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, 17 May 2026 11:04:48 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61253 <p>SHIGEKO KUBOTA: TWO-WAY COMMUNICATION, PROGRAM 1: <br />“VIDEO IS VENGEANCE OF VAGINA”: A SELECTION OF WOMEN’S FILM & VIDEO PROGRAMMED BY SHIGEKO KUBOTA<br /><br />Janice Tanaka BEAVER VALLEY (1980, 7 min, video)<br />“In this angry answer to the expectations advertising culture places on women and their bodies, Tanaka deftly edits commercial images and sound-bite slogans to underscore the message such images carry: that women exist to please men, as wives, mothers, and lovers. Tanaka balances such mainstream images with black and white footage of herself lying naked next to her own doubled image, rejecting the mainstream model of female sexuality that regularly consists of seductive glances and suggestive poses arranged and pre-ordained for the male gaze of the spectator. The video reveals the commodification of women and their desire.” –VIDEO DATA BANK<br /><br />Janice Tanaka MUTE (1981, 2.5 min, video)<br />“In MUTE, fragmented images of the female body, recalling sensuous landscapes, suggest the objectification of women in a culture that renders them silent.” –VIDEO DATA BANK<br /><br />Lynda Benglis FEMALE SENSIBILITY (1973, 13 min, video)<br />“Two women, faces framed in tight focus, kiss and caress. Their interaction is silent, muted by Benglis’ superimposition of a noisy, distracting soundtrack of appropriated AM radio…. The tape’s challenge may, in part, direct itself at the viewer. While one might find it easy to dismiss the gender clichés of the soundtrack, it may be harder to resolve the hermetically-sealed indifference and disconcerting ambiguity (lovers? performers?) of the two women. By turns conscious of the camera and seemingly oblivious to it, their dreamy indifference is a rebuke to the disruptive chatter hovering around them, and perhaps also to the expectations of those who watch.” – ELECTRONIC ARTS INTERMIX<br /><br />Dara Birnbaum KISS THE GIRLS: MAKE THEM CRY (1979, 7 min, video)<br />“Birnbaum manipulates off-air imagery from the TV game show Hollywood Squares in KISS THE GIRLS: MAKE THEM CRY, a bold deconstruction of the gestures of sexual representation in pop cultural imagery and music. […] The result is a powerful, layered analysis of the meaning of the gestures of mass cultural idioms.” –ELECTRONIC ARTS INTERMIX<br /><br />Susan Milano & Ann Volkes DIFFERENT STROKES FOR DIFFERENT FOLKS (1978, 18 min, video)<br />“Ann Volkes calls the numbers of men who have advertised in the back pages of Screw Magazine in search of a model for this sexually explicit video installation, which she created with Susan Milano for the Erotic Arts Video Exhibition at Global Village in New York City. The video mocks and critiques attitudes towards pornography.” –MEDIA BURN<br /><br />Amy Greenfield DIRT (1971, 3 min, 16mm-to-digital)<br />“A woman is dragged and dragged through dirt with increasing violence. As the violence increases, so does the beat and intensity of the harsh, electronic sound. The audience can identify deeply with the woman’s movements and so experience the depth of this violence.” –Amy Greenfield.<br /><br />Amy Greenfield TRANSPORT (1971, 5.5 min, 16mm-to-digital)<br />“In the film, a man, then a woman, are lifted from the ground and are carried through space. Most of the film is seen upside-down against the white sky. The man and woman never meet. Their relationship is made entirely through the film editing. They move between ground and sky, between death (dead weight), through gravity (conflict weight) toward space (floating space). Finally, they break out into space and are borne along as if flying through the white air.” –Amy Greenfield<br /><br />Shirley Clarke THE TEE PEE VIDEO SPACE TROUPE: THE FIRST YEARS (1970-71, 16 min, video)<br />“This video journal is an informal time capsule of the downtown cultural and artistic milieu in New York. Part 1 documents a party given by John Lennon and Yoko Ono. Clarke is an active voice behind the camera as she records this celebrity-rich event, with guests including Andy Warhol and Jack Nicholson. In Parts 2 & 3, Arthur C. Clarke performs a celestial experiment with a video camera on the roof of the Chelsea Hotel, while influential theologian Alan Watts waits silently, creating ‘an exercise in Zen.’” –adapted from Andrew Gurian’s “Thoughts on Shirley Clarke and The TP Videospace Troupe”<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61285 <p>Colin Still<br />BLACK MOUNTAIN BLUES: A FILM ON ROBERT CREELEY<br />2025, 94 min, digital<br />Filmed primarily throughout 2002, Colin Still’s BLACK MOUNTAIN BLUES allows Robert Creeley to reflect on his life and work with a great deal of patience and unobtrusive guidance. Rarely, if ever, screened, the film provides an invaluable view of Creeley in what would be the last years of his life (he died on March 30, 2005). Equally significant is the commentary from Charles Bernstein and Susan Howe, two of Creeley’s closest colleagues in later life, as well as from poet, musician, artist, and teacher Bobbie Louise Hawkins (1930-2018), who was married to Creeley for nearly 20 years and contributed visual art to many of his 1970s publications with Black Sparrow Press. The wonderfully eccentric and sadly unheralded Vincent Ferini appears throughout as well. A lifelong denizen of Gloucester, Massachusetts, Ferini figures prominently throughout Charles Olson’s <em>Maximus Poems</em> as he was an early reader and champion of the poet. It was Ferini who first put Olson in touch with Robert Creeley, leading to a correspondence and relationship that would go on to shape midcentury American writing.<br /><br /><strong>Colin Still will be here in person for both screenings!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61259 <p>As part of the series "Shigeko Kubota: Two-Way Communication", and inspired by Kubota’s Video Talk Shows (1976-83), we will host a special panel discussion – featuring Barbara London, Bob Harris, and Lumi Tan – that will reflect on Kubota’s legacy and the ways she used video as a bridge for community building and as a platform to encourage creative experimentation, individual expression, and cross-cultural solidarity among artists.<br /><br />The panel discussion is free of charge!</p> Sunday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61255 <p>SHIGEKO KUBOTA: TWO-WAY COMMUNICATION, PROGRAM 2:<br />“TOKYO-NEW YORK VIDEO EXPRESS”: VIDEOTAPE EXCHANGE BETWEEN U.S. AND JAPAN<br /><br />Toshio Matsumoto MONA LISA (1973, 3 min, 16mm-to-digital)<br />“MONA LISA is Dadaism in the vein of Duchamp’s ready-mades, even using the Da Vinci painting favored by the Frenchman. Cubism also informs Matsumoto’s short pieces. The analyzing of objects through their dismantling is a theme present in his later shorts, namely the three films he made in the early 1980s: CONNECTION, SHIFT, and RELATION.” –UBUWEB<br /><br />Idemitsu Mako WHAT A WOMAN MADE (1973, 11 min, video)<br />“In Idemitsu’s seminal feminist video, the image of a tampon swirling in a toilet bowl slowly appears, as the artist speaks about the troubling roles, responsibilities and expectations of women in a clinical tone. Minimal in composition, WHAT A WOMAN MADE is a candid critique of the treatment of women in Japanese society.” –ELECTRONIC ARTS INTERMIX<br /><br />Hakudo Kobayashi LAPSE COMMUNICATION (1972-80, 16 min, video)<br />“Writes Kobayashi, ‘In 1972 I started a series of participatory performances where the first person performs an ambiguous action in front of a recording camera; the next person watches the recorded footage and imitates the action in front of a recording camera; the third person repeats the same procedure using the second person’s video recording; and so on. Within the repetition of recording and action, the original gesture is transformed by the participants’ misunderstanding, interpretation, and memory.’ Kobayashi was a central figure in Video Hiroba, a collective founded in 1972.” –ELECTRONIC ARTS INTERMIX<br /><br />Steina & Woody Vasulka GOLDEN VOYAGE (1973, 14 min, video. Courtesy of BERG Contemporary and the Vasulka Foundation.)