https://www.anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Tue, 29 Apr 2025 22:54:10 -0400 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59144 <p>With the support of the Carolee Schneemann Foundation and Electronic Arts Intermix, Anthology presents newly restored 16mm prints of Carolee Schneemann’s PLUMB LINE and VIET-FLAKES, alongside the rarely screened RED NEWS. The program pairs Schneemann’s films with Joseph Cornell’s ROSE HOBART and Peggy Ahwesh’s THE FALLING SKY to examine how found footage can be used for dynamic investigations of memory, politics, and cinematic poetics.<br /><br />Carolee Schneemann’s PLUMB LINE (1968-71) offers a fragmented portrait of a collapsing relationship, merging intimate imagery with experimental techniques. VIET-FLAKES (1962-67), a searing anti-war collage, recontextualizes found photographs of Vietnam War atrocities, while RED NEWS (1962-67) considers the interplay between media, entertainment, and violence. Cornell’s ROSE HOBART (1936), a cornerstone of found-footage cinema, transforms a forgotten Hollywood film into a surreal, dreamlike meditation on longing and nostalgia. Peggy Ahwesh’s THE FALLING SKY (2017) extends this tradition by repurposing animated news to interrogate our collective interests, fears, and obsessions. Together these works trace a lineage of experimental filmmaking that activates archival material to reveal new layers of meaning.<br /><br />A conversation with Peggy Ahwesh, Rachel Churner, John Klacsmann, Karl McCool, and Kenneth White follows the screening.<br /><br />Guest-programmed by Kenneth White, Assistant Professor of Modern and Contemporary Art History and Visual Studies, The New School, and Rachel Churner, director of the Carolee Schneemann Foundation. Schneemann’s films have been preserved 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 /><br />Carolee Schneemann PLUMB LINE 1968-71, 14.5 min, 16mm<br />Carolee Schneemann VIET-FLAKES 1962-67, 8.5 min, 16mm<br />Carolee Schneemann RED NEWS 1962-67, 2.5 min, 16mm<br />Joseph Cornell ROSE HOBART ca. 1936/68, 20 min, 16mm. Preserved by Anthology Film Archives.<br />Peggy Ahwesh THE FALLING SKY 2017, 9.5 min, digital<br /><br />Total running time: ca. 60 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 <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Tuesday, April 29 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59236 <p>OPENING NIGHT!<br />Prismatic Ground kicks off its fifth edition with the newly discovered Third World Newsreel short PALESTINE WILL WIN (Jean-Pierre Olivier de Sardan, 1969), followed by the New York premiere of Rajee Samarasinghe’s powerful feature debut YOUR TOUCH MAKES OTHERS INVISIBLE. <br /><br />Jean-Pierre Olivier de Sardan<br />PALESTINE WILL WIN<br />1969, 29 min, 16mm-to-digital<br />This French agitprop ode to the Palestinian struggle was thought lost until recently rediscovered in the Third World Newsreel collection by archivist Draye Wilson. Composed of still photographs and a bit of Vietnam footage from Joris Ivens, its re-emergence echoes a call for global solidarity.<br /><br />“I didn’t try to make a big film, but just wanted to have a propaganda film, an intelligent one and, in fact, that is how it worked out. At that time, support for the Palestinian struggle was growing, so there were many activist committees that needed such a film.” –Jean-Pierre Olivier de Sardan<br /><br />Rajee Samarasinghe<br />YOUR TOUCH MAKES OTHERS INVISIBLE<br />2025, 70 min, DCP<br />Sri Lanka ranks among the highest in the number of enforced disappearances in the world and most of the disappeared are Tamils. Fusing allegorical magic realism and investigative documentary, and made collaboratively with impacted locals clandestinely in a region still occupied by the military, this film is a lyrical examination of these missing persons through 26 years of civil war in Sri Lanka. The nonfiction elements are structured by a fictional narrative thread which tells the surreal tale of a mother who loses her son to a supernatural entity plaguing her community – a nod to the actual disappearances in the region.<br /><br />Followed by a Q&A with Rajee Samarasinghe.<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 <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Wednesday, April 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2025#showing-59508 <p>A BLACK SCREEN TOO (Rhayne Vermette, 2024, 2 min, 16mm)<br />ADIEU UGARIT (Samy Benammar, 2024, 16 min)<br />WINTER PORTRAIT (Fernando Saldivia Yanez, 2024, 9 min)<br />BUSEOK (Kyujae Park, 2024, 18 min)<br />HOW HE DIED IS NOT CONTROVERSIAL (Gio Lingao, 2025, 14 min)<br />EMPTY RIDER (Lawrence Lek, 2025, 15 min)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, April 30 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59238 <p>This program features five films from the “Tokyo Reels” collection, offering a glimpse into the multifaceted narratives of the Palestinian struggle. “The Tokyo Reels” is a research project that traces Palestinian revolutionary cinema’s political and cultural entanglements. By restoring a collection of films screened in Japanese leftist circles during the 1970s and 1980s, the project explores the historical and ideological conditions that shaped the anti-colonial networks of global solidarity with the Palestinian revolution. These five films – made by Iraqi, Egyptian, German, and Japanese filmmakers – move beyond simplistic portrayals of victimhood, revealing the revolution as a space of contradiction and complexity, where loss intertwines with hope and local resistance resonates with international solidarity. The program highlights the diverse perspectives and creative expressions that emerged during this turbulent era and that shaped cinematic solidarities around Palestine.<br /><br />Founded in 1999, “Senses of Cinema” is a quarterly online journal devoted to the serious and eclectic discussion of film. Institutionally non-aligned and widely read around the world, “Senses” has published thousands of articles (all freely available) on a rich spectrum of independent, experimental, and mainstream cinema. This event announces the publication of Issue 113, featuring a dossier on cinematic solidarities with Palestine. For more info and to subscribe and support, visit: https://www.sensesofcinema.com/ <br /><br />Shirak Soreen THE GAME (1973, 16 min, 16mm-to-digital. In Arabic with English subtitles.)