https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Mon, 20 Oct 2025 23:22:34 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59933 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, October 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59934 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, October 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59935 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, October 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59936 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, October 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59937 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, October 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59938 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, October 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59939 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, October 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59940 <p><strong>AFA RESTORATION PREMIERE!</strong><br /><br />With Allan Arbus, Albert Henderson, Michael Sullivan, Elsie Downey, Robert Downey Jr., Hervé Villechaize, Pablo Ferro, and Toni Basil. Cinematography by Peter Powell. Music by Jack Nitzsche.<br /><br />Restored by Anthology Film Archives and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation. Special thanks to Brian Block, Cyma Rubin, and Rosemary Rogers.<br /><br />Following the commercial failure of POUND, Downey embarked on what would become his biggest, boldest, and most ambitious film: GREASER’S PALACE. Thanks to the backing of independent producer Cyma Rubin, Downey was able for the first time both to work with a substantial production budget and to shoot outside NYC (the film was made on location in New Mexico).<br /><br />A delightfully demented, surreal, and subversive religious allegory set in the days of covered wagons and American pioneers, GREASER’S is, at its core, an avant-garde parody of the classic American Western. Originally pitched as “Christ coming back in a Western,” the film follows Jesse (Allan Arbus), a zoot-suited Christ figure, from his sudden arrival at a small desert outpost to his prophesied death soon thereafter. Along the way, and much to the delight and bafflement of the outpost’s eccentric population, Jesse performs a variety of miracles, among them a show-stopping boogie-woogie performance in the wooden “palace” of the brutal, de facto leader Seaweedhead Greaser.<br /><br />While GREASER’S only had a short theatrical run, and has rarely been shown on film since, it found an audience years later on home video, as well as prominent champions such as directors Paul Thomas Anderson and the Coen brothers. Fortunately, the original 35mm negative, long thought to be lost, was rediscovered in 2017. This rediscovery enabled Anthology to initiate the years-long process of fully restoring this independent classic, Downey’s most singular work.<br /><br />“Giant themes, fabulous crazy story-line, brilliant performances, camerawork, editing, music and design, hilarious comedy, unspeakably heartbreaking (but sometimes funny) violence, and transcendent emotional and spiritual richness – GREASER’S PALACE has got it all and it comes together and cooks in a way that makes it impossible to describe GREASER’S as anything less than one of the very boldest and greatest motion pictures ever made.” –Jonathan Demme<br /><br />“Come share this vision as much as you can afford to. This is the best movie I have ever seen.” –Paul Krassner, THE REALIST<br /><br />“A beautiful film, photographed in exquisite color, distinguished by Downey’s genius for the off-beat look at life, his remarkable sense of social satire, and his talent for utterly zany gags.” –Judith Crist, NEW YORK MAGAZINE<br /><br /><em><strong>We will screen the 35mm restoration from Fri-Mon and the DCP restoration from Tues-Thurs.<br /><br /></strong></em><strong>The producer of GREASER'S PALACE, Cyma Rubin, will be here in person for a Q&A following the screening on Sun, Oct 19 at 4:30!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, October 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60116 <p class="p1">Joseph Papp, who hailed GREASER’S PALACE as “a masterpiece” and “a classic to be seen again and again,” offered Downey a slot in his newly contracted CBS series for which he was to produce thirteen feature-length teleplays. Using largely the same crew from GREASER’S, Downey adapted and directed David Rabe’s award-winning anti-Vietnam War play STICKS AND BONES. Instead of shooting it on film and then transferring it to video for broadcast, as was standard practice, Downey insisted on shooting the whole thing on new video technology: 2” Quad videotape. Believing the teleplay was too controversial, at the last minute CBS indefinitely postponed airing it. When they eventually broadcast it five months later, half of the affiliate stations refused to carry it (an unprecedented move for the time). Outraged, Papp canceled his entire series contract over CBS’s actions, which he called “a cowardly cop-out and a rotten affront to freedom of speech.”<br /><br />STICKS AND BONES was thought to survive only on badly dubbed U-Matic videotapes with burned-in timecode, but a 2” master videotape belonging to cinematographer Peter Powell was recently discovered and subsequently preserved by Anthology, and we’re delighted to premiere the restoration as part of this series.