https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 27 Jan 2026 16:59:52 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60623 <p>With a title inspired by Walter Benjamin’s “The Arcades Project”, McLaren’s second and final video art work – and the final moving-image work of his career – represents a major homage to Charles Baudelaire’s concept of the flâneur, and to Situationism. Manipulating clips from French film advertising, starting with the Lumière Brothers and spanning the entire 20th century, the work is set mainly to his 1994 album, “Paris” (which had sampled these ads), with McLaren’s own spoken narration threaded throughout. It was first shown in its completed form at the Swiss Institute, NY, in February 2010.<br /><br /><strong>The screening on Tues, Jan 27 will be followed by a discussion with Young Kim and Eugenia Melian, the producer of the album “Paris”; the talk will be moderated by Charles Aubin, co-director of Centre Pompidou x Jersey City. </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60624 <p>With a title inspired by Walter Benjamin’s “The Arcades Project”, McLaren’s second and final video art work – and the final moving-image work of his career – represents a major homage to Charles Baudelaire’s concept of the flâneur, and to Situationism. Manipulating clips from French film advertising, starting with the Lumière Brothers and spanning the entire 20th century, the work is set mainly to his 1994 album, “Paris” (which had sampled these ads), with McLaren’s own spoken narration threaded throughout. It was first shown in its completed form at the Swiss Institute, NY, in February 2010.<br /><br /><strong>The screening on Tues, Jan 27 will be followed by a discussion with Young Kim and Eugenia Melian, the producer of the album “Paris”; the talk will be moderated by Charles Aubin, co-director of Centre Pompidou x Jersey City. </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60620 <p>McLaren returned to his roots as a visual artist in June 2008 with SHALLOW 1-21, a series of twenty-one “Musical Paintings” – short films created from re-worked clips from pornography set to music that he composed. It premiered in Art Basel Projects, and was shown by Creative Time in Times Square, New York; the Royal Academy of Arts, London; the Baltic Centre for Contemporary Art, Gateshead; and the Pennsylvania Academy of Fine Arts in Philadelphia.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60614 <p>McLaren created this one-hour compilation of his work for the eponymous exhibition at the Pompidou Center in Paris. It encompasses clips from THE GREAT ROCK ‘N’ ROLL SWINDLE, music videos, lectures, fashion shows, his interactive multimedia self-portrait entitled, “The Casino of Authenticity and Karaoke”, commissioned by the Bonnefanten Museum, and an ad he wrote the copy for and performed in for Virgin Atlantic Airlines.<br /><br />Preceded by:<br />Malcolm McLaren BEING MALCOLM (selection from “Les Chroniques de Malcolm”) (2000-01, ca. 38 min, video)<br />A selection of 3-minute interstitials commissioned by French TV, Canal Jimmy. Given carte blanche, McLaren created a series of philosophical films about many of his obsessions. One film, “Shoppertainment”, which proposes the idea that shopping has become entertainment, won the “Ithème” award for Best Cultural TV program.<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> Wednesday, January 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60608 <p>This is the Sex Pistols film that ultimately blew up the band and their relationship with McLaren. Originally called WHO KILLED BAMBI, with a script written by McLaren and Roger Ebert for Russ Meyer to direct, this mockumentary starring McLaren as the Svengali manager of a punk band was ultimately directed by Julien Temple, and features Steve Jones, Helen Wellington Lloyd, Sue Catwoman, and Sid Vicious singing “My Way”.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60639 <p>“Premiered on February 11, 1952, and immediately banned, the first experimental, imageless film of Gil J. Wolman is divided into two sections: a non-narrative soundtrack, some kind of interior monologue including physiological noises, and a visual part built on the irregular alternation of black and white circles screened on a weather balloon. In April of the same year, Wolman led a systematic disruption of the Cannes Film Festival and was only saved by a police escort. L’ANTICONCEPT remains one of the most radical films of all time.” –INTERNATIONAL FILM FESTIVAL ROTTERDAM<br /><br />[<strong>Designed to be projected on a spherical weather balloon, this represents a rare NYC presentation of L'ANTICONCEPT!</strong>]<br /><br /><strong>Introduced by Frédéric Acquaviva.<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60697 <p>(EINMAL IST KEINMAL)<br /><br />“Peter Weselin, a musician and composer from West Germany plans to spend a quiet vacation with his uncle in the small town of Klingenthal, but the East German town, known for manufacturing instruments, is about to hold its annual music festival. Everyone wants Peter to write a composition for them: the local accordion factory asks for a symphony and the attractive Anna wants a pop hit for her youth dance group.” –DEFA FILM LIBRARY<br /><br />“A fascinating exceptional work in Konrad Wolf's filmography…[and] the stunning Agfa color photography made it one of the most beautiful 1950s German music films.” –DEUTSCHES HISTORISCHES MUSEUM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60641 <p>Isidore Isou arrived in Paris from Romania in 1945 where he founded the Lettrist movement and published many books. Letterism attempted to break down poetry into letters and syllables, and then all arts into their constituent parts, to build up new languages for each art form. VENOM AND ETERNITY was the first Lettrist film manifesto. Isou brought it uninvited to the Cannes Film Festival (1951) where it won the audience prize for the avant-garde. Jean Cocteau’s poster promoted the 1952 release on the Champs-Elysées. The film is Isou’s “revolt against cinema”: the sound and the picture are purposefully unrelated, and the images are destroyed by bleach and scratched. The film is a landmark work that prefigured the Letterist and Situationist cinema to come and influenced many experimental filmmakers.