Anthology Film Archives - Calendar Events https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Wed, 12 Feb 2025 12:50:08 -0500 BOB WILSON’S LIFE & DEATH OF MARINA ABRAMOVIC https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58916 <p>BOB WILSON’S LIFE & DEATH OF MARINA ABRAMOVIC documents the coming together of Willem Dafoe, director Robert Wilson, performance artist Marina Abramovic, and singer and composer Antony Hegarty, to create an experimental opera based on Marina Abramovic’s biography. Through rehearsal footage and interviews with the artists as they are making the piece, director Giada Colagrande provides insight into this unique collaboration, resulting in an intimate portrait that reveals the dynamics, excitement, and insecurities of making such a poetic and visually stunning theatre work.<br /><br />Preceded by:<br />Savanah Leaf <em>run</em> (2023, 9 min, 35mm-to-digital)<br />Savanah Leaf <em>run 002</em> (2024, 9.5 min, 35mm-to-digital)<br />These short films by artist and filmmaker Savanah Leaf (EARTH MAMA) are investigations of bodies subjected to various forms of measuring, categorization, and control.<br /><br />Total running time: ca. 80 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Wednesday, February 12 SHADOW OF THE VAMPIRE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58920 <p>“SHADOW OF THE VAMPIRE is a wickedly fabricated behind-the-scenes yarn about the production of the movie NOSFERATU (1922). […] Even though it earned [Willem Dafoe] an Oscar nomination for Best Supporting Actor, it remains an unduly obscure entry in his filmography. It’s the second feature directed by E. Elias Merhige, a work of straight-faced and ingenious giddiness – a riotous yet loving laugh up the ample sleeve of cinematic history that’s also a substantial and troubled contemplation of the art.” –Richard Brody, NEW YORKER<br /><br />Preceded by:John Lurie FISHING WITH JOHN: EPISODE 4 1991, 24 min, digitalIn arguably the most surreal episode of John Lurie’s cult cable TV series “Fishing With John”, Lurie and Dafoe embark on an ice-fishing adventure in northern Maine, but, ill-prepared and inexperienced, the trip soon devolves into a desperate – albeit soporific – struggle for survival.<br /><br />Total running time: ca. 120 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Wednesday, February 12 TOMMASO https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58884 <p>“Intimate and extremely self-reflexive, TOMMASO [finds Ferrara] enlisting his muse Willem Dafoe, his wife Cristina Chiriac, and their three-year-old daughter, Anna, to draft out a scrappy, startling, and often moving mosaic of Ferrara’s emotional and psychological state. Whether its various elements are representations of actual events or purely fictitious creative whims is never clear (a story that Dafoe recounts in a scene at an Alcoholics Anonymous meeting feels so personal to him – eliciting tears I took to be too genuine to not have been personally experienced – is a particularly ambiguous confusion of performance that ends up being quite generative), but it’s the impressions that feel essential. This is filmmaking as survival, an earnest confession and auto-critique (with crucifixions and all) that ought to be remembered as more than a mere footnote in his late period.” –Blake Williams, FILMMAKER MAGAZINE<br /><br /><strong>Willem Dafoe will be here in person for a Q&A following the screening on Sat, Feb 8!</strong><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Thursday, February 13 EC: SUNRISE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58732 <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 13 SIBERIA https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58889 <p>“While Dafoe is certainly an actor who can and will follow Ferrara out to the very limits of logic and restraint, he is also the ideal collaborator for this new phase of Ferrara’s career. As opposed to earlier performers like Harvey Keitel, Christopher Walken, or Matthew Modine, Dafoe provides a discipline that helps Ferrara ground some of his more expressionist tendencies. […] Dafoe evinces a kind of tired wisdom in his portrayal of an individual who has been granted vision beyond the scope of ordinary humanity. While his Pasolini was a Marxist philosopher who understood society as a system and whose insights could not save him, SIBERIA’s ‘Clint’ is, depending on your interpretation, the next phase of that total being or a complete inversion of it. A kind of Nietzschean ‘last man’ who may not even be human, exactly, this figure (he’s not really a character) blurs any and all lines between the personal and the allegorical. Even as he traverses the frozen tundra on his dogsled, we cannot know if he is negotiating physical space or plunging deeper into his own mindscape.” –Michael Sicinski, CINEMA SCOPE<br /><br /><strong>Willem Dafoe will be here in person for a Q&A following the screening on Sat, Feb 8!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 13 LIGHT SLEEPER https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58924 <p>“Schrader has spoken of LIGHT SLEEPER as the final panel in a triptych of films about male loners which also includes TAXI DRIVER and AMERICAN GIGOLO. Featuring one of Schrader’s tautest and most effective screenplays, LIGHT SLEEPER tells the story of a NYC drug runner grappling with a midlife crisis and framed for a drug-related murder. Schrader’s return to the mean streets of Manhattan is notably melancholic, suffused with an aura of regret and longing that adds nuance to all of its characters. Willem Dafoe offers a poignant and powerful rendering of the dealer’s moving struggle to reassemble his life and reconnect with a lost love.” –HARVARD FILM ARCHIVE<br /><br /><strong>Willem Dafoe will be here in person for a Q&A following the screening on Sun, Feb 16!