<br />Sami Al-Salamoni COWBOY (1973, 15 min, 16mm-to-digital. In English.)<br />Sabih Al-Zoohiri THE FIELD (1977, 11 min, 16mm-to-digital. In Arabic with English subtitles.)<br />NHK (Japan Broadcasting Corporation) THE ROAD TO A PALESTINIAN STATE (1974, 29 min, 16mm-to-digital. In Japanese with English subtitles.)<br />Monica Maurer WHY? (Japanese version) (1982, 28 min, 16mm-to-digital. In Japanese with English subtitles.)<br /> <br />Total running time: ca. 105 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 01 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59311 <p>Karl Valentin<br />CONFIRMATION DAY / DER FIRMLING<br />(1934, 23 min, 35mm, b&w. In German with no subtitles; English synopsis available.)<br />“Valentin plays a drunken father treating his giggly young son to lunch, and the inspired muddle he creates out of a table, two chairs, an umbrella, and a watch chain rivals some of Laurel and Hardy’s best moments.” –J.R. Jones, CHICAGO READER<br /><br />Jean Vigo<br />A PROPOS DE NICE (1929-30, 30 min, 16mm, silent)<br />TARIS (1931, 9 min, 16mm)<br />&<br />ZERO FOR CONDUCT / ZÉRO DE CONDUITE<br />(1935, 44 min, 16mm, b&w. In French with English subtitles.)<br />An eloquent parable of freedom versus authority, Vigo’s film is set at a boys’ boarding school and undoubtedly echoes Vigo’s own unhappy experiences as a child. Under the pressure of various civic groups the film was removed from screens several months after its release in 1933. It was branded “anti-French” by censors and was not shown again in Paris until 1945.<br /><br />Total running time: ca. 110 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59302 <p>Razan AlSalah<br />A STONE’S THROW<br />2024, 40 min, digital<br />In A STONE’S THROW, Razan AlSalah traces her father’s double exile – first from his birthplace of Haifa to Beirut, then, from Beirut to Zirku Island, the nature preserve turned oil platform; first, by the Nakba, then by the necessity of work. The film dwells on the Haifa-Kirkuk oil pipeline. Established under British colonial rule, it was then bombed in 1936 by Palestinian laborers. Routes of capitalist extraction shadow AlSalah’s father’s exile, like petroleum clinging to a bird’s wing.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59312 <p>Andy Warhol<br />EAT (1963, 35 min, 16mm, silent)<br />“A portrait of artist Robert Indiana, EAT is one of the classics of Warhol’s minimalist cinema. As Indiana slowly eats one mushroom, the action is rendered mysterious by Warhol’s decision to assemble the rolls out of order, so the mushroom appears to magically renew itself from time to time.” –Callie Angell<br /><br />James Sibley Watson & Melville Webber<br />FALL OF THE HOUSE OF USHER (1928, 13 min, 16mm, silent)<br />“Filmed in a Rochester, New York, carriage house, this expressionist film is the earliest live-action dramatic film made by a collaboration of poets and artists in the United States. Watson devised the optical effects that distinguish the film, while Webber provided its visual design, based upon medieval frescoes.” –Robert A. Haller<br /><br />John & James Whitney<br />FILM EXERCISES 1-5 (1943-45, 18 min, 16mm)<br />“The visual images in these films were created by shining light through flexible masks, so that the camera was filming direct light rather than light reflected from drawings. The results seem like dazzling neon apparitions, that were as novel and shocking as the accompanying soundtrack.” –William Moritz<br /><br />James Whitney<br />LAPIS (1963-66, 10 min, 16mm)<br />“The most elaborate example of a mandala in cinema. It utilizes a field of tiny dots, symmetrically organized in hundreds of very fine concentric rings, to generate slowly changing intricate patterns…. Both structurally and visually LAPIS conforms to the circular form of the mandala; its elaborate movements belie a fundamental stasis.” –P. Adams Sitney<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, May 02 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59509 <p>Kumar Shahani<br />BHAVANTARANA / IMMANENCE<br />1991, 65 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art. Screened with permission of the XPD Division, Ministry of External Affairs, Government of India.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59510 <p>CENTER (Burak Çevik, 2024, 6 min, 16mm)<br />ENDINGS (Isiah Medina & Philip Hoffman, 2024, 9 min)<br />TYPHOON DIARY / 风球日记 (Grace Zhang, 2024, 6 min)<br />ADRIFT POTENTIAL (Leonardo Pirondi, 2024, 12 min)<br />THE WORLD DOESN’T END WHEN YOU DO (marlow magdalene, 2024, 10 min)<br />GO BETWEEN (Chris Kennedy, 2024, 6 min, 16mm)<br />GOOD FRIDAY / 受难日 (Xiaolu Wang, 2025, 9 min)<br />LAS ANIMAS (Matt Feldman, 2025, 14 min, 16mm)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59511 <p>SOME STRINGS PTS. I & II (Various Filmmakers, 96 min)<br /><br />Featuring: Khaled Abdulwahed, Wiame Haddad, Youssef Chebbi, Christophe Clavert, Sarah Beddington, Valentin Noujaïm, Yosr Gasmi, Mauro Mazzochi, Wendelien Van Oldenborgh & Cathleen Schuster & Marcel Dickhage, Julie Courel, M’hand Abadou Djezairi & Marcel Mrejen, Amie Barouh, Mohamed Bourouissa, Valerie Massadian, Ismaïl Bahri & Youssef Chebbi, Soumeya Ait Ahmed & Nadir Bouhmouch, Philippe Parreno, Claire Fontaine, Ismaël Bahri, Pierre Creton, Virgil Vernier, Yohei Yamakado, Saif Fradj & Mahshid Mahboubifar, Alexia Roux & Saad Chakali, Fernanda Pessoa, Jayce Salloum, Kaseu & Valerie Osouf, Idit Elia Nathan.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59512 <p>DANCING OTHELLO / BRIHANNALA KI KHELKAKI (Ashish Avikunthak, 2002, 18 min, 16mm)<br />VAKRATUNDA SWAHA (Ashish Avikunthak, 2010, 22 min, 35mm)<br />END NOTE / ANTARAL (Ashish Avikunthak, 2005, 18 min, 16mm)<br />KALIGHAT FETISH / KALIGHAT ATHIKATHA (Ashish Avikunthak, 1999, 22 min, 16mm)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59513 <p>TUKTUIT (Lindsay McCintyre, 2025, 15 min)<br /><br />Tadhg O’Sullivan<br />TO THE MOON<br />2020, 80 min<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59514 <p>HEART SHAPED (Sofia Theodore-Pierce & Grace Mitchell, 2025, 13 min)<br /><br />Ruiqi Lu<br />CONTACT LENS / 河马皮肤<br />2024, 78 min<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59515 <p>Kumar Shahani<br />THE BAMBOO FLUTE / BIRAH BHARYO GHAR AANGAN KONE<br />2000, 84 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art. Screened with permission of the XPD Division, Ministry of External Affairs, Government of India.