https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Sun, 21 Jun 2026 16:17:28 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61270 <p><em><strong>FILMMAKER IN PERSON ON MAY 16!</strong></em><br /><br />Filmmaker Colin Still – who has made numerous films over the years about artists, musicians, and especially poets (his films on Robert Creeley and Allen Ginsberg will be shown at Anthology in May and June, in those writers’ respective centennial film series) – met Stan Brakhage in 1996, during the filming of his Ginsberg documentary, NO MORE TO SAY & NOTHING TO WEEP FOR. The two quickly formed an affinity, and Brakhage – who was already in the midst of treatment for the cancer that would take his life seven years later – agreed to sit for an in-depth series of interviews (which extended to Still’s later trips to Colorado). The interviews resulted in more than ten hours of footage, but while some of this material was made public in an abbreviated form in the late-1990s, it’s only last year that Still fully completed the film, which has yet to be seen in the U.S. In its final form, it’s a truly invaluable document of Brakhage. Clearly recognizing a sympathetic chronicler, and most likely already sensing his impending mortality, Brakhage speaks freely, thoughtfully, and, as always, with extraordinary clarity, about everything from his childhood, cultural coming-of-age, and two marriages, to his (ongoing) development as a filmmaker and his attitudes towards his own mortality. Along the way he tells memorable and unfamiliar stories about encounters with a variety of artists, poets, and filmmakers, speaking sometimes from his home, sometimes from the local café where – clearly a fixture – he produced many of his hand-painted films while observing the life of the town around him.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61428 <p>This program surveys Chris Jolly’s short film work, including live-action films and videos made with friends and collaborators in Athens, Georgia; later experimental animations that use a wide variety of techniques (from cut-out, chalkboard, claymation, and string animation to painting, drawing, and video glitching); and a handful of films that create a kind of animation out of brickwalls, painted street signs, and souvenir photos.<br /><br />BEAR 1995, 40 sec, video, silent<br />MONTAGE (WINTER 1995) 1995, 5 min, video<br />BRICKS 1997, 4 min, video<br />THE LIFE AND TIMES OF CHRIS JOLLY 1996, 3.5 min, Super-8mm-to-DCP<br />AMNESIA 1998, 10 min, video<br />ONLY 1996, 3 min, Super-8mm-to-DCP<br />NEW YORK CITY, N.Y. 1997, 4 min, video<br />SEEMUSIC 1997, 6 min, video<br />THUMB MUSIC 1997, 1 min, video. Co-directed by Sara Kirkpatrick.<br />CIRCLES & EXERCISE 1998, 1.5 min, 35mm<br />ABSTRACT PORNOGRAPHIC FILM 2001, 12 min, 16mm-to-DCP<br />CHRIS JOLLY’S AVALANCHE OF ANIMATION 2007, 4 min, video<br />MULTIPLEX 2012, 3 min, 35mm<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61466 <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> Sunday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61416 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61475 <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> Sunday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61417 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61485 <p>Michael Lucio Sternbach<br />CONSECRATION: CHARLES GAYLE<br />2024, 25 min, digital<br />CONSECRATION honors the life, spirit, and music of saxophonist Charles Gayle, whose fearless improvisation and spiritual intensity redefined the possibilities of free jazz. Created as a memorial tribute, it traces Gayle’s journey from humble beginnings to his emergence as a commanding, transcendent voice on the global stage. Through performances, interviews, and archival footage, the film celebrates his unflinching dedication, emotional depth, and transformative artistry. More than a reflection on a singular musician, it is a meditation on the enduring power of music to confront, inspire, and uplift – a fitting homage to a towering figure of creative expression.