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 Sun, 15 Feb 2026 06:38:32 -0500 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60799 <p>This program pairs Jerome Hiler and Nathaniel Dorsky’s recently rediscovered and digitized sponsored film LIBRARY (1970), which was commissioned by New Jersey’s Sussex County Area Reference Library, with Hiler’s later sponsored film, SEASONS OF A MOUNTAIN VINEYARD (2003), a lyrical chronicle of the painstaking, delicate process of winemaking.<br /><br />Jerome Hiler & Nathaniel Dorsky<br />LIBRARY<br />1970, 18 min, 16mm-to-DCP. New digitization by the Harvard Film Archive. Narrated by Beverly Grant; score by Tony Conrad.<br />“[In 1970 Hiler and Dorsky] collaborated on an unexpected and little-known work, an industrial film commissioned by New Jersey’s Sussex County Area Reference Library, whose local branch Dorsky and Hiler frequented first as patrons, then eventually as projectionists and programmers for the library’s 16mm screenings. […] A collaboration with their friends Tony Conrad and his wife, actress Beverly Grant, who contributed, respectively, its minimalist score and voiceover narration, LIBRARY…is a direct complement to both filmmakers’ contemporary diary films and an extension of their somewhat idealized vision of daily life in rural New Jersey. More importantly, the film gives revealing expression to the close correspondence uniting Dorsky and Hiler’s work, and their shared dedication to an ideal of art as a form of spiritual experience and devotion.” –Haden Guest, CINEMA SCOPE<br /><br />Jerome Hiler<br />SEASONS OF A MOUNTAIN VINEYARD<br />2003, 30 min, 16mm-to-DCP<br />“The seasons are of supreme importance to me, even in the Bay Area. With one exception, all my films follow a pattern of development from a stark ‘winter’ beginning to a rich, flowering or ‘summer’ conclusion. This is true even of the documentaries MUSIC MAKES A CITY and SEASONS OF A MOUNTAIN VINEYARD.” –Jerome Hiler, CINEMA SCOPE<br /><br />“What I have called SEASONS OF A MOUNTAIN VINEYARD is a film that was left unfinished when the liquor company it was being made for abruptly closed its wine division. Even so, the company, which wanted a promotional film for a particular brand, was not pleased to get a tutorial on growing grapes. But, I became much more interested in the processes of how grapes are cared for and since I knew nothing about the subject, I used the film to learn for myself. As a lover of Medieval art, I especially loved the depictions of the labors of the months that accompanied the zodiac signs. Now, I threw myself into simultaneous research and filming. I also hoped to highlight the job the workers did as a microcosm of the army that picks and gathers the food that is such a primary part of our existence. By chance, I asked the sound mixer if he would read my incomplete narration as a stand-in for the actual one. So, immediately, he read my pages cold without a glance beforehand. I then found what I thought were <br />appropriate pieces of French 20th-century music for each task and edited to the music.” –Jerome Hiler<br /><br />With:<br />Alex Baker LES VALSEUSES (2025, 6 min, Super-8mm-to-digital)<br />This short film by filmmaker, photographer, and writer Alex Baker provides a glimpse into the realm of Les Valseuses, a vineyard located near Arbois in the Jura, France. Helmed by Antoine and Julia, Les Valseuses produces natural wines that reflect their unique and lush region.<br /><br />Total running time: ca. 60 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60749 <p class="p1">MODERN ROMANCE may be Albert Brooks’s least-known film, but it’s arguably his greatest – the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist’s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who’s very nearly psychotic. Painfully funny, with the emphasis on “funny.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60801 <p>From the 1950s through the 1970s, Chicago’s Goldsholl Design & Film Associates was responsible for some of the most innovative and inventive advertising and sponsored films of its era. The firm was created and run by Morton and Millie Goldsholl, both of whom were heavily influenced by the Bauhaus artist, photographer, filmmaker, and designer, László Moholy-Nagy, with whom they studied at the Chicago School of Design (which he had founded in 1939). Moholy-Nagy’s influence – and the influence of the many artists he invited to the school, such as Buñuel and Dalí – was unmistakably evident in their advertising work, which often made use of animation, collage, and other techniques drawn from avant-garde art and filmmaking. In 2006, the Goldsholl film collection was donated to Chicago Film Archives, which has lovingly preserved and promoted their extraordinary body of work, including their countless commercials and industrial films, their own filmic experiments, their travel films, and more. This program, organized in collaboration with Chicago Film Archives, comprises a selection of some of their most memorable films, with an emphasis on their most stylistically and formally experimental works.<br /><br />FACES AND FORTUNES (Kimberly-Clark Corporation) (1959, 13 min, 16mm-to-DCP)<br />25TH ANNIVERSARY PRESENTATION REEL (Foote, Cone & Belding) (1967, 3 min, 16mm-to-DCP)<br />LENS DISTORTIONS #8 AND 9 (1971, 2.5 min, 16mm-to-DCP)<br />KLEENEX X-PERIMENTS (SNEEZE, BIRDS, SCRATCH) (Kimberly-Clark Corporation) (1960s, 6.5 min, 16mm-to-DCP)<br />OLD MILWAUKEE (Pabst Brewing Company) (1964, 4 min, 16mm-to-DCP)<br />IMAGINATION 11 (Champion Papers Incorporated) (1967, 5.5 min, 16mm-to-DCP)<br />AC’CENT SALES FILM: THE HONEYMOONERS (Campbell-Mithun, Inc.) (ca. 1971, 4 min, 16mm-to-DCP)<br />THE HOT ONE (Turner Corporation) (1969, 7 min, 16mm-to-DCP)<br />COSTLY CUTBACKS (American Hospital Association) (1971, 5 min, 16mm-to-DCP)<br />PITTER PATTERNS (Science Research Associates) (1960, 10 min, 16mm-to-DCP)<br />BLACK YOUTH (Illinois Bell) (1972, 9 min, 16mm-to-DCP)<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> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60745 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />“Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It’s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. ‘You’ve never succeeded at anything and you never will’, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. ‘And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.’ These are the film’s most celebrated lines…a sort of brutalist alternative to the famous line from LOVE STORY: ‘Love means never having to say you’re sorry.’” –Dave Kehr, FILM COMMENT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60804 <p>Strange as it may seem, the British General Post Office (GPO) exerted a major impact on British documentary cinema of the 1930s-40s – and by extension on the history of non-fiction filmmaking itself. This was thanks to the formation and development of the GPO Film Unit, and in particular to the efforts of John Grierson, who would become one of the fathers of documentary film. During his years running the GPO Film Unit, Grierson transformed traditional notions of the practice of nonfiction filmmaking, bringing a new degree of social engagement and political expression, and establishing the GPO as a hotbed of talent and filmic innovation by hiring and encouraging artists such as Alberto Cavalcanti, Humphrey Jennings, Len Lye, Norman McLaren, Lotte Reiniger, and others. During its heyday, the GPO Film Unit created some of the most canonical documentary films of all time, including classics like SONG OF CEYLON (1934), NIGHT MAIL (1936), SPARE TIME (1939), and many others. This program showcases some of the more stylistically unconventional films produced by the Unit, above all the experimental or even abstract animations created by Lye, McLaren, and Reiniger (with the addition of McLaren’s later film made for Canada Post, following his emigration to North America).