https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 14 Jan 2025 18:45:11 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58793 <p>In his seminal, St. Clair Bourne follows an African-American minister in training as he travels through the South. Filmed in Atlanta, the Mississippi Delta, and Chicago, this documentary looks at the Black church from within, and how it affects African-American life in both urban and rural America. Edited by Madeline Anderson, the acclaimed director of I AM SOMEBODY, LET THE CHURCH SAY AMEN! looks at segments of the African-American religious experience, but also explores the universal situation of a young man trying to find his role in life.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Tuesday, January 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58779 <p>Restored by The Museum of Modern Art with support from The Film Foundation, and mastered in HD from a 35mm negative.<br /><br />“Bill Gunn manufactured a seductive and radical Trojan Horse with his highly-stylized, experimental take on a vampire film. Boldly misappropriating the funds intended to deliver just another formulaic Blaxploitation horror film to Hollywood, he instead offered a meditation on eroticism, Afro-diasporic identities, religion and power. GANJA & HESS is an aesthetic feast, pairing the regal Marlene Clark and Duane Jones (NIGHT OF THE LIVING DEAD) in a narrative that involves a cursed dagger, murder, anthropology and madness. An unprecedentedly complex and intimate depiction of Black sexuality, the film is also an exercise in cultural autonomy.” –Yasmina Price<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Tuesday, January 14 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58727 <p>Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.<br /><br />“The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, [Hermann] Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Wednesday, January 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58780 <p>Restored by The Museum of Modern Art with support from The Film Foundation, and mastered in HD from a 35mm negative.<br /><br />“Bill Gunn manufactured a seductive and radical Trojan Horse with his highly-stylized, experimental take on a vampire film. Boldly misappropriating the funds intended to deliver just another formulaic Blaxploitation horror film to Hollywood, he instead offered a meditation on eroticism, Afro-diasporic identities, religion and power. GANJA & HESS is an aesthetic feast, pairing the regal Marlene Clark and Duane Jones (NIGHT OF THE LIVING DEAD) in a narrative that involves a cursed dagger, murder, anthropology and madness. An unprecedentedly complex and intimate depiction of Black sexuality, the film is also an exercise in cultural autonomy.” –Yasmina Price<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Wednesday, January 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58728 <p>All films in this program are b&w and silent.<br /><br />THE CONJUROR / L’ILLUSIONISTE FIN DE SIÈCLE (1899, 1 min, 35mm)<br />TRIP TO THE MOON / VOYAGE DANS LA LUNE (1902, 12 min, 35mm)<br />THE PALACE OF THE ARABIAN NIGHTS / LE PALAIS DES MILLE ET UNE NUITS (1905, 21 min, 35mm)<br />MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE (1906, 18 min, 35mm)<br />DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF À L’HUILE (1907, 5 min, 35mm)<br /><br />Magician, master of special effects, Méliès broke with the realistic (Lumière) mode of cinema and celebrated unlimited fantasy and artificiality (in its best sense).<br /><br />“All early filmmakers were fascinated at first with the camera’s possibilities for tricks and illusionism. In fact, many were magicians before becoming filmmakers. But it was Georges Méliès, the French magician, producer of spectacles, actor, artist, and poet, who had the imagination and enthusiasm to fully exploit its marvels. His films are spectacles that amaze and delight. He created fantastic visions – all of them curious, some of them comic.” –MUSEUM OF MODERN ART<br /><br />Total running time: ca. 60 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Wednesday, January 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58794 <p>In his seminal, St. Clair Bourne follows an African-American minister in training as he travels through the South. Filmed in Atlanta, the Mississippi Delta, and Chicago, this documentary looks at the Black church from within, and how it affects African-American life in both urban and rural America. Edited by Madeline Anderson, the acclaimed director of I AM SOMEBODY, LET THE CHURCH SAY AMEN! looks at segments of the African-American religious experience, but also explores the universal situation of a young man trying to find his role in life.