<br />“In this early work, an electronic homage to Magritte, the Vasulkas demonstrate fundamental imaging techniques. Inspired by Magritte’s painting ‘The Golden Legend’, this exercise employs a three-camera set-up, with images layered through a multikeyer, to create the illusion of objects moving through spatial planes. Loaves of French bread embark on a surreal video journey through electronic landscapes, finally arriving in an abstract space. The animated loaves add a sense of playfulness to this early articulation of illusory space and three-dimensionality in video.” –ELECTRONIC ARTS INTERMIX<br /><br />Shigeko Kubota VIDEO GIRLS AND VIDEO SONGS FOR NAVAJO SKY (1973, 26 min, video)<br />“Kubota narrates this surrealistic video diary of her month-long sojourn with a Navajo family on a reservation in Chinle, Arizona. She talks to the women as they cross the desert in a horse-drawn carriage to fetch water from the nearest well, and captures footage of tribal songs and dances, children’s pranks and a local rodeo. Despite the language barrier between the Japanese Kubota and the English-speaking Native Americans, the artist befriends her subjects through sheer force of personality. Kubota relates to her subjects less like a documentary observer and more like a distant relative, with humor and affection.” –ELECTRONIC ARTS INTERMIX<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61279 <p>Bruce Jackson & Diane Christian<br />WILLY’S READING<br />1982, 16 min, 16mm<br />Filled with the levity and sweetness of new life, this family picture invites us into a sun-dappled afternoon of poetry and stories as Creeley shares anecdotes from his life interspersed with readings to his newborn son.<br /><br />Bruce Jackson & Diane Christian<br />CREELEY<br />1988, 59 min, 16mm<br />A ranging yet intimate portrait of Robert Creeley in his 50s, CREELEY mirrors the itinerancy of the poet’s own life, with interviews, conversations, and readings taking place over several years and in many locations, including Naropa, Harvard, and of course, Buffalo, where Creeley and his growing family began to settle in the 1980s. Bruce Jackson and Diane Christian, longtime friends of the Creeleys, map the constellations of Creeley’s personal and working life, showing that the two were so entwined as to be indistinguishable.<br /><br />Grayson Goga & Grace Stalley<br />FOR WILL<br />2016, 13 min, digital<br />In this film – which functions as a profound complement to the earlier WILLY’S READING – we catch up with Will Creeley, now in his 30s with a son of his own, as he reflects on his father’s life and continuing influence, ten years after the poet’s death in 2005.<br /><br />Total running time: ca. 95 min.<br /><br /><strong>The screening on Wed, May 13 will be presented by Will Creeley and Grayson Goga!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61282 <p>Richard Moore’s series of USA: POETRY films – produced for and aired on public television – adopt a style poised between vérité and theatricality to achieve rich portraits of many of the most prominent figures of mid-sixties American poetry, from both sides of the era’s so-called poetry wars, with segments on Robert Lowell and Anne Sexton in the mix with features on Charles Olson and Ed Sanders. ROBERT CREELEY is filmed at the Creeley’s home in Placitas, New Mexico, around the time when Robert was working on the poems that would furnish the collection <em>Words</em>. Bobbie Louise Hawkins, who was then married to Creeley, appears prominently throughout the entry. In the spirit of Creeley’s lifelong dedication to the work of his friends and peers, a dual segment featuring Robert Duncan and John Wieners is included, to provide some context for what is meant by “company.”<br /><br />Richard O. Moore<br />USA: POETRY: ROBERT CREELEY (1966, 29 min, 16mm-to-DCP)<br />USA: POETRY: ROBERT DUNCAN & JOHN WIENERS (1966, 29 min, 16mm-to-DCP)<br /><br />Total running time: ca. 65 min.<br /><br /><strong>The screening on Wed, May 13 will be presented by poet Charles Bernstein!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61257 <p>SHIGEKO KUBOTA: TWO-WAY COMMUNICATION, PROGRAM 3:<br />VIDEO AS “TWO-WAY COMMUNICATION”: KUBOTA’S COLLABORATION WITH THE NEW YORK EXPERIMENTAL FILM & VIDEO COMMUNITY<br /><br />Shigeko Kubota CURATOR DIARY (1974, 11.5 min, video. Courtesy of Shigeko Kubota Video Art Foundation.)<br />“CURATOR DIARY documents Kubota’s appearance on a cable-TV video art telethon for Anthology Film Archives. In the video, Kubota introduces herself as a video artist and declares, ‘But tonight – watch out! I am the video curator of Anthology Film Archives Video Program.’ Together with video artist Maxi Cohen, she hosted this fundraising event for Anthology and presented an evening of tapes, engaging in conversations with video artists Ed Emshwiller, Skip Blumberg, and Joan Logue, as well as Ethel, Edin, and Iana Velez. CURATOR DIARY illustrates how Kubota created a public platform for dialogue around video art on public broadcast television.” –Gladys Lou<br /><br />Shigeko Kubota SoHo SoAp/RAIN DAMAGE (1985, 8 min, video)<br />“This chapter of Kubota’s ongoing video journal chronicles the aftermath of a flood that destroyed Kubota and Nam June Paik’s loft studio, after a roofer left work unfinished during a rainstorm. Kubota tells this story, and the ensuing struggles with their co-op, as a subjective, tragicomic documentary. […] As Kubota states, ‘It rains in my heart, it rains on my video art…Art imitates nature, nature imitates art.’” –ELECTRONIC ARTS INTERMIX<br /><br />Shigeko Kubota GEORGE MACIUNAS WITH TWO EYES 1972, GEORGE MACIUNAS WITH ONE EYE 1976 (1994, 7 min, video)<br />“In this rare portrait of Fluxus founder George Maciunas, Kubota pays homage to a mentor and fellow Fluxus artist. Maciunas is also recognized as the force behind the transformation of New York’s SoHo neighborhood into an artists’ district. In Kubota’s ongoing video diary, she observes Maciunas as he tours SoHo buildings with Fluxus artists and friends, including Nam June Paik, Barbara and Peter Moore, and Yoshi Wada. Each discusses a building in his or her own language. The second part of the tape documents Fluxus artist Ben Vautier’s 1976 opening at the Guggenheim Museum in New York.” –ELECTRONIC ARTS INTERMIX<br /><br />Shigeko Kubota MY FATHER (1973-75, 15.5 min, video)<br />“‘Father, why did you die?’ With this deeply intimate statement of grief, Kubota mourns the death of her father. Video and television are central to her ritual of mourning, and allow her father to assume a presence after death. Kubota and her father, who was dying of cancer in Japan, are seen watching television together on New Year’s Eve. The suffering of father and daughter is rendered even more poignant when contrasted with the everyday banality of the pop music and New Year’s celebrations on TV. After his death, Kubota weeps alone in front of a video monitor. Awash with tears and personal pain, MY FATHER is a cathartic exorcism of grief, with video serving as witness and memory.” –ELECTRONIC ARTS INTERMIX<br /><br />Shigeko Kubota & Nam June Paik MERCE BY MERCE BY PAIK PART TWO: MERCE AND MARCEL (1978, 13 min, video)<br />“In MERCE AND MARCEL, Paik and Shigeko Kubota create a densely textured, transcultural collage that pays tribute to the eponymous artists by addressing the relationship of art and life. Paik and Kubota link art to the movements and gestures of the everyday: ‘Is this dance?’ reads the text over an aerial view of taxis moving through the streets of New York, and the image of a baby’s tottering first steps. A rare interview with Duchamp by Russell Connor is re-edited by Paik in a rapid, stutter-step progression. In a witty temporal layering that Paik terms a ‘dance of time,’ an interview with Cunningham, also by Connor, is intercut and superimposed with the earlier interview of Duchamp: ‘Time reversible – Time irreversible.’” –ELECTRONIC ARTS INTERMIX<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> Monday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61290 <p>Robert Bresson<br />FOUR NIGHTS OF A DREAMER / QUATRE NUITS D’UN RÊVEUR<br />1971, 82 min, 35mm-to-DCP. In French with English subtitles.<br />After seeing some of Robert Bresson’s films in Buffalo in the early ’80s with his wife Penelope, Creeley was moved to write “Bresson’s Movies,” which became a deeply personal statement of his own reflections on life and love from the vantage of a person approaching his 60s. As Creeley might say, here in a sense are two versions of the same summary, one transcribed from a reading of “Bresson’s Movies” at Naropa in 1983, and the other the poem itself. Together they show two aspects of Creeley’s singular vernacular:<br /><br />“[FOUR NIGHTS OF A DREAMER] is a classic old-time yearning story – like, myself – any of us – [the main character is] new in town, and he connects with this lovely, complex girl, and their circumstance: they’re standing  on this bridge, trying to get their emotional terms together [laughs]. That’s certainly an old story. And they’re watching this, this incredible lighted houseboat pass them by, and it sure looks great. You know, I mean, all the lights are on. It looks like people are dancing and having a terrific time, and they’re not so much envious of it, but they’re bemused and awed by it in a funny way. They’re attracted, but they don’t want to instantly leap into the river and start swimming. They just, it’s this lovely passage of some extraordinary human wonder. It’s a human trip.”