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 Wed, 19 Nov 2025 21:44:37 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60264 <p>NORTH AMERICAN PREMIERE!<br />César González<br />PLEBEIAN ULYSSES / ULISES PLEBEYO<br />Argentina, 2024, 68 min, digital. No dialogue.<br />“Prolific Argentine filmmaker and poet César González has been crafting one of the most original and groundbreaking bodies of work in contemporary Argentine cinema. Yet, far too little of it has been screened in the U.S. – and it’s time to change that. González has authored books of poetry, novels, and essays on cinema, that depict life on the margins of society – a life he has lived and continues to live intensely. This experience resonates deeply in each of his films. <br />PLEBEIAN ULYSSES is his most experimental work to date. A collage, an agitprop travelogue, a kaleidoscope of sounds and images – it seeks to awaken the beauty of everyday life in a world the middle class has been taught not to see, but to fear. Filmmaker Lucrecia Martel has described his work as ‘a modest sewer through which the ideas with which we mask our privileges seep.’ PLEBEIAN ULYSSES is a patchwork of contrasting fragments that bloom like the sharp petals of a copper shiny rose.” –Matías Piñeiro<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60347 <p>This program celebrating the launch of MFJ No. 82 “Real Life” consists of works discussed in the issue. These films and their accompanying texts are attempts to understand an increasingly convoluted world, in which images are not just a reflection of reality, but part of its very substance.<br /><br />Programmed by Grahame Weinbren, Vince Warne, and Jonathan Ellis.<br /><br />The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit https://millenniumfilmjournal.com/donations/donation-form/ <br /><br />Open Group REPEAT AFTER ME (2024, 17 min, digital)<br />“Men, women, old, middle aged, young. One by one they stare into the camera, identify themselves, and shout, yowl, grunt, hiss, roar the sounds of war.<br />UUUUhHHhh TDDURRShHTTZHH TTZHT!<br />Machine gun. Explosion. Siren. Drone. Helicopter. Bomber Plane.<br />WZWFFF BU BUUHH! WZWFFF BU BUUHH!<br />Oversized subtitles approximate the sounds. Once, twice.<br />WEEEEEEEEHHEWEeee. WEEEEEEEEHHEWEeee.<br />After producing the extended sound of war weapons or warning sirens, the performer issues the command ‘Повторюй за мною’ or ‘Repeat after me.’”<br />–“War in Pieces”, Grahame Weinbren<br /><br />Samy Benammar ADIEU UGARIT (2024, 15 min, 16mm-to-digital)<br />“The main character, a survivor of the Syrian civil war, is traumatized by his memory of a friend’s execution. Shadows of the past pervade the film, a tone evoked by a dissonance between the dark emotions of the subject and the calming qualities of the Laurantian Waters… Were we to mute the audio and the subtitles, ADIEU UGARIT would read as a modest celebration of sylvan lake-country lovingly recorded in black and white and intercut with images of a fine-looking man – with no suggestion of an absent voice-over narrative. It is in the contrast between image and text that a bitter emotional tone conveys the horror of violent death in the mind of someone who can’t escape it.” –“War in Pieces Continued”, Grahame Weinbren<br /><br />Claudia Hart MEMORY THEATER 2 (2022-25, 5 min, digital)<br />“One piece features a Bladerunner-meets-Las Meninas cyborg transformed into a high-contrast billboard for an intermedia fashion show (DOLL DANCE (ILLUMINATION), 2014/2025). Whether angel, tree, or silvery blob, Hart’s uncanny figures and their environments are wholly expressive. They drift, warp, and decay, seemingly under the spell of unknown pressures, whether internal or environmental…” –“Claudia Hart: Illuminations”, Corinna Kirsch<br /><br />Mike Hoolboom RAIN (2025, 3 min, digital)<br />Mike Hoolboom WHITE HARLEM (2024, 10 min, digital)<br />“The work you’re about to see is not alive, until someone performs the labour of unfolding them. They need to be touched and unfolded. Is that too much to ask? Of course it is. Of course that’s too much. I think the beginning, the establishing shot, the doorway that we walk through to find each other at an artist’s movie screening always begins the same way. By asking too much. By making preposterous statements. What do you call this place anyway: utopia? It literally means: No place.” –“What Is An Artist? An Introduction to the Brakhage Symposium”, Mike Hoolboom<br /><br />Tomonari Nishikawa SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS (2014, 2 min, 35mm)<br />“On a first glance, the two-minute film’s images look like any number of cameraless film experiments – a rush of blue color and light leaks, scratched frames jumping with flickering energy, and a hushed soundtrack of noise and pops. Beautiful, strange, and abstract – you’d be forgiven for thinking it was a hand-painted work, or an exercise in unconventional darkroom processing techniques. But after a brief cut to black, onscreen text matter-of-factly reveals the significance of the images we’ve just seen…” –“MFJ 82 Introduction”, Vince Warne<br /><br />Undertime Slopper SELECTED WORKS (2025, 5 min, digital)<br />“Undertime Slopper is an anonymous short-form video artist (or maybe a group, or a self-aware AI, who’s to say?) best known for posting to TikTok. Their videos are compact, usually disheveled collages of AI voiceovers, photogrammetry scans, lip-dubbed characters, and wobbly 3D animation. The character animations hover in an aesthetic limbo, not quite amateurish, not quite refined. They occupy a visual space shaped by