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Wednesday, January 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58787 <p>“With its startlingly violent, stark opening scene of vigilante justice at the hands of a statuesque, defiant beauty, COFFY instantly explodes any preconceptions of the victimized woman on screen and presents Hollywood’s first female action star. Released just three weeks prior to CLEOPATRA JONES…COFFY is a raw, no-holds-barred attack on the racist, sexist power structures both above and underground. Beginning as simple revenge for her sister’s involuntary, debilitating drug addiction, Coffy’s quest uncovers deep corruption throughout a system designed to protect its citizens. Dependable Nurse Coffin leads a double life as a seductive avenging angel, defending the defenseless…so that she can ultimately turn the tables on the sadistic kingpin and his motley confederacy who are perhaps partly standing in for that titillated male audience that must pay a steep price for objectifying women.” – BG, HARVARD FILM ARCHIVE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Thursday, January 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58874 <p>Naomi Levine<br />YES<br />1963, 24 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“[A] lyrical and romantic attempt to express the joy of being…that one moment we feel almost everyday when everything is clearly belonging to a hugeness…enormous and strong cycle…we feel like running to the clouds and sprawling in the warm sun beaten fields. It is a plea to go on because these simple things do exist.” –Naomi Levine<br />“It is like no other movie you ever saw. The rich sensuousness of her poetry floods the screen. Nobody has ever photographed flowers and children as Naomi did. No man would be able to get her poetry, her movements, her dreams. These are Naomi’s dreams, and they reveal to us beauty which we men were not able to rip out of ourselves – Naomi’s own beauty.” –Jonas Mekas, VILLAGE VOICE<br /><br />Naomi Levine<br />JEREMELU<br />1964, 2.5 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“An exercise in film editing. It is the repetitive use of 3 and 4 frame cuts spliced into 5 and 6 frame cuts, countering in subject to the sound track, which is a visual word poem in white images, created by Steve Durkee, and recorded by me from a reading by Steve, read for me alone in his church.” –Naomi Levine<br /><br />Jonas Mekas<br />WALDEN (DIARIES, NOTES, AND SKETCHES): REEL 3<br />1968-69, 22 min, 16mm. Preserved by Anthology Film Archives.This reel of Mekas’s 1960s film diary begins with a visit to Ken and Flo Jacobs’s loft by himself and Naomi Levine.<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58797 <p>Haile Gerima<br />CHILD OF RESISTANCE<br />1973, 36 min, 16mm. Print courtesy of the UCLA Film & Television Archive.<br />“Inspired by a dream director Gerima had after seeing Angela Davis handcuffed on television, CHILD OF RESISTANCE follows a woman who has been imprisoned as a result of her fight for social justice. In a film that challenges linear norms of time and space, Gerima explores the woman’s dreams for liberation and fears for her people through a series of abstractly rendered fantasies.” –Allyson Nadia Field<br /><br />Zózimo Bulbul<br />SOUL IN THE EYE / ALMA NO OLHO<br />1973, 11 min, 35mm-to-DCP<br />“Inspired by Black Panther Eldridge Cleaver’s book ‘Soul on Ice’ and dedicated to John Coltrane, SOUL IN THE EYE marks the beginning of Black Brazilian films. The film is a metaphor about slavery and the search for freedom through inner transformation, in a game inspired by concretism.” –INTERNATIONAL FILM FESTIVAL ROTTERDAM<br /><br />Sara Gómez<br />EXTRA HOURS AND VOLUNTARY WORK / SOBRE HORAS EXTRAS Y TRABAJO VOLUNTARIO<br />1973, 9 min, 16mm-to-DCP. Digitally restored by Vulnerable Media Lab as part of the Sara Gómez Project.A critical short film about the Cuban policy of unpaid overtime and “voluntary work” as part of plans for economic growth. At the 13th Congress of the CTC, the Cuban state trade union movement, in 1973, workers from the textile industry question the value and necessity of this extra work.