the 16mm camera original which was discovered in Anthology’s basement along with a group of empty film cans. Archivists at Anthology and the New York Public Library for the Performing Arts (the repository of the Robert Wilson Audio/Visual Collection) were able to salvage the film and identified it as the most extensive extant documentation of OVERTURE. No soundtrack has surfaced for this film, but its majestic images and wild inventiveness are like a music all their own.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61303 <p>One of the great unrealized theatrical productions of the 20th century, “the CIVIL warS” would have been the legendary avant-garde filmmaker’s magnum opus: a twelve-hour historical opera in six distinct parts, each rehearsed in a different country (Germany, France, Japan, Italy, the Netherlands, and the U.S.) for a holistic performance at the 1984 Summer Olympics in Los Angeles. Over the course of the project’s ill-fated conception, Howard Brookner – who had previously made the documentary BURROUGHS (1983) – follows Wilson, composers Philip Glass and David Byrne, and several production troupes as they seek to perfect an epic that encompasses the American Civil War, the life and death of Frederick the Great, and the unification of Italy, along with imagery from Frank L. Baum, Jules Verne, and Mathew Brady. Struggling to procure timely funding and constantly negotiating with striking Italian theater unions, Wilson nonetheless proves himself a force of nature, determined to follow through on his outsize dream of a Gesamtkunstwerk that brilliantly fuses art and life.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61395 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61396 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61450 <p>Robert Frank & Alfred Leslie <br />PULL MY DAISY <br />1959, 28 min, 35mm<br />For this film – now considered the Beat film par excellence – Frank and Leslie enlisted the participation of Jack Kerouac, who offered in place of an original screenplay an unfinished stageplay, “The Beat Generation,” based on an incident in the life of Neal Cassady and his wife Carolyn. In an attempt to fit in with their suburban neighbors, the Cassadys invite a respectable neighborhood bishop over for dinner. But Neal’s Beat friends (including Allen Ginsberg) crash the party, with anarchically comic results. Though seemingly improvised, the film was in fact scripted and rehearsed, with Kerouac’s unforgettable voiceover narration mixed together from four separate takes. <br /><br />Pamela Mayo (with Barbara Rubin)<br />EMOUNA<br />1973, 18 min, 16mm-to-DCP. Digitally restored by Anthology Film Archives.<br />EMOUNA incorporates the unfinished Ginsberg portrait ALLEN FOR ALLEN, by Barbara Rubin, the legendary filmmaker (CHRISTMAS ON EARTH) and underground cultural luminary.<br />“Psychic photography in white trails on black is one of the mysteries of this film. Allen Ginsberg and friends are the characters, the continuity of life in spite of the stagnation of an oppressive society. The work includes images of Barbara Rubin, the legendary figure of the early underground film era.” –Pamela Mayo<br /><br />Nam June Paik & Shigeko Kubota<br />ALLAN ’N’ ALLEN’S COMPLAINT<br />1982, 28.5 min, video<br />“In ALLAN ‘N’ ALLEN’S COMPLAINT, the influence of Jewish fathers on their sons and the complexity of familial relationships are explored in a witty, poignant portrait of two artists. Beat poet Allen Ginsberg (whose father Louis was a poet in his own right) and performance artist/sculptor Allan Kaprow (whose father is a high-powered lawyer) are the sons who struggle with and against the influences of these patriarchal figures.” –EAI<br /><br />Ai Weiwei<br />ALLEN & AI<br />1990/2026, 9.5 min, video. Produced and edited by Davo Liver & Aliah Rosenthal.<br />June 3, 1990. New York City. On his 64th birthday, Allen Ginsberg gathers a handful of friends in his downtown apartment. Among them, a young, unknown Chinese artist documents the day. His name is Ai Weiwei. The tape survives. Nothing “historic” happens and yet, everything is there.</p> <p>Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61405 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61453 <p>Peter Whitehead<br />WHOLLY COMMUNION<br />1965, 33 min, 16mm<br />The documentary that effectively launched Peter Whitehead’s career, WHOLLY COMMUNION captures the historic event at the Royal Albert Hall on June 11, 1965, where an audience of 7,000 witnessed the first meeting of American and English Beat poets. Among the performers featured are Allen Ginsberg, Lawrence Ferlinghetti, Alexander Trocchi, Gregory Corso and Adrian Mitchell.<br /><br />Iain Sinclair & Robert Klinkert<br />AH! SUNFLOWER<br />1967, 29 min, 16mm-to-digital<br />This film was commissioned by German television and directed by UK poet and author Iain Sinclair and Dutch filmmaker Robert Klinkert. It chronicles Ginsberg’s 1967 visit to London,and his participation in both the Hyde Park Dope Rally and the Congress of the Dialectics of Liberation at London’s renowned music venue, the Roundhouse. A revealing portrait of Ginsberg and the countercultural London literary scene of the time, AH! SUNFLOWER – which was virtually lost until its release on DVD in 2007, and has since become extremely scarce once again – is perhaps best known for having inspired Sinclair’s first prose work, “The Kodak Mantra Diaries”, which itself recounted the chaotic experience of the film shoot. This rare screening is not to be missed!