<br /><br />Alberto Cavalcanti COAL FACE (1935, 11 min, 35mm-to-DCP)<br />Len Lye A COLOUR BOX (1935, 3 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from 35mm Eastmancolor restoration by the BFI National Archive and made available by Ngā Taonga Sound & Vision.)<br />Len Lye RAINBOW DANCE (1936, 4 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material preserved and made available by Ngā Taonga Sound & Vision.)<br />Len Lye TRADE TATTOO (1937, 5 min, 35mm. Screening courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Print courtesy of the Austrian Film Museum.)<br />Len Lye N OR NW (1937, 7.5 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material made available by Ngā Taonga Sound & Vision.)<br />Lotte Reiniger THE H.P.O. (1938, 4 min, 35mm-to-DCP)<br />Lotte Reiniger THE TOCHER (1938, 5 min, 35mm-to-DCP)<br />Norman McLaren LOVE ON THE WING (1938, 4 min, 35mm-to-DCP)<br />Norman McLaren MAIL EARLY (1941, 2 min, 35mm-to-DCP. Commissioned by the National Film Board of Canada as an advertisement for Canada Post.)<br /><br />Total running time: ca. 50 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 15 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60807 <p>This program represents a kind of sneak preview of an upcoming Anthology retrospective devoted to the singular James Sibley Watson, Jr., the Rochester millionaire (an heir to the Western Union fortune) and polymath who was at once a medical doctor, a philanthropist, a co-editor of and contributor to the important American modernist literary journal The Dial, a pioneer in the development of motion picture X-ray photography, and the creator (with poet and art historian Melville Webber) of the avant-garde classics FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1932), which were some of the very first American experimental films. Watson also made two extraordinary sponsored films, for Rochester-based Bausch & Lomb and Kodak, both of which display the visual invention and expressionistic sensibility of his independently produced films. We’ll be screening both here, alongside another film commissioned by Kodak 85 years later, by Anthology’s Archivist, John Klacsmann.<br /><br />James Sibley Watson & Melville Webber<br />THE EYES OF SCIENCE<br />1930, 12 min, 35mm-to-DCP. Commissioned by Bausch & Lomb. Courtesy of the George Eastman Museum; preservation funded by the National Film Preservation Foundation and Chace Productions, Inc.<br />“The optical company Bausch & Lomb of Rochester, New York, contracted Watson and Webber to create this corporate industrial film to showcase the company’s extensive catalog of lenses and other optical instruments, displaying their practical applications in industry and everyday life. […] THE EYES OF SCIENCE easily straddles the fields of avant-garde and industrial filmmaking, making both a fascinating object of form and style, as well as a highly educational, entertaining, and informative piece of film and industrial history. The film bears a resemblance to the Kodak industrial film HIGHLIGHTS AND SHADOWS inasmuch as it is filtered through the ‘lenses’ of Watson and Webber’s elegant and eclectic signature avant-garde style, demonstrated two years earlier in THE FALL OF THE HOUSE OF USHER.” –GEORGE EASTMAN MUSEUM<br /><br />James Sibley Watson<br />HIGHLIGHTS AND SHADOWS<br />1938, 54 min, 35mm-to-DCP. Commissioned by Kodak. Courtesy of the George Eastman Museum; preservation funded by the National Endowment for the Arts.<br />“In 1937, the Eastman Kodak Company took a novel approach [to corporate filmmaking] and engaged the highly regarded Rochester avant-garde filmmaker, author, and physician Dr. James Sibley Watson Jr. to produce an industrial film on Kodak’s manufacturing process for film and cameras. Watson crafted a dazzling visual ballet that stands on its own as an aesthetically rewarding and educationally inspiring tour of the massive Kodak factories. Utilizing the multiple exposure imagery he had used to such great effect in FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1933), Watson makes tool and die drill presses, assembly lines of camera parts, and the film coating process every bit as expressive and interesting as an MGM historic drama. This film captures the repetitive labor of hundreds of Kodak employees as a synchronized ballet, each part carefully crafted to create the whole. It is also a historical record of the inventions that mechanized motion picture and still photographic film production and raised it to an economic level that allowed Kodak to lead the world in photographic imaging. […] HIGHLIGHTS AND SHADOWS premiered at a meeting of the American Society of Cinematographers in Hollywood in June 1938. A number of successful screenings followed, including one at New York City’s Waldorf Astoria Hotel on August 18, 1938, before an audience of camera enthusiasts and photographic dealers. Although it was never released theatrically, the film was distributed by Kodak in 16mm prints free of charge and demonstrated all over the country for more than a year.” –GEORGE EASTMAN MUSEUM<br /><br />Followed by:<br />John Klacsmann A 100 FOOT ROLL OF KODAK 7222 EASTMAN DOUBLE-X NEGATIVE FILM (CAT 846 9421) COMMISSIONED BY THE TRUSTEES OF INDIANA UNIVERSITY AND THE INDIANA UNIVERSITY LIBRARIES MOVING IMAGE ARCHIVE IN CELEBRATION OF THE 100th ANNIVERSARY OF 16MM FILM (2023) (2023, 3 min, 16mm)<br /><br />Viktoria Schmidt WOW (KODAK) (2018, 2 min, 35mm-to-DCP)<br /><br />Total running time: ca. 75 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60811 <p>Alain Resnais’s THE SONG OF STYRENE – one of the greatest of all sponsored films – which transforms the industrial production of plastics into a hypnotic symphony of eye-popping colors, rhythms, and textures, is here paired with three other visually astounding and mind-altering sponsored films about similarly “futuristic” industrial products: Hans Richter’s THE BIRTH OF COLOR (which documents the production of dyes from coal tar), Ferdinand Khittl’s THE MAGIC RIBBON (about the invention and applications of magnetic tape), and Pierre Moretti’s MODULO: VARIATIONS ON A DESIGN (a wordless visual paean to an experimental car prototype designed for Ferrari by the Italian design firm Pininfarina).<br /><br />Hans Richter THE BIRTH OF COLOR / DIE GEBURT DER FARBE (1938, ca. 25 min, 35mm-to-DCP. Commissioned by Swiss chemical and dye company Geigy. © Novartis AG.)<br />Alain Resnais THE SONG OF STYRENE / LE CHANT DU STYRÈNE (1958, 13 min, 35mm-to-DCP. Narration by Raymond Queneau. Commissioned by French industrial group Pechiney.)<br />Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND (1959, 21 min, 35mm-to-DCP)<br />Pierre Moretti MODULO: VARIATIONS ON A DESIGN (1973, 7 min, 35mm-to-DCP)<br /><br />Total running time: ca. 70 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 16 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60814 <p>In 2019 Anthology organized an extensive series entitled “Films for the Fair: The World’s Fair & the Cinema”, which consisted in large part of films produced for presentation at the various World’s Fairs throughout the 20th century, many of which were strikingly experimental in style or concept. In the context of “Avant-Garde Ads”, we present a handful of films from that series that are by important avant-garde filmmakers (such as Shirley Clarke and Alexander Hammid) and/or that are themselves highly experimental in style, especially in their use of multiple screens (exemplified by the 15-screen Eames film, THINK).