<br /><br />Total running time: ca. 60 min.<br /><br /><strong>The screening on Sun, Jan 12 will be followed by a conversation between film professor Nzingha Kendall and guest-curator Yasmina Price!</strong><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Thursday, January 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58875 <p>Naomi Levine<br />YES<br />1963, 24 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“[A] lyrical and romantic attempt to express the joy of being…that one moment we feel almost everyday when everything is clearly belonging to a hugeness…enormous and strong cycle…we feel like running to the clouds and sprawling in the warm sun beaten fields. It is a plea to go on because these simple things do exist.” –Naomi Levine<br />“It is like no other movie you ever saw. The rich sensuousness of her poetry floods the screen. Nobody has ever photographed flowers and children as Naomi did. No man would be able to get her poetry, her movements, her dreams. These are Naomi’s dreams, and they reveal to us beauty which we men were not able to rip out of ourselves – Naomi’s own beauty.” –Jonas Mekas, VILLAGE VOICE<br /><br />Naomi Levine<br />JEREMELU<br />1964, 2.5 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“An exercise in film editing. It is the repetitive use of 3 and 4 frame cuts spliced into 5 and 6 frame cuts, countering in subject to the sound track, which is a visual word poem in white images, created by Steve Durkee, and recorded by me from a reading by Steve, read for me alone in his church.” –Naomi Levine<br /><br />Jonas Mekas<br />WALDEN (DIARIES, NOTES, AND SKETCHES): REEL 3<br />1968-69, 22 min, 16mm. Preserved by Anthology Film Archives.This reel of Mekas’s 1960s film diary begins with a visit to Ken and Flo Jacobs’s loft by himself and Naomi Levine.<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58739 <p>Young gay British playwright Joe Orton became the upstart toast of the London theater scene in the 1960s, thanks to subversive and sexually provocative stage comedies like “What the Butler Saw”, “Loot”, and “Entertaining Mr. Sloane”. His uncomfortable secret was not his homosexuality, however, but his preference for cruising in public toilets while his long-suffering boyfriend, writer Kenneth Halliwell, sat angrily waiting for his return. The two men’s relationship culminated in their violent deaths, which is where Stephen Frears’s acclaimed 1987 drama begins. As The New Yorker’s theater critic John Lahr (Wallace Shawn) interviews Orton’s agent (Vanessa Redgrave) about Orton and Halliwell’s life together for a book, flashbacks trace the highs and lows of the two writers’ toxic coupling. Gary Oldman and Alfred Molina earned rave reviews for their pitch perfect portrayals of Orton and Halliwell. Acclaimed British playwright Alan Bennett’s screenplay combines elements of mystery, biopic, and true crime genres to intoxicating effect, anticipating and influencing the wave of dark gay dramas that followed during the New Queer Cinema movement of the 1990s. A gem and a must-see for both Orton aficionados and the uninitiated alike.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58729 <p>The films on this program are hand-tinted and silent.<br /><br />A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 min, 35mm)<br />THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 min, 35mm)<br />VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE À TRAVERS L’IMPOSSIBLE (1904, 20 min, 35mm)<br />THE HUNCHBACK FAIRY / LA FÉE CARABOSSE (1906, 13 min, 35mm)<br /><br />Total running time: ca. 50 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58800 <p>An adaptation of Sembène’s own 1973 novel, XALA offers a hilarious, caustic satire of political corruption under an inept patriarchy. On the night of his wedding to a third bride, government official El Hadji Abdoukader Beye is rendered impotent. After suspecting that one of his other wives has placed a curse (xala) on him, and after enlisting a local marabout for a cure, El Hadji must face the possibility that he deserves the infliction for his part in the embezzlement of public funds and for helping to keep Senegal in French hands. When even uglier reasons are revealed behind his loss of manhood, El Hadji endures a final ignominy from a group of disenfranchised citizens that he has conveniently overlooked. Adeptly combining elements from African folklore and popular cinema, Sembène uses XALA to indict the immoral hubris of entitled male authority figures and Senegalese sellouts.