<br /><br />BRESSON’S MOVIES<br /><br />A movie of Robert<br />Bresson’s showed a yacht,<br />at evening on the Seine,<br />all its lights on, watched<br /><br />by two young, seemingly<br />poor people, on a bridge adjacent,<br />the classic boy and girl<br />of the story, any one<br /><br />one cares to tell. So<br />years pass, of course, but<br />I identified with the young,<br />embittered Frenchman,<br /><br />knew his almost complacent<br />anguish and the distance<br />he felt from his girl.<br />Yet another film<br /><br />of Bresson’s has the<br />aging Lancelot with his<br />awkward armor standing<br />in a woods, of small trees,<br /><br />dazed, bleeding, both he<br />and his horse are,<br />trying to get back to<br />the castle, itself of<br /><br />no great size. It<br />moved me, that<br />life was after all<br />like that. You are<br /><br />in love. You stand<br />in the woods, with<br />a horse, bleeding.<br />The story is true.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61288 <p>Robert Creeley and Stan Brakhage first met in the mid-sixties in an encounter Creeley described as “love at first sight,” and the two remained friends and allies until Brakhage’s death in 2003. “It is <em>light</em> and the <em>eye</em> which experiences it that seem to me the two insistent terms of activity as a film-maker,” Creeley writes in “Mehr Licht,” his 1968 essay on the filmmaker. “I know that he has also deep concern with ‘what things mean’ and with basic human relationships—but light, in all its modality, as ‘seeing sees it,’ is much more to my own mind his insistent preoccupation.” In turn, Brakhage described Creeley as a poet of “dimensions,” declaring at a 1991 panel discussion, “Robert Creeley, of all the many, many poets I’ve known and known closely, is the only one that really clearly understands film as a possible art.” The selections herein represent the single collaboration between the two, as well as two works about which Creeley has either written or spoken.<br /><br />Stan Brakhage<br />TWO: CREELEY/MCCLURE<br />1965, 3 min, 16mm, silent<br />Brakhage’s portraits of two of his dearest compatriots in poetry (the other being Michael McClure), these films suggest a visual onomatopoeia, seemingly embodying the filmmaker’s conceptions of the individuals and their respective work in the forms and structures of the films.<br /><br />Stan Brakhage<br />THE ACT OF SEEING WITH ONE’S OWN EYES<br />1971, 32 min, 16mm, silent<br />Rather than excerpt or summarize (an impossible task!) from Creeley’s 1982 presentation on THE ACT OF SEEING WITH ONE’S OWN EYES in Pittsburgh, those interested are urged to listen to all <a href="https://media.sas.upenn.edu/pennsound/authors/Creeley/Creeley-Robert_Talk-Discussion_Before-And-After-Seeing-Stan-Brakhage_The-Act-Of-Seing-With-Ones-Own-Eyes_Pittsburgh-Filmakers-Bruce-Posner-et-al_April-9-1982.mp3">eighty-six minutes and fifty-four seconds</a> of the discussion on the invaluable Penn Sound, where there are hundreds of hours of recordings of poets, writers, and artists.<br /><br />Stan Brakhage<br />SHORT FILMS 1975 #1-10<br />1975, 36.5 min, 16mm, silent<br />“So this last film is certainly personal, and I love it. I take a lot of trips, I get stuck in drear motels, I dream of home. There are two lovely instances of language in this film which are really right on, like they say. Be it also said that Brakhage is very aware of the powers of language, and thank god he is not here tonight to hear me lay it on his valuable creations. So – enough of that. But – which is truly a great word, isn’t it? – you know, like, it never is the last word no matter what happens, death included.<br />But – don’t we care what others feel in this life, how they literally have a life? This film is so wisely, gracefully, real to that demand. I could never so actualize my feelings in those places where these images were collected, never substantiate those moments of true consternation, yearning, witness, love as he does here.<br />‘With your eyes alone / with your eyes / with your eyes…,’ Ginsberg wrote in his never to be forgotten masterpiece ‘Kaddish.’ Hear it. We are all related, we are all here. See this world we live in.” –Robert Creeley, 1978<br /><br />Total running time: ca. 85 min.<br /><br /><strong>The screening on Sat, May 16 will be presented by Raymond Foye!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61291 <p>Robert Bresson<br />FOUR NIGHTS OF A DREAMER / QUATRE NUITS D’UN RÊVEUR<br />1971, 82 min, 35mm-to-DCP. In French with English subtitles.<br />After seeing some of Robert Bresson’s films in Buffalo in the early ’80s with his wife Penelope, Creeley was moved to write “Bresson’s Movies,” which became a deeply personal statement of his own reflections on life and love from the vantage of a person approaching his 60s. As Creeley might say, here in a sense are two versions of the same summary, one transcribed from a reading of “Bresson’s Movies” at Naropa in 1983, and the other the poem itself. Together they show two aspects of Creeley’s singular vernacular:<br /><br />“[FOUR NIGHTS OF A DREAMER] is a classic old-time yearning story – like, myself – any of us – [the main character is] new in town, and he connects with this lovely, complex girl, and their circumstance: they’re standing  on this bridge, trying to get their emotional terms together [laughs]. That’s certainly an old story. And they’re watching this, this incredible lighted houseboat pass them by, and it sure looks great. You know, I mean, all the lights are on. It looks like people are dancing and having a terrific time, and they’re not so much envious of it, but they’re bemused and awed by it in a funny way. They’re attracted, but they don’t want to instantly leap into the river and start swimming. They just, it’s this lovely passage of some extraordinary human wonder. It’s a human trip.”<br /><br />BRESSON’S MOVIES<br /><br />A movie of Robert<br />Bresson’s showed a yacht,<br />at evening on the Seine,<br />all its lights on, watched<br /><br />by two young, seemingly<br />poor people, on a bridge adjacent,<br />the classic boy and girl<br />of the story, any one<br /><br />one cares to tell. So<br />years pass, of course, but<br />I identified with the young,<br />embittered Frenchman,<br /><br />knew his almost complacent<br />anguish and the distance<br />he felt from his girl.<br />Yet another film<br /><br />of Bresson’s has the<br />aging Lancelot with his<br />awkward armor standing<br />in a woods, of small trees,<br /><br />dazed, bleeding, both he<br />and his horse are,<br />trying to get back to<br />the castle, itself of<br /><br />no great size. It<br />moved me, that<br />life was after all<br />like that. You are<br /><br />in love. You stand<br />in the woods, with<br />a horse, bleeding.<br />The story is true.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61244 <p>Peggy Ahwesh THE THIRD BODY (2007, 8.5 min, video)<br />“The tropes of the garden, the originary moment of self knowledge, and gendered awareness of the body (what is traditionally called sin) is mimicked in the early experiments with virtual reality. The metaphors used in our cutting edge future are restagings of our cultural memory of the garden. Wonderment regarding the self in space, boundaries of the body at the edge of consciousness and the inside and outside skin of perceptual knowledge.” –Peggy Ahwesh<br /><br />Mark L. Lester<br />FIRESTARTER<br />1984, 114 min, 35mm<br />A “wild talent” was Fort’s term for someone possessed with psychic abilities, and in the case of Cindy Lee that extra-special power is pyrokinesis.