<br /><br />Michael Lucio Sternbach<br />ECHO: DAVE BURRELL<br />2019, 25 min, digital<br />ECHO is a documentary portrait of the great pianist and composer Dave Burrell, whose singular voice has shaped the course of modern jazz and creative music. Built around an in-depth conversation with Burrell, the film traces his journey from early childhood through his emergence as a key figure in the explosive jazz scene of the 1960s. Burrell reflects on his groundbreaking collaborations with artists including Archie Shepp and Pharoah Sanders, as well as his role in expanding the language of jazz piano. Blending classical training, blues, and fearless improvisation, Burrell helped define the sound of the avant-garde while maintaining a deeply personal lyricism. Part history and part intimate reflection, ECHO celebrates an artist whose innovative spirit continues to resonate across generations of musicians.<br /><br />Laura Sofía Pérez<br />FLOWERS GROW IN MY ROOM: WILLIAM PARKER<br />2024, 19 min, digital<br />This biopic chronicles the early days of William Parker in the Bronx in the early 1970s, via interviews on location, music, archival material, and poetic gestures on film. The film also serves as a window into William’s personal mythology through texts, family, community, music and visual art. The title references a text by Parker from the diary of Little Huey, December 1967:“One day flowers began to grow in my room. Beautiful flowers. Its petals were made from the poetry of life. Flowers made from music, dance, painting. Made of happy children who live in a place where there has never been nor will there ever be a war. A place where every human being is encouraged to shine as bright as possible and not be penalized for it. These flowers are made of the absence of famine and human brutality. I did not ask for these flowers, nor to my knowledge do I water or care for them. They continue to grow and I continue to pick them. They are changing my life.”<br /><br />Michael Lucio Sternbach<br />BRINGING ON THE HALLELUJAH: KIDD JORDAN<br />2020, 32 min, digital<br />BRINGING ON THE HALLELUJAH is a biographical film on legendary tenor saxophonist, educator, and New Orleans native Edward “Kidd” Jordan. A towering figure in creative music for more than six decades, Jordan has influenced generations through both his fearless improvisational voice and his deep commitment to teaching. The film features interviews with Jordan alongside reflections from his family, former students, and the many artists who have collaborated with him throughout his remarkable career. Through these personal stories, the film traces Jordan’s journey from the rich musical traditions of New Orleans to international stages of avant-garde jazz.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61418 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61487 <p>Michael Lucio Sternbach<br />ASHIMBA: A PORTRAIT OF COOPER-MOORE<br />2017, 16 min, digital<br />A celebration of the inventive spirit and boundless creativity of multi-instrumentalist Cooper-Moore, this film blends interviews, performance footage, and intimate glimpses into his studio to explore a musician whose artistry transcends convention, from handcrafted instruments to daring improvisations. Through his collaborations and singular vision, Cooper-Moore transforms sound into a living conversation, where rhythm, melody, and imagination intertwine. ASHIMBA offersan immersive look at a visionary whose music is both playful and profound, inviting audiences to experience the joy, curiosity, and transformative power that define one of contemporary jazz’s most original voices.<br /><br />Michael Lucio Sternbach<br />REFLECTIONS: AMINA CLAUDINE MYERS<br />2021, 20 min, digital<br />This short biopic offers an intimate journey into the life and music of pianist, composer, and vocalist Amina Claudine Myers. Blending interviews, archival footage, and performances, the film illuminates Myers’s singular voice, where improvisation, storytelling, and spiritual depth converge. From her early training to her groundbreaking recordings and collaborations in avant-garde jazz, Myers’s music emerges as both a personal and collective expression of joy, resilience,and creativity. REFLECTIONS celebrates not only her remarkable artistry but also the lasting inspiration she imparts, revealing a musician whose influence continues to resonate across generations and stages worldwide.<br /><br />Michael Lucio Sternbach<br />THE MYSTERY OF THE GARDENER’S GROOVE<br />2017, 20 min, digital<br />This film examines the musical brotherhood of bassist William Parker and drummer Hamid Drake, renowned worldwide as one of the premier rhythm sections. The film explores their deep kinship and the shamanistic sound ceremonies they perform across the globe. Through interviews, performance, and behind-the-scenes insight, it offers a comprehensive look at their music, which becomes a meditation on rhythm, creativity, and the profound lessons life teachesus. THE MYSTERY OF THE GARDENER’S GROOVE celebrates the joy, spontaneity, and enduring magic of their collaborative improvisation.