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58876 <p>Naomi Levine<br />YES<br />1963, 24 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“[A] lyrical and romantic attempt to express the joy of being…that one moment we feel almost everyday when everything is clearly belonging to a hugeness…enormous and strong cycle…we feel like running to the clouds and sprawling in the warm sun beaten fields. It is a plea to go on because these simple things do exist.” –Naomi Levine<br />“It is like no other movie you ever saw. The rich sensuousness of her poetry floods the screen. Nobody has ever photographed flowers and children as Naomi did. No man would be able to get her poetry, her movements, her dreams. These are Naomi’s dreams, and they reveal to us beauty which we men were not able to rip out of ourselves – Naomi’s own beauty.” –Jonas Mekas, VILLAGE VOICE<br /><br />Naomi Levine<br />JEREMELU<br />1964, 2.5 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“An exercise in film editing. It is the repetitive use of 3 and 4 frame cuts spliced into 5 and 6 frame cuts, countering in subject to the sound track, which is a visual word poem in white images, created by Steve Durkee, and recorded by me from a reading by Steve, read for me alone in his church.” –Naomi Levine<br /><br />Jonas Mekas<br />WALDEN (DIARIES, NOTES, AND SKETCHES): REEL 3<br />1968-69, 22 min, 16mm. Preserved by Anthology Film Archives.This reel of Mekas’s 1960s film diary begins with a visit to Ken and Flo Jacobs’s loft by himself and Naomi Levine.<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58783 <p>“The Memphis-based Stax Records organized the Wattstax benefit concert to remember the 1965 Watts uprising that shook the predominantly Black Los Angeles neighborhood just seven years prior. In the summer of 1972, documentary producer David L. Wolper brought his crew to the Los Angeles Memorial Coliseum to record the thrilling performances of gospel, soul, and funk artists such as The Staple Singers, The Bar-Kays, and Isaac Hayes, for an essential concert film celebrating the possibilities of liberation through music. Grounded by Jesse Jackson as the event’s MC, WATTSTAX is intercut with standup performances from Richard Pryor and crucial street-level conversations with Watts residents.” –ACADEMY MUSEUM<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, January 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58730 <p>All films in this program are b&w and silent.<br /><br />EXTRAORDINARY ILLUSIONS / ILLUSIONS FUNAMBULESQUES (1903, 3 min, 16mm)<br />THE ENCHANTED WELL / LE PUITS FANTASTIQUE (1903, 3 min, 16mm)<br />TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 min, 35mm)<br />THE APPARITION / LE REVENANT (1903, 3 min, 16mm)<br />THE DOCTOR’S SECRET / HYDROTHÉRAPIE FANTASTIQUE (1909, 11 min, 35mm)<br />SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D’UN BUVEUR (1909, 5 min, 35mm)<br /><br />Total running time: ca. 55 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Sunday, January 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58776 <p>With a stunning mix of the surreal and the naturalistic, Djibril Diop Mambéty paints a vivid, fractured portrait of Senegal in the early 1970s. In this French New Wave-influenced fantasy-drama, two young lovers long to leave Dakar for the glamour and comforts of France, but their escape plan is beset by complications both concrete and mystical. Characterized by dazzling imagery and music, the alternately manic and meditative TOUKI BOUKI is widely considered one of the most important African films ever made.