<br /><br />Restored by Anthology Film Archives. Special thanks to Gus Powell and Maurice Schechter.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, October 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-59996 <p>The night before Benjamin is set to leave his small town to start his gay porn career in L.A., his best friend Dom ropes him into smuggling contraband across the Canadian border for extra cash. But it’s not any ordinary drug run. The two men are forced to swallow strange insect grubs encased in condoms. It’s said if these bugs bite you, some experience pleasure while others experience pain. But the danger of carrying these lethal larvae in their intestines pales in comparison to the threat posed by the vicious man at the center of the whole smuggling operation. When we showed Carter Smith’s groundbreaking 2006 gay horror short BUGCRUSH in March, the audience was so freaked out that we decided to screen Smith’s nightmarish semi-sequel, SWALLOWED, set in the same universe but with completely different characters played by Emmy nominee Cooper Koch (MONSTERS: THE LYLE AND ERIK MENENDEZ STORY), Jose Colon, Jenna Malone (DONNIE DARKO), and legendary gay actor Mark Patton, best known for his starring role in the gay NIGHTMARE ON ELM STREET sequel FREDDY’S REVENGE. We’ll be joined by one of SWALLOWED’s biggest fans – film and theater critic Kyle Turner – to introduce this evening’s spooky season screening.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, October 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60121 <p class="p1">Highly personal and at the same time completely illogical, this cacophonous comedy (also known as MOMENT TO MOMENT, and even as JIVE) has virtually no semblance of a storyline or plot. The great Elsie Downey, the director’s then-wife and the mother of his children (who are featured prominently throughout), drives the film with her boisterous performance in what may very well be more than ten roles. Shot and edited piecemeal over a few years, TWO TONS… is a collage of everything from staged scenes to home movies, and features a soundtrack by the legendary Jack Nitzsche and David Sanborn.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, October 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60101 <p>(BRONENOSETS POTEMKIN)<br /><br />“POTEMKIN used [Eisenstein’s] new set of rules to create what has been called the most perfect and concise example of film structure. Like STRIKE, [POTEMKIN] has no hero, only the masses, and no plot, only an incident plucked from the pre-history of the Revolution.” –Standish Lawder, EISENSTEIN AND CONSTRUCTIVISM<br /><br />“POTEMKIN was the first work to embody, in their most tangible form, various principles of construction peculiar to the medium: montage (or editing) and parallel action (the expansion of time through spatial manipulation); or, in sum, the purely formal deployment of objective action to create psychological dimensions. Eisenstein was not the first ‘film artist,’ but he was the first to be so pure, the first to use photography like painting in movement, photography like verbal imagery. As set down in his writings, his own theories inform us of this. Yet POTEMKIN must be seen to be believed.” –Parker Tyler<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, October 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60124 <p class="p1">The unexpected underground success of Downey’s no-budget feature CHAFED ELBOWS (1966), composed mostly of stills, caught the attention of an advertising production company who hired him “to try experimental stuff,” as he later put it. Inspired by his experiences working within the industry, Downey wrote PUTNEY SWOPE (1969), an uproarious and deeply subversive swipe at the advertising world – and at capitalism in general. PUTNEY was a surprise hit on the art-house circuit leading to extended runs and praise from critics and viewers alike and remains Downey’s best-known film today.<br /><br />In the film, an advertising agency’s only Black executive is unexpectedly voted chairman, at which point he institutes a series of radical reforms while rebranding the agency “Truth and Soul, Inc.” Downey seamlessly edited standalone commercial parodies throughout the film, which would inspire future sketch comedies like “Mr. Show” and “Kids in the Hall”.<br /><br />Restoration courtesy of All Channel and the American Genre Film Archive. PUTNEY SWOPE was restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, October 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60132 <p class="p1">This program showcases the hallucinatory video work of Mexican artist Sergio Hernández Francés (1964-95), whose experimentation across theater, cinema, music, and new media influenced a generation of artists in Mexico. Making ample use of chromakey, collage, and a psychedelic sensibility, works like SUEÑO DE SERPIENTE and LOKOPHONIA helped establish Mexico City’s experimental video scene and are among the most striking early artistic responses to the AIDS crisis in Mexico. Despite his influence, Hernández Francés’s work has rarely been seen since his death from AIDS-related complications in 1995. The work in this program was rescued by video art pioneer Ximena Cuevas as part of her acclaimed compilation Los Archivos X and is being reintroduced today through the efforts of artist Jorge Bordello. <br /><br />This screening is presented in collaboration with Visual AIDS, in tandem with the Third Annual Visual AIDS Research Symposium at the Museum of Modern Art on October 24.