<br /><br />“Heavily inspired by the stories of real-life government experiments and any number of rampant conspiracy theories, FIRESTARTER follows the impact of a test study in a drug called LOT-6 on two college students, Andy McGee (David Keith) and Vicky (Heather Locklear), who end up marrying and having a child, Charlie (Drew Barrymore). As it turns out, the experimental drug has given all three of them extraordinary abilities, with the parents able to read minds and Charlie able to set anything aflame. […] Originally intended by Universal as a project for John Carpenter before the box office failure of THE THING (with Carpenter instead hopping to Columbia to do another King film, CHRISTINE), FIRESTARTER was handed over to director Mark L. Lester, a seasoned exploitation veteran with films like TRUCK STOP WOMEN, BOBBIE JO AND THE OUTLAW, ROLLER BOOGIE, and the incredible CLASS OF 1984 under his belt. […] He’s an unexpected but interesting choice here, using very wide compositions courtesy of cinematographer Giuseppe Ruzzolini (TEOREMA, SHORT NIGHT OF GLASS DOLLS) and a terrific, pounding score by Tangerine Dream to give the film a slick, glossy atmosphere.” –Nathanial Thompson, MONDO DIGITAL<br /><br />Total running time: ca. 125 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61249 <p>Tobe Hooper<br />POLTERGEIST<br />1982, 114 min, 35mm<br />“Before [POLTERGEIST], haunted house movies typically took place in creaky old manors. [Producer, co-writer, and rumored director Steven] Spielberg’s stroke of genius was setting the ghosts loose in contemporary suburbia, invading children’s playrooms cluttered with Rubik’s cubes, Star Wars action figures, and other instantly identifiable signifiers of modern life. POLTERGEIST was made around the same time Spielberg was shooting E.T. THE EXTRATERRESTRIAL – the two films were released a week apart that summer – and in many ways it can be seen as that humane masterpiece’s sicko B-side.” –Sean Burns, CROOKED MARQUEE<br /><br />“What came of the wreckage of POLTERGEIST, aside from the lesson (which Joe Dante apparently took to heart before making GREMLINS) that if you’re going to direct a Spielberg film, you’d do well to make your satirical tones blunt? Ultimately, we have a total anomaly: a PG-rated, resolutely un-family-friendly, mega-budget, overproduced, wildly commercial ghost story that basically does nothing more than lurch from one splashy, effects-driven spectacle to the next (if you came to the film at roughly the same age as Carol Anne, it was that rare and elusive film with only good scenes) and still manages to be its own best metaphor for Hollywood authorship. POLTERGEIST is the most sensation-dependent film of Spielberg’s career, and, in its demolition of the Spielberg mystique, may be the most subversive film of all Hooper’s work.” –Eric Henderson, SLANT<br /><br /><strong>May 16 ONLY</strong>:<br />Preceded by:<br />Segundo de Chomón THE RED SPECTRE / EL ESPECTRO ROJO (1907, 10 min, 35mm-to-16mm, silent)<br />“In his weird and wonderful burlesque film, Segundo de Chomón creates a feast of spectacular optical illusions. A ghostly skeleton hypnotizes young women and then plays bizarre tricks on them. Suddenly a rival illusionist appears, intent on freeing the skeleton’s captives.” –INTERNATIONALES FRAUEN FILM FEST<br /><br />eteam OUR NON-UNDERSTANDING OF EVERYTHING 12 2022, 11.5 min, digital<br />“This work explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment.” –VIDEO DATA BANK<br /><br />Total running time: ca. 140 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61194 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61250 <p>Tobe Hooper<br />POLTERGEIST<br />1982, 114 min, 35mm<br />“Before [POLTERGEIST], haunted house movies typically took place in creaky old manors. [Producer, co-writer, and rumored director Steven] Spielberg’s stroke of genius was setting the ghosts loose in contemporary suburbia, invading children’s playrooms cluttered with Rubik’s cubes, Star Wars action figures, and other instantly identifiable signifiers of modern life. POLTERGEIST was made around the same time Spielberg was shooting E.T. THE EXTRATERRESTRIAL – the two films were released a week apart that summer – and in many ways it can be seen as that humane masterpiece’s sicko B-side.” –Sean Burns, CROOKED MARQUEE<br /><br />“What came of the wreckage of POLTERGEIST, aside from the lesson (which Joe Dante apparently took to heart before making GREMLINS) that if you’re going to direct a Spielberg film, you’d do well to make your satirical tones blunt? Ultimately, we have a total anomaly: a PG-rated, resolutely un-family-friendly, mega-budget, overproduced, wildly commercial ghost story that basically does nothing more than lurch from one splashy, effects-driven spectacle to the next (if you came to the film at roughly the same age as Carol Anne, it was that rare and elusive film with only good scenes) and still manages to be its own best metaphor for Hollywood authorship. POLTERGEIST is the most sensation-dependent film of Spielberg’s career, and, in its demolition of the Spielberg mystique, may be the most subversive film of all Hooper’s work.” –Eric Henderson, SLANT<br /><br /><strong>May 16 ONLY</strong>:<br />Preceded by:<br />Segundo de Chomón THE RED SPECTRE / EL ESPECTRO ROJO (1907, 10 min, 35mm-to-16mm, silent)<br />“In his weird and wonderful burlesque film, Segundo de Chomón creates a feast of spectacular optical illusions. A ghostly skeleton hypnotizes young women and then plays bizarre tricks on them. Suddenly a rival illusionist appears, intent on freeing the skeleton’s captives.” –INTERNATIONALES FRAUEN FILM FEST<br /><br />eteam OUR NON-UNDERSTANDING OF EVERYTHING 12 2022, 11.5 min, digital<br />“This work explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment.” –VIDEO DATA BANK<br /><br />Total running time: ca. 140 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61207 <p>“This program highlights James Sibley Watson Jr.’s three surviving ‘narrative’ films (if you will) completed between 1928 and 1934 in collaboration with Melville Weber. The first two, FALL OF THE HOUSE OF USHER and LOT IN SODOM, are exemplars of Watson’s own creative and technical impulses, marked by lurid, delirious, and doggedly expressionistic literary adaptations by way of crafty sets, all-in-camera multiple exposures, and custom-made kaleidoscopic lenses. TOMATO’S ANOTHER DAY, on the other hand, is a total inversion of his usual hunger for invention, representing Watson’s one-man protest against the creative and technical impulses of his time – namely, the ‘talkies’. Through sardonic wordplay and lethargic momentum, Watson sends up sound-on-film with his own dryly neurotic flavor of anti-film irony. Moving from silent to part-talkie to all-talkie, this program serves not only as a demonstration of the range of Watson’s work at the dawn of his filmmaking career, but as a glimpse into how independent film artists first came to use (and abuse) what became one of the film industry’s most transformative technological innovations.” –Jake Ryan<br /><br />James Sibley Watson Jr. & Melville Webber<br />FALL OF THE HOUSE OF USHER<br />1928, 13 min, 16mm<br /><br />James Sibley Watson Jr. & Melville Webber<br />LOT IN SODOM<br />1933, 28 min, 35mm. Courtesy of the George Eastman Museum, museum accession.<br /><br />James Sibley Watson Jr.<br />IT NEVER HAPPENED [aka TOMATO IS ANOTHER DAY, TOMATO’S ANOTHER DAY]<br />1934, 7 min, 35mm. Courtesy of the George Eastman Museum, museum accession.<br /><br />Total running time: ca. 55 min.<br /><br /><strong>The screening on Fri, May 22 will be introduced by John Klacsmann, and the screening on Sat, May 23 will be introduced by Jake Ryan.</strong><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> Friday, May 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61196 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61213 <p>Barbara Hammer<br />NITRATE KISSES<br />1992, 67 min, 16mm-to-DCP<br />In her first feature film, Barbara Hammer weaves together striking images of four contemporary gay and lesbian couples with footage of an unearthed, forbidden, and invisible history, searching eroded emulsions and images for lost vestiges of queer culture. Questions of historic representation are examined through addressing the margins, between-the-line readings, and images outside of prescribed textual boundaries. Archival footage from James Sibley Watson & Melville Webber’s LOT IN SODOM (1933), often regarded as the first queer film made in the United States, as well as footage from German narrative and documentary films of the thirties, are interwoven with contemporary footage in this multi-faceted, haunting documentary.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61215 <p>NASS RIVER INDIANS<br />1927-28, 18 min, 35mm, silent. Photographed by James Sibley Watson Jr. Courtesy of Library and Archives Canada.<br />“This film, reconstructed by the staff of Library and Archives Canada from film shot by James Sibley Watson Jr., documents the activities of Marius Barbeau and Ernest MacMillan among the Nisga’a of the Nass River region of British Columbia. Barbeau, an ethnologist at the National Museum of Canada, and MacMillan, then principal of the Toronto Conservatory of Music, are depicted in their efforts to record ‘with camera and phonograph’ what the film’s first intertitle describes as ‘the vanishing culture, the rites and songs and dances of the Indians along the Canadian Pacific Coast, north of Vancouver.’” –LIBRARY AND ARCHIVES CANADA<br /><br />James Sibley Watson Jr. & Melville Webber<br />THE EYES OF SCIENCE<br />1930, 12 min, 35mm. Commissioned by Bausch & Lomb. Courtesy of the George Eastman Museum, preserved with funds from the National Film Preservation Foundation and Chace Productions, Inc.