<br /><br />Total running time: ca. 65 min<br />.<br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61397 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61398 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61456 <p>Assisted by Adolfas Mekas & Sheldon Rochlin.<br /><br />Poetry interludes written and spoken by Allen Ginsberg. Score by Lucia Dlugoszewski. Folksongs by Sara & Caither Wiley and Tom Sankey. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.<br /><br />Overshadowed by his 16mm diaristic work of later years, Jonas Mekas’s debut film, GUNS OF THE TREES, a feature-length experimental narrative shot on 35mm, is nonetheless a foundational work both within his own filmography and within the nascent New American Cinema movement. As such, it qualifies as a crucial crossroads between the possibilities of narrative filmmaking and the pioneering avant-garde cinema that was to come. Influenced equally by European New Wave and American Beat cinema – specifically SHADOWS (1959) and PULL MY DAISY (1959) – GUNS OF THE TREES is a time capsule of cultural upheavaland of the burgeoning independent film movement of the early 1960s.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61406 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61459 <p>FIRING LINE: THE AVANT GARDE<br />1968, 51 min, video. Courtesy of the Hoover Institution Archives.<br />Allen Ginsberg’s 1968 appearance on William F. Buckley, Jr.’s television program “Firing Line” is one of the most memorable in the 33-year history of the program (no mean feat, given somefierce competition). This is thanks both to Ginsberg’s vibrant, sharp, and unflappable performance, but also to the surprising degree to which the usually combative and dismissive Buckley seems genuinely hypnotized by Ginsberg’s charm offensive. Though Buckley’s reactionary conservatism is ever apparent (especially in his typically snide introduction, in which he describes Ginsberg as politically “sort of radical, sort of pro-Socialist, sort of not-quite-bright”, and further observes, “he will wear his hair long until everybody else does, then he will cut it”), he seems as delighted with the poet’s sheer presence and largeness of spirit as any of Ginsberg’s fans. Miraculously he allows Ginsberg to interrupt him repeatedly and, even more shocking, lets him deliver both a minute-long hare krishna chant and a five-minute reading of his poem, “Wales Visitation” (to which Buckley responds simply, “I kind of like that!”). These performances aside, the two debate topics ranging from hippie culture and the ethics of warfare to racial relations and police brutality.<br /><br />Richard O. Moore<br />U.S.A. POETRY (NO. 2): ALLEN GINSBERG AND LAWRENCE FERLINGHETTI<br />1966, ca. 30 min, 16mm-to-digital<br />Created for San Francisco’s public television station KQED by poet-turned-documentarian Richard O. Moore, the invaluable series U.S.A. POETRY featured films on some of the most important poets of the time, including Robert Duncan, Michael McClure, Anne Sexton, Kenneth Koch, John Ashbery, Frank O’Hara, Ed Sanders, Denise Levertov, Charles Olson, and Robert Creeley (this episode will screen in our Creeley centennial series in May). In the second episode, which focuses on Allen Ginsberg and Lawrence Ferlinghetti, we see Ginsberg at the City Lights bookshop, in the studio of painter Bob Levyne, at home, and on a nationwide tour, as well as reading from several of his poems.Z<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61399 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61400 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61462 <p>“Costanzo Allione and an Italian film crew completed an hour-long color movie at Jack Kerouac School of Poetics, Naropa Institute, Boulder, Colorado 1978 summer, a serious and spontaneously filmed account of conversations and teachings of home scenes of myself, poets Peter Orlovsky, William S Burroughs, Anne Waldman, LeRoi Jones (Amiri Baraka), Diane di Prima, Timothy Leary, Daniel Ellsberg and Gregory Corso and Lama Chogyam Trungpa –including conversation, singing, nakedness, meditation, student Poets, and readings, & Nuclear Protest arrests at Rocky Flats Plutonium Bomb-trigger Facility nearby.” –Allen Ginsberg<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61465 <p>“Jerry Aronson’s affecting 1994 documentary brings home how much we needed Allen Ginsberg and how much, since his death in 1997, we’ve missed him. More than a poet, Ginsberg was aluminous being – an example of essential humanness. ‘The weight of the world is love,’ says Ginsberg. As this film shows, it was Allen’s ecstatic response to life – mystic, joyful, vulnerable – that made him a mentor to those who knew him and to those that didn’t. Aronson, who knew him quite well, gives us Allen Ginsberg as a hub of love – and not your nonspecific, Aquarian-age love either, but