<br /><br />Introduced by Frédéric Acquaviva.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60700 <p>(GENESUNG)<br /><br />“The authorities expect the case of Friedel Walter, alias ‘Dr. Mueller,’ to be a straightforward one: he was working as a doctor without proper credentials and under a false name. But Mehlin, the man in charge of his case, knows that there is more to the story. When he was injured fleeing from a concentration camp, resistance worker Irene asked her medical student boyfriend Walter to give him medical care. As it turns out, Walter ended up on the front as a medical worker, was captured by the British and mistakenly registered under the name of the fallen Dr. Mueller. He simply never straightened out the confusion. Years later, while dealing with a particularly difficult case, he recognizes the patient’s wife as his former love Irene and is forced to confront the truth about his past.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60703 <p>Based on a novel by German-Czech author Franz Carl Weiskopf, LISSY centers on a working-class socialist in the Weimar economic crisis whose husband Alfred joins the Nazi Party after losing his job. Though their Nazi membership improves their material conditions, it alienates Lissy from her left-wing parents and friends, many of whom she sees attacked by the Nazis with the consent of the police. Through Lissy’s point of view, Wolf highlights how poverty and unemployment attracted many Germans to fascism. The film captures her gradual realization of fascism’s politics of exclusion and fear, forcing her to question the comfort offered by her husband’s party membership. This act of defiance turns into a gesture of antifascist significance and resistance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60706 <p>(SONNENSUCHER)<br /><br />SUN SEEKERS focuses on the stories of two women, a young orphan named Lutz and Emmi, who are picked up by the police during a raid in Berlin to work in the Soviet and East-German Wismut uranium plant. The film’s style stands out for its anti-heroic aspects, while the narrative boldly shows the resentment felt by the East German workers towards the Soviets, not just because of the past trauma of the war, but also because of the unrealistic production expectations on the part of the latter. The emphasis on these conflicts through an observational cinematic style that captures a variety of social relationships in the plant contradicts the film’s opening intertitles, which patronizingly explain to the viewer that the Wismut project started out of the USSR’s commitment to world peace. Wolf had to wait until 1972 for an official release of SUN SEEKERS; under pressure from the Soviet authorities, the film was not released in 1958 and was shelved for 14 years.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Victoria Rizo Lenshyn, Associate Director of the DEFA Film Library at the University of Massachusetts Amherst!</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, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60643 <p>“After working on Isou’s VENOM AND ETERNITY as an assistant director, Maurice Lemaître set out to make a film that not only attacked the conventions of filmmaking, but of filmgoing too. LE FILM EST DÉJÀ COMMENCÉ? is a film that spills from the screen, as instructed by its script which expands upon the body of the film to include what should occur in the viewing room as it’s projected. Throughout the film, he directly addresses the audience with questions such as ‘Why are you here?’ while they sit in the dark watching the movie also subject to the insults of ‘extras’ taunting their ability to watch the whole thing through. The film is made up of a series of kaleidoscopic images. Unlike Debord and Wolman, Lemaître stresses the visual quality of his cinema. LE FILM EST DÉJÀ COMMENCÉ? is colorful, fun, and wholly unruly, reflecting the spirit of a passionate young filmmaker meddling with the rules of his craft.” –RE:VOIR<br /><br />Introduced by Bill Kartalopoulos.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60709 <p>(STERNE)<br /><br />A DEFA and Bulgarian co-production, and the winner of the Prix du Jury at the 1959 Cannes Film Festival, STARS was one of the first German-speaking films about the Holocaust, a subject still taboo in West Germany at the time. The film takes place in a small town in Bulgaria, where German soldiers have temporarily stationed groups of Greek Jews who are destined for Auschwitz. Among the soldiers is Walter, a Wehrmacht officer and disillusioned intellectual and painter, who seems to hold nihilistic views. A chance encounter, however, prompts a reflection on his role in the Nazi war machine: he falls in love with Ruth, a Jewish woman, and tries to organize her escape with support from local members of the Bulgarian resistance. Because of the taboo on discussing the Holocaust, the West German government tried to prevent the film’s circulation at international festivals.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Mariana Ivanova, Academic Director of the DEFA Film Library at the University of Massachusetts Amherst!</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, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60712 <p>(LEUTE MIT FLÜGELN)<br /><br />“This film continues the story of radio operator Ludwig Bartuschek from Kurt Maetzig and Günter Reisch’s 1958 East German classic, THE SAILORS’ SONG. Near the end of the Weimar Republic, Bartuschek is working as a mechanic in the Sperber airplane plant. Director Dehringer offers him the opportunity to train as an airplane builder if he is willing to give up his communist beliefs under oath. Bartuschek will not allow himself to be bought and instead joins the underground resistance movement.