<br /><br />Shirley Clarke BRUSSELS LOOPS: MELTING POT / BRIDGES / OCCUPATIONS (1957, 9 min, 16mm-to-digital)<br />Edgard Varèse, Le Corbusier, and Iannis Xenakis LE POÈME ÉLECTRONIQUE (1958, 8.5 min, 35mm-to-DCP. Digital reconstruction courtesy of the Eye Filmmuseum.)<br />Charles & Ray Eames THINK (1964, 15 min, 15-screen 35mm-to-digital. Reconstructed by the Library of Congress.)<br />Francis Thompson & Alexander Hammid TO BE ALIVE! (1964, 18 min, 35mm-to-digital. Film courtesy of SC Johnson.)<br />Roman Kroitor, Colin Low & Hugh O’Connor IN THE LABYRINTH (1967, 21 min, 5-screen 35mm-to-digital)<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> Tuesday, February 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60817 <p>Some of the strangest of all religious-themed films are collected here, including two films that (like those in the previous program) were commissioned for World’s Fairs – Rolf Forsberg & Tom Rook’s singular allegory, PARABLE (1964) and Charles Gagnon’s profoundly upsetting collage-film critique of militarism, violence, and the emptiness of postwar consumer culture, THE EIGHTH DAY (1967) – as well as A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA, a portrait of a countercultural Christian group made by the avant-garde filmmaker Owen Land following his own religious conversion, and Martha Colburn’s DON’T KILL THE WEATHERMAN!, which was commissioned by Philadelphia’s Rosenbach Museum and makes use of pictures from an illuminated manuscript in the museum’s collection.<br /><br />Rolf Forsberg & Tom Rook PARABLE (1964, 20 min, 16mm-to-digital. Produced by the Lutheran Council for the 1964 New York World’s Fair.)<br />Charles Gagnon THE EIGHTH DAY (1967, 14 min, 16mm. Produced by Charles Gagnon for the Christian Pavilion at Expo 67, Montreal.)<br />Owen Land A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm. Preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.)<br />Martha Colburn DON’T KILL THE WEATHERMAN! (2007, 4 min, digital)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, February 17 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60822 <p>The program that opened the first half of “Avant-Garde Ads” last November collected pre-WWII-era advertisements, many of them experimental animations by renowned avant-garde filmmakers and artists such as Walter Ruttmann, Lotte Reiniger, Hans Richter, Oskar Fischinger, László Moholy-Nagy, and Len Lye. Made when the cinema was still in its infancy, with the lines between different forms of moving-image production not yet fully established, these films are often virtually indistinguishable from the artists’ non-commercial work, and are essentially experimental films made in the service of various products. The program was a major highlight of the series, and to provide those who missed it with one more opportunity to remedy that, we’re presenting this encore screening, supplemented with a handful of later advertisements produced in the 1950s, by Fischinger, Jordan Belson, and Dwinell Grant.<br /><br />Walter Ruttmann DER SIEGER (1921, 2 min, 35mm-to-DCP. Ad for Excelsior tires. Courtesy of the Deutsche Kinemathek.)<br />Walter Ruttmann DAS WUNDER (1922, 3 min, 35mm-to-DCP. Ad for Kantorowicz liqueur. Courtesy of the Deutsche Kinemathek.)<br />Lotte Reiniger THE SECRET OF THE MARQUISE / DAS GEHEIMNIS DER MARQUISIN (1922, 2.5 min, 35mm-to-DCP. Ad for Nivea skin cream.)<br />Julius Pinschewer & Lotte Reiniger THE BARCAROLE / DIE BARCAROLE (1924, 3.5 min, 35mm-to-DCP. Ad for Pralinés Mauxion dessert. Courtesy of the Deutsche Kinemathek.)<br />Julius Pinschewer & Guido Seeber FILM (KIPHO) (1925, 5.5 min, 35mm-to-DCP. Ad for the Kino- und Photoausstellung trade show. Courtesy of the Deutsche Kinemathek.)<br />Hans Richter TWO PENNY MAGIC / ZWEIGROSCHENZAUBER (1929, 2 min, 16mm. Ad for the magazine Koelnische Illustrierte Zeitung.)<br />Lotte Lendesdorff & Walter Ruttmann HEALTH TONIC / DER AUFSTIEG (1926, 2 min, 35mm-to-DCP. Ad for the GESOLEI health and art exhibition in Düsseldorf. Courtesy of the Deutsche Kinemathek.)<br />Oskar Fischinger CIRCLES / KREISE (1933-34, 2 min, 16mm. Commissioned by Tolirag publicity agency.)<br />Oskar Fischinger MURATTI PRIVAT (1935, 2 min, 16mm. Ad for Muratti Cigarettes.)<br />Oskar Fischinger MUNTZ TV (1953, 1.5 min, 16mm. Ad for Muntz TV.)<br />Karel Dodal & Irena Dodalová BUBBLES GAME / HRA BUBLINEK (1936, 2 min, 35mm-to-DCP. Ad for Saponia soap. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová AN AUTUMN SONG / PÍSEŇ PODZIMU (1937, 2 min, 35mm-to-DCP. Ad for the Prokop Čáp [Prokop and Stork] department store. Courtesy of the National Film Archive, Prague.)<br />Karel Dodal & Irena Dodalová THE SOUNDS OF OUTER SPACE / ZNĚJÍCÍ VESMÍR (1936, 2 min, 35mm-to-DCP. Commissioned by Telefunken. Courtesy of the National Film Archive, Prague.)<br />Len Lye KALEIDOSCOPE (1935, 4 min, 35mm. Ad for Churchman Cigarettes. Print courtesy of the Austrian Filmmuseum.)<br />Gyula Macskássy INCANDESCENT LOVE / IZZÓ SZERELEM (1939, 2 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Gyula Macskássy & György Szénásy LIGHT / FÉNY (1942, 1 min, 35mm-to-DCP. Ad for Tungsram light bulbs. Courtesy of the National Film Institute Hungary.)<br />Len Lye THE BIRTH OF A ROBOT (1935, 6.5 min, 35mm. Ad for Shell Lubrication oils. Print courtesy of the Austrian Filmmuseum.)<br />Jordan Belson CHRONICLE (1955, 2 min, 16mm-to-DCP. Ad for the San Francisco Chronicle. Courtesy of the University of California, Berkeley Art Museum and Pacific Film Archive.)<br />Dwinell Grant PEPSI-COLA-COMMERCIAL (1960, 1 min, 16mm. Preserved by Anthology Film Archives.)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60600 <p>Deep in the Peruvian Amazon lowlands, Meshia, a Matsigenka Indigenous teenager, discovers Ivan, a boy who vanished two years ago and was presumed dead. Determined to save him, she travels upriver to a town, where he urgently needs eye surgery to halt an infection threatening his sight. As Ivan wrestles with the trauma of his mysterious past, Meshia becomes entranced by urban life and enters a local beauty pageant, chasing fragile dreams of transformation. A quiet bond forms between them, but when a stranger with sinister intentions appears, their connection is put at risk. Shot on 16mm, Super 8, and digital formats, PUNKU – “gateway” in Quechua – the latest film by J.D. Fernández Molero, playfully blurs the line between the seen and unseen, opening a portal into overlapping realities.<br /><br /><strong>Followed by a Q&A with J.D. Fernández Molero!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60786 <p>The focus of this program is on billboards and other forms of street advertising, as documented by an eclectic collection of filmmakers including William Klein, Tony Ganz & Rhody Streeter, Manuel DeLanda, Thom Anderson, and Anthology’s own Jaye Bartell.<br /><br />William Klein BROADWAY BY LIGHT (1958, 12 min, 35mm-to-DCP. Newly restored!)<br />Tony Ganz & Rhody Streeter SIGN PAINTERS (1972, 6 min, 16mm)<br />Manuel DeLanda ISM ISM (1979, 8 min, Super 8mm-to-16mm. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.)<br />Jaye Bartell WHEN HOLES TASTE GOOD WE’LL PUT THEM IN OUR BREAD (2025, 5.5 min, DCP)<br />Thom Andersen GET OUT OF THE CAR (2010, 34 min, 16mm)<br /><br />Total running time: ca. 70 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 18 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60805 <p>Strange as it may seem, the British General Post Office (GPO) exerted a major impact on British documentary cinema of the 1930s-40s – and by extension on the history of non-fiction filmmaking itself. This was thanks to the formation and development of the GPO Film Unit, and in particular to the efforts of John Grierson, who would become one of the fathers of documentary film. During his years running the GPO Film Unit, Grierson transformed traditional notions of the practice of nonfiction filmmaking, bringing a new degree of social engagement and political expression, and establishing the GPO as a hotbed of talent and filmic innovation by hiring and encouraging artists such as Alberto Cavalcanti, Humphrey Jennings, Len Lye, Norman McLaren, Lotte Reiniger, and others. During its heyday, the GPO Film Unit created some of the most canonical documentary films of all time, including classics like SONG OF CEYLON (1934), NIGHT MAIL (1936), SPARE TIME (1939), and many others. This program showcases some of the more stylistically unconventional films produced by the Unit, above all the experimental or even abstract animations created by Lye, McLaren, and Reiniger (with the addition of McLaren’s later film made for Canada Post, following his emigration to North America).<br /><br />Alberto Cavalcanti COAL FACE (1935, 11 min, 35mm-to-DCP)<br />Len Lye A COLOUR BOX (1935, 3 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from 35mm Eastmancolor restoration by the BFI National Archive and made available by Ngā Taonga Sound & Vision.)<br />Len Lye RAINBOW DANCE (1936, 4 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material preserved and made available by Ngā Taonga Sound & Vision.)<br />Len Lye TRADE TATTOO (1937, 5 min, 35mm. Screening courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Print courtesy of the Austrian Film Museum.)<br />Len Lye N OR NW (1937, 7.5 min, 35mm-to-DCP. Courtesy of the Len Lye Foundation and the British Postal Museum and Archive. Digital version from material made available by Ngā Taonga Sound & Vision.)<br />Lotte Reiniger THE H.P.O. (1938, 4 min, 35mm-to-DCP)<br />Lotte Reiniger THE TOCHER (1938, 5 min, 35mm-to-DCP)<br />Norman McLaren LOVE ON THE WING (1938, 4 min, 35mm-to-DCP)<br />Norman McLaren MAIL EARLY (1941, 2 min, 35mm-to-DCP. Commissioned by the National Film Board of Canada as an advertisement for Canada Post.)<br /><br />Total running time: ca. 50 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60755 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />In making DEPRISA, DEPRISA, director Carlos Saura populated his cast with actual denizens of the Madrid streets to tell the story of youth on the edge of doom. Angela (Berta Socuéllamos) is a young waitress who turns her back on society when she meets and falls in love with Pablo (José Antonio Valdelomar), a reckless criminal delinquent. Along with Pablo’s gang of car thieves, the pair embark on a drug- and disco-fueled robbery spree as they hurtle toward oblivion. Winner of the Golden Bear at the Berlin Film Festival, this raw, startlingly naturalistic tale of love outside the law reflects the turmoil of a generation navigating the social upheavals of post-Franco Spanish society.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</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 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60808 <p>This program represents a kind of sneak preview of an upcoming Anthology retrospective devoted to the singular James Sibley Watson, Jr., the Rochester millionaire (an heir to the Western Union fortune) and polymath who was at once a medical doctor, a philanthropist, a co-editor of and contributor to the important American modernist literary journal The Dial, a pioneer in the development of motion picture X-ray photography, and the creator (with poet and art historian Melville Webber) of the avant-garde classics FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1932), which were some of the very first American experimental films. Watson also made two extraordinary sponsored films, for Rochester-based Bausch & Lomb and Kodak, both of which display the visual invention and expressionistic sensibility of his independently produced films. We’ll be screening both here, alongside another film commissioned by Kodak 85 years later, by Anthology’s Archivist, John Klacsmann.<br /><br />James Sibley Watson & Melville Webber<br />THE EYES OF SCIENCE<br />1930, 12 min, 35mm-to-DCP. Commissioned by Bausch & Lomb. Courtesy of the George Eastman Museum; preservation funded by the National Film Preservation Foundation and Chace Productions, Inc.<br />“The optical company Bausch & Lomb of Rochester, New York, contracted Watson and Webber to create this corporate industrial film to showcase the company’s extensive catalog of lenses and other optical instruments, displaying their practical applications in industry and everyday life. […] THE EYES OF SCIENCE easily straddles the fields of avant-garde and industrial filmmaking, making both a fascinating object of form and style, as well as a highly educational, entertaining, and informative piece of film and industrial history. The film bears a resemblance to the Kodak industrial film HIGHLIGHTS AND SHADOWS inasmuch as it is filtered through the ‘lenses’ of Watson and Webber’s elegant and eclectic signature avant-garde style, demonstrated two years earlier in THE FALL OF THE HOUSE OF USHER.” –GEORGE EASTMAN MUSEUM<br /><br />James Sibley Watson<br />HIGHLIGHTS AND SHADOWS<br />1938, 54 min, 35mm-to-DCP. Commissioned by Kodak. Courtesy of the George Eastman Museum; preservation funded by the National Endowment for the Arts.<br />“In 1937, the Eastman Kodak Company took a novel approach [to corporate filmmaking] and engaged the highly regarded Rochester avant-garde filmmaker, author, and physician Dr. James Sibley Watson Jr. to produce an industrial film on Kodak’s manufacturing process for film and cameras. Watson crafted a dazzling visual ballet that stands on its own as an aesthetically rewarding and educationally inspiring tour of the massive Kodak factories. Utilizing the multiple exposure imagery he had used to such great effect in FALL OF THE HOUSE OF USHER (1928) and LOT IN SODOM (1933), Watson makes tool and die drill presses, assembly lines of camera parts, and the film coating process every bit as expressive and interesting as an MGM historic drama. This film captures the repetitive labor of hundreds of Kodak employees as a synchronized ballet, each part carefully crafted to create the whole. It is also a historical record of the inventions that mechanized motion picture and still photographic film production and raised it to an economic level that allowed Kodak to lead the world in photographic imaging. […] HIGHLIGHTS AND SHADOWS premiered at a meeting of the American Society of Cinematographers in Hollywood in June 1938. A number of successful screenings followed, including one at New York City’s Waldorf Astoria Hotel on August 18, 1938, before an audience of camera enthusiasts and photographic dealers. Although it was never released theatrically, the