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, January 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58877 <p>Naomi Levine<br />YES<br />1963, 24 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“[A] lyrical and romantic attempt to express the joy of being…that one moment we feel almost everyday when everything is clearly belonging to a hugeness…enormous and strong cycle…we feel like running to the clouds and sprawling in the warm sun beaten fields. It is a plea to go on because these simple things do exist.” –Naomi Levine<br />“It is like no other movie you ever saw. The rich sensuousness of her poetry floods the screen. Nobody has ever photographed flowers and children as Naomi did. No man would be able to get her poetry, her movements, her dreams. These are Naomi’s dreams, and they reveal to us beauty which we men were not able to rip out of ourselves – Naomi’s own beauty.” –Jonas Mekas, VILLAGE VOICE<br /><br />Naomi Levine<br />JEREMELU<br />1964, 2.5 min, 16mm. Preserved by Anthology Film Archives with support from the National Film Preservation Foundation.<br />“An exercise in film editing. It is the repetitive use of 3 and 4 frame cuts spliced into 5 and 6 frame cuts, countering in subject to the sound track, which is a visual word poem in white images, created by Steve Durkee, and recorded by me from a reading by Steve, read for me alone in his church.” –Naomi Levine<br /><br />Jonas Mekas<br />WALDEN (DIARIES, NOTES, AND SKETCHES): REEL 3<br />1968-69, 22 min, 16mm. Preserved by Anthology Film Archives.This reel of Mekas’s 1960s film diary begins with a visit to Ken and Flo Jacobs’s loft by himself and Naomi Levine.<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58801 <p>An adaptation of Sembène’s own 1973 novel, XALA offers a hilarious, caustic satire of political corruption under an inept patriarchy. On the night of his wedding to a third bride, government official El Hadji Abdoukader Beye is rendered impotent. After suspecting that one of his other wives has placed a curse (xala) on him, and after enlisting a local marabout for a cure, El Hadji must face the possibility that he deserves the infliction for his part in the embezzlement of public funds and for helping to keep Senegal in French hands. When even uglier reasons are revealed behind his loss of manhood, El Hadji endures a final ignominy from a group of disenfranchised citizens that he has conveniently overlooked. Adeptly combining elements from African folklore and popular cinema, Sembène uses XALA to indict the immoral hubris of entitled male authority figures and Senegalese sellouts.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, January 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58784 <p>“The Memphis-based Stax Records organized the Wattstax benefit concert to remember the 1965 Watts uprising that shook the predominantly Black Los Angeles neighborhood just seven years prior. In the summer of 1972, documentary producer David L. Wolper brought his crew to the Los Angeles Memorial Coliseum to record the thrilling performances of gospel, soul, and funk artists such as The Staple Singers, The Bar-Kays, and Isaac Hayes, for an essential concert film celebrating the possibilities of liberation through music. Grounded by Jesse Jackson as the event’s MC, WATTSTAX is intercut with standup performances from Richard Pryor and crucial street-level conversations with Watts residents.” –ACADEMY MUSEUM<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, January 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58788 <p>“With its startlingly violent, stark opening scene of vigilante justice at the hands of a statuesque, defiant beauty, COFFY instantly explodes any preconceptions of the victimized woman on screen and presents Hollywood’s first female action star. Released just three weeks prior to CLEOPATRA JONES…COFFY is a raw, no-holds-barred attack on the racist, sexist power structures both above and underground. Beginning as simple revenge for her sister’s involuntary, debilitating drug addiction, Coffy’s quest uncovers deep corruption throughout a system designed to protect its citizens. Dependable Nurse Coffin leads a double life as a seductive avenging angel, defending the defenseless…so that she can ultimately turn the tables on the sadistic kingpin and his motley confederacy who are perhaps partly standing in for that titillated male audience that must pay a steep price for objectifying women.” – BG, HARVARD FILM ARCHIVE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, January 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58803 <p>One of the opening shots of WANDA features a small silhouette in a white outfit – blonde hair, a white purse – walking across a vast black coal field. The feelings of inadequacy and self-denigration are perhaps what cause Wanda (Barbara Loden) to wander in rural Pennsylvania. She deserts her family and roams local bars with curlers in her hair and a small handbag, and clings to a man who, finding her useful for a brief period, drags her into his criminal schemes. Filmed in a vérité style, and inspired by a real-life news item that deeply affected Loden, WANDA is a compassionate meditation on marginalization, as its protagonist navigates a world that has no place carved out for her.