<br /><br />Michael Lucio Sternbach<br />30 YEARS OF VISION<br />2026, 30 min, digital<br />30 YEARS OF VISION celebrates three decades of the Vision Festival, one of the world’s most vital gatherings devoted to creative music and the arts. Produced by Arts for Art, the film traces the festival’s journey from its humble beginnings to its place today as the premier international festival for free jazz and avant-garde expression. Through archival footage and reflections from artists and organizers, the film highlights the community and artistic spirit that have sustained the festival for thirty years. Under the leadership of Patricia Nicholson Parker and Arts for Art, the Vision Festival has brought together generations of musicians, dancers, poets, and visual artists.<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61419 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61499 <p>Stan Brakhage<br />SONGS 1-14<br />1964-65, ca. 53 min, 8mm-to-16mm, silent<br />“SONG 1: Portrait of a lady. SONGS 2 & 3: Fire and a mind’s movement in remembering. SONG 4: Three girls playing with a ball. Hand painted. SONG 5: A childbirth song. SONG 6: The painted veil via moth-death. SONG 7: San Francisco. SONG 8: Sea creatures. SONG 9: Wedding source and substance. SONG 10: Sitting around. SONG 11: Fires, windows, an insect, a lyre of rain scratches. SONG 12: Verticals and shadows caught in glass traps. SONG 13: A travel song of scenes and horizontals. SONG 14: Molds, paints and crystals.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /><br /></p> Tuesday, June 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61420 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61500 <p>Stan Brakhage<br />MY MOUNTAIN: SONG 27 1968, 25 min, 8mm-to-16mm<br />MY MOUNTAIN: SONG 27: PART 2: RIVERS 1969, 33 min, 8mm-to-16mm<br />SONGS 28-29 1966/86, 21 min, 8mm-to-16mm<br />“MY MOUNTAIN: SONG 27: A study of Arapahoe Peak in all the seasons of two years’ photography…the clouds and weathers that shape its place in landscape – much of the photography a-frame-at-a-time. SONG 27: PART 2: RIVERS: A series of eight films intended to echo the themes of MY MOUNTAIN: SONG 27. SONG 28: Scenes as texture. SONG 29: A portrait of the artist’s mother.” –Stan Brakhage<br />Total running time: ca. 85 min.<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> <br /><br /></p> Tuesday, June 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61421 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61422 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61381 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61423 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, June 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61379 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61424 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61382 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61425 <p><strong>REVIVAL RUN – NEW ANTHOLOGY RESTORATION! FILMMAKER IN PERSON ON FRI, JUNE 19, SAT, JUNE 20, AND WED, JUNE 24!<br /></strong><br />Awarded “Best Feature” at both the New York and Chicago Underground Film Festivals, 2001.<br />Rarely seen in NYC in the 25 years since its launch at the 2001 edition of the (dearly missed) New York Underground Film Festival, CURSE OF THE SEVEN JACKALS remains the sole feature by filmmaker Chris Jolly, a veteran projectionist of the repertory film scene. Shooting with practically no budget in Athens, Georgia, Jolly cast local non-actors, including the musician Kevin Barnes (Of Montreal) and artist Jill Carnes, in his singular minimalist southern low-fi sci-fi “epic”. The film’s (non)action is hauntingly punctuated with a soundtrack by Laura Carter (ElfPower), Eric Harris (The Olivia Tremor Control), Jeff Mangum (Neutral Milk Hotel), Heather McIntosh (Circulatory System) and Chris Jolly himself – a virtual “who’s who” of the Athens music scene of the 1990s/early 2000s.<br /><br />The one and only 16mm print has been housed in Anthology’s collection for years now, and we’re overjoyed to have finally completed a brand-new digital restoration. To celebrate this new restoration, and the 25th anniversary of the film’s NYC debut, we’ll be presenting it in a week-long revival run alongside a program of Jolly’s (even more unknown but equally remarkable) short films!