https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 20 Jan 2026 16:33:39 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60688 <p>Maureen Blackwood & Isaac Julien<br />THE PASSION OF REMEMBRANCE<br />1986, 80 min, 16mm-to-DCP. Newly remastered by the BFI National Film Archive!<br />“A landmark work in British avant-garde film and video, the Sankofa collective’s greatly influential first film, THE PASSION OF REMEMBRANCE, ambitiously explores themes of racism, homophobia, sexism, and generational tensions as embodied in the reality known by a Black British family over the years. Interweaving two narrative threads – one in which a man and a woman discourse on their own experiences living in the UK, another in which events from three decades in the lives of the Baptiste family are staged – Maureen Blackwood and Isaac Julien tease the accumulated fragments into a spellbinding, heterogeneous mosaic that powerfully evokes the multiplicity of Black experience and identity and critiques the British state’s treatment of its marginalized residents.” –NEW YORK FILM FESTIVAL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60685 <p>Shari Frilot<br />BLACK NATIONS/QUEER NATIONS?<br />1995, 52 min, video<br />“This experimental documentary chronicles the groundbreaking March 1995 conference on lesbian and gay sexualities in the African diaspora. The conference brought together an array of dynamic scholars, activists, and cultural workers including Essex Hemphill, Kobena Mercer, Barbara Smith, Urvashi Vaid, and Jacqui Alexander to interrogate the economic, political, and social situations of diasporic lesbians, gay men, bisexual, and transgender peoples. The video brings together the highlights of the conference and draws connections between popular culture and contemporary black gay media production. The participants discuss various topics: Black and queer identity, the shortcomings of Black nationalism, and homophobia in Black communities. Drawing upon works such as Isaac Julien's ‘The Attendant’ and Jocelyn Taylor's ‘Bodily Functions,’ this documentary illuminates the importance of this historic conference for Black lesbians and gays.” –THIRD WORLD NEWSREEL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60597 <p>After opening a shoebox, Diego is struck by severe fatigue that leaves him bedridden, while his friend Liz suffers from mysterious insomnia while preparing a stage production. Encouraged by his mother and Liz, Diego seeks help from doctors, motivational coaches, and ultimately a revealing tarot reading. When Liz needs more space for her production, Diego offers his patio, sparking intimate conversations about memory and their shared struggles. As her stage production reaches completion, Diego is the first to witness it. A simple and smart film about grief infused with elegant humor, A SKYLESS ROOF – the fourth feature by Tijuana-born, self-taught filmmaker Diego Hernández, who stars alongside his mother and friends – won the Best Mexican Film Award at FICUNAM.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60694 <p>Zora Neale Hurston FIELDWORK FOOTAGE (ca. 1928, 11 min, 16mm-to-digital. Courtesy of the Zora Neale Hurston Trust.)<br />“Under the tutelage of anthropologist Franz Boas (her former Columbia professor) and Harlem Renaissance arts patron Charlotte Osgood Mason, Zora Neale Hurston spent nearly two years, from 1927 to 1929, studying the folkloric customs, work songs, spirituals, and vernacular language of African American communities along the River Road and from New Orleans to Florida – observations that culminated in her 1935 collection ‘Mules and Men’.” –MAYSLES DOCUMENTARY CENTER<br /><br />Miatta Kawinzi SWEAT/TEARS/SEA (2017, 6 min, digital)<br />“[A] meditation on alternative temporalities of feeling, experience, and linguistic unfolding. Here movement (bodily, textual & spatial) becomes a way of thinking through questions of positionality regarding the self and environment.” –Miatta Kawinzi<br /><br />Sara Gómez I’M GOING TO SANTIAGO / IRÉ A SANTIAGO (1964, 15 min, 35mm-to-digital)<br />“Sara Gómez (1943-74) was Cuba’s first woman filmmaker, making 19 documentaries that offer uniquely intimate and inquisitive portraits of those whom history could forget: women, Afro-descendent people, the young and the very old. One of her first films, IRÉ A SANTIAGO portrays the city of Santiago de Cuba in a highly energetic and playful style of direct cinema, connecting the contemporary people, and spaces of this eastern city, to a past of slavery and resistance music, dance, and daily life.” –Susan Lord<br /><br />Darol Olu Kae KEEPING TIME (2023, 32 min, digital)<br />“KEEPING TIME is a meditation on what it means to maintain continuity with the past – told through the kaleidoscopic journey of a young drummer who must learn how to guide a multi-generational band into the future after being named their new bandleader. The Pan Afrikan Peoples Arkestra (The Ark) has been a legend in Los Angeles’s avant-garde jazz community for over 60 years. But since the death of its founder, pianist and composer Horace Tapscott, the band has spent the last three decades ebbing with the tide of history. KEEPING TIME follows Mekala Session as he struggles to honor his musical forebears while establishing a new path forward.” –Darol Olu Kae<br /><br />John Akomfrah<br />LAST ANGEL OF HISTORY<br />1995, 45 