</strong><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, February 14 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58685 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, February 14 AUTO FOCUS https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58928 <p>“AUTO FOCUS offers a glimpse into the colorful life – and mysterious death – of the handsome and charming star of the hugely successful ’60s-era POW-camp comedy ‘Hogan’s Heroes’. After the show’s cancellation, Crane (Greg Kinnear) desperately fell into the seamy world of sex, strip clubs, and decadence. Eventually, he teamed up with video technician John Henry Carpenter (Willem Dafoe) to document his exploits – an association that very well may have led to his violent murder in an Arizona motel room in 1978 where he was bludgeoned with a camera tripod. Almost two decades since its release, Schrader’s adaptation of this true-crime tale – something fit for the pages of Kenneth Anger’s ‘Hollywood Babylon’ – still stands as one of the most entertaining and provocative ‘Dark Side of Hollywood’ films ever made.” –JACOB BURNS FILM CENTER<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, February 14 THE LAST TEMPTATION OF CHRIST https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58896 <p>“Scorsese’s long-gestating adaptation of Nikos Kazantzakis’ revisionist life of Christ depicts Jesus as a profoundly troubled Messiah, wrestling with doubts about his divine mission and attracted by the prospect of earthly love – a reading that became a flashpoint for controversy upon the film’s release. Defying the conventions of Biblical spectaculars, Scorsese and screenwriter Paul Schrader opt for a demotic tone in both dialogue and casting, with Willem Dafoe as Jesus leading a fine cast that also includes Harvey Keitel as Judas, Barbara Hershey as Mary Magdalene, Harry Dean Stanton as Saul/Paul, and David Bowie as Pontius Pilate. Similarly, composer Peter Gabriel eschews heavenly choirs for a soundtrack that draws upon influences from the Middle East, Africa, Europe, and South Asia.” –TIFF LIGHTBOX<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 15 INFILTRATORS / MUTASALILUN https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58699 <p>Artist Khaled Jarrar shadows West Bank residents as they search for ways to bypass the highly militarized Israeli apartheid wall that separates them from Jerusalem. Over, under, or through, with great difficulty and risk, the infiltrators are by turn people who wish to visit relatives in hospitals, religious women trying to reach Al Aqsa, teenage boys tasked with “smuggling” bread, or, most often, construction workers: Palestinian men whose labor will be used to build up the city they are not permitted to enter. Alternating between cigarette breaks, detours, waiting, climbing, escaping, and confrontation, INFILTRATORS depicts the constant struggle both to survive and to resist captivity and occupation.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 15 STREETS OF FIRE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58913 <p>Dafoe’s screentime in STREETS OF FIRE – his first major Hollywood role – is limited, but he makes the most of it: his dramatic entrance in the movie’s bravura opening sequence is worth the price of admission in and of itself. A “rock and roll fable”, as per the opening credits, STREETS OF FIRE is a gleefully anachronistic mashup of 1950s biker melodrama and 1980s multiplex stylistics, which hinges on the abduction of rock and roll singer Ellen Aim (a young Diane Lane) at the hands of the biker gang the Bombers. As Raven Shaddock, the leader of the gang, a cartoonishly coiffed and made-up Dafoe turns in a daringly stylized performance that elevates its genre pastiche from commercial pandering into the realm of kabuki-like sublimity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 15 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58686 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 15 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58687 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 15 THE LOVELESS https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58892 <p>The feature debut of both Willem Dafoe and Kathryn Bigelow, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl’s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />“Bigelow’s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre’s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow’s training in painting and experimental cinema informs the film’s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue – not to mention the evocation of Kenneth Anger’s SCORPIO RISING in the camera’s close attention to the bikers’ gleaming chrome and leather.” –HARVARD FILM ARCHIVE<br /><br />Preceded by:<br />Burt Barr & James Benning<br />O PANAMA<br />1985, 27 min, video<br />Written and directed by video artist Burt Barr in collaboration with filmmaker James Benning, O PANAMA features Willem Dafoe as a man confined to his apartment on a winter day as he suffers through an illness. Built on the polarity between hot and cold, the tedious reality of the man’s sickness, and the vivid hallucinatory visions of his delirium, O PANAMA conveys the workings of the subconscious.<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 15 LIGHT SLEEPER https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58925 <p>“Schrader has spoken of LIGHT SLEEPER as the final panel in a triptych of films about male loners which also includes TAXI DRIVER and AMERICAN GIGOLO. Featuring one of Schrader’s tautest and most effective screenplays, LIGHT SLEEPER tells the story of a NYC drug runner grappling with a midlife crisis and framed for a drug-related murder. Schrader’s return to the mean streets of Manhattan is notably melancholic, suffused with an aura of regret and longing that adds nuance to all of its characters. Willem Dafoe offers a poignant and powerful rendering of the dealer’s moving struggle to reassemble his life and reconnect with a lost love.” –HARVARD FILM ARCHIVE<br /><br /><strong>Willem Dafoe will be here in person for a Q&A following the screening on Sun, Feb 16!