<br /><br />“In this bizarrely minimalist film, synthetic blood test-subject Bernard (Kevin Barnes) waits in a suburban motel room between injections, trying to earn enough money to realize his dream of traveling to Egypt. Unfortunately, the synthetic blood in his veins may cause him to go insane.”–MUBI<br /><br />“CURSE OF THE SEVEN JACKALS is a film that seemed to come from out of nowhere. Mostly set in the hotel room that the crew inhabited during the two-week shoot, CURSE tells the story of Bernard, a synthetic blood test patient who dreams of traveling to Egypt, land of the Pharaohs. Helen, as played by the sublime non-actress Jill Carnes, is the hotel maid who takes Bernard out on the town for down-home karaoke and out-of-body bingo experiences. Like a semi-conscious sci-fi dream as directed by early Andy Warhol, filmmaker Chris Jolly’s seminal American underground feature was made with an antiquated Auricon camera that recorded the soundtrack directly on the film. As disarmingly funny as it is aesthetically challenging, CURSE stands tall as one of the last great 16mm underground features.” –Andrew Lampert<br /><br /><strong>Chris Jolly will be here in person for Q&As after the 7:15 screenings on Fri, June 19, Sat, June 20, and Wed, June 24. The Sat discussion will be moderated by artist, archivist, and writer Andrew Lampert, and the Wed discussion will be moderated by Anthology's Archivist John Klacsmann, who is responsible for the new restoration! </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, June 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61383 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61478 <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> Friday, June 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61469 <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 />Plus:<br />Colin Still WHAT WOULD YOU DO IF YOU LOST IT? (1995/2026, 6.5 min, DCP)<br /><br />Total running time: ca. 95 min.<br /><br /><em><strong>Steven Taylor, who collaborated with Ginsberg on the making of HOUSEHOLD AFFAIRS, will be here in person for both screenings!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61384 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, June 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61501 <p>Preserved by Anthology Film Archives.<br /><br />“All that is, is light.” –Johannes Scotus Erigena<br /><br />“[Brakhage shot] THE TEXT OF LIGHT in (through) a large crystal ashtray. This magnificent film – a slow montage of iridescent splays of light and shifting landscapes of sheer color, which acknowledges debts to Turner and American Romantic landscape painters as well as to James Davis, the pioneer film-maker of light projections – is the culmination of Brakhage’s exploration of anamorphosis.” –P. Adams Sitney, VISIONARY FILM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, June 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61385 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61472 <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> Saturday, June 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61386 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, June 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61463 <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> Saturday, June 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61502 <p>“Includes the complete DOG STAR MAN and a full extension of the singularly visible themes of it. Inspired by that period of music in which the word ‘symphonia’ was created and by the thought that the term, as then, was created to name the overlap and enmeshing of suites, this film presents the visual symphony that DOG STAR MAN can be seen as and also all the suites of which it is composed. But as it is a film, and a work of music, the above suggests only one of the possible approaches to it. For instance, as ‘cinematographer,’ at source, means ‘writer of movement,’ certain poetic analogies might serve as well. The form is conditioned by the works of art which have inspired DOG STAR MAN, its growth of form by the physiology and experiences (including experiences of art) of the man who made it. Finally, it must be seen for what it is.” –Stan Brakhage<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, June 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61387 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61388 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, June 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61389 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61503 <p>Preserved by Anthology Film Archives.