<br /><br />Followed by a discussion with Ashish Avikunthak.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59516 <p>NECESSARY TRIP (Kevin Jerome Everson, 2024, 5 min)<br /><br />Kaori Oda<br />UNDERGROUND<br />2024, 83 min<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59517 <p>Courtney Stephens and Shiv Kotecha present:<br />FILMS AND POEMS FROM THE FIFTH SEASON<br />“They tell me there are four / seasons, but I believe in a fifth one” writes Etel Adnan, “which is your space / and your time.” Referencing Adnan, the poet Rainer Diana Hamilton defines this fifth season as a way for poetic form to burst forth and sense the social. Featuring films and readings by filmmakers and poets, “The Fifth Season” brings together works that exceed the expectations of their genres in order to share language in modes of transfigured time. With works and performances by Courtney Bush, JJJJJerome Ellis, Rainer Diana Hamilton, Shiv Kotecha, Tiziana La Melia, and Courtney Stephens, “The Fifth Season” is imagined as a night of exception, probing Lacan’s definition of the voice as a standalone object, not unlike the eye.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59518 <p>Kumar Shahani<br />KASBA<br />1990, 115 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Saturday, May 03 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59519 <p>SOME STRINGS PTS. III & IV (Various Filmmakers, 110 min)<br /><br />Featuring: Pablo Sigg, Apichatpong Weerasethakul, Igniacio Agüero, Bani Khoshnoudi, Dora Garcia, Khristine Gillard, Mohammad Hammash & Filip Momikj,Axelle Poisson, Kyoshi Sugita, Michaël Andrianaly, Aude Fourel, Anne Penders, Jerónimo Atehortúa Arteaga, Idit Elia Nathan, Eva Giolo, Sepideh Farsi, Eric Baudelaire & Claire Atherton & Marius Atherton, Franssou Prenant, Ellie Ga, Francis Alÿs, Marielle Chabal, Ben Russell, Kiswensida Parfait, Kabore, Yannick Kergoat, Silvia Maglioni & Graeme Thomson, Taysir Batniji, Mitra Farahani.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59520 <p>Kumar Shahani<br />THE KHAYAL SAGA / KHAYAL GATHA<br />1988, 103 min, 35mm. 35mm print from the Queensland Art Gallery | Gallery of Modern Art. Thanks to Rewati Shahani, Uttara Shahani, and Rimli Bhattacharya.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59521 <p>LET’S MAKE LOVE AND LISTEN TO DEATH FROM ABOVE (Ayanna Dozier, 2023, 6 min)<br />IT’S JUST BUSINESS, BABY (Ayanna Dozier, 2023, 6 min)<br />BOUNDED INTIMACY (Ayanna Dozier, 2024, 6 min)<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59522 <p>HEMEL (Danielle Adobi Dean, 2024, 30 min)<br /><br />Tadhg O’Sullivan<br />THE SWALLOW<br />2024, 69 min<br /><br />Followed by a Q&A.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59523 <p>A MESSAGE FROM HUMBOLDT (Matt Feldman, 2025, 7 min, 16mm)<br /><br />Nicolás Onischuk<br />TO TRANSLATE ONE’S OWN<br />2025, 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, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59524 <p>ARTIST SPOTLIGHT: CHO SEOUNGHO<br /><br />FORWARD, BACK, SIDE, FORWARD AGAIN (1995, 11 min)<br />ws.3 (2003, 6 min)<br />HORIZONTAL INTIMACY (2010, 8 min)<br />I LEFT MY SILENT HOUSE (2007, 9 min)<br />SHIFTED HORIZON (2009, 6 min)<br />BLUE DESERT (2011, 12 min)<br />LATENCY/CONTEMPLATION 1 (2016, 7 min)<br />LATE AUGUST 1993 (2024, 10 min)<br />NO RE (2024, 7 min)<br /><br />Guest Curated by Joshua Minsoo Kim.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59525 <p>SOME STRINGS PTS. V & VI (Various Filmmakers, 84 min)<br /><br />Featuring: Newton Ifeanyi Aduaka, Sarah Wood, Ali Arkady, Alain Kassanda, Annik Leroy & Julie Morel, Monica Maurer & Milena Fiore, Philip Rizk, 2024, Douglas Gordon, Declan Clarke, Genesis Valenzuela, Vincent Guillibert, Dania Reymond-Boughenou, Wilmarc Val, Primo Mauridi, Ghassan Salhab, Ugo Rondinone.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 04 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59310 <p>To celebrate the publication of Tom Gunning's new book, “The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde”, Anthology present a program devoted to work by Ernie Gehr, who is the subject of two separate essays in “The Attractions of the Moving Image”.<br /><br />“The Attractions of the Moving Image: Essays on History, Theory, and the Avant-Garde” has been edited by Daniel Morgan, and is published by the University of Chicago Press; <a href="https://press.uchicago.edu/ucp/books/book/chicago/A/bo238329918.html">click here for more info</a>.<br /><br />Special thanks to Ernie Gehr; Tom Gunning; David Schwartz; Light Industry; and the Museum of the Moving Image.<br /><br />UNTITLED 1977 (1977, 4 min, 16mm, silent)<br />“UNTITLED (1977) also explores the contradictions of the apparent penetration of space that perspective seems to offer through the dynamic of the film lens. But here, rather than the aggressive and rather contradictory effects of the zoom lens [as in SERENE VELOCITY], Gehr deals with a gradually changing plane of focus. We begin with a nearly undefinable image – a sense of motion and color, that’s about all. Slowly the focus sharpens and we recognize a swirl of snow with an undefined color mass beyond. As the focus continues to change, the zone of recognizability stretches further into the background, until the soft color mass solidifies into a firm brick wall.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />REAR WINDOW (1986, 10 min, 16mm, silent)<br />“Few of Gehr’s films are as beautiful as this, or as delicate. […] [U]nlike the views of street traffic or sidewalks given in other films, this rear-window vantage point turns toward the other side of city life, where folks hang their laundry out to dry. Gehr focuses his camera on the most quotidian of sights and reveals a drama of light and space as breathtaking as the cityscapes in SIDE/WALK/SHUTTLE.