the fleshly, hurting, resilient kind between mother and son, father and son, lover and lover.” –BRIGHT LIGHTS FILM JOURNAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61407 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61468 <p>Allen Ginsberg & Steven Taylor<br />HOUSEHOLD AFFAIRS<br />1988, 33 min, video<br />“In 1987 Sony Corp gave out a batch of Hi8 camcorders to artists and writers around the world, and in return they asked that each make a movie. Allen got one, and HOUSEHOLD AFFAIRS was the result. Edited by Allen’s close friend and accompanist, Steven Taylor, this was filmed over a period of two months, October-November, 1987, and focuses mostly on Julius Orlovsky, who’d been staying as a guest over that period. It provides brilliant insights into the daily routine at the apartment on East 12th Street back in the 80s, with ‘cameos’ from the likes of Harry Smith, Allen’s Russian translator Viktor Sosnora, Jello Biafra, Robert Frank, June Leaf, Carl Solomon, Gordon Ball, Peter Orlovsky, and many more.” –ALLEN GINSBERG PROJECT<br /><br />Colin Still<br />NO MORE TO SAY & NOTHING TO WEEP FOR: AN ELEGY FOR ALLEN GINSBERG<br />1926-1997, 52 min, DCP<br />“[This] informative documentary features Allen Ginsberg’s final television interview as well as remarkable deathbed footage shot by Jonas Mekas. In addition to candid discussions about everything from Ginsberg’s personal life to his literary career, [the film encompasses] home-movie footage of the author as a child as well as archival footage [of] his 1965 reading at Royal Albert Hall and his chanting at the 1968 Democratic Convention. Previously unreleased footage of Ginsberg performing with Paul McCartney is also included, as are interviews with Dick Cavett and William Buckley, and the heartfelt memorial service in which Patti Smith bid her old friend a particularly poignant farewell. In the final sequence, Ginsberg invites filmmaker Mekas to his New York loft, lying on his deathbed and preparing to embark on the ultimate adventure.”–HOWL! HAPPENING<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61401 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61471 <p>“Gyula Gazdag directs a free-wheeling cinéma vérité documentary on Beat poet Allen Ginsber ghosting radical maverick Hungarian writer, poet, and translator Istvan Eorsi on his one-week visit in May 1995 to the Lower East Side. The soul mates talk about various subjects that range from Buddhism to the meaning of First Thought and stroll together around Allen’s neighborhood,where they encounter Gregory Corso, Peter Orlovsky, and Jonas Mekas [who shows them around Anthology Film Archives!]; visit a Korean grocery; reminisce about a poet’s hang-out coffeehouse long gone on MacDougal Street; visit several bookshops and St. Mark’s church; and chat with sincere protesting squatters about to be evicted in Alphabet City. There’s also time for a visit to Ginsberg’s hometown of Paterson, NJ, a chance to hear Allen record “Howl” at the Looking Glass studio, and to hear Allen sing “Father Death Blues” in his humble old-fashioned kitchen.” –Dennis Schwartz<br /><br />Preceded by:<br />Gus Van Sant <br />BALLAD OF THE SKELETONS <br />1997, 4 min, video<br />Ginsberg’s recording of a musical adaptation of his poem “Ballad of the Skeletons” was a surprise hit in 1996 – or maybe not such a surprise, given the fact that his backing band consisted of Paul McCartney, Philip Glass, Lenny Kaye, Marc Ribot, and David Mansfield! The resulting music video was directed by Gus Van Sant, about whose work Ginsberg has this to say, “It’s a great collage. He went back to old Pathé, Satan skeletons, and mixed them up with Rush Limbaugh, and Dole, and the local politicians, Newt Gingrich, and the President. And mixed those up with the atom bomb, when I talk about the electric chair – ‘Hey, what’s cookin?’ – you got Satan setting off an atom bomb, and I’m trembling with a USA hat on, the Uncle Sam hat on. So it’s quite a production, it’s fun.”<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 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61408 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61409 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61474 <p>“[W]ith their new film HOWL, Rob Epstein and Jeffrey Friedman have…forg[ed] a highly original solution to the thorny problems inherent in the task [of adapting a poem into a film]. The approach they take is at once minimal and maximal, stretching far beyond the directors’ documentary roots. (They are perhaps best known for their 1995 collaboration THE CELLULOID CLOSET; Epstein won an Academy Award in 1985 for his direction of THE TIMES OF HARVEY MILK.) By dividing their focus between this iconic poem in performance and the scandalous 1957 First Amendment-rights trial in the San Francisco Municipal Court (City Lights cofounder Lawrence Ferlinghetti was brought up on obscenity charges for publishing ‘Howl’), Epstein and Friedman have created a credible historical account of a seminal American literary event and an ode to free expression in our still censorious age. To borrow<br />another of Ginsberg’s titles, I can only think of HOWL the movie as a ‘reality sandwich’: Words are the