algorithmic leftovers: low-poly scans, warped perspective, and uncanny ‘deepfake’ digital mouths. But beyond the noise (or slop), he’s built an absurdist ecosystem, half-myth, half-meme, populated by recurring figures and worlds like King Undertime, Nephew, and the whimsical Albert’s Forest. It’s surreal, funny, occasionally unnerving, and best of all, completely detached from the fine art world.” –“I Love Undertime Slopper”, Ari Temkin<br /><br />John Smith BEING JOHN SMITH (2024, 27 min, digital)<br />“The film sparkles with the filmmaker’s skillful employment of the inbuilt powers of cinema to refer to self-confessed flaws and insecurities. Is it <em>flippant, facetious, ironic, wry, ironical, cynical, dry, poignant</em>? Do we feel by the end of the film that we’ve come to know the filmmaker? Hardly. He warned us not to believe him.” –“War in Pieces Continued”, Grahame Weinbren<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> Wednesday, November 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60273 <p>THE WOMAN’S FILM (Newsreel #55) (1971, 43 min, 16mm-to-DCP)<br />JANIE’S JANIE (1971, 25 min, 16mm-to-DCP)<br /><br />Total running time: ca. 70 min.<br /><br /><em><strong>Filmmakers Judy Smith (THE WOMAN’S FILM) and Peter Barton (JANIE’S JANIE) will be here in person for the screening on Thurs, Nov 20!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60349 <p><strong>SPECIAL SCREENING – FILMMAKER IN PERSON!</strong><br /><br />This fall, Anthology joins forces with Asia Society to celebrate the work of the towering Uzbek filmmaker Ali Khamraev. Thanks to Asia Society’s initiative, Khamraev will be traveling to the U.S., for the series “Eastern Notions: Films by Ali Khamraev”, the first NYC program fully dedicated to his work. Anthology will host the opening night of the series, with a screening of Khamraev’s beloved 1971 feature WITHOUT FEAR, which captures a symbolic clash between Soviet and Islamic cultures, focusing on a 14-year-old girl who decides to be the first in her village to drop the veil and chador after urging by a visiting commissar.<br /><br />Following this opening night event, the series will move uptown to Asia Society, which will present screenings from Friday, November 21 through Sunday, November 23 of Khamraev’s more rarely-screened works, WHITE WHITE, STORKS (1966), THE SEVENTH BULLET (1973), MAN FOLLOWS BIRDS (1976), and I REMEMBER YOU (1985), featuring Q&As with Khamraev and actress Gulcha Tashbayeva.<br /><br />“If there is a giant who sits astride the history of Uzbek cinema, it’s Ali Khamraev, one of those rare talents like Welles or Godard or Scorsese whose love for the medium is so intense that his best films burst with criss-crossing energies and insights, like a fireworks display.” –Kent Jones<br /><br />For more info about the Asia Society screenings visit: <a href="https://asiasociety.org/new-york/eastern-notions-five-films-ali-khamraev">https://asiasociety.org/new-york/eastern-notions-five-films-ali-khamraev</a><br /><br /><em><strong>Followed by a Q&A with Ali Khamraev!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60276 <p>BLACK PANTHER aka OFF THE PIG (Newsreel #19) (1968, 15 min, 16mm-to-DCP)<br />MAY DAY PANTHER aka MAY DAY (Newsreel #29) (1969, 15 min, 16mm-to-DCP)<br />BOBBY SEALE aka INTERVIEW WITH BOBBY SEALE (Newsreel #44) (1969, 15 min, 16mm-to-DCP)<br />EITHER OR 1970, 11 min, 16mm-to-DCP<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, November 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60351 <p>This program showcases a series of shorts by NYC filmmaker and theater director Lucas Kane (b. 1993). Kane’s materialist approach to the form situates aesthetics as part of the larger socio-political struggles taking place across different registers of cultural production, movement, and time. From the George Floyd Uprising encampment at City Hall to a fight for housing in Brooklyn, Kane’s work traces the mass demands for police abolition, the animated spirit of neighbor and painter Jacob Eye, and the building of resistance against an anti-Black state that forcefully maintains property. His most recent moving-image work, THREE SONGS FOR PETER BROOK – an assemblage-in-progress of Super-8mm diary notes, 16mm archival footage, and meditations on the legacy of a legendary theater director – is at once existential and grounded in the framework of an art worker, as it documents Kane’s world travels and other experiences working as Brook’s assistant director.<br /><br />Kane will be in attendance and will perform a live reading alongside THREE SONGS FOR PETER BROOK, with an introduction and post-screening conversation led by Lily Jue Sheng.<br /><br />IMPRESSIONS OF RESISTANCE AND ERASURE (2021, 3 min, Super-8-to-16mm)<br />Filmed at the encampment of NYC’s City Hall in June and July of 2020, this short traces the lifespan of the graffiti and murals that the occupation fostered. The encampment formed to demand the abolition of the NYPD and the re-allocation of its resources to housing, education, and other social programs.<br /><br />JACOB’S HOUSE (2025, 21 min, 16mm)<br />JACOB’S HOUSE is a patient exploration of what constitutes a house and how a house constitutes a way of life. Made collaboratively between two neighbors, the film traces Jacob’s 15-year relationship to his home as he resists a developer’s brutal attempt to evict him.