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />SIDE/WALK/SHUTTLE (1991, 41 min, 16mm)<br />“SIDE/WALK/SHUTTLE presents one of America’s most photographed cities, San Francisco, in images that confound us with their unfamiliar viewpoint and trajectory. […] Shot from a glass-enclosed elevator that climbs to a restaurant at the top of the Fairmont Hotel, Gehr’s film ascends only as high as that tall building and the city’s hills. The sense of aerial feats comes entirely from the variety of camera angles Gehr manages to achieve. […] SIDE/WALK/SHUTTLE images our nation’s history of expansion toward horizon, its dream of manifest destiny, but with a late-twentieth-century irony that avoids despair over history’s deceptions by carving out a space for contemplation within this vista.” –Tom Gunning, “Radical Light: Alternative Film & Video in the San Francisco Bay Area, 1945-2000”<br /><br />THIS SIDE OF PARADISE (1991, 15 min, 16mm)<br />“THIS SIDE OF PARADISE deals with another circulation of people and their goods across the borders and directional circuits of a big city. Gehr was in West Berlin in 1989 to record some sound for a film, and stumbled upon an improvised flea market where Poles, weekend visitors from the Eastern Bloc, were trying to sell random objects they had brought with them for Western currency, which they could exchange on the black market at home for substantial profit. […] The history of Gehr’s family as refugees and immigrants during the period of World War II has undoubtedly sharpened his awareness of the precariousness of finding a place in a world given to violent upheavals and reworkings of borders.” –Tom Gunning, “Perspective and Retrospective: The Films of Ernie Gehr”<br /><br />Total running time: ca. 75 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 <span class="il">BUY</span> TICKETS NOW!</a></strong></p> Monday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59240 <p>Although the law is meant to provide justice, in reality, its execution and implementation ultimately expose, determine, and codify a strata of citizenship that keeps certain members of society from full subjectivity under its rule. People of color, women, and queer folks, for example, are still treated as second-class citizens and have historically been denied privileges and legal protections by the state. In a different sense, non-human animals, as well, are stripped of agency and subject to widespread abuse without protection. These prejudices of the law can be exemplified in the history of medieval witch trials of women and non-human animals. The unifying factor through which these subjects get deemed witches is that they have acquired a power not typically afforded to them by the rule of law. In transgressing their allotted roles, they bring the failings of the justice system to light and are duly punished to maintain the prevailing social hierarchy.<br /><br />The films in this program present playful vignettes of absurd historical witch trials and medieval courts whose rules created the basis of our current systemic injustices. In doing so – and through their campy and/or experimental form – these films poke fun at the seriousness of contemporary courts and the regard with which the judicial system is held as the epitome of civilization. The filmmakers make a farce of the law’s theatricality and self-righteousness, inviting audiences to delight in deviancy and misbehavior.<br /><br />Guest-programmed and presented by Afriti Bankwalla and Gabriel Espaillat.<br /><br />Special thanks to Emily Hubley and the Hubley Studio, as well as Electronic Arts Intermix.<br /><br />Faith Hubley WITCH MADNESS (2000, 8 min, 35mm)<br />30,000 years ago, women were revered for their wisdom, strength, compassion, and magic. This golden age was not to last: WITCH MADNESS traces the violent persecution of women throughout history, climaxing in the frenzy of the European witch hunts of the Renaissance, which resulted in the murder of hundreds and thousands, perhaps millions of women. Stunning images depict the savage oppression of females by their male inquisitors, a nightmarish parade of beheadings, burning, and torture in the name of justice. The film explores a disturbing aspect of human nature. The flame of love is soon rekindled, and balance and oneness are achieved.<br /><br />The Wooster Group RHYME ‘EM TO DEATH (1994, 10.5 min, video)<br />Drawing on a moment from Victor Hugo’s “Hunchback of Notre Dame” in which Esmerelda’s pet goat (who has extraordinary abilities) is accused of being the devil in disguise, this film expands the scene to incorporate transcripts of 15th-century court documents in which animals were tried as witches.<br /><br />Sharlene Bamboat & Alexis Mitchell BUGS AND BEASTS BEFORE THE LAW (2018, 33 min, 16mm-to-digital)<br />An essay film about the medieval practice of putting animals and inanimate objects on trial. In recounting details about the practice’s legal and religious histories, the film interrogates supposed dichotomies between animate/inanimate, human/animal, and natural/man-made, finding them less clearly delineated than more modern ideologies might lead us to believe.<br /><br />Lydia Kuzak 536 (2024, 27 min, digital)<br />536 is a unique take on the internet mukbang phenomenon, in which a person films themself consuming large quantities of food. In this reversal of the witch hunt, three Irish pagan witches capture an Englishman and find themselves unable to control their desire.<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> Monday, May 05 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59358 <p>“When filmmaking couple Joe Brewster and Michèle Stephenson’s 5-year-old son Idris and his best friend, Seun, both African-American, are accepted into the highly prestigious and almost exclusively white Dalton School, the proud parents embark on an amazingly ambitious project to document the two boys’ entire educations. Spanning 13 years, the resulting film offers a coming-of-age story rivaled perhaps only by Michael Apted’s UP series in scope. AMERICAN PROMISE is compelling both for its intimate focus on the lives of these middle-class families and in what it has to say about the struggle for identity of even the most talented African-American boys in a society that still often fears and dismisses them.” –Jennifer Dworkin, FILM COMMENT<br /><br /><strong>Michèle Stephenson in person!