<br /><br />With an introduction by Jorge Bordello.<br /><br />SERPENT’S DREAM / SUEÑO DE SERPIENTE 1991, 8 min, analogue-video-to-digital<br />DEADLY SINS / PECADOS CAPITALES 1993, 9 min, analogue-video-to-digital<br />AH CABALA VIDA 1993, 6 min, analogue-video-to-digital<br />LOKOPHONIA 1991, 11 min, analogue-video-to-digital<br /><br />Total running time: ca. 40 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, October 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60127 <p class="p1">POUND, an adaptation of Downey’s own off-off Broadway play THE COMEUPPANCE, is a truly outlandish parable about dogs (played by many of his regular actors) facing “death or adoption” within an animal shelter. Based solely on the box-office success of PUTNEY SWOPE, POUND was produced and distributed by United Artists, who had allegedly assumed it was going to be an animated film. Rated X and too strange for mainstream tastes, the film was a resounding commercial failure for the studio, an experience that ensured Downey would remain a Hollywood outsider for years to come.<br /><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, October 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60117 <p class="p1">Joseph Papp, who hailed GREASER’S PALACE as “a masterpiece” and “a classic to be seen again and again,” offered Downey a slot in his newly contracted CBS series for which he was to produce thirteen feature-length teleplays. Using largely the same crew from GREASER’S, Downey adapted and directed David Rabe’s award-winning anti-Vietnam War play STICKS AND BONES. Instead of shooting it on film and then transferring it to video for broadcast, as was standard practice, Downey insisted on shooting the whole thing on new video technology: 2” Quad videotape. Believing the teleplay was too controversial, at the last minute CBS indefinitely postponed airing it. When they eventually broadcast it five months later, half of the affiliate stations refused to carry it (an unprecedented move for the time). Outraged, Papp canceled his entire series contract over CBS’s actions, which he called “a cowardly cop-out and a rotten affront to freedom of speech.”<br /><br />STICKS AND BONES was thought to survive only on badly dubbed U-Matic videotapes with burned-in timecode, but a 2” master videotape belonging to cinematographer Peter Powell was recently discovered and subsequently preserved by Anthology, and we’re delighted to premiere the restoration as part of this series.<br /><br />Restored by Anthology Film Archives. Special thanks to Gus Powell and Maurice Schechter.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, October 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60102 <p>(OKTYABR)<br /><br />“An imaginary document projected on actual locations, OCTOBER is the Soviet equivalent of the Sistine Chapel – an artist commissioned by the state has represented the sacred origins of the universe. Woodrow Wilson had famously hailed D.W. Griffith’s THE BIRTH OF A NATION (1915) as ‘history written with lightning,’ but Eisenstein’s cosmic newsreel cum theoretical film poem goes beyond THE BIRTH OF A NATION, as well as his own BATTLESHIP POTEMKIN, in drafting the past to serve the requirements of the present. No less than the revolutionaries who made October, Eisenstein understood himself as history’s tool. Thus consecrated to the Bolshevik faith, his OCTOBER is a perfect tautology – it clarifies and improves on history in the service of objective historical necessity.” –J. Hoberman, THE RED ATLANTIS: COMMUNIST CULTURE IN THE ABSENCE OF COMMUNISM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, October 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60122 <p class="p1">Highly personal and at the same time completely illogical, this cacophonous comedy (also known as MOMENT TO MOMENT, and even as JIVE) has virtually no semblance of a storyline or plot. The great Elsie Downey, the director’s then-wife and the mother of his children (who are featured prominently throughout), drives the film with her boisterous performance in what may very well be more than ten roles. Shot and edited piecemeal over a few years, TWO TONS… is a collage of everything from staged scenes to home movies, and features a soundtrack by the legendary Jack Nitzsche and David Sanborn.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, October 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60128 <p class="p1">POUND, an adaptation of Downey’s own off-off Broadway play THE COMEUPPANCE, is a truly outlandish parable about dogs (played by many of his regular actors) facing “death or adoption” within an animal shelter. Based solely on the box-office success of PUTNEY SWOPE, POUND was produced and distributed by United Artists, who had allegedly assumed it was going to be an animated film. Rated X and too strange for mainstream tastes, the film was a resounding commercial failure for the studio, an experience that ensured Downey would remain a Hollywood outsider for years to come.