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW</strong></a></p> Friday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58807 <p>According to its director, Paula Delsol – who was, alongside Agnès Varda, one of the few female French New Wave filmmakers, and who remains virtually unknown today – could have been entitled “Castles in Spain”. It’s a portrait of Jacquie, a young woman living hand-to-mouth as she hitchhikes to Camargue. Estranged from her family, thanks to her rejection of the domestic life her mother wants for her, and disillusioned after a romance with a guitarist (Pierre Barouh), Jacquie sleeps around, becoming something of a kept woman. Depicting a free young woman of the 1960s, LA DÉRIVE paints a vivid portrait of a character who encompasses aspects drawn from both Delsol and her remarkable lead actress, Jacqueline Vandal.<br /><br />“In a certain way, Jacquie is a forerunner of film characters like…Mona in Varda’s VAGABOND: self-determined, non-conformist, free of illusions. François Truffaut compared the film’s boldness to Ingmar Bergman’s first works.” –Sabine Schöbel & Florian Widegger, AUSTRIAN FILM ARCHIVE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58810 <p>“For me France is the kitchen, the living room, the bathroom and my bedroom.” The first feature by the great Ousmane Sembène, BLACK GIRL depicts the broken dream of Diouana, from the streets of Dakar in search of a job to her isolation within the suffocating domesticity of her employers, “Monsieur” and “Madame”, on the French Riviera. Through repetitive gestures, imposed orders, and humiliations, it is in this confined space that colonial violence resonates most strongly. The French title, LA NOIRE DE… (THE BLACK GIRL OF…), suggests Diouana’s fading identity, as part of the colonial enterprise of dehumanization of which we become, as film spectators, eternal witnesses.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58814 <p>“My name is Joy. I’m about 5’3, measurements 36-24-36, and English. My little baby’s name is Jonny… Things I like most: plenty of clothes and money.” POOR COW centers on Joy, a single 18-year-old mother who moves from place to place with her son under her arm, from an abusive boyfriend to her prostitute aunt to another bad-news boyfriend, engaging in promiscuous relationships with older men who spoil her. The story could be an inverted gender version of the Kitchen sink realist film – a genre that has typically focused on angry young men disillusioned with modern society. Joy, however, has no big dreams and consequently no big disappointments. POOR COW hinges on the contradiction between the wish to drift away from middle-class stability, infused with a new spirit of female freedom, and the desire for small material comforts and a measure of domestic happiness.<br /><br />“[A scene featuring a] deflated hair-piece which Joy despairingly ‘can’t go out without!’ and cost her ‘five and eleven’ demarks Joy’s status in the narrative; a single, working-class mother with no way to get by but her looks. It is a scene literal yet beguiling. This ornamental hair-piece, abstract and banal, is the coveted commodity yet also embodies the source of Joy’s income. In its abject state the promises of this object – the ability to pay rent and buy food, the dreamworld of another life, the valuation of her gender, the possibility of beauty – are untenable, unstable, and lacking.” –Carolyn Funk, MUBI NOTEBOOK<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58764 <p>Based on Burckhardt’s own absurd experience of being mugged in Red Hook in the late 1970s, IT DON’T PAY TO BE AN HONEST CITIZEN centers on the efforts of Warren (Reed Bye) to retrieve a precious canister of film. Though the muggers (one of whom is played by a then-unknown Vincent D’Onofrio) are caught immediately, the reel remains elusively out of his grasp. To recover it he must spar with the neighborhood’s most illustrious residents – legit and otherwise. Filmed in a (now largely vanished) Red Hook, IT DON’T PAY is populated by a mind-boggling array of countercultural luminaries, including Allen Ginsberg, William S. Burroughs, Bill Rice, and painter Rackstraw Downes.