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60715 <p>PROFESSOR MAMLOCK is an adaptation of the homonymous play (1933) by Friedrich Wolf, the director’s father. Written in exile, the play was one of the first artistic encounters with the question of anti-Semitism in Nazi Germany. The film adaptation makes a bold argument that non-resistance in the early years of Nazi rule was tantamount to complicity. MAMLOCK tells the story of an accomplished medical surgeon and Professor at a university hospital. He is a family man of Jewish origin, who believes in Enlightenment ideas of individual freedom, scientific humanism, progress, and the rule of law. When the Nazis take power in 1933, he passionately opposes his Communist son’s resistance activities, convinced that fascism would be a small parenthesis in German history. He only understands the regime’s horror when he is dismissed during the wave of purges of Jews and political opponents from civil service and government jobs. Mamlock’s “wrong decision” becomes a metaphor for collective inertia at times of political crisis; the personal and the political, the private and the public sphere, are clearly interconnected in this fascinating film.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60645 <p>Maurice Lemaître<br />LE SOULÈVEMENT DE LA JEUNESSE – MAI 68<br />1969, 28 min, 16mm. In French with English subtitles.<br />“Maurice Lemaître had the ambition to create a truly innovative film about the May 1968 revolt. To achieve this, he spared no effort in employing his bold filmmaking techniques, successfully integrating the cinematic innovations used in his previous works into this new thematic dimension.” –LIGHT CONE<br /><br />Maurice Lemaître<br />UN SOIR AU CINÉMA SUIVI DE POUR FAIRE UN FILM<br />1962-63, 40 min, 16mm. In French with English subtitles.<br />“The central idea of the first part of this work is to make the viewer imagine that he or she went out into the street that night, entered the cinema where the film is shown and now meets a stranger sitting next to him or her in the room. As in all Maurice Lemaître’s films, sound is an essential part of this work. It is he who tells the ‘story’, like an inner monologue. The image, for most of the film, is an autonomous illustration, but it can have indirect, allusive relationships with the sound. This image is also chiseled with multiple drawings, superimpositions etc., which make it of a rare richness. TO MAKE A FILM, the second part of the session, is an ‘invitation to make a film’, what the author calls a supertemporal work, because it constantly surpasses time, by continuously integrating it into an open film framework, calling for the creation of the public itself.” –LIGHT CONE<br /><br />Total running time: ca. 75 min.<br /><br /><strong>Introduced by Bill Kartalopoulos.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60718 <p>(DER GETEILTE HIMMEL)<br /><br />A loose adaptation of writer Christa Wolf’s novel, DIVIDED HEAVEN is one of the most formally experimental DEFA films. The film is visibly influenced by post-war Western European modernist cinema, a clear departure from socialist-realist doctrines prevalent in the GDR at the time. Similar to LISSY and PROFESSOR MAMLOCK, DIVIDED HEAVEN places an individual’s story within the wider social and historical context to explore the interconnection between private life and history. The story centers on a couple: Rita, a rural girl studying to become a teacher who also works in a factory as part of her educational training, and Manfred, a chemist from the city. After losing financial support for one of his engineering projects, Manfred decides to move to West Berlin. Rita, however, refuses to relocate to the West and fails to persuade him to return. Instead of guaranteeing any sense of catharsis, Rita’s decision to stay in East Berlin leaves the narrative open-ended. As in his other films, Wolf’s portrayal of the GDR highlights its contradictions, such as the productivity pressures faced by the workers at Rita’s factory and the social pressures faced by relatives of people who moved to the West. At the same time, his portrayal of West Berlin as a place where everything, according to Rita, “revolves around eating and drinking, getting depressed, and then going to bed,” demonstrates the different worldviews carried by the two societies.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60721 <p>(DER KLEINE PRINZ)<br /><br />“This highly stylized DEFA adaptation, commissioned by East-German television, of ‘The Little Prince’ (1943) by Antoine de Saint-Exupéry brings to life the existentialist classic in magical artificial landscapes. Originally intended for the launch of color television in the GDR, THE LITTLE PRINCE was filmed in 1965/66 by the DEFA Studio for Feature Films commissioned by Deutscher Fernsehfunk. However, color television was not introduced in the GDR before October 3, 1969. Finally, the film premiered on May 21, 1972, but disappeared in the archives afterwards, thanks to the broadcaster’s failure to obtain the adaptation rights for the text. Before the story became public domain in Germany in 2015, the film was only shown twice with special permission by the literary rights holders, including a screening organized by Wim Wenders in 1995 as part of the series ‘100 Years of Cinema in Berlin.’” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60875 <p>McLaren returned to his roots as a visual artist in June 2008 with SHALLOW 1-21, a series of twenty-one “Musical Paintings” – short films created from re-worked clips from pornography set to music that he composed. It premiered in Art Basel Projects, and was shown by Creative Time in Times Square, New York; the Royal Academy of Arts, London; the Baltic Centre for Contemporary Art, Gateshead; and the Pennsylvania Academy of Fine Arts in Philadelphia.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60724 <p>(ICH WAR NEUNZEHN)<br /><br />Wolf mentions in his diaries that he did not hesitate to become a “Vaterlandsverräter” (“fatherland traitor”) in order to fight the Nazi terror. I WAS NINETEEN brilliantly captures the complexity of his experience as a German man joining the Red Army to fight fascism. Modelled on Wolf himself, who was a 19-year-old Red Army soldier when the Soviets broke the German line, the film’s lead character Gregor is a Soviet soldier of German origins who returns to his homeland in the last days of the war. Acting as an interpreter, he and the other Red Army soldiers try to convince the Germans to surrender. The film’s complex themes of belonging, identity, antifascist struggle, and victimhood are underlined by the form, which is itself influenced by Italian neorealism’s ascetic aesthetic, which aimed to capture history by registering its everyday moments. Despite Wolf’s firm commitment to antifascism, the film’s everyday, anti-heroic, and banal encounters in the last days of the war produce a melancholic style, more an aesthetics of mourning than of celebration.