<br />“The optical company Bausch & Lomb of Rochester, New York, contracted Watson and Webber to create this corporate industrial film to showcase the company’s extensive catalog of lenses and other optical instruments, displaying their practical applications in industry and everyday life. […] THE EYES OF SCIENCE easily straddles the fields of avant-garde and industrial filmmaking, making both a fascinating object of form and style, as well as a highly educational, entertaining, and informative piece of film and industrial history. The film bears a resemblance to the Kodak industrial film HIGHLIGHTS AND SHADOWS inasmuch as it is filtered through the ‘lenses’ of Watson and Webber’s elegant and eclectic signature avant-garde style, demonstrated two years earlier in THE FALL OF THE HOUSE OF USHER.” –GEORGE EASTMAN MUSEUM<br /><br />Kenneth R. Edwards<br />HIGHLIGHTS AND SHADOWS<br />1938, 54 min, 35mm. Produced and shot by James Sibley Watson Jr. Commissioned by Kodak. Courtesy of the George Eastman Museum, preserved with funds from the National Endowment for the Arts.<br />“In 1937, the Eastman Kodak Company took a novel approach [to corporate filmmaking] and engaged the highly regarded Rochester avant-garde filmmaker, author, and physician Dr. James Sibley Watson Jr. to produce an industrial film on Kodak’s manufacturing process for film and cameras. Watson crafted a dazzling visual ballet that stands on its own as an aesthetically rewarding and educationally inspiring tour of the massive Kodak factories. Utilizing the multiple exposure imagery he had used to such great effect in FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1933), Watson makes tool and die drill presses, assembly lines of camera parts, and the film coating process every bit as expressive and interesting as an MGM historic drama. This film captures the repetitive labor of hundreds of Kodak employees as a synchronized ballet, each part carefully crafted to create the whole. It is also a historical record of the inventions that mechanized motion picture and still photographic film production and raised it to an economic level that allowed Kodak to lead the world in photographic imaging.” –GEORGE EASTMAN MUSEUM<br /><br />Total running time: ca. 90 min.<br /><br /><em><strong>The screening on Sat, May 23 will be introduced by Jake Ryan.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61197 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61208 <p>“This program highlights James Sibley Watson Jr.’s three surviving ‘narrative’ films (if you will) completed between 1928 and 1934 in collaboration with Melville Weber. The first two, FALL OF THE HOUSE OF USHER and LOT IN SODOM, are exemplars of Watson’s own creative and technical impulses, marked by lurid, delirious, and doggedly expressionistic literary adaptations by way of crafty sets, all-in-camera multiple exposures, and custom-made kaleidoscopic lenses. TOMATO’S ANOTHER DAY, on the other hand, is a total inversion of his usual hunger for invention, representing Watson’s one-man protest against the creative and technical impulses of his time – namely, the ‘talkies’. Through sardonic wordplay and lethargic momentum, Watson sends up sound-on-film with his own dryly neurotic flavor of anti-film irony. Moving from silent to part-talkie to all-talkie, this program serves not only as a demonstration of the range of Watson’s work at the dawn of his filmmaking career, but as a glimpse into how independent film artists first came to use (and abuse) what became one of the film industry’s most transformative technological innovations.” –Jake Ryan<br /><br />James Sibley Watson Jr. & Melville Webber<br />FALL OF THE HOUSE OF USHER<br />1928, 13 min, 16mm<br /><br />James Sibley Watson Jr. & Melville Webber<br />LOT IN SODOM<br />1933, 28 min, 35mm. Courtesy of the George Eastman Museum, museum accession.<br /><br />James Sibley Watson Jr.<br />IT NEVER HAPPENED [aka TOMATO IS ANOTHER DAY, TOMATO’S ANOTHER DAY]<br />1934, 7 min, 35mm. Courtesy of the George Eastman Museum, museum accession.<br /><br />Total running time: ca. 55 min.<br /><br /><strong>The screening on Fri, May 22 will be introduced by John Klacsmann, and the screening on Sat, May 23 will be introduced by Jake Ryan.</strong><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> Saturday, May 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61201 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61218 <p>James Sibley Watson Jr.<br />STUDIES IN DIAGNOSTIC CINEFLUOROGRAPHY<br />1947-55, 6 min, 35mm-to-DCP. Courtesy of the George Eastman Museum, preserved with funds from the Los Angeles Film Foundation with a grant from the Getty Foundation.<br />“Trained as a medical doctor, in the 1940s, [Sibley Watson] teamed up with radiologists from the University of Rochester and, for more than twenty years, worked on X-ray cinematography. Intended for research only, the films were at times charmingly eccentric. Watson’s ‘models’ played musical instruments or even put on make-up impenetrable to X-rays, which turned a skeleton into a lovely woman. Every now and then, the avant-garde filmmaker took over the scientist.” –Peter Bagrov<br /><br />Followed by:<br />Barbara Hammer<br />DR. WATSON’S X-RAYS<br />1991, 22 min, 16mm-to-DCP<br /><br />Barbara Hammer<br />SANCTUS<br />1990, 19 min, 16mm<br />Filmmaker Barbara Hammer demonstrated a sustained interest in Sibley Watson Jr.’s work: she incorporated excerpts from LOT IN SODOM into her feature film NITRATE KISSES in 1992, and, after conducting archival research at the George Eastman Museum, she helped rediscover the long-unseen reels containing some of his experiments in X-ray cinematography. Her fascination with Sibley Watson Jr.’s “cinefluorography” manifested in two different films: the relatively straightforward short documentary DR. WATSON’S X-RAYS (1991) and SANCTUS (1990), a more poetic and visually dense meditation on this footage, its aesthetic dimensions, and its biological and ethical ramifications.<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61198 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61209 <p>“This program highlights James Sibley Watson Jr.’s three surviving ‘narrative’ films (if you will) completed between 1928 and 1934 in collaboration with Melville Weber. The first two, FALL OF THE HOUSE OF USHER and LOT IN SODOM, are exemplars of Watson’s own creative and technical impulses, marked by lurid, delirious, and doggedly expressionistic literary adaptations by way of crafty sets, all-in-camera multiple exposures, and custom-made kaleidoscopic lenses. TOMATO’S ANOTHER DAY, on the other hand, is a total inversion of his usual hunger for invention, representing Watson’s one-man protest against the creative and technical impulses of his time – namely, the ‘talkies’. Through sardonic wordplay and lethargic momentum, Watson sends up sound-on-film with his own dryly neurotic flavor of anti-film irony. Moving from silent to part-talkie to all-talkie, this program serves not only as a demonstration of the range of Watson’s work at the dawn of his filmmaking career, but as a glimpse into how independent film artists first came to use (and abuse) what became one of the film industry’s most transformative technological innovations.” –Jake Ryan<br /><br />James Sibley Watson Jr. & Melville Webber<br />FALL OF THE HOUSE OF USHER<br />1928, 13 min, 16mm<br /><br />James Sibley Watson Jr. & Melville Webber<br />LOT IN SODOM<br />1933, 28 min, 35mm. Courtesy of the George Eastman Museum, museum accession.<br /><br />James Sibley Watson Jr.<br />IT NEVER HAPPENED [aka TOMATO IS ANOTHER DAY, TOMATO’S ANOTHER DAY]<br />1934, 7 min, 35mm. Courtesy of the George Eastman Museum, museum accession.<br /><br />Total running time: ca. 55 min.<br /><br /><strong>The screening on Fri, May 22 will be introduced by John Klacsmann, and the screening on Sat, May 23 will be introduced by Jake Ryan.</strong><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> Sunday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61219 <p>James Sibley Watson Jr.<br />STUDIES IN DIAGNOSTIC CINEFLUOROGRAPHY<br />1947-55, 6 min, 35mm-to-DCP. Courtesy of the George Eastman Museum, preserved with funds from the Los Angeles Film Foundation with a grant from the Getty Foundation.<br />“Trained as a medical doctor, in the 1940s, [Sibley Watson] teamed up with radiologists from the University of Rochester and, for more than twenty years, worked on X-ray cinematography. Intended for research only, the films were at times charmingly eccentric. Watson’s ‘models’ played musical instruments or even put on make-up impenetrable to X-rays, which turned a skeleton into a lovely woman. Every now and then, the avant-garde filmmaker took over the scientist.” –Peter Bagrov<br /><br />Followed by:<br />Barbara Hammer<br />DR. WATSON’S X-RAYS<br />1991, 22 min, 16mm-to-DCP<br /><br />Barbara Hammer<br />SANCTUS<br />1990, 19 min, 16mm<br />Filmmaker Barbara Hammer demonstrated a sustained interest in Sibley Watson Jr.’s work: she incorporated excerpts from LOT IN SODOM into her feature film NITRATE KISSES in 1992, and, after conducting archival research at the George Eastman Museum, she helped rediscover the long-unseen reels containing some of his experiments in X-ray cinematography. Her fascination with Sibley Watson Jr.’s “cinefluorography” manifested in two different films: the relatively straightforward short documentary DR. WATSON’S X-RAYS (1991) and SANCTUS (1990), a more poetic and visually dense meditation on this footage, its aesthetic dimensions, and its biological and ethical ramifications.