<br /><br />EYES<br />(1970, 36 min, 16mm, silent)<br />“After wishing for years to be given the opportunity of filming some of the more ‘mystical’ occupations of our Times – some of the more obscure Public Figures which the average imagination turns into ‘bogeymen’... viz.: Policemen, Doctors, Soldiers, Politicians, etc.: – I was at last permitted to ride in a Pittsburgh police car, camera in hand, the final several days of September 1970.” –Stan Brakhage<br /><br />DEUS EX<br />(1971, 34 min, 16mm, silent)<br />“I have been many times very ill in hospitals; and I drew on all that experience while making DEUS EX in West Penn. Hospital of Pittsburgh; but I was especially inspired by the memory of one incident in an emergency room of San Francisco’s Mission District: while waiting for medical help, I had held myself together by reading an April-May 1965 issue of ‘Poetry Magazine’: and the following lines from Charles Olson’s ‘Cole’s Island’ had especially centered the experience, ‘touchstone’ of DEUS EX, for me: Charles begins the poem with the statement ‘I met Death –’ And then: ‘He didn’t bother me, or say anything. Which is / not surprising, a person might not, in the circumstances; / or at most a nod or something. Or they would. But they wouldn’t, / or you wouldn’t think to either, / it was Death. And / He certainly was, the moment I saw him.’” –Stan Brakhage<br /><br />THE ACT OF SEEING WITH ONE’S OWN EYES<br />(1971, 32 min, 16mm, silent)<br />“Brakhage, entering, with his camera, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes.” –Hollis Frampton<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Monday, June 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61390 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, June 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61391 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61480 <p><strong>This screening will be introduced by poet Anne Waldman!</strong><br /><br />“In 1975, in an America defined by both the self-mythologizing pomp of the upcoming bicentennial and ongoing sociopolitical turmoil, Bob Dylan and a band of troubadours –including luminaries such as Joan Baez, Allen Ginsberg, and Joni Mitchell – embarked on a now-legendary tour known as the Rolling Thunder Revue, a freewheeling variety show that was part traveling counterculture carnival, part spiritual pilgrimage. Martin Scorsese blends behind-the-scenes archival footage, interviews, and narrative mischief, with a magician’s sleight of hand, into a zeitgeist-defining cultural record that is as much a concert “documentary” as it is a slippery, chimerical investigation into memory, time, truth, and illusion. At the center of it all is the magnetic Dylan, a sphinxlike philosopher-poet singing, with electrifying conviction, to the soul of an anxious nation.” –CRITERION<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=06&year=2026#showing-61392 <p>U.S. Premiere!<br /><br />A Grasshopper Film release.<br /><br />“A child emerges from a crashed car and picks up a turtle to whom no less than the origin of humanity is explained during an extended walk-and-talk set against a gorgeous sunset. This child is Moon, who wanders a post-apocalyptic world conspicuously devoid of adults, a mystery the movie never answers. The latest feature by Ben Rivers deepens the filmmaker’s longstanding thematic preoccupations (freedom and utopia, alternative existences and imagined futures), at times recalling earlier works like SLOW ACTION and AH, LIBERTY! even as it ventures into new realms of narrative exploration. Anchored by newcomer Moon Guo Barker’s magnetic performance, this enigmatic, ever-shifting road movie is also a showcase for Rivers’s awe-inspiring view of the natural world, inhabited by his charismatic young actors across a panoply of sequences – some amusing, some unnerving, and in the case of a stealth Don DeLillo adaptation, both.” –NEW YORK FILM FESTIVAL<br /><br />“Many scenes are wordless and gestural in nature, yet the artist’s long-held fascination with language returns, including a remarkable extended scene adapted from Don DeLillo’s one-actplay ‘The Word for Snow’. Shot in a mix of