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60876 <p>With a title inspired by Walter Benjamin’s “The Arcades Project”, McLaren’s second and final video art work – and the final moving-image work of his career – represents a major homage to Charles Baudelaire’s concept of the flâneur, and to Situationism. Manipulating clips from French film advertising, starting with the Lumière Brothers and spanning the entire 20th century, the work is set mainly to his 1994 album, “Paris” (which had sampled these ads), with McLaren’s own spoken narration threaded throughout. It was first shown in its completed form at the Swiss Institute, NY, in February 2010.<br /><br /><strong>The screening on Tues, Jan 27 will be followed by a discussion with Young Kim and Eugenia Melian, the producer of the album “Paris”; the talk will be moderated by Charles Aubin, co-director of Centre Pompidou x Jersey City. </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60873 <p>The films on this program are hand-tinted and silent.<br /><br />A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 min, 35mm)<br />THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 min, 35mm)<br />VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE À TRAVERS L’IMPOSSIBLE (1904, 20 min, 35mm)<br />THE HUNCHBACK FAIRY / LA FÉE CARABOSSE (1906, 13 min, 35mm)<br /><br />Total running time: ca. 50 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Tuesday, February 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60727 <p>Wolf’s 1971 Goya biopic has echoes of Bertolt Brecht’s “Life of Galileo” (1939) and addresses questions regarding the role of the artist in moments of social and political crisis. The painter Goya benefits from the support of the king and the Church but simultaneously believes in freedom of thought and the love of his compatriots. This eventually puts him into conflict with the Church and the royal establishment. The film observes the transformation of the artist’s gaze; the harmless portraits of his early days are followed by grotesque paintings that capture the historical horror of the time. Wolf’s engagement with the past is evidence of his desire to connect it with the 20th century. For example, some sequences feature the Inquisition condemning certain artists and thinkers for their heretical views. These film passages indirectly reference the 1949 László Rajk trial in Hungary and the 1952 Slánský trial in Czechoslovakia, two show trials that purged key members of the Hungarian and the Czechoslovak Communist Parties on fabricated charges of espionage. The oblique suggestion that the Catholic Inquisition and the Stalinists had similar dogmatic views demonstrates Wolf’s melancholy about socialism’s shift from a utopian narrative of liberation to a rigid form of bureaucratic governance and oppression.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, February 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60874 <p>All films in this program are b&w and silent.<br /><br />EXTRAORDINARY ILLUSIONS / ILLUSIONS FUNAMBULESQUES (1903, 3 min, 16mm)<br />THE ENCHANTED WELL / LE PUITS FANTASTIQUE (1903, 3 min, 16mm)<br />TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 min, 35mm)<br />THE APPARITION / LE REVENANT (1903, 3 min, 16mm)<br />THE DOCTOR’S SECRET / HYDROTHÉRAPIE FANTASTIQUE (1909, 11 min, 35mm)<br />SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D’UN BUVEUR (1909, 5 min, 35mm)<br /><br />Total running time: ca. 55 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Tuesday, February 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60730 <p>(DER NACKTE MANN AUF DEM SPORTPLATZ)<br /><br />This film explores the relationship between art and power, as well as trauma and memory. It tells the story of Herbert Kemmel, an artist uncomfortable with the official artistic doctrine in the GDR. Kemmel is a sculptor who is pictured as alienated from his social environment, while he seems to be burdened by the fact that people do not understand his work. Kemmel’s alienation is social, but it also has to do with his obsession with the historical traumas of the past. This is expressed in the film’s subtle references to the Buchenwald and Ravensbrück concentration camps and memorial sites, as well as to events in Babi Yar, a ravine outside Kiev where the German army and Ukrainian collaborators executed more than 30,000 Jews and other Ukrainian civilians. The character in the film functions as the director’s double – as Wolf never stopped searching for novel ways to represent the historical traumas of the 20th century.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60733 <p>(MAMA, ICH LEBE)<br /><br />“In a Russian POW camp, four Germans determined to end WWII change into Red Army uniforms. Are they patriots or traitors, heroes or opportunists? Although they go to the frontlines, their new Russian comrades are initially unsure whether to trust them. Three of them then accept a mission behind German lines, but they are unprepared to fire upon their countrymen. Meanwhile, the fourth man has fallen in love with Russian radio operator Svetlana. This film, which centers on the difficult moral questions raised in wartime, draws on Wolf’s experiences as a propaganda officer with the Red Army in Germany at the end of WWII. Wolf saw this film as a consolidation and continuation of his 1967 film I WAS NINETEEN.