</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Tuesday, May 06 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59365 <p>“A leading light of the New Argentine Cinema (with Lucrecia Martel and Lisandro Alonso, among others) at the end of the 1990s, Martín Rejtman is best known for his minimalist fiction. His second documentary is set in Buenos Aires during the pandemic and follows delivery drivers for local UberEats clone apps, the majority of which are Venezuelans who have fled the crisis ravaging their country. The precise framing highlights the mechanical aspect behind the work that these young men do. Constantly on the go, carrying their fluorescent, cube-shaped delivery bags, they have become the paradoxically invisible icons of 2.0 platforms. However, Rejtman also intends to give them depth by filming the day-to-day life of Joel and his brother, particularly their private life. These two ‘riders’, recently arrived in Argentina, put human faces on the anonymous collective of delivery drivers, and establish a connection with the second part of the film, which was shot in their home country. Through exceptionally fluid editing work, the Argentinian director has created a humanist and structuralist film which powerfully reveals the close links between migratory dynamics and the net economy, at opposite ends of the South American continent.” –Emmanuel Chicon, VISIONS DU RÉEL<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59242 <p>This program celebrating the launch of MFJ No. 81 “Dedication” consists of works discussed in the issue. Reflecting themes of grief and resilience, the program includes work from recently departed artists who left their indelible mark on experimental film history, alongside new work from emerging filmmakers who push film language to its ecstatic limits.<br /><br />Programmed by Grahame Weinbren, Vince Warne, and Jonathan Ellis. The descriptions of each work are drawn from articles featured in MFJ 81.<br /><br />The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann; anonymous donors; and New York State Council on the Arts. If you’d like to support the publication of the Millennium Film Journal with a tax-deductible gift, please visit https://millenniumfilmjournal.com/donations/donation-form/ <br /><br />Malcolm Le Grice AFTER LUMIERE (1974, 13 min, 16mm-to-DCP)<br />Louis Lumière L’ARROSEUR ARROSE 1895, 1 min, 35mm-to-digital, silent<br />“Malcolm was always an original. He knew the path ahead and it was his own, though he was happy to share his journey with others. […] He played jazz guitar. Later he would ‘play’ the film printer and the film projector as if they were musical instruments, albeit heavier and even more temperamental. But performance-instruments they convincingly became. […] He was never in doubt about the importance of his own work and that of those with whom he most closely worked as well as that of a multitude of students whose work was very distant from his own. They all had reason to be grateful for his support – and they loved him, as I did.” –David Curtis, “Malcolm Le Grice (1940-2024)<br /><br />Chris Kennedy GO BETWEEN (2024, 6 min, 16mm-to-DCP)<br />“One of the major works from this year’s edition of the TIFF Wavelengths series is Chris Kennedy’s GO-BETWEEN, a simple idea turned adroit in the hands of a skillful and imaginative imagemaker. […] Kennedy’s film is simple but fun, its conceit bringing dynamic movement and repetition within a simple scene – cars crossing a bridge suddenly becomes a kaleidoscopic exercise where images and objects appear and disappear and then reappear at random.” –Soham Gadre, “Form, Tradition, and Political Documentation at TIFF Wavelengths”<br /><br />Zuza Banasinska Grandmamauntsistercat (2024, 23 min, DCP)<br />“Grandmamauntsistercat is a montage compiled from cold-war era films made at the Educational Film Studio of the same institution. Thus, on one level it functions as a retrospective reflection on how attitudes were expressed in film at the time, and which in both manifestations – the original and the re-worked – address questions of formation, self-image and the ideological character of education. […] The film is focused on the way misogynistic attitudes, expressed in the historical representations of Baba Jaga as hideous and repulsive, persist in the present via the juxtaposition of the myth with the overwhelmingly genteel contemporary material of the film.” –Nicky Hamlyn, “Currents Program 3: Signal to Noise”<br /><br />Gunvor Nelson MY NAME IS OONA (1969, 10 min, 16mm-to-DCP)<br />“Transitions were extremely important to Gunvor. She was always thinking about how to enter the front door of an image and how and when to get out. A shot was like an airport and the arrival and departure times of every single plane were critical. Otherwise there might be too much chaos on the tarmac! […] Gunvor once explained to me that when you finish editing your film, you will feel ecstatic. Then, there will be a profound sense of loss. To be inside the making of a film is an incredibly consuming fusion of the intellectual and the artistic. No matter what is going on in your home or in the world beyond, you have your film, and that, sometimes, is enough.” –Lynne Sachs, “Gunvor Nelson (1931-2025)”<br /><br />Christina Jauernik & Johann Lurf REVOLVING ROUNDS (2024, 11 min, 35mm-to-DCP, stereoscopic 3D)<br />“[REVOLVING ROUNDS] is a film that defies explanation: it simply astonishes. Somehow the film accomplishes everything you never knew a film was meant to do. Through its harnessing of light in sun-blinding lens flares, its vertigo-esque expansion/compression of space, and especially its tour-de-force gradual extreme close-up, it most fully and gratifyingly expresses the merger on display for the Currents program between the technologies of the medium (here: past, present, and future) and the perceptual themes it explores (here: to see as one suspected only a god might). REVOLVING ROUNDS is something to be experienced, that rare film that demands a specific cinematic context for the full expression of its remarkable power. That experience is everything: a perfect articulation of what cinema can do to further our experience of the world.” –Sarah K. Keller, “Currents Program 4: Space is the Place”<br /><br />Narcisa Hirsch TALLER (WORKSHOP) (1974, 10 min, 16mm-to-DCP)<br />“Narcisa Hirsch, who died last year at 96, had much in common with her generation of experimental filmmakers. She worked at a small scale with practically no money, shooting what was around her, declining to engage professional actors or to write treatments or scripts. Yet her work had a way of diverging from the spare, cerebral style associated with film and performance of the 1970s. A friend who attended her recent retrospective at Microscope Gallery mentioned to me a certain ‘warmth’ in her films, and I knew immediately what he meant.” –Nicholas Gamso, “Narcisa Hirsch, ‘Philosophy is a Useless Passion,’ & ‘On the Barricades’”<br /><br />Christoph Janetzko WALD – THE FOREST (2023, 13 min, DCP)<br />“Shot between 2019 and 2022, [Janetzko’s] film captures the dying forests of the Harz Mountains, documenting the devastating effects of climate change. […] The destroyed forest becomes an artistic topos, a symbol of an environmental catastrophe caused by climate change. […] Through advanced digital editing techniques – masking, selective color extraction, time-based color changes, and compositing – the film mirrors the degradation of nature in the transformation of the film frames themselves. The dying forest becomes an emblem not only of ecological destruction but also of an urgent artistic vision.” –Ulrich Stein, “On Christoph Janetzko’s WALD – THE FOREST”<br /><br />Total running time: ca. 95 min.