<br /><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, October 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60125 <p class="p1">The unexpected underground success of Downey’s no-budget feature CHAFED ELBOWS (1966), composed mostly of stills, caught the attention of an advertising production company who hired him “to try experimental stuff,” as he later put it. Inspired by his experiences working within the industry, Downey wrote PUTNEY SWOPE (1969), an uproarious and deeply subversive swipe at the advertising world – and at capitalism in general. PUTNEY was a surprise hit on the art-house circuit leading to extended runs and praise from critics and viewers alike and remains Downey’s best-known film today.<br /><br />In the film, an advertising agency’s only Black executive is unexpectedly voted chairman, at which point he institutes a series of radical reforms while rebranding the agency “Truth and Soul, Inc.” Downey seamlessly edited standalone commercial parodies throughout the film, which would inspire future sketch comedies like “Mr. Show” and “Kids in the Hall”.<br /><br />Restoration courtesy of All Channel and the American Genre Film Archive. PUTNEY SWOPE was restored by the Academy Film Archive and The Film Foundation, with funding provided by the Hobson/Lucas Family Foundation.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, October 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60118 <p class="p1">Joseph Papp, who hailed GREASER’S PALACE as “a masterpiece” and “a classic to be seen again and again,” offered Downey a slot in his newly contracted CBS series for which he was to produce thirteen feature-length teleplays. Using largely the same crew from GREASER’S, Downey adapted and directed David Rabe’s award-winning anti-Vietnam War play STICKS AND BONES. Instead of shooting it on film and then transferring it to video for broadcast, as was standard practice, Downey insisted on shooting the whole thing on new video technology: 2” Quad videotape. Believing the teleplay was too controversial, at the last minute CBS indefinitely postponed airing it. When they eventually broadcast it five months later, half of the affiliate stations refused to carry it (an unprecedented move for the time). Outraged, Papp canceled his entire series contract over CBS’s actions, which he called “a cowardly cop-out and a rotten affront to freedom of speech.”<br /><br />STICKS AND BONES was thought to survive only on badly dubbed U-Matic videotapes with burned-in timecode, but a 2” master videotape belonging to cinematographer Peter Powell was recently discovered and subsequently preserved by Anthology, and we’re delighted to premiere the restoration as part of this series.<br /><br />Restored by Anthology Film Archives. Special thanks to Gus Powell and Maurice Schechter.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, October 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60007 <p>NEW YORK PREMIERE!<br /><br />In her haunting debut feature, Mexican filmmaker and visual artist Sofía Peypoch returns to the site of her kidnapping, undertaking a visceral excavation of memory beneath the earth’s surface. Through intimate, tactile gestures – her hands probing the soil alongside others replicating this chimerical act – the film weaves personal trauma with ancestral history, positioning the earth as an unyielding witness that refuses to forget. Combining film, photography, ceramic sculpture, and found objects, Peypoch crafts a sensory meditation on memory as a living, mutable space where past and present converge. EARTH ALTARS intricately explores how archaeology lends historical depth to intimate trauma, creating a profound dialogue between personal and collective histories.<br /><br /><strong>Followed by a Q&A with the director!</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> Wednesday, October 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60119 <p class="p1">Joseph Papp, who hailed GREASER’S PALACE as “a masterpiece” and “a classic to be seen again and again,” offered Downey a slot in his newly contracted CBS series for which he was to produce thirteen feature-length teleplays. Using largely the same crew from GREASER’S, Downey adapted and directed David Rabe’s award-winning anti-Vietnam War play STICKS AND BONES. Instead of shooting it on film and then transferring it to video for broadcast, as was standard practice, Downey insisted on shooting the whole thing on new video technology: 2” Quad videotape. Believing the teleplay was too controversial, at the last minute CBS indefinitely postponed airing it. When they eventually broadcast it five months later, half of the affiliate stations refused to carry it (an unprecedented move for the time). Outraged, Papp canceled his entire series contract over CBS’s actions, which he called “a cowardly cop-out and a rotten affront to freedom of speech.”<br /><br />STICKS AND BONES was thought to survive only on badly dubbed U-Matic videotapes with burned-in timecode, but a 2” master videotape belonging to cinematographer Peter Powell was recently discovered and subsequently preserved by Anthology, and we’re delighted to premiere the restoration as part of this series.<br /><br />Restored by Anthology Film Archives. Special thanks to Gus Powell and Maurice Schechter.