reality, lifted from interviews with Ginsberg and from the transcripts of the San Francisco court, combined in a multilevel form. […] Throughout HOWL, Epstein and Friedman combine dramatization and documentary images so fluidly that one experiences what may be a new form– one that’s neither drama nor documentary.” –Steven Watson, ARTFORUM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61402 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61477 <p>“This is a video record of the Buddhist Wake ceremony at Allen Ginsberg’s apartment. You see Allen, now asleep forever, in his bed; some of his close friends; and the wrapping up and removal of Allen’s body from the apartment. You hear [my] description of his last conversation with Allen, three days earlier. You see the final farewell at the Buddhist temple, 118 West 22nd Street, New York City, and some of his close friends: Patti Smith, Gregory Corso, LeRoi Jones-Baraka, Hiro Yamagata, Anne Waldman, and many others.” –Jonas Mekas<br /><br />Preceded by:<br />Jonas Mekas <br />HARE KRISHNA <br />1966, 4 min, 16mm<br />“One Sunday afternoon in New York – beautiful new generation – dancing in the streets of New York – singing ‘Hare Hare’ – filling the streets and the air with love – in the very beginning of the New Age – Allen Ginsberg and Peter Orlovsky (on soundtrack) singing.” –Jonas Mekas<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> Wednesday, June 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61410 <p>“Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule.” –CRITERION</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61454 <p>Peter Whitehead<br />WHOLLY COMMUNION<br />1965, 33 min, 16mm<br />The documentary that effectively launched Peter Whitehead’s career, WHOLLY COMMUNION captures the historic event at the Royal Albert Hall on June 11, 1965, where an audience of 7,000 witnessed the first meeting of American and English Beat poets. Among the performers featured are Allen Ginsberg, Lawrence Ferlinghetti, Alexander Trocchi, Gregory Corso and Adrian Mitchell.<br /><br />Iain Sinclair & Robert Klinkert<br />AH! SUNFLOWER<br />1967, 29 min, 16mm-to-digital<br />This film was commissioned by German television and directed by UK poet and author Iain Sinclair and Dutch filmmaker Robert Klinkert. It chronicles Ginsberg’s 1967 visit to London,and his participation in both the Hyde Park Dope Rally and the Congress of the Dialectics of Liberation at London’s renowned music venue, the Roundhouse. A revealing portrait of Ginsberg and the countercultural London literary scene of the time, AH! SUNFLOWER – which was virtually lost until its release on DVD in 2007, and has since become extremely scarce once again – is perhaps best known for having inspired Sinclair’s first prose work, “The Kodak Mantra Diaries”, which itself recounted the chaotic experience of the film shoot. This rare screening is not to be missed!<br /><br />Total running time: ca. 65 min<br />.<br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61457 <p>Assisted by Adolfas Mekas & Sheldon Rochlin.<br /><br />Poetry interludes written and spoken by Allen Ginsberg. Score by Lucia Dlugoszewski. Folksongs by Sara & Caither Wiley and Tom Sankey. Restored by Anthology Film Archives and The Film Foundation with funding provided by the Hobson/Lucas Family Foundation.<br /><br />Overshadowed by his 16mm diaristic work of later years, Jonas Mekas’s debut film, GUNS OF THE TREES, a feature-length experimental narrative shot on 35mm, is nonetheless a foundational work both within his own filmography and within the nascent New American Cinema movement. As such, it qualifies as a crucial crossroads between the possibilities of narrative filmmaking and the pioneering avant-garde cinema that was to come. Influenced equally by European New Wave and American Beat cinema – specifically SHADOWS (1959) and PULL MY DAISY (1959) – GUNS OF THE TREES is a time capsule of cultural upheavaland of the burgeoning independent film movement of the early 1960s.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61403 <p>U.S. Premiere! <strong>Filmmaker in person!<br /><br /></strong>“NEW NEWS FROM ANOTHER HOME relates to its iconic original like a doppelgängernarrative. Almost fifty years after Chantal Akerman [in NEWS FROM HOME (1976)] read out letters her mother sent her during her first stay in New York over images of the foreign city’s urban canyons, subway stations, and building facades, Borjana Ventzislavova embarks on a personal journey through Akerman’s revered work. Images of the original locations are accompanied by emails from Ventzislavova’s mother, the tone of which is a combination of concern and gentle admonitions (the daughter sometimes writes too rarely and says too little), not unlike Natalia Akerman’s letters. ‘Dear Bube…’ is how the ‘new news’ begins, in which the mother reports about her everyday life in Bulgaria: the weather, health problems, family gatherings.