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 Thu, 26 Feb 2026 17:30:09 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60567 <p>Script by Carl Meyer based on the story “A Trip to Tilsit” by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O’Brien and Janet Gaynor.<br /><br />Murnau’s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end.<br /><br />“SUNRISE becomes the lyrical culmination of a strain of German Expressionism that, married to American technology, could almost serve as a definition of the cinema. For the studio apparatus, enabling the creation of a spiritually and spatially unified microcosm, corresponds to the way the mind, in Expressionism, experiences reality – organizing it, imbuing it with personal associations, patterns, significances, until finally the only reality is a mental reality.” –Molly Haskell<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60819 <p class="p1">Stan Brakhage WINDOW WATER BABY MOVING 1959, 12 min, 16mm, silent. Preserved by Anthology Film Archives.<br />Carla Simón LETTER TO MY MOTHER FOR MY SON / CARTA A MI MADRE PARA MI HIJO (MIU MIU WOMEN’S TALES #24) 2022, 24 min, DCP. In Spanish and Catalan with English subtitles.<br />Agnes Varda L’OPÉRA-MOUFFE 1958, 16 min, 16mm-to-DCP. In French with English subtitles.<br />Marie Menken HURRY! HURRY! 1957, 3 min, 16mm. Preserved by Anthology Film Archives.<br />Priya Sen STORIES OF US: FOOTNOTES FROM EMERALD ISLAND 2015, 12 min, DCP<br />Kiro Russo NUEVA VIDA 2015, 15 min, DCP. In Spanish with English subtitles.<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> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60568 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60569 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60824 <p class="p1">Erin Espelie<br />THE LANTHANIDE SERIES<br />2014, 70 min, DCP<br /><br />Erin Espelie <span class="s1">视网膜</span> (A NET TO CATCH THE LIGHT) 2016, 7 min, 16mm-to-DCP<br />Erin Espelie <span class="s1">内共生</span> (INSIDE THE SHARED LIFE) 2017, 9 min, 16mm-to-DCP<br /><br />Total running time: ca. 90 min. Followed by discussion and Q&A with Erin Espelie and Scott MacDonald.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60571 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith’s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories.<br /><br />“In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60828 <p class="p1">Maryam Tafakory IRANI BAG 2021, 8 min, DCP<br />Carlos Adriano UNTITLED #4: IN SPITE OF RUIN, SING IN THE RAIN / SEM TITULO #4: APESAR DOS PESARES, NA CHUVA HÁ DE CANTARES 2018, 27 min, DCP. In Portuguese with English subtitles.<br /><br />Jennifer West<br />FILM TITLE POEM<br />2016, 67 min, 35mm-to-DCP<br /><br />Kevin B. Lee & Lého Galibert-Laîné READING BINGING BENNING 2018, 11 min, DCP<br /><br />Total running time: ca. 120 min. Followed by a discussion with Scott MacDonald and the curators, Annie Berman, Isha Parkhi, and Ava Witonsky.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60572 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith’s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories.<br /><br />“In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60830 <p class="p1">Takahiko Iimura KIRI (FOG) (1970, 5 min, 16mm, silent)<br /><br />Yoko Ono & John Lennon APOTHEOSIS (1970, 18 min, 16mm-to-digital. Produced by John Lennon & Yoko Ono. Sound: Mike Lax. ©1969 Yoko Ono Lennon.)<br /><br />Tadhg O’Sullivan<br />TO THE MOON<br />2020, 76 min, DCP<br /><br />Lois Patiño FAJR (2017, 12 min, 16mm-to-DCP)<br /><br />Total running time: ca. 115 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60570 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60891 <p>(LA RÈGLE DU JEU)<br /><br />“Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir’s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema’s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.” –Robin Wood<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61144 <p>This program showcases a handful of wild, uncanny, and amazingly inventive animated films that are constructed largely from magazine advertisements.<br /><br />Jean-Thomas Bédard THIS IS A RECORDED MESSAGE (1973, 10 min, 16mm-to-digital)<br />Unglee C’EST FOU (1977, 12 min, 16mm-to-DCP)<br />Martha Colburn EVIL OF DRACULA (1997, 2 min, Super-8mm-to-16mm)<br />Martha Colburn WHAT’S ON? (1997, 2 min, 16mm)<br />Jodie Mack YARD WORK IS HARD WORK (2008, 27.5 min, 16mm)<br />Lewis Klahr ALTAIR (1994, 6 min, 16mm)<br /><br />Total running time: ca. 65 min.