film was distributed by Kodak in 16mm prints free of charge and demonstrated all over the country for more than a year.” –GEORGE EASTMAN MUSEUM<br /><br />Followed by:<br />John Klacsmann A 100 FOOT ROLL OF KODAK 7222 EASTMAN DOUBLE-X NEGATIVE FILM (CAT 846 9421) COMMISSIONED BY THE TRUSTEES OF INDIANA UNIVERSITY AND THE INDIANA UNIVERSITY LIBRARIES MOVING IMAGE ARCHIVE IN CELEBRATION OF THE 100th ANNIVERSARY OF 16MM FILM (2023) (2023, 3 min, 16mm)<br /><br />Viktoria Schmidt WOW (KODAK) (2018, 2 min, 35mm-to-DCP)<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> Thursday, February 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60771 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />DER FAN deserves a place alongside AUDITION and POSSESSION as an essential art-horror experience. Simone (the magnetic Désirée Nosbusch) is a teenage runaway who is obsessed with the pop singer known as “R”. Soon, that obsession takes over her life. When “R” uses Simone with machine-like coldness, she plots her revenge with an unholy ceremony that’s equally romantic and horrifying. Fueled by a killer minimalist synth soundtrack from Rheingold and a gorgeous design aesthetic, DER FAN is a subversive and electric shocker that goes harder than you’d ever expect it to go.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</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 19 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60788 <p class="p1">Storefront Films, an ongoing partnership between Storefront for Art and Architecture and Anthology Film Archives, embraces and highlights cinema’s significant role in representing the built environment. From early 2026 through the spring, Storefront presents an exhibition by artist Alison Nguyen at their gallery on Kenmare Street. Nguyen’s multi-channel moving image installation untangles the politics of cultural memory, fusing performance and speculative fiction with previously censored material drawn from the real, and expands on themes from her film AISLE 9 (2025). In conjunction with the exhibition at Storefront, this program at Anthology will screen the new cinema cut of AISLE 9, and bring together other short films that share questions around censorship, decoding, and reconstructing memory, from various geopolitical vantage points. A conversation between Nguyen and Storefront curator Jessica Kwok will follow.<br /><br />For more info about the exhibition at Storefront for Art and Architecture visit: https://storefront.nyc/<br /><br />Alison Nguyen AISLE 9 (2025, 25 min, digital)<br />Maryam Tafakory NAZABAZI (2021, 20 min, digital)<br />Joan Braderman 30 SECOND SPOT RECONSIDERED (1988, 11 min, video)<br />Nazli Dincel HER SILENT SEAMING (2014, 10.5 min, 16mm)<br />James Richards ROSEBUD (2013, 13 min, digital)<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, February 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60772 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />DER FAN deserves a place alongside AUDITION and POSSESSION as an essential art-horror experience. Simone (the magnetic Désirée Nosbusch) is a teenage runaway who is obsessed with the pop singer known as “R”. Soon, that obsession takes over her life. When “R” uses Simone with machine-like coldness, she plots her revenge with an unholy ceremony that’s equally romantic and horrifying. Fueled by a killer minimalist synth soundtrack from Rheingold and a gorgeous design aesthetic, DER FAN is a subversive and electric shocker that goes harder than you’d ever expect it to go.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60767 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />This unnerving journey into madness and murder features an unforgettable star turn by Millie Perkins that will sear itself onto your retinas. Perkins plays a tormented woman whose repressed memories of childhood abuse surface in some highly undesirable ways, compelling her to pick up a razor and go after men she sees on TV. An anomaly in the career of director Matt Cimber (who previously specialized in softcore and blaxploitation fare), this movie could only have been made outside of the studio system. A wonderful bonus: the film’s widescreen cinematography comes courtesy of a young Dean Cundey, who’d go on to shoot HALLOWEEN two years later.<br /><br /><strong>Introduced by Payton McCarty-Simas on Fri, Feb 20!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 20 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60826 <p>Austrian experimental filmmakers have shown a special proclivity for working with and commenting on advertising, starting with (Anthology co-founder) Peter Kubelka: in a body of work that famously comprises only nine films, two (ADEBAR and SCHWECHATER) were commissioned as advertisements (but ultimately rejected by the clients), one (OUR TRIP TO AFRICA) was commissioned as a travel documentary (but ultimately rejected), and one (POETRY AND TRUTH) is a found-footage film constructed from TV commercials. This program gathers together films by Kubelka, as well as other advertising-related works by Austrian experimental luminaries Kurt Kren, Mara Mattuschka, and Peter Tscherkassky.<br /><br />Kurt Kren 46/90 FALTER 2 (1990, 1 min, 35mm-to-DCP. Commissioned by the Viennese city newspaper Falter.)<br />Peter Kubelka ADEBAR (1957, 1 min, 35mm. Commissioned (but rejected) by Vienna’s Café Adebar.)<br />Peter Kubelka SCHWECHATER (1958, 1 min, 16mm. Commissioned (but rejected) by Schwechater Bier.)<br />Anonymous Commercials for d-c-fix and INKU GF-Kante (1963/65, 4 min, 35mm, b&w. Preserved (2013) by the Austrian Film Museum.)<br />Peter Kubelka POETRY AND TRUTH / DICHTUNG UND WAHRHEIT (1996-2003, 13 min, 16mm)<br />Peter Tscherkassky COMING ATTRACTIONS (2010, 25 min, 35mm)<br />Mara Mattuschka CEROLAX II (1985, 1.5 min, 16mm-to-DCP)<br />Plus: a selection of HUMANIC ads (1970s-80s, ca. 5 min, video)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60802 <p>From the 1950s through the 1970s, Chicago’s Goldsholl Design & Film Associates was responsible for some of the most innovative and inventive advertising and sponsored films of its era. The firm was created and run by Morton and Millie Goldsholl, both of whom were heavily influenced by the Bauhaus artist, photographer, filmmaker, and designer, László Moholy-Nagy, with whom they studied at the Chicago School of Design (which he had founded in 1939). Moholy-Nagy’s influence – and the influence of the many artists he invited to the school, such as Buñuel and Dalí – was unmistakably evident in their advertising work, which often made use of animation, collage, and other techniques drawn from avant-garde art and filmmaking. In 2006, the Goldsholl film collection was donated to Chicago Film Archives, which has lovingly preserved and promoted their extraordinary body of work, including their countless commercials and industrial films, their own filmic experiments, their travel films, and more. This program, organized in collaboration with Chicago Film Archives, comprises a selection of some of their most memorable films, with an emphasis on their most stylistically and formally experimental works.