</strong><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 16 INFILTRATORS / MUTASALILUN https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58700 <p>Artist Khaled Jarrar shadows West Bank residents as they search for ways to bypass the highly militarized Israeli apartheid wall that separates them from Jerusalem. Over, under, or through, with great difficulty and risk, the infiltrators are by turn people who wish to visit relatives in hospitals, religious women trying to reach Al Aqsa, teenage boys tasked with “smuggling” bread, or, most often, construction workers: Palestinian men whose labor will be used to build up the city they are not permitted to enter. Alternating between cigarette breaks, detours, waiting, climbing, escaping, and confrontation, INFILTRATORS depicts the constant struggle both to survive and to resist captivity and occupation.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 16 AT ETERNITY’S GATE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58932 <p>“AT ETERNITY’S GATE is a portrait of Vincent van Gogh during the last and most prolific years of his life. It is directed by Julian Schnabel, himself a painter, and stars Willem Dafoe. The film is so much a collaboration that I hesitate to designate it Schnabel’s alone. Together, Schnabel and Dafoe, who is in virtually every frame, have made the first convincing and illuminating non-documentary film about what great painters do and how they see, and for his efforts, Dafoe won Best Actor at the Venice Film Festival.” –Amy Taubin, FILM COMMENT<br /><br />“More intimate than the films about Vincent van Gogh directed by Vincente Minnelli, Robert Altman and the married duo Dorota Kobiela and Hugh Welchman, the artist-filmmaker Julian Schnabel’s AT ETERNITY’S GATE attempts, more successfully than most movies that probe the creative process, to get inside the artist’s head, to understand how his thoughts and feelings spontaneously transmitted themselves to the canvas.” –Graham Fuller, SIGHT & SOUND<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 16 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58688 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 16 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58689 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 16 WILD AT HEART **SOLD OUT** https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58904 <p>It’s not easy to upstage Nicolas Cage, or to stand out among the crowd of nightmarish ghouls and grotesques that haunt David Lynch’s films, but Willem Dafoe’s performance as the psychotic Bobby Peru in WILD AT HEART exudes a disturbing and destabilizing power that is truly unforgettable. Sporting perhaps the most viscerally off-putting, character-defining set of fake teeth in all of cinema, Dafoe bursts into the film – and into the lives of its protagonists, the on-the-run lovers Sailor (Nicolas Cage) and Lulu (Laura Dern) – shattering both their lives and the audience’s complacency. Lynch’s typically unsettling film – released soon after TWIN PEAKS revolutionized American television – combines an idiosyncratic mixture of genre tropes (encompassing BONNIE AND CLYDE, Elvis Presley, and THE WIZARD OF OZ) with a degree of graphic sex and violence that nearly saddled the film with an X rating. But it’s Dafoe’s daringly unbridled, volcanically unrestrained performance that gives it its staying power.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!<br /></a>**SOLD OUT**<a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"></a></strong></p> Sunday, February 16 ANTICHRIST https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58936 <p>“In this graphic psychodrama, a grief-stricken man and woman – a searing Willem Dafoe and Cannes best actress winner Charlotte Gainsbourg – retreat to their cabin deep in the woods after the accidental death of their infant son, only to find terror and violence at the hands of nature and, ultimately, each other. But this most confrontational work yet from one of contemporary cinema’s most controversial artists is no mere provocation. It is a visually sublime, emotionally ravaging journey to the darkest corners of the possessed human mind; a disturbing battle of the sexes that pits rational psychology against age-old superstition; and a profoundly effective horror film.” –CRITERION<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW</a></strong></p> Monday, February 17 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58690 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, February 17 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58691 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, February 17 AUTO FOCUS https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58929 <p>“AUTO FOCUS offers a glimpse into the colorful life – and mysterious death – of the handsome and charming star of the hugely successful ’60s-era POW-camp comedy ‘Hogan’s Heroes’. After the show’s cancellation, Crane (Greg Kinnear) desperately fell into the seamy world of sex, strip clubs, and decadence. Eventually, he teamed up with video technician John Henry Carpenter (Willem Dafoe) to document his exploits – an association that very well may have led to his violent murder in an Arizona motel room in 1978 where he was bludgeoned with a camera tripod. Almost two decades since its release, Schrader’s adaptation of this true-crime tale – something fit for the pages of Kenneth Anger’s ‘Hollywood Babylon’ – still stands as one of the most entertaining and provocative ‘Dark Side of Hollywood’ films ever made.” –JACOB BURNS FILM CENTER<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, February 17 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58692 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Tuesday, February 18 THE LAST TEMPTATION OF CHRIST https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58897 <p>“Scorsese’s long-gestating adaptation of Nikos Kazantzakis’ revisionist life of Christ depicts Jesus as a profoundly troubled Messiah, wrestling with doubts about his divine mission and attracted by the prospect of earthly love – a reading that became a flashpoint for controversy upon the film’s release. Defying the conventions of Biblical spectaculars, Scorsese and screenwriter Paul Schrader opt for a demotic tone in both dialogue and casting, with Willem Dafoe as Jesus leading a fine cast that also includes Harvey Keitel as Judas, Barbara Hershey as Mary Magdalene, Harry Dean Stanton as Saul/Paul, and David Bowie as Pontius Pilate. Similarly, composer