<br /><br />THREE SONGS FOR PETER BROOK (work-in-progress, 24 min, Super-8 and 16mm-to-digital)<br />THREE SONGS FOR PETER BROOK is an informal and personal documentary on the last years of renowned theater and film director Peter Brook. Composed of diary entries, show notes, and different discarded elements, the film intertwines Super-8 footage from the 2019 world tour of Brook’s last original play, unseen outtakes from a documentary made with Brook in 1973, and an interview with him in his Parisian apartment months before his death. Through this tender and unofficial portrait, the film searches for an answer to how his theater was created and what lingers on after a show is finished.<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60202 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60217 <p>“Brigitte Helm gives a fascinating performance in this incisive portrait of bourgeois languor. A wife, bored with her husband and safe existence, is drawn to a painter and his bohemian milieu. But her fantasies of an alternative life turn against her in the most unrelenting way, as Pabst continues his fascination with female psychology that would culminate in PANDORA’S BOX. Neglected by Pabst scholars, because it was not in keeping with the director’s humanist image, this cool, understated film may be his most modern.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60313 <p>The films included here were designed to promote and celebrate the still-novel technology of radio broadcasting. Most were commissioned by the Dutch company Philips Radio, which produced numerous promotional films, in various countries and by numerous different filmmakers, throughout the 1930s and beyond, many of them strikingly experimental in form.<br /><br />Hans Richter EUROPA RADIO (1931, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter FROM LIGHTNING TO TELEVISION / VAN BLIKSEMSCHICHT TOT TELEVISIE (1936, 29 min, 35mm-to-DCP. Commissioned by Philips Radio. Digitally restored by EYE Filmmuseum, and screened with the permission of Royal Philips / Philips Company Archives.)<br />Karel Dodal & Irena Dodalová THE WIZARD OF TONES / ČARODĚJ TÓNŮ (1936, 1.5 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová THE SOUNDS OF OUTER SPACE / ZNĚJÍCÍ VESMÍR (1936, 2 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />George Pal THE BALLET OF RED RADIOVALVES (1938, 2.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />George Pal THE SHIP OF THE ETHER (1936, 7.5 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />Jószef Misik KERMESSE FANTASTIQUE (1951, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<br />Joop Geesink THE TRAVELLING TUNE (1962, 10 min, 35mm-to-DCP. Commissioned by Philips Radio. Courtesy of EYE Filmmuseum and Royal Philips / Philips Company Archives.)<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 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60203 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60316 <p>These films focus mainly on then-novel communications technologies, including magnetic tape, new postal methods, and above all, computing (and its potential for creating new kinds of imagery). Reflecting the radical nature of these technologies, the sponsored films included here adopt highly experimental approaches to sound, image, and editing.<br /><br />Charles & Ray Eames A COMMUNICATIONS PRIMER (1953, 22 min, 35mm-to-DCP. Screened by permission © Eames Office, LLC (eamesoffice.com). All rights reserved.)<br />Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND (1959, 21 min, 35mm-to-DCP)<br />Edgar Reitz COMMUNICATION / KOMMUNIKATION – TECHNIK DER VERSTÄNDIGUNG (1961, 11 min, 35mm-to-DCP. Commissioned by the German Post Office.)<br />Bernard Longpré TEST 0558 (1965, 4 min, 16mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />John Whitney, Sr. EXPERIMENTS IN MOTION GRAPHICS (1968, 12 min, 16mm)<br />Raymond Brousseau & Bernard Longpré DIMENSION SOLEILS (1970, 4 min, 16mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Lillian Schwartz PIXILLATION (1970, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br />Lillian Schwartz & Ken Knowlton UFOS (1971, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<br />Lillian Schwartz ENIGMA (1972, 4 min, 16mm-to-DCP. Produced at Bell Laboratories. From the Collections of The Henry Ford.)<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 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60221 <p>[DIE BÜCHSE DER PANDORA]<br /><br />Pabst had an innate talent for discovering actresses (including Greta Garbo), and perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama PANDORA’S BOX. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, PANDORA’S BOX is one of silent cinema’s great masterworks.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60225 <p>[TAGEBUCH EINER VERLORENEN]<br /><br />“The second and final collaboration between Pabst and Louise Brooks is a provocative adaptation of Margarethe Böhme’s notorious novel, in which the naive daughter of a middle-class pharmacist is seduced by her father’s assistant, only to be disowned and sent to a repressive home for wayward girls. She escapes, searches for her child, and ends up in a high-class brothel, only to turn the tables on the society which had abused her.” –Thomas Gladysz<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60319 <p>This program pays tribute to the sponsored film category of the Public Service Announcement, with several works (by Hans Richter, Len Lye, and Norman McLaren) made during WWII, as well as Carl Dreyer’s anti-speeding cautionary tale, THEY CAUGHT THE FERRY, Niki de Saint Phalle and her son Philip Mathews’s ads raising awareness about AIDS, David Lynch’s anti-littering spot, and more.<br /><br />Hans Richter INFLATION (1928, 3 min, 35mm-to-DCP. Courtesy of the Deutsche Kinemathek.)