<br /><br />FACES AND FORTUNES (Kimberly-Clark Corporation) (1959, 13 min, 16mm-to-DCP)<br />25TH ANNIVERSARY PRESENTATION REEL (Foote, Cone & Belding) (1967, 3 min, 16mm-to-DCP)<br />LENS DISTORTIONS #8 AND 9 (1971, 2.5 min, 16mm-to-DCP)<br />KLEENEX X-PERIMENTS (SNEEZE, BIRDS, SCRATCH) (Kimberly-Clark Corporation) (1960s, 6.5 min, 16mm-to-DCP)<br />OLD MILWAUKEE (Pabst Brewing Company) (1964, 4 min, 16mm-to-DCP)<br />IMAGINATION 11 (Champion Papers Incorporated) (1967, 5.5 min, 16mm-to-DCP)<br />AC’CENT SALES FILM: THE HONEYMOONERS (Campbell-Mithun, Inc.) (ca. 1971, 4 min, 16mm-to-DCP)<br />THE HOT ONE (Turner Corporation) (1969, 7 min, 16mm-to-DCP)<br />COSTLY CUTBACKS (American Hospital Association) (1971, 5 min, 16mm-to-DCP)<br />PITTER PATTERNS (Science Research Associates) (1960, 10 min, 16mm-to-DCP)<br />BLACK YOUTH (Illinois Bell) (1972, 9 min, 16mm-to-DCP)<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, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60768 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />This unnerving journey into madness and murder features an unforgettable star turn by Millie Perkins that will sear itself onto your retinas. Perkins plays a tormented woman whose repressed memories of childhood abuse surface in some highly undesirable ways, compelling her to pick up a razor and go after men she sees on TV. An anomaly in the career of director Matt Cimber (who previously specialized in softcore and blaxploitation fare), this movie could only have been made outside of the studio system. A wonderful bonus: the film’s widescreen cinematography comes courtesy of a young Dean Cundey, who’d go on to shoot HALLOWEEN two years later.<br /><br /><strong>Introduced by Payton McCarty-Simas on Fri, Feb 20!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60776 <p>This program explores the wide and wonderful world of film trailers and previews. Mirroring the “Avant-Garde Ads” series as a whole, it includes bona fide trailers by experimental filmmakers, “fake” trailers for non-existent films, parodies, and collage films that use found trailers as their source materials.<br /><br />John Waters & Douglas Brian Martin [Nuart Theatre no smoking PSA] (1982, 40 sec, 35mm)<br />Mark Shepard [EZTV No smoking PSA] (ca. 1985, 30 sec, video)<br />Jack Goldstein METRO-GOLDWYN-MAYER (1975, 2 min, 16mm-to-DCP. Courtesy Galerie Buchholz.)<br />Oskar Fischinger COLORATURA / KOLORATUREN (1932, 2 min, 16mm. Commissioned by Froelich as a trailer for a film.)<br />Francis Lee FILM-MAKERS’ SHOWCASE TRAILER (1963, 3 min, 16mm)<br />Curt McDowell AINSLIE TRAILER (1972, 2 min, 16mm)<br />Curt McDowell KATHLEEN TRAILER (for Underground Cinema 12) (1972, 1.5 min, 16mm)<br />Suzan Pitt WHITNEY COMMERCIAL (1973, 3 min, 16mm-to-digital)<br />Alexis Krasilovsky GUERRILLA COMMERCIAL (1973, 1 min, 16mm-to-digital)<br />Tom Rubnitz UNDERCOVER ME! (1988, 2 min, video)<br />George Kuchar TERROR BY TWILIGHT (1988, 6 min, video)<br />Maurice Lemaître FILM ANNONCE (1993, 3 min, 16mm)<br />Heather McAdams FAKE PREVIEWS (1985, 5 min, 16mm)<br />Kerry Laitala COMING ATTRACTIONS (2004, 3 min, 16mm, silent)<br />Peggy Ahwesh BEIRUT OUTTAKES (2007, 7.5 min, digital)<br />Chris Jolly MULTIPLEX (ca. 2012, 3 min, 35mm)<br />Ben Coonley 2008 NEW YORK UNDERGROUND FILM FESTIVAL TRAILER STARRING DR. ZIZMOR (2008, 1 min, digital)<br />Jim Finn NYUFF ’08 TRAILER (2008, 1 min, digital)<br />Jean-Luc Godard OFFICIAL SPOT OF THE 22ND JI.HLAVA IDFF (2018, 1 min, digital)<br />C. Spencer Yeh [Selected Spectacle Theater Trailers] (2012-18, ca. 6 min, DCP)<br /><br />Total running time: ca. 65 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 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60756 <p class="p1">GUEST-SELECTED BY PAYTON MCCARTY-SIMAS<br />“Together, these three films provide a kaleidoscopic view of loves that fester. Each flick provides a window into a troubled woman’s psychology, showcasing three different flavors of outsider angst, frustration, and rage spurred by patriarchy. Featuring glam rock stalking, strung out pyromania, and media-mad sex-murder, Der Fan, Deprisa Deprisa and The Witch Who Came from the Sea are juicy morsels and bitter pills, real treats for the love-struck and lovelorn alike.” –Payton McCarty-Simas<br /><br />In making DEPRISA, DEPRISA, director Carlos Saura populated his cast with actual denizens of the Madrid streets to tell the story of youth on the edge of doom. Angela (Berta Socuéllamos) is a young waitress who turns her back on society when she meets and falls in love with Pablo (José Antonio Valdelomar), a reckless criminal delinquent. Along with Pablo’s gang of car thieves, the pair embark on a drug- and disco-fueled robbery spree as they hurtle toward oblivion. Winner of the Golden Bear at the Berlin Film Festival, this raw, startlingly naturalistic tale of love outside the law reflects the turmoil of a generation navigating the social upheavals of post-Franco Spanish society.<br /><br /><strong>Introduced by Payton McCarty-Simas on Thurs, Feb 19!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 21 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60566 <p>“[A] diary that consists of a series of short (from one to two-and-a-half minute) segments. Some of the segments are miniature pieces of daily realism, others are extended haikus, still others are small romantic poems… We have this luxurious and sensuous world of bodies and details and light before our eyes. Light, light, and again light. Only through the light are these materials revealed to us. So he keeps filming light on these textures, on materials. Light falling on the floor, on the materials. And then, the people. I haven’t seen anybody, for instance, filming (or painting) woman’s hair, long hair, as beautifully and expressively as Noren has done. Detail after detail for a full hour.” –Jonas Mekas, VILLAGE VOICE<br /><br />“Noren’s definitive portrait of the male, heterosexual artist as a young boho with a movie camera is notable for its lush texture, lyrical idealization of life on the Lower East Side, lust for light, and graphic carnality.” –J. Hoberman<br /><br />“Made all other film diaries look a little strange in their modesty.” –P. Adams Sitney<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60746 <p>(NOUS NE VIEILLIRONS PAS ENSEMBLE)<br /><br />“Far from viewer-friendly, [this film] tells the story of the endless breakups and makeups of a highly unstable yet apparently indissoluble couple. It’s a sort of love story told in inverted terms, depicting the protracted end of a five-year affair, with its arbitrary disagreements, sudden mood shifts, moments of irrational anger, and displays of stinging contempt, presented with a genuine, unmeasured violence. ‘You’ve never succeeded at anything and you never will’, says Jean, a 40-year-old married filmmaker, to his younger, working-class lover Catherine. ‘And do you know why? Because you are vulgar, irremediably vulgar, and not only are you vulgar, you are ordinary.’ These are the film’s most celebrated lines…a sort of brutalist alternative to the famous line from LOVE STORY: ‘Love means never having to say you’re sorry.’” –Dave Kehr, FILM COMMENT<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60779 <p>This program showcases a handful of wild, uncanny, and amazingly inventive animated films that are constructed largely from magazine advertisements.