min, video<br />“Crafted by the influential British outfit Black Audio Film Collective (now Smoking Dogs, and still making great films), The Last Angel of History is a tantalising blend of sci-fi parable and essay film which also happens to be a crucial primer on the aesthetics and dynamics of contemporary Afrofuturism – it’s the first film to include the recently minted term. Compelling interviews with musicians, writers and cultural critics – plus archival video and photography – are interwoven with the fictional story of the “data thief”, who must travel through time and space in search of the code that holds the key to his future. It all adds up to a strange and moving invocation for the international black diaspora to discover its own histories, so long kept hidden from official records.” –Ashley Clarke, THE GUARDIAN<br /><br />Total running time: ca. 115 min.<br /><br /><em><strong>The screening on Fri, Jan 16 will be followed by a Q&A with Yasmina Price, artist and filmmaker Miatta Kawinzi, and scholar Erich Kessel, Jr.</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60558 <p>“Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it’s a retrospective process: you sit down, you look back at your day, and you write it all down. To keep a film (camera) diary, is to react (with your camera) immediately, now, this instant: either you get it now, or you don’t get it at all.” –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, January 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60607 <p>This is the Sex Pistols film that ultimately blew up the band and their relationship with McLaren. Originally called WHO KILLED BAMBI, with a script written by McLaren and Roger Ebert for Russ Meyer to direct, this mockumentary starring McLaren as the Svengali manager of a punk band was ultimately directed by Julien Temple, and features Steve Jones, Helen Wellington Lloyd, Sue Catwoman, and Sid Vicious singing “My Way”.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60610 <p>Malcolm McLaren<br />OXFORD STREET<br />1969-71, 20 min, 16mm-to-DCP<br />Recently, three reels from McLaren’s final-year student project at Goldsmith’s Art School were unexpectedly rediscovered. The project comprised a portrait of London’s Oxford Street (a boulevard that was designed for an army and later developed into a commercial hub), a subject which would continue to fascinate McLaren throughout his life, as evidenced by his 1991 TV movie, THE GHOSTS OF OXFORD STREET. The footage was shot by fellow student Jamie Reid, and includes glimpses of Vivienne Westwood, McLaren’s girlfriend at the time.<br /><br />Malcolm McLaren<br />THE GHOSTS OF OXFORD STREET<br />1991, 53 min, video<br />McLaren’s lifelong interest in London thoroughfare Oxford Street finally manifested in (completed) filmic form in this made-for-TV 1991 Christmas special. Acting as a kind of master-of-ceremonies, McLaren explores the history of the street, reminisces about his own personal memories of the district, and orchestrates an extraordinary collection of performances and cameos by everyone from Sinéad O’Connor, Tom Jones, and The Happy Mondays, to Rebel MC, Shane MacGowan, Kirsty MacColl, and Leigh Bowery.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60604 <p>“The Trace of the Land” presents short moving-image works that engage contested land through creative and improvisational methodologies. The program brings together artists working across disparate histories of dispossession and violence, from redlining in Chicago to French colonial rule in Algeria, the settler-colonial destruction of the Gaza Strip, Brazil’s military oppression of Indigenous communities, and more. Engaging diverse counter-cartographic methods, these artists foreground embodiment, quotidian gestures, myth, and collective storytelling in their filmmaking. Their work privileges alternative approaches to perception and cultural memory, creating space for narratives of everyday resistance and communal belonging.<br /><br />This screening is organized by Shoghig Halajian and Suzy Halajian with Brooklyn reading room, writing space, and independent publisher Wendy’s Subway, as part of a weekend-long, multi-venue convening that engages their co-edited anthology, “A Grammar Built with Rocks” (2025). The book brings together feminist-decolonial texts, visual works, and poetry that examine the ties between bodies and land in contexts of dispossession and ecological crisis. Through movement, transience, and improvisation, it highlights artistic practices that imagine new forms of place-making and being-together.<br /><br />Additional events include a reading group, conversation, and performances at the <a href="https://wendyssubway.com/programs/programs/events/a-grammar-built-with-rocks-cara">Center for Art, Research and Alliances (CARA)</a> on Saturday, January 24; and an <a href="https://wendyssubway.com/programs/programs/programs/workshops/after-hours-film-school-basma-al-sharif">After Hours Film School workshop</a> and a <a href="https://wendyssubway.com/programs/programs/events/a-grammar-built-with-rocks-listening-session">listening session</a> at <a href="https://wendyssubway.com/programs/">Wendy’s Subway</a> on Sunday, January 25.