<br /><br />“NEWS FROM HOME is part of the collective visual memory and in this way, Ventzislavova’s reenactment inevitably becomes a comparative study along intertwined timelines. In addition to the mother-daughter relationship, the economic and social changes that have left their mark on the topography are reflected: the capitalization of public space, the omnipresence of the digital, the chaos of traffic. Unlike the one-sided, unvarying correspondence in the original film, the emails here show an active exchange. With the separation from her mother and her child, and probably also influenced by a traumatic past that echoes through Akerman’s blank spaces, Ventzislavova asks questions about her own family history. The fragments that come to light during the search for clues – with the internment of a relative in the Belene labor camp forming a dark marker – sketch out a multi-generational history between the Iron Curtain, emigration, and the years after the fall of Communism. In the glow of an endtime light, this history continues to have an impact in the present.” –Esther Buss, SIXPACK</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61492 <p>Unless otherwise noted, all films are silent.<br />DESISTFILM (1954, 7 min, 16mm, b&w, sound)<br />REFLECTIONS ON BLACK (1955, 12 min, 16mm, b&w, sound. Preserved by Anthology Film Archives.)<br />THE WONDER RING (1955, 4 min, 16mm)<br />FLESH OF MORNING (1956, 25 min, 16mm, b&w)<br />LOVING (1956, 4 min, 16mm)<br />DAYBREAK AND WHITEYE (1957, 8 min, 16mm)<br />WINDOW WATER BABY MOVING (1959, 12 min, 16mm. Preserved by Anthology Film Archives.)<br />Films made during the early, “psychodramatic” period of one of modern cinema’s greatest innovators, including two of his early experiments with sound. <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, June 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61430 <p><strong>Directors/stars Harry Dodge & Silas Howard and producer Steak Housewill be here in person for Q&As after the evening shows on Fri & Sat, June 12 & 13!</strong> <br /><br />Produced by Steakhaus Productions and distributed by Altered Innocence.Groundbreaking when it was made and still fiercely innovative today, BY HOOK OR BYCROOK is a butch and trans buddy film that chronicles three weeks in the life of a handsome,gender-bending, small-town dreamer with a nagging messiah-complex. Emotionally defeatedafter the death of his father, Shy (Silas Howard) heads to the big city to sink himself into a “lifeof crime.” He is quickly distracted by Valentine (Harry Dodge), a deliriously expressive, wise-acre adoptee on a misguided search for his birth mother. The two freaky grifters join forces andlearn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted,anti-authoritarian tale of friendship, trust, and redemption.<br /><br />“Much has transpired since BY HOOK OR BY CROOK premiered at Sundance in 2001,igniting the festival scene with its sweet, scrappy tale of outsider buddies bounding about thebars and back alleys of pre-Boom San Francisco. […] What has remained constant since 2001, however, is BHOBC’s unique oddball vision, clever dialogue and effusive charm. Ahead of itstime in its evocation of an unabashed queer universe that dares to just be, BHOBC tells the storyof two trans-butches, Shy (Howard) and Valentine (Dodge), who collide by chance in the SanFrancisco streets. Shy is immersed in daydreams about the loving father they lost and Valentineis searching for the mother they never met. Like-hearted mischievous souls, the pair stumbles into a series of shambolic shenanigans – along with Valentine’s girlfriend, Billie (Stanya Kahn) –sidestepping sadness with wit and wackadoo. One-time fixtures of the San Francisco subculturalscene, Dodge and Howard were the forces behind beloved performance/gathering spot RedDora’s Bearded Lady. Howard was also one of the rebel rockers in notorious queercore outfitTribe 8. Building on these outlaw legacies, BHOBC displays a true affinity for the misfits andthe marginalized – a rare film not only about, but by, lovable weirdos on the fringe.”–FRAMELINE<br /><br />“Taking pages from the absurdism of Jean Genet, the Beat ethos of Jack Kerouac, and the independent spirit of John Cassavetes, Harry Dodge and Silas Howard’s directorial debut is abutch and trans buddy film that follows Shy and Valentine, two gender outlaws living by anymeans necessary in San Francisco during the Bush years—when violence and isolation arearound every corner, even in the supposed queer mecca of the United States. This inventive,energetic, shot-on-video road movie is teeming with playful scenarios, pathos, and humanity.”–ACADEMY MUSEUM OF MOTION PICTURES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61494 <p>Stan Brakhage<br />DOG STAR MAN<br />1961-64, 74 min, 16mm, silent<br />“DOG STAR MAN elaborates in mythic, almost systematic terms, the worldview of [Brakhage’s] lyrical films. More than any other work of the American avant-garde film, it stations itself within the rhetoric of Romanticism, describing the birth of consciousness, the cycle of the seasons, man’s struggle with nature, and sexual balance in the visual evocation of a fallen titan bearing the cosmic name of the Dog Star Man.” –P. Adams Sitney, VISIONARY FILM<br />“The film breathes and is an organic and surging thing…it is a colossal lyrical adventure-dance of image in every variation of color.” –Michael McClure<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61496 <p>Unless otherwise noted, all films are silent.