Peter Gabriel eschews heavenly choirs for a soundtrack that draws upon influences from the Middle East, Africa, Europe, and South Asia.” –TIFF LIGHTBOX<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Tuesday, February 18 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58693 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Tuesday, February 18 STREETS OF FIRE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58914 <p>Dafoe’s screentime in STREETS OF FIRE – his first major Hollywood role – is limited, but he makes the most of it: his dramatic entrance in the movie’s bravura opening sequence is worth the price of admission in and of itself. A “rock and roll fable”, as per the opening credits, STREETS OF FIRE is a gleefully anachronistic mashup of 1950s biker melodrama and 1980s multiplex stylistics, which hinges on the abduction of rock and roll singer Ellen Aim (a young Diane Lane) at the hands of the biker gang the Bombers. As Raven Shaddock, the leader of the gang, a cartoonishly coiffed and made-up Dafoe turns in a daringly stylized performance that elevates its genre pastiche from commercial pandering into the realm of kabuki-like sublimity.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 19 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58694 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Wednesday, February 19 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58695 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Wednesday, February 19 TOMMASO https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58885 <p>“Intimate and extremely self-reflexive, TOMMASO [finds Ferrara] enlisting his muse Willem Dafoe, his wife Cristina Chiriac, and their three-year-old daughter, Anna, to draft out a scrappy, startling, and often moving mosaic of Ferrara’s emotional and psychological state. Whether its various elements are representations of actual events or purely fictitious creative whims is never clear (a story that Dafoe recounts in a scene at an Alcoholics Anonymous meeting feels so personal to him – eliciting tears I took to be too genuine to not have been personally experienced – is a particularly ambiguous confusion of performance that ends up being quite generative), but it’s the impressions that feel essential. This is filmmaking as survival, an earnest confession and auto-critique (with crucifixions and all) that ought to be remembered as more than a mere footnote in his late period.” –Blake Williams, FILMMAKER MAGAZINE<br /><br /><strong>Willem Dafoe will be here in person for a Q&A following the screening on Sat, Feb 8!</strong><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Wednesday, February 19 AUTO FOCUS https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58930 <p>“AUTO FOCUS offers a glimpse into the colorful life – and mysterious death – of the handsome and charming star of the hugely successful ’60s-era POW-camp comedy ‘Hogan’s Heroes’. After the show’s cancellation, Crane (Greg Kinnear) desperately fell into the seamy world of sex, strip clubs, and decadence. Eventually, he teamed up with video technician John Henry Carpenter (Willem Dafoe) to document his exploits – an association that very well may have led to his violent murder in an Arizona motel room in 1978 where he was bludgeoned with a camera tripod. Almost two decades since its release, Schrader’s adaptation of this true-crime tale – something fit for the pages of Kenneth Anger’s ‘Hollywood Babylon’ – still stands as one of the most entertaining and provocative ‘Dark Side of Hollywood’ films ever made.” –JACOB BURNS FILM CENTER<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Thursday, February 20 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58696 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Thursday, February 20 NOTES ON DISPLACEMENT https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58697 <p>The news is full of images of overcrowded boats and vast tent camps. But how much do we really know about what refugees are going through? NOTES ON DISPLACEMENT takes a deep dive by following a single family on a grueling journey, destination Germany. Their fear, disorientation, and solidarity are palpable.<br /><br />Nadira, an elderly Palestinian, has been a refugee since the age of 12. And now she has to leave Damascus, too. She and her daughter Mona feared for their lives there, but the idea of a safe existence elsewhere is a distant dream. Filmmaker Khaled Jarrar receives unsettling videos and voice messages as they cross to the Greek island of Lesbos. He joins them there, on the long road to a better life.<br /><br />Jarrar has his personal reasons for going through this experience in order to eliminate, in his own images, the distance so dominant in Western media coverage. He worms his way through the thronging crowds, gets lost in the night with his group, discovers how dangerous language barriers can be, and wanders around in the dehumanizing camps. And in a sense he – along with the viewer – becomes a true member of this family.<br /><br />“My grandmother Shafiqa was forced to leave her home in Haifa, her jasmine tree, her cup of tea on her balcony and her view of the sea. I inherited this ‘pain print’ of hers through haunted memories both beautiful and painful at the same time. They chased me in my dreams like ghosts that never intended to leave. […] As the director, from behind the camera, I was driven to offer images of our own making, outside the never-ending Western paparazzi image onslaught of displaced refugees. This film is for us, our values, our knowledge, our experiences.” –Khaled Jarrar<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Thursday, February 20 LIGHT SLEEPER https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58926 <p>“Schrader has spoken of LIGHT SLEEPER as the final panel in a triptych of films about male loners which also includes TAXI DRIVER and AMERICAN GIGOLO. Featuring one of Schrader’s tautest and most effective screenplays, LIGHT SLEEPER tells the story of a NYC drug runner grappling with a midlife crisis and framed for a drug-related murder. Schrader’s return to the mean streets of Manhattan is notably melancholic, suffused with an aura of regret and longing that adds nuance to all of its characters. Willem Dafoe offers a poignant and powerful rendering of the dealer’s moving struggle to reassemble his life and reconnect with a lost love.” –HARVARD FILM ARCHIVE<br /><br /><strong>Willem Dafoe will be here in person for a Q&A following the screening on Sun, Feb 16!