<br /><br />Julien Creuzet CROSSROADS (2022, 7.5 min, digital)<br />CROSSROADS is the second video by Julien Creuzet that uses a character with a transparent body – a type of alter-ego for the artist. Here, his body is inhabited by feathers, fruits, shipwrecks, and viruses. He carries along what has shaped him: his obsessions, new experiences, and elements of the flora that surrounds him. Here, he learns to dance in the bèlè style. A legacy of the musical traditions of the enslaved peoples of Martinique, bèlè combines music and movement to create new forms of emotional expression, thereby becoming a vital form of resistance.<br /><br />Cauleen Smith LESSONS IN SEMAPHORE (2015, 4.5 min, 16mm-to-digital, silent)<br />In this 16mm silent film, shot on the South Side of Chicago in 2016, choreographer taisha paggett dances with two flags in an attempt to communicate in semaphore. She meets a young boy, Malik, who appears to speak her language. The film plays out like a celebration of dialogue, despite the silence that surrounds it.<br /><br />Christine Rebet IN THE SOLDIER’S HEAD (2015, 4.5 min, 16mm-to-digital)<br />This film evokes the traumas of war through the prism of the hallucinations of a soldier. Inspired by the artist’s father, a soldier in Algeria who then suffered from post-traumatic stress disorder, the video depicts the delusions flowing from a mind ravaged by violence: a vision grown from the inside out. Specters are conjured as the inanimate comes to life. Whirring machines sputter, gears turn and levers crank, reflecting the ceaselessly firing synapses of a hyperactive psyche. The helmet, like the soldier’s head itself, becomes a crucible for burning delusions fed by the violated land. Taking formal cues from the optical illusions and landscapes drawn in pre-cinematic entertainment, Rebet addresses issues of historical trauma through personal reinterpretation.<br /><br />Ana Vaz APIYEMIYEKÎ? (2019, 27.5 min, digital)<br />APIYEMIYEKÎ? is a cinematographic portrait that departs from Brazilian educator and indigenous rights militant Egydio Schwade’s archive – Casa da Cultura de Urubuí – found in his home at Presidente Figueiredo (Amazonas), where over 3,000 drawings made by the Waimiri-Atroari, a people native to the Brazilian Amazon, during their first literacy process are currently kept. The drawings document and construct a collective visual memory from their learning process, perspective, and territory while attesting to a series of violent attacks to which they were submitted during the Military Dictatorship in Brazil.<br /><br />Beatriz Santiago Muñoz THE BLACK CAVE / LA CUEVA NEGRA (2013, 20 min, digital)<br />LA CUEVA NEGRA explores the Paso del Indio, an indigenous burial site in Puerto Rico discovered during the construction of a highway, and eventually paved over. Informed by interviews with local residents and archaeologists involved in the excavation, Beatriz Santiago Muñoz’s video offers a reflection on the origins and meanings of the site, which becomes, in the process, an allegory for the island’s convoluted history. The camera tracks two teenage boys wandering through the area, their freedom of movement and sense of curiosity symbolizing the romantic but ultimately misguided desire to find and preserve paradise.<br /><br />Basma al-Sharif DEEP SLEEP (2014, 13 min, Super-8mm-to-digital)<br />“Temporarily restricted from travel to the Gaza Strip because of border conflict, I undertook the study and practice of autohypnosis with the purpose of bi-locating into multiple places at once. Paired with field recordings rendered into a binaural beat soundtrack, DEEP SLEEP is made up of a year’s worth of bi-location sessions recorded onto Super-8mm film. The result is a movement through the ruins of ancient civilizations as embedded in modern civilization-in-ruins. DEEP SLEEP draws from the historical avant-garde cinema to produce an invitation to move through landscapes and transcend geographical borders in a collective act that discards memory in exchange for a visceral present." –Basma al-Sharif<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> Friday, January 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60613 <p>McLaren created this one-hour compilation of his work for the eponymous exhibition at the Pompidou Center in Paris. It encompasses clips from THE GREAT ROCK ‘N’ ROLL SWINDLE, music videos, lectures, fashion shows, his interactive multimedia self-portrait entitled, “The Casino of Authenticity and Karaoke”, commissioned by the Bonnefanten Museum, and an ad he wrote the copy for and performed in for Virgin Atlantic Airlines.<br /><br />Preceded by:<br />Malcolm McLaren BEING MALCOLM (selection from “Les Chroniques de Malcolm”) (2000-01, ca. 38 min, video)<br />A selection of 3-minute interstitials commissioned by French TV, Canal Jimmy. Given carte blanche, McLaren created a series of philosophical films about many of his obsessions. One film, “Shoppertainment”, which proposes the idea that shopping has become entertainment, won the “Ithème” award for Best Cultural TV program.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60559 <p>Preserved by Anthology Film Archives with support from The Film Foundation. Special thanks to Cineric, Inc., and Trackwise.