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, October 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60103 <p>(STAROYE I NOVOYE)<br /><br />With OLD AND NEW, also known as THE GENERAL LINE, Eisenstein developed and perfected his theories of “mise-en-cadre,” using the montage of characters in the foreground and background to conjure meanings, and “overtonal montage,” bringing silent film to its zenith.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Thursday, October 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60187 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, October 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60104 <p>(IVAN GROZNY)<br /><br />“The first time in history a man has committed suicide by cinema,” quipped Dovzhenko. A state-sanctioned production, Ivan’s opulent furs and jewels color the black-and-white machinations by a demonic Czar bent on making his subjects’ lives a living hell – a statement pointed with outrage directly at Stalin.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Friday, October 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=10&year=2025#showing-60245 <p>“A world dominated by Technology is lost for Liberty.” –George Bernanos<br /><br />"These three films resurrect the vital force of poetic existence against technocracy. With rare sculptural potency, these works materialize absences in order to render them sensory." –Marta Mateus<br /><br />António Reis<br />JAIME<br />1974, 35 min, 35mm-to-DCP. In Portuguese with English subtitles. Digitization by Cinemateca Portuguesa – Museu do Cinema.<br />"Jaime Fernandes drew in pencil and ballpoint pen, and wrote abundantly, in the last three years of his life. Jaime was one of the 'numbered men, subjugated to the orderly,' who spent more than thirty years in a psychiatric hospital in Lisbon. Using a handheld camera from the perspective of an 'unarmed human eye' that peers out with exceptional brilliance and energy, the film makes the figures revealed in these drawings and written words blossom, roaming through their traces, volumes and temperatures in a rapport with 'all its poetic, dramatic and biographical implications,' as António Reis describes. Within a plastic ascesis, the lustrous water of a meadow, the vertiginous sylvan daisies and the patients attain a communal 'dignity of statues.' An epiphany of sounds and images that shapes an extraordinary film, raising vita and opus in the same pulse." –Marta Mateus<br /><br />Pedro Costa<br />OUR MAN / O NOSSO HOMEM<br />2010, 25 min, DCP. In Portuguese with English subtitles.<br />"In Costa’s short film, O NOSSO HOMEM, the son, whose name is José Alberto Tavares Silva, is haunted by a correspondence addressed to him. Haunted across a compound of plural times, the film unfolds in the present, suspended in a life-or-death battle for freedom. The daily battle of the margins to hold back the course of the river, our sick and poisoned river. Our man stands for all of us, as every person’s liberty is inherently collective. A political and sentimental cartography of our community and of humanity’s state of siege." –Marta Mateus<br /><br />Jean-Marie Straub<br />FRANCE AGAINST THE ROBOTS / LA FRANCE CONTRE LES ROBOTS<br />2020, 10 min, DCP. In French with English subtitles.<br />"This last film by Jean-Marie Straub was adapted from George Bernanos’ essay of the same name, *pour Jean-Luc [Godard], his fellow director and comrade, with whom he shared a lakeside promenade in Rolle, where they both lived toward the end of their lives. 'The revolution we are announcing will overturn the entire existing order or it will not take place at all.' A raw and beautiful testament. A manifesto on the absolute necessity of fighting for freedom." –Marta Mateus<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, October 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60248 <p>Marta Mateus<br />BARBS, WASTELANDS / FARPÕES, BALDIOS<br />2017, 25 min, DCP. In Portuguese with English subtitles.<br />“Mateus’s debut film announced her bold visual style and poetically multi-voiced approach to political narrative with its rich evocation of a community filtered through the sun-drenched lens of a workday in an Alentejo summer and collective memories of the Carnation Revolution. Labor and play musically intermingle as children rush hither and thither and the elders recall past struggles that still echo in the present day.” –Haden Guest, HARVARD FILM ARCHIVE<br /><br />Preceded by:<br />Manoel de Oliveira<br />BREAD / O PÃO<br />1963, 23 min, 35mm. In Portuguese with English subtitles. Print preserved by Cinemateca Portuguesa – Museu do Cinema.<br />“BREAD follows the birth and life of a loaf, from the wheat fields to the bakery. ‘The idea for this film is that bread is like a current in a river that goes through different places, different hands…,’ explained Oliveira. BREAD is an important transitional work between the montage driven DOURO, WORKING RIVER (his first film) and his later work. It was during the search for locations for BREAD that Oliveira discovered the local Passion play that would become the subject of his breakthrough film, RITE OF SPRING (1963). BREAD was first released as a one-hour featurette but re-edited by Oliveira a few years later into this shorter, tighter version which was the one he preferred.” –Haden Guest, HARVARD FILM ARCHIVE<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, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60188 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60333 <p>“Remote Viewing” is a screening program that examines how contemporary artists employ moving images to render psychic phenomena, altered states of perception, and metaphysical dimensions of consciousness. Grounded in the strategies of experimental cinema, the selected works draw on trance, telepathy, memory fracture, and ritual transformation, reconceiving the screen not as a passive surface, but as a psychic interface through which time, voice, and identity are disassembled and reconfigured into new perceptual architectures.