<br /><br />Jean-Thomas Bédard THIS IS A RECORDED MESSAGE (1973, 10 min, 16mm-to-digital)<br />Unglee C’EST FOU (1977, 12 min, 16mm-to-DCP)<br />Martha Colburn EVIL OF DRACULA (1997, 2 min, Super-8mm-to-16mm)<br />Martha Colburn WHAT’S ON? (1997, 2 min, 16mm)<br />Jodie Mack YARD WORK IS HARD WORK (2008, 27.5 min, 16mm)<br />Lewis Klahr ALTAIR (1994, 6 min, 16mm)<br /><br />Total running time: ca. 65 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60750 <p class="p1">MODERN ROMANCE may be Albert Brooks’s least-known film, but it’s arguably his greatest – the most uncompromising and consistent, and, as restrained as it is on the surface, ultimately the most personal and unforgiving in its self-criticism. Brooks is Robert Cole, a film editor who breaks up with his girlfriend only to spend the rest of the movie desperately trying to erase his mistake, and even more desperately trying to contain his jealousy, neediness, and paranoia. Still the great comic portrait of male neurosis, and of emotional and psychological dysfunction, MODERN ROMANCE lays bare its protagonist’s insecurities with an honesty few dramatic films have achieved. Only Brooks could make a deadpan comedy about a man who’s very nearly psychotic. Painfully funny, with the emphasis on “funny.”<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60831 <p>With Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, Candy Darling, Tally Brown, and Ultra Violet.<br /><br />Downtown fixture Elwyn “Wynn” Chamberlain painted Frank O’Hara and Allen Ginsberg, produced an early Charles Ludlam play, and turned to film in 1970 with this crude, merciless consumerist satire. Inspired by a snowed-in weekend stuck watching television, BRAND X gleefully parodies boob-tube banality with copious nudity, a wicked sense of humor, and a who’s-who cast featuring Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, and Candy Darling. “The first truly entertaining Entertainment film of the new consciousness,” heralded Jonas Mekas, but Chamberlain moved on, burning his paintings and relocating his family to India in the mid-70s. His latter-day artistic output consisted solely of a series of novels.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, February 22 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60781 <p class="p1">“LIFE ITSELF IS A FILM, WITH THUNDERSTORMS AS ITS SOUNDTRACK”: ANXIOUS IN BEIRUT<br /><br />Lebanese director Zakaria Jaber’s debut ANXIOUS IN BEIRUT (2023) is a cinematic tour de force that undermines the clichés about what documentary is. Every frame, every sound, debunks the fictional boundary between what counts as the personal and the political, the filmmaker and the event. Documenting three years of the revolutionary events between 2019 and 2022 with a cinéma vérité methodology, Jaber moves across time by intercutting a constellation of media: miniDV footage of his childhood, newspaper clippings, family photographs – all of which function as personal records enabling a critique of the neoliberalization that followed the end of the civil war and the broken promises made to the civil peace generation. The argument is dialectical: Jaber narrativizes his life as necessarily entangled with key moments in Lebanese socio-political history, whereas politics is also shaped by the organization of people who push back against the capitalist regime initiated by businessman Rafic Hariri’s rule. Politics does not belong to those in power, to the bank lords, to the financiers and the ruling families; politics belongs to movements mobilized by the people and their resistance. A refrain recurs in the voice-over throughout the film: “In this country, you have two options: the grave or the airplane.” And yet, between the duality of the coffin and the plane – between premature death at the hands of state violence and the imposed recourse of migration – Jaber finds a third way: to film, relentlessly, the present, to critically confront the ghost of the past, and to awaken a collective political consciousness that counteracts the soporific effects of ruling-class ideologies.<br /><br />Introduced by researcher Andrea Avidad, and followed by a Q&A with co-producers Adrià Lahuerta & Carlota Coloma.<br /><br />This screening is supported by the Institut Ramon Llull, NYU’s Espacio de Culturas, and the Center for European and Mediterranean Studies.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, February 23 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60820 <p>Some of the strangest of all religious-themed films are collected here, including two films that (like those in the previous program) were commissioned for World’s Fairs – Rolf Forsberg & Tom Rook’s singular allegory, PARABLE (1964) and Charles Gagnon’s profoundly upsetting collage-film critique of militarism, violence, and the emptiness of postwar consumer culture, THE EIGHTH DAY (1967) – as well as A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA, a portrait of a countercultural Christian group made by the avant-garde filmmaker Owen Land following his own religious conversion, and Martha Colburn’s DON’T KILL THE WEATHERMAN!, which was commissioned by Philadelphia’s Rosenbach Museum and makes use of pictures from an illuminated manuscript in the museum’s collection.<br /><br />Rolf Forsberg & Tom Rook PARABLE (1964, 20 min, 16mm-to-digital. Produced by the Lutheran Council for the 1964 New York World’s Fair.)<br />Charles Gagnon THE EIGHTH DAY (1967, 14 min, 16mm. Produced by Charles Gagnon for the Christian Pavilion at Expo 67, Montreal.)<br />Owen Land A FILM OF THEIR 1973 SPRING TOUR COMMISSIONED BY CHRISTIAN WORLD LIBERATION FRONT OF BERKELEY, CALIFORNIA (1974, 11.5 min, 16mm. Preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program and The Film Foundation. Funding provided by the Hobson/Lucas Family Foundation.)<br />Martha Colburn DON’T KILL THE WEATHERMAN! (2007, 4 min, digital)<br /><br />Total running time: ca. 55 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, February 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60815 <p>In 2019 Anthology organized an extensive series entitled “Films for the Fair: The World’s Fair & the Cinema”, which consisted in large part of films produced for presentation at the various World’s Fairs throughout the 20th century, many of which were strikingly experimental in style or concept. In the context of “Avant-Garde Ads”, we present a handful of films from that series that are by important avant-garde filmmakers (such as Shirley Clarke and Alexander Hammid) and/or that are themselves highly experimental in style, especially in their use of multiple screens (exemplified by the 15-screen Eames film, THINK).<br /><br />Shirley Clarke BRUSSELS LOOPS: MELTING POT / BRIDGES / OCCUPATIONS (1957, 9 min, 16mm-to-digital)<br />Edgard Varèse, Le Corbusier, and Iannis Xenakis LE POÈME ÉLECTRONIQUE (1958, 8.5 min, 35mm-to-DCP. Digital reconstruction courtesy of the Eye Filmmuseum.)<br />Charles & Ray Eames THINK (1964, 15 min, 15-screen 35mm-to-digital. Reconstructed by the Library of Congress.)<br />Francis Thompson & Alexander Hammid TO BE ALIVE! (1964, 18 min, 35mm-to-digital. Film courtesy of SC Johnson.)<br />Roman Kroitor, Colin Low & Hugh O’Connor IN THE LABYRINTH (1967, 21 min, 5-screen 35mm-to-digital)<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> Tuesday, February 24 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60812 <p>Alain Resnais’s THE SONG OF STYRENE – one of the greatest of all sponsored films – which transforms the industrial production of plastics into a hypnotic symphony of eye-popping colors, rhythms, and textures, is here paired with three other visually astounding and mind-altering sponsored films about similarly “futuristic” industrial products: Hans Richter’s THE BIRTH OF COLOR (which documents the production of dyes from coal tar), Ferdinand Khittl’s THE MAGIC RIBBON (about the invention and applications of magnetic tape), and Pierre Moretti’s MODULO: VARIATIONS ON A DESIGN (a wordless visual paean to an experimental car prototype designed for Ferrari by the Italian design firm Pininfarina).