<br /><br />“The film consists of four parts. The first part contains some footage from my first years in America, 1949-52. The second part was shot in August 1971 in Lithuania. The third part is in Elmshorn, near Hamburg, where I spent eight months in a forced labor camp. The fourth part is in Vienna (1971) with Peter Kubelka, [Hermann] Nitsch, Annette Michelson, Ken Jacobs, etc. The film deals with home, memory, and culture.” –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, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60616 <p>COMPLETE WORLDS END PARIS CATWALK SHOWS<br />1981-1984, 60 min, video<br />Leading up to his first solo album, “Duck Rock”, McLaren brought his obsession for “the look of music and the sound of fashion” to its apotheosis with the four Worlds End fashion collections he designed with Vivienne Westwood, which were shown during the Paris prêt à porter: “Nostalgia of Mud”, featuring the Buffalo Gal (1981), “Punkature S/S” (1983), “Witches A/W” (1983-84), and “Worlds End S/S” (1984). McLaren’s soundtracks for these shows demonstrate the evolution of “Duck Rock”, from demo to completed album. The recently discovered documentation of these catwalk shows will be presented here publicly for the first time!<br /><br />Malcolm McLaren<br />DUCK ROCK<br />1981-83, 42 min, video<br />This one-hour music video of McLaren’s first solo album was the first long-form music video ever made. The seminal record, produced by Trevor Horn, introduced World Music and Hip Hop (with recordings from South Africa, South and Central America, Appalachia and NYC), as well as graffiti art (by then-unknown Keith Haring, Dondi White) to the mainstream.<br /><br />Total running time: ca. 105 min.<br /><br /><strong>The screening on Sat, Jan 24 will be followed by a discussion with Young Kim, photographer Bob Gruen, and artist and director Nick Egan, moderated by journalist, writer, and musician Vivien Goldman!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60560 <p>All films in this program are b&w and silent.<br /><br />THE CONJUROR / L’ILLUSIONISTE FIN DE SIÈCLE (1899, 1 min, 35mm)<br />TRIP TO THE MOON / VOYAGE DANS LA LUNE (1902, 12 min, 35mm)<br />THE PALACE OF THE ARABIAN NIGHTS / LE PALAIS DES MILLE ET UNE NUITS (1905, 21 min, 35mm)<br />MERRY FROLICS OF SATAN / LES QUATRES CENT FARCES DU DIABLE (1906, 18 min, 35mm)<br />DELIRIUM IN A STUDIO / ALI BARBOUYOU ALI BOUF À L’HUILE (1907, 5 min, 35mm)<br /><br />Magician, master of special effects, Méliès broke with the realistic (Lumière) mode of cinema and celebrated unlimited fantasy and artificiality (in its best sense).<br /><br />“All early filmmakers were fascinated at first with the camera’s possibilities for tricks and illusionism. In fact, many were magicians before becoming filmmakers. But it was Georges Méliès, the French magician, producer of spectacles, actor, artist, and poet, who had the imagination and enthusiasm to fully exploit its marvels. His films are spectacles that amaze and delight. He created fantastic visions – all of them curious, some of them comic.” –MUSEUM OF MODERN ART<br /><br />Total running time: ca. 60 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60611 <p>Malcolm McLaren<br />OXFORD STREET<br />1969-71, 20 min, 16mm-to-DCP<br />Recently, three reels from McLaren’s final-year student project at Goldsmith’s Art School were unexpectedly rediscovered. The project comprised a portrait of London’s Oxford Street (a boulevard that was designed for an army and later developed into a commercial hub), a subject which would continue to fascinate McLaren throughout his life, as evidenced by his 1991 TV movie, THE GHOSTS OF OXFORD STREET. The footage was shot by fellow student Jamie Reid, and includes glimpses of Vivienne Westwood, McLaren’s girlfriend at the time.<br /><br />Malcolm McLaren<br />THE GHOSTS OF OXFORD STREET<br />1991, 53 min, video<br />McLaren’s lifelong interest in London thoroughfare Oxford Street finally manifested in (completed) filmic form in this made-for-TV 1991 Christmas special. Acting as a kind of master-of-ceremonies, McLaren explores the history of the street, reminisces about his own personal memories of the district, and orchestrates an extraordinary collection of performances and cameos by everyone from Sinéad O’Connor, Tom Jones, and The Happy Mondays, to Rebel MC, Shane MacGowan, Kirsty MacColl, and Leigh Bowery.<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60619 <p>McLaren returned to his roots as a visual artist in June 2008 with SHALLOW 1-21, a series of twenty-one “Musical Paintings” – short films created from re-worked clips from pornography set to music that he composed. It premiered in Art Basel Projects, and was shown by Creative Time in Times Square, New York; the Royal Academy of Arts, London; the Baltic Centre for Contemporary Art, Gateshead; and the Pennsylvania Academy of Fine Arts in Philadelphia.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60561 <p>The films on this program are hand-tinted and silent.<br /><br />A DIABOLICAL TENANT / UN LOCATAIRE DIABOLIQUE (1909, 8 min, 35mm)<br />THE CASCADE OF FIRE / LA CASCADE DE FEU (1904, 3 min, 35mm)<br />VOYAGE ACROSS THE IMPOSSIBLE / LE VOYAGE À TRAVERS L’IMPOSSIBLE (1904, 20 min, 35mm)<br />THE HUNCHBACK FAIRY / LA FÉE CARABOSSE (1906, 13 min, 35mm)<br /><br />Total running time: ca. 50 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60562 <p>All films in this program are b&w and silent.