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60736 <p>SOLO SUNNY tells the story of a woman’s struggle for artistic expression and self-realization in a patriarchal world. Sunny is a former factory worker who sings for a pop band called Tornadoes. Her search for meaning is simultaneously a quest for artistic and sexual independence as well as for a more fulfilling social role. As it chronicles Sunny’s quest to gain independence as an artist and a woman, the film depicts East Berlin nightlife and its urban spaces, including run-down apartments and public buildings. With her androgynous characteristics and punk-inspired appearance, Sunny’s depiction takes on a queer dimension. Wolf’s emphasis on her everyday fight against conformist patterns of behavior, her desire for freedom, and her dissatisfaction with patriarchal oppression points to unresolved contradictions in the GDR, whose state ideology allegedly supported gender equality. As we follow Sunny through the city, the run-down apartment buildings and the urban infrastructure communicate the fatigue of a society stuck in the past, unable to move on and provide a fresh narrative to motivate its citizens. The film’s melancholy seems to acknowledge the decline of past utopias – to which Wolf was committed to the very end – and an attachment to a present time that nevertheless cannot offer a new collective vision of the future.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60563 <p>All films preserved by Anthology Film Archives.<br /><br />GLIMPSE OF THE GARDEN (1957, 5 min, 16mm)<br />ARABESQUE FOR KENNETH ANGER (1961, 4 min, 16mm)<br />EYE MUSIC IN RED MAJOR (1961, 4 min, 16mm, silent)<br />NOTEBOOK (1962-63, 10 min, 16mm, silent)<br />GO! GO! GO! (1962-64, 12 min, 16mm, silent)<br />ANDY WARHOL (1965, 17 min, 16mm)<br />LIGHTS (1964-66, 7 min, 16mm, silent)<br /><br />“Marie Menken pioneered the radical transformation of the handheld, somatic camera into a formal matrix that would underpin an entire work in the films she made between 1945 and 1965. […] The extraordinary cinematic style that I have been calling Menken’s somatic camera has been her most influential gift to the American avant-garde cinema. It is an embodiment of the Emersonian invention of a pictorial air, the spiritual emancipation automatically brought about by ‘certain mechanical changes, a small alteration in our local position.’ It is also analogous to the equally Emersonian somatic theory of poesis Charles Olson was developing at nearly the same time: his emphasis on breath and proprioception corresponds to Menken’s identification of the camera with her body in motion and her cultivation of the respiratory and nervous agitation of the handheld camera even in its quietest moments.” –P. Adams Sitney, EYES UPSIDE DOWN<br /><br />Total running time: ca. 65 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, February 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60564 <p>THE GREAT BLONDINO<br />(1967, 42 min, 16mm. Preservation print, with thanks to the Academy Film Archive.)<br /><br />“The original Blondino was a 19th-century tightrope artist who among other feats crossed Niagara Falls trundling a wheelbarrow. In this film, Nelson sees Blondino as a metaphor for those who still try. Too subtle to be allegorical, the picture is in the shape of a quixotic search in which the goal is the journey and the means is the end.” –MUSEUM OF MODERN ART<br /><br />“It is…difficult to get at the rich visual texture that is the film’s most striking attribute. Long stretches are concerned with Blondino’s visions, dreams, and dreams within dreams. The film unfolds in brief recurring patterns of imagery. Even the more straightforward sections are dense with interpolated newsreel and TV commercial footage, visual gags, and homemade special effects. The net effect is funny, seamless, and elusive.” –J. Hoberman, “A Filmmakers Filming Monograph”<br /><br />&<br /><br />BLEU SHUT<br />(1970, 33 min, 16mm. Preservation print, with thanks to the Academy Film Archive.)<br /><br />“Boat-name quizzes, dogs, cuts from Dreyer’s JOAN OF ARC in montage with a sultry whore, a car running up a ramp and crashing, pornography, a passionate embrace by a thirties hero and heroine; all somehow implicating Dreyer and Joan in the perverse synthesis of sex and technology. What’s happening here? Basically Nelson is leaving things unsaid.” –Leo Regan<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> Thursday, February 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60698 <p>(EINMAL IST KEINMAL)<br /><br />“Peter Weselin, a musician and composer from West Germany plans to spend a quiet vacation with his uncle in the small town of Klingenthal, but the East German town, known for manufacturing instruments, is about to hold its annual music festival. Everyone wants Peter to write a composition for them: the local accordion factory asks for a symphony and the attractive Anna wants a pop hit for her youth dance group.” –DEFA FILM LIBRARY<br /><br />“A fascinating exceptional work in Konrad Wolf's filmography…[and] the stunning Agfa color photography made it one of the most beautiful 1950s German music films.” –DEUTSCHES HISTORISCHES MUSEUM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60701 <p>(GENESUNG)<br /><br />“The authorities expect the case of Friedel Walter, alias ‘Dr. Mueller,’ to be a straightforward one: he was working as a doctor without proper credentials and under a false name. But Mehlin, the man in charge of his case, knows that there is more to the story. When he was injured fleeing from a concentration camp, resistance worker Irene asked her medical student boyfriend Walter to give him medical care. As it turns out, Walter ended up on the front as a medical worker, was captured by the British and mistakenly registered under the name of the fallen Dr. Mueller. He simply never straightened out the confusion. Years later, while dealing with a particularly difficult case, he recognizes the patient’s wife as his former love Irene and is forced to confront the truth about his past.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60834 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />STEVE PAXTON: PHYSICAL THINGS<br />2013, 30 min, digital. Performance Engineer: Dick Wolff.<br />In Steve Paxton’s PHYSICAL THINGS, a polyethylene air-inflated structure occupied most of the Armory floor, with a tower rising to the peak of the Armory roof. The audience walked through the structure, encountering slide projections, sounds, and performers. Emerging from the structure, they used small receivers to hear different sounds broadcast from wire loops suspended in a net overhead, thus composing their own sound experience.