</strong><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Thursday, February 20 PASOLINI https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58900 <p>“This exquisitely tuned portrait looks at the pioneering gay Marxist filmmaker-poet-theorist through his last days on Earth in November 1975, all interspersed with fanciful/macabre scenes from his unmade film PORNO-TEO-KOLOSSAL. Willem Dafoe embodies the 53-year-old Pasolini with a sensual cool and watchful intelligence, and the script by Maurizio Braucci luxuriates in the loving environment of his family and friends and in the outspoken intellectual’s choice quotations (starting with a gauntlet-throwing television interview). Pasolini’s insights at this point in his career have an apocalyptic ring, and that suits Ferrara well, in elegiac mode here, aided by supple, melancholically beautiful cinematography by Stefano Falivene, especially in the portrayal of the artist’s final, violent night. The act of Pasolini’s murder is rendered in full, twinned indelibly with acts of desire, and as for Ferrara’s opinion of who the guilty parties might be, the prominent placement of EUR, Rome’s Fascist architectural showcase, in montages is hard to ignore.” –Nicolas Rapold, FILM COMMENT<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, February 21 KEITH SANBORN, PGM 1: KAPITAL! https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58748 <p>Sanborn’s 1980-88 film cycle, KAPITAL!, which encompasses seven individual works, includes performative and expanded cinema elements, and finds Sanborn working with found footage sourced from what he has called the ‘consensual hallucinations’ of the mass media.<br /><br />“There were many sources of inspiration for the Project: a reading of ‘Kapital,’ the knowledge of Eisenstein’s project (his printed notes), a reading of Guy Debord’s ‘Society of the Spectacle,’ and experience of media culture in the U.S. All of the films in the KAPITAL film cycle are based on pre-existing films, which I have altered in my reproduction of them. While the alterations contain a formal element – usually some form of optical printing and the combination with a variant soundtrack – my primary interest is in the recontextualization of the material to yield a psychological and political unfolding of its latent meaning.” –Keith Sanborn<br /><br />FASCINATION 1980-88, 18 min, 16mm, silent, with separate digital soundtrack accompaniment. Preserved by Anthology Film Archives.<br />“SOMETHING IS SEEN BUT ONE DOESN’T KNOW WHAT…” 1986, 2.5 min, 16mm<br />A PUBLIC APPEARANCE AND A STATEMENT 1987-88, 18.5 min, 16mm<br />KAPITAL 1982, 3.5 min, 16mm, anaglyph 3D<br />MAN WITH A MOVIE CAMERA (BLONDE; HE APPEARS TO BE YOUNG) 1982, 4.5 min, 16mm<br />IMITATION OF LIFE 1982, 25 min, 16mm<br />1970 OR THE COLLAPSE OF HISTORY IN THE HYSTERICAL SUBLIME 1983-88, 40 min, 8mm-to-digital and 16mm projector performance. This work includes the film NAVIGATION, which has been preserved by Anthology Film Archives.<br /><span> </span><br /><span>Total running time: ca. 115 min.</span><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, February 21 SHADOW OF THE VAMPIRE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58921 <p>“SHADOW OF THE VAMPIRE is a wickedly fabricated behind-the-scenes yarn about the production of the movie NOSFERATU (1922). […] Even though it earned [Willem Dafoe] an Oscar nomination for Best Supporting Actor, it remains an unduly obscure entry in his filmography. It’s the second feature directed by E. Elias Merhige, a work of straight-faced and ingenious giddiness – a riotous yet loving laugh up the ample sleeve of cinematic history that’s also a substantial and troubled contemplation of the art.” –Richard Brody, NEW YORKER<br /><br />Preceded by:John Lurie FISHING WITH JOHN: EPISODE 4 1991, 24 min, digitalIn arguably the most surreal episode of John Lurie’s cult cable TV series “Fishing With John”, Lurie and Dafoe embark on an ice-fishing adventure in northern Maine, but, ill-prepared and inexperienced, the trip soon devolves into a desperate – albeit soporific – struggle for survival.<br /><br />Total running time: ca. 120 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Friday, February 21 KEITH SANBORN, PGM 2: SHORT FILMS 1991-2019 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58750 <p>This program displays the wide range of Sanborn’s practice. Showcasing films made from found footage, as well as text-based pieces and imageless films, it includes ingenious works such as THE ARTWORK IN THE AGE OF ITS MECHANICAL REPRODUCIBILITY BY WALTER BENJAMIN AS TOLD TO KEITH SANBORN and SEMI-PRIVATE SUB-HEGELIAN PANTY FANTASY (whose titles alone hint at the wit and conceptual depth of his work), as well as several installments in his ongoing series, ENERGY OF DELUSION, in which Sanborn compresses some of “the most notoriously engaging, difficult, and lengthy works of film history” into one-minute-long versions.<br /><br />THE ARTWORK IN THE AGE OF ITS MECHANICAL REPRODUCIBILITY BY WALTER BENJAMIN AS TOLD TO KEITH SANBORN 1936/1996, 3.5 min, digital<br />THE GIFT 1991, 7 min, digital<br />ENERGY OF DELUSION: [C. C+R][C. F+T] /0.24930556 2015, 1.5 min, digital<br />SEMI-PRIVATE SUB-HEGELIAN PANTY FANTASY (WITH SOUND) 2001, 3.5 min, digital<br />MIRROR 1999, 6 min, digital<br />ENERGY OF DELUSION: RN(D)<sup>b</sup>[T(DY)<sup>t</sup>]9WS0<sup>b</sup>/323.05694444 2015, 1.5 min, digital<br />THE ZAPRUDER FOOTAGE: AN INVESTIGATION OF CONSENSUAL HALLUCINATION 1999, 19.5 min, digital<br />ENERGY OF DELUSION: JDQdC<sup>23</sup>B<sup>1080</sup>/201.224313202091 2010, 1.5 min, digital<br />OPERATION DOUBLE TROUBLE 2003, 10.5 min, digital<br />THE FORCE OF BEAUTY, THE BEAUTY OF FORCE, AN AD 2008, 3.5 min, digital<br />ENERGY OF DELUSION: M[MC<sup>a</sup>]<sup>w</sup> Ч[К-А]<sup>c</sup>/72.92569444 2015, 1.5 min, digital<br />ONE MINUTE FOR JONAS ON THE DAY OF HIS OCCULTATION 2019, 1 min, digital<br />FOR THE BIRDS 2000, 7 min, digital<br /><span> </span><br /><span>Total running time: ca. 70 min.