<br /><br />EXTRAORDINARY ILLUSIONS / ILLUSIONS FUNAMBULESQUES (1903, 3 min, 16mm)<br />THE ENCHANTED WELL / LE PUITS FANTASTIQUE (1903, 3 min, 16mm)<br />TUNNEL UNDER THE CHANNEL / LE TUNNEL SOUS LA MANCHE (1907, 25 min, 35mm)<br />THE APPARITION / LE REVENANT (1903, 3 min, 16mm)<br />THE DOCTOR’S SECRET / HYDROTHÉRAPIE FANTASTIQUE (1909, 11 min, 35mm)<br />SIGHTSEEING THROUGH WHISKY / PAUVRE JEAN OU LES MESAVENTURES D’UN BUVEUR (1909, 5 min, 35mm)<br /><br />Total running time: ca. 55 min.<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60622 <p>With a title inspired by Walter Benjamin’s “The Arcades Project”, McLaren’s second and final video art work – and the final moving-image work of his career – represents a major homage to Charles Baudelaire’s concept of the flâneur, and to Situationism. Manipulating clips from French film advertising, starting with the Lumière Brothers and spanning the entire 20th century, the work is set mainly to his 1994 album, “Paris” (which had sampled these ads), with McLaren’s own spoken narration threaded throughout. It was first shown in its completed form at the Swiss Institute, NY, in February 2010.<br /><br /><strong>The screening on Sun, Jan 25 will be followed by a discussion with Young Kim and Eugenia Melian, the producer of the album “Paris”; the talk will be moderated by Charles Aubin, co-director of Centre Pompidou x Jersey City. </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, January 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60617 <p>COMPLETE WORLDS END PARIS CATWALK SHOWS<br />1981-1984, 60 min, video<br />Leading up to his first solo album, “Duck Rock”, McLaren brought his obsession for “the look of music and the sound of fashion” to its apotheosis with the four Worlds End fashion collections he designed with Vivienne Westwood, which were shown during the Paris prêt à porter: “Nostalgia of Mud”, featuring the Buffalo Gal (1981), “Punkature S/S” (1983), “Witches A/W” (1983-84), and “Worlds End S/S” (1984). McLaren’s soundtracks for these shows demonstrate the evolution of “Duck Rock”, from demo to completed album. The recently discovered documentation of these catwalk shows will be presented here publicly for the first time!<br /><br />Malcolm McLaren<br />DUCK ROCK<br />1981-83, 42 min, video<br />This one-hour music video of McLaren’s first solo album was the first long-form music video ever made. The seminal record, produced by Trevor Horn, introduced World Music and Hip Hop (with recordings from South Africa, South and Central America, Appalachia and NYC), as well as graffiti art (by then-unknown Keith Haring, Dondi White) to the mainstream.<br /><br />Total running time: ca. 105 min.<br /><br /><strong>The screening on Sat, Jan 24 will be followed by a discussion with Young Kim, photographer Bob Gruen, and artist and director Nick Egan, moderated by journalist, writer, and musician Vivien Goldman!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, January 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60623 <p>With a title inspired by Walter Benjamin’s “The Arcades Project”, McLaren’s second and final video art work – and the final moving-image work of his career – represents a major homage to Charles Baudelaire’s concept of the flâneur, and to Situationism. Manipulating clips from French film advertising, starting with the Lumière Brothers and spanning the entire 20th century, the work is set mainly to his 1994 album, “Paris” (which had sampled these ads), with McLaren’s own spoken narration threaded throughout. It was first shown in its completed form at the Swiss Institute, NY, in February 2010.<br /><br /><strong>The screening on Sun, Jan 25 will be followed by a discussion with Young Kim and Eugenia Melian, the producer of the album “Paris”; the talk will be moderated by Charles Aubin, co-director of Centre Pompidou x Jersey City. </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60624 <p>With a title inspired by Walter Benjamin’s “The Arcades Project”, McLaren’s second and final video art work – and the final moving-image work of his career – represents a major homage to Charles Baudelaire’s concept of the flâneur, and to Situationism. Manipulating clips from French film advertising, starting with the Lumière Brothers and spanning the entire 20th century, the work is set mainly to his 1994 album, “Paris” (which had sampled these ads), with McLaren’s own spoken narration threaded throughout. It was first shown in its completed form at the Swiss Institute, NY, in February 2010.<br /><br /><strong>The screening on Sun, Jan 25 will be followed by a discussion with Young Kim and Eugenia Melian, the producer of the album “Paris”; the talk will be moderated by Charles Aubin, co-director of Centre Pompidou x Jersey City. </strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60620 <p>McLaren returned to his roots as a visual artist in June 2008 with SHALLOW 1-21, a series of twenty-one “Musical Paintings” – short films created from re-worked clips from pornography set to music that he composed. It premiered in Art Basel Projects, and was shown by Creative Time in Times Square, New York; the Royal Academy of Arts, London; the Baltic Centre for Contemporary Art, Gateshead; and the Pennsylvania Academy of Fine Arts in Philadelphia.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, January 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60614 <p>McLaren created this one-hour compilation of his work for the eponymous exhibition at the Pompidou Center in Paris. It encompasses clips from THE GREAT ROCK ‘N’ ROLL SWINDLE, music videos, lectures, fashion shows, his interactive multimedia self-portrait entitled, “The Casino of Authenticity and Karaoke”, commissioned by the Bonnefanten Museum, and an ad he wrote the copy for and performed in for Virgin Atlantic Airlines.