<br />Len Lye MUSICAL POSTER NO. 1 (1940, 3 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye KILL OR BE KILLED (1942, 18 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Len Lye NEWSPAPER TRAIN (1942, 6 min, 35mm-to-DCP)<br />Len Lye WORK PARTY (1942, 7 min, 35mm-to-DCP)<br />Norman McLaren V FOR VICTORY (1941, 2 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren FIVE FOR FOUR (1942, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Norman McLaren KEEP YOUR MOUTH SHUT (1944, 3 min, 35mm-to-DCP. Courtesy of the National Film Board of Canada.)<br />Carl Th. Dreyer THEY CAUGHT THE FERRY / DE NÅEDE FÆRGEN (1948, 11 min, 35mm. Print courtesy of the Austrian Filmmuseum.)<br />Philip Mathews, Niki de Saint Phalle, and Silvio Baranoun AIDS (Public Service Announcements) (1990, 4 min, video. Directed by Philip Mathews and animated by Steve Dovas, Barbara Nislick, and Tony Luamaco. Based on the book “AIDS: You Can’t Catch It Holding Hands”.)<br />Tom Rubnitz SUMMER OF LOVE PSA (1990, 30 sec, video)<br />David Lynch WE CARE ABOUT NEW YORK (1991, 1 min, digital. Commissioned by the New York Dept of Sanitation.)<br />Jeff Preiss JACKSON SONG (1990, 2 min, 16mm-to-digital. Commissioned by Burger King.)<br />Rachael Guma EXTRA ULTRA SUPER GAL (2024, 3.5 min, DCP)<br />Pat Lehman DRUG ABUSE (1972, 1 min, video)<br />Cliff Roth THE REAGANS SPEAK OUT ON DRUGS (1988, 7 min, video-to-16mm)<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> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60204 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60322 <p>In contrast to the previous works in the series, which comprise films or advertisements sponsored by various companies or industries, this program consists of films made independently by artists that engage with or intervene in advertising. The first section showcases the rare but fascinating instances in which artists (such as Richard Serra, Carlotta Schoolman, Chris Burden, Lynn Hershman Leeson, and Stan Douglas) have actually purchased TV airtime for their own purposes, as well as finding room for works like Vito Acconci’s ELECTION TAPE ’84, Muntadas’s THIS IS NOT AN ADVERTISEMENT, and Harun Farocki’s MUSIC-VIDEO, which were displayed on public advertising billboards. The second part of the program finds artists making films that adopt the form of ads or otherwise satirize or critique advertising.<br /><br /><span style="text-decoration: underline;">1. Buying time (artists buying their own advertising time):</span><br />Richard Serra & Carlotta Schoolman TELEVISION DELIVERS PEOPLE (1973, 6.5 min, video)<br />Chris Burden THE TV COMMERCIALS 1973-1977 (1973-77/2000, 4 min, video)<br />Lynn Hershman Leeson COMMERCIAL FOR MYSELF (1978, 46 sec, video)<br />Vito Acconci ELECTION TAPE ’84 (1984, 2 min, video)<br />Muntadas THIS IS NOT AN ADVERTISEMENT (1985, 5 min, video)<br />Stan Douglas TELEVISION SPOTS (1987-88, ca. 5 min, video)<br />Harun Farocki MUSIC-VIDEO / MUSIKVIDEO (2000, 1 min, video)<br /><br /><span style="text-decoration: underline;">2. Films that adopt the format/language of ads:</span><br />Joan Logue 30 SECOND PORTRAITS: NEW YORK ARTISTS (1982, 15 min, video. Made in collaboration with the artists.)<br />Thom Andersen MELTING (1965, 6 min, 16mm)<br />Michael Smith MIKE (1987, 3.5 min, video)<br />Valie Export A PERFECT PAIR (1987, 13.5 min, video)<br />Kristin Lucas INFORECEPTOR (1994, 5 min, digital)<br />Tony Cokes AD VICE (1999, 6.5 min, digital)<br />Ilana Harris-Babou REPARATION HARDWARE (2018, 4 min, digital)<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 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60229 <p>Pabst brought the war movie into a new era with his first sound film, a mercilessly realistic depiction of the nightmare that scarred a generation, in Germany and beyond. Digging into the trenches with four infantrymen stationed in France in the final months of WWI, Pabst illustrates the harrowing ordeals of battle with unprecedented naturalism, as the men are worn away in body and spirit by firefights, shelling, and the disillusion that greets them on the home front.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60325 <p>Harun Farocki<br />A DAY IN THE LIFE OF A CONSUMER / EIN TAG IM LEBEN DER ENDVERBRAUCHER<br />1993, 44 min, DCP. In German with English subtitles.<br />“Harun Farocki plunders 40 years of advertising films, which he orchestrates to constitute an ironic 24 hours in the life of typical consumers, mixing different colors, periods, and various ‘ideologies of well being’ to hold up a mirror to our times, values, worries, hopes. This collage of ‘beautiful images,’ gleeful and chaotic, deconstructs not only the domestic reference points which punctuate our daily life, but also gives full rein to an off-beat humor in the tradition of Brechtian distanciation.” –Andrei Ujica<br /><br />Preceded by:<br />Andrew Lampert BENETTON (2004, 4.5 min, 16mm-to-digital, silent)<br />Nam June Paik & Jud Yalkut WAITING FOR COMMERCIALS 1966-72 (1992, 6.5 min, video)<br />Peter Kubelka POETRY AND TRUTH / DICHTUNG UND WAHRHEIT (1996-2003, 13 min, 16mm)<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> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60233 <p>When a coal mine collapses on the frontier between Germany and France, trapping a team of French miners inside, workers on both sides of the border spring into action, putting aside national prejudices and wartime grudges to launch a dangerous rescue operation. Pabst brings a claustrophobic realism to this ticking-clock scenario, using realistic sets and sound design to create the maze of soot-choked shafts where the miners struggle for survival. A gripping disaster film and a stirring plea for international cooperation, KAMERADSCHAFT cemented Pabst’s status as one of the most morally engaged and formally dexterous filmmakers of his time.