</span><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 22 GO GO TALES https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58880 <p>With Willem Dafoe, Matthew Modine, Bob Hoskins, Asia Argento, Shanyn Leigh, Roy Dotrice, Riccardo Scamarcio, Stefania Rocca, Bianca Balti, Lou Doillon, Sylvia Miles, Burt Young, Joe Cortese, and Anita Pallenberg.<br /><br />This enormously entertaining, heartfelt, and rousing strip-club-set ensemble comedy, filmed at Rome’s legendary studio, Cinecittà, is presided over by Willem Dafoe, in a tour-de-force performance as Ray Ruby, an impresario/dreamer desperate to save the financially-strapped venue – Ray Ruby’s Paradise Lounge – which in his hands functions as a combination strip-club, vaudeville theater, and rag-tag family. GO GO TALES is studded with vivid performances from a host of gifted actors (including Bob Hoskins, the great Sylvia Miles, and Asia Argento, whose brief but memorable appearance finds her locking lips with a rottweiler). But at its center is Dafoe’s Ray, who is in many ways a self-portrait on Ferrara’s part. Indeed, the functioning of the club is reflected in Ferrara’s orchestration of the various characters, plot lines, and tones, a (barely) controlled chaos that somehow hangs together brilliantly. <br /><br />“Ferrara’s first flat-out comedy. The press book name-checks Wilder, Sturges, and Capra, and he has described it…as ‘CHEERS meets THE KILLING OF A CHINESE BOOKIE.’ But…GO GO TALES is also an allegory: a portrait of the artist as a hustler, a gambler, a performer, a dreamer, an addict, a throwback, a holdout, and, of course, a purveyor of good old-fashioned T&A, navigating the screw-or-be-screwed questions common to all exploitative professions, indeed to modern capitalist systems. You could say this one comes from the heart.” –Dennis Lim, CINEMA SCOPE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 22 KEITH SANBORN, PGM 3: NEW WORK https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58752 <p>SLOW DEATH<br />2023, 35 min, digital<br />A slow four-part film on death and the persistence of the dead.<br /> <br />TERRAIN<br />2023, 23.5 min, digital<br />A short essay on the triangular Square du Vert-Galant, one of the favorite repairs of the vanishing Paris of Guy Debord.<br /> <br />NEGATIVE CAPABILITY<br />2024, 6.5 min, digital<br />An exploration of Keats’s proposition, that “when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason…the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.”<br /> <br />JOAN’S STUDIO<br />2024, 4.5 min, digital<br />An exploration of Joan Jonas’s studio in Nova Scotia in August 2019, by night with torch, but no spear. Special thanks to Peggy Ahwesh for pelican lighting effects.<br /> <br /><span>Total running time: ca. 70 min.<br /><br /></span><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 22 AT ETERNITY’S GATE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58933 <p>“AT ETERNITY’S GATE is a portrait of Vincent van Gogh during the last and most prolific years of his life. It is directed by Julian Schnabel, himself a painter, and stars Willem Dafoe. The film is so much a collaboration that I hesitate to designate it Schnabel’s alone. Together, Schnabel and Dafoe, who is in virtually every frame, have made the first convincing and illuminating non-documentary film about what great painters do and how they see, and for his efforts, Dafoe won Best Actor at the Venice Film Festival.” –Amy Taubin, FILM COMMENT<br /><br />“More intimate than the films about Vincent van Gogh directed by Vincente Minnelli, Robert Altman and the married duo Dorota Kobiela and Hugh Welchman, the artist-filmmaker Julian Schnabel’s AT ETERNITY’S GATE attempts, more successfully than most movies that probe the creative process, to get inside the artist’s head, to understand how his thoughts and feelings spontaneously transmitted themselves to the canvas.” –Graham Fuller, SIGHT & SOUND<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Saturday, February 22 BOB WILSON’S LIFE & DEATH OF MARINA ABRAMOVIC https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58917 <p>BOB WILSON’S LIFE & DEATH OF MARINA ABRAMOVIC documents the coming together of Willem Dafoe, director Robert Wilson, performance artist Marina Abramovic, and singer and composer Antony Hegarty, to create an experimental opera based on Marina Abramovic’s biography. Through rehearsal footage and interviews with the artists as they are making the piece, director Giada Colagrande provides insight into this unique collaboration, resulting in an intimate portrait that reveals the dynamics, excitement, and insecurities of making such a poetic and visually stunning theatre work.<br /><br />Preceded by:<br />Savanah Leaf <em>run</em> (2023, 9 min, 35mm-to-digital)<br />Savanah Leaf <em>run 002</em> (2024, 9.5 min, 35mm-to-digital)<br />These short films by artist and filmmaker Savanah Leaf (EARTH MAMA) are investigations of bodies subjected to various forms of measuring, categorization, and control.<br /><br />Total running time: ca. 80 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 23 EC: ROBERT NELSON https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58733 <p>THE GREAT BLONDINO<br />(1967, 42 min, 16mm. Preservation print, with thanks to the Academy Film Archive.)<br /><br />“The original Blondino was a 19th-century tightrope artist who among other feats crossed Niagara Falls trundling a wheelbarrow. In this film, Nelson sees Blondino as a metaphor for those who still try. Too subtle to be allegorical, the picture is in the shape of a quixotic search in which the goal is the journey and the means is the end.” –MUSEUM OF MODERN ART<br /><br />“It is…difficult to get at the rich visual texture that is the film’s most striking attribute. Long stretches are concerned with Blondino’s visions, dreams, and dreams within dreams. The film unfolds in brief recurring patterns of imagery. Even the more straightforward sections are dense with interpolated newsreel and TV commercial footage, visual gags, and homemade special effects. The net effect is funny, seamless, and elusive.” –J. Hoberman, “A Filmmakers Filming Monograph”<br /><br />&<br /><br />BLEU SHUT<br />(1970, 33 min, 16mm. Preservation print, with thanks to the Academy Film Archive.)