<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61202 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61216 <p>NASS RIVER INDIANS<br />1927-28, 18 min, 35mm, silent. Photographed by James Sibley Watson Jr. Courtesy of Library and Archives Canada.<br />“This film, reconstructed by the staff of Library and Archives Canada from film shot by James Sibley Watson Jr., documents the activities of Marius Barbeau and Ernest MacMillan among the Nisga’a of the Nass River region of British Columbia. Barbeau, an ethnologist at the National Museum of Canada, and MacMillan, then principal of the Toronto Conservatory of Music, are depicted in their efforts to record ‘with camera and phonograph’ what the film’s first intertitle describes as ‘the vanishing culture, the rites and songs and dances of the Indians along the Canadian Pacific Coast, north of Vancouver.’” –LIBRARY AND ARCHIVES CANADA<br /><br />James Sibley Watson Jr. & Melville Webber<br />THE EYES OF SCIENCE<br />1930, 12 min, 35mm. Commissioned by Bausch & Lomb. Courtesy of the George Eastman Museum, preserved with funds from the National Film Preservation Foundation and Chace Productions, Inc.<br />“The optical company Bausch & Lomb of Rochester, New York, contracted Watson and Webber to create this corporate industrial film to showcase the company’s extensive catalog of lenses and other optical instruments, displaying their practical applications in industry and everyday life. […] THE EYES OF SCIENCE easily straddles the fields of avant-garde and industrial filmmaking, making both a fascinating object of form and style, as well as a highly educational, entertaining, and informative piece of film and industrial history. The film bears a resemblance to the Kodak industrial film HIGHLIGHTS AND SHADOWS inasmuch as it is filtered through the ‘lenses’ of Watson and Webber’s elegant and eclectic signature avant-garde style, demonstrated two years earlier in THE FALL OF THE HOUSE OF USHER.” –GEORGE EASTMAN MUSEUM<br /><br />Kenneth R. Edwards<br />HIGHLIGHTS AND SHADOWS<br />1938, 54 min, 35mm. Produced and shot by James Sibley Watson Jr. Commissioned by Kodak. Courtesy of the George Eastman Museum, preserved with funds from the National Endowment for the Arts.<br />“In 1937, the Eastman Kodak Company took a novel approach [to corporate filmmaking] and engaged the highly regarded Rochester avant-garde filmmaker, author, and physician Dr. James Sibley Watson Jr. to produce an industrial film on Kodak’s manufacturing process for film and cameras. Watson crafted a dazzling visual ballet that stands on its own as an aesthetically rewarding and educationally inspiring tour of the massive Kodak factories. Utilizing the multiple exposure imagery he had used to such great effect in FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1933), Watson makes tool and die drill presses, assembly lines of camera parts, and the film coating process every bit as expressive and interesting as an MGM historic drama. This film captures the repetitive labor of hundreds of Kodak employees as a synchronized ballet, each part carefully crafted to create the whole. It is also a historical record of the inventions that mechanized motion picture and still photographic film production and raised it to an economic level that allowed Kodak to lead the world in photographic imaging.” –GEORGE EASTMAN MUSEUM<br /><br />Total running time: ca. 90 min.<br /><br /><em><strong>The screening on Sat, May 23 will be introduced by Jake Ryan.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61169 <p>Karl Valentin<br />CONFIRMATION DAY / DER FIRMLING<br />(1934, 23 min, 35mm, b&w. In German with no subtitles; English synopsis available.)<br />“Valentin plays a drunken father treating his giggly young son to lunch, and the inspired muddle he creates out of a table, two chairs, an umbrella, and a watch chain rivals some of Laurel and Hardy’s best moments.” –J.R. Jones, CHICAGO READER<br /><br />Jean Vigo<br />A PROPOS DE NICE (1929-30, 30 min, 16mm, silent)<br />TARIS (1931, 9 min, 16mm)<br />&<br />ZERO FOR CONDUCT / ZÉRO DE CONDUITE<br />(1935, 44 min, 16mm, b&w. In French with English subtitles.)<br />An eloquent parable of freedom versus authority, Vigo’s film is set at a boys’ boarding school and undoubtedly echoes Vigo’s own unhappy experiences as a child. Under the pressure of various civic groups the film was removed from screens several months after its release in 1933. It was branded “anti-French” by censors and was not shown again in Paris until 1945.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61199 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61170 <p>Andy Warhol<br />EAT (1963, 35 min, 16mm, silent)<br />“A portrait of artist Robert Indiana, EAT is one of the classics of Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol’s decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time.” –Callie Angell<br /><br />James Sibley Watson & Melville Webber<br />FALL OF THE HOUSE OF USHER (1928, 13 min, 16mm, silent)<br />“Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes.” –Robert A. Haller<br /><br />John & James Whitney<br />FILM EXERCISES 1-5 (1943-45, 18 min, 16mm)<br />“The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.” –William Moritz<br /><br />James Whitney<br />LAPIS (1963-66, 10 min, 16mm)<br />“The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns…. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis.” –P. Adams Sitney<br /><br />Total running time: ca. 80 min. <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61171 <p>FIREWORKS 1947, 15 min, 16mm-to-35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.<br />RABBIT’S MOON 1950-70, 15 min, 35mm. Preserved by the UCLA Film & Television Archive, with funding from the Film Foundation.<br />EAUX D’ARTIFICE 1953, 13 min, 16mm<br />SCORPIO RISING 1963, 30 min, 16mm<br />KUSTOM KAR KOMMANDOS 1965, 3 min, 16mm<br /><br />“Scandal, evil, violence, and Fascism, like Hollywood, are centers of fascination for Anger, and his films are the fields in which the dialectic of that fascination is played and fought.” –P. Adams Sitney, VISIONARY FILM<br /><br />“All of [Anger’s] films have been evocations or invocations, attempting to conjure primal forces which, once visually released, are designed to have the effect of ‘casting a spell’ on the audience. […] Not a surrealist who puts blind faith in his own dream images and trusts his dreams to convey an ‘uncommon unconscious,’ Anger works predominantly in archetypal symbol. As the magus, he is the juggler of these symbols, just as in the Tarot, where the Magician is represented by the Juggler and is given the attribution of Mercury, the messenger.” –Carel Rowe, FILM QUARTERLY<br /><br />Total running time: ca. 80 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Tuesday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61203 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61172 <p>MASS FOR THE DAKOTA SIOUX (1963-64, 20 min, 16mm) <br />QUIXOTE (1964-65, 45 min, 16mm)<br />“In MASS and QUIXOTE [Baillie] subtly blends glimpses of the heroic personae with despairing reflections on violence and ecological disaster. […] Despite his sophistication, Baillie remains an innocent; the whole of his cinema exhibits an alternation between two irreconcilable themes: the sheer beauty of the phenomenal world (few films are as graceful to the eye as his, few are as sure of their colors) and the utter despair of forgotten men. It is in QUIXOTE alone that these two themes emerge into a dialectical form, an antithesis of grace and disgrace.” –P. Adams Sitney, VISIONARY FILM<br /><br />Total running time: ca. 70 min. <br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61200 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61272 <p>“In 2025 we endured the tragic loss of a pair of artists, who in life were united in love: Florence Jacobs, in June, and in October, Ken Jacobs. Together they were the prime movers behind our organization, putting sweat, ingenuity, and vision behind a utopian idea that we all might be able to share the tools, knowledge, space, and resources required for filmmaking, and forge an alternative community of cinema opposed to the practices of capitalism and industry.” –Joe Wakeman, Exec Director, Millennium Film Workshop<br /><br />This screening – programmed by Grahame Weinbren, Vince Warne, and the MFJ editors – celebrates the launch of Millennium Film Journal No. 83. The film descriptions below are drawn from MFJ 83.