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Wednesday, May 07 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59295 <p>This program highlights Parnes’s 1990s-era works, revealing the artist’s innovative use of appropriation and experimental film techniques to comment on the aesthetics and politics of popular culture. The films embody a decade marked by the rise of reality TV, online chat rooms, violent video games, MTV, celebrity culture, and heroin chic. With mordant wit, the artist deploys and scrambles these sources in non-linear narratives that feel like you’ve entered a k-hole of angsty youth. The results are dark and twisted, entangling what have now become recurring themes in her work, including the anxiety of influence, the cult of personality, and the sociopathy of American culture at the end of the 20th century.<br /><br />Real Life Music Television trilogy:<br />PERFORMANCE (1995, 6 min, digital)<br />LADIES, THERE IS A SPACE YOU CAN’T GO (1995, 5.5 min, digital)<br />TALENT SHOW (1996, 5 min, digital)<br /><br />Trailer for HEIDI 2 (1999-2000, 10 min, digital. Co-directed by Sue De Beer.)<br />WRONG PLACE, WRONG TIME (1998, 5.5 min, digital)<br />NO IS YES (1997, 40 min, digital)<br /><br />Total running time: ca. 75 min.<br /><br /><strong>Followed by a discussion with filmmaker Laura Parnes and Participant Inc. Founder Lia Gangitano, moderated by program curator Jane Ursula Harris.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Thursday, May 08 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59297 <p>This program presents two episodic works by Parnes, inspired by canonical texts once considered obscene and transgressive: Dante’s “Inferno”, the 14th-century narrative poem that comprises part one of “The Divine Comedy”; and Kathy Acker’s cult novel, “Blood and Guts in High School” (1984). Vividly salacious tales of depravity that chart their respective protagonists’ descent into hellish underworlds of sin, both works become fodder for the artist’s sardonic takes on the nature of truth and the anxiety of influence. The teen heroines that appear in each – Sandy and Janey, respectively – navigate the subterranean pathos of suburbia where surveillance, boredom, and sexual misadventures reign. These post-9/11 films simmer with the chaotic unease of early 21st century life when the “war on terror” and Homeland Security, Facebook and smartphones, radically changed our relationship to privacy and media.<br /><br />BLOOD AND GUTS IN HIGH SCHOOL (Chapter 1) (2004-07, 8 min, digital)<br />BLOOD AND GUTS IN HIGH SCHOOL (Chapter 6) (2004-07, 12 min, digital)<br />HOLLYWOOD INFERNO (Episode One) (2001-02, 38.5 min, digital)<br /><br />Total running time: ca. 65 min.<br /><br /><strong>Followed by a discussion with filmmaker Laura Parnes, writer Alissa Bennett, artist Guy Richard Smit, and Light Industry co-founder Ed Halter, moderated by program curator Jane Ursula Harris.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Friday, May 09 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59244 <p>Often described as Andy Warhol’s most important collaborator, Gerard Malanga was integral to many of Warhol’s most iconic works, including the production of his silkscreen paintings, films, and multimedia projects. He was heavily involved in Warhol’s filmmaking process, co-directing, editing, and starring in several of Warhol’s films, including the famed SCREEN TESTS. His deep involvement in Warhol’s work extended to photography and poetry, as well as assisting with the Factory’s day-to-day operations. Beyond technical and administrative support, Malanga’s creative influence was significant. His collaboration helped shape the experimental ethos of Warhol’s art, particularly through his work on the Exploding Plastic Inevitable multimedia shows and other avant-garde projects. Malanga’s presence also symbolized the convergence of art, poetry, and underground culture at the Factory, making him a key figure in Warhol’s broader artistic circle.<br /><br />Though Malanga’s role in the Factory is well known, his own 16mm films have rarely been shown or discussed. This special screening – which represents the NYC premiere of three newly-restored works – aims to remedy this. Central to the program is ANDY WARHOL: PORTRAITS OF THE ARTIST AS A YOUNG MAN (1964-65), seven short films that mimic Warhol’s SCREEN TESTS while focusing on Warhol himself, thereby offering a rare glimpse into his persona. The program also includes FILM NOTEBOOKS (1964-70), a compilation of unseen footage from Malanga’s personal archive which documents interactions with notable figures like Bob Dylan and Edie Sedgwick. The final film, THE FILMMAKER RECORDS A PORTION OF HIS LIFE IN THE MONTH OF AUGUST (1968), presents an intimate, autobiographical portrait of Malanga’s summer in 1968, capturing fleeting moments with Warhol and other New York artists. Together, these films highlight Malanga’s archival retrieval process and collaborative spirit, offering an immersive look at the artistic environment surrounding Warhol and his Factory.<br /><br />Gerard Malanga will be here in person to present the screening, to sell and sign copies of the new book “Gerard Malanga’s Secret Cinema”, and to participate in a post-screening poetry reading and a Q&A moderated by Anastasia James, Director of Galleries & Public Art for the Pittsburgh Cultural Trust.