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60328 <p>ADS AS FOUND FOOTAGE, PROGRAM 2<br /><br />Radu Jude & Christian Ferencz-Flatz<br />EIGHT POSTCARDS FROM UTOPIA / OPT ILUSTRATE DIN LUMEA IDEALĂ<br />2024, 71 min, DCP. In Romanian with English subtitles.<br />This found-footage documentary is assembled exclusively out of post-socialist Romanian advertisements. Drawing from the debris of Romania’s long transition period, the film speaks about love and death, the human body and its frailty, the natural and the supernatural, and of course, socialism and capitalism. Bouncing between found poetry and an outdated encyclopedia, between trash art and Summa theologiae, EIGHT POSTCARDS sees Jude teaming up with philosopher Christian Ferencz-Flatz to make another hilarious and unforgiving take down of meta capitalist mythology.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60237 <p>[DIE 3 GROSCHEN-OPER]<br /><br />The sly melodies of composer Kurt Weill and the daring of dramatist Bertolt Brecht come together on-screen in this classic adaptation of the Weimar-era theatrical sensation. Set in the impoverished back alleys of Victorian London, THE THREEPENNY OPERA follows underworld antihero Mackie Messer (aka Mack the Knife) as he tries to woo Polly Peachum and elude the authorities. With its palpable evocation of corruption and dread, set to Weill’s irresistible score, THE THREEPENNY OPERA remains a benchmark of early sound cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, November 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60241 <p>“Pabst’s adaptation of the Pierre Benoit novel is far rarer, and far odder, than the better-known silent version by Jacques Feyder. Lieutenant de Saint-Avit tells his tale of a city peopled by a strange race, the meeting of a dapper Parisian friend therein, and the mysterious, goddess-like creature Antinéa (Brigitte Helm), who reigns over the land. The film was shot partly in North Africa, but like Josef von Sternberg’s ‘locations,’ it offers a highly artificial world, at once sensual and dazzling, yet coolly filmed through a scrim of social and psychological observation.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60330 <p>Harun Farocki<br />EVERYBODY A BERLINER KINDL / JEDER EIN BERLINER KINDL 1966, 4 min, 16mm-to-DCP<br />“[This film] deals with advertising for Berliner Kindl, a local beer. It is a matter of the act of self-refutation, an act which is, however, far more than an ironically positioned, merely aesthetic ‘gesture’ – it is evidently related to the manner in which one approaches politics, political speeches and political semiotics.” –Klaus Kreimeier<br /><br />THE APPEARANCE / DER AUFTRITT<br />1996, 40 min, 16mm-to-DCP. In German with English subtitles.<br />“Farocki once again takes us into the world of advertising. An advertising agency has to pitch a marketing concept to an optician’s consortium, represented by the manager who is the first to see the campaign. The logo submitted, ‘Eyedentity’, is examined from every angle: it must simultaneously express both the company’s dynamism and its reliability! A fascinating, dispassionate glimpse behind closed doors, where every detail is dramatized to win that lucrative contract.” –Jörg Becker<br /><br />STILL LIFE / STILLEBEN<br />1997, 56 min, 16mm-to-DCP. In German with English subtitles.<br />According to Farocki, today’s photographers working in advertising are, in a way, continuing the tradition of 17th century Flemish painters in that they depict objects from everyday life – the “still life”. The filmmaker illustrates this intriguing hypothesis with three documentary sequences which show the photographers at work creating a contemporary “still life”: a cheese-board, beer glasses, and an expensive watch.<br /><br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60218 <p>“Brigitte Helm gives a fascinating performance in this incisive portrait of bourgeois languor. A wife, bored with her husband and safe existence, is drawn to a painter and his bohemian milieu. But her fantasies of an alternative life turn against her in the most unrelenting way, as Pabst continues his fascination with female psychology that would culminate in PANDORA’S BOX. Neglected by Pabst scholars, because it was not in keeping with the director’s humanist image, this cool, understated film may be his most modern.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, November 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60222 <p>[DIE BÜCHSE DER PANDORA]<br /><br />Pabst had an innate talent for discovering actresses (including Greta Garbo), and perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama PANDORA’S BOX. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, PANDORA’S BOX is one of silent cinema’s great masterworks.