<br /><br />The title references “remote viewing,” a Cold War-era term for extrasensory perception conducted across distance. While formalized within military and parapsychological research during the 1970s, its conceptual lineage extends further, entwined with modern psychology, hypnotic trance, spirit communication, occult practice, and early scientific inquiries into the unconscious. Reframed here as both historical reference and curatorial metaphor, it positions consciousness as a medium that traverses spatial, temporal, and affective thresholds.<br /><br />This program presents a focused selection from the forthcoming exhibition at MoNTUE, Taipei (2026), featuring works by Tony Oursler, Ho Tzu Nyen, Sky Hopinka, Jeremy Shaw, and Hsu Che-Yu, among others.<br /><br />Guest-programmed by Alice, Nienpu Ko.<br /><br />Tony Oursler HELENE SMITH (2024, 8 min, digital)<br />Ho Tzu Nyen O FOR OPIUM (2023, 12.5 min, digital)<br />Sky Hopinka I’LL REMEMBER YOU AS YOU WERE, NOT AS WHAT YOU’LL BECOME (2016, 12.5 min, digital)<br />Jeremy Shaw LIMINALS (2017, 31.5 min, digital)<br />Hsu Che-Yu CATASTROPHISM (2025, 13 min, digital. In Mandarin with English subtitles.)<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> Saturday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60251 <p>"History is full of authority figures who, under the guise of moral propriety, impose restrictive rules to control the masses. Resisting them are those who, embracing risky vulnerability, rise up to free themselves from the entrenched power structures. The protagonists of these three films commit the heresy of exalting an ethical commitment to the freedom of the spirit and its creative strength. Marked by an exceptional empathy for the inner movement of characters whose presences are physically constrained, all three concise cinematographic transgressions blur our gaze from the surface and anchor us in the depths of the space and time of thought." –Marta Mateus<br /><br />Robert Bresson<br />THE TRIAL OF JOAN OF ARC / PROCÈS DE JEANNE D’ARC<br />1962, 65 min, 16mm. In French with English subtitles.<br />"In THE TRIAL OF JOAN OF ARC, Bresson captures the inner listening of Jeanne, a look inwards, its intimate bond with the anima escaping the chains of materia – a body imprisoned and consigned to flames, the body of a woman who became a towering figure in defiance of the Inquisition’s pyres that ravaged Europe and left deep wounds still to heal, particularly in Portugal and Spain." –Marta Mateus<br /><br />Danièle Huillet & Jean-Marie Straub<br />EN RACHÂCHANT<br />1982, 7 min, 35mm. In French with English subtitles.<br />"EN RACHACHÂNT is a precious testimony of childhood’s fertile challenge against conformity, denouncing the preposterous ignorance of those who claim to teach 'things they don’t know.' Comical and provocative, both in the cadence and tone of the text and the low and high angle shots, the film critically parodies the absurdity of certainty and the inevitability of learning from life." –Marta Mateus<br /><br />Chantal Akerman<br />SAUTE MA VILLE<br />1968, 13 min, 16mm-to-DCP<br />"Reflecting the narratives inherited from history that emerge in a domestic arena saturated with symbols – culturally and ideologically attributed to the 'feminine universe' – SAUTE MA VILLE explodes, both literally and metaphorically, the monotonous patterns of convention. Fusing the gesture of framing with the presence that inhabits it in a single choreographic breath, Akerman takes on the role of the protagonist in her own body. Comedy is the truth of tragedy. An emancipatory impulse, paraphrasing Godard on 'What is Cinema?': a girl and a film camera." –Marta Mateus<br /><br />Total running time: ca. 90 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60254 <p>"Moving backward to the early days of cinema, we start from more distant beginnings: from when stars, birds, trees, winds, seeds, mountains and magicians shared the same language and dialogue with the same alphabet of life; from life at its origins. Life is wise – always announcing, acting, speaking, revealing things we don’t know, things we have forgotten. When ignoring the hidden causes behind the 'chance' events in life, one might call them mere coincidence, or if with fatalistic mysticism, a blessing or a malediction. What power do human laws have over the laws of nature and the universe? In these three films, trade and speculation among ourselves – and the unknown forces in our lives – only go so far. Each film dramatizes the intervention of contrasting laws in the course of the characters’ destinies. The program gradually explores different formal styles and tones – conjuring senses of the real and ways of organizing the process of reality through fiction." –Marta Mateus<br /><br />[<em><strong>Please note: WEIRD WOMAN is a substitution for the originally programmed short WHAT DO YOU THINK?: TUPAPAOO (1938) by Jacques Tourneur, since it was unfortunately impossible to find a good quality exhibition print of the latter.