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />LUCINDA CHILDS: VEHICLE<br />2012, 35 min, digital. Performance engineer: Peter Hirsch.<br />For Lucinda Child’s VEHICLE, Peter Hirsch designed a 70 kHz Doppler sonar system. Childs swung three red fireman’s buckets around inside the ultrasonic sound beams created by transmitters hung on scaffolding. As Childs swung the buckets, the reflected signals mixed with the original 70 kHz signal, and the resulting beat frequency fell in the audible range. These sounds were transmitted to the twelve speakers around the Armory.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />DEBORAH HAY: SOLO<br />2012, 41 min, digital. Performance Engineer: Larry Heilos.<br />For Deborah Hay’s SOLO, Larry Heilos designed the control systems for eight radio-controlled carts that moved around the Armory floor, which were then covered with wooden boxes to make platforms for dancers to stand or lie on. At the rear of the space, eight formally dressed performers operated the radio-control system to move the platforms into and around the space. Composer Jim Tenney acted as the “conductor” of the “orchestra”. Sixteen dancers entered the brightly lit space either walking or riding on a cart. They then walked in solo, duet, or trio formations or rode on the moving platforms, following Hay’s specific rules and choreography. The sound for the performance was David Tudor’s realization of Toshi Ichiyanagi’s work FUNAKAKUSHI.<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!<br /><br /></strong></a><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Friday, February 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60704 <p>Based on a novel by German-Czech author Franz Carl Weiskopf, LISSY centers on a working-class socialist in the Weimar economic crisis whose husband Alfred joins the Nazi Party after losing his job. Though their Nazi membership improves their material conditions, it alienates Lissy from her left-wing parents and friends, many of whom she sees attacked by the Nazis with the consent of the police. Through Lissy’s point of view, Wolf highlights how poverty and unemployment attracted many Germans to fascism. The film captures her gradual realization of fascism’s politics of exclusion and fear, forcing her to question the comfort offered by her husband’s party membership. This act of defiance turns into a gesture of antifascist significance and resistance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60707 <p>(SONNENSUCHER)<br /><br />SUN SEEKERS focuses on the stories of two women, a young orphan named Lutz and Emmi, who are picked up by the police during a raid in Berlin to work in the Soviet and East-German Wismut uranium plant. The film’s style stands out for its anti-heroic aspects, while the narrative boldly shows the resentment felt by the East German workers towards the Soviets, not just because of the past trauma of the war, but also because of the unrealistic production expectations on the part of the latter. The emphasis on these conflicts through an observational cinematic style that captures a variety of social relationships in the plant contradicts the film’s opening intertitles, which patronizingly explain to the viewer that the Wismut project started out of the USSR’s commitment to world peace. Wolf had to wait until 1972 for an official release of SUN SEEKERS; under pressure from the Soviet authorities, the film was not released in 1958 and was shelved for 14 years.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Victoria Rizo Lenshyn, Associate Director of the DEFA Film Library at the University of Massachusetts Amherst!</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, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60836 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />OYVIND FAHLSTRÖM: KISSES SWEETER THAN WINE<br />1996, 71 min, digital. Performance Engineer: Harold Hodges.<br />Öyvind Fahlström’s KISSES SWEETER THAN WINE was a complex, poetic theater performance, with a three-dimensional collage of images and sound that incorporated live actors, elaborate props, and a triptych of slide, movie, and television projections. Engineers developed for Fahlström a pillow that “could sing out while it was bounced on the floor,” a remote-controlled mylar missile circling the Armory, and snowflakes that fell upward. Characters included idiot savants who could memorize enormous amounts of data or make multi-digit calculations in their heads, a girl in a plastic swimming pool filled with Jello, Chinese Sparrows under attack, and Space Girl, who descended in the winch hoist carriage from the ceiling.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60710 <p>(STERNE)<br /><br />A DEFA and Bulgarian co-production, and the winner of the Prix du Jury at the 1959 Cannes Film Festival, STARS was one of the first German-speaking films about the Holocaust, a subject still taboo in West Germany at the time. The film takes place in a small town in Bulgaria, where German soldiers have temporarily stationed groups of Greek Jews who are destined for Auschwitz. Among the soldiers is Walter, a Wehrmacht officer and disillusioned intellectual and painter, who seems to hold nihilistic views. A chance encounter, however, prompts a reflection on his role in the Nazi war machine: he falls in love with Ruth, a Jewish woman, and tries to organize her escape with support from local members of the Bulgarian resistance. Because of the taboo on discussing the Holocaust, the West German government tried to prevent the film’s circulation at international festivals.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Mariana Ivanova, Academic Director of the DEFA Film Library at the University of Massachusetts Amherst!</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, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60838 <p>Barbro Schultz Lundestam & Julie Martin<br />ALEX HAY: GRASS FIELD<br />2013, 40 min, digital. Performance Engineer: Bob Kieronski.