<br /><br />[<strong>Please note: since we had to cancel the Sun, Feb 22 screening due to the blizzard, we've rescheduled that final screening for Sun, Mar 1 at 5:45.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61145 <p>With Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, Candy Darling, Tally Brown, and Ultra Violet.<br /><br />Downtown fixture Elwyn “Wynn” Chamberlain painted Frank O’Hara and Allen Ginsberg, produced an early Charles Ludlam play, and turned to film in 1970 with this crude, merciless consumerist satire. Inspired by a snowed-in weekend stuck watching television, BRAND X gleefully parodies boob-tube banality with copious nudity, a wicked sense of humor, and a who’s-who cast featuring Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, and Candy Darling. “The first truly entertaining Entertainment film of the new consciousness,” heralded Jonas Mekas, but Chamberlain moved on, burning his paintings and relocating his family to India in the mid-70s. His latter-day artistic output consisted solely of a series of novels.<br /><br />[<strong>Please note: since we had to cancel the Sun, Feb 22 screening due to the blizzard, we've rescheduled that final screening for Sun, Mar 1 at 7:30.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60894 <p>(FRANCESCO, GIULLARE DI DIO)<br /><br />“Roberto Rossellini’s buoyant 1950 masterpiece is a glorious hallucination of perfect harmony between man and nature. The Franciscans arrive at Assisi in the first reel and leave in the last. In between, as they say, nothing happens and everything happens. Rossellini is able to suggest the scope and rhythm of an entire lost way of life through a gradual accumulation of well-observed detail. The Franciscans are at once inspired and slightly foolish, but Rossellini maintains a profound respect for the grandeur of their delusions. A great film, all the more impressive for being apparently effortless.” –Dave Kehr<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61143 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />“Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It’s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. ‘You’ve never succeeded at anything and you never will’, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. ‘And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.’ These are the film’s most celebrated lines…a sort of brutalist alternative to the famous line from LOVE STORY: ‘Love means never having to say you’re sorry.’” –Dave Kehr, FILM COMMENT<br /><br />[<strong>Please note: since we had to cancel the Sun, Feb 22 screening due to the blizzard, we've rescheduled that final screening for Mon, Mar 2 at 6:30.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-61142 <p class="p1">MODERN ROMANCE may be Albert Brooks’s least-known film, but it’s arguably his greatest – the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist’s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who’s very nearly psychotic. Painfully funny, with the emphasis on “funny.”<br /><br />[<strong>Please note: since we had to cancel the Sun, Feb 22 screening due to the blizzard, we've rescheduled that final screening for Mon, Mar 2 at 9:00.</strong>]<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60906 <p>Dean Majd’s “Hard Feelings” is a decade-long odyssey documenting the interpersonal dynamics of the artist’s circle, steeped in the skateboarding and graffiti communities of Queens, New York. An exploration of collective grief, brotherhood, and gender roles within relationships, “Hard Feelings” finds Majd tracing the shifts in emotional landscapes through the performance of contemporary masculinity. In conjunction with the artist’s first solo exhibition at Baxter St. at CCNY, Majd and Anthology are pleased to present special screenings of John Cassavetes’s HUSBANDS (1970), a poignant meditation on embodied grief and self-destruction.<br /><br />“Framed by Cassavetes’s kinetic script and direction, HUSBANDS depicts a trio of men in regressive mourning over the loss of a friend: fighting, screaming, and crying across the city as they process their grief. I saw myself and my friends in these men as the loss of our friend took us to dark places over the course of a decade in New York, eventually forming ‘Hard Feelings’. Thematically and visually, HUSBANDS was a mirror of my experiences, but more importantly, a premonition of my future.” –Dean Majd<br /><br />Following the screening on Thursday, March 5, Majd will be joined in conversation by David Campany, Creative Director at the International Center of Photography.<br /><br />John Cassavetes<br />HUSBANDS<br />1970, 142 min, 35mm. 35mm preservation print courtesy of the UCLA Film & Television Archive.