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, November 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60226 <p>[TAGEBUCH EINER VERLORENEN]<br /><br />“The second and final collaboration between Pabst and Louise Brooks is a provocative adaptation of Margarethe Böhme’s notorious novel, in which the naive daughter of a middle-class pharmacist is seduced by her father’s assistant, only to be disowned and sent to a repressive home for wayward girls. She escapes, searches for her child, and ends up in a high-class brothel, only to turn the tables on the society which had abused her.” –Thomas Gladysz<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60234 <p>When a coal mine collapses on the frontier between Germany and France, trapping a team of French miners inside, workers on both sides of the border spring into action, putting aside national prejudices and wartime grudges to launch a dangerous rescue operation. Pabst brings a claustrophobic realism to this ticking-clock scenario, using realistic sets and sound design to create the maze of soot-choked shafts where the miners struggle for survival. A gripping disaster film and a stirring plea for international cooperation, KAMERADSCHAFT cemented Pabst’s status as one of the most morally engaged and formally dexterous filmmakers of his time.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, November 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60289 <p>Georges Franju<br />BLOOD OF THE BEASTS / LE SANG DES BÊTES<br />1949, 20 min, 16mm. In French with English subtitles.<br />“This documentary on the slaughterhouses of Paris is one of the great masterpieces of the subversive cinema; here, for once, we are face to face with death, and are neither protected nor cheated. […] A dream-like quality permeates the intense realism of the images; a surrealist intent – akin to Buñuel’s slitting of the eyeball in UN CHIEN ANDALOU – is discernible in this anti-bourgeois film. But the eyeball, however shocking, was fictional; BLOOD OF THE BEASTS is real.” –Amos Vogel, FILM AS A SUBVERSIVE ART<br /><br />Jean Genet<br />UN CHANT D’AMOUR<br />1950, 26 min, 35mm, silent. <strong>Brand-new 35mm print by Anthology!</strong><br />“Genet’s only film – hounded by the censors, unavailable, secret – is an early and remarkably moving attempt to portray homosexual passions. Already a classic, it succeeds as perhaps no other film to intimate the explosive power of frustrated sex…. Like all Genet’s early work, the entire film is, in effect, a single onanistic fantasy, filled with desperate frustration and sensuous nostalgia.” –Amos Vogel, FILM AS A SUBVERSIVE ART<br />“There’s no smoke without fire; UN CHANT D’AMOUR is a communion in which Genet takes us into the prison in order to liberate us from it.” –Derek Jarman<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60230 <p>Pabst brought the war movie into a new era with his first sound film, a mercilessly realistic depiction of the nightmare that scarred a generation, in Germany and beyond. Digging into the trenches with four infantrymen stationed in France in the final months of WWI, Pabst illustrates the harrowing ordeals of battle with unprecedented naturalism, as the men are worn away in body and spirit by firefights, shelling, and the disillusion that greets them on the home front.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60290 <p>“Ernie Gehr [makes] cinematic magic, often from the least likely materials. Indeed, Gehr’s most famous film, SERENE VELOCITY (1970), in which the filmmaker transforms an institutional hallway in the basement of a classroom building at the State University of New York at Binghamton into a nexus of visual and conceptual energy, merely by adjusting his stationary camera’s zoom lens every four frames for twenty-three minutes, can be read as Gehr’s manifesto. For Gehr the most everyday spaces and the most mundane actions offer the imaginative filmmaker the most interesting potential. No other filmmaker, with the exception of Michael Snow, has so relentlessly and so productively explored the capacity of filmmaking to develop the visual (and auditory) opportunities afforded by the cinematic apparatus itself.” –Scott MacDonald, A CRITICAL CINEMA 5<em><strong><br /><br /></strong></em>REVERBERATION (1969, 23 min, 16mm)<br />SERENE VELOCITY (1970, 23 min, 16mm, silent)<br />&<br />STILL<br />1971, 54 min, 16mm. <span id="docs-internal-guid-d23934b8-7fff-25bd-abe4-271a8111682d"><span>Preserved by Anthology Film Archives.<br /><br /></span></span>Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a></p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60238 <p>[DIE 3 GROSCHEN-OPER]<br /><br />The sly melodies of composer Kurt Weill and the daring of dramatist Bertolt Brecht come together on-screen in this classic adaptation of the Weimar-era theatrical sensation. Set in the impoverished back alleys of Victorian London, THE THREEPENNY OPERA follows underworld antihero Mackie Messer (aka Mack the Knife) as he tries to woo Polly Peachum and elude the authorities. With its palpable evocation of corruption and dread, set to Weill’s irresistible score, THE THREEPENNY OPERA remains a benchmark of early sound cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, November 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60291 <p>Griffith’s immensely influential silent epic intercuts four parallel tales from history (spanning Babylon, Christ’s Judea, Reformation Europe, and turn-of-the-century America) to embroider a moral tapestry on personal, social, and political repression through the ages. The visual poetry is overwhelming, especially in the massed crowd scenes, and the unbridled eroticism of the Babylon harem scenes demonstrates just what Hollywood lost when it later bowed to the Hays Code. While the (partly self-financed) production ruined Griffith financially and baffled audiences with its multiple plots and labyrinthine structure, it has been enormously influential on generations of filmmakers, including Eisenstein, who studied the film closely.