<br /><br />CAT’S CRADLE (1959, 6 min, 16mm)<br />SIRIUS REMEMBERED (1959, 12 min, 16mm)<br />MOTHLIGHT (1963, 4 min, 16mm. Preserved by Anthology Film Archives.)<br />BLUE MOSES (1963, 11 min, 16mm, sound)<br />PASHT (1965, 5 min, 16mm)<br />FIRE OF WATERS (1965, 10 min, 16mm, sound)<br />THE HORSEMAN, THE WOMAN AND THE MOTH (1968, 19 min, 16mm)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61431 <p><strong>Directors/stars Harry Dodge & Silas Howard and producer Steak Housewill be here in person for Q&As after the evening shows on Fri & Sat, June 12 & 13!</strong> <br /><br />Produced by Steakhaus Productions and distributed by Altered Innocence.Groundbreaking when it was made and still fiercely innovative today, BY HOOK OR BYCROOK is a butch and trans buddy film that chronicles three weeks in the life of a handsome,gender-bending, small-town dreamer with a nagging messiah-complex. Emotionally defeatedafter the death of his father, Shy (Silas Howard) heads to the big city to sink himself into a “lifeof crime.” He is quickly distracted by Valentine (Harry Dodge), a deliriously expressive, wise-acre adoptee on a misguided search for his birth mother. The two freaky grifters join forces andlearn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted,anti-authoritarian tale of friendship, trust, and redemption.<br /><br />“Much has transpired since BY HOOK OR BY CROOK premiered at Sundance in 2001,igniting the festival scene with its sweet, scrappy tale of outsider buddies bounding about thebars and back alleys of pre-Boom San Francisco. […] What has remained constant since 2001, however, is BHOBC’s unique oddball vision, clever dialogue and effusive charm. Ahead of itstime in its evocation of an unabashed queer universe that dares to just be, BHOBC tells the storyof two trans-butches, Shy (Howard) and Valentine (Dodge), who collide by chance in the SanFrancisco streets. Shy is immersed in daydreams about the loving father they lost and Valentineis searching for the mother they never met. Like-hearted mischievous souls, the pair stumbles into a series of shambolic shenanigans – along with Valentine’s girlfriend, Billie (Stanya Kahn) –sidestepping sadness with wit and wackadoo. One-time fixtures of the San Francisco subculturalscene, Dodge and Howard were the forces behind beloved performance/gathering spot RedDora’s Bearded Lady. Howard was also one of the rebel rockers in notorious queercore outfitTribe 8. Building on these outlaw legacies, BHOBC displays a true affinity for the misfits andthe marginalized – a rare film not only about, but by, lovable weirdos on the fringe.”–FRAMELINE<br /><br />“Taking pages from the absurdism of Jean Genet, the Beat ethos of Jack Kerouac, and the independent spirit of John Cassavetes, Harry Dodge and Silas Howard’s directorial debut is abutch and trans buddy film that follows Shy and Valentine, two gender outlaws living by anymeans necessary in San Francisco during the Bush years—when violence and isolation arearound every corner, even in the supposed queer mecca of the United States. This inventive,energetic, shot-on-video road movie is teeming with playful scenarios, pathos, and humanity.”–ACADEMY MUSEUM OF MOTION PICTURES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61445 <p>“What I love about cinema is the space and time it gives us to really look and listen. Cinema offers us ‘Lichblicke’ (flashes of) light – expansions of how we think and see. This carte blanche brings together some of these reflecting lights: we never act alone, but are embedded in a cosmos of many people’s ideas and thoughts. There is nothing more rewarding than discovering a work that enters into dialogue with one’s own. My own films also create such moments of illumination in my everyday life as a filmmaker, because they keep bringing new adventures into my life.” –Viktoria Schmid<br /><br />Peter Miller PROJECTOR OBSCURA (2005, 10 min, 35mm)<br />Lewis Alquist FRAME (1991, 3 min, 16mm)<br />Inger Lise Hansen ADRIFT (2004, 9 min, 16mm-to-35mm)<br />Viktoria Schmid A PROPOSAL TO PROJECT IN SCOPE (2020, 8 min, 35mm)<br />Viktoria Schmid ROJO ŽALIA BLAU (2025, 10 min, 35mm)<br />Eva Claus TO BE A DAY (2025, 8 min, 16mm)<br />Dwinell Grant COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />Viktoria Schmid A TAMA FOR EKTACHROME (2016, 1 min, Super-8mm-to-DCP)<br />Arthur & Corinne Cantrill ISLAND FUSE (1971, 11 min, 16mm)<br />Viktoria Schmid ACHTUNG / HALLO 35 (2010, 2 min, 35mm)<br />Viktoria Schmid GOLAN (2012, 2 min, 16mm)<br />Lisa Truttmann & Elizabeth M. Webb TABULA RASA (2015, 7.5 min, DCP)<br />Anouk De Clercq BLACK (2015, 6 min, 35mm, silent)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61432 <p><strong>Directors/stars Harry Dodge & Silas Howard and producer Steak Housewill be here in person for Q&As after the evening shows on Fri & Sat, June 12 & 13!