<br /><br /><em><strong>Q&A with Dean Majd and David Campany on Thurs, Mar 5!<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60909 <p><strong>U.S. PREMIERE!</strong><br /><br />The third feature by director Chris Gude (MAMBO COOL) is a lyrical, immersive documentary that journeys deep into Venezuela’s Guayana region, where vast gold reserves lie hidden beneath groves of moriche palms. Guided by a fictional explorer’s voice, the film moves from remote jungle mining camps to the banks of the Orinoco River, mapping the extraction and commercialization of gold while questioning extractive practices and humanity’s fraught relationship with the land. Using evocative visuals, hand-drawn illustrations, 16mm film, and atmospheric sound, and through the voices and labors of the miners, the film explores the destructive relationship between people, land, and the global demand for resources. Juxtaposing the slow processes of geology with the urgency of extractive capitalism, MORICHALES becomes a poetic meditation on fortune, survival, ecological cost, nature, labor, and value.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, March 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60878 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Friday, March 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60879 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Saturday, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60892 <p>(LA RÈGLE DU JEU)<br /><br />“Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir’s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema’s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.” –Robin Wood<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60880 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Saturday, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60895 <p>(FRANCESCO, GIULLARE DI DIO)<br /><br />“Roberto Rossellini’s buoyant 1950 masterpiece is a glorious hallucination of perfect harmony between man and nature. The Franciscans arrive at Assisi in the first reel and leave in the last. In between, as they say, nothing happens and everything happens. Rossellini is able to suggest the scope and rhythm of an entire lost way of life through a gradual accumulation of well-observed detail. The Franciscans are at once inspired and slightly foolish, but Rossellini maintains a profound respect for the grandeur of their delusions. A great film, all the more impressive for being apparently effortless.” –Dave Kehr<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, March 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60881 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Sunday, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60896 <p>(FRANCESCO, GIULLARE DI DIO)<br /><br />“Roberto Rossellini’s buoyant 1950 masterpiece is a glorious hallucination of perfect harmony between man and nature. The Franciscans arrive at Assisi in the first reel and leave in the last. In between, as they say, nothing happens and everything happens. Rossellini is able to suggest the scope and rhythm of an entire lost way of life through a gradual accumulation of well-observed detail. The Franciscans are at once inspired and slightly foolish, but Rossellini maintains a profound respect for the grandeur of their delusions. A great film, all the more impressive for being apparently effortless.” –Dave Kehr<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60882 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Sunday, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60893 <p>(LA RÈGLE DU JEU)<br /><br />“Detested when it first appeared (for satirizing the French ruling class on the brink of the Second World War), almost destroyed by brutal cutting, restored in 1959 to virtually its original form, THE RULES OF THE GAME is now universally acknowledged as a masterpiece and perhaps Renoir’s supreme achievement. Its extreme complexity (it seems, after more than 20 viewings, one of the cinema’s few truly inexhaustible films) makes it peculiarly difficult to write about briefly.” –Robin Wood<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, March 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60883 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Monday, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60907 <p>Dean Majd’s “Hard Feelings” is a decade-long odyssey documenting the interpersonal dynamics of the artist’s circle, steeped in the skateboarding and graffiti communities of Queens, New York. An exploration of collective grief, brotherhood, and gender roles within relationships, “Hard Feelings” finds Majd tracing the shifts in emotional landscapes through the performance of contemporary masculinity. In conjunction with the artist’s first solo exhibition at Baxter St. at CCNY, Majd and Anthology are pleased to present special screenings of John Cassavetes’s HUSBANDS (1970), a poignant meditation on embodied grief and self-destruction.