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a> </p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60223 <p>[DIE BÜCHSE DER PANDORA]<br /><br />Pabst had an innate talent for discovering actresses (including Greta Garbo), and perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama PANDORA’S BOX. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, PANDORA’S BOX is one of silent cinema’s great masterworks.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60292 <p>Viking Eggeling<br />SYMPHONIE DIAGONALE (1924, 8 min, 35mm, silent)<br />“This early experimental short is one of only two films completed by Swedish-born artist Viking Eggeling, who worked in Paris, Milan, and ultimately Germany. It utilizes paper cutouts, tin foil, and frame-by-frame photography to create a playful show in which cubist, even art deco, circles and lines dance – diagonally – across the black screen.” –FACETS<br /><br />Dwinell Grant<br />COMPOSITION #2 CONTRATHEMIS (1941, 5 min, 16mm, silent)<br />“An attempt to develop visual abstract themes and to counterpoint them in a planned, formal composition.” –Dwinell Grant<br />STOP MOTION TESTS (1942, 3 min, 16mm, silent)<br />A pixillated self-portrait of the filmmaker in his studio.<br />COLOR SEQUENCE (1943, 3 min, 16mm, silent)<br />“Pure solid-color frames which fade, mutate and flicker. A research into color rhythms and perceptual phenomena.” –William Moritz<br /><br />Ken Jacobs & Bob Fleischner<br />BLONDE COBRA<br />1959-63, 35 min, 16mm-to-35mm blow-up. With Jack Smith. Preserved by Anthology Film Archives with support from The Film Foundation.<br />“BLONDE COBRA is an erratic narrative – no, not really a narrative, it’s only stretched out in time for convenience of delivery. It’s a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950s, 40s, 30s disgust. Silly, self-pitying, guilt-strictured and yet triumphing – on one level – over the situation with style… enticing us into an absurd moral posture the better to dismiss us with a regal ‘screw off.’” –Ken Jacobs<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BOOK TICKETS NOW!</strong></a><br /><br /></p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=11&year=2025#showing-60205 <p>NEW YORK PREMIERE! FILMMAKER IN PERSON!<br /><br />The new film by Angela Christlieb – whose previous documentary-fiction hybrids URVILLE (2009), NAKED OPERA (2013), WHATEVER HAPPENED TO GELITIN (2016), and UNDER THE UNDERGROUND (2019), have all been showcased at Anthology in past years – PANDORA’S LEGACY is a journey through the family universe of renowned German filmmaker G.W. Pabst, told through the eyes of the woman who was his great love and lifelong partner: Trude Pabst.<br /><br />“Georg Wilhelm Pabst was one of the world’s most well-respected filmmakers during the 1920s and early ’30s. Described as a staunch socialist auteur, Pabst became something of a black sheep during the 1940s, when he agreed to work for the Nazi industry – the circumstances under which are still up for discussion. In cinematic ‘politics’, Pabst is a left-wing love affair gone dreadfully bad, with few inclined to give him the benefit of the doubt.<br />Angela Christlieb approaches Pabst from an angle that feels eerie: his family. There’s his writer-actress-artistic confidante wife, Trude, who’s present solely through words and archival images. Some of their children and other relatives who are still around and willing to discuss this seemingly mysterious man make an appearance too. PANDORA’S LEGACY is less about the meaning of Pabst in cinema and more about the imprint of his life and work on those closest to him. It’s fascinating to hear the letters Georg and Trude wrote to one another when they were young; it becomes mesmerizing when his next of kin discuss him in detail, separating the myths from their precious recollections. PANDORA’S LEGACY looks at film history from a different angle – how rare and precious!” –Olaf Möller, ROTTERDAM FILM FESTIVAL<br /><br /><em><strong>Alongside PANDORA’S LEGACY, we’ll be showing a selection of Pabst’s most important films; <a href="../../../film_screenings/series/60215">click here for details</a>.<br /><br /><img src="https://www.goethe.de/resources/files/jpg1412/german_film_office-logo.black_562x500-formatkey-jpg-w245.jpg" alt="" width="75" height="67" /><br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, November 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60219 <p>“Brigitte Helm gives a fascinating performance in this incisive portrait of bourgeois languor. A wife, bored with her husband and safe existence, is drawn to a painter and his bohemian milieu. But her fantasies of an alternative life turn against her in the most unrelenting way, as Pabst continues his fascination with female psychology that would culminate in PANDORA’S BOX. Neglected by Pabst scholars, because it was not in keeping with the director’s humanist image, this cool, understated film may be his most modern.” –BAMPFA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60353 <p>Since 1989, Visual AIDS – a New York based non-profit that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy – has mobilized art institutions for Day With(out) Art. A day of mourning and action that uses art to respond to the ongoing HIV and AIDS crisis, Day With(out) Art encourages universities, museums, art institutions, and AIDS organizations to present related programming on or around World AIDS Day, which falls on December 1.