</strong></em>]<br /><br />Jean Rouch<br />LES MAGICIENS DE WANZERBÉ<br />1948, 38 min, 16mm. In French with English subtitles. Restoration CNC © CNRS – CFE.<br />"One of the most alluring of Jean Rouch’s films, LES MAGICIENS DE WANZERBÉ records the sages of the title performing rituals that invoke nature’s divine entities to request protection and sustenance for the village. They observe, feel and wait with an attitude of devotion and humility before the immense magnificence of the elements, with which they collaborate. They have preserved the wisdom of mediators between heaven and earth, energies they ally in themselves, in a permanent exchange with nature. 'The camera here has only served as a pencil to record what the hand couldn’t register,' the filmmaker warns at the beginning. The film camera serves as a medium of possession for the anthropologist, enabling the transmission of the wisdom and experiences shared by the Sohance people." –Marta Mateus<br /><br />Reginald Le Borg<br />WEIRD WOMAN<br />1944, 63 min, 16mm. With Lon Chaney Jr.<br />“The long-running radio serial Inner Sanctum Mystery (1941-52) inspired six Universal films, all starring Lon Chaney Jr. and featuring eerie stories of supernatural terror. In the best one, WEIRD WOMAN, Chaney is Norman Reed, an anthropology professor married to the exotic island native he met while conducting field research for a book on voodoo religions. Austrian émigré Reginald Le Borg lends an ironically anthropological eye to his cutting study of a small-minded American town destabilized by the incestuous rivalries and unspoken xenophobia that ignite when Reed unexpectedly returns from his expedition with his comely bride in tow. Remaining true to its radio origins, WEIRD WOMAN makes effective use of voiceovers to place the viewer squarely in the troubled mindset of Reed as he struggles to understand the many weird women who whisper suggestively into his ear, including the always uncanny Val Lewton regular Elizabeth Russell as a wrathfully vengeful wife desperate to blame someone for her husband’s suicide.” –HARVARD FILM ARCHIVE<br /><br />D.W. Griffith<br />A CORNER IN WHEAT<br />1909, 14 min, 16mm, silent<br />"The seeds of wheat slip from the peasant’s hands – the hands of labor, the hands that sow the seeds on the land that grows them. A CORNER IN WHEAT traces disparate chains of value through three intertwined perspectives: of those who cultivate the fields, those who consume the bread, and those who control the markets. Seizing control of the whole world’s wheat, a greedy magnate doubles the price of bread at the bakery, taking it from the hands of the poor. After a lavish party to celebrate his wealth, he proudly shows off the grain elevators to his guests and ends up slipping into the pit. Griffith crafts a gravitational space-time where physical and moral forces converge within a single cinematic dimension." –Marta Mateus<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60286 <p>Flaherty’s pioneering ethnographic film depicts the struggle for survival of Inuit hunter Nanook and his family. Though rife with staged scenes, anachronisms, and an indulgence in the myth of the “noble savage” (Nanook was in fact an Inuit man named Allakariallak, who hunted not with harpoons and spears but with a rifle), NANOOK OF THE NORTH is a work of great lyricism, simplicity of design, and genuine affection for its protagonists, and its force is undiminished almost 100 years after it was made.</p> <p><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60189 <p>NEW YORK THEATRICAL PREMIERE RUN! FILMMAKER IN PERSON DURING OPENING WEEKEND!<br /><br />The feature debut of Portuguese filmmaker Marta Mateus is a forceful collision of documentary reality and myth. In the Alentejo region of southern Portugal, where Mateus is from, a peasant community of grape-pickers become agents in an open-air ritual of remembrance and rebellion. It’s harvest time and there’s discontent in the fields. Suddenly, a black bull is on the loose, and the laborers must scramble for refuge high up in the oak trees. As the specter of the beast looms below, they share bread and wine, memories and dreams, the history of the landscape and of struggles past and present. Night begins to fall, and time swells. The wind that brings the heatwave, it burns. A fable-like film rich with language and monumental gesture, FIRE OF WIND announces a rare voice in contemporary cinema, an artist of deep political commitment steeped in the great filmmaking traditions of Portugal, all the while forging a singular new path forward.