<br /><br />Preceded by:<br />Malcolm McLaren BEING MALCOLM (selection from “Les Chroniques de Malcolm”) (2000-01, ca. 38 min, video)<br />A selection of 3-minute interstitials commissioned by French TV, Canal Jimmy. Given carte blanche, McLaren created a series of philosophical films about many of his obsessions. One film, “Shoppertainment”, which proposes the idea that shopping has become entertainment, won the “Ithème” award for Best Cultural TV program.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60608 <p>This is the Sex Pistols film that ultimately blew up the band and their relationship with McLaren. Originally called WHO KILLED BAMBI, with a script written by McLaren and Roger Ebert for Russ Meyer to direct, this mockumentary starring McLaren as the Svengali manager of a punk band was ultimately directed by Julien Temple, and features Steve Jones, Helen Wellington Lloyd, Sue Catwoman, and Sid Vicious singing “My Way”.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, January 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60639 <p>“Premiered on February 11, 1952, and immediately banned, the first experimental, imageless film of Gil J. Wolman is divided into two sections: a non-narrative soundtrack, some kind of interior monologue including physiological noises, and a visual part built on the irregular alternation of black and white circles screened on a weather balloon. In April of the same year, Wolman led a systematic disruption of the Cannes Film Festival and was only saved by a police escort. L’ANTICONCEPT remains one of the most radical films of all time.” –INTERNATIONAL FILM FESTIVAL ROTTERDAM<br /><br /><strong>Introduced by Frédéric Acquaviva.<br /><br /></strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, January 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60697 <p>(EINMAL IST KEINMAL)<br /><br />“Peter Weselin, a musician and composer from West Germany plans to spend a quiet vacation with his uncle in the small town of Klingenthal, but the East German town, known for manufacturing instruments, is about to hold its annual music festival. Everyone wants Peter to write a composition for them: the local accordion factory asks for a symphony and the attractive Anna wants a pop hit for her youth dance group.” –DEFA FILM LIBRARY<br /><br />“A fascinating exceptional work in Konrad Wolf's filmography…[and] the stunning Agfa color photography made it one of the most beautiful 1950s German music films.” –DEUTSCHES HISTORISCHES MUSEUM<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60641 <p>Isidore Isou arrived in Paris from Romania in 1945 where he founded the Lettrist movement and published many books. Letterism attempted to break down poetry into letters and syllables, and then all arts into their constituent parts, to build up new languages for each art form. VENOM AND ETERNITY was the first Lettrist film manifesto. Isou brought it uninvited to the Cannes Film Festival (1951) where it won the audience prize for the avant-garde. Jean Cocteau’s poster promoted the 1952 release on the Champs-Elysées. The film is Isou’s “revolt against cinema”: the sound and the picture are purposefully unrelated, and the images are destroyed by bleach and scratched. The film is a landmark work that prefigured the Letterist and Situationist cinema to come and influenced many experimental filmmakers.<br /><br />Introduced by Frédéric Acquaviva.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60700 <p>(GENESUNG)<br /><br />“The authorities expect the case of Friedel Walter, alias ‘Dr. Mueller,’ to be a straightforward one: he was working as a doctor without proper credentials and under a false name. But Mehlin, the man in charge of his case, knows that there is more to the story. When he was injured fleeing from a concentration camp, resistance worker Irene asked her medical student boyfriend Walter to give him medical care. As it turns out, Walter ended up on the front as a medical worker, was captured by the British and mistakenly registered under the name of the fallen Dr. Mueller. He simply never straightened out the confusion. Years later, while dealing with a particularly difficult case, he recognizes the patient’s wife as his former love Irene and is forced to confront the truth about his past.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, January 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60703 <p>Based on a novel by German-Czech author Franz Carl Weiskopf, LISSY centers on a working-class socialist in the Weimar economic crisis whose husband Alfred joins the Nazi Party after losing his job. Though their Nazi membership improves their material conditions, it alienates Lissy from her left-wing parents and friends, many of whom she sees attacked by the Nazis with the consent of the police. Through Lissy’s point of view, Wolf highlights how poverty and unemployment attracted many Germans to fascism. The film captures her gradual realization of fascism’s politics of exclusion and fear, forcing her to question the comfort offered by her husband’s party membership. This act of defiance turns into a gesture of antifascist significance and resistance.