<br /><br />Co-presented by The Waverly Press, which oversaw the film restorations, and is the publisher of Gerard Malanga’s Secret Cinema and Screen Tests / A Diary. For more info visit: www.thewaverlypress.com/ <br /><br />Gerard Malanga ANDY WARHOL: PORTRAITS OF THE ARTIST AS A YOUNG MAN (1964, 21 min, 16mm-to-DCP)<br />Gerard Malanga GERARD MALANGA’S FILM NOTEBOOKS (1964-70, 27 min, 16mm-to-DCP)<br />Gerard Malanga THE FILMMAKER RECORDS A PORTION OF HIS LIFE IN THE MONTH OF AUGUST (1968, 15 min, 16mm-to-DCP)<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> Saturday, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59313 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59246 <p>This program represents the NYC premiere of three newly restored experimental films by Roger Jacoby (1944-85), a pivotal figure bridging the pre- and post-liberation eras of gay experimental filmmaking. Jacoby’s career as a filmmaker spanned from 1972 until his untimely death from AIDS in 1985, during which he completed eight films – all produced in Pittsburgh. Originally trained as a painter and classical pianist, Jacoby’s artistic journey took a transformative turn when he discovered New York’s vibrant artistic circles, including Andy Warhol’s Factory, where he met his long-time partner, the Warhol Superstar Ondine. Encouraged by filmmaker Marie Menken, Jacoby began experimenting with film around 1970. Seeking a change in environment, he and Ondine relocated to Pittsburgh in 1972, where he soon connected with Sally Dixon, the Carnegie Museum of Art’s pioneering Film Department founder, who introduced him to Pittsburgh Filmmakers.<br /><br />Jacoby’s approach to filmmaking was both practical and deeply personal. He began processing his film footage in his own bathroom, using his bathtub as a makeshift darkroom. Even after receiving a National Endowment for the Arts grant in 1972 to acquire more advanced equipment, Jacoby continued hand-processing his films, embracing the unique, handcrafted qualities that became the hallmark of his work.<br /><br />Over the past three years, The Berkeley Art Museum and Pacific Film Archive has meticulously restored a selection of Jacoby’s early films. This screening will include new restorations of DREAM SPHINX OPERA (1973) and L’AMICO FRIED’S GLAMOROUS FRIENDS (1976), which showcase Jacoby’s innovative use of hand-processing techniques to manipulate film emulsion, as well as HOW TO BE A HOMOSEXUAL PART I (1980), in which Jacoby creates intimate portraits of his sister and mother, a deaf friend, and a gay couple from the Gay Activist Alliance, revealing the personal and communal aspects of Jacoby’s work.<br /><br />This program is co-presented by the Pittsburgh Cultural Trust, and will be introduced by Anastasia James, Director of Galleries & Public Art for the Pittsburgh Cultural Trust.<br /><br />Special thanks to the Pacific Film Archive, Canyon Cinema Foundation, Jim Hubbard, Susan Chainey, and Jon Shibata.<br /><br />All the films in this program have been preserved by the University of California, Berkeley Art Museum and Pacific Film Archive 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 /><br />DREAM SPHINX OPERA (1973, 8 min, 16mm)<br />L’AMICO FRIED’S GLAMOROUS FRIENDS (1976, 12 min, 16mm, silent)<br />HOW TO BE A HOMOSEXUAL PART I (1980, 35 min, 16mm)<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> Saturday, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59314 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Saturday, May 10 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59315 <p>“Welles’s first feature is probably the most respected, analyzed, and parodied of all films. Although its archival and historical value are unchallenged, CITIZEN KANE, nevertheless, seems fresh on each new viewing. The film touches on so many aspects of American life – politics and sex, friendship and betrayal, youth and old age – that it has become a film for all moods and generations. In its expansive way, it creates a kaleidoscopic panorama of a man’s life. Loosely based on the life of the newspaper publisher William Randolph Hearst, CITIZEN KANE is the saga of the rise to power of a ‘poor little rich boy’ starved for affection, as Welles himself was after his parents’ early deaths. It is also a meditation on emotional greed, the ease of amassing wealth, and the difficulty of sustaining love.” –MoMA<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a> </p> Sunday, May 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59299 <p>Mirroring rave culture and the unbridled optimism in technology of the 1990s, COUNTY DOWN reveals a society so obsessed with novelty and consumerism that it euphorically sows the seeds of its own destruction. This darkly comedic narrative explores an epidemic of psychosis among the adults in a gated community which coincides with a teenage girl’s invention of a designer drug.<br /><br />This program will also include a sneak peek at Parnes’s work-in-progress, MAGIC THINKING, a black comedy steeped in the current climate catastrophe and in the confluence of far-right extremism and the cult of “wellness”.<br /><br />MAGIC THINKING (work-in-progress / trailer) (2025, 4 min, digital)<br />COUNTY DOWN (2012, 70 min, digital)<br /><br />Total running time: ca. 80 min.<br /><br /><strong>Followed by a discussion with filmmaker Laura Parnes, actor Stephanie Vella, writer-musician Johanna Fateman, and artist Chloe Bass, moderated by program curator Jane Ursula Harris.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59248 <p>“Robert Herridge created the truest and the most exciting jazz programs in the history of television.” –Nat Hentoff, THE VILLAGE VOICE<br /><br />In celebration of the newly published book, “The Herridge Style: The Life and Work of a Television Revolutionary”, Anthology hosts this debut screening of the newly completed documentary film THE JAZZ TELEVISION OF ROBERT HERRIDGE, in which the renowned journalist and jazz critic Nat Hentoff tells the story of his longtime colleague, the pioneering TV writer/director/producer, Robert Herridge.<br /><br />Herridge, working closely with Hentoff, was the key force in the creation of some of the most important music productions in American television history, from “The Sound of Jazz” (1957), featuring Billie Holiday, Thelonious Monk, Lester Young, Count Basie, Coleman Hawkins, and Roy Eldridge, to “The Sound of Miles Davis” (1959), with Davis, John Coltrane, and Gil Evans. Herridge was also responsible for a pair of folk and blues shows in 1960, featuring Joan Baez’s first national TV appearances, which (according to his own testimony) enticed the then-19-year-old Minnesotan Bob Dylan to move to New York City and begin his extraordinary career. THE JAZZ TELEVISION OF ROBERT HERRIDGE celebrates the work of Herridge and Hentoff – one of the greatest musical collaborations of the 20th century.