<br /><br />Preceded by:<br />MARTEN’S BAR (1976, 5 min, 16mm. Poem by Edwin Denby.)<br /><br />Total running time: ca. 85 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58818 <p>“Yasuko, Yoko, Koichi, and Bill are high school freshmen who engage in group sex to find out the reasons for their dissatisfaction and desensitization. They want to discover how they can ‘beat’ sex and therefore win against adult society. When 15-year-old Yasuko, who has become pregnant, tells her classmates that she has slept with their teacher, she is accused of betrayal and of breaking their vow not to have sex just for pleasure. Yasuko declares that she has felt something only because she prostituted herself. In order to confirm whether this is true, and encouraged by her peers, Yasuko becomes a prostitute and sets out on a journey of self-exploration. […] Interspersed with actual suicide notes and employing several alienation effects, GUSHING PRAYER is a penetrative allegory of the political dissatisfaction and spiritual void that came in the wake of the failed 1960s student movement.” –INTERNATIONAL FILM FESTIVAL ROTTERDAM<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58823 <p>DON’T CRY, PRETTY GIRLS! depicts the odyssey of a young woman (Jaroslava Schallerová, star of the Czech New Wave classic VALERIE AND HER WEEK OF WONDERS) through the streets of Budapest on the eve of her marriage to a factory worker (Mark Zala). The film captures a precise moment of social change when young people were caught in the historical, cultural, and economic contradictions between the rigidity of the Eastern bloc – work, factory life, and family expectations – and a beat-influenced generation inspired by love, music, and freedom. The almost pamphlet-like song lyrics rhyme with the editing, and the camera captures – reflected on a young girl’s face – this moment of hesitation between two models of existence.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58766 <p>“Death Penalty to Landlords!” Sometimes in a modern city it’s easier to beat a murder rap than it is to get a new lease. George (Mark Boone Junior) is trying to hold on to his modest bike shop despite the efforts of his slum landlord, Albert Streck (Richard Litt), to terminate his lease on a technicality and evict him. When Streck turns nasty, hiring first a lawyer and then even an arsonist, George turns to his friends, a street-wise crew of Lower East Side loyalists, for help in beating Streck at his own game.<br /><br />Preceded by:<br />CONDEMNED (1976, 6 min, 16mm. Co-directed by Geoff Davis.)<br /><br />Total running time: ca. 100 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, January 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58827 <p>Restored by Cineteca Nazionale and Cineteca di Bologna with Associazione Alberto Grifi.<br /><br />“ANNA is an astonishing, nearly four-hour documentary about a 16-year-old homeless junkie, eight months pregnant, whom the filmmakers discovered in Rome’s Piazza Navona. Mainly shot on then-newfangled video (which at times gives the black-and-white images a ghostly translucence), it documents the interactions between the beautiful, clearly damaged, often dazed teenager and the directors, who take her in partly out of compassion and partly because she’s a fascinating subject for a film. Far from straightforward vérité, this self-implicating chronicle includes reenactments of the first meeting, explicit attempts to direct its subject, and frequent intrusions from behind the camera…. ANNA cuts between long, often discomfiting domestic scenes (including an interminable delousing in the shower) and equally protracted café discussions back in the square, where the unruly cross talk among hippies, bums, bourgeoisie, and angry young men touches on the movie’s key themes of obligation and intervention: between filmmakers and their subjects, the state and its citizens, fellow members of society.” –Dennis Lim, ARTFORUM<br /><br />“With Anna, as with certain of Warhol’s subjects we never heard from again…the electrifying presence of filmed beauty and the obsessive gaze itself form a vivid and mysterious historical record: of ‘stars’ who exist purely as stars, leaving no trace of lives continued offscreen, outside their moment of celluloid fame. Their only record is their record on film. Almost unknown for the past thirty-six years outside the country where it was made, ANNA contains within it, as if under lock and key, seemingly every seed and secret component of that mythical and explosive era, the 1970s in Italy.” –Rachel Kushner, ARTFORUM<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, January 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58768 <p>TOMORROW ALWAYS COMES<br />2006, 49 min, video. Written, co-directed by, and starring Royston Scott.<br />A 1940s campy film noir sex romp comedy thriller. Harlem, Chinatown, Park Ave. It’s the same old story. Boy meets girl, boy gets dead, girl gets rich. Real rich. With Bill Rice, George Kuchar, James Tigger! Ferguson, Armen Ra, Mimi Gross, Megan Pearson, Mariana Newhard, Kimberly Lewis, Meghan Love, Jenny Weaver, Amalia Rosa, and Royston Scott. Music by Marc Ribot and Brett Flute.<br /><br />THE FRANKIE LYMON’S NEPHEW STORY<br />1991, 34.5 min, digital. Written, co-directed by, and starring Mr. Fashion (Gerard Little).<br />A graceful cat in a leopard print jacket who lived fast and died slow, Frankie dances, prances, and jives into your heart – only to fall prey to the ills of stardom and nose-dive into the cruel world of drugs and obscurity, leaving several wives to battle over his estate.<br /><br />With:<br />HOLD ON, I’M COMING (1984, 3.5 min, video)<br />CELEBRITY WITH HELEN AND SANDY (1978-2022, 1.5 min, 16mm-to-digital)<br /><br />Total running time: ca. 90 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, January 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58830 <p>The first part of Ulrike Ottinger’s “Berlin Trilogy” – it would be followed by FREAK ORLANDO (1981) and DORIAN GRAY IN THE MIRROR OF THE YELLOW PRESS (1984) – TICKET OF NO RETURN tells the story of a rich young woman who buys a one-way ticket to Berlin in order to define her destiny on her own terms, specifically through her passion for alcohol: “her passion to drink, live to drink, a drunken life. Life of a drunkard.” Alcohol becomes both a site of social commentary on the condition of women (where female drunkenness is seen as degrading and repulsive) and the vehicle for wandering through spaces, social classes, and chance encounters – always in high heels, often on steep stairs.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58770 <p>This program comprises eight works that – with the exception of MORIR EN NEW YORK – are being screened publicly for the first time!<br /><br />UNSAFE FOR MORE THAN 25 MEN (1988-2020, 11 min, 16mm-to-digital)<br />3 DAYS OF HURRICANE SANDY (2013, 5 min, digital. With music by Marc Ribot.)<br />CUBA 99 (1999-2008, 6.5 min, 16mm-to-digital)<br />NEGOMBO (2014-19, 8 min, digital)<br />JawwZZZ (2024, 15 min, digital. Soundtrack by Lary 7.)<br />JAPAN 2002, OR WHERE THE F@#K IS FUJI (2002, 11.5 min, 16mm-to-digital. With music by Enomoto Kenichi.)<br />PORT OF NEWARK (2022, 4 min, digital)<br />MORIR EN NEW YORK (1975, 19.5 min, 16mm-to-digital)<br /><br />Total running time: ca. 85 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2025#showing-58833 <p>Restored in 4K by Niki Charitable Art Foundation, under the supervision of Arielle de Saint Phalle, with funding provided by Dior at L’Immagine Ritrovata laboratory.<br /><br />A recently rediscovered gem of 1970s French avant-garde cinema by renowned artist Niki de Saint Phalle. UN RÊVE is a dark, Alice in Wonderland-like coming-of-age tale, in which young Camelia’s wish to grow up results in a journey through the adult world. In search of treasure, she instead encounters a chaos of metallic structures, wars, sexual obsessions, and giant prop phalluses in the form of cannons and feather dusters – all realized through Saint Phalle’s inimitable craft and humor.<br /><br />Preceded by:<br />Maya Deren & Alexander Hammid MESHES OF THE AFTERNOON 1943, 14 min, 16mm. Music by Teiji Ito from 1959.<br /><br />Total running time: ca. 100 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, January 27