color and black-and-white Super 16mm, with Rivers’s typically sterling eye, the images we see are supernal and consistently imbued with wonderment. An important contribution to work made with children – Rivers has noted Alanis Obomsawin and Gunvor Nelson as explicit influences – and a meaningful exploration of the ways in which stories can be formed and transmitted, MARE’S NEST is a film of plants and animals, of car graveyards and caves, of games and imagination, and, ultimately, a film of great beauty and mystery.” –Andréa Picard, TIFF<br /><br />“There is a fragility to [Rivers’s] films – shot on celluloid and hand-processed – that can make them like handling ancient relics, works that threaten to break down as you watch. But that perishability accounts for their extraordinary vitality. With its emphasis on people and places seemingly existing outside of History, Rivers’s cinema doesn’t just illuminate alternative lifestyles, but an alternative way of thinking about the medium and its ability to conjure something Moon and MARE’S NEST both radiate: an inordinate curiosity for the unknown.”–Leonardo Goi, THE FILM STAGE</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, June 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61556 <p>“Arguably Stanley Kubrick’s most perfectly conceived and executed film, this 1956 noirish thriller utilizes an intricate overlapping time structure to depict the planning and execution of a plot to steal $2 million from a racetrack. Adapted by Kubrick from Lionel White’s ‘Clean Break’, with an extraordinary gallery of B players: Sterling Hayden, Marie Windsor, J.C. Flippen, Elisha Cook Jr., Coleen Gray, Vince Edwards, Ted de Corsia, Joe Sawyer, and the unforgettable Timothy Carey. Orson Welles was so taken with this film that after seeing it he declared Kubrick could do no wrong; not to be missed.” –Jonathan Rosenbaum, CHICAGO READER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61560 <p>“Anthony Quinn got his first starring role in BLACK GOLD as a good-hearted American Indian living a hard-scrabble ranch life with his wife and dreaming of seeing his thoroughbred mare, Black Hope, become a Kentucky Derby winner. The mare is unable to walk following the birth of her colt and has to be shot. When the couple, who by now have adopted an orphaned Chinese boy, strike gold on their property and reverse their fortunes, they rename the colt Black Gold and pin their hopes for victory on him. […] The end title of the picture reads: ‘Suggested by the winning of the 1924 Kentucky Derby by the horse Black Gold’, the offspring of a promising horse owned by Native Americans Al and Rosa Hoots. According to legend, it was Al’s deathbed wish that Rosa train Black Gold for a Kentucky Derby victory. The horse exceeded Al’s wishes by capturing both the Kentucky and Louisiana Derby crowns, the only horse to do so until 1996. The widowed Rosa became the second woman to ever own a horse that raced to victory in the ‘Run for the Roses.’ […] Besides Quinn, the most impressive credentials on BLACK GOLD belong to director Phil Karlson [who] would go on to much critical success in the 1950s with a series of realistic, violent crime films: KANSAS CITY CONFIDENTIAL (1952), 99 RIVER STREET (1953), and THE PHENIX CITY STORY (1955).” –Rob Nixon, TURNER CLASSIC MOVIES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, July 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61563 <p>“A series of murders at a race track. A dead man who appears to come back alive to seek revenge years after his execution. Thanks to Franz Josef Gottlieb’s superior direction, THE RACETRACK MURDERS is the best of all Bryan Edgar Wallace adaptations, a true gem of a Krimi [German crime film]…. Gottlieb loves long sweeping camera movements and bizarre angles. We see a fight scene filmed through the legs of the fighters; reflections captured in pools of rain; [and] the exciting atmosphere at a race course including the bookmakers’ bizarre secret hand communication.” –Holger Haase, HALLO, HIER SPRICHT…<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61710 <p>Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S PALACE is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61557 <p>“Arguably Stanley Kubrick’s most perfectly conceived and executed film, this 1956 noirish thriller utilizes an intricate overlapping time structure to depict the planning and execution of a plot to steal $2 million from a racetrack. Adapted