<br /><br />Hans Richter THE BIRTH OF COLOR / DIE GEBURT DER FARBE (1938, ca. 25 min, 35mm-to-DCP. Commissioned by Swiss chemical and dye company Geigy. © Novartis AG.)<br />Alain Resnais THE SONG OF STYRENE / LE CHANT DU STYRÈNE (1958, 13 min, 35mm-to-DCP. Narration by Raymond Queneau. Commissioned by French industrial group Pechiney.)<br />Ferdinand Khittl THE MAGIC RIBBON / DAS MAGISCHE BAND (1959, 21 min, 35mm-to-DCP)<br />Pierre Moretti MODULO: VARIATIONS ON A DESIGN (1973, 7 min, 35mm-to-DCP)<br /><br />Total running time: ca. 70 min.</p> <p><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60791 <p>With Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, Candy Darling, Tally Brown, and Ultra Violet.<br /><br />Downtown fixture Elwyn “Wynn” Chamberlain painted Frank O’Hara and Allen Ginsberg, produced an early Charles Ludlam play, and turned to film in 1970 with this crude, merciless consumerist satire. Inspired by a snowed-in weekend stuck watching television, BRAND X gleefully parodies boob-tube banality with copious nudity, a wicked sense of humor, and a who’s-who cast featuring Taylor Mead, Sally Kirkland, Sam Shepard, Abbie Hoffman, and Candy Darling. “The first truly entertaining Entertainment film of the new consciousness,” heralded Jonas Mekas, but Chamberlain moved on, burning his paintings and relocating his family to India in the mid-70s. His latter-day artistic output consisted solely of a series of novels.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, February 25 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60567 <p>Script by Carl Meyer based on the story “A Trip to Tilsit” by Herman Sudermann. Photographed by Charles Rosher and Karl Strauss. With George O’Brien and Janet Gaynor.<br /><br />Murnau’s first American film is an allegory set in no particular time or place, about a man who is temporarily overruled by his passions, inflamed by the power of evil as personified by the city woman, and who finally returns to his senses and the orderly family life of the country. It is a virtuoso exercise representing the expressiveness of the silent film as it neared its end.<br /><br />“SUNRISE becomes the lyrical culmination of a strain of German Expressionism that, married to American technology, could almost serve as a definition of the cinema. For the studio apparatus, enabling the creation of a spiritually and spatially unified microcosm, corresponds to the way the mind, in Expressionism, experiences reality – organizing it, imbuing it with personal associations, patterns, significances, until finally the only reality is a mental reality.” –Molly Haskell<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60819 <p class="p1">Stan Brakhage WINDOW WATER BABY MOVING 1959, 12 min, 16mm, silent. Preserved by Anthology Film Archives.<br />Carla Simón LETTER TO MY MOTHER FOR MY SON / CARTA A MI MADRE PARA MI HIJO (MIU MIU WOMEN’S TALES #24) 2022, 24 min, DCP. In Spanish and Catalan with English subtitles.<br />Agnes Varda L’OPÉRA-MOUFFE 1958, 16 min, 16mm-to-DCP. In French with English subtitles.<br />Marie Menken HURRY! HURRY! 1957, 3 min, 16mm. Preserved by Anthology Film Archives.<br />Priya Sen STORIES OF US: FOOTNOTES FROM EMERALD ISLAND 2015, 12 min, DCP<br />Kiro Russo NUEVA VIDA 2015, 15 min, DCP. In Spanish with English subtitles.<br /><br />Total running time: ca. 85 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60568 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Thursday, February 26 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60569 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60824 <p class="p1">Erin Espelie<br />THE LANTHANIDE SERIES<br />2014, 70 min, DCP<br /><br />Erin Espelie <span class="s1">视网膜</span> (A NET TO CATCH THE LIGHT) 2016, 7 min, 16mm-to-DCP<br />Erin Espelie <span class="s1">内共生</span> (INSIDE THE SHARED LIFE) 2017, 9 min, 16mm-to-DCP<br /><br />Total running time: ca. 90 min. Followed by discussion and Q&A with Erin Espelie and Scott MacDonald.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60571 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith’s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories.<br /><br />“In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Friday, February 27 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60828 <p class="p1">Maryam Tafakory IRANI BAG 2021, 8 min, DCP<br />Carlos Adriano UNTITLED #4: IN SPITE OF RUIN, SING IN THE RAIN / SEM TITULO #4: APESAR DOS PESARES, NA CHUVA HÁ DE CANTARES 2018, 27 min, DCP. In Portuguese with English subtitles.<br /><br />Jennifer West<br />FILM TITLE POEM<br />2016, 67 min, 35mm-to-DCP<br /><br />Kevin B. Lee & Lého Galibert-Laîné READING BINGING BENNING 2018, 11 min, DCP<br /><br />Total running time: ca. 120 min. Followed by a discussion with Scott MacDonald and the curators, Annie Berman, Isha Parkhi, and Ava Witonsky.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60572 <p>(MAT)<br /><br />Based on the novel by Maxim Gorky.<br /><br />With the simple theme of a working-class mother growing in political consciousness through participation in revolutionary activity, this film established Pudovkin as one of the major figures of the Soviet cinema. A student of Kuleshov and an admirer of Griffith’s films, he was writing his first book of film theory at the same time he was making MOTHER. His expert cutting on movement and his associated editing of unrelated scenes to form what he called a “plastic synthesis” are amply demonstrated here. Although in direct opposition to Eisenstein’s shock montage, Pudovkin used a linkage method advanced far beyond Kuleshov’s theories.<br /><br />“In the final episode Pudovkin resorts to the now famous simile of the ice-floe breaking up against the bastions of the great bridge with a movement parallel to that of the procession of men and women marching with the Red Flag held high before them, until they are scattered and broken by the cavalry. The ice-floe intensifies the action by its strong forward movement far more than by its obvious symbolism. The purpose of Pudovkin’s technique is to sublimate the action of every part of his film, so that the commonplace is raised to the level of a kind of epic poem.” –Roger Manvell, THE FILM AND THE PUBLIC<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60830 <p class="p1">Takahiko Iimura KIRI (FOG) 1970, 5 min, 16mm, silent<br /><br />Yoko Ono & John Lennon APOTHEOSIS 1970, 18 min, 16mm-to-digital<br /><br />Tadhg O’Sullivan<br />TO THE MOON<br />2020, 76 min, DCP<br /><br />Lois Patiño FAJR 2017, 12 min, 16mm-to-DCP<br /><br />Total running time: ca. 115 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, February 28 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=02&year=2026#showing-60570 <p>(UMARETE WA MITA KEREDO…)<br /><br />In referring to this film Ozu stated, “I started to make a film about grownups. While I had originally planned to make a fairly bright little story, it changed while I was working on it and came out very dark.” The story concerns a very average suburban office worker, with a wife and two very un-average sons, who is unable to stand up to his boss.<br /><br />“Joyful…as true and as moving and as timely today as it was in 1932.” –Jonas Mekas<br /><br /><strong><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr">CLICK HERE TO BOOK TICKETS NOW!</a></strong> </p> Saturday, February 28