<br /><br />The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit: <a href="https://millenniumfilmjournal.com/donations/donation-form/">https://millenniumfilmjournal.com/donations/donation-form/</a> <br /><br />Ken Jacobs NISSAN ARIANA WINDOW (1968, 15 min, 16mm, silent)<br />“NISSAN ARIANA WINDOW is 3/4’s of our daughter’s name. She was just a kid when these pictures were taken. Some were taken before she was born: pregnant Flo together with pregnant cat China sunning themselves under the skylight. Andrew Noren likes the movie.” –Ken Jacobs<br /><br />Sarah Ballard FULL OUT (2025, 14 min, 16mm-to-digital)<br />“Ballard calls to mind the notion of cinema as a type of hypnotism and reverie both exhilarating and disorienting: the sheer, gravity-defying, delirious movement of both the cheerleaders and the camera brings the film round (and round) to first experimental cinematic principles again, while also resonating with a long, cyclical history of the allure and uneasy ethics of imaging women’s states of being.” –Sarah Keller<br /><br />Karthik Pandian ANOKA (2025, 12 min, 16mm-to-digital)<br />“Pandian plays various conversations on top of visuals that progressively go from abstract to concrete. The film is filled with chuckles and jovial voices in various languages – Spanish, K’iche’, Lakota, Ojibwe, Tamil, and Sanskrit – finding delight and surprise in the commonalities across languages.” –Soham Gadre<br /><br />Oscar Ruiz Navia TIGERS CAN BE SEEN IN THE RAIN (2025, 15 min, 16mm-to-digital)<br />“Ruiz’s embalmment of time is guided by memory as much as reality, the hauntological dimensions of public space informed by the sister who called him Papeto. TIGERS CAN BE SEEN IN THE RAIN slowly reveals its raison d’etre as an act of custodial care, enshrining the memory of one human being as a node within a grander network of cultural history.” –Nick Kouhi<br /><br />@welcometo_blue SELECTED WORKS (2025, 5 min, digital)<br />“There’s a pervasive sense of voyeurism, a loneliness, a fascination with light, movement, a blurry shoegaze haze, tiny slices of infinity. Many of them – notably, the extraordinary 2.5-minute short film THE SCENT SANG A SONG – seemed to be filmed in an abandoned elementary school, a liminal space of fluorescent light fixtures, chain-link fences, portable classrooms, windows overlooking palm trees silhouetted against a dark sky.” –Vince Warne<br /><br />Chiara Caterina OBJECT D’ENIGME (2026, 18 min, digital)<br />“One viewer may be led to the horrors of misogyny, another to the agonies of identity loss, a third to the idea of temptation prompted by the forbidden. All may share an appreciation of the beauties of the ghostly grey LiDAR images and the pure pleasures of precisely composed cinema.” –Grahame Weinbren<br /><br />Total running time: ca. 80 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61204 <p>U.S. PREMIERE RUN! FILMMAKERS IN PERSON!<br /><br />Tim Geraghty & Sarah Halpern<br />MONUMENT<br />2026, 270 min (in six chapters), DCP. Original score by C. Spencer Yeh.<br />This (aptly named) monumental new 6-part documentary by Tim Geraghty and Sarah Halpern is ostensibly an essay film on the history of the diminutive state of Rhode Island, and the contemporary ramifications of that history – but in Geraghty and Halpern’s hands, the tale of this particular region opens up into a nearly bottomless well of resonances and relevancies. MONUMENT beautifully illustrates the adage that the universal is best reached via the particular: Rhode Island is by no means a pretext here – the film is resolutely engaged with the very particular histories and local peculiarities of the region (Geraghty’s home state) – and yet Geraghty and Halpern treat the story of Rhode Island with such a penetrating degree of intelligence, sensitivity, and curiosity, that the very local issues they investigate blossom into a body of insights and speculations extending far beyond the borders of any region.<br /><br />MONUMENT is very much in the tradition of the landscape film – a genre of non-fiction or hybrid filmmaking that has become nearly ubiquitous in the film festival and art cinema realms – and of the subset of such films that explicitly draw from their chosen landscapes histories of exploitation, dispossession, and other injustices. Unlike the vast majority of those films, however, MONUMENT gleefully casts aside the minimalist solemnity and increasingly over-familiar stylistic tropes that have become part and parcel of the genre. Or, rather, it folds these tropes into its thrillingly heterogeneous stylistic and tonal mix, which within each episode ranges from archival excavation to landscape film to reenactment to documentary parody to experimental collage, and beyond. Unafraid to evoke the local, amateurish documentaries that its single-state focus calls to mind, it even affectionately parodies some of the hallmarks of the form, with Halpern adopting the role of tour guide, in period dress, with other (more or less remote) historical figures making surprise appearances (in a video-collage manner reminiscent of artist Tony Oursler, with whom Geraghty once worked).<br /><br />Ultimately MONUMENT is an intellectually stimulating and stylistically inspired excavation of a particular place, a temporal x-ray that encompasses everything from the region’s contemporary history of gentrification and displacement, to the earlier eras of social strife, labor politics, and colonial exploitation that brought things to this pass, and even further beyond to geological deep-time. A film of multiple paradoxes, it is at once hyper-specific and profoundly wide-ranging, breathtakingly ambitious yet refreshingly modest, and deeply serious yet also profoundly playful. What it all adds up to is an essay film that has an immense amount to say, and to reveal, about where we’re at and how we’ve gotten here, locally, nationally, and globally.<br /><br />“On America’s 250th anniversary, with attacks on libraries, archives, universities, and commemorative landmarks, the story of a nation’s history hangs in the balance. MONUMENT asks how looking and listening to one’s personal environment can help us understand our foundations.<br />MONUMENT is centered on the history of Rhode Island, weaving statues, plaques, and place names together with the routine movements of everyday life. Readings from history books, monologues from a fictional tour guide, and personal home movies are paired with interviews relating to the Colonial Era, the Slave Trade, the American Revolution, the Industrial Revolution, Indigenous Cultures, the Abolitionist Movement, Organized Crime, Urban Planning, Capitalism, Baseball, Ancient Geology, and Apple Pie. Over time stories overlap and voices converge to create a dynamic, multi-layered notion of what it means to be living in America today. Ultimately the film itself becomes a monument, challenging the objectification of history with the animism of community and storytelling.” –Tim Geraghty & Sarah Halpern<br /><br /><strong>MONUMENT will be presented in two parts:</strong><br /><strong>Chapters 1-3 (142 min) will screen on Thurs, May 21 at 7:00, Sat & Sun, May 23 & 24 at 4:15, Mon, May 25 at 7:00, and Wed, May 27 at 7:00.</strong><br /><strong>Chapters 4-6 (128 min) will screen on Fri, May 22 at 7:00, Sat & Sun, May 23 & 24 at 7:30, Tues, May 26 at 7:00, and Thurs, May 28 at 7:00.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61293 <p>This film follows the 1984 landmark production of “Einstein on the Beach” staged at the Brooklyn Academy of Music. It was the first time since 1976 that its creators, composer Philip Glass and designer/director Robert Wilson, had collaborated on the re-staging of this untraditional opera. The work is examined through the insights of Glass and Wilson and incorporates rehearsal footage with scenes of the actual performance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61320 <p>Max Woertendyke<br />WOMAN IN THE SKY<br />2025, 16 min, DCP<br />WOMAN IN THE SKY tells the extraordinary story of Magda Salvesen, who met Abstract Expressionist Jon Schueler in Scotland in 1970. A few months after their introduction, he wrote a will leaving her his entire body of work. Since Schueler’s death in 1992, Salvesen has secured his legacy and ensured its preservation, with his paintings included in over 70 world renowned collections. Reflecting on three decades as Schueler’s partner, and even more as the unlikely guardian of his artistic output, Salvesen offers an intimate portrait of both a widow and art historian fiercely committed to her late husband’s creative memory. What emerges is an epic love story writ small across hundreds of canvases and thousands of pieces of archival grade paper.