by Kubrick from Lionel White’s ‘Clean Break’, with an extraordinary gallery of B players: Sterling Hayden, Marie Windsor, J.C. Flippen, Elisha Cook Jr., Coleen Gray, Vince Edwards, Ted de Corsia, Joe Sawyer, and the unforgettable Timothy Carey. Orson Welles was so taken with this film that after seeing it he declared Kubrick could do no wrong; not to be missed.” –Jonathan Rosenbaum, CHICAGO READER<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, July 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61715 <p>Adolfas Mekas’s second feature film was this adaptation of a Mark Twain short story. Hatfield is a carpetbagger who marries the daughter of a prominent plantation owner in order to humiliate him. He mistreats his wife, but she stoically refuses to complain to her father. Finally, he ties her to a tree and lets bloodhounds tear off her clothes. The girl’s father dies of embarrassment, and, shortly thereafter, she gives birth to a son who grows up and heads west to avenge his mother.<br /><br />“The first half has the deceptively rustic humor of Twain, as a dastardly Northerner marries the daughter of a mellow Southern plantation owner. The man (played by Hurd Hatfield) mistreats the girl to get revenge on the father…even tying her up to a tree with bloodhounds ripping her clothes. All this is done with the right use of mellow silent film techniques of obvious emoting, with the balance of mock seriousness, lampoon, and sentiments sans slush. […] Mekas again shows he has a way with parody and he gets disarmingly innocent performances from his actors.” –VARIETY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, July 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61564 <p>“A series of murders at a race track. A dead man who appears to come back alive to seek revenge years after his execution. Thanks to Franz Josef Gottlieb’s superior direction, THE RACETRACK MURDERS is the best of all Bryan Edgar Wallace adaptations, a true gem of a Krimi [German crime film]…. Gottlieb loves long sweeping camera movements and bizarre angles. We see a fight scene filmed through the legs of the fighters; reflections captured in pools of rain; [and] the exciting atmosphere at a race course including the bookmakers’ bizarre secret hand communication.” –Holger Haase, HALLO, HIER SPRICHT…<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61719 <p>Bruce Baillie’s magnum opus, the four-reel masterpiece QUICK BILLY (1970), found Baillie synthesizing his previous work to conjure up a breathtakingly ambitious, visually exquisite meditation on the cycle of life. Purporting, for its first three reels, to represent an adaptation of the Tibetan Book of the Dead, QUICK BILLY embodies Baillie’s unsurpassed camera eye, his mastery of editing and superimposition, his profoundly philosophical sensibility, as well as his mischievous sense of humor and bold sense of play. The latter qualities manifest most dramatically in the fourth and final reel, which – in a dramatic stylistic about-face – morphs into a kind of Beat parody of a melodramatic silent-era Western.<br /><br />“One of the masterpieces of the American avant-garde…a rare ‘synoptic’ film that tries to construct an entire cosmos. [It] immerses viewers in a timeless flow of indistinct forms that nearly obliterates self and place – the clarity of an erotic encounter ends when the woman leans forward into darkness. The finale is a parody western in which Baillie satirizes the aggression the rest of his film abjures.” –Fred Camper, CHICAGO READER<br /><br />Preceded by:<br />Toney W. Merritt <br />LONESOME COWBOY <br />1979, 30 sec, 16mm<br />“My late friend and fellow filmmaker, Dean Snider and I had a contest to see who could make the shortest film with a sound track. LONESOME COWBOY, a self portrait, clocked in at 29 seconds. Dean’s film, HEY!, was a single frame with a fleeting image of bales of hay. The prize? The loser, me, paid for breakfast at the U.S. Restaurant on Columbus Avenue.” –Toney W. Merritt<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61567 <p>Wiseman’s 1985 documentary is about the Belmont Race Track, one of the world’s leading racetracks for thoroughbred racing. The film highlights the training, maintaining and racing of thoroughbred horses. Everyday occurrences are shown: in the backstretch – the grooming, feeding, shoeing, and caring for horses and the preparation for races; at the practice track the various aspects of training, exercising, and timing the horses; at the paddock – the pre-race presentation of the horses; and in the grandstand – betting and watching the races. The film also includes sequences showing the variety of work done by trainers, jockeys, jockey agents, grooms, hot walkers, stable hands, and veterinarians.