<br /><br />The program will also include a long-feared-lost episode (the last of five) of Herridge’s ground-breaking adaptation of “Moby Dick”, and will be followed by a Q&A with writer/director John Sorensen.<br /><br />This is a rare opportunity to see and experience some of the most outstanding “music on television” shows of all time.<br /><br />For more info about “The Herridge Style” (edited by John Sorensen), visit: <a href="https://www.kentuckypress.com/9781985901469/the-herridge-style/">https://www.kentuckypress.com/9781985901469/the-herridge-style/</a> <br /><br />John Sorensen<br />THE JAZZ TELEVISION OF ROBERT HERRIDGE<br />2018, 55 min, digital<br /><br />Frank Moriarty<br />CAMERA THREE: MOBY DICK<br />1954, 30 min, video. Written and produced by Robert Herridge.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59370 <p>From its genesis in the “Real Estate Show” – an artist occupation examining the politics of real estate speculation – to the “Island of Negative Utopia” – a night of performance at experimental art space The Kitchen – the early period of ABC No Rio was defined through collective cultural production and critical social practices that soon expanded from themed group shows to include reading and performance series, video art, and other creative interventions. This program showcases the activity and output of this era of ABC No Rio, from 1980 to 1983, and its close affiliations with Colab, featuring footage from “The Real Estate Show” (1980), “Island of Negative Utopia”, “Cave Girls” (both 1984), and Colab’s broadcast television program “Potato Wolf”.<br /><br />This program is presented in the memory of Walter Robinson, Bebe Smith, and Anton Van Dalen. The screening will be followed by a Q&A with core ABC No Rio progenitors; further details TBA.<br /><br />EARLY YEARS COMPILATION 1:<br />Comprises footage from the following sources:<br />ABC NO RIO FOR COOPER SQ. REAL ESTATE SHOW (Alan Moore, Bobby G, and Matthew Geller, 1980)<br />POTATO WOLF -–REAL ESTATE SHOW (Colab/Potato Wolf, 1980)<br />ISLAND OF NEGATIVE UTOPIA (Colab/Potato Wolf, 1984)<br />NO RIO NEWS EXCERPT (ca. 1980s)<br />CARDBOARD AIR BAND (Matthew Geller, 1981)<br /><br />EARLY YEARS COMPILATION 2:<br />Comprises footage from the following sources:<br />CAVE GIRLS (Kiki Smith & Ellen Cooper, 1984)<br />COLAB COMPILATION: TIMES SQUARE SHOW ADS (Coleen Fitzgibbon with Alan Moore, 1980)<br />DIARY FILMS + MICRO FILMS (Colleen Fitzgibbon, 1974)<br />FOUR FASHION HORSES excerpt (Sophie Vieille, 1984)<br /><br />Total running time: ca. 85 min.<br /><br /><strong>Followed by a Q&A with Bobby G, Becky Howland, and Jack Waters.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Sunday, May 11 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59372 <p>Peter Cramer, Jack Waters, and friends brought performance and cinema to the fore in this era of ABC No Rio. The wearying struggle of resisting eviction by the city while occupying a leaking, dilapidated building inspired ABC No Rio to take the show on the road, with journeys to San Francisco, Bowdoin, Maine, and Hamburg, Germany. Cramer and Waters’s influence as co-directors of ABC No Rio from 1983 to 1990 heralded an increasingly queer undercurrent, both in the administration of the organization and its programming, which reflected the advent of AIDS and queer activism.<br /><br />This program will feature performance footage and a selection of films from Naked Eye Cinema (NEC), which was initiated by Leslie Lowe and Jack Waters as an extension of ABC No Rio’s film program. Initial NEC programs featured work by women and queer filmmakers and were exhibited at ABC No Rio, Richard Armijo’s Embargo Books, the Magic Eye Screening Room at Leslie Lowe’s loft, and Solidaridad Humana (now The Clemente Center). The prominence of films made by women and queer people led to a formative alliance between NEC and the New York Lesbian and Gay Experimental Film Festival (now MIX NYC), that began with the festival’s premiere screening.<br /><br />This program is presented in memory of Valerie Carris Blitz, Brian Taylor, Gordon Stokes Kurtti, Nancy Sullivan, Richard Hofmann, and Vinny Salas. The screening will be followed by a Q&A with core Naked Eye Cinema progenitors.<br /><br />PERFORMANCE, FILM, AND QUEER EXPRESSION COMPILATION:<br />Comprises footage from the following sources:<br />ABC NO RIO AT THE SAINT (1987)<br />SEMIOTICS, SYNTAX, SEMANTICS (Jim C & Bradley Eros, 1985)<br />HAMBURG TAPES (1990)<br />H.E.A.L. COMPILATION (Peter Cramer, 1988)<br />ABC NO RIO OPEN MIKE FOOTAGE (Bradley Eros, 1983)<br /><br />WORKS FROM THE NAKED EYE CINEMA:<br />Erotic Psyche (Bradley Eros & Aline Mare) PYROTECHNICS (1985, 13 min, Super-8mm)<br />Leslie Lowe & Jack Waters NOCTURNES (1987, 13 min, 16mm)<br />Peter Cramer BLACK & WHITE STUDY (1990, 8 min, 16mm)<br />Jack Waters BERLIN/NY (1984-86, 14 min, 16mm)<br />BEST OF NAKED EYE CINEMA TV excerpt (Naked Eye Cinema, 1990)<br />Carl Michael George LA BELLE FLEUR (1985, 14 min, Super-8mm)<br />Tessa Hughes-Freeland PLAYBOY (1984, 10 min, Super-8mm-to-16mm)<br /><br />Total running time: ca. 120 min.<br /><br /><strong>Followed by a Q&A with Jack Waters and Peter Cramer.</strong><br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 12 https://www.anthologyfilmarchives.org/film_screenings/calendar?view=list&month=05&year=2025#showing-59304 <p>Brett Story & Stephen Maing<br />UNION<br />2024, 100 min, digital<br />In spring 2022, workers at an Amazon fulfillment center in Staten Island made history: they voted to form the first ever labor union at the tech giant. Following their fight from the beginning, UNION is an intimate portrait of the people, connections, and commitment that brought together thousands of workers without the support of major labor unions or politicians. The film documents collective action in triumph – over division, defeatism, and perceived impossibility.<br /><br />Followed by a discussion with members of the Amazon Labor Union.<br /><br /><a href="https://ticketing.us.veezi.com/sessions/?siteToken=bsrxtagjxmgh2qy0b6p646xdcr"><strong>CLICK HERE TO BUY TICKETS NOW!</strong></a></p> Monday, May 12