</strong> <br /><br />Produced by Steakhaus Productions and distributed by Altered Innocence.Groundbreaking when it was made and still fiercely innovative today, BY HOOK OR BYCROOK is a butch and trans buddy film that chronicles three weeks in the life of a handsome,gender-bending, small-town dreamer with a nagging messiah-complex. Emotionally defeatedafter the death of his father, Shy (Silas Howard) heads to the big city to sink himself into a “lifeof crime.” He is quickly distracted by Valentine (Harry Dodge), a deliriously expressive, wise-acre adoptee on a misguided search for his birth mother. The two freaky grifters join forces andlearn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted,anti-authoritarian tale of friendship, trust, and redemption.<br /><br />“Much has transpired since BY HOOK OR BY CROOK premiered at Sundance in 2001,igniting the festival scene with its sweet, scrappy tale of outsider buddies bounding about thebars and back alleys of pre-Boom San Francisco. […] What has remained constant since 2001, however, is BHOBC’s unique oddball vision, clever dialogue and effusive charm. Ahead of itstime in its evocation of an unabashed queer universe that dares to just be, BHOBC tells the storyof two trans-butches, Shy (Howard) and Valentine (Dodge), who collide by chance in the SanFrancisco streets. Shy is immersed in daydreams about the loving father they lost and Valentineis searching for the mother they never met. Like-hearted mischievous souls, the pair stumbles into a series of shambolic shenanigans – along with Valentine’s girlfriend, Billie (Stanya Kahn) –sidestepping sadness with wit and wackadoo. One-time fixtures of the San Francisco subculturalscene, Dodge and Howard were the forces behind beloved performance/gathering spot RedDora’s Bearded Lady. Howard was also one of the rebel rockers in notorious queercore outfitTribe 8. Building on these outlaw legacies, BHOBC displays a true affinity for the misfits andthe marginalized – a rare film not only about, but by, lovable weirdos on the fringe.”–FRAMELINE<br /><br />“Taking pages from the absurdism of Jean Genet, the Beat ethos of Jack Kerouac, and the independent spirit of John Cassavetes, Harry Dodge and Silas Howard’s directorial debut is abutch and trans buddy film that follows Shy and Valentine, two gender outlaws living by anymeans necessary in San Francisco during the Bush years—when violence and isolation arearound every corner, even in the supposed queer mecca of the United States. This inventive,energetic, shot-on-video road movie is teeming with playful scenarios, pathos, and humanity.”–ACADEMY MUSEUM OF MOTION PICTURES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 13 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61498 <p>All films are silent.<br />THE WEIR-FALCON SAGA (1970, 29 min, 16mm)<br />SEXUAL MEDITATION #1: MOTEL (1970, 7 min, 16mm. Preserved by Anthology Film Archives.)<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 /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61433 <p><strong>Directors/stars Harry Dodge & Silas Howard and producer Steak Housewill be here in person for Q&As after the evening shows on Fri & Sat, June 12 & 13!</strong> <br /><br />Produced by Steakhaus Productions and distributed by Altered Innocence.Groundbreaking when it was made and still fiercely innovative today, BY HOOK OR BYCROOK is a butch and trans buddy film that chronicles three weeks in the life of a handsome,gender-bending, small-town dreamer with a nagging messiah-complex. Emotionally defeatedafter the death of his father, Shy (Silas Howard) heads to the big city to sink himself into a “lifeof crime.” He is quickly distracted by Valentine (Harry Dodge), a deliriously expressive, wise-acre adoptee on a misguided search for his birth mother. The two freaky grifters join forces andlearn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted,anti-authoritarian tale of friendship, trust, and redemption.<br /><br />“Much has transpired since BY HOOK OR BY CROOK premiered at Sundance in 2001,igniting the festival scene with its sweet, scrappy tale of outsider buddies bounding about thebars and back alleys of pre-Boom San Francisco. […] What has remained constant since 2001, however, is BHOBC’s unique oddball vision, clever dialogue and effusive charm. Ahead of itstime in its evocation of an unabashed queer universe that dares to just be, BHOBC tells the storyof two trans-butches, Shy (Howard) and Valentine (Dodge), who collide by chance in the SanFrancisco streets. Shy is immersed in daydreams about the loving father they lost and Valentineis searching for the mother they never met. Like-hearted mischievous souls, the pair stumbles into a series of shambolic shenanigans – along with Valentine’s girlfriend, Billie (Stanya Kahn) –sidestepping sadness with wit and wackadoo. One-time fixtures of the San Francisco subculturalscene, Dodge and Howard were the forces behind beloved performance/gathering spot RedDora’s Bearded Lady. Howard was also one of the rebel rockers in notorious queercore outfitTribe 8. Building on these outlaw legacies, BHOBC displays a true affinity for the misfits andthe marginalized – a rare film not only about, but by, lovable weirdos on the fringe.”