<br /><br />“Wiseman wanders around Belmont finding ripe, illustrative material, most of which fits into the abiding themes of his films, the melancholia peculiar to industrial societies, the emotional wages of materialism. Horse racing is a small industry comparatively, but it serves as a rich microcosm.” –Tom Shales, WASHINGTON POST<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61722 <p>“Staged at the Factory with a rented horse, this is a homoerotic parody of the Western genre. The acting out of Ronald Tavel’s script (followed with difficulty from cue cards held up off-screen) takes place on a set crowded with evidence of the film’s production: mounted lights, a boom mic, assorted onlookers, and the Factory doors and telephone all visible in the frame. The film may be shown with either two or three reels. The ‘action’ occurs in Reels 1 & 3; Reel 2, a 33-minute ‘documentary’ shot of the horse standing in front of the Factory doors, may be shown either in the middle or at the end of the film.” –Callie Angell<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61561 <p>“Anthony Quinn got his first starring role in BLACK GOLD as a good-hearted American Indian living a hard-scrabble ranch life with his wife and dreaming of seeing his thoroughbred mare, Black Hope, become a Kentucky Derby winner. The mare is unable to walk following the birth of her colt and has to be shot. When the couple, who by now have adopted an orphaned Chinese boy, strike gold on their property and reverse their fortunes, they rename the colt Black Gold and pin their hopes for victory on him. […] The end title of the picture reads: ‘Suggested by the winning of the 1924 Kentucky Derby by the horse Black Gold’, the offspring of a promising horse owned by Native Americans Al and Rosa Hoots. According to legend, it was Al’s deathbed wish that Rosa train Black Gold for a Kentucky Derby victory. The horse exceeded Al’s wishes by capturing both the Kentucky and Louisiana Derby crowns, the only horse to do so until 1996. The widowed Rosa became the second woman to ever own a horse that raced to victory in the ‘Run for the Roses.’ […] Besides Quinn, the most impressive credentials on BLACK GOLD belong to director Phil Karlson [who] would go on to much critical success in the 1950s with a series of realistic, violent crime films: KANSAS CITY CONFIDENTIAL (1952), 99 RIVER STREET (1953), and THE PHENIX CITY STORY (1955).” –Rob Nixon, TURNER CLASSIC MOVIES<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, July 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=07&year=2026#showing-61725 <p>“Consciously self-reflexive and co-written by Hopper and REBEL WITHOUT A CAUSE screenwriter Stewart Stern, THE LAST MOVIE follows a Hollywood movie crew in the midst of making a western in a remote Peruvian village. When production wraps, Hopper, as the baleful stuntman Kansas, remains, attempting to find redemption in the isolation of Peru and the arms of a former prostitute. Meanwhile, the local Indians have taken over the abandoned set and begun to stage a ritualistic re-enactment of the production – with Kansas as their sacrificial lamb. Among the most storied productions of the New Hollywood Era, Hopper was given carte blanche by Universal for his next directorial feature after the tremendous commercial success of EASY RIDER, and the writer-director-star took the money and ran – literally – staging THE LAST MOVIE in Peru at farthest remove from the Hollywood machine, with an on-screen entourage in tow that included Kris Kristofferson, Julie Adams, Stella Garcia, Peter Fonda, Dean Stockwell, Toni Basil, Russ Tamblyn, Michelle Phillips, and director Samuel Fuller. Although it won a special award at the Venice Film Festival, THE LAST MOVIE would effectively end Hopper’s career for many years – the Hollywood establishment gleefully writing him off as a self-indulgent madman. Yet the movie remains thrillingly innovative and remarkably contemporary – influenced greatly by the work of Bruce Conner and the French New Wave, as well as the Pop and Abstract artists Hopper revered.” –Jessica Hundley<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, July 04