<br /><br />Julio Torres<br />PROBLEMISTA<br />2024, 104 min, DCP<br />Alejandro (Julio Torres) is an aspiring toy designer from El Salvador, struggling to bring his unusual ideas to life in New York City. As time on his work visa runs out, a job assisting an erratic art-world outcast (Tilda Swinton) becomes his only hope to stay in the country and realize his dream. From writer/director Julio Torres comes a surreal adventure through the equally treacherous worlds of New York City and the U.S. Immigration system.<br /><br />Total running time: ca. 125 min.<br /><br /><strong>Introduced by Max Woertendyke, and followed by a Q&A.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61296 <p>Filmmaker Unknown. Preserved by Anthology Film Archives and the New York Public Library.<br /><br />Overture for KA MOUNTAIN AND GUARDenia TERRACE was performed live by Robert Wilson and the Byrd Hoffman School of Byrds at 147 Spring Street, NYC, for six hours each day, from 6-9AM and 6-9PM, between April 24-30, 1972. The sizeable cast featured such downtown luminaries as dance critic and poet Edwin Denby, dancer Andy De Groat, theater critic Stefan Brecht, and Wilson’s grandmother, Alma Hamilton. This preservation print was made directly from the 16mm camera original which was discovered in Anthology’s basement along with a group of empty film cans. Archivists at Anthology and the New York Public Library for the Performing Arts (the repository of the Robert Wilson Audio/Visual Collection) were able to salvage the film and identified it as the most extensive extant documentation of OVERTURE. No soundtrack has surfaced for this film, but its majestic images and wild inventiveness are like a music all their own.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61322 <p>Bruce Conner<br />THE WHITE ROSE<br />1967, 7 min, 35mm<br />A work born of Bruce Conner’s profound friendship with artist Jay DeFeo, THE WHITE ROSE captures the 1965 removal, from her first-floor San Francisco apartment, of DeFeo’s eponymous painting, a monumental work that she began in the late 1950s and worked on obsessively for eight years, eventually layering over two thousand pounds of paint onto the canvas. The intimate black and white film captures the fabled painting’s last moments in the apartment’s bay window recess, a space covered in chunks of paint as though an extension of the work, which Conner likened to a site-specific environment and “a temple”. Sutured by Conner’s sharp, rhythmic editing and set to music from Miles Davis’s album “Sketches of Spain”, THE WHITE ROSE is a tender document of artistic friendship, and an affectionate record of a key moment in Beat Generation art history.<br /><br />Elizabeth Nichols<br />FLYING LESSONS<br />2024, 84 min, DCP<br />At a community meeting held to address their gentrifying landlord’s aggressive treatment of longtime tenants, filmmaker Elizabeth Nichols meets Philly Abe, an older punk artist who swiftly becomes the younger woman’s muse, attentive neighbor, and friend. While tracking Philly’s activism and struggles in the face of harassment, Nichols surfaces her life story through extraordinarily candid conversations, as well as a gloriously SD video archive of concert footage and DIY downtown New York films by the likes of Todd Verow and Mike Kuchar in which the fabulously brash Abe starred. The magnetic pull between artist and filmmaker yields something beguiling and precious, celebrating the fiery Philly even as she and the world she fought to protect are being actively extinguished.<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61299 <p>Robert Wilson<br />VIDEO 50<br />1978, 52 min, video<br />“VIDEO 50 is an extraordinary video sketchbook, a highly original, visually dramatic and frequently humorous collection of one hundred abbreviated ‘episodes’ produced for television. Unfolding as a series of thirty-second vignettes, this enigmatic essay in style is characterized by a deadpan theatricality, symbolist imagery, surrealist juxtapositions and repetition of key visual motifs. Indelible images, precisely composed – a man teetering above a waterfall, a floating chair, a winking eye, a parrot against the New York skyline – are accompanied by an ‘architectural’ sound score that includes spoken ‘phonetic patterns’ rather than words. Fusing his surprising visual logic and rhythms with unexpected temporal manipulations, Wilson creates a work of startling wit and poetry.” –ELECTRONIC ARTS INTERMIX<br /><br />Robert Wilson<br />DEAFMAN GLANCE<br />1981, 27 min, video<br />“This haunting work for television has been excerpted and adapted from Wilson’s five-hour ‘silent opera’ of the same title. Wilson tells a stark and stylized story of murder, using time and space, light and movement, and isolated sound in place of spoken words. The ritualistic action, which moves from a spartan kitchen through the silent halls, stairways and rooms of a lonely house, is both dreamlike and sinister. A somber, menacing woman washes white dishes and a gleaming carving knife, pours milk into a glass, and then slowly attacks first one young boy and then another. Not a word of dialogue is uttered. Suggesting the disparate worlds of both ancient Greek tragedy and contemporary tabloid headlines, DEAFMAN GLANCE harbors paradox: the events are terrifying but not violent; characters are both real and symbols of reality; pacing reduces action to abstraction; and morality and mortality are ambiguous.” –ELECTRONIC ARTS INTERMIX<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61324 <p>Alain Resnais<br />ALL THE WORLD’S MEMORY / TOUTE LA MÉMOIRE DU MONDE<br />1957, 21 min, 35mm-to-DCP. In French with English subtitles.<br />This recently restored early short by Alain Resnais pays homage to the National Library of France. For centuries, the library has served as a repository for all the country’s publications, and more: Maps, prints, comic books, priceless manuscripts, gems, and medals all form part of the collection. Much like Susan Orlean’s “The Library Book”, ALL THE WORLD’S MEMORY takes us on an impressive and impressionistic tour, from the reading rooms, to the stunning architecture, to the stacks and the physical plant. We also accompany a new arrival to the library – a recently published book – on its journey from reception to cataloguing to the moment it takes its place on a shelf, joining millions of other items that have made their home here for centuries. ALL THE WORLD’S MEMORY is a unique look at the effort to catalogue as much knowledge as possible in one of the world’s great libraries. The film has been restored in 2K thanks to l’Agence du Court-Métrage and the support of the CNC.<br /><br />Tanya Lukin Linklater<br />AN AMPLIFICATION THROUGH MANY MINDS<br />2019, 36 min, DCP<br />In 2018 Tanya Lukin Linklater began visiting the Alaska Commercial Collection at the Hearst Museum of Anthropology, University of California Berkeley. These visits included spending time with Sugpiaq parkas (made of cormorant and gut), Sugpiaq sewing bags from Kodiak, Alaska, and Unangan baskets from the Aleutian Chain. AN AMPLIFICATION THROUGH MANY MINDS is a video structured in three parts, documenting Linklater’s time with items at the Phoebe A. Hearst Museum of Anthropology’s on-site and off-site collections storage; a process of embodied inquiry at SFMOMA featuring three dancers responding to the life of ancestral belongings in museum collections; and a return to the collections storage to enliven the place with dance.<br /><br />Matthew Leifheit<br />YOUR GIORGIO<br />2018, 12 min, DCP<br />YOUR GIORGIO is based on the love letters of the late queer photographer George Platt Lynes. Filmed on location at Yale University, it depicts a sexualized experience of the archive, in which the researcher’s subjects come alive as amorous ghosts.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2026#showing-61302 <p>One of the great unrealized theatrical productions of the 20th century, “the CIVIL warS” would have been the legendary avant-garde filmmaker’s magnum opus: a twelve-hour historical opera in six distinct parts, each rehearsed in a different country (Germany, France, Japan, Italy, the Netherlands, and the U.S.) for a holistic performance at the 1984 Summer Olympics in Los Angeles. Over the course of the project’s ill-fated conception, Howard Brookner – who had previously made the documentary BURROUGHS (1983) – follows Wilson, composers Philip Glass and David Byrne, and several production troupes as they seek to perfect an epic that encompasses the American Civil War, the life and death of Frederick the Great, and the unification of Italy, along with imagery from Frank L. Baum, Jules Verne, and Mathew Brady. Struggling to procure timely funding and constantly negotiating with striking Italian theater unions, Wilson nonetheless proves himself a force of nature, determined to follow through on his outsize dream of a Gesamtkunstwerk that brilliantly fuses art and life.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 30