–FRAMELINE<br /><br />“Taking pages from the absurdism of Jean Genet, the Beat ethos of Jack Kerouac, and the independent spirit of John Cassavetes, Harry Dodge and Silas Howard’s directorial debut is abutch and trans buddy film that follows Shy and Valentine, two gender outlaws living by anymeans necessary in San Francisco during the Bush years—when violence and isolation arearound every corner, even in the supposed queer mecca of the United States. This inventive,energetic, shot-on-video road movie is teeming with playful scenarios, pathos, and humanity.”–ACADEMY MUSEUM OF MOTION PICTURES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61447 <p>“The reduction, the short film as a distillate that enables a new, concentrated gaze, is a central aspect of my cinematic thinking. Equally important is looking back at film history in order to rethink the present. Early cinema and the historical development of film technology are key sources of inspiration for my works, in which I reflect on everyday ways of seeing. With my films, I conduct research as a visual researcher with plenty of freedom to discover the extraordinary in the everyday.” –Viktoria Schmid<br /><br />Morgan Fisher SCREENING ROOM (1968/2026 (state for Anthology Film Archives), 5 min,digital-to-16mm, silent<br />Viktoria Schmid W O W (KODAK) 2018, 2 min, 35mm-to-DCP)<br />Louis Lumière & Auguste Lumière DEMOLITION OF A WALL / DÉMOLITION D’UN MUR (1895, 1.5 min, 16mm. Print courtesy of the Austrian Film Museum.)<br />Alice Guy Blaché PIERRETTE’S ESCAPADES / LES FREDAINES DE PIERRETTE (1900, 2min, 35mm. Restored print courtesy of the Filmoteca de Catalunya.)<br />Viktoria Schmid IT’S A DANCE (2014, 2.5 min, DCP)<br />Lillian Schwartz & Ken Knowlton UFOS (1971, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br />Viktoria Schmid NYC RGB (2023, 7 min, 16mm)<br />Sasha Pirker THE FACE – STOREFRONT FOR ART & ARCHITECTURE (2011, 4 min, digital)<br />Viktoria Schmid A PROPOSAL TO PROJECT IN 4:3 (2016, 2 min, 16mm)<br />Germaine Dulac ÉTUDE CINÉGRAPHIQUE SUR UNE ARABESQUE (1929, 9 min, 35mm)<br />Eva Giolo FLOWERS BLOOMING IN OUR THROATS (2020, 9 min, 16mm-to-DCP)<br />Friedl vom Gröller PARENTS (FATHER/MOTHER) / ELTERN (MUTTER/VATER) (1997-99, 5min, 35mm)<br />Viktoria Schmid KATHARINAVIKTORIA (2011, 1 min, 16mm-to-DCP)<br />Viktoria Schmid KATHARINAVIKTORIA 2(021) (2022, 1 min, 16mm)<br />Thom Anderson MELTING (1965, 6 min, 16mm)<br />Viktoria Schmid FOODFILMS (2010, 8 min, 16mm)<br />Ernst Schmidt Jr. SAALLICHT (1974, 30 sec, 16mm)<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61434 <p><strong>Directors/stars Harry Dodge & Silas Howard and producer Steak Housewill be here in person for Q&As after the evening shows on Fri & Sat, June 12 & 13!</strong> <br /><br />Produced by Steakhaus Productions and distributed by Altered Innocence.Groundbreaking when it was made and still fiercely innovative today, BY HOOK OR BYCROOK is a butch and trans buddy film that chronicles three weeks in the life of a handsome,gender-bending, small-town dreamer with a nagging messiah-complex. Emotionally defeatedafter the death of his father, Shy (Silas Howard) heads to the big city to sink himself into a “lifeof crime.” He is quickly distracted by Valentine (Harry Dodge), a deliriously expressive, wise-acre adoptee on a misguided search for his birth mother. The two freaky grifters join forces andlearn the true meaning of “poise under pressure” in this visually stunning and wonderfully acted,anti-authoritarian tale of friendship, trust, and redemption.<br /><br />“Much has transpired since BY HOOK OR BY CROOK premiered at Sundance in 2001,igniting the festival scene with its sweet, scrappy tale of outsider buddies bounding about thebars and back alleys of pre-Boom San Francisco. […] What has remained constant since 2001, however, is BHOBC’s unique oddball vision, clever dialogue and effusive charm. Ahead of itstime in its evocation of an unabashed queer universe that dares to just be, BHOBC tells the storyof two trans-butches, Shy (Howard) and Valentine (Dodge), who collide by chance in the SanFrancisco streets. Shy is immersed in daydreams about the loving father they lost and Valentineis searching for the mother they never met. Like-hearted mischievous souls, the pair stumbles into a series of shambolic shenanigans – along with Valentine’s girlfriend, Billie (Stanya Kahn) –sidestepping sadness with wit and wackadoo. One-time fixtures of the San Francisco subculturalscene, Dodge and Howard were the forces behind beloved performance/gathering spot RedDora’s Bearded Lady. Howard was also one of the rebel rockers in notorious queercore outfitTribe 8. Building on these outlaw legacies, BHOBC displays a true affinity for the misfits andthe marginalized – a rare film not only about, but by, lovable weirdos on the fringe.”–FRAMELINE<br /><br />“Taking pages from the absurdism of Jean Genet, the Beat ethos of Jack Kerouac, and the independent spirit of John Cassavetes, Harry Dodge and Silas Howard’s directorial debut is abutch and trans buddy film that follows Shy and Valentine, two gender outlaws living by anymeans necessary in San Francisco during the Bush years—when violence and isolation arearound every corner, even in the supposed queer mecca of the United States. This inventive,energetic, shot-on-video road movie is teeming with playful scenarios, pathos, and humanity.”–ACADEMY MUSEUM OF MOTION PICTURES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 14