<br />For his GRASS FIELD, Alex Hay wore a backpack of specially designed differential amplifiers with a peak gain at low frequencies of 80 db and FM transmitters which picked up brain waves, muscle activity, and eye movement from electrodes placed on Hay’s head and body. These sounds were broadcast to the audience as Hay carefully laid out 64 numbered pieces of cloth. He then sat facing the audience, his face projected on a large screen behind him while Robert Rauschenberg and Steve Paxton systematically picked up the pieces of cloth in numerical order and deposited them in two piles on the floor.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />JOHN CAGE: VARIATIONS VII<br />2007, 41 min, digital. Performance Engineer: Cecil Coker.<br />For John Cage’s VARIATIONS VII, thirty photocells were mounted on the performance tables, aimed at ankle level lights situated on the floor under the tables. Sounds from a variety of sources were activated as the performers moved around the tables breaking the beams. Cage also had contact microphones on the performing platform itself and additional contact microphones on household appliances such as a blender, a juicer, a toaster, a fan, etc. He also had sound from radio bands, television bands, and two Geiger counters. In addition, Cage arranged ten open phone lines to places in New York City such as the restaurant Luchow’s, the 14th Street Con Edison electric power station, the ASPCA lost dog kennel, The New York Times press room, and Merce Cunningham’s studio, all of which fed into the overall sound mix.<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!<br /><br /></strong></a><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60713 <p>(LEUTE MIT FLÜGELN)<br /><br />“This film continues the story of radio operator Ludwig Bartuschek from Kurt Maetzig and Günter Reisch’s 1958 East German classic, THE SAILORS’ SONG. Near the end of the Weimar Republic, Bartuschek is working as a mechanic in the Sperber airplane plant. Director Dehringer offers him the opportunity to train as an airplane builder if he is willing to give up his communist beliefs under oath. Bartuschek will not allow himself to be bought and instead joins the underground resistance movement.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60716 <p>PROFESSOR MAMLOCK is an adaptation of the homonymous play (1933) by Friedrich Wolf, the director’s father. Written in exile, the play was one of the first artistic encounters with the question of anti-Semitism in Nazi Germany. The film adaptation makes a bold argument that non-resistance in the early years of Nazi rule was tantamount to complicity. MAMLOCK tells the story of an accomplished medical surgeon and Professor at a university hospital. He is a family man of Jewish origin, who believes in Enlightenment ideas of individual freedom, scientific humanism, progress, and the rule of law. When the Nazis take power in 1933, he passionately opposes his Communist son’s resistance activities, convinced that fascism would be a small parenthesis in German history. He only understands the regime’s horror when he is dismissed during the wave of purges of Jews and political opponents from civil service and government jobs. Mamlock’s “wrong decision” becomes a metaphor for collective inertia at times of political crisis; the personal and the political, the private and the public sphere, are clearly interconnected in this fascinating film.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60840 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />ROBERT WHITMAN: TWO HOLES OF WATER – 3<br />2013, 35 min, digital. Performance Engineer: Robby Robinson.<br />In Robert Whitman’s TWO HOLES OF WATER – 3, seven cars carrying film and television projectors drove onto the Armory floor and parked facing the back wall, which was covered with white paper. On the balcony, television cameras shot performances: two girls moving slowly in front of a curved mirror, a girl typing, a small fiber optic camera inside a coat pocket. Whitman fed images of these live performances and off-air television images to the television projectors in the cars. He also cued the drivers to turn on the films of nature subjects he had made previously.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />DAVID TUDOR: BANDONEON ! (A COMBINE)<br />2009, 40 min, digital. Performance Engineer: Fred Waldhauer.<br />In David Tudor’s BANDONEON !, Tudor played the bandoneon while ten contact microphones attached to the instrument picked up the sound, which was then distributed to four processing devices. The output of a forty-channel filter, designed and built by Robert Kironskiwas, fed to twelve speakers and controlled the lights on the balcony. An audio processing and modifying circuit built by Tudor fed four transducers attached to wood and metal structures and a horn speaker located on moving carts on the Armory floor. A proportional control system designed and built by Fred Waldhauer also fed into the lights surrounding the platform and the twelve speakers. The fourth device, designed and built by Lowell Cross, used sound to modify abstract images from television projectors sitting on the floor of the Armory.<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!<br /><br /></strong></a><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60719 <p>(DER GETEILTE HIMMEL)<br /><br />A loose adaptation of writer Christa Wolf’s novel, DIVIDED HEAVEN is one of the most formally experimental DEFA films. The film is visibly influenced by post-war Western European modernist cinema, a clear departure from socialist-realist doctrines prevalent in the GDR at the time. Similar to LISSY and PROFESSOR MAMLOCK, DIVIDED HEAVEN places an individual’s story within the wider social and historical context to explore the interconnection between private life and history. The story centers on a couple: Rita, a rural girl studying to become a teacher who also works in a factory as part of her educational training, and Manfred, a chemist from the city. After losing financial support for one of his engineering projects, Manfred decides to move to West Berlin. Rita, however, refuses to relocate to the West and fails to persuade him to return. Instead of guaranteeing any sense of catharsis, Rita’s decision to stay in East Berlin leaves the narrative open-ended. As in his other films, Wolf’s portrayal of the GDR highlights its contradictions, such as the productivity pressures faced by the workers at Rita’s factory and the social pressures faced by relatives of people who moved to the West. At the same time, his portrayal of West Berlin as a place where everything, according to Rita, “revolves around eating and drinking, getting depressed, and then going to bed,” demonstrates the different worldviews carried by the two societies.