<br /><br />“The bright sunshine of the opening vine-picking sequences gives way to some of the most remarkable nighttime images in recent memory, with faces now illuminated by shafts of moonlight as the workers keep their marooned vigil. Time slips as past and present, reverie and reality seem to merge in the night. […] FIRE OF WIND feels wrought out of a profound connection with the landscape and buried history of the wine country where Mateus grew up.” –Sam Wigley, BFI<br /><br />“Mateus’s beguiling debut is lyrical, full of poetry and deeply symbolic imagery. Beautifully shot with natural light and formed with striking compositions reminiscent of master filmmaker Pedro Costa, Mateus captures her characters in a remarkable state of grace.” –Kazik Radwanski, TIFF<br /><br />On the occasion of Mateus’s visit to NYC, we will also present screenings of her acclaimed short film, BARBS, WASTELANDS (2017), as well as a series of films guest-selected by Mateus; <a href="../../../film_screenings/series/60243">click here for more details</a>.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60287 <p>Flaherty’s third major film portrays the lives of a family of fisher folk on the Aran Islands off the coast of Galway, Ireland. Flaherty selected the location and subjects because of their isolation as the westernmost outpost of European civilization. In addition, the daily struggle between the islanders and the sea perfectly suited his interests and concerns. The scenes at sea are breathtaking.<br /><br />“His passionate devotion to the portrayal of human gesture and of a man’s fight for his family makes the film an incomparable account of human dignity. Better than anyone, Flaherty knew how to show the true face of Man.” –Georges Sadoul</p> <p><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60257 <p>"On April 25, 1974, the Carnation Revolution brought down forty-eight years of dictatorship in Portugal. Under the revolutionary commotion, filmmakers and numerous emerging militant film production units dedicated their work to listening to the real country, while actively intervening in the revolution they were recording. Although with different orientations and aesthetic inclinations, all productions from that period are traversed by political, social, cultural, and economic upheavals and formally express, with greater or lesser degrees of evidence, a subversion of the previously established order with a new freedom of discourse – no longer under the gaze of the dictator and the censorship previously imposed on Portuguese cinema. After filming the large rallies in the city of Lisbon, the attention shifted to the rural areas. Several film crews moved from the urban fabric to the countryside to make films with and for the people. Two films made during the revolutionary period focused on the symbolic and effective appropriations carried out by the people." –Marta Mateus<br /><br />Ana Hatherly<br />REVOLUÇÃO<br />1975, 12 min, 16mm-to-DCP. In Portuguese with English subtitles. Digitization by Cinemateca Portuguesa – Museu do Cinema, under the scope of the Recovery and Resilience Plan. A measure integrated into the Next Generation EU program.<br />"Made during the PREC (Ongoing Revolutionary Process), REVOLUÇÃO documents with effervescence the saturation and vitality of traces, signs, symbols, figures, and words that occupied and intervened in the public space immediately after the Carnation Revolution. The film registers a multiplicity of painted murals, graffiti, propaganda posters from various political factions and previously banned parties – some with long clandestine activities – as a diversity of emerging new parties, accompanied by a roaring chorus composed of speeches of prominent resistance figures, the crowds’ jubilant demonstrations and the previously forbidden songs of protest. The montage of image and sound juxtaposes profuse layers of vibration within a series of continuous shocks, evincing the buzz of euphoric collective participation in the construction of a new democratic country. Ana Hatherly’s work crisscrosses several fields, from poetry to the visual arts, partaking in the richness of these intersections and inscribing itself as a revolutionary act." –Marta Mateus<br /><br />Grupo Zero<br />THE LAW OF THE LAND / A LEI DA TERRA<br />1977, 67 min, 35mm-to-DCP. In Portuguese with English subtitles. Digitization by Cinemateca Portuguesa – Museu do Cinema, under the scope of the Recovery and Resilience Plan. A measure integrated into the Next Generation EU program.<br />"By the end of 1975, under the motto 'The land belongs to those who work it,' more than a million hectares of land were occupied, especially in the southern fields of Alentejo, one of the poorest regions in the country. Having started as an unregulated occupy movement, the Agrarian Reform Laws later approved by the Council of the Revolution set in motion the expropriation and nationalization of large landholdings considered fundamental for the development of the country and its citizens. The UCPs (Collective Production Units) were formed and run mainly by peasants and casual rural workers, some of the most disadvantaged and precarious citizens. 'Venturing to speak with the peasants is the secret of THE LAW OF THE LAND,' asserted director Seixas Santos, one of the members of the Grupo Zero cooperative. The film accompanies the struggle of some of these rural workers and peasants during the Agrarian Reform process in Alentejo, and represents an important record of the post-revolutionary period, framing the events in their countless social, political, and historical manifestations, contributing to a contextualization and reflection on the dynamics of class struggle and the issues of land ownership and possession to this day." –Marta Mateus<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 02