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60706 <p>(SONNENSUCHER)<br /><br />SUN SEEKERS focuses on the stories of two women, a young orphan named Lutz and Emmi, who are picked up by the police during a raid in Berlin to work in the Soviet and East-German Wismut uranium plant. The film’s style stands out for its anti-heroic aspects, while the narrative boldly shows the resentment felt by the East German workers towards the Soviets, not just because of the past trauma of the war, but also because of the unrealistic production expectations on the part of the latter. The emphasis on these conflicts through an observational cinematic style that captures a variety of social relationships in the plant contradicts the film’s opening intertitles, which patronizingly explain to the viewer that the Wismut project started out of the USSR’s commitment to world peace. Wolf had to wait until 1972 for an official release of SUN SEEKERS; under pressure from the Soviet authorities, the film was not released in 1958 and was shelved for 14 years.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Victoria Rizo Lenshyn, Associate Director of the DEFA Film Library at the University of Massachusetts Amherst!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60643 <p>“After working on Isou’s VENOM AND ETERNITY as an assistant director, Maurice Lemaître set out to make a film that not only attacked the conventions of filmmaking, but of filmgoing too. LE FILM EST DÉJÀ COMMENCÉ? is a film that spills from the screen, as instructed by its script which expands upon the body of the film to include what should occur in the viewing room as it’s projected. Throughout the film, he directly addresses the audience with questions such as ‘Why are you here?’ while they sit in the dark watching the movie also subject to the insults of ‘extras’ taunting their ability to watch the whole thing through. The film is made up of a series of kaleidoscopic images. Unlike Debord and Wolman, Lemaître stresses the visual quality of his cinema. LE FILM EST DÉJÀ COMMENCÉ? is colorful, fun, and wholly unruly, reflecting the spirit of a passionate young filmmaker meddling with the rules of his craft.” –RE:VOIR<br /><br />Introduced by Bill Kartalopoulos.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=01&year=2026#showing-60709 <p>(STERNE)<br /><br />A DEFA and Bulgarian co-production, and the winner of the Prix du Jury at the 1959 Cannes Film Festival, STARS was one of the first German-speaking films about the Holocaust, a subject still taboo in West Germany at the time. The film takes place in a small town in Bulgaria, where German soldiers have temporarily stationed groups of Greek Jews who are destined for Auschwitz. Among the soldiers is Walter, a Wehrmacht officer and disillusioned intellectual and painter, who seems to hold nihilistic views. A chance encounter, however, prompts a reflection on his role in the Nazi war machine: he falls in love with Ruth, a Jewish woman, and tries to organize her escape with support from local members of the Bulgarian resistance. Because of the taboo on discussing the Holocaust, the West German government tried to prevent the film’s circulation at international festivals.<br /><br /><em><strong>The screening on Sat, Jan 31 will be introduced by Mariana Ivanova, Academic Director of the DEFA Film Library at the University of Massachusetts Amherst!</strong></em><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, January 31 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60712 <p>(LEUTE MIT FLÜGELN)<br /><br />“This film continues the story of radio operator Ludwig Bartuschek from Kurt Maetzig and Günter Reisch’s 1958 East German classic, THE SAILORS’ SONG. Near the end of the Weimar Republic, Bartuschek is working as a mechanic in the Sperber airplane plant. Director Dehringer offers him the opportunity to train as an airplane builder if he is willing to give up his communist beliefs under oath. Bartuschek will not allow himself to be bought and instead joins the underground resistance movement.” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60715 <p>PROFESSOR MAMLOCK is an adaptation of the homonymous play (1933) by Friedrich Wolf, the director’s father. Written in exile, the play was one of the first artistic encounters with the question of anti-Semitism in Nazi Germany. The film adaptation makes a bold argument that non-resistance in the early years of Nazi rule was tantamount to complicity. MAMLOCK tells the story of an accomplished medical surgeon and Professor at a university hospital. He is a family man of Jewish origin, who believes in Enlightenment ideas of individual freedom, scientific humanism, progress, and the rule of law. When the Nazis take power in 1933, he passionately opposes his Communist son’s resistance activities, convinced that fascism would be a small parenthesis in German history. He only understands the regime’s horror when he is dismissed during the wave of purges of Jews and political opponents from civil service and government jobs. Mamlock’s “wrong decision” becomes a metaphor for collective inertia at times of political crisis; the personal and the political, the private and the public sphere, are clearly interconnected in this fascinating film.