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60842 <p class="p1">Barbro Schultz Lundestam & Julie Martin<br />ROBERT RAUSCHENBERG: OPEN SCORE<br />1997, 33 min, digital. Performance Engineer: Jim McGee.<br />Robert Rauschenberg’s OPEN SCORE began with a tennis match on the floor of the Armory between Mimi Kanarek and Frank Stella. Bill Kaminski designed a miniature FM transmitter that fit in the handle of the tennis racquet. Each time the ball hit the strings of the racquet, a contact microphone at the head of the racquet produced a “BONG”, which was amplified and heard through the 12 speakers around the Armory. At each “BONG” one of the 48 lights illuminating the performance space went out, and the game ended when the Armory was in complete darkness. At that time a crowd of 300 people entered. Infrared television cameras picked up the group’s movements and projected these images on three large screens hanging in front of the audience. For the second performance, Rauschenberg added a third section, in which Simone Forti, in a cloth sack, sang an Italian love song as Rauschenberg picked her up and put her down at several places on the Armory floor.<br /><br />Barbro Schultz Lundestam & Julie Martin<br />YVONNE RAINER: CARRIAGE DISCRETENESS<br />2013, 40 min, digital. Performance Engineer: Per Biorn.<br />In Yvonne Rainer’s CARRIAGE DISCRETENESS, slats, slabs, cubes, planks, and sheets of different materials, like Masonite, wood, and Styrofoam beams, were spread across the Armory floor. Seated in a high balcony at one end of the space, Rainer transmitted instructions to the performers, who wore portable FM receivers on their wrists, to carry objects from one place to another. Parallel to this were “events”, preprogrammed on ACTAN drum switches by Per Biorn, which included film and slide projections, a super ball and pieces of foam rubber dropped from the ceiling, and a collapsing projection screen. At the end of the piece, Steve Paxton launched himself from the balcony at the rear of the performance space on a swing attached to the ceiling, swinging back and forth until he came to a complete halt.<br /><br />Total running time: ca. 75 min.<br /><br /><strong>Followed by a panel discussion featuring Morgan Griffin, Julie Martin, Wendy Perron, Mimi Gross, and Yvonne Rainer!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!<br /><br /></strong></a><a href="https://ticketing.uswest.veezi.com/purchase/4970?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><em><strong>Click here to buy a special $40 pass for all five programs in the series</strong></em></a><em><strong> (the “9 Evenings Series Pass” option is available on the ticketing page for Program 5, but the ticket will be good for all five programs).</strong></em></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60722 <p>(DER KLEINE PRINZ)<br /><br />“This highly stylized DEFA adaptation, commissioned by East-German television, of ‘The Little Prince’ (1943) by Antoine de Saint-Exupéry brings to life the existentialist classic in magical artificial landscapes. Originally intended for the launch of color television in the GDR, THE LITTLE PRINCE was filmed in 1965/66 by the DEFA Studio for Feature Films commissioned by Deutscher Fernsehfunk. However, color television was not introduced in the GDR before October 3, 1969. Finally, the film premiered on May 21, 1972, but disappeared in the archives afterwards, thanks to the broadcaster’s failure to obtain the adaptation rights for the text. Before the story became public domain in Germany in 2015, the film was only shown twice with special permission by the literary rights holders, including a screening organized by Wim Wenders in 1995 as part of the series ‘100 Years of Cinema in Berlin.’” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60725 <p>(ICH WAR NEUNZEHN)<br /><br />Wolf mentions in his diaries that he did not hesitate to become a “Vaterlandsverräter” (“fatherland traitor”) in order to fight the Nazi terror. I WAS NINETEEN brilliantly captures the complexity of his experience as a German man joining the Red Army to fight fascism. Modelled on Wolf himself, who was a 19-year-old Red Army soldier when the Soviets broke the German line, the film’s lead character Gregor is a Soviet soldier of German origins who returns to his homeland in the last days of the war. Acting as an interpreter, he and the other Red Army soldiers try to convince the Germans to surrender. The film’s complex themes of belonging, identity, antifascist struggle, and victimhood are underlined by the form, which is itself influenced by Italian neorealism’s ascetic aesthetic, which aimed to capture history by registering its everyday moments. Despite Wolf’s firm commitment to antifascism, the film’s everyday, anti-heroic, and banal encounters in the last days of the war produce a melancholic style, more an aesthetics of mourning than of celebration.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60731 <p>(DER NACKTE MANN AUF DEM SPORTPLATZ)<br /><br />This film explores the relationship between art and power, as well as trauma and memory. It tells the story of Herbert Kemmel, an artist uncomfortable with the official artistic doctrine in the GDR. Kemmel is a sculptor who is pictured as alienated from his social environment, while he seems to be burdened by the fact that people do not understand his work. Kemmel’s alienation is social, but it also has to do with his obsession with the historical traumas of the past. This is expressed in the film’s subtle references to the Buchenwald and Ravensbrück concentration camps and memorial sites, as well as to events in Babi Yar, a ravine outside Kiev where the German army and Ukrainian collaborators executed more than 30,000 Jews and other Ukrainian civilians. The character in the film functions as the director’s double – as Wolf never stopped searching for novel ways to represent the historical traumas of the 20th century.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 09