<br /><br />This year, Visual AIDS has organized “Meet Us Where We’re At”, a program of six videos that forefront the experiences of drug users and harm reduction practices as they intersect with the ongoing HIV crisis. Commissioned videos by artists in Puerto Rico, Brazil, Nigeria, Germany, and Vietnam journey across a range of spaces revealing the complexity of drug use. Several videos document the visible world of drugs – a harm reduction program in a Berlin park, a night out during Rio’s Carnival – while others reveal private, often hidden spaces where safety is found: bedrooms, underground clinics, and moments of connection between lovers.<br /><br />“Meet Us Where We’re At” speaks not only to the variety of physical locations where contemporary harm reduction is practiced, but also to a broader shift: centering drug users as authors of their own experiences. Rooted in the philosophy of meeting people at their personal reality without judgment, the program affirms the full context of drug use – its pleasures, its risks, and its role in how people survive, care, and connect.<br /><br />Harm reduction has long been central to the AIDS activist movement through practices like needle exchange and safe injection sites, and people who use drugs have been affected by HIV since the earliest days of the epidemic. This program brings their perspectives to the forefront, amplifying the voices of drug users as storytellers, cultural producers, and essential participants in the global response to HIV.<br /><br />The artists in this program were selected by a jury of artists/community workers including Eva Dewa Masyitha, Heather Edney, charles ryan long, and Leo Herrera.<br /><br />Visual AIDS is a New York-based non-profit that utilizes art to fight AIDS by provoking dialogue, supporting HIV+ artists, and preserving a legacy, because AIDS is not over. For more info, visit: visualaids.org<br /><br />Kenneth Idongesit Usoro VOICES OF RESILIENCE<br />Follows the lives of queer individuals and drug users living with HIV in Nigeria. Through personal interviews and experimental visual storytelling, the film shows the protagonists’ worlds as they seek out underground harm reduction services.<br /><br />Hoàng Thái Anh THE SISTER’S JOURNEY<br />Explores the daily life of a transgender woman in Vietnam using drugs. The film delves into her fear of stigma, the struggles she faces, and the vital role of harm reduction services and healthcare available to her.<br /><br />Gustavo Vinagre & Vinicius Couto THE PASSION ACCORDING TO G.H.B<br />In this magical realist film, a gay man reminisces about his orgy days and chem sex, and considers his future while speaking with an apparition of G.H., a canonical fictional character of Brazilian literature.<br /><br />Camilo Tapia Flores REALCE (HIGHLIGHT)<br />A documentary short following two HIV-positive friends, DJ Deseo and porn actor Fernando Brutto, during one of their performances at Rio de Janeiro’s Carnival. The duo move through the streets of Rio and Carnival “blocos,” sharing their reflections on friendship, undetectability, their relationship with sex, and drug use within their own community.<br /><br />Camila Flores-Fernández GHOST IN THE PARK<br />Traces the narratives of the community of Görlitzer Park, an area in Berlin known for public drug use and trade. Highlighting “drug consumption buses” that promote safer use and aim to reduce HIV transmission among drug users, the space of the bus is taken as an axis through which the experiences and feelings of the community around the park are amplified.<br /><br />José Luis Cortés ¿POR QUÉ TANTO DOLOR? (WHY SO MUCH PAIN?)<br />Instead of asking, “Why so much meth in the gay community?”, Cortés’s experimental film provokes the deeper question, “Why so much pain?” The film delves into the emotional and social wounds that fuel addiction and risk-taking behaviors.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60235 <p>When a coal mine collapses on the frontier between Germany and France, trapping a team of French miners inside, workers on both sides of the border spring into action, putting aside national prejudices and wartime grudges to launch a dangerous rescue operation. Pabst brings a claustrophobic realism to this ticking-clock scenario, using realistic sets and sound design to create the maze of soot-choked shafts where the miners struggle for survival. A gripping disaster film and a stirring plea for international cooperation, KAMERADSCHAFT cemented Pabst’s status as one of the most morally engaged and formally dexterous filmmakers of his time.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, December 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60231 <p>Pabst brought the war movie into a new era with his first sound film, a mercilessly realistic depiction of the nightmare that scarred a generation, in Germany and beyond. Digging into the trenches with four infantrymen stationed in France in the final months of WWI, Pabst illustrates the harrowing ordeals of battle with unprecedented naturalism, as the men are worn away in body and spirit by firefights, shelling, and the disillusion that greets them on the home front.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=12&year=2025#showing-60239 <p>[DIE 3 GROSCHEN-OPER]<br /><br />The sly melodies of composer Kurt Weill and the daring of dramatist Bertolt Brecht come together on-screen in this classic adaptation of the Weimar-era theatrical sensation. Set in the impoverished back alleys of Victorian London, THE THREEPENNY OPERA follows underworld antihero Mackie Messer (aka Mack the Knife) as he tries to woo Polly Peachum and elude the authorities. With its palpable evocation of corruption and dread, set to Weill’s irresistible score, THE THREEPENNY OPERA remains a benchmark of early sound cinema.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, December 02