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60645 <p>Maurice Lemaître<br />LE SOULÈVEMENT DE LA JEUNESSE – MAI 68<br />1969, 28 min, 16mm. In French with English subtitles.<br />“Maurice Lemaître had the ambition to create a truly innovative film about the May 1968 revolt. To achieve this, he spared no effort in employing his bold filmmaking techniques, successfully integrating the cinematic innovations used in his previous works into this new thematic dimension.” –LIGHT CONE<br /><br />Maurice Lemaître<br />UN SOIR AU CINÉMA SUIVI DE POUR FAIRE UN FILM<br />1962-63, 40 min, 16mm. In French with English subtitles.<br />“The central idea of the first part of this work is to make the viewer imagine that he or she went out into the street that night, entered the cinema where the film is shown and now meets a stranger sitting next to him or her in the room. As in all Maurice Lemaître’s films, sound is an essential part of this work. It is he who tells the ‘story’, like an inner monologue. The image, for most of the film, is an autonomous illustration, but it can have indirect, allusive relationships with the sound. This image is also chiseled with multiple drawings, superimpositions etc., which make it of a rare richness. TO MAKE A FILM, the second part of the session, is an ‘invitation to make a film’, what the author calls a supertemporal work, because it constantly surpasses time, by continuously integrating it into an open film framework, calling for the creation of the public itself.” –LIGHT CONE<br /><br />Total running time: ca. 75 min.<br /><br /><strong>Introduced by Bill Kartalopoulos.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a><br /><br /></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60718 <p>(DER GETEILTE HIMMEL)<br /><br />A loose adaptation of writer Christa Wolf’s novel, DIVIDED HEAVEN is one of the most formally experimental DEFA films. The film is visibly influenced by post-war Western European modernist cinema, a clear departure from socialist-realist doctrines prevalent in the GDR at the time. Similar to LISSY and PROFESSOR MAMLOCK, DIVIDED HEAVEN places an individual’s story within the wider social and historical context to explore the interconnection between private life and history. The story centers on a couple: Rita, a rural girl studying to become a teacher who also works in a factory as part of her educational training, and Manfred, a chemist from the city. After losing financial support for one of his engineering projects, Manfred decides to move to West Berlin. Rita, however, refuses to relocate to the West and fails to persuade him to return. Instead of guaranteeing any sense of catharsis, Rita’s decision to stay in East Berlin leaves the narrative open-ended. As in his other films, Wolf’s portrayal of the GDR highlights its contradictions, such as the productivity pressures faced by the workers at Rita’s factory and the social pressures faced by relatives of people who moved to the West. At the same time, his portrayal of West Berlin as a place where everything, according to Rita, “revolves around eating and drinking, getting depressed, and then going to bed,” demonstrates the different worldviews carried by the two societies.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60721 <p>(DER KLEINE PRINZ)<br /><br />“This highly stylized DEFA adaptation, commissioned by East-German television, of ‘The Little Prince’ (1943) by Antoine de Saint-Exupéry brings to life the existentialist classic in magical artificial landscapes. Originally intended for the launch of color television in the GDR, THE LITTLE PRINCE was filmed in 1965/66 by the DEFA Studio for Feature Films commissioned by Deutscher Fernsehfunk. However, color television was not introduced in the GDR before October 3, 1969. Finally, the film premiered on May 21, 1972, but disappeared in the archives afterwards, thanks to the broadcaster’s failure to obtain the adaptation rights for the text. Before the story became public domain in Germany in 2015, the film was only shown twice with special permission by the literary rights holders, including a screening organized by Wim Wenders in 1995 as part of the series ‘100 Years of Cinema in Berlin.’” –DEFA FILM LIBRARY<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60724 <p>(ICH WAR NEUNZEHN)<br /><br />Wolf mentions in his diaries that he did not hesitate to become a “Vaterlandsverräter” (“fatherland traitor”) in order to fight the Nazi terror. I WAS NINETEEN brilliantly captures the complexity of his experience as a German man joining the Red Army to fight fascism. Modelled on Wolf himself, who was a 19-year-old Red Army soldier when the Soviets broke the German line, the film’s lead character Gregor is a Soviet soldier of German origins who returns to his homeland in the last days of the war. Acting as an interpreter, he and the other Red Army soldiers try to convince the Germans to surrender. The film’s complex themes of belonging, identity, antifascist struggle, and victimhood are underlined by the form, which is itself influenced by Italian neorealism’s ascetic aesthetic, which aimed to capture history by registering its everyday moments. Despite Wolf’s firm commitment to antifascism, the film’s everyday, anti-heroic, and banal encounters in the last days of the war produce a melancholic style, more an aesthetics of mourning than of celebration.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 02