<br /><br />“Boat-name quizzes, dogs, cuts from Dreyer’s JOAN OF ARC in montage with a sultry whore, a car running up a ramp and crashing, pornography, a passionate embrace by a thirties hero and heroine; all somehow implicating Dreyer and Joan in the perverse synthesis of sex and technology. What’s happening here? Basically Nelson is leaving things unsaid.” –Leo Regan<br /><br />Total running time: ca. 80 min.</p> <p class="p1"><span class="s1"><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></span></p> Sunday, February 23 WOOSTER GROUP, PGM 2 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58910 <p>The Wooster Group<br />RHYME ’EM TO DEATH<br />1994, 10.5 min, video. Performed by the Wooster Group; director: Elizabeth LeCompte; cinematography: Leslie Thornton; editor: Christopher Kondek; screenplay: Kate Valk & Marianne Weems.<br />RHYME ’EM TO DEATH reconstructs the trial from Victor Hugo’s “Hunchback of Notre Dame” from a new perspective, that of a minor character – the goat. The trial of the goat, a postscript in the Hugo novel, has been extended and enlivened with actual transcripts of 15th-century trials in which animals were persecuted as witches.<br /><br />The Wooster Group<br />WRONG GUYS<br />1997, 41 min, 35mm-to-digital. Adapted from the short novel “Wrong Guys” by James Strahs; directed by Elizabeth LeCompte; cinematographer/editor: Ken Kobland; videographer/video effects editor: Christopher Kondek; music: John Lurie.<br />Adapted from a novella by James Strahs (the author of “Queer and Alone”, as well as the Wooster Group’s play, “North Atlantic”), this unfinished 1997 film from the Wooster Group was first shown as part of the 1997 Whitney Biennial. Aside from a screening as part of Anthology’s tribute to the Group in 2012, it has rarely been seen since. A tale of smuggling and survivalists that adopts the tone and visual style of film noir, but with a narrative logic all its own, it stars Willem Dafoe as Jack Straw, a small-time operator who ran a “pharmaceutical outfit” before an accident changed everything. A rare instance of an extended moving-image work by the Wooster Group that was created independently of their theatrical productions, WRONG GUYS is a fascinating and little-seen work.<br /><br />Total running time: ca. 55 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 23 KEITH SANBORN, PGM 4: DREADFUL PENNY DREADFUL https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58754 <p>“DREADFUL PENNY DREADFUL dares to violate every remaining shred of ‘good taste’ using the vehicle of Brecht and Weill’s much-abused ‘Moritat von Mackie Messer,’ aka ‘Mack the Knife.’ Over 200 versions collide, taking you from its origins in Weimar Berlin to the multiple travesties of Rat Pack Vegas and the many imitators of each on East Block TV and in cheesy Jersey nightclubs. Further stops along the way include Midwestern High School chorus practice and performances of ivy college a capella groups, not to mention jazz improvisation sessions, talent shows, and rockers doing high Kultur! A splendid time is guaranteed for all.” –Keith Sanborn<br /><br /><em><strong>Followed by a Q&A with Keith Sanborn, moderated by Natasha Chuk, PhD. Chuk is a media theorist, writer, educator, and independent curator focused on the intersection of art, philosophy, and creative technologies. Her writing has appeared in Millennium Film Journal, FLAT Journal, Chronogram, and other journals and edited volumes. She is the author of Vanishing Points: Articulations of Death, Fragmentation, and the Unexperienced Experience of Created Objects (Intellect, 2015) and the forthcoming Photo Obscura: The Photographic in Post-Photography (Intellect, 2025). She teaches courses in the areas of film, photography, video game studies, new media art, and media theory at the School of Visual Arts and Parsons in New York City.</strong></em><br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Sunday, February 23 WOOSTER GROUP, PGM 1 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58907 <p>The Wooster Group & Ken Kobland<br />FLAUBERT DREAMS OF TRAVEL BUT THE ILLNESS OF HIS MOTHER PREVENTS IT<br />1986, 20 min, video. Director: Elizabeth LeCompte; photography/editor/score: Ken Kobland.This piece focuses on images of death and transcendence as suggested by the writings of Gustave Flaubert. The film was made in conjunction with the Wooster Group’s theater production “Frank Dell’s The Temptation of St. Antony”, a re-invention of Flaubert’s epic “closet drama” about the visions and ecstasies of the fourth-century hermit St. Antony.<br /><br />The Wooster Group<br />WHITE HOMELAND COMMANDO<br />1992, 62.5 min, video. Director: Elizabeth LeCompte; teleplay: Michael Kirby; Director of Photography: Ken Kobland.<br />WHITE HOMELAND COMMANDO is TWG’s 1992 full-length video and was originally shown at the New York Film Festival and included in the 1993 Whitney Biennial. Michael Kirby’s teleplay is a cops-versus-white-supremacists tale imagined as a structuralist police procedural, as well as a prescient examination of domestic terrorism and the national security apparatus.<br /><br />“Nothing if not medium specific WHC makes video noise and glitches read like psychotic brainstorms. Solarized and colorized, the punchy mise-en-scene is made to the measure of Avenue B after dark…. Needless to say, the ensemble acting is impeccable.” –VILLAGE VOICE<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 23 SHADOW OF THE VAMPIRE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58922 <p>“SHADOW OF THE VAMPIRE is a wickedly fabricated behind-the-scenes yarn about the production of the movie NOSFERATU (1922). […] Even though it earned [Willem Dafoe] an Oscar nomination for Best Supporting Actor, it remains an unduly obscure entry in his filmography. It’s the second feature directed by E. Elias Merhige, a work of straight-faced and ingenious giddiness – a riotous yet loving laugh up the ample sleeve of cinematic history that’s also a substantial and troubled contemplation of the art.” –Richard Brody, NEW YORKER<br /><br />Preceded by:John Lurie FISHING WITH JOHN: EPISODE 4 1991, 24 min, digitalIn arguably the most surreal episode of John Lurie’s cult cable TV series “Fishing With John”, Lurie and Dafoe embark on an ice-fishing adventure in northern Maine, but, ill-prepared and inexperienced, the trip soon devolves into a desperate – albeit soporific – struggle for survival.