<br /><br />“Framed by Cassavetes’s kinetic script and direction, HUSBANDS depicts a trio of men in regressive mourning over the loss of a friend: fighting, screaming, and crying across the city as they process their grief. I saw myself and my friends in these men as the loss of our friend took us to dark places over the course of a decade in New York, eventually forming ‘Hard Feelings’. Thematically and visually, HUSBANDS was a mirror of my experiences, but more importantly, a premonition of my future.” –Dean Majd<br /><br />Following the screening on Thursday, March 5, Majd will be joined in conversation by David Campany, Creative Director at the International Center of Photography.<br /><br />John Cassavetes<br />HUSBANDS<br />1970, 142 min, 35mm. 35mm preservation print courtesy of the UCLA Film & Television Archive.<br /><br /><em><strong>Q&A with Dean Majd and David Campany on Thurs, Mar 5!<br /><br /></strong></em><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60884 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Monday, March 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60885 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Tuesday, March 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60886 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Tuesday, March 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60887 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Wednesday, March 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2026#showing-60888 <p><strong>NEW YORK THEATRICAL PREMIERE RUN!</strong><br /><br />The latest work by filmmaker Angelo Madsen – director of numerous short films and features, including THE YEAR I BROKE MY VOICE (2012), KAIROS DIRT & THE ERRANT VACUUM (2017), and NORTH BY CURRENT (2021) (as well as the co-guest-curator of Anthology’s ongoing “Cinema of Gender Transgression” film series, whose next installment takes place from April 3-7) – A BODY TO LIVE IN traces the life and work of legendary photographer, performer, and “Gender Flex” cultural icon, Fakir Musafar (1930-2018). Through investigating the body modification movement and the trajectory of Fakir’s art career and philosophy, A BODY TO LIVE IN uncovers a riveting facet of queer history. Using Fakir’s early experiments in body play and his photographic works from the 1940s and 50s as a springboard, the film traces the body modification movement as it emerged in LGBT subculture in the early 1970s. The film introduces us to early collaborative experimentation at gay underground BDSM parties, leading to the first piercing shop, moving through the radical faerie movement and the role of body modification during the AIDS epidemic, the emergence of body-based performance art, and the rise of an entire subculture. Insights from key figures including Annie Sprinkle, Ron Athey, Cléo Dubois, Jim Ward, Midori, and others provoke deeper reflections about art making, surviving AIDS, and the controversial collaging of various spiritual and cultural practices to build a philosophy. Captured in static 16mm film portraits, A BODY TO LIVE IN puts Fakir’s archive of 100-plus hours of unseen footage in conversation with the voices of the canonical elders of this movement to create intergenerational dialog, question cultural responsibility, and provoke larger ideas about the drive to transcend the limits of the body.<br /><br />“A BODY TO LIVE IN refuses to flinch, confronting issues such as cultural appropriation and the impact of the AIDS crisis without offering easy resolutions. The result is a raw examination of Musafar’s work – its contradictions, beauty, and enduring relevance. This isn’t a traditional biography. It’s an investigation into how the body can serve as both a canvas for transformation and a powerful declaration of autonomy.” –FRAMELINE<br /><br /><em><strong>Angelo Madsen will be here in person for Q&As following the screenings on Fri & Sat nights! On Fri he’ll be in conversation with Michelle Handelman (BLOODSISTERS), moderated by artist and art historian Jill Casid; and on Sat he’ll be in conversation with Matt Wolf (PEE-WEE AS HIMSELF).</strong></em></p> <p><em><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /></strong></em></p> Wednesday, March 11