<br /><br />Total running time: ca. 120 min.<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Monday, February 24 THE LOVELESS https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58893 <p>The feature debut of both Willem Dafoe and Kathryn Bigelow, THE LOVELESS takes place in the late 1950s, a time of generational conflict, of immense social change, of bold fashions and toe-tapping music. A motorcycle gang roars into a small southern town en route to the Daytona races, unnerving and angering the locals with their standoffish attitude and disrespect for social niceties. When one of their number, the charismatic Vance (Dafoe), hooks up with sportscar-driving Telena (Marin Kanter), he incurs the wrath of the girl’s father, setting the gang on a collision course with the rest of the town as simmering tensions boil over into violent retribution. Raw, angry and honest, THE LOVELESS evokes, with unflinching clarity, both an attitude and a bygone era, exploring the tensions between two very different Americas.<br /><br />“Bigelow’s first feature immediately reveals her canny talent for simultaneously fulfilling and deconstructing popular film genres. Set in the 1950s and starring a young, pomaded Willem Dafoe in his screen debut as the charismatic leader of a leather-clad and immoral bike gang, THE LOVELESS deliberately uproots the genre’s traditional embrace of youthful rebellion by introducing a notably noir shading and sharp feminist perspective into its story of generational and gender conflict. Bigelow’s training in painting and experimental cinema informs the film’s (relatively) slow pace, meticulous framing, and sparse, deliberately iconic dialogue – not to mention the evocation of Kenneth Anger’s SCORPIO RISING in the camera’s close attention to the bikers’ gleaming chrome and leather.” –HARVARD FILM ARCHIVE<br /><br />Preceded by:<br />Burt Barr & James Benning<br />O PANAMA<br />1985, 27 min, video<br />Written and directed by video artist Burt Barr in collaboration with filmmaker James Benning, O PANAMA features Willem Dafoe as a man confined to his apartment on a winter day as he suffers through an illness. Built on the polarity between hot and cold, the tedious reality of the man’s sickness, and the vivid hallucinatory visions of his delirium, O PANAMA conveys the workings of the subconscious.<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> Monday, February 24 AT ETERNITY’S GATE https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58934 <p>“AT ETERNITY’S GATE is a portrait of Vincent van Gogh during the last and most prolific years of his life. It is directed by Julian Schnabel, himself a painter, and stars Willem Dafoe. The film is so much a collaboration that I hesitate to designate it Schnabel’s alone. Together, Schnabel and Dafoe, who is in virtually every frame, have made the first convincing and illuminating non-documentary film about what great painters do and how they see, and for his efforts, Dafoe won Best Actor at the Venice Film Festival.” –Amy Taubin, FILM COMMENT<br /><br />“More intimate than the films about Vincent van Gogh directed by Vincente Minnelli, Robert Altman and the married duo Dorota Kobiela and Hugh Welchman, the artist-filmmaker Julian Schnabel’s AT ETERNITY’S GATE attempts, more successfully than most movies that probe the creative process, to get inside the artist’s head, to understand how his thoughts and feelings spontaneously transmitted themselves to the canvas.” –Graham Fuller, SIGHT & SOUND<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Tuesday, February 25 GO GO TALES https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2025#showing-58881 <p>With Willem Dafoe, Matthew Modine, Bob Hoskins, Asia Argento, Shanyn Leigh, Roy Dotrice, Riccardo Scamarcio, Stefania Rocca, Bianca Balti, Lou Doillon, Sylvia Miles, Burt Young, Joe Cortese, and Anita Pallenberg.<br /><br />This enormously entertaining, heartfelt, and rousing strip-club-set ensemble comedy, filmed at Rome’s legendary studio, Cinecittà, is presided over by Willem Dafoe, in a tour-de-force performance as Ray Ruby, an impresario/dreamer desperate to save the financially-strapped venue – Ray Ruby’s Paradise Lounge – which in his hands functions as a combination strip-club, vaudeville theater, and rag-tag family. GO GO TALES is studded with vivid performances from a host of gifted actors (including Bob Hoskins, the great Sylvia Miles, and Asia Argento, whose brief but memorable appearance finds her locking lips with a rottweiler). But at its center is Dafoe’s Ray, who is in many ways a self-portrait on Ferrara’s part. Indeed, the functioning of the club is reflected in Ferrara’s orchestration of the various characters, plot lines, and tones, a (barely) controlled chaos that somehow hangs together brilliantly. <br /><br />“Ferrara’s first flat-out comedy. The press book name-checks Wilder, Sturges, and Capra, and he has described it…as ‘CHEERS meets THE KILLING OF A CHINESE BOOKIE.’ But…GO GO TALES is also an allegory: a portrait of the artist as a hustler, a gambler, a performer, a dreamer, an addict, a throwback, a holdout, and, of course, a purveyor of good old-fashioned T&A, navigating the screw-or-be-screwed questions common to all exploitative professions, indeed to modern capitalist systems. You could say this one comes from the heart.” –Dennis Lim, CINEMA SCOPE<br /><br /><strong><a href="https://ticketing.uswest.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr" target="_blank"><span class="il">CLICK</span> <span class="il">HERE</span> TO BUY TICKETS NOW!</a></strong></p> Tuesday, February 25